Source: https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-1-3-key-ideas-love-and-tragedy [Revision notes](https://senecalearning.com/en-gb/revision-notes.md) › [A Level](https://senecalearning.com/en-gb/revision-notes/a-level.md) › [English Lit](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature.md) › [AQA](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa.md) › [English Lit: AQA A Level Othello](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello.md) › Key Ideas: Love & Tragedy # Key Ideas: Love & Tragedy English Lit: AQA A Level Othello, topic 3.1.3 ## Love, Historical Context and Historicism (Act 2, Scene 1) This scene shows us Emilia and Iago's strained relationship, and Othello and Desdemona’s deep affection for each other. ### Cyprus ![Cyprus](https://image-v2.cdn.app.senecalearning.com/2018-10/4bfec079-9d65-4a69-bd55-8aa7877ebc88/pirate-ship-.jpg) - The arrival at Cyprus is important in showing a couple of aspects of love. - When the dialogue moves to Desdemona - Cassio praises her as __‘divine’__ and __‘our great captain’s captain’__, the __‘riches of the ship’__ as she arrives in Cyprus safely. ### Cassio ![Cassio](https://image-v2.cdn.app.senecalearning.com/2018-12/904874fe-9ce1-496d-a778-3993b741fa3b/statue-pray-kneel-beg-.jpg) - Desdemona’s immediate concern however, is if Cassio has heard from her __‘lord’__, so she meets Cassio’s exaggerated, positive reception by requiring facts about her husband’s safety. ### Quarrel with Iago ![Quarrel with Iago](https://image-v2.cdn.app.senecalearning.com/2018-08/c34f7639-27f0-4868-ba98-7d6c246f0dd1/couple-argue-divorce.jpg) - Desdemona engages in somewhat of a quarrel with Iago, which could be either interpreted as mischievous, amusing teasing between the two or alternatively a rather tense, bitter and unpleasant argument rising from Iago’s critical comments about women. ### Desdemona ![Desdemona](https://image-v2.cdn.app.senecalearning.com/2018-07/4156e7f0-ffb1-4fac-80a4-81c7bea5d494/gender-discrimination.jpg) - She decries him as a __‘slanderer’__ as he implies all women’s involvement with prostitution as they __‘rise to play and go to bed to work’.__ - The subtext of the quarrel is about love and relationships and the power that men have over women. ## Love, Historical Context and Historicism (Act 2, Scene 1) This scene also shows us Emilia and Iago's strained relationship, and Othello and Desdemona’s deep affection for each other. ### Emilia ![Emilia](https://image-v2.cdn.app.senecalearning.com/2018-09/17188dfc-e901-491d-b590-f32481c56b3b/worried-girl-sad-emotion-.jpg) - Throughout Desdemona and Iago's conversation Emilia is noticeably mostly silent, implying here her subservience and meekness when with Iago (or possibly her annoyance at him), whilst Desdemona contests his pointed witticisms rather equally and determinedly, typifying her strength and power as a woman in the face of misogyny at the beginning of the play. ### Emilia later ![Emilia later](https://image-v2.cdn.app.senecalearning.com/courseImages/physics/4.2.4%20-%20Resistance%20and%20electrical%20work/power-min.jpg) - This is very different to the Emilia we see later on in the play, but here too, we also see a confident Desdemona as well, who may be seen as being very different to the way she is at the end of the play. - Is it love that is emboldening her? ### Othello and Desdemona ![Othello and Desdemona](https://image-v2.cdn.app.senecalearning.com/2018-07/95c86d22-ab78-4595-a71d-d16e67e39303/heaven-hell-sky.jpg) - Othello and Desdemona’s deep affection for each other is intensified here as both speak poetically of their love. - Othello calls Desdemona is __‘fair warrior’__ and __‘his soul’s joy’.__ - He comments: __‘If after every tempest come such calms / May the winds blow till they have wakened death’,__ and Desdemona hopes on the heavens that their __‘loves and comforts should increase’.__ ### Irony ![Irony](https://image-v2.cdn.app.senecalearning.com/2018-04/a6f2e9ce-d4fe-41b3-91fd-2f6bffcfe631/shutterstock_530282698.jpg) - A perceptive audience member here could note the irony in their comments here; for the couple, the storm is only just beginning. - More intense stormy weather lies ahead. ## Tragedy (Act 2, Scene 1) Iago's final soliloquy gives us some insight into his growing anger and his need for __‘revenge’__ upon both Cassio and Othello. Revenge is always a tragic concept. ### The storm ![The storm](https://image-v2.cdn.app.senecalearning.com/2018-04/3d9134d4-f3b9-46d5-96be-374534a5d13a/shutterstock_1032789745.jpg) - The storm is so ferocious that the men can see __‘nothing at all’__; it __‘seems to pelt the clouds’__ with __‘high and monstrous mane’.__ - The storm may prefigure and act as a symbol of the storms to follow in the tragedy. ### Manipulation ![Manipulation](https://image-v2.cdn.app.senecalearning.com/2018-09/57262d73-65bc-4fc6-9e8a-b3a6eb277978/bed-1822497_1920.jpg) - Iago is able to skilfully manipulate Roderigo into continuing the scheme despite Desdemona’s deep love for Othello by emphasising her supposed sexual appetite. - He insists __‘her eye must be fed’__, and that she will become bored when __‘the blood is made dull with the act of sport’.__ ### Cassio ![Cassio](https://image-v2.cdn.app.senecalearning.com/2018-08/445ab4b0-a69b-4dd6-9d26-3bb7a0f8d99f/plotting-plot-.jpg) - Iago’s attention in the scheme moves to Cassio, whom he believes makes a fitting __‘second choice’__ for Desdemona, a __‘devilish knave’__ who is __‘handsome, young, and hath all those requisites in him that folly and green minds look after’.__ - The villainous plot to cause Othello’s tragic fall begins to shape in Iago’s mind. ### Iago's influence ![Iago's influence](https://image-v2.cdn.app.senecalearning.com/2018-07/988d3803-9f6a-4ac1-bd05-64050151b9d1/Hands-Holding-Man-Woman-Sex.jpg) - His pernicious influence on the gullible Roderigo is clear as he is able to completely misrepresent the platonic holding of hands between Cassio and Desdemona as not mere __‘courtesy’__ but rather an act pointing to __‘a history of lust and foul thoughts’.__ ### Revenge ![Revenge](https://image-v2.cdn.app.senecalearning.com/2018-11/4e29ce8e-a3a1-40df-a854-4e58c6d9964e/men-fighting-argument-.png) - As he insists Roderigo __‘be ruled’__ by him— accentuating his need for control over all—he plans that Roderigo will __‘provoke’__ Cassio into a quarrel. - His final soliloquy gives us some insight into his growing anger and his need for __‘revenge’__ upon both Cassio and Othello. - Revenge is always a tragic concept. ### Complicity ![Complicity](https://image-v2.cdn.app.senecalearning.com/2018-10/519aa5da-7118-4cae-b86f-c5a5a8406b8b/love-heart-.jpg) - At the beginning, he claims that he does __‘well believe’t’__ that Cassio loves Desdemona. - The audience is left to question whether Iago truly does and is delusional, or whether his attempts to deceive and misrepresent facts now even extends to the audience. - The audience therefore finds themselves complicit in the tragedy and sometimes even feels sympathy for Iago. ## Test yourself on Key Ideas: Love & Tragedy - Which female character grows in confidence most throughout the play? - What does the audience learn from Iago's final soliloquy at the end of Act Two Scene One? - In Act Two Scene One, what acts as a symbol of the tragedy to come? - How does Iago manipulate Roderigo into continuing their scheme against Othello? [Practise this topic for free](https://app.senecalearning.com/classroom/course/eaa5fbae-2db3-4bc1-9205-b0228468355d/section/40358b2b-4fce-4d3b-b5bd-f241ccc63e36/session) - Previous topic: [3.1.2 Key Events 2](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-1-2-key-events-2.md) - Next topic: [3.1.4 Scene Two: Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-1-4-scene-two-events.md) ## English Lit: AQA A Level Othello contents ### 1 Context - 1.1 Introduction - [1.1.1 Specifications](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-1-1-specifications.md) - 1.2 Background - [1.2.1 Shakespeare](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-2-1-shakespeare.md) - [1.2.2 Love](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-2-2-love.md) - [1.2.3 Tragedy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-2-3-tragedy.md) - [1.2.4 Historical Context](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-2-4-historical-context.md) - 1.3 Othello - [1.3.1 Setting](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-3-1-setting.md) - [1.3.2 Social Issues](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-3-2-social-issues.md) ### 2 Act One: Summaries & Themes - 2.1 Act and Scene Summaries - [2.1.1 Structure](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-1-1-structure.md) - [2.1.2 The Exam](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-1-2-the-exam.md) - 2.2 Scene One - [2.2.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-2-1-key-events.md) - [2.2.2 Key Themes](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-2-2-key-themes.md) - [2.2.3 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-2-3-key-ideas.md) - 2.3 Scene Two - [2.3.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-3-1-key-events.md) - [2.3.2 Key Themes](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-3-2-key-themes.md) - [2.3.3 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-3-3-key-ideas.md) - 2.4 Scene Three - [2.4.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-4-1-key-events.md) - [2.4.2 Key Events 2](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-4-2-key-events-2.md) - [2.4.3 Key Themes](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-4-3-key-themes.md) - [2.4.4 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-4-4-key-ideas.md) ### 3 Act Two: Summaries & Themes - 3.1 Scene One & Two - [3.1.1 Scene One: Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-1-1-scene-one-events.md) - [3.1.2 Key Events 2](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-1-2-key-events-2.md) - [3.1.3 Key Ideas: Love & Tragedy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-1-3-key-ideas-love-and-tragedy.md) - [3.1.4 Scene Two: Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-1-4-scene-two-events.md) - 3.2 Scene Three - [3.2.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-2-1-key-events.md) - [3.2.2 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-2-2-key-ideas.md) ### 4 Act Three: Summaries & Themes - 4.1 Key Events - [4.1.1 Scene One & Two](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/4-1-1-scene-one-and-two.md) - [4.1.2 Scene Three](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/4-1-2-scene-three.md) - [4.1.3 Scene Three: Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/4-1-3-scene-three-key-ideas.md) - [4.1.4 Scene Four](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/4-1-4-scene-four.md) ### 5 Act Four - 5.1 Scene One - [5.1.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/5-1-1-key-events.md) - [5.1.2 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/5-1-2-key-ideas.md) - 5.2 Scene Two - [5.2.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/5-2-1-key-events.md) - [5.2.2 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/5-2-2-key-ideas.md) - 5.3 Scene Three - [5.3.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/5-3-1-key-events.md) - [5.3.2 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/5-3-2-key-ideas.md) ### 6 Act Five - 6.1 Scene One - [6.1.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/6-1-1-key-events.md) - [6.1.2 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/6-1-2-key-ideas.md) - 6.2 Scene Two - [6.2.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/6-2-1-key-events.md) - [6.2.2 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/6-2-2-key-ideas.md) ### 7 Character Profiles - 7.1 Major Characters - [7.1.1 Othello](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-1-1-othello.md) - [7.1.2 Iago](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-1-2-iago.md) - [7.1.3 Desdemona](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-1-3-desdemona.md) - [7.1.4 Emilia](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-1-4-emilia.md) - [7.1.5 Cassio](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-1-5-cassio.md) - 7.2 Minor Characters - [7.2.1 Roderigo & Brabantio](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-2-1-roderigo-and-brabantio.md) - [7.2.2 Other Characters](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-2-2-other-characters.md) ### 8 Key Themes - 8.1 Love & Tragedy - [8.1.1 Love](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/8-1-1-love.md) - [8.1.2 Love 2](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/8-1-2-love-2.md) - [8.1.3 Tragedy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/8-1-3-tragedy.md) - [8.1.4 Tragedy 2](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/8-1-4-tragedy-2.md) - 8.2 Other Key Themes - [8.2.1 Public versus Private](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/8-2-1-public-versus-private.md) - [8.2.2 Appearance & Reality](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/8-2-2-appearance-and-reality.md) ### 9 Writing Techniques - 9.1 Writing Techniques - [9.1.1 Structure](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/9-1-1-structure.md) - [9.1.2 Genre](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/9-1-2-genre.md) - [9.1.3 Form & Language](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/9-1-3-form-and-language.md) - [9.1.4 Language & Imagery](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/9-1-4-language-and-imagery.md) ### 10 Critical Debates - 10.1 Criticism & Performance - [10.1.1 Shakespeare's Legacy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/10-1-1-shakespeares-legacy.md) - [10.1.2 Traditional](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/10-1-2-traditional.md) - [10.1.3 Modern & Contemporary](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/10-1-3-modern-and-contemporary.md) - 10.2 Approaches - [10.2.1 Feminist Approach](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/10-2-1-feminist-approach.md) - [10.2.2 Psychoanalytic Approach](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/10-2-2-psychoanalytic-approach.md) - [10.2.3 Marxist Approach](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/10-2-3-marxist-approach.md) ### 11 Approaching AQA English Literature - 11.1 Specification A - [11.1.1 Specification A](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/11-1-1-specification-a.md) - [11.1.2 Love Through the Ages](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/11-1-2-love-through-the-ages.md) - 11.2 Specification B - [11.2.1 Specification B](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/11-2-1-specification-b.md) - [11.2.2 Aspects of Tragedy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/11-2-2-aspects-of-tragedy.md) ### 12 Issues of Assessment - 12.1 The Exams - [12.1.1 AOs](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/12-1-1-aos.md) - [12.1.2 Mark Scheme](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/12-1-2-mark-scheme.md)