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Analysis of William Shakespeare’s Othello

By NASRULLAH MAMBROL on July 25, 2020 • ( 0 )

Of all Shakespeare’s tragedies . . . Othello is the most painfully exciting and the most terrible. From the moment when the temptation of the hero begins, the reader’s heart and mind are held in a vice, experiencing the extremes of pity and fear, sympathy and repulsion, sickening hope and dreadful expectation. Evil is displayed before him, not indeed with the profusion found in King Lear, but forming, as it were, the soul of a single character, and united with an intellectual superiority so great that he watches its advance fascinated and appalled. He sees it, in itself almost irresistible, aided at every step by fortunate accidents and the innocent mistakes of its victims. He seems to breathe an atmosphere as fateful as that of King Lear , but more confined and oppressive, the darkness not of night but of a close-shut murderous room. His imagination is excited to intense activity, but it is the activity of concentration rather than dilation.

—A. C. Bradley, Shakespearean Tragedy

Between William Shakespeare’s most expansive and philosophical tragedies— Hamlet and King Lear —is Othello, his most constricted and heart-breaking play. Othello is a train wreck that the audience horrifyingly witnesses, helpless to prevent or look away. If Hamlet is a tragedy about youth, and Lear concerns old age, Othello is a family or domestic tragedy of a middle-aged man in which the fate of kingdoms and the cosmos that hangs in the balance in Hamlet and Lear contracts to the private world of a marriage’s destruction. Following his anatomizing of the painfully introspective intellectual Hamlet, Shakespeare, at the height of his ability to probe human nature and to dramatize it in action and language, treats Hamlet’s temperamental opposite—the man of action. Othello is decisive, confident, and secure in his identity, duty, and place in the world. By the end of the play, he has brought down his world around him with the relentless force that made him a great general turned inward, destroying both what he loved best in another and in himself. That such a man should fall so far and so fast gives the play an almost unbearable momentum. That such a man should unravel so completely, ushered by jealousy and hatred into a bestial worldview that cancels any claims of human virtue and self-less devotion, shocks and horrifies. Othello is generally regarded as Shakespeare’s greatest stage play, the closest he would ever come to conforming to the constrained rules of Aristotelian tragedy. The intensity  and  focus  of  Othello   is  unalleviated  by  subplots,  comic  relief,  or  any  mitigation  or  consolation  for  the  deterioration  of  the  “noble  Moor”  and  his  collapse into murder and suicide. At the center of the play’s intrigue is Shakespeare’s most sinister and formidable conceptions of evil in Iago, whose motives and the wellspring of his villainy continue to haunt audiences and critics alike. Indeed, the psychological resonances of the drama, along with its provocative racial and gender themes, have caused Othello, perhaps more than any other of Shakespeare’s plays, to reverberate the loudest with current audiences and commentators. As scholar Edward Pechter has argued, “During the past twenty-five years or so, Othello has become the Shakespearean tragedy of choice, replacing King Lear in the way Lear had earlier replaced Hamlet as the play that speaks most directly and powerfully to current interests.”

Shakespeare derived his plot from Giraldi Cinthio’s “Tale of the Moor,” in the story collection Hecatommithi (1565), reshaping Cinthio’s sensational tale of jealousy, intrigue, and murder in several key ways. In Cinthio’s story, Alfiero, the scheming ensign, lusts after the Moor’s wife, named Disdemona, and after she spurns his advances, Alfiero seeks vengeance by accusing her of adultery with Cassio,  the  Moor’s  lieutenant.  Alfiero,  like  Iago,  similarly  arouses  the  Moor’s  suspicions by stealing Disdemona’s handkerchief and planting it in Cassio’s bed-room. However, the Moor and Alfiero join forces to kill Disdemona, beating her  to  death  with  a  stocking  filled  with  sand  before  pulling  down  the  ceiling  on her dead body to conceal the crime as an accident. The Moor is eventually captured,  tortured,  and  slain  by  Disdemona’s  relatives,  while  the  ensign  dies  during torture for another crime. What is striking about Shakespeare’s alteration of Cinthio’s grisly tale of murder and villainy is the shift of emphasis to the provocation for the murder, the ennobling of Othello as a figure of great stature and dignity to underscore his self-destruction, and the complication of motive for  the  ensign’s  actions.  Cinthio’s  version  of  Iago  is  conventionally  driven  by  jealousy  of  a  superior  and  lust  for  his  wife.  Iago’s  motivation  is  anything  but  explainable in conventional terms. Dramatically, Shakespeare turns the focus of the play from the shocking crime to its causes and psychic significance, trans-forming Cinthio’s intrigue story of vile murder into one of the greatest dramatic meditations on the nature of love and its destruction.

What  makes  Othello  so  unique  structurally  (and  painful  to  witness)  is  that  it  is  a  tragedy  built  on  a  comic  foundation.  The  first  two  acts  of  the  play  enact  the  standard  pattern  of  Shakespeare’s  romantic  comedies.  The  young Venetian noblewoman, Desdemona, has eloped with the middle-aged Othello, the military commander of the armed forces of Venice. Their union is opposed by Desdemona’s father, Brabantio, and by a rival for Desdemona, Roderigo,  who  in  the  play’s  opening  scenes  are  both  provoked  against Othello  by  Iago.  Desdemona  and  Othello,  therefore,  face  the  usual  challenges of the lovers in a Shakespearean comedy who must contend with the forces of authority, custom, and circumstances allied against their union. The romantic climax comes in the trial scene of act 1, in which Othello success-fully defends himself before the Venetian senate against Brabantio’s charge that  Othello  has  beguiled  his  daughter,  “stol’n  from  me,  and  corrupted  /  By spells and medicines bought of mountebanks.” Calmly and courteously Othello recounts how, despite the differences of age, race, and background, he won Desdemona’s heart by recounting the stories of his exotic life and adventures: “She loved me for the dangers I had passed, / And I loved her that she did pity them.” Wonder at Othello’s heroic adventures and compassion for her sympathy have brought the two opposites together—the young, inexperienced  Venetian  woman  and  the  brave,  experienced  outsider.  Desdemona finally, dramatically appears before the senate to support Othello’s account of their courtship and to balance her obligation to her father and now to her husband based on the claims of love:

My noble father, I do perceive here a divided duty: To you I am bound for life and education; My life and education both do learn me How to respect you; you are the lord of duty; I am hitherto your daughter. But here’s my husband; And so much duty as my mother show’d To you, preferring you before her father, So much I challenge that I may profess Due to the Moor, my lord.

Both Desdemona and Othello defy by their words and gestures the calumnies heaped upon them by Roderigo and Brabantio and vindicate the imperatives of the heart over parental authority and custom. As in a typical Shakespearean comedy, love, tested, triumphs over all opposition.

Vindicated by the duke of Venice and the senate, Othello, accompanied by Desdemona, takes up his military duties in the face of a threatened Turkish invasion, and the lovers are given a triumphal wedding-like procession and marriage ceremony when they disembark on Cyprus. The storm that divides the Venetian fleet also disperses the Turkish threat and clears the way for the lovers’ happy  reunion  and  peaceful  enjoyment  of  their  married  state.  First  Cassio lands to deliver the news of Othello’s marriage and, like the best man, supplies glowing praise for the groom and his bride; next Desdemona, accompanied by Iago and his wife, Emilia, enters but must await news of the fate of Othello’s ship. Finally, Othello arrives giving him the opportunity to renew his marriage vows to Desdemona:

It gives me wonder great as my content To see you here before me. O my soul’s joy, If after every tempest come such calms, May the wind blow till they have wakened death, And let the labouring barque climb hills of seas Olympus-high, and duck again as low As hell’s from heaven. If it were now to die ’Twere now to be most happy, for I fear My soul hath content so absolute That not another comfort like to this Succeeds in unknown fate.

The scene crowns love triumphant. The formerly self-sufficient Othello has now  staked  his  life  to  his  faith  in  Desdemona  and  their  union,  and  she  has  done the same. The fulfillment of the wedding night that should come at the climax of the comedy is relocated to act 2, with the aftermath of the courtship and the wedding now taking  center  stage.  Having triumphantly bested  the  social and natural forces aligned against them, having staked all to the devotion of the other, Desdemona and Othello will not be left to live happily ever after, and the tragedy will grow out of the conditions that made the comedy. Othello, unlike the other Shakespearean comedies, adds three more acts to the romantic drama, shifting from comic affirmation to tragic negation.

Iago  reviews  Othello’s  performance  as  a  lover  by  stating,  “O,  you  are  well tuned now, / But I’ll set down the pegs that make this music.” Iago will now orchestrate discord and disharmony based on a life philosophy totally opposed to the ennobling and selfless concept of love demonstrated by the newlyweds. As Iago asserts to Roderigo, “Virtue? A fig!” Self-interest is all that  matters,  and  love  is  “merely  a lust  of  the  blood  and  a  permission  of  the will.” Othello and Desdemona cannot possibly remain devoted to each other, and, as Iago concludes, “If sanctimony and a frail vow betwixt an err-ing barbarian and a super-subtle Venetian be not too hard for my wits, and all the tribe of hell, thou shalt enjoy her.” The problem of Iago’s motivation to destroy Othello and Desdemona is not that he has too few motives but too many. He offers throughout the play multiple justifi cations for his intrigue: He has been passed over in favor of Cassio; he suspects the Moor and Cassio with his wife, Emilia; he is envious of Cassio’s open nature; and he is desirous of Desdemona himself. No single motive is relied on for long, and the gap  between  cause  and  effect,  between  the  pettiness  of  Iago’s  grudges  and  the monstrousness of his behavior, prompted Samuel Taylor Coleridge in a memorable phrase to characterize Iago’s “motiveless malignity.” There is in Iago a zest for villainy and a delight in destruction, driven more by his hatred and  contempt  for  any  who  oppose  his  conception  of  jungle  law  than  by  a  conventional  naturalistic  explanation  based  on  jealousy  or  envy.  Moreover, Shakespeare, by deliberately clouding the issue of Iago’s motive, finds ever more sinister threats in such a character’s apparently bottomless and unmerited hatred and capacity for evil.

Iago will direct the remainder of the play, constructing Othello’s down-fall out of the flimsiest evidence and playing on the strengths and weaknesses of Othello’s nature and the doubts that erode Othello’s faith in Desdemona. Act 3, one of the wonders of the stage, anatomizes Othello’s psychic descent from  perfect  contentment  in  his  new  wife  to  complete  loathing,  from  a  worldview  in  which  everything  is  as  it  appears  to  one  in  which  nothing  is  as it seems. Iago leads Othello to suspect that love and devotion are shams disguising the basest of animalistic  instincts.  Misled  by  the  handkerchief,  his  love  token  to  Desdemona,  that  Iago  has  planted  in  Cassio’s  room  and  by a partially overheard conversation between Iago and Cassio, Othello, by the end of act 3, forsakes his wife and engages himself in a perverse version of the marriage ceremony of act 2 to Iago. As the pair kneels together, they exchange vows:

Iago: Witness you ever-burning lights above, You elements that clip us round about, Witness that here Iago doth give up The execution of his wit, hands, heart To wronged Othello’s service. Let him command, And to obey shall be in me remorse, What bloody business ever.

Othello: I greet thy love, Not with vain thanks, but with acceptance bounteous, And will upon the instant put thee to’t. Within these three days let me hear thee say That Cassio’s not alive.

Iago: My friend is dead. ’Tis done at your request; but let her live.

Othello: Damn her, lewd minx! O, damn her, damn her! Come, go with me apart. I will withdraw To furnish me with some swift means of death For the fair devil. Now art thou my lieutenant.

Iago: I am your own for ever.

This scene has suggested to some critics that Iago’s true motivation for destroying the marriage of Desdemona and Othello is a repressed homosexual love for Othello. An equal case can be made that Iago here completes his role as Vice, borrowed from the medieval morality plays, sealing the Faustian bargain for Othello’s soul in this mock or black marriage scene.

The play moves relentlessly from here to catastrophe as Othello delivers justice to those he is convinced have wronged him. As he attempts to carry out  his  execution  of  Desdemona,  she  for  the  first  time  realizes  his  charges  against her and his utter delusion. Ignoring her appeals for mercy and avowals of innocence, Othello smothers her moments before Emilia arrives with the proof of  Desdemona’s  innocence  and  Iago’s  villainy.  Othello  must  now  face  the  realization  of  what  he  has  done.  He turns  to  Iago,  who  has  been  brought before him to know the reason for his actions. Iago replies: “Demand me  nothing;  what  you  know,  you  know:  /  From  this  time  forth  I  never  will  speak  word.”  By  Iago’s  exiting  the  stage,  closing  access  to  his  motives,  the  focus remains firmly on Othello, not as Iago’s victim, but as his own. His final speech mixes together the acknowledgment of what he was and what he has become, who he is and how he would like to be remembered:

I have done the state some service, and they know’t. No more of that. I pray you, in your letters, When you shall these unlucky deeds relate, Speak of me as I am. Nothing extenuate, Nor set down aught in malice. Then must you speak Of one that loved not wisely but too well, Of one not easily jealous but, being wrought, Perplexed in the extreme; of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe.

Consistent with his role as guardian of order in the state, Othello carries out his own execution, by analogy judging his act as a violation reflected by Venice’s savage enemy:

And say besides, that in Aleppo once, Where a malignant and a turban’d Turk Beat a Venetian and tradu’d the state, I took by th’ throat the circumcisèd dog, And smote him—thus.

Othello, likewise, has “tradu’d the state” and has changed from noble and valiant Othello to a beast, with the passion that ennobled him shown as corrosive and demeaning. He carries out his own execution for a violation that threatens social and psychic order. For the onlookers on stage, the final tableau of the dead Desdemona and Othello “poisons sight” and provokes the command to “Let it be hid.” The witnesses on stage cannot compute rationally what has occurred nor why, but the audience has been given a privileged view of the battle between good and evil worked out in the private recesses of a bedroom and a human soul.

Analysis of William Shakespeare’s Plays

Othello Oxford Lecture by Emma Smith

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Further Reading: Othello

Altman, Joel B. “ ‘Preposterous Conclusions’: Eros, Enargeia, and the Composition of Othello.” Representations 18 (1987): 129–57.

Shakespeare’s inquiry into the nature of probability and improbability provides the focus of Altman’s essay. While Othello may be “fraught . . . with improbabilities,” in the words of seventeenth-century critic Thomas Rymer, the very process of understanding that makes it seem so is, in Altman’s estimation, the subject of Shakespeare’s questioning throughout the canon. Shakespeare resists the seventeenth century’s tendency to ground both thought and action in a “scientific or moral or aesthetic certainty.” It is in Othello, however, where Shakespeare most strenuously attempts to reveal that the “probable is really nothing more than the contingent.”

Burke, Kenneth. “Othello: An Essay to Illustrate a Method.” In Othello: Critical Essays, ed. Susan Snyder, pp. 127–68. New York and London: Garland, 1988.

Othello performs a “conspiracy,” to use Burke’s term, in which Desdemona, Othello, and Iago are partners. They represent a trinity of ownership: Othello as the possessor, Desdemona as what he possesses, and Iago as the threat to Othello’s miserliness. The loss of the handkerchief is related to the conspiracy, for it is the privacy of Desdemona made public. In his belief that she has bestowed the handkerchief upon another, Othello feels a sense of “universal loss.” The play reveals that “ownership” projected into realms where there is no unquestionable security invites, ultimately, estrangement and profound loneliness.

Cavell, Stanley. “Othello and the Stake of the Other.” In Disowning Knowledge in Six Plays by Shakespeare, pp. 125–42. Cambridge: Cambridge University Press, 1987.

Building on the initial premise that “the pivot of Othello’s interpretation of skepticism is Othello’s placing of a finite woman in the place of God,” Cavell suggests that the tragedy of the play lies in Othello’s refusal to acknowledge Desdemona’s imperfection. Cavell concludes that the consequences of this refusal of knowledge are not only the denial and death of Desdemona but also the failure of Othello’s own capacity to acknowledge, that is, his “imagination of stone.”

Donaldson, Peter. “Liz White’s Othello.” Shakespeare Quarterly 38 (1987): 482–95.

Liz White’s 1980 film of Othello is entirely the work of African-Americans, both the cast and the technical crew. Othello is played as a young, emotionally sensitive African in the midst of lighter-skinned urban African-Americans. The text’s vivid black/white polarities are muted in the film. Because Othello is ethnically akin to the “Venetians,” the tragedy of the last act is especially viable. In rejecting Othello, “the ‘Venetians’ are rejecting a part of themselves.”

Greenblatt, Stephen. “The Improvisation of Power.” In Renaissance Self-Fashioning: From More to Shakespeare, pp. 222–54. Chicago: University of Chicago Press, 1980.

Greenblatt maintains that, in the sixteenth century, there was an increased self-consciousness about the fashioning of a human identity as a manipulable, artful process. In Othello, Greenblatt perceives a pattern of “submission to narrative self-fashioning.” It is Othello’s own subscription to a carefully constructed narrative self that allows his identity to be subverted (if unintentionally) by Desdemona’s submission to it and, in a more sinister vein, by Iago’s role as an improviser in this ceaseless narrative invention.

Grennan, Eamon. “The Women’s Voices in Othello: Speech, Song, Silence.” Shakespeare Quarterly 38 (1987): 275–92.

For Grennan, Othello is not only a play of voices but also a play about voices. He cites the myriad and diverse voices of the play but focuses specifically on the speech of the women, arguing that an understanding of the play’s “moral experience” follows an understanding of the women’s speech. The women, in their speech, songs, and, finally, silence, provide a “moral measure” as a thematic subtext that illuminates the meaning of the tragic action.

Jones, Eldred. Othello’s Countrymen: The African in English Renaissance Drama. London: Oxford University Press, 1965.

Jones undertakes a study of the dramatic representation of Africans on the English Renaissance stage. He finds Othello to make a significant departure from the Renaissance’s traditional dramatic treatment of Moors in that Shakespeare endows Othello with noble qualities. For Jones, the racial prejudice of Iago and Brabantio is invoked specifically so that it can be rejected.

Murray, Timothy. “Othello’s Foul Generic Thoughts and Methods.” In Persons in Groups: Social Behavior as Identity Formation in Medieval and Renaissance Europe, ed. Richard C. Trexler, pp. 67–77. Binghamton, N.Y.: Medieval and Renaissance Texts and Studies, 1985.

Murray shows that patriarchal Elizabethan society feared the theater, for, given the prevailing assumption that women were inclined to imitate, dangerous female identities could be forged if women were exposed to staged vice. The lucidity and logical discourse of Desdemona, then, worked to demystify the exclusive authority of men. Desdemona’s ability to read signs and interpret events implies that maxims about women’s inferiority are “impotent and archaic.” Her self-fashioning and sexual frankness, however, open her up to suspicion within the cultural codes of men and ultimately spell her doom.

Neely, Carol Thomas. “Women and Men in Othello: ‘what should such a fool / Do with so good a woman’.” Shakespeare Studies 10 (1977): 133–58.

Refuting the arguments of “Othello critics” and “Iago critics,” Neely reads the central theme in the play as love and the central conflict of the play as between the men and the women. The women inherit their roles from the heroines of Shakespeare’s comedies, yet despite their lack of competitiveness, jealousy, and class consciousness, they are constrained in the tragedies by the male characters from exercising their traditional roles as mediators. Neely argues that it is Emilia, recognizing and responding to this conflict, who most dramatically and symbolically represents the balance of the play.

Neill, Michael. “Unproper Beds: Race, Adultery, and the Hideous in Othello.” Shakespeare Quarterly 40 (1989): 383–412.

Neill proposes that Othello’ s most potent theatrical image is the bed. The play repeatedly gestures toward it in its absence and, at the end, the bed becomes the “place” where the action is centered. As such, it becomes the “imaginative center of the play”—the focus of Iago’s fantasies, Othello’s speculations, and the audience’s voyeuristic imagination. Because of the conventional symbolic importance attached to the marriage bed, the emphasis on the bed and on its violation in Othello forms the basis for a whole set of ideas about racial adulteration and sexual transgression.

Newman, Karen. “ ‘And wash the Ethiop white’: Femininity and the Monstrous in Othello.” In Shakespeare Reproduced, ed. Jean E. Howard and Marion O’Connor, pp. 143–62. London: Methuen, 1987.

Newman investigates the production of race and gender difference throughout Othello and examines the way the black man and the desiring woman are linked as representatives of the monstrous. Connecting Othello with other Elizabethan representations of blackness and femininity, Newman reads Othello as contesting the conventional ideologies of race and gender in early modern England. In general Newman urges a resistant reading of Shakespeare that contests the “hegemonic forces the plays at the same time affirm.”

Orkin, Martin. “Othello and the ‘Plain Face’ of Racism.” Shakespeare Quarterly 38 (1987): 166–88.

Orkin begins by discussing Renaissance attitudes to people of color in Shakespeare’s England. He moves on to detail instances where racist mythologies inscribed critical responses to the play and ends with a focused examination of how, in South Africa, silence about the racist tendencies of some Othello criticism actually lends support to prevailing racist doctrines. For Orkin, in its scrutiny of Iago’s use of racism and its rejection of pigmentation as an indication of human worth, the play “continues to oppose racism.”

Rosenberg, Marvin. The Masks of Othello: The Search for the Identity of Othello, Iago, and Desdemona by Three Centuries of Actors and Critics. Berkeley and Los Angeles: University of California Press, 1961.

Rosenberg charts the development of character images of Othello, Iago, and Desdemona on the stage and page during the last three centuries, providing an overview of approaches. He further demonstrates how both actors and critics have reshaped the text for performance. He argues against symbolic or skeptical interpretations of the play, claiming its complex humanity can be fully realized only on the stage.

Siemon, James R. “ ‘Nay, that’s not next’: Othello, V.ii in Performance, 1760–1900.” Shakespeare Quarterly 37 (1986): 38–51.

Focusing on the final scene of the play, Siemon uses annotated promptbooks and performance records to explore how variations in staging and performance in the later eighteenth and nineteenth centuries suggest “a coherence of interpretation based on particular notions of both tragedy and femininity.” The constant alterations of and deviations from the Quarto and Folio texts reveal how many implicit and explicit directions had to be ignored to make the final scene conform to the “particular tragic mold” favored by the eighteenth and nineteenth centuries.

Snyder, Susan. The Comic Matrix of Shakespeare’s Tragedies. Princeton: Princeton University Press, 1979.

Snyder proposes that the tragedy of Othello develops from a questioning of comic assumptions about love, nature, and reasoning. By posing Iago against Othello and Desdemona, Shakespeare explores the strains and contradictions within the comic convention and uncovers their deeply tragic implications.

Spivack, Bernard. Shakespeare and the Allegory of Evil. New York: Columbia University Press, 1958.

Focusing on popular dramatic conventions that preceded Elizabethan drama, Spivack traces the figure of Iago and other major villains in the “family of Iago” back to late medieval dramatic traditions. Spivack shows Iago to be a descendant of the late morality figure of Vice. Iago’s malignity is curiously without motive because he is not fully human, but an allegorical representation of evil.

Stallybrass, Peter. “Patriarchal Territories: The Body Enclosed.” In Rewriting the Renaissance: The Discourses of Sexual Difference in Early Modern Europe, eds. Margaret W. Ferguson, Maureen Quilligan, and Nancy J. Vickers, pp. 123–42. Chicago and London: University of Chicago Press, 1986.

Within the dominant discourse of early modern England, women were formulated under contradictory categories: gender or class. As a gender, they were postulated as a single set. As a class, however, inequalities of wealth and birth divided them into distinct social groups. In this context, Othello’s marriage to Desdemona is significant only when differentiations of class are recognized, for Othello marries “above his station” in terms of class. In “acquiring” Desdemona, Othello is a success, but in possessing her he lives with the fear of imminent loss. The openness of Desdemona that allowed Othello successfully to woo her must be, for him, closed off; after marriage, he linguistically moves her from the category of class to the category of gender, making her a figure of inconstancy. Thus the play constructs two Desdemonas and reveals the “antithetical thinking of the developing Renaissance state.”

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Shakespeare’s Othello: Essay Samples - Links & Essential Info

If you want to write a paper on any topic related to Othello , this article will be your life-saver. Our team collected various free samples on one page. See what Othello essay interests you and click on the link to read it.

✍ Othello: Essay Samples

• Theme of Jealousy in Othello by Shakespeare Genre: Research paper Words: 1643 Focused on: The issues of jealousy, manipulation, and jealousy Characters mentioned: Iago, Othello, Roderigo, Desdemona, Brabantio, Cassio
• The Tragedy of Othello Genre: Research paper Words: 1651 Focused on: Othello’s tragedy and whether it was self-inflicted Characters mentioned: Othello, Iago, Cassio, Desdemona, Roderigo, Brabantio, Emilia, Bianca
• Othello by William Shakespeare Genre: Essay Words: 888 Focused on: Catastrophe, race, and misrepresentation Characters mentioned: Othello, Iago, Cassio, Desdemona
• Irony in “Othello” by Shakespeare Genre: Analytical Essay Words: 907 Focused on: How irony drives the plot of Othello Characters mentioned: Othello, Iago, Desdemona, Emilia
• Summary about Shakespeare’s Othello Genre: Essay Words: 837 Focused on: Retelling of Othello Characters mentioned: Othello, Iago, Cassio, Roderigo, Desdemona, Emilia, Brabantio
• Othello by William Shakespeare Genre: Term paper Words: 1141 Focused on: Comparison of the play with Tim Nelson’s 2001 movie O Characters mentioned: Othello, Iago, Desdemona, Cassio
• Shakespeare’s Othello, the Moor of Venice Genre: Research paper Words: 1404 Focused on: Character traits of Iago and Othello, and how they drive the story Characters mentioned: Iago, Othello, Desdemona, Cassio, Roderigo, Emilia
• The Downfall of Othello Genre: Essay Words: 1687 Focused on: Comparison of Othello’s and Oedipus’s downfalls Characters mentioned: Othello, Iago, Brabantio, Cassio, Desdemona
• “Othello” by William Shakespeare Genre: Essay Words: 548 Focused on: The role of minor characters in Othello Characters mentioned: Othello, Iago, Cassio, Emilia
• Character of Iago in “Othello” by Shakespeare Analysis Genre: Essay Words: 1080 Focused on: Character analysis of Iago and his evil nature Characters mentioned: Iago, Othello, Cassio, Desdemona, Emilia, Roderigo,
• Critical Analysis of the Tragedy of Othello Genre: Essay, Critical Writing Words: 971 Focused on: Stage directions , the play’s modernity, and geographical symbolism Characters mentioned: Othello, Iago, Desdemona
• Jealousy in “Othello” by W.Shakespeare Genre: Analytical Essay Words: 1611 Focused on: Good vs. evil as characterized by jealousy Characters mentioned: Othello, Iago, Cassio, Desdemona, Emilia, Roderigo
• Othello as the Outsider Genre: Essay Words: 1356 Focused on: Othello as an outcast in society and how his language and behavior reflect it Characters mentioned: Othello, Iago, Desdemona
• Racism in Play “Othello” by William Shakespeare Genre: Essay Words: 867 Focused on: The theme of racism and how it’s shown in the play Characters mentioned: Othello, Iago, Cassio, Brabantio, Desdemona
• Othello and Desdemona: Emotional Strangers Genre: Essay Words: 1243 Focused on: The relationship between Othello and Desdemona Characters mentioned: Othello, Desdemona, Iago, Cassio
• What Can Lawyers Learn From ‘Othello’? Genre: Essay Words: 692 Focused on: Why lawyers should read Othello Characters mentioned: Othello, Cassio, Iago
• Shakespeare’s Tragedy of Othello: The Words and Actions of Iago Genre: Essay Words: 1421 Focused on: Why Iago is an excellent villain, comparison of Iago and Joker from The Dark Knight Characters mentioned: Iago, Othello, Cassio
• Othello and Snow Country: Personal Opinion Genre: Critical Essay Words: 994 Focused on: Love and passion in Shakespeare’s Othello and Yasunari Kawabata’s Snow Country Characters mentioned: Othello, Desdemona
• Othello’s Fall from Grace and Redemption at the End of the Play Genre: Essay Words: 1145 Focused on: Themes of jealousy and gullibility Characters mentioned: Othello, Desdemona, Iago
• Othello’s tragedy Genre: Essay Words: 830 Focused on: The cause of Othello’s tragedy Characters mentioned: Othello, Desdemona, Iago
• The issue of racial prejudice Genre: Research paper Words: 2198 Focused on: Racial prejudices, discrimination towards Othello and foreigners in general, cultural and historical context Characters mentioned: Othello, Iago, Brabantio, Desdemona
• Humiliation of Iago (Othello) Genre: Essay Words: 589 Focused on: Possible motives of Iago Characters mentioned: Iago, Othello, Desdemona
• Compare and Contrast Shakespeare’s Othello and the Blind Owl by Sedayat Genre: Compare and Contrast Essay Words: 1370 Focused on: Differences and similarities of the plots and themes of Shakespeare’s Othello and the Blind Owl by Sedayat Characters mentioned: Othello, Iago, Desdemona
• Remembrance and Redemption Relationship Genre: Essay Words: 1471 Focused on: Theme of redemption in Othello , Mansfield Park, and A Small Place Characters mentioned: Othello, Iago, Cassio
• Treatment of women by Shakespeare and Sophocles Genre: Essay Words: 1895 Focused on: Different treatments of women in Othello and Oedipus Characters mentioned: Othello, Iago, Desdemona, Emilia, Cassio, Roderigo, Brabantio
• The Feminist critique Genre: Essay Words: 2062 Focused on: The role of women in Elizabethan society as told by Othello Characters mentioned: Desdemona, Emilia, Bianca, Othello, Iago, Cassio, Duke of Venice, Brabantio
• Comparison and Contrast of the Driving Force of Plot in Medea by Euripides, Othello by William Shakespeare, and the Epic of Gilgamesh Genre: Essay Words: 568 Focused on: Heroism in Medea by Euripides, Othello by William Shakespeare, and The Epic of Gilgamesh Characters mentioned: Othello, Iago, Brabantio, Roderigo
• Violence of Shakespeare Genre: Term paper Words: 1701 Focused on: Violent behavior in Titus Andronicus , Hamlet , and Othello Characters mentioned: Othello, Iago, Desdemona
• Philosophy of Literature: Shakespearean Tragedy Genre: Essay Words: 1218 Focused on: How tragic incidences make heroes be villains as shown in Othello and Macbeth Characters mentioned: Othello, Desdemona, Iago
• Machiavelli and Othello’s Leadership Skills Essay Genre: Essay Words: 584 Focused on: Leadership skills in Machiavelli’s The Prince and Shakespeare’s Othello Characters mentioned: Othello, Iago
• The Life And Work Of William Shakespeare: His Contribution To The Contemporary Theater Genre: Research paper Words: 1371 Focused on: The contribution of William Shakespeare’s works to contemporary theater Characters mentioned: Othello, Desdemona, Iago
• Othello and Oedipus Rex Characters’ Traits Genre: Essay Words: 963 Focused on: Character and tragic traits of Othello and Oedipus Characters mentioned: Othello, Iago, Desdemona
• Iago and Othello Relationships Genre: Research paper Words: 1254 Focused on: Iago’s and Othello’s relationships and how it contributes the plot Characters mentioned: Othello, Iago, Desdemona, Emilia
• Cultural Diversity in the Play “Othello” Genre: Essay Words: 822 Focused on: The play’s reflection of society and racial prejudices Characters mentioned: Othello, Desdemona, Iago

Thanks for checking our samples! We hope you’ve found them helpful. For more information about Othello , see the links below.

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Study Guide Menu

• Play’s Plot Explored
• Act 1 Scene 1
• Act 1 Scene 2
• Act 1 Scene 3
• Act 2 Scenes 1-2
• Act 2 Scene 3
• Act‌ ‌3‌ ‌Scenes‌ ‌1-2
• Act‌ ‌3‌ ‌Scene‌ ‌3
• Act 3 Scene 4
• Act‌ ‌4‌ ‌Scene‌ ‌1
• Act 4 Scene 2
• Act‌ ‌4‌ ‌Scene‌ ‌3
• Act‌ ‌5‌ ‌Scene‌ ‌1
• Act 5 Scene 2
• Characters Analysis
• Important Quotes
• Essay Samples
• Topics‌ for‌ ‌Essay‌
• William Shakespeare
• Chicago (A-D)
• Chicago (N-B)

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IvyPanda . 2023. "Shakespeare’s Othello: Essay Samples - Links & Essential Info." August 13, 2023. https://ivypanda.com/lit/othello-study-guide/essay-samples/.

1. IvyPanda . "Shakespeare’s Othello: Essay Samples - Links & Essential Info." August 13, 2023. https://ivypanda.com/lit/othello-study-guide/essay-samples/.

Bibliography

IvyPanda . "Shakespeare’s Othello: Essay Samples - Links & Essential Info." August 13, 2023. https://ivypanda.com/lit/othello-study-guide/essay-samples/.

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How to Write a 3000 word Essay in Less Than 60 Minutes

Writing a 3000 word essay in under an hour might seem impossible, especially when facing a tight deadline. However, with the right approach, it's not as daunting as it sounds. A good example of this is our guide on how to write a 1000 word essay .

This article shares 5 practical tips and strategies to help you write efficiently and effectively within a limited timeframe.

EssayPro Guide on How to Write Your Essay Faster

Our team of experts has created a how-to guide for you on how to write your essay fast. Here you go:

Voice-to-Text Software

Voice-to-text software can significantly expedite essay writing by allowing users to dictate their thoughts and ideas, bypassing manual typing verbally. This technology enables a continuous writing flow, as individuals can speak their ideas naturally and conversationally without interruptions. 

For example, instead of pausing to search for the right words or phrases, users can express their thoughts fluidly, resulting in a faster and more efficient writing process. Additionally, voice-to-text software eliminates the physical strain associated with typing for extended periods, allowing users to maintain productivity and focus for longer durations.

Furthermore, voice-to-text software offers flexibility in writing environments, as users can dictate their essays from virtually anywhere using a smartphone, tablet, or computer. For instance, individuals can dictate their essays while commuting, exercising, or completing other tasks, maximizing their time and productivity.

You can use the following voice-to-text tools:

• Dragon NaturallySpeaking
• Google Docs Voice Typing
• Microsoft Dictate
• Apple Dictation

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The Stream-of-Consciousness Writing

Stream-of-consciousness writing is a technique that involves recording thoughts as they come to mind, without filtering or censoring them. This approach can be particularly useful for writing essays in less than 60 minutes as it allows for a rapid flow of ideas and content generation. 

By bypassing the need for careful planning and organization, stream-of-consciousness writing enables writers to quickly capture their thoughts on paper and generate raw material for their essays. For example, writers can focus solely on expressing their ideas and arguments instead of worrying about sentence structure or grammar, resulting in a faster and more spontaneous writing process.

Moreover, stream-of-consciousness writing can help writers overcome writer's block and tap into their creativity more effectively. This can lead to more original and compelling essay content. For instance, writers may discover new angles or perspectives on their topic that they hadn't considered before, enriching their essays with fresh insights and perspectives.

Here’s a step-by-step guide on how to use the stream-of-consciousness technique to write an essay:

• Set a timer.
• Clear distractions.
• Choose a topic.
• Begin writing.
• Write continuously.
• Don't edit or censor.
• Keep the pen moving.
• Embrace tangents.
• Stay in the moment.
• Review and edit later.

AI Writing Tools

AI writing tools can significantly expedite the essay writing process by automating various aspects of content creation, such as generating ideas, structuring arguments, and even drafting entire paragraphs. These tools leverage advanced natural language processing (NLP) algorithms to analyze input data and produce coherent, contextually relevant text output. 

For example, platforms like OpenAI's GPT-3 and Grammarly's AI-powered writing assistant offer features such as auto-completion, grammar and style suggestions, and even content generation based on user prompts. 

Furthermore, AI writing tools can assist writers in overcoming writer's block and generating ideas more efficiently. For instance, tools like Articoolo and QuillBot can generate article outlines or paraphrase existing text to provide inspiration and generate new content. 

Here are reliable AI essay writing tools:

• EssayPro Writing App

WARNING: While these tools can aid in content creation and idea generation, relying too heavily on them may lead to plagiarism or submitting low-quality, unoriginal work. Writers should use AI writing tools to supplement their research and writing process rather than replace critical thinking and academic rigor.

Collage Essay Method

The collage essay method is a creative approach to essay writing that involves assembling visual and textual materials into a collage to represent different aspects of the essay topic. This technique can be particularly effective in generating ideas quickly and organizing thoughts in a visually engaging manner. 

For example, imagine you're tasked with writing an essay on climate change. You could gather images, quotes, statistics, and diagrams related to climate change and arrange them on a poster board or digital canvas. The collage is a brainstorming tool to spark ideas and inspire the writing process by visually representing key concepts and arguments.

Moreover, the collage essay method encourages a nonlinear approach to essay writing, allowing writers to explore ideas from multiple perspectives and make connections between different topic elements. 

For instance, while arranging materials for the climate change collage, you might notice patterns or themes emerging that you hadn't considered before. This can lead to new insights and angles for your essay, enriching the content with diverse perspectives and supporting evidence.

Here are some useful tips for using the collage essay method for writing an essay fast:

• Gather diverse materials.
• Start with a central theme.
• Arrange materials strategically.
• Focus on visual impact.
• Incorporate text and images.
• Make connections between elements.
• Be open to unexpected insights.
• Iterate and refine as needed.

Role-Playing Scenario

The role-playing scenario method offers a fresh and engaging approach to essay writing, injecting creativity and empathy into the process. By immersing oneself in a specific role, writers can tap into their imagination and explore complex topics from various angles. 

For instance, if you're tasked with writing about the ethical implications of artificial intelligence, you could adopt the perspective of a futuristic AI developer or a concerned citizen living in a world dominated by AI technology. This imaginative exercise sparks inspiration and encourages deeper reflection on the subject matter, leading to more insightful and thought-provoking essays.

Furthermore, the role-playing scenario cultivates empathy and understanding by encouraging writers to embody diverse viewpoints and experiences. Whether you're writing about climate change, social justice, or economic policy, stepping into the shoes of different characters allows you to see the world through their eyes and develop a more nuanced understanding of complex issues. 

For example, by pretending to be a climate scientist researching the effects of deforestation, you might gain a deeper appreciation for the urgency of environmental conservation efforts. This empathetic approach to essay writing fosters a greater connection with both the subject matter and the audience, resulting in essays that are not only informative but also engaging and impactful.

How to adopt the role-playing scenario technique for writing an essay:

• Choose a relevant persona.
• Research and understand their background.
• Embody the persona's mindset.
• Write from their perspective.
• Maintain consistency with the persona.
• Review and adjust as needed.
• Use insights to enrich your essay.

There’s nothing impossible if you put an effort into it. Although 60 minutes sounds like a very limited period, a smart student can use it to produce a pretty decent essay and even have a few minutes left! So, how to write essays faster ?

The tips we gave you above do work, which thousands of students with hectic schedules have already proved. A word of warning, though – don’t rush to use tools like ChatGPT to generate an essay in 5 minutes because it’s hazardous for academic integrity. Remember – AI tools are assistants, and generated texts are to be rewritten from A to Z, which can also be done in an hour or less. If you’re awfully tired and physically can’t think or type, you better ask a professional human writer to help you. 

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Can You Write an Essay in 30 Minutes?

Can i write a 3000 word essay in 1 hour, how long does it take to write a 3000 words essay.

Daniel Parker

is a seasoned educational writer focusing on scholarship guidance, research papers, and various forms of academic essays including reflective and narrative essays. His expertise also extends to detailed case studies. A scholar with a background in English Literature and Education, Daniel’s work on EssayPro blog aims to support students in achieving academic excellence and securing scholarships. His hobbies include reading classic literature and participating in academic forums.

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

• Howard, D. (2022, December 15). How to Write an Essay Fast . Nexus Education. https://nexus-education.com/blog-posts/how-to-write-an-essay-fast/
• 20 Top Tips for Writing an Essay in a Hurry . (2024, February 20). Oxford Royale. https://www.oxford-royale.com/articles/writing-essay-hurry/ ‍
• 4 Ways to Write Essays Faster – The Bookshelf . (n.d.). https://blogs.cornell.edu/learning/4-ways-to-write-essays-faster/

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