Leontes suffers from a kind of paranoia that Shakespeare hints has a psychological origin, but is also a way of talking of “original sin,” the predisposition to see cynically and reductively. Paulina plays the role of female prophet confronting a tyrant king, leaves the newborn child. Leontes commands it be exposed.

Numerical symbolism in the play: the number 23 and the theme of time. Leontes arrests Hermione despite his entire court telling him he is mistaken, throws her in prison. The psychology of a conspiracy theorist: “All’s true that is mistrusted.”

Shakespeare’s late career, in the new theatre of Blackfriars, with a new genre, romance. A new version of an age-old genre, the tale of wonders. The theme of redemption over a long span of time. The mad jealousy of Leontes, who for no reason thinks his wife is unfaithful with his best friend Polixenes.

The last event of the play is Othello killing himself as a judgment upon himself. The imagery of a Last Judgment in the play. The difficult paradox in Christianity: punishment or forgiveness, justice or mercy. Desdemona refuses to judge Othello: how do we judge him. Is his final speech an honest judgment of himself?

At the end of Act 4, Emilia and Desdemona debate men. Emilia’s wonderful pre-feminist speech about how women’s feelings are as important as men’s—including revenge when men mistreat them. Versus Desdemona—is she too good to be true? Act 5, like Act 1, in darkness. Roderigo and Cassio wound each other, Iago kills Roderigo. Othello’s great speech before smothering Desdemona.

Thanks to my listeners on this 250th episode. Iago, through ugly sexual insinuations, drives Othello into such a frenzy that he loses control and then faints. Cassio makes cruel fun of Bianca the prostitutes love for him, and Othello from a distance thinks he is talking about a good time with Desdemona. Othello strikes Desdemona in front of Lodovico of Venice.

After Iago tells Othello that Cassio has Desdemona’s handkerchief, the two swear a demonic vow of revenge. Othello tells Desdemona a lie, that the handkerchief is black magic. Emilia says that people are not jealous for a cause. A third woman in the play, Bianca the prostitute.

Within a single scene in the center of the play, Iago turns Othello from loving husband to jealous maniac. The question of faith, in love and religion. Othello demands “ocular proof.” What Iago gives him is “ocular”—images of infidelity planted in his imagination.

The opening of Act 2 seems like the happy ending of a comedy, the enemy destroyed and Othello and Desdemona reunited. Iago’s soliloquy: Coleridge’s famous description of Iago’s “motiveless malignity.” Cassio, made drunk by Iago, disgraces himself at the celebration and is demoted.

At the end of Act 1, Iago counsels Roderigo, “Put money in thy purse.” What motivates Iago? His puzzling soliloquy. Act 2, the Turkish fleet has been scuttled by a storm, and the characters land one at a time on Cyprus. While waiting Iago engages Desdemona in a game of wit and she defends herself spiritedly. This is no passive, victimized Ophelia.