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.

Brabantio, Desdemona’s father, accuses Othello, who recounts how Desdemona fell in love with him listening to his stories of his life. The danger in love of believing stories, of having “faith”—but also the danger of disbelieving. Othello sent to Cyprus to defend against the Turks.

The significance of the full title: the definition of “Moor,” the associations of Venice. Othello as a “domestic” tragedy: an inadequate designation. The play opens in darkness. Desdemona’s father Brabantio is awakened when Roderigo and Iago shout vicious racist and sexist accusations out of the dark.

The murder of MacDuff’s family. MacDuff persuades Malcolm to return from England with English forces. Lady Macbeth sleepwalks, washing her hands. Birnam Wood comes to Dunsinane. Macbeth goes down fighting. Can Macbeth be called heroic, or is he merely a “dead butcher”? We admire ambitious men who trample all obstacles in their path, including other people, don’t we? A play for our time.