Lines, Notes, Questions AND an IMPORTANT Revelation

Othello

It's important to realize that it is NOT simply adequate to understand the plot, but to be able to consider deeper questions, once you"get" what's going on in the drama. 
For example:
What insecurities trigger Othello's jealousy?
What do the words and actions of the women in the play reveal about the role of women, in general, at this time?
How would the action in the play be different if there were no Rodrigo and Cassio?
What prompts Iago's jealousy? What prompts his misogyny?
How do Iago's soliloquies, as well as remarks by other characters to him and the audience, create dramatic irony in the drama?
How does dramatic irony create interaction between the players and the audience?

Act I: characters are introduced, defined, background/groundwork laid for the action that is to come; if a play  were a painting, this would be the initial sketch, with the focal point identified, but little else

Act I, sc. i

Lines: 7-23; 35-36; 41-64; 95-99; 111-114; 150-153;

Act I, sc. ii

Lines: 3-4;62-79;

Act I, sc. iii

Lines: 48-52; 128-170; 180-188; 287-299;309-381;

Act II: “the plot thickens,” the initial conflict is established, with the antagonist divulging his scheme to the audience, but to no one else; in doing so, he demonstrates his ability to manipulate other characters and fully establishes his role; in this act, the dark and light values and the underpainting is created—the “painting” is become clear, but not fully whole yet.

Act II, sc. i

Cassio’s concern for Othello, his respect for Desdemona, his manners toward Emilia: 1-100; examples of Iago’s  misogyny: 110-158; importance of Iago’s asides: 164-171; 194-196 (again, dramatic irony in the term honest Iago); Iago again uses Roderigo; Iago’s soliloquy: 259-285

Act II, sc. ii

Othello’s trust: 6-10; Iago’s continued scheme, involving Cassio: 35-52—note what happens and how this involves Roderigo; 152-162; dramatic irony in Iago’s lines: 196-200+; Cassio’s punishment leads to his reaction, followed by Iago’s advice; Iago’s soliloquy: 290-315

Act III: THE TURNING POINT; after this act, the “dye is cast;” not only does Iago involve Roderigo in his machinations, but his unsuspecting wife, Emilia, as well; more importantly, Othello succumbs to the scheme laid by “honest Iago” and to his own insecure, jealous nature; the painting Shakespeare began in Act I now has greater development, the mid-values, greater definition in the focal point and clarity

Act III, sc. I; sc. ii

Note what Cassio thinks of Iago: 36-38; Iago begins to suggest Cassio’s involvement with Desdemona, 35-40;

Act III, sc. iii

93- 275; note that Desdemona unwittingly falls directly into Iago’s plan; note the cause of Othello’s headache and of Desdemona’s “napkin” that she drops; Iago’s plan: 320-329; Othello’s internal conflict: 335-363;384-390; note what Othello DEMANDS of Iago: 399; note the dramatic irony that Act III, sc. iii ends with

Act III, sc. iv

Explain the argument between Othello and Desdemona that opens this scene and that between Bianca and Cassio; obviously, note the role the handkerchief plays between both couples