  Duke of Venice  Othello: Moor, married to Desdoma  Iago: Solider in Othello’s army  Cassio: Lieutenant in Othello’s army  Desdemona: Othello’s wife  Emilia: Iago’s wife  Rodreigo: Solider, love Desdemona Dramatis Personae

  Othello begins in the city of Venice, at night  Roderigo is having a discussion with Iago, who is bitter at being passed up as Othello's lieutenant even thoughIago had greater practice in battle and in military matters than Cassio  Iago says that he only serves Othello to further himself, and he admits that his nature is not at all what it seems.  Iago knows thatBrabantio’s daughter, Desdemona, has run off with Othello, andBrabantio knows nothing of this coupling  Iago decides to enlist Roderigo, who lusts after Desdemona, and awaken Brabantio with screams that his daughter is gone. Act I Scene 1

  At first, Brabantio dismisses these cries, but when he realizes his daughter is not there, he gives the news some credence.  Roderigo is the one speaking most to Brabantio, but Iago is there too, hidden, yelling unsavory things about Othello  Brabantio panics, and calls for people to try and find his daughter  Iago leaves, not wanting anyone to find out that he betrayed his own leader  Brabantio begins to search for his daughter. Act I Scene 1

  The relationship between Roderigo and Iago seems somewhat close  Roderigo shows this in his first statement:  Iago "hast had [Roderigo's] purse as if the strings were thine," he tells Iago (I.i.2-3)  The metaphor shows how much trust Roderigo has in Iago, and also how he uses Iago as a confidante  As far as Roderigo knows, Iago is his friend  Appearance is one thing and reality another, as Iago soon will tell. Analysis: Friendship

  He trusts Roderigo with the knowledge that he serves Othello, but only to further himself.  It is ironic that after Iago's lengthy confession of duplicity, Roderigo still does not suspect him of doublecrossing or manipulation.  Iago divulges his purpose in serving Othello, and the kind of man he is.  A cental theme of the play centres aroundAppearance vs. Reality  Iago enacts a series of roles, from advisor to confidante  He appears to be helping people though he is only acting out of his twisted self-interest. Analysis: Trusting Appearance

  The key to Iago's character is in the line "I am not what I am“  Roderigo should take this as a warning, but fails to.  Everything which Iago presents himself as is a false show  This first scene represents the peak of Iago's honesty about himself with another character.  Iago lacks remorse and uses false representations of himself to gain other’s trust. Analysis: Parallels

  Racial issues and themes are at the core of Othello's story and position  When Roderigo refers to Othello, he calls him "the thick lips“  It displays a racial distrust of Othello based on his color.  Roderigo and Iago are not the only characters to display racism when referring to Othello  Racism is a pervasive theme within the work, spreading misconceptions and lies about Othello by tying him to incorrect stereotypes. Analysis: Racism

  Another element that surfaces repeatedly in the play is the use of animal imagery; "an old black ram is tupping your white ewe," Iago yells to Brabantio  The use of animal imagery is used in many places in the play to convey immorality and illicit passion, as it does in this instance.  Iago uses animal imagery to reinforce a lustful picture of Othello  Iago's statements also play on Brabantio's misgivings about Othello's color  The juxtaposition of black and white, in connection with the animal imagery, is meant to make this image very repellent, and to inflame Brabantio to anger and action. Analysis: Motifs

  Iago especially mentions the devil many times in the text  The first time here in the first scene to make Othello sound like a devil with:  lust  indiscretion  strangeness Analysis: Motifs

  Important to this scene is the fact that it is held in darkness: Things are unsteady and eerie, and disorder rules - secrets.  With Brabantio's call for light, there is a corresponding call for some kind of order:  darkness vs. light  order vs. disorder  Both important juxtapositions within the play  they highlight the status of situations Analysis: Imagery and Setting

  Iago has now joined Othello, and has told him about Roderigo's betrayal of the news of his marriage.  Othello demonstrates composure in his response  Brabantio swears that Othello must have bewitched his daughter (racial reference), and that the state will not decide for him in this case.  Othello says that the Duke must hear him, and decide in his favor, or all is far from right in Venice. Act I Scene 2

  Iago continues his deliberate misrepresentation:  Swearing to Othello that he could have killed Roderigo for what he did.  Ironically, Iago alludes to Janus, the two-faced god, in his conversation with Othello.  Since Iago himself is two-faced Janus seems to be a fitting figure for Iago to invoke. Analysis

  Othello's pride first becomes visible here  He is exceptionally proud of his achievements and his public stature  He is proud of Desdemona's affection for him  Othello is very confident in his worth, and in the respect he commands Analysis: Pride

  The issue of race comes to the forefront, as Brabantio confronts Othello about his marriage to Desdemona. He claims would have "run from her guardage to the sooty bosom of a thing such as thou.” (l. 71-2).  Brabantio assumes that Desdemona must have been "enchanted" to marry Othello merely because Othello is black  Another theme of the play revolves around Magic and here is linked to stereotypes of African peoples as:  knowing the black arts of magic  being pagans  being lusty Analysis: Racism and Magic

  Military conflict is challenging the Venetian stronghold of Cyprus  There are reports that Turkish ships are heading toward the island, which means some defense will be necessary.  Brabantio and Othello enter the assembled Venetian leaders, who are discussing this military matter  Brabantio announces his grievance against Othello for marrying his daughter.  Othello addresses the company, admitting that he did marry Desdemona, but wooed her with stories, and did her no wrongs.  Desdemona comes to speak, and she confirms Othello's words:  Brabantio's grievance is denied  Desdemona will indeed stay with Othello. Act I Scene 3

  Othello is called away to Cyprus, to help with the conflict there, and Desdemona is to stay with Iago, until she can come to Cyprus and meet Othello there.  Iago assures Roderigo that the match will not last long, and at any time, Desdemona could come rushing to him.  Iago wants to break up the couple, using Roderigo as his pawn, out of malice and his wicked ability to do so. Act I Scene 3

  In this scene Desdemona both reinforces and breaks the stereotype of women at the time: First she demonstrates she can not be trusted – her father warns Othello about this later She then supports her “master” – her husband as her mother supported her father She requests to go to Cypress with Othello Analysis: Desdemona

  The only magic that Othello possesses is in his power of language which shows his pride in his achievements  Othello portrays himself as a tested, honorable warrior, and indeed is such, but he is hard- pressed to recognize his jealousy and his lust  His inability to reconcile himself with these two aspects of his personality means that his doom is almost certain.  Othello's lack of self-knowledge means that he will be unable to stop himself once Iago begins to ignite his jealousy Analysis: Othello’s Tragic Flaw

  Light and dark are again juxtaposed in the Duke's declaration to Brabantio, that:  "if virtue no delighted beauty lack/ your son-in- law is far more fair than black."  Black is associated with sin, evil, and darkness;  Light/white/fairness all convey innocence, goodness, any symbol that is white has these qualities.  The juxtaposition of black and white, light and dark shows up again and again in the play, as the colors become symbolic within the story. Analysis: White and Black

  ”We have reason to cool our raging motions," Iago tells Roderigo.  The tension between Reason—which Iago associates with human and “white” imagery—and Emotion— which he relates to bestial and “black” images provides the central tension in the play. Analysis: Reason vs. Emotion

  Iago's purpose becomes plain:  He seeks to use his power to break Othello & Desdemona’s marriage apart.  His motives are, ironically, emotional: jealousy and anger  Iago’s claim to “reason” are not true. He lacks self-awareness.  The words "honest" and "honesty" appear repeatedly in the play, in reference to Iago  Ironically, Iago is the only person in the play whom Othello trusts.  In his motivations, Iago deceives himself too. Analysis: Cross Purposes