Othello
Beginning with the opening lines of the play, Othello remains at a distance from much of the action that concerns and affects him. Roderigo and Iago refer ambiguously to a he or him for much of the first scene. When they begin to specify whom they are talking about, especially once they stand beneath Brabanzios window, they do so with racial epithets, not names. These include the Moor (I.i.57), the thick-lips (I.i.66), an old black ram (I.i.88), and a Barbary horse (I.i.113). Although Othello appears at the beginning of the second scene, we do not hear his name until well into Act I, scene iii (I.iii.48). Later, Othellos will be the last of the three ships to arrive at Cyprus in Act II, scene i; Othello will stand apart while Cassio and Iago supposedly discuss Desdemona in Act IV, scene i; and Othello will assume that Cassio is dead without being present when the fight takes place in Act V, scene i. Othellos status as an outsider may be the reason he is such easy prey for Iago.
Although Othello is a cultural and racial outsider in Venice, his skill as a soldier and leader is nevertheless valuable and necessary to the state, and he is an integral part of Venetian civic society. He is in great demand by the duke and senate, as evidenced by Cassios comment that the senate sent about three several quests to look for Othello (I.ii.46). The Venetian government trusts Othello enough to put him in full martial and political command of Cyprus; indeed, in his dying speech, Othello reminds the Venetians of the service he has done their state (V.ii.348).
Those who consider Othello their social and civic peer, such as Desdemona and Brabanzio, nevertheless seem drawn to him because of his exotic qualities. Othello admits as much when he tells the duke about his friendship with Brabanzio. He says, -[Desdemonas] father loved me, oft invited me, / Still questioned me the story of my life / From year to year (I.iii.127129). -Othello is also able to captivate his peers with his speech. The dukes reply to Othellos speech about how he wooed Desdemona with his tales of adventure is: I think this tale would win my daughter too (I.iii.170).
Othello sometimes makes a point of presenting himself as an outsider, whether because he recognizes his exotic appeal or because he is self-conscious of and defensive about his difference from other Venetians. For example, in spite of his obvious eloquence in Act I, scene iii, he protests, Rude am I in my speech, / And little blessed with the soft phrase of peace (I.iii.8182). While Othello is never rude in his speech, he does allow his eloquence to suffer as he is put under increasing strain by Iagos plots. In the final moments of the play, Othello regains his composure and, once again, seduces both his onstage and offstage audiences with his words. The speech that precedes his suicide is a tale that could woo almost anyone. It is the tension between Othellos victimization at the hands of a foreign culture and his own willingness to torment himself that makes him a tragic figure rather than simply Iagos ridiculous puppet.
Iago
Possibly the most heinous villain in Shakespeare, Iago is fascinating for his most terrible characteristic: his utter lack of convincing motivation for his actions. In the first scene, he claims to be angry at Othello for having passed him over for the position of lieutenant (I.i. 732). At the end of Act I, scene iii, Iago says he thinks Othello may have slept with his wife, Emilia: It is thought abroad that twixt my sheets / He has done my office (I.iii.369370). Iago mentions this suspicion again at the end of Act II, scene i, explaining that he lusts after Desdemona because he wants to get even with Othello wife for wife (II.i.286). None of these claims seems to adequately explain Iagos deep hatred of Othello, and Iagos lack of motivationor his inability or unwillingness to express his true motivationmakes his actions all the more terrifying. He is willing to take revenge on anyoneOthello, Desdemona, Cassio, Roderigo, even Emiliaat the slightest provocation and enjoys the pain and damage he causes.
Iago is often funny, especially in his scenes with the foolish Roderigo, which serve as a showcase of Iagos manipulative -abilities. He seems almost to wink at the audience as he revels in his own skill. As entertained spectators, we find ourselves on Iagos side when he is with Roderigo, but the interactions between the two also reveal a streak of cowardice in Iagoa cowardice that becomes manifest in the final scene, when Iago kills his own wife (V.ii.231242).
Iagos murder of Emilia could also stem from the general hatred of women that he displays. Some readers have suggested that Iagos true, underlying motive for persecuting Othello is his homosexual love for the general. He certainly seems to take great pleasure in preventing Othello from enjoying marital happiness, and he expresses his love for Othello frequently and effusively.
It is Iagos talent for understanding and manipulating the desires of those around him that makes him both a powerful and a compelling figure. Iago is able to take the handkerchief from Emilia and know that he can deflect her questions; he is able to tell Othello of the handkerchief and know that Othello will not doubt him; he is able to tell the audience, And whats he then that says I play the villain, and know that it will laugh as though he were a clown (II.iii.310). Though the most inveterate liar, Iago inspires all of the plays characters the trait that is most lethal to Othello: trust.
Desdemona
Desdemona is a more plausible, well-rounded figure than much criticism has given her credit for. Arguments that see Desdemona as stereotypically weak and submissive ignore the conviction and authority of her first speech (My noble father, / I do perceive here a divided duty [I.iii.179180]) and her terse fury after Othello strikes her (I have not deserved this [IV.i.236]). Similarly, critics who argue that Desdemonas slightly bizarre bawdy jesting with Iago in Act II, scene i, is either an interpolation not written by Shakespeare or a mere vulgarity ignore the fact that Desdemona is young, sexual, and recently married. She later displays the same chiding, almost mischievous wit in Act III, scene iii, lines 6184, when she attempts to persuade Othello to forgive Cassio.
Desdemona is at times a submissive character, most notably in her willingness to take credit for her own murder. In response to Emilias question, O, who hath done this deed? Desdemonas final words are, Nobody, I myself. Farewell. / Commend me to my kind lord. O, farewell (V.ii.133134). The play, then, depicts Desdemona contradictorily as a self-effacing, faithful wife and as a bold, independent personality. This contradiction may be intentional, meant to portray the way Desdemona herself feels after defending her choice of marriage to her father in Act I, scene iii, and then almost immediately being put in the position of defending her fidelity to her husband. She begins the play as a supremely independent person, but midway through she must struggle against all odds to convince Othello that she is not too independent. The manner in which Desdemona is murderedsmothered by a pillow in a bed covered in her wedding sheetsis symbolic: she is literally suffocated beneath the demands put on her fidelity. Since her first lines, Desdemona has seemed capable of meeting or even rising above those demands. In the end, Othello stifles the speech that made Desdemona so powerful.
Tragically, Desdemona is apparently aware of her imminent death. She, not Othello, asks Emilia to put her wedding sheets on the bed, and she asks Emilia to bury her in these sheets should she die first. The last time we see Desdemona before she awakens to find Othello standing over her with murder in his eyes, she sings a song she learned from her mothers maid: She was in love; and he proved mad / And did forsake her. She had a song of willow. / . . . / And she died singing it. That song tonight / Will not go from my mind (IV.iii.2730). Like the audience, Desdemona seems able only to watch as her husband is driven insane with jealousy. Though she maintains to the end that she is guiltless, Desdemona also forgives her husband (V.ii.133). Her forgiveness of Othello may help the audience to forgive him as well.
summary
O thello begins on a street in Venice, in the midst of an argument between Roderigo, a rich man, and Iago. Roderigo has been paying Iago to help him in his suit to Desdemona. But Roderigo has just learned that Desdemona has married Othello, a general whom Iago begrudgingly serves as ensign. Iago says he hates Othello, who recently passed him over for the position of lieutenant in favor of the inexperienced soldier Michael Cassio.
Unseen, Iago and Roderigo cry out to Brabanzio that his daughter Desdemona has been stolen by and married to Othello, the Moor. Brabanzio finds that his daughter is indeed missing, and he gathers some officers to find Othello. Not wanting his hatred of Othello to be known, Iago leaves Roderigo and hurries back to Othello before Brabanzio sees him. At Othellos lodgings, Cassio arrives with an urgent message from the duke: Othellos help is needed in the matter of the imminent Turkish invasion of Cyprus. Not long afterward, Brabanzio arrives with Roderigo and others, and accuses Othello of stealing his daughter by witchcraft. When he finds out that Othello is on his way to speak with the duke, -Brabanzio decides to go along and accuse Othello before the assembled senate.
Brabanzios plan backfires. The duke and senate are very sympathetic toward Othello. Given a chance to speak for himself, Othello explains that he wooed and won Desdemona not by witchcraft but with the stories of his adventures in travel and war. The duke finds Othellos explanation convincing, and Desdemona herself enters at this point to defend her choice in marriage and to announce to her father that her allegiance is now to her husband. Brabanzio is frustrated, but acquiesces and allows the senate meeting to resume. The duke says that Othello must go to Cyprus to aid in the defense against the Turks, who are headed for the island. Desdemona insists that she accompany her husband on his trip, and preparations are made for them to depart that night.
In Cyprus the following day, two gentlemen stand on the shore with Montano, the governor of Cyprus. A third gentleman arrives and reports that the Turkish fleet has been wrecked in a storm at sea. Cassio, whose ship did not suffer the same fate, arrives soon after, followed by a second ship carrying Iago, Roderigo, Desdemona, and Emilia, Iagos wife. Once they have landed, Othellos ship is sighted, and the group goes to the harbor. As they wait for Othello, Cassio greets Desdemona by clasping her hand. Watching them, Iago tells the audience that he will use as little a web as this hand-holding to ensnare Cassio (II.i.169).
Othello arrives, greets his wife, and announces that there will be reveling that evening to celebrate Cypruss safety from the Turks. Once everyone has left, Roderigo complains to Iago that he has no chance of breaking up Othellos marriage. Iago assures Roderigo that as soon as Desdemonas blood is made dull with the act of sport, she will lose interest in Othello and seek sexual satisfaction elsewhere (II.i.222). However, Iago warns that elsewhere will likely be with Cassio. Iago counsels Roderigo that he should cast Cassio into disgrace by starting a fight with Cassio at the evenings revels. In a soliloquy, Iago explains to the audience that eliminating Cassio is the first crucial step in his plan to ruin Othello. That night, Iago gets Cassio drunk and then sends Roderigo to start a fight with him. Apparently provoked by Roderigo, Cassio chases Roderigo across the stage. Governor Montano attempts to hold Cassio down, and Cassio stabs him. Iago sends Roderigo to raise alarm in the town.
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