Duke of Venice Othello: Moor, married to Desdoma Iago: Solider in Othellos army Cassio: Lieutenant in Othellos army Desdemona: Othellos wife Emilia: Iagos 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 thatBrabantios 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 others 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: Othellos 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 Reasonwhich Iago associates with human and white imageryand 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 & Desdemonas marriage apart. His motives are, ironically, emotional: jealousy and anger Iagos 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