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In following him I follow but myself;
Heaven is my judge, not I for love and duty,
But seeming so for my peculiar end.
Othello begins on a street in Venice, in the midst of an argument between Roderigo and Iago. The rich Roderigo has been paying Iago to help him in his suit to Desdemona, but he has seen no progress, and he has just learned that Desdemona has married Othello, a general whom Iago serves as ensign. Iago reassures Roderigo that he hates Othello. Chief among Iago’s reasons for this hatred is Othello’s recent promotion of Michael Cassio to the post of lieutenant. In spite of Iago’s service in battle and the recommendation of three “great ones” of the city, Othello chose to give the position to a man with no experience leading men in battle. As he waits for an opportunity to further his own self-interest, Iago only pretends to serve Othello.
Iago advises Roderigo to spoil some of Othello’s pleasure in his marriage by rousing Desdemona’s family against the general. The two men come to the street outside the house of Desdemona’s father, Brabanzio, and cry out that he has been robbed by “thieves.” Brabanzio, who is a Venetian senator, comes to the window. At first, he doesn’t believe what he hears, because he has told Roderigo to stay away from his daughter before and thinks Roderigo is merely scheming once again in order to see Desdemona. Iago speaks in inflammatory terms, vulgarly telling the senator that his daughter and Othello are having sex by saying that they are “making the beast with two backs” (I.i.118). Brabanzio begins to take what he hears seriously and decides to search for his daughter. Seeing the success of his plan, Iago leaves Roderigo alone and goes to attend on Othello. Like Brabanzio, Othello has no idea of Iago’s role in Roderigo’s accusations. As Iago departs, Brabanzio comes out of his house, furious that his daughter has left him. Declaring that his daughter has been stolen from him by magic “charms,” Brabanzio and his men follow Roderigo to Othello.
Iago arrives at Othello’s lodgings, where he warns the general that Brabanzio will not hesitate to attempt to force a divorce between Othello and Desdemona. Othello sees a party of men approaching, and Iago, thinking that Brabanzio and his followers have arrived, counsels Othello to retreat indoors. Othello stands his ground, but the party turns out to be Cassio and officers from the Venetian court. They bring Othello the message that he is wanted by the duke of Venice about a matter concerning Cyprus, an island in the Mediterranean Sea controlled by Venice. As Cassio and his men prepare to leave, Iago mentions that Othello is married, but before he can say any more, Brabanzio, Roderigo, and Brabanzio’s men arrive to accost Othello. Brabanzio orders his men to attack and subdue Othello. A struggle between Brabanzio’s and Othello’s followers seems imminent, but Othello brings the confrontation to a halt by calmly and authoritatively telling both sides to put up their swords. Hearing that the duke has summoned Othello to the court, Brabanzio decides to bring his cause before the duke himself.
The action of the first scene heightens the audience’s anticipation of Othello’s first appearance. We learn Iago’s name in the second line of the play and Roderigo’s soon afterward, but Othello is not once mentioned by his name. Rather, he is ambiguously referred to as “he” and “him.” He is also called “the Moor” (I.i.57), “the thick-lips” (I.i.66), and “a Barbary horse” (I.i.113)—all names signifying that he is dark-skinned.
Iago plays on the senator’s fears, making him imagine a barbarous and threatening Moor, or native of Africa, whose bestial sexual appetite has turned him into a thief and a rapist. Knowing nothing of Othello, one would expect that the audience, too, would be seduced by Iago’s portrait of the general, but several factors keep us from believing him. In the first place, Roderigo is clearly a pathetic and jealous character. He adores Desdemona, but she has married Othello and seems unaware of Roderigo’s existence. Roderigo doesn’t even have the ability to woo Desdemona on his own: he has already appealed to Brabanzio for Desdemona’s hand, and when that fails, he turns to Iago for help. Rich and inexperienced, Roderigo naïvely gives his money to Iago in exchange for vague but unfulfilled promises of amorous success.
The fact that Iago immediately paints himself as the villain also prepares us to be sympathetic to Othello. Iago explains to Roderigo that he has no respect for Othello beyond what he has to show to further his own revenge: “I follow him to serve my turn upon him” (I.i.42). Iago explicitly delights in his villainy, always tipping the audience off about his plotting. In these first two scenes, Iago tells Roderigo to shout beneath Brabanzio’s window and predicts exactly what will happen when they do so. Once Brabanzio has been roused, Iago also tells Roderigo where he can meet Othello. Because of the dramatic irony Iago establishes, the audience is forced into a position of feeling intimately connected with Iago’s villainy.
This is perhaps one of Shakespeare's more interesting plays, if you will. In comparison to Macbeth it isn't quite the walk in the park.
I think conceptually it enables the reader to see that characters can influence characters to such a degree that the original traits are masked and changed. Tragedy in this play is definitely a main component - and a great emphasis that perhaps the villain doesn't always find their true defeat. In a way, wasn't the "villain" successful? He lied to everyone and pretty much killed whomever got in his way.
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Just a theory
The role of Emelia in Othello.
Before I begin expounding on this thought, let me first say that I am not a Shakespearean “Scholar”. I am just a teacher who loves teaching Shakespeare on the off-chance that one of my students will get bitten by the bug and want to study and read more of the man than just the set works that he or she has to cover for exam purposes.
Having taught Othello to matric classes for the past 4 years, I have developed a few theories of my own about Shakespeare’s “bit” actors,... Read more→
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Othello was the final play in my effort to read all of Shakespeare before his 450th. It was a great time reading them all, and Othello was one of the most difficult and darkest (so often pitting light against darkness).
While racism in Elizabethan England wasn't the same as that of the 21st century, it certainly was a backdrop to the play, and Shakespeare, this time, seemed to challenge it.
If you're interested, see my blog on Othello: