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But here’s my husband,
And so much duty as my mother showed
To you, preferring you before her father,
So much I challenge that I may profess
Due to the Moor my lord.
The duke’s meeting with his senators about the imminent Turkish invasion of Cyprus takes an unexpected turn when a sailor arrives and announces that the Turks seem to have turned toward Rhodes, another island controlled by Venice. One of the senators guesses that the Turks’ change of course is intended to mislead the Venetians, because Cyprus is more important to the Turks and far more vulnerable than Rhodes. This guess proves to be correct, as another messenger arrives to report that the Turks have joined with more forces and are heading back toward Cyprus.
This military meeting is interrupted by the arrival of Brabanzio, Othello, Cassio, Iago, Roderigo, and officers. Brabanzio demands that all state business be put aside to address his own grievance—his daughter has been stolen from him by spells and potions purchased from charlatans. The duke is initially eager to take Brabanzio’s side, but he becomes more skeptical when he learns that Othello is the man accused. The duke gives Othello the chance to speak for himself. Othello admits that he married Desdemona, but he denies having used magic to woo her and claims that Desdemona will support his story. He explains that Brabanzio frequently invited him to his house and questioned him about his remarkable life story, full of harrowing battles, travels outside the civilized world, and dramatic reversals of fortune. Desdemona overheard parts of the story and found a convenient time to ask Othello to retell it to her. Desdemona was moved to love Othello by his story.
The duke is persuaded by Othello’s tale, dismissing Brabanzio’s claim by remarking that the story probably would win his own daughter. Desdemona enters, and Brabanzio asks her to tell those present to whom she owes the most obedience. Brabanzio clearly expects her to say her father. Desdemona, however, confirms that she married Othello of her own free will and that, like her own mother before her, she must shift her primary loyalty from father to husband. Brabanzio reluctantly resigns himself to her decision and allows the court to return to state affairs.
The duke decides that Othello must go to Cyprus to defend the island from the Turks. Othello is willing and ready to go, and he asks that appropriate accommodations be provided for his wife. The duke suggests that she stay with her father, but neither Desdemona nor Brabanzio nor Othello will accept this, and Desdemona asks to be allowed to go with Othello. The couple then leaves to prepare for the night’s voyage.
The stage is cleared, leaving only Roderigo and Iago. Once again, Roderigo feels that his hopes of winning Desdemona have been dashed, but Iago insists that all will be well. Iago mocks Roderigo for threatening to drown himself, and Roderigo protests that he can’t help being tormented by love. Iago contradicts him, asserting that people can choose at will what they want to be. “Put but money in thy purse,” Iago tells Roderigo repeatedly in the paragraph that spans lines 329–351, urging him to follow him to Cyprus. Iago promises to work everything out from there. When Roderigo leaves, Iago delivers his first soliloquy, declaring his hatred for Othello and his suspicion that Othello has slept with his wife, Emilia. He lays out his plan to cheat Roderigo out of his money, to convince Othello that Cassio has slept with Desdemona, and to use Othello’s honest and unsuspecting nature to bring him to his demise.
The war between the Turks and Venetians will not prove to be a major part of the play. However, the Turks’ “feint”—in which they pretend to sail toward Rhodes to mislead the Venetians into thinking that they will not attack Cyprus—has a symbolic significance. Throughout the play, deception is one of Iago’s major weapons, and his attacks on other characters are particularly devastating because his enemies don’t know that he is attacking them.
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: