Othello is a Moorish general in the Venetian army, known for his bravery and leadership. However, his status as an outsider makes him vulnerable to Iago's manipulations. Before we meet Othello, we hear a most unflattering account of him. Roderigo, Iago and Brabantio refer to him only as ‘the Moor’, highlighting the difference between him and the citizens of Venice. Iago indicates that he is not worthy of respect by saying sarcastically that as he has not been promoted he must remain ‘his Moorship’s ancient’. The play on words here – ‘worship’ and ‘Moor’ is clearly meant to show us that Othello is not worthy of the respect that a title such as ‘His worship’ would indicate, as he is a foreigner and an outsider in Venetian society.
When Iago and Roderigo are attempting to enrage Brabantio with news of his daughter’s elopement, Iago highlights his race, saying, ‘your daughter and the Moor are now making the beast with two backs’. Roderigo paints a picture of Desdemona in the ‘gross clasps of the lascivious Moor’ and says that ‘the devil’ will make ‘a grandsire’ of him. Brabantio, who up to now had thought little of Roderigo, laments the fact that Desdemona has eloped with Othello rather than with Roderigo.
Othello is not ignorant of these opinions. Brabantio, when he catches up with Othello, accuses him of having used magic or drugs on Desdemona to make her shun the ‘wealthy curled darlings of our nation’ and tie herself to ‘the sooty bosom’ of ‘such a thing’ as Othello. Othello’s defence wins over the Duke and the senators, but also emphasises the differences between him and them. He has been a soldier since he was a child and explains that the exotic and dangerous life he has led is what first attracted Desdemona to him. Othello is proud of his achievements but is also unsure of his ablity to express himself sufficiently.
In an effort to stir up Othello's jealousy, Iago warns him to keep an eye on Desdemona and Cassio because he, Iago, knows what Venetian women are like. Othello, being an outsider, could not have any idea of ‘the pranks / They dare not show their husbands’. Othello is upset to hear this but bows to Iago’s insider knowledge and merely says ‘Dost thou say so?’ Iago moves on to say that it is strange Desdemona turned down ‘many proposed matches / Of her own clime, complexion and degree’. More than that, he says such behaviour is ‘foul’ and ‘unnatural’, and implying that Desdemona must come to regret her mistake. He says that although Othello’s exotic appeal may have won her over, she will probably soon tire of him and begin comparing him unfavourably with Venetian men: ‘I may fear / Her will, recoiling to her better judgment, / May fall to match you with her country forms / And happily repent’. Iago is cleverly appealling to the fear that lives at the heart of jealousy, the fear that we are not attractive, not really good enough to deserve the love that makes us happy. Because he is so different from Desdemona, Othello is particularly susceptible to this fear.
Othello is a respected leader and military man. Even Iago admits as much, saying that the Venetian senators won’t punish Othello for eloping with Desdemona because they need him too much: "Another of his fathom they have none, / To lead their business". Othello is confident when faced with straightforward physical threats. Brabantio, enraged that Desdemona has married Othello without his consent, is ready to start a fight. He and his entourage draw their swords but Othello takes control of the situation, saying calmly, He "Were it my cue to fight, I should have known it / Without a prompter". However, Iago is not a straightforward enemy, so when he begins his subtle and diabolical manipulation of Othello’s insecurities, the other not only does not recognise the danger for what it is but also has no way of coping with the situation. The enemy without is far easier to fight than the enemy within.
Othello’s tales of battle are what won Desdemona over. He explains to the senators that "Her father loved me; oft invited me; / Still question'd me the story of my life, / From year to year, the battles, sieges, fortunes, / That I have passed", and when Desdemona heard these stories she was won over. Othello is presented as a brave and exciting man who has travelled extensively and coped with difficulties that few men would have experienced. Later, when the Duke tells Othello that he is needed in Cyprus, Othello shows himself willing and indeed eager to go. He claims that ‘the flinty and steel couch of war’ is his bed and that he relishes the hardships that are part and parcel of war.
One of the main weaknesses of Othello’s character is his assumption that others are as straightforward as he is. His only real experience of people comes from his time in the army and admits that he can speak ‘little of this great world’ except that which ‘pertains to feats of broil and battle’. He has no idea that there are some people so devious that they would happily twist the truth to suit themselves, as he would not dream of doing so. This would not be a fault in normal circumstances, but it does render Othello vulnerable to deceit and manipulation by Iago, a man who has already told Roderigo that ‘In following [Othello], I follow but myself’.
A completely diabolical villain who exploits characters’ weaknesses and seizes any opportunity to create discord. He remains one of Shakespeare’s most heinous villains. Iago’s contempt for Othello is established from the beginning of the play. In his discussion with Roderigo in scene one, he openly admits that he is merely waiting for an opportunity to destroy Othello ‘I follow him to serve my turn upon him.’ The audience knows, right from the beginning, that Othello cannot trust Iago. We are never made entirely aware of Iago’s exact reasons for committing such immoral scheming, but we are provided with some of his motivations. Iago is resentful that he was passed over by Othello for a promotion to the role of lieutenant as he feels he is better suited to the role, stating ‘I know my price, I am worth no worse a place.’ He is deeply critical of Michael Cassio, the man appointed to the role, stating that he is ‘…a fellow almost damned in a fair wife that never set a squadron in the field nor the division of a battle knows.’ As well as this he suspects that both Cassio and Othello have been intimate with his wife, informing us in Act 1 ‘I hate the Moor and it is thought that ‘twixt my sheets he has done my office.’ Although Iago’s resentment over being shunned for a promotion might seem valid (he is more experienced than Cassio), his claims about his wife and the men remain unfounded.
Iago’s duplicitous nature is evident from the beginning. Iago is unapologetically deceptive and cunning, proudly stating in his first soliloquy ‘I am not what I am.’ He is aware that by being duplicitous, he has a better chance of advancing his evil plans- ‘I must show out a flag and sign of love which is indeed but sign.’ He knows that the more he can convince Othello that he is honest and trustworthy, the better opportunity he will have to influence him. Although Iago is capable of being charming and affable to those around him, his language surrounding sex and women is coarse and vulgar. When informing Brabantio of Othello and Desdemona’s relationship, he states ‘an old black ram is tupping your white ewe.’ Indeed, it is this crude imagery that will ultimately have the biggest influence Othello. Lacking any real evidence that Cassio and Desdemona are having an affair, Iago fills Othello’s mind with coarse and vulgar sexual images. When Othello wonders if Cassio has lain with Desdemona, Iago responds ‘With her, on her, what you will’. Even publicly, though disguised as playfulness, Iago is quite misogynistic. It is clear that his view of women is clouded by mistrust, as he tells Desdemona ‘your are pictures out of doors, bells in your parlours, wildcats in your kitchens, saints in your injuries, devils being offended, plays in your housewifery and housewives in your beds.’ Thus, it is evident to the audience that Iago deeply mistrusts women, whom he views as hypocritical and deceptive. Perhaps Iago’s most discernible trait is his opportunism. Iago is fortunate in the play in that he is presented with many opportunities to wreak havoc with the characters’ lives. He uses Roderigo not only to attack Cassio but also for his money, scornfully commenting ‘thus do I ever make my fool my purse.’ As well as this, he sees an opportunity to get Cassio drunk, leading to him losing his rank as lieutenant. While Iago does scheme in the play, his greatest strength as a villain is seizing opportunities that land in front of him. This is perhaps best conveyed to us through Desdemona’s handkerchief, which, when it falls into his possession, Iago uses as the ‘ocular proof’ Othello has asked for. While some critics consider Iago lucky in the play, he certainly makes the most of any chance he receives to scheme and plot. Iago is brilliantly able to exploit the other characters’ various weaknesses. He is easily able to exploit Roderigo’s love of Desdemona, eventually persuading him to attack Cassio. He is also able to exploit Cassio’s love of women and his drunkenness to further his plans. Most significantly, however, Iago is able to exploit not only Othello’s deep-seated insecurities about his age and race, but also his inherently trusting nature, commenting ‘the Moor is of a free and open nature that think men honest that seem to be but so and will as tenderly be led by th’ nose as asses are.’ We know that Othello’s unquestioning trust of Iago is a huge mistake that he will later deeply regret. To further his own selfish aims, Iago manipulates those around him in a subtle but significant manner. When he sees Cassio avoiding Othello, he comments ‘…I cannot think it that he would steal away so guilty like, seeing you coming.’ He engages in a clever balancing act with Othello; on the one hand telling him to ‘beware my lord of jealousy/it is the green-eyed monster which doth mock the meet it feeds on’ but also filling his mind with crude sexual imagery of Cassio and Desdemona. In this way, he is a master of manipulation, influencing Othello so profoundly that he will wind up murdering his wife. It is rare in Shakespearean literature that a villain is so unapologetically diabolical. In his soliloquies, Iago provides us with an insight into just how evil he truly is. He admits that he will ‘pour this pestilence into (Othello’s) ear that (Desdemona) repeals him for her body’s lust.’ He also tells us ‘so I will turn her virtue into pitch, and out of her own goodness make the net that shall enmesh them all.’ His diabolical scheming is unrestrained and dangerous, but a source of fascination to the audience, firmly placing Iago at the top of the list of Shakespeare’s most notorious villains.
Not only is Iago a diabolical schemer, he is capable of great cruelty. He kills his own wife without question, stabbing her as she reveals his lies. He is also the person to suggest that Othello smother his wife ‘Do it not with poison. Strangle her in her bed even the bed she hath contaminated.’ Iago’s cruel streak serves to make him an even more intimidating villain. Notably, and in contrast to Edmund in Lear, Iago remains remorseless and unrepentant. In Act 4, he states ‘thus credulous fools are caught and many worthy and chaste dames even thus all guiltless meet reproach.’ In Act 5, he remains determined to see his plans through, noting ‘this is the night that either make me or fordoes me quite.’ For Iago, there is no moment of repentance or doubt and he never seeks nor is given any form of redemption. Indeed, Iago remains enigmatic right to the end. His last words in the play are ‘demand me nothing. What you know, you know. From this time, I will never speak word.’ Iago is unwilling to provide the audience with any deep insights into his motivations and, although frustrating, is no doubt one of the many reasons for his enduring appeal as a Shakespearean villain.
Desdemona is depicted as a paragon of virtue, a beautiful, loving wife, and a woman of high rank and culture. None of this is enough to protect her from Othello’s wrath: once he is convinced, on Iago’s word alone, that she is an adulterer, there is nothing that will change his mind. The question of Desdemona’s innocence is irrelevant to him, as it becomes clear that for Othello to feel satisfied - and to have his manhood reinstated - there must be blood spilled. In the same way, Shakespeare demands of his audience: is it right that a woman be murdered for adultery, regardless of her guilt?
In many plays on the theme of disloyal wives, the wife’s eventual death at the hands of her husband is intended as a warning for women: do not betray your husband. Death was conventionally portrayed as a just punishment for infidelity, and audiences were welcomed to cast judgement on the slain woman. This is not the case in Othello: Shakespeare maintains powerful audience sympathy for Desdemona in her innocence and confusion, even while playing with the idea of sympathy for Othello and even Iago. The cause behind her murder is evident, and with it comes culpability for all onlookers - including the audience ourselves. For it may be Iago that engineers this tragedy, but he is enabled by Venetian customs. The myth of the cuckold and the fallen woman all strengthen his argument; equally, the tradition that what happens between a husband and his wife should remain private means witnesses to Othello’s aggression do nothing to help Desdemona. The audience, like the men on stage, look on in silence, making us all complicit in the crime. We cannot condemn Iago or the passive bystanders without condemning ourselves
A prominent quality of Desdemona’s characterisation is her innocence and virtue. Shakespeare highlights her kindness, loyalty, and selflessness, portraying her as the perfect ‘maiden’. At the same time, he implies that her innocence exists largely in the perceptions of others: Brabantio calls her “a maiden never bold,” (Act 1 Scene 3), Cassio calls her, “a maid / That paragons all description,” (Act 2 Scene 1), and Othello describes her as an “excellent wretch” (Act 3 Scene 3). Desdemona’s chastity is much sought after and capitalised on. Though her innocence is partly a concoction of male fantasy, there are still aspects of her personality that make her fit the ingenue archetype. She is ignorant of the workings of military culture, creating friction between her and Othello; what’s more, she is tragically unaware of toxic masculinity. She maintains that her husband is better than such a base emotion, even when faced with the ugliness of his fury. Her naive outlook on married life is recalibrated by the down-to-earth wisdom of her female counsel, Emilia. Despite Brabantio characterising her as a “maiden never bold” (Act 1 Scene 3), Shakespeare presents Desdemona’s assertiveness and self-assuredness. She isn’t afraid to speak her mind or ruffle feathers. In her opening address, she openly defies her father: “I challenge that I may profess / Due to the Moor my lord,” (Act 1 Scene 3). She fights for her right to accompany Othello to Cyprus, revealing her bravery and fierce commitment. Furthermore, joining her husband on a wartorn isle reflects her fearless, resilient spirit. Her presence on stage is bookended with another defiant act, as she maintains her innocence in the face of Othello’s lies and fury: “That death’s unnatural that kills for loving [...] A guiltless death I die,” (Act 5 Scene 2). She doesn’t hesitate to confront Othello with what he has done, refusing to surrender to his authority as her husband. Shakespeare implies she is killed as punishment for her rebellious resolve.
Cassio functions mainly to move the plot forward by inadvertently becoming a pawn in Iago’s plan. Cassio’s thoughts, feelings, and motivations are rarely revealed, but his character and behavior are significant for creating the conditions under which Iago can enact his plan. Cassio is handsome, charming, and charismatic; as Iago notes when he starts to hatch his devious plan, “He hath a person and a smooth dispose / To be suspected, framed to make women false” (1.3). If Cassio was not a potentially appealing lover, the idea that Desdemona was having an affair with him would be much less plausible, and Iago’s plan would be harder to pull off. In addition to his innate appeal, Cassio’s behavior to women unwittingly endangers both himself and Desdemona. He often performs shows of gallantry and courtesy which are open to misinterpretation as flirtation. Watching Cassio touch Desdemona’s hand, Iago schemes that “Ay, smile upon her, do! I will gyve thee in thine own courtship” (2.1). Cassio’s behavior is rooted in a deep sense of honor: when Iago tries to get him to say lewd things about Desdemona, he insists on being respectful, observing “An inviting eye—and yet methinks right modest” (2.3). Cassio is also horrified when his drunken behavior results in public shame, lamenting “Oh, I have lost my reputation!” (2.3). Perhaps because Cassio is a Florentine, and not a Venetian, or because he seems to lack the military experience of some of the other male characters, he is rather naïve and trusting.
Cassio’s innocence and trust that other people will see his virtue makes him a parallel character to Desdemona. However, unlike Desdemona, Cassio evolves as a character. By the end of the play, he has realized that Iago is responsible for Desdemona’s death, and he helps Othello understand Iago’s treachery. Cassio ends the play in a position of significant authority and responsibility: Ludovico commands that “Cassio rules in Cyprus” (5.2) and entrusts him with punishing Iago. The impact of the shocking betrayals and violence shown by other characters has presumably changed Cassio into a man who will be much more cautious, but possibly a better leader as a result
Emilia at first appears to be one of her husband Iago’s puppets. When Iago wants to set up the appearance of inappropriate behavior between Cassio and Desdemona, he decides that “my wife must move for Cassio to her mistress” (2.3) and shortly thereafter Emilia facilitates a meeting between Desdemona and Cassio, and encourages her mistress to advocate on behalf of Cassio. Later, when Desdemona accidentally drops her handkerchief, Emilia seizes the opportunity to pick it up, noting that “my wayward husband hath a hundred times / Wooed me to steal it” (3.3). She shows only a small amount of suspicion as to what Iago plans to do with it, and accepts his refusal to tell her. These actions suggest that Emilia, at least initially, is at best passive, and at worst complicit in Iago’s schemes. He often speaks sharply or rudely to her, as when he quips “It is a common thing… to have a foolish wife” (3.3) suggesting he doesn’t respect her intelligence.
However, as the action progresses, Emilia reveals a sharp-eyed and self-aware perspective on how women are often vulnerable to abuse at the hands of their husbands. She tells Desdemona that “they eat us hungerly, and when they are full / They belch us” (3.4) and later explains to her mistress that “I do think it is their husbands’ faults / If wives do fall” (4.3). Emilia also shows courage and self-assurance in chastising Othello for doubting his wife’s virtue, scolding him “If you think other / Remove your thought” (4.2). When she realizes Othello has killed Desdemona, Emilia immediately lashes out at him, stating “Thou dost belie her and thou art a devil” (5.2). Even though she is in a highly dangerous situation, alone with a man who has just proven himself capable of murder and might well kill her in order to conceal his crime, Emilia fearlessly insists on bringing him to justice, explaining “I’ll make thee known / Though I lost twenty lives” (5.2).
As she realizes the role her husband has played in bringing about Desdemona’s death, Emilia insists on outing Iago’s plot, stating in front of everyone that “your reports have set the murder on” (5.2.184). Iago repeatedly threatens her and tells her to be quiet, but Emilia insists that “I will speak as liberal as the north” (5.2). Her insistence on speaking out costs her her life when Iago stabs her in desperation. Emilia becomes a parallel to Desdemona, as another woman killed by her husband for insisting on a truth that he did not want to hear. However, while Desdemona’s death reflects the murder of an innocent victim, Emilia dies seeking atonement for her participation in Iago’s crimes. Emilia helped Iago persuade Othello of Desdemona’s guilt, and while she cannot undo Desdemona’s death, she can at least bear witness to the truth of what really happened. Emilia dies hoping that her final bravery will redeem her previous silence and obedience: “So come my soul to bliss, as I speak true” (5.2), but her death also shows that within the world of the play, there is no promise of a happy fate for a woman.
Roderigo is a gull and a simpleton, whose primary role is to enable the audience to gain insight into Iago’s modus operandi. In his exchanges with the poor trash of Venice (II.1.301) the ensign’s cynical world view is revealed. As a disappointed suitor Roderigo also represents the curled darlings (I.2.68) that Desdemona has rejected, providing us with a point of comparison with Othello, the successful wooer. However, even if we partially sympathise with the view that Othello proves to be, as Emilia suggests a most filthy bargain (V.2.153), we can hardly agree with Brabantio when he says that he wishes he had given his daughter to Roderigo rather than see her married to the exotic outsider. Roderigo is not worthy of Desdemona. He exercises extremely poor judgement and his actions are generally despicable; he shares responsibility with Iago for prejudicing Brabantio’s view of his daughter’s elopement, eggs Cassio on to a fight which disrupts order in Cyprus and then participates in an attempt on the lieutenant’s life without feeling entirely convinced that his intended victim deserves to die. We also question Roderigo’s continued pursuit of Desdemona; he blindly chases an adulterous liaison and thinks that he can buy his inamorata’s favours with jewels. Roderigo’s racist descriptions of Othello also go against him.
However, there are grounds for believing that Roderigo is corrupted and not wholly bad, merely weak; lacking resolution or volition, he even has to be directed off stage on a number of occasions. He is suspicious of Iago, but allows himself to be talked round. He is the ensign’s first victim. It is possible to see Roderigo as another outsider in Othello; Iago keeps him on the fringes of the action in Venice and Cyprus, ensuring that he remains powerless. Roderigo can also be played as a comic figure: his description of being cudgelled can be amusing. Roderigo’s miserable end seems a cruel fate; like Othello he realises the truth about his manipulator too late and pays the price.