ACT 1

Act 1, scene 1
• The play opens on a street in Venice, Italy, where o In referring to Cassio as a “spinster”, Iago is questioning
Roderigo, a wealthy Venetian, and Iago are engaged in an both Cassio’s competence and manhood.
argument.
o A spinster is an old, unmarried woman; therefore, the
• Roderigo, who has paid Iago a significant amount of implication of this comparison is that (just like a spinster
money to help him win Desdemona’s hand, is confronted does not have experience in marriage) Cassio does not
with the revelation that Desdemona has eloped with have experience in military matters.
Othello, the Moorish (North African) general under whom
Iago serves. o Themes: Jealousy; Manhood & Honour; Womanhood &
Sexuality
o Racial prejudice is not the main reason for Roderigo’s
hatred towards Othello. The main reason for Roderigo’s _______________________________________________
hatred is jealousy that Othello has won Desdemona.
o The fact that Iago has not helped Roderigo despite having
been paid by him hints at Iago’s duplicity.
o Themes: Appearance vs. Reality; Jealousy; Manhood &
Honour
• Iago reassures Roderigo of his hatred for Othello, citing
Othello’s recent decision to overlook him for a promotion
to the position of lieutenant even though he is Othello’s
flag-bearer and has the enthusiastic support of three
leading men of Venice. Iago refers to Michael Cassio – the
man who has been given the position of lieutenant by
Othello – as a “spinster” (1.1.23) military theorist with no
practical experience in fighting or leading men.
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• Iago further states that although he appears to be loyal
to Othello, his actions are solely motivated by his own o Brabantio holds Roderigo in low regard, but Iago
personal gain: “In following him I but follow myself skilfully manipulates Brabantio’s prejudices to his
[…] I am not what I am” (1.1.57;64). advantage by portraying Othello as an animal (“black
ram”) and the act of intimacy with Desdemona as
o Iago reveals his ability to hide his true intentions. His bestial.
statement, “I am not what I am”, captures the central
theme of deception and manipulation that characterizes o Additionally, Iago exploits Brabantio’s sense of
his personality throughout the play. masculine pride, suggesting that his daughter’s
involvement with Othello challenges his honour as a
o On the surface, Iago presents himself as a loyal and father. It is noteworthy that even Desdemona is
trustworthy ally to Othello, but his true nature is depicted in animalistic terms (“white ewe”), albeit
deceitful and conniving. with a connotation of purity, indicating that the men
perceive her as less than equal.
o Themes: Appearance vs. Reality
o Themes: Prejudice; Appearance vs. Reality;
• Iago and Roderigo arrive at the residence of Brabantio,
Jealousy; Manhood & Honour; Womanhood &
Desdemona’s father, and raise an alarm, claiming that
Sexuality
Brabantio has fallen victim to a robbery. Initially
skeptical, Brabantio recognizes Roderigo, whom he had ________________________________________________
previously warned to stay away from his daughter.
However, Iago, withholding his identity, graphically
describes Othello and Desdemona having sex, using
derogatory language to paint a shocking image.
• He compares Othello to a “black ram” (1.1.88-89) and
a “Barbary horse” (1.1.110), while depicting their
union as animalistic, stating that “your daughter and
the Moor are making the beast with two backs”
(1.1.118).
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• Concerned by a premonition in his “dream” (1.1.140),
Brabantio hurries to search his house for his missing
daughter. Seeing an opportunity to maintain the secrecy
of his scheme against Othello, Iago leaves.
o The motif of “dreams” adds to the theme of Appearance
vs. Reality, reflecting the uncertainty and illusion
prevalent throughout the play.
o Likewise, Iago’s departure without revealing his identity
further reinforces the deceptive nature of appearances.
• Upon discovering that Desdemona is indeed not in the
house, Brabantio is consumed by anger and despair. He
accuses magic of stealing his daughter and expresses a
wish that she had wed Roderigo instead. Determined to
take action, they decide to assemble a group armed with
weapons to confront Othello.
o Brabantio’s sense of masculinity is shattered by his
daughter’s perceived betrayal, as he believes that only
through some form of sorcery could Othello have
emasculated him in such a manner. His shift in
perspective, regarding Roderigo as a preferable option,
exposes his deep-seated prejudice against Othello.
o Themes: Prejudice; Appearance vs. Reality; Manhood &
Honour

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 Act 1, scene 2

• At the inn where Othello is staying, Iago tells o Othello knows that his honourable military service will
Othello that he wanted to stab Roderigo for outweigh Brabantio’s accusations.
speaking disrespectfully about Othello.
o Othello is also the first character to speak about love.
• Iago warns Othello about the possibility of This is significant as he contrasts with the other men,
Brabantio seeking legal means to annul his who view women as possessions rather than partners.
marriage to Desdemona. Despite these warnings,
Othello appears unconcerned. o Themes: Prejudice; Manhood & Honour; Womanhood
& Sexuality
o Iago easily switches sides, attempting to provoke
Othello by implying that Roderigo insulted his
manly honour. Othello, however, displays
complete confidence in himself and remains
calm.
o Themes: Appearance vs. Reality; Manhood &
Honour
• As they spot a group of approaching men, Iago
advises Othello to retreat indoors, suspecting it to
be Brabantio and his men. Othello, confident in
his service to Venice and his love for
Desdemona, chooses to face them.
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• The men turn out to be Cassio and the Duke of • Othello remains composed, reminding the men that
Venice's servants, urgently summoning Othello for a he is facing that their swords will be of no use as he
military matter in Cyprus. and his men are soldiers and Brabantio’s men
policemen and civilians.
• This news demonstrates that the state's need for
Othello's military expertise outweighs any racial • Othello asserts his duty to meet with the Duke on
biases against him. official business. Brabantio decides to follow Othello
to the Duke’s court and air his grievances there.
• Iago tells Cassio about Othello's recent marriage.
Before he can reveal Desdemona's identity, Roderigo, o Othello is confident that his esteemed service to
accompanied by Brabantio and his men, arrives. Venice will overshadow his outsider status.
Brabantio accuses Othello of enchanting Desdemona,
expressing shock and disgust at the idea of his
daughter being with a black man. He orders his men
to grab Othello.
o Brabantio’s racial prejudice and objection of the idea
of interracial relationships are revealed through his
wounded pride. He cannot accept that his daughter
has willingly gone “to the sooty bosom of such a
thing” (1.2.70-71)
o Themes: Prejudice; Appearance vs. Reality; Jealousy;
Manhood & Honour; Womanhood & Sexuality

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 Act 1, scene 3

• The Duke of Venice convenes with his senators to address the impending threat of a Turkish invasion targeting
Cyprus. Together, they discern the Turkish strategy, recognizing it as a deceptive maneuver to divert attention
towards Rhodes instead of the true target, Cyprus. Subsequently, the Duke and his senators deliberate on strategies
to counter the anticipated Turkish assault on Cyprus.
• As Othello and Brabantio enter, accompanied by their respective entourages, Brabantio interrupts the discussion of
state affairs, insisting that they address the issue of his daughter's supposed manipulation through magic and
potions, leading her to marry against her will. The Duke assures Brabantio of assistance in pursuing the individual
responsible for seducing Desdemona. However, upon discovering that Othello is the accused party, the Duke
affords Othello an opportunity to present his defense.
o Brabantio persists in his belief, fueled by prevalent racial prejudices, that Desdemona could not have willingly
chosen Othello as a partner without some form of deceit on his part. However, the Duke, recognizing the necessity
of Othello's military expertise, remains less influenced by such biases.
• Othello acknowledges his marriage to Desdemona but vehemently denies employing any supernatural means to
secure her affection, asserting that Desdemona will confirm his account. Anticipating Desdemona's arrival, Othello
reflects on how Brabantio once welcomed him into his home, where he regaled him with captivating narratives of
his adventurous past, including tales of travel, combat, and bravery. Othello attributes Desdemona's love to the
compelling nature of these stories. The Duke remarks that he believes his own daughter could be similarly swayed
by Othello's narrative.
o Othello's straightforward account of his remarkable life stands in stark contrast to the elaborate deceptions that
Iago will weave using manipulative language later on. However, it's worth noting that Othello himself acknowledges
the persuasive influence of storytelling, a vulnerability that Iago will exploit to manipulate Othello with his
fabrications in the future.
• Upon Desdemona's arrival, Brabantio inquires about her
loyalty. Desdemona draws a parallel between her situation
and that of her mother, explaining that just as her mother
transferred her loyalty from her father to Brabantio upon
marriage, so must she shift her obedience from Brabantio
to Othello. Brabantio reluctantly sets aside his grievances
against Othello, allowing the focus of the meeting to return
to matters of state.
o Desdemona boldly declares her autonomy from her father
and pledges her loyalty to Othello.
o In the societal norms of the time, women were expected to
be subservient to men, or at the very least, were expected
to adhere to the concept of male authority.
o Themes: Manhood & Honour; Womanhood & Sexuality

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• As the conversation shifts back to strategizing against the oOthello and Desdemona demonstrate a deep bond and
Turkish threat, the Duke insists that Othello must assume commitment to each other.
command in defending Cyprus. Initially, the Duke proposes oOthello's confidence in Iago is evident as he entrusts him
that Desdemona remain in Venice under the care of her with the care of his wife, illustrating a significant level of trust
father, Brabantio. However, Othello, Desdemona, and
Brabantio all disagree, prompting the Duke to grant in their relationship.
permission for Desdemona to accompany Othello to Cyprus.
o In this public setting, Desdemona maintains her agency with
the support of both Othello and Brabantio, confidently
expressing her desires amidst a predominantly male
audience.
• Before departing, Brabantio issues a cautionary farewell to
Othello, advising him to be vigilant of Desdemona's
behaviour, suggesting that if she defied her father, she might
also defy her husband.
o Brabantio defines Desdemona's independence as disloyalty
to men.
o Themes: Manhood & Honour
• With Othello's departure to Cyprus imminent, he determines
that Desdemona should travel under the guardianship of pexels.com
Iago, arranging for Iago's wife to accompany her. Othello and
Desdemona then leave to cherish their remaining moments
together before Othello's departure.
• Alone together, Roderigo expresses despair over his perceived loss of Desdemona's affections, contemplating
drastic measures like drowning himself. Iago ridicules Roderigo's emotional vulnerability, dismissing it as foolish
romanticism. Despite Roderigo's insistence on his inability to shake off his misery, Iago asserts that one can exert
control over their emotions through sheer determination. He then proposes a plan to ensure Roderigo's success
with Desdemona in Cyprus, albeit for a price. Subsequently, Roderigo departs.
o While Roderigo succumbs to jealousy and despair, Iago highlights his belief that individuals have the power to
shape themselves into whatever they desire—a theme that highlights his unwavering confidence in his capacity to
manipulate those around him and cause them to unknowingly fulfil his desires.
• Alone in his thoughts, Iago delivers a soliloquy reaffirming his intense hatred for Othello. He acknowledges rumours
of Othello's alleged affair with his wife, Emilia, though he remains uncertain of their validity. Despite this
uncertainty, he resolves to exploit these rumours to his advantage.
• Iago plans to manipulate Othello into believing that Cassio is romantically involved with Desdemona, thereby
securing both Roderigo's funds and the position of lieutenant. He identifies Othello's trusting nature as a
vulnerability, intending to exploit it to manipulate Othello's actions to his own ends.
• Iago elaborates on his scheme to deceive the other characters, positioning himself as the orchestrator of a complex
theatrical production. While he entertains suspicions regarding Othello's supposed infidelity with his wife, Emilia,
his focus lies more on exploiting this potential scandal for his own gain rather than on personal sexual pride.
o Iago gains his sense of identity and masculinity from his skill at manipulating others.
o He highlights Othello's naivety in failing to recognize that appearances can be deceiving, exploiting this weakness
to his advantage. Furthermore, it's notable that Iago harbours no inherent racial bias against Othello; rather, he
opportunistically employs racial prejudice against him when it serves his Machiavellian agenda.
Notes adapted from litcharts.com