Act 1, Scenes 1–3 Summary and Analysis
Scene 1
The play opens in the middle of a conversation between Roderigo and Iago. Roderigo is upset with Iago. Iago has withheld information from Roderigo (specifically that Othello and Desdemona have married), despite the fact that Roderigo feels that they are close friends, so much so that Roderigo has given Iago gifts of money on several occasions. Iago defends himself, saying that he has just learned of this information. Roderigo accuses Iago of not hating “him” (him refers to Othello, although this is revealed later), and Iago details why he does, indeed, hate Othello.
Othello has recently promoted a Florentine named Michael Cassio to the rank of lieutenant, even though Iago feels he himself is a better man for the job. Even though Iago has proven his mettle in several battles, he is only Othello’s flag bearer. Having provided reason for hating the general, Iago tells Roderigo that by serving under Othello, he can take advantage of him. Many servants, he tells Roderigo, spend their lives serving one master, only to grow old and be fired without a penny to their names. Others, by pretending to be devoted, can save enough money to become their own masters. Iago claims to be this type of person—one who is good at hiding who he truly is.
They visit Brabantio, Desdemona’s father, in an attempt to turn Desdemona’s family against Othello. Outside of Brabantio’s house, Iago yells that he is being plundered by thieves. Brabantio, roused from his sleep, comes to check on the commotion, and Iago tells him that he has been robbed of his daughter and that Othello, “an old black ram,” has taken her away. Brabantio recognizes Roderigo and reminds Roderigo that Desdemona does not want to marry him. Brabantio then asks the two to leave.
Iago and Roderigo claim that they have come in good will to warn him that Othello and Desdemona have eloped. Eventually, Roderigo asks Brabantio to check Desdemona’s bed as proof that she is missing. Brabantio complies, and Iago leaves, claiming that he must maintain the appearance of loyalty to Othello. After Iago leaves, Brabantio reappears, claiming that Desdemona is, in fact, missing. He asks if she and Othello are already married, and Roderigo affirms this. Brabantio suspects that Othello must have used some sort of witchcraft to woo her. Roderigo asks Brabantio to gather a group of armed men to apprehend Othello, and they leave.
Scene 2
Scene 2 opens with Othello and Iago speaking. Iago relays the previous events to Othello, but painting himself as a hero. He says that he considered murdering Brabantio for all of the slanderous things he said about Othello. He then asks if Othello’s marriage to Desdemona is “secure,” because he predicts that Brabantio will attempt to annul the marriage and perhaps retaliate against Othello through other legal means. Othello is confident that his service to Venice will keep Brabantio from exercising too much power. Additionally, Othello notes that he is from Moorish nobility, on par with Desdemona’s noble family, and that he loves Desdemona deeply.
At that moment, several men with torches appear. Iago tells Othello to go inside because it is likely Brabantio, but it is Cassio with a group of officers. Cassio explains that the Duke of Venice would like to see Othello; a number of warships have sent messages from Cyprus, an island currently under Venetian control. A group of senators have already assembled a council with the Duke, and they are waiting for Othello.
Though Othello is ready to go, Brabantio, Roderigo, and a troupe of others arrive with torches. Brabantio accuses Othello of thievery, and both sides draw their swords. Othello tells everyone to stand down, and Brabantio accuses him of enchanting his daughter. Othello suggests that rather than fight, he would like the opportunity to respond to these accusations. Othello explains that he is on the way to the Duke’s council, and Brabantio, sensing that the Duke will side with his cause, goes with Othello to the council meeting.
Scene 3
The third act opens with the Duke and senators discussing how the reports from Cyprus have been inconsistent. Some say that about one hundred Turkish warships are approaching, whereas others say two hundred. Even so, the Duke and senators agree that this is cause for alarm. A messenger appears and tells the council that the Turks are headed for Rhodes. This news confuses the council, because Cyprus would be much easier to attack than Rhodes. Another messenger comes to tell them that the Turks have joined up with another fleet near Rhodes, have turned around, and are now approaching Cyprus. At that moment, Othello, Brabantio, and their followers enter.
The Duke begins to tell Othello about the Turks, but he notices Brabantio and greets him. Brabantio explains that he has come on personal business, as his daughter has been “abused, stol’n… and corrupted by spells and medicines.” The Duke states that whoever has seduced Desdemona will be severely punished. Brabantio accuses Othello, and while Othello claims that it is true that he has married Desdemona, he asks for a moment to speak of the love that they share. Brabantio states that a girl of Desdemona’s proper upbringing must have been drugged or enchanted, as there is no way she could love a Moor, but the Duke counters that such accusations need evidence. Othello asks for them to fetch Desdemona, and in the meantime, he tells the story of how they fell in love.
Othello explains that he has been a warrior from an early age. He would often visit Brabantio and speak about his history in Africa. Desdemona would also listen, and sometimes she would find Othello alone and ask for more details about his past. After many such encounters, they eventually professed their love for each other. Desdemona enters and corroborates Othello’s tale, telling Brabantio that she must be loyal to her husband.
Brabantio reluctantly blesses their marriage. The Duke tells Brabantio that a positive attitude is the best way to deal with loss, but Brabantio retorts that if this is the case, the Duke should be positive about losing Cyprus to the Turks. Brabantio asks that the Duke not waste his time on empty words. The Duke explains that Cyprus is under attack by the Turks and asks Othello to lead the defense. Othello agrees, and Desdemona insists on accompanying her husband to Cyprus. Othello leaves for Cyprus immediately and asks Iago to bring Desdemona in the morning. All exit except Roderigo and Iago.
Roderigo states that without love, he might as well kill himself, but Iago chides him and says that most men don’t know what real love is or how to love properly. Instead, Iago tells Roderigo to sell his lands and raise as much money as he can. Desdemona, he claims, will get tired of Othello, and when she does, Roderigo can be ready to claim her. Iago affirms that he hates Othello and thinks it will be fun to see Roderigo steal his wife. Before he leaves, Iago makes Roderigo promise that he won’t kill himself. After he leaves, Iago shares a brief soliloquy in which he reveals that he is trying to steal all of Roderigo’s money. He also reveals that he is going to convince Othello that Cassio and Desdemona are having an affair.
Analysis
From the beginning of the play, the theme of trust and deception appears, primarily centered in the character of Iago. He claims that “I am not what I am,” and at the end of the first act, he reveals that he is attempting to play all sides, profiting from anyone willing to trust him. Additionally, he makes no attempt to defend himself when Brabantio accuses him of being a villain. Instead, Iago simply responds with “you are a senator,” as though they are volleying a series of facts at one another. It becomes clear that Iago cannot be trusted, and yet he confides this to the audience of the play. In this way, there is a kind of bond made between the audience and the villain, as he allows them to be privy to his deception. Readers, in this way, have a kind of bird’s-eye view of the characters, and they are allowed to judge with full knowledge who is and is not trustworthy.
Similarly, in an instance of foreshadowing, Brabantio warns Othello that Desdemona is capable of deceit, as it was her deception that allowed her to marry Othello in the first place. Othello responds, “my life upon her faith,” cementing a trusting relationship. As his relationship and trust in her dwindles, it is the more objective view that the audience has been provided that makes Othello both a sympathetic and abominable character—and which ultimately paints “honest Iago” as one of the most conniving of Shakespeare’s villains.
We also see the issue of race appearing early in the play. The label “Moor,” as applied to Othello, signifies his Moorish origins in North Africa. Shakespeare’s portrayal of Othello is that of a noble, although readers do not see Othello before scene 2. In scene 1, readers only receive Roderigo’s, Iago’s, and Brabantio’s account of Othello, who is not actually even referred to by name in this scene. Roderigo calls Othello “the thick-lips,” and shortly thereafter, Iago refers to him as “an old black ram” who is making a “beast with two backs” with Desdemona. Iago tells Brabantio that if he has Black grandchildren, then "the devil will make a grandsire of you.” Further, Brabantio believes the only way his daughter could fall for a Moor is through drugging and witchcraft.
There is a clear suggestion that Blackness is considered undesirable in this world. While Othello is presented as an articulate, intelligent, and honorable man—a stark contrast to the way that he has been characterized in the first scene—the Duke’s statement about him is telling: “If virtue no delighted beauty lack, / Your son-in-law is far more fair than black.” Here, although the Duke’s appraisal of Othello is meant to be complimentary, Othello is virtuous and fair despite his Blackness. The suggestion is that Blackness and virtuousness are mutually exclusive qualities and that it is rare to find one who embodies both.
Expert Q&A
Explain the quote from Othello, Act 1, Scene 3: "Look to her, Moor, if thou hast eyes to see: she has deceived her father and may thee."
What is significant in Iago's monologue in Act 1, Scene 1 of Othello?
IAGO: O, sir, content you;
I follow him to serve my turn upon him:
We cannot all be masters, nor all masters
Cannot be truly follow'd. You shall mark
Many a duteous and kneecrooking knave,
That doting on his own obsequious bondage
Wears out his time, much like his master's ass,
For naught but provender; and, when he's old, cashier'd.
Whip me such honest knaves. Others there are,
Who, trimm'd in forms and visages of duty,
Keep yet their hearts attending on themselves,
And throwing but shows of service on their lords
Do well thrive by them; and when they have lined their coats
Do themselves homage. These fellows have some soul,
And such a one do I profess myself. For, sir,
It is as sure as you are Roderigo,
Were I the Moor, I would not be Iago.
In following him, I follow but myself;
Heaven is my judge, not I for love and duty,
But seeming so, for my peculiar end.
For when my outward action doth demonstrate
The native act and figure of my heart
In complement extern, 'tis not long after
But I will wear my heart upon my sleeve
For daws to peck at: I am not what I am.
In Othello, the significance of Iago's speech is that it reveals something about his character. On the one hand, he heartily despises his master, Othello. But on the other, he has to give the appearance that he continues to serve him, as this will lull Othello into a false sense of security, thus making it easier for Iago to destroy him. The speech also reveals something about the nature of Venetian society.
In Othello, Act 1, Scene 1, why does Iago leave Roderigo at Brabantio's house?
Iago leaves Roderigo at Brabantio's house because he must maintain the appearance of loyalty to Othello. As Othello's right-hand man, it would seem disloyal for Iago to be involved in stirring up Brabantio against Othello. By sending Roderigo alone, Iago can secretly plot against Othello while preserving his own reputation.
What imagery does Iago use in Act 1 to describe Othello and Desdemona's elopement and the resulting conflict?
In Act 1, Iago uses vivid imagery to incite Brabantio against Othello and Desdemona's elopement. He employs thief and crime imagery, calling out "thieves" to imply a robbery of Brabantio's daughter. Iago also uses a mix of sexual, religious, animal, and racial imagery, describing Othello as "an old black ram" with Desdemona as "your white ewe," and suggests racial mixing with terms like "Barbary horse." This imagery aims to provoke Brabantio's fears and prejudices.
Who accuses Othello of witchcraft in act 1, and why?
In act 1, Brabantio accuses Othello of witchcraft, believing that Othello used spells and drugs to win his daughter Desdemona's heart. Brabantio cannot accept that his daughter willingly married Othello and resorts to racist insults, convinced that Desdemona would never choose Othello on her own accord.
What does "I follow him to serve my turn upon him" mean in Othello?
"I follow him to serve my turn upon him" in Othello means that Iago is pretending to serve Othello while secretly planning his revenge. Iago resents Othello for promoting Cassio over him and uses his position to plot against Othello. Shakespeare's language highlights the inversion of traditional service, with Iago serving his own vengeful motives rather than his master.
Why does Shakespeare start Othello with a conversation between Iago and Roderigo?
Shakespeare begins Othello with a conversation between Iago and Roderigo to catch and hold his audience's attention and get them interested in knowing what happened before the scene and what will happen after. He also introduces the major characters and conflict in such a way that the audience longs to discover more.
What is the "monstrous birth" Iago mentions in Act 1, Scene 3, Line 403 of Othello, and why is it called that?
The “ monstrous birth” to which Iago refers in act 1, scene 3 of Othello is Othello’s jealousy of Cassio. In a passage that concludes this scene, Iago has summarized key elements of his sinister plot to destroy Othello. By making him think that Desdemona is having an affair with Cassio, Iago will help realize the general’s latent fears of his wife’s infidelity. The metaphorical product of his manipulations will be as horrible as a deformed, still-born baby.
How does Brabantio's attitude toward Roderigo change in Act 1, Scene 1 of Othello?
In Act 1, Scene 1 of Othello, Brabantio's attitude toward Roderigo shifts from disdain to reliance. Initially, Brabantio is displeased and dismissive of Roderigo, but upon realizing Desdemona and Othello have eloped, he begins to depend on Roderigo for advice and support. By the scene's end, Brabantio acknowledges Roderigo's help, calling him "good Roderigo."
In Shakespeare's Othello, what does the Duke mean by "Men do their broken weapons rather use/Than their bare hands" and "To mourn a mischief that is past and gone/Is the next way to draw new mischief on"?
In Othello, the Duke advises Brabantio to accept his losses and move on. "Men do their broken weapons rather use/Than their bare hands" means Brabantio should not continue fighting a lost cause. "To mourn a mischief that is past and gone/Is the next way to draw new mischief on" warns that dwelling on past grievances will only lead to more trouble.
What was the Duke's response to Othello's marriage?
The Duke initially supports Brabantio's complaint about his daughter's secret marriage, promising justice. However, when he learns the groom is "valiant Othello," he listens to Othello and Desdemona's heartfelt testimonies, which soften his stance. The Duke acknowledges the marriage, suggesting that he might have been won over by Othello's tale himself, and advises Brabantio to accept it, recognizing Othello's importance in the military campaign against the Turks.
What examples in act 1, scene 1 of Othello show Iago referring to sex in animalistic terms?
In Act 1, Scene 1 of Othello, Iago uses animalistic sexual imagery to incite Brabantio's racism and sexism. He refers to Othello as an "old black ram" and Desdemona as a "white ewe," using the term "tupping" to mean sexual intercourse. Iago further incites fear by suggesting Desdemona is "covered with a Barbary horse," implying an interracial union akin to animal breeding, reflecting racist beliefs about racial purity.
In Othello, what action does Iago persuade Roderigo to take?
Iago persuades Roderigo to stand under Brabantio's window and make lewd comments about Desdemona's marriage to Othello, allowing Iago to remain hidden and avoid implication. Later, Iago convinces Roderigo to follow Othello and Desdemona to the wars and to "put money in thy purse," encouraging him to continue funding Iago's schemes under the guise of pursuing Desdemona. Roderigo, easily manipulated, follows Iago's directions without question.
How does the beginning of Othello immediately engage the audience?
Why isn't Othello included in the first scene of Act 1?
How does Act 1, Scene 2, reveal Othello's confidence and character?
Act 1, Scene 2 reveals Othello's confidence through his belief that his military service will outweigh any complaints against him, demonstrating his faith in his reputation and abilities. Additionally, Othello's character is shown in his handling of Brabantio's anger; he avoids confrontation in the street, recognizing his own superiority in combat but choosing to respect and calm Brabantio instead, highlighting his diplomatic and composed nature.
Identify an example of dramatic irony in the duke and Brabantio's conversation in act 1, scene 3 of Othello.
What news does Michael Cassio bring upon his entrance?
Michael Cassio brings urgent news to Othello that the Duke and the Venetian Senate need to speak with him about a pressing issue in Cyprus, likely concerning the threat from the Turks. This summons is crucial, as the Senate prioritizes military matters over Brabantio's complaint about Othello's marriage to Desdemona. Cassio's arrival underscores his role as Othello's recently promoted lieutenant, a position that fuels Iago's envy and hatred towards him.
Significance of Iago's "I am not what I am" in Othello
In Shakespeare's Othello, Iago's statement "I am not what I am" reveals his duplicitous nature. He declares to Roderigo that he will feign loyalty to Othello while plotting against him, indicating his role as a manipulative villain. This phrase also alludes to the biblical "I am that I am," contrasting Iago's deceit with divine truth. Iago's admission sets the stage for his treachery, highlighting his skill in deception and foreshadowing the tragic events that follow.
How do we know Othello's second speech in Act 1, Scene 3 of Othello was effective?
Othello's second speech in Act 1, Scene 3 of Othello is effective because it sincerely conveys his love for Desdemona and captivates his audience with passionate tales of his adventures. Despite being a foreigner and not as eloquent as others, Othello's genuine narrative persuades even Desdemona's father, Brabantio, of his honorable intentions. Brabantio's attempt to accuse Othello of using witchcraft fails, as both Othello and Desdemona convincingly defend their relationship.
Is Iago compared to a devil in Act 1, Scene 1 of Othello?
In Act 1, Scene 1 of Othello, Iago is not compared to a devil; rather, it is Othello who is indirectly associated with devil imagery. Iago uses racially charged language, referring to Othello as an "old black ram" and suggesting that "the devil will make a grandsire" of Brabantio. The devil imagery is linked to Othello's race, a common Elizabethan stereotype, and resurfaces in the play when Emilia calls Othello a "blacker devil."
What were the Duke's feelings about Desdemona and Othello's marriage?
The Duke's feelings about Desdemona and Othello's marriage are accepting and pragmatic. In Act 1, Scene 3, he acknowledges that Desdemona willingly married Othello, suggesting his own daughter might have been similarly charmed. The Duke advises Brabantio to accept the marriage and move on, emphasizing that dwelling on the past will only cause further grief. He is satisfied that Othello did not "steal" Desdemona, and urges Brabantio to find peace with the situation.
Why does Iago think his plan may be successful at the end of Act 1, Scene 3 in Othello?
Iago believes his plan will succeed because he understands human nature and can manipulate others effectively. He intends to exploit Othello's trust and jealousy by making it appear that Desdemona and Cassio are having an affair. Iago is confident that Othello will believe him due to their long-standing relationship. This plan promises to destroy both Cassio's reputation and Othello's marriage, fulfilling Iago's desire for revenge without revealing his own involvement.
What personal profits are encountered and what motivates marriage in Act 1 of Othello? Why does Iago hate Othello?
Why does the Duke dismiss Brabantio's suit against Othello in Othello?
The Duke dismisses Brabantio's suit against Othello because urgent military matters require Othello's attention, and Desdemona's testimony convinces even her father, Brabantio, that Othello did not use foul means to win her love. The Duke prioritizes the pressing threat from the Turks and values Othello's leadership, while Brabantio, persuaded by Desdemona, accepts the situation and relinquishes his complaint, allowing the Duke to focus on state affairs.
What is the dramatic importance of Act 1, Scene 3 in Othello?
Act 1, Scene 3 of Othello is dramatically significant as it establishes the political backdrop of a Turkish threat to Cyprus and introduces key personal conflicts. Othello defends himself against accusations of bewitching Desdemona, asserting their mutual love. Desdemona confirms her loyalty to Othello, causing tension with her father, Brabantio. The scene foreshadows future turmoil as Iago plots to exploit Brabantio's warning to Othello, setting the stage for ensuing tragedy.
How does Shakespeare portray duty in Othello?
Shakespeare portrays duty in "Othello" through Desdemona's conflict between her obligations to her father, Brabantio, and her husband, Othello. When Brabantio accuses Othello of bewitching Desdemona, she articulates her "divided duty" in Act 1, Scene 3, acknowledging her lifelong duty to her father but asserting her new duty to Othello. This highlights her internal struggle and the societal expectations of loyalty and obedience in familial and marital relationships.
What types of ironies surround Iago in Act 1 of Othello?
Who is speaking, to whom, and where in this excerpt from Othello Act 1? What is the context and significance of the passage?
3. Let him do his spite.
My services which I have done the Signiory
Shall out-tongue his complaints. ‘Tis yet to know –
Which when I know that boasting is an honor
I shall promulgate – I fetch my life and being
From men of royal siege; and my demerits
May speak unbonneted to as proud a fortune
As this I have reached. For know, Iago,
But that I love the gentle Desdemona,
I would not my unhoused free condition
Put into circumscription and confine
For the seas worth
2. Look to her, Moor, if thou hast eyes to see:
She has deceived her father, and may thee.
In Act 1 of Othello, Othello speaks to Iago, expressing confidence that his military service to Venice will outweigh Brabantio's accusations of eloping with Desdemona. Othello asserts his noble heritage and deep love for Desdemona. This passage highlights Othello's status and the racial prejudices he faces. Brabantio's warning, "She has deceived her father, and may thee," foreshadows Othello's later doubts about Desdemona's fidelity, fueled by Iago's manipulation.
Discuss the fairness of Othello's "trial" in Act I of Othello. Also, what insights do we gain from Iago's soliloquy at the end of Act I?
Othello's "trial" in Act I is more emotional than factual, with Othello and Desdemona defending against Brabantio's accusations of black magic. The Duke, acting as judge, is swayed by their heartfelt appeals, ultimately supporting their marriage. This highlights the power of language and emotion in persuasion. Iago's soliloquy reveals his hatred for Othello and his manipulative plans, using others as pawns, showcasing his "motiveless malignancy" and ability to twist truth into suspicion.
Where is a soliloquy found in act 1 of Othello?
A soliloquy in Act 1 of Othello occurs at the end of Scene III, where Iago reveals his deceitful plans. He expresses his hatred for Othello, suspecting him of an affair with his wife, Emilia. Iago outlines his intention to manipulate Othello into believing Desdemona is unfaithful with Cassio, aiming to ruin Othello's life. This soliloquy exposes Iago's motivations and sets his schemes into motion.
What is a dramatic contrast in character or mood in Act 1, Scene 3 of Othello?
In Act 1, Scene 3 of Othello, a dramatic contrast in character and mood is evident between Othello's noble, public demeanor and Iago's deceitful, private machinations. Othello displays dignity and pathos in defending his marriage to Desdemona, earning the Duke's approval and a military command. In contrast, Iago, in private, manipulates Roderigo and reveals his malicious intentions, highlighting the tension between public honor and private deceit.
In act 1, scene 1 of Othello, what are Roderigo's and Iago's feelings toward Othello?
In Act 1, Scene 1 of Othello, both Roderigo and Iago express strong dislike for Othello. Iago resents Othello for choosing Cassio as his lieutenant over him, feeling unjustly overlooked. Roderigo is upset because he desires Desdemona, who has chosen Othello over him. Iago manipulates Roderigo's feelings to further his own plans against Othello, exploiting Roderigo's impulsiveness and desire for revenge.
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