In the midst of the play's "corruption scene" (Act III, Scene 3), Iago says to Othello that "men should be what they seem" (III.iii.127). Here the arch-villain is referring to Cassio, but the irony is plain enough, as Iago has already disclosed to Roderigo in the opening scene of this tragedy: "I am not what I am" (I.i.65). At that stage, Iago elaborates on the meaning of this seeming paradox:

Though I do hate him as I do hell-pains,
Yet, for necessity of present life,
I must show out a flag and sign of love,
Which is indeed but sign.
(I.i.154-157)

Via Iago's interwoven schemes, the demise of Othello is propelled by the disparity between appearances, on the one hand, and underlying reality, on the other. It is most often through Iago that this gap is highlighted within the play's text. At the very end of Act II in one of several soliloquies in which Iago reveals his villainy to the audience, Othello's "ancient" says:

When devils will the blackest sins put on,
They do suggest at first with heavenly shows,
As I do now: for while this honest fool
Plies Desdemona to repair his fortune,
And she for him pleads strongly to the Moor,
I'll pour this pestilence into his ear—
That she repeals him for her body's lust;
And by how much she strives to do him good,
She shall undo her credit with the Moor.
So will I turn her virtue into pitch.
(II.iii.346-355)

Iago, the agency of human evil, is able to twist the distinction between what something is and what it appears to be, and it is this deception that stands at the bottom of Othello's tragic tale.

Consistent with this theme, much is made in Othello of perception, of looking, of seeing. Again in the corruption scene, Iago directs Othello, "Look to your wife, observe her well with Cassio" and then adds again "look to't" (III.iii.197,200). Reacting to Iago's intimations about Desdemona, Othello warns that Iago must be sure that he can prove Desdemona to be a whore, commanding his ancient to "Give me ocular proof" (III.iii.360). It is the "ocular proof" of the mislaid handkerchief that seals Desdemona's doom and Othello's own demise. A prime example of Iago's ability to use Othello's visual perceptions against him takes place in the exchange between Iago and Othello at the start of Act IV. Here Iago suggests scenes for Othello to envision, such as finding Desdemona and Cassio in an embrace or in bed together, and then leaves their evident meaning open for Othello to discover, thereby fanning the flames of murderous jealousy.

Iago is not the only character who exhorts Othello to "look" at Desdemona. In Act I after hearing of his daughter's intention to abide by her "betrayal" of him, Brabantio warns Othello: "Look to her, Moor, if thou hast eyes to see; / She has deceiv'd her father, and may thee" (I.iii.292-293). Congruent with this motif, the subject of trust, its loss and its misplacement, is clearly a salient theme in Othello. The central plot of this tragedy pivots upon Othello's loss of trust in Desdemona (and to a lesser extent, Cassio), and the irony of his misplaced trust in Iago. It is, in fact, remarkable how fully the Moor gives himself over to the trust of his ancient. After Brabantio's departure from the Duke's court, Othello tells the Duke of Iago, "A man he is of honesty and trust. / To his conveyance I assign my wife" (I.iii.284-285). Indeed, even after Emilia accuses her own husband of treachery, Othello is unable to accept her charge: "My friend, thy husband, honest, honest Iago" (V.ii.155).

The theme of honor and reputation intertwines with those of perception and trust. In the play's second act, Iago tells Othello that Brabantio "prated, / And spoke such scurvy and provoking terms / Against your honor" (I.ii.6-8). To this, the proven hero of Venice replies, "My parts, my title, and my perfect soul, / Shall manifest me rightly" (I.ii.31-32). The title character of Othello is supremely concerned with the reputation that he has earned as a man of military adventures and victories for the sake of his adopted homeland. Right before stabbing himself to death, Othello says to Lodovico, Gratiano and Cassio:

I have done the state some service, and they know't—
No more of that. I pray you, in your letters,
When you shall these unlucky deeds relate,
Speak of me as I am; nothing extenuate,
Nor set down aught in malice.
(V.ii.340-344)

To the end, Othello is concerned with how he appears in the eyes of others, with his name, and with the reputation that it bears and the authority that it carries. The theme surfaces in other contexts. In Act II, Scene 3, Othello says to the drunk and disorderly Cassio,

What's the matter
That you unlace your reputation thus
And spend your rich opinion for the name
Of a night-brawler?
(II.iii.184-187)

After his superior leaves and shorn of his guard command, Cassio laments to Iago, "O, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial. My reputation, Iago, my reputation!" (II.iii.253-255).

In this exchange, Iago avers: "Reputation is an idle and most false imposition; oft got without merit, and lost without deserving. You have lost no reputation at all, unless you repute yourself a loser" (II.iii.259-262). But when it comes to the corruption of Othello, Iago has a much different opinion about the value of one's good name.

Good name in man and woman, dear my lord,
Is the immediate jewel of their souls.
Who steals my purse steals trash; 'tis something, nothing;
'Twas mine, 'tis his, and has been slave to thousands;
But he that filches from me my good name
Robs me of that which not enriches him,
And makes me poor indeed.
(III.iii.155-161)

The question of whether reputation, or how others see us, is meaningless or supremely important need not be answered for us to understand what Shakespeare says conclusively about "honor," "name," or "renown": that it can be used against us by a skillful practitioner of the practical black arts like Iago.

In seeking to rouse Brabantio against Othello, Iago alarms him by saying that "even now, now, very now, an old black ram / Is tupping your white ewe" (I.i.88-89). Modern Shakespeare critics have naturally focused on the racial implications of a Black Othello coming into conjugal union with a White Desdemona. Leaving this dimension of their relationship aside, there is also a vast difference in age between Othello and Desdemona; indeed, the Moor is perhaps of the same age as his bride's father, Brabantio. While their love is certainly passionate, Desdemona is above all a pure and chaste heroine; it is these qualities that attract the Moor to her, and they are, in fact, the same attributes that fathers tend to cherish and protect in their daughters. Here we also observe that it is the father of the city, the Duke of Venice, who ultimately decides the dispute between Othello and Brabantio. At first, the Duke sides with Desdemona's biological father; but upon learning that Othello is the object of Brabantio's complaint, he shifts his judicial viewpoint significantly, calling the Moor "our own proper son." In essence, the patriarchal figure of the Duke allows Othello to "adopt" Desdemona. Throughout the play, Othello consistently identifies himself with the state as the basis of his own personal authority and, in this capacity, acts like a father. But Othello is not capable of paternal authority, for his insecurities as a racially-distinct outsider conspire with Iago's plans to generate behavior that is both bestial and childish.

The dominant impression left by Othello is the devastating impact of jealousy. Othello's suspicions about Desdemona's loyalty ignite his fury and violence, leading to a rapid downfall of his pride and nobility. The speed and intensity of these changes in Othello have made some critics question whether Iago's suggestions actually cause Othello's doubts or simply awaken his existing insecurities. Shakespeare's exploration of jealousy is not confined to Othello alone. Both Roderigo and Bianca are also consumed by jealousy: Roderigo desires Desdemona, while Bianca longs for Cassio. More importantly, Iago exhibits numerous signs of jealousy. His resentment over being passed over for promotion and his suspicions that his wife has been unfaithful with Othello fuel his quest for revenge and drive his malicious plots. Although these characters display different forms of jealousy, all are rooted in irrational fears and lead to equally irrational actions.

Another crucial element of Othello, closely related to the theme of jealousy, is Shakespeare's manipulation of time within the play. For centuries, readers have observed that the play operates on a dual time scheme: "short" time, where the onstage action unfolds in an unbroken sequence over a few days, and "long" time, where characters' statements and other clues suggest a much longer period has elapsed. For instance, a detailed reading shows that all events from Othello's arrival in Cyprus to his death occur in less than two days. This compression of time intensifies the sense of reckless passion and the rapidity of Othello's downfall. In contrast, Othello's references to Desdemona's "stolen hours of lust" (III. iii. 338) and his peaceful sleep in ignorance of the alleged affairs between his wife and Cassio, along with Bianca's scolding of Cassio for being away "a week ... seven days and nights ... eight score eight hours" (III. iv. 173-74), suggest a longer timeframe. This extension of time may reflect the irrational nature of Othello's and Bianca's jealousy, causing their fears to amplify. Simultaneously, it makes their suspicions seem more credible: if days or weeks have passed, there would indeed be time for multiple trysts between Desdemona and Cassio. Moreover, in "long time," Othello's decline appears less abrupt and unreasonable, thereby maintaining the audience's empathy for the proud and noble Moor.

Shakespeare's portrayal of a Black man as the protagonist in this tragedy has sparked considerable discussion. In Shakespeare's England, Black individuals were viewed as exotic rarities. They were often feared as dangerous, threatening figures, perceived as sexually unrestrained and primitive. On stage, Black characters were frequently stereotyped as villains; Shakespeare himself used this trope with Aaron in Titus Andronicus. With his depiction of the proud and virtuous soldier Othello, Shakespeare challenges many of these stereotypes. For centuries, actors and critics insisted that this noble "Moor" was an Arab rather than an African. However, several characters in the play exhibit racist attitudes and explicitly identify Othello as Black. This prejudice is most evident in Iago, who not only expresses his own racism but also manipulates the biases of others in his plots against Othello. Thus, while Shakespeare rejects stereotypes through his characterization of Othello, he also presents characters who attack the hero's race and use it as a means to isolate and destroy him.

The settings in William Shakespeare's Othello play an essential role, offering more than mere backdrops to the unfolding drama. Each location, from the bustling streets of Venice to the remote fortifications of Cyprus, is carefully chosen to reflect and enhance the play's emotional and thematic currents. Through these settings, Shakespeare explores themes of alienation, power, and the destructive force of jealousy.

Venice

The play begins in Venice, a thriving seaport city in northeast Italy renowned for its wealth and power during the Renaissance. Venice was a hub of commercial activity, with its ships trading goods like wool and glass across the Mediterranean. Shakespeare uses this vibrant city as a stage for the opening act, highlighting its dual nature. While admired by Elizabethans for its affluence and autonomy, Venice is also portrayed as a place of duplicity and moral decay through Iago's cynical commentary. He implies that Othello, a Moor, will always be an outsider, a sentiment he manipulates to sow discord between Othello and Desdemona.

The atmosphere in Venice is charged with tension, as seen in the scene outside Brabantio's house. Here, Iago and Roderigo's provocations create a chaotic and uneasy feeling, almost erupting into violence until Othello's intervention brings a temporary calm.

Duke’s Council Chamber

Within the imposing walls of the Duke’s council chamber, another significant scene unfolds. Othello is called before the Duke and the Senate during a crisis involving the Turkish threat to Cyprus. Although he stands accused by Brabantio of using witchcraft to win Desdemona, Othello's past service to Venice speaks in his favor. Desdemona's arrival and declaration of love for Othello sway the Duke, who supports their marriage and assigns Othello to lead the defense against the Turks. This chamber, filled with Venice's elite, underscores the complex interplay of public duty and personal conflict.

Cyprus

As the action moves to Cyprus, the narrative shifts from Venice's cosmopolitan environment to a more isolated military outpost. Cyprus, a Venetian possession, symbolizes the edge of the known world, juxtaposed against the unknowns of the Ottoman Empire. It is a stark, masculine environment, where the absence of Venetian comforts amplifies the isolation and tension among the characters.

Cyprus Citadel

The citadel in Cyprus becomes the central stage for the unfolding tragedy. Within its confines, the boundaries between civility and savagery blur, allowing Iago to execute his schemes. He manipulates Cassio into drunkenness, leading to Cassio's downfall, and stokes the fires of Othello’s jealousy through deceit. The citadel's seclusion intensifies the drama, as Othello misinterprets Cassio's interactions with Bianca, cementing his misguided belief in Desdemona's infidelity.

The tragic climax occurs in Desdemona's bedchamber within the citadel, where Othello, urged by Iago, commits his ultimate act of jealousy. This intimate setting is laden with symbolism, combining elements of innocence, possessiveness, and the destructive power of Iago's machinations. It is also a place where truth emerges, as Lodovico represents Venice's return to order and civility, prompting Othello's realization and regret over his actions.