OTHELLO: ACT I COMMENTARY

Othello


Act I Commentary


Scene 1


Like other Shakespeare plays, Othello opens with a scene that sets the tone for the rest of the play. The playwright is intentionally vague in the details of the conversation between two men with one exception: line 2 reveals that one of the men is called Iago. We arrive in media res, literally in the middle of things.


The first man is complaining that Iago has spent his money freely and is very upset that Iago knows about "this" (I.i.3). As the conversation continues, we learn that Iago hates "him" (I.i.6) because "he" has passed over Iago for promotion to lieutenant, choosing instead "Michael Cassio, a Florentine" (I.i.19) and "a great arithmetician" (I.i.18). Who is this "he," and why does Iago hate him so much? After a lengthy list of complaints, Iago throws us a slight hint: "And I, God bless the mark, his Moorship's ancient" (I.i.32). Iago's sarcasm is distilled into a single epithet, "Moorship." Not only is the man under verbal attack Iago's superior, he is a Moor, an outsider to the world of Venice.


Speaking logically, the other man tells Iago that if he were in Iago's place, he would quit. Defensively, Iago explains that he only serves him to get even eventually. Iago assures his companion, Roderigo, that

… I will wear my heart upon my sleeve


For daws to peck at; I am not what I am.


(I.i.63-64)


As with his other plays, Shakespeare puts the whole play before us in a few lines. Iago is not what he is. As we will see, neither is anyone else. The key to this play is the effect of real and/or imagined deception: things are not what they are.

Roderigo, at Iago's urging, yells up to Brabantio's window, rousing the house from their sleep. Iago wastes no time in putting his plot for revenge against this Moor into action. He informs

Brabantio:

Zounds, sir, you're robbed; for shame, put on your gown!


Your heart is burst, you have lost your soul,


Even now, now, very now, an old black ram


Is tupping your white ewe!


(I.i.86-89)


Here Iago not only informs Brabantio of a matter that is of obvious importance, but he also reveals a lot about himself and the people with whom he deals.

Iago begins a speech pattern he will continue throughout the play, especially when he is speaking about women. He uses animal imagery to categorise the hated Moor. He continues its use to describe the sex act as an act of bestiality and to demean the woman involved. Iago also apparently knows Brabantio's weak spot. His abuse of the woman contrasts starkly to "heart" and "soul" used to describe Brabantio's loss, thus revealing that the woman sleeping with the Moor is very close to Brabantio. The sexual value of this woman is a core issue for the old man.


When Roderigo addresses Brabantio, we learn that Roderigo has been banned from Brabantio's house as an unsuitable marriage candidate. Roderigo, however, tries to calm Brabantio. Iago finally interrupts with the news that "your daughter and the Moor are now making the beast with two backs" (I.i.114-116). Once again, Iago is crude and unyielding, incensing Brabantio who begins to search the house for his daughter. Abruptly, Iago tells Roderigo that he must leave since he cannot bring such an open accusation against the Moor.

At first we may find this scene amusing, that Iago, having made the accusation, cannot make the accusation. On consideration, we discover what a great psychologist Iago actually is. He has put forth a truth: the Moor is sleeping with Brabantio's daughter. He has, however, omitted the details and context of the truth, thereby altering its reception and perception. It is not what it is. Iago will do this "truth-bending" throughout the play until we ourselves question what the truth is.

As Iago leaves, an irate Brabantio confronts Roderigo with the fact that his daughter is indeed missing. He wonders if she is married; if so, perhaps she was charmed into it by magic. Brabantio thanks Roderigo and leads his household into Venice's dark streets.

Scene 2


In this scene, we meet the Moor who has apparently kidnapped Brabantio's daughter. His first line is a telling one. When Iago tells Othello that he had wanted to kill a man (possibly Roderigo or Brabantio), Othello responds: "Tis better as it is" (I.ii.6). In 186 lines, Shakespeare has subtly given us the entire play:

I am not what I am.


'Tis better as it is.

We will discover that if Othello had left things as they were, he would not have met tragedy. But for now, Iago informs Othello that he faces an annulment or jail for marrying "the gentle Desdemona" (I.ii.25). Othello responds that he is not afraid of whatever Brabantio may do because of the service he has done for Venice. He tells Iago that his reputation as a general is such that only for his love of Desdemona would he even consider compromising it.

Othello's lieutenant arrives with officers from the Duke of Venice and the Senate. Othello is summoned to the Senate on an urgent matter concerning Cyprus. Othello prepares to leave, and while he does, Iago tells the lieutenant that Othello is married. As the men leave, Brabantio, Roderigo, and others draw their weapons to attack Othello. Brabantio is furious and demands to know the whereabouts of Desdemona. He accuses Othello of casting a spell on the girl. He contends that Desdemona was


So opposite to marriage that she shunned


The wealthy, curled darlings of our nation.


(I.ii.67-68)


Brabantio goes even further to accuse Othello of using drugs and witchcraft. Brabantio orders the officers with him to arrest Othello and kill him if he resists. Calmly Othello asks the irate father where he would like Othello to go. Brabantio says "To prison" and Othello counters that he is summoned by the Duke. Brabantio does not believe that the Duke has called for a council meeting in the middle of the night, but decides that his cause has such overwhelming importance that it should be presented directly to the Duke.


On the surface, this scene may be viewed as giving us details about and introductions to characters we will meet later. However, the scene also gives us immediate access to the dynamics of the various relationships which shape the play. We meet Othello's lieutenant who Iago had so maligned in Scene 1. From his dialogue, we can see that he is a straight-to-the-point military man. We are unaware that he has any connection to Desdemona at this point, but Iago's comment, "If it prove a lawful prize, he's made for ever" (I.ii.51), serves two purposes. Iago knows something that the lieutenant does not but should know. And Iago, while saying Othello will be "made for ever" is planning the general's downfall as well as that of the lieutenant. Therefore, we see Iago as consistently sarcastic and manipulative without being shown why he is that way.


The scene also gives us a strong first impression of Othello. He is a general who is a career soldier. His handling of Brabantio shows his prowess at dealing with men either in the heat of battle or the heat of passion, which could almost be synonymous. He is so confident in his capabilities that he seems to ride above Brabantio's racial epithets and wrath.


Without our realizing it, Shakespeare has constructed several triangles which will frame the action of the play: Iago, Roderigo, Othello; Iago, Cassio, Othello; Brabantio, Othello, Desdemona; Cassio, Othello, Desdemona. Each of these triangles are interlinked and have as their common thread the inclusion of Othello. The difference in how the problems of these relationships are resolved will be based on how Othello acts or does not act on Iago's "I am not what I am."


Scene 3


This scene opens with the Duke's and the senators' comments on the inconsistencies in the reports of the number of galleys (ships) in the Turkish fleet. This discussion creates a geographical triangle: Venice, Turkey, Cyprus. The Duke arrives at the conclusion that whether the Turkish fleet has 170, 140, or 200 galleys, it is certain that they pose a threat to Cyprus and, as is soon reported, to Rhodes. The messenger comes from the governor of Cyprus who begs the Duke to send help. The Duke wants to send Othello, who enters the senate chamber with Roderigo and Brabantio.


The Cyprus situation is the last thing on Brabantio's mind. When the man wails, "My daughter, O, my daughter" (I.iii.60) in response to the Duke's "what's the matter" (I.iii.59), the Duke thinks Desdemona has died. Obviously, the two men have different criteria for defining "grief" (I.iii.56). Brabantio repeats his accusation that Desdemona has been bewitched and points the finger at Othello. Othello's response to the Duke and the others shows him to be a true tactician.


Othello admits witchcraft and asks for the Duke to bring Desdemona to the Senate, which he does, with Iago showing them the way. During this time, Othello tells a moving story of how Desdemona listened to his stories of "the battles, sieges, fortunes / That I have passed" (I.iii.131-132). The general relates that frequently Desdemona was moved to tears by his tales. When Desdemona indicated she was in love with Othello "for the dangers I had passed" (I.iii.167), he admitted that he "loved her that she did pity them" (I.iii.168). The Duke believes Othello because the story he has just heard moved him. When Desdemona arrives, she tells Brabantio that she is indebted to him "for life and education" (I.iii.182) but that she now must be loyal to her husband. Brabantio concedes and the Duke urges him to be reconciled to his daughter's marriage. But Brabantio knows that the Senate has convened to discuss action against the Turks, and that his personal problem is subordinate to the needs of the State.


Shakespeare cues us to the shift from private problems to public ones through the language. Othello tells his story in blank verse. Brabantio's capitulation is in rhyming couplets. The Duke follows with a speech in prose. The jarring change is also reflected in the content of the Duke's speech: Othello must leave the comfort of Venice as we have left the comfort of rhyming couplet, which is often the way nursery rhymes are constructed. Othello must return to his life as general in command of a "stubborn and boisterous expedition" (I.iii.229).


Othello is unfazed by this assignment. He is accustomed to the hardships imposed on a soldier by war. He knows, however, that Desdemona is not so accustomed, and he asks the Duke to make sure she is cared for. The Duke suggests she stay at her father's. Brabantio immediately refuses and Othello agrees. Desdemona joins the discussion by agreeing with the two men, asking the Duke to allow her to accompany Othello. Othello assures the Duke that if he agrees to let Desdemona go on the long trip, it will not to be to satisfy his needs as a man nor would he ignore his duties as a soldier. The Duke responds that it does not matter to him, but the Turks invasion of Cyprus does. Othello must leave immediately, whatever he decides about Desdemona.


Othello leaves Iago to secure the commission from the Duke and to make arrangements for Desdemona. As the Duke leaves, Othello assures Brabantio that he (Othello) is a man of strong moral fiber. Brabantio, however, leaves him with a bitter truth:


Look to her, Moor, if thou hast eyes to see:


She has deceived her father, and may thee.


(I.iii.293-294)


Othello shrugs off the comment, and tells Iago that Iago's wife would be a good companion for Desdemona. Iago is to bring both women to Cyprus. Othello and Desdemona leave to spend a last hour together before the trip separates them.


Roderigo is despondent over the turn of events and threatens to drown himself. Iago knows that if he does, then Iago loses extra income. In the passages that follow, the word "purse" is used six times in fourteen lines, and "money" seven times in sixteen lines. Iago succeeds in gulling the man who will sell his land and travel to Cyprus in pursuit of Desdemona. Iago then lets us in on his plan. He knows Othello judges men by appearances, and he will use this weakness to manipulate the general into believing that Desdemona and Cassio, the lieutenant, are lovers. This way, he can get revenge on Othello and destroy Cassio. It does not seem that Roderigo figures very prominently in this plan.


We now know all we need to understand the play. We have met the main characters, we have the background of life in Venice, and we are about to move to Cyprus. With Iago's plan now verbalized and Othello's commission for war against the Turks, the play promises plenty of action. But Shakespeare is never so obvious, so simple. The scenes so far have given us just a peek at the psychology of these men and women of Venice. How will things change when they are at war in Cyprus?