Opening scene

• Linda Woodbridge: over-emphasis on the fatal flaw

  Jealousy reflected in Iago diverts blame from Othello later in the play.

  Insinuates Iago breeds racist ideology into Othello- racist ideals come to life in the mind of the White man.
• Many critics say that jealousy is the key theme in the play.
• Shakespeare establishes the theme of jealousy immediately in the opening scene, proliferated by Iago.
• Although jealousy - Othello's apparent hamartia - is prevalent in the play,


  The main theme appears to be deceit as a key trait of the antagonist, Iago.

  Response to critic identification of jealousy as most prominent theme.
• Iago's manipulative deception is established in Act 1, Scene 1 as a primary feature.

  With the Biblical allusion "I am not what I am" foreshadowing the malign depth of his deception revealed later in the play.
• Iago's jealousy is projected onto Othello, stereotypes of Black people only become true with White people's involvement & imagination.
• Iago mocks Cassio, calling him "mere prattle without practice" and confirms that he hates Othello.
• By reflecting Othello's jealousy in Iago's character from the opening scene,


  We can assess Othello's culpability for his own downfall with the increased involvement of Iago and his deceit across the play.

  Bringing Iago's deceit so immediately to the forefront of the play's opening immediately establishes a subversively critical perspective on racial prejudice, as a trait so solidly chained to Black people is initially observed in a White character.
• Before Othello enters, Iago has sculpted a negative perception of him, framing him as an inept leader and sexually depraved.
• Robert Burton: 'Southern men are more hot, lascivious and jealous'
• Iago being overlooked for promotion


  Doesn't seem to be his only motive
• When Iago states 'I am not what I am', he states the inverse of God's statement of 'I am that I am' in Exodus
• Perhaps Shakespeare does this (Biblical allusion) to present Iago as innately evil and sadistic by using symbolism easily recognisable to the religious audience
• Brabantio shows hostility towards Roderigo


  When he says 'the worser welcome!'
• Brabantio's angry response to Iago's claims


  May be an illustration that Iago has patiently been manipulative/deceiving and that he is conscious of this
• Desdemona remains unnamed in Act 1, Scene 1, allowing her to take on the role of a symbol for all women ('maidens) and their desired, coveted innocence
• Terms linking Desdemona with the ideal of a virtuous woman

  • Soul
  • White
  • Fair
  • Youth
  • Maidenhood
• Desdemona's objectification is amplified through the men's use of possessive language such as 'your' and 'my daughter'
• Despite her idealisation, Desdemona's nature is flawed - not due to malice or contempt, but a naivety/immaturity
• The infantilising language used to describe Desdemona, such as 'ewe', 'girl', 'youth', 'Maidenhood', reflects her immaturity
• The repeated notion that Desdemona had been seduced or coerced into a relationship with Othello, described as 'clasps', 'abused', 'robbing', also reflects this immaturity
• The initial discussion of Desdemona's 'maidenhood' as well as description of her children (nephews, niece) may also describe her fertility and purpose as a mother, considering the way Othello is seen to corrupt it
• The use of women in Shakespearean tragedy is discussed in Woodbridge's critical analysis as she focuses on tragedy's 'anti-fertility agenda' personified by the gratuitous denigration of all prominent female characters at the culmination of Shakespearean Tragedy
• By describing Desdemona's fertility and vital womanhood in the opening of the play, Shakespeare foregrounds the tragic events and remains present in the minds of the audience as the play progresses, emphasising the impact of her eventual demise