Act I Analysis

Act I of Othello primarily consists of the introduction and familiarization of the play’s characters and immediate plot.  The play opens with a conversation between Iago and Rodrigo concerning Rodrigo’s desire for Desdemona and Iago’s desire to be Othello’s lieutenant.  Throughout the act, the audience gets a first glimpse of Iago’s cunning ability to manipulate others through his rhetoric.  When reflecting with Rodrigo on their relationship, Iago states, “I confess me knit to thy/ deserving with cable of perdurable toughness” (1.3.329-330).  When taken at face value, the cables that Iago refers to mostly likely symbolize a steadfast, strong allegiance with Rodrigo.  However, these same words can be interpreted to represent Iago’s plan to use and control Rodrigo with bound cables, similar to a puppet master.  Iago acknowledges his duplicity and tells Rodrigo, “In following [Othello] I follow but myself/…I am not what I am” (1.1.59).  Indeed, for in scene one Iago becomes involved in a harangue against Othello; however, in scene two Iago civilly converses with Othello and talks poorly of Rodrigo.  Iago is capable of deceit primarily because he is skilled in his rhetoric, which he uses to manipulate virtually all characters he comes in confrontation with. Iago uses a great amount of pathos to intensify feelings of angst within Brabantio when promulgating Desdemona and Othello’s marriage.  Though early in the play, play goers easily recognize the dark nature of Iago’s character.  The statement, “I am not what I am,” serves as a wicked contrast to God’s words, “I am who am,” spoken in the book of Genesis to Moses.
            Reputation plays a significant role in Act I, as it does through the entirety of the play.  Brabantio’s reputation as senator and his ability to control his daughter weigh heavily in Iago’s instilment of the egregious nature of Desdemona’s marriage in Brabantio’s mind.  Othello’s reputation as a revered general and serviceman to the state of Venice grant him the support of the Duke and the respect of other important Venetians during interrogation. 
            Shakspeare makes the societal views of his time known in Othello by appropriately including racism in the play.  Brabantio, in utter disbelief of Desdemona’s marriage, obstinately thinks the only explanation for his daughter’s decision is black magic and force. Interestingly, Othello does not make an appearance in scene one, and is presented as a character deserving of hatred, as expressed through the thoughts of Iago, Rodrigo, and Brabantio.  However, in the remainder of the act Othello demystifies his relations with Desdemona, and the audience is able to contrast Othello’s heroic stories, equal mannered disposition, and revered status with the animalistic, savage portrait created by the other characters.  Upon hearing the truth, Brabantio is deeply affected by Desdemona’s loyalty to Othello and tells him, “She has deceived her father and may thee” (1.3.289).  This word of caution to Othello foreshadows the events Othello is tricked into believing later in the play. 
            Paralleling the beginning and end of Act I are conversations between Iago and Rodrigo.  Near the end of the act Rodrigo conveys his emotional state over the marriage of Desdemona to Iago.  Iago manipulates Rodrigo for his own benefit by repeatedly insisting that Rodrigo “put money in thy purse” (1.3.330) and filling his ear with empty promises of romantic involvement with Desdemona.  The act closes with Iago’s monologue, and his nefarious intentions become known.  The audience learns that Othello may have slept with Iago’s wife and it is clear that jealousy over the position of lieutenant or the possibility of his wife’s adultery fuels Iago’s desire for corruption.