Act 1 Sc 1: How Is Othello Characterised By Others?
General Idea: Roderigo wants Brabantio to despise Othello and make him fear for his daughter in his presence
Evidence: “The gross clasps of a lascivious Moor”
Roderigo paints Othello out to be a villainous character through conjuring up images of him taking Desdemona by force. He suggests that Othello has taken Desdemona into his “gross clasps” which generates imagery of capturing a victim into his hands, being put under his control. The term “gross” implies that this act is something to be repulsed by, but also that the claps themselves are large and inescapable, furthering the idea that Desdemona has been put against her will. Roderigo subsequently describes Othello as “lascivious”, portraying him as someone who is vulgar, highly-sexed, and uncontrollable in his desires towards Desdemona. Through Roderigo’s intention to characterise Othello as predatory, he insinuates that Othello is unfit for Brabantio’s daughter and is a serious offender that Brabantio must protect Desdemona from. Brabantio eventually buys into this narrative, subsequently attempting to break apart their marriage.
General Idea: Roderigo plays upon the fact that Othello is a foreigner who isn’t suited for Desdemona
Evidence: “Wheeling Stranger of Here and Everywhere”
Roderigo warns Brabantio of the relationship between Othello and Desdemona by suggesting that a foreigner such as Othello is undeserving of Desdemona. Roderigo labels Othello as a “wheeling stranger”, which contributes to previous assertions that reify the two lovers and set them up as dialectical opposites. In this case, the word “stranger” describes Othello as a foreigner or outsider to Venice, as opposed to Desdemona who is clearly a local. Roderigo reinforces their incompatibility through adding that Othello is of “here and everywhere”, implying that he doesn’t have a true home in Venice. One might even infer that it also depicts Othello as an unstable, erratic character. Ultimately, Roderigo alienates Othello as a non-venetian, proposing that he isn’t conventionally fit for Brabatio’s only daughter. This further convinces Brabantio of Othello’s unworthiness as a spouse and as a part of their wholly-Venetian family.
General Idea: Iago tries to make Brabantio view the relationship between Othello and Desdemona as bestial and sinful
Evidence: “Your daughter and the Moor are now making the beast with two backs”
Iago paints a vivid image of the union between the newly-wed couple as “making the beast with two backs”. This jarring use of imagery to describe their intercourse captures their relationship as something to be shunned and feared by Brabantio. The use of the description “two backs” suggests that their union is disturbingly unnatural, hence should be stopped. Similarly, the term “beast” serves as a way to dehumanise Othello as some sort of diabolical creature, and to make his motives with Desdemona appear to be evil. As Iago’s intentions are to disparage Othello’s character in the eyes of Brabantio, he achieves this through constructing a base metaphor that ultimately provokes Brabantio and spurs him to action against Othello’s marriage with Desdemona.