Othello

Othello is the general of the Venetian Army, who is of North African Muslim also referred to as many times in the play "Moor." Othello is introduced as a professional, calm, competent, and strong-minded leader. This, however, was an act where Othello would only pretend to be these things because of his insecurity about being a different race than other Venetians and his fear of failing or not being seen as his imitation. He is used because of his insecurity about not being the same as a white man. He is deceived into believing that his white wife would prefer a white man over him. "I had rather be a toad and live upon the vapor of a dungeon than keep a corner in the thing I love for others' uses." 3.3.274 -277 From here, we see Othello is insecure about his wife. "An honorable murderer, if you will, for naught I did in hate, but all in honor." 5.2.308-309 Before Othello faces his judgment, he asks for those to remember his reputation of being honorable. This final act of taking his own life reflects his realization that he has internalized and acted upon the very prejudices that have alienated him. Othello is relatable today to those who must constantly prove their worth in societies that other them based on race, class, or background.

Iago

Iago is a complex character. He is the reason the tragedy of Othello happened. Iago is jealous of a black man succeeding. He is insecure himself, that is why he puts on a mask to seem "honest." Many times throughout the play, Iago is referred to as "honest," and yet he is the opposite. Shakespeare uses Iago to portray the Elizabethan people. Though the audience knows his deeds were evil, they too share similar views as him. Iago believes he is not the villain because he is "helping" others. "How am I then a villain to counsel Cassio to this parallel course, directly to his good? Divinity of hell!" 2.3.328 - 330 Early on, we also see how Iago thinks of women when he says, "Come on, come on. You are pictures out of door, bells in your parlors, wild-cats in your kitchens, saints in your injuries, devils being offended, players in your housewifery, and housewives in your beds." 2.1.118 - 121 Iago is insecure about his wife because he thinks anyone can take her from him, causing him to believe all women are the same. Iago knows the vulnerabilities of others and exploits them for his own gain. He plays on Othello’s insecurity about his race and outsider status, convincing him that Desdemona could not truly love a Black man. His silence at the end of the play “Demand me nothing: what you know, you know” 5.2.316 leaves his motives uncertain, reinforcing the idea that real-world oppression is often deeply unexplainable.

Desdemona

Desdemona is a noble who is married to Othello. Desdemona is a tragic character whose innocence was mistaken. Desdemona at first is seen as rebellious, because she defied normal standards of marrying Othello and went against her own father's wishes. She then later on falls into the trope of being a powerless woman, too, where it was normal for women to be obedient towards their husbands or other men. Desdemona sees that Othello is troubled and many times tries to comfort him or ask him what is wrong. Othello, as a man, dismisses her and sends her away when he could have prevented the tragedies by going directly to Desdemona and telling her why he was acting the way he was. "If haply you my father do suspect an instrument of this your calling back, lay not your blame on me. If you have lost him, why, I have lost him too" 4.2.47 - 50 Desdemona even tells Othello that if he has lost faith in her father, so has she. She is defying the norm here and choosing Othello over everyone else. "That death's unnatural that kills for loving." 5.2.46 Desdemona knows the situation is wrong, for she only loves Othello.

Cassio

Roderigo is the lieutenant of Othello, which is why Iago did the acts he did, as per revenge towards Cassio. Cassio highly values his reputation, as seen when he talks to Iago after losing his position. “Reputation, reputation, reputation! O, I have lost my reputation!” 2.3.250 Cassio cares deeply about his reputation or feeling of power and demonstrates how easily someone’s social standing can be manipulated, a reflection of modern concerns about public perception and cancel culture. Cassio's treatment of Bianca, a woman of lower status, exposes how class and gender intersect to create imbalances in relationships, reinforcing the play’s theme of gender-based power struggles.

Emilia

Emilia is the depiction of the suppression of women in Othello. As a woman, she is expected to obey both her husband, Iago, and her mistress, Desdemona. She expresses frustration about the expectations of women, "But I do think it is their husbands' faults if wives do fall...Let Husbands know their wives have sense like them." 4.3.85 - 88 Emilia believes women are equal to any man and deserve to be, so if a woman cheats on a man, it is the man to blame for not having the woman as an equal. This resonates with modern-day conversations about gender inequality and women’s rights. Emilia's unfortunate end is due to Iago murdering her, which demonstrates the tragic consequences of a patriarchal society that refuses to acknowledge a woman's voice.

Roderigo

Roderigo is a wealthy man who believes that he deserves the love of Desdemona over Othello. He sees Desdemona as a prize rather than an individual, reinforcing the play’s critique of gender dynamics. His tragic end, betrayed and murdered by Iago, showcases how easily those who seek validation through external means (such as wealth or status) can be used and discarded.

Bianca

 Bianca is viewed as morally and socially inferior, due to her work despite showing loyalty and genuine affection for Cassio. The difference between Bianca’s treatment and the expectations placed on Desdemona highlights how class and gender intersect to define a woman’s value. Bianca can be seen as a feminist tie with modern gender struggles with sexism, slut-shaming, and the stigmatization of women who do not adhere to traditional roles.

Venice The Urban Epicenter of Diversity and Prejudice

Venice, during the Renaissance, was a thriving hub of commerce and cultural exchange, attracting a mosaic of ethnicities and religions. This diversity fostered a complex social fabric where tolerance coexisted with deep-seated prejudices. Othello, a Moor and a distinguished military leader, epitomizes this dichotomy. Despite his high rank, his racial identity subjects him to suspicion and discrimination, as evidenced by Desdemona's father's outrage over Desdemona's elopement. Desdemona's assertiveness in choosing Othello as her husband defies societal expectations, positioning her as both a symbol of progressive autonomy and a target for societal censure.

Cyprus

The move from the cosmopolitan Venice to the isolated military outpost of Cyprus signifies a shift from societal scrutiny to intensified personal conflict. The confined environment of the military camp strips away the distractions of urban life, focusing attention on the characters' vulnerabilities and insecurities. Iago's manipulations thrive in this setting, exploiting the isolation to sow seeds of doubt and jealousy. The Cyprus citadel, a fortress amidst a turbulent sea, symbolizes the fragility of human constructs against the relentless forces of nature and emotion. It serves as imagery of Othello's internal battle.