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Having laid the ground earlier in the play by suggesting to Cassio that Desdemona was prone to sexual flirtation, [22] Iago's manipulative character is most visible in Act III scene iii where he persuades Othello that Desdemona may be being unfaithful to him, and which the General comes to believe was his own idea in the first place. [23]
In Act 3, Scene 3, Iago reveals to the audience that, having surreptitiously obtained the handkerchief that Othello had originally given Desdemona as a lover's token, he will lose it in Cassio's lodging. Upon discovering the handkerchief in the following scene, Cassio admires its craftsmanship and asks Bianca to copy it for him.
Iago is the play's main antagonist, and Othello's standard-bearer. He is the husband of Emilia who is in turn the attendant of Othello's wife Desdemona. Iago hates Othello and devises a plan to destroy him by making him believe that Desdemona is having an affair with his lieutenant, Michael Cassio.
The senate is satisfied once Desdemona confirms that she loves Othello, but Brabantio leaves, saying that Desdemona will betray Othello: "Look to her, Moor, if thou hast eyes to see. She has deceived her father, and may thee" (Act I, Sc 3). Iago, still in the room, takes note of Brabantio's remark.
Roderigo is introduced in the play's opening in Act One, Scene One, where, alongside Iago, he alerts Desdemona's father Brabantio that his daughter is eloping with Othello, a fact that Iago knows will cause him great annoyance. After breaking off from Iago, who hid in the earlier scene from Brabantio's sight, he joins Brabantio and his men in ...
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Otello and Iago talking in the hall as a herald enters. The Act 3 set at the 1887 premiere in Milan. Illustration by Ed. Ximenes after the original stage design by Carlo Ferrario. A herald brings news of the approach of ambassadors from Venice. Iago explains to Otello that he will lure Cassio here and talk with him while Otello watches, hidden.
Troilus and Cressida, Act V, Scene II (1795) A focal point of Hazlitt's account of Troilus and Cressida is a comparison of the characterisation in this play and that in Chaucer's poem Troilus and Criseyde (one of Shakespeare's sources). Chaucer's characters are full and well developed; but Chaucer unfolded each character in itself, one at a time.