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Othello, a General in the Venetian army, promotes a young officer, Michael Cassio, enraging Iago—the General's ensign—who expected the post himself. Outwardly loyal to Othello and his recently married wife, Desdemona, Iago proceeds to cause dissension within Othello's camp (for instance, tuning Othello's new father-in-law against him, and causing Cassio to fight another officer).
The great hall of the castle. To the right, a large colonnade leading to a smaller hall, in the back of which is a balcony. Othello 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.
Iago plots to manipulate Othello into demoting Cassio, and thereafter to bring about the downfall of Othello himself and also others in the play who trusted Iago. He has an ally, Roderigo, who assists him in his plans in the mistaken belief that after Othello is gone, Iago will help Roderigo earn the affection of Othello's wife, Desdemona ...
Desdemona (/ ˌ d ɛ z d ə ˈ m oʊ n ə /) is a character in William Shakespeare's play Othello (c. 1601–1604). Shakespeare's Desdemona is a Venetian beauty who enrages and disappoints her father, a Venetian senator, when she elopes with Othello, a Moorish Venetian military prodigy.
The second act takes place on the island of Cyprus, within the world of Othello. During the scene where Othello resolves to kill his wife, Constance intervenes and reveals that Iago is tricking Othello. Othello binds Iago and expresses his gratitude to Constance. Desdemona arrives and asks whether Constance may stay with them.
In the second act, Cassio's life is nearly ruined by Iago's cunning and his own foolishness. Iago tricks Cassio into getting drunk and then incites his friend Roderigo to start a brawl with Cassio. The Cypriot governor Montano tries to end the fight by stepping between the two men, and Cassio, now blind drunk, strikes out at him.
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But from the third act onwards Othello catches this line of imagery from Iago as his irrational jealousy takes hold. [58] The same occurs with "diabolical" imagery (i.e. images of hell and devils) of which Iago uses 14 of his 16 diabolical images in the first two acts, yet Othello uses 25 of his 26 in the last three acts. [59]