Some critics suggest that Othello is too proud and that hubris (or pride) is his tragic flaw. Certainly, Othello is a proud and noble man; and the opening lines spoken by him (which creates the audience’s first impression of him) contribute to this image of a man who may be excessively proud. In regards to his obtaining Desdemona as his wife, Othello tells Iago the following:
I fetch my life and being
From men of royal siege, and my demerits
May speak unbonneted to as proud a fortune
As this that I have reached. (21-24)
The word siege refers to rank or social position. Othello may be said to be boasting of his aristocratic potion. More importantly, the word demerits means deserts (something that he deserves or is worthy of). Othello is thus saying that he deserves to have a wife like Desdemona and that he is more than worthy enough to be her husband. He adds that he has no need to add any other qualifications for his being worthy (suggested by speak unbonneted) to have achieved such a glorious destiny (or proud fate). The word proud indicates Othello’s happiness in gaining Desdemona as his wife. But Shakespeare was certainly aware of the impact of this word. The actor portraying Othello should say these words in a proud and joyful voice. The audience is meant to get a sense of Othello’s pride. But, at the same time, the audience should also sense Othello’s jubilation and happiness at being married. His love is stronger than his pride. He tells Iago that he would never give up his freedom (free condition in line 26) for anything, but with one exception (24-28). And that exception is Desdemona. To Othello, Desdemona is worth more than land and sea combined. So, the audience should get a sense of Othello’s pride in this passage. But, more importantly, they should also see the intensity of Othello’s passion for his new wife.
Another aspect of Othello’s character should also be noted – his naiveté. Othello is essentially a good and honest man, but he wrongly assumes that most other men are good and honest as well. And, worst of all, Othello believes Iago to be a good and honest man. Throughout the play Othello refers to Iago as “honest Iago.” Of course, Iago is not honest at all; but this irony is lost upon Othello. And this error in judgment is the actual fatal flaw of Othello. Fatal flaw, in the true Aristotelian sense, actually refers to a flaw in action (in the judgment or decision) made by the protagonist. Aristotle, in his Poetics, discusses the concept of fatal flaw in his section on plot, and not in his section on character. Thus, a fatal flaw does not refer to a personality trait (as some scholars have mistakenly asserted). Othello’s mistake or error is to trust Iago implicitly. Othello never once questions that Iago may be lying. Othello never suspects that Iago might be dishonest. And this error in judgment leads to Othello’s downfall.
A hint of Othello’s naïve quality appears in his statement to Iago when Iago warns Othello to hide from Brabanzio and his men. Othello refuses to run away and tells Iago, “My parts, my title, and my perfect soul shall manifest me rightly” (31-32). By the word parts, Othello is referring to his goodness, his honesty, and his sense of honor. The words perfect soul indicate that he is a man without sin and without evil intent. Othello is essentially stating that goodness also prevails or honesty always wins. He is saying that innocent men are never wrongly accused. But, of course, Othello is very wrong in believing that.
Before Brabanzio comes to accuse Othello of stealing his daughter, Cassio (Othello’s new lieutenant) arrives and informs Othello that the Duke of Venice wishes to see him immediately. Venice is in conflict with Turkey over the island of Cyprus. Cyprus has long been an island of dispute and war because of its strategic location in the Mediterranean Sea (south of Turkey). At this point in time, Cyprus is ruled by Venice; but a Turkish fleet or navy is moving toward Cyprus to attack. The Duke of Venice, then, wants Othello to sail to Cyprus with his forces and protect the island from the invaders.
When Othello goes inside to tell his wife that he must leave, Iago sarcastically informs Cassio about Othello’s relationship with Desdemona. Iago comments, “He hath tonight boarded a land-carrack. If it prove lawful prize, he’s made forever” (50-51). The word carrack refers to a merchant ship, a ship containing items of great value. Iago’s metaphor refers to Desdemona. Iago is implying that Desdemona is an object of great value on the land. But Iago is not referring to Desdemona’s virtues as a treasure: he is referring to the wealth belonging to her father. Iago’s snide comment includes a doubleentendre (a pun with a sexual implication). The word boarded refers literally to going aboard a ship, but the word was also used in the Renaissance to suggest a man having sexual intercourse with a woman. When Iago adds the comment about “lawful prize,” he is questioning whether Othello and Desdemona’s marriage is legal or not. But the real insult is with the last three words of the sentence: “he’s made forever.” The word made here means to be financially well off. Othello is then implying that Othello has married Desdemona for financial gain. This line, then, really says more about Iago himself. Iago is the one who looks out only for himself and would not hesitate to marry in order to gain a treasure. Later in the play, Iago’s relationship with his own wife, Emilia, is not so good; and a plausible reason for that is that Iago did not marry her out of love.
As Othello and Cassio walk to the Duke’s palace, they encounter the angry Brabanzio and his men. Brabanzio believes that Othello must have used magic, perhaps a magic potion, to win Desdemona as his wife. In the first scene, Brabanzio mentions magical “charms” (I, 1: 172); and in this scene Brabanzio also suggests magical powers by the use of the following expressions: “enchanted her” (I, 2: 64), “chains of magic” (66), and “foul charms” (74). Brabanzio is basically accusing Othello of witchcraft, of a type of magic that is associated with evil and the devil. The word foul does indicate evil in this passage. Although Brabanzio had been friends with Othello, his friendship did not remove his essential attitude of prejudice. He refers to Othello’s being black (“sooty bosom” in line 71) as the primary reason why Desdemona would never accept Othello under ordinary (non-magical) circumstances. Not surprisingly, Christians of earlier times might readily believe that individuals from pagan lands could be connected to the devil in some way. Barabanzio then decides to go with Othello before the Duke so that he (Brabanzio) can accuse Othello of using dark magic on his daughter.