Othello is not only separated because of his combative prowess but also because of his ethnicity. He is repeatedly referred to as "the Moor", a person from northern Africa. His younger years in which he was "sold into slavery" (I.iii.137) account for the "natural and prompt alacrity/ I find in hardness" (I.iii.229). This hardness often translates into violence in the Moor's dealings with others: his "taking Iago by the throat" (III.iii.364), his abuse of Desdemona when he "strikes her" (IV.i.235) and her subsequent murder are all violent expressions of Othello's irrepressible passion.

Othello is not violent because he is black but because he is passionate. He deeply loves Desdemona and is consequently crushed upon hearing of her betrayal. He undergoes a remarkable transformation when he calls forth to "Arise, black vengeance, from the hollow hell" (III.iii.451), his jealousy becoming unbearable. Ben Kingsley discusses this jealously that "is consistent with an inner dread, and that inner dread "is consistent in turn with their greatness"; therefore, Othellos violent outbursts come not from race but from passion, prowess and pride (Jackson, 172).

Iago: The antagonist and possibly Shakespeares most malicious villain. Iago is "his Moorship's ensign" (I.i.32) and it is thus thought "A man he is of honesty and trust" (I.iii.283). From this description on, Iago is completely deceitful; he befriends and assists the other characters while endlessly plotting against them. However, Iago is not simply a devious planner but also an accomplished soldier. Cassio describes him with only slight belittlement as a man "You may relishmore in/ the soldier than in the scholar" (II.i.166).

Whether Iago is successful or not is arguable (he is, after all, caught). Nevertheless, what success he does enjoy comes from his pragmatic and self-serving nature. He is "a finder of occasion, that has an eye can stamp/ and counterfeit advantages, though true advantage never present/ itself" (II.i.235-237), not satisfied with waiting for success but obsessed with creating his own. Indeed, he does not believe in the self-pity expressed by Roderigo but that "Tis in ourselves that we are thus or thus" (I.iii.316) and that failure is preventable with the necessary desire. Nor does Iago believe in patience; his ambition is overpowering and must be quickly satisfied not dulled by "coldness and delay" (II.iii.360).

Ironically, all those whom he is secretly hindering hold the scheming Iago in high regard. Othello comments that "This fellow's of exceeding honesty" (III.iii.262); his views are continually seconded by Cassio and the Venetian emissaries. In truth, Iago is more alike to the devil Othello accuses him of being in the play's conclusion. His wife, Emilia, perhaps the most blinded by his deception ironically voices her suspicions of "Some base, notorious knave, some scurvy fellow" (IV.ii.144) being behind Othello's distemperment towards Desdemona. She is of course correct. Iago is a true villain but is able to mask it because his "words and / performances are no kin together" (IV.ii.186-187).

Desdemona: The perfect Renaissance wife, Desdemona is attractive, faithful and modest. Despite acclaimed beauty, Cassio describes her as "a maid. That paragons descriptions and wild fame /One that exceds the quirks of blazoning pens / And in thessential vesture of creation / Dose tire the engineer" (II.i.62-65), she remains "never bold / Of spirit so still and quiet that her motion. Blushed at herself" (I.ii.94-95). She is almost fanatically true to Othello, becoming horrified at the idea that she "Delighted [men] in any other form" (IV.ii.159). Essentially, she is a proper lady, maintaining her honour in love, avoiding language that "does abhor me now I speak the word" (IV.ii.165) and displaying towards her husband a "love doth so approve him / That even his stubbornness" (IV.iii.18-19).

More so than any other character in Othello, Desdemona suffers the malice of slander from others. From her honourable solution to when she "perceive[s] here a divided duty" (I.iii.180) between her father and husband, she is misjudged. Brabanzio voices to Othello that "She has deceived her father, and may thee" (I.iii.292), perhaps the beginning of the Moor's suspicion that will ultimately lead to Desdemonas death. Othello eventually calls her "that cunning whore of Venice" (93) and Iago if "When she speaks, is it not an alarum to love" (II.iii.23). It speaks to the pervading destruction of Othello that the most innocent character is not only the one most undeserving in death but most unfairly treated in life. Desdemona really "is a sport for Jove" (II.iii.16), not an attractive potential conquest but a pure human toyed with by the supernatural and ultimately destroyed.

Cassio: Othello's second in command is the cause, fairly or not, of much of the play's conflict. The lieutenant incurs the wrath of Iago because he is "a great arithmetician" (I.i.18), a strategist and not the battle-hardened figure Iago feels deserves the promotion. Additionally, he, like Othello, is segregated from Venetian society for being a foreigner. Cassio is from the neighboring city-state of Florence and is thus likely a mercenary. Cassio also comprises half of Othellos jealousy; he is, after all, Desdemonas apparent lover.

Cassio is "a proper man" (I.iii.374) who "hath a daily beauty in his life" (V.i.18). Good looks and manners aside, however, the lieutenant is responsible for much of the trouble he causes, the fights during the Cypriot revels for example, as he continually appears "rash and very sudden in choler" (II.i.261). Indeed, his chasing of Roderigo and subsequent attack of Montano make Cassio a very unsympathetic character who acts irresponsibly and indulges his "very poor and unhappy / brains for drinking" (II.iii.29-30). Indeed, what charm and breeding Cassio does bring to the table is often ignored because of his unruly nature. "[H]is vice. / Tis to his virtue a just equinox" (II.iii.107-108) and the associating with prostitutes, fighting and getting drunk make Iago's story of the affair that much more believable in Othello's eyes.

Roderigo: The Venetian gentleman deserves either the audience,s sympathy or pity. Hopelessly in love with Desdemona, Roderigo resembles a love struck 'high-schooler' in his attempts to have Iago secretly woo the lady for him. In his love, Roderigo quite loses control of himself letting himself be ruled by Iago (II.i.253) and eventually losing all of his estate. It is strange how he continues to pursue the lovely Desdemona with such vigor even after Iago continually makes clear to him that "Her eye must be fed" (II.i.220). Regardless, Roderigo is completely in love with Desdemona and thus minimalizes the extent to which he can be analyzed. His brief spurts of emotion are quickly diminished by Iago who belittles him, saying "poor are they that ha not patience" (343). Roderigo rarely appears (and speaks even less) without Iago and even in those scenes he acts as little more than an advanced soliloquy device for the villain. Essentially, Roderigo acts as a hand for Iago, mischievously sneaking around carrying out his sadistic master's bidding.

Emilia: Iago's intelligent wife is remarkably faithful and yet is the one who exposes her husband's plot in the end. She is, for the most part, obedient, caring deeply for Iago and seemingly wanting nothing more than his love. She declares her devotion when, alone, she announces "I nothing but to please his fantasy" (III.iii.303). However, Iago shuns Emilia after she provides him with Desdemona's handkerchief. She is also fiercely loyal to her mistress eventually chousing Desdemona over her husband. Emilia expresses profound disbelief when she discovers Iago's part in the murder and switches her loyalty remarkably quickly. It is, at times, perplexing how a lady "who would/ make her husband a cuckold to make him a monarch" (IV.iii.73-74) is so quick to turn on her husband without any knowledge as to his reasons (or even evidence of what he has done above her own speculation). However, Emilia provides at least some hope for women in the play refusing to accept the situation and ignoring her husband's commands: "I will ne'er go home" (V.ii.203). Unlike Desdemona, she does not passively await her death and with her last breath perpetuates her mistress good name: "She loved thee, cruel Moor. / So come my soul to bless as I speak true. / So, speaking as I think, alas, I die" (V.ii.256-258).