But for its tragedy, Othello is a romance. The central plot is arguably the love between Othello and Desdemona. The protagonist first states "I love the gentle Desdemona" (I.ii.25) and she "that I did love the Moor to live with him" (I.iii.247). Like the storied relationship of Romeo and Juliet, theirs is true love: they marry in secret against her fathers wishes and then escape to an island paradise to consummate their love. Indeed, despite their remarkably different backgrounds, the two lovers accept each other, Desdemona admitting that her "heart's subdued / Even to the very quality of my lord" (I.iii.249-250). Love apparently can transcend race, parental desire and history.

However, that love is not as obvious to the other characters in the play. Cassio and Iago muse as to what Othello has gained when "he tonight hath boarded a land-carrack / If it prove a lawful prize, he's made forever" (I.ii.50-51). Desdemona is both a storied beauty and a senator's daughter who is presumably well provided for. Even the lover himself sees his bride as the "fountain from the which my current runs / Or else dries up" (IV.ii.61-62). Desdemona, therefore, has her uses so to speak. Perhaps as a consequence her demise should not be so surprising as when Othello kills her he is faced not only with the fact that her fathers money is unattainable but also the belief that she has been deflowered.

Brabanzio, Desdemona's father also believes that the couple's love is not what it seems when he declares that Othello "hast practised on her with foul charms" (I.ii.74) of magic, using the black arts to bewitch his daughter. Desdemona denies this but in ambiguous language. "My heart's subdued" (I.iii.249) she says; remember that Othello gave his bride a handkerchief that was used to "subdue my father/ Entirely to her love" (III.iv.57). "There's magic in the web of" (III.iv.67) the cloth and it is therefore only fitting that Iago's attempts to gain the handkerchief directly coincides with Desdemona and Othello's demise, a ruthless invocation of sympathetic black arts.

Perhaps then, while being powerful, love is not entirely a beneficial emotion. Roderigo intuitively comments that "It is silliness to live when to live is torment" (I.iii.307) and much of the torment in Othello arises from love. In fact, it is not long before Othello, turned from love, is caused to declare of Desdemona "I'll tear her to pieces" (III.iii.426). Like their love appeared to be early in the play, Othello's new passion is uncontainable his "bloody thoughts with violent pace / Shall neer look back, neer ebb to humble love / Till that a capable and wide revenge / Swallow them up" (III.iii.460-463).

Effectively, in Othello love is not solely romantic but also a device used to rationalize personal gain. The protagonist's earlier comments correlate with Emilia's wondering at "who / would not make her husband a cuckold to make him a monarch? / I should venture purgatory for't" (IV.iii.73-75). The genuine love behind these can be called into question. However, most vital, is the destruction that unrestricted passion, and thus love, brings. "Passion cannot rule" (III.iii.128) if love is to last, if order is to be maintained, if villainy is to be defeated.

Unlike other great tragedies like Hamlet and Macbeth, Othello takes place in two very different locales. Not only does this switch serve to further the plot but it also highlights a profound change in some of the players, most notably the title character.

Othello, "Rude am I in my speech" (I.iii.82), is a mighty military general and not a skilled politician in the manner of the Duke, Brabanzio or even Iago. "Little blessed with the soft phrase of peace" (I.iiii.83), the Moor's element is on the open battlefield and not the close quarters of urban intrigue. Indeed, he is much relieved to be free of Venice, rejoicing in his arrival to in Cyprus. "[I]n a town of war" (II.iii.196) he is both on military campaign and free, he thinks, to love Desdemona. However, the Turks are drowned (II.i.190) and the military objective inadvertently completed. Othello is then left to face social dangers to which he is unaccustomed. Protected from the outside world (and prevented from escape) by the Cypriot fortifications, the characters of Othello are quickly reduced to animalism; at Iago's prompting emotions flare and the death toll begins to mount. After all, while Cyprus does enjoy good wines, music and guests, it is not Venice, but one step closer to the barbarism of the Ottoman Empire; it is somewhat civilized "Yet wild, the peoples hearts brimful of fear" (II.iii.196). Essentially, Othello is given a taste of the uncontrolled state of which he is a product and, at the same time, becomes confined to the social world which, much like the political, depends on treachery and secrecy, and in a setting where conduct comes to matter just as Othello passes his breaking point. Indeed, the Moor is controlled for much of his time in Cyprus. However, Venice seems farther away as Iago's insinuations become more crass prompting Othello to imagine Cassio and Desdemona in bed together, his control begins to waver. Desdemona herself correctly assumes that "some unhatched practice/ Made demonstrable here in Cyprus to him" (III.iv.138) is the cause of her husbands temper; it is unlikely that Iago would have been able to perpetuate his lies nearly as successfully in Venice. Indeed, when Venetian order arrives, marking Othello's doom, Lodovico remarks that "this would not be believed in Venice" (IV.i.237); given the citys order (Venice was alleged to have "lived at peace for over a thousand years"), expectations of conduct, and active and effective sociopolitical conduct, it appears that the tragedy of Othello only occurs because of the clichéd right people in the right place at the right time (Nostbakken, 33).

In addition to location, isolation is an essential piece of Othello. Not only are the characters isolated from order and conduct in the world of Cyprus but also the protagonist himself is segregated because of his race. Before he ever appears on stage, Othello is described by Iago to Brabanzio as the "old black ram" who "Is tupping your white ewe" (I.i.88).

Perhaps the most essential tenet of Othello as far as plot advancement is concerned is the power of language. Not only does Shakespeare reveal language as potentially duplicitous, that is given to deceptiveness, but indeed as a method for making puppets of others, of exercising complete manipulation. A casual glance at recent political history confirms this power: leaders from Hitler to Kennedy to Putin have demonstrated a level of orating ability that has consequently minimalized shortcomings.

The ultimate Machiavellian politician, Iago exploits language to the control and then destruction of his puppets. The prime example of Iago's power is Roderigo. Hopelessly infatuated with Desdemona, the gentleman is swindled of his money, continuously encouraged to "put money in thy purse" (I.iii.335). Throughout, Rodergio's complaints are dismissed, Iago always convincing him of a need for more time. Indeed, when Roderigo finally confronts Iago, accusing him that "I do not find that thou dealst justly with me" (IV.ii.178), Iago, the eternal pragmatist, encourages him to be patient (yet again), compliments the other that "theres mettle in thee" (IV.ii.206) and even manages to channel the others fury towards Cassio and "making him uncapable" (IV.ii.229).

This, in fact, is possibly Iagos most impressive linguistic achievement. Through the use of persuasive and reassuring language, he is able to manipulate the passage of the time in Cyprus. He is not actually altering time itself but the character's perception and experience of it and they, ever the obedient puppets, admit, "We must obey the time" (I.iii.299). One authority on the subject (shameless plug) has commented "while Iago convinces the others to slow their actions down and relax, he himself is increasing his speed" (McGee, lectures). Iago is fully aware of this concept of time, muttering to himself to "Dull not device by coldness and delay" (II.iii.261).

In fact, Iago can very easily be compared to the language he uses. After all, he is duplicitous, and persuasive, exercising an unusual control over others. The greatest misconception in the play is that Iago is not a pathological liar and malevolent manipulator but actually "an honest man is he" (V.ii.157). His honesty is endlessly complimented and essentially, it is this error on the part of everyone around him that allows him to promote his agenda. Certainly this reputation is not solely gained through words; Iago, as the general's ensign, must have been a worthy man. However, the emotion he expresses so well, disbelief and denial in front of a first disappointed and then enraged Othello, concern towards the dishonored Cassio, shock equal to that of Desdemona after Othello "hath so bewhored her" (IV.ii.118), that causes other characters to treat him with such respect; after all, as Othello says, "I know thourt full of love and honesty" (III.iii.123).

Iago manipulates first through covert words as he does towards Brabanzio and becomes more direct as he escapes Venices social restraints. He toys with Othello gently, using insinuation and "strong circumstances / Which lead directly to the door of truth" (III.iii.411-412), then employing more concrete language, convincing the general "that there were some monster in thy thought / Too hideous to be shown" (III.iii.110-111). His language, often ambiguous, transfers to those whom he speaks to trapping Othello in paradox: "I think she may be honest, and think she is not. / I think that thou are just, and think thou art not" (III.iii.383-384).

Essentially, the only real power in the play lies in language. Othello is admittedly "Little blessed with the soft phrase of peace" (I.iiii.83), Cassio controlled by action and Desdemona unable to master linguistics, she cannot "say whore. / It does abhor me now I speak the word" (IV.ii.165-166). Military prowess, gentlemanly rank and extreme beauty count for naught in Othello; language is power. The play can only end when Iago's mastery of language ends, he himself conceding "From this time forth I never will speak word" (V.ii.310).

Given that Othello is set among the order of Italian Renaissance society, rank and social stature is an essential matter in the play. Primarily, rank is distinguished between three military men: Othello, Cassio and Iago. Othello as the general has the most power of the military in both Venice and Cyprus. Recently promoted, Cassio wastes no time in asserting his role and thusly fuels the hatred felt towards him by Iago, Othellos ensign (or flag bearer). It is fair to attribute Iagos malevolence, or at least some of it, to Othello's ignoring of Iagos desires "to make me his lieutenant" (I.i.9). Indeed, it is fairly obvious that Iago would rather lead than follow. Dreamily to Roderigo, he fantasizes "Were I the Moor I would not be Iago. / In following him I follow but myself" (I.i.57-58). Essentially, Iago believes in a meritocratic order where one is rewarded for ones actions. Consequently, he believes that he should receive the promotion for "in the trade of war I have slain men" (I.ii.1) whereas Cassio has "never set a squadron in the field" (I.i.21).

However, roles mean far more than military accolades in Othello. Vital to Venice, Othello has his story accepted with little argument from the Duke and enjoys obedience from Montano, the governor of Cyprus.

The lieutenant too incorporates more than special helmet or sash (though all of these men can be distinguished by their costumes). The role of lieutenant was essentially a secondary for the general, ready to take his place be he absent or unable to perform. It is this then that makes Cassio's affair with Desdemona so believable to Othello. Indeed it was fundamental to a company that no tension could exist between the general and lieutenant (especially the general feeling that the other was attempting to usurp him) if order was to be maintained. It would also be dangerous if feelings of resentment, like Iago's, existed towards the lieutenant from his subordinates. Cassio hardly helps matters by reminding Iago that should damnation come "The lieutenant is / to be saved before the ensign" (II.iii.95-96).

Additionally, the relationship between Iago and Roderigo parodies the typical social norms between a soldier and a gentleman. Normally the social better of most military men, Roderigo is hopelessly submissive to Iago, his love causing him to invest most of his estate in the ensigns scheme. However, while still in Venice, Iago employs his powerful language to at least create the impression to Iago that this is not so. "Despise me" (I.i.7) he responds to the others questioning, playing the role of servant for as long as the social setting makes it necessary. However, once in Cyprus such conventions are quickly abandoned and Iago turns himself into Roderigo's equal: "I have professed me thy friend" (I.iii.332).

Key to the play, in fact, is the subject of changing roles. Defined by Venice, the implemented social positions are much less secure in the less-civilized and disorderly Cyprus and, of course, Iago is the beneficiary. Above equating himself with Roderigo (and, in taking his fortune, in many ways becoming a gentleman) the antagonist transcends his military position, becoming a confidant to Cassio who notes "You advise me well" (II.iii.302) and gaining so much power over Othello that eventually he begins to order the general as in their plotting to "Do not rise yet [until] Iago kneels" (III.iii.465). The transformation is completed when Othello announces to Iago that "Now thou art my lieutenant" (III.iii.481); Iago has successfully upset the social order, putting him in both the places of Roderigo and Cassio and from here aims to destroy Othello.