Please enable JavaScript.
Coggle requires JavaScript to display documents.
Characterisation of Other Characters - Coggle Diagram
Characterisation of Other Characters
Brabantio
Modern audiences find it hard to like Brabantio, even though he has clearly been abused in the past.
However, Jacobean audiences may perhaps have a deeper understanding of what we perceive as Brabantio's 'wrongs':
Desdemona’s elopement could have been seen as an assault on patriarchy; like Juliet, the treasured daughter denies her father’s right to dispose of her in marriage as he sees fit.
Brabantio see's Desdemona's elopement as a
"gross revolt" (Act 1 / Scene 1)
, and it leads him to his death.
Yet, Brabantio has been a sympathetic parent; he has allowed his daughter to reject suitable matches and holds her in high esteem (his descriptions of Desdemona in the senate scene may not fit with the confident young woman we see when she appears, but Brabantio recognises her virtues).
Also, we also understand that there has been domestic harmony in Brabantio’s wealthy home until the elopement occurs: Othello has been entertained often and Brabantio has been a friendly host.
Brabantio is materialistic; his use of the word
"jewel" (Act 1 / Scene 3)
to describe Desdemona suggests that he regards his daughter as a possession.
Ultimately we might see Brabantio as another of Iago’s victims; his unfavourable view of his son-in-law is perhaps constructed by Iago. Like all the other characters in the play Brabantio finds it difficult to distinguish between appearances and reality and suffers as a result.
Roderigo
Roderigo is a gull and a simpleton, whose primary role is to enable the audience to gain insight into Iago’s modus operandi (methods). In his exchanges with the
"poor trash of Venice" (Act 2 / Scene 1)
Iago's cynical world view is revealed.
Comparable with Othello
As a disappointed suitor Roderigo also represents the
"curled darlings" (Act 1 / Scene 2)
that Desdemona has rejected, providing us with a point of comparison with Othello, the successful wooer.
Roderigo is another outsider in Othello; Iago keeps him on the fringes of the action in Venice and Cyprus, ensuring that he remains powerless.
Roderigo’s miserable end results in a cruel fate; like Othello he realises the truth about his manipulator too late and pays the price.
Roderigo is not worthy of Desdemona.
Roderigo shares responsibility with Iago for prejudicing Brabantio’s view of his daughter’s elopement.
He eggs Cassio on to a fight which disrupts order in Cyprus.
Roderigo participates in an attempt on Cassio's life without feeling entirely convinced that his intended victim deserves to die.
Roderigo continues his pursuit of Desdemona; he blindly chases an adulterous liaison and thinks that he can buy her with jewels.
Racist towards Othello.
Iago's first victim
Roderigo isn't wholly bad, he's just weak and easy to be manipulated.
Roderigo lacks resolution or volition, he even has to be directed off stage on a number of occasions.
He suspects Iago but allows himself to be talked out of these suspcions.
Bianca
Like Desdemona
Is used and abused by men.
Iago maligns her mercilessly in Act 5 / Scene 2 to distract attention from himself.
There is a strong sense that the women in this play are hapless victims however, Bianca, the least powerful figure in the play, is – ironically – the only female survivor.
Her relationship with Cassio is less idealistic than the Othello-Desdemona match, but she is an affectionate and genuine partner.
She too is accused falsely of treacherous behaviour (by Iago).
Bianca is only seen in relation to men and is always in vulnerable position.
Critics question whether Bianca is a prostitute or not, but Cassio’s description of himself as her
"customer" (Act 6 / Scene 1)
suggests that she is.
Her unfounded jealousy mirrors Othello’s; but because she has no power she cannot assert her rights as the wronged party.