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...at Othello is worse than white people and because of his race he should not hold the position he does in the army. Out of this racism also extents the jealousy of Othello´ wife, Desdemona. With this in mind Iago feels that Othello has slept with his wife Emila, `leapt into his seat', he wants revenge for this too, `not out of absolute lust', but so he can get back at Othello. The act starts with Iago and Roderigo, having an argument over Desdimona. Iago is telling Roderigo that Desdemona has gotten married to Othello. During act one scene one Iago uses a lot on animal imagery, to convey his anger and dislike of Othello such as `an old black ram Is tupping your white ewe' (Act 1 Scene 1 Lines 89-90), and `Barbary horse' (Act 1 Scene 1 Line 112). Also in the first quote Iago uses the comparison between black and white that, has always been seen as a comparison and the difference between good and evil. During scene one Iago persuades Roderigo to go and tell Brabantio, Desdemona's father that she has eloped with Othello, `call up her father, Rouse him, make after him, poison his delight' (Act 1 Scene 1 Lines 68-69). In this quote Iago refers to poison, Iago during the course of the play poisons peoples minds. As Roderigo cannot rouse Brabantio, Iago takes over and leaves before Brabantio comes down. Iago has reasons for hating Cassio, the main reason would be that Othello has given him a job that Iago, thinks he deserves `I know my price, I am worth no worse place' (Act 1 Scene 1 Line11). Iago presents himself as the experienced, reliable soldier who has been passed over for promotion. The job has been given to a man who has acquired `bookish theory' (Act 1 Scene 1 Line 24) but lacks the experience. Iago's unflattering description of Michael Cassio creates scepticism about his character as well as the man that appointed him. Iago reveals his misogyny when describing Cassio as `A fellow almost damned in fair wife' (Act 1 Scene 1 Line 21), for, as far as Iago is concerned, beautiful women invariably betray their husbands. Towards the close of the action, Brabantio's servants enter with torches. It is perhaps ironic that a scene, which features so much deceit, should begin in darkness yet end in light, for Brabantio's assessment of Desdemona's absence (based as it is on the misleading language of Iago and Roderigo) proves to be mistaken. In the context of a play where black and white do not necessarily denote good and evil, however, this seems entirely appropriate. During scenes two and three Shakespeare has held back from introducing the title character of Othello directly. He has mainly been called `the moor' or `his moorship' and does not appear until nearly 200 lines have passed. This has given Iago time to create an image of Othello. The scene's opening exchange means that before we have met either character, both Othello and Cassio have been pre-judged by the report Iago gives of them. This is one of a number of ways in which Shakespeare cleverly introduces the idea of reputation, and the theme of judgement. When Othello is introduced he is seen to be an intelligent commander speaking in poetic prose, thus enforcing Iago's pure hatred for him. Iago is also revealed as manipulative, amoral and cruel in the extreme, relishing the suffering that he and Roderigo inflict on Brabantio. During the scene Iago's concern has been to demonstrate his loyalty through an account of how he was almost provoked into fighting on Othello's behalf, enforcing the view of an `honest Iago'. Iago believes that Roderigo is bringing Brabantio to confront Othello. Having set up the scene, he expects to be able to demonstrate the reliability of his advice. He did not expect the entrance of Cassio, who know of Othello and Desdimona `from first to last' (Act 1 Scene 3 Line 95), Iago at this point is not in control. Iago's expressed opinion of Othello can no longer stand, for by his words and actions ...