The play, Othello, by William Shakespeare has often been described as a domestic tragedy; however, the play presents tragedy in the human condition through focusing on three central characters that represent three different categories of human beings

        This marriage is unique to the others presented in the play, such as Iago and Emilia, because it is formed on mutual understanding that extends beyond the outer appearance, “My heart subdued even to the very quality of my lord: I saw Othello’s visage in his mind, and to his honors and valiant parts did I my soul and fortunes consecrate,” (ACT I, line 251). This contrasts to Iago and Emilia’s marriage which is based on image and the sexual aspect.  The power of the play ultimately resides in the relationship between Othello and Desdemona. However, despite the seemingly strong foundation of faith that has supported the relationship, Othello’s jealousy is stirred by Iago. It is for this reason that Othello can’t be considered a domestic tragedy.

        The characters Othello, Desdemona and Iago represent categories of humanity and to condemn the play as simply a story revolving around a group of people is to limit the significance of the play. The character Desdemona, is one that presents a love that does not alter, but one that bears it out to the end. Her truth resides in the devotion of her entire heart to the husband she has chosen regardless of public opinion. Not only that, but Othello is portrayed as being recognized as the extraordinary despite being a stranger of alien race and this is further emphasized through the use of the ‘Othello music’ which essentially becomes a part of the double-narrative that the play maintains until its end. The ‘Othello music’ contrasts with the ‘Iago narrative’ thus clarifying the double-think. On one level, there is the marriage of true minds between Othello and Desdemona and yet at the same time Iago is convinced that “Hell and night must bring this monstrous birth to the world’s light,” (ACT I, Scene 3, line 400). It is this monstrous birth that overpowers the marriage of true minds thus destroying the special relationship and exercising Othello’s greatest flaw: Jealousy.  Iago is successful at manipulating the hero of the play, simply because his power is derived from the fact that “into what he speaks are projected the half-truths that Othello’s romantic vision ignored, but of which his mind held secret knowledge.”

        The double narrative has an effect on Othello’s character and eventually shows the implicit destruction of integrity through his speech. Iago’s influence is of such significance that the Iago narrative begins to seep into the ‘Othello music,’ which is eventually contaminated with images of bestiality, “if thou dost slander her and torture me…on horror’s head horrors accumulate, do deeds to make heaven weep, earth amazed, for nothing canst thou to damnation add greater than that,” (ACT 3, Scene 3, line 371).  Not only that, but this destruction of integrity can be further emphasized through Iago adopting the Othello music including the cosmic references that ultimately define Othello’s language, “O grace! O heaven forgive me! “(Act 3, Scene 3, line 377). This can also be interpreted as a balance between the ‘high mind’ of Othello and the ‘low mind’ of Iago.  The double narrative is also in accord with the ‘conception of love as beyond nature,’ and illustrates the possibility of free choice shown in the play.

        Othello is the vision of a free man whose past has no influence on his character today and his great ‘travels’ are the foundation of his marriage with Desdemona, “She loved me for the dangers I had passed and I loved her that she did pity them,” (Act I, Scene 3, line 168). This free relation of love is one that also emphasizes the universality of the play which shows man freely expressing choice through acts: Desdemona chooses to take her place beside Othello on the Senate floor, Othello murdering his wife and taking his own life, Emilia revealing the truth at the cost of her life.  These are all free choices that lead us to understand that Othello is a play that focuses on the “deep, instinctive level where we feel ourselves to be free. “ Another of these choices is emphasized when his service calls upon him on his wedding night and he obliges without hesitation, “Tis well I am found by you: I will but spend a word here in the house and go with you,” (Act I, scene 2, lines 48).  This shows that Othello’s occupation is the source of the dignity and grandeur. This occupation allows him to act for a cause which is the same word that is echoed in his life crisis. This idea is ironic, in the sense that his suspicions of Desdemona’s infidelity do not allow him to investigate a cause and although it serves the plot as well as theatrical purposes that he remain oblivious to Iago’s deception until the end of the play, it must be noted that this is uncharacteristic of Othello and is a contradiction of his occupation that formed the basis of his marriage with Desdemona.