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Brabantio is Desdemona’s father as well as a wealthy Venetian senator, and while he does not play an extensive role in the trajectory of the narrative, his appearances in Act I work to introduce some of the play’s primary themes. Right away, Shakespeare establishes Brabantio as a rather self-absorbed character. He first responds to Roderigo and Iago’s claims about Desdemona by criticizing them for making such a scene in the middle of the night, and only after Roderigo begs him to listen does he show any concern regarding his daughter’s whereabouts. This egotistical point of view becomes even more prominent as Brabantio laments the fact that Othello has stolen Desdemona from him, an argument which simultaneously makes him the center of the conflict and dehumanizes his daughter. When it comes to gender and sexuality, Brabantio embraces a strict patriarchal worldview and refuses to acknowledge that Desdemona has an independent will. He believes that, as her father, he should have the final say as to who she marries, and her decision to challenge this dynamic by eloping calls attention to the play’s interest in women’s agency, or lack thereof.
Race is another major theme that Brabantio’s scenes introduce, and his commentary on Othello’s racial identity highlights the unique struggles that the respected military general faces in a predominantly white culture. Although he has a history of kindly inviting Othello into his home to discuss the war, his attitude toward him immediately flips once his daughter becomes involved. The strong distrust that Brabantio displays toward him reflects not only his fear of Othello’s position as an outsider, but also his disdain for interracial relationships. He readily buys into Roderigo and Iago’s prejudicial claims that Othello is aggressive and hypersexual despite the fact that they are relatively familiar with each other’s demeanor. Brabantio’s racist beliefs ultimately prove so strong that he is convinced that dark magic is responsible for Desdemona’s attraction to Othello, his mind unable to comprehend the possibility of a white woman falling in love with a Black man. Despite the absurdity of these claims, they reflect a very real culture of fear-mongering that eventually enables Iago to destroy Othello.
In the end, Brabantio begrudgingly gives Desdemona his blessing to be with Othello, although this moment does not represent a true change of heart. After hearing his daughter defend her love in Act I, Scene 3, he warns Othello that “She has deceived her father, and may thee.” This ominous line, while reinforcing Brabantio’s wounded ego, is the first reference to Desdemona’s supposed capacity for infidelity. Iago capitalizes on this warning and later uses it as a weapon against Othello. In this moment, however, Brabantio has not truly forgiven his daughter, and he disowns her. Proving himself incapable of change, the resentment he holds toward Desdemona for her elopement ultimately kills him.
