In Richard Dyer's essay, (now book) White, he states: Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”? Get an original essay There are unavoidable associations between white and light and therefore safety, and black with darkness and therefore danger, and this explains racism (while one might well argue about the safety of the cover of darkness and the danger of exposure to light); again, and more fairly, people point to the Judeo-Christian use of white and black to symbolize good and evil, as it is still used in expressions such as "a black mark", “white magic”, “to blacken the character” and soon. (Dyer) These principles of race and theory are prevalent in William Shakespeare's Othello. Through the syntax and imagery used by Shakespeare, patterns of light and darkness are painted to emphasize the goodness of white and the wickedness of black. Othello, the Moor of Venice, is traditionally read as a man of African origin. (Although it can be assumed that he is of Arab or Spanish descent, for this analysis I will refer to Othello as a black African.) The play follows the relationship between Othello, a Christian Moor, general of the the army of Venice, and her husband. of Desdemona, daughter of a Venetian senator. In the opening scene of the play, Roderigo and Iago are introduced on the streets of Venice, in front of Desdemona's father's house. They have just learned of the secret marriage between Desdemona and Othello. Iago, apparently angry at the situation, begins shouting in the streets, waking Desdemona's father, Barbantio. Iago paints an unpleasant picture of Barbantio using black and white images: “Sir, you are robbed! ...Even now, just now, an old black ram / Is on your white sheep” (Ii87-88). This color imagery depicts Othello as a dark, anthropomorphic old "ram" who has stolen Barbantio's innocent and pure little girl. Iago's insult is effective in portraying Othello as a wild, evil, dark man who uses his size and takes advantage of the innocent Desdemona. This echoes Bell Hook's article "Representing Whiteness in the Black Imagination" which explores the fantasy of white goodness and black wickedness. . Bell states, “[society is] socialized to believe in the fantasy that whiteness represents goodness and all that is harmless and non-threatening” (Hook 341). Iago effectively associates Desdemona with white innocence, purity and cleanliness, and Othello with black and evil. Later in Othello, Brabantio forces Othello to prove that he loves Desdemona for love's sake and not because of trickery or magic. Othello proves this to Brabantio, and the Duke speaks to Brabantio about accepting Othello and Desdemona's union when he states: "And, noble signor, / If virtue lacks not delighted beauty, / Your son-in-law is much fairer than black" (I.iii.288-290). He uses Othello's skin color to contrast good and evil. Othello is "fair" despite his "black" skin color and, as such, his behavior does not match his physical appearance This interaction highlights the racism that stems from the assumption that black is evil. Many characters believe that because of his skin color, Othello. does not suit Desdemona Ironically, it is Othello, the Moor, who proves too innocent and too trusting; his ultimate downfall is his belief and trust in Iago, a white man. , he says: Yes, that's the main thing: like - be bold with you - / Don't affect many matches.