In Richard Dyer's essay, (now book) White, states: Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay There are inevitable associations of white with light and therefore safety, and black with darkness and therefore danger, and this explains racism (while one might argue about the safety of the cover of darkness and the danger of exposure to light); once again, and with more justice, people underline the Judeo-Christian use of black and white to symbolize good and evil, as reported again in expressions such as “a black mark”, “white magic”, “for blacken the character” and Presto. (Dyer)These principles of race and theory are prevalent throughout William Shakespeare's Othello. Through the syntax and imagery used by Shakespeare, the motifs of light and darkness are depicted to emphasize the goodness of white and the badness of black. Othello, the Moor of Venice, is traditionally read as a man of African descent. (Although one might speculate that he is of Arab or Spanish origin, 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 Venetian army, and the husband of Desdemona, daughter of a Venetian senator. In the opening scene of the opera, Roderigo and Iago are introduced to the streets of Venice outside 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 street, waking Desdemona's father, Barbantio. Iago paints an unpleasant picture for Barbanzio using black and white imagery: “Sir, you have been robbed! ... Even now, right now, an old black ram/ Is riding your white sheep” (Ii87-88). These color images describe Othello as an anthropomorphic, dark, old "ram" who has stolen Barbantio's small, innocent, pure daughter. Iago's insult is effective in painting Othello as a wild, evil, dark man who exploits his size and takes advantage of the innocent Desdemona. This parallels Bell Hook's article "Representing Whiteness in the Black Imagination" which explores the fantasy of white goodness and black badness. . Bell states, “[society is] socialized to believe the fantasy, that white represents goodness and all that is benign and non-threatening” (Hook 341). Iago actually associates Desdemona with white innocence, purity and cleanliness, and Othello with blackness and evil. Later in Othello, Brabantio forces Othello to prove that he loves Desdemona out of love and not because of some deception or magic. Othello demonstrates this to Brabantio, and the Duke speaks to Brabantio about accepting Othello and Desdemona's union when he states: "And, noble lord, / If virtue lacks no delighted beauty, / Thy son-in-law is far more handsome than black " (I.iii.288-290). He uses Othello's skin color as a way to contrast good and evil. Othello is “fair” despite his “black” skin color, and as such, Othello's behavior does not match his physical appearance. This interaction highlights the racism that comes from the assumption that black is evil. Many characters believe that, due to the color of his skin, Othello is not suitable for Desdemona. Ironically, however, it is Othello, the Moor, who proves too innocent and trusting; her ultimate downfall is her faith and trust in Iago, a white man. In Iago's most obscene monologue he states: Yes, here's the point: how - to be bold with you - / Not sway many proposed matches / Of his own climate, complexion and rank, / To which we see in all things that nature tends - / Foh! in such a will one can feel.