"Characters address the audience and introduce themselves in Shakespeare, as do Trinculo in The Tempest or the porter in Macbeth." (Moore) One may assume, then, that if Othello is being cast as a devil and a fool, he is to some degree aware of this and may experience the need to overcome this theatrical stereotype in addition to the racist stereotypes which may exist in Venice or Cyprus
"Emblems of folly in the first Othello: renaissance blackface, moor's coat, and 'muckender'. (Shakespeare's play)
Imbedded within their verbal wrestling is the subtle but obvious foreshadowing of a more carnal desire they both posses. Shakespeare shows both: "hers implicitly by her hectic but derisive talk of [Benedick] in the first scene when she hears he is back from the wars, his explicitly with a remark about the beauty which might turn him into a lover were the woman concerned not 'possessed with a fury'" (Fletcher, 106) This foreshadowing is implicit within every dialogue between the two
"In its imagery and its portrayals of the beginnings of social chaos and the dissolution of Lear's kingship, King Lear's first scene foreshadows the more ample treatments the rest of the play will bring." (Lockett) It would not be amiss to say that scarcely a theme is brought up in the play which is not introduced within the first few scenes
The ghost seems, after a fashion, almost an evil spirit come to guide Hamlet to destroy his own friends and family. "Fury, almost a violent ecstasy, is first and foremost triggered by the fatal encounter with the Ghost, that is, by an eschatological provocation" (Ozawa, 91)
During the Protestant takeover of England, the Catholic monarch of Spain continuously sought to arrange a marriage between Spain and England in order to keep Britain Catholic -- but the efforts never came to fruition.[footnoteRef:10] (Montrose, 2006)