In creating his tragedy Othello, Shakespeare tightened and dramatized the original story in several ways. The plot is concentrated in time and space, other characters are introduced to give, in several places, a double motive for an action. Iago now plots to destroy Othello, for a variety of motives, rather than Desdemona. Roderigo provides Iago with a useful dupe; his existence allows Iago to outline his wicked plans in conversation rather than soliloquy and to demonstrate his capacity for ruthless manipulation. Emilia provides a running commentary on Iago and his character, which she ascribes to all men. She innocently picks up the handkerchief, allowing the elimination of the daughter from the plot, and is a quick source of the information that finally condemns Iago.
Shakespeare also significantly altered the story's ending, concentrating revenge, love, and despair in the final dramatic scene of the play: murder in the marriage bed, followed immediately by revelation and grief. Shakespeare's Othello murders his wife alone, face to face, by strangulation, struggling with his love for her to the end.
By concentrating the action and developing the characters into fully realized human beings, with their own names, personalities, and ways of looking at the world, Shakespeare created a tragedy whose beauty and pathos is universal.
