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In Certain Neurotic Mechanisms in Jealousy, Paranoia and Homosexuality, Freud1 makes distinction between competitive or normal jealousy, projective jealousy and delusional jealousy. To illustrate projective jealousy, he quotes Desdemona's song from Shakespeare's Othello.
I called my love false love; but what said he then?If I court moe women, you'll couch with moe men.Act IV, Sc. 3
Othello's mounting anguish under the impact of Iago's scheming is very moving, and the irrationality of the Moor's jealousy is obvious to every spectator. Many clues are given in the play as to why Othello is so easily afflicted by such a consuming passion. He says of himself, 'I am black … declined into the vale of years'; elsewhere he declares 'the young affects' are in him 'defunct'. The Moor's jealousy and conflict fill the foreground of the tragedy; nevertheless it is always clear that Othello is only a victim and the tool of Iago's machinations. It is Iago who starts the action of the play, sets its pace, and keeps it moving. It should, therefore, be rewarding to seek the motives of this villain who goads a man to murder his wife.
The hero of the drama is a noble Moor who has done great service for Venice as a general. Desdemona, daughter of the Senator Brabantio, falls in love with him and the pair elope. Othello's aide, Iago, angered by the fact that one Cassio has been given preferment over him, is over-whelmed with hatred for the two men, and thenceforth devotes his energies to destruction. First he plots to displace Cassio, then to stimulate Othello's jealousy and goad him until the maddened Moor strangles his beloved and loving bride.