Desdemona the mouth of the lady) that European women are unwise to marry the temperamental males of other nations. While Shakespeare followed Cinthio's tale very closely in composing "Othello", he deviated significantly in some details. He invented Desdemona's father, Brabantio, and her dissolute Venetian admirer, Roderigo. He invented the entire first act in which Iago arouses Brabantio's prejudices against Othello, and Desdemona defends her choice of husband before the King. Shakespeare considerably expanded the role of Cinthio's ensign's wife. In Cinthio, she is simply Disdemona's companion but in Shakespeare she becomes Desdemona's attendant and confidante. In Cinthio, the ensign filches Disdemona's
Name of the Father Law' (Écrits), and the Symbolic Father is thus not an actual subject but a position in the Symbolic Order. By contrast the Imaginary Father is an imago, the composite of all the imaginary constructs that the subject builds up in fantasy around the figure of the father; and may be construed either as an ideal father or as the opposite, the bad father – what Slavoj Zizek referred to as "the "reverse" of the father, the "anal father" who lurks behind the Name-of-the-Father "qua" bearer of the symbolic law". As to the real father, Lacan stresses how "the ravaging effects