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Running Head: OTHELLO
Othello
[Author’s Name]
[Institution’s Name]
Othello
Shakespeare's this play explores the lovers' relationship, as well as the villain's plans to destroy that relationship, from multiple perspectives.
Othello is shown too brave, too noble, and especially too proud to allow himself to be led back to Venice in chains, there to be publicly displayed and vilified. And while a smaller man might be able to live with having murdered an innocent, loving wife-excuse and rationalizations make soothing ointments-a passion such as Othello's could never allow him to endure the memory of such an act. The same characteristics which make Othello ". . . all in all sufficient," for leading armies conduct Othello to his tragic downfall (Littauer).
The character of Iago is a variation on the Vice figure found in earlier morality plays; he deviates from this model because of his lack of a clear motivation, and because of his portrayal as a very malignant figure. However, Iago is less of a character than a changeable device for the plot, and in this sense, he is a clear descendant of the omnipresent "vice" figure. Iago's great cunning, manipulative abilities and almost supernatural perception mean that he is a very formidable foe, and this makes Othello's fall seem even more inevitable and tragic.
Especially relevant to the issue of Iago's character; for although he is called "honest" by almost everyone in the play, he is treacherous, deceitful, and manipulative. Race is an extremely important theme; it has a great amount of influence on how people regard Othello for those who distrust black people merely on looks never like Othello, like Iago.
Othello is defensively proud of himself and his achievements, and especially proud of the honorable appearance he presents. The allegations of Desdemona's affair hurt his pride even more than they inflame his vanity and jealousy; he wants to appear powerful, accomplished, and moral at every possible instance, and when this is almost denied to him, his wounded pride becomes especially powerful. His world begins to be ruled by chaotic emotions and very shady allegations, with order pushed to one side. This chaos rushes him into tragedy, and once Othello has sunk into it, he is unable to stop his fate from taking him over. Othello's lack of self-knowledge makes him easy prey for Iago.
Once Iago inflames Othello's jealousy and gets the darker aspects of Othello's nature into action, there is nothing Othello can do to stop it, since he cannot even admit that he has these darker traits.
Iago and his evil battle to corrupt and turn the flawed natures of other characters, and he does succeed to some extent. By the end of the play, neither has won, as Desdemona and Emilia are both dead, and Iago revealed and punished.
Othello does not show jealousy. His confidence is shaken, he is confused and deeply troubled, he even feels horror; but he is not yet jealous in the proper sense of that word. Even then, however, and indeed to the very end, he is quite unlike the essentially jealous man, quite unlike Leontes. No doubt the thought of another man possessing the woman he loves is intolerable to him; no doubt the sense of insult and the impulse of revenge are at times most violent; and these are the feelings of jealousy proper. But these are not the chief or the deepest source of Othello's suffering. It is the wreck of his faith and his love (Bradley).
Desdemona's rejection of the 'curled darlings' [1.2.68] or 'natural' choices for husbands with the existence of something innately unnatural and suspect in her character. At line 267, he makes a rare reference to his blackness in a negative way, and begins to compare himself to Cassio, who is fair, eloquent, and courtly, and reveals his insecurity over his age too. However, when he sees her, he refuses to believe Iago, but as we see, the damage has been done, and he returns to Iago to demand 'ocular proof.' [3.3.363] Clearly, the binary opposition represented in the relationship between the black Othello and the white Desdemona is an illustration of cultural tension. The failure of these two individuals to mate successfully demonstrates a cultural failure. Racism is the tool used in Othello by Iago to destroy the lives of two visually different types of people. However, as Davison explains,
Othello is not 'about' race, or colour, or even jealousy. It dramatises the way actions are directed by attitudes, fears, and delusions that rule the subconscious than by evident facts. (Davison, p.64)
Othello is an example of a noble black man at a time, supposedly, when, 'negroes were not known except as slaves,' (Wheale, 2000) yet racism inherent in the society which he lived was capable of reducing him to the barbarous state everyone at root expected of him.
References
Bradley. Shakespeare: Othello - Bradley on Othello. From Shakespearean Tragedy (1904), by A. C. Bradley. March 18, 2002 <http://sunflower.singnet.com.sg/~yisheng/notes /shakespeare/othello_b.htm>
Davison, P. (1988) Othello: An Introduction to the Variety of Criticism Hampshire: Macmillan Press
Littauer, Joel. (1996) or, Why Must Othello Die? Examining Shakespearean Tragedy. March 18, 2002 <http://www.lausd.k12.ca.us/lausd/resources/shakespeare /Shakespearean.Tragedy.html>
Shakespeare, W. (1997) Othello (c. 1602) E. A. J Honigmann (Ed.) Surrey: Thomas Nelson & Sons Ltd.
Wheale, N. (2000) Nineteenth- and Early-Twentieth Century Critical Evaluations of Othello. Shakespeare Text & Performance: Materials for the Second Assignment (Hand-out) |
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