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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,
1996).
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, 1988)
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.
Works Cited
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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