Othello: Black Heart in a White World
Introduction
Shakespeare’s Othello has been popularly regarded as a tragic play about manipulation, deception, and revenge. As Bloom attests, Shakespeare fully explores, through this play, the “conventional dichotomy between reason and love and uncovers its deeply tragic implications (26).” More than this, this highly-acclaimed play written by the greatest writer of the English language, has also been widely regarded as a play about sexual jealousy—the “bloody passion” that weakens the hero and transforms him into a murderer (103)—and its devastating consequences.
Othello, The Moor of Venice: A Summary
Othello is a “noble Moor” who elopes with fair Desdemona and leaves Venice to lead the Venetian Armies against the Turks. Othello and Desdemona travel to the island of Cyprus with Lieutenant Cassio, and as they arrive, they realize that the weather has ruined the fleet of the Turks (Othello 1). Iago, the standard bearer, constantly tries to manipulate Othello and he eventually succeeds by convincing the main character that Desdemona is having an affair with Cassio. Othello’s mind is poisoned by Iago, and out of jealousy, he murders Desdemona in front of Iago’s wife, Emilia. Emilia then tells Othello that Desdemona’s affair is based on mere lies and deceit of Iago. Because of this, Iago kills his own wife and Othello commits suicide in anguish (Othello 1).
Analysis
As writes in his essay, “…to many readers in our time, men as well as women, the subject of sexual jealousy, treated with Elizabethan fullness and frankness, is not merely painful but so repulsive that not even the intense tragic emotions which the story generates can overcome this repulsion” (). This view is hardly surprising, given that a rumor of infidelity brings about Othello’s destruction. It can be argued, however, that Othello’s jealousy is only an external manifestation of his insecurities regarding his race—Othello is a foreigner who has to live in a different society and environment. Shakespeare, then, realizes that being an “outsider” is difficult for the main character, hence the poet deems it important to consider Othello’s race as an important factor in the tragic end of the play; Othello is portrayed as a person whose integrity and self-assured identity has been destabilized because of such unfamiliar culture ().
Moreover, as people view or read Shakespeare’s play, the audience would be continuously reminded that Othello is a black African; not only through his physical appearance on the stage, but also because almost all the other characters in the play are white people who perceive Othello as different, and even probably inferior, as compared to themselves. In fact, in the beginning of the play, there is an undeniable implicitness and even an ambiguous nature about the manner in which Othello is introduced to the audience—as Iago and Roderigo enter in mid-conversation, readers and viewers alike are bewildered over the identity of the “him” they are talking about (). As a matter of fact, it is only in line 30 did Iago make use a noun instead of a pronoun to denote Othello. However, what Iago used is even offensive, for he employed the terms “his Moorship,” which is evidently an improvised alternative to “his worship,” and this slyly further damages Othello’s social pretensions (). Aside from these, the main character is not even addressed as “Othello” until the Senate scene, when the Duke welcomes him as “valiant Othello.” (1. 3. 48).
Also with regard to Othello’s diversity, Iago also both frankly and implicitly promotes the racist behaviors toward Othello in various instances. For example, he perpetuates a stereotype on black people as lecherous, as he contemplates on whether Emilia, his wife, has been unfaithful to him with Othello, the “lusty Moor.” Moreover, he also calls Othello to his face as “my lord” but merely identifies him as “the Moor” behind his back (). Also, in Act 3, scene 3, Iago further reveals his racial loathing by connecting Desdemona’s enticement to blackness, or blackness in general, to uncleanness, for he terms Desdemona’s preference for Othello “Foul disproportions, thought unnatural “ (233).
Furthermore, if Shakespeare had intended to explore the consequences of sexual jealousy as the main theme of his play, Desdemona’s character would more appropriately have been portrayed as a promiscuous woman. Instead, her nature is portrayed as a woman who is innocent and therefore helpless in the face of Othello’s jealousy. In fact, Cassio even describes the female character as a goddess or an image of the Virgin Mary: “Hail to thee, lady! and the grace of heaven, / Before, behind thee, and on every hand, / Enwheel thee round (2. 1. 84-86).
Moreover, Desdemona’s father also makes use of the same terms as he finds his daughter a paragon of virtue—“perfection so could err / Against all rules of nature (1. 3. 100-101)—that it is incredulous that she chooses a black man as a husband. Thus, these points attest to the fact that it is Shakespeare’s intention to explore the tragedy of a strong man weakened by his own anxieties.
Therefore, the role of Desdemona is that of a virtuous wife, used to explore the insecurities in Othello’s character. To further support this fact, Desdemona is even portrayed as a truly obedient woman, as well as a loving and loyal wife. For instance, Act 3, scene 3 of the play presents a contrast of the different personalities of Othello and Desdemona—as Othello strikes his wife in the view of the public, she merely says “Whate’er you be, I am obedient (89).” And eventually, after Othello mistreats her as a whore in the next scene, she asks Iago, “What shall I do to win my lord again? (148).” Lastly, the following words reflect the integrity of her love and unconditional commitment to his husband, in spite of his behavior toward her: “Unkindness may do much, And his unkindness may defeat my life, But never taint my love (4. 2. 158-60).”
In connection to this, the first significant indicator, that Shakespeare intended to use Desdemona to highlight Othello’s insecurities, is the recurring comparison of Othello’s “blackness” and Desdemona’s “fairness”. Beginning with Iago’s words to Brabantio, “an old black ram is tupping your white ewe” (1.1.88-89). In fact, throughout the play, there are constant references to Othello’s color, and his foreign status as a Moor. As was earlier mentioned, Desdemona’s father, Brabantio, could not accept the fact that his perfect daughter would marry a man of color. In fact, he even tells himself that Othello used witchcraft or “practices of cunning hell (qtd. in Hall 65),” to obtain Desdemona.
Truly, the fair Desdemona falling in love with Othello is greeted with apprehension and doubt. In addition to the abovementioned, this is apparent in Brabantio’s statement, “…a maid so tender, fair, and happy…Run from her guardage to the sooty bosom / Of such a thing as thou– to fear, not to delight” (1.2.66-71). Therefore, such references and reactions can be seen as laying the groundwork for Othello’s insecurity and perhaps disbelief that Desdemona could actually love a man of color and foreign descent.
In fact, Othello reveals his own insecurity, before Iago begins to plant the seeds of doubt in his mind concerning Desdemona’s fidelity. At his first interaction with the senators, Othello says, “My very noble, and approved good masters…” (1.3.77). An argument may be raised that “masters” was meant as a term of respect; however, no other characters address the senators as master. Shakespeare shows, that although Othello has moved into a position of authority, he still feels like a slave. Indeed, Othello’s self-doubts reveal his negative perception of his heritage and skin color in spite of his powerful position in Venetian society. He further confirms his self-effacement, “…she wished / That heaven had made her such a man…/ She loved me for the dangers I had passed,” (1.3.162-67). Unfortunately, Othello is unable to see Desdemona’s love for him is based on the strengths that she saw in his character. Instead, he allows his insecurities to dominate his perception of Desdemona’s character and motives.
Othello’s weakness to Iago’s psychological game is caused by a sense of inferiority. Although in certain parts of the play, Othello could be perceived as self-assured with regard to his relationship to his wife, a man not affected and easily jealous, Othello’s insecurity is triggered by Iago’s strategically placed suggestions that only a white woman with a “will most rank” (232) could prefer a man black man and remain devoted to him (Hall 87). With this, one can see that Iago is able to effectively play on the main character’s vulnerable areas—Othello’s underlying distrust towards women and, more importantly, his consciousness with regard to his image and race (Bloom 11).
This is highlighted even more dramatically in the face of Desdemona’s virtuousness, a fact that is acknowledged by several characters. Roderigo, for instance, describes her nature as “full of most blessed condition” (2.1.232). In fact, Othello’s jealousy is more significant given he is aware of his wife’s character. This is apparent in his initial rejection of Iago’s insinuations that Cassio and Desdemona may be having an affair. It is also significant that Othello hints at his own self-doubts in the same conversation with Iago, “Nor from mine own weak merits will I draw / The smallest fear or doubt of her revolt” (3.3.187-88). In spite of such conscious recognition of his wife’s nature and his own self-doubts, Othello’s insecurities prove to be stronger than his love for Desdemona.
In contrast, Desdemona is seen as placing a great deal of value on the role of loyalty in relationships of love and friendship.
Though critics have interpreted Desdemona’s role as, “…a passive one, given Iago’s manipulations and her acceptance of Othello’s brutal treatment” (Hall 64), it can also be argued that Desdemona’s love for Othello is unwavering even in the face of death. Such loyal devotion in the face of cruelty is not possible without strength of conviction.
Thus, Desdemona’s innocence and loyalty act as a sharp contrast to Othello’s weakness of will, to believe Iago over his wife. Further, Desdemona’s passive suffering, to the point she almost willingly goes to her death, is necessary in showing the main theme of the play, insecurity leads to needless suffering.
Desdemona also acts as a catalyst. First, when she unknowingly plays into Iago’s plan by her ardent defense of Cassio, promising she would not let Othello rest until he agreed to reinstate his lieutenant, “My lord shall never rest…thy solicitor shall rather die / Than give thy cause away” (3.3.22-28). And second, when she urges Emilia to, “Commend me to my kind lord” (5.2.126). Perhaps, Desdemona’s dying words to Emilia are only a wish to be exonerated by Othello, however, in urging Emilia to take such action, she deepens Othello’s suffering.
Indeed, both Desdemona and Othello suffer, albeit in markedly different ways. Desdemona is cast in the role of helpless innocence. Bradley writes, “She can do nothing whatever. She cannot retaliate even in speech; no, not even in silent feeling. And the chief reason of her helplessness only makes the sight of her suffering more exquisitely painful” (Bradley 236). Othello, in contrast, ”presents a painful spectacle as a great nature suffering the torment of…passion” (237). Although Othello may not have proved worthy of Desdemona’s adoration, there can be no doubt that he loved her. Indeed, Othello is shown agonizing throughout the play, struggling with his self-doubts and suspicions. He first rejects his doubts based on his knowledge of his wife’s loyalty, “If she be false, O, then heaven mocks itself” (3.3.277). Tragically, he reaffirms his love after he has murdered his wife remarking, “If heaven would make me such another world / Of one entire and perfect chrysolite, I’ld not have sold her for it” (5.2.145-47). Othello now knows that she has always been faithful to him, and she is now gone due to his unfounded faith in Iago, or more importantly, his own self-doubt.
Othello’s folly in accusing Desdemona is finally brought home to him by Emilia’s revelations, establishing Desdemona’s virtue and innocence. As Emilia points out, “O, the more angel she / And you the blacker devil” (5.2.132-33). As Othello unfolds, the blackness that causes Othello’s insecurities transforms into darkness of character. It is not surprising therefore, that critics have suggested that Othello’s distrust of Desdemona is a projection of his own self-loathing onto her. Without Desdemona’s, unblemished, white canvas, it would not have been possible for Othello to blacken her. Thus, Desdemona’s role in Othello is to act as a counterpoint to the blackness in Othello’s soul, a blackness not of his skin but of his own feelings of estrangement in a white man’s world.
Conclusion
With these thorough discussions, it could therefore be construed that Othello is a remarkable play that covers a wide range of themes, from issues of race, relationship with one’s spouse, love, jealousy, betrayal, and the consequences of unsubstantiated suspicions and misgivings. Truly, Shakespeare’s Othello, from its plot, characters, and themes, is a classic account that greatly reflects people’s lives and the relationships they form, maintain, and destroy in the world they live in.
Credit:ivythesis.typepad.com
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