“Is Iago purely evil, or is Othello incredibly gullible? How does such a strong (or gullible) man become trapped in such plotting?”
Othello, the Moor of Venice is a tragic play written at around 1603 by William Shakespeare, which addresses the encounters of Othello, the protagonist. Othello is a Venetian military general and who falls prey of Iago’s devious schemes, which are triggered by jealousy, deceit and quest for power (Hundley 4).
Shakespeare’s Iago is amoral character who drafts devious plans to lure others into his vengeance mission. Equivocally, I ago is a significant character who participates greatly in Othello’s misfortune. He is also accountable for Emilia, Roderigo and protagonist deaths. He contributes to plot development in the play in that he relates to other characters significantly.
His most important role is to accomplish the tragedy of Othello, which brings out the themes of hatred, envy and vengeance. In addition, he distinguishes Othello’s character and that of Desdemona to expose dramatic irony for the audience to be occupied (Kolin 8).
Is Iago purely evil? Yes. His inherent evilness is seen when Iago makes friends to hate each other by taking advantage of their trust toward him. To attain his mission, he uses their worries and anxieties to “make the net that shall emesh them all” (Shakespeare II. iii. 321-2). His evil motives are mostly a soliloquy that are never attained and becomes forgotten entirely. His scheme is initiated when he desires Cassio’s position of lieutenancy, which he wanted to be his.
He is envious of him and claims that he deserves and will fit into that position. Therefore, he plots a scheme to deceive, rob and eventually kill Cassio to fit in his lieutenant position. He aspires to replace Cassio’s work as a lieutenant by taking advantage of Desdemona’s naivety. He dishonors Cassio by inciting him to finish Roderigo and free him the lieutenant position when he states that “Cassio, I love thee, But nevermore be officer of mine” (Shakespeare II.iii.242-244). As a result Cassio was become unaware of the outcome.
Iago’s devious plans persist when he tactfully makes Othello to believe that his wife, Desdemona, is cheating on him with Cassio even without any evidence to show for it. Iago accomplishes this mission by ensuring that Othello’s thoughts concentrates on the fact that he is being cheated on, an aspect that leads to his tragedy.
Othello instead fall into his scheme and his furry makes him hate his wife whom she doesn’t believe. Significantly, Iago awards Othello with the evil thought that he could kill his wife Desdemona, which will accomplish Iago’s vengeance mission (Hankey 5).
His devious plan is manifested when he claims that Iago had had an affair with Emilia, Iago’s life. To ascertain this fact, Othello points out that “And it is thought abroad that t’wixt my sheets/ He’s done my office” I know not if’t be true/ But I, for mere suspicion in that kind; / Will do as if for surety”(Shakespeare I.iii.381-385). Iago’s paranoia is tremendous to an extent that his insanity is portrayed when he deludes Othello to kill his own wife.
As if that is not enough, Iago robs his friend Roderigo. He uses the funds awarded to him by Roderigo to entice Desdemona. On noticing that Iago kept the money for himself, Roderigo makes threats to Iago and becomes furious about his actions. Unexpectedly, when Roderigo is informed of the scheme to entice Desdemona, his mind is eroded to forget about the money and instead, kill Cassio, whom Iago is envious of and is supposedly having an affair with Desdemona (Hankey 8).
These instances show that Iago has no conscious and therefore amoral, as depicted through his actions. He is deceptive to his wife and friends, which emphasize his evilness. He is tactful in carrying out his schemes, which however portrays his diabolical capability allowing him to erode his friends and his fife’s thoughts.
His intellectual ability is astonishing to the reader since he achieves and gets away with his devious schemes. He is able to win over other’s thoughts by targeting their desires through twisting, playing and eventually brainwashing their psychological power. These instances clearly portray Iago as having no conscience therefore, purely evil (Hundley 5).
Is Othello incredibly gullible? Yes. Othello on the other hand is a gullible character unlike Iago, who falls into the trap of Iago and falls into prey of his evil tactics. Othello’s character is dynamic having been a villain in the beginning and.
His jealousness is exposed after Iago deceives him to become vengeful and kill his wife. Othello angrily point out that “`Damn her, lewd minx! O, damn her, damn her! Come go with me part. I will withdraw To furnish me with some swift means of death. For the fair devil. Now are the my lieutenant’” (Shakespeare I. iii. 122).
This susceptibility and jealousness causes his tragedy. Othello’s weaknesses is exposed by the allegedly wife’s infidelity which he takes as being unclean and disgusting. This is because he observes sex as a unifying force which bloats his paranoia. Iago’s quest to become powerful is manifest as he pursues to destroy Othello who is a Venetian military general since he is envious of his status. Iago in disbelieve wonders how easy it is to brainwash Othello and even appreciates how easy it was to do so (Kolin 203).
How does such a strong (or gullible) man become trapped in such plotting? To start with, Othello falls short of knowledge on brewing power and is therefore doomed to fail. He is in the military as a general and therefore has authority over war such as the Turkish fleet, an aspect which should be reflected in his life but fails to (Vaughan 35).
Othello’s faults indicate that his tragic end is justifiable although he did not deserve it. Being a ‘god of war’ he should have done better than having his several flaws dictates his tragic end. By doing this Shakespeare achieves the reader’s sympathy towards the protagonist.
In addition, Othello lives in his own world since he has distinct race and culture since he is not conversant with traditions in Venetian women and even marries Desdemona irrespective of her father’s disapproval. Besides, He takes women as being holy or as being filthy based on their degree of fidelity. His naivety is reflected as he does not believe his wife since he has witnessed her deceive her father before, a deception that she allegedly transfers to the matrimonial bed.
Moreover, Othello has immature communication skills leave alone his expression of personal thoughts, aspects which exaggerate his inadequacy. He says to Brabantio and Duke that “Rude am I in my speech and little blessed with the soft phrase of peace (Shakespeare 1.ll. 81-82)….. And little of this great world can I speak, More than pertains to feats of broil and battle (Shakespeare 1. ll. 86-87).
He uses violence instead of persuasion when addressing women and murders his wife for a single unproved reason of infidelity. This indicate Othello is unable to multitask and has no flexibility of reason as he trusts Iago, since he has proven to be sincere and friendly as well as being loyal to Emilia His wife.
He does not conduct introspection to evaluate his inner self but believes Iago’s incitement and insinuations blindly, becomes emotional, which leads to his irrational thinking. His gullibility ignites jealous which overwhelms him and controls his actions. Eventually, Iago accomplishes his evil schemes of destroying Othello and his wife who were deeply in love.
In conclusion, Othello’s imperfections justifies his tragic end an aspect that Shakespeare implants in the reader to depict that Othello and his like are not the best people to lead the world due to their inherent imperfections. Although he defends the residents of Venice in war, through his victories and abilities, he emerges a tragic hero since he lacks a sound reason and falls into Iago’s plot. This guilt haunts him and ultimately drives him to commit suicide as he sees it as a means of sacrifice to pay for the death of his beloved wife.
Iago’s quest for power, vengeance is accelerated by jealousy and this does not benefit him in any way. As a result, Intellectual power is necessary to enable one to have a rational and an independent thought before carrying out an action. Othello’s predicament awards sympathy to the reader, which appears more real than fiction (Vaughan 5). Therefore, Iago is purely evil while Othello incredibly gullible since he falls prey of Iago’s devious plot.
Works Cited
Hankey, Julie. Othello. Cambridge: Cambridge University Press. 2005. Print.
Hundley, Sterling. Othello. New York: Sterling Publishing Company, Inc. 2005. Print.
Kolin, Phillip. Othello: New Critical Essays. New York: Routledge. 2002. Print.
Shakespeare, William. Othello: By William Shakespeare. New York: MobileReference. 2008. Print.
Vaughan, Virginia. Othello: A Contextual History. New York: Cambridge University Press. 1996. Print.
Literature always reflects cultural and societal aspects prevailing at the time of its creation. The thesis selected for investigation on World Literature is to “dig out facts on east-west aspects along with identification of discrimination on the grounds of race and culture”. The writer’s view towards society and prevailing circumstances will create a background to his writings. The governmental as well as international affairs can influence those.
The medieval or modern literature exhibits those situations without fail. Therefore, analysis on various literatures produced at different times provides cultural and societal history exploration, which adds to beauty of human life in olden times. The facts and events bring about an effective comparison of ancient situation with status to dig out virtue and vice of both for betterment in current affairs of the society. Main objective is to identify Orientalism in literature under study. According to Edward Said, “Orientalism is the product of circumstances that are fundamentally, indeed radically, fractious” (Said, Edward (1977) Orientalism) which actually is the procedure of reflecting eastern values and aspects in western works.
The paper deals with comparison of east and west culture that prevailed during medieval age and 20th century. The east and west aspects depicted in both reflect the circumstances that prevailed during those times. A critical review on both accompanied by a comparison on both values are identified through this work, so that opportunities of cultural and societal expansion and modification become evident.
The ancestral studies of different groups of people are being given much importance during recent years and thus the relevance of the paper is clear. The literatures selected for the analysis are “Season of migration to the north” by Tayeb Salih and “Othello” by William Shakespeare; former is a medieval work while the latter reflects 20th century. Both gain significance due to the collaboration of east and west values in them along with exhibiting customs and culture of conservatism prevailed in medieval as well as recent years. The literatures were selected considering their popularity and acceptance worldwide even under the names of their authors who have rewritten their names in golden milestone of world literature.
East and west dialogue in ‘Season of migration to north’
The east – west discussion on Season of migration to north has been given significance from the time of its publishing itself. “Scholars consider this novel to be an important turning point in the development of travel narratives that focus on the encounter between East and West in the twentieth century” (Boer 201). There has been a wide analytical discussions being carried out in both West and East areas in support as well as against.
Various detractors seeking out similarities between Saeed with those are comparing the character Saeed with characters from other English literatures. “Two interesting examples are the comparisons that are drawn between Mustafa Sa’eed, the main character in the Season of Migration to the North, and Othello (Harlo 1979 and 1985), or between the former and Kurtz in Joseph Conrad’s Heart of darkness (Krishnan, Shaheen, Maalouf, and Caminero-Santangelo)” (Boer 201).
‘Season of migration to north’ is a renowned literature work by Tayeb Salih, which represents typical postcolonial culture in depth. The work portrays mainly two characters in it, namely Mustafa Sa’eed and the narrator. It was a book written in Arabic, which was later translated to English as well. “Published in the late 1960s, “Season of Migration to the North” was banned by Sudan’s Islamic regime in the 1990s because of its descriptions of a Sudanese intellectual’s sexual experiences in Britain” (Khartoum).
But, later popularity came up to a big glory for it as well as its author which was backed up when “The Damascus-based Arab Literary Academy in 2001 declared the book “the most important Arabic novel of the 20th century”” (Khartoum). This piece of work describes about two Sudanese youth educated at higher levels from England. Both had to return to hometown after studies. It seems to be a mystery out there for narrator regarding Mustafa Sa’eed that compelled to explore on Sa’eed.
Sa’eed living in his place with wife and two children was not ready to exhibit his actual possessions in education, but at a point of time, he had to reveal his studies and life in England. He describes himself as “a prodigy from Sudan who goes to study first in Cairo and then in London, where he hunts women but eventually falls for one himself” (Salih). In his journey through those worst performances on English women leading a few to suicide, he did not consider the situation and emotions of women he met.
He was married to an English subsequently killing Jean Morris due to which he was accused to imprisonment, and following it, he had to return to his hometown. After his revelation about the past, he left a letter to the narrator and vanished in Nile River. But, the story didn’t end with his disappearance and request to narrator to take care of his children, just continued narrating how his wife Hosna Bint Mahmoud was tortured in the name of second marriage compelling her to stab Wad Rayes, her second husband, to death and committing suicide. Later, at Sa’eed’s study, narrator seeks out Sa’eed’s wish to go and live in England which he could not and even his love for English life.
The entire novel of ‘Season of migration to north’ describes on attitudes of women at the age of post colonialism and African feel towards English as a whole. The discrimination on the grounds of race and colour was eminent during those times, which created a negative attitude in the minds of blacks. Words of Sa’eed saying “The sensation that… I have bedded the goddess of Death and gazed out upon Hell from the aperture of her eyes — it’s a feeling no man can imagine.
The taste of that night stays on in my mouth, preventing me from savouring anything else” (Gagiano) can be seen as description of his pleasure in hurting and killing English women derived from his insanity of being discriminated as “the black Englishman” (Gagiano). The explanation for those murders by Sa’eed creates a devilish performer’s portrayal about his inhumane deeds. Through these, author tries to exhibit how circumstances of life define one’s life and background. Coming to culture existing in Sudan and nearby areas showing a peculiar attitude towards women, Tayib succeeds in explaining on unsafe situation.
Women with their husbands dead are exploited in many forms by society against which no notions are available for them. Hosna Bint Mahmoud was a victim of this, who had to murder and commit suicide due to prevailing risky life of hers. The English and Sudanese cultures were entirely different as described in the novel. May be cultural outlook of inferiority for women in Sudan within Sa’eed accompanied by grudge against English might have made him to perform his dirty deeds in England.
Tayib describes that “like a sharp knife, cutting with cold effectiveness” (Gagiano) was so dangerous that it stabbed its last victim after its disappearance from scenario and signed off. As a whole, it represents the cultural as well as societal aspects of in east and west perspectives. This makes clear on the matter of the novel’s link with Othello, which is our topic of discussion.
East and west dialogue in ‘Othello’
The study on east and west dialogue in ‘Othello’ poses a prerequisite for analysis of circumstances prevailing in England and other countries of the world. “The popular unconscious during Shakespeare’s time (1564-1616), the Elizabethan Period, conflated black people with devils and the savage beings depicted in medieval legends, representing far-off, uncivilized worlds” (Maurouard). The status of black and white as well as east and west were well defined with considerable gaps between them. ‘Othello’ creates a major position for Moor General named Othello traversing through his feelings, emotions and problems.
‘Othello’ is stated as a tragedy play written by William Shakespeare in 1603. It is said that the play was written based on an Italian story named “Un Capitano Moro” written by Cinthio in the middle of 16th century. ‘Othello’ is often entitled as “Shakespeare’s famous play of love turned bad by unfounded jealousy” (Othello Summary act I) due to the dependence of the story on the foul play of Iago just for his destination to become Lieutenant of Cyprus. ‘Othello’ is placed in a personal environment and spotlights on the fervour and private values of living of the characters plotted through it. The work is described as a tragedy of personal affairs due to cheating interference of a trusted person common to all victims.
In Othello the title character, Moor holding the position of General in Venice marries Desdemona daughter of Brabantio, a senator in Venice. Roderigo was a fan of Desdemona who wished to marry her and kept Iago under bribe to give him information about her. But Iago, the main villain character of the play responsible for all tragic events due to his wicked deeds, was not at all loyal and just kept Roderigo for his financial profit.
By the time, Othello married Desdemona on which Iago was jealous, informed Roderigo after the marriage, and convinced him that this happened through witchy acts of Othello which news was conveyed to Desdemona’s father who came against, but later was explained on real picture. Later, Cassio was entitled to the dream position of Iago, which made him enraged. He started to plot new plan to wipe out all his rivals in the path towards destiny. Through his cunning plans, he succeeded in expelling Cassio out of his position followed by tricky steps to bring about doubt for Desdemona-Cassio ill affair in the mind of Othello.
Again, Roderigo tried to kill Cassio but Iago had to kill him while Cassio was wounded. Later, Iago was entitled to his set destiny. In his mental agony of doubt, Othello killed Desdemona who was too loyal to him as a wife, refused to admit that her husband had done it to her. However, Emilia, wife of Iago and house cleaner to Desdemona, who knew all facts, revealed those to accused Othello and other governors, which made Othello much outraged and repented. He tries to kill Iago but leaves to suffer, while Iago kills his wife and was caught sooner. At the end of the play, Othello commits suicide and Iago is kept back for torturing and execution by law.
The play portrays how a black man in governance and keeping the hands of a high ranked senator’s daughter brings about problem to superior groups of the society. “It is a play about war-a war between Venice and the Turks, not only over conquest of the Mediterranean basin or between religions East and West, but also on the other as foreigner who must be annihilated” (Maurouard). Othello as a whole is conducting an exploration by a side on the matter of discrimination and superior-inferior feel existing in medieval period, which is evident from the words of Iago saying “what a full fortune does the thick lips owe if he can carry’s thus?” (Maurouard).
The gap of East and West and religions of Islam and Christianity was seen in relationships portrayed in ‘Othello’, which was one among many reasons for doubt of conduct and culture. The gap identified has many other instances as well like entitlement of Othello with ““the Moor”, “the thick lips”, “an old black ram”, “the devil”, “a Barberry horse”, “a lascivious Moor”” (Bartels) and many other words of discrimination of blacks by Roderigo and Iago throughout the play. To be clear, Shakespeare succeeded in plotting East and West and racial discrimination that prevailed in medieval age.
Othello exhibits Turkish intimidation prevailed in Europe at that time which declares an opposition from Christian concepts against Islamic. “Superimposed onto the conception of a world divided between “them” and “us” were the discourses of “Orientalism” and colonialism” (Vaughan 4) which clearly displayed in Othello. Othello is a tragedy play, which shows cultural differences of East and West as well as their effects in the life of various characters of that play. “Othello is described in terms of the characteristics popularly attributed to blacks during the sixteenth century: sexual potency, courage, pride, guilelessness, credulity, easily aroused passions” (McDonald 805). Characterization of Othello in such an image figures out the eastern distinction from west.
‘Season of migration to the north’ vs. ‘Othello’
The comparison of ‘Season of migration to the north’ with ‘Othello’ first seeks out the different but renowned authors from east and west backgrounds respectively. Western Christian culture of William Shakespeare and Eastern Islamic culture of Tayib Salih are responsible for those works in respective manner. In addition, the time of creation is of great importance i.e. 20th century and medieval age respectively. In ‘Othello’, problems and degradation of Othello in Islamic Moor is portrayed while the evilness created and executed by Moor under his cultural and experience background is visualized in ‘Season of migration to north’.
There are many similarities that can be traced out from both works, as they rely on discrimination backgrounds though during different instances of history, which might have led to the idea that “Tayeb Salih shows us an Othello without passion.” (Tayeb Salih Migration to the North). The characters plotted in both works are from similar cultural background, but one is seeking pathetic emotional situation of a Moor (Othello) while the other represents wilderness produced within a Moor with a follow-up of discrimination.
One clear fact evident from both literature works is that an outside viewer pities on Moors like Shakespeare, while insiders have mixed feeling for themselves. Nevertheless, main contrast is related to reason of tragic end in both; in ‘Othello’, it is due to outside interference while in ‘Season of migration to north’ it is Sa’eed’s choice for life. The east west variations in culture and other qualities in both the literatures are identified by many of the literature forecasters. “Complexities in the interplay of racial and sexual politics are more vividly and wrenchingly brought to life in another non-Western response to Shakespeare’s Othello, the Sudanese author Tayib Salih’s novel, Season of Migration to the North” (Hendricks and Parker 295).
The racism and its ugly background in history and literature are being plotted effectively in both works. In the comparative analysis of “Season of migration to north” and “Othello”, it requires the stating of words “packed with colonial symbolism as well as an allusive trope of the signifier/signified dichotomy from Shakespeare’s Othello” (Frank) which describes an existing link between both, but in an antagonistic approach of the author.
One tries to take revenge while other is fallen into the trap just finds himself a loser and murderer of his extremely loyal wife. The characters Sa’eed and Othello share a similar context in the case of Orientalism. “The stereotype of Othello fits Mustafa; but as he states, he carries inside him the germs of the oldest disease, the germs of destruction” (Boer 205). The quote above indicates the valuation of various analysts in the case of east west issues in Season of migration to the north and Othello. Many factors and aspects coincide in both pieces of literatures. The study as a whole makes apparent that something lies smeared with tragedy behind discriminated groups of world by West.
Conclusion
The values exhibited by medieval and modern literature are being sought from the critical reading of ‘Othello’ and ‘Season of migration to north’. The former being a tragedy of cheating brings sympathy on Moor while the other became a consequence tragedy of wicked performance. Both works are excellent pieces of literature ever seen in World Literature sector.’ Othello’ exhibits the problems and discriminations faced by a black with eastern culture in higher positions of western cultured superior society.
There the victim could remain utilized and made to work on the words of treachery. Sa’eed in ‘Season of migration to north’ exhibits multiple feelings and aggressiveness against superior groups through his under-dignified approach on English women. The comparative study on both is significant in the background of seeking east-west issues on world popular literature.
The selection of literatures was based on the popularity and acceptance of those works along with values of humanity and culture they exhibit in abundance. The human factors absent in discriminating and being discriminated on the grounds of beliefs and races are explained explicitly in both works. Shakespeare and Tayib integrate possible disaster on both sides of discrimination in two different tallies. The east-west analysis on literature has thus concluded on the fact that east-west discrimination and cultural problems are major negative aspects even prevailing in modern world with a start from ancient through medieval ages.
Even though an unmarried woman sat on the throne in Elizabethan England, the roles of women in society were remarkably limited. Elizabethans had quite clear ideas about the role of men and women. Men were expected to be the family’s breadwinners, and women were expected to be homemakers and mothers (Pritchard 2021). The birth of a child was recognized a great honor for a woman since children were considered a blessing from God, and Tudor women were proud of motherhood. Elizabethan society was patriarchal: it was assumed that men would be leaders and women would be subordinated (Shahwan 160). Women were regarded as the “weaker sex,” not only in terms of physical strength but also emotionally. They were always supposed to need someone to take care of them. If they were married, their husbands had to perform these duties. If they were single, their fathers, brothers, or other male relatives provided this kind of support.
The man was believed to be the head of the family, and he had the legal right to punish his wife. However, it is essential to understand what this “primacy” represented. As one might assume, this did not mean that the husband was able to order his wife to do whatever he pleased, in other words, to be a petty tyrant (Pritchard 2021). He, as expected, should take care of her, make sure that she does not need anything, and, most importantly, should love her and be a good father to his children. If the husband felt the need to punish his wife, then he was not allowed to be cruel or cause serious bodily harm (Kesselring 34). If he inflicted injuries on his wife, he could be prosecuted.
If the couple genuinely wanted to break up, then they could get a court decision declaring the marriage invalid and illegal from its beginning. Most of the problems at that time were experienced by women who did not want to be married, such was the Queen (Silva 7). Tudor society did not provide enough opportunities for single women, and after the Reformation, there were even fewer of them. It is worth mentioning the fact that before, single women could become nuns; however, during the Reformation, the nunneries were closed (Lyon 2018). Single wealthy women (heiresses of property) had a certain power in society, but the only long-term career for poor women remained serving (Lyon 2018). That is why it was not surprising that most women were eager to get married. Marriage was considered the only desirable state for both men and women, and single women were treated with suspicion.
Marriage in “Othello” by William Shakespeare
The verbal images associated with the themes of love and jealousy in the late tragedy “Othello” help understand the characters’ psychology and penetrate the patterns of these powerful passions. These images differ from the metaphorical style in the early tragedy “Romeo and Juliet” — there, they convey the spontaneous power of a feeling that suddenly flared up, which seems to the heroes something sacred. “Othello” is a tragedy about the grave and terrible trials to which the sublime and deep love of two beautiful people was subjected. The noble Moor, who absorbed the culture of the Italian Renaissance, an experienced warrior, appears to be powerless before the intrigue of Iago, loses faith in Desdemona, and tormented by the jealousy, kills her (Shahwan 162). On the contrary, the love of the young Desdemona withstands all tests, and she forgives her husband even after her death.
The love of a character like Desdemona is the highest value of life. In Shakespeare’s eyes, Desdemona is a rare and heroic nature. Cassio answers the question of whether the governor of Cyprus is married: “An inviting eye, and yet methinks right modest…She is indeed perfection” (Meyer and Miller 796). Brabantio is convinced that his daughter is a victim of witchcraft because she was a modest and quiet girl. However, it becomes evident to readers that their marriage is not like what happened in the Elizabethan times. The main difference is that it was not possible for the girl to raise her status. In this case, Desdemona had feelings for Othello related to his nature. The famous maxim of Othello speaks about Desdemona’s love: “She loved me for the dangers I had passed, And I loved her that she did pity them” (Meyer and Miller 782). Thus, the reader can observe a different level of emotional attachment. In this case, a woman is not perceived as dependent on a man. Othello and Desdemona complement each other, reflecting their needs from their relationship related to filling their internal needs.
Desdemona asks the senators to allow her to accompany her husband to Cyprus, and she speaks of her love: “I saw Othello’s visage in his mind, / And to his honor and his valiant parts / Did I my soul and fortunes consecrate” (Meyer and Miller 784). In her words, there is not only compassion but also admiration for an extraordinary person. Othello admits that he had only the last few months when he did not think about military duty and service in his whole life — and he met Desdemona. He mentions that if he had not fallen in love with her, he would not have agreed to restrict his limitless freedom for all the world’s riches.
These confessions along the way help readers to understand how deeply Desdemona and Othello are connected by love. The main character mentions that his soul experienced such complete and perfect happiness and peace that he would like to die at this moment so as not to expose his happiness to an unknown future. Desdemona replies that their love will be even more potent (Meyer and Miller 785). Thus, this scene becomes another proof that they are connected on a different level. Despite the fact that Desdemona is in every way in a lower position than Othello, she is still perceived as his equal.
The fact is that this character is not dependent on Othello’s actions. The reason for her death is jealousy, which the main character was artificially subjected to. For him, this was not a reason not to love Desdemona since their marriage is genuinely sincere. In addition, it is worth noting that the girl was perceived by Othello as intelligent and talented, which is confirmed by his statements about her. Paying attention to Elizabethan times, then, as already mentioned, women were perceived as weak emotionally. However, for Othello, Desdemona is on an equal level of perception, as she makes sure in every possible way of her intelligence and resourcefulness, which confirms the emotional and psychological independence of the girl.
Conclusion
Summing up, it should be said that Shakespeare perceived the relationship between a woman and a man a little differently than his contemporaries. The fact is that in Elizabethan times, marriage was rather evidence of some agreements between the spouses. Thus, in such situation, the sincerity of feelings is subject to some doubt. This is because unmarried women were perceived ambiguously by society, and it is the evidence that they were forced to marry, as it provided at least minimal opportunities. Even financially independent women were exposed to this influence. Despite their position, they remained dependent on men who had to take care of their wives. Thus, it must be said that the key term, in this case, is dependence, on which he depended in the Elizabethan era.
However, in Othello, the reader can see an alternative view of the relationship between a woman and a man. In this case, it becomes evident that Desdemona has a much more extensive emotional and psychological independence. For her, marriage with Othello is not a way to avoid negative attitudes from society. Their relationship is a demonstration of sincere desires and aspirations to complement each other. This is due to the fact that even despite the motive of jealousy, Othello perceived Desdemona as an equal person. Othello’s last speech cannot soften the gravity of what he has done; but it testifies to his complete rebirth as a man. He will not beg for mercy, reminding of his former greatness; he makes a final, objective judgment about himself and others. The main character carries out his death sentence, sacrificing himself to the one he loved, since this is the only way for him to meet her again.
Works Cited
Kesselring, Krista, and Tim Stretton. Marriage, Separation, and Divorce in England, 1500–1700. Oxford University Press, 2022.
Lyon, Karen. “Wooing and Wedding: Courtship and Marriage in Early Modern England.” Folger Shakespeare Library, Web.
Meyer, Michael, and Quentin Miller. Literature to Go. 4th ed., Bedford/St. Martin’s, 2019.
Pritchard, Richard. Sex, Love and Marriage in the Elizabethan Age. Pen and Sword History, 2021.
Shahwan, Saed. “Gender Roles in the Merchant of Venice and Othello.” Theory and Practice in Language Studies, vol. 12, no. 1, 2022, pp. 158–64.
Silva, Olivia, “’Send Me No Husband’ How Succession Anxiety in Elizabethan England Influenced the Marital Politics in Shakespeare’s Comedies” (2021). Scripps Senior Theses. 1623. Web.
Cultural diversity in theater includes religion, class issues, gender roles, and ethnicity. Culture describes the way people of a certain community live, and what is right or wrong to them.
Many artists have been giving this topic close attention and a very profound presentation for a long period. In the recent past, these aspects have been major concerns in society, and this might be the reason for so much coverage in the literary world. This paper analyzes diversity in culture, and how culture is changing over time using a play by Shakespeare titled Othello. It uses characters and themes in the play to analyze issues in the contemporary world.
Othello is a play about a black soldier in a European set-up. The play is set in Venice, a town known for its unique trade and culture. Othello, a black person, is a skillful soldier who is admired by the people of Venice for his courage and achievements. However, there are people who despise him for he has a different culture, and people of higher ranges just use him for his military skills (Cartelli and Rowe 35). When he finds the woman he wants to marry, it is rumored that he has bewitched the girl, and there is no love between them.
Othello’s different culture makes him a target for many people in the novel, except for his wife, for the reason that she loves him so much. The fact that he is not accepted in Venice gives us an insight into the diversity of culture (Xu 31). In addition, the fight between him and members of his community makes him act unethically by killing his wife without a good reason (Cartelli and Rowe 67).
His race is the cause of all the murder, given the fact that he cannot trust his wife because of the experience he has got by being fought by everyone due to his race (Cartelli and Rowe 78).
The case of Othello is not new in today’s society, where people are recognized by what they achieve and not their culture or race. Tiger Woods, one of the world’s best golfers, is a black person, but people know him for his achievement and not his race. The discussion clearly shows how culture is changing, making it easier for people that were discriminated against to be seen beyond their cultures.
Today, people can live with other persons from different cultural backgrounds without it being a big deal, which is a big step from what was observed several centuries ago. The community is changing, and literature is doing a good job through theater to bring about positive changes.
The play also presents issues that are based on gender and gender roles, whereby we see well-defined roles for both men and women. Just like in today’s society, women are used by men to accomplish their desires (Xu 32). Iago uses Othello’s wife to understand Othello better since he knows that he could harm him by learning more from his wife. However, Othello unearthed the plan, and he reacts so fast.
Othello listens to other people, especially men, but when the house tries to convince him of Desdemona’s innocence, he does not listen to her. He uses his domineering role to silence his innocent wife, who protects him even on her deathbed, and he eventually kills her (Cartelli and Rowe 89). It is the role of men to support women in this society, and that is why Desdemona’s father goes to court immediately, he is convinced that his daughter was bewitched by Othello. Women are being viewed to be the weaker sex and have nothing to say to men.
This culture has gone on for a very long time, making it the norm of society. On the other hand, men have assumed the roles of protecting women even today since we see brothers and fathers protecting their sisters and daughters to the point that they can even kill someone. Feminist movements have started all over the world to change society’s perspectives regarding women, and significant improvements have been made.
It is, however, worth noting that gender roles are not universal, but they entirely depend on the culture of the people being discussed. Some cultures tend to put women on top of the social ladder, while in some other cultures, they are nowhere on the scale, making it necessary for scholars to consider the cultural backgrounds of certain people before analyzing works about them. Class issues comprise another topic in literature, whereby people are divided into categories based on their social identities (Xu 34).
In conclusion, as it is well known that literature mirrors society, it is quite clear that literature does not only provide us with a picture of the way the community is but also interprets some issues for us. Gender, ethnicity, class, and culture have a great influence on our lives today, and the four are closely related to each other.
Works Cited
Cartelli, Thomas, and Katherine Rowe. New Wave Shakespeare on Screen. London, United Kingdom: Polity Press, 2007. Print.
Xu, Yuan-Yuan. “Othello: From Shakespeare.” Sino-US English Teaching 6.8 (2009): 31-34. Print.
As the name suggests, the tragedy of Othello has been a point of discussion by most literature scholars. The point of contention is on whether the piece of Shakespeare’s artistic work meets the basic requirements to be classified as a tragedy. In my essay, I present the argument as to why Othello is a perfect example of a tragedy.
Tragedies are characterized by the presence of a tragic hero. The hero bears a serious a flaw that contributes immensely to his or her downfall. In most cases, such kind of a flaw referred to as a tragic flaw. The flaw is inherent to the person and can be used to give information about his or her background. According to Aristotle, a tragic flaw characterizes a tragic hero and the flaw is manifested throughout the play. In the tragedy of Othello, Othello portrays a perfect example of a tragic hero basing on Aristotle’s definition. This character exhibits two major flaws in his character, which include gullibility and jealousy. His eventual downfall bears a direct linkage to the previously mentioned flaws.
Basing on Aristotle’s definition of tragedy, there are a number of factors that have to be taken into consideration before classifying a play as a tragedy or not. According to him, the prerequisite of a tragedy revolves around the plot of the play. Events are best portrayed as tragic if they happen unexpectedly, and occasioned with the occurrence of one another. Furthermore, Aristotle asserts that for the essence of tragedy to be effective, the hero must be faced with an option that is unavoidable. The presence of a tragic hero is an indispensable factor in so far as classifying a play as tragedy or not is concerned. The main character must bear the qualities of nobility, or rather high stature than other members in that particular setting. Despite this, the main character must portray elements of flaws in his or her character, which will eventually lead to his or her downfall. It is worth noting that the main character ends up destroying himself in most tragedies. This cannot be blamed on others, bad luck, or depravity.
In reference to Aristotelian criterion discussed above, Othello meets the definition to be regarded as a tragedy. Othello, who is the main character, is a perfect example of a tragic hero. Having been a soldier in most part of his life, he commanded the respect and honor from the society. This is the reason as to why he was referred to as governor-general. He is confident even as he defends his marriage to Desdemona, a daughter of Venetian senator. He possesses a soldiery outlook and commands much respect from people of Venice.
As already stated earlier, Othello is a tragic hero who exhibits two serious tragic flaws. These are gullibility and jealousy. He trusts Iago so much simply because he is a military man who they have served together for long time. His gullibility makes him to fail to trust Desdemona who spoke the truth throughout the play. Later on, Othello finds himself torn between his character and the love of his heart. A tragic catastrophe happens when he destroys Desdemona at the expense of misleading information he receives from Iado. This action brings him to his ultimate tragic fall. Therefore, in conclusion, Othello stands out to be a tragedy.
In William Shakespeare’s play Othello, the main character is a man named Othello. He is a Moor, a man with dark skin, who has earned his way to the rank of commanding general in Venice. The play opens with Othello, appearing in nightclothes before an angry mob, trying to defend himself against the accusation that he has shamed the daughter of a wealthy Venetian merchant by joining her in bed.
Iago, another character, helps to incite the mob, but Desdemona appears next to Othello, telling them that she is absolutely devoted to Othello and the two of them are married. It is one of the things that Shakespeare is praised for that these two characters are able to demonstrate such strong emotion.
Their love for each other is seen in their unwavering devotion in this first test of their relationship as they face down the town. However, even this intense emotion, perhaps especially this sort of intense emotion, can easily work against itself. This is demonstrated throughout the play as Iago carefully manipulates Othello’s perceptions, playing off of his insecurities and enflaming his jealousies to the point of violence.
Unaware of what is happening, Desdemona continues to show her fierce devotion to her husband which both blinds her to the truth of Othello’s murderous emotions and feeds them. In the end, both Desdemona and Othello are blinded by their emotions, preventing them from seeing reality which leads to their deaths.
Even before Desdemona appears in the play, it is clear to the audience that she loves Othello beyond all reason. Although much of this idea is perhaps lost on a modern audience, Shakespeare’s audience would have been shocked at the idea that a young girl of good breeding would think to marry someone without her father’s approval or knowledge and that she would marry a man of a different race at a time when that was rare.
She is not a bad girl, though, as she shows her father sincere devotion as soon as she comes on stage. She tells him, “To you I am bound for life and education; / My life and education both do learn me / How to respect you: you are the lord of duty; / I am hitherto your daughter” (I, iii, 182-85). In these lines, she recognizes the care and devotion he’s given her, acknowledges the gifts he’s bestowed upon her and admits that up to this point, she belonged entirely to him.
However, she then says that her duty has been transferred to Othello, who she has taken as her husband. If it is thought that perhaps race didn’t mean anything to the people back then, Desdemona’s father’s reaction to her marriage removes any doubt. This is something Desdemona apparently doesn’t feel is important even though it will limit her social circle. These considerations continue to illustrate the degree of dedication Desdemona feels for Othello.
As Othello begins to express his jealousy, Desdemona does nothing to condemn his behavior. Instead, she agonizes trying to figure out what she might have done to upset him. She never thinks perhaps he is acting unjustly, irrationally or improperly nor does she think that her promises to Cassio might have a role in Othello’s strange behavior. Because her love for Othello is so strong, it doesn’t occur to her to consider he might suspect her intentions regarding Cassio.
Knowing him to be a just man and a capable leader, she cannot believe he would think such things of her or of his once-favorite. This strong emotion for him coupled with her puzzlement over his recent behavior makes it impossible for her to realize the dangerous state of Othello’s emotions or their nature. However, even in the final moments before she dies, Desdemona continues to express love for her husband and satisfaction at her choice for marriage.
Unlike Desdemona, who seems to have a pure and innocent nature, Othello allows jealousy and suspicion to rule him throughout most of the play despite his own innate innocence. In the opening scene, Othello shows why he was able to achieve his high rank even though he was a stranger to the Venice society.
He is a strong adherent to the military code of honor. This code of honor meant strong adherence to a specific set of expected behaviors which included honorable combat among matched foes, adherence to home society laws, fundamental trust of fellow soldiers and an action-oriented approach to life.
In defending Desdemona and his marriage, Othello shows his appreciation for this code in his willingness to argue and defend his position while refusing to take up arms against a man vastly inferior in fighting ability and family by marriage. The higher a person’s rank, the more he is expected to honor the code and, as seems the case with Othello, the harder it is for him to conceive of someone else breaking it.
Whereas Desdemona starts the play arguing for their love, Othello receives the first blow to his faith in his wife. This blow comes from her father as he expresses his own fit of rage. He warns Othello, “Look to her, Moor, if thou hast eyes to see: / She has deceived her father, and may thee” (I, iii, 292-93). Iago exploits Othello’s soldier’s code after hearing the father’s word as he talks about Othello’s “free and open nature / That thinks men honest that but seem to be so; / And will as tenderly be led by th’ nose / As asses are” (I, iii, 393-96). Thus, Iago uses this moment of doubt and suspicion and his own knowledge of Othello’s inner beliefs and insecurities as a means of poisoning the newlyweds.
Rather than understanding Desdemona’s attempts to reunite him to his friend for what they were, Othello hears the ideas that Iago has put in his head about a possible relationship between Desdemona and Cassio. When he sees Desdemona talking earnestly with Cassio, he assumes the worst even though her words, “Do not doubt, Cassio, / But I will have my lord and you again / As friendly as you were” (III, iii, 5-7), reveal her pure intentions and Othello’s central role in their minds.
Despite the nobility and command Othello demonstrates at the beginning of the play, his emotions regarding Desdemona are too overpowering for him to see clearly. Not until his rage is worked out in action does Othello calm down enough to start thinking again. As he learns of her true innocence and his own foolishness, he understands that he cannot live with the tremendous guilt at having killed his love and he runs himself through with his sword.
Both Desdemona and Othello are too blinded by their emotions to be able to see truth. Desdemona tries to demonstrate through her words and actions that she loves Othello and only Othello, but she is unable to see that her attempts at reassurance are only making the misunderstanding deeper. Othello, because of the way in which Iago has painted the scene, is only capable of seeing the ugliness that Iago has suggested.
He accepts it because he has survived by listening to his men before anyone and believing Iago has the same fierce loyalty to his captain that Othello feels for his superior. Had Desdemona not been blind to Othello’s doubts of her love, she might have found a way to reach him. Had Othello not been blinded by his complicated emotions forcing him to fall back on his soldier’s code, he would not have reached the point of violence
Works Cited
Shakespeare, William. “Othello.” The Complete Works of William Shakespeare. Alfred Harbage (Ed.). New York: Penguin Books, 1969.
The movie Othello staring Lawrence Fishbourne is an incredible presentation of the Shakespearian tales of deceit, jealousy, and envy. The movie narrates the life circumstance of general Othello, who is the only African in the Venetian army. Othello meets, falls in love, and finally marries a noblewoman Desdemona played by Irene Jacob, within a short period. As Othello takes up the responsibility of halting the military invasion of Cyprus, lieutenant Iago hatches a plan to scuttle Othello’s marriage, given his deeply felt resentment towards the military general. The role of Iago, performed by Kenneth Branagh, presents the character of an individual consumed by jealousy and self-love following his implementation of a plot targeted to tarnish the reputation of Desdemona in the eyes of her husband (Othello, 1995). Towards the end of the film, Othello is consumed by regret and rage as he reminisces on his wife’s alleged infidelity.
Background Story
The movie narrates the exploits of Othello, Iago, and Desdemona, who are the central characters in the film cast on an ancient theme. The actions of Iago in his pursuit of revenge on Othello best exemplify the features of a tragedy. The movie’s director Oliver Parker employed the blend of race, given his choice of cast members. This helped to enhance the gravity of the conflict told in the story. The union between Othello and Desdemona is fought from various quarters, including her parents (Othello, 1995). The film is staged in an ancient setup that includes the use of crude weapons during warfare coupled with the choice of ancient costumes.
Point of Attack
The movie’s point of attack is Othello’s decision to overlook Iago for a promotion to the position of Lieutenant in favor of Cassio. Consequently, Iago harbors a feeling of resentment towards his general, and he eventually decides to pursue revenge. As Iago executes his devious plot, Othello becomes excessively engulfed in rage and jealousy that leads him to kill his innocent wife. Upon realizing his errors in judgment, Othello decides to end his life out of guilt and shame.
The Plot
The movie’s storyline is characterized by several twists and turns that highlight the writer’s application of suspense to enhance its ability to capture the attention of audiences. At the beginning of the story, the writer advances the statute of Othello as a largely successful military general who serves the Venetian army with distinction (Othello, 1995). Othello similarly falls in love with Desdemona and decides to marry her in secret. Their marriage, however, turns sour as Iago manages to convince Othello of his wife’s infidelity. The movie takes a tragic turn as Othello kills Desdemona and eventually takes his own life.
Turning points
The first turning point in the movie is Iago’s decision to pursue revenge against Othello for what he thought was the latter’s blatant disregard of his military potential. The importance of Iago’s decision in defining the direction of the movie is best exemplified by the gravity of its consequences. Because of Iago’s actions, Othello, Desdemona, and Cassio suffer significantly as the movie unfolds. The second turning point in the movie emerges as Othello falls victim to the trap set up by Iago (Othello, 1995). Othello transforms from a loving and caring husband to a resentful and vindictive person obsessed with his wife’s alleged infidelity.
Symbolism
Iago’s fabrication of evidence by presenting the handkerchief as proof of Desdemona’s infidelity serves to worsen the situation for the couple and results in great tragedy. Symbolism emerges distinctively in the play in light of the director’s attempt to capture the concepts of love and betrayal. Othello becomes increasingly judgmental of Desdemona, given his increased infatuation with religion. His view toward Iago as the play draws to a close is similarly symbolic as he learns the truth about his situation (Othello, 1995). Othello and Desdemona’s consummation of their union is symbolic for many reasons.
Climax
The sex scene makes it difficult for Desdemona to assert her innocence towards the end of the movie because it would be impractical to play the virginity card. Secondly, the scene similarly influences the method Othello decides to use to kill his wife. The sex scene also qualifies as the climax of the movie, given Othello and Desdemona’s expression of happiness and contentment as their relationship flourishes (Othello, 1995). However, the subsequent scene that highlighted Iago’s trickery and conniving tendencies also helps to enhance the movie’s visual appeal among audiences.
The Protagonist
Othello, who also emerges as the movie’s main protagonist, fronts the demeanor of a deeply troubled individual towards the end of the film. The director’s infusion of flashbacks to highlight Othello’s fear of adultery is compelling. Othello cannot stand the thought of his wife with another man, and he lives in a state of constant worry. As such, his flaws result in the crumbling of his marriage and his demise.
The Antagonist
Iago emerges as the key antagonist following his constant manipulation of Cassio and Othello to achieve his selfish interests. The character of Iago best exemplifies the personification of an antagonist since all his actions are actively geared towards harming Othello (Othello, 1995). While he fronts the appearance of a concerned friend keen to help his friend, Iago’s actions, however, reek of wickedness. At the same time, both Othello and Desdemona emerge as chess pieces whose fate is in the hands of Iago.
The Through Line
Through his prophetic foresight of future events, Iago is capable of manipulating the other characters to achieve his objectives. As such, the theme of betrayal and revenge emerges as the movie’s through-line, given their input in informing developments in all the scenes. In the beginning, Iago feels betrayed by both Cassio and Othello and feels the need to revenge (Othello, 1995). Consequently, the running concept in the movie is the pursuit of revenge as a means of settling personal scores, as is evident in the actions of both Othello and Iago.
The Theme
The movie’s main theme is that of treachery following the sustained acts of deceit adopted by Iago against Othello. The theme similarly emerges in the actions of Othello against his innocent wife Desdemona. While betrayal and revenge emerge prominently in the film, the actions that accompany these feelings are treacherous in nature. The tragic end of the movie with the death of Othello and Desdemona coupled with the fate of Iago accentuates the thematic significance of treachery in the movie.
Characters
The most prominent characters in the movie include Othello, Desdemona, and Iago, given their enhanced visibility. Additionally, Cassio, Roderigo, and Emilia are of significant importance given their contribution to the movie’s theme. For instance, Emilia enlightens Othello about the treacherous acts of Iago in a scene that significantly alters the movie’s direction (Othello, 1995). Other supporting characters include Montano, Lodovico, and Bianca, whose input in advancing the director’s thoughts and perceptions remains significant.
Conclusion
In conclusion, despite the fact that Oliver Parker’s production made a slight deviation from the original play by Shakespeare concerning its inclusion of other scenes, his casting decisions enhanced the film’s delivery. The movie’s storyline is direct and easy to grasp among audiences of diverse intellectual backgrounds. Additionally, the use of symbolism in various instances also helped to advance the movie’s central theme. Despite being a tragedy, the movie is very entertaining and is similarly informative.
Work Cited
Othello. Directed by Oliver Parker, performance by Lawrence Fishbourne, Castle Rock Entertainment, 1995.
The Tragedy of Othello is a powerful piece of art written by William Shakespeare. The tragedy is well-known around the world. If you are assigned to write critical analysis of Othello, check this essay example to learn more about the drama, and its characters.
Introduction
The stage directions in the Tragedy of Othello are realistic. The drama is based on the three characters namely Othello, Lago, and Desdemona. However, the directions are based on the modest approach to a drama that is located in two diverse worlds known as the Venice and Cyprus.
Given that the play had no subplot, the play directions tend to budge in terms of place, time, and action once the theme is shifted to Cyprus. The stage directions are the realistic forms of domestic tragedy. However, it does not require supernatural instructions to hook the audience.
The language used to give directions to the audience is natural and restrained. The dialogue reflects the reality of a society that is under pressure from the usual hassles of life. The dialogue simply involves a husband, wife, and a scoundrel. This is a short critical analysis examining the play from multiple perspectives. That is, how I experience it as a silent reader and as a text for public performance.
Critical analysis
The drama is ahead of its time. The play presents the audience with a tragic hero of color. The dialogue sounds natural and does not involve the provocation of laughter in the audience. The imagination of the audience is captured by the fact that the drama involves interracial marriage that was unfathomable in those days.
Further, the drama involves a bed in which murder is eventually committed. The murder is committed on stage. The dialogue is made very realistic by the presence of the villain who appears to possess more lines than the disastrous hero. All the meetings were bold, contentious, and very modern.
The characters in Othello are acting like normal people pursuing everyday undertakings. Othello becomes the victim of a domestic calamity. He is the victim to an envious monster of jealousy (Langis 61). He finds it hard to adjust to the marital existence having been in the armed forces for long. In fact, he turns out to be a chauvinist and protective. Although he is good in the military, he is bad at home. Othello appears to be an awful husband. The play shows that Othello is always imploring for a brawl. Just like Simpson, he murders the wife after being informed that she has been cheating on him.
Typically, this would be the reaction of a husband convinced that the wife has been cheating on him. Such incidents have been happening in the society. Thus, this appears as the main theme of incompatibility in the armed forces of heroism and love in the drama. That s, it involves the risk of isolation. The killing of Desdemona is an evidence of the frustration that Othello is going through after being cheated and convinced by Lago to trust that his wife was cheating on him.
Lago cannot convince the audience in whatever he says given that the audiences have insight into his character though it is not evident to the actors. He pretends to be morally upright so that his intention of ensuring the downfall of Othello is well covered. By planting the handkerchief in Casio’s house, it is an indication of conspiracy between him and the wife (Lankey 6).
The stage businesses are illustrations of what take place in real life. The visual plainness displayed on the stage according to the stage directions focuses directly on the actors and a fascinating account of retaliation, gullibility, and jealousy. The catastrophic downfall of the noble warrior is a common phenomenon in many societies plagued by jealousy and vengeance. Lago at times hilariously expresses his intentions for the murderous abhorrence of Othello.
By acting as a director and producer in charge of staging the tragedy of the Othello, I would ensure the actors bring out the rhetoric of the drama. However, before the action of the drama, Brabantion had been kind to the Moor (Horman 112). He allowed Othello and his daughter to discuss more about him since he was mesmerized by his slave stories. Upon the revelation that the Desdemona had eloped with Othello, his feeling altered abruptly.
He started wondering where he would find and arrest him. However, the rhetoric does not come out clearly even when he is called a thief in the street. Instead, Othello is accused of abusing Desdemona. In deep rhetoric, Brabantio states that his house is not a grange. This meant that he does not keep horses. In fact, this is founded on the fact that the daughter had eloped with a man of color. I would insist that the actors should bring out the rhetoric clearly to sensitize the audience about racism.
Numerous elements would probably catch my attention as a critic of the play. The geographical symbolism represented by the two locations of the play would be important. For instance, Venice is represented by Lago while Cyprus represented by Desdemona. Othello represents the third location called Turks.
This emerged upon considering that the location was only mentioned as a war zone with the other two characters. Venice was at the time of writing the play one of the most influential and cosmopolitan European cities. Indeed, it is symbolic of the white Christian European morals.
The Senate and the Duke ran the city. These were symbols of power and order. On the contrary, Cyprus is very unpredictable and natural. It was isolated from the colonial government. Besides, it is an armed forces premeditated target for both Turks and Venetians. The island is very symbolic of Desdemona. There is struggle to dominate her between Othello and Lago.
Conclusion
Othello involves a variety of actors. In fact, actors such as Othello, Lago and Desdemona dominate the play. In the play, the setting incorporates jealousy and gullibility while such traits rule the society. The short critical analysis examines the play from multiple perspectives. That is, how I experience it as a silent reader, and how I experience it as a text for public performance.
Works Cited
Horman, Sidney. When the Theater Turns to Itself: The Aesthetic Metaphor in Shakespeare, Lewisburg, PA: Bucknell University Press, 1981. Print.
Langis, Park. Passion, Prudence, and Virtue in Shakespeare Drama, West Newton: Continuum, 2007. Print.
Lankey, Julie. Othello, Cambridge City, UK: Cambridge University Press, 2007.Print.
One of the reasons why William Shakespeare’s tragedy Othello never ceases to remain popular with the public is that the themes of motifs, contained in it, appear truly universal. In other words, while being exposed to the staging of this particular tragedy, viewers do recognize the essence of a variety of psychological anxieties, on the part of the characters, as such that relate to their own.
This explains why the staging of Othello can be well adapted to the realities of today’s living. In our paper, we will aim to explore the soundness of an earlier articulated thesis at length, while comparing/contrasting Shakespeare’s original play with one of its most recent cinematographic adaptations – Tim Nelson’s 2001 movie O.
Analytical part
Even though movie’s plot unravels amidst contemporary settings, with American typical high school serving as a background, director had deliberately strived for O to emanate as much of original tragedy’s spirit as possible. And, it has to be said that Nelson was able to succeed in it.
The validity of this statement can illustrated by the very fact that the names of film’s characters phonetically resemble characters’ names in Shakespeare’s play – Odin/Othello, Iago/Hugo, Desi/Desdemona, Duke/Duke Goulding, etc. Just as it is being the case in Shakespeare’s Othello, the only black character (Odin) in the film appears to be everybody’s favorite – the man on a direct pathway towards gaining social prominence.
Despite his blackness, which made him a visible minority in White suburbia’s high school, Odin had proven himself quite indispensible to school’s basketball team. In a similar manner with Shakespeare’s Othello, Odin had found himself fallen in love with white girl Desi – the daughter of school’s principal.
Both lovers’ happiness was about to prove short-lived, however, as after having initially failed at revealing Odin as a rapist, his teammate Hugo designed a plan to expose Desi’s infidelity in Odin’s eyes. Such line of a plot, of course, closely resembles that of original Othello’s.
Moreover, as it appears from the movie and the play, it is namely due to Iago and Hugo’s perverted sense of justice, that both characters wanted to cause harm to Othello/Desdemona and Odin/Desi – apparently, they both considered themselves being treated unfairly by the ‘cruel world’:
“Iago: But he (Othello), sir, had the election:
And I…must be be-lee’d and calm’d” (Shakespeare, Act 1),
“Hugo: I’m considered a utility man… I’m the MVP on this piece of shit team.., and he (Duke) chooses Michael. No way!” (00.08.27). Nevertheless, while being aware of the fact that Othello/Odin could not be challenged openly, Iago/Hugo decided to utilize a particularly sneaky method of destroying his happiness – planting the seed of jealousness in Odin’s heart. Just as it was the case with Iago in Shakespeare’s play, who prompted Cassio to initiate a drunken fight with Roderigo and to consequently lose respect in Othello’s eyes, Hugo encourages Odin’s best friend Michael to act in essentially the same way – to get drunk and to fall out of favor with Odin, as the result.
Once, this has been accomplished, Iago/Hugo proceeded further with his devilish plan – he advices Michael/Cassio to socialize with Desdemona/Desi as something that would help him getting back on good terms with Othello/Odin. Simultaneously, Iago/Hugo encourages Othello/Odin to think of the fact that Desdemona/Desi befriended Cassio/Michael as the proof of her unfaithfulness.
In other words, just as we have pointed out earlier, even watching the initial parts of Nelson’s movie leaves very little doubt as to the fact that the themes and motifs, contained in cinematic adaptation, closely match those contained in Shakespeare’s tragedy.
Nevertheless, there is a striking difference between how Nelson and Shakespeare interpret the social implications of Hugo/Iago’s blackness. Whereas; in the original play the specifics of Othello’s racial affiliation do not imply him being subjected to white racism, in traditional sense of this word, in Nelson’s movie Odin is being shown as an individual who suffers a great deal from being looked upon by his even most open-minded classmates as someone who does not quite belong to their circle.
There is a memorable scene in O, where Michael articulates his deed-seated racist attitude towards Odin with perfect clarity: “Hugo: What about Odin? Michael: What about him? He is a freaking loser. The ghetto just popped out of him” (01.05.51). Apparently, while adapting original tragedy’s motifs to the realities of today’s living in America, Nelson simply could not refrain from incorporating the theme of racism into the very core of movie’s plot.
This is exactly the reason why this theme, along with the theme of political correctness, is being even explored within the context of Odin indulging in intimate conversations with Desi: “Odin: See, I can say ‘nigger’ cause I’m a nigger. You can’t cause you ain’t’ (00.15.02). Unlike what it used to be the case with Othello, Odin never ceases to remain acutely self-aware of the color of his skin.
Another difference between Shakespeare’s play and Nelson’s film is the fact that; whereas, in the play most characters are being represented as well-grown individuals, film’s characters are essentially teenagers. In its turn, this explains the lessened plausibility of film’s action, as compared to what it is being the case with original tragedy.
After all, it was partially due to Othello’s rational realization of the fact that, after having been ‘betrayed’ by Desdemona, he will never be able to get married (because of his old age and ugliness), which filled his heart with anger and prompted him to kill her. Odin, on the other hand, did not have rational reasons to kill Desi – being the most popular person in the school; he would never have a problem falling in love with just about any other white girl.
Given the fact that, as of today, more and more American teenagers tend to think of love as being synonymous to the notion of sex, it naturally predisposes them towards assessing the very concept of ‘romantic faithfulness’ as being quite irrelevant. Therefore, whatever emotionally intense the scene in which Odin strangles Desi to death might be, it can be the least referred to as utterly realistic.
Conclusion
As we have pointed out in Introduction, there are good reasons to consider Shakespeare’s Othello as cinematically adaptable dramaturgic piece. The watching of Nelson’s film substantiates the validity of this claim perfectly well. After all, for as long as the representatives of Homo Sapiens specie continue to remain highly social beings, they will never cease experiencing the whole range of Shakespearean emotions – love, hate, jealousy, revengefulness, etc.
Therefore, despite film’s earlier mentioned shortcomings, it nevertheless can be best defined as utterly accurate in how it tackles the theme of Shakespearian tragic love. We believe that the earlier provided line of argumentation, in defense of such an idea, is being full consistent with paper’s initial thesis – in his film, Nelson did in fact succeed with popularizing the theme of tragic love as such that represents a great philosophical value.
References
O. Dir. Tim Blake Nelson. Perfs. Mekhi Phifer, Josh Hartnett, Julia Stiles. Miramax International, 2001.
Shakespeare, William “Othello”. 2005. WilliamShakespeare.info. 2011. Web.