Othello
Othello, a Moor, serves as a general and commander of the Venetian armed forces and later becomes the governor of Cyprus. He secretly marries Desdemona, which triggers Iago's animosity when Othello promotes Cassio. Othello subsequently demotes Cassio, believing him responsible for initiating a drunken brawl. Gradually, Othello falls prey to Iago's scheming and, convinced of Desdemona's infidelity, smothers her. Upon realizing her innocence, he takes his own life.
Othello is a dignified and commanding figure, highly esteemed in his military career. At the play's outset, he experiences significant success and everything appears to be in his favor. Desdemona chooses him over her other Venetian suitors, and he successfully defends against Brabantio's accusations of coercion and abduction. The Duke of Venice and the Venetian senators appoint him to lead the forces defending Cyprus against the Turks. Upon arriving in Cyprus, Othello learns that a tempest has eradicated the Turkish threat. In Cyprus, Othello and Desdemona display their affection more openly and less formally than in Venice. They celebrate their marriage, and even the disruption caused by Cassio and Montano's brawl doesn't shake Othello's confidence and composure. Reflecting the archetype of the strong, heroic leader, he declares, "He that stirs next to carve for his own rage / Holds his soul light; he dies upon his motion" (II.iii.164-165). He is decisive and authoritative, ready to act without hesitation. However, Othello's self-assurance wanes as Iago begins to manipulate his thoughts, insinuating an affair between Desdemona and Cassio.
Initially, Othello dismisses the notion that his wife's grace, charm, and beauty could incite his jealousy, asserting, "she had eyes and chose me" (III.iii.189). But Iago's "medicine" (IV.i.46) soon takes effect, causing Othello to doubt Desdemona's continued love for him. When Iago suggests that Desdemona has already deceived her father and Othello, the Moor starts believing her betrayal is inevitable, considering his skin color, older age, and lack of refined manners (III.iii.263-268). He begins to act as if her unfaithfulness is a foregone conclusion, lamenting that "Othello's occupation is gone" (III.iii.357).
Iago stirs Othello into a jealous frenzy through numerous insinuations. However, it appears that the handkerchief—the one Othello originally gave to Desdemona as a token of love—is what finally drives Othello over the edge. Iago persuades Othello that the innocently dropped handkerchief was actually given to Cassio (who then passes it to Bianca) by Desdemona. Othello fixates on this piece of cloth as damning physical evidence during his confrontation with his wife. He references it repeatedly before killing Desdemona: "That handkerchief which I so loved and gave thee, / Thou gav'st to Cassio" (V.ii.48-49); "By heaven, I saw my handkerchief in 's hand" (V.ii.62); and again, "I saw the handkerchief" (V.ii.66). Despite Desdemona’s continuous denials of giving the handkerchief to Cassio, suggesting he might have found it somewhere, her protests are in vain.
Ultimately, Othello is so convinced by Iago's deception that he murders his wife in their bed. The most obvious reason for this act is the one Othello gives to Emilia, stated repeatedly in response to her persistent questioning, immediately after he has smothered Desdemona: "She turn'd to folly, and she was a whore"; "She was false as water"; "Cassio did top her" (V.ii.133; 135; 137). Othello believes Desdemona has betrayed him and their marriage, leading to her death.
Yet, some argue that Othello's motives are more profound, suggesting he killed Desdemona because she violated Venetian societal norms by marrying a Moor. Advocates of this perspective claim that Othello is accepted by Venetian society as long as he remains an external element. Barbantio and the Venetian senators are eager to benefit from his strength and military expertise, but when Othello integrates into their society through his marriage to Desdemona, his presence becomes disruptive. In his final speech, Othello asks to be remembered as "one that lov'd not wisely but too well" (V.ii.345). Is the object of that love Desdemona or Venice? Perhaps Othello never ceases to see himself as a soldier with the primary mission of safeguarding Venetian society. His last act—his own suicide—might be seen as a service to Venice, reflected in the language he uses to preface it. He instructs those around him to recount events exactly as they occurred,
And say besides, that in Aleppo once,
Where a malignant and turban'd Turk
Beat a Venetian and traduc'd the state,
I took by the throat the circumcised dog
And smote him—thus.
(V.ii.353-357)
The final word of this speech is punctuated by the sound of Othello's knife plunging into his chest, fatally wounding him.
In his final speech, Othello reflects on his life for future generations, describing himself as "one that loved not wisely but too well" (V.ii.345). However, from our perspective, Othello's self-evaluation misses the mark. He sees himself as an accomplished and worldly man, both in his own eyes and in the view of Venetian society. Not only has he gained extensive experience as a military leader, but he is also adept at sharing these experiences with others. Defending himself against Brabantio's accusations before the Duke, Othello recounts his initial interactions with Brabantio's daughter:
It was my hint to speak—such was my process;
And of the Cannibals that each other eat,
The Anthropophagi, and men whose heads
(Do grow) beneath their shoulders. These things to hear
Would Desdemona seriously incline:
But still the house affairs would draw her thence;
Which ever as she could with haste dispatch,
She'd come again, and with a greedy ear
Devour up my discourse.
(I.iii.142-150)
Even in Othello's brief, summarized mentions of the tales that form the foundation of his life, reputation, and social standing, there is a sense of wonder; we can almost hear the word "Anthropophagi" resonating from Othello's lips and picture those exotic beings with heads beneath their shoulders. In Act I, Othello seems assured of his own value. However, by the play's final act, Othello is utterly bewildered by what Desdemona's perceived infidelity implies about him as her husband. He struggles internally as he prepares to smother Desdemona in the play's climactic scene:
It is the cause, it is the cause, my soul,
Let me not name it to you, you chaste stars!
It is the cause. Yet I'll not shed her blood;
Nor scar that whiter skin of hers than snow,
And smooth as monumental alabaster.
Yet she must die, else she'll betray more men.
Put out the light, and then put out the light:
If I quench thee, thou flaming minister,
I can again thy former light restore,
(V.ii.1-9)
The turmoil Othello experiences at this moment is beyond his or our complete comprehension. Here, we witness Othello justifying Desdemona's murder as a means to preserve her honor, indicating that he has conflated her identity as his victim with his own role as both victim and perpetrator.
What stands out about Othello and partly explains his drastic fall from heroic leader to savage beast is how easily he is manipulated by Iago into self-destruction. Othello believes he understands Iago, but it is Iago who truly understands his superior and knows exactly how to manipulate him. For instance, Iago is aware that Othello's self-assured demeanor relies heavily on his esteemed reputation in Venetian society. Although this reputation is built on numerous military achievements, it can be tarnished. Additionally, Iago knows that Othello, who has spent most of his life on the battlefield, feels insecure in civil society and in his role as the governor of Cyprus. Ultimately, Othello is an outsider, a mercenary for Venice, wary of threats and suspicious of those who accept him, especially if his standing or esteem in their eyes changes.
There are two main interpretations of Othello's character that have emerged among students and critics: one that views him as virtuous, strong, and trusting; and another that sees him as guilty of self-idealization and excessive pride. Both perspectives are supported by the transformation in Othello's behavior. Initially, he is portrayed as a strong, confident character using typical heroic language. However, as he succumbs to jealousy and rage, he begins to resemble Iago, adopting the villain's animalistic and diabolical imagery. Critics who consider Othello essentially noble argue that this shift illustrates an innocent hero falling victim to Iago's schemes and being corrupted by his evil. On the other hand, some argue that Iago's actions merely expose Othello's inherent savagery, causing his noble facade to crumble. The first interpretation places most, if not all, of the responsibility for Othello's downfall on Iago, while the second places a significant portion of the blame on Othello himself.
Expert Q&A
What quotes reveal Othello's low self-esteem?
Othello's low self-esteem in Shakespeare's "Othello" is revealed through various quotes. He speaks of his "weak merits" (Act 3, Scene 3), expressing doubts about his worthiness of Desdemona's love, and doubts his racial identity, conversational skills and age. He eventually feels he cannot maintain his status as a general, stating "Farewell! Othello's occupation's gone!" (Act 3). By Act 5, Scene 2, his self-esteem is so degraded he declares, "That's he that was Othello: here I am," indicating he has lost his identity.
In Othello, what quotes highlight Othello's nobility and power?
Quotes that highlight Othello's nobility and power include his calm response to Brabantio in Act 1, Scene 2, where he refuses to draw his sword and opts for dialogue: "Hold your hands, Both you of my inclining, and the rest...". Additionally, in Act 2, Scene 3, Othello chastises others for fighting: "Why, how now, ho! from whence ariseth this?". Lastly, his acknowledgment of his royal lineage and esteemed military service further underscores his noble character.
Analyse Othello's final speech in Othello: "Soft you, a word..."
Othello's final speech in Othello highlights themes of honor and the deceptive nature of appearances. He views himself as an "honorable murderer" who killed Desdemona to save her. Proud of his military service, Othello blames his passionate love and jealousy for his irrational actions. He acknowledges his betrayal, expresses deep remorse, and ultimately commits suicide to preserve his honor, revealing his complex understanding of integrity.
What quote from Othello shows his passionate love for Desdemona?
In Act I, Scene ii of Othello, Othello passionately declares to Iago that he loves Desdemona so deeply that he would sacrifice his freedom and wealth for her. He states, "But that I love the gentle Desdemona, I would not my unhoused free condition put into circumscription and confine for the sea's worth." This quote highlights Othello's devotion and foreshadows the challenges to his fidelity later in the play.
Othello as a Tragic Hero
Othello is considered a tragic hero in Shakespeare's play due to his high status, noble qualities, and a fatal flaw—jealousy. He is a respected military leader, but his insecurity and gullibility allow Iago to manipulate him into believing his wife, Desdemona, is unfaithful. This leads to the tragic downfall, as Othello murders Desdemona and subsequently himself. The play elicits catharsis, as audiences sympathize with Othello's internal struggle and eventual realization of his mistakes, fulfilling Aristotle's tragic hero criteria.
The responsibility for Othello's downfall and Desdemona's death
The responsibility for Othello's downfall and Desdemona's death primarily lies with Iago, who manipulates Othello into believing Desdemona is unfaithful. However, Othello's own insecurities and quickness to jealousy also contribute significantly to the tragedy. Desdemona, though innocent, is caught in their machinations, leading to her untimely demise.
Othello: Hero, Villain, or Victim?
In Shakespeare's Othello, the protagonist is often viewed as a tragic hero rather than a villain. Othello is manipulated by Iago, who is the play's true villain, driven by jealousy and malice. Othello's tragic flaw, his susceptibility to jealousy and insecurity, leads him to mistrust and ultimately murder Desdemona, making him a victim of both Iago's deceit and his own weaknesses. Iago's actions, motivated by professional envy and personal vendetta, unequivocally define him as a villain.
Othello's tragic flaw and downfall
Othello's tragic flaw, leading to his downfall, is often debated as jealousy, impulsiveness, or lack of self-esteem. While jealousy is a significant factor, as Iago manipulates Othello into believing Desdemona's infidelity, his impulsive actions and insecurity also play crucial roles. Othello's quickness to act without full knowledge and his susceptibility to Iago's deceit highlight his naiveté and self-doubt, fueled by societal prejudice and personal pride, ultimately causing his tragic end.
The nature and authenticity of Othello's love for Desdemona
Othello's love for Desdemona is initially genuine and profound, characterized by mutual respect and admiration. However, his insecurities and susceptibility to manipulation by Iago reveal underlying doubts, leading to a tragic erosion of trust. This progression from authentic love to destructive jealousy highlights the complexity and vulnerability in Othello's feelings for Desdemona.
Othello's reliance on Iago's proof of Desdemona's betrayal
Othello's reliance on Iago's proof of Desdemona's betrayal highlights his insecurity and vulnerability. Despite his love for Desdemona, Othello is easily manipulated by Iago due to his deep-seated fears and doubts. This reliance ultimately leads to tragic consequences, as Othello's trust in Iago's deceitful evidence drives him to commit irreversible actions based on falsehoods.
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