Othello: Character Analysis

Marxism

- A Marxist Critic would be interested in the political context of Othello and the power structure in the society in which the play is set. - Dympna Callaghan considers the cultural significance of the handkerchief, seeing it as a 'miniature of the nuptial linens', and suggests this is crucially important to the stability of marriage.

post-colonia

- A post-colonial reading would consider the way in which Othello's race is portrayed and considers his outsider status in a white world. - For example, Karen Newman considered the play in relation to Elizabethan stereotypes of the black male and concerns about mixed marriage. - Newman concludes that Shakespeare's play challenges the racist, sexist and colonist views of his society.

Desdemona (2)

- Although Desdemona has disobeyed her father she expects to submit to Othello's authority. - But Desdemona is not faultless, she lies to Othello about her handkerchief and when Othello strikes her, she reproaches briefly, 'I have not deserved this'. - Ultimately, Desdemona refuses to blame Othello for her unhappiness, declaring that it is her 'wretched fortune'. - Desdemona dies valiantly, fighting to be allowed to live and asserting her honesty, however, her final words are contradictory, when Emilia asks 'who hath done this deed?', she replies with 'Nobody: I myself, farewell'. The passivity in her final words contradict her earlier assertiveness.

Bianca

- Bianca is used and abused in Othello. She is seen only in relation to the male characters and is always in a vulnerable position. - Iago accuses her of involvement in the plot to kill Cassio to distract attention away from himself. - Bianca's vulnerability is a result of her social position; however, the irony is that Bianca is more honest and true than the outwardly honourable men who abuse her.

Cassio (1)

- Cassio is a Florentine soldier who is promoted by Othello to the post of lieutenant. - In Act 1 Scene 1 we are offered a belittling portrait of Cassio by Iago. Iago presents Cassio as an inexperienced soldier, a mere 'arithmetician', who has been promoted beyond his deserving. Perhaps this a result of Iago's jealously.

Desdemona

- Early in the play, Brabantio defines Desdemona as his 'jewel', who is modest and afraid to look at Othello. This version of Desdemona proves inaccurate when she speaks in Act 1, however be the end of the play Othello's abusive treatment has turned her into the fearful girl that Brabantio described. This is horribly ironic. Desdemona has been silenced and it seems her final role is to be a sacrifice to masculine pride. - Critic Tom Mc Alindon says that in her own way, Desdemona exemplifies the misleading nature of her appearance. The 'still and quiet', 'never bold' maiden turns out to be one of exceptional composure, prepared to candidly display her physical desire to Othello to both elope and go to Cyprus.

Emilia (1)

- Emilia is Iago's wife and Desdemona's lady in waiting in Cyprus. - Emilia makes the wrong moral choice when she gives the handkerchief to Iago because he 'hath a hundred times/ wooed me to steal it'. Emilia then lies to Desdemona, when she wonders how she lost the handkerchief, 'I know not, madam'. - Emilia's relationship with Iago is a chilling example of marital disharmony. Whatever love is left is felt by Emilia, who tries desperately to please Iago, whereas Iago is controlling and forceful. - It comes as no surprise that Emilia is cynical about men. Her own match has afforded her little pleasure.

Context

- Handkerchiefs were important signifiers of status and wealth. Karen Newman relates this to a story of a 15th century Venetian who was sentenced to 18 months imprisonment after taking a lady's handkerchief. - Christian traditions of the Renaissance suggested that Africans were descendants of Noah's son, Ham, who was cursed by his father. - In the Renaissance, people believed you could tell if someone was good or evil by outward appearance. Therefore, Iago was able to conceal his villainy. - Portrayal of Iago demonstrates some Elizabethan understanding on Florentine writer, Machiavelli. Shakespeare and his contemporaries believed his ideas were immoral and created stage Machiavels as devious.

Othello: Catharsis

Aristotle argues that a tragic hero's punishment will enable the audience to experience catharsis- the feeling of relief that is the result of pity, fear, and ultimately justice. •We do pity him due to the scale of his reversal of fortune •We also arguably fear that we could experience the same fate as him as his weakness is very human, and therefore relatable -Too trusting + Too jealous •Othello does in a sense receive a punishment, as he dies, but it could be argued that his punishment is on his own terms, and does not satisfy the audience's desire to see him brought to justice by those that he has wronged. Therefore it is possible that the play doesn't provide cathartic relief because we can't be satisfied that the world of the play is just.

Roderigo

- He is Iago's first victim and is exploited for his money and involved in the plot to kill Cassio. - Roderigo's primary role is to enable the audience to gain an insight into Iago's methods. - In the subplot, Iago exploits Roderigo for his money, promising him he will be able to enjoy Desdemona's sexual favours. - When Roderigo dies, he calls Iago an 'inhuman dog'. He realises the truth about Iago too late and is the first to recognise is villainy. The imagery of dogs is used repeatedly to describe Iago which reinforces Iago's vicious character. It is ironic that Othello will also use dog imagery just before he kills himself, linking his evil actions to Iago's influence.

Cassio (2)

- However, there is some evidence Cassio lacks military judgement, as when Othello leaves him in charge, he ends up drunk and in a fight. Perhaps Cassio's military inexperience is meant to serve as a parallel with Othello, who is an inexperienced lover. Despite their inexperience both men take their roles seriously. - Cassio's worst qualities are revealed when he is under Iago's influence which gives us another point of comparison between him and Othello. By plying Cassio with drink, Iago can manoeuvre him out of the way and replace him as Othello's right-hand man. From this strength Iago is then able to make Cassio's virtues look like vices.

Iago (1)

- Iago is Othello's ensign. Eaten up by jealously and hatred, Iago seeks to destroy Othello by poisoning his mind against Desdemona. - Iago is a compelling and sophisticated villain. Like many villains in Renaissance drama, he seems to be inherently evil. - Shakespeare presents Iago as cynical, quick-witted and opportunistic, all qualities of stage villains in revenge tragedies. - In more recent times, Iago's role has been reassessed. He is no longer considered the epitome of evil, instead he is an example of an emotionally limited man, driven by professional jealously and class consciousness.

Iago (2)

- Iago's dealings with Othello reveal his real skill. It is possible to argue Iago seeks to replace Desdemona in Othello's affections, although this is debatable, Iago certainly sets out to prove that he is true to Othello, whilst Desdemona is false. Gradually, the ensign assumes the control and power we associate with Othello. - A Freudian interpretation of the play might suggest that Iago is subconsciously in love with Othello. This is reinforced through how Lawrence Oliver played the part of Iago. At the line 'I am your own forever', he kisses Othello on the lips.

Critical Views

- In 'Diabolical Intellect and the Noble Hero', F.R Leavis accepts Othello is a tragic hero, but does not believe he learns anything. So Othello is seen as 'tragically pathetic' - Valerie Traub believes that Shakespeare was concerned by 'unregulated female sexuality', Iago is successful in manipulating because he takes advantage of a real male social concern. - Caryl Philips sees Othello's tragedy as a result of his insecurity and isolation in Venetian Society, 'Life for him is a game in which he does not know the rules'. - A.C Bradley considers Othello to be the 'most romantic figure among Shakespeare's heroes'.

Context

- It is probable that Elizabethan audiences were not receptive to outsiders. This is seen in Shakespeare's, 'The Merchant of Venice', where Shylock is ridiculed and demonized for being Jewish. - Mandate to the Justices Assigned to the Custody of the Jews = Henry prohibited all Jew - In 1596, Queen Elizabeth issued an "open letter" ordering they be deported from the country - in 1601, she complained again about the Moors that re "crept into this realm" + "defamed them as "infidels, having no understanding of Christ or his Gopel" - 1601: one last time, authorized their deportation

Feminist

- Many Feminist critics have noted how female characters in Jacobean tragedies are victims who have limited power and are punished for their sexuality. - Marilyn French argues that despite Desdemona's assertiveness in choosing her own husband, - Desdemona 'accepts her culture's dictum that she must be obedient to males'.

Desdemona (3)

- Othello is reluctant to directly address his fears about her, instead he speaks of a 'pain upon my forehead here', an equivocal expression of such fears which Desdemona interprets in the innocent sense. - 'What ignorant sin have I committed?' - 'My downright violence and storm of fortunes' - Shakespeare remembers the people in Cinthio's tale who blamed Desdemona's father for giving her a name of ill-omen. One based on the Greek word 'dusdaimon', meaning ill-fated.

Emilia (2)

- Shakespeare gives Emilia a distinctive and increasingly assertive female voice. For example she replies sharply when Iago derides women in Act 2 Scene 1, 'You shall not write my praise'. - In Act 3 Scene 4 we see that Emilia is more realistic about relationships, 'They are all but stomachs and we all but food'. The audience will appreciate that Emilia speaks from bitter experience. - Emilia is Desdemona's comforter and protector of her honour. She plays the role that Othello should have played for her. As Desdemona becomes less assertive in the second half of the play Emilia's role becomes more important, she becomes her mistresses' energetic defender, voicing the audience's outrage at the treatment Desdemona receives.

Imagery

- Shakespeare's use of hell imagery subverts the negative stereotype of the evil black man and links Iago firmly to the figure of the vice from medieval drama. 'When devils with their blackest sins put on they do suggest at first with heavenly shows'. In the final scene, Emilia calls Othello 'the blacker devil'. - There is of course the repetition of animal imagery.

Jealousy (2)

- The imagery associated with jealousy suggests it is an all-consuming irrational emotion. 'The green-eyed monster, which doth mock the meat it feeds on'. - There is a strong sense of devouring in these images, which links with Iago's description of Othello being 'eaten up with passion' when he believes Desdemona has been unfaithful. - Shakespeare explores the monstrous power of jealousy once again in 'The Winter's Tale', when King Leontes becomes convinced his wife Hermione has been unfaithful. -Iago's professional jealousy sets the tragic events of the play in motion. Iago envies Cassio and the 'daily beauty' of his life. There could be an element of professional jealousy in Iago's motives towards Othello. -Sexual jealousy is also a major theme. Iago's sexual jealousy is prompted by rumours that 'the lusty moor hath leaped into my seat'.

Iago (3)

- The visual imagery of Oliver Parker's 1995 film explicitly links Iago to the Devil, he covers his hands in soot when he speaks of the 'divinity of hell' and is often seen against a dark background. - Also in Oliver Parker's adaption, Iago's control of Othello is seen when the ensign locks his master behind bars. It is from this cell that Othello overlooks Iago and Cassio's act 4 scene 1, he is left trapped and powerless.

Jealousy (1)

Jealously is a form of tyranny in Othello. It destroys honour and nobility in those it afflicts. It makes the male protagonists murderous and violent, as Othello says in the final scene he will 'tear her all to pieces'. Once Othello has destroyed as a result of his jealousy, it physically destroys him

Iago

Machiavel = character who is prepared to act immorally in order to achieve their aims 'Iago' is a shortened version of 'Santiago' or 'St James'. St James was also known as the 'Moor killer' with his deceptive and sinister nature, serves as an appropriate contrast to Othello's honour and dignity He has 1,097 lines, compared to Othello's 887 Can be argued he merely enjoys performing evil acts for his own pleasure, much like the stock character of the 'Vice' in medieval morality plays.

Othello: Evil

Othello commits evil with intent 3.3: before he has false "ocular proof" of her infidelity he is going going to formulate a "swift means of death for the fair devil", ndicating taken a strategic approach to her murder Cruel wish for D to suffer reinforced: "let her rot and perish and be damned tonight, for she shall not live" -Tricolon of there different forms of suffering (physical and spiritual) -Declarative and unambiguous admission of intent to kill. -Strategic nature of the plan is indicated through Othello's consideration of multiple options for her murder. -"I will chop her into messes" -"get me some poison Iago"

Othello - Jealousy

Othello fulfils Aristotlian convention of a tragic hero as someone whose fatal weaknesses cause him to commit a fatal error, the irreversible murder of Desdemona. Significant tragic flaw of Othello = jealousy I manipulates jealous passion shifting his rationality to uncontrolled anger Mental and physical impact of jealousy: "the "fit" Violent: slapping D infant of Lodvico + eventual murder

Key Connections

- Unequal and socially unacceptable matches are portrayed frequently by Shakespeare's contemporaries, notably in the plays of John Webster, in The Duchess of Malfi, where the Duchess is murdered after her secret marriage to servant is revealed. - In Hamlet, the tragic heroine Ophelia goes mad when her lover Hamlet rejects her. Ophelia drowns having fallen out of a willow tree. This shows that love and madness are often linked together in Renaissance drama. - In 'Tis Pity she's a *****, by John Ford, the bedroom setting once again becomes a location of tragedy in Jacobean drama. Giovanni kills the sister he has had an incestuous affair with in her bedroom.

Context

- When Othello calls Desdemona a '*****', he degrades himself too. A wife's good reputation was integral to a man's honour. - Greeks and Romans saw suicide as patriotic and a way of preserving one's honour. - John Knox wrote 'The First Blast of the Trumpet against the Monstrous Regiment of Women' in 1558, 'A woman ought to serve her husband'. - In 1600, John Pory published a translation of John Leo's 'A Geographical History of Africa'. He described the men of Barbary as 'proud and high minded'. He also said 'no nation in the world is so subject unto jealously'.

Race and Colour

Othello's race is at the heart of how he is perceived. It is notable that even Desdemona who never regrets marrying Othello is forced to explain her choice. She defends marriage by saying she 'saw Othello's visage in his mind'. This suggests that either Desdemona looked past his colour or that Othello's stories and origins excited her. Even Brabantio seems to accept Othello for his race, 'Your son in law is far more fair than black'.

Othello: dramatic reversal of fortune

Respect and status -Valiant Othello replaced by Cassio "fallen in the practice of a damn slave" •Composure/ speech -Poetic manner. Never uses profanity. starts using words similar to Iago "zounds" "strumpet" •Romance/love -My fair warrior/ soul's joy/ most happy Fair devil/ lewd minx However, he undergoes a reversal of fortune as a result of his fatal error in trusting Iago's lies about his wife. Jealousy causes him to decline from a noble man to a savage and violent murderer •Realisation comes too late -"roast me in Sulphur"-wants to be punished "like the base Indian"

Genre

The critic Tom Mc Alindon claims that classifying the play as a tragedy of jealousy is too limiting. This is central, but jealousy opens up to large emotional and philosophical issues. In Othello, jealousy is an emotion where love and hate contend and Iago insists he hates the man he pretends to love.

Strucutre

The sense of claustrophobia is heightened by the fact there is no real subplot in Othello. Even the characters who have other lives are closely linked to the married couple. The single plot intensifies dramatic tension as we are never given a moment's respite to look away from Iago's progress as he pushes Othello towards tragedy. The construction of scenes is extremely effective in Othello. Long scenes of painful discussions are punctuated by short scenes or moments of violence. The majority of scenes take place at night. The opening scene occurs in the street in Venice at night and ends in Othello's bedroom in Cyprus at night. Perhaps Iago can use the cover of darkness to conceal his plots. It could also be argued that there is never any doubt that evil will triumph over goodness.

Othello: Tragic Hero

· Aristotle states that a tragic hero should be a person of high status, typically a King or member of the aristocracy · Othello is a Moor -> social outsider often associated with derogatory racial stereotypes · lacks the royal blood or aristocratic status that is typical of a tragic hero · Although not a king, Othello is a military general who commands the respect of the senate · Shakespeare demonstrates this through the Senate's use of positive, reverential epithets when interacting with or referring to Othello · "valiant Othello"- Duke "noble Moor" Senator Montano · However status undermined by racial discrimination he faces because he is an outsider

Branbatio

· Brabantio is a Venetian senator and Desdemona's father. · Brabantio is an important man used to commanding others, ironically these are qualities he shares with his son in law. · Brabantio refuses to have anything to do with his daughter after her marriage, and his final words to Othello are 'She has deceived her father and may thee'. The loving father is replaced with a prophet of doom. In Oliver Parker's adaption these words are repeated in a flashback late in the play, showing their importance for Othello. · It is important to remember that Brabantio is another victim of Iago's manipulation. His unfavourable view of Othello is influenced heavily by the ensign's characterisation of the moor.

Othello (1)

· Othello is a Moor and a successful mercenary general who works for the state of Venice. He is eventually posted to Cyprus as a governor during the Turkish Conflict · Remember that one of Shakespeare's earlier plays 'Titus Andronicus' features a Moorish villain. · Before he appears on stage, we are led to believe by Iago that Othello is bombastic and conceited, but Othello's appearance in Act 1 Scene 2 contradicts Iago's assessment, instead we see openness, sincerity and a natural authority.

Othello (3)

· Shakespeare encourages the audience to view the Moor's race positively and race is not an issue for Desdemona. As Othello reminds Iago, 'She had eyes and chose me'. · Othello's race seems to trouble him later in the play. Once his mind has been poisoned by Iago, he comes to doubt his attractions. For example, in Act 3 Scene 3, 'Haply for I am black, and have not those soft parts of conversation that chamberers have'. · When Othello and Desdemona meet in Cyprus, we get the impression the hero is overwhelmed by his love for his wife saying, 'Chaos is come again'. It seems Othello cannot master his romantic feelings, so may be in the grip of emotions he cannot control before Iago sets to work on him.

Othello (5)

· The critic F.R Leavis has suggested that Othello's readiness to believe Iago is a sign the hero is 'simple minded', but Othello is not a fool, by the time of the murder he recognises he has been 'ensnared'. · Othello's degradation is evident through his changing speech style. He uses more oaths in the second half of the play, perhaps indicating moral corruption · T.S Eliot claimed that Othello's last speech was a 'terrible exposure of human weakness'. · Unlike Shakespeare's source, who calls him 'the moor', Shakespeare invents for him a unique, musical name that empathises his status as an exotic stranger and correspond with the rich sonority of his idiosyncratic speech style.

Othello (4)

· The critic Thomas Rymer claims that we know just how powerful Iago's influence is because Othello begins to speak and think like the ensign when his imagination is polluted. · As an audience, we are forced to come to terms with the idea that Othello is not wholly noble, he is also capable of savagery. He sinks to bestiality in 'I'll tear her all to pieces'. · The transformation of Othello is troubling as he begins to trust Iago more than his wife. This is only possible as Iago reminds him that he is an outsider and addresses him as ordinary and foolish. This is intolerable for Othello. · The critic Tom McAlindon says the fall of Othello is essentially a temptation scene, rooted in the Judeo-Christian myth of Adam and Eve.

Othello (2)

· Unlike Shakespeare's other tragic protagonists, Othello is not a monarch (King Lear) or an aspiring monarch (Macbeth), however he is a worthy figure and Shakespeare stresses his nobility. The moor is a descendent of a royal line of kings and has been an impressive military commander. · Othello's positive attributes indicate that we should see him as a hero, as does his customary mode of speech, Othello speaks in blank verse early in the play and is a fine rhetorician. The Duke of Venice recognises Othello's suitability as a wooer in 'I think this tale would win my daughter too'. · Othello's race is a significant part of his characterisation. Othello is not the stereotypical immoral, lustful Moor of typical Renaissance drama (as he is portrayed by other characters).

Othello: Essentially Good

· he offers a peaceful solution to a situation that could well have escalated to a violent conflict: · Instructs B to "put up your bright swords for the dew will rust them" · Highlights calm, collected tone displays a sense of natural authority. · However, we should question the morality of Othello for murdering D for an unproven crime · On the basis flawed "ocular proof", Othello concludes that Desdemona "must die, else she will betray other men" · We are fully aware of her innocence, yet Othello trusts his own instincts · Tone of certainty illustrates Othello's unwavering determination to kill. · Modern perspective: O justification is misogynistic , as he rationalizes murdering a women on the basis that it will protect men.

Setting: Cyprus

Cyprus is the 'warlike island'. The conflict and danger of the setting is mirrored in the tragic events that unfold there. Cyprus is threatened by the Turks and Othello's mind and marriage are threatened by Iago. Being away from the civilisation of Venice, Iago's schemes can prosper. It is tragically ironic that a once great soldier should die for love in a war zone. In Greek myth, Aphrodite, the goddess of love was thought to have risen from the sea on the west coast of Cyprus near Paphos. As well as love, Cyprus was associated as a place of danger. There were continuous wars between Christians and Muslims for control of the Mediterranean during the Renaissance.

Language

From Act 3 onwards Othello and Desdemona struggle to understand each other's language. The disruption of their marital harmony is conveyed through the disruption in their lines. After the murder, Othello recovers, returning to the majestic idiom of his earlier speeches. His final speech echoes his first to the senate, but now Othello no longer speaks of himself as a worthy hero but compares himself as a 'circumcised dog'.Language is the source of Iago's power; his language is full of colloquialisms and oaths. He slips between prose and verse, adapting his style for different audiences and purposes.

Language

From his opening speeches in Act 1 Scenes 2 and 3 Othello's characteristic idiom is dignified, measured blank verse. This helps establish heroism and nobility. Desdemona acknowledges her husband's rhetorical power and she was seduced by his storytelling. Notably, Desdemona uses the same dignified and purposeful idiom that Othello employs. Through their shared speech patterns Shakespeare conveys the harmony and mutual affection between them. The lovers are, as Iago expresses it 'well-tuned'. Elizabethan and Jacobean dramatists used language to establish and build dramatic atmosphere, but in Othello this is not the only function of language. In Othello, the language is the action. Through language Iago can poison Othello. This play shows the power of words, we can watch characters construct their own and others' identities and exert power by speaking, remaining silent or silencing others.

Genre

Greek tragedy is based on conflict and depicts the downfall of a noble protagonist. Aristotle suggested that tragedy should evoke pity and fear in an audience. Othello fits into this classical mould in several ways. Othello is a high-ranking general descended from a line of Kings, driven by jealousy and conflict Othello's downfall in depicted. Othello is a highly original tragedy, Shakespeare presents the first black hero in English drama, Shakespeare also subverts tragic conventions by keeping the evil revenger Iago alive at the end of the play. In most Jacobin tragedies the villain dies in order to restore order.

Setting: Venice

Venice has a reputation as a city of wealth and sophistication but was also perceived as a place of loose morals. In 1614, William Davies wrote that 'Italian women were very lewd and wicked', so perhaps Othello couldn't be blamed for believing his wife's infidelity, as Venetian women were often promiscuous. So, Shakespeare can use this setting to establish Othello as an outsider. Elizabethan dramatists often used Italian settings for plays about affairs, intrigue and revenge. This was because foreign courts were stereotyped as being full of villainy and sexual perversion.