Chapter 4 Reading Othello

Transcription

1 Chapter 4 Reading Othello Othello has a peculiar power to haunt us as an uncanny "projection, from the past, of our conflicted present Mitchell Greenberg Othello's play is relevant today in terms of pressing contemporary issues: racial difference, cultural relativism, colonial exploitation, class, gender, ethnicity, sexuality,..nationality.

2 Othello is popular with theater companies and audiences Characters are so remarkable and productions are so controversial What keeps it in the canon?? Unlike Cinthio s source, where Othello was not even given a name (just the Moorish Captain ) Shakespeare raised his protagonist to a position of great influence and importance in the state and invested with nobility of character

3 The full title of Othello is The Tragedy of Othello, the Moor of Venice. This has a three-fold significance: 1- The play is a tragedy and tragedies involve the death of a great person. Othello is a descendant from royal blood. I fetch my life and being/ from men of royal siege ( ) and Desdemona is the daughter of a Venetian senator. 2- Othello is described as a moor, a term derogatively used of any black of North African origin 3- The play is set in Venice, not England

4 Dramatis Personae Duke of Venice Othello: Moor, married to Desdemona Iago: Solider in Othello s army Cassio: Lieutenant in Othello s army Desdemona: Othello s wife Emilia: Iago s wife Rodreigo: Solider, love Desdemona

5 Act I Scene 1 Read (I. p:51-8 Othello, p: 102 SC) Othello begins in the city of Venice, at night Roderigo is having a discussion with Iago, who is bitter at being passed up as Othello's lieutenant. Though Iago had greater practice in battle and in military matters, Cassio, a man of strategy but of little experience, was named lieutenant by Othello. Iago says that he only serves Othello to further himself, and makes shows of his allegiance only for his own gain He admits that his nature is not at all what it seems. Iago is aware that the daughter of Brabantio, Desdemona, has run off with Othello, the black warrior of the Moors. Brabantio knows nothing of this coupling Iago decides to enlist Roderigo, who lusts after Desdemona, and awaken Brabantio with screams that his daughter is gone. (p: 54 Othello) Watch movie scene (action-packed play from the onset)

6 Analysis: Friendship The relationship between Roderigo and Iago is somewhat close Roderigo shows this in his first statement: Iago "hast had [Roderigo's] purse as if the strings were thine," he tells Iago (I.i.2-3) The metaphor shows how much trust Roderigo has in Iago, and also how he uses Iago as a confidante Does Iago share the same kind of feeling? As far as Roderigo knows, Iago is his friend Appearance is one thing and reality another, as Iago soon will tell.

7 Analysis: Trusting Appearance Iago tells several truths about himself to Roderigo He trusts Roderigo with the knowledge that he serves Othello, but only to further himself. How ironic that after Iago's lengthy confession of duplicity, Roderigo still does not suspect him of doublecrossing or manipulation. Iago seems to do a great deal of character analysis and exposition for the audience He divulges his purpose in serving Othello, and the kind of man he is. Appearance vs. Reality is a crucial theme in Iago's story He enacts a series of roles, from advisor to confidante He appears to be helping people though he is only acting out of his twisted self-interest.

8 Analysis: Racism Racial issues and themes which are at the core of Othello's story and position are beginning to surface. When Roderigo refers to Othello, he calls him "the thick lips This singles out one prominent characteristic of Othello's foreignness and black heritage It displays a racial distrust of Othello based on his color. Roderigo and Iago are not the only characters to display racism when referring to Othello Racism is a pervasive theme within the work, spreading misconceptions and lies about Othello by tying him to incorrect stereotypes.

9 Analysis: White and Black Light and dark are again juxtaposed in the Duke's declaration to Brabantio, that: "if virtue no delighted beauty lack/ your son-in-law is far more fair than black." Black is associated with sin, evil, and darkness; These negative things are also associated to black people, merely because of the color of their skin. The Duke's statement is ironic, since Othello is black, but truthful, because his soul is good and light. Light/white/fairness all convey innocence, goodness, any symbol that is white has these qualities. The juxtaposition of black and white, light and dark shows up again and again in the play, as the colors become symbolic within the story.

10 Analysis: Women Though Iago is married, he does not have as favorable an impression of women as Cassio does. Women are "wildcats in your kitchens, saints in your injuries, devils being offended He even declares that they "rise to play, and go to bed to work Iago's perception of women as deceptive, dominating, and lusty colors the way he portrays both Emilia and Desdemona; both are good women Desdemona exceedingly so, yet he is able to convince other men that they are anything but what they are.

11 Analysis: Motives Though Iago seems grieved by Cassio's promotion over him, this does not seem to be his main motive. Iago also cites his suspicions that Emilia and Othello have had an affair as another reason for his enmity. Iago is not a man to be consumed with sexual jealousy; though rumors about his wife may hurt his pride, they seem but an excuse for the misery he is about to cause. Shakespeare leaves the root of Iago's malignancy unexplained, while showing the fruits of his evil in full.

12 Analysis: Honesty "Honest" emerges as a key word in this scene It is a term laden with irony, and a constant reminder of the dramatic irony inherent in Iago's dealings. None of the characters in the play have any idea of Iago's plans and evil intentions: Othello and Cassio are especially innocent of this knowledge. The audience knows exactly what Iago is up to, and is able to see his deceptions for what they are Iago's words interest the audience because of how much dramatic irony they are laden with Curiosity to find out whether Cassio and Othello will come to know as much as the audience does about Iago's deviance. The word "honest" draws attention to how Iago's motives are hidden from the characters onstage

13 Analysis: Othello s Tragic Flaw The only magic that Othello possesses is in his power of language. His language shows his pride in his achievements Othello portrays himself as a tested, honorable warrior, and indeed is such. This view of himself will prove troublesome when he is hard pressed to recognize his jealousy and his lust His inability to reconcile himself with these two aspects of his personality means that his comeuppance is almost certain. Othello's lack of self-knowledge means that he will be unable to stop himself once Iago begins to ignite his jealousy

14 Analysis: Othello s Transformation Othello's trance also marks his descent into the savage Ironically, he becomes the passion-stirred, wicked pagan that others had accused him of being, merely because of his skin color. Iago notes that Othello "breaks out into savage madness" in this fit; indeed, the primal seems to be taking over the more civilized aspects of Othello. Othello refers to himself as a "horned man," ashamed of this descent

15 The threat of miscegenation is the play's hidden nightmare, and it cannot be overcome by arguments about virtue or service to the state.

16 Othello as a dramatic text the opening scenes of the play

17 Quotes Were I the Moor I would not be Iago. In following him I follow but myself; Heaven is my judge, not I for love and duty, But seeming so for my peculiar end. For when my outward action doth demonstrate The native act and figure of my heart In compliment extern, tis not long after But I will wear my heart upon my sleeve For daws to peck at. I am not what I am. (I.i.57 65)

18 My noble father, I do perceive here a divided duty. 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 my duty, I am hitherto your daughter. But here s my husband, And so much duty as my mother showed To you, preferring you before your father, So much I challenge that I may profess Due to the Moor my lord. (I.iii )

19 Haply for I am black, And have not those soft parts of conversation That chamberers have; or for I am declined Into the vale of years yet that s not much She s gone. I am abused, and my relief Must be to loathe her. O curse of marriage, That we can call these delicate creatures ours And not their appetites! I had rather be a toad And live upon the vapor of a dungeon Than keep a corner in the thing I love For others uses. Yet tis the plague of great ones; Prerogatived are they less than the base. Tis destiny unshunnable, like death. (III.iii )

20 I am glad I have found this napkin. This was her first remembrance from the Moor, My wayward husband hath a hundred times Wooed me to steal it, but she so loves the token For he conjured her she should ever keep it That she reserves it evermore about her To kiss and talk to. I ll ha the work ta en out, And give t Iago. What he will do with it, Heaven knows, not I. I nothing, but to please his fantasy. (III.iii )

21 Then must you speak Of one that loved not wisely but too well, Of one not easily jealous but, being wrought, Perplexed in the extreme; of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe; of one whose subdued eyes, Albeit unused to the melting mood, Drop tears as fast as the Arabian trees Their medicinable gum. Set you down this, And say besides that in Aleppo once, Where a malignant and a turbaned Turk Beat a Venetian and traduced the state, I took by th throat the circumcised dog ( And smote him thus. (V.ii

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