Shakespeares play, Othello, is a tragedy which is a fusion of controversy, and contradictions concerning universal concepts and values which have been differently appreciated through times. At first, our own understanding of this text is influenced by factors including our own background and the direct interpretation and response to the plays contents, but it is when perspectives of others are considered that allows us to fully refine our interpretations. Disputable arguments present in Othello such as social and cultural literacy, patriarchy versus feminism and psychoanalysis need to be personally explored and clarified after acknowledging the opinions of others from different backgrounds or time periods to ourselves, in order to broaden our views on the play.
The downfall of Othello is affected by several aspects. By far, the most influential person partaking in Othellos downfall is Iago. He is the catalyst who is the main cause of the drastic changes which occur inside Othello. Iagos cunning faade makes him a very sly villain who has the ability to manipulate Othello because he is apparently changeable in [his] will, and is famous for being honest, honest Iago. This dramatic irony, along with Desdemonas fatal chat about Cassio being a good man whom she loved (most likely platonically), causing Othello to go into a fit of rage, for which Desdemona did not know the reason. The dramatic age difference between him and Desdemona, the obvious lack of experience in love and the failure to realise certain essential facts as stated by Andrew Bradley must be accounted for. Bradley also informs readers that, due to Othellos hardships from his past, he possesses great openness and trustfulness towards anyone who is willing to be loyal and friendly towards him. According to the Aristolean tragedy theory hamartia, there is one substantial flaw in Othellos character that caused his downfall. At first, we would believe that his major flaw is jealousy or insecurity, but Bradley digs deeper than that and says that it is the wreck of his faith and love which caused him to deliver blow on blow against those who ruined them.
Our first assumptions of the character Othello come from the bestial derogatory terms in Iagos dialogue, where he describes Othello as being a black ram and Barbary horse, and how Othello supposedly used magic to steal away Desdemonas heart. There is an evident amount of discrimination in the play, with the repetitive use of the term Moor, and many references to black, often with relations to hell, night and the devil. Even when Othello proves himself otherwise by proving to the Venetian Senate that he is far more fair than black, the name Moor sticks throughout the whole play and, due to its close-written association with the word black accompanied by many descriptions of Othellos exotic upbringing and cultural background, gives the impression that all the insults directed at Othello in the play are racially motivated. Unnoticed by the modern audience, Jonathan Bate points out that the primary meaning of the term moor in early modern English was as a religious, not a racial, identification. Moor meant Mohamedan, that is Muslim. He also goes on to explain that The second Elizabethan sense of the word Moor was specifically racial and geographical; it referred to Mauretania which is a place occupied by Morocco and Algeria in this present-day. Albert Rolls takes the racial and cultural aspects of Othello to a different place Rolls writings imply that Othello isnt the only race targeted, and that the play also had a certain degree of Euro centricity, due to its disparaging view of non-European peoples and cultures. Othello asks the participants in the riot on the boat, Are we turned Turks?, while Iago also asserts his arguments with Nay, it is true, or else I am a Turk. Although those do not necessarily prove that Othello is a Euro centric, it certainly proves that Moors were not the only people discriminated against. But focusing on Othello, we are told that he is an Other by definition, because of his different race, religion and forced acculturation. The handkerchief also had a part in this, and the adds to our understanding of the text.
The role of women in Othello is a significant aspect to the responder. It is evident in the text that this play does not hold very strong feminist views. Women are portrayed as objects that Rise to play, and go to bed to work, and are objects that can be sold and delicate creatures for me to call them ours[theirs]. The concept of change is extremely important in Othello, as it is reflected in Desdemona as well as Othello. The symbolism and foreshadowing delivered to the audience when Desdemonas loyalty is shifted from her father, the lord of all [her] duty, to the Moor [her] lord, followed by Brabantio warning Othello that She has deceived her father and may thee, play a part in making women other-ed in the play as well as from Othello himself. The consequences in the storyline for women who acted strong were not good Desdemonas vicarious decision to travel to Cyprus with her husband ultimately lead her to her deathbed. Emilia, when finally explaining the truth behind Iagos lies, is stabbed fatally in the back. This is noteworthy for the end outcome since Othello is belittled in comparison to white Venetians, women are belittled in comparison to males, especially by Iago. Although this is the case, in Rolls critique, he reminds us that Iago lacks reason, suggesting that both Emilia and Desdemona belie Iagos misogynistic commentary.
By studying the context of times and the interpretations of the text Othello by a variety of audiences, one is able to gather new information and reanalyse the play with the help of new openings and opportunities which direct us to new concepts which we may not have thought of. Taking advantage of the accessibility of such a variety of opinions and viewpoints on the one piece of literature means that refining our understanding requires outside texts to refine our viewpoints. Without learning of the experiences from others, we are only getting a narrowed point of view which has a bigger picture but is invisible to us who do not seek for extra ideas and values.
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