Racism
Racism is a prominent motif in many theatrical productions, where Black characters are often relegated to inferior roles while White characters are portrayed as superior. However, the primary objective of artistic endeavors is to mirror societal issues. Therefore, the inclusion of racism in these works serves to reflect its societal impact, as exemplified in Shakespeare’s Othello. Despite sharing the same religious beliefs and values as his peers, Othello is consistently referred to as "the Moor," rather than by his name, highlighting the racial bias against him. This lack of proper recognition is not only demeaning but also disrespectful to his leadership role. Shakespeare effectively explores the theme of racism through characters like Iago, who frequently denigrates Othello for his race. Additionally, Brabantio accuses Othello of using enchantments to win Desdemona's affections, implying that her love for him is unnatural due to his skin color (Shakespeare 1.2. 90-94).
Describing Othello's bosom as "sooty" is derogatory and implies that he is dark and unworthy of love. Being the only character with black skin in the play, Othello faces significant discrimination and prejudice. The characters in the play also associate race with societal norms regarding sexuality and marriage. Historically, interracial marriages were seen as a breach of social conventions. Another instance of racism is evident when Iago employs animal imagery to degrade Othello, suggesting that black individuals are subhuman and incapable of proper behavior. Brabantio further reinforces this prejudice by rejecting Iago's accusations of Desdemona eloping with Othello, using derogatory terms like "Grange" to describe Othello's residence and insinuating that their union will produce inferior offspring likened to animals(Shakespeare 1.1.120-125).
In Shakespeare's portrayal, Othello succumbs to prevailing stereotypes of black men as savage and vengeful. As the play unfolds, we witness a tragic figure consumed by jealousy and rage, ultimately murdering his innocent wife. However, it's crucial to remember that Othello's descent into darkness is orchestrated by the villainous Iago, a white man. Othello's unwavering trust becomes his fatal flaw, a trait Iago skillfully exploits for his nefarious scheme's success (Rocha, 1980, p.70).
As the play unfolds, the theme of race and blackness becomes increasingly prominent. Iago's disdain for Othello stems from his prejudice against black individuals. He believes that a black man like Othello cannot achieve success as a soldier nor marry a white woman. Upon discovering Desdemona's secret marriage to Othello, Iago employs toxic racist rhetoric to alert Desdemona's father, Brabantio. This racist language used by Iago serves to introduce Othello's character to the audience, as discussed by Adelman (Adelman,1997, p125).
Racism profoundly alters the lives of Othello and Desdemona. It's evident that in a prejudiced society, love can be stifled, and racist individuals can ruthlessly undermine happiness. As Iago's sinister intentions unfold, he exploits Othello's vulnerabilities, leveraging racism to manipulate him against his wife. Othello, unable to see through Iago's deceit, harbors resentment towards his own background, a weakness Iago cunningly exploits to destroy him. Othello's racial identity deeply impacts his psyche, leading to feelings of isolation and vulnerability. This vulnerability becomes Iago's most potent weapon, fueling Othello's insecurities and suspicions about his wife's fidelity. Ultimately, Othello becomes so ensnared in Iago's web of manipulation that he tragically brings about the demise of his beloved Desdemona and his own downfall.Although Othello is a good character except for his being a 'Black and a Moor', his killing of Desdemona makes him bad even in the eyes of the people who think good of him. Emilia, lago's wife also servant of Desdemona, never brings up the subject of Othello's race: however upon this murdering she burst into hatred of race: "O, the more angel she. And you the blacker devil!" (V.ii. 129-31).
"Her cynical attitude towards men has apparently masked a revulsion against Othello's blackness. Having exposed his evil, Othello becomes for her a "blacker devil," the phrase revealing that in her imagination he has always been a black devil" (Berry,1990, p320)
The hatred of race fertilizes the seeds of devilish plans. Iago arouses Othello’s suspicions of his wife. What feed his goal and the strong belief that he will succeed is the feeling of inferiority complex of Othello. Not only he himself ostracizes Othello, but also turns others against him and it represent his thoughts of being black, to some extend proving natural possibility of being cheated. Othello’s origin results in his alienation and this alienation intensifies his beliefs that Desdemona can cheat him. emphasizes Othello’s estrangement is connected to his ‘ethnicity and culture’, and the color of his skin cause him feel alienated by the ‘white Venetian’ society as a result he does not thrust Desdemona considering that he is not well enough for her ( Özen, 2004, p3).
Othello's blackness, his marriage to the white Desdemona, and murdering of her are important constitutional elements of the play. Indeed, these factors have a relation. Othello's killing Desdemona is related to their marriage and their marriage contributes to Othello's blackness. Every element is reiteration of the others and as the starting point of the play's suspense and disturbance Othello's blackness is seen (Little,1993, p306).
"Othello's blindness on love is due to his lack of self-knowledge as well as self- confidence for he is a Moor," that is to say as a beautiful Venetian woman's appealing to aMoor is not natural according to society, Othello more 'strengthens his belief in his wife's infidelity': "Haply, for I am black... She's gone" (III.iii. 263-9).
The play, Othello, has a harmony of racism. This harmony is provided by the tireless verbalization of “otherness” in the words of “Moor” and “Black”. At the very beginning of the Othello, instead of the name of the protagonist Othello, the words of “thick-lips” (I.i.66), and “an old black ram” are articulated (I.i.87). It is surprising that before the name, comes the bad definitions made by the people who are at Othello’s service. Adler emphasizes that in the first scene prior to the meeting of the audience with Othello, several insulting attributions are made, “the stereotyped lasciviousness” is emphasized by various brutal bindings and the race’s black and devil’s black are incorporated ( Adler ,1974, p250- 251).
Othello is among literary works that racism constitutes their origin. Robeson states: “Othello is a tragedy of racial conflict, a tragedy of honor, rather than jealousy (qtd. In Andreas, 39)”. Racial prejudice is a poisonous fruit of racism, and it turns the lives into hell. Othello can be shown as one of the deplorable representative of racial prejudice. In Othello, the protagonist, Othello is a successful soldier. Although he is a Moor, he dedicates himself to serve to society’s goals. Unless he serves to his so-called country, he is the most hardworking man and respected soldier in the army. However, when it comes to marriage, the prejudice of his race puts up a wall in front of the eyes of others. The thought of discrimination and racial prejudice cannot or should not always have to display itself as torturing or chafing physically the one that is different or being alienated. Language may possess a cruel function and serve the ones who are in want of emphasizing otherness and insulting the other mercilessly. Derrida states, “There’s no racism without a language.” The thing here is not that actions of racial violence comprise just words; however, rather than this they must have a word. Although it gives the apology of ‘blood, color, birth’ or rather it makes use of ‘naturalist and sometimes creationist discourse’ racism constantly unclothe the corruption of a man, the“talking animal”. It does not ascertain; it ‘discriminates’ (Shakespeare ,1985,P39).
He (1985: 41) adds that from the very beginning of the Othello, ‘traditional racist sentiment and prejudice’ infuse the language and break out as an anticipated ‘violence’ at the end of the play when “Chaos is come again” (III.iii.92).
Iago discourages interracial marriages regarding the intention of Desdemona to marry Othello. Iago says, “Foh! One may smell in such a will most rank, Foul disproportion thoughts unnatural— But pardon me” (Shakespeare 3.3.268-278).
Iago perceives that it is unnatural for a white woman to marry a Black man. Historically, interracial marriages between whites and Blacks or other inferior races were discouraged because it was believed that they would give birth to children of lower status.
Dynamic Characters and Jealousy to Othello
Static characters remain unchanged throughout the narrative, whereas dynamic characters undergo significant changes. Round characters are multifaceted and complex, whereas flat characters are one-dimensional. For example, a comic relief character may initially be portrayed solely for humor, rendering them flat and unengaging. However, if they encounter a tragic event, they could evolve into a multifaceted and complex figure (Edward, 2002, p.12).
If the tragedy prompted them to change, they would be considered dynamic characters. Among the dynamic characters in the play, Othello and Emilia stand out. "Othello" explores the intricate dynamics between men and women in Elizabethan England, highlighting the significant role gender played in all aspects of life during that era. Othello and Desdemona embody the conventional Elizabethan couple archetype: he, a commanding and authoritative figure, and she, a submissive and obedient wife. The portrayal of gender stereotypes by the director in the film adaptation provides an intriguing subject for analysis in comparison to Shakespeare's original play (Adelman, 2001, p.32).
In Shakespeare's tragedy, Othello, there are several dynamic characters. One specifically is Othello himself .At the beginning of the play he is very calm and coolheaded when accused of drugging or using magic on Desdemona. Othello simply tells the Senate to go ask Desdemona. By the fourth act he has become distrusting and suspicious of Desdemona. Othello's sarcasm in Act IV shows his distrust of Desdemona. There are several dynamic characters, most notably Othello and Emilia. The Round character, or dynamic character, is Othello. In William Shakespeare's tragedy Othello, Othello's dynamic character is presented as a great noble war hero with strong integrity that loses touch with his moral principles due to Iago's scandalous rumors which eventually leads to his downf. A dynamic character is somebody that changes his or her personality or attitude .In William Shakespeare's tragedy Othello, Othello's dynamic character is presented as a great noble war hero with strong integrity that loses touch with his moral principles due to Iago's scandalous rumors which eventually leads to his downf . A dynamic character is somebody that changes his or her personality or attitude.
Dynamic characters are characters who change over the course of the story static characters remain the same. Flat characters are one dimensional while round characters are complex. For example, a character who is there for comic relief may only ever be funny and thus be flat and static, but if a comic relief character were to have a tragic moment, they would become complex. If the tragedy spurred them to change, they would be dynamic. The dynamic character in Othello is shaped by various factors such as the systems theory of character, ethnocentrism, patriarchy, and racism. The systems theory of character views character as an autonomous configuration of psychological elements that ensure consistency and continuity of individual identity despite changing external circumstances .
Ethnocentrism plays a role in the critical discourse surrounding Othello, with early twentieth-century scholars viewing Europe as superior and non-Europeans as inferior, while late twentieth-century scholars reverse this perspective . Patriarchy and racism both influence Othello's behavior and attitudes towards his wife, Desdemona, as well as his own identity as a black man within a patriarchal society . The relationship between tragedy and race in Othello has been a contentious issue, with early critics questioning the plausibility of a black tragic hero, later critics downplaying Othello's race to preserve his status as a tragic hero, and more recent critics focusing on the play's condemnation of racism .
Shakespeare uses the theme of jealousy in Othello to drive the actions of multiple characters, including the title character, Iago, Roderigo, and Desdemona's father, Brabanzio . Jealousy is portrayed as a powerful and destructive emotion that leads to tragic consequences in the play. It is not only a result of Othello's race, but also a reflection of his vulnerability to this dangerous emotion . The play explores the fear of losing possession, whether it be of household property or of people, which is a common manifestation of jealousy . Desdemona's marriage to Othello, a socially valuable individual, puts her at risk of provoking intense jealousy . The theme of jealousy in Othello is intricately connected to issues of race, gender, and class, highlighting the play's exploration of these complex dynamics.
Poets' opinions on the subject of jealousy are diverse and reflective of human emotions. Some poets view jealousy as a destructive force that can consume relationships and individuals, leading to feelings of insecurity and bitterness. Others see jealousy as a natural and unavoidable aspect of love and desire, showcasing the complexities of human relationships. Each poet brings their own perspective and experiences to the theme of jealousy, creating a rich tapestry of emotions and reflections in poetry. Shakespeare was one of the most prominent writers who ever lived. He was known for addressing various themes such as betrayal, death and love in his works as evidenced in his play Othello. However, theme of jealousy stands out from the start till the end of the play. As the play begins, Roderigo is presented as he tries to be close to Desdemona.
The theme runs throughout the play until the end, leaving Othello very angry and envious because he believes that Cassio and Desdemona have been entangled in an affair. The jealousy of some characters in the play is influenced by other characters. Lago is the greatest victim of this and creates lies and presents situations aimed at misleading the other characters. He exhibits jealousy towards Cassio and Othello because he was not appointed as a lieutenant Lago can be described as a jealous character since he wishes every other person could share in his feelings so he goes ahead to plant the seed of jealousy in other characters. He is driven by anger and envy and aims at instilling jealousy in all the other characters, an aim he achieves through manipulating and betraying them, particularly Othello (Edward, 2002, P.92).
The play opens with Roderigo deciding to pay Iago to rescue Desdemona from Othello, driven by his deep love for her. This scene is crucial as it highlights Iago's villainous nature. Iago's actions and words reveal his cunning nature as he devises a plan to destroy Othello by accusing him of theft through witchcraft, claiming he stole Desdemona's heart. He manipulates Roderigo into confronting Desdemona's father and inciting him to action with a fearful tone and urgent pleas(Doris, 2017,P.98).
In actuality, Lago is unconcemed with Roderigo's heart. This suggests that Lago doesn't care about Roderigo's feelings for Desdemona or his desire to be with her. His goals are to persuade Brabantio to pursue Othello instead of assisting Roderigo in his search for Desdemona, as this would upset him. Lago perfects the art of speaking things that people would want to hear hence misleading them and making them react according tohis plans. He is so witty in his diction to keep off any possible argument and confrontation.
"He treats Othello in a manipulative manner when he convinces Roderigo to confront Desdemona's father regarding the conduct of the daughter. Brabantio finds it difficult to believe the accusations leveled against her daughter by the two and dismisses them as absurd. He is angered by the two after they disturb him at night when he is asleep"(Doris, 2017,P.102).
Following this incident, Roderigo makes an effort to defend his claims, but all he accomplishes is enrage Brabantio more. While Roderigo calls him a senator, he refers to Roderigo as a villain. Roderigo's comment perplexes Brabantio, who takes a step back to assess the circumstances once more. After carefully re-examining the situation, his anger subsides and starts considering the stories told by the two especially when he discovers that Desdemona is not in her bed chamber Lago chooses his words judiciously and expresses his views carefully. He knows what to say and the most appropriate time to say it in order to convince his listeners. He practices this especially when talking to Roderigo and Othello. He begins his talks with imperatives then follows them with self answered questions and concludes by making daring assertions (Edward, 2002,P.18).
When Lago talks to Roderigo about the rumours that Desdemona is in love with Othello, it's clear how timing works. Lago portrays Othello as a cunning individual whose lies are taken seriously by Desdemona. Then, using these falsehoods, he deceives Roderigo into believing he can tell the difference between Othello and Desdemona's relationship. But Lago's jealousy of Othello is what motivates him to manipulate him. (James, 2012,P.11).
His resentment of Desdemona as a result keeps growing. Lago makes use of subliminal cues to make sure he accomplishes his objectives. Othello's opinions of Cassio are altered by him, and he leaves him requesting further details.. Othello tries to understand whether the accusations of unfaithfulness made by Lago against Desmodena are right. Lago tells Othello that he should not continue thinking about the adulteries committed but instead Othello thinks about them deeply. He is persuaded by Lago and he develops jealousy towards Desmodena but never questions the two about the affair. Othello adheres to what he is told by Lago and relies on available predetermined evidence. For instance, when a handkerchief that belongs to Desdemona is found on the bed chamber of Cassio, he is convinced that Desdemona is unfaithful (Andreas, 2021,P.77).
Othello's jealously of Desdemona only grows, and he believes that Lago is the only person he can trust since he appears to be worried about his own life. Lago uses a variety of covert tactics to coerce him into going in the desired direction by feigning innocence. This plan presents Lago as someone who understands Othello, but the reality is different. The deceitful nature of Lago is exhibited when he tells Othello that Desdemona lied to his father about marrying Othello. When Lago points out the past deeds of Desdemona, Othello continues developing jealousy towards her because she lied to her father regarding the marriage (Andreas, 2021,P.80).
Shakespeare's Othello is a play driven by jealousy. With the exception of Desdemona, whose pureness of heart makes jealousy inconceivable for her, most characters in the play, even the minor ones, experience jealousy. Bianca, Cassio's lover, flies into a rage upon discovering Desdemona's scarf in his chambers, a scene which supposedly provides. The visible truth that Othello seeks to confirm the suspicions. Iago's lies and insinuations are easily swallowed by Othello, whose insecurity and feelings of inferiority about his high station and beautiful wife make him likely to believe she fancies Cassio more. Iago himself, maybe even more than Othello, is driven by jealousy and insecurity over his lack of promotion, the unfounded rumors that Othello bedded his wife, and his own desire for Desdemona. Desdemona herself is perhaps the only character in the play who does not possess nor understand jealousy as a motivation. In the play, Iago is jealous of Othello's career success military prowess and his relationship with Desdemona. He is angry that he has not had as much success as Othello, so he uses his own jealousy as fuel to ruin Othello's life.
He manipulates a situation in which Othello believes Desdemona to be unfaithful, stirring Othello's jealousy in the process. In the end, both of their lives are ruined, suggesting that jealousy is a dangerous and toxic emotion. Nonetheless, the central themes of Shakespeare's monumental tragedy are misplaced trust, passion, and jealousy. Shakespeare's Othello is one of his plays that has jealousy as a central theme. In Othello the film, there is an impression that Othello is described as a masculine character and Desdemona is described as a feminine character. However, the characterization of each character is considered to be changing throughout the film. There is no longer strong depiction of gender stereotype(Edward, 2002,P.17.)
References
Shakespeare, W. (1989). William Shakespeare: the complete works. Barnes & Noble Publishing.