Context of the play
"Othello" demonstrates many aspects of dramatic tragedy. Shakespeare wrote the play in 1603, giving it the full title of "The Tragedy of Othello, the Moor of Venice." The play is a good example of how tragedy works as a dramatic form. The play is widely viewed as a domestic tra...
Context of the play
"Othello" demonstrates many aspects of dramatic tragedy. Shakespeare
wrote the play in 1603, giving it the full title of "The Tragedy of
Othello, the Moor of Venice." The play is a good example of how
tragedy works as a dramatic form. The play is widely viewed as a
domestic tragedy between a husband and a wife that STEMS FROM
FUNDAMENTAL FEELINGS OF JEALOUSY.
There is the wider context of the conflict between the Venetians and
Turks that is happening as part of the backdrop, however the
unfolding tragedy remains tightly focused on the central characters.
Within the play, Othello can be viewed as a classic tragic hero
(sticking to tragedy conventions), one who foolishly continues to
believe that he is right almost to the end of the play. His wife is
portrayed as an innocent, tragic victim who like her husband is
caught in Iago's web.
The play is often considered a work that EXAMINES ISSUES OF RACE AND
ETHNICITY. This can be seen as one of the reasons why the tragedy
occurs, as Othello is an outsider operating in Venetian society. It
is also seen as a STUDY OF MANIPULATION AND DECEIT, which arises from
the evil and unscrupulous ways of Iago.
The play focuses on three central characters unlike a lot of
Shakespeare plays (Othello, Desdemona and Iago), perhaps making the
play more intense.
As well as understanding the play, to take the exam you need to
understand how Shakespeare constructs his characters and how he
develops particular tragic themes, and how this may represent the
time in which Shakespeare wrote the play.
It is also worth considering how the play has been presented on stage,
in film and on television over the years.
Structure of the play
-Act 3 marks a key turning point in the plot, showing Iago's sudden
control over Othello. Act 3 is often the "turning point," in
Shakespeare's plays, most of which have 5 acts. Lines from Iago that
illuminate his sudden manipulation of Othello in Act 3 scene 3 are
"Ha! I like not that," "Did Michael Cassio, when you woo'd my lady,
know of your love?" and "I speak not yet of proof. Look to your wife,
observe her well with Cassio; Wear your eyes thus: not jealous, nor
secure."
In the tragedies, the inevitable message of the second part of the
,play is that time brings defeat, disaster and death. This contrasts
with the comedies, with the message being time brings healing,
resolution and peace (in the second half.)
-Othello is a relatively short play, however it subjects the audience
to intense and prolonged dramatic tension. There are no changes of
perspective or sub/parallel plots, as there are in other tragedies.
This means the audience is particularly conscious of the chain of
cause and effect during the play.
Reading Othello
Everything is relevant in Othello, as we are asked to observe an
essentially private tragedy: the destruction of a noble man and his
marriage. All the subsidiary characters and events are designed to
throw light on the protagonists and their actions.
The play is INTRIGUING BECAUSE OF THE CONTRADICTIONS PRESENT. A black
mercenary marries a white aristocrat, an evil ensign corrupts a great
soldier, over-powering love is turned to overwhelming jealousy.
Through his characterisation of Iago, Shakespeare introduces the
THEME OF APPEARANCE AND REALITY, which is ALMOST AN OBSESSION IN
JACOBEAN DRAMA. Saying this, the play challenges Jacobean conventions
as well, as Othello is unique in the literature of the time: he was
the first black hero to be presented on the stage.
Iago is referred to as "honest," four times in Act 2 scene 3. He is
called honest twice by Othello, once by Cassio and once by himself.
("I protest, in the sincerity of love and honest kindness," and "Good
night, honest Iago.") This can be linked with the theme of appearance
and reality.
We might feel that the portrayal of women in the play, with their
troublesome sexuality and male-female relationships, make the play
compelling for a modern audience. The female stereotypes that the
male characters force on their women - asexual, silent, and obedient
- are still the subject of heated debate. The play is also effective
because it is full of ironic contradictions, which absorb us and
worry us. We as the audience are never allowed to relax while we
watch the play, as our attention is either focused on the source of
so much irony, Iago, or the helpless victims of his ironic words and
actions.
Your own interpretation of the play is important. It is also worth
considering the ways in which other readers and critics have
responded to the play (see critical interpretations of the play).
Imagery in the play
, The language in Shakespeare's tragedies are often dominated by life-
threatening images of evil, poison, diseases and violence, which
often echo biblical imagery. Images are often literalised metaphors.
For example, Othello's blackness is both his actual skin colour and a
representation of evil.
In addition to reinforcing themes, imagery gives atmosphere and
progression to the text, helps to portray character, and provides
integrity, pattern and meaning. THE IMAGES IN OTHELLO TEND TO WORK IN
PAIRS OF OPPOSITES, for example dark and light. These then can be
seen to reverse themselves or become indistinguishable from each
other as the play progresses.
Some key imagery in the play includes ANIMALS, BLACK AND WHITE, HELL,
POISON, TRAPS AND WORDS.
BLACK AND WHITE
References to black and white are important in the play. Othello
shows both good and bad qualities with his virtuous, noble man
persona, and his violent, unpredictable behaviour towards the end.
Othello himself links himself to both heaven and hell. The tragedy of
the play occurs when Othello moves towards Iago's darkness away from
Desdemona's light.
Themes: Love and war
In Othello, the three main male characters are soldiers who all want
to be loved. The various types of love that are in the play are all
questionable. For example, Brabantio's love for his daughter seems
more like possessiveness than actual love. He is quick to disown her,
and is portrayed as being ashamed at the prospect of his daughter's
match being a "filthy," progeny.
Othello and Iago can be seen as being full of self-love, certainly in
Iago's case. For Iago romantic love does not exist however. This
seems to not only describe Iago's marriage but also Cassio's
relationship with Bianca. Iago pretends to hold respect for Othello,
even though behind his back he often says that he despises him.
Emilia is willing to lie for her husband and to die for her mistress,
however she is said to only do these things out of self-interest and
guilt.
Part of the tragedy of the play may be how Othello embodies the
conflict between the roles of husband and soldier, which is not a
problem for Iago since he does not believe in love or respect for
women. Othello is presented as being the complete opposite to Cassio,
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