Just picture it: You live in a world where everyone lives in a state of white, middle-class bliss. Your parents, friends and colleagues are white.Then on an outing to the theatre you see a play in which a black man kisses a white girl. Shocked and outraged at such blasphemy, you leave the theatre and swear never to speak of this Othello rubbish again. This was the attitude of many Elizabethan audiences.
“If Othello didn’t begin as a play about race, history has made it one.”
With all the prejudice surrounding the racial aspect, it is very possible that the entirety of the character Othello is not fully appreciated. Race is a part of it, but a rather small one. I will attempt to explain him, and whether he is a tragic hero or not.
Generally, a tragic hero is of a noble or high stature with one major fault, like being easily blinded by pride. In the duration of the play the hero will have a downfall, followed by enlightenment and finally his death.
In the case of Othello it is easy to assume he has had a hard life. Racism was rife in that time, and in fact his name is not even mentioned until well into Act 1, Scene 3. Rather, he is referred to by derogatory terms. He is obviously an outsider, shunned by most people due to his skin colour. But despite this he is honoured for his ability as a soldier and leader, therefore he has a high ranking position. It is the story of his travels and his exotic appearance that makes Desdemona fall in love with him. Their relationship is pure, happy and loving.
But, like many too good to be true things, Othello has one major flaw. Apart from being naive and unsophisticated, his flaw is his passion. Passion, being such a strong emotion, easily turns to distrust, jealousy or hatred, and it is this that leads to the death of Desdemona.
It is Iago who preys on this flaw like a vulture. Iago is naturally gifted at noticing the emotions and flaws of others, and he uses this “gift” to control them. Iago knows that Othello is quick to anger and does not think clearly in that state,”And passion, having my best judgement collied..”, so he uses it against him. Othello becomes a pawn to Iago, completely controlled.
Othello’s downfall is the murder of Desdemona. Believing, thanks to Iago’s lies, that she had committed adultery with Cassio, he smothers her upon their marital bed. When the truth is revealed Othello experiences enlightenment, realising he had murdered his innocent wife on a jealous whim. Eventually he begs the gentlemen,” Speak of me as I am...Of one who loved not wisely, but too well. Of one not easily jealous...”, in an attempt to save his reputation. He kills himself to escape the burden of shame he would have to carry back to Venice. The play ends in a bloodbath with several dead.
When reading or watching Othello, it is obvious that Shakespeare used the tried and tested method of a classic tragedy in his writing. Othello is a typical tragic hero, and the strong emotions like passion prove this is a tragedy. The hero’s struggle against unimaginable odds, the violence and the murder was a major ticket seller in Elizabethan times. As everything from the Collosseum’s gladiator games to the Rocky Horror Picture Show has proven, sex and blood sells.
Othello also has the recurring “Wheel of Fortune” theme used in many plays., where a person may experience a season of luck and well being to a season of despair and misfortune. Shakespeare was well informed as to what audiences wanted and expected to see.
Furthermore, the success of Othello as a tragedy is due to the universal themes. The play manages to be spectacular fantasy yet completely relatable at the same time. An example of this is the setting (Venice, Cyprus) in contrast with the situations (Moving to a new place, Experiencing something new)
This is also the reason Shakespeare’s plays are still revered in modern times. His ability to draw audiences away from their normal circumstances while making them confront it at the same time is masterly. That is why Othello: Merchant of Venice is still applicable today.
We cannot all be masters, nor all masters Cannot be truly follow’d. |
Othello. ACT I Scene 1. |