othello - academics analyses

8/11/2019 Othello - Academics Analyses

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Table of Contents

BookRags Essay.............................................................................................................1

Othello: Analysis of Shakespearan Scholars Opinions........................................1Copyright Information..........................................................................................1

Othello: Analysis of Shakespearan Scholars Opinions Essay...................................2

Othello: Analysis of Shakespearan Scholars Opinions Essay

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BookRags Essay

Othello: Analysis of Shakespearan Scholars

Opinions

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BookRags Essay 1


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Othello: Analysis of Shakespearan

Scholars Opinions Essay

Today's Response to Othello (1994)--

"American history is a cornucopia of racial tension," Michael Quieto opens his essay,

Othello as Forum for the Condemnation of Racial Prejudice. Mentioning the slave

trade, the Ku Klux Klan, Reconstruction, and Martin Luther King, he sets his tone.

Literature has always been a medium used for social criticism; Quieto uses the

example of Huckleberry Finn by Mark Twain for the subject of racism as comparison.

His opinion is that, "racial prejudice must have been just as prevalent in the sixteenth

century England of Shakespeare as in modern day America. Thus, Othello can be seen

as a condemnation of racial prejudice."

An array of examples showing the use of racial stereotypes is presented by Queito to

illustrate this "condemnation."--

Iago uses these stereotypes to injure Othello's character when in conversation with

others:

to Brabantio, "an old black ram/is tupping your white ewe."1.

indicating directly Othello's heritage, "Barbary horse"2.

falsely comforting Roderigo, "an/erring barbarian"3.

Iago also uses Desdemona's race against her and her husband when he begins to lay

the bed of jealousy Othello is to lie in:

"I know our country disposition well:

In Venice they do not let heaven see the pranks

Othello: Analysis of Shakespearan Scholars Opinions Essay 2


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They dare not show their husbands; their best conscience

Is not to leave't undone, but keep't unknown."

Quieto also points out Brabantio's inability to see past the darkness of Othello's skin

and to his characteristic virtue; "run from her guardage to the sooty bosom/of such a

thing as thou," Brabantio stated when trying to understand the choice his daughter

made. He also calls the marriage a violation "against all the rules of nature." Quieto

describes the Duke to be the only character who will see Othello's true worth past his

complexion, both complimenting and defending Othello to Brabantio by saying, "your

son-in-law is far more fair than black."

Othello is not ignorant to these circumstances and stereotypes, Quieto uses the

example of when Othello announces that a, "feathered Cupid seel," enabled

Desdemona to fall in love with him, a man of color (insinuating blind love). After

much insisting by Iago of Desdemona's alleged adultery, Othello doubts that she could

ever truly love a Moor, "haply, for I am black." When Othello's real doubts about his

wife's faithfulness are brought about, he uses his own color as a simile for

Desdemona's reputation, "begrimed and black/as mine own face."

Quieto goes on to make the point that each of these instances are examples of the

racial prejudice prevalent throughout this play and that each one helped to inspire the

jealousy that ultimately ended five lives. Quieto summarizes by stating, "In the

character of Iago, Shakespeare demonstrates the dangers of holding racial

prejudices...this play should serve as a warning of the horrid plague of racism which

festers in our society."

My opinion of Michael Quieto's criticism--

Michael Quieto made solid commentary upon the issue of racial prejudice and its

presence in Shakespeare's Othello. Each example used was of sound evidence that

racism within the play existed. In having read the play and witnessing racial prejudice




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in today's world, I strongly agree with this critic's opinion that the play is socially

condemning the practice. Considering the severity of racism in current times, I would

concur that it must have been just as much in the 16th century. I am unsure, however,

as to what degree Shakespeare himself originally intended this condemnation. I think

that naming Othello a "forum for the condemnation of racial prejudice" may be

over-interpreting the intensity of the intended criticism.

I do think that the main criticisms intended by Shakespeare were a combination of

greed, jealousy, and vengeance (despite the color of one's complexion). Iago was

jealous of Othello because of his success, where resentment is only heightened by

Othello's race, the situation would have existed regardless. The addition of Othello's

being a black Moor adds dramatic effect to both plot and theme.

It is Iago's blatant disregard for human life in his self-proclaimed quest to oust Othello

from his position of success that is most strongly condemned. His use of manipulation,

deceit, and disrespect are the more criticized wrongdoings of Iago. Iago does use

Othello's race to degenerate his character whenever and wherever possible and also to

confuse Othello's understanding of Venetian women, I feel though that the plot

development would have been just about the same had Othello been white and notblack.

The presence of Shakespeare's criticism of racism is evident, but not with the vigor

that Michael Quieto absorbed from it, in my opinion. I feel that Shakespearian times

would not have so readily accepted such a strong condemnation of virtually universal

beliefs; while having the dramatic effect achieved by Othello's race, we perceive it

today as much more than what was originally intended.

Criticism from 1904

In his collection of commentary, Shakespearean Tragedy, A.C. Bradley writes a rather

large portion on Othello. In the copy of this work that I acquired, Bradley opens by

stating that, "Othello is, in one sense of the word, by far the most romantic figure




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among Shakespeare's heroes; and he is so partly from the strange life of war and

adventure which he has lived from childhood." In all the magnificent travels and

wanderings taken by the Moor, Bradley describes that there is, "something mysterious

in his descent...in which he has played the hero and has borne a charmed life." Calling

Othello romantic in nature as opposed to strictly in figure, Bradley uses examples of

the most famous speeches as support for surpassing the comparison to the poetic

abilities of Hamlet. "O now for ever", "Had it pleased Heaven", "Behold, I have a

weapon", "Soft you, a word or two before you go"; these are all beginning lines to

some of the most revered speeches and are praised as extraordinary. Bradley contends

that Othello's most casual phrases, such as, "These nine moons wasted", "You chaste

stars", "It is the very error of the moon", contain the same poetry as in even the brief

expressions of intense feeling which are taken as the absolute expression--

"If it were now to die

`Twere now to be most happy; for I fear,

My soul hath contend so absolute

That not another comfort life to this

Succeeds in unknown fate,"

and

"If she be false, O the Heaven mocks itself,

I'll not believe it;"

and

"No, my heart is turned to stone; I strike it,




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which they feel for no other hero in Shakespeare."

Then, admitting that each statement has been of his own opinion, Bradley does not

deny that although far from alone, there are several critics and not a small amount of

readers that disagree with his view. He agrees there is no denying the unjustifiable

actions of violence taken. He does, however, dismiss the opposing argument that

Othello's suspicion in any amount of his wife is inexcusable with support that further

question of Iago should have been employed as weak for inattention to Othello's

asking Iago for evidence and a, "misconstruction of the text," succeeding in the

too-early appearance of jealousy in Othello's character.

Bradley builds a defense of character based on the following:

common belief that Iago was nothing less than an honest and trustable man

although we know it to be contrary, it would have been uncharacteristic for

Othello to be unaffected by such warnings about his wife

1.

newly-married coupled who have not yet had the opportunity to build a strong

foundation for trust and companionship, leaving much room for doubt

2.

difference in cultures; lack of understanding of Venetian women andsuggestions of Desdemona's ability to put on an act followed by insinuations of

a temporary black inclination

3.

Bradley describes the act of killing Desdemona, from Othello's perspective, not as

murder, but sacrifice. A measure taken to rescue Desdemona from her very own

self-destruction, not out of hate, but in love and honor. With the passing of anger came

the replacement by sorrow, "this sorrow's heavenly: It strikes where it doth love."Bradley argues that the scene is filled with, although pain, also a non-diminishing love

and admiration as well as pity for Othello from the reader. The man who returns to

Cyprus, he says, "is greater and nobler still." Othello speaks his last words, flashing

memories to the reader of all his past triumphs and defeats, but his death leaves not

grief, but freedom from pain and triumph in the power of "love and man's

unconquerable mind."




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My Opinion of A.C. Bradley's Essay

In A.C. Bradley's commentary on Shakespeare's Othello, he succeeds in convincing

the reader (by tone alone, and mostly goal-oriented language) that his opinions are

almost as good as a factual interpretation of the play. Disregarding my personal

opinions for a moment, I'd like to state that the entire time I was reading the essay, I

felt as if I was constantly trying to reevaluate and/or remember my feelings about the

play because those of the author were written in such a discreetly forceful manner--the

art of persuasion, at its best. This aspect made reading difficult because I felt as if I

had to be ready at any given moment to defend myself rather than being able to have

more useful experience, learning more about the play, and taking from it what I agreed

with, of my own volition.

Primarily, I do not believe that I am in agreement with Bradley in that Othello is, "by

far the most romantic figure among Shakespeare's heroes." I do not see how it is

possible to compare all such figures, being so vastly different in various ways, and to

arbitrarily decide that one is the most "romantic." I feel that each character is just that,

himself, individual and not necessarily comparable to the rest.

However, Bradley makes many good points throughout his work on Othello. The

poetic language used by Othello, the character, is just immensely interesting. The

inspiration for such a deep, multi-faceted, creative, and imaginative character and

must have come from a place that does not exist for average mortal visitation.

Othello's qualities and characterization are magnificent. I cannot argue with Bradley

about the intensity of his passion, strength of dignity, or possession of self-control butI cannot agree that Othello is "better" or "greater" than a different figure. I am of the

same mind that Othello is of exceptional quality character, this is more than evident

even if only observed briefly.

I am able to agree, personally but not on a general level, with the points Bradley

makes referring to Othello as the only Shakespearean figure to induce such strong




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feelings for of both love and pity, combined. Out of my limited experience with

Shakespeare's plays (Romeo & Juliet, A Midsummer Night's Dream, Macbeth, and

now Othello) I have never had such mixed feelings for a character, and of such degree

of intensity. Othello was able to convey to me a truly tragic figure. The love felt for

him because of his character, the pride for him and his success despite

nearly-impossible circumstances to overcome, joy for finding such true happiness and

complete love, frustration for having a broader point-of-view than he, compensational

anger on his behalf for the lack of fairness, sorrow for his losses, and sympathy for the

unavoidable train of events and outcome. I've enjoyed the previous plays that I've read

by Shakespeare but have yet until now felt true emotion and been so touched by a

character.

When writing criticism on a topic that is clearly subjective, one can either choose to

write solely their own opinions and ignore the opposing viewpoints that exist or to

counter-debate the arguments presented against him. Although I respect A.C.

Bradley's decision to take on the counter-debate, I was slightly taken a bit "off track"

by his method of doing so; specifically, his opinion that a "misconstruction of the text"

was the origin of an all-too-early appearance of jealousy in Othello. I am unsure that

he is of authority to judge a "misconstruction of text" and his use of this phrase injuredhis credibility, in my opinion.

Finally, I am in agreement with Bradley on his last point, that referring to

Desdemona's murder as sacrifice for Othello. Othello loved Desdemona more than one

could comprehend but had no sight of any option other than to end her life and save

the girl from herself, even though he was being driven by false information. I also

agree that Othello's death was one of grief but one of freedom--it remained true to hischaracter and allowed him the peace he had always deserved.



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