FREE ESSAY ON OTHELLO

OTHELLO

Othello: Othello is a general in the army of Venice. He is a Moor, a dark-skinned man born
in Africa, and has risen through the ranks of the Venetian army through hard work and
success in battle. He is a respected general, but less respected as a person, because of
his dark skin and foreign roots. He is an honest man, and believes that people are
honest. This makes him naive in many ways. Othello is a passionate man, and deeply loves
Desdemona
Desdemona: Desdemona is loyal, faithful, and passionately loves Othello. She is shrewd
and wise, but is very subtle about it. 
Iago: Iago is Othello's sword-bearer. He has been passed over for the position of
Lieutenant, and this draws out his evil nature. He feels that he has been wronged and
cannot accept the position that Othello gives him. Iago is only concerned about himself
and his position, and will sacrifice anyone to save himself and his interests. 
Act I
It is night. Tush and Sblood open the play. Though both Roderigo and Iago display a
vulgarity of
language, Roderigo makes his mark as a gentleman against the coarse soldier speech of
Iago. Whilst
one of the curled darlings of the nation, he is certainly not darling to Brabantio nor to
Desdemona
whom he seeks.
Iago reveals such a hatred of Othello shared not even by Brabantio. Roderigo may doubt it
but it is one
of the truest emotions Iago expresses in the play. In his first speech, one motive for
his hatred may be
found. Othello has chosen Michael Cassio to be his lieutenant instead of Iago and Iago
has nothing but
scorn for them both: Othello he describes as loving his own pride and purposes and
horribly stuffed
with epithets of war (1.1.11-13). As we will learn, there is some truth in these
judgements. Iago thinks
himself more suitable for the post than Cassio who he derides as a great
arithmetician...that never set
a squadron in the field / nor the division of battle know / more than a spinster...
(1.1.18-23). He is not
bookish like Cassio. He has practical experience of soldiering. Of him, Othello's eyes
had seen proof -
the same ocular proof that he demands from Iago of Desdemona's infidelity - at Rhodes, at
Cyprus and
on other grounds, Christian and heathen (1.1.27-29).
Iago is referred to often throughout the play as my Ancient. The contrast has bitterness
in it whenever
he replies to Othello as my Lord or Cassio as Lieutenant. In Iago's speech on masters and
servants
(I.1.40ff), his true concept of his position is revealed and with it the philosophy
underlying his malice if
such a thing exists: I follow him to serve my turn upon him. / We cannot all be masters,
nor all masters
can be truly followed...In following him, I follow but myself (1.1.41-43, 57). He derides
those who doting
on his own obsequious bondage / wears out his time much like his master's ass (1.1.45-46)
and
praises those who keep yet their hearts attending on themselves / and, throwing but shows
of service
on their lords...do themselves homage (1.1.50-53). These men have some soul, he
professes. His
creed worships but himself, and his words suggest contempt for the souls who hold honesty
and honour
dear. I am not what I am, he concludes, yet Roderigo still trusts him, as do Cassio,
Desdemona and
Othello. That is Iago, honest Iago, ancient to them all but master at the same time.
The first task Iago sets is to wake Brabantio and inform him that his daughter has eloped
with Othello.
This custom (called charivari) was not uncommon in a situation where one party
disapproved of a match.
Iago incites Roderigo to yell as when by night and negligence the fire / is spied in
populous cities.
This practical image serves well the simple mind of Roderigo and such imagery is employed
to similar
effect to incite Brabantio: Even now, very now, now, an old black ram / is tupping your
white ewe (1.1.87-
88). If anything is to Arise, arise / the snorting citizens, it is language such as this.
Brabantio's first
impression of this as malicious bravery...to start my quiet is all too accurate. Iago
declares that you
have lost half your soul...your daughter covered by a Barbary horse...now making the
beast with two
backs. Iago, as throughout the play is creating an image - a very obscene image - to
provoke Brabantio.
He succeeds: Brabantio arises, stunned by the darkness around him and calls for Light! I
say, light! [1.1.75-
142]
Iago makes his exit so as to be seen doing Othello shows of service when Roderigo arrives
in the
company of Brabantio and his followers. It is important that, up to this point, the
audience has only the
vivid image of Othello as the savage tupper that Iago has painted. Othello's first words
Keep up your
bright swords, for the dew will rust them are noble and authoritative, the same voice
which spoke of
... the battle, sieges, fortunes / that I have passed...of moving accidents by flood and
field / Of hair-
breadth scapes i'th'imminent deadly breach, the voice of a man that fetched his life and
being from
men of royal siege. It was this voice and no spells and medicines bought of mountebanks
to which
Desdemona had seriously inclined and come again with a greedy ear. The picture that
Othello paints
of himself is a powerful antidote to that which Iago paints in the first scene, and yet
there is unquestionably
Othello is black. Desdemona is white. Imagery, needless to say, is very important in
Othello. The audience
first sees Othello, not in the flesh, but in the imagination. We are presented with a
powerful image created
by Iago: of a creature untamed an uncivilised, driven only by base instinct. The man that
appears on
stage in the second scene is no such creature. His speech to the senate paints a very
different picture.
It is not one of your average Venetian. It is exotic and strange but it is presented with
eloquence and
a noble authority that outstrips the civilised company that is present. At the end,
Othello reverts to the
rhetoric that he used in front of the senate. Again, the imagery is most powerful. He
talks of pearls,
of Arabian trees. The same sort imagery that he used to woo Desdemona, he uses to
conclude the
tragedy.
Iago's use of imagery is the basis for his power. At the outset, he deceives the audience
with the image
he paints of Othello. He uses simple images, of fires in populous cities, of gardens and
gardeners, for
the simple-minded Roderigo. His deception of Othello needs to be very much more subtle.
Here too,
though, his tool is imagery. The proof that he presents is imaginary. Othello's passion
is aroused by
the images that Iago's words conjure up - of Cassio and Desdemona lying together. The
handkerchief
becomes a symbol for this imaginary infidelity. Othello sees Desdemona, white-skinned and
beautiful,
the very image of purity and is torn apart by the images that have poisoned his mind.
Bibliography
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