Othello - Academics Analyses

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BookRags Essay.............................................................................................................1
Othello: Analysis of Shakespearan Scholars Opinions........................................1
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BookRags Essay
Othello: Analysis of Shakespearan Scholars
Opinions
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BookRags Essay 1
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
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
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 not
black.
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
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,
and it hurts my hand,."
Bradley writes that, this intense imagination had accompanied the entire life of the
romantic Moor, having watched, "with a poet's eye...the poetry of the pride, pomp, and
circumstance of glorious war," and that, "there is no love, not that of Romeo in his
youth, more steeped in imagination that Othello's." Also, the author praises the
intensity of Othello's passion, with all his dignity and composure, and an emphasis on
self-control. These and additional qualities of Othello's character are stated to be most
efficiently illustrated with the single line when he ends an altercation between his own
attendants and those of Brabantio in an instance:
"Keep up your bright swords, for the dew
will rust them."
Another example which elicits the reader to further admire this self-control due to the
necessity, is given:
"Now, by heaven,
My blood begins my safer guides to rule,
And passion, having my best judgment collied,
Assays to lead the way."
Bradley proceeds to describe Othello as having several absolute qualities, "without
hesitation"--trust, love, and passion--using his entire capacity for each and every
aspect of his very self, he is truly complete, with a nature, "all of one piece." Further,
Bradley states feelings that because of all the inevitable actions (based on character) in
accordance to his nobility, the forces borne upon it, and the deep sufferings rendered
by Othello, he is unique in that the readers feel, "a passion of mingled love and pity
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 and
suggestions 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."
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 but
I 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
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 injured
his 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 his
character and allowed him the peace he had always deserved.

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