Othello

How is Othello’s Strength Represented Throughout the Play? Consider How Shakespeare Represents This.

Shakespeare, an infamous English playwright and poet, is considered to be one of the greatest dramatists of all time. Shakespeare’s career of writing plays during the 16th and 17th centuries, for theaters in England, led to the discovery and publication of his astounding work that is used today throughout the world. One of Shakespeare’s most famous plays known as Othello, depicts the life of a black man, Othello, and the life he lives which results in his tragic, yet fateful death of himself and his love, Desdemona. Throughout the play, Othello’s strength is portrayed through a decline, which consequently results in his weakness. During the beginning of the play, Othello expresses confidence and protection towards Desdemona and his self morale, but as the play develops, Othello becomes further manipulated, loses resilience, starts to doubt Desdemona, and his personal morality starts to decrease, illustrating his lack of strength. Othello's lies and truths are derived from his inability to understand himself, which leads to his tragic downfall. In Act 1 Scene 2 line 75, Othello displays great strength as a character, being dependable for his wife Desdemona, and remains unphased even when being doubted by other characters. In contrast, in Act 3 Scene 3 line 262, Othello has an honest soliloquy where he displays a lack of courage through the language used to portray his wife, Desdemona. Although Othello depicts strength, courage, and robustness, his weakness which is derived from his hamartia, inclines throughout the play, clearly displaying Othello’s role as the tragic hero.

Firstly, in Act 1 Scene 3 line 129, Othello defines great strength when he defends himself from Brabantio’s accusation of using “black magic” and witchcraft on his daughter, Desdemona. While being accused and humiliated, Othello expresses his true intentions with great strength, honesty, and vulnerability. 

O thou foul thief, where hast thou stowed my daughter? Damned as thou art, thou hast enchanted her! For I’ll refer me to all things of sense, If she in chains of magic were not bound, Whether a maid so tender, fair, and happy, So opposite to marriage that she shunned The wealthy curlèd darlingtons of our nation, Would ever have, t’ incur a general mock, Run from her guardage to the sooty bosom Of such a thing as thou - to fear, not to delight. Judge me the world if ‘tis not gross in sense That thou Hast practiced on her with foul charms, Abused her delicate youth with drugs or minerals That weakens motion. I’ll have ‘t disputed on. ‘Tis probable and palpable to think. I therefore apprehend and do attach three  For an abuser of the world, a practicer Of arts inhibited and out of warrant. - Lay hold upon him. If he do resist, Subdue him at his peril! (1, 3, 129)

In this quotation, Othello explains that the only drug he used to gain Desdemona’s love was love, his personality, and his courageous acts at war, which she did not pity him for. Othello expressed that he had to create a life for himself after being sold to slavery and had to redeem himself, which he had accomplished, proven by his militant involvement. Coming from a “country of cannibalism” and having to make a name for himself, Othello remained mentally and physically strong for what he'd endured, but also displaying mental strength to pursue and stay dedicated to cultivating a life of his own. He appreciated that Desdemona listened attentively and admired his past, and that she honored him for all the danger he'd endured. Additionally, the word “witchcraft” within the quotation is important because Desdemona's father cannot fathom that Othello would have won Desdemona's heart over in a moral way, but Othello is being portrayed as honest and loving. The doubtful mind of Brabantio and the doubtful pressure that is forced upon Othello, illustrates the sheer strength he has to stand up against the accusations. Furthermore, the way Brabantio depicts Othello’s intentions illustrates the lack of knowledge Shakespeare and others had during the time period. Africa had not been explored, which resulted in the country and their “moors” being portrayed as monstrous and subhuman. The misconception about Africa derived stereotypes for black people to use magic, powers, drugs, and tricks from their non-Chritsian homeland, on the Europeans, when they immigrated. This misconception is displayed vividly in Othello’s life and how he is perceived and treated by other characters, which impacts Othello’s morality and strength as a character. For Othello to love a woman who is not of his color in this time period and to have these stereotypes associated with him, further illustrates great personal courage and strength for being so proud of his love. Furthermore, in the quotation, an exaggeration is used when Brabantio states that Othello has “Abused her delicate youth with drugs or minerals”, Othello has not actually abused Desdemona with drugs and minerals, but Brabantio thinks that her entire chastity and youthfulness had been ruined because of Othello. This illustrates how upset Brabantio is about Desdemona being in love with Othello, and how much Brabantio is doubtful about Othello and his actions. Additionally, the dialogue within this act is open and honest between Othello and Brabantio, about Othello’s virtue. Othello is speaking to other characters during this scene which illustrates that he is not afraid or shy to express his true feelings about Desdemona. In an article written by Patrick C. Hogan, an English professor at the University of Connecticut, and published by CLA Journal, a publication by the College Language Association, states: 

Shake-speare is at pains to portray Othello as more reasonable (more contemplative, calm, reflective, discerning) and less passionate (less impulsive, desirous, pugnacious) than any of the Venetians around him. Roderigo is a fool, his reason pathetically overwhelmed by lust for Desdemona. Cassio, deceived into inebriation, loses self-control and brawls on the slightest provocation. Brabantio storms into Othello's company crying havoc and flailing his sword hysterically. Most of all, Iago is crazed with the green-eyed monster, jealousy. It takes labor, and stage- craft, and practiced deceit to convince Othello that Des-demona has been unfaithful (Hogan, 436)

This quotation further supports how Othello was created to be portrayed as a composed character, but as the play develops, Othello gets influenced by Brabantio which leads Othello to become impulsive and destructive. While Othello depicts great courage within this act and displays traits as he was intended to, this quotation foreshadows Othello’s developed personality. Othello’s experience of racism, placed him in a position of defense through stereotypes which strongly displays Othello’s courage and strength, disregarding the assumptions being placed upon him, and speaking his own truths and honesty. In another article written by Edward Berry, an accomplished Shakespeare journalist, he states:

Padox-ically, however, Othello's "Africanness" is crucial to his tragedy not because of what he is, innately or culturally, but because of how he is perceived, by others and by himself (Berry, 318)

This article mentions that Othello's actions may have largely been a result of how he had been perceived by others. Not because Othello was black, but because of the stereotypes, Othello’s lack to control how others thought of him, led to his tragedy. The impact of Othello’s race led to his jealousy because of his own insecurity. While being a black man in the Venetian society, he was even more alienated as a character, leading to his own tragedy.

Secondly, in Act 2 Scene 1 line 84, Othello evokes respect and honorability from Cassio, when he expresses his hopes for Othello returning safely from the military for security at home, and for Desdemona. This illustrates that Othello has displayed courage and honesty which is admired by other characters, provoking others respect and honor. 

Great Jove, Othello guard, And swell his sail with thine own powerful breath, That he may bless this bay with his tall ship, Make love’s quick pants in Desdemona’s arms, Give renewed fire to our extinct spirits And bring all Cyprus comfort! (2, 1, 84)

In this quotation, Cassio displays a great deal of respect for Othello by saying that he hopes Othello can protect Cyprus and then return safely to Desdemona. This illustrates respect because Othello is able to supply physical strength and comfort for the military, but also that Cassio has respect for Othello’s relationship even though others do not. While some other characters do not respect Othello’s relationship and are trying to ruin it, Cassio supports it, illustrating the respect Cassio has for Othello’s personal life. In the quotation, the word “powerful” is important because Othello is depicted as a powerful character both physically and mentally within this scene. Most characters perceive Othello as powerful which led him to being a target due to how powerful and strong willed he is. In addition, the exaggeration used in the quotation allows us to understand others' feelings towards Othello. “Great Jove, Othello guard, And swell his sail with thine own powerful breath” Great Jove (Juptier) was the ancient Roman Zeus, similar to God. When Cassio states that he is calling on Great Jove to save and protect Othello, it illustrates how much Cassio cares about Othello returning home because he is so respectable. Religion at the time was paramount, and Cassio relying on God to bring Othello home with protection and to save his soul would have been impactful. Furthermore, this act is during an aside where Cassio is talking to Montano; the head of Cyprus. While speaking so highly to an authoritative figure about Othello and how respectable he is as a soldier and as a man, it illustrates Cassio’s true intentions to Montano to understand how respectable Othello truly is. In an article written by John Gruesser, an English professor at Kean University, and published by Journal of Caribbean Literatures, the Gruesser states:

If he can show the General that things are not as they seem, Othello will respond as a warrior whose honor has been insulted and perhaps even revert to his erstwhile non-Christian beliefs. And he knows that nothing will better serve to destroy Othello's sense of himself as a loyal servant of imperial Venice advantageously married to a member of one of its leading families than for him to kill his wife in the mistaken belief that she has cuckolded him (Gruesser, 101)

In the article, Othello’s successes at war are so honorable that they make him feel accomplished, while his wife makes him doubtful of himself. If the General of Cyprus (Montano) understands how respectable and courageous Othello really is, perhaps it distracts the attention of his wife making a cuckold of Othello less significant. Othello is being insulted even though he's heroic, but no matter his own personal successes he fails to stay true to himself and becomes humiliated and jealous. This also enforces Othello’s non-religious mindset through his thoughts of murder and his insults towards Desdemona, making him weaker, less moral, and religiously undevoted. Othello refers to Desdemona as white, angelic, and pure during the beginning of the play, but through his jealousy, he describes her as black, devil-like, and says for her to go to hell. This illustrates Othello's struggle because he believes his wife is cheating but is still devoted and loving, wanting to return home safely to her. Additionally, Othello being displayed as a great  military leader would have gained respect for him as a character from the crowd. During the European discovery, sailing the world was common for merchants and militants, therefore the audience would have related to him. Understanding the depths and tragedies he's endured in the military would’ve shown how courageous he was as a person and the audience would have been able to respect him more for his commitment. 

Thirdly, in Act 3 Scene 3 line 262, Othello’s weakness starts to reveal itself when he becomes increasingly gullible to Iago and Cassio’s scheme into making Othello believe that Desdemona is cheating. His jealousy is unveiled by how he begins to talk about Desdemona, and expresses that maybe it was only fate that brought them together. His hamartia is displayed (jealousy) because he becomes easier to manipulate and his morality is affected by his lack of speaking against others opinions. 

This fellow’s of exceeding honesty And knows all quantities, with a learnéd spirit, Of human dealings. If I do prove her haggard, Though that her jesses were my dear heartstrings, I’d whistle her off and let her down the wind To prey at fortune. Haply, for I am black And have not those soft parts of conversation That chamberers have, or for I am declined Into the vale of years- yet that’s not much- She’s gone, I am abused, and my relief Must be to loathe her. Oh, curse of marriage That we can call these delicate creatures ours And not their appetites! I would rather be a toad And live upon the vapor of a dungeon Than keep a corner in the thing I love For others’ uses. Yet ‘tis the plague to great ones, Prerogatived are they less than the base. ‘Tis destiny unshunnable, like death. Even then this forkèd plague is fated to us When we quicken. Look where she comes (3, 3, 262)

Othello's lengthy soliloquy illustrates a lack of strength through his belief in Iago and the lies he is being fed. While becoming a victim to Iago's strategic lies and manipulation, he states that his wife is attracted to others and not just him and how Desdemona is not private to just his love. He also displays immoral values after being devoted to Desdemona and speaking so highly of her, he angrily rants about how undevoted Desdemona is. The word “fated” within the quotation is very important because Othello has reached a point where he believes that it is not love he has for Desdemona, but it is only fate that has kept them together. Othello feels he is responsible for his own tragedies of becoming a cuckold, being a victim to his own demise. This is illustrated heavily throughout the play because his hamartia leads to his own fateful death. Additionally, a strong metaphor is used within the quotation, illustrating how angered Othello is. “I would rather be a toad And live upon the vapor of a dungeon Than keep a corner in the thing I love For others’ uses.” Othello states that to be like a toad sitting in a dark corner with just oxygen, would be more enjoyable than to watch his wife cheat on him. This displays how poor of a life he would rather live than to live a life with a cheating wife making him a cuckold. Furthermore, this soliloquy of Othello allows the reader to understand him deeper as a character because he is speaking true to his feelings. He is talking poorly about his wife but also illustrating a lack of strength because he has lost respect for his wife and for himself as a result of being gullible. We are able to further understand Othello's state of mind which allows us to understand how manipulated he becomes. In an article published by American Iago, founded by the renowned psychoanalyst Sigmund Freud, he states:

Inaccessible woman makes the first advances—that which the child Othello had longed for his mother to have done and, most significantly, the advances are made in response to Othello's tales of adventure—tales of heroic exploit that are the typical fantasies of the little boy, tales of masculine success designed to impress the mother with his superiority to her husband. This is the fatal combination—the inaccessible woman who believes in and accepts the heroic fancies of the boy—that destroys Othello. It is fatal because it unleashes quite suddenly the castration anxieties that he had never faced quite fully in childhood, anxieties that he had never faced quite fully in childhood… (Iago, 281)

The article strongly conveys how Othello yearns for masculinity as a result of feeling inferior to his wife. As Othello becomes more gullible and jealous, he gradually decreases in strength and rises in weakness. This ties into Othello’s heroic aspirations that he derives from his youthful years, eventually destroying him as a person because he never had to face hardships as a younger child. Therefore, when Othello is faced with a cheating wife and a lack of support from his peers, Othello does not know how to react besides becoming angry and pitiful, resulting in murder. When Othello was made a cuckold, it would have been shameful and embarrassing and frowned upon by the audience as your wife was being unfaithful, adulterous, and out of a husband's control. In Othello, the dark side of infidelity is displayed which brought shame to Othello as a character. In early England it was the “age of horns” where a wife's infidelity would result in invisible animal horns on a man's head as a sign of cuckoldry, revealing the early modern crisis of masculinity. This ties into the article, and furthermore, the masculinity and control Othello feels he needs to display as a result of his own humiliation. 

Lastly, Othello’s weakness peaks in Act 5 Scene 2 line 375 where his jealousy leads to the murder of Desdemona and himself. Othello’s insufficiency to remain strong and trusting his wife results in him acting on his own intrusive thoughts. “I kissed thee ere I killed thee. No way but this, Killing myself, to die upon a kiss.” (5, 2, 375) Before Othello kills Desdemona, he speaks lots to Desdemona, telling her to pray so that she won’t go to hell, that he loves her very much while explaining why he’s killing her. This important dialogue illustrates the empathy that Othello still has for Desdemona which shows how he is as a character and how he is holding onto his love still, even after being warned that Desdemona was not good for him. Additionally, the word “killing” within the quotation is important because Othello’s decline of his strength is illustrated when he kills Desdemona where he finds out after, that she didn’t actually cheat. This results in him killing himself because he realizes his wrongdoings (peripeteia). The repetition used of the word “kill” foreshadows his own death during Desdemonas. It is not an exaggeration because he does in fact kill himself, making him the tragic hero. Furthermore, Othello’s passion for Desdemona makes him become his own prey, attacking himself. Othello believed that Desdemona was his paradise, but wanting to have her so badly without acknowledging that she may have been the reason for his tragedy, made him a victim to his own emotion while benefiting the least from his own passion. This adoration and struggle for Desdemona was encouraged by Iago, but Othello fails to recognize that this is also Iago’s fault. Similarly, Adam and Eve were kicked out of paradise because they ate the fruit they were warned not to. Comparably, Othello was warned countless times that Desdemona was making a cuckold of him and that she was not loyal to him. He was informed by Brabantio that he was not worthy of Desdemona’s love, but Othello continued to pursue her no matter the consequence. Othello’s overbearing adoration that he had for Desdemon resulted in his own death due to his gullibility and his lack of strength to separate from Desdemona. Furthermore, in an article written by Paul N. Siegel, an expert journalist on Shakespeare, and published by the Cambridge University Press, Siegel states:

She has betrayed me (as well as her father), and so I am an innocent wronged one, along with him. His idea that he must kill her to prevent her from betraying more men is an announcement to his super-ego: You see, I am serving your interest, not my own. He announces to his introjected father: I have not really done you a disservice, she has, and to protect…The loss of his paradise makes Othello, like Adam, the prey of his passion. He had been a commanding personage, grand, self-contained, dignified, "the noble Moor whom our full senate / Call all-in-all sufficient.. the nature / Whom passion could not shake" (Iv.i.275-277). His acceptance of Iago's view wrenches him apart and looses the passions which gush forth from within him (Siegel, 1070)

This quotation and the religious connection is important to the time period because “Not believing in God was like not believing in trees” During the time of Shakespeare, religion was paramount and Christiainty was perceived as the righteous way of life. Religion was inescapable and the reference of religion throughout the play developed Othello as a character. Othello battles with good and evil and the temptation and the lure of evil is what would have shocked the crowd most. Othello, who makes lots of religious remarks to then go against them and sin, would have been frowned upon because it was unacceptable to sin against God’s rules and ways, especially through murder. 

In conclusion, in Shakespeare’s Othello, Othello’s weakness increases, resulting in his strength decreasing. The clear lack of strength depicted by Othello as the play evolves, leads to his fateful downfall, consequently resulting in his own death. While Othello exhibits great strength and courage in Act 1 when speaking out against Brabantio’s racism and hatred, Othello begins to display weakness in Act 3, during his personal moment alone when he rants about Desdemona’s unfaithfulness. Othello’s fear of humiliation and his vulnerability to manipulation, shapes Othello as a weaker character, being doubtful of himself and his wife. As other characters start to influence Othello, his mind becomes corrupted with the information he is being told, and Othello’s avoidance to acknowledge that his relationship with Desdemona may be his own fateful consequence, leads him to his own, self-inflicted tragedy. Shakespeare once said “Your greatest strength begets your greatest weakness”. 

Work Cited

Berry, Edward. “Othello’s Alienation.” Studies in English Literature, 1500-1900, vol. 30, no. 2, 1990, pp. 315–33. JSTOR, https://doi.org/10.2307/450520. Accessed 10 Oct. 2024.

Gruesser, John. “‘Say Die and I Will Die’: Betraying the Other, Controlling Female Desire, and Legally Destroying Women in ‘Wide Sargasso Sea and Othello.’” Journal of Caribbean Literatures, vol. 3, no. 3, 2003, pp. 99–109. JSTOR, http://www.jstor.org/stable/40986147. Accessed 10 Oct. 2024.

Hogan, Patrick C. “‘OTHELLO’, RACISM, AND DESPAIR.” CLA Journal, vol. 41, no. 4, 1998, pp. 431–51. JSTOR, http://www.jstor.org/stable/44323165. Accessed 10 Oct. 2024.

“Othello’s Jealousy.” American Imago, vol. 25, no. 3, 1968, pp. 274–93. JSTOR, http://www.jstor.org/stable/26302347. Accessed 10 Oct. 2024.

Shakespeare, William. Othello: No Fear Shakespeare Deluxe Student Edition. Sterling Publishing Company, Incorporated, 2020.

Siegel, Paul N. “The Damnation of Othello.” PMLA, vol. 68, no. 5, 1953, pp. 1068–78. JSTOR, https://doi.org/10.2307/460004. Accessed 10 Oct. 2024.