Othello Act 1 Scene 1
Thoughts on Othello after Act 1 Scene 1 – he’s a different
race to all other characters, hence the repeated use of racial colloquialism
‘moor’. He is also referred to in a racist manor such as by his ‘thick-lips’
and ‘old black ram’. It is implied by Iago that Othello is a thief (‘thieves’)
who has stolen Brabantio’s daughter. Othello is
perceived to be a man of magic by Brabanio’s instant reaction in reference to
witchcraft – ‘is there not charms’, highlighting how truly absurd it would be
for his daughter to willingly fall in love with a black moor. Lastly,
Othello is depicted to be a threat to society who needs to be eliminated due to
the amassing of ‘weapons’ needed to approach this monster.
We believe Iago due to his multitude of speeches in which
his tone and intonation of delivery are persuasive. He provides valid reasoning
for the audience to understand his reasoning as he explains how he’s displeased
about Cassio being made lieutenant when he has no knowledge of battle. Othello’s
name remains unmentioned in this act but it is this black ‘moor’ who is the
General of the Army who chose this to occur. Iago appears a more sensible and
sophisticated character to believe as opposed to Roderigo’s drunken, short
lines.
Brabantio reacts with such dismay as socially it would be
highly frowned upon for a black (older) man to take a younger, innocent white
girl to be his spouse. Brabantio is outraged at the mere thought of this action
due to the objectification of women in the 16th century – he ‘owns’
Desdemona hence the use of ‘thieves’ highlighting how a possession of his has
been snatched without his knowing. Due to racial
inequalities his immediate reaction is to blame ‘charms’ as the only logical
explanation for this monstrosity to occur, as he is so adamant his daughter
would not choose this herself.
Iago highlights what is ‘wrong’ with Michael Cassio on lines
17-27. For example, “a great arithmetician” implies Cassio is more Scholar like
than an actual solider, hence why he shouldn’t have been promoted above Iago in
his eyes. This is further emphasised by
the quote “Mere Prattle without practise” Iago here is saying that Cassio is
all talk and no action.
Iago is depicted to be the perfect Venetain man (28-39) as
he highlights his previous victories in battle in ‘Rhodes, Cyprus, and on other
grounds’ showing his great qualities as a soldier, as he helped the state of
Venice.
Brabantio thinks Othello has won Desdemona (168-173) through
‘charms’ and witchcraft. (see above).
We may doubt Iago’s honesty by the end of this scene as Iago
quickly leaves the scene right before an angry Brabantio and his men to enter
the stage. This occurs directly after they have been rudely awakened in the
dead of night. Why is Iago so keen to quickly escape is he truly thinks he’s
doing Brabantio a favour?
Othello Act 1 Scene 2
The introduction of Othello is this scene changes the
current image of him depicted in the first scene. He is not the threat to
society Brabantio suggests he is – for examples his first line ‘Tis better as
it is’ merely seeks peace despite Iago’s harsh words in relation to murder.
Othello’s entrance brings light, whereas the introduction of Iago shown him to
be shrouded in darkness – this is ironic as his hubris disallows him to see
Iago for what he truly is. Othello’s high ranking position within society is
exemplified in this scene, firstly due to his intelligence as he is aware of
how his marriage will be received; reminding us of his royal blood. Unlike Iago
Othello is an eloquent character as he speaks in verse; highlighting his
sophistication and confidence, he uses lexical field to further promote his
authority. Othello is greeted with respect by Cassio as he greets him (‘The
Duke does greet you, General’). Othello’s worth to society is again emphasised
as ‘the senate hath sent about three several quests ‘in attempt to find him.
Othello remains unconcerned and still remains calm.
Othello responds to Iago’s baiting (or agenda setting) in a
calm and civilised manor on lines 1-17. Iago over exaggerates the situation in
attempt to make Othello fearful but Othello’s intelligence and reason keep him
calm and cause him to desire only one thing; peace. This is highlighted through
Othello’s lines ‘Tis better as it is’.
When Brabantio meets Othello (62-99) he reacts with great
anger. He immediately addresses Othello as a ‘foul thief’ and refers to him as
the devil in Shakespearian times due to ‘damned’. He goes on to imply that
Othello has bewitched his daughter in ‘chains on magic’, again emphasising his
implication of Othello being a creature similar to the devil. As religion was
of incredible importance to everyone in society contextually, this would be
incredibly offensive. Brabantio contrasts Othello with the idealised image of a
man that his daughter should desire – a ‘wealthy curled darling of our nation’
not a ‘sooty bosom’. Again, this racial slur diminishes Othello purely because
of his race, his soul is not considered anything of worthy quality – for it is
that that Desdemona loves so greatly.
Othello reacts to Brabantio’s charges (59-91) calmly. Even
after Brabantio and his men dominate the stage Othello states that they should
just talk and not fight, even seconds from death he is extremely confident as
he states ‘keep up your bright swords, for the dew will rust them’. Othello has
a clear conscience and honourable nature, shown through his calm actions and
request for the opportunity to answer the charges made against him – ‘to answer
this your charge’.
Othello Act 1 Scene 3 (45-225)
The Duke and senators speak of Othello in racial language,
but they also highlight his determination. For example the first senator
addresses Othello as ‘the valiant moor’. The duke continues to use the word
‘valiant’ to describe Othello, contrasting Iago’s earlier depiction of
him. The senator refers to Othello as
"Moor", which immediately isolates him. He doesn't need to be
referred to by his name as Brabantio is, as there are no other Moors. The
Duke's utterance (valiant) shows how important Othello is to the Venesian
cause: without a word of greeting, he jumps to their need to ‘straight employ’
him against the ‘Ottoman’.
Brabantio speaks of his daughter (58-106) hyperbolically again.
His grief is so immense that it feeds upon other sorrows and remains the same,
and is a ‘flood-gate and o'erbearning nature’. He uses a semantic field of
witchcraft; ‘spells’ ‘medicines’ and ’mountebanks’ (seller of magical goods). The
idea of Desdemona being a possession that can be "stol'n" is also
emphasised here. He suggests there is something 'unnatural' in the pairing of
her and Othello, ‘nature so preposterously to err’.
We learn of the contextual views towards foreigners/moors
within this section. Brabantio for example assumes
with no evidence that a black face is ‘what she feared to look on’ (98). He is
blinded by his own prejudices, and he ascribes them to Desdemona, illuminating
his ideology that his daughter who could not possibly fall in love with a black
man. His reasoning here arises due to racism. Intimate relationships between
different races are evil and entered into by good people through witchcraft. His
daughter is good and shares his views; therefore, she was forced into this
relationship with Othello by witchcraft. Othello also tells the story of his
life, perhaps giving reasoning as to why the white dominated community are
against him being with a white woman. He states how he was a fighter since his
early years, he was ‘taken by the insolent foe / And sold to slavery’ (136).
Shakespeare makes Othello's story rich in visual detail, but he makes it
unclear where the events occurred, distorting geographic facts for dramatic
effect. Slave trading was part of general trade along the shipping routes of
East and North Africa, and many slaves were sold in markets in the cities of
the Middle East.
Considering the previous line, ‘rude’ (referring to
simplistic) seems ironic. This is because Othello's elaborate speech is
anything but simple. As we discover later, it was his ability to tell the story
of his life that impressed Desdemona. This line can perhaps be seen as a
foreshadowing of his tragic flaw; the unconscious belief in his
self-deficiency.
Othello shows his loyalty and trust towards Desdemona. He
wagers his ‘life’ on her honest word. This is also ironic and foreshadows the
end of the play as both him and Desdemona die as a result of Othello’s belief
that Desdemona has been dishonest and unfaithful. It is also startling he lets
Desdemona speak on his behalf as she is a woman, who should not be listened to in
such an important scenario such as the Senate. This is a man’s scene.
During Othello’s speech to Senate, he tells various stories
relating to the time he has spent with Desdemona. Othello describes the course
his romance took. Desdemona played an active role in the wooing, in ‘She'ld
come again’ it shows that she came to him, rather than the typical male
approaching the female. Othello begins to repeat himself (She swore, in faith, twas
strange, 'twas passing strange,'Twas pitiful, 'twas wondrous pitiful) breaking
the flow, as though Othello has lost himself for the moment in nostalgia,
showing again the purity of his love, unlike Iago's suggestion. The repetition of ‘strange’ hints at
Othello’s self-deficiency and the idea of the ‘strange’ seems to suggest that
looking back, he can't quite believe events fell out as they did.
Othello Act 1 Scene 3 (226-386)
The senators listen to Desdemona as she attempts to persuade them to allow her
to accompany him into the war as a faithful wife. Hence ‘. . . [I]f I be left
behind, / A moth of peace, and he go to the war, / The rites for which I love
him are bereft me, / And I a heavy interim shall support, / By his dear
absence. Let me go with him" (255-259).
Desdemona longs to be with her husband, for the rites of marriage, for
sexual intimacy, and she finishes with a direct request: ‘let me go with him’.
The Duke notes to Brabantio, Othello ‘is far more fair than
black’ this praises Othello but is also a simultaneously racist comment.
Brabantio uses the rhyming couplet ‘Look to her, Moor, have
a quick eye to see: / She has deceiv'd her father, may do thee.’ (292-293).
These words to Othello in this scene are of high importantance. They are ironic
and provide an example of dramatic presaging. Desdemona does not deceive
Othello, but in short time Othello will be so convinced that she has deceived
him that he will murder her. Othello's reply to Brabantio is likewise ironic:
He vows, ‘my life upon her faith!’ (295). Shortly, he will in fact take his own
life because of his lack of faith in her faith.
Roderigo is so distraught as he believes he is so deeply in
love with Desdemona. Iago attempts to convince him to keep going by using
masculinity as a weapon against him. Iago mocks Roderigo in response to his
comment about not being able to live without Desdemona (‘when death is our
physician’) by comparing him to a horny animal (baboon) to gain the audience’s
humour. He effectively tells him to ‘man up’ from a modern day perspective as a
respected man would rather have a multitude of women rather than just the one.
Iago appeals towards the inner sexual nature of Roderigo through his speech –
he disregards emotion and takes a more primal, animalistic stance on attitudes
towards women. According to Iago, bodies are built for one thing: sex. He
advices Roderigo to sleep with beautiful women (‘lettuce’) or horrible women
(‘nettles’) for it does not matter, he can have a taste of the whole ‘gender of
herbs’ if he wishes. Iago’s final repetition of ‘put money in thy purse’
outlines his motivation for his actions, he needs Roderigo to keep it together
in order to keep the mechanics of his plan adequately functioning.
In the ending soliloquy of the act, Iago introduces a second
motive for his hatred of Othello, whilst outlining his plan and motivation. He states
that it is common knowledge that the Moor 'twixt my sheets . . . [has] done my
office’ (393-394) and, for Iago, ‘mere suspicion . . . will do . . . for
surety’ (395-396). There is absolutely no evidence anywhere in the play to
indicate that Othello has had an affair with Emilia, thus leading us to the
conclusion that Iago must be mentally deranged in some manner, he is also
unconcerned about this rumour. This point is emphasised further through ‘but
for my sport and profit’, Iago is only doing this to satisfy his own sense of
humour. Iago goes on to reveal his next malicious plan of action. As he is
aware that Othello trusts him, he will use this trust to manipulate the Moor into
believing that Cassio is ‘too familiar’ (402) with Desdemona, the moor’s ‘free
and honest nature’ will allow him to do so. Othello has already revealed that
he knows ‘little of this great world … [except that which] pertains to feats of
broils and battle’ (86-87), so Iago plans to use this against him. He is also
convinced his plan will bring him success as Cassio supposedly has the power to
make all husbands jealous (‘framed to make women false’). The final couplet
contains the reference ‘hell and night’ (409) and to ‘monstrous birth’ (410), here
we sense Iago gleeful and Machiavellian; we see all too clearly the
unnaturalness and the diabolical elements of his plans to destroy the union of
Othello and Desdemona.
