Themes
Othello
shown in conversation with Emilia. As Emilia casually talks of infidelity, she reveals a worldly, knowing nature. In contrast, Desdemona finds it difficult to believe that any woman could be disloyal to her husband. When Emilia asks her if she would ever have an extra-marital affair, Desdemona’s shocked response underscores her innocence and she makes an immediate appeal to heaven: ‘No, by this heavenly light!’ (Act 4, Sc 3). So pure of thought is Desdemona that it never even occurs to her that Othello may be jealous until Emilia suggests it. As a symbol of goodness and virtue, Desdemona encapsulates the Christian ideal of
forgiveness. Throughout the play she overlooks Othello’s mistreatment of her, forgiving his abusive and erratic behaviour. Desdemona tells Iago that nothing Othello does could ever erode her love: ‘Unkindness may do much, / And his unkindness may defeat my life, / But never taint my love’ (Act 4, Sc 2). Similarly she tells Emilia: ‘My love doth so approve him, / That even his stubbornness, his checks, his frowns – / Prithee, unpin me – have grace and favour in them’ (Act 4, Sc 3). In her final words Desdemona is most keenly presented as the Christian ideal of forgiveness. After Othello has smothered her and she lies dying on their bed, she tries to exonerate her husband by falsely claiming that she committed suicide. This act of forgiveness is in contrast to the thirst for revenge that blights Othello (and arguably Iago) throughout the play. However, it should be noted that some critics see Desdemona as a deluded figure. Her failure to recognise Othello’s abusive behaviour stems from her idealised vision of her husband as a morally pure figure, like a hero from an adventure story. These critics see Desdemona as romanticising her husband to such a degree that she blames herself for her own death. As Desdemona’s polar opposite, Iago is identified with evil. Just as Desdemona embodies
Christian goodness, Iago personifies evil. This is apparent from the opening scene where Iago’s comment ‘I am not what I am’ inverts God’s statement to Moses in the Bible: ‘I am that I am’ (Exodus 3:14). Iago also makes direct appeals to hell and labels himself a devil: ‘Divinity of hell!
When devils will the blackest sins put on, They do suggest at first with heavenly shows, As I do now’ (Act 2, Sc 3).
He sees his scheming as a hellish act: ‘Hell and night / Must bring this monstrous birth to the world’s light’ (Act 1, Sc 3). This diabolic imagery casts Iago in the role of devil, tempting Othello onto evil. As the other characters come to see Iago’s true nature they describe him in hellish terms: Othello calls him a ‘demi-devil’, Cassio describes him as ‘heathenish’ and Lodovico dubs him a ‘hellish villain’ (Act 5, Sc 2). Othello also expects to see Iago bearing cloven hooves. The imagery of the play clearly presents Iago as the personification of evil. Iago’s evil nature is acutely revealed through his malevolence. His dark talent for exploiting
human weakness allows him to take advantage of others. For example, Iago uses Desdemona’s innate goodness to his advantage, seeing it as a means of ensnaring Othello: ‘She’s framed as fruitful As the free elements…
So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh them all’ (Act 2, Scene 3).
This plan is realised as Desdemona generously solicits Othello to have Cassio reinstated to his position as lieutenant. This further convinces Othello of Desdemona’s guilt. Iago malevolently misrepresents Desdemona’s goodness in order to corrupt Othello. Iago’s evil is most significantly revealed through his corruption of Othello. Iago sets out to ruin Othello by encouraging his jealous rage and directing it towards Desdemona. The audience
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