Themes


Othello


watch with horror as Othello becomes drawn towards evil. This is physically represented in Act 3, Scene 3 as Othello and Iago kneel together and engage in a kind of hellish prayer. Othello’s language takes on the diabolic imagery of Iago’s soliloquies: ‘All my fond love thus do I blow to heaven. ’Tis gone.


Arise, black vengeance, from thy hollow hell! Yield up, O love, thy crown and hearted throne To tyrannous hate! Swell, bosom, with thy fraught, For ’tis of aspics’ tongues! (Act 3, Sc 3). The fervour and hatred of Othello’s tone here shows how tainted his soul has become. The evil that has consumed Othello reaches its fullest expression in the final scene when he smothers Desdemona. Othello’s language illustrates how evil has inverted his moral compass. In the above quotation, Othello seems to embrace evil but in the final scene Othello speaks as if he is an agent of heaven. As he prepares to murder Desdemona (Act 5, Sc 2), Othello believes he is administering divine justice. He asks ‘Have you prayed tonight, Desdemona?’ and calls her to make confession: ‘If you bethink yourself of any crime / Unreconciled as yet to heaven and grace, / Solicit for it straight…No! Heaven forfend! I would not kill thy soul.’ Othello’s language reveals the depth of his moral confusion as he inverts right and wrong, heaven and hell. Having become corrupted by evil, Othello murders his wife and finally brings about his own tragic undoing. Although Othello commits a deplorable evil deed, the audience pity rather than revile


him. We recognise the influence Iago has brought to bear on Othello. Although we cannot forgive Othello for his lack of foresight and jealous pride, we pity him for his flawed humanity. Once the truth is revealed to him, Othello recognises the evil of what he has done and cries out for eternal punishment:


‘Whip me, you devils,


From the possession of this heavenly sight! Blow me about in winds! Roast me in sulphur! Wash me in steep-down gulfs of liquid fire! O Desdemona! Dead Desdemona! – Dead! O! O! O!’ (Act 5, Sc 2).


Othello’s remorse signals his conscience and capacity for good. As Othello concludes, the audience is left with a vision of a man who had the potential for goodness but whose flawed humanity led him to succumb to evil.


205


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156  |  Page 157  |  Page 158  |  Page 159  |  Page 160  |  Page 161  |  Page 162  |  Page 163  |  Page 164  |  Page 165  |  Page 166  |  Page 167  |  Page 168  |  Page 169  |  Page 170  |  Page 171  |  Page 172  |  Page 173  |  Page 174  |  Page 175  |  Page 176  |  Page 177  |  Page 178  |  Page 179  |  Page 180  |  Page 181  |  Page 182  |  Page 183  |  Page 184  |  Page 185  |  Page 186  |  Page 187  |  Page 188  |  Page 189  |  Page 190  |  Page 191  |  Page 192  |  Page 193  |  Page 194  |  Page 195  |  Page 196  |  Page 197  |  Page 198  |  Page 199  |  Page 200  |  Page 201  |  Page 202  |  Page 203  |  Page 204  |  Page 205  |  Page 206  |  Page 207  |  Page 208  |  Page 209  |  Page 210  |  Page 211  |  Page 212  |  Page 213  |  Page 214  |  Page 215  |  Page 216  |  Page 217  |  Page 218  |  Page 219  |  Page 220  |  Page 221  |  Page 222  |  Page 223  |  Page 224