Othello


Key Themes in Othello


If virtue no delighted beauty lack, Your son-in-law is far more fair than black


Duke of Venice Act 1 Scene 3, l.310–11


high-ranking military status makes him part of Venetian society while his racial background gives him a confused sense of identity.


Othello’s ethnicity is a cause of underlying tension throughout the story. The term ‘Moor’ generally refers to people of North African origin, but is sometimes thought to include those of all Arab civilisations. Othello’s race is the source of one of the play’s dominant metaphors. For Othello’s enemies, black is often associated with wickedness or dishonesty.


This negative view of black people prevalent in Shakespeare’s time is particularly evident in the opening scene when Iago expresses overtly racist opposition to Desdemona’s elopement with Othello. The flag-bearer’s first soliloquy clearly shows that his true identity is self-serving and vengeful. Nevertheless, we are never in doubt that it’s not just Iago the newlyweds are up against, but the prejudiced status quo that Iago merely embodies in its most offensive form.


is very highly rated, and to make up our own minds about the many issues explored through same-sex and male–female relationships.


Overview: gender in Othello Š Leads to male–female power struggles. Š Women’s sexuality seen as a huge threat to men. Š Reveals major flaws in Iago and Othello. Š Contrasts male and female characters’ qualities. Š Propels the plot to its tragic conclusion.


Š Gender conflicts intensify the theatrical experience.


Race and Identity


Since the earliest stage productions of Othello, critics have disagreed about Shakespeare’s presentation of the protagonist. Although Othello’s actual race is never precisely defined, there is broad consensus that the playwright introduced a black hero to address the idea of difference and to explore the experience of the outsider in a white patriarchal society.


Othello’s Moorish identity places him in a precarious position. Iago and Cassio also struggle with their own personal sense of identity, and this motivates their decisions throughout the play. However, most of the focus is on Othello, whose


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Inter-racial marriage is said to be ‘Against all rules of nature’. Bestial images of the ‘lascivious’ Moor as ‘a Barbary horse’ and ‘an old black ram’ depict Othello as a savage creature. Brabantio refers to his son-in-law as a ‘thing’, and there are recurring references to evil and witchcraft. To Iago, Roderigo and Brabantio, the Moor’s colour offers a basis for expressing their personal hatred. Ironically, such intolerance is likely to make audiences feel greater sympathy for Othello.


In his earliest comments, Othello uses his race positively. Indeed, he seems proud – almost boastful at times – about his exotic origins: ‘I fetch my life and being/ From men of royal siege’. His eloquent speech to the senators stresses the fact that his unique Moorish history attracted Desdemona, who acted freely in selecting a husband for herself: ‘she had eyes, and chose me’.


Desdemona defends her husband at every opportunity, saying, ‘I saw Othello’s visage in his mind’. Her attitude is exceptional, of course, and reflects her unconditional – and possibly naive – feelings of love. Almost every other character in the play sees Othello’s race as problematic. On some occasions, the protagonist’s colour is less of an issue, especially when Venice itself is under threat. The Moor seems be held in high esteem as a ‘valiant’ army general, recognised by the Duke as ‘more fair than black’. Whether this is a genuine compliment or mere flattery designed to


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