Themes in Othello
Themes in Shakespeare’s Othello Throughout Shakespeare’s play, Othello, there are lots of styles interwoven to describe the author’s perspective of the real nature of a guy’s soul. 3 styles crucial to the play are doubt versus trust, monstrous imagery and the imperfect love of male. One main style of the play is the major contrast of doubt versus trust. For whatever reason, Othello’s trust of Desdemona is too weak to withstand Iago’s accusations. As takes place in many of Shakespeare’s works, miscommunication and mistrust cause “prepost’rous conclusions” (1. 323). Othello’s heart informs him that Desdemona likes him; however the vital Iago can take apart Othello’s rely on his wife by planting seeds doubt through what seems rational proof. Having actually constructed Othello’s curiosity about Cassio’s supposed ideas; Iago manipulates Othello into seeing a situation between Desdemona and Cassio that does not exist. Since Othello suspects that Iago knows more details than he is telling, he begins questioning Iago. “Why of thy thought? “(3. 3. 108), “What dost thou think?” (3. 116). The superficially responded to questions cause Othello to make demands for more information: “If thou dost like me, show me thy idea” (3. 3. 127-28), “offer thy worst of ideas the worst of words” (3. 3. 145-46), then “By heaven, I’ll know thy ideas!” (3. 3. 175). Due to Othello’s equating of Iago’s thoughts with factual knowledge, he is eager to skepticism Cassio and does not fully scrutinize the evidence. It is since he trusts Iago that he trusts the incorrect “facts” and doubts the virtue of his other half, Desdemona.
In addition to inferring Desdemona’s unfaithfulness to Othello, Iago alludes to Desdemona’s duplicitous deceptiveness of her dad, Brabantio– she had the ability to “seel her dad’s eyes up close as oak”-when he advises Othello that “She did trick her dad, weding you” (3. 3. 224, 220). As Othello makes his final desperate effort at trust by stating, “I do not believe but Desdemona’s honest,” Iago again exploits the line between thinking (or having trust) that Othello’s wife is faithful and understanding (through proof) whether it is actually real (3. 3. 241). Othello stops working to see that honor can not go through empirical proof.
Shakespeare’s expedition of the idea of jealousy leads to the theme of the human mind’s predisposition to prefer the “monstrous.” Monsters of the human psyche are self-generating, even without the prodding of an evil manipulator such as Iago. He feeds this compulsion by motivating Othello to “see,” in his mind’s eye, his spouse being “topped” by Cassio (3. 3. 412). When jealousy is identified as a monster in the play, it is used to recommend how one can be overtaken by a passion. Iago specifies jealousy as “the green-eyed beast, which doth mock the meat it eats” (3. 3. 179-80), a nasty parasite that tortures its host.
When Emilia discusses jealousy to be a “monster begot upon itself, born upon itself” (3. 4. 157), she highlights its self-generating nature. “Jealous souls” do not require real events to sustain their suspicions because, Emilia explains, they are “never jealous for the cause” (3. 4. 154-55). When Cassio is benched for drunkenness, he laments that humans “transform ourselves into monsters” through alcohol that also provides “happiness, pleasance, revel” (2. 3. 257-58). And for Othello, consuming jealousy transforms him into a violent predator that performs the “monstrous act,” as Montano describes it, of murdering Desdemona (5. 197). Iago acts as a driver to carry out this monstrous act by Othello. Deeply bitter and untrusting himself, he plots to arouse jealousy in Othello. “Hell and night should bring this monstrous birth to the world’s light” (1. 3. 382-83). This clearly establishes a tie in between the satanic and the monstrous; like Satan at the core of darkness, Iago will help bring about a monstrous birth. By Act 4, Othello describes to Desdemona that the water fountain of his being, his heart, is now no much better than a “cistern for foul toads to knot and gender in” (4. 2. 63-64).
Othello’s own heart having actually become corrupt is now no more than black locations of repulsion and disgust at physical love and of monstrous fantasies about ladies. An addition style in the play is male distorted view of love. Roderigo in Act 2 describes Desdemona as “full of a lot of blest condition” (2. 1. 247), and the concept of an affair with Cassio as impossible. Yet the men easily accept Desdemona’s expected adultery. Brabantio, Desdemona’s father, changes from protective love for his pure Desdemona? “of spirit so still and quiet, that her motion blush ‘d at her self” (1. 98-99)? to utter revulsion from her assertiveness revealed by her elopement? “I had rather to adopt a child than get it” (1. 3. 194). Iago attempts to relate to the others’ proclaimed (albeit unpredictable) love for Desdemona? “now I do love her too” (2. 1. 267), although this love is instantly opposed with intents of desire and revenge. The war between his expected love for Desdemona and his desire to damage Othello drives him to deal with the dispute by turning her virtue “into pitch” (2. 3. 313). Othello’s internal conflict is just the opposite.
He murders his partner, Desdemona, to “adoringly” redeem her from degradation. Opposingly, Desdemona loves Othello unconditionally and entire heartedly; she consecrates herself to him totally. Regrettably, Iago’s fake love offers him with power which Desdemona’s pure love can not neutralize. Therefore true love is dismantled by the form of the love of friendship, which itself quickly dissolves. Trust, monstrosity of the human soul and love are three styles which permeate Shakespeare’s Othello. By exploring these concepts, Shakespeare highlights his perceptions of the human condition.