Character Values in William Shakespeares Othello - Essay Example

Rough Draft Othello Character Values Character values in William Shakespeare’s Othello are defined by Western concepts and the fact that Othello of African is black only serves to alienate him from Western civilization even farther. Although he is living among Western civilization and serving as an accomplished soldier among them, Othello is nevertheless alone. Despite his assimilation to Westernization and his competence as an accomplished soldier, Othello is marginalized and stereotyped to such an extent that his actions and ultimately his fate are preordained by his natural rather than actual history. Ultimately, character values eventually take its toll on Othello until he succumbs to the prejudices that separate him from his environment and take on the traits that are ascribed to him. Othello’s alienation is an early manifestation of the character values in Shakespeare’s Othello. Iago’s brutal honesty exposes the truth of Western values in Venice when he is introduced scheming to turn Brabanito against Othello, as part of a larger scheme to expose Othello as the stereo-typical uncivilized African. For Iago, the former black slave is undeserving of respect as a trusted general. Othello’s eloping with Barbanito’s daughter Desdemona provides Iago with his first opportunity to both physically and metaphorically drive Othello from Venice. Iago sets the stage for the character values that eventually steer Othello’s conduct and eventually his fate by proclaiming: Call up her father, Rouse him. Make after Othello, poison his delight Proclaim him in the streets. Incense her kinsmen, And though he in a fertile climate dwell, Plague him with flies. Though that his joy be joy, Yet throw such changes of vexation on ‘t As it may lose some color (Shakespeare Act 1 Sc. 1, 67-73). Robinson explains the rationale in Iago’s approach. In outwardly and honestly expressing his outrage over the integration of Othello among European culture, Iago can engage public marginalization by capitalizing on the fact that Brabanitio most likely would not approve of his daughter’s marriage to a black man (Robinson 99). From here the demonization of Othello begins, which provides the catalyst for Othello’s subsequent conduct which culminates in his murder of Desdemona and his suicide. Iago drives the point home in coarse language designed to inflame Brabanitio’s emotions and to engage public disapproval. Iago tells Brabanitio: Even now, very now, an old black ram Is tupping your white ewe. Arise, arise, Awake the snoring citizens with the bell, Or else the Devil will make a grandsire of you. Arise I say (Shakespeare Act 1 Sc 1. 88-92). Just as Iago influences Brabanitio’s view of Othello by emphasizing his racial inferiority he uses the same technique with Othello. He emphasizes the color distinction between Othello and Desdemona so that Othello is forced to second-guess Desdemona’s love of him since he is black and she is white. Iago tells Othello that Desdemona deceived her father by marrying him: And when she seemed to shake and fear your looks, She loved them most (Shakespeare III.iii, 206-208). The impact of Iago’s words on Othello and his future response is evidenced by Othello’s response: Happily for I am black And have not those soft parts of conversation That chamberers have, or for I am declined Into the vale of years – yet that’s not much – She’s gone (Shakespeare Act 3 Sc. 3, 262-266). It is obvious from Othello’s words that he is accepting the stereotype that because he is black, he is hardened and therefore lacks those “soft parts” that are capable of appealing to women. By subscribing to this view of his own race, Othello doubts the authenticity of Desdemona’s love for him and readily believes that she is unfaithful. His transformation from the assimilated black foreigner into the marginalized black man with a wife who cannot love him because of his inferior race is manifested by Othello’s observation that: By the world, I think my wife be honest, and think she is not; I think that thou art just, and think thou are not. I’ll have some proof. My name, that was as fresh As Dian’s visage, is now begrimed and black As mine own face (Shakespeare Act 3 Sc. 3, 380-385). Up to this point Othello had only accepted that he was black but he had not associated the color black with his character traits. He recognizes that while he may have been black on the inside he was not dark on the inside. However, he is now looking at himself as dark both externally and internally and this self-characterization corresponds with his declining self-confidence and growing belief that Desedomona is unfaithful to him. The declining self-image and growing belief in Desdemona’s infidelity, brought on by aligning Othello’s outward appearance with his internal self steer and motivate Othello’s murder of Desdemona. Character color values in Othello even influence the manner in which Othello murders Desdemona. As he watches her sleep, he marvels at her whiteness, coming to the conclusion that he could not spoil her purity by shedding her blood. He notes that although she must die: Yet I’ll not shed her blood, Nor scar that whiter skin than snow, And smooth as monumental alabaster (Shakespeare Act 5 Sc. 2, 3-5). For Othello, he believes that if he killed Desdemona in such a way as to cause her to shed blood he would be tainting her skin color to such an extent that she would become as tainted as he is. In other words, Othello’s belief that black symbolizes evil and white symbolizes goodness are staple beliefs in the European civilization that he exists in and ultimately determines how he feels and acts, even in the manner in which he commits murder. In accepting these character values, Othello opts to suffocate Desdemona so as not to taint the purity of her skin by darkening it with bloodshed. Brabanitio’s expression of racial prejudice must have had profound consequences for the way that Othello eventually began to see himself. Brabanitio had been seemingly fond of and respectful of Othello until he learned of his marriage to Desdemona. Brabanitio calls Othello a “foul thief” (Shakespeare I.ii, 62-75). Brabanitio further infers that Othello must have used black magic to woo his daughter. He tells Othello: Damned as thou art, thou hast enchanted her. For I’ll refer me to all things of sense If she is in chains of magic were not bound Whether a maid so tender, fair, and happy So opposite to marriage that she shunned The wealthy curled darling of our nation, Would ever have, to incur a general mock, Run from her guardage to the sooty bosom Of such a thing as thou, to fear, not delight (Shakespeare Act I Sc 2, 62-75). The obvious implication is that there is no legitimate explanation for Desdemona’s acceptance of a marriage to Othello except by nefarious ways. Othello obviously begins to harbor self-doubt and low self-esteem as a result of the character values expressed by those with whom he comes into close contact with. His marginalization drives his self-imagine and propels him to act in a manner conducive to these stereotype. Ultimately, Othello “internalizes the racist stereo-types of black men” and eventually adopts the persona ascribed to him by this stereotyping (Robinson 105). The actual tragedy of Othello is perhaps his trusting nature. Had it not been for this virtue he may not have been influenced to believe in his own inner darkness and the fact that his external darkness pre-ordained his complete darkness. His trusting nature enabled him to accept Iago and Brabanitio’s characterization of him and influenced Othello’s self-image, conduct and fate. Works Cited Robinson, E. (2009) Shakespeare Attacks Bigotry: A Close Reading of Six Plays. McFarland. Shakespeare, W. (1986) Othello. New York: Signet Classic. Read More