Explore the Relation Between Othello and Desdemona

Explore the relation between Othello and Desdemona
The relationship between Desdemona and Othello is an integral aspect of ‘Othello’, both in terms of plot and in conveying Shakespeare’s socio-political commentary. The view that Desdemona ‘is vital to her husband’ and ‘in losing her, he loses himself’ is strongly evidenced by Othello’s degeneration throughout the play having an undeniable correlation with the breakdown of his marriage. Furthermore, the ‘tragedy’ of the play is Othello’s hubris forcing him to murder his wife – the action which proves his inability to integrate with Venetian society. Shakespeare presents the relationship between Desdemona and Othello in a deeply immersive way by defining it both in terms of their personal interaction, and the reaction and interference of the characters in the play. Most importantly, the antagonist of the play, Iago, uses Desdemona’s “goodness” as the net to “enmesh” Othello, in addition to his other victims including Cassio and Roderigo. Iago’s Machiavellian plot to be evened with Othello, “wife for wife” depends heavily on his ability to destroy his marriage – thus confirming the importance of Desdemona. The status of Desdemona and Othello’s relationship as a major point of conflict is clear from the very beginning of the play – where Iago and Roderigo attempt to “poison the delight” of Brabantio by revealing that Desdemona had secretly married Othello. In terms of context, the concept of marriage without parental consent was taboo in Jacobean society, and would’ve been controversial even in Venetian society – which was considered much more relaxed than Jacobean Britain. It is also interesting to note the use of the word “poison”, which is a strong theme throughout the play – and foreshadows Othello’s eventual request that Iago “get me some poison” in order to murder Desdemona. Foreshadowing is further utilised by Shakespeare in Act II Scene I, where he has Brabantio warn Othello to “look to her Moor, she has deceived her Father and may thee”. This effect is heightened by Othello’s claim that he places “my life upon her faith!”, a moment of great irony which perfectly complements the claim that ‘in losing [Desdemona], he loses himself’. It is important to note the great trust Othello places in Desdemona in this scene and how it coincides with his confident, eloquent speech which prompts the Duke to acknowledge “this tale would win my daughter too”. The poetic blank verse which Othello speaks, and has led some critics such as A C Bradley to describe him as “the most romantic among Shakespeare’s heroes” is in stark contrast to the clumsy, monosyllabic prose which he speaks later in the play – by which point his confidence in Desdemona, and therefore himself, has been destroyed by Iago. Iago’s role in the breakdown of Desdemona and Othello’s relationship cannot be understated, and the way he is able to exploit Othello’s naivety in the Venetian society is heartbreaking for the audience. Whilst it is true that he claims Othello has slept with Emilia, “twixt my sheets, he hath done my office” some critics claim that Iago is driven by “motiveless malignity”, thus increasing the audience’s sympathy for Othello’s plight and further adhering to the conventional structure of tragedy by invoking pathos for the tragic hero. Iago’s success in destroying Othello’s marriage is largely borne of his Machiavellian expertise with language – reminiscent of ‘Much ado about Nothing’s Don John. The imagery of poison discussed earlier permeates the play much like Iago’s malignant influence infects his victims. In act IV Scene II, Iago is able to “pour pestilence” into Othello’s ears by expertly controlling the balance of dialogue, carefully limiting the length of his lines in order to make Othello’s own mind destroy his confidence in both Desdemona and himself, “Why did I marry!” before using imperatives to dominate Othello once he has been ensnared, “mark his gesture”. Iago’s potency is evidenced by his simple one word line, “Lie” which has a level of ambiguity that sends Othello into an epileptic fit as his wild jealousy conjures images of Desdemona and Cassio’s betrayal in his head. “Lie with her, Lie on her”. Shakespeare further dramatises the sequence by having Othello on the floor before Iago, who sinisterly implores his poison to have its effect with the deeply ironic “work my medicine, work!”. It is this dramatic effect which has led some critics to claim Iago is a ‘dramatist’ and “an amateur of tragedy”. Despite the clear importance of Desdemona in Othello’s downfall, it must be noted that Othello’s hubris, and inability to distinguish love and war, is also integral to Othello ‘losing himself’. Othello’s arrogant assertion that he is “of royal siege”, has led critics such as F. R. Leavis to describe him as “egotistical”, yet he is unable to adapt to Venetian society. There is some element of truth in Othello’s claim that he “loved too well” and it is this resolute nature which ultimately dooms him. His rashness, which would have been praised as decisiveness on the battlefield, forces him to dismiss Cassio perhaps too swiftly – and place too much trust in “honest Iago”, whose role as “ensign” should be confined to military affairs – not his general’s private life. It could also be argued that Othello was doomed by his race, in the words of Ania Loomba the conflict of the play derives from “the threat of a black man and a white woman” to the “patriarchal” Venetian society. The racist semantic field used in the opening scene, “thick lips”, “old black ram” and simply “the moor” sets a precedent for the rest of the play, and Othello’s final speech where he acknowledges he is an outsider, “circumcised dog” is evidence that Iago’s manipulation has forced him to question himself and become the stereotype Iago depicted him as. Ultimately, the relationship of Desdemona and Othello is integral to the play, and Othello’s descent into barbarism is facilitated by his loss of faith in Desdemona. Othello himself placed his “life upon her faith” – and as a resolute man he was left with no choice but to destroy himself when he felt she had betrayed him. Iago’s malignant, calculating intelligence led him to the conclusion that the moor he hated could be destroyed by his love for his wife – just as Roderigo could be destroyed by his lust, and Cassio by his arrogant, flirtatious nature. Iago’s ability to detect the weaknesses of those around him is the characteristic which defines the tragedy of ‘Othello’, and thus the knowledge that Desdemona is ‘vital to her Husband’ allowed him to exact his Machiavellian plot with tragic consequences.