Jealousy and Tragedy in Othello

Tragedy- it brings the great, the great, the remote and the impossible to an equality with the little, the real and the near. Shakespeare’s Othello is one such tragedy, a play which explores the complexity of human emotion in its many forms. The theme of jealousy plays a strong role in shaping the tragic events of the play, however it must be said that tragedy alone is not the cause of Othello’s downfall. Insecurity, manipulation and pride are several of the many themes which contribute to the disintegration of Othello’s relationship with his wife Desdemona, the focal plot line of the play.

Othello is introduced to the audience by the dialogue of other characters, Iago, Roderigo and Brabantio. Shakespeare has chosen this specific technique to build an image of Othello before he is physically presented to the audience. These three characters are Venetians, who all think lowly of Othello for differing reasons. He is described by them using imagery pertaining to domestic animals, such as “a Barbary horse” and “an old black ram.” This use of language associates him with the primitive qualities of these creatures, and also gives a notion of his dark African skin- suggesting that Othello is a racial outsider in the predominantly white society of 1500’s Venice, Italy. Brabantio is Desdemona’s father, and is the epitome of Venetian morals. His contempt for Othello at his scandalously sudden marriage to his daughter reveals why Othello might feel insecure in his relationship with Desdemona. He believes that they have “err’d against all rules of nature” in their marriage. Othello’s “own weak merits” – his vulnerabilities, work in combination with these perceptions of him to create a perfect canvas for the green stain of jealousy. He is insecure at his skin colour, his age, and his etiquette as an African adapting to the European lifestyle. “Haply for I am black and have not those soft parts of conversation which chamberers have, or for I am declin’d into the vale of years…” It is clear that Othello possesses a multitude of insecurities, which serve as the vessel for the jealousy which later ensues. Already, we see that themes are tied together and function as a unit, rather than existing separately.

As the play progresses, jealousy takes up a stronger role in shaping the events of the play. However Othello’s jealousy is a result of an outer influence: Iago. He carefully employs techniques of manipulation and insinuation to plant the seed of jealousy in Othello’s mind. Iago toys with his relationship with Othello to gain his trust, appealing to him: “My lord, you know I love you.” “I am your own forever.” Iago implies wrongdoing on Cassio’s part, when he says “I cannot think that he would steal away so guilty like, seeing you coming,” upon seeing him depart Desdemona’s chambers. He warns Othello “she did deceive your father marrying you.” And advises him to “look to your wife, observe her well with Cassio,” Insinuating that she could be deceiving him in an extra-marital affair with Cassio. Reverse psychology is another aspect of Iago’s manipulative plan, as he says “Men should be what they seem” when in fact he is brainwashing Othello into being the opposite of nobility, and finally “Beware, my lord, of jealousy; it is the green eyed monster that mocks the meat it feeds on” when in fact he plans to plune him into a “jealousy so strong that judgement cannot cure.”

Othello’s jealousy begins to take the metaphorical form of poison, it seeps into every aspect of his life, clouding his perception of what was once crystal clear. Iago has poured his “pestilence in his ear” and he becomes “eaten up with passion.” He has suffered an internal fall from grace. His prior composure has vanished and been replaced by unthinking and emotionally driven tendencies. As Othello becomes more infected with jealousy, his speech takes on more and more of Iago’s language features: irrationality, fragmentation, and mindlessness. “O blood, blood, blood!” “Confessions-handkerchief-confessions.” Jealousy has overruled Othello’s better judgements. Where he once asked for “ocular proof”, he is now quickly convinced of Desdemona’s infidelity with nothing more than a liar’s word. However, we must remember that this jealousy did not emerge of its own accord, but was gently coaxed from Othello’s insecurities through manipulative methods.

Jealousy takes its toll on Othello’s relationship with Desdemona, as she goes from his “soul’s joy” to “the cunning whore of Venice.” He muffles her in her own bed as punishment for her disloyalty to him, claiming that “the justice of it pleases.” It is often assumed that Othello’s murder of Desdemona is the final act of a man consumed by jealousy and blinded by rage and passion, but in fact it is his pride that is at fault. In his soliloquy of act five scene two, he describes Desdemona’s skin as being “as smooth as monumental alabaster”- a material commonly used in sculpture, a form of art used by many races past to celebrate and worship gods. It is clear he still has feelings for her, but is set upon murdering her “yet she must die, else she’ll betray more men.” It appears that he sees himself as an agent of justice, as he dismissed Cassio from the role of lietenant under similar circumstances, “Cassio, I love thee, but never more be officer of mine.”However there is an underlying sense that he is simply nursing his wounded pride. He claims: “ it is the cause, it is the cause, my soul” this can be linked to an earlier line: “my parts, my title and my perfect soul shall manifest me rightly.” As well as “I have done the signiory some service, and they know it.” Othello is clearly, proud of his status and deeds, and does not want this reputations stained by Desdemona’s supposed infidelity- he cannot stand the idea of it- “a cuckholded man’s a monster and a beast.” As an outsider, Othello is extremely proud of his military achievements as he has exceeded anyone’s expectations of an African “moor”. However, this is also his downfall, as he values his reputation above everything else and punishes those who damage this pride.

John Donne once said: “No man is an island, entire of itself. Each is a piece of the continent, a part of the main.” Just as no human can exist on their own, no motivating force or idea can stand alone. Jealousy, although vital to the tragic events of Othello, did not operate alone, but worked in conjunction with pride, insecurity, and manipulation to destroy a noble man’s sanity. As a race, we all have weaknesses, but real tragedy only occurs when a fatal combination occurs, and focusses on a sole target.

Meg Sydenham