othello

Through its portrayal of human experience, Shakespeare’s Othello prepares us for an inevitable tragedy. How is this revealed in the first 3 acts of the play?
Whether the relationship is personal, public or rivalry; power is always present. Shakespeare demonstrates his thoughts on power in relationships in the tragic play, Othello. Throughout the play we see power struggles in three main relationships and the interaction between the main characters Iago, Othello and Desdemona. Iago’s manipulative ways are shown through the use of soliloquies and asides which let the audience understand the intent behind his actions which impact on the remaining characters. The play reminds us of the social constraints in society for women in the Elizabethan era.

Shakespearean tragedies follow an accepted formula: they are about an articulate, social authority, someone who is “important”, within his society; this hero has at least one weakness or fault – a fatal flaw – which during the course of the drama grows until it overcomes his virtues and leads to his downfall, death and the destruction of his world. For Othello, however, this is slightly different as he is not royalty, merely someone in command and is also a Moor.
Shakespeare was able the show his ideas in his plays to all members of society through his diverse language and comedy. He was able to use high language to appeal to upper class, well educated people ‘lavicious moor’ and use humorous, sexual innuendos and common language to appeal to the poorer, lower class people ‘old black ram tupping your white ewe’. Shakespeare makes connections to his belief in fate and destiny or the intervention of some force over which humans has no control. This may complicate the plot but does not bring about the downfall of the hero and he ultimately chooses it for himself by his actions.
Beginning with the opening lines of the play, Othello remains at a distance from much of the action that concerns him. He is constantly objectified as different or by otherness. Roderigo and Iago refer to a “he” or “him” for much of the first scene. When they begin to specify whom they are talking about, they do so with racial nicknames. These include “the Moor”, “the thick-lips” and “a Barbary horse”. Othello’s status as an outsider may be the reason he is such easy prey for Iago. Those who consider Othello their peer, such as Desdemona and Brabantio, nevertheless seem drawn to him because of his exotic qualities. Othello is able to captivate his peers through his speech and language which changes depending on his state of mind. He holds full power in his marriage with Desdemona. Like the audience, Desdemona seems able only to watch as her husband is driven insane with jealousy.
Desdemona is a more reasonable, well-rounded character. Initially, Desdemona is portrayed as weak and submissive in her relationships. However, at points throughout the play we see her as strong and independent such as in her first speech “I do perceive here a divided duty”. Desdemona is young, sexual, and recently married. She later displays the same mischievous wit in Act III, scene iii, when she attempts to persuade Othello to forgive Cassio. It would seem that she has no real power in her relationship and is a mere object or trophy to Othello’s achievements.
Perhaps the greatest villain in Shakespeare, Iago is fascinating for his most terrible characteristic: his complete lack of convincing motivation for his actions. At first, he claims to be angry at Othello for having passed him over for the position of lieutenant. Later, Iago says he thinks Othello may have slept with his wife, Emilia: “It is thought abroad that ’twixt my sheets”. Iago mentions this suspicion again explaining that he lusts after Desdemona because he wants to get even with Othello “wife for wife”. None of these claims seems to adequately explain Iago’s deep hatred of Othello “I hate the moor”. He is willing to take revenge on anyone—even Emilia—at the slightest provocation and enjoys the pain and damage he causes. Master manipulator, he is able to change his language to suit his intentions or victim. He is regarded constantly as ‘honest iago’ for much of the drama. Iago adapts a strong use of soliloquys and sides, to catch the audience up to where he is at in his plot of vengeance. He is a complex character who, even in the end, is unreadable by the audience “I am not what I am”.
In all relationships we face, power is inescapable. Shakespeare is able to make the audience question human relationships and their dynamics. We come to understand that the seed of tragic outcomes lie within the flaws of each character.