Othello Entry Point Essay
Essay 2 – Spring Term
The importance of how Shakespeare begins his play Othello, and what actually happens during the first two scenes?
In this essay my main aim is to investigate how William Shakespeare opens his play Othello written around 1603, and look at the important events of what happens between the first two scenes. I will first focus on some background information that influenced the plays setting, then investigate the ‘entry point’ into the; plays action, plot structure and character relationships. I will also comment on the ‘decision making’ in terms of ‘themes and intentions’ that Shakespeare had in store for his audiences.
The setting and background information for [1]Othello is located in Venice and Cyprus between 1489 …show more content…
to 1571. Venice at this time, was well established as one of the world’s leading sea merchant powers, a central place of great wealth, prospects and also its problems with corruption. Cyprus, located in the eastern Mediterranean about forty miles south from Venice had plentiful harvests of olives and grapes. Assyrians, Greeks, Egyptians, Romans, and Byzantines all fought over the island throughout history in order to occupy it, due to its prosperous fertile land and ideal climate. King Richard I, the Lion-Hearted, conquered Cyprus in 1191 but later lost the island to the French. Venice seized the island in 1489 and in 1571, and Cyprus was then part of the Ventian Empire who was in conflict with the Turks.
Shakespeare immediately opens the play ‘In medias res’, during mid-conversation between Roderigo a wealthy Venetian and Iago a soldier who fought beside Othello for several years, and became his most trusted advisor. Iago and Roderigo are discussing the marriage of Desdemona, the daughter of Brabantion, a Venetian Senator. Roderigo appears very angry with Iago, due to the fact that he had paid Iago a healthy sum of money in order to help him win the love of Desdemona for himself and to keep him completely informed of any movements in her love life. In terms of Iago’s perceived motive, the text suggests that Iago the protagonist is officially just a servant to Othello and that he had aspired to become his lieutenant. Othello had chosen Cassio a Florentine, not a Venetian, who was less experienced in military affairs. Iago points out to Roderigo that he is more qualified to hold the position and regards Othello’s decision unfair. In Iago’s opinion, Cassio is weak and fit only for the company of ladies; his knowledge of battle comes purely comes from theory and not practically through experience. Shakespeare uses Iago’s as an agent of chaos, who plans for revenge through the gullible Roderigo. Iago manipulates and re-directs Roderigo’s anger towards Othello through expressing his own grievances with his superior, in order to acquire sympathy and an understanding through the following lines.
“In personal suit to make me his lieutenant… …Horribly Stuffed with epithets of war, And in conclusion Nonsuit my me mediaters. For ‘Certes,’ says he, ‘I have already chosen my officer,’ And what was he… …One Michael Cassio, a Florentine” (Shakespeare, 1997, 1.1:8-19)
Shakespeare provides the audience very early on in this opening scene Iago’s exact intentions as follows.
“I follow him to serve my turn upon him: we cannot all be masters, nor all masters cannot be truly followed. You shall mark many a duteous and knee-crooking knave, that, doting on his own obsequious bondage, wears out his time, much like his master’s ass.” (Shakespeare, 1997, 1.1:40)
Othello is generally known for its rich terms of figures of speech, with language used, including Shakespeare’s famous memorable verse for Iago:
“But I will wear my heart upon my sleeve For daws to peck at: I am not what I am” (Shakespeare, 1997, 1.1:63)
Shakespeare’s use of metaphor here, could be interpreted as Iago comparing his heart to scraps of food that a Jackdoor (crow) would eat. Iago clearly states what ‘he’ would do if he were like other men who do not try to hide their true feelings. This seems to represent a man who takes great pride in perfecting his ability to deceive others. Shakespeare provides his audience with an insight into the villainous character Iago, who is seen to manipulate Roderigo and will help him in his revenge against Othello, whilst providing him with money. Iago convinces Roderigo to help wake up Brabantio a senator and father to Desdomana during the night to inform him of the marriage between Desdomana and Othello. They both shout up to his bedroom window causing great confusion and disturbance in the streets below. It is Roderigo that Brabantio recongnises, to which he has already asked him in the past not to have knock at his doors in pursuit of his daughters love and made clear to him that he would not be a suitable husband.
Shakespeare provides us with Iago’s name in the second line of the play and Roderigo’s soon after, but Othello is not mentioned by his name once, instead Iago refers to him as ‘he’, ‘him’ and he is frequently described as ‘the moor’, and more piercingly as ‘thick lips’, ‘a Barbary horse’ in the following lines.
“What a full fortune does the thick lips owe If he can carry’t thus!…Because we come to do you service, and think we are ruffians, you’ll have your daughter covered with a Barbary horse; you’ll have your nephews neigh to you…” (Shakespeare, 1997, 1.1:65 - 109)
The crude terminology used by Iago here concerning Othello’s race and origin of birth portrays the man as a ‘beast’. Shakespeare does not provide any other factual information concerning Othello for the audience to formulate their own opinion on and Iago forces his discriminative views and suggests that Othello is a danger on the loose, threatening, evil, and has an overpowering, be-witching, animalistic, and sexual appetite for Desdemona.
“Even now, now, very now, an old black ram Is tupping your white ewe!” (Shakespeare, 1997, 1.1:87)
Iago’s clearly presents his disapproval towards Othello’s marriage with Desdemona and goes on to associate Othello with the image of ‘the devil’ in order to cause further upset, and fear.
“Awake the snorting citizens with the bell Or else the devil will make a grandshire of you, Arise I say! (Shakespeare, 1997, 1.1:91)
Iago emphasises the stages of their marriage, performing well in his ability to manipulate Brabantio views.
“I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs.” (Shakespeare, 1997, 1.1:115)
Brabantio is very angry that his sleep has been interrupted, first rejects the comments, then searches his house and finds that his daughter is missing, so comes down to meet them in a very emotional un-nerving state speaking in half-sentences.
“It is too true an evil, gone she is, And what’s to come of my despised time Is nought but bitterness. Now Roderigo, Where didst thou see her? – O unhappy girl! – With the Moor, say’st thou? – Who would be a father? – (Shakespeare, 1997, 1.1:158)
Brabantio now shows signs of regret that he did not encourage Roderigo as an ideal match for his daughter’s, Brabantio now convinced in fear that his she may have been abused and under Othello’s witch craft. Roderigo offers his help to find them with Brabantio with the aid of his armed soldiers. Iago carefully departs from the scene, not wanting Othello to know anything about the part he played in inciting Brabantio.
In the second scene, Iago reaches Othello at the Sagittary Inn before Roderigo, Brabantio and the soldiers arrive. To Othello Iago is his loyal friend, though Iago suggests to him that Roderigo had spoken against Othello and that he was so distraught by upset his words that he wanted to stab Roderigo several times, if only his conscious had not got the better of him:
“Though in the trade of war I have slain men Yet do I hold it very stuff o’th’ conscience To do no contrived murder: I lack iniquity Sometimes to do me service. Nine or ten times I had thought t’have yerked him here, under the ribs.” (Shakespeare, 1997, 1.2:1)
Iago then cautiously advises Othello to be careful, for Roderigo and Brabantio are searching for him, hoping to break up the marriage. As torches draw closer, Iago warns Othello to go inside, which he refuses and waits their arrival afraid. He also informs Othello that the Turkish fleet is on the way to Cyprus and intends to attack it and that the Duke is in session with his council and has called for Othello to meet him at once. Roderigo and Brabantio soon arrive on the scene, with a number of armed soldiers including Casio. Othello remains calm and tries to greet them in a friendly manner. Brabantio calls out ‘Down with him thief’ and they draw swords and aks:
‘O thou foul thief, where hast thou stowed my daughter?’ (Shakespeare, 1997, 1.2:62)
One of Shakespeares main aims of this scene is to create an atmosphere of suspense and interest as an introduction to our meeting Othello himself. We can clearly see that Iago is untrustworthy and the audience clearly know that his word cannot be relied upon. An element of mystery is conjured up concerning Othello emphasised by Brabantio’s speech as follows:
“Damn’d as thou art, thou has enchanted her; for I’ll refer me to all things of sense, if she in chains of magic were not bound, whether a maid so tender, fair and happy, so opposite to marriage that she shunn’d the wealthy, curled darlings of our nation, would ever have to incur a general mock,” (Shakespeare, 1997, 1.2:63)
Shakespeare verse for Brabantio here expresses that it is not feasible that his daughter would willingly elope with this black Moor unless she was enchanted, or under some influence, for such action opens her family to public mockery. What this also tells us is that Desdemona, if not enchanted, has shown great courage in turning her back on her family for the love of Othello. Brabantio threatens to have Othello inprisoned. Othello respectfully explains with perfect courtesy and dignity that he cannot allow himself to be taken to prison, since he has been summoned to the council hall by the Duke now having received news of these recent events.
Throughout this second scene, Othello is introduced in person for the first time. Shakespeare clearly portrays him in complete contrast to Iago’s description. Othello appears to be a wise, calm, intelligent, patient, and a man who speaks clearly, rationally, and directly. In complete opposition to him, Iago is depicted as emotional and deceitful, simulating a courageous and impulsive nature. Othello does not appear shaken by any of the threats and remains confident that his service to Venice and his noble descent will resolve the situation effectively. Othello claims his worthy right to Desdemona and professes his love for her.
Shakespeare carefully weaves public and private business in the opening scenes of this play with utmost importance. Cassio, on official business from the Duke, does not know about the private life, the marriage, of his superior Othello and it is Iago who informs him of the secret marriage. The Duke is involved with much greater matters of state, for a war with Turkey is imminent; Brabantio ignores these fixated on presenting his private case against Othello.
In conlusion, Shakespeare develops his opening scene for Othello, setting the stage for the entire play, revealing the time, place, background information and motives for the plot.
He introduces; traits for the main characters through conversation, themes of discrimination, love, and deception. Shakespeare foreshadows the action of the play, driven by the hatred and revenge of Iago, as a theatrical device suggesting to the audience developments to come later. During the second scene the audience establish that Iago is all things to all men. To Othello he is his faithful servant. To Roderigo he is a loyal friend who has done all in his power to help him in his suit for Desdemona. To Cassio he will be an inferior and offer good advice later in the play. He is indeed a complex character and the audience are shocked over his two-faced scheming behaviour. We now see clearly Othello’s status in Venice and it is evident that he is highly regarded by the Duke and that the future safety of the Venetian colonies depends on Othello and the Duke urgently needs his help with the impending invasion of Cyprus by the Turks lurking. The audience has to decide whether Brabantio’s objection to Othello is purely due to his race and not suitable for his daughter. I believe that Shakespeare makes this key character a black Moor, as the Jacobean society (1603–1625) during Shakespeare’s lifetime were prejudice towards the immigration of ‘Blackamoors’ into England. Shakespeare in his ‘decision making’ tries to educate the insular audience, showing them the nobility and courage of Othello. We also learn much about Desdemona and how she broke convention in showing great courage in following her heart and true love for Othello, despite the views and consequences of public
opinion.
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[1] Shakespeare, W. (1997) Othello, Edited by Honigmann, E.A.J, London: The Arden Shakespeare.
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1
The importance of how Shakespeare begins his play Othello, and what actually happens during the first two scenes?
In this essay my main aim is to investigate how William Shakespeare opens his play Othello written around 1603, and look at the important events of what happens between the first two scenes. I will first focus on some background information that influenced the plays setting, then investigate the ‘entry point’ into the; plays action, plot structure and character relationships. I will also comment on the ‘decision making’ in terms of ‘themes and intentions’ that Shakespeare had in store for his audiences.
The setting and background information for [1]Othello is located in Venice and Cyprus between 1489 …show more content…
to 1571. Venice at this time, was well established as one of the world’s leading sea merchant powers, a central place of great wealth, prospects and also its problems with corruption. Cyprus, located in the eastern Mediterranean about forty miles south from Venice had plentiful harvests of olives and grapes. Assyrians, Greeks, Egyptians, Romans, and Byzantines all fought over the island throughout history in order to occupy it, due to its prosperous fertile land and ideal climate. King Richard I, the Lion-Hearted, conquered Cyprus in 1191 but later lost the island to the French. Venice seized the island in 1489 and in 1571, and Cyprus was then part of the Ventian Empire who was in conflict with the Turks.
Shakespeare immediately opens the play ‘In medias res’, during mid-conversation between Roderigo a wealthy Venetian and Iago a soldier who fought beside Othello for several years, and became his most trusted advisor. Iago and Roderigo are discussing the marriage of Desdemona, the daughter of Brabantion, a Venetian Senator. Roderigo appears very angry with Iago, due to the fact that he had paid Iago a healthy sum of money in order to help him win the love of Desdemona for himself and to keep him completely informed of any movements in her love life. In terms of Iago’s perceived motive, the text suggests that Iago the protagonist is officially just a servant to Othello and that he had aspired to become his lieutenant. Othello had chosen Cassio a Florentine, not a Venetian, who was less experienced in military affairs. Iago points out to Roderigo that he is more qualified to hold the position and regards Othello’s decision unfair. In Iago’s opinion, Cassio is weak and fit only for the company of ladies; his knowledge of battle comes purely comes from theory and not practically through experience. Shakespeare uses Iago’s as an agent of chaos, who plans for revenge through the gullible Roderigo. Iago manipulates and re-directs Roderigo’s anger towards Othello through expressing his own grievances with his superior, in order to acquire sympathy and an understanding through the following lines.
“In personal suit to make me his lieutenant… …Horribly Stuffed with epithets of war, And in conclusion Nonsuit my me mediaters. For ‘Certes,’ says he, ‘I have already chosen my officer,’ And what was he… …One Michael Cassio, a Florentine” (Shakespeare, 1997, 1.1:8-19)
Shakespeare provides the audience very early on in this opening scene Iago’s exact intentions as follows.
“I follow him to serve my turn upon him: we cannot all be masters, nor all masters cannot be truly followed. You shall mark many a duteous and knee-crooking knave, that, doting on his own obsequious bondage, wears out his time, much like his master’s ass.” (Shakespeare, 1997, 1.1:40)
Othello is generally known for its rich terms of figures of speech, with language used, including Shakespeare’s famous memorable verse for Iago:
“But I will wear my heart upon my sleeve For daws to peck at: I am not what I am” (Shakespeare, 1997, 1.1:63)
Shakespeare’s use of metaphor here, could be interpreted as Iago comparing his heart to scraps of food that a Jackdoor (crow) would eat. Iago clearly states what ‘he’ would do if he were like other men who do not try to hide their true feelings. This seems to represent a man who takes great pride in perfecting his ability to deceive others. Shakespeare provides his audience with an insight into the villainous character Iago, who is seen to manipulate Roderigo and will help him in his revenge against Othello, whilst providing him with money. Iago convinces Roderigo to help wake up Brabantio a senator and father to Desdomana during the night to inform him of the marriage between Desdomana and Othello. They both shout up to his bedroom window causing great confusion and disturbance in the streets below. It is Roderigo that Brabantio recongnises, to which he has already asked him in the past not to have knock at his doors in pursuit of his daughters love and made clear to him that he would not be a suitable husband.
Shakespeare provides us with Iago’s name in the second line of the play and Roderigo’s soon after, but Othello is not mentioned by his name once, instead Iago refers to him as ‘he’, ‘him’ and he is frequently described as ‘the moor’, and more piercingly as ‘thick lips’, ‘a Barbary horse’ in the following lines.
“What a full fortune does the thick lips owe If he can carry’t thus!…Because we come to do you service, and think we are ruffians, you’ll have your daughter covered with a Barbary horse; you’ll have your nephews neigh to you…” (Shakespeare, 1997, 1.1:65 - 109)
The crude terminology used by Iago here concerning Othello’s race and origin of birth portrays the man as a ‘beast’. Shakespeare does not provide any other factual information concerning Othello for the audience to formulate their own opinion on and Iago forces his discriminative views and suggests that Othello is a danger on the loose, threatening, evil, and has an overpowering, be-witching, animalistic, and sexual appetite for Desdemona.
“Even now, now, very now, an old black ram Is tupping your white ewe!” (Shakespeare, 1997, 1.1:87)
Iago’s clearly presents his disapproval towards Othello’s marriage with Desdemona and goes on to associate Othello with the image of ‘the devil’ in order to cause further upset, and fear.
“Awake the snorting citizens with the bell Or else the devil will make a grandshire of you, Arise I say! (Shakespeare, 1997, 1.1:91)
Iago emphasises the stages of their marriage, performing well in his ability to manipulate Brabantio views.
“I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs.” (Shakespeare, 1997, 1.1:115)
Brabantio is very angry that his sleep has been interrupted, first rejects the comments, then searches his house and finds that his daughter is missing, so comes down to meet them in a very emotional un-nerving state speaking in half-sentences.
“It is too true an evil, gone she is, And what’s to come of my despised time Is nought but bitterness. Now Roderigo, Where didst thou see her? – O unhappy girl! – With the Moor, say’st thou? – Who would be a father? – (Shakespeare, 1997, 1.1:158)
Brabantio now shows signs of regret that he did not encourage Roderigo as an ideal match for his daughter’s, Brabantio now convinced in fear that his she may have been abused and under Othello’s witch craft. Roderigo offers his help to find them with Brabantio with the aid of his armed soldiers. Iago carefully departs from the scene, not wanting Othello to know anything about the part he played in inciting Brabantio.
In the second scene, Iago reaches Othello at the Sagittary Inn before Roderigo, Brabantio and the soldiers arrive. To Othello Iago is his loyal friend, though Iago suggests to him that Roderigo had spoken against Othello and that he was so distraught by upset his words that he wanted to stab Roderigo several times, if only his conscious had not got the better of him:
“Though in the trade of war I have slain men Yet do I hold it very stuff o’th’ conscience To do no contrived murder: I lack iniquity Sometimes to do me service. Nine or ten times I had thought t’have yerked him here, under the ribs.” (Shakespeare, 1997, 1.2:1)
Iago then cautiously advises Othello to be careful, for Roderigo and Brabantio are searching for him, hoping to break up the marriage. As torches draw closer, Iago warns Othello to go inside, which he refuses and waits their arrival afraid. He also informs Othello that the Turkish fleet is on the way to Cyprus and intends to attack it and that the Duke is in session with his council and has called for Othello to meet him at once. Roderigo and Brabantio soon arrive on the scene, with a number of armed soldiers including Casio. Othello remains calm and tries to greet them in a friendly manner. Brabantio calls out ‘Down with him thief’ and they draw swords and aks:
‘O thou foul thief, where hast thou stowed my daughter?’ (Shakespeare, 1997, 1.2:62)
One of Shakespeares main aims of this scene is to create an atmosphere of suspense and interest as an introduction to our meeting Othello himself. We can clearly see that Iago is untrustworthy and the audience clearly know that his word cannot be relied upon. An element of mystery is conjured up concerning Othello emphasised by Brabantio’s speech as follows:
“Damn’d as thou art, thou has enchanted her; for I’ll refer me to all things of sense, if she in chains of magic were not bound, whether a maid so tender, fair and happy, so opposite to marriage that she shunn’d the wealthy, curled darlings of our nation, would ever have to incur a general mock,” (Shakespeare, 1997, 1.2:63)
Shakespeare verse for Brabantio here expresses that it is not feasible that his daughter would willingly elope with this black Moor unless she was enchanted, or under some influence, for such action opens her family to public mockery. What this also tells us is that Desdemona, if not enchanted, has shown great courage in turning her back on her family for the love of Othello. Brabantio threatens to have Othello inprisoned. Othello respectfully explains with perfect courtesy and dignity that he cannot allow himself to be taken to prison, since he has been summoned to the council hall by the Duke now having received news of these recent events.
Throughout this second scene, Othello is introduced in person for the first time. Shakespeare clearly portrays him in complete contrast to Iago’s description. Othello appears to be a wise, calm, intelligent, patient, and a man who speaks clearly, rationally, and directly. In complete opposition to him, Iago is depicted as emotional and deceitful, simulating a courageous and impulsive nature. Othello does not appear shaken by any of the threats and remains confident that his service to Venice and his noble descent will resolve the situation effectively. Othello claims his worthy right to Desdemona and professes his love for her.
Shakespeare carefully weaves public and private business in the opening scenes of this play with utmost importance. Cassio, on official business from the Duke, does not know about the private life, the marriage, of his superior Othello and it is Iago who informs him of the secret marriage. The Duke is involved with much greater matters of state, for a war with Turkey is imminent; Brabantio ignores these fixated on presenting his private case against Othello.
In conlusion, Shakespeare develops his opening scene for Othello, setting the stage for the entire play, revealing the time, place, background information and motives for the plot.
He introduces; traits for the main characters through conversation, themes of discrimination, love, and deception. Shakespeare foreshadows the action of the play, driven by the hatred and revenge of Iago, as a theatrical device suggesting to the audience developments to come later. During the second scene the audience establish that Iago is all things to all men. To Othello he is his faithful servant. To Roderigo he is a loyal friend who has done all in his power to help him in his suit for Desdemona. To Cassio he will be an inferior and offer good advice later in the play. He is indeed a complex character and the audience are shocked over his two-faced scheming behaviour. We now see clearly Othello’s status in Venice and it is evident that he is highly regarded by the Duke and that the future safety of the Venetian colonies depends on Othello and the Duke urgently needs his help with the impending invasion of Cyprus by the Turks lurking. The audience has to decide whether Brabantio’s objection to Othello is purely due to his race and not suitable for his daughter. I believe that Shakespeare makes this key character a black Moor, as the Jacobean society (1603–1625) during Shakespeare’s lifetime were prejudice towards the immigration of ‘Blackamoors’ into England. Shakespeare in his ‘decision making’ tries to educate the insular audience, showing them the nobility and courage of Othello. We also learn much about Desdemona and how she broke convention in showing great courage in following her heart and true love for Othello, despite the views and consequences of public
opinion.
-----------------------
[1] Shakespeare, W. (1997) Othello, Edited by Honigmann, E.A.J, London: The Arden Shakespeare.
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