Othello Love Essay

Kevin Tran
English 1AA3
November 14, 2013
Sean Ngo
Othello: True love in Othello Love between two people is based on mutual attraction and trust. Trust is one of the most important qualities in any relationship and it makes or breaks that bond. In Shakespeare’s Othello, the relationship between Desdemona and Othello is convoluted and it can be seen in different ways. It is clear that after his corruption by Iago, Othello’s trust in Desdemona is broken resulting in both their deaths. However it can be seen in the beginning acts of the play that Othello internalizes the prejudices against himself and becomes self-hating. A result of Othello’s racist environment it causes him to force an idealistic image of a perfect marriage in order to
prove himself equal to those around him. I argue that Othello cannot truly love Desdemona, not as a result of his race, but the racist savagery of his white peers.

The first image shown regarding Othello is full of racist imagery that would cause a 17th century audience to produce a caricature of an inferior, “An old black ram that is tupping your white ewe (I.I.89).
In the following scene Shakespeare cleverly tears the character of Othello into two halves. One half is the perceived savage beast that is described in the earlier scenes of the play, being searched for by the kinsmen of Barbantio to answer for his crimes of defiling his white daughter, “thou hast practised on her with foul charms (I.II.73). The other half is the great and honourable general being called to duty to protect the interests of the state, “Valiant Othello, we must straight employ you against the general enemy Ottoman” (I.III.49). Othello at this point already begins to fall under the racial pressure of his peers, “Rude am I in my speech” (I.III.81), because in fact Othello’s dialogue is not only rich, but overly respectful of his masters, “Most potent, grave, and reverend signiors/My very noble and approv’d good masters” (I.III.87-88). The subtle hints of ownership is seen in this line, further emphasized by the repetition of adjectives to elevate the social level of Othello’s masters. This clearly shows how Othello’s racist environment causes himself to believe he is less than what he actually
is.

The result of this internalization of pain can be seen as the play progresses. Right when Iago hints at Desdemona’s infidelity, “I cannot think that he would steal away so guilty like/Seeing you coming” (III.III.38), the following dialogue between Othello and Desdemona abruptly changes pace. Whereas in the earlier scenes they expressed love and affection, Othello is short with his dialogue when asked about Cassio, “Not now sweet Desdemon – some other time” (III.III.56), “No, not tonight” (III.III.57) “I shall not dine at home” (III.III.59) “leave me but a little to myself” (III.III.86). This is a turning point in the play, where Shakespeare deliberately shows the audience the effects of Othello’s self-doubt. This reversal of character from a loving husband so quickly after a small hint of unfaith shows his self-hatred which occurs as a result of the racism that suffocates Othello. This self-hatred is further proven when Othello speaks of himself as a defiler, “Her name that was as fresh/As Diane’s visage, is now begrimed and black/As mine own face” (III.III.397-398). The environment of racism that Othello is exposed to causes him to view himself in such a negative light. As Othello’s downfall begins to spiral out of control, so does his ability to love Desdemona. Desdemona’s character is a balance between a headstrong independent woman and a meek obedient housewife. She married without consent from her father but throughout the play she references her obedience towards her husband, “Be as your fancies teach you/Whate’er you be, I am obedient” (III.III.99-89). Another reading to this line is that she believes that marriage is a two way bargain and she has fulfilled her end, loving Othello no matter what. Her obedience remains strong even after he strikes her, because she leaves the room and does as she’s told. Othello finally breaks down when he calls her a whore and he speaks of what the loss of Desdemona’s love means to him. He could endure sickness, poverty, torture even public humiliation, “But there, where I have garner 'd up my heart/Where either I must live, or bear no life/The fountain from the which my current runs/Or else dries up; to be discarded thence!" (IV.II.57-60). Desdemona is that fountain and being left from her affection makes Othello feel dead, but he can’t k eep her. If he does keep her, she would no longer be that fountain, but a cesspool where toads copulate “a cistern for foul toads/To knot and gender in!" (IV.II.61-62). Further on Othello makes a reference to “Black weed” (IV.II.67) once again reiterating his acknowledgement that he is different and unnatural. Although Desdemona remains the picture of a perfect wife, Othello disregards her actions and hates her as he hates himself.

Othello proves to be unable to truly love Desdemona even before Iago poisons his mind. He is surrounded by so much racial pressure even his wife has called him The Moor instead of Othello. As a result of the savage racism that Othello endures, he is overcome with the pressure of having to be constantly proving himself to the men around him, internalizing that pain and expressing it towards Desdemona. Throughout the entire play even Othello himself is seen commenting on his coupling with Desdemona as unnatural, and he makes many comments on his race and age in comparison to Desdemona who is young and virtuous. Iago plays on this self-doubt and in the ending acts of the play it results in Othello finally becoming the savage beast that is so frequently referenced and he kills Desdemona.

Works Cited

Shakespeare, William. The Oxford Shakespeare Othello. New York: Oxford University Press Incorporated , 2006. Print.