How Is Othello Viewed By Others And How Does He View Himself Essay

The Shakespearian catastrophe Othello is a story of immensely contrasting opinions where jealously rules rife everywhere the flawed, and heroic fleeting mention. With racism withal alive today, the accompaniment that this theatrical role was of dark skin raised even more brawl around the Shakespearian era.The audience that would bring in first billeted this foregather would sport had preconceptions closely the personality and the role that Othello would ensue. Due to the stereotypical and racial gather inpoints that large number held at this sentence, macabreamoor was in any(prenominal) case a rubric associated with evil or de bringity, therefore the character of the black Othello was expected to be violent, jealous, tr each(prenominal)erous and just nearly likely associated with witchcraft. Shockingly, especi in ally for the people of the Shakespearian era, Othello does non relate to this stereotype and is in situation quite the opposite at the start of th e represent- the calm and gruelingly composed character. Some of these stereotypical black traits however atomic number 18 indeed serven in the tamper, unless controversially from a nonher(prenominal) character, the white Iago, who incidentally exploits the role of the evil publicipulator.Othellos character is visualized to the referee in his composed first words- Tis better as it is. The puff beness all a half-line points his characters firm simply comfort open personality, needing only to order the controlled necessary in each situation. As his personality seems to be so strong and wise, it is un everyday that Iago deems Othello as an easy target to bull- ordain tenderly be lead by the nose as asses be.Iagos unmistakable hatred for Othello is overly emphasised end-to-end the play by his disregard and lack of admiration towards the character. He constantly puzzle outs racist comments about Othello to others, but never to Othello himself, appellation him- Barbary horse to Desdemonas find and stating that he does hate the tie up to Roderigo. Even when referring to the apparently loving relationship that engulfs both Othello and Desdemona, Iago shows ignorant and disrespectful mannerisms, reducing their physical sexual kip down to fauna level- old black ram is tupping your white ewe and showing that he plain does not agree with this martial pairing.Iagos authentic character is hinted at early on in the tragedy, where in nonpareil of his longer speeches he finishes- I am not what I am. This points the reader towards Iagos true colours, which are rarely put openly on show. His provideingness to manipulate and take advantage of other characters (such as Roderigo) in order to hale Othello into the deepest amount of torment proves just how overmuch of a cunning and vulnerable actor Iago whoremonger be. The stage managing techniques he uses throughout the play render just how determined Iago is to truly break up Othellos brio and the lengths that he is prepared to reach in order to gain revenge upon Othello for not awarding him the idealised promotion.It is therefore often difficult to decipher Iagos true feelings and attitudes towards Othello as he constantly adjusts his viewpoint to suit that of his company, for radiussperson when in the company of characters such as Othello, Desdemona and Cassio, Iago expresss of Othello positively and even at one point presents a contrasting emotion- My lord, you know I make out you. However, when characters such as Roderigo and Brabantio are in attendance, he again insults Othello naming his supposed arrogance- loving his own pride and purposes. Although it is apparent that he has strong hatred towards the character, the reasons behind this hatred are never completely discovered. The reader is left to decipher whether the feeling is down to irrepressible racism or dark jealousy, or even a mixture of both.Even when Iagos shrewd plan is foiled towards the conclusi on of the play, his attitudes towards Othello still remain constant. He shows no feeling of remorse and depicts himself as a party dimension little guilt- I told him what I judgement and told no more than what he found himself was apt and true Although this narrative if looked at individually is real truthful (Iago never once stated that Desdemona and Cassio were in fact indefinitely committing adultery), the fact that Iago orchestrated the imaginary relationship amidst Desdemona and Cassio and that he introduced inquiry into Othellos top dog in the knowledge that ambiguity could potentially ruin him, shows that he still aims to manipulate even as the play draws to closure.Iagos racist views however, are also shared by other characters in the play, the main dickens shaped Roderigo and Brabantio. Although both these characters energize more personal motives to loose their disapproval of Othello, Iagos manipulative skills again come into force to emphasise their negative em otions.Until the last moments in the first place his death Roderigo is completely under the work on of Iago and tends to follow his views even if they do not completely match his own. He racially abuses Othello in the company of Iago, naming him- the thick lips and lascivious Moor. These racial prejudices show that he also does not accept the modal value of which Desdemona and Othello have an indisputable bond, but his apparent hatred goes deeper than this disapproval. As Roderigo is intensely besotted with Desdemona he also seems to be jealous of her love for Othello and believes that the character is not tidy lavish for her, stating that she -hath do a gross come down. For these reasons Roderigo falls prey to the manipulative Iago, becoming a pawn in his ever growing plot.Unlike Roderigo, Brabantio holds strong racist views about Othello without the potent voice of Iago, showing a genuine condemnation of the relationship between his daughter and -the Moor. This view would have been commonplace in Shakespearian time, as even today principles of racial equality and sexual exemption are unfortunately still far from being completely accepted. He shows legitimate discomfort when referring to the relationship, questioning how Othello could have possibly gained his daughters hand without use some sort of treachery- Is there not charms by which the property of callowness and maidhood may be abused?Brabantio also finds it understandably dispute to accept that Othellos intentions of which involve his daughter are honourable - mal toughened her delicate youth with drugs or minerals. These views would have again been shared by the Shakespearian audience, who associated people of dark skin with witchcraft and trickery. Brabantio may have respected Othello as a military widely distributed, as a closemouthed acquaintance, and mayhap even as a friend, but it is clear that he never considered Othello good enough to be a husband for his daughter.Characters that form negative or racist views towards Othello do rarely mention these ideas right away to his face, maybe because of his strength as a character, or possibly because of his eonian reputation of being composed and carefully resilient with his language. Each character that states negative views towards the general however is proved at the end of the play to be completely incorrect, and in most cases foolish.Not all characters view Othello in such bad light conversely, most respect him as a brave and honourable general, showing him capital loyalty and love- the Duke being one of these. He obviously sees Othello as a brilliant general and valuable friend- Valiant Othello we must(prenominal) straight employ you against the general opposite Ottoman. Even when Brabantio, a close friend of the Duke, shows obvious racial disagreements towards Othello, the Duke stands up for the generals cause, stating to Brabantio that his -son-in-law is far more fair than black. This proves that the Du ke does accept Othellos ethnic background and believes that Othello does not hold the usual traits of the stereotypical Moor.Desdemona is unsurprisingly the character that can distinguish Othello as doing no wrong. Even after malicious attacks and verbal abuse from the general, Desdemona does not speak out against her love.Desdemona is infatuated with Othello and this becomes apparent from her very first speech of the play where she states that if she is forced to choose whether to be obedient to her father or to Othello, she must choose Othello- So much I challenge that I may profess due to the Moor my lord. She continues with this loyalty throughout the play and understandably sees Othello as an accomplished husband- to his honours and his valiant parts did I my intellect and fortunes consecrate.Desdemona evidently notes that Othello takes his career very seriously and portrays her understanding of this when propositioned by Cassio in order to be restored his position of lieuten ant- He shall in strangeness stand no farther off than in a flat distance. She respects this and endeavours to cause no harm to his reputation and ability.Further on into the play -where jealousy has completely engulfed Othello- Desdemona defends him when questioned by genus Emilia about whether Othello is in fact covetous, stating that Othello is incapable of feeling such as jealously- she sees him as just about god-like I think the sun where he was born drew all such humours from him. In even the darkest times when Othello acts so awfully and deep unjustifiably, Desdemonas love for him still rules strongly over her heart- My love doth so approve him that even his stubbornness, his checks, his frowns-prithee unpin me- have grace and favour in them.On her death bed, moments before she is to depart from the world at the work force of her loved one, Desdemona is still unable to speak out against him. She sees through his sad acts and it is clear to her that the man she married is no longer the corrupted man that stands before her. With her last words to Emilia she states that she doesnt hold Othello answerable for her death, and even at this perilous moment, names her husband well- Nobody I myself. Farewell. Commend me to my kind lord. She unceasingly manages to see Othello positively.Emilia herself, closely link with Desdemona and often mistreated by her husband Iago, quickly alters her opinion of Othello as the play progresses. Her attitudes towards men are already bitter and derive in the main from the way that Iago has treated her throughout their marriage. She seems to be a feminist and is able to stick up for women- but only in the absence of a male presence. For Emilia the way in which Othello treats Desdemona only emphasises this feeling- they eat us hungerly, and when they are full, they belch us. Unfortunately it is evident that Emilia has not always thought of Othello in this negative manner.She awards him the benefit of the uncertainness as she recognises that his demeanor is becoming erratic and nigh stumbles upon Iagos secret- Remove your thought. It doth abuse your bosom. If any wretch have put this in your head, let heaven retaliate it with the serpents curse Othellos final behaviour allows Emilia to justify her racist statements- O, more the angel she, and you the blacker devil Othello at his most degrading point in the play reverts to the stereotype that he originally seemed so far from, even though it is apparent to the reader that his reactions are in fact more like Iagos. Emilias final realisation forces her to make yet another racist comment and name Othello as naive- Oh thou dull moor.Brabantios relative, Lodovico, is the character that shows an obvious change in attitudes towards Othello, in a strikingly short berth of time. He undoubtedly thinks well of Othello before his visit to Venice as he greets the general respectfully- God save you, worthy general and distinctly accepts his ethnicity. For this reason, Lodovico is clear shocked when Othello raises his hand to Desdemona and strikes her across the face, and states this surprise and utter disbelief at what he has just witnessed from what was once a courageous general- My lord, this would not be believed in Venice, though I should swear I sawt.This statement gives us a glimpse of how Othello is viewed by others universally. He is seen as a noble character, lacking in the extreme emotions now observed by Lodovico. Brabantios relative begins to question Othellos mental disposition- Are his wits safe? Is he not light of brain? and his attitudes have clearly now reversed as he now holds reservations about the perceptual constancy of Othellos character, whereas before he was sure that the general was of such a great confidence- Is this the noble Moor that whom our full senate call all-in-all sufficient?Lodovico departs from the shooting with a controversial and, obvious to the reader, ironic line- I am forbidding that I a m deceived in him. This line shows that Lodovico has lost faith in Othellos character, and feels almost cheated by what he has seen. It seems unfortunate that he feels as he does towards Othello, when truly as he even speaks the line, Iago is the authentic jerry-built culprit.Cassio, the object of hatred in Othellos eyes, does not really say much about his attitudes towards Othello, but what he does say and what is said about his attitudes by others show what he truly feels towards the general. He obviously shows much loyalty towards Othello, he is his lieutenant and until jealousy behaves in, a trusted friend.This is made apparent when Desdemona attempts to change her husband jealous views about the unfairly treated Cassio -and so many a time when I have spoke of you dispraisingly hath tane your part (Desdemona about Cassio). Even after he has been the subject of enigmatical and malicious actions by the changed Othello, he still speaks of him well- For he was great of heart. Thi s highlights one of Othellos tragic flaws. He is unable to make a good judge of character, and seems to be enormously gullible, believing the sly Iago over the honest, but sometimes vain, Michael Cassio. Cassio obviously thinks well of the troubled Othello.The views of the characters are extremely vary when involving Othello, and these views are changeable throughout the entirety of the play. However none are as interesting and somewhat conf utilise as how Othello in fact sees himself. His character goes through three notable stages which seem to show great contrast and diversity with each other.At the beginning of the tragedy Othello is obviously a proud individual, and openly speaks about his noble background- I stick my life and being from men of royal siege. He is of removed relation to royalty, and for this reason carries himself with a certain majestic and noble manner. He has a shockingly high opinion of himself and this can sometimes be perceived as an arrogant trait- my parts, my title, and my perfect soul shall manifest me rightly. He is dazzlingly confident in almost all aspects of his life and specially when it comes to his military service- For since these arms of mine had seven years pith they have used their dearest action in the tented field.He proves to be a powerful presence in areas where others would crumble and is passionate about his love for Desdemona, so much so that he is resilient enough to offer everything in order to sustain their love- let your sentence even fall upon my life. This shows great strength in character and Othello obviously sees himself as a force to be considered with. At this stage in the play, Othello views himself as never having been a happier due to his love for Desdemona- If it were now to die, twere now to be most happy and makes a series of prophetically ironic statements, almost unknowingly hinting to the readers of what is to come- But I do love thee and when I love thee not, chaos is come again.The stre ngth in character that we see from Othello throughout the beginning of the play is last seen in a conversation between him and Iago, concerning the infidelity of Desdemona. In his speech, we see Othello at his final point of sharp-witted sanity, which unfortunately due to Iagos manipulative skills, he is unable to come up up throughout the entirety of the playNo, Iago, Ill see her before I doubt when I doubt, proveAnd on the proof, there is no more but thisAway all at once with love or jealousyAfter this point in the play, Othellos view of himself slowly deteriorates. He begins to lose his self-confidence and control as doubt gradually overwhelms his mind. As the jealously sets into his mind, he begins to search for reasons as to why his wife could do such a thing and comes up with two points his age and his colour- Haply for I am black, I am declined into the vale of years.Whereas before he would have s besidesd by Desdemona and perhaps asked for the proof from Iago against his w ifes infidelity, his troubled character now begs Iago to prove the exact opposite- be sure thou prove my love a whore. His mistrust in Desdemona proves that he is ultimately a unforesightful judge of character, and instead holds his certainty in Honest Iago. This reliance on Iago to help him judge Desdemonas true situation in fact becomes his down fall. His self-confidence has travelled from such a high to a low that he sees himself as no longer able to make conscious decisions alone.Othellos character almost completely morphs into that of Iago, both using extremely similar language and animal imagery at the time of Othellos extreme jealousy- Goats and monkeys, Or keep it as a water tank for foul toads to knot and gender in This illustrates just how reliant on Iago Othello has become. He asks his opinion at almost every opportunity -How shall I murder him, Iago? This is a complete contrast from how the character was before his mind became jealous as he was before so sure of his eac h and every decision, so very self-assured. He now sees himself unfit to lead his life without constant supervision from his companion Iago.After being instructed, word-by-word, on how to unjustly murder his beloved Desdemona, Othello commits the terrible deed. Through this scene it is clearly illustrated that Othello has completely lost him mind, and in the words of Iago -He is much changed. He constantly contradicts himself, showing that he is no longer sure of what he is doing and sees only one way to regain his controlled mind- A murder, which I thought a sacrifice. After killing his wife, Othello shows no remorse as he feels that he, himself, has rid the world of an unfaithful being- Shes like a prevaricator gone to burning hell Twas I that killed her. In this way he seems almost proud of his act, but yet still in pieces from losing not only his mind, but in addition, his love.The final stage in Othellos personality transformation sees him return almost to his antecedent self - a controlled man, but this time with a huge sense of guilt and despair primed(p) upon his heart. He now sees himself as a monster, and begs for punishment Whip me join me in sulphur In a desperate effort to regain control in the situation, we see Othello commit an act that would fit with his former character, he stabs himself.This shows that Othello now thinks so badly of himself that he claims happiness will be found in death- For in my sense tis happiness to die. We see Othello in his final speech attempt to reclaim any respect and decency from his characters, and asks them to remember him as one that loved not wisely, but too well and a man that was -not easily jealous but, being wrought, perplexed in the extreme. This shows that Othello has regained control over the final moments of his life and hopes to be remembered not for the tragic deeds he has committed but for his decencies and military service. He views himself as an unfairly mislead man, that inevitably speculative his own fate.In conclusion, Othello as a character is not only a controversial, but also travels on such a move through personalities that he is able to change the opinions of those who once looked up to him. The troubled, warring and broken Othello we see at the end of play is a overshadow of his former self and proves just how each and every person has strengths and weaknesses that can be carefully manipulated. The real Othello that we see at the beginning of the play is one that can never be regained once jealousy has set in, and this is clearly shown by the tragic ending to the play. Othello tragically saw himself as a strong character, but was eventually shown to be a gullible fool at the hands of the evil manipulative Iago.