The Immersion Library

But jealous souls will not be answer’d so;
they are not ever jealous for the cause,
But jealous for they are jealous: ’tis a monster
Begot upon itself, born on itself.

I expected Othello to explore the nature and consequences of jealousy, but I did not expect the nuanced aspects of this particular story to delve into far deeper explorations with much graver results. The play deals with racism, gender roles, and revenge. If only jealousy, why create an antagonist like Iago? If only jealousy, why is Othello black? If only jealousy, why give such voice to Emilia? No, in fact, this play uses jealousy only as a means to create conflict. It explores two faces of weakness and strength by comparing the positions of men and women. It explores two faces of judgement by instilling merit and position to a foreigner. And it explores two faces of love through faith and vengeance.

Throughout the play, especially in its opening Acts, Shakespeare uses language that clearly insinuates Othello’s cultural inferiority. Brabantio cannot fathom that his daughter could naturally fall in love with a high-ranking military officer like Othello. Surely, if Othello were a native Venetian, or white, he would relish the idea of such a match. Instead, her love must result from exotic magical conjurations. Othello must see this racism clearly but persists in conducting himself reasonably in his response to it. Alas, Iago has only to reference Desdemona’s rebellion against her father to form the first cracks in his faith in her. If she would denounce her father and a natural union with one of her “clime” then she would also easily stray from her allegiance to him. Therefore, the systemic racism acts as furtile soil within Othello’s mind for seeds of mistrust. Tragically, the ending, through a lens of racism, might express a futility in interracial marriage; that love cannot thrive and, in fact, will self-destruct under the pressures, injustices, and resentments resulting from racism. As Othello becomes a beast, even Lodivico and Desdemona’s uncle seem disappointed that Othello did not disprove their sentiments toward his race.

When one contemplates Iago’s motivations, they note two things. As Othello passes over Iago and commissions Cassio as lieutenant, Shakespeare exposes the first motivation. Perhaps Iago resents a black foreigner’s power over his career. Of course, Othello’s skin color does not exclusively warrant this disgruntled temper, but consider the extreme measures taken by Iago in his revenge. What fuel could drive such cunning and elaborate planing?

Ultimately, Shakespeare did not have to characterize Othello as black. He could have penned his tale of jealousy and vengeance with a powerful white man. However, perhaps men like Iago would not be so bold as to conspire against a powerful white man as he would a powerful black man. He would need some sense of superiority over him; a sense that Othello deserves his vengeance and that the system would, in the end, defend him for those actions against a black man.

Iago’s second motivation draws attention to other human characteristics and social marginalizations; particularly around gender roles. Twice during the play, Iago and his wife Emilia hint at a previous suspicion that Othello bedded Emilia. This does more than catalyze Iago’s revenge, it positions he and Emilia both at a different vantage point regarding Othello and Desdemona’s challenges. They exemplify two things: the male ability to lose their noble convictions, emotionally scheme, and enact vengeance on the external world; the female ability to strengthen themselves and remain true to justice, honor and nobility. Emilia is one of my favorite characters, like Paulina in The Winter’s Tale, because of her strength in denouncing her husband and speaking out when he commands silence. When we first meet Desdemona, the state council beckons her to explain her marriage to Othello. As she enters, her father does not at first ask her to explain, but rather to confirm to whom she owes her obedience. Emilia and Desdemona obey their husbands but not because they are weak, frail, and unable to survive without them, but because they are strong in their convictions. Emilia does not rebuke Iago’s command to be silent out for vengeance, but to cry justice. Iago abandons all noble characteristics to serve his vengeance, as he refutes reputation and virtue to his unwitting co-conspirators. While Emilia retains her noble characteristics in wailing for justice and virtue as Desdemona, in her final breaths, remains true to her convictions by refusing to condemn her husband. The two women may not agree on their reactions to mens’ unjust treatment, but they respect each others’ convictions and strength in holding them.

Ironically, Iago’s revenge is to damn Othello and Desdemona to the sadness, pain, lonliness and insecurity of his life. But perhaps Othello still has some nobility left as the fates of the two men vary greatly. Their wives’ fates, however, match in their steadfast faith to their noble convictions.