In the dramatic exposition of the play, Shakespeare presents Othello as a greatly

respected character who retains nobility and poise. His first appearance in Act 1

Scene 2 illustrates his high standing in the Venetian political context as the

threat of Turkish attack prompts about three several quests to search (Othello)

out. The verbal emphasis on three several quests highlights the importance of

Othello to the states governing body. Later in Act 1 Scene 3, his reputation is

further validated by the Dukes use of the complimentary title, Valiant Othello.

The Senator similarly characterises him as heroic in combination with a racist

overtone, valiant Moor This emphasises that beneath the veneer, there is a

racial bias that grants Othello only tokenistic status. However, Othellos nobility

is established in his response to Brabantios inflammatory accusations. Othellos

pacifist tone, keep up your bright swords, good signior, contrasts with the

aggressive language of Brabantio, foul thief, representing Othellos confidence

and emotional control. Othellos benevolent behaviour is revealed in his following

objectification of experience, you shall more command with years than with

your weapons. This opposition to violence is ironic given his occupation in the

tented field of the military and self-perception that he little blessed with the

soft phrase of peace, which contradicts his eloquent speech, most potent,

grave and reverend seigniors, my very noble and approve good masters to give

a strong impression of Othellos humility. Overall, Othellos character is

introduced as a virtuous and humble figure in Venetian society who is able to

confront violence and speak with dignity and confidence.

Iagos deception and manipulation, however, transforms Othello, manipulating

and exposing his flaws to undermine Othellos perspective and morality.

Shakespeare employs the dramatic device of soliloquy to create suspense and

dread around Iagos role as the villain. In Act 1 Scene 3, his emphatic tone, I

hate the Moor, blatantly indicates his opposition to Othello. His use of a simile
to compare Othello to an ass tenderly led by the nose suggests his intention

to exploit his Othellos gullibility and reduce him to a beast; acting without

rational thought. His ironic use of tender reinforces his deceptive intent. In Act

3 Scene 3, Iago begins to cast doubt into Othellos mind about Desdemonas

fidelity. He uses a mock voice of concern by warning against the green-eyed

monster of jealousy. The use of the colour green is a visceral image often

associated with disgust, and so Iago associates jealousy as an undesirable

quality. He describes Cassio repeatedly as an honest man, the short phrasing

implying certainty, I think Cassios an honest man. The repetition reinforces

this. However, he later juxtaposes the royal purity of a palace with foul

things that impinge on it, suggesting a negative image of Cassio at odds with

his previous endorsement. These opposite images illustrate Iagos duplicity.

Later, Iago tells Othello to wear (his) eyes thus: not jealous, not secure. The

paradox between jealousy and security illustrates his overall bid to produce

doubt in Othellos mind by implying there is a discrepancy between the

appearance and reality that he relies on Iago to interpret for him. As a result,

Othellos love and hope collapses, fuelled by his insecurities and flaws that Iago

exposes and exploits through his deception.

Othellos character is drastically transformed by Iagos deceptions into violence

and emotional insensitivity. As Iago gives false evidence in Act 3 Scene 3,

Othellos exclamations are violent and aggressive in tone, Ill tear her all to

pieces! juxtaposing with his poise and nobility in the beginning of the play. His

emotional frustration is shown in his repetitions, O, blood, blood, blood!, again

contrasting with his initial composure. Othello himself illustrates his ongoing

internal turmoil, metaphorically likening his violent thoughts to the icy current

and compulsive course of the Pontic Sea, which neer feels retiring ebb. Use of

anthropomorphism represents his quest for retribution, till that wide revenge
swallow (love) up showing a disregard for love, and the use of religious imagery,

in due reverence of a sacred vow, reinforces the extent of Othellos change. In

Act 4 Scene 1, Othello breaks the iambic pentameter in rage at line 35,

indicating a loss of composure. After witnessing Cassio and Iagos conversation,

his very first line is violently contrasting, How shall I murder him, Iago?

showing a lack of aversion to violence which contrasts with his conciliatory

behaviour earlier in the play. The metaphor of Othellos heart turned to stone is

consistent with Othellos loss of emotional sensitivity. Later, as he is about to kill

Desdemona, Othello asks her to solicit any crime unreconciled as yet to heaven

and grace. The religious connotations of confession suggest that perhaps he has

retained some sensitivity and moral restraint. However, his later denial of this,

but while I say one prayer! It is too late. symbolises his ultimate lack of

compassion that propels him towards murder. In the later stages of the play,

Shakespeare leaves us with a sense of pity for Othello who is a transformed

character of violence, insensitivity and vengeance, greatly contrasting his

potential nobility.

Charlie Weng 11 English 2