klein\’s divine nines

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IMPORTANCE OF PLACE

Cyprus is important to the drama because it is so different from Venice; it is close to the danger of invasion, the people are reputedly hot-headed, and Othello is in absolute command. But the loss of the Turkish fleet gives him time to dwell on his private life rather than attend to his duty. Venice is important in two ways. First, it has a sophisticated and snobbish social hierarchy, according to which Othello is welcome as a visitor but quite unsuitable as a son-in-law. Othello does not really understand the fine points of social conduct (etiquette) and Iago is thus able to tell him various untruths about it (such as that Venetians are all promiscuous). On the other hand, the Venetian army (perhaps like the US Army today) while it may allow some racism, still has opportunities for a very good soldier (which Othello certainly is) to make it to the top. In Act 1, scene 3, Brabantio fails to have Othello punished; Brabantio has not been invited to the meeting of the council, but Othello has – even Iago recognizes that Othello is too important for the state to do without him. In return, Othello is almost fanatically loyal to the state he serves. When he is sure he has been betrayed (Act 3, scene 3) he makes a moving speech bidding farewell to his “occupation”. Before committing suicide he recalls how he once killed a Turk who had dishonoured the state by beating a Venetian.

SUMMARY OF OTHELLO
Iago has been unsuccessful in seeking promotion; instead Othello has made Cassio his lieutenant, while Iago has to be content with the post of ancient (find out what these jobs involve). Othello is a Moor (a native of northern Africa) but a loyal officer in the Venetian army, who has repeatedly proved himself in battle. Iago is a Venetian (most of the characters in the play are from Venice or Cyprus) but Cassio comes from Florence (an independent state; remember that the modern country of Italy was not united until the 19th century).

Othello has also, before the start of the play, eloped with Desdemona, daughter of a respected senator, Brabantio. Iago hates Othello; although he speaks in racist terms, it seems that racism is not the biggest cause of his hate (this will be discussed later). With Roderigo, a stupid but wealthy young Venetian, Iago wakes Brabantio with the unwelcome news of his daughter’s marriage. Brabantio’s attempt to have Othello arrested fails. Othello has been summoned to an important meeting, and is to be posted to Cyprus, which is threatened by invasion. In front of the Duke, Othello explains his actions; Desdemona is sent for, and confirms what Othello has said. She is also given permission to accompany Othello to Cyprus. At the end of the first act, Iago explains to the audience that he wants revenge on Othello, but is not sure how to achieve it.

The second act begins with the arrival in Cyprus of Iago, Cassio, Desdemona and Othello. At the same time we learn that the Turkish fleet which has threatened Cyprus has been battered by a storm, and the island is no longer in danger. Iago realizes that he may be able to exploit Cassio’s affection for Desdemona to make Othello jealous. Knowing that Cassio has a weak head for drink, he persuades him to celebrate the Turks’ defeat with the Cypriots. Meanwhile Roderigo, whom Iago has brought to Cyprus (supposedly to help him gain Desdemona’s love), is to ambush Cassio. The plot (which Iago outlines to the audience beforehand) works perfectly: Cassio, brandishing his sword, chases Roderigo (who escapes); Montano (the senior Cypriot officer) tries to restrain him, and is wounded in the struggle: Othello is awakened by the noise, and dismisses Cassio from his job. Iago, who has appeared to speak in Cassio’s defence, while giving a truthful account of his actions, now comforts him(Cassio), and suggests that he seeks Desdemona’s help in getting his job back.

In the last three acts, the plot moves almost without interruption to its tragic conclusion. At the start of Act 3, Othello is happily in love with Desdemona, yet his happiness is about to be destroyed. Seeing Cassio with Desdemona, Iago hints at an adulterous relationship between them, although he knows he has no hard evidence. Seeing Desdemona, Othello will not tell her why he is troubled; she mops his brow with a handkerchief, which he brushes aside, causing her to drop it. It is found by Emilia (Iago’s wife) who gives it to him, as he has so often asked her to steal it. When Othello demands that Iago prove Desdemona’s guilt, he is told that Cassio has her handkerchief. Othello makes Iago his lieutenant, while Iago gives Othello further “evidence” of Desdemona’s treachery by speaking to Cassio of Bianca (his mistress), in such a way that Othello thinks he speaks of Desdemona. Othello asks Iago to kill Cassio while Othello is to kill Desdemona.

Lodovico and other Venetian officers arrive in Cyprus with orders for Othello’s recall to Venice, while Cassio is to govern the island. Roderigo is angry with Iago, who has failed to help him win Desdemona’s favour (Iago has used Roderigo’s money and jewels, but done nothing to help him in return). Iago once more is able to deceive Roderigo, who is persuaded to attack Cassio (Iago wants both men dead, if possible). Roderigo attacks Cassio in the dark, wounding him, but is beaten off. As both men lie bleeding, Iago is able to finish Roderigo off, but Cassio lives. Believing Cassio is dead, Othello kills Desdemona. Emilia discovers what he has done, and tells him he is wrong in his suspicions of Desdemona. Emilia and the wounded Cassio are able to persuade Othello of the truth, though Iago stabs his wife fatally, in an attempt to silence her. We learn that Brabantio has died out of grief at Desdemona’s elopement. In his final speech, Othello speaks of his great loyalty to the Venetian state (which he has disgraced by murdering Desdemona) and of his terrible mistake, before stabbing himself. Iago is taken away to be tortured.

SOMETHING TO LOOK AT CAREFULLY WITH REGARD TO LANGUAGE:

Iago’s “honesty”

The words “honest” and “honesty” have changed meaning since the play was written. In Othello, as applied to Iago, “honest” implies what we might now call “down to earth”. An “honest” person is one who makes no pretension to live by principle, but is plain-spoken and straightforward. The term suggests transparency or lack of subtlety. As we say now: “What you see is what you get”. The terms also imply low social status; a gentleman is expected to live by principle and is rebuked if he fails, but an “honest” fellow lives by a lower standard. Thus, the term implies, as it does now, a measure of truthfulness or integrity, but is also a (perhaps, to him, painful) reminder of Iago’s social class. It is quite clear that Iago knows that others see him as “honest” and exploits it: thus, he plays up to others’ belief in his plain-speaking in his denunciations of virtue and love (above), of reputation (Act 2, scene 3, 258 ff.) and in the ironic conclusion of his mock praise of a good woman.

On the other hand, Iago is upset that others see him as typical of his social class: he suspects that Cassio’s promotion has been due to his social position (since this gives Cassio the qualities he needs for the job, this is probably a true judgement). Cassio, drunk, is guilty of snobbery to Iago (“the lieutenant is to be saved before the ancient”; Act 2, scene 3, 103,4). The audience (especially the orally attentive early 17th century audience) soon learns to attend to this word “honest” (or “honesty”) which becomes charged with our awareness of how Iago feels about the term, our understanding that Iago is the opposite of “honest” in being exceptionally subtle and deceitful (save, in his soliloquies when he is more or less “honest” with himself and us) but that this very error is one he encourages, for the opportunities it gives him; and, finally, that this reputation for “honesty” is one of Iago’s motives for seeking revenge on Othello and, especially, on Cassio.

CHARACTERS
In the play it is accepted (this may trouble some modern audiences) that Othello is not conventionally good-looking; his colour makes him unattractive or frightening (it is often linked with the ideas of bestiality or devilishness). But this point is made to show (by contrast as it were) the great beauty of his speech and the nobility of his character: this point is made most clearly by Desdemona: “I saw Othello’s visage (face) in his mind”. The play does not support the view that mixed marriages cannot work – the marriage is destroyed by the extreme wickedness of Iago. The RSC’s 1989 casting of Willard White (an opera singer) in the title rôle seems exactly right; the actor is tall and powerfully-built, mature (Othello is an experienced soldier) but above all gifted with a deep and resonant voice. Oliver Parker’s 1995 choice of Laurence Fishburne gives us a handsome, more youthful and athletic (and sexy) Othello.

This entry was posted on Wednesday, March 12th, 2008 at 5:53 pm Filed under Q4 and. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.