Othello by: William Shakespeare - Characters

Othello by:  William Shakespeare - Characters

Othello by:  William Shakespeare - Characters

Othello

Beginning with the opening lines of the play, Othello remains at a distance from much of the action that concerns and affects him. Roderigo and Iago refer ambiguously to a “he” or “him” for much of the first scene. When they begin to specify whom they are talking about, especially once they stand beneath Brabanzio’s window, they do so with racial epithets, not names. These include “the Moor” (I.i.57), “the thick-lips” (I.i.66), “an old black ram” (I.i.88), and “a Barbary horse” (I.i.113). Although Othello appears at the beginning of the second scene, we do not hear his name until well into Act I, scene iii (I.iii.48). Later, Othello’s will be the last of the three ships to arrive at Cyprus in Act II, scene i; Othello will stand apart while Cassio and Iago supposedly discuss Desdemona in Act IV, scene i; and Othello will assume that Cassio is dead without being present when the fight takes place in Act V, scene i. Othello’s status as an outsider may be the reason he is such easy prey for Iago.

Although Othello is a cultural and racial outsider in Venice, his skill as a soldier and leader is nevertheless valuable and necessary to the state, and he is an integral part of Venetian civic society. He is in great demand by the duke and senate, as evidenced by Cassio’s comment that the senate “sent about three several quests” to look for Othello (I.ii.46). The Venetian government trusts Othello enough to put him in full martial and political command of Cyprus; indeed, in his dying speech, Othello reminds the Venetians of the “service” he has done their state (V.ii.348).

Those who consider Othello their social and civic peer, such as Desdemona and Brabanzio, nevertheless seem drawn to him because of his exotic qualities. Othello admits as much when he tells the duke about his friendship with Brabanzio. He says, -“[Desdemona’s] father loved me, oft invited me, / Still questioned me the story of my life / From year to year” (I.iii.127–129). -Othello is also able to captivate his peers with his speech. The duke’s reply to Othello’s speech about how he wooed Desdemona with his tales of adventure is: “I think this tale would win my daughter too” (I.iii.170).

Othello sometimes makes a point of presenting himself as an outsider, whether because he recognizes his exotic appeal or because he is self-conscious of and defensive about his difference from other Venetians. For example, in spite of his obvious eloquence in Act I, scene iii, he protests, “Rude am I in my speech, / And little blessed with the soft phrase of peace” (I.iii.81–82). While Othello is never rude in his speech, he does allow his eloquence to suffer as he is put under increasing strain by Iago’s plots. In the final moments of the play, Othello regains his composure and, once again, seduces both his onstage and offstage audiences with his words. The speech that precedes his suicide is a tale that could woo almost anyone. It is the tension between Othello’s victimization at the hands of a foreign culture and his own willingness to torment himself that makes him a tragic figure rather than simply Iago’s ridiculous puppet.

Iago

Possibly the most heinous villain in Shakespeare, Iago is fascinating for his most terrible characteristic: his utter lack of convincing motivation for his actions. In the first scene, he claims to be angry at Othello for having passed him over for the position of lieutenant (I.i. 7–32). At the end of Act I, scene iii, Iago says he thinks Othello may have slept with his wife, Emilia: “It is thought abroad that ’twixt my sheets / He has done my office” (I.iii.369–370). Iago mentions this suspicion again at the end of Act II, scene i, explaining that he lusts after Desdemona because he wants to get even with Othello “wife for wife” (II.i.286). None of these claims seems to adequately explain Iago’s deep hatred of Othello, and Iago’s lack of motivation—or his inability or unwillingness to express his true motivation—makes his actions all the more terrifying. He is willing to take revenge on anyone—Othello, Desdemona, Cassio, Roderigo, even Emilia—at the slightest provocation and enjoys the pain and damage he causes.

Iago is often funny, especially in his scenes with the foolish Roderigo, which serve as a showcase of Iago’s manipulative -abilities. He seems almost to wink at the audience as he revels in his own skill. As entertained spectators, we find ourselves on Iago’s side when he is with Roderigo, but the interactions between the two also reveal a streak of cowardice in Iago—a cowardice that becomes manifest in the final scene, when Iago kills his own wife (V.ii.231–242).

Iago’s murder of Emilia could also stem from the general hatred of women that he displays. Some readers have suggested that Iago’s true, underlying motive for persecuting Othello is his homosexual love for the general. He certainly seems to take great pleasure in preventing Othello from enjoying marital happiness, and he expresses his love for Othello frequently and effusively.

It is Iago’s talent for understanding and manipulating the desires of those around him that makes him both a powerful and a compelling figure. Iago is able to take the handkerchief from Emilia and know that he can deflect her questions; he is able to tell Othello of the handkerchief and know that Othello will not doubt him; he is able to tell the audience, “And what’s he then that says I play the villain,” and know that it will laugh as though he were a clown (II.iii.310). Though the most inveterate liar, Iago inspires all of the play’s characters the trait that is most lethal to Othello: trust.

Desdemona

Desdemona is a more plausible, well-rounded figure than much criticism has given her credit for. Arguments that see Desdemona as stereotypically weak and submissive ignore the conviction and authority of her first speech (“My noble father, / I do perceive here a divided duty” [I.iii.179–180]) and her terse fury after Othello strikes her (“I have not deserved this” [IV.i.236]). Similarly, critics who argue that Desdemona’s slightly bizarre bawdy jesting with Iago in Act II, scene i, is either an interpolation not written by Shakespeare or a mere vulgarity ignore the fact that Desdemona is young, sexual, and recently married. She later displays the same chiding, almost mischievous wit in Act III, scene iii, lines 61–84, when she attempts to persuade Othello to forgive Cassio.

Desdemona is at times a submissive character, most notably in her willingness to take credit for her own murder. In response to Emilia’s question, “O, who hath done this deed?” Desdemona’s final words are, “Nobody, I myself. Farewell. / Commend me to my kind lord. O, farewell” (V.ii.133–134). The play, then, depicts Desdemona contradictorily as a self-effacing, faithful wife and as a bold, independent personality. This contradiction may be intentional, meant to portray the way Desdemona herself feels after defending her choice of marriage to her father in Act I, scene iii, and then almost immediately being put in the position of defending her fidelity to her husband. She begins the play as a supremely independent person, but midway through she must struggle against all odds to convince Othello that she is not too independent. The manner in which Desdemona is murdered—smothered by a pillow in a bed covered in her wedding sheets—is symbolic: she is literally suffocated beneath the demands put on her fidelity. Since her first lines, Desdemona has seemed capable of meeting or even rising above those demands. In the end, Othello stifles the speech that made Desdemona so powerful.

Tragically, Desdemona is apparently aware of her imminent death. She, not Othello, asks Emilia to put her wedding sheets on the bed, and she asks Emilia to bury her in these sheets should she die first. The last time we see Desdemona before she awakens to find Othello standing over her with murder in his eyes, she sings a song she learned from her mother’s maid: “She was in love; and he proved mad / And did forsake her. She had a song of willow. / . . . / And she died singing it. That song tonight / Will not go from my mind” (IV.iii.27–30). Like the audience, Desdemona seems able only to watch as her husband is driven insane with jealousy. Though she maintains to the end that she is “guiltless,” Desdemona also forgives her husband (V.ii.133). Her forgiveness of Othello may help the audience to forgive him as well.

Emilia

Emilia at first appears to be one of her husband Iago’s puppets. When Iago wants to set up the appearance of inappropriate behavior between Cassio and Desdemona, he decides that “my wife must move for Cassio to her mistress” (2.3.) and shortly thereafter Emilia facilitates a meeting between Desdemona and Cassio, and encourages her mistress to advocate on behalf of Cassio. Later, when Desdemona accidentally drops her handkerchief, Emilia seizes the opportunity to pick it up, noting that “my wayward husband hath a hundred times / Wooed me to steal it” (3.3.). She shows only a small amount of suspicion as to what Iago plans to do with it, and accepts his refusal to tell her. These actions suggest that Emilia, at least initially, is at best passive, and at worst complicit in Iago’s schemes. He often speaks sharply or rudely to her, as when he quips “It is a common thing… to have a foolish wife” (3.3.) suggesting he doesn’t respect her intelligence.

However, as the action progresses, Emilia reveals a sharp-eyed and self-aware perspective on how women are often vulnerable to abuse at the hands of their husbands. She tells Desdemona that “they eat us hungerly, and when they are full / They belch us” (3.4.) and later explains to her mistress that “I do think it is their husbands’ faults / If wives do fall” (4.3.). Emilia also shows courage and self-assurance in chastising Othello for doubting his wife’s virtue, scolding him “If you think other / Remove your thought” (4.2.). When she realizes Othello has killed Desdemona, Emilia immediately lashes out at him, stating “Thou dost belie her and thou art a devil” (5.2.). Even though she is in a highly dangerous situation, alone with a man who has just proven himself capable of murder and might well kill her in order to conceal his crime, Emilia fearlessly insists on bringing him to justice, explaining “I’ll make thee known / Though I lost twenty lives” (5.2.).

As she realizes the role her husband has played in bringing about Desdemona’s death, Emilia insists on outing Iago’s plot, stating in front of everyone that “your reports have set the murder on” (5.2.184). Iago repeatedly threatens her and tells her to be quiet, but Emilia insists that “I will speak as liberal as the north” (5.2.). Her insistence on speaking out costs her her life when Iago stabs her in desperation. Emilia becomes a parallel to Desdemona, as another woman killed by her husband for insisting on a truth that he did not want to hear. However, while Desdemona’s death reflects the murder of an innocent victim, Emilia dies seeking atonement for her participation in Iago’s crimes. Emilia helped Iago persuade Othello of Desdemona’s guilt, and while she cannot undo Desdemona’s death, she can at least bear witness to the truth of what really happened. Emilia dies hoping that her final bravery will redeem her previous silence and obedience: “So come my soul to bliss, as I speak true” (5.2.), but her death also shows that within the world of the play, there is no promise of a happy fate for a woman.

Cassio

Cassio functions mainly to move the plot forward by inadvertently becoming a pawn in Iago’s plan. Cassio’s thoughts, feelings, and motivations are rarely revealed, but his character and behavior are significant for creating the conditions under which Iago can enact his plan. Cassio is handsome, charming, and charismatic; as Iago notes when he starts to hatch his devious plan, “He hath a person and a smooth dispose / To be suspected, framed to make women false” (1.3.). If Cassio was not a potentially appealing lover, the idea that Desdemona was having an affair with him would be much less plausible, and Iago’s plan would be harder to pull off. In addition to his innate appeal, Cassio’s behavior to women unwittingly endangers both himself and Desdemona. He often performs shows of gallantry and courtesy which are open to misinterpretation as flirtation. Watching Cassio touch Desdemona’s hand, Iago schemes that “Ay, smile upon her, do! I will gyve thee in thine own courtship” (2.1.).

Cassio’s behavior is rooted in a deep sense of honor: when Iago tries to get him to say lewd things about Desdemona, he insists on being respectful, observing “An inviting eye—and yet methinks right modest” (2.3.). Cassio is also horrified when his drunken behavior results in public shame, lamenting “Oh, I have lost my reputation!” (2.3.). Perhaps because Cassio is a Florentine, and not a Venetian, or because he seems to lack the military experience of some of the other male characters, he is rather naïve and trusting. Cassio’s innocence and trust that other people will see his virtue makes him a parallel character to Desdemona. However, unlike Desdemona, Cassio evolves as a character. By the end of the play, he has realized that Iago is responsible for Desdemona’s death, and he helps Othello understand Iago’s treachery. Cassio ends the play in a position of significant authority and responsibility: Ludovico commands that “Cassio rules in Cyprus” (5.2.) and entrusts him with punishing Iago. The impact of the shocking betrayals and violence shown by other characters has presumably changed Cassio into a man who will be much more cautious, but possibly a better leader as a result.

***********************

***********************