Manipulation and Bias in Othello
The terrible play ‘Othello’, written by William Shakespeare, is one where the direct impact of styles such as jealousy, prejudice, and manipulation bring about the downfall of the protagonist Othello, a moor who is both a successful military leader in the city of Venice and the enthusiast of the ‘Sugary food Desdemona’. The Antagonist, Iago, weaves webs of deceit and denigrations on nearly all of the characters and is portrayed as the puppet master, managing the characters to his own end. The images related to the central style of jealousy suggests devastating, terrifying and possibly abnormal qualities of this feeling.
It is ‘the green-eyed monster, which doth mock/ the meat it eats’. There is a strong sense of devouring and being devoured in these images, which harmonizes Iago’s description of Othello as being ‘eaten up with passion’. These lines recommend the specific quality of Othello’s significant jealousy; once he ends up being convinced that his partner is unfaithful, his jealousy does indeed feed on itself, leading the lead character to become dehumanised and animalistic. Jealousy is likewise deeply humiliating in ‘Othello’; Iago is right when he states that it is ‘a passion most unsuiting such a man’.
There are three examples of jealousy that are explored by Shakespeare in ‘Othello’. Iago’s individual and professional jealousy, which is connected to feelings of envy and sets occasions in movement. This is demonstrated through the use of soliloquy where Iago reveals his hate and jealousy of Cassio when he was provided a position that Iago believed he should have acquired. The use of soliloquy includes significant stress as Iago expresses his motive for revenge to the audience before enacting out his intend on the unwary characters.
The 2nd example is of Bianca’s suspicions, which help Iago with his manipulation of the Othello contributing to the significant stress and the third example of jealousy is of the Moors towering jealousy. Othello’s character arc is rather depended on his feelings of jealousy when he assumes his wife Desdemona is ‘a strumpet’. The language that is utilized by Othello at the start of the play is in blank verse, unrhymed iambic pentameter. This structuring of the discussion characterises Othello as informed, dignified and authoritative.
However, this is juxtaposed at the end of the play where there is little to no structure in Othello’s discussion, frequently made up of short outbursts, characterises the protagonist as animistic, unhinged and weak. The style of prejudice is also popular in the play ‘Othello’. The cultural difference in between the Moor and the basic white Venetians serves as an incentive for dispute between the characters. The very first circumstances of racial bias nearly opens the play in Act 1 Scene 1 with the discussion between Iago and Brabantio, ‘even now, an old black ram is tupping your white ewe’.
The animal images Iago utilizes when speaking of Desdemona’s copulation with Othello is firstly highlighting the racial distinction between both Othello and Desdemona and second of all, relating interracial relationships as animalistic through dehumanising images. A number of the recommendations to Othello in regards to his colour and creed are normally negative, however are weakened due to the fact that the audience comprehends the motives of both Iago and Roderigo.
He is also referred to as ‘sooty’ and ‘thick lips’, which assist to construct an unfavorable characterisation of Othello. Up until now as dislocation is concerned, an element of the disaster comes about because Othello is characterised as an outsider, he is in an weak position of being a black male in a white society. This dislocation is furthered through the marrying of a white lady and through holding a high located rank in the military. This is one of the reasons that Othello is subject to adjustment by Iago on racial grounds, and on Rodrigo’s racist ideology.