Othello Is a Play About the Desperate Need for Certainty
Othello is a play about the desperate need for certainty The theme of certainty pervades the play from the opening scence, and as it advances, the mission for certainty becomes more desperate and frantic; not only within the minds and actions of the characters, however also within the audience as we become desperate to know and comprehend the result of Iago’s malicous plan. Shakespeare presents the protaginist, Othello, to the audience through the malicious and predujiced tongues of Iago, Roderigo and Brabantio.
Iago condemns Othello for favouritism and reveals obscenley to Brabantio that Othello is an ‘old black ram’, the ‘devil’, a ‘barbary horse’ copulating with his daughter. Rodergio too describes him as a ‘lascivious moor’ and ‘an extravagent and wheeling stranger.’ This causes Brabantio to feel certian that Othello, repulsive in his blackness, should have seduced Desdemona by withcraft, magic spells or drugs.
The photo echoes aspects of medevil and Elizabethan traditions about the devilish, cruel and lustful nature of moors, and Brabantio would most certainly rather believe these appropriate realities instead of truth- his ‘pure’ and virginal daughter is partaking in a sordid affair. Othello’s own desperate plea for certainty is also apparent from the offset. Although he refuses to conceal from Branbantio and denounce his frabrications, he recommends that Desdemona needs to affirm freely how their love happened.
Some may argue that Othello holds a variety of insecurities about himself and this is a prime example of him desperatly needing Desdemona to justify her reasoning for weding him. After all, he shows an amazing vulnaribilty, ‘a totally free and open nature, that thinks males sincere that but seem to be so.’ Iago works on these qualities and his pretended displeasure of the relations in between Cassio and Desdemona stirs Othello’s interest, thence his insistance that he be informed, and lastly his worry that Iago’s info, got in his task as a truthful guy, will harm him.
At first, Othello seems positive of Desdemona’s love for him as he states she ‘had eyes and selected me’. Iago nevertheless finds weak point in Othello’s certainty and taking his oppurtunity, encourages Othello to see Cassio and Desdemona quietly. He adds that, of his own well-founded knowledge, Venetian other halves decieve their spouses; that Desdemona pretended to fear Othello, when in fact she loved him, and that she decieved her dad so completley that he thought she was bewitched. Not able to reject these, Othello draws the troubling reasoning.
Suspicion settles, and is revealed by his hesitant ‘I do not believe Desdemona’s honest’, and his command that Emilia be set to enjoy Desdemona. He is desperate to find fact, and underlying doubts about his marital relationship might have escelated by Iago’s discovery and Othello is eventually driven to discover this certianty in his own imperfections- his blackness, age and unpolished good manners. Iago’s evil has actually infiltrated Othello’s soul and has actually induced him, as Iago had actually hoped, ‘to renounce his baptism, all seals and signs of redemmed sin. The worthy image that Desdemona saw in Othello’s mind has actually ended up being damaged, and not soon is he humiliating her through false prophecy, and he fails to see the unreason of penalizing Desdemona for a criminal activity she has not commited. In the end, Othello is desperate to relieve himself of all guilt and is specific the demi-devil has actually ‘captured’ his soul and body. Desdemona is another charcter who clings desperatly on to her certainty that Othello is a kind and loving spouse. Out of her generosity and loving-kindness, she continually makes reasons for Othello’s cruelty: ‘some unhatched practice … ath puddles his clear spirit’- an ironic understanding. Othello’s vision of her is absolutely distorted; and she in her faith and certianty to him is unable to percieve his spiritual overthrough. His strong allegations that she is unchaste and a whore she fulfills by verifying that she is a ‘real and loyal wife’, and desperatly wants Othello to believe in this certainty. In her innocece, she discovers it impossible to believe that there are ladies who betray to their spouses in spite of Emilia’s down to earth admission.
In the last terrible scence she preserves her innocence and pleads for mercy. Her chastity, loyalty, her whole- hearted commital to her spouse’s welfare and to any good deed is the only pure certianty throughout the play, and Desdemona unfortunatly can not make Othello see this. Emilia fiercy safeguards Desdemona throughout the play and is specific she would never ever disobey her spouse. Ironically, she admits that she would ‘make her other half a cuckhold’ in order to ‘make him a monarch’, however clings to her hubby’s stability as she affirms to his vileness and Desdemona’s virtue.