Relationships in Othello - dayline.info
In William Shakespeare's ''Othello'', the relationship between Othello and Desdemona changes rapidly. In this lesson, we take a look at how. Othello and Desdemona's relationship is based on admiration and pity rather In Act 1 Scene 3 Shakespeare explores the passionate and extreme nature of. The relationship between Desdemona and Othello is central to Shakespeare's ' Othello.' Here is Due to the Moor my lord” (Act 1, Scene 3, lines –).
When the two parties meet, Brabantio is in a very quarrelsome mood. The cool words of Othello prevent a clash between the two: The sudden danger from the Turks at Cyprus has made great dispatch necessary, and the Duke has ordered Othello before him "even on the instant.
The Moor now finds that his old friend, the Signior Brabantio, formerly his admirer, has unexpectedly become his accuser before the Senate.
Shakespeare's Othello - Othello's Relationship with Desdemona - Shakespeare and Race
Formerly honored as a friend and as a great soldier, and gladly admitted to Brabantio's house, Othello discovers that he is now considered an enemy, and execrated as the husband of Brabantio's daughter. For the first time, possibly, Othello becomes aware of the fact that he is not accepted on terms of full and exact equality in all particulars with the Venetians.
It is likely, however, that Othello had feared this, and so took Desdemona in marriage without asking her father, evidently satisfied that as a black man he could not obtain Brabantio's consent.
When the matter is brought before the Senate, Brabantio's objections to Othello all have to do with his difference of race and color.
He thinks it utterly unnatural for Desdemona to accept him willingly and knowingly. He cannot conceive how his daughter, a fair maid of Venice, could consent to marry a man of Othello's color and nationality, unless in some way out of her senses. So preposterous does it appear to him that he must suppose Othello has charmed her with drugs and magic. He cries out in his desperation: He reiterates his belief that it is "against all rules of nature," and speaks of Othello's supposed magic as "practices of cunning hell.
It seems likely that this was also the opinion of the dramatist, for there is abundant evidence that it was always so regarded on the Elizabethan stage.
Only the development of the drama will show how far Shakespeare sympathizes with this opinion. Two deeds upon the part of Othello have now brought him into active collision with other persons, and the two are related to each other. Because of his obligations to Cassio in the matter of his love-making with Desdemona he has appointed him to an important position over lago, thus making an enemy of his faithful officer.
He has also stolen away Desdemona from her father, and secretly married her, making an enemy of Brabantio, who had been one of his greatest admirers among the Senate.
In both cases there is evidence of his callousness and dullness of mind. Up to this point Othello had been able to carry successfully his exalted responsibility in his adopted state, but in these matters he makes a complete break-down. Not even his superior military training could save him. He could perform well the duties of military life, but now it begins to be evident that he is not fitted for the higher and more exacting arts of peace, and especially of love, in a civilized state.
When Othello leaves "the tented fields" for the streets and homes of a refined city he utterly goes to pieces, and whatever sense of honor he may have had speedily gives place to a dangerous caprice. An unsuspected weakness, or deficiency, in his character is thus laid bare, upon which the whole tragedy will later be seen to turn.
How is Othellos and Desdemonas relationship portrayed in Act 2, scene 1 from line 171- 205 Paper
This deficiency, it is now important to notice, the play implies is due to his racial character, and comes from the fact that he is a Moor.
The half- civilized Othello is but ill adapted for life in civilized and cultured Venice. Some critics endeavor to make out that nothing whatever of the happenings of the play are in any way connected with the fact that Othello is a Moor.
They allege he is nothing but a man, though he happens to be a black man. His color, they say, is an entirely indifferent matter in the play, and can be all but ignored in the interpretation. On this assumption, however, the many references to his color and race throughout the play cannot well be explained.
This view takes for granted that the dramatist heaps up idle words having no significance, and refuses to believe that there was a meaning in all he wrote. It is not necessary to hold, as Professor Bradley would have us believe, that the dramatist must be credited with clear doctrines of Kulturgeschichte if we are to maintain that he made the problem of Othello at least in part a problem of race.
Feelings of racial differences did not have to wait for the Germans of later times to write histories of culture. In Shakespeare's day the discovery of new lands and new peoples must have impressed all thoughtful Europeans with the conception of their own superiority in all the arts and character of civilized life. And the play makes Othello quite as conscious as any one else of his diversity of race, though it is to other causes that he assigns his want of grace and culture.
When charged before the Senate with the abduction of Desdemona, Othello's defence consists of a frank and free admission that he had taken Brabantio's daughter, and an apologetic account of his "whole course of love. In the course of his apology, his "round unvarnished tale" becomes eloquent with a barbaric sincerity and splendor that almost enlists the sympathy of the Senate.
The story of "the battle, sieges, fortune" he had passed is almost as potent with the senators as it had been with Desdemona, who, he says, "lov'd me for the dangers I had passed, And I lov'd her, that she did pity them.
He further says he is ready to abide by the decision of Desdemona, and advises the senate to call her to speak for herself. He considers the marriage to be a matter for themselves alone, and implies that the lady has a right to choose her husband without her father's consent. There are numerous Shakespearean plays which seem to bear out the idea that the dramatist thought it to be the woman's right to choose her own husband, without meeting her father's wishes in the matter.
But there are many differences, and these must be given consideration. Shakespeare undoubtedly approves such choice when it means a larger and fuller life. Juliet disobeyed a tyrannical and hateful father to find a larger life and a true spiritual union with Romeo. In the same spirit Imogen refused the coarse and villainous Cloten, to join hands and hearts with the virtuous Posthumus. The lovely Jewess, Jessica, ran away from the miserly Shylock to marry the Christian, Lorenzo, and at the same time accepted the religion of her husband.
However, Iago despises Othello and makes it his personal mission to destroy him: Several strokes of good fortune the handkerchief etc help Iago keep Othello on side until the murder of Desdamona but ultimately it is his genius for manipulation and trickery that ensures his success.
Desdemona and Othello - True Love?Othello - Act 1 Scene 3 - There is no composition in these news
In marrying a 'Moor', Desdemona flies in the face of convention and faces familial and societal criticism for her bold choice. Her father is shocked and dismayed: She fell in love with his stories of valour; "These things to hear would Desdemona seriously incline". This also shows that she is not a passive, submissive character in that she decided she wanted him and she pursued him. On the subject of her relationship with Othello, Desdemona says: That I did love the Moor to live with him, My downright violence and storm of fortunes May trumpet to the world: I saw Othello's visage in his mind, And to his honour and his valiant parts Did I my soul and fortunes consecrate.
Relationships in Othello
While Othello appears confident of her love for him in Act 1 deep down he is insecure in the relationship. He can't quite believe how happy he is that she loves him: If it were now to die, 'Twere now to be most happy; for I fear, My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate. When Iago starts making vague suggestions of Cassio's untrustworthy nature Othello's confidence is knocked sideways very rapidly: This would point to him being more worried about his hurt pride than about the fact that she might not love him.
Desdemona, unlike her husband, is not insecure, even when called a 'whore' she remains loyal to him and resolves to love him despite his misunderstanding of her; she is resolute and tenacious in the face of adversity. Her love for Othello is unwaning: My love doth so approve him That even his stubbornness, his checks, his frowns - Prithee unpin me - have grace and favour in them.
She bids Othello to do the sensible thing and ask Cassio how he obtained the handkerchief but this is too rational for Othello who has already ordered his murder. Even as Desdemona faces her death, she asks Emilia to commend her to her 'kind lord'.