William Shakespeare’s tragedy Othello manifests a lot of activity motivated by a variety of passions, some good and others not so. Let’s analyze what many critics consider to be the dominant passion on the part of the protagonist’s most significant actions.
A. C. Bradley, in his book of literary criticism, Shakespearean Tragedy, describes the dominant motivating passion in Othello:
In the second place, there is no subject more exciting than sexual jealousy rising to the pitch of passion; and there can hardly be any spectacle at once so engrossing and so painful as that of a great nature suffering the torment of this passion, and driven by it to a crime which is also a hideous blunder. [. . .] But jealousy, and especially sexual jealousy, brings with it a sense of shame and humiliation. For this reason it is generally hidden; if we perceive it we ourselves are ashamed and turn our eyes away; and when it is not hidden it commonly stirs contempt as well as pity. Nor is this all. Such jealousy as Othello’s converts human nature into chaos, and liberates the beast in man; and it does this in relation to one of the most intense and also the most ideal of human feelings. (169)
H. S. Wilson in his book of literary criticism, On the Design of Shakespearean Tragedy, discusses the place of jealousy in the play:
Under the deft ministrations of Iago, we witness a remarkable transformation in him. The man of judgment, the commander “whom passion could not shake,” becomes a credulous fool, transported with jealous fury, so infatuated that while he demands evidence of Desdemona’s guilt he never sees anything save through Iago’s suggestion, so beguiled that he…
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…gic Heroes. New York: Barnes and Noble, Inc., 1970.
Ferguson, Francis. “Two Worldviews Echo Each Other.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare: The Pattern in His Carpet. N.p.: n.p., 1970.
Gardner, Helen. “Othello: A Tragedy of Beauty and Fortune.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from “The Noble Moor.” British Academy Lectures, no. 9, 1955.
Jorgensen, Paul A. William Shakespeare: The Tragedies. Boston: Twayne Publishers, 1985.
Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos.
Wilson, H. S. On the Design of Shakespearean Tragedy. Canada: University of Toronto Press, 1957.
Othello: the Moral and the Immoral
Othello: the Moral and the Immoral
William Shakespeare’s tragic play Othello presents a full range of both moral and immoral activities through Iago, Desdemona, Othello, Bianca, Cassio, etc.
The moral and immoral dimension of Othello, especially the latter, is enhanced simply by its location in Italy. Louis B. Wright and Virginia A. LaMar in “The Engaging Qualities of Othello” comment on how the exotic setting of this play satisfied the Elizabethan dramatist’s dream of portraying evil:
Elizabethan dramatists were fond of portraying characters of consummate evil, and if they could lay the scenes in Italy, all the better, because the literature and legend of the day were filled with stories of the wickedness of Italy. [. . .] Venice especially had a glamor and an interest beyond the normal. Every returning traveler had a tall tale to tell about the beauty and complaisance of Venetian women, the passion, jealousy, and quick anger of Venetian men, and the bloody deeds of Venetian bravoes. (127)
Even the remarkably good wife of the Moor is not without her weak moments, so that even she cannot be considered “perfect”. Angela Pitt in “Women in Shakespeare’s Tragedies” comments on Desdemona’s faults:
Once married, she continues to commit slight offences against the correct code of conduct for the ideal wife. She is no sooner married than she leaves hearth and home (the traditional limits of the woman’s realm) to be with Othello. She sees Cassio without her husband’s permission and is far too concerned with Cassio’s request. Her plan of how she will discuss the matter with Othello at every moment so that even ‘his bed shall seem a school’, shows far too much self-possession and strong …
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…es, Blanche. Shakespeare’s Four Giants. Rindge, New Hampshire: Richard Smith Publisher, 1957.
Jorgensen, Paul A. William Shakespeare: The Tragedies. Boston: Twayne Publishers, 1985.
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos.
Wright, Louis B. and Virginia A. LaMar. “The Engaging Qualities of Othello.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Introduction to The Tragedy of Othello, the Moor of Venice by William Shakespeare. N. p.: Simon and Schuster, Inc., 1957.