Human Flaws in Othello Essay

It has been suggested that a key aspect of Othellos enduring relevance to audiences is the plays examination of human flaws. Discuss.

William Shakespeares Othello continues to transcend time owing to the fact of the plays ability to embrace fundamental emotional intricacies. The realistic characterisation of Othello and discernible presentation of several universal themes, allows the play to explicate the flaws of passion and evil that remain relevant to even the contemporary audiences of todays society. Shakespeare emphasises Othellos hamartia of irrepressible passion and critically examines the element of evil pertaining to human nature, constantly intriguing us to what is known as the human condition. Throughout the play, we are able to relate to how actions, motivated by a degree of passion, affect the interaction and respective sentiments of characters in Othello while intrinsically developing an understanding of the element of evil in the human soul.

It is the conception of the consuming and destructive power of passion that marks the culmination of Othello. Shakespeare places Othello in conditions such that his condemnation stems from a gradual divulging of his passion within, which essentially forms the mainspring of the play and thus embodies the fatal flaw of the Elizabethan tragic hero, Othello. From the onset, we are exposed to a man who, although is an invaluable member and integral part of the Venetian army, is indecisive and insecure of his position in Venetian society. Shakespeare frequently reminds us that as a black man who enters the white world, Othello is aware of his outsider status and defensive about his difference from other Venetians as a result. Hence, it is this vulnerable nature of his and susceptibility to self-doubt that is imperceptibly exploited by Iago. As Iago plays on Othellos status as an outsider, Othello begins to fulfill the negative racial stereotypes that are laid out for him. In other words, the Moors barbaric nature surfaces and warrior instincts take over as Iago makes his case. Othellos previous eloquence is also lost as he submits to a contemptible tone of language. Her name that was as fresh/As Dians visage, is now begrimed and black/As mine own face. (Act3.Sc3 L.387-9) Othellos use of racist discourse internalises prejudice and innately represents the product of the passion that has overpowered and blinded him of all reckoning. Consequently, Othello has shifted temperament and now become the aggressor, which is predominantly a role involving an overwhelming force of intense passion that Othello is unable to control due to an absence of reasoning and that finally leads him towards his own demise. It is this flaw of irrepressible passion that Shakespeare attempts to convey through the portrayal of Othello and that remains timeless in its connotation. Though we may feel passionate in some role or another at times, it is this very sentiment that overrides our judgment and ultimately suppresses us to an extent.

The most damaging evidence that Othellos passion has eclipsed him comes in Act 4 Scene 1, where [He] falls in a trance just before Cassio enters. Othellos trance is an epileptic seizure and, though he is clearly traumatised, he is aware of his state of mind. The convulsion basically acts as a consequence of his irrepressible passion, which simply becomes too much for him. The moment of emotional instability emanates from Othellos undermining of his sense of honourable action by the passion he feels towards Desdemonas supposed infidelity. Thus, in this scene, we are able to conclude that Othellos insecure nature, leading him to be easily persuaded to believe in Desdemonas betrayal without question, induces a devastating yet compelling passion that undoes him in the emotional and physical aspects and forces him to act on Desdemonas transgression. We, as responders, observe this disintegration of Othellos mind and are made aware of the corollary of such a flaw, as a result.

While Othello can be perceived to be the epitome of good, it is Iago who personifies the element of evil as a complex villain. Shakespeare highlights this idea by juxtaposing the respective images of Iago and Othello during the course of the play. Iago is a 1white man who is black of heart, whereas Othello is a 1black man who is white of heart. In effect, Shakespeare uses the imagery of black and white to not only enable a contrast between Iago and Othello, but stress the magnitude of Iagos evilness. Iagos ability to distort reality without guilt or convincing motivation does not end at his evilness however, but extends to his amorality as well, which only increases his capacity for evil and makes his actions all the more threatening. Subsequently, Iagos language mirrors this amoral disposition that inhabits his Machiavellian character.

1No racism intended

Divinity of hell!/...Ill pour this pestilence into his ear:/I turn her virtue into pitch,/make the net/That shall enmesh them all. (Act2.Sc3 L. 317-29) Iagos soliloquy encapsulates his baser motives for evil and prompts a dramatic irony that forms an almost complicit connection between the audience and him. In other words, we see the play through Iagos eyes and essentially form an unholy alliance with him as we do so. Iagos explicit competence to manipulate and control is further heightened by the irony and repetition of honest Iago, indicating the large potential for evil Iago possesses as he remains concealed and two-faced. Shakespeares depiction of the element of evil, reminiscent in Iago, continues to fascinate existing audiences as Iago would now be considered a sociopath. Hence, the examination of the evil flaw edifies the responder of, not only the element of evil, but the capacity of evil in relation.

The end of Act 3 Scene 3 exemplifies the height of Iagos evil and serves as the climax of Othello. Othello engages Iago in a perverse marriage ceremony in which they both kneel and swear to take vengeance on Desdemona and Cassio. It is Iagos final words however, that epitomises his evil complexion and becomes a testament to his duplicity, as he chillingly mocks the language of love and marriage, I am your own for ever. (Act3.Sc4 L.480) The scene confirms the fact that it is Iagos lack of conscience and explicit semantics that are symptomatic of his diabolical prowess. Shakespeare renders Iagos act of kneeling and sworn allegiance inherent of his amorality, and a symbol of the element of evil he succumbs to. Thus we, as responders, are allowed to appreciate the scale of evil and understand the adverse extent humans can attain in order to satisfy no one but themselves.

In conclusion, William Shakespeares Othello gains immortality through its effective amalgamation of eternal human verities. Othellos universal themes that were evident in Shakespearean time, are evident now, and will undoubtedly be evident in the future. The play, as a result, relies on universal themes to explore the issue of passion as a fault and examine the element of evil in its relative capacity. The ensuing catharsis of Othello originates from the examination of such flaws and surpasses, not only its contextual era, but relates to even the audiences of today.