The drama Othello by William Shakespeare is an engrossing tale of love and hate through which the celebrated playwright explores a myriad of social and ethical themes, ranging from ardour and deception to jealousy and racism. The play revolves around the character transformation of the main protagonist, Othello, whose love for Desdemona is contorted by the jealous conspiracy of the callous ensign, Iago. The character transformation is radical and compelling, and this essay shall evaluate the credibility and nature of this change, with close reference to the text itself.
The setting in the drama plays an integral role in defining the change in character of the main protagonist, Othello. The drama is set against a backdrop of political turmoil and this acts as the perfect foil for the domestic turbulence and conflict between the public and private lives of Othello, which ultimately lead to his demise. The initial setting of Venice is one of order and harmony, free of confusion and conflict, and it is in this setting where Othello is regarded with valour and humour. He is a 'war veteran' who is respected by the state. The presence of the 'senate' reinforces the idea of regimentation and authority. The initial setting of Venice then, is one of order and harmony and is a place where Othello is respected and esteemed. This setting of harmony and order is then contrasted with the chaos of the Cypriot setting where the violence and madness encompasses the protagonist who is swept away by a wave of corruption. The setting of Cyprus thus acts as the perfect backdrop for the turbulence and violence of Othello. At the height of this chaos, Othello murders Desdemona, an abominable act, but one which is consistent with the violence and madness of the Cypriot setting. After the murder of Desdemona, however, the character of Othello, ravaged by remorse and regret, transforms again. With this change of character comes a further transition of setting.
After Othello murders Desdemona his remorse is apparent: 'Roast me in sulphur….O Desdemona'. The pitiable character regains the respect of the audience, and as he slowly regains his honour, the 'Senate' appear. With the presentation of the 'Senate' comes an air of justice as Othello is exonerated and instead Iago is blamed for the tragedy. With the 'Senate' it is almost a return to the initial Venetian setting with the exonerated Othello the one who has regained dignity and valour. Through setting, the dramatist signals the changes which occur in Othello's character and make it consistent with these setting transformations.
The characterisation is obviously significant depicting the change and credibility of the transformation in Othello's character. Othello, like most Shakespearean heroes, is not introduced in the opening scene. Instead the characters of Iago and Roderigo discuss Othello. However, Othello is never mentioned by name, rather only by derogatory terms such as 'he', 'him' or 'the Moor' and this accentuates the theme of Othello's 'otherness'. Iago also uses bestial imagery such as 'black ram', 'Barbary horse' and '….' In reference to Othello and this establishes the theme of racism. These initial impressions are contrasted with the actual character presented in the following scene where Othello is seen as pragmatic: 'My services that I have done'.
The initial impressions of the actual character are of a modest, reputable leader as seen in his staunch defence of Desdemona, a noble and committed lover. Othello then is initially an intrepid and diffident leader whose love for Desdemona is marred only by the racial tendencies of those around him.
The blissfully pure love is disrupted by Iago, a cynical malcontent with Machiavellian tendencies, who delights in bringing disorder to harmony. Iago plants doubt about the promiscuity of Desdemona so as to arouse Othello's suspicions: 'That he should speak away so guilty-like' Othello is overcome with jealousy and slowly spirals into madness. At the height of his persuasive powers, Iago is in total control, masterfully manipulating Othello's emotions: 'Work my medicine, work, work.' Totally duped by Iago's manipulative web of lies, Othello commits himself to murder.
At the height of his madness, Othello's actions are rash and illogical and his about face with the initial rational character is intriguing. Othello's descent into lunacy is seen through his inability to separate private feelings and public duties. His public assault on Desdemona is an abominable act and his sense of 'otherness' surfaces when this assault leads Roderigo to comment: 'My Lord this would not be believ'd in Venice'
In murder, Othello is portrayed as cold and heartless, however the judicial imagery used by the character makes it clear to the audience that Othello feels he is doing right. The omniscient audience know otherwise, and begin to pity the deluded wretch before them. Having realised his wrongdoing, Othello is overcome with regret and the audience pity the pathetic character. The audience begins instead to apportion blame to Iago, the real catalyst for the tragedy and in this way Othello is exonerated. In conclusion Othello ultimately obtains the status of tragic hero in his exoneration and valiant military suicide:
'Killing myself, to die upon a kiss.' The characterisation of Othello is thus compelling and ultimately leaves the reader mourning the loss of the man whose only flaw was his unrivalled faith in 'honest' Iago.
In conclusion, the drama Othello is a play through which the celebrated playwright, William Shakespeare, seeks to explore a myriad of ethical themes through the credible and consistent transformation in the character of the main protagonist. Through the deterioration and degeneration of Othello's character, the dramatist communicates to his audience the depravities and flaws of corruption. This transition in character is consistent and credible and is thus intriguing and totally compelling.