Love Between Othello And Desdemona example essay topic

Among Aristotle's terms in depicting terms in his model of human characteristics is hamartia. Hamartia is when one's flaw or weakness is his or her error or transgression. In William Shakespeare's "Othello", Othello's hamartia is the misconception he has "of himself as being uncouth, poorly spoken, and old; and because he begins to believe that his fair wife, Desdemona, cannot love him, he starts to believe that she is guilty of infidelity". (classic note). Maurice Charney's "Shakespeare on Love and Lust" states that love in a comedy "acts as a generator of plot...

The assumption is that the perturbations of love are a prelude to the triumph of love in the end; they provide a kind of education in adversity" (29). The phrase "education in adversity" means that there will be obstacles designed to make lovers question just how much they love. In comedy, this education proves hopeful; it illustrates that lovers will overcome this adversity. There is no burden on the characters to fight their way through the obstacles of love because what Charney calls "plot magic" exists (29). Charney's idea of a cure-all 'plot magic' has been erased in the tragedy Othello, therefore making the characters condemned to endure their educations in love without the help of a plot. In tragedy the obstacles are designed to impede "perfect love", that remains unconquerable.

There is no longer the possibility for the characters to learn the same lessons of "triumph, wit, and devotion" that love in comedy teaches (30). These intractable obstacles in Othello are Othello and Desdemona themselves. The love between Othello and Desdemona proves to be destroyed because both of them stand in the way of a comedic and successful "education in adversity". Othello could quite well be jealous of Brabantio's relationship with his daughter, Desdemona. Quite possibly, to move up in the ranks of social mobility, Othello believed that Brabantio would love him one day and respect him, too as a son-in-law.

Othello's jealousy burns inside him because his pride is on the line when he doubts Desdemona's faithfulness to him. Othello was a former slave and had a hard time being loved unconditionally. He felt loved by those he fought battles for. Desdemona loving him unconditionally seemed too good to be true. When Brabantio, Desdemona's father, warns Othello that Desdemona may deceive him just as she has deceived her own father, any hope of Othello's long-term happiness is bruised. The seed of questioning Desdemona's fidelity is then planted into Othello's sub-conscious.

This seed is dormant until Iago wakes it up with water by deceiving Othello into believing that his wife and Cassio are in love with each other and are having an affair. This seed then grows exponentially until it becomes the size of a forest and Othello can only kill this "forest of infidel thoughts" by killing Desdemona. Why does Othello believe what Iago tells him about his wife? All of Iago's statements are designed to make Othello jealous: 'thou echoes t me / as if there was some monster in thy thought / too hideous to be shown". (3.3. 118-120).

Iago also craftily sets Othello's jealousy on fire when he craftily adds that Cassio is "honest". (3.3. 137). Iago's aloof and indifferent tone prompts Othello into believing that Cassio is lying. Iago then asks, 'who has that breast so pure / that some uncleanly apprehensions / keep lets and law days?" (3.3.

150). Specifically Iago addresses jealousy in reference to Othello, 'It is the green-eyed monster. ' (3.3. 180). "The 'green-eyed monster' becomes a symbol representing Othello's dark feelings spec tre lurking in his mind that begins to guide his behavior". (classic note). "The handkerchief, to Desdemona, symbolizes Othello's love, since it was his first gift to her. Othello thinks that the handkerchief, quite literally, is Desdemona's love; and when she has lost it, that must clearly mean that she does not love him any longer.

The handkerchief also becomes a symbol of Desdemona's alleged betrayal. Othello takes it as the 'ocular proof' that his love is a whore". (classic note in reference to 3.3. 375). Shakespeare explores more than just excessive, impetuous love in portraying the Moor. Othello has been prepared for his role as a jealous, murderous husband from the beginning of the play because his love for Desdemona is suspicious. Othello immediately discloses that the love he and Desdemona share derives from his stories of war, which are strong and heroic: "She loved me for the dangers I had passed / and I loved her that she did pity them". (1.3.

168-169). He explains to Iago, "But that I love the gentle Desdemona / I would not my unhoused free condition / put into circumscription and confine / for the sea's worth". (1.2. 25-28). Othello tells Iago that sea treasures could not make Othello surrender his love for war and nothing could make him surrender his love for Desdemona. This shows that the power Othello derives from war describes the powerful quality of his love. It seems doubtful that the love Othello has for violent "feats of broil and battle" can be used to describe his love for Desdemona who is "of spirit so still and quiet that her motion / blushed at herself", without compromising the safety of love (1.3.

131, 1.3. 96-97). In fact, when he returns from suppressing the Cyprus revolt, he calls out to Desdemona, "My fair warrior!" (2.1. 180). Although Desdemona has fallen in love with Othello by listening to his " history", stating that she is a "fair warrior" does not seem to be the next logical step in this context (1.3. 140).

In his life as a warrior, Othello has seen many beautiful sights, such as "andres vast and deserts idle / rough quarries, rocks and hills whose heads touch heaven", but he compares Desdemona, who has nothing to do with war, to war (1.3. 141-143). Othello does not think of his love for Desdemona in any other terms. Charney supports this, explaining that the love story Othello tells to woo Desdemona "does not speak of love at all... but grave and portentous". (99). Othello's reaction to Desdemona's alleged treachery confirms this suspicious nature of Othello's love.

Othello finds comfort in war, explaining to the senators that "The tyrant custom, most grave senators / hath made the flinty and steel couch of war / my thrice-driven bed of down". (1.3. 230-232). Confronted with an adverse situation, Othello hastens to eliminate it: "I do agni ze / a natural and prompt alacrity / I find in hardness, and do undertake / these present wars against the Otto mites". (1.3. 232-235). Very similar to this is Othello's decision to contrive a "swift means of death" for Cassio (3.3.

480). This comfort in war, this ease of quickly eliminating the source of misery ("tyrant custom"), forebodes tragedy because Othello and Desdemona's love also exists in this world of war. Because Desdemona is his "fair warrior", he loves her dearly; but Othello then plots to kill her, telling Iago how he will do so in the savage, warlike lines "O blood, blood, blood! ...

O, I'll tear her all to pieces!" (2.1. 180, 3.3. 47). Desdemona has almost become as threatening as the man-eating "Anthropophagi / and men whose heads / do grow beneath their shoulders", because he refers to her alleged treachery as "her revolt". (1.3. 145-146, 3.3. 191).

The humiliation of adultery presents another obstacle in his education on love. Iago puts forth the problem of fornication: That cuckold lives in bliss / who, certain of his fate, loves not his wronger / but O, what damned minutes tells he o'er / who dotes yet doubts, suspects yet fondly loves! (3.3. 180-183). Othello cries out "O misery!" in response to this (3.3. 173).

He continues to explain to Iago that one suspicion is not enough to make him seek revenge because "to be once in doubt / is once to be resolved". (3.3. 194-195). Othello does not believe in doubting love because he tells Iago that he should "exchange me for a goat / when I shall turn the business of my soul / to such and blown surmises / matching thy inference". (3.3. 194-197).

Othello believes his reasoning can overpower these rumors: "No, Iago / I'll see before I doubt; when I doubt, prove". (3.3. 203-204). Of course, Othello does not abide by this logic because he does not see Desdemona with Cassio before he starts doubting her fidelity. In fact, Iago's remarks that Desdemona "did deceive her father" by "marrying you" are enough to make Othello ask Iago, "Why did I marry?" (3.3.

258). Othello seems to disdain Iago's suspicions, saying that "No, not much moved / I do not think but Desdemona's honest". (3.3. 240-241). However, this gives way to troublesome thoughts about Desdemona's stained purity: "And yet how nature, erring from itself". (3.3. 244).

The thought of being cuckolded by his "gentle... of earnest heart", Desdemona is powerful enough to make Othello question his marriage and powerful enough to make his "education in adversity" next to impossible (1.2. 25-1.3. 153). Othello cannot suppress his rage and run off to marry the next woman he sees. He is condemned to suffer through his tough education because as ingrained as the military mentality is, even more ingrained is Othello's belief in Iago's honesty. He leaves Desdemona in the hands of Iago, saying "Honest Iago, my Desdemona must I leave to thee". (1.3.

295-296). When he hears of the brawl, Othello for the explanation turns immediately to Iago: "Honest Iago, that looks dead with grieving / speak : who began this? On thy love I charge thee". (2.3. 151-152).

Othello feels that Iago loves him and therefore has a duty to tell him the truth, a duty that obviously Iago no longer thinks is his to fulfill: "I do hate him as I do hell pains". (1.1. 156). Othello explains to Desdemona that Cassio has been killed because, "His mouth is stop'd / honest Iago hath 'take order for't". (5.2. 75-76). Othello trusts that Iago will carry out his orders because he is honest and has proved himself such throughout the military trials of Othello. In fact, he only trusts Iago more as the tragedy unfolds.

Shakespeare indicates this with the allegories Othello uses when addressing Iago's wife Emilia in the fifth act: "He, Woman / I say thy Husband. Dost understand the word / My Friend, thy Husband, honest, honest Iago". (5.2. 159-161). Othello's past prevents him from persevering this hardship; he has been conditioned to trust Iago because he has been honest before and conditioned to be quick in eliminating the cause of misery because it has worked before: "News, friends, our wars are done, the Turks are drowned!" (2.1.

198). Othello cannot use the "soft phrase of peace" because he can't "speak / more than pertains to feats of broil and battle". (1.3. 88-89). This incapacity combines with his fear of cuckoldry, the given controversy of his marriage to Desdemona and his belief in Iago's trustworthiness, creating more obstacles which impede a successful "education in adversity".

His life knows no rhetoric, no fancy turn-of-phrase and whether or not this is true is not certain; all that matters is that Othello truly believes it. Indeed, he does not claim that he will try to reason with Desdemona because he relies on forceful and "bloody thoughts" that "with violent pace / shall ne " er look back". (3.3. 473-474). Othello cannot seek help from anyone else but his closest friend Iago because publicizing cuckoldry -- especially after a controversial marriage -- would be disastrous: "A horned man's a monster, and a beast". (4.1. 60). He initially thinks that Desdemona has abandoned him because he is black, middle-aged, and lacking in social grace: "Haply, for I am black / and have not those soft parts of conversation / that chamber ers have, or for I am declined / into the vale of years". (3.3.

272-282). He soon abandons this thought when he realizes that action overpowers grief: "She's gone. I am abused, and my relief / must be to loathe her". (3.3. 282-284). According to Othello, as long as he resolves to act, he cannot go wrong. He is promised catharsis.

But as much as he resolves to act, he does not forget that he is a middle-aged black man. Disgusted by the possibility of Desdemona's disloyalty, he soon after exclaims, "My name, that was as fresh / as Dian's visage, is now begrimed and black / as my own face". (3.3. 402-404). This simile does not describe only Desdemona's sin but also explains how Othello does not consider his skin color a "fresh" attribute.

One hundred lines earlier, he suppressed his preoccupation with his skin color, but now he cannot help but use this preoccupation to fire up his "black" revenge that he summons from "hollow hell". (3.3. 450). He now thinks of his skin color as giving him power to enact revenge. Othello would not have a problem persevering his "education in adversity" if he did not believe so strongly in his racial inferiority, social ineptitude, fear of cuckoldry, Desdemona's purity and his warlike, belligerent tendencies. Desdemona's obstacle to enduring an education in the difficulties of love, like Othello's, is herself. Whereas Othello cannot help but run head-first into adversity, Desdemona cannot divorce herself from believing in heavenly perfection.

She feels that their controversial love is safe because the "heavens forbid / but that our loves and comforts should increase / even as our days do grow!" (2.1. 187-189). She continues to be dependent on heavenly powers in this way, shouting out "Heaven bless us!" when Othello screams at her (3.4. 83). She "seriously inclines" to hear the stories of Othello's violent conquests but certainly most likely does not expect that she will become the subject of one of these stories. In fact, violence and vulgarity are so unknown to Desdemona that she considers herself "an unhandsome warrior" and a "child to chiding". (3.4.

152, 4.2. 116). Desdemona blindly thinks that men who are warriors are better, more virtuous men: "That, they say, the wars must make example / out of her best". (3.3. 71-72).

Othello tragically associates love with war, Desdemona war with virtue. Shakespeare includes a comical scene between Iago and Desdemona to show where her true concerns lies. Desdemona worries about how beautiful and praiseworthy she is, asking Iago, "Come, how wouldst thou praise me?" (2.1. 126). Iago attacks the female sex and Desdemona responds "O, fie upon thee, slanderer!" (2.1. 115).

This is quite antiquated because Iago's slander causes her death. Iago proceeds to describe a seemingly perfect woman, but then adds that she is "good for nothing", baffling Desdemona: "O most lame and impotent conclusion!" (2.1. 159). Although she distinguishes Iago's jokes against her gender, she does not recognize Iago's real slander against Othello. Only Emilia realizes that "The Moor's abused by some most villainous knave". (4.2. 146).

Desdemona is not sagacious enough to see what Iago truly contrives. Not only is Desdemona somewhat blinded to the truth, she values her love for Othello over her own life, telling Emilia that, "his unkindness may defeat my life / but never taint my love". (4.2. 167-168). Emilia, when she finds out that Othello has slapped Desdemona, does not tarry in yelling, "A halter pardon him, and hell gnaw his bones!" (4.2. 143).

Desdemona simply cannot express this kind of anger, and like her husband, she seeks counsel in Iago, asking, "Alas, Iago / what shall I do to win my lord again / Good friend, go to him; for, by this light of heaven / I know not how I lost him". (4.2. 154-158). She accepts Iago's word that Othello is mad because, "the business of the state does him offense", and then exits with Emilia (4.2. 173). This acceptance echoes her earlier comment that warriors are virtuous. She abandons all doubts when she simply remembers that her husband is a warrior and that she is his "fair warrior".

Desdemona has idealized the value of sharing, asking Othello why he despises Cassio who has "founded his good fortunes on your love, shared dangers with you". (3.4. 90-91). She tells the senators that she cannot leave Othello's side because if this happens then, "the rites for why I love him are bereft me". (1.3. 258). Just as Othello is condemned to be the warrior, Desdemona is condemned to be the passive listener, fated to be in wonder at her husband and to be the "hero-worshipping recipient of Othello's exotic life story". (99).

Desdemona cannot survive her "education in adversity" because it is truly too overwhelming for such a woman who has in effect become lifeless: "My heart's subdued / even to the very quality of my lord". (1.3. 251-252). In fact, Desdemona has no story of her own, and Othello's story takes her wherever it takes him. Neither Othello nor Desdemona can simply discard something that they do not know exists.

It is a subjective part of their characters. Nowhere in the play, not even in the monologue before he kills himself, does Othello acknowledge his extreme, tragic dependence on associating love with war. He misses the point, only saying that "Then you must speak / of one that loved not wisely / but too well". (5.2. 353-354). Desdemona dies, covering her husband's guilt (5.2. 127-128).

Neither Othello nor Desdemona learn what made their love vulnerable to Iago's manipulations. Perhaps if Othello had realized the dubious, warlike nature of his love, realized that unconditional love existed for him by Desdemona, that other people could be jealous of his happiness and triumphs such as the love he and Desdemona found, then tragedy would be non-existent. Had Othello not been "insecure about his personal qualities and his marriage that would have not weakened his resolve to doubt Desdemona. Othello uses his black skin as a symbol for how poorly spoken and unattractive he thinks he is. All of his claims are very much beside the point; his words are actually more complex and beautiful than those spoken by any other character in the play. Othello doubts that Desdemona could love him, because of his misconception of himself as being uncouth, poorly spoken, and old; and because he begins to believe that Desdemona cannot love him, he starts to believe her guilt of infidelity.

The leap is great, but it is all a product of Othello's own insecurities and his incorrect conception of himself. How Othello sees himself directly influences how he views why Desdemona would remain unfaithful to him". (classic note). This misconception of himself is his tragic flaw. This tragic flaw of his produces vines of jealousy, doubt, and revenge. Ironically, he displaces these vines onto the innocent, like Desdemona, instead of the malicious characters, such as Iago.

However, the handicap of being able to recognize his tragic flaw is what makes him fall short of overcoming the obstacles of love.

Bibliography

Charney, Maurice. "Shakespeare on Love and Lust". New York: Columbia University Press, 2001.
web William. "Othello". Literature: An Introduction to Fiction, Poetry, and Drama. 4th Edition. Eds. Kennedy, X.S. and Dana Gioia. New York. Pearson, Longman, 2005.
WORKS CONSULTED Class Handout. "Aristotle's Concept of Tragedy". October 20, 2004.