Othello and the Light

Tue, 02 Jun 2009 12:05:24 EST

The light and dark motifs reign strong through this examination of the Outsider inthe Venice of Shakespeare. All characters in the play are well aware of the outsider aspect of Othello. Rodorigo calls him “an extravagant andwheeling stranger/Of here and everywhere.”

The Outsider comes to Venice, protects Cyprus, and brings the communitytogether, only to fall victim of sorts to the wielding and conniving ofIago. Shakespeare specifically statedthat Othello is indeed a Moor, and exploring the racial attitudes and thoughtsof Elizabethan England requires one analyze the essence of the Moor. Othello,the outsider must be placed next to Iago, the Venetian, the insider. The Shakespearean dichotomy epitomizes thereason for the classical tragic nature of the play, because it further bolstersthe light and dark dichotomy.

Modern rationalization about race delineatestwenty-first century bias, prejudice and misunderstanding. This paper shall delineatethe idea of race and the 21^st century construct from the constructthat an Elizabethan audience would have had with the idea of race. In this society, intellectuals deconstructthe idea of race and promulgate the idea of race as a social construct. In other words, race does not contain thebiological trappings that have provided solace to the racist constructionist ofa United States in which slavery dominated.

Elizabethanshave only a sense of the foreign. Obviously,they did not have the sensibility of American slavery, which is the prismthrough which Americans typically view race. “Elizabethans also had a powerful sense of the economic threat posed bythe foreign groups they had daily contact with-Flemings or Frenchmen- but theyhad little or no continuous contact with “Moors” and had no sense of economicthreat from them.” See. G.K. Hunter, “Elizabethans and Foreigners’” ShakespeareSurvey xvii (Shakespeare in His Own Age) (1964 37-52). Further, the Elizabethans appreciated thesense of light and dark juxtaposition.

The Elizabethans saw things in “Black and White,” as much of Westernsociety does. In the historical context, Shakespeare wrote Othello between 1602and 1603, and then published the work in 1622. In 1622, in England, African immigrants and indentured servants workedand lived in England. Some Africanimmigrants owned property. However theAfrican slave trade between the African Continent and the West Indies waspervasive. .” SeeMarjorie Garber, Shakespeare After All; page 589 Published by RandomHouse 2004.

Historically, then theElizabethans would be very well aware of Othello being a Moor, beingAfrican. The Elizabethans then wouldstart the embrace of the racism which allowed for the African Slave Trade. In that context, Shakespeare presents astrong, powerful, authoritative Othello juxtaposed with an impotent Iago.

Thispaper shall investigate this aspect more, as we delve into issues of light anddark as constructed within the text of Othello itself. Therefore, the point is that Shakespearecreated Othello as a Moor, because the Moor as the Tragic Hero could also havemetaphors surrounding him of light and dark. The outsider, the Moor defends the West, through his defense at Cyprus.

Forfull depth and explanation, one must investigate the identity of the Moor. TheMoors, Black Africans dominating North Africa, ruled parts of Europe. Predominantly, the Moors ventured to Europefrom Mauritania. The Moors brought Europe out of the Dark Ages. In August, 711 A.D., a Black Moorish Army with 7,000 troops, whichincluded 300 Arabs and 6, 700 native Sudanese. Sudanese translates as the Arabic Word forBlack People . From 711-1492 A.D. Black Moors dominated and ruled much of Spain,Southern France, and much of Scotland. In the case of Othello, one needs to juxtapose the pre-OthelloElizabethan models against the Othello,Moor that Shakespeare presents. Forexample, in Titus and Andronicus, the character Aaron, also a Moor , represents an adverse strong sexualnature . “Shakespeare has the doubtfuldistinction of making explicit here (perhaps for the first time in Englishliterature) the projection of black wickedness in terms of negrosexuality.

The relationship betweenTamora and Aaron is meant, clearly enough, to shock our normal sensibilitiesand their black baby is present as an emblem of disorder.” G.K. Hunter, pg. 254 Othello and ColourPrejudice .The character of Eleazer in Lust’s Dominion written in 1600 is likethe character of Aaron. Lust’s Dominion takes place in Spain, which gives thehistorical context. The Spanish viewedthe Moors as the conquering demons, and through that prism the character inLust’s Dominion acts as a strong Metaphor for the devil incarnate.

Othello’scharacter stands in strong confrontation and direction against these previousstereotypical view of the Moor in European discussion. Shakespeare does notonly refuse to introduce Othello as the devilish Moor, but introduces Othelloas arguably the Leader of Christendom. Othello is a Christian. Othello is to defend Cyprus against the Turksthe “General enemy Ottoman” Act I,Scene iii, Line 49. Hence, Shakespearecreated the character Othello as Moor not to suggest villainy or a devilment.

In fact, Iago, as the villain, and Othello asthe tragic hero are characters and metaphors in Black and White, because theyrepresent the opposite of what might be stereotyped with either character. As an Italian, Iago should be in charge. Already much of the Iago motivation forvillainy is clothed in the issue that he does not have the rank of Lieutenantand Cassio has received that for which Iago believes is his. Iago’scharacter heightens the issues of light and dark which permeate the tragedy. “Fair Iago” uses the verbiage and the textureand the tone of darkness. As G.K. Hunter has put it, “ Othello may be thedevil in appearance, but it is the ‘fair’ Iago who gives birth to the darkrealities of sin and death in the play.” G.K. Hunter, pg. 255. Iago brings the language of darkness. Iago isthe first in the play to mention, “ It is engendeer’d. Hell and night/ Mustbring this monstrous birth to the world’s light. Act I Scene ii, lines 402-405.

Othello stands as a pillar. Othellocharacterizes action. Iago is theappearance of action. Iago is isolated,envious, enigmatic, and self-centered. Iago embraces the “darker”characteristics of the human psyche. Othello stands as a man concerned with his duties, practicing hisresponsibilities, centered in his code of honor, pious, and loving to his wife,despite the jealous plot Iago weaved. Othellostands as the consummate outsider, but the outsider that strengthens Italy, andspecifically Venice. One example of theway in which Othello’s authority is revered is in Act I Scene ii, when Iago foments a fight with Brabantio, Rodrigo, andother officers. Othello stops thebeginning of pure street chaos and brawling with the drawing of his sword and a few short words, “Keep up your brightswords, for the dew will rust them. Good signor, you shall more command withyears than with your weapons.” Act I, Scene ii, Lines 59-62. This is an immense sense of his own dignity, and his knowledge that he isto be held in command, and to be held in respect.

Shakespearethematically juxtaposes the light and dark metaphors through several scenes whichdemonstrate that Iago works in the darkness. For example, Iago speaks through the darknesswhen speaking with Brabantio in Act I. Brabantio declares during the exchange that he is succumbed to the pointwhere he is in a nightmare. Brabantiodemands light. “ This accident is not unlike my dream… Light, I say Light “ActI, Scene I, Lines 144-146. Bianca’sname, the female version of Iago in a sense, also heightens this use of lightand dark. Bianca means white, but inthis play Bianca represents the opposite of the light and brings many itemsinto the darkness . Then finally one canexamine the light and dark juxtaposition with the fine line of time. “Here thenis the key dramatic point, one typically Shakespearean at the same timeestablishing and critiquing a stereotype: Othello looks black, but it is Iagowho become the pole of moral negativity (conventionally, blackness) in theplay.” See Marjorie Garber, Shakespeare After All, page 592 Published by Random House 2004.

Thelight and dark dichotomies strengthen as the play reaches into Act Five. Dramatically, in Act III, Scene iii, thecharacters reveal that White and Black equal one another. False and Truth hold hands together asone. Light and Dark embrace as one. In this scene, Iago and Othello kneel “Now by yond marble heaven, In the Due reverence of a scared vow/ I hereengage my words.” Act III, Scene iii, Lines 476-479. In this scene Iago and Othello create theparody of marriage, in which Iago displaces Desdemona, as the bride, anddisplaces Cassio as lieutenant. Othellogrants Iago that which Iago wants. Iago,through the evidence of the white handkerchief, convinced Othello of thefaithlessness of Desdemonna . With thisparody of marriage comes the exchange that creates the melding of Light andDark, Black and White, and creates thecharacter analysis of the Outsider seeking for the acceptance of the Insider.

Othello

Damnher, lewd minx! Oh, damn her, damn her!

Comego, with me apart, I will withdraw

Tofurnish me with some swift means of death

Forthe fair devil. Now art thou mylieutenant.

Iago

Iam your own forever. (Act III, Scene iii, Lines 491-495).

Thisexchange is central and leads into the classical tragedy that is Othello’scharacter, the ghastly murder of Desdemona. As the Shakespeare guides the reader into the end of Act Four, hehighlights the light and dark dichotomy when Emilia and Desdemona have theirlast conversation. In a sense Emilia ispreparing Desdemona for death. Emiliaprepares the death dressing, and the burial, because Emilia and Desdemonaunderstand at this point that Othello is moving towards the murder ofDesdemona. When Emilia asks would Desdemona“abuse” her husband.

Emilia

Why,would not you?

Desdemona

No,by this heavenly light!

Emilia

NorI neither by this heavenly light;

Imight do’t as well I’th dark.” Act IV, Scene iii, Lines 65-70.

Othello,the Moor, the Outsider, the military might who defends the Venetian lifestyle declares one of the strongest metaphors oflight used as dark, when he discusses the murder he feels that he mustcommit. “Put out the light, and then putout the light. If I quench thee, thouflaming minister, I can again thy former light restore, Should I repent me; butonce put out thy light,/Thy cunning’st pattern of excelling nature, I know notwhere is that Promethean heat/That can thy light relume.” Act V, Scene ii,Lines 7-14. Othello is putting out thelight of the candle, as well as putting out the light of Desdemona. Darkness pervades as the light isburied. However, this does not denote acollapse of civilization, into the darkness that was stereotyped with theMoors. Iago did not succeed in makingOthello a passionate savage. Instead,Othello’s intent allows from some defense of his actions. “For nought I did in hate, but all in honor.”Act V, Scene ii, Line 300.

Finally,and tragically, the Outsider, the Moor who has protected Venice, finally findsthat he is the enemy of Venice, and that he must die. In essence, this answers the importance ofOthello as the Outside, because he is outside of Venice, and in the end, hesees himself as the enemy to Venice that he must destroy. Professor Harold Bloom in Shakespeare: TheInvention of the Human, Riverhead Books, New York, 1998 states the importanceof noting the suicide. “Nor should afair critic fail to be impressed by Othello’s verdict upon himself: that he hasbecome an enemy of Venice, and as such must be slain. His suicide has nothing Roman in it: Othellopasses sentence upon himself, and performs the execution.” Id. at 474,475. Othello’s suicide was outside theconfines of the Italian community in which he found himself. Professor Bloom points out that the Romanjudgment upon him would not have ended in death, because of Othello’s intent,as well as the more pragmatic notion that the country would still needOthello’s military power. However, inthe end, Othello culminated the dichotomy that existed between his world, andthe world in which he found himself through this final act, and through thisdisplayed the metaphors that produce the powerful tragedy of Othello.

Shakespeare, William."Othello." The Necessary Shakespeare Third Edition. Ed. DavidBevington. New York: Pearson Education, 2009. Print.

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Othello and the Light