Othello by William Shakespeare

                           Othello

The play “Othello”, by William Shakespeare and film adaption by Oliver parker explores the idea of how an individual’s sense of identity affects their actions and how this can be manipulated to create conflict. Shakespeare uses techniques such as soliloquies, dramatic irony, imagery, foreshadowing, and symbolism to show us how tragedy occurs from counteracting to patriarchal rules and stereotypes.

Identity is a very key, important thematic issue in William Shakespeare's tragic play, “Othello”.  Identity, or what may be better explained as a character's public perception, is highly valued in the Elizabethan Age in which Othello is set. There is a varying range between the characters in the extent that how they are perceived in public is not how they behave in private or how they really are, thus creating more than one identity per character. A character's identity is the overall essence of that character, however, in plays such as Shakespeare's there must always be an element of tragic flaw to the play thus creating conflict. The definition for conflict is “a state of open, often prolonged fighting; a battle or war. Opposition between characters or forces in a work of drama or fiction, especially opposition that motivates or shapes the action of the plot.” There are many ways in which this definition is represented in ‘Othello’. The main conflicts in ‘Othello’ are between friends and foes, Othello’s inner conflict, and cultural and racial differences, which lead to racial judgment and discrimination. These conflicts are brought on by the time and place where this play is set. The stimulus for all the conflicts in the play is Iago’s consuming desire for revenge against Othello, and his burning hatred for Cassio.  Identity has been represented throughout the play through the use of Othello’s background, skin colour and status in the society. These can be seen in Act 4:2 and 5:2.

In act 4:2, Desdemona’s worry that the man she loves is losing is sanity and will leave her recalls the song “willow. To Desdemona, the song seems to represent a melancholy and resigned acceptance of her alienation from Othello’s affections. There is a very strong parallel between Barbary and Desdemona, like Barbary, Desdemona is in love, and her beloved, though not "mad," is insanely jealous and has emotionally forsaken Desdemona. The song’s lyrics suggest that both men and women are unfaithful to one another and singing it leads her to question Emilia about the nature and practice of infidelity. The importance of the song therefore lies in the way that it allows Desdemona to express her own concerns and worries about her situation with Othello. In Oliver parker’s film, Othello’s standing on the beach with a black grey backgrounds emphasis the fact that he is about to commit a sin and that is represented by using stark juxtaposition of the calm, comfortable interlude that Emilia and Desdemona are placed in. Desdemona suffers from the false accusation that she commits the sin of adultery and therefore that she deviates from patriarchy. Desdemona assimilates Othello's Moorish identity" when "she takes Barbary's part" (because Barbary is the name of the region in the North Africa) (233). That by assimilating Othello's identity Desdemona assimilates man represented by Othello who torments her. Presumably, Barbary died of a broken heart while singing the "willow" song; Desdemona will die at the hands of her love, Othello. In the film, several close up shots of Emilia and Desdemona are taken to show us their expressions, which dictate the feelings of the Emilia’s strong, and Desdemona’s weak, fragile character. The non-diegetic sound combined with Desdemona singing the “Willow” further amplifies the drama as it’s unfolding. The song “Willow” foreshadows how Desdemona almost knows her death is coming, and how utterly and devastatingly lost she has become. It's almost as if she was gone before she was killed.

In act 5.2, the Patriarchy is confronted by Emilia’s bold statement that confines women: I will not, this straightforwardness in her words utter her rebelliousness against the patriarchal authority. Words are used by Shakespeare to convey the patriarchal value and to reduce women. Iago attempts to use his power to silence Emilia and calls her a whore. Emilia stands up for women; Desdemona and herself throwing away any thoughts about her low standard and not letting anyone eradicate or diminish her voice. In Oliver parker’s film adaption, before confronting the patriarchy, Emilia gazes at Othello and Desdemona’s lifeless body and Othello’s vulnerability is further revealed by Emilia’s anger and disgust for him. Othello’s power has been withered away and Emilia utilises the chance to speak up overpowering what was once a powerful general. “Tis proper I obey him, but not now", by saying this dialogue, Emilia rejects the Infantilised identity being imposed on her. Emilia who is determined to erase the stereotypical of women is then threatened by Iago who draws his sword (a symbol of patriarchy) out on her. In the film, the last scene when Othello is just about to kill his wife Desdemona for a crime she did not commit blows all the candles out so that the room goes from light to dark. This binary opposite is a symbolism of what is about to happen. Also it symbolizes Othello’s understanding that his wife is no longer pure and good, because she has sinned, and it is his duty to punish her for it. It is used to convey the way Othello believed his wife to be. “Put out the light, and then put out the light”. Othello does this because he wishes Desdemona’s face to be as dark as the black soul he believes it hides. The light is used to silence the power of women.