Marxist analysis of Othello PDF

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Marxist analysis of Othello...

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William Shakespeare’s Othello explores the themes of jealousy, power, and prejudice while exemplifying the weakness of human judgement. In this essay, I will discuss the play through the theoretical perspective of Marxism, which allows us to understand and decipher the workings of an elitist society and its negative implications. Though the given statement is undeniably accurate to an extent, to define Othello as the demonstration of a single theme misinterprets and ignores the complexities of a 16th-century society riddled with classism, religious and racial conflict. It is evident when reading Othello that the characters and events of the play have been blatantly influenced by the milieu of 16th century Venetian society, and the hierarchical and classist qualities embedded in that society. Othello is fueled by jealousy, and the way it drives the characters to commit immoral deeds throughout the play makes it the true, overarching cause of the inevitably unfortunate end the key characters meet. The plot stems from the introduction of Iago and his vendetta against Othello. The thematic concern of jealousy and revenge between Othello and Iago is the core of the play. Iago acts as the arch manipulator of the play, stimulated by the jealousy he feels that “preferment goes by letter and affection” (1.1.36), referring to Othello’s decision to promote Michael Cassio over Iago. Iago maintains this vendetta from the first act all the way through to the fifth and final act. However, Othello is oblivious to this, acting as the play’s main example of a failed sense of judgement. Othello also acts as a spearhead for the theme of jealousy in the play, it being his hamartia and enabling him to be tricked and eventually create his own destruction. The jealousy presented within Othello offers substantially to a Marxist perspective of the text, in that the entire downfall of the play, caused by Iago, was driven by his desire to raise his rank in society, meaning the tempest of jealousy and death that is realized throughout the play was rooted in man's struggle for economic power (Balberry Publishing 2021). As Iago progresses through his plan, planting the seed of jealousy into Othello’s ear, as planned with Roderigo; “I’ll pour the pestilence into his ear: That she repeals him for her body’s lust” (2.3.323-325), he sparks the fear of losing the reputation and social status that can be so easily threatened by the prospect of being cuckolded. Iago knew through this Othello’s judgement would be clouded by his own jealousy and fear. Throughout Othello, Shakespeare integrates several moments of explicit racial prejudice expressed by characters either towards Othello himself or generally. The racist nature of the time is immediately established from Act 1, Scene 1, when the audience sees Brabantio’s reaction to his daughter, Desdemona, having eloped with a black man. Brabantio instantly accuses Othello of witchcraft, incapable of comprehending any other way Desdemona may have fallen for him. He says to Iago and Roderigo; “Is there not charms by which the property of youth and maidhood may be abused” (1.1.170-172) Through this line, Shakespeare introduces the ongoing idea of racial prejudice into the play, creating an image of Othello to be ‘predatory, and Desdemona as a victim rather than a willing bride. Racial prejudice is expressed towards Othello in every scene, the most common example being his given alias, ‘The Moor’. Despite the name’s use of bestial imagery to describe a man of colour, making it inherently racist, many characters include positive epithets in front of the moniker, showing a lack of any ill intent or discrimination towards Othello in using it. However, the audience sees the abrupt and blatant difference of the name’s meaning when it is said by Iago, versus any other character. He is described as ‘the valiant Moor’ by Senator 1 (1.3.47), whereas from Iago he is a ‘lascivious Moor’ (1.1.125). Here Othello’s judgment fails him, in that he is unable to see the malevolent intent behind what seems to be such a trivial comment. Had he considered Iago’s many similar remarks throughout the play, it could be almost guaranteed that he would have avoided his abrupt death. Although race is a clear factor in Othello, when the play was first performed, race would not have been seen so evidently. It is clear through Othello’s high position and reputation in society that his colour does not extensively limit his achievements. However, references to Othello as black and a Moor, as well as his lack of understanding of Venetian customs, establish his limited position in Venetian society. Although the play suggests Othello to be a military general, with high responsibility, Marxist literary criticism could interpret this through the concept of Patriotism; the act of sending low social and/or ethnic classes to fight wars against the lower classes from other countries while the rich (dukes, senators and nobles) rake in the profits of a war-time economy (Tyson.L, 2006). From the beginning of the play, Shakespeare introduces power as a prominent and recurring theme, acting as a primary incentive for many of the characters’ wrongdoings. As previously mentioned, Iago’s hatred for Othello stems from a core desire to gain more power, and jealousy of Othello’s status. From the beginning of Othello, the different divisions of power can be clearly identified, with Othello’s position of General placing him right at the top of the triangle of influence. As the play progresses, the audience sees Iago begin to gain power as he utilises it to manipulate characters with lower status, such as Cassio, and moves his way up to characters such as Othello and Desdemona. Iago manipulates Cassio

by persuading him to drink; “Come, lieutenant, I have a stoup of wine, and here without are a brace of Cyprus gallants, that would fain have a measure to the health of the black Othello” (2.3.25), knowing that he will embarrass himself and lose Othello’s respect and trust. By manipulating Cassio, who is more attainable and therefore easier to control, Iago is able to destroy his relationship with Othello and become Othello’s self-appointed right-hand man, allowing him the opportunity to overtake Othello and gain personal power. Once again, all of the characters fail to see Iago’s success in gaining power as anything more than coincidence and luck, blind to the fact that they are all puppets and Iago is pulling the strings. There is a pertinent link between the Marxist ideology and the subject of power in Othello. The various gradations of status within the play are most often represented through military terms, Iago being portrayed as a course-speaking non-commissioned officer who is in blatant envy of Cassio’s rank and courtly manners. However, the play’s portrayal of rank, status and power extends far beyond the military (British Library 2021). The dynamic of power and status present during the Elizabethan period was strict and binding, one’s title defining whether or not they would go to bed hungry each night. In relation to Othello, Iago is clearly aware of the hierarchical nature of society, evident in Iago’s repeated advice to Roderigo, ‘Put money in thy purse’ (1.3.330), expressing his understanding of wealth in Elizabethan society. Through his awareness, the audience can further understand his strong determination and willingness to do anything it takes to reach the top. The substantial and recurring contribution of the themes of jealousy, prejudice and power can overall summarise the entire events of the play; the exposition, rising action, climax, falling action and denouement. Although the hypotheticals of Othello’s end are seemingly limitless, it is apparent that the leading cause of the characters’ unfortunate ends was the comprehensive failure of their human judgement, and their inability to see the coincidence of Iago’s life building in success as theirs fell apart. The use of a Marxist lens assists in gaining a deeper understanding of the milieu of Venetian society at the time, and further developing insight into how Othello’s key characters were in fact products of this society. Through these details I agree with the given statement to a large extent, due to the idea that had Othello’s key characters maintained stronger senses of judgement throughout the play, Iago would have not manipulated them so easily, and they would have met very different ends.

Balberry Publishing 2021, Critical interpretations Marxist readings Othello: A Level, Yorknotes.com, viewed 29 August 2021, . Abdelghafour Ben lahbib 2021, Othello from a Marxist perspective, Academia.edu, viewed 29 August 2021, . Sociology One Meets ‘Othello’ | Quadrant 2014, Quadrant, viewed 2 September 2021, . Tyson, L. (2006), “Critical Theory Today: A user-friendly Guide”. Routledge Tylor and Francis Group....