Some themes and motifs in Othello
Jealousy and Trust: The theme of jealousy, particularly the all-consuming sexual
jealousy that is Othello's fatal flaw, is central to this play. Othello's character has in fact
come to symbolize the dangers of jealous love. He imagines that he is not susceptible
to the "green-eyed monster," but he nevertheless falls victim to Iago's deft
manipulations and ruins his own life. Iago I sno stranger to jealousy himself and is
apparently motivated by his own grudges. He is deeply envious of Othello, whom he
admires, and resentful of Cassio, whom he feels has stolen his place. He confesses
that he is tormented by the idea that both of them have slept with his wife, although we
are never offered any proof that they have done so. Although he does not trust
anyone, Iago has an uncanny ability to inspire trust in everyone around him.
Unfortunately, the consequences of trusting Iago prove fatal for almost everyone in the
play.
Love and Sacrifice: Both jealousy and love are presented as a kind of enchantment,
overpowering reason and equanimity in those who fall under their spell. The love
between Othello and Desdemona is not the calm idyllic love commonly associated with
marriage, nor is it simply the passionate sexual desire shared by lovers. It is allencompassing: emotional, sensual, and spiritual. It is, for Othello, an excessive
emotion, a blind and overpowering love that he vaguely fears. For Desdemona, love is
sacred and immune to any outside influence. Had anyone tried to convince her that
her husband had betrayed her, she would never have believed it. Fo rboth of them,
love requires complete sacrifice, demanding body and soul and ultimately their lives.
Archetype of the Villain: Iago is one of the great villains in Shakespeare's canon,
comparable in many ways to Richard III. In the tradition of the Vice character from
morality plays, Iago prizes his own self-interest above all else, destroying the lives of
others with apparent relish. While he does not appear to possess a conscience, he
exhibits exceptional intelligence and profound insight into human nature. Although
Othello is the central figure of the play, it is Iago who controls the action throughout.
Iago's relationship with Othello has been the subject of much speculation, with
somescholars believing that there are homoerotic overtones to Iago'slove-hate
relationship with the Moor. Others have focused on Iago's feelings of inadequacy when
compared to Othello, who is both his military and moral superior.
The Role of Women: The two main female characters in this play articulate different
viewpoints on the issue of gender roles. Desdemona is an idealist and embodies the
virtues of purity and constancy. She is conventional in her submission to her husband,
and yet she is willing to defy her father in order to marry for love. Emilia, the more
cynical of the pair, believes that women are equal to men, both in virtue and in their
capacity to sin. Her one moment of weakness occurs when she steals the
handkerchief for Iago, betraying Desdemona to please her husband. Later, of course,
she deeply regrets her decision. In any case, the play seems to ask usto consider the
different roles women are asked (or forced) to play in a sexist society.
Racism: It is difficult, particularly for modern audiences, to understand this play without
giving some thought to its treatment of racism; arguably, Othello is the most obvious
attempt to confront this issue in the Shakespearean canon. The offensive language
Brabantio and Iago use contrasts starkly with Othello's own rank and gravity.
Desdemona, despite her privileged position, is apparently oblivious to any difference of
race between herself and her husband. However, the point is made that Othello, who
commands tremendous respect, is nevertheless treated as an outsider.
Good and Evil: There is a moral dualism at work in this play. In Shakespeare, A-Z,
Charles Boyce argues that the main characters in Othello resemble those in medieval
morality plays. He claims that Desdemona "resembles the angel that opposes the devil
in such a play, struggling for control of the central character, who is a symbol of
humanity" (155). While Othello is tragically human, he alternately idealizes and vilifies
his beloved. In his mind she is either chaste or a whore; there is no middle ground.
Ironically, in truth she is the embodiment of purity and devotion, and it is his
imagination that supplies her faults. Iago's character, too, is informed by this theme if
we consider the extremity of his evil; in his cold execution of revenge, he becomes a
diabolical figure. At the end of the play, Othello looks to Iago's feet, expecting to see
cloven hooves.