This was one of my favorite images in this class, which we went through during class discussing Othello. The main interesting part here, is that this one was taken from the 1600 (the era Othello was written by Shakespeare). This portrait of Abd el-Quahed ben Messaoud, which was the ambassador to Queen Elizabeth (ruled 1558-1603).

Messaoud, was actually claimed by many to inspire Shakespeare’s character of Othello, ‘The Moor’. There was no consensus over this though. One main problem arises from the belief that ‘The Moor’ was afro-american, and even in the Movie of Othello In 1995, the main character, ‘The Moor’, was played by Laurence Fishburne, which is afro american, and interestingly, looks completely different from the Messaoud depiction.

Actually, from my previous studies in Israel, after re-reading othello carefully, I recalled that the Moorish people were referred to Muslims originated from North Africa (Usually looking more darker than Messaoud yet). This link have may sheds some light on Massaoud’s connection to Othello.

On the other hand, it is possible that Shakespeare meant Muslim by ‘The Moor’ and further painters and directors failed to agree or understand it that way, therefore choosing other typecasts for the main actor. Very interesting gap between what the original writer may have aimed for, and the final consequence transformation, the way it goes out to the new generation, which clearly wasn’t alive during this creation era. It reminds me of the translations we discussed earlier in the semester, as if whatever the translator (or directors / painters) decides to bring out, is actually the final product. There are a lot of responsibility on those shoulders ultimately.

One of the first sentences from Othello in the beginning of the play, were connecting with this portrait in a way I find a little hard to explain. It is as if I can imagine him saying that, and it fits very well according to how he is depicted in the picture –

Keep up your bright swords, for the dew will rust them.

Good signior, you shall more command with years than with

your weapons (AI SI, 76-79)

In the picture, it seems like he is actually keeping his bright sword ready for any scenario, and that he is inseparable from it at all costs.

Furthermore, if you closely look at the picture, you can notice a little hostility in the eyes of the man, and his left arm is ready to reach his sword. This might imply an aggressive and impulsive characteristic, which isn’t really alike Othello in the play (as opposed to being innocent and trusting being constantly manipulated). These differences are interesting, given the fact that he might have inspired Shakespeare after all. Either way, it remains unknown until today.

Portrait of Abd el-Ouahed ben Messaoud, ambassador of Ahmad al-Mansur to Queen Elizabeth I in 1600, sometimes claimed as an inspiration for Othello

Work Cited:

http://www.tate.org.uk/whats-on/tate-britain/exhibition/east-west-objects-between-cultures/east-west-room-1

“East-West: Room 1.” Tate. N.p., n.d. Web. 24 May 2016

This image is depicting the final tragedy nearly ending the play. In Act V Scene II, Desdemona dies after a struggle with Othello:

(Desdemona) A guiltless death I die,

(Emilia) O, who hath done this deed?

(Desdemona) Nobody. I myself. Farewell

Commend me to my kind lord. O farewell.

(Othello) Why? How should she be murdered?

(Emilia) Also, who knows?

(Othello) you heard her say herself, it was not I (AV SII, 150-157)

This point is very interesting. Othello doesn’t seem to be bothered more by the fact that his wife has died (!), than to argu that it wasn’t him.

Diving into the picture, you can see Desdemona lying dead on the bed, while Othello is clearly unhappy holding her hand. But, notice a very unusual thing, he isn’t looking at her, not even in her direction. He is looking so far, it is almost as if he looks at the person looking at the picture. Another detail worth mentioning, is that the lady next to him, most likely Emilia, is touching his head with a finger. To me, it feels like she is pointing at him (maybe too close) as if she is saying “It’s you!, you did it!!”. This point is reflecting the blame heavily weighing on Othello.

The connection to the play is evident, as the text shows, Emilia holds Othello responsible to Desdemona’s death, even though Emilia wasn’t there when it happened.. In the picture, just like in the text, she is pointing at Othello, holding him responsible.

Furthermore, you see the person far on the left, which is holding a knife (Iago to my understanding), after he stabbed Roderigo to death. It might be the knife that Othello is using later on to stab Iago, and ultimately himself, when he eventually kills himself and lays over the bed with his beloved wife, both dead, unfortunately. The amazing thing here is how many messages are conveyed through only one single picture.

Painting by William Salter of Othello weeping over Desdemona’s body. Oil on canvas, ca. 1857.

http://www.lib.umd.edu/binaries/content/gallery/public/artlibrary/shakespeare-in-art/othello/othellos_lamentation-_-painting-of-othello-weeping-over-desdemonas-body-by-william-salter-_-oil-on-canvas-ca-1857.jpg

One of the most famous images I have seen before and caught my eye once again in the research I have done after reading Othello, is the famous man with a head ‘beneath his shoulders’. I find this image a brilliant one. I saw it a few times studying history and foreign literature in high school. Let’s Start from the connection to the text –

It was my hint to speak—such was my process –-

And of the cannibals that each (other) eat,

The anthropophagi, and men whos heads

(do grow) Beneath their shoulders. These things to

hear. (AI SIII, 165-168)

During Othellos conversation with the Duke, he is revealing a bit of his life history, and in particular parts of his journeys around the world. The most interesting word here in my opinion, is ‘Anthropophagi’, which means “People-Eater”, or cannibal (as more accustomed today) in greek. According to a few sources’ analizing his words in a comparison to other historical facts, Othello was mistaken here by referring to the ‘headless’ men as ‘Anthropophagi’.

However, the correct term, based on these sources is ‘Blemmyes’. The Anthropophagi were more of cannibals, people who eat other people, while the ‘Blemmyes’ were believed to be people who have had no head (technically growing their head reversed, into their chest), resaulting in facial expressions, identical to regular people’s, on their chest. The picture which I chose is the closest thing to a ‘Blemmey’ you can find today –

An “Anthropophagus. From Conrad Lycosthenes,Prodigiorum ac ostentorum chronicon, Basel, 1557″ By permission of the Folger Shakespeare Library.

I find this confusion very interesting. In my opinion, Othello might have had a wrongful connection assuming that these people, which he referred to ‘cannibals’ as well, were eating other people, and as a result, ultimately had faces inside them (as in the picture, from a different perspective).

Either way, it is shedding light over some of the ancient beliefs in those times when the play was written, which clearly disappeared with the technological evolution, especially due to the availability of information and science. With that being said, there are many cases of people with unique physical attributes that science can’t really explain, yet.

Work Cited:

“Internet Shakespeare Editions.” Travellers’ Tales. N.p., n.d. Web. 23 May 2016.

“Headless Men.” Wikipedia. Wikimedia Foundation, n.d. Web. 23 May 2016.

http://internetshakespeare.uvic.ca/Library/SLT/ideas/new%20knowledge/monsters.html

After looking a while for a strong image, I found this caption taken from the 1995 movie:

“A picture is worth a thousand words” – This picture is representing, in my opinion, the whole relationship between Othello and Iago throughout the play. Observing closely, Iago is looking at Othello in a derogatory way, with a lot of hatred and he’s face expression. Iago is also looking at him like predators look on their pray. He has awful plans for him and is willing to do whatever it takes (lie, deceive and manipulate) in order to cause him damage. This looks is summarizing the revenge that he seeks so much from Othello. A good example is when Othello didn’t accept Iago’s efforts for him to question his (Othello) wife, but was very innocent thinking he is trying to help him rather than actually making it up to cause damage –

(Iago) My lord, you know I love you.

(Othello) I think thou dost.

And for I know thou ‘rt full of love and honesty

And weigh’st thy words before thou giv’st them breath,

Therefore these stops of thine fright me the more.

For such things in a false disloyal knave

Are tricks of custom, but in a man that’s just

They are close dilations, working from the heart,

That passion cannot rule. (AIII SIII, 134-143)

Iago is playing the good friend role, and Othello really thinks he loves him and cares about him and wants the best of him. Back to the picture – While Iago has destructive plans for Othello, the second isn’t noticing it (looking the other way, straight, instead of back into his eyes, understanding / confronting Iago – you say you can see the truth in people’s eyes). Othello is disconnected from reality, and Iago has successfully established his trust. Othello isn’t even maintaining eye-contact to question Iago in the picture, and he is too good in his thinking. He is missing what is going on behind his back. The picture shows it perfectly – Iago with his intentions looking into Othello watching every step, changing and modifying the plan accordingly, and from the other side, Othello, innocent, clueless and helpless (we see that his face expression isn’t really happy after all). Fascinating.