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I chose to do my final project blogging my experience reading Othello.
Monthly Archives: May 2016
Othello Vs. Abd el-Quahed ben Messaoud
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:
“East-West: Room 1.” Tate. N.p., n.d. Web. 24 May 2016
One Love, One Handkerchief
One of the most significant key factors in the play is the handkerchief. It was given by Othello to his wife, Desdemona, in order to leave her with a symbol with his great love to her. This handkerchief has tremendous effect later on in the play. Iago is using his wife, in order to steal that token from Othello, and later on ‘plant’ it within Cassio, another part of his master plan of incriminating him with sleeping with Othello’s wife, Desdemona. Emilia is confessing her bad deeds –
I am glad I have found this napkin.
This was her first remembrance from the Moor.
My wayward husband hath a hundred times
Wooed me to steal it. But she so loves the token
(For he conjured her she should ever keep it)
That she reserves it evermore about her
To kiss and talk to. I’ll have the work ta’en out
And give ‘t Iago. What he will do with it
Heaven knows, not I.
I nothing but to please his fantasy. (AIII SIII, 334-343)
I find this a great example to see how Iago is a mastermind, once again, manipulating everything and turning around what’s needed for his benefit. He is actually so good at it, that he doesn’t even need to commit the things himself, therefore reserving a huge advantage of looking innocent, while being the brain behind this whole plan.
Even though Emilia states that she is unsure about her husband’s plan, the fact she is stealing this love symbol from Othello’s wife, cannot be in good context. It shows how mch influence Iago has over her, and reflects on how he manage to manipulate the people who are close to him for his favor.
Furthermore, the handkerchief is one of the major instruments in this play, reflecting Othello’s love to Desdemona. When it is taken from her, the play is turning around showing us that Othello and Desdemona do have a crisis in their love, and are facing problems in their relationship. Later on, when Othello is finally confronting Desdemona, the first things he is asking for is to see the handkerchief. This proves us once again its significance signifying the love between them in the actually ‘money time’ (when their love and relationship are put on a test)
De(ad)sdemona by William Salter
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
Anthropophagi or Blemmeys?
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
Iago and Medea – Very Close yet Far Away
Othello made me instantly think about Medea. I actually saw a little Medea in Iago. In Othello, we have Iago, which is presented as a character that is willing to do whatever it takes to achieve his goals, basically to promote his own agendas (more precisely killing two birds with one stone) –
The better shall my purpose work on him.
Cassio’s a proper man. Let me see now,
To get his place and to plume up my will
In double knavery. (A I SIII , 434-437)
Iago is furious and wants to take down both in the same act. In a very sophisticated way, he ultimately finds the key : Desdemona. If he can convince Othello that his wife is cheating on him with Cassio, the mission will be accomplished.
Jumping back to Medea, we had another main character (Medea herself) seeking vengeance over something that was done to her. In this case, similarly, she was willing to do whatever it takes in order to achieve her agendas. Very motivated like Iago –
..instead he’s granted me a single day
to turn three enemies to three dead bodies:
the father, and the bride and my own husband.
I know so many pathways to their deaths
I don’t know which to turn to first, my friends. Shall I set the bridal home on fire, creeping silently into their bedroom? (374-381)
Medea, is laying down her plan to kill and cause suffering to the people she want to revenge. She speaks with very extreme terms of killing them or even setting the whole house on fire. A direct parallel when a major character is revealing its future plans in part of a long monologue.
Similarly, in both stories, a main character is furious-revenge-driven for a tort. Observing closely, you can see that an interesting similarity is that they both are debating on how to execute their plan. Medea says she knows many ways, but not sure which to choose, and Iago is wondering how should he do it. Another similar aspect, is their rage and motivation – simply willing do extremely bad deeds, and cross red lines in order to achieve their personal goals of revenge.
The differences can be divided into two main spectrums: Causation in justice, and Volume; Medea has been abandoned by her husband alone with the kids helpless for royalty (seems justified to be angry and seek revenge). Iago, on the other hand just didn’t get a promotion (it probably happened to most of us). And the rumors aren’t proven so its not really solid. I would say the audience can sympathize with Medea, but probably not with Iago. He is the ‘bad guy’ whereas about Medea I’m not entirely sure. The volume is also different, where Medea went as far as killing her own kids for her interests, and Iago clearly didn’t go so far (apart of making sure Roderigo dies stabbing him again he hasn’t done anything too extreme).
Very interesting similarity between the two stories, but some vast differences.
Othello:
Medea:
Look at Me, Look at You
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.
I HATE THE MOOR!
Iago is closing Act I, Scene III, with a very deep and self-revealing monologue. I find this an exceptional genuine (as much as possible) confession from Iago, being a deceptive, liar manipulator character that scarcely says what’s on his heart –
I hate the Moor,
And it is thought abroad that ’twixt my sheets
He’s done my office. I know not if ’t be true,
But I, for mere suspicion in that kind,
Will do as if for surety. (A I S III, 429-433)
An important addition here to Iago’s motives is the rumors about Othello sleeping with his wife, Emilia. He reveals the awful truth – he HATES Othello and wants to destroy him. Watching this monologue after re-reading it, with the same exact lines (obviously), had a much larger impact than reading. The text provided me with the background and the plan of Iago’s anger and revenge, but these were simple words with no power or influence. Thus, I didn’t get much of a picture about him, his looks, or his volume of seriousness / passion / intentions. These are crucial things missing in my opinion.
The way Iago said the first sentence (“I….HATE…. THE … MOOOOOR”) was slowly and fill with hatred. It gave it a completely different power than I gave it reading the text. Every line followed with a different emphasis in the movie, and I could feel the hate growing from each sentence to another. Furthermore, the game at the end of this scene was very interesting. It seemed like Iago is putting his own figure as a horse rider in between the ‘king’ Othello, and ‘queen’ Desdemona. A great metaphor of him coming in between their relationship (which is limited in texts). It was if he almost has supper powers: playing the chess game and reality follows (like ancient times where people made a small doll of someone and stabbed it to cause actual harm to the person).
The bottom line – even though the text is identical, the power of the movie took this sub-scene to a different level with emotional appeal and elevating Iago as a bad person, making him very scary in my opinion. It was clearly very interesting to watch after reading the same lines. (Since you remember them and it’s almost as if you can anticipate what the actor is going to say, buy you are still anxious to see how and when).
The story comes to life in a different way than you imagined, no matter what it was. The facial expression, volume, timing, and way things said changes the image you have and the atmosphere completely. That’s the beauty about movies based on books. I felt the need to add a pic in addition to the video link, since you can tell so much about the hate reflected in Iago just by looking at his eyes. I feel like he is anxious to destroy Othello in a different level than the text (being limited by its nature) has.
https://www.youtube.com/watch?v=fItEfJhf0oc
Manipulations, Conspirations and 1000 of Lies!
In Act III Scene III, I noticed a great aspect shedding some light over Iago’s manipulations techniques. Right after Cassio leaves, Iago is jumping on the window opportunity in order to influence Othello’s mind into thinking his wife, Desdemona, is cheating on him with Cassio. More precisely he simply says right after Cassio leaves –
Ha, I like not that (A III S III , 36)
I chose this passage since it gives us an insider look to a specific method or technique used by Iago to achieve his ultimate goal. He is quickly planting the desired idea in Othello’s mind and backing out almost. Right after, he is acting as if the dialogue was naturally started (He doesn’t say much – less is more in this case). It gains the important advantage of credibility, which Iago uses over and over again into deceiving Othello.
Right after, Othello is asking –
What dost thou say? (A III S III , 37)
And Iago replies –
Nothing my lord; or if – I know not what (A III S III , 38-39)
Iago started this discussion by making Othello notice the coincidence, but when Othello is asking him what this is about, he is playing innocent, like as if he doesn’t know. Brilliant. Right after, we notice that the message has been successfully delivered to Othello –
Was not that Cassio parted from my wife? (A III S III , 40)
‘Mission accomplished’ by Iago. He is basically modifying he’s methods by forcing Othello to get information from him about his wife’s loyalty, as if it comes naturally out of his mind and personal concerns, thus, releasing the weight from Iago not to seem like undermining between them himself (which is actually the case!). Right after that, Iago says as if he is surprised from the connection made:
Cassio, my lord? No, sure, I cannot think it
The he would steal away so guiltylike.
Seeing your coming (A III S III , 41-43)
Iago is trying to allegedly question his own point in this discussion, to gain more and more credit from Othello and make his presence and self-interests disappear from the topic, making it only about Desdemona and Cassio, and not about: how did this topic come up? (which is to cause damage).
This is a fascinating way of undermining in my opinion, even though he is far from being a good person and a friend as he pretends to be. Another interesting part here is that the whole thing happened in a very short time frame (at least that’s how it feels from the textual vibe of the play) and escalates very quickly in Othello’s mind (from not noticing à to thinking about it himself). As Jose said in class – it is admirable.
