In this post, I’d like to explore a different artistic depiction of Othello and Desdemona’s relationship. The artwork I’ll be analyzing is a wood engraving from the 19th century that depicts Othello and Desdemona is Act IV, Scene 2. At this point in the play, Iago’s done some significant damage to Othello’s view of Desdemona. Othello is absolutely convinced that Desdemona is a whore. There is nothing she can say to him to change his mind. Othello is simply convinced, and simply disgusted by any of her attempts to sway him.
I’d also like to point out that the depiction of Othello, as opposed to the painting in the previous analysis, subverts the physical placement of Othello and Desdemona. The previous painting depicted Othello as what I’ve dubbed the “Oriental Menace”, come to tempt Desdemona’s virtuous Venetian ways. That painting doesn’t point out a particular setting within the play, although it’s fair to assume that this was a depiction of his wooing of Desdemona. This engraving, on the other hand, has Othello looking rather gracious and handsome, like something to be revered. This is especially interesting in the context of this scene, since Othello is not in a good way at this point. He is in a bad and jealous frame of mind, he is set on righting this sin of Desdemona’s, and he has just furiously questioned Emilia about Desdemona’s loyalty, and dismissed Emilia’s assertions of Desdemona’s faithfulness. And yet, the artists have depicted him as a pious and calm figure, one that Desdemona is on her knees worshiping, even asking forgiveness from, as if he is the lord her God. They do this even though his only negative traits in this drawing are his pulling his arm away from Desdemona and furrowing his brow at her. They’ve depicted him as a Christ-like figure. They do this even though it does not match the temperature of this scene, and they do this as if he is not soon about to have his revenge.