Incompatibility Of Military Heroism & Love
First and most importantly, Othello is a soldier. The first moments of the game, his career affects his married life. Asking for the “Fit available,” his wife, then was ordered to Cyprus (I.iii.234), Othello says that “the tyrant of the costume … / it ‘made of silicon steel and a hard couch of war / my thrice-based bed-down “(I.iii.227-229). Although Desdemona for a better “home”, accompanied her husband, Cyprus (I.iii.236). In addition, he is unperturbed by the storm or the Turks, who threatened their crossing, and sincerely curious that furious, as he got out of bed in a drunken brawl Act II, Scene III. He is really Othello “loyal warrior,” and is happiest when he is at his side in the middle of a military conflict or a company (II.i.179). Othello is a soldier with the means to obtain the approval of Venetian society.
While the Venetians in the game are usually afraid of the prospect of social Othello’s arrival in white society through his marriage to Desdemona, all Venetians respect and honor him as a soldier. Moorish mercenaries were in fact common in the moment.
Othello predicates its success to the love of his military successes, attracting Desdemona with tales of his travels and military battles. When the Turks lost their natural, as a military power, Othello left with nothing to do: last act of a military government we will see him take is to view the fortifications in a very short second scene, Act III. Not having to prove his manhood or honor in a public place like a court or the battlefield, Othello starts to feel uncomfortable in his position in a private room. Iago activate this alarm, calling Othello epileptic form Act IV, Scene I, ‘[A], passion, most un-suiting a man. “In other words, Iago calls Othello un-soldierly. Iago also takes care to mention that Cassio, that Othello believes to be his rival, he saw her trance castrating (IV.i.75).
Desperate to cling to the security of its old identity as a soldier while his current identity as a lover crumbles, Othello begins to confuse with each other. Expression of his jealousy quickly transferred from the classic “Farewell peace of mind” to the absurd:
Farewell the plum’d troops and the big wars
That make ambition virtue! O, farewell,
Farewell the neighing steed and the shrill trump,
The spirit-stirring drum, th’ear piercing fife,
The royal banner, and all quality,
Pride, pomp, and circumstance of glorious war!”
(III.iii.353–359)
This could mean that Othello has said goodbye to the bad things is totally concerned about their identity as a soldier. But his thinking is somewhat justified by appealing to the public as well. Critics and audiences will find comfort and nobility in his last speech of Othello and the history of evil “and… Turbaned Turk” (V.ii.362), although this discourse, as in his speech in Act III , Scene III, Othello depends on its identity as a soldier of glory in the public’s memory, and trying to make his audience forget his disastrous experience of civil Desdemona.
The Danger of Isolation
Othello’s action moves from Venice to Cyprus. Protected by military fortifications, and the forces of nature, Cyprus faces little threat from external forces. When Othello, Iago, Desdemona, Emilia and Rodrigo came to Cyprus, which have nothing to do but attack the other. Isolation allows many important effects of the play: Iago speaks frequently in the soliloquies, Othello is, while talks with Cassio Iago in Act IV, scene I, and is alone on stage with the bodies of Emilia and Desdemona for a moment in Act V, scene ii, Rodrigo appears close to someone in the game, except for Iago. And, more specifically, Othello is clearly separated from the other characters by his physical stature and the color of their skin. Iago is an expert at manipulating the distance between the characters, to isolate their victims to fall prey to his own obsessions.
At the same time, the need Iago always standing apart, falls on his obsession with revenge. Characters cannot be islands, the game seems to say: isolation and self-preservation will ultimately lead to self-destruction. This isolation leads to the death of Roderigo, Iago, Othello and Emilia-up.
Jealousy
Othello is the most famous literary work that focuses on the danger of jealousy. The game is an examination of how jealousy can be driven only by circumstantial evidence and can destroy lives. (In Othello, the hero succumbs to jealousy when Iago convinces him that Desdemona has been unfaithful. – In the end, Othello murdered his wife then kills himself) It is interesting to note that Iago uses Othello’s jealousy against, but jealousy is probably the source of the hatred of Iago at first. In Othello’s jealousy takes many forms, sexual suspicion professional competition, but in all cases, destructive.
Appearance vs. reality
Particularly relevant to the question about the character of Iago, for although he is called “honest” by almost everyone in the play, it is false, deceptive and manipulative. Also applies to Desdemona, as Othello believes it is misleading and impure, even if it is really innocent and blameless.
Race
Race is an extremely important issue and it has a lot of influence on how people view “Othello for those who distrust black people just never like the look of Othello, as Iago. Race also determines how Othello perceives himself as an outsider rough, but there is nothing of the sort. Othello ran it apart and makes it very self-conscious and he does work hard and look carefully after his reputation, so it is considered equal to whites around him.
Pride
Particularly important in relation to Othello, Othello is defensively proud of himself and his achievements, and particularly proud of the appearance of honor that it presents. What accusations of Desdemona to hurt his pride even more than inflame his vanity and jealousy, wants to look strong, time, and moral in all instances possible, and when this is almost denied, his wounded pride becomes especially powerful.
Magic
As we see, usually something to do with Othello heritage. Othello is accused of using magic to win Desdemona just because he is black, so “pagan”. But Othello is not the real magic in the words it uses and the stories he tells. Magic also reappears when Desdemona’s handkerchief is not found; Othello has too much confidence in the symbolism and charm of the handkerchief, which is why the subject is so important to him.
Order vs. Chaos
As Othello begins to abandon reason and language, chaos takes over. His world begins to be ruled by chaotic emotions and very shady allegations, so pushed aside. This chaos rushes him into tragedy, and once Othello has sunk in, is unable to stop his fate of him take over.
Honesty
Although the word “honest” is usually used ironically throughout the text, most characters in the game go through a crisis in the learning of WHO and do not trust. Most of them, unfortunately, trust in Iago’s honesty, leading to the downfall of many signs that this trust in Iago “honest” was a key factor in their downfall.
Gender
Gender relations are more antagonistic in Othello. Single women are considered property of her parents and two of the wedding game marked by jealousy and cruelty of men (two women are murdered by their husbands). Othello more male characters assume that all Venetian women are inherently promiscuous, so that female sexuality is a threat to men in the room. Othello is easily convinced that his wife is cheating and feel emasculated and humiliated as a result.
Also note that it is impossible to discuss sex and sexuality without considering the race – more characters in the game, including Othello, believes that black men white women sexually contamination, which may partly explain why Othello sees his wife as dirty. See also our discussion on “Race” and “sex” for more on this subject.
Good vs. Evil (Bad)
Although there are a lot of gray area between the two Iago in Othello and Cassio fight will be calculated by the epitome of this theme. Iago and the evil, fight against a corrupt and turn the incorrect nature of the other characters, and succeed to some extent. By the end of the game, not because he won Desdemona and Emilia are both dead, and Iago revealed and punished.
Sex
Shakespeare some of the common study of the sixteenth century, the concern for racial mixing (Interracial sex and marriage), examining the relationship between a black man who marries a white woman, accused him of being unfaithful, and then strangle her wedding sheets. In Othello, more male images to suppose that women are naturally promiscuous, which explains why all three of these characters to play with is accused of sexual infidelity. This explains in part why it is possible to Iago in Othello so easily manipulated into believing his wife has an affair. Othello is also known for his role in homoerotic desire, which seems to be the plot to destroy Othello and Iago Desdemona factor.