Last quarter, my reading goal was to read Dante’s Inferno and Alice Sebold’s The Lovely Bones. Unfortunately, because of college applications and other things, I never got around to it. So, I have decided that after my high school work is over, in addition to reading those two books, I will read the entire Harry Potter series and read more of Moliere’s works. You can quote me on that.
In reading, my weakness was that I kept falling asleep when I started reading Othello, even though I promised myself I would not do that. Then I had to stand up and walk around while reading in order to stay awake. However, the story became more interesting as it progressed. I learned about the prejudices that people held against others who were different from them. In my opinion, their racism portrayed their fear of the unknown. Sparknotes’ “No Fear Shakespeare” also helped a lot. This means that I have to find a way to read books that seem boring at first because not everything I have to read will be like Tartuffe, my favorite book from this quarter.
First of all, I am completely fascinated with the French. Everything about French screams sophistication, which I love. Secondly, the rhyme scheme in Tartuffe makes the play seem playful, even though it is about something serious. I appreciate Molière’s ability to use humor to expose the evils of society. In the movie “Molière,” Elmire Jourdain says, “unhappiness has comic aspects one should never underestimate.” This quote explains what I believe in, and it symbolizes what Molière is about. I think my enthrallment with the French made me biased towards Tartuffe even before I read it, and then reading the play reminded me again of why I love the French so much.
Previously, I had underestimated the power of prewriting. Somehow, I always found a way to skip the step of outlining or doing a pre-write before beginning my papers. I figured that I would just wing it and something decent will come out of it. What a huge mistake. This quarter, I found out that outlining before I started a paper actually helped me organize my thoughts better, and that by prewriting, I spent less time writing my paper than usual. This surprised me a lot, and it made me realize that if I had discovered that before, it wouldn’t have taken me hours and hours to write Ms. Partridge’s papers last year.
This quarter, I think I accomplished my writing goal from last quarter. My writing is no longer just a summary of the story. I actually manage to get some analysis in, and for that, I am proud of myself. Next quarter, I will hone my analysis skills. I will also find ways to make books seem more interesting so that I wouldn’t fall asleep while reading them. That’s about it.
Is Othello really a noble moor or a beast? In Shakespeare’s Othello, the titular character is very different. Shakespeare’s characterization of Othello, a black person of high class in a society dominated by whites, is notably uncommon, and is one of the major reasons for his downfall. Throughout Shakespeare’s Othello, Othello is perceived as a beast even though he is of the noble class, so when he kills Desdemona, he proves that these perceptions are factual.
When Othello marries Desdemona, he is scorned by members of Venetian society, who believe that Othello is undeserving of her. “An old black ram is tupping your white ewe,” are the words Iago, Othello’s ensign, uses to describe Othello when he is telling Brabantio, Desdemona’s father, that Othello and Desdemona have eloped and gotten married. Iago goes on to say that “they are making the beast with two backs” and that Brabantio will have his “daughter covered with a barbary horse.” Othello is regarded as too inferior and bestial to marry such a beautiful and aristocratic wife. Because he is black, Venetians immediately judge him.
As soon as he hears that Othello is married to his beloved daughter, Brabantio’s opinion of Othello changes. At the meeting of Othello and the senate, Othello explains, “[Desdemona’s] father loved me, oft invited me, still questioned me the story of my life […]” Brabantio is fascinated with Othello’s arduous life as a fighter, and he wants to know more. However, when Othello marries Desdemona, Brabantio immediately hates him, accusing him of using “spells and medicines” to charm Desdemona. According to Brabantio, Desdemona cannot fall in love with what she “fear[s] to look upon.” The fascination Brabantio has for Othello mirrors the fascination one might have with a wild animal, admiring it from afar while keeping a safe distance. Brabantio admires Othello from far away, but he doesn’t want Othello to be part of his family.
In the face of adversity, Othello always appears calm but a beast looms inside him, in need of a push, which Iago gladly provides. Iago convinces Othello that Desdemona is cheating on him, which makes Othello furious. Iago says, “She did deceive your father marrying you, and when she seemed to shake and fear your looks, she loved them most.” If Desdemona is so disloyal as to marry Othello without her father’s consent, what makes Othello think she will be loyal to him? Iago also says that Cassio is a better fit for Desdemona because he is of her “clime, complexion, and degree.” Cassio is young, valiant, and white, the perfect man for Desdemona. This enrages Othello, filling him with jealousy and bringing to light his insecurities. “Haply, for I am black,” he says. He thinks Desdemona is unable to truly love him, and that she just might be like everyone else who doesn’t see past his skin color. He begins to curse marriage and resolves to “loathe her.” Iago has awakened the beast in Othello.
After Iago shows Othello “proof” of Desdemona’s supposed infidelity (the handkerchief), the latter’s inner beast fully emerges. Othello is overcome with jealousy and fury. In Lodovico’s presence, Othello strikes Desdemona and degrades her, showing no sympathy. This causes Lodovico to remark, “Is this the noble moor […] whom passion could not shake? […] I am sorry that I am deceived in him.” Lodovico has not seen any proof that Othello is of solid virtue. Instead, he has seen Othello in a barbaric state. Othello had made the senate believe that he was a noble, sane, and reasonable moor, which was an extremely rare find. However, by striking Desdemona, not only does he change Lodovico’s view, he strengthens the senate’s preformed ideas about his savageness. Driven by jealousy and rage, Othello kills Desdemona, proving that he is really a beast. As he smothers Desdemona, he claims to be “cruel, yet merciful,” which is very false because a merciful person will never commit such an act.
Reactions to Desdemona’s murder and Othello’s subsequent suicide reveal that everyone thinks that Othello was a beast, and that the end of his marriage is imminent. “This I did fear but thought he had no weapon,” remarks Cassio. Although he is directly referring to Othello’s suicide, he is actually talking about Desdemona’s murder. Although he knew that the destruction of their marriage would come, but he didn’t think it would end with Desdemona losing her life. After all, the match of such a remarkable lady and a moor was destined to fail because in the real world, beauty and the beast cannot live happily ever after. Because he is a member of the high class, Cassio speaks for every member of Venetian society.
The question remains: do others’ perceptions of Othello make him a beast or is his bestiality inevitable? Othello lives in a society where he is different and thus, never fully accepted by its other members. Because of the color of his skin, he is regarded as inferior to other Venetians in the same class. He might hold his head up high, but inside he feels this inferiority. Unfortunately, he becomes the thing almost everyone thinks he is. Othello is always thought of as a beast, so he finally becomes one—a beast so fueled by jealousy, rage, and insecurity that he kills his wife, the only person who truly sees beneath his skin color.
