Discuss representations of the monstrous in Othello
...nd ethnic minorities in general that has built up over time is that they steal, lie or deceive; here Brabantio without a moment’s thought or deliberation instantly associates and accuses Othello of, simultaneously, theft and witchcraft. Certain myths about different cultures are also exposed; the commonly upheld view, as demonstrated by Richard Eden that outsiders and different cultures across the world were “a people of beastly lyvynge, without a god, lawe, religion or common welth”. The automatic assumption was that they must indulge in some form of witchcraft and amorality, and this view is represented by Brabantio: “thou has practised on her with foul charms, abused her delicate youth with drugs or minerals” [Othello I.ii.73]. It is accusative language that paints a clear picture of Othello; he is already a form of the monstrous; presented early on within the play and in perhaps its most obvious form. It never gives Othello the benefit of the doubt – why can’t Desdemona have seduced Othello, instead of the other way around? – this is simply not possible in the social order and racial hierarchy that presents itself in Venice at this period. Brabanatio thinks this way, because it is ingrained in him. What Shakespeare very effectively does by presenting Othello in such a light - before he has even appeared in the play – is demonstrate how perceptions of others can be incredibly incorrect. And thus, when Othello makes his entrance he seems to be exactly the opposite of the slurs; as he is calm, dignified and graceful: “keep up your bright swords, for the dew shall rust them” [Othello I.ii.58]. Presented with a dangerous and potentially life-threatening situation he rises above the pettiness and pre-judging nature of his contemporaries. This is a somewhat ironic reaction, and it shows how Shakespeare has partially twisted around the moralities and characteristics each stereotype is supposed to have inherited. It is a technique that pervades much of Othello; and it is integral in the presentation of the monstrous. Being a black man, a war general not part of the higher culture of Venetian society, in a world where the slave trade is just beginning to start; Othello is meant to be brutal, savage, in many ways just a man of war and at complete contrast to the average cultured Venetian. His entrance seems to dispels these stereotypes; or at least delay them. The accomplished manner in which he handles a Venetian senator, Brabantio, plus the General in charge of Venice as a whole, the Duke, is perhaps misleading. Despite professing that language is “the only witchcraft I have us’d” [Othello, I.iii.169], when referring to his seduction of Desdemona, the communication of language is not one of Othello’s strong points. He admits: “Rude am I in my speech, and little blessed with the soft phrase of peace” [Othello I.iii.82]: in a society such as Venice where language is crucial and virtually a measure of social order; demonstrated aptly by the Duke’s diplomatic and just use of reasoning: “this is no proof, without more wider and more overt test” [Othello I.iii.107], it is very important to be able to handle yourself verbally. Othello’s inability to do this, as well as a number of other things, will lead to his downfall as Iago exploits this. Could this be a form of the monstrous? Richard Eden’s view of a “beastly lynvuge” implies this; and Othello makes the link between his colour and his blunt speech: “for I am black and have not those soft parts of conversation” [Othello III.iii.261]. But Shakespeare’s twisting around of values means that this does not necessarily only apply to Othello; by placing Brabantio within the bracket of quickly and stereotypically accusing Othello without any evidence he is essentially criticising him and labelling him with severely negative qualities. It is a different form of the monstrous; not in the uncivilised, couth style of some of Othello’s language, but a kind of misguided, ignorant yet educated monstrous. Perhaps Shakespeare is making the point that no-matter what type of background humans have they can have similar or different literacy or linguistic values; but how they use it is a different matter altogether. While there are certainly elements of the monstrous concerning Othello; largely revolving around his background, what is truly at the heart of Othello is the devious, cunning and ultimately evil workings of Iago. He perhaps defines the term “monstrous”. The question perhaps is how Shakespeare builds up a character to such gigantic proportions; he does it truly effectively. Iago is a cynical character; he does not believe in anything, and especially love: “he tonight hath boarded a land carrack. If it prove lawful prize, he’s made forever” [Othello I.ii.50]. This view of Desdemona is completely removed from the “maid that paragons description and wild fame” [Othello II.i.61] hyperbole of Cassio; and provides just an opening to Iago’s constant indiscretions through the course of Othello. Iago’s “achievements”, if they can be called that, when put bluntly are quite simple: to cause the death of two strong-willed characters. Perhaps a sense of injustice at losing out to the “mere prattle without practice” of Cassio for the lieutenant job propels him to the conclusion that he will “serve his turn” upon Othello; but it remains that he has no real motive for the stunningly drastic actions he takes. The effect of this is quite simple; all of Iago’s actions are multiplied and he becomes something of a truly evil character. They are Iago’s promptings that force Othello to question himself; something which is completely unusual in the context of the play as for most of it Othello is 100% certain of his actions and himself: “my services which I have done the signory, shall out-tongue his complaints” [Othello I.ii.18]. Iago has exploited the “green-eyed monster” [Othello III.iii.166] of jealousy, amongst other things; and demonstrates how cunning a character he is. He can spot a weakness within a character and then exploit it to its maximum potential; his language is full of creative, yet frightening imagery: “I wil...