Themes are the fundamental and often universal ideas
explored in a literary work.
The Incompatibility of Military Heroism & Love
Before and above all else, Othello is a soldier. From
the earliest moments in the play, his career affects his married
life. Asking “fit disposition” for his wife after being ordered
to Cyprus (I.iii.234), Othello notes that
“the tyrant custom . . . / Hath made the flinty and steel couch
of war / My thrice-driven bed of down” (I.iii.227–229). While
Desdemona is used to better “accommodation,” she nevertheless accompanies
her husband to Cyprus (I.iii.236). Moreover, she
is unperturbed by the tempest or Turks that threatened their crossing,
and genuinely curious rather than irate when she is roused from
bed by the drunken brawl in Act II, scene iii. She is, indeed, Othello’s
“fair warrior,” and he is happiest when he has her by his side in
the midst of military conflict or business (II.i.179).
The military also provides Othello with a means to gain acceptance
in Venetian society. While the Venetians in the play are generally
fearful of the prospect of Othello’s social entrance into white
society through his marriage to Desdemona, all Venetians respect
and honor him as a soldier. Mercenary Moors were, in fact, commonplace
at the time.
Othello predicates his success in love on his success
as a soldier, wooing Desdemona with tales of his military travels
and battles. Once the Turks are drowned—by natural rather than military might—Othello
is left without anything to do: the last act of military administration
we see him perform is the viewing of fortifications in the extremely
short second scene of Act III. No longer having a means of proving
his manhood or honor in a public setting such as the court or the
battlefield, Othello begins to feel uneasy with his footing in a
private setting, the bedroom. Iago capitalizes on this uneasiness,
calling Othello’s epileptic fit in Act IV, scene i, “[a] passion
most unsuiting such a man.” In other words, Iago is calling Othello
unsoldierly. Iago also takes care to mention that Cassio, whom Othello
believes to be his competitor, saw him in his emasculating trance
(IV.i.75).
Desperate to cling to the security of his former identity
as a soldier while his current identity as a lover crumbles, Othello
begins to confuse the one with the other. His expression of his
jealousy quickly devolves from the conventional—“Farewell the tranquil 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)
One might well say that Othello is saying farewell to
the wrong things—he is entirely preoccupied with his identity as
a soldier. But his way of thinking is somewhat justified by its
seductiveness to the audience as well. Critics and audiences
alike find comfort and nobility in Othello’s final speech and the
anecdote of the “malignant and . . . turbaned Turk” (V.ii.362),
even though in that speech, as in his speech in Act III, scene iii,
Othello depends on his identity as a soldier to glorify himself
in the public’s memory, and to try to make his audience forget his
and Desdemona’s disastrous marital experiment.
The Danger of Isolation
The action of Othello moves from the
metropolis of Venice to the island of Cyprus. Protected by military
fortifications as well as by the forces of nature, Cyprus faces
little threat from external forces. Once Othello, Iago, Desdemona,
Emilia, and Roderigo have come to Cyprus, they have nothing to do
but prey upon one another. Isolation enables many of the play’s
most important effects: Iago frequently speaks in soliloquies; Othello
stands apart while Iago talks with Cassio in Act IV, scene i, and
is left alone onstage with the bodies of Emilia and Desdemona for
a few moments in Act V, scene ii; Roderigo seems attached to no
one in the play except Iago. And, most prominently, Othello is visibly
isolated from the other characters by his physical stature and the
color of his skin. Iago is an expert at manipulating the distance
between characters, isolating his victims so that they fall prey
to their own obsessions. At the same time, Iago, of necessity always
standing apart, falls prey to his own obsession with revenge. The
characters cannot be islands, the play seems to
say: self-isolation as an act of self-preservation leads ultimately
to self-destruction. Such self-isolation leads to the deaths of
Roderigo, Iago, Othello, and even Emilia.
Jealousy
Jealousy motivates the central conflicts of Othello: Iago’s resentment of Othello, and Othello’s suspicion of Desdemona. Iago is immediately revealed as a jealous character: in the first scene, he complains that Cassio has been promoted instead of him even though “I am worth no worse a place” (1.1.). He also later implies that his hatred of Othello is rooted in jealousy, since there are rumors of Othello having slept with Emilia. As Iago explains, even the hint of this possibility enrages him: “I know not if’t be true / But I for mere suspicion in that kind / Will do as if for surety” (1.3.). It seems that his jealousy is so intense that he does not need proof of this infidelity before punishing Othello for it. Appropriately, Iago decides to seek revenge by using jealousy as a weapon against Othello, “practicing upon his peace and quiet / Even to madness” (2.1.). Iago knows, perhaps from his own experience, that jealousy is a form of psychological torture which will constantly torment Othello. By making Othello feel the torments of jealousy towards Desdemona and her supposed lover, Iago causes Othello to suffer as much as he does.
