How does Shakespeare present differing attitudes to love and marriage?
Various attitudes of love are depicted throughout the play; Othello’s passionate yet naïve attitude
conflicts with Iago’s perverse and calculating view of love and marriage. It could be argued that
Shakespeare presents these contrasting attitudes in order to represent the struggle between good and
evil onstage which will ultimately bring about the downfall of our tragic hero.
Shakespeare exposes the audience to Brabantio’s attitudes towards marriage in Act 1 Scene II, notably
before the introduction and demonstration of Othello and Desdemona’s love. This manipulation of
structure therefore elevates his views, allowing the audience to make judgements on their love before
witnessing it. With spitting anger which can be felt through monosyllabic words such as ‘O thou foul
thief,’ Brabantio presents an alternative opinion of marriage, one which favours convenience and
values wealth, rather than passion and connection. In fact, he is unable to understand why Desdemona
has ‘shunned The wealthy curled darlings’ of Venice and declares it unnatural for her to seek ‘the
sooty bosom of such a thing’. The adjective ‘sooty’ brings to mind the derogatory associations with
Othello’s race- devilish and demonic descendance from the ‘burning brimstone’ of hell, whilst also
making reference to the dirty ad unclean nature of their relationship (in his mind). Therefore, his
logical conclusion from the news that his only daughter has married ‘the Moor’ is that she is ‘in the
chains of magic’ from Othello’s ‘practices of cunning hell’. This repulsion to an inter-racial marriage
would have been found within most of the Jacobean audience, and therefore the prejudices of society
are epitomised in Brabantio’s outburst. Their differing ages (Othello being described as an ‘old black
ram’), contrasting positions in society, and Othello’s innocent ignorance of courtly behaviours.
The passionate connection presented between Othello and Desdemona, who defy all convention and
expectation to consolidate their love through marriage, is portrayed as the purest form of love – they
view themselves as soulmates. A sematic field of religion is also used throughout the description of
their love, to depict it as holy, pure, sanctified by God and to contradict Iago’s devilish and
animalistic ideas: ‘consecrate’, ‘peace’, ‘rites’, ‘heaven’, ‘light-wing’d toys / of feather’d Cupid’,
‘souls’. By using the imagery of God and Cupid, Othello’s view of marriage is presented as
something being designed by Fate, therefore suggesting it is beyond his control. Ironically, this
attitude is could be considered as a factor in the demise of his marriage. However, an audience may
view this attitude as a naïve one which therefore makes Othello vulnerable to Iago’s manipulation.
Shakespeare is able to present Othello’s honesty and untainted love by writing in a rhythmic and
flowing style, free from fragmentation which would defer from his calm and collected nature. Perhaps
Various attitudes of love are depicted throughout the play; Othello’s passionate yet naïve attitude
conflicts with Iago’s perverse and calculating view of love and marriage. It could be argued that
Shakespeare presents these contrasting attitudes in order to represent the struggle between good and
evil onstage which will ultimately bring about the downfall of our tragic hero.
Shakespeare exposes the audience to Brabantio’s attitudes towards marriage in Act 1 Scene II, notably
before the introduction and demonstration of Othello and Desdemona’s love. This manipulation of
structure therefore elevates his views, allowing the audience to make judgements on their love before
witnessing it. With spitting anger which can be felt through monosyllabic words such as ‘O thou foul
thief,’ Brabantio presents an alternative opinion of marriage, one which favours convenience and
values wealth, rather than passion and connection. In fact, he is unable to understand why Desdemona
has ‘shunned The wealthy curled darlings’ of Venice and declares it unnatural for her to seek ‘the
sooty bosom of such a thing’. The adjective ‘sooty’ brings to mind the derogatory associations with
Othello’s race- devilish and demonic descendance from the ‘burning brimstone’ of hell, whilst also
making reference to the dirty ad unclean nature of their relationship (in his mind). Therefore, his
logical conclusion from the news that his only daughter has married ‘the Moor’ is that she is ‘in the
chains of magic’ from Othello’s ‘practices of cunning hell’. This repulsion to an inter-racial marriage
would have been found within most of the Jacobean audience, and therefore the prejudices of society
are epitomised in Brabantio’s outburst. Their differing ages (Othello being described as an ‘old black
ram’), contrasting positions in society, and Othello’s innocent ignorance of courtly behaviours.
The passionate connection presented between Othello and Desdemona, who defy all convention and
expectation to consolidate their love through marriage, is portrayed as the purest form of love – they
view themselves as soulmates. A sematic field of religion is also used throughout the description of
their love, to depict it as holy, pure, sanctified by God and to contradict Iago’s devilish and
animalistic ideas: ‘consecrate’, ‘peace’, ‘rites’, ‘heaven’, ‘light-wing’d toys / of feather’d Cupid’,
‘souls’. By using the imagery of God and Cupid, Othello’s view of marriage is presented as
something being designed by Fate, therefore suggesting it is beyond his control. Ironically, this
attitude is could be considered as a factor in the demise of his marriage. However, an audience may
view this attitude as a naïve one which therefore makes Othello vulnerable to Iago’s manipulation.
Shakespeare is able to present Othello’s honesty and untainted love by writing in a rhythmic and
flowing style, free from fragmentation which would defer from his calm and collected nature. Perhaps
