How does Shakespeare present order and chaos in Othello?
Shakespeare presents chaos to be predetermined and hence inevitable through the intertwining of
public and private a airs. The consequences of this are seen through the degradation of Othello's
language. His rhetoric is symbolic of order and reputation. Through the tension between public
and private a airs an audience watch Othello’ rhetoric deteriorate symbolising the movement
towards chaos and tragedy. Shakespeare does this to mirror the chaos of Elizabethan England
due to the political and religious upheaval. Allowing an audience to evaluate their actions and
beliefs and prevent a total state of chaos erupting in England.
Shakespeare creates tension between public and private a airs appropriating order and therefore
foreshadowing tragedy. He does this through the employment of military language when speaking
on domestic a airs: ‘the very head and front of my o ending’. The military semantics employed
creates an outward tension between public and private a airs foreshadowing the struggle for
power and and stability within the relationship between Othello and Desdemona as well as in the
play as a whole. However Loomba argues that ‘Love and violence are crucially cut up’. This view
appears limited if love and violence had remained parallel to each other and not intertwined then
the course of tragedy would have been averted. It is the ‘crucial’ intertwining of love and violence
which is at the root of the tragedy. The relationship between the two is established through
military language being used to illustrate domestic a airs and is maintained through Desdemona
as Othello’s accessory in Cyprus: a place of military con ict. One must consider the symbolism of
Venice and Cyprus in understanding the movement from order to chaos alongside the tensions
between public and private. Venice was seen to be a symbol of high society, wealth and culture
suggesting Venice is a setting representing order. Whereas Cyprus, due to its constant change in
governance, was seen to be symbolic of chaos. Additionally geographically Cyprus was seen to
be vulnerable as it is a small isolated island surrounded by ocean and hence was constantly under
attack. Suggesting that the movement from Venice to Cyprus will indicate the movement from
order to chaos. However as aforementioned Desdemona accompanies Othello to Cyprus,
furthermore Emilia accompanies Iago. It is clear that the movement of private domestic
relationships to this island of chaos indicates that tragedy is inevitable. This further highlights the
limitations of Lomba’s critique. One may argue that should Emilia and Desdemona had remained
in Venice whilst their husbands had gone to Cyprus the domestic tragedy and chaos of the play
would have been avoided. Hence emphasising the argument that love and violence are critically
intertwined. However it is imperative to consider the way an English audience would have
understood the symbolism of Venice. Chaos is predetermined through the way an English
audience would understand the symbolism of Venice. Venice was rather symbolic of vice as
propagated by by Lewknor’s Commonwealth and Government of Venice. It could be suggested
that it is the movement of the play from Venice to Cyprus which determines Othello’s descent into
insanity as well as the chaos which manifests although the con ict within Venice’s symbolism
suggests that the tragedy was inevitable from the opening. The movement of the play solely acts
as a catalyst for the tragedy and chaos.
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Shakespeare presents chaos to be predetermined and hence inevitable through the intertwining of
public and private a airs. The consequences of this are seen through the degradation of Othello's
language. His rhetoric is symbolic of order and reputation. Through the tension between public
and private a airs an audience watch Othello’ rhetoric deteriorate symbolising the movement
towards chaos and tragedy. Shakespeare does this to mirror the chaos of Elizabethan England
due to the political and religious upheaval. Allowing an audience to evaluate their actions and
beliefs and prevent a total state of chaos erupting in England.
Shakespeare creates tension between public and private a airs appropriating order and therefore
foreshadowing tragedy. He does this through the employment of military language when speaking
on domestic a airs: ‘the very head and front of my o ending’. The military semantics employed
creates an outward tension between public and private a airs foreshadowing the struggle for
power and and stability within the relationship between Othello and Desdemona as well as in the
play as a whole. However Loomba argues that ‘Love and violence are crucially cut up’. This view
appears limited if love and violence had remained parallel to each other and not intertwined then
the course of tragedy would have been averted. It is the ‘crucial’ intertwining of love and violence
which is at the root of the tragedy. The relationship between the two is established through
military language being used to illustrate domestic a airs and is maintained through Desdemona
as Othello’s accessory in Cyprus: a place of military con ict. One must consider the symbolism of
Venice and Cyprus in understanding the movement from order to chaos alongside the tensions
between public and private. Venice was seen to be a symbol of high society, wealth and culture
suggesting Venice is a setting representing order. Whereas Cyprus, due to its constant change in
governance, was seen to be symbolic of chaos. Additionally geographically Cyprus was seen to
be vulnerable as it is a small isolated island surrounded by ocean and hence was constantly under
attack. Suggesting that the movement from Venice to Cyprus will indicate the movement from
order to chaos. However as aforementioned Desdemona accompanies Othello to Cyprus,
furthermore Emilia accompanies Iago. It is clear that the movement of private domestic
relationships to this island of chaos indicates that tragedy is inevitable. This further highlights the
limitations of Lomba’s critique. One may argue that should Emilia and Desdemona had remained
in Venice whilst their husbands had gone to Cyprus the domestic tragedy and chaos of the play
would have been avoided. Hence emphasising the argument that love and violence are critically
intertwined. However it is imperative to consider the way an English audience would have
understood the symbolism of Venice. Chaos is predetermined through the way an English
audience would understand the symbolism of Venice. Venice was rather symbolic of vice as
propagated by by Lewknor’s Commonwealth and Government of Venice. It could be suggested
that it is the movement of the play from Venice to Cyprus which determines Othello’s descent into
insanity as well as the chaos which manifests although the con ict within Venice’s symbolism
suggests that the tragedy was inevitable from the opening. The movement of the play solely acts
as a catalyst for the tragedy and chaos.
ffff ff ffff flff ff fl
