Typically, texts present conflict not as between men, but between man and himself.
In light of this view, examine how Shakespeare presents Othello in this passage and elsewhere in
the play.
Whilst texts exploit the interactions of men and their conflicts for dramatic purposes, often the
more insightful and intellectual literary explorations are of the intimate thoughts of characters,
especially how these thoughts consequently influence their behaviour. The conflict between man
and himself alludes to an internal state of turmoil which Shakespeare, in ‘Othello’, associates with
a weak sense of identity as well as a paranoid distrust in relationships.
Conflict between men provides the structural integrity of Othello, allowing the play to progress
through an admittedly short space of time, serving to intensify the drama. Othello’s arguably most
eloquent verse appears in Act 1 Scene 3, where he rises to the challenge of Brabantio and defends
the sanctity of his new marriage to Desdemona. Brabantio, enraged, accuses Othello of ‘stealing’
and ‘kidnapping’ his daughter Desdemona by means of ‘black magic’ and ‘witchcraft’, which
Othello contends with calm, unwavering confidence, certain that his ‘parts, title and perfect soul
shall manifest (him) rightly’. A courtroom setting exemplifies the courteous nature of Othello, as
well as a modesty which at times borders on self-effacement (‘Rude I am in my speech’), and
amplifies the polished yet ‘unvarnished’ tale he delivers in composed verse. As Othello addresses
the conflict between himself and other men, a strong, noble sense of identity bolsters his appeal
to the court, and demonstrates to the audience that without Iago’s malicious perversions planted
in his mind, Othello is not only stable, but thriving in Venetian society. Therefore, less focus may
be paid to the conflicts between man, as they are far easier to overcome than that of internal
struggle.
In light of this view, examine how Shakespeare presents Othello in this passage and elsewhere in
the play.
Whilst texts exploit the interactions of men and their conflicts for dramatic purposes, often the
more insightful and intellectual literary explorations are of the intimate thoughts of characters,
especially how these thoughts consequently influence their behaviour. The conflict between man
and himself alludes to an internal state of turmoil which Shakespeare, in ‘Othello’, associates with
a weak sense of identity as well as a paranoid distrust in relationships.
Conflict between men provides the structural integrity of Othello, allowing the play to progress
through an admittedly short space of time, serving to intensify the drama. Othello’s arguably most
eloquent verse appears in Act 1 Scene 3, where he rises to the challenge of Brabantio and defends
the sanctity of his new marriage to Desdemona. Brabantio, enraged, accuses Othello of ‘stealing’
and ‘kidnapping’ his daughter Desdemona by means of ‘black magic’ and ‘witchcraft’, which
Othello contends with calm, unwavering confidence, certain that his ‘parts, title and perfect soul
shall manifest (him) rightly’. A courtroom setting exemplifies the courteous nature of Othello, as
well as a modesty which at times borders on self-effacement (‘Rude I am in my speech’), and
amplifies the polished yet ‘unvarnished’ tale he delivers in composed verse. As Othello addresses
the conflict between himself and other men, a strong, noble sense of identity bolsters his appeal
to the court, and demonstrates to the audience that without Iago’s malicious perversions planted
in his mind, Othello is not only stable, but thriving in Venetian society. Therefore, less focus may
be paid to the conflicts between man, as they are far easier to overcome than that of internal
struggle.
