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 most notably in the
first act, the audience is impressed by the faith Desdemona inspires in her husband, who values her
word as much as his own- ‘Here comes the lady; let her witness it’ and declares (in response to
Brabantio’s churlish allegation that she may be more deceitful than Othello realises) ‘my life upon
her faith’. This exemplifies Othello’s wholly trusting nature in his wife- the prepositional phrase
‘upon her faith’ shows the audience that his life and being depend on her honesty, loyalty or perhaps
the value she places in him. Furthermore, ‘upon’ surpasses the typical attitude of a Jacobean male –
Othello has passed the power to Desdemona.
The progression of the scene also exposes the rationality and order that Desdemona is able to bring
to Othello, as his mind becomes disturbed when he believes she is lost. This description of his
courtship with Desdemona, which he introduces as ‘a round unvarnish’d tale’ clearly shatters
Brabantio and Iago’s accusations that the union is a product of witchcraft or lust, and they are
further undermined by the Duke’s comment on the efficacy of Othello’s story – ‘I think this tale
would win my daughter too’. Shakespeare is additionally strengthens this spiritual side of love
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 most notably in the
first act, the audience is impressed by the faith Desdemona inspires in her husband, who values her
word as much as his own- ‘Here comes the lady; let her witness it’ and declares (in response to
Brabantio’s churlish allegation that she may be more deceitful than Othello realises) ‘my life upon
her faith’. This exemplifies Othello’s wholly trusting nature in his wife- the prepositional phrase
‘upon her faith’ shows the audience that his life and being depend on her honesty, loyalty or perhaps
the value she places in him. Furthermore, ‘upon’ surpasses the typical attitude of a Jacobean male –
Othello has passed the power to Desdemona.
The progression of the scene also exposes the rationality and order that Desdemona is able to bring
to Othello, as his mind becomes disturbed when he believes she is lost. This description of his
courtship with Desdemona, which he introduces as ‘a round unvarnish’d tale’ clearly shatters
Brabantio and Iago’s accusations that the union is a product of witchcraft or lust, and they are
further undermined by the Duke’s comment on the efficacy of Othello’s story – ‘I think this tale
would win my daughter too’. Shakespeare is additionally strengthens this spiritual side of love
