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.
Within the conventions of a Shakespearian tragedy, the tragic hero’s conscious journey is a
significant element heavily explored and exposed in soliloquies, suggestively providing far greater
stimulation than unrealistic Jacobean recreations of conflicts between men which are hindered due
to the lack of resources, technological theatrics that are frequent in modern performances. In
‘Othello’, Shakespeare dwells far longer on the innermost thoughts of characters rather than scenes
of action. The conflict between Othello and himself is induced by Iago, as can be witnessed in the
extract. Willing his medicine to ‘work on!’, Iago uses language that is deliberately ambiguous and
vague, i.e. the conditional in ‘If I had said I had seen...’, that leads Othello ‘by th' nose/ As asses are’
to believe that he has built his own conclusions about Desdemona’s loyalty. Othello’s one-sided
conflict with Desdemona and Cassio manifests internally, a disillusioned state of confusion that his
body enacts in a fit of spasms that can be assumed as Jacobean society’s interpretation of epilepsy.
Stuttering prose fragmented by frequent caesuras, ‘Handkerchief – confessions – handkerchief’,
creates an incoherency to Othello’s language which starkly contrasts the flowing verse he was able
to produce only days before. This trance-like state also divulges a once repressed sinister quality of
Othello that heightens his internal conflict of morality; a morbid focus and perverted pleasure
overpowers his speech, as he refers to the practice of torturing a captive by hanging them to elicit a
confession, and verbalises his disjointed visualisation of Desdemona’s alleged intimacy with Cassio
‘Noses, ears, and lips’. This disembodiment continues in more violent imagery, in which he demands
‘death for the fair devil’ (‘O blood, blood, blood!’) and envisions that they should ‘Chop her into
messes’ and ‘Hang her’.
These sinister imaginations of brutality and butchery suggest that Othello’s inner conflict perhaps
stems from an internalisation of the prejudices he has encountered in European society. Acutely
aware of his race, and the disadvantages he faces with the negative semantics of the colour of his
skin, ‘Haply, for I am black’, Othello’s identity is divided over heritage and individuality – he fears he
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.
Within the conventions of a Shakespearian tragedy, the tragic hero’s conscious journey is a
significant element heavily explored and exposed in soliloquies, suggestively providing far greater
stimulation than unrealistic Jacobean recreations of conflicts between men which are hindered due
to the lack of resources, technological theatrics that are frequent in modern performances. In
‘Othello’, Shakespeare dwells far longer on the innermost thoughts of characters rather than scenes
of action. The conflict between Othello and himself is induced by Iago, as can be witnessed in the
extract. Willing his medicine to ‘work on!’, Iago uses language that is deliberately ambiguous and
vague, i.e. the conditional in ‘If I had said I had seen...’, that leads Othello ‘by th' nose/ As asses are’
to believe that he has built his own conclusions about Desdemona’s loyalty. Othello’s one-sided
conflict with Desdemona and Cassio manifests internally, a disillusioned state of confusion that his
body enacts in a fit of spasms that can be assumed as Jacobean society’s interpretation of epilepsy.
Stuttering prose fragmented by frequent caesuras, ‘Handkerchief – confessions – handkerchief’,
creates an incoherency to Othello’s language which starkly contrasts the flowing verse he was able
to produce only days before. This trance-like state also divulges a once repressed sinister quality of
Othello that heightens his internal conflict of morality; a morbid focus and perverted pleasure
overpowers his speech, as he refers to the practice of torturing a captive by hanging them to elicit a
confession, and verbalises his disjointed visualisation of Desdemona’s alleged intimacy with Cassio
‘Noses, ears, and lips’. This disembodiment continues in more violent imagery, in which he demands
‘death for the fair devil’ (‘O blood, blood, blood!’) and envisions that they should ‘Chop her into
messes’ and ‘Hang her’.
These sinister imaginations of brutality and butchery suggest that Othello’s inner conflict perhaps
stems from an internalisation of the prejudices he has encountered in European society. Acutely
aware of his race, and the disadvantages he faces with the negative semantics of the colour of his
skin, ‘Haply, for I am black’, Othello’s identity is divided over heritage and individuality – he fears he
