Othello - McFarlane questions
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Apr 3, 2024
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‘Othello’s Othello and Shakespeare’s Othello’ by Brian W. McFarlane
Instructions:
Read page 77 to the end of the first paragraph of pg 83 in the journal article by Brian McFarlane 'Shakespeare's Othello, and Othello's Othello'.
Use the annotation key presented to you in class to annotate the article as you read.
While McFarlane makes many good points, his article was written several decades ago and noticeably absent from his analysis of Othello's character is the role that the pervasive racism of Venetian society plays in informing Othello's psychological and emotional state and sense of self.
Questions:
Answer the following questions based on your reading of pgs
77-83 of McFarlane’s article. Answer in full sentences and address all parts of the question. Upload your answers to this post by Thursday night.
1.) On pg 77: What does McFarlane cite as the two traditional readings of Othello as a character and as a man? Can you think of a further interpretations? Offer two.
McFarlane cites the two traditional readings of Othello as a character of noble nature brought low by the vicious intrigues arranged by Iago, and one who seems foreign to jealousy until Iago’s machinations reveal his hamartia. The other traditional reading of Othello seems anxious to strip Othello of every vestige of nobility to see him as a black monster, ‘as ignorant as dirt’, who does nasty things and tries to dress them up in high flown language. Another interpretation of Othello could be him being a complex character that is brought down by his hubris and hamartia.
2.) At the bottom of pg 77 what does McFarlane argue undoes Othello? To what extent do
you think this is a fair assessment?
McFarlane argues that ‘the mind that undoes (Othello) is not Iago’s but his own’ and that ‘he is not merely Iago’s dupe but a figure of tragedy whose fall is to be traced to himself.’
Although this statement holds truth, as Othello does contribute to his downfall, this cannot be used to undermine the manipulation and influence Iago had that resulted in the tragedy.
3.) On pg 78 McFarlane argues Othello cannot love Desdemona as an equal? While this may be true, what might be the personal and social reasons that he cannot? Could many men in that era love a woman as an equal? Othello may not be able to love Desdemona as an equal because in that era, men viewed
women as more of objects than humans. To treat Desdemona as an equal may result in Othello’s male pride being hurt. Also, Othello being unable to love Desdemona as an equal may stem from his own personal reasons. Othello is too egoistic and idealistic to be
able to see their relationship for what it really is, and is too proud and insecure to see Desdemona, a woman, as an equal during that era of time.
4.) On pg 78 Othello is described as too egoistic to love well? In your opinion is Othello too proud or is he too insecure? Can one be both and what is the relationship between these traits?
Othello is both excessively proud while being too insecure. Othello is always trying to uphold his reputation and is egoistic, which can be seen in his male pride. Despite being
extremely proud, this also leads to insecurities. Excessive pride reveals insecurities when
their male pride or whatelse is attacked, and this is also the case with Othello. Othello is both too proud and too insecure at the same time, which leads to his downfall.
5.) On pgs 78 to 80 identify what McFarlane argues is noble about Othello and what does he suggest is ignoble about him? McFarlane argues that Othello is a figure of real stature, not just an ignorant brute. He describes Othello as a man of great physical courage, capable of great endurance of hardship and danger. He is renowned for these qualities, thereby is much respected by the leaders of the State of venice. What also makes Othello noble is his effortless and imposing authority early on, which can be seen with the way he deals with Brabantio, showing the impressiveness of a man sufficiently confident in his own powers not to need
to press them. McFarlane also suggests that Othello is too hubristic and self absorbed, which can be seen when Othello’s speech to the Duke revolves around himself, about his life ‘lived in a vast arena of battles and dangers’, and describes the relationship between he and Desdemona as the growth of Desdemona’s feelings for him instead of mutual love. Through this, McFarlane suggests that Othello is also ignoble.
6a.) Re pg 79, do you think the Duke of Venice is genuinely moved by Othello's tale or is he just being politically expedient?
The Duke of Venice is not genuinely moved by Othello’s tale, instead is just being politically expedient. This can be seen as the Duke is initially concerned and threatened “the bloody book of law” against the offender. However, his initial outrage quickly dissipates once he realises that the perpetrator was Othello. Due to the state’s reliance and confidence in Othello, he must act in his political interests and pretends that “the tale would win his daughter too”.
6b.) What does the secret marriage of Othello and the conflict between Brabantio, he and
the Duke that ensure because of it suggest or foretell about the conflicts that happen later in the play? This conflict between Brabantio, he and the Duke suggest or foretell that the racial element in the events of Othello will continue to persist, as Othello is continuously viewed as an outsider and foreign, and it eventually gets to the insecurity of his. This also
suggests that there will be further ramifications and conflicts for Othello as a result of his marriage to Desdemona, which could be racial, or surrounding Othello’s own obsession with himself over his feelings and the effect Desdemona has had on him.
7.) McFarlane argues on p79 that Othello is a "shade too impressed by himself". While this may seem so, why might a person big-note themselves in front of others? What
role might the deeply entrenched racism Othello has endured, and continues to endure in his life, play in his self-aggrandisement?
Othello may be big-noting himself in front of others to demonstrate the status he has earnt and the respect he has garnered and should be treated with. This is a form of validation Othello is searching for by big-noting himself in front of others. However, this is
also a form of validation for himself, where he’s almost impressed by his own glamourous
history, by the easy certainty of having won Desdemona. Othello sees himself as a protagonist in a heroic drama, with his marvelous battles and dangers, almost validating himself like he “made it out”. The racism he has endured makes him feel like his meteoric rise is even more impressive, and that by saying it out loud, it’s almost as if it nourishes and validates his own ego.
8.) Venice needs Othello for his courage, military prowess and experience. What might be the effect on a person when they are only needed based on what they can do or offer,
but are not accepted for who they are?
When a person is only needed based on what they can do or offer, it creates a feeling of the need for validation from these people. It would result in them continuously trying to prove themselves to a person who only wants what they can offer. The fact that Othello was only used for his courage, military prowess and experience resulted in his deep insecurity of being the outside or the foreigner, and brewed a lot of stowed up contempt and anger inside of him.
9.) Based on what you've read in this article and of the play, how well do you think Othello knows himself? How can this make one prone to manipulation and miscalculations? What might be some of the impediments or barriers to Othello knowing himself?
I think Othello lacks self knowledge and that leads to his downfall. Othello is naïve, as he often chooses to self dramatize, which makes him ‘as ignorant as dirt’, but his habitual habit of seeing and speaking of himself precludes the possibility of knowing what he is like beneath the glamorous surface of his life. He is too conscious and weary of being perceived as ‘noble’ , and what he lacks most is knowledge of himself. This makes himself prone to manipulation and miscalculations because he is easily sweet talked and succumbs to trusting Iago. This lack of self knowledge makes him extremely naïve, leaving him vulnerable to manipulations and attacks. Some impediments and barriers to Othello knowing himself could be his own hubris where his male pride and ego kicks in, and he chooses to ignore facets of himself.
10.) On pg 80 what does the writer argue is at the heart of Othello's tragedy?
The writer argues that at the heart of Othello’s tragedy is that Othello is not self aware and is inherently unaware of genuine inadequacy in himself. According to the writer, this is the heart of Othello’s tragedy.
11.) Othello claims to be "rude of speech" but what does McFarlane
think of this self-
assessment in his article on pg 80.
McFarkabe believes this self assessment to be disingenuous or not sincere in the circumstances of that scene.
12.) On pg 82 why does McFarlane suggest Desdemona has fallen for Othello, and why has he for her? What does this reveal about their respective characters?
McFarlane suggests that Desdemona loved Othello for ‘the dangers he had passed’ and Othello loved Desdemona that ‘she did pity them’. McFarlane quotes the poet Auden, describing their relationship as ‘the romantic crush of a silly schoolgirl rather than a mature affection.’ This tells us that both characters are extremely naïve and idealistic, as
Othello’s speech affected Desdemona, but little did he describe Desdemona’s effect on him. Desdemona is naïve as she still looks up to Othello, and Othello is still lacks self knowledge as he is still self absorbed by himself and the weight of his reputation, by the solemn certainity of his having won her. 13.) What do you think might be at the root of Othello's propensity for jealousy and his lack of self-awareness about it?
Othello’s propensity for jealousy and lack of self-awareness stems from the fact that he is
all about honour, hubris and male pride. He claims to be ‘one not easily jealous’, but the play points to himself as jealousy being his hamartia (fatal flaw). He is afraid of Desdemona being unfaithful and other men laughing at him, while always trying to uphold his image and reputation of being an honourable and heroic figure, when he actually may not be one. His ignorance of his own sensuality, leads to him revealing his prospensity for jealousy. This may just be a result of his own hubris, but could also be as
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a result of the racial profiling he has experienced all his life, and he is scared to lose the one real thing he cares for.
14.) Add definitions for the following words to a vocab list: propensity, imposing, inadequacy, authoritative, latent, entrenched, hamartia, prowess, hubris/tic, noble, ignoble, goad/ing, malignancy, renowned, insidious, pervasive, duplicitous, amoral, Machiavellian, machinations, eloquent, valiant, beguile, bombast, wrought, wooed, institutionalised racism, internalised racism, dupe, dolt, objectified, self-endeared, self-
aggrandising, evade, compensatory, deflect, bigotry/bigoted, prejudice,
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