A destructive love

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A destructive love Othello is such a character who is portrayed as a tragic hero through his high ranking in army, jealousy caused by racial inferiority, and credulousness for the villain Iago. In Shakespeare’s play, The Moor of Venice, jealousy is the major component constructed though out the entire play and eventually leads to Othello’s downfall and ultimately destroys his marriage with Desdemona. The play is a story of a black hero in the white community at an era of alteration from racist past to a less biased future. During this social transform period, a black Moor is able to be promoted over other white men and therefore Othello is in a higher ranking than most of white people in Venetian society. However, during…show more content…
From this point, our assumption about Othello being hired as a mercenary to fight for Venice is overthrown. Instead of growing up in Venice, Othello travels around the world and lives a vagrant life. During that time period, as Othello reveals the fact that he has been sold as slave, we can conclude that it must be a historical period of African tribes suffering from colonialism, enslavement, looting, and massacres. Othello can be seen as a symbol of these colonialized African tribes that are conquered, exploited, enslaved, and yet not being recognized as part of the Venetian society. As indicated in the article “Othello and Colour Prejudice,” G.K. Hunter believes there is a theatric purpose behind the blackness of the protagonist Othello (Hunter 249). Since during the sixteenth century, Elizabethan shares different cultural and social background than those of us living in the 21st century, Hunter argues that Shakespeare is “intensely aware of the implication of his hero’s colour as one of the primary factors in his play.” Hunter then continues with the ancient implication of blackness in European country. Under Christian faith, blackness is always associated with “devil,” “hell,” “wickedness,” “ill luck,” “death,” “condemnation.” These associations form a stereotypical view for the Elizabethan audience and are further confirmed by the conversation between Iago and Rodrigo and accusation made by Brabantio in Act 1 scene 1. Not long for
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