L I OTHELLO, THE MOOR OF VENICE" ORD MACAULAY writes enthusiastically of this famous tragedy: "Othello' is perhaps the greatest work in the world." I It has certainly been often mentioned as one of the ablest tragedies ever written, though it is, of course, a matter of opinion if it surpasses, or even equals, "King Lear" either in pathos or in profound knowledge of character. It is, however, only by a careful examination of its different personages that its merits as a sketch of life and character can be fairly compared to those of others. Othello himself appears as a Moorish officer, though a Christian and engaged in the service of the Venetians, who, while not warring with the Mohammedans of Morocco, Othello's fellowcountrymen, were often at war with the Turks, the only other Mohammedan nation which ever invaded Europe. Othello's baptism is only once mentioned (Act II., Scene 3), and where it took place, at what age, or under what circumstances, is not told. This "Criticisms on the Principal Italian Writers," Miscellaneous Writings, vol. i. play at the first describes him commanding, or aspiring to command, the Venetians against the Turks, or Ottomans, as the poet sometimes terms them. Othello now stands deservedly high in the trust and confidence of the Venetian Senate. The Doge, or Duke, its supreme ruler, takes little part; like the Doge in the "Merchant of Venice," he seems little more than a figure-head, though each nominally is at the head of affairs. In both of these plays little, if any, allusion is made to Italian scenery or local customs. Othello is beloved by Desdemona, the daughter and only child of an aged Venetian Senator, Brabantio, likewise highly esteemed by the Venetian Government. Desdemona has, before this play commences, refused the hand of Roderigo, a young Venetian gentleman, and, unknown to her father, elopes with Othello at night and secretly marries him. Where this secret marriage took place, or who were present at it, are never stated, but Desdemona evidently knew, or believed, that her father would never consent to her wedding Othello. Yet why Brabantio should so vehemently disapprove her marrying one of the chief officers in the Venetian State, who was generally respected and trusted, appears to be only owing to Othello's Moorish origin. In Othello's case, Shakespeare makes the singular mistake of describing the Moor as a negro, "black" and "thick-lipped." Few, if any, Moors are thoroughly black, though usually of dark complexion, while they are never thick-lipped, and often have fine features. Othello, however, is evidently meant to have no personal attraction, but owing to his valour, ability, and loyal devotion to Venice, was often Brabantio's welcome and honoured guest, though considered by the proud old Venetian quite inadmissible as a sonin-law. Othello, who has no Moorish friend or follower, is a thorough Venetian in his feelings and actions, and is attended chiefly by two Italian officers of almost opposite characters, Iago and Cassio. The former, though the most intimate with Othello, has yet been superseded by Cassio, who is appointed the Moor's Lieutenant, while Iago remains as Othello's "ancient" or ensign, and more in his private confidence than Cassio either is, or apparently desires to be. The first scene begins with Iago and Desdemona's rejected lover, Roderigo, appearing before her father's window at night in Venice. They resolve to tell Brabantio of his daughter's elopement, which has just taken place, and of which they have heard, probably through Othello never keeping any secret from his trusted follower, Iago. Roderigo, who, like most others throughout this play, is for a time quite duped by Iago, foolishly reproaches him, being no match for the other's terrible powers of deceit, exclaiming "Tush, never tell me; I take it much unkindly As if the strings were thine, shouldst know of this." He apparently means that, though often paying lago for supposed efforts in his behalf with Desdemona, Iago knew all the time of her love for his patron Othello. Iago, utterly despising his poor dupe, Roderigo, yet wishing to appear his friend for the present, replies with suppressed contempt: "'Sblood, but you'll not hear me : If ever I did dream of such a matter, and poor Roderigo replies: "Thou told me thou didst hold him in thy hate." Iago replies, stating, with some but not the whole truth, his reason for secretly hating his chief Othello: "Despise me, if I do not. Three great ones of the city Off-capp'd to him-and, by the faith of man, I know my price, I am worth no worse a place." Then, his anger rising at recalling the rejection of his suit, Iago, with bitter sarcasm, ridicules, and probably imitates or exaggerates, the alleged arrogant haughtiness of Othello: "But he, as loving his own pride and purposes, And, in conclusion, Nonsuits my mediators; for, 'Certes,' says he, And what was he?" and the disappointed officer contemptuously adds, comparing Cassio with himself: "Forsooth, a great arithmetician, That never set a squadron in the field, .. mere prattle without practice, Then he proudly adds, comparing his own experience and exploits, known to Othello, to Cassio's peaceful habits: "And I-of whom his eyes had seen the proof At Rhodes, at Cyprus, and on other grounds, And I (bless the mark) his Moorship's ancient!" The scorn with which he mentions his chief and the quiet habits of his successful rival seems to rouse Roderigo, who impetuously exclaims : "By heaven, I rather would have been his hangman." lago, cautious, practical, yet confidential or unguarded with Roderigo, owing partly to his contempt for him, rejoins: "Why, there's no remedy; 'tis the curse of service, And not by old gradation, where each second To love the Moor." |