With the first line of Shakespeare’s Othello, “Tush, never tell me!” begins the development of a major idea through to the end of Act V: the power of storytelling. Without a doubt, the largest and most powerful story told is done by Shakespeare, with his story of the tragedy of the moor of Venice. Though, inside Shakespeare’s Othello there are numerous other stories, that when told, combine powers and become able to take down the “valiant Moor,” Othello.
From those lines, “Tush, never tell me,” “a gulled gentleman”, Roderigo, comes to show he would rather remain unknowing than hearing a story, a story which as far as I—and possibly Roderigo—know as only having validity in its being conceived as a story. Just the notion and possibility of what could be told is enough to make Roderigo tell Iago he does not want to be told, which may have been the last decent decision involved with a story to be made in the play.
Before Othello’s story is told by Shakespeare, before it is the tragedy of the Moor of Venice, his story is accused of being “drugs and medicines of motion,” by Brabantio when the story “hast enchanted [his daughter]”, Desdemona. Even the Duke agrees that Othello’s story “would win [his] daughter too.” So, up to this point Othello’s tale of “suffer” and “redemption” has aided him in his relationships, to both: his new wife, Desdemona, and his Duke, who is willing to overlook Othello and Desdemona’s unlawful marriage.
Othello’s aid in personal stature by the power of story finds its first antithesis in Act III, as Iago dangle’s above Othello’s head an untold story that is so well performed that Othello, the black magician of storytelling thus far, wishes to “by heaven… know thy thoughts!” It appears that Othello has met his match in telling a powerful story, but Othello “know[s] [Iago]’rt full of love and honesty”—bringing weight to Iago words before he gives them breath—which makes Iago’s quasi-mockery of a story impact Othello very heavily. These heavy words given breath by Iago, and those not given breath, bring Othello a fear of the untold and make him ask of himself, “Why did I marry?” —A question that would have never been thought of without such an unknown-abyss being arisen in his thoughts of Desdemona.
After Othello has heard Iago’s “exceeding honesty” about Cassio, Desdemona, and her having “deceiv[ed] her father” in marrying, Othello brings a very symbolic story in the play. One which before his talking to Iago and his having found that Desdemona did not have the Handkerchief he gave her “about [her]” may have come out in a very different manner. He tells her how his mother had received the handkerchief from an Egyptian charmer, who told her a story that “while she kept it, / ‘Twould make her amiable and [able to] subdue [Othello’s] father/ Entirely to her love;” though, of how if she lost it, “his spirits should hunt/ After new fancies.” Whether this story is fiction or not, no other than Othello could know. Whether the handkerchief was “dyed in mummy which the skillful/ Conserved of maidens’ hearts”, is not to be told either; but how Desdemona responds to his tale of chastity and exotic heritage is to be seen by Othello.
From the tale of the Handkerchief, and persuasive unpleasantries with Othello, Desdemona becomes very afraid to “displease him” and begins speaking of her death to Emilia, the wife of Iago. As Desdemona speaks of death, she brings a story of mother’s maid, Barbary. “She was in love; and he she loved proved mad/ And did forsake her.” As Barbary died she sang a song, “Willow”, which is now the song that “will not go from [Desdemona’s] mind.” Her story of Barbary, the song, and their duet with death tells a foreshadowing tale of how Desdemona will pay “a great price for a small vice”. Although Desdemona “in troth… wouldst not” “do such a deed for all the world”, she pays the “great price” for the “small vice”, and Othello ends her story.
As the last lines are spoken by Lodovico, a “nobel Venetian”, to Iago, he speaks of the relationship of “heavy act with heavy heart”. This relationship comes in how he must go back to Venice to tell the story of Othello, which has now taken a new appearance as Emilia tells the true story of her husband and ties together all ends to bring The Tragedy of Othello the Moor of Venice. A tale that is still full of “suffer” and “redemption”, though now is a story that will not be capable of receiving Desdemona’s pity.
I did finish that paper on Easter weekend, thought I’d throw it on since I’m bored. I’m going to write a legit entry soon. I actually look forward to it quite a bit. I need to figure out this blogging thing. See what I can do with it. I may begin doing things like this over the summer, just making small assignments for myself, oh boy!
Michael
I have always had trouble in entering into the premises of this play. Who is redeemed here? Certainly not Desdemona, whose life is thrown away on a series of misunderstandings and suspicions. She acts rather foolishly, but she is young and inexperienced. From Othello, that great commander, we expect better and receive worse, all on the premise that he is entitled to serve a judge, jury and executioner for another human being.
Well, how the play happens it’s very easy to make counter arguments on who is redeemed. I have held the view that no one is, but there is a view of redemption which is seen by Othello, he even speaks of it, and in the end he takes the weak man’s way out and kills himself rather than dealing with the fact that he murdered Desdemona; it’s as much redemption as it is justified. Othello’s view is the one which makes action, but in the end it truly is just a tragedy.
I’m not even sure if this reply even says anything, but I hope so.
Michael
You are right, and maybe that is the tragedy — no one is redeemed.
I enjoy the magnificent language but not the play itself because I sam oppressed by the feeling that Desdemona is a throw-away character, a woman who has little value in herself but is used to constitute Othello’s tragedy. What about her tragedy!
Yes, in Othello’s final speech he speaks of her as “as pearl” that has been thrown away, and that is what she is. I am a fan of the play for it’s ability to create that curiosity that happens in all of us when we find out that we don’t know something. I’ve always thought that education was about knowing about, or being aware of, what you don’t know, and Othello had these facets of his thoughts unlocked to him by Iago’s toying around with him and it shows what little it takes to break someone. There’s a lot more to it, but that is my favorite aspect.
Michael