The theme of sexuality in William Shakespeare’s “Othello”

Introduction

Over the course of Shakespeare’s artwork progress and evolution, his readers can observe his significantly increasing interest in the psychology of sex. Othello is his most widely exploring this topic piece, as the author investigates many varieties of sexuality concerning not only people of the same race and class, but also the ones having different ethnic origins and social statuses. General controversy spread around a black man being the eponymous character inspired Shakespeare to also present stereotypes of interracial sex that affect both family’s of the white, pure girl and the couple itself. Such stereotypes are mostly introduced by the main villain, Iago, who is most frequently using animal imagery to describe them as well as Othello’s and Desdemona’s intimate moments. His language only adds spiciness to the scenes concerning the characters he is speaking about and tension in the reader, as such imagery really evokes one’s imagination and in this case, often disgust.

Imagery used to refer to Othello and his intimate life with Desdemona (and the reaction of Desdemona’s father)

The first scene in which Iago comments on Othello’s and Desdemona’s sex life is when he wants to cause chaos and conflict between Brabantio, Desdemona’s father, and the couple. In order to do that, he puts an image of the dirty, old man shamingly interacting with his pure, young daughter and highlights the possibility of Desdemona getting pregnant with the child of the devil (such metaphor derives from Othello’s dark skin color).

“Zounds, sir, you’re robbed, for shame put on your gown!

Your heart is burst, you have lost half your soul,

Even now, now, very now, ​an old black ram

Is tupping your ​white ewe​! Arise, arise,

Awake the snorting citizens with the bell

Or else ​the devil will make a grandsire of you​, Arise I say!” (1.1.84-91)

Iago suggests that the fact of Desdemona’s sexual interaction with the Moor is shameful not only towards her herself, but specifically towards his father, who must have not raised her in the right way. He also pays attention to the difference of age between the two - Desdemona seems to be much younger than her lover, which is also not something to be proud of. As Desdemona represents a woman from the upper class, she should also choose someone at least equal to her rank for her husband not to disrespect hers and her family’s position. During the fight between Iago, Roderigo and Brabantio (though Iago speaks to Brabantio as Roderigo), the father of Desdemona accuses the men of being thieves. While responding to this accusation, Iago still tries (and succeeds) to play with Brabantio’s imagination by saying

“ [...] Because we come to

do you service, and you think we are ruffians, you’ll

have your daughter covered with ​a Barbary horse​;

you’ll have your nephews neigh to you, you’ll have

courses for cousins and jennets for germans!” (1.1.109-112)

and

“I am one, sir, that comes to tell you ​your daughter and the Moor are now making the beast with two backs​.” (1.1.114-115)

Saying all that, Iago successfully upsets Brabantio by bringing his attention to the marriage of his beloveddaughter with the Moor in a very unpleasant way.

Desdemona’s and Othello’s sex life; the symbol of their bridal bed

Another thing concerning the topic of sex that is worth noticing is the amount of trails Othello and Desdemona had to get intimate. Firstly, they had to call off their wedding-night in Venice as Othello was ordered to go to Cyprus:

“ Senator

​ You must away tonight. ​

Desdemona

​ Tonight, my lord? ​

Duke​

This night.

​Othello

W​ith all my heart.” (1.3.275-279)

Secondly, due to the brawl between Cassio and Roderigo resulting from Iago’s manipulation, they were interrupted again, only in Cyprus. Othello was mad not only because of the fact of their fight, but also because his alone time with his lover was interrupted.

“Look if my gentle love be not raised up! I’ll make thee an example.” (2.3.246-247)

Such interruptions build the tension between Othello and Desdemona and only add to Othello’s madness developing after he believes that his wife is indeed cheating on him, as he cannot seem to get ahold of her, while he thinks that Cassio does.

Another thing worth mentioning is the bed, which Iago brings a couple of times during the play. It not only reminds the reader or viewer about the off-stage bridal bed, but is also a some kind of a connection between the final scene, during which Desdemona is killed by her beloved husband.

“Well: happiness to their sheets” (2.3.26)

This quotation is especially ironic, as right before her death Desdemona asked Emilia to change the sheets into their wedding ones as a sign of preparing for the big night with her love. This means that these mentioned by Iago bridal bed and sheets may signalize to the reader further course of the plot and highlight the huge juxtaposition: the bed and the sheets that were supposed to bring the couple happiness evolved into a symbol of their tragedy. In fact, the bridal bed is the place on which almost every dead body in this play lands in the end, what portrays the extreme changes that took place in a very short notice.

“I do not know, friends all, but now, even now,

In quarter and in terms like bride and groom

Divesting them for bed [...]” (2.3.175-177)

Is Iago gay?

There have been many discussions about Iago’s sexuality - some say that Iago is in fact homosexual and he wants to destroy Othello and his relationship with Desdemona out of jealousy caused by his unfulfilled love. However, such interpretation of Iago’s character is often made because people feel the need to justify such horrible actions as those presented by Iago. The truth is that this villain is an embodiment of evil, a character taking pleasure from causing chaos, trouble, and pain, as he not once shows any sign of regret, empathy, repentance or change. Humans always seem to seek for motive and need one - in case of Iago, he does not need motive, or more specifically, he’s only motive is to cause harm and enjoy its consequences. Therefore, the theory of Iago’s homosexuality is an overinterpretation that should not be taken under consideration while analyzing Shakespeare’s play.

The theme of womanhood in context of sexuality

The three women characters that are included in the play are supposed to represent women of different class and social status.

Desdemona is representing the highest social status and poses as a female role model, being referred to as a virtuous and loyal wife by several characters during the first few scenes of the play. She’s obedient and kind; even though Brabantio directly expresses his disappointment regarding Desdemona’s choice of husband, she remains respectful and thoughtful enough to not try to bother his father:

“​Nor I; I would not there reside,

To put my father in impatient thoughts

By being in his eye​.

Most gracious Duke,

To my unfolding lend your prosperous ear

And let me find a charter in your voice,

T' assist my simpleness.” (2.3.239-244)

Desdemona throws away her life in order to be with Othello and until the very end of her life, she remains obedient and in love.

Bianca is Desdemona’s polar opposite. She is Cassio’s lover and a mistress, thus being strongly linked with the theme of sexuality that appears throughout the play.

Despite her profession, Bianca seems to be very emotional about Cassio’s affection, frustrated at the way he disregards their relationship. Her jealousy of Cassio mirrors Othello’s jealousy of Desdemona. The character of a courtesan seems to serve as a way to emphasize Desdemona’s desirable traits of faithfulness and loyalty, and yet Othello is still incapable of telling the difference between the two types of women that Desdemona and Bianca represent.

A lot about how Bianca is presented and perceived by the male characters of the play can be seen in the way she is addressed or described by Cassio:

“​Go to, woman!

Throw your vile guesses in the devil's teeth,

From whence you have them. ​

You are jealous now

That this is from some mistress, some remembrance:

No, in good troth, Bianca​.” (3.4.179-183)

“​I marry her! what? a customer!​ Prithee, bear some charity to my wit: do not think it so unwholesome. Ha, ha, ha!​” (4.1.120-123)

Iago addresses Cassio’s problematic approach towards his lover as well:

“Now will I question Cassio of Bianca,

A housewife that by selling her desires

Buys herself bread and clothes: it is a creature

That dotes on Cassio; as 'tis the strumpet's plague

To beguile many and be beguiled by one:

He, when he hears of her, cannot refrain

From the excess of laughter​.”

What is also very interesting is that not only does Cassio speak of Bianca in a pitiful and disrespectful manner, but he also seems deeply fascinated by Desdemona’s presence.

“​Iago​ ​

Not this hour, lieutenant; 'tis not yet ten o' the clock. Our general cast us thus early for the love of his Desdemona; who let us not therefore blame: he hath not yet made wanton the night with her; and she is sport for Jove.

Cassio​

She's a most exquisite lady.

Iago​ ​

And, I'll warrant her, fun of game.

Cassio​

Indeed, she's a most fresh and delicate creature.​” (2.3.13-20)

“​An inviting eye​; and yet methinks right modest.” (2.3.23)

Referring to Desdemona in such a way and constantly emphasizing how perfect and exquisite she is, Cassio creates even a more vivid contrast between her and Bianca. It is worth noticing that while it is most often the women who are accused of disloyalty, it is the male characters, including Cassio, who continuously make suggestive remarks towards or about the three women.

The third female character is Emilia, who seems to connect numerous traits of both Desdemona and Bianca. She’s a working-class woman and Iago’s husband. She’s obedient and loyal towards her loved one, but at the same time stresses that any woman would cheat on her husband given the right circumstances.

It is interesting that all three of the female characters are accused of infidelity at some point of the play. The entire theme of womanhood is essentially defined by and built upon the virtues and sexuality of the male characters. Each of the female characters represents a woman of different class and status, however,

it is strongly suggested that all of these three women are fulfilling different kinds of men’s fantasies. Iago seems to be the only one to see that since the very beginning, as he is the one to tell Othello how hard it is to distinguish between a truly virtuous woman and one who plays the role she is expected to in a convincing way. The reliance of the representation womanhood on male characters’ vices and virtues directly relates to the important theme of gender that Shakespeare’s ​Othello​ touches upon.

Conclusion

How do Banksy’s works affect their audience? What is their message? What are the means with which the message is conveyed?

One of the most well-known graffiti artists in the world, vandal, political activist. Banksy’s phenomenon goes much beyond the visual aspects of the art he creates. Active on the streets of Bristol since the 1990s, pursuing his creative and political work, he started gaining recognition and popularity, eventually receiving the title of one of the most influential artists of our time. The aesthetic of his work can’t be narrowed or described in a few words - Banksy seems to be open to different art styles, techniques, and media, showing a wide range of artistic abilities.

Banksy’s creative input is most often associated with controversy. This specific controversy of his works lays mainly within the usage of themes that may be widely considered inappropriate or disturbing, within profanation of religious and public symbols (“Consumer Jesus” or “Napalm)”, or explicit and violent representations of power (“Graffiti Removal”, “Girl Frisking Soldier”). Centering his works around the issues of capitalism, consumerism, war, and inequalities, the artist has remained unbothered by the harsh criticism of his works given throughout the years, staying true to both his sample stencil-based style, but also to the directiveness and unforgiveness of his pieces. What at first was widely criticized has eventually grown to become the essence of Banksy. His tendency to raise up topics prone to be swept under the rug and use harsh, unpoetic metaphors are currently the main features to make him such a recognizable artist. To promote his ideas and carry out messages in his art, he directly addresses his viewers, very often challenging instead of pleasing, asking philosophical questions and provoking self-reflection. He strives for the receivers to be personally touched with his art, trying to transcribe his own cynical approach into the minds of others. The artist relies on provocativeness: his works are not supposed to be pretty or charming, but to evoke feelings, regardless if it’s happiness, sadness, anger. He exposes truths he believes in by turning to the receiver’s conscience and sense of guilt. Though always controversial, Banksy’s works usually promote simple ideas. The majority of his turn to peace, equality, and reasonableness regarding consumption. 

I. Consider this first statement delivered by Barack Obama after  Sandy Hook Elementary School Shooting.

What are his goals here? How does he achieve them? Obama’s main goal in this speech was to acknowledge the tragedy, to mourn the fallen and show compassion to their families, and to unite the nation in the face of a national tragedy while making a promise of changes. He achieves that primarily by using very emotional language and referring to his own personal experience as a parent.

How are his means suited to the occasion?  An important aspect of this speech is that Obama is not speaking about political plans, nor making direct promises of specific changes. He does not use this occasion to strengthen his position as a president, but to connect with the community of Newton. The language used and the issues he is touching upon seem to be purely a form of offering condolences and admitting the mistakes that America has made while failing to protect the youngest.   Any form of political preying off of such a tragedy would be intact and inappropriate. The eulogical structure and tone of the speech are very relevant as well, as it is the first statement delivered after the shooting and its main objective is to pay a tribute and acknowledge the fallen.

Do you find it effective? Why/ why not? Yes, I do find it effective. What makes me feel like the speech is incredibly effective in fulfilling all its goals and objectives is the fact that it is of high emotional value. Obama seems to be honest and shares a little of his personal experiences while still maintaining the official tone that a statement like this would require.

How would you comment on his delivery of the speech? The maintenance of the formal tone is very important, but so is the fact that Barack Obama allowed himself to show some emotion during the delivery of the speech. Being too emotional would be inappropriate in the sense that it would not show the mourning community that the nation will remain strong in the face of this tragedy while showing no emotion in the delivery of such an emotional statement could suggest a lack of empathy and compassion towards the mourners. This form of delivery, in which little emotion seep through a formal statement, seems the most appropriate, as it shows compassion and grief, but strength in the face of a tragedy as well.

II. Consider the speech made by Barack Obama during the Sandy Hook Prayer Vigil, 17 December 2011 (three days after the shooting). 

Culture, identity and community. How does this text explore “aspects of family, class, race, ethnicity, nationality, religion, gender and sexuality” (choose ones that apply), and the way these impact on individuals and the society?

Rage, The Flower Thrower (2005) by Banksy

Rage, The Flower Thrower is one of Banksy’s most known graffitis. Painted in 2005 on a wall in Jerusalem, it depicts what presumably is a protester during a riot, aiming and ready to throw his weapon. However, instead of a weapon, the rebel fights with a bouquet of bright, colorful flowers.

What is the most eye-catching aspect of this work is it’s size and the technique it is created in. The artist is well known for using stencils as a part of his art style. In this case, the stencil does not only serve the piece in a purely artistic, aesthetic way but also influences how the viewer perceives the rebel that it depicts. The rough, unperfect edges of the shape of the character created with the stencil and the use of dark, subdued colors help create a dark, gloomy mood. Even more so considering the pose of the character - dynamic, but also violent and full of visually visible aggression. This, along with the distinctive clothing clearly suggesting the nature of the situation depicted, creates a heavy, overwhelming vision. 

That gloomy vision is completely broken with the presence of the bouquet in the hand of the protestant. There is a clear juxtaposition of the dark colors and violent, dynamic pose of the character, with the bright, exceptionally vivid colors of the flowers. By creating such a contrast, Banksy highlights the presence of the bouquet and thus, brings a certain meaning to it. Given the location that Banksy had chosen for this artwork, one can easily state that this piece is a commentary on the problem of violence, with the colorful flowers as a substitution for a weapon being a clear representation of world peace.

Because the artist’s works are known as controversial and most of his pieces are meant to be as thought-provoking as possible, Rage, The Flower Thrower stirred a lot of controversy in the time it was painted. It was mostly the location that raised doubts - Jerusalem, as a place with a high gun and military presence, was a very interesting, but brave choice of site. What’s more, 2004-2006 were years in which a number of military conflicts bloomed in that area of the world, thus making Banky’s pacifism-promoting comment even more relevant.