Othello's Fears and 3.3 and Othello

Act III, Scene iii depicts one of the most dramatic transformations of a man in all of Shakespeare. In the space of one scene Othello moves from being a strong and decisive leader, able to quell social discord and mete out appropriate punishment, to a paranoid man who is driven by jealousy and a need to avenge his wife's putative infidelity. But we cannot really understand the collapse of his internal, mental world without emphasizing his minority status, his military identity, and his marriage to Desdemona. This and the next mini-essay will explore these themes.

Othello's Minority Status

This is not a new theme but it should be reemphasized here. As a minority, a black man in medieval Venice, Othello was subject to the racial stereotyping and scorn which the majority can easily, and without fear of reprisal, heap on the minority. The two aspects of his blackness that are most "suspect" in Venice are his sexuality and his exotic character/mystery/secrecy.

First, his sexuality. He is different from others because of his blackness, to be sure, but it is his suspected sexual prowess and insatiability that is the focus of comment. At times he may just be called "thick-lips" (1.1.66) but more often his sexual license and bestiality is stressed. For example, we have seen how Iago tries to arouse Brabantio's ire by lurid imagery of a "black ram" who is "tupping your white ewe." 1.1.88.

In addition, Othello's mysterious character, derived from his past experiences in fearful wars and dangerous travel as well as his acquaintance with cannibals and strange-shaped men, means that he is both a source of entertaining stories as well as potential for secret knowledge. Even his manner of speaking, which employs both a unique and tortured vocabulary as well as an awkward attempt to "fit in" to the Venetian world* suggests his strangeness.

[*For example, when Othello addresses the Venetian Senate he uses the following introductory words: "Most potent, grave, and reverend signiors,/ My very noble and approv'd good masters." 1.3.76-77. Not only does this form of address seem singularly out of place when one considers the relative informality of the body, but it would even have been too affected a style even to that most noble body, the Roman Senate. Search Cicero and you will not find another address with so much affectation. This is an example of what one might call "linguistic accommodation," where Othello tries to "fit in" by using common language but he does so clumsily, by using phrases and words that will make the distinguished senators roll their eyes, look at each other, and knowingly nod, as if to say, 'This guy is trying too hard to show that he is one of us.' Therefore, rather than emphasizing his "fitness" with the culture of Venice, Othello's language and address also stresses his alien identity.]

Struggling to Fit In

My contention is that Othello is aware that his vulnerability resulting from his minority status, manifest in suspicions about his sexual license as well as his secret knowledge, must be blunted by an unrealistic and hyper-sensensitive desire to cultivate the opposite of the things that bring accusation. We have already seen how Othello tries to deflect the accusation of his sexual appetite by telling the Venetian Senate that his sexual capacities are "defunct" (1.3.264--though one wonders why the desire for elopement if the "young affects" or "heat" are not there. Is this something that Desdemona also knows?)

But Othello also needs to avoid the sense that he operates out of the secrecy/mystery which is also part of his persona. He tried to deal with the sexual issue before the Venetian Senate in 1.3, but 3.3 is the place where he tries to deal (unsuccessfully) with the secrecy/mystery issue.

What Othello's minority status on this issue means is that he cannot act in a secretive or mysterious way in his dealings with people, and that he must be clear and transparent and even fastidious as to all details in his scope of responsibility. He cannot appear that he is making decisions or gaining his power by trickery or by any underhanded means. If he did so, he would be exposed and "outted" by the establishment. Thus, when there is a problem under his command (as there was in 2.3), he has to ascertain carefully the facts and then make a clear and transparent decision (to dismiss Cassio). His authority rests on his ability to be thorough, clear, straightforward, unbiased. Only when information is not available does his blood begin to boil (2.3.205ff.).

His entire discussion with Iago in 3.3 cannot be underestood without an awareness of the underlying dynamics described here. Othello is a person whose reputation and longevity as commander rests on his ability to minimize his mysterious character. Thus, when Iago begins to drop hints, beginning at 3.3.34 ("Hah? I like not that"), that something is amiss with Cassio's visiting Desdemona, Othello has no choice but to listen to every insinuation made by his ancient and pursue it wherever it naturally leads. What he does not realize, however, is that the skills that served him so well in a military capacity will not help him deal with the emotional turmoil and upheaval that he faces as he seeks to "get to the bottom" of the problem that Iago indirectly explores. Make no mistake about it, however. Othello's need to unravel the mystery of Iago's partial and noncommittal statements in 3.3 is driven primarily by his need, as a minority, to remove all mystery and secrecy and get to the heart of the issue presented to him.

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