Kristin Copeland
Paper 2
2/1/05
ÒI am a Rock, I am an IslandÓ
In my psychology class, I learned that being an only child can be detrimental to oneÕs ability to form and maintain relationships. One simply never learns the conflict-solving tactics that those forced to interact with several children from birth do. Thus single children tend to develop taciturn and fiercely self-sufficient personalities, bearing the mark of that solitude the rest of their lives. The interesting thing about this behavior is that it is exactly the same process that any person who becomes marked as an outsider, a loner or a ÒdifferentÓ foreigner goes through[SM1].
Othello experiences these feelings of isolation and self-reliance as he has visibly been marked as ÒdifferentÓ simply because of the dark color of his skin. He is a ÒMoorÓ who has had to forge his military success on his own. Loving Desdemona and receiving her love is a new experience to him, which explains his inability to fully communicate his fears and feelings to her and his willingness to doubt that such a good thing could indeed be true and last forever[SM2]. He has been jaded[SM3] by a life lived essentially alone: ÒHaply for I am black and have not those soft parts of conversation that chamberers haveÓ. The setting of the island of Cypress reflects OthelloÕs single stature as he too, like a rocky island, is buffeted by the wind and manipulative stormings of Iago[SM4]. In fact, Iago uses this severing isolation in many of his underhanded doings: he isolates his wife Emilia so she will attempt to win his attention and favor back (thus bringing about the boon of the handkerchief as well as her silence), he isolates Cassio from Iago[SM5] through the drinking episode and he discourages Othello from directly confronting Desdemona, urging him to stand back and watch instead[SM6].
Roderigo is the only other character so visibly isolated. His only communication is with Iago, who kills him in the end. Poor Roderigo is yet another example of the dangers of being set apart from a group[SM7]. He is easier[SM8] prey for Iago, as is Othello. It is the basic tactic of the hunter; separate the prey from the group and then set upon him. Iago himself dwells in a state of isolation, as no one knows his true nature or thoughts[SM9]. He speaks often in soliloquies and asides, giving us a treacherous peek[SM10] into his evil soul. In fact, I believe that it is this emotional state of independence that is part of the motivation for Iago to manipulate and hurt. I think he wants others to experience the same isolation he does[SM11].
In the end, this wrenching isolation is a part in the death of all the characters that experience it most fully: Othello, Iago, Roderigo, Emilia and even Desdemona (the wife recently isolated from her family and home, and later, her husband[SM12]). Perhaps Shakespeare in his brilliance felt this same crippling isolation. He seems to be warning us against it. He is telling us to know our friends before we make them, but also to keep them as we are truly stronger together as[SM13] we are alone[SM14].
ÒKenneth as IagoÓ
I have an enormous crush on Kenneth Branagh. As such, it was incredibly difficult to watch such a fun-loving boisterous man be brooding, manipulative and spiteful for almost two hours. And yet, I could only marvel at his performance. I was struck by the ability of Kenneth to contort his face, particularly his eyebrows, so that it precisely conveys certain thoughts and emotions. I almost believe that Desdemona is cuckolding Othello because Kenneth believes it the second he says it. We discussed Laurence FishburneÕs expressive eyes (be they bright or dull) in class, but he has nothing on the expressive heart of BranaghÕs acting.
Kenneth, as Iago, talks and even moves like a snake. Iago thus comes across as a very patient and low-key villain, who strikes when the time is ripe. He composes his face so carefully that the few times a snarl does come through, it comes with a voracious fierceness which shocks the audience with its intensity[SM15]. The audience learns to search IagoÕs murky waters for his true emotions and thoughts beneath the surface.
In reading ÒOthelloÓ,[SM16] I got a slightly different impression of Iago then the one Kenneth Branagh gave me. I did not see Iago as so calculating and depressed. I had the impression that he took a sort of glee in his evil-doings and read such lines as ÒHow am I then a villain to counsel Cassio to this parallel course, Directly to his good? Divinity of hell!Ó with much more volume, delight and excitement than Branagh portrayed. But of course, once I saw how Kenneth did it, I was immediately persuaded to think his the appropriate choices. I think his subtle interpretation is far more effective as it is the silent black widow that scares one more than the boisterous barking dog[SM17].
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[SM1]Good writing,
but as an only child myself, I find this to be psychobabble.
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[SM2]Persuasive
and original analysis
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[SM3]wrong
word
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[SM4]nice
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[SM5]Othello
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[SM6]excellent
way of linking IagoÕs technique with OthelloÕs susceptibility.
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[SM7]Good! Though he does this also with
Desdemona, whoÕs become isolated physically and socially
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[SM8]easy
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[SM9]yes
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[SM10]unclear
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[SM11]plausible,
but could be supported by some of his language, especially toward Cassio, but
Othello and Desdemona in describing how they are incorporated into society by
their virtue and honor
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[SM12]yes, as
in comment 7
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[SM13]than
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[SM14]interesting
speculation, which could be supported by characterisation of people like Jaques
and Hamlet. But the isolated
Malcontent is also a stock theatre character.
A Kristin This is a strong thesis, beautifully supported with many specific examples. Your paper has coherent focus and yet offers insights that extend beyond those instances.
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[SM15]Excellent
observation and expression that captures the movement
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[SM16]punctuation
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[SM17]fine
characterization of his performance.
For contrast check out Bob Hoskins Iago in the BBC Othello.