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Othello: Jealousy - Coggle Diagram
Othello: Jealousy
Context
Individuals in Jacobean England were encouraged to be introspective - must improve from the inside appealing to their own conscience
Geohumoralism stated Africans were not naturally jealous but if provoked would respond violently - countries with warmer climates would produce more aggressive subjects - Africans as exotic creatures
Renaissance women were expected to be ruled by their husband so assertiveness would be seen as transgression of the established social order that legally made them possessions - Othello sees her infidelity as a question to his authority (underlying concepts of femininity and sexuality allow Iago to deceive Othello more easily)
Othello's jealousy
Jealous of Cassio and Desdemona - manipulation from Iago
Sexual jealousy leads to killing Desdemona - tragedy
Shakespeare draws on the stereotype of that African men are inherently jealous - inspired by Leo Africanus' A geographical History of Africa, a former Moroccan Muslim who converted to Catholicism
Geohumoralism - racialist, pseudo-scientific concept that linked psychology to the climate or geography (popular in Renaissance Europe- justify white-supremacist ideals)
'one not easily jealous but being wrought, perplexed in the extreme' (Act 5 , Scene 2) -
'I am black and have not those soft parts of conversation' (Act 3, Scene 3) - claims that his blackness presupposes him to rage - jealousy linked to his racial origin
Othello's rash decision making leads him to become obsessively jealous over Desdemona's sexuality - her unrestrained sexuality threatens him as it challenges his honour and masculinity
'her name, that was as fresh as Dian's visage, is now begrimed and black' (Act 3, scene 3) - fears surrounding female sexuality, purity and corruption
The handkerchief is a symbol of the progress from love to jealousy
The design represents female virginity and marital fidelity - sign of trust and loyalty
'I saw my handkerchief in's hand. O perjured woman! Thou dost stone my heart, and makes me call what I intend to do a murder' (Act 5, Scene 2) - Othello's rage from the motif of the handkerchief
All the characters handle the handkerchief at least once in the play - everyone is involved in private relationships which causes misunderstandings - central object that documents the conflict of D+O marriage - fallibility of the marital institution
Othello's rejection of the handkerchief causes Desdemona to drop it and symbolises the gradual loss of their love and initiates the beginning of the downfall of their marriage
Othello misinterprets its loss as a loss of fidelity and Desdemona's lack of assertiveness in regards to her innocence make her look guilty
Psychology - Othello displays cognitive jealousy when he behaves in an irrational way toward Desdemona which destroys their marriage within - association between cognitive and behavioural jealousy that lead to his ultimate downfall
Othello's speech at the start is calm, rational and assertive contrasting with Iago's directive, manipulative speech - unaffected by racial stereotypes and strong identity 'my perfect soul' (Act 1, Scene 2)
As Othello becomes jealous his perception of reality becomes distorted moving toward suspicion
In Act 3 his speech becomes emotionally extreme and unstable
His soul shifts from being 'content' (Act 2, Scene 1) to 'chaos' (Act 3, Scene 3) - shows how jealousy consumes him and destabilises his identity
Also leads him to use violent language towards Desdemona 'Excellent wretch! Perdition catch my soul' (Act 3, Scene 3)
As his jealousy grows Desdemona's dialogue decreases - loss of power and agency
Her loyalty and kindness toward Cassio are perceived as sexual treachery
Repeatedly calls Iago 'honest' which unintentionally reinforces his credibility contributing to her own destruction (Kermode)
Edward A. Snow argue her behaviour is not flawed but male jealousy exaggerates and pathologies female 'trivial indiscretions'
Her actions reflect social anxieties around female speech which was viewed as inappropriate or dangerous when directed toward men
As Othello becomes more aggressive, Desdemona submits other than resists, conforming to expected patriarchal roles
Othello's nobility is undermined by his naivety and excessive trust in Iago combined with rigid beliefs about male authority and honour
His perceived redemption allows him to integrate into Venice but is framed as forgiving his identity as a Moor
Othello's black and white thinking makes it easy for Iago to control him - once jealousy takes hold it becomes all-consuming shifting from love to hatred
In Act 5, Iago's plot is revealed and Othello recognises his jealousy destroyed their marriage
His suicide functions as self-punishment and partial redemption restoring moral order too late
Othello's conversion to Christianity gives him the ability to fit into Venetian society - diverting from teachings of good and evil is fatal
Constant temptations, physical war with Turks, psychological with inner selves
'I had rather be a toad and live upon the vapour of a dungeon than keep a corner in the thing I love for others' uses' (Act 3, Scene 3) - inner struggle of his wife's faithfulness manipulated by Iago
'Alas, why gnaw you so your nether lip? Some bloody passion shakes your very frame' (Act 5, Scene 2) - link between jealousy and conscience causes Othello's descent into raging passion
Jealousy drives the characters' actions in the play - jealousy is a symptom of society and institutions
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Sexual jealousy is an inevitable endemic within patriarchal societies that preach the ownership of women's sexuality by men
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Iago's jealousy
Status jealousy - resentment of authority
Cassio's promotion
Sexual jealousy - suspicion about Emilia and Othello
Iago uses jealousy as revenge
Uses others as tools to aid his revenge
It is central in driving the characters' actions
'O beware, my lord, of jealousy: It is the green-eyed monster which doth mock The meat it feeds on' (Act 3, Scene 3)- portrays sinful associations of jealousy and its corruptive nature