From the time of Adam and Eve to those clichéd Hallmark movies, questions about love and its nature proved to be one of humanity’s dangling questions. In one classic attempt to answer this question, Virgil once said, “omnia vincit amor”. But if this is the case, is love something so destructive as to be the subject of a violent excursion as subjugation and defeat? The question that I would like to pose in this article is to what extent love is a destructive force in literature. And of course, Shakespeare, being the literary giant that he is, cannot be ignored in any discourse. This article will examine how Shakespeare examines the intricate concept of love, specifically in Othello, providing evidence of its positive effects but also highlighting its potent destructive abilities. It posits that, as the play unfolds, the destructive nature of love becomes apparent and catalyses the tragic plot, emphasising how love destroys individuals by blinding them to be animalistic and irrational.
The portrayal of love in Shakespeare’s Othello can, in some ways, be construed as a transformative force, particularly evident in the dynamics between Desdemona and Othello at the beginning of the play. This idea is exemplified through Othello’s evident admiration and respect for Desdemona, along with their love acting as the cord to convalesce his soldierly side with a lover’s. Both these points are demonstrated when Othello declares Desdemona as his “fair warrior”. This term of endearment can be understood as a sign of Othello’s respect towards Desdemona, especially since the term ‘warrior’ has heroic and knightly connotations. Moreover, despite the term ‘warrior’ having a violent undertone with its regards to warfare, in this context it shows the convergence and integration of Othello’s military self with his romantic self. This goes to elucidate the transformative, not destructive, power of love for two reasons. One, Othello’s respect for Desdemona goes against the Elizabethan societal expectations of the power dynamic between a man and a woman in a relationship. The other reason is that Othello’s love for Desdemona becomes the medium via which he is able to reconcile his martial tendencies with romantic ones.
Nevertheless, such analyses of Othello and Desdemona’s relationship is problematic in numerous ways, especially when it comes to the question of the authenticity of Othello’s romantic gestures. His exaggerated and melodramatic expressions stand in stark contrast to Desdemona’s more understated responses, suggesting a lack of genuineness in his affection. For instance, following his impassioned epithet for her as “my fair warrior”, Desdemona gently replies with “my dear Othello”. Consequently, attributing Shakespeare’s message of love as inherently transformative based solely on Othello’s superficial proclamations neglects the complexities of the characters’ interactions. Othello’s subsequent betrayal of Desdemona further underscores the fragility of his professed love, revealing its disingenuous nature in the face of adversity. If this is the case, could it truly have been Shakespeare’s intention to depict love as a potent and enduring force capable of effecting genuine positive transformation?
To fortify the argument asserting the destructive nature of love in Shakespeare’s Othello, it becomes apparent that the conflicts within the narrative stem predominantly from romantic motives, notably embodied in Desdemona’s unquestioning devotion and Othello’s consuming jealousy. Firstly, Desdemona’s unwavering commitment to love precipitates her tragic demise. When questioned by Emilia about the perpetrator of her death, Desdemona absolves Othello of blame, assuming full responsibility: “Nobody; I myself. […] commend me to my kind lord!” Her repetition of the first-person pronoun accentuates her self-blame, demonstrating her submission to Othello even in her final moments. The act of requesting Emilia to “commend” her to Othello further underscores Desdemona’s subordination, indicative of the power dynamics influenced by her love. This contrast between Desdemona’s guileless affection and Othello’s unfounded suspicions and jealousy elucidates the potential for seemingly innocuous love to catalyse violence. Through Desdemona’s portrayal as a victim of unconditional love and Othello’s descent into irrational jealousy, Shakespeare illuminates the blinding and irrational aspects of love, suggesting its propensity to lead individuals astray. Desdemona epitomises the peril of steadfast devotion, while Othello’s jealousy serves as a catalyst for a cascade of self-destructive actions.
Not only is the destructive nature of love reflected in the protagonist’s relationships, but love is also portrayed as an animalistic and irrational force in Iago’s manipulative speeches. Iago’s derogatory descriptions of Othello’s relationship with Desdemona emphasise the primal nature of their love. For instance, when Iago says, “An old black ram […] tupping your white ewe” and “covered with a Barbary horse,” he employs animalistic imagery to reduce their love to mere instinctual urges. This animalistic portrayal suggests that love operates on a primal level, devoid of reason or rationality. Moreover, Iago’s statement, “We have reason to cool our raging motions, our carnal stings, our unbitted lusts,” further reinforces the idea that love is driven by mindless actions and lacks the restraint of reason. This is evident from his usage of the phrase “raging motions”, where the mention of “motions” hints towards love being a mindless and purely physical act which is further highlighted by the description “raging”, which lends the phrase a feeling of relentlessness and no restraint. Within the whole statement, the rule of three serves to emphasise the inextricably interconnected nature of love and lust. Shakespeare’s use of such language serves to undermine the sanctity and nobility traditionally associated with love. By portraying love as mindless and irrational, the play suggests that it can easily be manipulated and exploited by individuals like Iago, who use it as a tool to fuel their own sinister motives. This depiction of love as animalistic and mindless adds a darker dimension to the exploration of love in Othello, highlighting its potential to be twisted and corrupted.
Hence, whilst love initially presents itself as a positive and hopeful force in Othello, the ultimate tragedy unfolds as a result of its susceptibility to corruption. The play demonstrates that love, even when it begins with pure intentions, can be easily distorted and manipulated. Shakespeare highlights the fragility of love and its vulnerability to external influences, ultimately portraying it as a force that can be easily tainted and perverted. The play serves as a cautionary tale, reminding us of the potential dangers that lurk in Shakespeare’s love, our heart’s desires, and maybe even in those tacky Hallmark movies.
Viki Park
Content Creator
