Michael Gorski

ERH 321WX-01

Short Assignment on Othello

6 March 2015

Help Received: EasyBib to cite

Part A.

During the early modern time period in England, Venice and its culture were held in high esteem. The English believed that it was an upper level society, more sophisticated and modern compared to the city-states surrounding it. Hall analyzes two different aspects of Venetian culture. The glorified aurora ascribed by other societies and the harsh reality of Venice’s history. The English and other European societies had created a utopian society that was not representative of Venice’s actual circumstances.

Hall describes the idealized opinion of Venice held by most Europeans as “the Myth of Venice (Hall, 234).” Hall highlights four facets introduced by David McPherson that form the foundation for this “myth.” Hall states, “McPherson outlines the four components to this myth: Venice the Rich, Venice the Wise, Venice the Just, and Venezia Citta galante (Venice the Gallant City) (Hall, 235).” These perceptions were not just rumors and stories dreamt up by the citizens. Venice was a unique culture, but not as perfect as people created it to be. Venice was a modern culture that was ahead of the curve. During this time period, it was the commercial center of the Mediterranean and exercised firm control over trade in the Mediterranean. Trade introduced many foreigners to the Venetian population, and with these aliens came a wide range of political and religious beliefs. This is another reason why the Venetian society was viewed as superior. Their government was able to maintain control over such a wide range of peoples and operate successful business. These factors gave Venice the perception of being a glorified and advanced society. What the people of early modern England observed in Venice was not as prestigious in reality.

During the time period in which Shakespeare was writing Othello, The Moor of Venice, Venice was experiencing a slue of problems. The prominent issue that Venice experienced was the loss of Cyprus. This showed the weakened state of Venice and their loss of control of trade in the Mediterranean. English traders had taken over some of trade in the Mediterranean and Venice was concerned with keeping peace, which led to the development of a cowardly reputation. Corruption was now infecting the government that had once held a firm grasp on control. Authors attribute this failure to the freedom in which foreigners were allowed to conduct themselves within the city. Hall mentions that Venetian art displays blacks as a staple of Venetian culture. Other societies viewed Venice as a harlot by allowing such cultural diversity to go unchecked in their city.

To other European cultures, more specifically the English, Venice represented a more modern culture. There was a certain aurora surrounding the Venetian culture, which created what Hall describes as “the Myth of Venice (Hall, 234).” Venice was strong and powerful city-state that held control of Mediterranean trade and for a certain time period was the pinnacle of perfection for a society. The harsh reality of Venetian history is that it did not adhere to this myth for long. During the time Shakespeare was writing Othello, The Moor of Venice, Venice had declined from its former glory and lost the supremacy of Mediterranean. Hall highlights the two conflicting cultural views concerning Venetian society in early modern England.

Part B.

            A trending theme in Shakespeare’s plays is the idea of perception versus reality. This concept that Shakespeare consistently utilizes is seen in Othello, The Moor of Venice, in his challenging of what Hall calls “the Myth of Venice (Hall, 234).” Throughout the play, actions of certain characters show the differing views of Venice. Shakespeare reveals both elements of Venetian culture, the powerful and strong Venetian personality and the weakened and declining status. The character of Othello represents this well. Othello displays the concept of perception versus reality by analyzing and criticizing the Venetian society through the character Othello.

Othello’s personality displays the power that eventually declines in Venetian culture. In the beginning of the play, Othello is a bold and outspoken personality. In Scene 3 of Act 1, he is defending himself against the accusations of tricking Desdemona into marrying him. He presents a rebuke towards Brabantio’s claims and maintains order throughout the situation. There is no panic and his attitude is one of calmness. This represents the once powerful Venice that people knew and understood. His ability to maintain composure in a chaotic situation is descriptive of the Venetian government. During its prime, Venice had many foreigners going about their city, but still maintained a sense of order. It is during the decline of Venetian society that this composure is lost and Othello represents this transition.

As Iago begins to trick Othello into believing Desdemona has been unfaithful, there is a change in Othello’s attitude. His reasoning and judgment are nonexistent and he is easily swayed. Due to his unstable mindset, he has a seizure, murders Desdemona for being unfaithful, and kills himself. Othello’s ability to be easily swayed represents the loss of control that the Venetians had over Mediterranean. Othello’s character transition is a clear representation of the decline of Venetian power.

Shakespeare was displaying to the people of England the reality of Venice’s history. Most of England believed in this legend that Venice was a perfect society, invincible to anything. Shakespeare reveals the decline of Venice to show readers Venice was not the great entity they believed it to be. He does this through the character of Othello. In Othello, The Moor of Venice, the protagonist, Othello, represents the decline of Venetian society and supports Shakespeare’s argument for the weakened state of Venice.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Works Cited

Shakespeare, William, and Kim F. Hall. Othello, The Moor of Venice: Texts and      Contexts. Boston: Bedford/St. Martin’s, 2007. Print