One constant that can be seen through every single day and age, that has had a profound impact on every single event that has ever happened, is emotion. As humans, we have natural responses to everything that happens to us, around us, or through us. Among the more powerful is jealousy. Typically characterized as negative, it arises when one person is envious of something else, whether it be wealth, possessions, or passion. One of the most common avenues through which jealousy arises is through love. Whether it is a desire for a particular person’s affection or simply affection itself, jealousy can be a powerful enemy, if not closely guarded. In Othello, Shakespeare affirms the social perceptions of early modern England concerning jealousy and affection, and how easily they can be used for evil.

The concept of marrying for love or affection is relatively new. In the early 1600’s, the phrase “knight in shining armor” had no figurative meaning. Marriages were arranged for social or economic reasons, and the bride often had no choice in the matter. Indeed, a tangible distrust for love as a means to matrimony was apparent, due to the emotions that it has the potential to evoke. Robert Burton, an English scholar from the time period, writes,

Of all passions . . . Love is most violent, and of those bitter potions which this Love-Melancholy affords, this bastard jealousy is the greatest, as appears by those prodigious Symptoms which it hath and that it produceth . . .’Tis a more vehement passion, a more furious perturbation, a bitter pain, a fire, a pernicious curiosity, a gall corrupting the honey of our life . . . (335-6)

Not all may have felt this strongly, but the message is clear: individuals can’t control their emotions. More than just affecting judgment, they can drive people to action that they wouldn’t usually undertake.

Similar to everything else, the danger in emotions stems from the extremes. A healthy dose of fear serves to keep individuals safe, while paranoia can be classified as a mental illness. During this time period, some saw jealousy as an extreme form of love. Writers often portrayed them as counterparts (328). However, not all love begets jealousy. Perhaps, then, it was the fear of what love could induce, rather than fear of love itself.

Othello manages to singlehandedly confirm all of these fears. After falling in love with Desdemona, he almost immediately begins to fall prey. Once Iago plants the idea that Desdemona has been cheating on him, Othello becomes so distraught that he actually has fits of epilepsy on more than one occasion (4.1.47-8). The simple thought of marital unfaithfulness is enough to worry any man, but he takes it especially far. Dominating one’s thoughts is not unheard of, but that’s difficult to illustrate in a play. Shakespeare went so far as to have an actual physical manifestation of the effects of jealousy in order to make a point about the danger. Othello’s love for Desdemona made him so prone that it literally took him over.

Even worse was the impact it had on others. Othello allowed his jealousy to continue to grow until he was so overcome with rage that he killed Desdemona for her imagined crime of infidelity (5.2.88). Even though Othello is portrayed as being naturally jealous, having one’s judgment, and ultimately actions, affected by emotion is common to everyone. Reasoning is clouded, and even if a person is aware of their state, it often makes little difference. All that matters in the moment is the emotion, and having it satisfied. To a bystander, the correct choice is clear. Othello could have confirmed his suspicions before carrying out his revenge, but in his fit of jealousy, nothing else mattered.

On the surface, Othello can be seen as a caution against love. There were multiple instances, and none turned out for the better. However, it wasn’t all bad, even if most marriages were arranged for more tangible reasons. Confirming early modern England’s social perceptions regarding jealousy was one theme of the play, but another aspect was to serve as a warning. It doesn’t take a villain such as Iago to turn one’s emotions against them.

Works Cited

Burton, Robert. Anatomy of Melancholy. By William Shakespeare. Boston:  Bedford/St.               Martin’s, 2007. Print.

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