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Within Othello, Shakespeare uses language as a device to compel audiences to see people as
they really are, past the stereotypes and appearances that veil ones true nature. He explores
this through Iago's characterisation as honest which ensnares many in his web of deception,
the racial prejudice that constitutes Othello's otherness, and the Elizabethan social constructs
that dictate men's treatment of women. Shakespeares insight into the inner mechanisms of
deception and interrogation of race and gender concerns in Elizabethan England presents an
argument as relevant to twenty-first Century Australian values as it was at the time of
composition and illustrates how his work can stand the test of time.
In Othello, Shakespeare addresses the difficulty of distinguishing between appearance and
reality by creating three faces of Iagos character that is presented to the world. The first face
of Honest Iago, who appears to his companions as trustworthy, honourable and loyal,
contrasts the self-sufficient second face and the third face, who constantly declares that he
hates the moor, building the audiences empathy for Othello and tragic element of the play.
Through Shakespeares use of soliloquies, Iagos true nature is exposed; his innermost
thoughts and feelings that are kept hidden from other characters within Othello are revealed
to the audience who become collaborators with Iago (Michele Osherow, Insiders Guide:
Language in Othello) in his schemes. The audience witnesses Iagos treacherous ability to lie
through his teeth and weave a faade to take advantage of someones flaws and situations
when they arise, which is conveyed through the rhetorical irony in I persuade myself, to
speak the truth/ Shall nothing wrong him, highlighting his absolutely corrupted morality.
Shakespeare depicts peoples tendencies to believe the face value of words hence enabling
Iago to manipulate those around him, particularly Othello whose free and open nature/ That
thinks men honest that but seem to be so contrasts to that of Iagos. Shakespeares paradox
in Iagos dialogue with Roderigo, I am not what I am, alludes to the biblical statement
made by God in Exodus, I am what I am which compares Iagos deceptive disposition to
that of Lucifers, informing the audience of his position as the arch villain in this tragedy. The
most intriguing aspect of Iagos character is that we, as the audience are unable to unravel the
complexities of his deceptive nature and justify his behaviour. 19th-century poet and critic
Samuel L. Coleridge describes Iago as being defined by his motiveless malignity whilst
others comment on the numerous possible motivations for Iagos actions resentment at
Cassios appointment, hatred for Othello, and a deep infatuation with Desdemona. The effect
of Shakespeares use of dramatic irony and equivocal characterisation of Iago is to increase
dramatic tension for the audience by heightening their emotional investment and to provide a
haunting insight into the duality of the human psyche, prompting them to reconsider their
personal relationships and understand the true intent behind ones words.
In Elizabethan times, Moors were stereotyped as being driven by their sexuality, prone to
jealousy and aggression, emotionally volatile and generally depraved and wicked. These
attitudes inform the way characters like Iago, Roderigo and Brabantio treat Othello, and the
way that Othello views himself. Othellos alienation from Venetian society is the source of his
increasing sense of insecurity towards his relationship with Desdemona and his susceptibility
to Iagos manipulation; his calm, collected state of mind transforms into one that is mad with

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jealousy. Shakespeare portrays Othellos otherness through metaphors of animal imagery,

youll have your daughter covered with a Barbary horse, youll have your nephews neigh to
you and repetitively uses the racial epithets of the Moor, thick lips and black ram to
illustrate Othellos characterisation by others as barbaric and uncivilised. By juxtaposing
how others characterise him, Shakespeare attempts to break these racial stereotypes through
the rhetorical irony in Othellos first monologue where he says Rude am I in my speech/And
little blessed with the soft phrase of peace, demonstrating Othellos humbleness, eloquence
and erudite in order to prove to the audience that racial background and stereotypes do not
constitute to the behaviour of a person. Othellos amplified sense of otherness is depicted in
the hyperbole when he believes that Desdemona with Cassio hath the act of shame a
thousand times committed, accentuating his delusion in the midst of his insecure rage which
eventually leads to his self-depreciation. However, it is not Othellos jealous nature that
causes his downfall as the stereotype dictates, rather it is external forces of [Iagos] clever
manipulation of words (Insiders Guide: Language in Othello) that draws out the jealousy
from within and this is reflected in the Anagnorisis of the play. Shakespeare uses his language
to subvert the contextual attitudes towards 'Moors' and crafts a character with whom the
audience can empathise, compelling them to re-evaluate their own racial prejudices and
stereotypes of others as well as enlightening them of the undiscriminating nature of the
human condition.
Shakespeare moves outside conventional ideas of femininity and reimagines the role of
women to be individually strong, however, are silenced and forced to submit to societys
gender expectations. Both Desdemona and Emilia who dont talk much...fightto have a
larger voice (insiders guide: Language of Othello) at some point in Othello. Desdemona
perceives herself as a moth of peace, which metaphorically implies that she is passive.
There is irony in this as she takes advantage of the requirements of culture to draw attention
her subservient position as daughter and to win the sympathy of her audience (Smith, N.,
and Siegel, E. 2010. Desdemonas Inner Conflicts, Psychoanalytic Review), which portrays
her complexity as an intelligent female character who both simultaneously acknowledges and
transcends the Elizabethan archetype of the ideal woman as being chaste, silent, and
obedient. Desdemonas defiance of gender norms is further seen in her initiative to approach
Othello, who claims in his monologue that she thanked me and bade me, if I had a friend
that loved her, I should but teach him how to tell my story, /And that would woo her which
juxtaposes Brabantios perception of her as a maiden never bold who was abused and
stolen. This indicates that she is not what men characterise her to be. Whereas Desdemona
begins as a strong individual who is stripped of her identity by the end of Othello, Emilia is
introduced to the audience as a woman who is confined to gender norms but throughout the
play takes a more active role. At first, she deceives Desdemona about stealing the
handkerchief to be loyal to her husband, a symbol for Desdemonas fidelity to Othello, but
eventually speaks out against societys expectations. Shakespeares use of hypophora when
Emilia asks, what is it that they do when they change us for others/Is it sport? I think it is
And have we not desire for sportas men have?, provides an insight into her thoughts about
societys discrepancies of gender stereotypes, emphasising how women should be treated as
human beings and not property. Through the figurative language in I will speak as liberal

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as the north;/Let heaven and men, and devils, let them all, /All, all cry shame against me, yet
Ill speak, Emilia is empowered by Shakespeare to showcase her resolution to rebuke the
idea of female silence and gain justice for all the women who have suffered from mens
abusive treatment and restrictions, which ratifies her as a proto-feminist for the contemporary
audience. Shakespeares mastery of language allows him to reveal the thoughts of those
whose speech are limited, thus teaching the audience that behind the gender stereotype of
women, real human flesh of varying character, emotions and opinions exist.
Throughout Othello, Shakespeares characterisation of personalities with his masterful use of
language effectively encourages his audiences to judge a person by their true character rather
than their appearance. He challenges the prevailing discourse of the Elizabethan era through
the subversion of traditional gender values and racial stereotypes and investigates the ever
present complexities of human nature and within human relationships. Thus, the study of
Othello demonstrates the significance and relevance to a contemporary audience as its
didactic elements leave them with an enduring fascination.