Comparing Vulnerability And Virtue In Shakespeare's Othello

Vulnerability Save Virtue

In general, people try to understand more than the outside appearance of those around them, while hiding their own inner character so as to not feel vulnerable. This is an example of one of the many paradoxes of semblances, defined as the outward appearance and how it is perceived by others. The play, Othello, by William Shakespeare addresses the complexity of semblances by examining the apparent virtues of different characters. Cassio, Othello, and Iago are perceived by other characters to be virtuous, and each attempts to maintain this semblance for various reasons; in the end, they are unable to uphold this appearance as it conflicts with their true feelings, thus proving that maintaining a semblance of virtue will

As Iago consoles Roderigo, who feels he cannot help but feel love for Desdemona as it is in his character, Iago responds that character is not irreversible: “Virtue? A fig! ‘Tis in ourselves that we are thus or/ thus. Our bodies are our gardens, to the which our/ wills are gardeners” (1.3.361-363). Iago uses the word virtue to condemn the idea of character. He refuses to believe that anyone is truly virtuous and thereby dismisses any reference to virtue as a “fig,” which relates to something of little value. The metaphor to make a body a “garden” and “will” the gardener implies that Iago believes a person’s motives can shape their appearance; Iago uses his own will to create a semblance that is beautiful in the minds of others, just as a garden is created by gardeners for other people’s enjoyment. However, Iago does so at the expense of his own character. Believing in other people’s dishonesty enables Iago to put up a false appearance, since he assumes everyone else does the same. Iago’s distrust of others makes him unable to reveal his true nature, therefore making him unable to find contentment with his own character. With these actions Iago pushes himself further down a road of distrust, causing him to hate anyone whom he deems to be feigning virtue, such as

Initially Othello creates a sense of virtue through his belief in himself. When accused of witchcraft in gaining Desdemona’s heart, Othello is certain of her love for him claiming that “My parts, my title, and my perfect soul/ Shall manifest me rightly” (1.2.36-37). In this case, Othello believes that because his semblance matches his inner purity, he will inevitably have a greater future, especially in relation to Desdemona. This self-aggrandizement allows Othello to be confident that his purity leads to a great destiny. Still, when Iago convinces Othello that Desdemona might have slept with someone else, Othello shows doubt in himself, saying; “Haply, for I am black/ And have not these soft parts of conversation/ That chamberers have,” and then further stating that Desdemona cheating on him is “destiny unshunnable like death” (3.3.305-307,316). This conversation represents the first time Othello admits to self-doubt. Othello questions his own appearance by questioning the color of his skin, comparing himself to a “chamberer,” which is a womaniser. The comparison between himself and someone so unfaithful to woman reveals how Othello is questioning the strength of his and Desdemona’s love, which causes him to question his sense of virtue as a whole. Again, the idea of “destiny” appears, yet this time it is tied to the word “death.” The