CORINNENOTES
QUESTION 5.
CONSIDER THE USE SHAKESPEARE MAKES OF LIGHT AND DARKNESS IN "OTHELLO".
The conflict between light and darkness is one which dominates "Othello". Through it Shakespeare explores the importance of Othello's race, the conflict between Desdemona and Iago and the eternal issue of whether darkness is able to "put out the light".
The conflict between light and darkness is, by extension, the conflict between good and evil. This is personified by Desdemona and Iago. Desdemona is the representation of light and goodness: "heavenly light" and it is these factors which dominate the opening Acts of the play. Othello's relationship with Desdemona is one of equals, "my fair warrior", which appears to be triumphing despite the objections of Brabantio . This relationship with Desdemona means that Othello is closely related to "the light" and his language reflects this with his frequent use of images of "heaven". Cassio also acknowledges Desdemona's role: "divine". That the first Act of the play takes place in Venice, which represents order, underlines Othello's position and the temporary triumph of Desdemona and all she represents.
Iago, however, is the personification of darkness. As Othello's language intially reflects light Iago's is full of images of darkness and hell: "Hell and night/ Must bring this monstrous birth to the world's light". Unlike Desdemona however the characters do not realise Iago's true role, seeing him instead as being "honest". This difference between appearance and reality is one which Iago exploits and is shown in the paradoxes which he uses; "Divinity of Hell". His use of imagery of entrapment ("make the net that shall enmesh them all") helps to highlight how the evil and darkness which he represents is deliberately destroying Desdemona and Othello's "light". Some critics however have questioned whether Iago is the personification of evil and darkness or merely an opportunist (see Question 3). Indeed he has a range of motives from jealousy over Cassio's position to his suspected feelings for Desdemona. Yet the imagery which surrounds him makes his character much more sinister and that his destruction of Othello should be so complete (and extreme) means that there is definately more darkness than light in Iago's character.
Shakespeare uses other characters in the play to aid the audience's interpretation of light and darkness. Emilia states that she could not commit adultery "by this heavenly light" but that she "might do 't as well i' th' dark". This links with the other sins commited in the play, for example Act 5 Scene 1 takes place "i' th' dark" to highlight how darkness is triumphing. Emilia is also echoed by Iago in the following scene: "kill men i' th' dark"- linking their characters. Emilia does not embody darkness as Iago does but she equally does not embody light as Desdemona does. In such a world of apparent extremes Emilia provides the audience with a convincing portrayal of an individual trapped between the two.
The issue of Othello's race is also highlighted by Shakespeare's use of light and darkness. Othello is often refered to in terms of racial stereotypes: "thick lips", "black ram" - highlighting his role as the outsider. Even though it is commented that Othello is "far more fair than black" it still highlights the differences between him and the "fair" Desdemona. Desdemona may see Othello's "visage in his mind" she does not, cannot, truely understand him. This is equally true of Othello, who knows only of the "tented field". Given this it is unsurprising that Othello is so open to the darkness of Iago
Othello's descent into madness (and darkness) is characterised by the breakup of his language. He adopts the more sexual imagery of Iago: "hot, hot and moist" and abandons Desdemona's imagery of heaven, which is now made merely of "marble" (see also Othello's Language). Iago manipulates Othello so that their roles are reversed - Iago is leader and Othello is follower. Othello's descent is so complete that it does appear to the audience that Iago has nearly managed to "put out the light".
The light which Desdemona represents cannot be extinguished so easily though. Before Othello murders Desdemona the imagery in his language returns: "O balmy breath". Equally just as Iago's darkness influences Othello, Desdemona's light influences Emilia. Emila starts as a minor acomplice to Iago, "I know not madam" but proves to be the weak link in his plan. That Othello realises the truth about "honest" Iago also shows the triumph of light - and leads to the partial redemption of Othello. There is no such redemption for Iago however with him being unrepentant: "what you know, you know" and then being labelled as a "demi-devil". This denunciation of Iago and everything he represents adds to Othello's status as a tragic hero and it has been suggested that Shakespeare included it to prevent Iago from becoming the anti-hero of the play. Even with this denunciation the triumph of light is not complete and Iago's darkness still casts its shadow.
Othello, ultimately, is a character trapped between light and darkness. Emilia's labelling of him as "the blacker devil" is unjust. It would be easy, if only the characters of Desdemona and Iago were explored to see Othello's choice as being one of either good or evil. This however is would be a highly simplistic view. It is not a play of right or wrong, black or white but one which has ambiguous areas and shades of grey. Othello's character is trapped somewhere bewteen Desdemona's light and Iago's darkness, eternally in limbo.