“Explore the theme of religion in Othello.”
Religion is central to the tragedy Othello. From the determined convictions of characters like
Desdemona and Othello to the complex manipulation by Iago, religion's influence is evident
in every aspect of the play. Shakespeare particularly illustrates the theme of religion through
the concept of good and evil throughout the play and Desdemona’s gentle, submissive
nature.
Good and evil is aided by the exploration of religion throughout Othello. Othello himself is
initially presented as a virtuous, honourable man through his eloquent speech and
excellence as a general, in a healthy, loving relationship. This force of good in the play is
quickly penetrated by “honest Iago”, a character that Shakespeare ironically uses to
intertwine evil into the play. Iago’s manipulation is expressed through blasphemous
language from the start of the play, seen where he warns Brabantio that the “devil will make
a grandsire of you.” Shakespeare uses the religious metaphor to reflect Iago’s malevolent
nature, portraying him as a figure of evil who uses religion to plant false ideas in the minds
of other characters. This reveals the extent of his duplicity and evil nature, with religion held
in high regard in venetian society. Shakespeare shows Iago using this to his advantage to
successfully strike fear into Brabantio and drive a loving couple apart. In the same style, Iago
says to Roderigo, “What delight shall she have to look on the devil?” Shakespeare similarly
uses devil imagery again when Iago manipulates Roderigo to do his bidding, successfully
likening Othello's characteristics to that of a devil's. He knows that by using such strong
language that is not normally heard or used would make it have a heavier impact.
Shakespeare does this to convey the true extent of Iago’s evil and to demonstrate how
religion intertwines with the fight between good and evil. Coleridge stated that “Iago is a
being next to the devil, driven by motiveless malignity”, furthering the idea that the theme
of religion is heavily intertwined with good and evil. Shakespeare particularly crafts Iago to
act as a representation of extreme evil and the devil, explored in his shocking actions of lying
and deceit, which were both much more serious crimes in the Jacobean era. This would’ve
meant Iago was perceived as the evil force battling against good.
Religion is explored by Shakespeare through Desdemona’s submissive, gentle nature.
Desdemona, despite damaging accusations and a cold attitude from the husband who loved
her passionately within the first scenes of the play, continues to remain obedient and loyal
to Othello beyond limitations a contemporary audience would expect. This is demonstrated
in Act 4, after Iago has successfully manipulated Othello into believing Desdemona’s alleged
affair. Desdemona continues to be a loyal, loving wife, even when Othello labels her a “devil”
and says that her tears would “prove a crocodile”. Othello explicitly accuses her of feigning
emotions, crying out to evil forces for help dealing with her adultery. Despite this,
Desdemona meekly states “I will not stay to offend you”. Shakespeare’s use of the negative
modal verb highlights Desdemona’s calm demeanour, and her will to please Othello even as
their relationship becomes a battle of good and evil. This is further seen when Othello
addresses her with the derogative title, “mistress”, as she politely replies, “yes my lord?”.
The rhetorical question creates a sense of pathos, as the audience begin to pity her devotion
and loyalty. This stems from the high esteem religion is held in, and the Christian
expectations of a good wife- to be loyal and obedient. Throughout the play, Desdemona
Religion is central to the tragedy Othello. From the determined convictions of characters like
Desdemona and Othello to the complex manipulation by Iago, religion's influence is evident
in every aspect of the play. Shakespeare particularly illustrates the theme of religion through
the concept of good and evil throughout the play and Desdemona’s gentle, submissive
nature.
Good and evil is aided by the exploration of religion throughout Othello. Othello himself is
initially presented as a virtuous, honourable man through his eloquent speech and
excellence as a general, in a healthy, loving relationship. This force of good in the play is
quickly penetrated by “honest Iago”, a character that Shakespeare ironically uses to
intertwine evil into the play. Iago’s manipulation is expressed through blasphemous
language from the start of the play, seen where he warns Brabantio that the “devil will make
a grandsire of you.” Shakespeare uses the religious metaphor to reflect Iago’s malevolent
nature, portraying him as a figure of evil who uses religion to plant false ideas in the minds
of other characters. This reveals the extent of his duplicity and evil nature, with religion held
in high regard in venetian society. Shakespeare shows Iago using this to his advantage to
successfully strike fear into Brabantio and drive a loving couple apart. In the same style, Iago
says to Roderigo, “What delight shall she have to look on the devil?” Shakespeare similarly
uses devil imagery again when Iago manipulates Roderigo to do his bidding, successfully
likening Othello's characteristics to that of a devil's. He knows that by using such strong
language that is not normally heard or used would make it have a heavier impact.
Shakespeare does this to convey the true extent of Iago’s evil and to demonstrate how
religion intertwines with the fight between good and evil. Coleridge stated that “Iago is a
being next to the devil, driven by motiveless malignity”, furthering the idea that the theme
of religion is heavily intertwined with good and evil. Shakespeare particularly crafts Iago to
act as a representation of extreme evil and the devil, explored in his shocking actions of lying
and deceit, which were both much more serious crimes in the Jacobean era. This would’ve
meant Iago was perceived as the evil force battling against good.
Religion is explored by Shakespeare through Desdemona’s submissive, gentle nature.
Desdemona, despite damaging accusations and a cold attitude from the husband who loved
her passionately within the first scenes of the play, continues to remain obedient and loyal
to Othello beyond limitations a contemporary audience would expect. This is demonstrated
in Act 4, after Iago has successfully manipulated Othello into believing Desdemona’s alleged
affair. Desdemona continues to be a loyal, loving wife, even when Othello labels her a “devil”
and says that her tears would “prove a crocodile”. Othello explicitly accuses her of feigning
emotions, crying out to evil forces for help dealing with her adultery. Despite this,
Desdemona meekly states “I will not stay to offend you”. Shakespeare’s use of the negative
modal verb highlights Desdemona’s calm demeanour, and her will to please Othello even as
their relationship becomes a battle of good and evil. This is further seen when Othello
addresses her with the derogative title, “mistress”, as she politely replies, “yes my lord?”.
The rhetorical question creates a sense of pathos, as the audience begin to pity her devotion
and loyalty. This stems from the high esteem religion is held in, and the Christian
expectations of a good wife- to be loyal and obedient. Throughout the play, Desdemona
