Othello – Public vs. Private

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Show how Shakespeare demonstrates the contradiction between public face and private morality in “Othello”.

Many of the characters in Shakespeare’s tragedy, “Othello” are duplicitous to the extent that how they are perceived in public is not how they behave in private. This is not always intentional, although with a character such as Iago, it is difficult to encounter the real person as his life is an act.

Othello is seen as a brave and loyal soldier, but is initially presented as dark and dangerous by Roderigo and Iago. To Brabantio, Othello appears to have black magical powers, but in fact, the private truth is that Othello won Desdemona with stories of “disastrous chances … moving accidents [and] hair-breadth scapes”. Othello is concerned with his reputation and upholds a strict code of honour both privately and publicly. He dismisses Cassio as soon as he discovers his officer’s drunken actions. Similarly, as soon as he suspects Desdemona of adultery, Othello watches her like a hawk. Finally, the act of killing his wife is not an act of revenge for Othello, but of justice. He justifies his actions: “She must die, else she’ll betray more men”. Emilia initially believes that he killed Desdemona for no reason as Desdemona has appeared innocent to her throughout.

It is difficult to judge Iago’s private morality against his public face. Firstly, his public face varies depending with whom he is speaking. Secondly, analysing Iago’s private morality is challenging when he appears to have no morals in the first place. Iago is jealous of many people for various, often unjustifiable, reasons, yet at the same time is known to most as “honest Iago” and is their apparent friend. He appears to be loyal to Othello, helping him to “discover” his wife’s infidelity, but concurrently is plotting against Othello. It is again difficult to determine Iago’s public face as he is always acting and his “face” depends on his company. He has no qualms about embroiling innocent parties in his plans. Iago can act as Desdemona’s friend when Othello leaves her in his charge and then Iago turns around and plants seeds of suspicion in Othello’s mind about her fidelity.

While Desdemona appears to be all that is good to the audience, it must be remembered that she betrayed her father’s trust when she married Othello and she later lied to her husband about the handkerchief which was to become so important. To Othello, Desdemona appears to be “that cunning whore of Venice”. Yet she is in fact innocent, to the extent that she does not even comprehend why some women would be unfaithful to their husbands. It is her apparent favour towards Cassio that leads to the incorrect conclusion that her private attitude mirrors her public one toward him.

Cassio is loyal to Othello and trusts people. In private, Cassio appears a nastier man as he has an awkward relationship with his wife, Bianca, asking her to copy the handkerchief and flaring up at the suggestion that it means he is being unfaithful. Cassio’s public face shows how he is concerned with his reputation. He is dealt a hard blow when Othello dismisses him for his drunken behaviour when in fact it is not even his fault that he is intoxicated. Elements of Cassio’s public face are built on misconceptions engineered by Iago. Othello believes Cassio is having an affair with Desdemona when this is not the case at all.

Roderigo is a basic character in that Iago sees both his private and public faces. He is in love with Desdemona, but Iago knows that and Brabantio is also aware of the fact, but vowed “my daughter is not for thee”. Roderigo’s gullibility leads him to carry out all Iago’s little tasks that will bring those around him to their downfall.

Brabantio’s public face is that of a dignified Senator, highly respected by those around him. However when facing Othello over the issue of Desdemona, he becomes less dignified. He declares Othello a “foul thief”, having no other basis for this remark than the words of Iago and Roderigo. Othello’s calm, respectful manner of addressing him shows the normal regard that Brabantio earns.

Desdemona’s companion, Emilia, has little difference between her public face and private morality. She has a very open character and is not afraid to express her views, regardless of any pressure placed upon her “I will not charm my tongue; I am bound to speak”. She appears cynical towards men “they eat us hungerly, and when they are full, they belch us”. She is always devoted to Desdemona and is remorseful after her death. Similarly, Emilia is expected to be faithful to Iago in the same way that she obeyed him by taking the handkerchief as he asked. However, she tells her side of Iago’s plan, revealing that he asked her not take the handkerchief.

Shakespeare uses the different faces of each character to develop the complexities of Iago’s plan. Iago manages to influence the perception of characters by deliberately misinterpreting their public actions. Desdemona’s kindness towards the dismissed Cassio becomes evidence of her infidelity. Characters appearing to be honest, upstanding members of society are paradoxically undignified, jealous and often plotting against those around them. Iago’s many public faces conceal a jealous, conniving private face. His outward loyalty to Othello leads Othello to believe him to be “full of love and honesty”. Cassio’s loyalty is dismissed after being unjustly punished for his drunken fighting. It is Othello’s strict code of honour both publicly and privately that leads to his unjustifiable judgement against Desdemona.

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