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Introduction
Strong convictions pave the way for great actions. In his play Othello, Shakespeare explores the extent to which characters display strength of conviction when confronted with societal expectations from them by developing ideas around constructs such as objectification of women, prejudiced pride, and warped masculinity. The struggles of the characters show that if one has strong conviction then they will find the determination to stand by and do what they believe in, irrespective of whether or not other people approve and support. Individuals measure up to their convictions when they confront the belief structure of others if they are able to overcome the conditioning of deficient social constructs. In other words, conviction is worthless unless it is supported by confidence.
Objectification of Women
Objectification of women is an important concept that Shakespeare impressively incorporates throughout Othello to emphasize the importance of strength in ones conviction when dealing with the viewpoints of others. Brabantios lament that She is abused, stoln from me, and corrupted (Act 1, Scene 3) is proof that unmarried women are considered to be their fathers property. In that male-centric scenario where womens affairs are normally managed by men, Desdemonas bold determination to make her own decision to marry Othello provides evidence of the strength of her convictions when faced with imbalanced gender roles. Furthermore, Othellos subsequent justification, I won his daughter (Act 1, Scene 3) points openly at a continuation of the proprietary equation that underlies his relationship with Desdemona as husband and wife. She is also called a jewel , land carrack , and silver , which humiliatingly equates her to a prized possession. The degradation, however, is of absolutely no significance for Desdemona and she takes all of it in her stride till the very tragic end of her life simply because she is only really concerned about enjoying being in love with Othello.
The play is characterized by a patriarchal outlook that skews gender roles to minimize the self-worth of women. So, interestingly, it could also be argued that Desdemona and the two other female characters with speaking roles in the play primarily resign themselves to subordinate roles. To portray that the social constructs set for women of that time idealized meekness, Shakespeare uses subservient expressions such as Desdemonas acknowledgement Whateer you be, I am obedient (Act 3, Scene 3), Emilias disclosure I nothing but to please his fantasy (Act 3, Scene 3), and Biancas declaration I must be circumstanced (Act 3, Scene 4). These three responses are examples of matter-of-fact revelations indicating that the women echo a submission to gender roles that assert misogyny because as wives and female lovers they unquestioningly offer loyalty and compliance to their husbands and male lovers. The submission to imbalanced gender roles demonstrates lack of willingness to stand up for themselves. Focus on the conditioning of these women to endure subordination highlights that their relationships are governed by rigid societal customs that women should be obedient and dutiful.
Prejudiced Pride
Shakespeare develops the idea of prejudiced pride by building around matters of racism and bias in order to highlight the uprightness of ones convictions. From the very beginning, social dynamics in the plays setting are marked by racial intolerance and notions of superiority against Moors. Commenting on the relationship between his daughter Desdemona and Othello, Brabantio cautions the Senate members, For if such actions may have passage free, bond-slaves and pagans shall our statesmen be (Act 1, Scene 3). His warning reflects a foresight that allowing interracial relationships or marriages will lead to the demolition of social hierarchy, which will pave the way for lower-class and outcasts of society to eventually assume powerful positions in governance. At that point, though her fathers dishonor and societal disapproval are inevitable, Desdemona has the courage to put forth her position in a delicate yet deliberate manner. In one breath she tells her father, I am hitherto your daughter; but heres my husband, (Act 1, Scene 3) and that her loyalty is bound to the Moor my lord (Act 1, Scene 3). With these words, the young Desdemona expresses a brazen willingness to be disowned or ostracized by her father in order to share her life with Othello.
So, Othello is completely convinced that Desdemona genuinely loves him because she appreciates his courage and heroism. He recognizes that She loved me for the dangers I had passed, And I loved her that she did pity them (Act 1, Scene 3). This clearly indicates that he thinks of her as a woman of great substance who has the admirable ability to truly look beyond differences of race and religion. Sadly, the elevating opinions rapidly succumb to Iagos description of predominant beliefs about Venetian women being promiscuous and unfaithful. Iago portrays that in Venice they do let heaven see the pranks They dare not show their husbands (Act 3, Scene 3). This casts a shadow of doubt on Desdemonas character suggesting that she is capable of being frivolous. Gradually, Othello allows the termites of this presumption about Venetian women to infest his convictions about Desdemona to a tragic extent.
Warped Masculinity
The aggressive nature of narcissism among males is demonstrated in the play through a noticeably warped sense of masculinity, which translates into power struggles between men and the threat they perceive from female sexuality. Othello is confident about his bravery and thinks highly of himself, however, that pride does not hold up when challenged by the idea that his wife is cheating on him. When Iago tries to instigate him that Brabantio may try to annul his marriage to Desdemona, Othello quashes that possibility completely by saying Let him do his spite: My services which I have done the signatory Shall out-tongue his complaints (Act 1, Scene 2). Othellos arrogant faith is not only indicative of his self-worth as a high ranking army officer, but is also the essence of his conviction that he is deserving of Desdemona. On the other hand, when Iago touches upon a raw nerve by bringing up doubts about Desdemonas fidelity, the warrior is disillusioned and left saying Nor from mine own weak merits will I draw The smallest fear or doubt of her revolt; (Act 3, Scene 3). His ability to otherwise stay calm when faced with crisis is easily ruffled by the mere thought of Desdemonas infidelity, which makes him strangely humble about his weak merits .
Othellos personal insecurities, gradually succumbs to Iagos devious plans which ultimately transition him from the protagonist to the antagonist in his attempt to wield power as a marker of control.
Conclusion
By setting up the characters of his play to put each other up against societal expectations, Shakespeare develops interactions that reflect the reality that not every belief has what it takes to measure up unless it is paired with determination that comes only from genuinely undentable convictions. While Desdemona remains steadfast throughout the play taking a faithful standpoint about her feelings for Othello, his faith in her is not robust enough to put up resistance against insidious attacks on her fidelity. Although her father gathers public support to express widespread disapproval, Desdemona treads undeterred against the prevailing societal expectations by proclaiming and defending her relationship with Othello because of her firm conviction about their love for each other. Desdemona also displays integrity by wading through the patriarchal view of gender roles and a misogynistic concept of marriage with unwavering strength of character and conviction by standing her ground till her dying breath. Nevertheless, she and the other women in the play align with the societal constructs of that time because of a general lack of desire to transcend the barriers of their dependent status that comes from the limitations of their position as women. Though Othello starts out as a deeply self-assured military officer, who holds his bravery in high esteem, his belief does not stand tall when challenged by doubts about his wifes fidelity. Evidence proves that personal insecurities prepped him to succumb to Iagos devious plans. The idea of having been deceived sends him into an overdrive to reclaim control by punishing his offenders, which swiftly converts him from the protagonist of the story to the antagonist. Some convictions follow through despite all odds yet others get nipped in the bud.
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