Desdemona’s “Just Understanding” of Othello’s Virtue
Editor’s note: A theme of TOO is that the entire culture of the West has been corrupted. This includes essentially all the arts and academic fields in the social sciences and humanities. It is therefore not surprising that Shakespeare criticism has been influenced by the reigning culture of the academic left. This essay is an abbreviated version of the second chapter of George F. Held’s ebook, Othello’s Disenchanted Eye, available at Lulu. Held shows that Othello, a play about an interracial marriage, has been seen through the eyes of current racial sensibilities.
I have stated elsewhere[1] that Othello is an “ethically lucid play.” I stand by that statement, but will now provide evidence which will to some extent undermine it. The play, though generally lucid, is not simple, and has been subject to gross misinterpretation. In his introduction to the play Frank Kermode writes:
His marriage to Desdemona, founded upon her just understanding of his virtue, is a triumph over appearances; it is grounded in reality and independent of such accidents as color or the easy lusts of the flesh; it is more like the love of Adam and Eve before than after the Fall. The archaic grandeur of Othello’s diction (as in the long speeches to the Senate in I.iii) and the extreme innocence of Desdemona (as the courtly Cassio expresses it in II.i) are ways of emphasizing these simple themes; one may see them ideally reflected in the music which Verdi wrote for Otello’s heroic entry, and the soaring purity of his Desdemona. . . .
There is room for another and more worldly view of the honesty of Desdemona’s proceedings; Iago and Brabantio express it. Her penetrating to the truth of Othello under an appearance conventionally thought repulsive can seem less a result of her purity of response than of some pagan witchcraft of his. It is precisely because such a union must appear to the disenchanted worldly eye perverse or absurd that Iago can destroy it. He represents a sort of metropolitan knowingness, a pride in being without illusion and a power to impose upon others an illusory valuation of himself. He converts to his own uses all the praise of honesty which properly belongs to Othello and Desdemona.[2]
Kermode sees the play in terms of a dichotomy involving two opposing groups: the first group consists of Othello and Desdemona, the second of Iago, Brabantio, and all those disenchanted with Othello’s and Desdemona’s union. The views of the members of each group[3] are similar to each other but differ substantially from those of the members of the other group. Specifically, the members of the first group adopt an unworldly, just, accurate view of race, color, Othello’s “virtue,” and “the honesty of Desdemona’s proceedings,” whereas the members of the second group adopt an unjust and inaccurate “worldly view” of all these same things. The views of the members of the first group are the result of their desire and ability to see reality as it is and to look beyond mere appearances; the views of the members of the second group are the result of convention and prejudice.[4] I will show that this analysis is not merely oversimple but entirely bogus and is itself a product of modern politically correct prejudice. Read more


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