'Othello'_Transcends_Time

Throughout the history of literature, various writers have aspired to compose texts that are relevant. When referring to a relevant text, the fundamental features that are significant accommodate the ability to transcend time, engage distinctive audiences and by remaining appropriate, reflect the social values and attitudes of the conveyed context. In relation to texts that effectively embody a preserved textual integrity, we can refer to Shakespeare’s prestigious play, ‘Othello’, which has been adapted into a modern interpretation by Tim Blake Nelson, through his film ‘O’. Although the values of each composer’s context have changed as time progressed, many of the themes and issues explored in Shakespeare’s original play have remained universally prevalent in the film ‘O’. Through Shakespeare’s effective application of literary devices, as well as Nelson’s competent utilisation of filmic approaches, the contextual values of each text are manifested its the key themes, particularly in Racism and Jealousy. Within Shakespeare’s ‘Othello’, the thematic issue of Racism is seemingly overt and it is effectively substantiated in the play through the concept of marginalisation. Shakespeare had composed ‘Othello’ amid the Elizabethan era, a period where the social attitudes of the responsive audience were considerably ethnocentric. The racial tension that had prevailed amongst this distinct audience is evidently reflected in Shakespeare’s play, notably through the portrayal of the protagonist, Othello. It is apparent that Othello retains a degree of difficulty in attempting to gain acceptance from the hegemonic Venetian society in which he exists. He is constantly associated with incorrect misconceptions and stereotypes, a particular instance involving the allusion of Othello as “the thick lips”. This singles out one conspicuous characteristic of Othello’s black heritage and clearly conveys a racial distrust of Othello based on his colour. On the contrary, despite the colouring of his skin, Othello embraces the most eloquent and poetic language. Othello’s commentary, “Most potent, grave, and reverend signiors, My very noble and approved goods masters,” is significant as it provides the innuendo that Othello is a moral and noble character. Through this selective characterisation of Othello, Shakespeare encourages the Elizabethan audience to abandon their ethnocentric values and adopt values of acceptance for those who they believed to be different. Racial connotations and its underlying discrimination are also evident in Nelson’s ‘O’. The original ‘Othello’ apparently resonates throughout the movie, however, ‘O’ is adapted within a 20th century time frame where the key issue of racism is instead, utilised to convey the modern values of multiculturalism and tolerance. Through the competent use of camera angles, Nelson has effectively illustrated to the audience of Odin’s acceptance into the team as an equal. An aerial shot of the team’s celebrations depicts Odin at the centre of the crowd, admittedly demonstrating Odin’s recognition and popularity amongst the group. Albeit being regarded as a counterpart within his society, Odin remains vulnerable to the issue of racism. Owing to Hugo’s colloquial dialogue as relevant in ‘They call you the niger, man,’ Odin is induced to feel betrayed by those he trusts. Inevitably, Odin’s renounced emotions feature as a catalyst for his tragic downfall. The audience is positioned to regard racism as a destructive force that still exists within a modern society. The human emotion of jealousy is exploited throughout Othello as an essential theme, and its calamitous presence is highlighted to the audience. Shakespeare incorporates imagery such as the “green eyed monster” to explicate jealousy as the monster itself, positioning the audience to respond negatively to the emotion. Jealousy is epitomized in many of the characters within ‘Othello’. It strikes as a motive for the actions of Roderigo and Iago, and is the tragic flaw of Othello, eventually destroying him. Iago, notably, had been incited by jealousy to initiate his quest to avenge his wounded pride, having been passed over for the position of Othello’s lieutenant for Cassio. Iago claims “I know my worth, and I am worth no worse a place”. It was esteemed in Elizabethan England that a man’s supposed worth was derived from his social status. Iago conforms to this notion and it is on account of his greed and ambition that drives Iago to believe that he is worthy of greater things than those allocated to his social class. Shakespeare’s portrayal of Othello’s degradation reinforces the devastating ramifications of jealousy. Othello initially begins the play noble, dignified and eloquent in speech, however, by the finale, Othello is overcome by jealousy, emerging as a ruthless and violent persona, representing the tragic hero’s deterioration. Shakespeare encourages the audience to value honesty and integrity through positioning the audience to recognise the severe implications that jealousy can retain. The theme of jealousy adeptly sustains a reception within a contemporary context and is effectually explored in ‘O’. Popularity and belonging are the central modernistic concepts that are associated with jealousy within the movie and the competitive nature of the school setting heightens this precise emotion. Jealousy is promptly rendered as central to the film’s plot through the mis-en-scene of the opening sequence, where Hugo’s voiceover says: ”I know you’re not supposed to be jealous of anything...”. In contrast to Othello who appears as a prominent figure at the heart of the team’s celebration, Hugo is seemingly separated and isolated from the collective group. This is displayed through befitting use of camera angles and it clearly imitates the sense of jealousy cast towards Odin from Hugo who is envious of Odin’s individuality. Nelson hereby associates jealousy with the topic of popularity and belonging, reflecting the values of the modern context. Specifically speaking, a relevant text is defined by its dexterity to transcend time, engage distinct audiences and embody values that appropriate a range of contexts. These factors are paramount in Shakespeare’s ‘Othello’, which encompass extensively relevant themes whilst reflecting the attitudes of its Elizabethan audience. The textual integrity of Shakespeare’s original text is preserved and resonates through Nelson’s modern appropriation. Nelson has extracted many of the universal themes prevalent in ‘Othello’ and integrated them within a contemporary context, conforming to modern techniques that would augment them for a teenage audience. The notion that Shakespeare’s ‘Othello’ accommodate themes that are able to reproduce through time and be applicable to distinct audiences, is substantiated through Nelson’s lucrative adaptation. Undoubtedly, ‘Othello’ remains a relevant text and an expiration date continues to be non-existent.