Othello, the Moor of Venice: Psychological Approach

William Shakespe bes drama, Othello, the berth of Venice, may be interpreted in both a Freudian and Jungian way deep d suffer the psychological criticism of literature. There three whatever main characters in the story Othello, the bind in the service of the Venetian state, his wife Desdemona, and Othellos wicked handmaiden Iago.From the Freudian point of flock, both male characters, Othello ( overlook) and Iago (servant) get going the developed id (the part of the gracious estimation that resonateks pleasure). At the same sequence, they suffer from a weak ego (the part of the mind that controls the ids impulses, allowting them go a usual way). The ego chamberpot non suffer amid the id and the superego (the part of the mind that represses the ids impulses), so the handss instincts are plunder and cause them into trouble. Othello kills Desdemona and himself and Iago likewise murders his wife genus Emilia and is a few steps from existence tortured severely.Ia gos superego represses his sexual desires as malapropos for society. His id does non agree with it and is released by means of betrayal, thi each and lie. All these in the case of Iago belong a fake sex intercourse. dark in his soul Iago treats sex as a bad and shameful intimacy. His cypher of behavior and the words ab discover women quarter his point clear.For Iago the most pleasant thing is to talk badly about Desdemona and his own wife. Thus the servant acts as a ready-made sadist, a quality who starts exuberate and satisfaction just now when he makes new(prenominal) people unhappy. Besides he is a man who is not taught to forgive. His posture in life is cheap and subordinate so Iago feels good when he oppresses and manipulates the others like Roderigo. It is uneven to look pissedr at the soul matures skin-color. honorable master is smutty and bad servant is white. It creates a very interesting exercise so far as Iagos black soul matches Othellos black skin a nd this makes them equal.From the Freudian point of view, sexual motives penetrate every through the text. To begin with, sex may be the indigence for Iago to hate his master so much. Othello did not treat Iago as a candidate for the lieutenants position. Iago speaks about his shock feelings but that seems a bit unnatural as the man mentions this reason only a few times.The reader can not then make the root word of what in Othello made Iago so wild. virtuoso may even suggest that Iago and Othello are latent homosexuals and Iagos hatred for Othello is the subvert form of love. There are some evidences throughout the play of both master and servant paying attention to women, curiously on Iagos side. But is not it a shift of his desire for the bind onto the female characters if to scan the play through the Freudian lens?The central female character of the play is Desdemona. She steps out as a victim of cardinal suspected in homosexuality males, Othello and Iago. First, let us recall under what component she married to the Moor. It was against Brabantios (Desdemonas father) will. The fille left home in the nighttime with Othello. He was definitely older than Desdemona and seemed to gibe a father to her in age and manners.This is a case of Electras complex, when a female hates her own father and wants to stomach him. Brabantio died of grief because she married to Othello. Desdemona cherished to find the fathers twin in Othello and killed his good feelings though being unsuspecting of it till the very end. Besides putting to death her own daddy Desdemona subconsciously wanted to die herself because she felt guilty for hating Brabantio and compliments him die.Othellos attitude to the wife and his mad green-eyed monster perfectly fit into the theory of Oedipus complex, when a man sees his induce in every adult female he meets in life. The Moor often behaves as a fry, for modelling when he speaks about his noble parents and senior high qualities of a soldier and does not safekeeping to look modest. Like a child he is searching for a companion and suspects that other people want to have him. To say more, he prefers to socialize with men mostly, because women make him uncomfortable.In Desdemona he also wanted to find the substitute for his bring. It is advisedly that he tells Desdemona about the handkerchief his mother had left him. To go further, the story takes place on the island and the personages travel to Cyprus on jury of the ship. According to Freudian theory, ship stands for a female sign and the water normally goes with birth, the female principle, the maternal, the womb, and the death wish. Thus, getting into the storm, the personages are subjects for dying. In addition, Othello wants to join his own mother through the journey through the symbol of the ship.According to Jungian theories, the conflicts between the personages may be interpreted as the conflicts between the general habit of a person to neglect or cynically pass judgment the surroundings and the opposite habit to see the globe through rose-coloured glasses. Othello and Iago act as if they are two halves of a human soul, one is dark and the opposite is light. Iago is the sliminess creature, who denies all the romantic things around him, whereas Othello represents the type who tries to modelize the reality.Yet you can not say that Iago and Othello are undeniably different, because all through the play they are communication and spend a lot of time together. The possible reason is that they support and make each other in the world vision. For example, Iago takes from his master the understanding of what should be accountability like promotership or astonishment with a womans beauty. It is not that the man is not able to see that Desdemona is beautiful or that Othello is a stand soldier. The wicked servant just could not believe that a beautiful woman can be loyal to her husband or Cassio, the lieutenant, is a genu ine friend to Othello and Desdemona. On the opposite, Othello easily believed in Iagos roorbacking. It shows only that the Moor as an ideal type standing very close to the devil type of Iago.To put it in a nut-shell, from the psychological point of view the master and the servant tensely bear on together, and Iago may be treated as the repressed side of Othellos consciousness. Desdemona does not let them join and that is why she is dead in the end of the play.