When the aspirational values of a specific ended up being all-consuming, the relationships of those near them are destroyed, through the corruption of loyalty and trust. Both Shakespeare’s Othello and Geoffrey Sax’s Othello portray many elements of catastrophe, by exploring the relationship of Othello and Iago/Jago, and the method his adjustments distort Othello’s mind. Iago’s zealousness in Shakespeare’s play Othello reflect the components of a fatal defect in a private, and the disturbance of the Chain of Being, both being crucial functions of a catastrophe.
Iago’s words, “Men should be what they seem”, are ironic, as he hides his true self from Othello, who trusts him entirely, in order to acquire what he desires. His rejection, and pursuit, of the job of Othello’s lieutenant eventually causes his death, for this reason becoming his ‘deadly flaw’. Iago’s continued pursuit of his objective leads to the deaths of lots of, which supplies a metaphor for all audiences of the destruction our goals can cause.
The imbalance in the Chain of Being is remedied in the conclusion of Shakespeare’s Othello, nevertheless, Sax’s Othello results in Ben Jago ending up being successful, and achieving the position of Authorities Commissioner. Sax’s Jago psychologically manipulates and abuses his victims, in contrast to the initial play, where lots of are physically eliminated. Our contemporary audience expects this, nevertheless, because we, as well as Jago, understand that for him to accomplish his goals, he needs to be subtle in order to avoid detection in our age of fingerprinting and DNA sampling.
In this way, Sax’s Jago needs to prepare his strategies a lot more than Shakespeare’s Iago, which results in him getting the position he desired, rather than being recorded. Nevertheless, both have really similar plans, revolving around manipulation, specifically Othello’s mind and feelings. Othello’s trust, thus his loyalty, counts on his knowledge of the person, especially their past. In both texts, his slight uncertainty with his rely on Desdemona/Dessie is due to their quick marital relationship and absence of knowledge of their lives before he met them.
In Shakespeare’s Othello, Desdemona’s and Othello’s abrupt marital relationship, which finalises their relationship, is emphasized by Iago asking Othello “However I pray sir,/ Are you fast wed?” This leaves us confused regarding how these characters became truly knowledgeable about each other prior to their marriage, and foreshadows what is to later come. Sax portrays Othello’s worrying doubt towards Dessie as due to her silence about her boarding school days, when she met Lulu. Nevertheless, Dessie defends herself versus his accusations of her being deceptive, by shouting, “It’s always you talking and me listening!”
This frame is a close-up, overhead shot of Dessie, emphasising how vulnerable she is to Othello, and foreshadowing the scenarios of her death. Othello’s distorted trust makes it possible for Iago’s strategy to be successful, since he puts his commitments in the wrong hands. Sax represents Ben Jago as a policeman, who we and also Othello, anticipate to be simply and sincere, as authorities promote and implement the law. Similarly, Shakespeare’s Iago held a position that was expected to be trusted, as a part of the army who were appointed the role of protecting their country.
This fallibility of Othello’s trust and loyalty enabled Iago to manipulate him such that he was able to separate him, and damage his relationships with others. The relationship breakdowns in both versions of Othello trigger vast quantities of chaos, since the Chain of Being is broken. Shakespeare’s Othello chooses that Desdemona is guilty before even consulting her, as seen when Iago informs him, “She did deceive her daddy, weding you”, and he replies, “Therefore she did.”
His truncated sentence candidly expresses his view, suggesting that he has actually made up his mind, and nothing can change it. Similarly, Sax portrays Othello as currently concluded that Dessie is guilty, by him saying, “You inform me what I wish to know … Tell me the reality bitch!” These words are accompanied by a low shot, searching for at a close-up of Othello’s face, indicating the power Othello has over Dessie, and makes the viewer compassionate towards her, by feeling weak and insecure. However, we have recurring scenes that demonstrate how Desdemona is trying to keep their relationship together.
Sax reveals this by representing Dessie as a lady in a domestic violence household, particularly when she states, “He needs me.” Likewise, Shakespeare characterises Desdemona as a devoted partner, “It was his bidding … We should not disappoint him.” Desdemona/Dessie’s loyalty to her spouse infuriates Othello more, as he believes it is more of a lie to keep the trick from him, rather than inform him outright, and it is the worst thing that Desdemona might do to him, “She’s like a liar gone to burning hell.”
All these little aspects of Desdemona/Dessie and Othello’s relationship, in both Shakespeare’s and Sax’s Othello, integrate to trigger the damage of it, upon which the entire play is hinged upon. Completion of a relationship is brought on by numerous differing factors, however primarily a decreased sense of trust, whether it has a basis to be there, or whether somebody worths it so lowly that they put their own self-centered desires over it.
This holds true in the case of Shakespeare’s Othello, and the modern-day adaption Othello, directed by Geoffrey Sax. Iago/Jago’s goals cause him to manipulate many individuals, with the purpose of damaging Othello’s relationships, mainly with Desdemona/Dessie, to attain the position that was “wrongly” offered to someone else. This holds a mirror up to both the Elizabethan and our contemporary societies, critiquing our nature and worths.