ENG 355 Final

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The Role of Power in Othello and O
Post-structuralist theorist Michel Foucalt once said, in his book entitled The History of
Sexuality, “Power is everywhere; not because it embraces everything, but because it comes from
everywhere.” (93) The idea of power has been widely examined and discussed by theorists and
the average Joe alike. According to post-structuralist theory, there is no relationship, whether that
be personal or societal, that is not governed by power. Further, post-structuralists would argue
that power cannot be considered perfectly through a binary such as rich versus poor or man
versus woman, but rather multiple power relationships and structures exist. Two theories
specifically disagree on the idea of power as perfectly binary: Marxism and Neo-Marxism.
Marxism is a theory formed by Karl Marx, a philosophical, political, and economic visionary,
around the mid nineteenth century. In his theory, Marx critiques the capitalist economic
structure. Within this structure, he claims, the owner thrives only at the expense of the worker.
He would argue that the power relationship between the owner and the worker, the bourgeoise
and the proletariat, the dominant and the dominated, is perfectly binary and is a direct result of
the economic structure of capitalism in society. As a result of this structure, the ideologies of the
dominating class rule. On the other hand, Neo-Marxists, who amend and expand on Marxist
theory, argue for the complexity of power relationships, that there is not a clear distinction
between the dominant and dominated in every relationship. Raymond Williams, a Neo-Marxist,
argues that individuals have different authority in different situations. Further, ideologies behind
individual action rule as opposed to the dominant ideology of society. Antonio Gramsci, another
Neo-Marxist, describes soft power, in which persuasion is used to make people accept your
ideologies as opposed to coercion, in which ideologies are imposed using force.

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Separately, these two theories cannot adequately describe the abstract, complex concept
of power. Rather, it is a combination of coerced ruling class ideologies and persuaded ideologies
behind individual action, that explains power. An example of this can be seen in Shakespeare’s
The Tragedy of Othello, the Moor of Venice and the modern movie adaptation, O, in which the
downfall of the main character Othello, or Odin in the film, is not simply a result of accepted
social stereotypes that isolate him from society, nor the cunning persuasion of Iago, or Hugo;
rather, they go hand in hand. The Othello’s alienation from society alone does not cause his
downfall but instead opens a door for the Iago character to persuade the already vulnerable
Othello, thus causing his downfall.
In Marx’s essay “Estranged Labor,” he says what constitutes the alienation of labor is
“the fact that labor is external to the worker.” He goes on to explain how the “worker” becomes
estranged from himself and society as he produces something that he does not benefit from.
Evidence of the alienation of labor is seen in Othello through Othello as a military leader, his
“labor.” As early as the second scene, Othello’s military experience is emphasized, as he says
“Were it my cue to fight I should have known it/ without a prompter,” (1.2.83-84) indicating that
his background in battle has helped him to know when to fight. He says this in response to
Brabantio’s claims that Othello “stole” Desdemona. Even though earlier in the scene fighting
was discussed, this particular line, Othello pointing out his battle experience, seems a bit out of
place. It is as if Othello is trying to assert some sort of dominance or power after Brabantio
disgraces his name in front of the other men. Shortly after, in Act 1 Scene 3, several references to
Othello’s military skills are illustrated. As the Venetians prepare to fight Cyprus, the Duke tells
Othello that he must lead as “Opinion…throws a more safer voice on you.” (1.3.224-226) In
other words, the Venetians are more confident in Othello’s ability to lead the fight than anyone

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else. In response to this, Othello expresses his eagerness to fight, despite the hardship that comes
with it, saying “I do agonize/ A natural and prompt alacrity/ I find in hardness.” (1.3.231-233).
Once again, we see Othello’s response to the compliment of his ability to lead as one that further
glorifies himself. For instance, some people would respond to such a compliment more humbly. I
would argue that someone who does not feel alienated and powerless would respond with more
humility. Rather, Othello feels the need to further demonstrate his power by exalting himself
simply because of his estrangement and powerlessness. Finally, Montano praises Othello’s
leadership at the beginning of Act 2, saying that he commands “like a full soldier.” Though this
can be seen as a compliment to Othello, it can also be seen as Montano isolating Othello even
more. By saying that he commands like a “full” soldier, he is saying, by definition, that Othello
is completely a soldier and nothing else. Full means having no empty space. In other words,
Othello knows nothing outside of being a soldier. There is no complexity to the person of
Othello but rather he is nothing but a soldier. As Othello speaks of, and at times brags about, his
military successes, he is continually separating himself from others around him. The more
success Othello makes known through these subtle statements, the more estranged he becomes
from himself and society. As his military career is brought to light, he changes from a good
leader into an inhumane savage in the eyes of those around him.
This change is most obviously seen in Iago’s remark regarding Othello harassing
Desdemona about the handkerchief. He says “Can he be angry? I have seen the cannon,/ When it
hath blown his ranks into the air,/ And, like the devil from his very arm/ Puff’d his own brother-
and he is angry?” (3.4.134-137) Iago is referring to Othello’s ability to maintain his composure
in battle, despite the horror going on around him. He talks about a time when a cannon killed
some of Othello’s “ranks” or soldiers. Iago is questioning how Othello could possibly be angry

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over something so insignificant as the handkerchief when he could stay calm during these types
of battle scenes. Though this is a characteristic of a good military leader, it makes him seem
rather inhuman. That Othello is able to remain calm while people are fighting and dying under
his command indicates a stark contrast to human nature. The lack of emotion that Othello shows
to such tragic scenes that he has witnessed in battle is considered odd at least. It indicates that
Othello does not question immorality, which is a trait of human nature. At the same time, Iago
expresses his surprise that Othello seems to lose his head over something as small as the
handkerchief, thus bringing to light the paradoxical nature of the Othello character. Othello’s
anger is shown throughout his confrontation with Desdemona, as he repeatedly yells “The
handkerchief!” when she fails to produce it. Desdemona even questions him, saying “Why do
you speak so startingly and rash?” (3.4.79). After Othello leaves, Desdemona tells Emilia that
“[She] nev’r saw this before,” indicating that Othello had never acted that way before. In relation
to power in this scene, we see Iago’s questioning of Othello’s behavior as a way to gain power
over him. Iago is pointing out Othello giving in so easily to anger in order to feel superior. He is
also demonstrating his knowledge of Othello’s past as well as his present, and this knowledge
gives him power over Othello as well.
Similarly, this is seen in the movie adaptation, in which Odin’s “labor” is playing
basketball. Much to Hugo’s dismay, Odin is the star of the basketball team at his preparatory
high school, coached by Hugo’s father. As Odin produces more wins, he becomes alienated from
himself and the preparatory school world that he does not benefit from. The coach benefits from
Odin’s talent as it makes him look like a better coach which will one day land him a college
coaching job. The team’s wins make the school look better, but Odin does not appear to see any
individual benefit in continuing to win. However, he keeps trying to improve, even taking drugs

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to do so. The drugs cause him to become even less like himself, alienated. He shatters the glass
on the backboard of the basketball hoop during a dunking contest. Evident in the horrified faces
of those in the crowd, Odin has gone too far, seeming inhuman to the fans who once supported
him. Throughout this progression in Odin’s life, we see the role that power plays. Many would
argue that Odin gains power through being a basketball star. If he performs well, the whole
school benefits. If he performs poorly, the school will not benefit as much. It seems that he holds
the most control in the situation. However, Marxism would argue that whatever is done to
benefit the school, or the owner/bourgeoise in this case, will only be detrimental to Odin. We see
this when Odin takes drugs to improve. The school still has control and power over Odin by
making him feel as if he has to perform well in every aspect, even if those in the school do not
directly say this. As he continues to improve, he becomes more alienated and powerless against
it.
From a Marxist, standpoint, Othello’s alienation, and thus lack of power, is a result of his
occupation as military leader, his labor. What Marxism fails to account for, however, is why
Othello is isolated and powerless despite his authority in Venice, specifically over the military.
The person performing the labor, under Marxist theory, would not have authority over anyone,
but rather would suffer under the authority of the “owner” or “bourgeoise.” In other words, it
would seem more likely that Othello would be the alienator not the alienated, yet this is not at all
what we see. According to Edward Berry’s critical essay “Othello’s Alienation,” Othello is “set
apart from Venetian society, in almost every respect- in his blackness, his past, his bearing, and,
above all, his language, with its unusual rhythms, grandeur, and exoticism.” (316) This indicates
that it is more than just the capitalist structure in society that causes Othello’s alienation, but also
the racism ingrained in European society.

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In Judith Butler’s essay “Critically Queer,” she discusses the idea of interpellation in
regard to the word “queer.” Interpellation, in its most basic definition, means what one person
calls another person. In the essay, Butler discusses how calling another person “queer” is
typically, normatively viewed as derogatory, as an insult. However, those who are identified as
“queer” have adopted this term in hopes of changing the culturally accepted connotation of the
identification. Similarly, in Shakespeare’s time, “moor” was a slanderous term used to describe
those from African regions; in other words, those who are black. Throughout the tragedy,
Othello is repeatedly referred to as “the moor”; even the title contains this reference, The
Tragedy of Othello, the Moor of Venice. Though Othello does not seem to adopt the term, as he
never uses it to identify himself, he does not try to correct those who call him that.
In the first two scenes of the tragedy, Othello is only referred to as the “moor.” In Europe
during this time, “moor” was another name for someone from African regions; in other words, it
indicated his blackness. According to Berry, the avoidance of Othello’s name is “an exercise in
reducing the individual to a class, the person to an object.” In other words, by calling him a
“moor,” Othello is no longer an individual, but rather “he is a thing,” as Berry goes on to say.
This is also evidenced in the tragedy, as Othello is directly labeled a “thing.” Brabantio is
speaking of his disgust that Desdemona would “Run…to the sooty bosom/ Of such a thing as
[Othello].” He directly relates Othello’s “sooty bosom,” or blackened skin, to his identity as an
object, or “thing,” showing the stereotype of blacks being inhuman in this society. Further, Iago
even refers to Othello as “the devil” (2.1.225), indicating that he is not only inhuman, but also
inherently evil, an enemy of humanity.
The idea of interpellation can be applied to other terms used to describe groups of people
in society. In the nineteenth and twentieth centuries, African Americans, for example, were

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originally derogatorily called “niggers.” However, as we see in the movie O, Odin uses that
slanderous term to refer to himself.
Odin: I’m that kinda nigger.
Desi: Turns in disgust
Odin: Don’t be actin’ like that. I can say nigger cause I am a nigger. You can’t
cause you ain’t. Don’t be jealous.
Desi: Why can’t I say it? My people invented the word.
Odin: You can’t even think it.
This exchange is a perfect example of how Butler describes the process of interpellation. Odin
calls himself a derogatory name and then teases Desi that she cannot call him this name because
she is not black. She then brings up that “[her] people,” or whites, came up with the word,
showing that she views herself as having more ownership of the word than Odin has. In response
to this, Odin still says that she isn’t allowed to even think on the word. Unlike Othello, Odin has
truly adopted this term and made it his own, yet, at the same time, claiming that Desi cannot say
or think it. By making it his own, Odin is taking back the power that the term has over him. In
other words, when “nigger” is used as a derogatory term against him, the person calling him this
is demonstrating his/her power. However, by referring to himself as a “nigger” he is taking that
power back for himself. Further, by going on to say that Desi cannot refer to him in that way, he
is nixing the possibility of her trying to gain power over him.
Butler goes on to assert that, in labeling someone, the person who labels asserts some sort
of authority over the one being labeled. In other words, those who are labeled are of a lower
standing and are dominated by the labeler. Therefore, all of the characters who refer to Othello as
any of these terms, “moor,” “thing,” and “the devil,” demonstrate a feeling of superiority to him.
Further, according to Berry, the more a character degrades Othello by calling him these names,
the more racist he/she is. For example, Iago, who turns out to be Othello’s enemy in the tragedy,

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refers to him as “the moor” more than twenty times, indicating he feels especially superior to
Othello.
Another racial stereotype seen in the tragedy is the sexual grossness or aggressiveness of
“moors.” First, in Shakespeare’s now famous line “your daughter/ and the moor are making the
beast with two backs,” a beautiful, loving act between a man and a woman is interpreted as
horrific and gross simply because of the man’s race. Further, Desdemona’s father sees this
relationship between white and black as unnatural and only explained by Desdemona being
“corrupted/ By spells and medicines bought of mountebanks.” (1.3.61) In other words, he is
accusing Othello of using drugs or magic to seduce Desdemona. In making these types of
oppressive references to Othello and Desdemona’s relatioship, Brabantio is trying to downplay
the power that Othello has over his daughter. Brabantio’s mind, saturated with the racial
stereotypes of the time, does not allow him to even consider the possibility that his white
daughter could fall in love with a black man. Rather, he thinks that the only way that Othello
gained power over his daughter was through “spells and medicines.” Not only does Brabantio
demonstrate his understanding of this sexually aggressive stereotype, but Roderigo as well. In
speaking of Othello and Desdemona, he refers to Desdemona returning to the “gross clasps of the
lascivious moor” and says that Othello is a “stranger/ Of here and every where,” indicating his
sexual promiscuity. In relation to power, we see this as another paradox. Many men view their
sexual conquests as a form of power. In other words, a man who has been with a lot of women
would be seen as a greater man. However, in Othello’s case, the reference to his many sexual
encouters makes him seem “gross” and “lascivious.” This indicates that the color of Othello’s
skin played a role in this interpretation of his behavior.

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These racial stereotypes, along with some more modern stereotypes, can be seen in the
movie O as well. Odin’s race is rather obvious in the movie as he is the only African American at
his high school; in fact, he is the only one in the entire film. The stereotype of blacks being
sexually aggressive is clearly seen in the sex, some would argue rape, scene in the movie.
Afterwards, Desi tells Emily of her sexual encounter with Odin. When Emily shows concern
over Desi’s violent experience, Desi says “Would you be so concerned if he was white?” By
saying this, she is exposing Emily’s belief in the racial stereotype of African Americans being
sexually aggressive.
A modern stereotype of blacks seen in the movie is their exceptional athleticism. Odin is
the star player of the basketball team, and not coincidentally, is also black. Another stereotype of
African American culture is not having the nuclear family intact. We never hear of Odin’s
parents in the movie; they do not seem to play a role.
As Othello is alienated from society due to his race and occupation, he becomes
vulnerable to Iago’s persuasion and deceit, or as Stephen Greenblatt refers to it, “improvisation
of power.” In Greenblatt’s essay “The Improvisation of Power,” he speaks of Iago’s “ability to
both capitalize on the unforeseen and to transform given materials into one’s own scenario.” It is
in these two ways that Iago successfully persuades Othello to believe his lies.
Throughout the tragedy, Iago would take advantage of the unforeseen by his insinuations
of Desdemona’s supposed betrayal. This first begins in the third scene of Act 3, when Othello
and Iago observe Desdemona and Cassio having a conversation. Iago takes advantage of this
situation by insinuating a relationship between Desdemona and Cassio.
Iago: Ha! I like not that.
Othello: What dost thou say?
Iago: Nothing, my lord: or if—I know not what.
Othello: Was not that Cassio parted from my wife?

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Iago: Cassio, my lord! No, sure. I cannot think it,
That he would steal away so guilty-like
Seeing you coming
Othello: I do believe ‘twas he.
Iago is able to make Othello question Desdemona’s loyalty without specifically lying to
him. This is one reason why Iago’s deception is successful throughout the tragedy. He makes
these insinuations then allows Othello to draw conclusions on his own. The seed of betrayal that
Iago plants in Othello’s mind begins to grow, and then Iago produces the “given material” to
further persuade Othello: the handkerchief.
Later in Act 3, Othello demands Iago for proof of Desdemona’s unfaithfulness, as the
uncertainty continues to eat away at him. It is at this point that Iago does begin to lie to Othello
and brings up the handkerchief that Othello had given to Desdemona as a gift. Iago claims to
have seen the handkerchief in Cassio’s possession, saying “I know not that; but such a
handkerchief—I am sure it was your wife’s—did I today see Cassio wipe his beard with.”
However, as the audience knows at this point, Iago has the handkerchief and plans to put it
where Cassio would find it. Iago is able to convince Othello of Desdemona’s supposed betrayal,
therefore, without having any real proof whatsoever. This leads to the ultimate tragedy of the
play, the murder of Desdemona and suicide of Othello as a result of Iago’s clever deceit. In
Othello’s final speech, he says to speak “Of one not easily jealous, but being wrought/ perplexed
in the extreme” when remembering him. In other words, he saying that he was manipulated into
the jealousy that drove him to murder. Therefore, Othello knows that he was tricked, which
makes it that much more of a tragedy.
Iago’s persuasive power, or improvisation of power, is seen throughout the movie O, as
well. Hugo, the Iago character, points out Desi and Michael spending so much time together. He
warns Odin to “watch [his] girl.” Hugo goes on to say that Desi “obviously knows how to keep a

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secret” since she kept her relationship with Odin a secret from her father for months. Just as in
the tragedy, a seed of doubt is planted in Odin’s mind; he becomes obsessed with the idea of
Desi cheating on him. Several times, the camera pans to a shot of Michael and Desi together in
the stands at basketball games, followed shortly after by a shot of Odin’s face, looking disturbed,
and, at times, menacing. The most prominent evidence of Odin’s obsession comes when he is
having sexual intercourse with Desi. He looks in the mirror and sees Michael in his place,
angering him so much that the consented sex turns to violent rape. After the doubts of Desi’s
loyalty eat away at him, Odin confronts Hugo, saying that it would be easier to deal with if he
knew for sure that Desi was cheating but the “wondering” is what was difficult. It is at this point
that Hugo turns to lying, telling Odin that Michael and Desi were together the night before.
The handkerchief also comes into play in the movie in the form of a scarf. Hugo obtains
the scarf then gives it to Michael. Unlike the tragedy, the scarf is in Michael’s possession before
Hugo tells Odin; therefore, he technically does not lie about seeing Michael with the scarf. This
leads Odin to confront Desi which begins the downward spiral into the movie’s tragic end.
Similarly to Othello’s final speech in which he realizes that he has been tricked, Odin’s final
words reveal his knowledge of Hugo’s manipulation. He says that “[He] got played” and that
Hugo “twisted [his] head.”
Throughout the tragedy and the movie, we see the Iago character’s ability to manipulate
and persuade others to believe an alternate reality as a form of power. He exercises power over
many of the characters, specifically Othello, throughout most of the tragedy and movie in order
to achieve his own desires. Not only does power play a role through the Iago’s manipulation but
also through the use of interpellation and the evidence of alienation seen throughout the tragedy

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and movie. All of these power relationships interrelate to create the environment and
circumstances that cause the events of the tragedy to unfold.
Work Cited

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Foucault, Michel, and Robert Hurley. “Method.” The History of Sexuality. Vol. 1. New York:
Pantheon, n.d. 92-102. Print.
Greenblatt, Stephen. “The Improvisation of Power.” Renaissance Self-fashioning: From More to
Shakespeare. Chicago: U of Chicago, 2005. 222-53. Print.
Marx, Karl. “Estranged Labour.” Economic and Philosophical Manuscripts of 1844. Moscow:
Progress Publishers, 1932. Print.
Shakespeare, William and Alvin B. Kernan. The Tragedy of Othello, the Moor of Venice: With
New and Updated Critical Essays. New York, New York: Signet Classics, 1998. Print.
O. Dir. Tim B. Nelson. Perf. Mekhi Phifer and Julia Stiles. Daniel Fried Productions, 2001.
DVD.
Williams, Raymond. “Hegemony.” Raymond Williams Marxism and Literature. Oxford: Oxford
University Press, 1977. Print.