「오셀로」의 두 세계: 자연과 문화의 충돌과 인종차별의 보이지 않는 손
The Two Worlds in Othello: Conflict between Nature and Culture; and an Invisible Hand
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Regarding Coleridge’s definition of Iago’s cruel revenge as the motive-hunting of a motiveless malignity, my study concerns Iago’s real motive and the question why his revengeful violence is motive-aimed malignity deeply rooted in racism. The conflict of nature (blood) and culture is a crux of essential debate. Iago is an incarnation of racism on which he thinks the other is a intruder weakening and collapsing the bedrock of solidarity and identity of Venetian society. As a means to alienate and uproot the other, he adds fuel to Othello’s anxiety about Desdemona’s betrayal. While Othello desires to see an ocular, undeniable proof of Desdemona’s betrayal, Iago amplifies the possibility that Desdemona’s conflict on his skin color might make her commit adultery. Iago substantiates/instills/transfixes his racial hatred into Othello’s heart sacrificing Desdemona as his prey. He cunningly disguises racial hatred, quoting rumors and idle talks on Desdemona’s adultery as authority and credibility. Racial prejudice always unnoticeably crawls around, for it excludes the presence of the other. Iago is unbeatable in hiding his biased idea of race. His unthinkable rhetorical command dehydrates the wetness of racial prejudice out of his language into which racism melts. It is a proof of Iago’s devilish nature. In the Elizabethan Age, the western people have used the strategy of keeping hiding the hidden inwardness of thought to themselves so that their true mind cannot be exposed to color people. Racial language often serves to incite solidarity and patriotism among fellow countrymen with genetic and cultural sameness; but it abruptly stops before the other with different genetical and cultural identity. It is an evil hand which cannot be easily visible, or arrested. Coleridge has called Iago’s revenge as ‘a motiveless malignity.’ It has been irresistibly attractive and widely accepted in the western society, for Coleridge has ambiguously and tactfully weakened and dilluted the hidden inwardness of racial prejudice as ‘a motiveless malignity.’ The westerners wanted the issue of racial prejudice and gender to be unnoticed and unrecognized. The western people have feared to disclose the problem of racial prejudice and gender in this play. Hence the racism and the biased view of gender in Iago’s malignity is clearly worth a study.
Abstract
Regarding Coleridge’s definition of Iago’s cruel revenge as the motive-hunting of a motiveless malignity, my study concerns Iago’s real motive and the question why his revengeful violence is motive-aimed malignity deeply rooted in racism. The conflict of nature (blood) and culture is a crux of essential debate. Iago is an incarnation of racism on which he thinks the other is a intruder weakening and collapsing the bedrock of solidarity and identity of Venetian society. As a means to alienate and uproot the other, he adds fuel to Othello’s anxiety about Desdemona’s betrayal. While Othello desires to see an ocular, undeniable proof of Desdemona’s betrayal, Iago amplifies the possibility that Desdemona’s conflict on his skin color might make her commit adultery. Iago substantiates/instills/transfixes his racial hatred into Othello’s heart sacrificing Desdemona as his prey. He cunningly disguises racial hatred, quoting rumors and idle talks on Desdemona’s adultery as authority and credibility. Racial prejudice always unnoticeably crawls around, for it excludes the presence of the other. Iago is unbeatable in hiding his biased idea of race. His unthinkable rhetorical command dehydrates the wetness of racial prejudice out of his language into which racism melts. It is a proof of Iago’s devilish nature. In the Elizabethan Age, the western people have used the strategy of keeping hiding the hidden inwardness of thought to themselves so that their true mind cannot be exposed to color people. Racial language often serves to incite solidarity and patriotism among fellow countrymen with genetic and cultural sameness; but it abruptly stops before the other with different genetical and cultural identity. It is an evil hand which cannot be easily visible, or arrested. Coleridge has called Iago’s revenge as ‘a motiveless malignity.’ It has been irresistibly attractive and widely accepted in the western society, for Coleridge has ambiguously and tactfully weakened and dilluted the hidden inwardness of racial prejudice as ‘a motiveless malignity.’ The westerners wanted the issue of racial prejudice and gender to be unnoticed and unrecognized. The western people have feared to disclose the problem of racial prejudice and gender in this play. Hence the racism and the biased view of gender in Iago’s malignity is clearly worth a study.
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