*Çؼ³: ´ë°¡¸®°¡ ±úÁöµµ·Ï ÇູÇÑ »ç¶÷µé
Iago´Â Áö·ÂÀ̳ª ÀÇÁö·ÂÀÌ ³î¶ö ¸¸Å ¶Ù¾î³ª´Ù. ±×ÀÇ Àΰ£¼º¿¡ ´ëÇÑ ÅëÂû·Â, ±× ÅëÂû·Â¿¡ ¹ÙÅÁÀ» µÐ ÍÅäÐ(°í¾È)ÀÇ ´É·Â°ú ¼Ø¾¾, µ¹¹ß »óȲ¿¡ ´ëÇÑ ½Å¼Ó ´ëó´É·Â, ¿¹»ó ¹ÛÀÇ ±âȸÀÇ ÀÌ¿ë´É·Â µîÀº ¼ÎÀͽºÇǾ âÁ¶ÇÑ Àι° Áß¿¡¼ °¡Àå ¶Ù¾î³ª´Ù. ±×´Â ÀÇÁö·Âµµ ´ë´ÜÈ÷ °ÇÏ´Ù. ÀÚ½ÅÀÇ º»½ÉÀ» °áÄÚ µå·¯³»Áö ¾Ê´Â´Ù. ±×´Â ÀÚ½ÅÀÇ ÀÇÁö¿¡ ¿µÇâÀ» ÁÙ ¼öµµ ÀÖ´Â ¸ðµç ÇൿÀ» ÅëÁ¦ÇÒ ¼ö ÀÖ´Ù. ÃÖ¼ÒÀÇ ½Ç¼ö³ª »ç°í°¡ Ä¡¸íÀûÀÏ ¼ö ÀÖ´Â °á°ú¸¦ °¡Á®¿Ã ¼ö ÀÖ´Â °¡Àå À§ÅÂ·Î¿î ¼ø°£¿¡µµ ºÒ¾ÈÇÑ ±â»öÀ» Á¶±Ýµµ º¸ÀÌÁö ¾Ê´Â´Ù. °ø°ÝÀ» ¹Þ°í ºÎ»óÀ» ´çÇÏ¿©µµ Å¿¬ÇÒ ¼ö ÀÖ´Ù. ÀÌ·± Àΰ£Àº ´ëü·Î Áö·ÂÀÌ ¶Ù¾î³ª°í ¿ì¿ù°¨ÀÌ °ÇÏ°í ŸÀο¡ ´ëÇÑ °æ¸ê°¨µµ °ÇÏ´Ù. ±×¸®°í ½È¾îÇϰųª °æÀïÇÏ´Â »ç¶÷ÀÇ °íÅëÀ» Áñ±â´Â ¼ºÇâÀÌ ÀÖ´Ù.
ÀÌ·± Àΰ£¿¡°Ô °¡Àå ±â»Û °ÍÀº ±×ÀÇ Èû°ú ¿ì¿ù°¨¿¡ ÃÖ°íÀÇ ¸¸Á·°¨À» ÁÖ´Â °ÍÀÏ °ÍÀÌ´Ù. ±×¸®°í ±×ÀÇ ´É·ÂÀÌ ½Â¸®¸¦ °¡Á®¿Ã ¶§, ¶Ç À§ÇèÀÌ ÁÖ´Â ÈïºÐ±îÁö Æ÷Ç﵃ ¶§´Â, ±×ÀÇ ±â»ÝÀº ÃÖ°íÁ¶¿¡ ´ÞÇÒ °ÍÀÌ´Ù. ÀÌ·± »ç¶÷¿¡°Ô °¡Àå À§ÇèÇÑ ¼ø°£Àº ±×ÀÇ ¿ì¿ù¼ºÀÌ ¸ð¿åÀ» ´çÇÒ ¶§ÀÌ´Ù. ±×·¸°Ô µÇ¸é ±×ÀÇ ¸¶À½¿¡´Â Áõ¿À°¡ ½×ÀÌ°í ¿ì¿ù¿¡ ´ëÇÑ °¥¸ÁÀº ÁõÆøµÈ´Ù. ±×¸®°í ¿ì¿ù°¨¿¡ ¸ð¿åÀ» ÁØ »ç¶÷À» ±¼º¹½ÃÅ´À¸·Î½á ¸¸Á·ÇÒ ¼ö ÀÖ´Â ¹üÁËÀÇ ±âȸ¸¦ ³ë¸®°Ô µÈ´Ù. ÀÌ·± °¨Á¤ÀÌ Iago¿¡°Ô ´Ù°¡¿Â À¯È¤ÀÌ´Ù. OthelloÀÇ Å¹¿ùÇÔ, OthelloÀÇ ¼±·®ÇÔ, ±×¸®°í ±×°¡ Othello¿¡°Ô Á¾¼ÓµÇ¾î ÀÖ´Ù´Â °Í¡ªÀÌ·± °ÍµéÀÌ IagoÀÇ ¾àÀ» ¿Ã¸°´Ù. ±×·¡¼ ¾î´À ¶§¶óµµ ±×´Â Othello¸¦ ¿ì·ÕÇÏ°í °íÅ뽺·´°Ô ÇÏ´Â °ÍÀ» Áñ±æ ¼ö ÀÖ´Â ±âȸ¸¦ ³ë¸®°Ô µÈ´Ù. Æò»ó½Ã¿¡´Â ±×´Â ÀÚ½ÅÀ» º¸È£Çϱâ À§Çؼ ¶Ç Àϸ»ÀÇ ¾ç½ÉÀÌ ³²¾Æ ÀÖ¾î¼ ÀÚÁ¦ÇÒ ¼ö ÀÖ¾ú´Ù. ±×·¯³ª Áø±Þ¿¡ Å»¶ôÇÏÀÚ ½Ç¸Á°¨ÀÌ ºÐ³ë¸¦ Ã˹߽ÃÅ°°í ¹«¾ùº¸´Ùµµ ±³¹¦ÇÏ°í À§ÇèÇÑ À½¸ð¸¦ ÅëÇؼ Othello¸¦ Á¦¾ÐÇÏ¿© ÀÚ½ÅÀÇ Èû(power)ÀÇ °¨°¢À» ¸¸Á·½Ãų ¼ö ÀÖ´Ù´Â »ý°¢ÀÌ ±×¸¦ ¾ÐµµÇÑ´Ù.
±Ç·Â °¨°¢ ¶Ç´Â ¿ì¿ù°¨À» °í¾ç½ÃÅ°°Ú´Ù´Â ÀÌ·± ÀÇÁö´Â ÁÖ·Î ÀÜȤ ÇàÀ§¿¡ ´ëÇÑ ¹«ÀǽÄÀûÀÎ µ¿±â¿¡¼ ³ª¿Â´Ù°í ÇÏ°Ú´Ù. ´Ù¸¥ ¾ÖµéÀ» ±«·ÓÈ÷´Â °³±¸ÀïÀÌ ¼Ò³âÀ̳ª, Ưº°ÇÑ Áõ¿À½Éµµ ¾øÀÌ °³±¸¸®¸¦ °í¹®ÇÏ´Â ¼Ò³âÀº ¾ÇÀ» »ç¶ûÇϰųª °íÅëÀ» Áñ±â±â À§Çؼ°¡ ¾Æ´Ï°í ±× °íÅëÀÌ Èñ»ýÀÚ¿¡ ´ëÇÑ ±× ÀÚ½ÅÀÇ ÈûÀÇ ¿ìÀ§¸¦ È®ÀÎÇØÁÖ´Â È®½ÇÇÑ Áõ°Å°¡ µÇ±â ¶§¹®ÀÌ´Ù. ÀÌ°ÍÀÌ Iago¿¡°Ôµµ ÇØ´çµÈ´Ù. ½ÂÁøÅ»¶ôÀ¸·Î ÁÂÀý°ú »óó¹ÞÀº ¿ì¿ù°¨Àº ÃæÁ·À» ¿øÇÑ´Ù. ±×°¡ ±×¸¦ ³·°Ô Æò°¡ÇÑ À屺(Othello)°ú ±×¸¦ À̱â°í ½ÂÁøÇÑ °æÀïÀÚ¸¦ Áö¹èÇÏ´Â »ó°üÀÌ µÈ´Ù´Â »ý°¢º¸´Ù ´õ Å« ¸¸Á·°¨À» ÁÖ´Â °ÍÀº ¾øÀ» °ÍÀÌ´Ù. ±×¸®°í ÀÌ ¼º°øÇÏ°í Àαâ ÀÖ´Â Àß³ »ç¶÷µéÀÌ ÀÚ½ÅÀÌ Á¶Á¾ÇÒ ¼ö ÀÖ´Â ²ÀµÎ°¢½Ã¿¡ ºÒ°úÇÑ °ÍµéÀ̸ç, ±×µéÀÌ ÀÚ½ÅÀ» Áø½Ç µÈ Ä£±¸ÀÌ°í À§¾ÈÀÚ¶ó°í ¹Ï°í ÀÖÀ» µ¿¾È ±×ÀÇ µ¿ÀÛ¿¡ µû¶ó °íÅëÀ¸·Î ¸öºÎ¸²Ä¡´Â °ÍÀ» º¸´Â °Íº¸´Ùµµ, ±×ÀÇ ¿ì¿ù°¨À» ´õ ¸¹ÀÌ ¸¸Á·½ÃÄÑÁÖ´Â °ÍÀº ¾øÀ» °ÍÀÌ´Ù. ±×°ÍÀº ±×¿¡°Ô´Â ÃູÀÇ È¯ÈñÀÏ °ÍÀÌ´Ù.
Çѱ¹ÀÇ Ä£ºÏ ¹Ý¿ª ÁÂÆĵ鵵 Iago ¸øÁö¾Ê°Ô ÇູÇÒ °ÍÀÌ´Ù. ±×µéÀº ºÏÇѺ¸´Ù 25¹è³ª Àß »ç´Â Çѱ¹ÀÌ ±«·Î¿öÇÏ°í ºÒ¾ÈÇؼ ¸öºÎ¸²Ä¡´Â °ÍÀ» Áñ±â°í ÀÖÀ» °ÍÀÌ´Ù. ¼±Áø 7´ë ºÎ°±¹ÀÎ ÀÚÀ¯´ëÇÑÀÇ 2¸íÀÇ ÀüÁ÷ ´ëÅë·É°ú ¼ö¹é ¸íÀÇ ¿äÀεéÀ», ±×¸®°í ¼¼°èÀûÀÎ ±â¾÷ÀÇ ÃѼöµéÀ» ÀιÎÀçÆÇÇÏ°í °¨¿Á¿¡ Àâ¾Æ °¡µÎ°í ¸ð¿åÁÖ°í ±«·ÓÈ÷´Â °ÍÀ» ´ë°¡¸®°¡ ±úÁöµµ·Ï Áñ±â°í ÀÖÀ» °ÍÀÌ´Ù. ¹«¾ùº¸´Ùµµ ¹«½¼ °ÅÁþ¸»À» ÇÏ¿©µµ, ¹«½¼ »ç±â¸¦ Ãĵµ, ÁָӴϸ¦ ¸¶±¸ Åоµµ ÁÁ¾Æ¼ ³¯¶Ù°í ÀÖ´Â ¾µ°³µµ ¾ø´Â ¡°¹ÎÁß¡±µéÀÌ ÀÖ¾î¼ Ãµ³â¸¸³â ºÎ±Í¿µÈ¸¦ ´©¸± ¼ö ÀÖ´Ù´Â »ý°¢¿¡ ´ë°¡¸®°¡ ºùºù µ¹µµ·Ï ÇູÇÒ °ÍÀÌ´Ù.
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ⅼ. Characters
Othello: The play¡¯s protagonist and hero. A Christian Moor and general of the armies of Venice, Othello is an eloquent and physically powerful figure, respected by all those around him. In spite of his elevated status, he is nevertheless easy prey to insecurities because of his age, his life as a soldier, and his race. He possesses a ¡°free and open nature,¡± which his ensign Iago uses to twist his love for his wife, Desdemona, into a powerful and destructive jealousy (I.iii.381).
Desdemona: The daughter of the Venetian senator Brabanzio. Desdemona and Othello are secretly married before the play begins. While in many ways stereotypically pure and meek, Desdemona is also determined and self-possessed. She is equally capable of defending her marriage, jesting bawdily with Iago, and responding with dignity to Othello¡¯s incomprehensible jealousy.
Iago: Othello¡¯s ensign (a job also known as an ancient or standard-bearer), and the villain of the play. Iago is twenty-eight years old. While his ostensible reason for desiring Othello¡¯s demise is that he has been passed over for promotion to lieutenant, Iago¡¯s motivations are never very clearly expressed and seem to originate in an obsessive, almost aesthetic delight in manipulation and destruction.
Michael Cassio: Othello¡¯s lieutenant. Cassio is a young and inexperienced soldier, whose high position is much resented by Iago. Truly devoted to Othello, Cassio is extremely ashamed after being implicated in a drunken brawl on Cyprus and losing his place as lieutenant. Iago uses Cassio¡¯s youth, good looks, and friendship with Desdemona to play on Othello¡¯s insecurities about Desdemona¡¯s fidelity.
ⅼ. µîÀåÀι°
Othello: ±ØÀÇ ÁÖÀΰøÀÌ°í ¿µ¿õ. ±âµ¶±³ ¹«¾îÀÎÀÌ°í º£´Ï½ºÏÚ À屺ÀÎ Othello´Â åëܪ(¾ðº¯)¿¡ ´ÉÇÏ°í ½ÅüÀûÀ¸·Î °ÀÎÇÑ, ÁÖº¯ÀÇ ¸ðµç »ç¶÷¿¡°Ô Á¸°æ¹Þ´Â, Àι°ÀÌ´Ù. ³ôÀº ÁöÀ§¿¡µµ ºÒ±¸ÇÏ°í ±×ÀÇ ³ªÀÌ¿Í ±ºÀÎÀ¸·Î¼ÀÇ »î°ú ±×ÀÇ ÀÎÁ¾ ¶§¹®¿¡ ±×´Â À§Çè(insecurities)ÀÇ ¸ÔÀÌ°¡ µÇ±â ½±´Ù. ±×´Â ¡°ÀÚÀ¯·Ó°í °³¹æÀûÀΡ± ¼ºÇ°À» °¡Áö°í ÀÖÁö¸¸ ÀÌ°ÍÀ» ±×ÀÇ Ðýâ¢(±â¼ö) Iago´Â OthelloÀÇ ¾Æ³» Desdemona¿¡ ´ëÇÑ »ç¶ûÀ» °·ÂÇÏ°í Æı«ÀûÀÎ ÁúÅõ·Î º¯Çü½ÃÅ°±â À§Çؼ »ç¿ëÇÑ´Ù.
Desdemona: º£´Ï½º ¿ø·Î¿ø ÀÇ¿ø Brabanzio ÀÇ µþ. Desdemona¿Í Othello´Â ±ØÀÌ ½ÃÀ۵DZâ Àü¿¡ ºñ¹ÐÈ÷ °áÈ¥ÇÑ´Ù. Desdemona´Â ÀüÇüÀûÀ¸·Î ¼ø°áÇÏ°í ¿Â¼øÇÑ ¹Ý¸é ¶ÇÇÑ ¼º°ÝÀÌ ´ÜÈ£ÇÏ°í ħÂøÇÏ´Ù. ±×³à´Â Iago¿Í ¿Ü¼³½º·¯¿î ³ó´ãÀ» ÁÖ°í¹ÞÀ¸¸é¼ ±×³àÀÇ °áÈ¥À» ¹æ¾îÇÏ°í µ¿½Ã¿¡(equally) OthelloÀÇ ÀÌÇØÇÒ ¼ö ¾ø´Â ÁúÅõ¿¡ Á¸¾öÇÏ°Ô ´ëÀÀÇÑ´Ù.
Iago: OthelloÀÇ ±â¼ö(ancient/standard-bearer)ÀÌ°í ±ØÀÇ äÂìÑ(¾ÇÀÎ). Iago´Â 28¼¼ÀÌ´Ù. ±×°¡ OthelloÀÇ Á×À½À» ¹Ù¶ó´Â Ç¥¸é»ó ÀÌÀ¯´Â ±×°¡ ñéêÏ(ÁßÀ§)Áø±Þ¿¡ Á¦¿ÜµÇ¾ú´Ù´Â °ÍÀÌÁö¸¸ IagoÀÇ µ¿±â´Â ¸íÈ®ÇÏ°Ô ³ªÅ¸³ªÁö ¾Ê°í Á¶ÀÛ°ú Æı«¿¡ ´ëÇÑ °ÅÀÇ °¹ÚÀûÀÌ°í ¹ÌÇÐÀûÀÎ ±â»Ý¿¡ ±â¿øÇÏ´Â °Íó·³ º¸ÀδÙ.
Michael Cassio: OthelloÀÇ ºÎ°ü. Cassio´Â Àþ°í °æÇèÀÌ ¾ø´Â ±ºÀÎÀÌ¸ç ±×ÀÇ ³ôÀº ÀÚ¸®´Â Iago¿¡ ÀÇÇؼ ¸¹Àº Áõ¿À¸¦ ¹Þ´Â´Ù. Othello¿¡°Ô Áø½ÉÀ¸·Î Ã漺ÇÏÁö¸¸ Cassio´Â Cyprus¿¡¼ ¼ú¿¡ ÃëÇØ ½Î¿ò¿¡ ÈÛ¾µ¸®¾î ºÎ°üÀ¸·Î¼ÀÇ ÁöÀ§¸¦ »ó½ÇÇÑ ÈÄ¿¡ Áö±ØÈ÷ ºÎ²ô·¯¿öÇÏ°í ÀÖ´Ù. Iago´Â CassioÀÇ ÀþÀ½°ú Àß»ý±ä ¿ë¸ð¿Í Desdemona¿ÍÀÇ Ä£¹ÐÀ» Desdemona ÀÇ ïöï½(Á¤Àý)¿¡ ´ëÇÑ OthelloÀÇ ºÒ¾ÈÀ» ÀÚ±ØÇϱâ(play on) À§Çؼ ÀÌ¿ëÇÑ´Ù.
28-2-209
Emilia: Iago¡¯s wife and Desdemona¡¯s attendant. A cynical, worldly woman, she is deeply attached to her mistress and distrustful of her husband.
Roderigo: A jealous suitor of Desdemona. Young, rich, and foolish, Roderigo is convinced that if he gives Iago all of his money, Iago will help him win Desdemona¡¯s hand. Repeatedly frustrated as Othello marries Desdemona and then takes her to Cyprus, Roderigo is ultimately desperate enough to agree to help Iago kill Cassio after Iago points out that Cassio is another potential rival for Desdemona.
Bianca: A courtesan, or prostitute, in Cyprus. Bianca¡¯s favorite customer is Cassio, who teases her with promises of marriage.
Brabanzio: Desdemona¡¯s father, a somewhat blustering and self-important Venetian senator. As a friend of Othello, Brabanzio feels betrayed when the general marries his daughter in secret.
Duke of Venice: The official authority in Venice, the duke has great respect for Othello as a public and military servant. His primary role within the play is to reconcile Othello and Brabanzio in Act I, scene iii, and then to send Othello to Cyprus.
Montano: The governor of Cyprus before Othello. We see him first in Act II, as he recounts the status of the war and awaits the Venetian ships.
Lodovico: One of Brabanzio¡¯s kinsmen, Lodovico acts as a messenger from Venice to Cyprus. He arrives in Cyprus in Act IV with letters announcing that Othello has been replaced by Cassio as governor.
Graziano: Brabanzio¡¯s kinsman who accompanies Lodovico to Cyprus. Amidst the chaos of the final scene, Graziano mentions that Desdemona¡¯s father has died.
Clown: Othello¡¯s servant. Although the clown appears only in two short scenes, his appearances reflect and distort the action and words of the main plots: his puns on the word ¡°lie¡± in Act III, scene iv, for example, anticipate Othello¡¯s confusion of two meanings of that word in Act IV, scene i.
Emilia: IagoÀÇ ¾Æ³»ÀÌ°í DesdemonaÀÇ ã´Ò³(½Ã³à). ³Ã¼ÒÀûÀÌ°í ¼¼¼ÓÀûÀÎ ¿©ÀÎÀÌÁö¸¸ ±×³à´Â ±×³àÀÇ ¿©ÁÖÀÎÀ» ±íÀÌ »ç¶ûÇÏ°í ³²ÆíÀ» ºÒ½ÅÇÑ´Ù.
Roderigo: DesdemonaÀÇ ÁúÅõ½É ¸¹Àº ±¸È¥ÀÚ. Àþ°í ºÎÀ¯ÇÏ°í ¾î¸®¼®Àº Roderigo´Â ±×°¡ Iago¿¡°Ô ±×°¡ °¡Áø µ· ÀüºÎ¸¦ ÁÖ¸é ÀÚ½ÅÀÌ DesdemonaÀÇ ¼ÕÀ» ÀâÀ» ¼ö ÀÖµµ·Ï Iago°¡ µµ¿ÍÁÙ °ÍÀ̶ó°í È®½ÅÇÑ´Ù. Othello°¡ Desdemona¿Í °áÈ¥ÇÏ°í ±×³à¸¦ Cyprus·Î µ¥·Á°¨¿¡ µû¶ó ¹Ýº¹ÀûÀ¸·Î ÁÂÀýµÈ Roderigo´Â °á±¹ ÇÊ»çÀûÀÎ ½ÉÁ¤ÀÌ µÇ¾î Cassio°¡ Desdemona¿¡ ´ëÇÑ ¶Ç ÇϳªÀÇ ÀáÀçÀûÀÎ °æÀïÀÚ¶ó´Â °ÍÀ» Iago°¡ ÁöÀûÇÑ ÈÄ¿¡ Iago°¡ Cassio¸¦ Á×ÀÌ´Â µ¥ ÇùÁ¶Çϱâ·Î µ¿ÀÇÇÑ´Ù.
Bianca: CyprusÀÇ °í±Þ ¸ÅÃáºÎ ¶Ç´Â â³à. Bianca°¡ Ưº°È÷ ÁÁ¾ÆÇÏ´Â °í°´Àº CassioÀ̸ç Cassio´Â °áÈ¥ÀÇ ¾à¼ÓÀ¸·Î ±×³à¸¦ ³î¸°´Ù.
Brabanzio: DesdemonaÀÇ ¾Æ¹öÁöÀÌ°í ´Ù¼Ò È£ÅëÄ¡±â¸¦ ÁÁ¾ÆÇÏ°í ÀÚÁ¸½ÉÀÌ °ÇÑ ¿ø·Î¿ø ÀÇ¿ø. OthelloÀÇ Ä£±¸·Î¼ ±×´Â Othello À屺ÀÌ ±×ÀÇ µþ°ú ºñ¹Ð°áÈ¥À» ÇÒ ¶§ ¹è½Å°¨À» ´À³¤´Ù.
Duke of Venice: VeniceÀÇ °ø½Ä ÅëÄ¡ÀÚ(Authority)ÀÎ ÍëíÉ(°øÀÛ)Àº °øÁ÷ÀÚ ¹× ±ºÀÎÀ¸·Î¼ÀÇ Othello¿¡ ´ëÇؼ Å« Á¸°æ½ÉÀ» °¡Áö°í ÀÖ´Ù. ±Ø¿¡¼ ±×ÀÇ °¡Àå Áß¿äÇÑ ¿ªÇÒÀº 1Ø(¸·) 3íñ(Àå)¿¡¼ Othello¿Í Brabanzio¸¦ ÈÇؽÃÅ°°í ±×·¯°í ³ª¼ Othello¸¦ Cyprus·Î ÆÄ°ßÇÏ´Â °ÍÀÌ´Ù.
Montano: OthelloÀÇ òÁîñ(Á÷Àü) Cyprus Ãѵ¶. ¿ì¸®´Â 2¸·¿¡¼ ±×°¡ ÀüÀï »óȲÀ» ¼³¸íÇÏ°í Venice ¼±¹ÚµéÀ» ±â´Ù¸®°í ÀÖÀ» ¶§ ±×¸¦ óÀ½À¸·Î º¸°Ô µÈ´Ù.
Lodovico: BrabanzioÀÇ Ä£Á· ÁßÀÇ Çϳª. Lodovico´Â Venice¿¡¼ Cyprus·Î °¡´Â ÞÅíº(»çÀÚ)ÀÇ ¿ªÇÒÀ» ÇÑ´Ù. ±×´Â 4¸·¿¡¼ Othello°¡ Cassio¿¡ ÀÇÇؼ Cyprus Ãѵ¶ÀÌ ±³Ã¼µÇ¾ú´Ù´Â °ÍÀ» ¹ßÇ¥ÇÏ´Â ÆíÁö¸¦ °¡Áö°í Cyprus¿¡ µµÂøÇÑ´Ù.
Graziano: Lodovico¸¦ Cyprus±îÁö ¼öÇàÇÏ´Â BrabanzioÀÇ Ä£Á·. ¸¶Áö¸· íñ(Àå)ÀÇ È¥µ· °¡¿îµ¥¿¡ Graziano´Â DesdemonaÀÇ ¾Æ¹öÁö°¡ º°¼¼ÇÏ¿´´Ù°í ¸»ÇÑ´Ù.
Clown: OthelloÀÇ ÇÏÀÎ. ºñ·Ï ±¤´ë´Â µÎ °³ÀÇ ÂªÀº íñ(Àå)¿¡¼¸¸ ³ªÅ¸³ªÁö¸¸ ±×ÀÇ µîÀåÀº Á᫐ ÁٰŸ®ÀÇ ÇàÀ§¿Í ¸»À» ¹Ý¿µÇÏ°í µÚƲ¸®°Ô ÇÑ´Ù: ¿¹¸¦ µé¾î¼ 3¸· 4Àå¿¡¼ ¡°lie"¶ó´Â ´Ü¾î¿¡ ´ëÇÑ ±×ÀÇ ½Å¼Ò¸®´Â 4¸· 1Àå¿¡¼ ±× ´Ü¾î(lie)ÀÇ µÎ °¡Áö Àǹ̿¡ ´ëÇÑ OthelloÀÇ È¥µ·À» ¿¹»ó½ÃŲ´Ù.
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¥±.Plot Analysis
Othello is the story of a noble military general who has enjoyed many successes on the battlefield, but because of mistakes of judgment and his outsider status in his society, sabotages his most intimate relationship and himself. The play begins on the grand scale of a military romance unfolding on the Mediterranean Sea. However, the action of the drama shrinks to the claustrophobic ending in the cramped bedroom where Othello kills himself after smothering his innocent wife. The play moves from vast exteriors that provide a backdrop for Othello¡¯s heroism to interior spaces that offer—both literally and figuratively—no room to breathe. The play¡¯s constricting trajectory suggests that negative emotions like jealousy put an emotional chokehold on a person, strangling their ability to think clearly and thus preventing them from acting reasonably. It also contrasts the arenas in which Othello is confident and powerful, such as the exterior world of battle, with the domestic spaces in which he is less secure, and able to be easily manipulated.
The incident that sets the protagonist and antagonist on a collision course occurs before the play begins, when Othello chooses Cassio as lieutenant. In being passed over for promotion, Iago feels cast aside and left to fill the role of ¡°ancient¡± (i.e., ensign), a military position that ranks at the very bottom of all commissioned officers.
¥±. ÁٰŸ® ºÐ¼®
"Othello"´Â îúíÞ(ÀüÀå)¿¡¼ ¸¹Àº ¼º°øÀ» °ÅµÎ¾úÁö¸¸ ÆÇ´ÜÀÇ ½Ç¼ö¿Í ±×ÀÇ »çȸ¿¡¼ÀÇ ±¹¿ÜÀÚÀûÀÎ ÁöÀ§°¡ ±×ÀÇ °¡Àå Ä£¹ÐÇÑ Àΰ£°ü°è¿Í ÀÚ½ÅÀ» Æĸê½ÃÅ°´Â °í±ÍÇÑ ÏÚ À屺ÀÇ À̾߱âÀÌ´Ù. ±ØÀº ÁöÁßÇØ¿¡¼ Àü°³µÇ´Â ¿õÀåÇÑ ±Ô¸ðÀÇ ±º»çÀûÀÎ À̾߱â(romance)·Î¼ ½ÃÀ۵ȴÙ. ±×·¯³ª µå¶ó¸¶ÀÇ ÇàÀ§´Â Othello°¡ ¼ø°áÇÑ ¾Æ³»¸¦ Áú½Ä»ç½ÃŲ ÈÄ¿¡ ÀÚ»ìÇÏ´Â ºñÁ¼Àº ħ½Ç¿¡¼ ¹Ð½Ç°øÆ÷ÁõÀûÀÎ Á¾¸»·Î ¿À±×¶óµç´Ù. ±ØÀº OthelloÀÇ ¿µ¿õÀûÀÎ ÀÚÁú¿¡ ´ëÇÑ ¹è°æÀ» Á¦°øÇÏ´Â ±¤´ëÇÑ èâÌÑ(¿Ü°æ)À¸·ÎºÎÅÍ ¼û ½¯ °ø°£Á¶Â÷¡ª¹®ÀÚ ±×´ë·Î ±×¸®°í »ó¡ÀûÀ¸·Î(figuratively)¡ªÁ¦°øÇÏÁö ¾Ê´Â ½Ç³» °ø°£À¸·Î À̵¿ÇÑ´Ù. ±ØÀÇ ¼Ó¹ÚÇÏ´Â ±ËÀûÀº ÁúÅõ¿Í °°Àº ºÎÁ¤ÀûÀÎ °¨Á¤Àº ¼±¸íÇÏ°Ô »ý°¢ÇÒ ¼ö ÀÖ´Â ´É·ÂÀ» Áú½Ä½ÃÄѼ »ç¶÷µé·Î ÇÏ¿©±Ý ÇÕ¸®Àû ÇൿÀ» ¸øÇÏ°Ô ÇÏ¸é¼ »ç¶÷À» Á¤¼ÀûÀ¸·Î Áú½Ä½ÃŲ´Ù´Â °ÍÀ» ¾Ï½ÃÇÏ°í ÀÖ´Ù. ±×°Í(±ØÀÇ ±ËÀû)Àº ¶ÇÇÑ ¿ÜºÎ ¼¼°èÀÇ ÀüÅõó·³ Othello°¡ °·ÂÇÏ°í ÀÚ½ÅÀÌ ÀÖ´Â È°µ¿¹«´ë(arenas)¿Í ±×°¡ º¸´Ù ´ú ¾ÈÀüÇÏ°í ½±°Ô Á¶Á¾´çÇÒ ¼ö ÀÖ´Â °¡Á¤ÀÇ °ø°£À» ´ëÁ¶½ÃŲ´Ù.
ÁÖÀΰø°ú Àû´ëÀÚ¸¦ Ãæµ¹ÄÚ½º¿¡ ¿Ã·Á³õ´Â »ç°ÇÀº ±ØÀÌ ½ÃÀ۵DZâ Àü, Othello°¡ Cassio¸¦ ±×ÀÇ ºÎ°üÀ¸·Î ¼±ÅÃÇÒ ¶§¿¡ ÀϾÙ. ½ÂÁø¿¡¼ Á¦¿Ü µÉ ¶§ Iago´Â ¹ö¸²¹Þ¾Æ¼ ¡°ancient¡±(±â¼ö)ÀÇ ÀÚ¸®¸¦ ä¿ì°Ô µÇ¾ú´Ù°í ´À³¢´Âµ¥, ±â¼ö´Â ¸ðµç ÀÓ°ü Àå±³ Áß¿¡¼ °¡Àå ¹Ø¹Ù´ÚÀ¸·Î µî±Þ µÇ´Â ±º´ëÁöÀ§ÀÌ´Ù.
28-4-211
Though angry with Othello¡¯s choice, Iago feels equally upset that the coveted job went to Cassio, who Iago considers less qualified than he is. He also later reveals that he believes Cassio might have slept with his wife (in addition to suspecting Othello slept with her): ¡°For I fear Cassio with my night-cap too.¡± (II.i.) Iago feels doubly degraded: a promotion he believes was rightfully his went to another man, and both men responsible for the slight – Othello and Cassio – may be sleeping with his wife. At this point, the audience¡¯s sympathies are aligned with Iago, as we haven¡¯t yet seen Othello, and Iago does have just cause for his grievances.
The tension of the play rises once the audience meets Othello and realizes how disastrous Iago¡¯s plan will be. Othello and Desdemona¡¯s declarations of love for each other, and Desdemona¡¯s willingness to be disowned by her father in order to be with Othello, raise the stakes for the couple, and shifts the audience to Othello¡¯s side. By contrasting Othello, Desdemona, and Cassio¡¯s virtuous natures with Iago¡¯s lies, the play heightens the tension between the truth and deception. With everyone in the play subject to Iago¡¯s scheming, the audience becomes his silent co-conspirator as he unveils his plans in a series of asides. As Iago easily succeeds in his plot to get Cassio drunk, incite him to fight Roderigo, and convince Othello to fire him – all the while acting as though he loves Cassio – we see what a skilled manipulator he is. Iago¡¯s scheming, cynical nature is starkly contrasted with the rest of the characters in the play, who are all undone by their own trusting, honest natures and their inability to see through Iago¡¯s deceptions.
OthelloÀÇ °áÁ¤(choice) ¶§¹®¿¡ È°¡ ³µÁö¸¸ Iago´Â Ž³ª´Â ÀÚ¸®°¡ Àڱ⺸´Ùµµ ÀÚ°ÝÀÌ ¶³¾îÁø´Ù°í »ý°¢ÇÏ´Â Cassio¿¡°Ô °£ °Í ¶§¹®¿¡ ¶È°°ÀÌ °¨Á¤ÀÌ »óÇÑ´Ù. ±×´Â ¶Ç ÈÄ¿¡ Cassio°¡ Àڱ⠾Ƴ»¿Í µ¿Ä§ÇßÀ» °ÍÀ̶ó°í ¹Ï´Â´Ù°í ³ªÁß¿¡ ¸¶À½À» µå·¯³½´Ù. (Othello°¡ Àڱ⠾Ƴ»¿Í Àä´Ù°í ÀǽÉÇÒ »Ó ¾Æ´Ï¶ó): ¡°¿Ö³ÄÇϸé Cassio°¡ ³» ¹ã¸ðÀÚ¸¦ °¡Áö°í Àְŵç.¡±(¹ã¿¡ Àß ¶§ ¾²´Â Àڱ⠸ðÀÚ¸¦ Cassio°¡ °¡Áö°í ÀÖÀ¸´Ï±î Ʋ¸²¾øÀÌ ¾Æ³»°¡ ±×¿¡°Ô ±× ¸ðÀÚ¸¦ ÁÖ¾úÀ» °ÍÀ̶ó°í ÃßÃøÇؼ). Iago´Â ÀÌÁßÀ¸·Î ¸é¸ñÀ» ÀÒ¾ú´Ù°í ´À³¤´Ù: ´ç¿¬È÷ Àڱ⠰ÍÀ̶ó°í ¹Ï°í ÀÖ´Â ½ÂÁøÀº ´Ù¸¥ »ç¶÷¿¡°Ô °¬°í ÀÌ·± ¸ð¿å¿¡ ´ëÇØ Ã¥ÀÓÀÌ ÀÖ´Â µÎ »ç¶÷ ¸ðµÎ ¡ªOthello¿Í Cassio¡ª ÀÚ±âÀÇ ¾Æ³»¿Í µ¿Ä§ÇÏ°í ÀÖÀ» °ÍÀ̱⠶§¹®ÀÌ´Ù. ÀÌ ãÁïÇ(½ÃÁ¡)¿¡¼´Â ¾ÆÁ÷ Othello¸¦ º¸Áö ¸øÇÏ¿´°í Iago´Â ±×ÀÇ ºÒÆò¿¡ ´ëÇÑ Á¤´çÇÑ ÀÌÀ¯¸¦ °¡Áö°í Àֱ⠶§¹®¿¡, °üÁßÀÇ µ¿Á¤Àº Iago¿Í ÀÏÄ¡ÇÏ°Ô µÈ´Ù.
°üÁßÀÌ Othello¸¦ ÀÏ´Ü ¸¸³ª°í IagoÀÇ °èȹÀÌ ¾ó¸¶³ª ÆĸêÀûÀΰ¡¸¦ ±ú´Ý°Ô µÉ ¶§ ±ØÀÇ ±äÀå°¨Àº »ó½ÂÇÑ´Ù. Othello¿Í DesdemonaÀÇ ¼·Î¿¡ ´ëÇÑ »ç¶ûÀÇ ¼±¾ð°ú Othello¿Í °áÈ¥Çϱâ À§ÇØ ¾Æ¹öÁö¿Í ëùï¾(ÀÇÀý)ÇÏ°Ú´Ù´Â DesdemonaÀÇ ëòú¾(ÀÇÇâ)Àº ÀÌµé ºÎºÎÀÇ ºñÁßÀ» ³ô¿©ÁÖ°í °üÁßÀ» Othello ÂÊÀ¸·Î À̵¿½ÃŲ´Ù. Othello¿Í Desdemona¿Í CassioÀÇ µµ´öÀûÀÎ º»¼ºÀ» IagoÀÇ °ÅÁþ¸»°ú ´ëÁ¶½ÃÅ´¿¡ ÀÇÇÏ¿© ±ØÀº Áø½Ç°ú °ÅÁþ»çÀÌÀÇ ±äÀåÀ» °íÁ¶½ÃŲ´Ù. ±Ø Áß ¸ðµç Àι°ÀÌ IagoÀÇ °èȹ¿¡ ³Ñ¾î°¨¿¡ µû¶ó °üÁßÀº Iago°¡ ÀÏ·ÃÀÇ Û¨ÛÜ(¹æ¹é)¿¡¼ ±×ÀÇ °èȹÀ» ¹àÈú ¶§¿¡ °üÁß ±×ÀÇ ¸» ¾ø´Â °ø¸ðÀÚ°¡ µÈ´Ù. Iago°¡ CassioÀ» ¸¸Ãë½ÃÄѼ Roderigo¿Í ½Î¿ìµµ·Ï ÎçÞÊ(±³»ç)ÇÏ°í ±×¸¦ Æĸé½ÃÅ°µµ·Ï Othello¸¦ ¼³µæ½ÃÅ°·Á´Â Ã¥·«¿¡ ½±°Ô ¼º°øÇÒ ¶§¿¡¡ª±× »çÀÌ ³»³» ±×°¡ Cassio¸¦ »ç¶ûÇÏ´Â °Íó·³ ÇൿÇϸ鼡ª ¿ì¸®´Â ±×°¡ ¾ó¸¶³ª ¼÷·ÃµÈ »ç±â²ÛÀΰ¡¸¦ ¾Ë°Ô µÈ´Ù. IagoÀÇ °èȹÀûÀÌ°í ³Ã¼ÒÀûÀÎ ¼ºÇ°(nature)Àº ±ØÀÇ ³ª¸ÓÁö Àι°µé°ú ¼±¸íÇÏ°Ô(starkly) ´ëÁ¶µÇ¸ç À̵éÀº ¸ðµÎ ±×µé ÀÚ½ÅÀÇ »ç¶÷À» ÀǽÉÇÏÁö ¾ÊÀ¸¸ç Á¤Á÷ÇÑ ¼ºÇ°°ú IagoÀÇ ¼ÓÀÓ¼ö¸¦ ²ç¶Õ¾î º¸´Â ´É·ÂÀÌ ¾ø¾î¼ ÆĸêµÈ´Ù.
28-5-212
The conflicting forces of good, as represented by Othello, and evil, as represented by Iago, come into direct contact at the end of Act III, scene iii, when Othello kneels with Iago and pledges his unswerving desire to take revenge on those who have cuckolded him. Unlike many Shakespearean tragedies where the protagonist confronts the antagonist at the play¡¯s climax, Othello expresses his absolute trust in Iago by appointing him his new lieutenant. Othello¡¯s misplacement of trust, and blindness to Iago¡¯s true motivations, increases the tension further, as the audience wonders when, if ever, Othello will see the truth about his supposed friend. As Othello becomes increasingly deranged with jealousy, and refuses to listen to Desdemona¡¯s protestations of her innocence, he becomes less a protagonist, and starts to figure more as a second antagonist, acting in league with Iago. From this point on, no matter what Desdemona does, it only proves her guilt in Othello¡¯s eyes.
In the play¡¯s remaining two acts, Iago¡¯s treacherous plot unfolds with a brutal inevitability. Othello shifts from believing Desdemona could never betray him, to demanding proof of her infidelity so he can feel justified in killing her. When Iago suggests Othello strangle Desdemona in the bed in which she was allegedly unfaithful, Othello says ¡°Good, good, the justice of it pleases!¡± (IV.i). Othello still loves his wife passionately, but rather than considering her virtues as arguments against Iago¡¯s accusations, instead sees them as reasons to be all the more upset by her alleged infidelity. Deranged with jealousy, Othello conspires with Iago to murder Cassio and devises his plan to kill Desdemona. Either his wife has been unfaithful and is lying to him, or his beloved, ¡°honest¡± friend Iago has been lying to him. Only after he kills Desdemona does Othello discover he believed the wrong person. When he at last realizes his error, he kills himself, rather than live in a world where honor and honesty have no value.
Othello¿¡ ÀÇÇؼ ´ëÇ¥µÇ´Â à¼(¼±)ÀÇ ¼¼·Â°ú Iago¿¡ ÀÇÇؼ ´ëÇ¥µÇ´Â äÂ(¾Ç)ÀÇ ¼¼·ÂÀº 3¸·3ÀåÀÇ ³¡¿¡ °¡¼ Á÷Á¢ Á¢ÃËÇÏ°Ô µÇ¸ç À̶§ Othello´Â Iago¿Í ¹«¸À» ²Ý°í ±×ÀÇ ¾Æ³»¿Í Þç÷×(»çÅë)ÇÑ íº(ÀÚ)¿¡°Ô º¹¼ö¸¦ Çϱâ À§ÇÑ ºÒ±¼ÀÇ ÀÇÁö(desire)¿¡ ¸Í¼¼ÇÑ´Ù. ÁÖÀΰøÀÌ Àû´ëÀÚ¿Í ±ØÀÇ Å¬¶óÀ̸ƽº¿¡¼ ´ë°áÇÏ´Â ShakespeareÀÇ ¸¹Àº ºñ±Ø°ú´Â ´Þ¸® Othello´Â Iago¸¦ ½ÅÀÓ ºÎ°üÀ¸·Î ÀÓ¸íÇÔÀ¸·Î½á Iago¿¡°Ô Àý´ëÀû ½Å·Ú¸¦ Ç¥ÇÑ´Ù. OthelloÀÇ °¡´çÄ¡ ¾Ê´Â ½Å·Ú¿Í ±×¸®°í IagoÀÇ ÁøÁ¤ÇÑ µ¿±â¿¡ ´ëÇÑ ¹«Áö´Â Othello°¡ ±×ÀÇ Ä£±¸(±×°¡ Ä£±¸¶ó°í »ý°¢Çϴ ģ±¸)¿¡ ´ëÇÑ Áø½ÇÀ» ¾ðÁ¦ ¾Ë°Ô µÉÁö(¸¸¾à ¾Ë°Ô µÈ´Ù¸é)¿¡ ´ëÇؼ °üÁßµéÀÌ ±Ã±ÝÇØÇÏ¸é¼ ±äÀåÀ» ´õ¿í ´õ °íÁ¶½ÃŲ´Ù. Othello°¡ ÁúÅõ·Î Á¡Á¡ ´õ ¹ÌÃÄ°¡¸é¼ ±×¸®°í ±×³àÀÇ ¼ø°á¿¡ ´ëÇÑ DesdemonaÀÇ Ç׺¯¿¡ ±Í ±â¿ïÀ̱⸦ °ÅºÎÇÏ°Ô µÇ¸é¼, Othello´Â ´ú ÁÖÀΰøÀÌ µÇ°í(ÁÖÀΰø¿¡¼ ºüÁö°í) Iago¿Í µ¿¸ÍÇؼ ÇൿÇÏ´Â ºÎÂ÷ÀûÀÎ Àι°·Î ³ªÅ¸³ª±â ½ÃÀÛÇÑ´Ù. ÀÌ ½ÃÁ¡ºÎÅÍ °è¼ÓÇؼ, Desdemona°¡ ¹«½¼ ÇൿÀ» ÇÏ´ø ±×°ÍÀº OthelloÀÇ ´«¿¡´Â ±×³àÀÇ À¯Á˸¦ ÀÔÁõÇÏ´Â °ÍÀÌ µÉ »ÓÀÌ´Ù.
±ØÀÇ ³ª¸ÓÁö µÎ °³ÀÇ ¸·¿¡¼ IagoÀÇ ¹è½ÅÀûÀÎ À½¸ð´Â ¹«ÀÚºñÇÑ ÇÊ¿¬¼ºÀ» °¡Áö°í Àü°³µÈ´Ù. Othello´Â Desdemona´Â °á´ÜÄÚ ±×¸¦ ¹è½ÅÇÒ ¼ö ¾ø´Ù°í ¹Ï´Â °ÍÀ¸·ÎºÎÅÍ ±×°¡ ±×³à¸¦ Á×ÀÌ´Â °ÍÀÌ Á¤´çÇÏ´Ù°í ´À³¥ ¼ö ÀÖµµ·Ï ±×³àÀÇ ÝÕïö(ºÎÁ¤)ÀÇ Áõ°Å¸¦ ´Ù±×Ä¡´Â(demanding) ÂÊÀ¸·Î À̵¿ÇÑ´Ù. Iago´Â Othello¿¡°Ô Desdemona°¡ ºÎÁ¤À» ÀúÁú·¶´Ù°í ÁÖÀåµÇ´Â ħ½Ç¿¡¼ ±×³à¸¦ Îí߯(±³»ì)ÇÒ °ÍÀ» Á¦¾ÈÇÒ ¶§ Othello´Â ¡°ÁÁ¾Æ, ÁÁ¾Æ, ÁË°ªÀ̴ϱî.¡± £Û±×°Í(°£Åë)¿¡ ´ëÇÑ Á¤ÀÇÀÇ ½ÉÆÇÀÌ Áñ°Ì´Ù.£Ý¶ó°í ¸»ÇÑ´Ù. Othello´Â ¾ÆÁ÷µµ Desdemona¸¦ ¿·ÄÈ÷ »ç¶ûÇÏÁö¸¸ IagoÀÇ °í¹ß¿¡ ´ëÇ×ÇÏ´Â ÁÖÀåÀ¸·Î¼ ±×³àÀÇ Á¤¼÷ÇÑ Çൿµé(virtues)À» °í·ÁÇϱ⺸´Ù´Â ¿ÀÈ÷·Á ±×°ÍµéÀ» ±×³àÀÇ °£ÅëÇøÀÇ(alleged infidelity)¿¡ ÀÇÇؼ ´õ¿í´õ °È½ÃÅ°´Â(upset) ÀÌÀ¯·Î °£ÁÖÇÑ´Ù. ÁúÅõ ¶§¹®¿¡ ¹ÌÄ£ Othello´Â Cassio¸¦ Á×À̱â À§Çؼ Iago¿Í À½¸ð¸¦ ²Ù¹Ì°í ±×ÀÇ Desdemona¸¦ Á×ÀÏ °èȹÀ» °í¾ÈÇÑ´Ù. ±×ÀÇ ¾Æ³»°¡ ºÎÁ¤À» ÀúÁú·¯ ¿À¸é¼ ±×¿¡°Ô °ÅÁþ¸»À» ÇÏ°í Àְųª ȤÀº ±×ÀÇ »ç¶ûÇÏ´Â ¡°Á¤Á÷ÇÑ¡± Ä£±¸ Iago°¡ ±×¿¡°Ô °ÅÁþ¸»À» ÇØ¿À°í ÀÖ´Â °ÍÀÌ´Ù. Desdemona¸¦ Á×ÀÌ°í ³ ´ÙÀ½¿¡¾ß Othello´Â ±×°¡ ³ª»Û »ç¶÷À» ¹Ï¾ú´Ù´Â °ÍÀ» ¹ß°ßÇÑ´Ù. ¸¶Ä§³» ±×ÀÇ ¿À·ù¸¦ ±ú´ÞÀ» ¶§ ±×´Â ¸í¿¹¿Í Á¤Á÷ÀÌ ¾Æ¹«·± °¡Ä¡°¡ ¾ø´Â ¼¼»ó¿¡ »ì±âº¸´Ù´Â ÀÚ»ìÇÑ´Ù.
28-6-213
¥². Theme
The Incompatibility of Military Heroism &;; Love
Before and above all else, Othello is a soldier. From the earliest moments in the play, his career affects his married life. Asking ¡°fit disposition¡± for his wife after being ordered to Cyprus (I.iii.234), Othello notes that ¡°the tyrant custom¡¦ / Hath made the flinty and steel couch of war / My thrice-driven bed of down¡± (I.iii.227–229). While Desdemona is used to better ¡°accommodation,¡± she nevertheless accompanies her husband to Cyprus (I.iii.236). Moreover, she is unperturbed by the tempest or Turks that threatened their crossing, and genuinely curious rather than irate when she is roused from bed by the drunken brawl in Act II, scene iii. She is, indeed, Othello¡¯s ¡°fair warrior,¡± and he is happiest when he has her by his side in the midst of military conflict or business (II.i.179). The military also provides Othello with a means to gain acceptance in Venetian society. While the Venetians in the play are generally fearful of the prospect of Othello¡¯s social entrance into white society through his marriage to Desdemona, all Venetians respect and honor him as a soldier. Mercenary Moors were, in fact, commonplace at the time.
Othello predicates his success in love on his success as a soldier, wooing Desdemona with tales of his military travels and battles. Once the Turks are drowned—by natural rather than military might—Othello is left without anything to do: the last act of military administration we see him perform is the viewing of fortifications in the extremely short second scene of Act III.
¥². ÁÖÁ¦
±º»çÀû ¿µ¿õÁÖÀÇ¿Í »ç¶ûÀÇ ¾ç¸³ ºÒ°¡´É¼º
Àü¿¡´Â ±×¸®°í ¹«¾ùº¸´Ùµµ Othello´Â ±ºÀÎÀÌ´Ù. ±ØÀÇ ÃÖÃÊ ¼ø°£ºÎÅÍ ±×ÀÇ °æ·Â(±º´ë)ÀÌ ±×ÀÇ °áÈ¥»ýÈ°¿¡ ¿µÇâÀ» ³¢Ä£´Ù. Cyprus·Î ï®áÕ(Àü¼Ó)¸í·ÉÀ» ¹ÞÀº ÈÄ¿¡ ¾Æ³»¿¡ ´ëÇÑ ¡°ÀûÀýÇÑ Ãë±Þ¡±À» ¿äûÇÏ¸é¼ Othello´Â ¡°°í³¿¡ Àͼ÷ÇØÁø °Í(tyrant custom)ÀÌ¡¦/ÇèÇÑ(flinty and steel) ÀüÀïÅÍ(couch of war)¸¦ Æí¾ÈÇÑ ÀáÀÚ¸®·Î ¸¸µé¾ú½À´Ï´Ù.¡±¶ó°í ¸»ÇÑ´Ù. Desdemona´Â º¸´Ù ÁÁÀº ¡°°Å󡱿¡ Àͼ÷ÇØ ÀÖÁö¸¸ Cyprus±îÁö ³²ÆíÀ» µû¶ó°£´Ù. ´õ¿íÀÌ ±×³à´Â ÆødzÀ̳ª Ç×ÇØ(crossing)¸¦ À§ÇùÇÏ´Â ÅÍÅ°Àε鿡 ÀÇÇؼ ¸¶À½ÀÌ Á¶±Ýµµ µ¿¿äµÇÁö ¾Ê°í 2¸·3Àå¿¡ öËÔ(Ãë°´)µéÀÇ ½Î¿ò ¶§¹®¿¡ ÀáÀÌ ±ú¾úÀ» ¶§µµ ȸ¦ ³»±âº¸´Ù´Â ¼ø¼öÇÑ È£±â½É¿¡ »ç·ÎÀâÈù´Ù. ±×³à´Â Áø½Ç·Î OthelloÀÇ ¡°¾î¿©»Û ¿©À屺¡±(fair warrior)ÀÌ°í Othello´Â ÀüÅõ³ª ¾÷¹« Áß¿¡ ±×³à°¡ ¿·¿¡ ÀÖÀ» ¶§ °¡Àå ÇູÇÏ´Ù. ±º´ë´Â ¶ÇÇÑ Othello¿¡°Ô º£´Ï½º »çȸ¿¡¼ ÀÎÁ¤À» ¹Þ´Â ¼ö´ÜÀ» Á¦°øÇÑ´Ù. ±Ø¿¡¼ º£´Ï½ºìѵéÀÌ Desdemona¿ÍÀÇ °áÈ¥À» ÅëÇؼ Othello°¡ ¹éÀλçȸ·Î »çȸÀû ÁøÀÔÀ» ÇÏ´Â °Í¿¡ ´ëÇØ ÀϹÝÀûÀ¸·Î µÎ·Á¿öÇÏ°í ÀÖ´Â ¹Ý¸é ¸ðµç º£´Ï½ºÀεéÀº ±ºÀÎÀ¸·Î¼ ±×¸¦ Á¸°æÇÏ°í ±â¸°´Ù. »ç½Ç ¹«¾îÀÎ ¿ëº´Àº ´ç½Ã¿¡ ÈçÇÑ ÀÏÀ̾ú´Ù.
Othello´Â »ç¶û¿¡¼ÀÇ ±×ÀÇ ¼º°øÀ» ±ºÀÎÀ¸·Î¼ÀÇ ¼º°ø¿¡ ±âÀÎÇÏ´Â °ÍÀ¸·Î ¼³¸íÇÏ¸ç ±×´Â ±º»ç¿©Çà°ú ÀüÅõÀÇ À̾߱⸦ ÀÌ¿ëÇÏ¿© Desdemona¿¡°Ô ±¸¾ÖÇÑ´Ù. ÇѹøÀº ÅÍÅ°±ºÀεéÀÌ ¹Ù´å¹°¿¡ ºüÁ³À» ¶§¡ª±º»çÀû ÈûÀÌ ¾Æ´Ï°í ÀÚ¿¬ÀÇ Èû ¶§¹®¿¡¡ªOthello´Â ¼Ó¼ö¹«Ã¥À¸·Î ³²¾Æ ÀÖ¾ú´Ù. ±×°¡ ±º»çÀÛÀü(administration)À» ¼öÇàÇÏ´Â ¸¶Áö¸· ÇàÀ§¸¦ ¿ì¸®°¡ º¸°Ô µÇ´Â °ÍÀº 3¸·ÀÇ Áö±ØÈ÷ ªÀº 2Àå¿¡¼ àòÒ®(¼º³») Àå¸éÀ» º¸´Â °ÍÀÌ´Ù.
28-7-214
No longer having a means of proving his manhood or honor in a public setting such as the court or the battlefield, Othello begins to feel uneasy with his footing in a private setting, the bedroom. Iago capitalizes on this uneasiness, calling Othello¡¯s epileptic fit in Act IV, scene i, ¡°[a] passion most unsuiting such a man.¡± In other words, Iago is calling Othello unsoldierly. Iago also takes care to mention that Cassio, whom Othello believes to be his competitor, saw him in his emasculating trance (IV.i.75).
Desperate to cling to the security of his former identity as a soldier while his current identity as a lover crumbles, Othello begins to confuse the one with the other. His expression of his jealousy quickly devolves from the conventional—¡°Farewell the tranquil mind¡±—to the absurd:
Farewell the plum¡¯d troops and the big wars,
That make ambition virtue: O, farewell,
Farewell the neighing steed and the shrill trump,
The spirit-stirring drum, th¡¯ear piercing fife;
The royal banner, and all quality,
Pride, pomp, and circumstance of glorious war!¡±
(III.iii.353–359)
One might well say that Othello is saying farewell to the wrong things—he is entirely preoccupied with his identity as a soldier. But his way of thinking is somewhat justified by its seductiveness to the audience as well. Critics and audiences alike find comfort and nobility in Othello¡¯s final speech and the anecdote of the ¡°malignant and ¡¦ turbaned Turk¡± (V.ii.362), even though in that speech, as in his speech in Act III, scene iii, Othello depends on his identity as a soldier to glorify himself in the public¡¯s memory, and to try to make his audience forget his and Desdemona¡¯s disastrous marital experiment.
±ÃÁ¤À̳ª ÀüÀïÅÍ¿Í °°Àº °ø°øÀÇ Àå¼Ò¿¡¼ ÀΰÝÀ̳ª ¸í¿¹·Î¿òÀ» Áõ¸íÇÒ ¼ö´ÜÀÌ ´õÀÌ»ó ¾ø´Â »çÀûÀÎ Àå¼ÒÀΠħ½Ç¿¡ ¹ßÀ» µó°Ô µÇ¸é¼ Othello´Â ºÒ¾ÈÀ» ´À³¢±â ½ÃÀÛÇÑ´Ù. Iago´Â 4¸· 1Àå¿¡¼ OthelloÀÇ °£Áú ¹ßÀÛÀ» ¡°±×·± »ç¶÷¿¡°Ô´Â °¡Àå ºÎÀûÇÕÇÑ Á¤·Ä¡±À̶ó°í ºÎ¸£¸é¼ ÀÌ ºÒ¾ÈÀ» ÀÌ¿ëÇÑ´Ù. ´Þ¸® ¸»ÇÏÀÚ¸é Iago´Â Othello¸¦ ±ºÀδäÁö ¸øÇÏ´Ù°í ºÎ¸£°í ÀÖ´Â °ÍÀÌ´Ù. Iago´Â ¶ÇÇÑ Othello°¡ ±×ÀÇ °æÀïÀÚ[æÇîØ(¿¬Àû)]¶ó°í ¹Ï°í ÀÖ´Â Cassioµµ Othello°¡ °Å¼¼µÇ¾î ½Ç½Å»óÅ¿¡ ÀÖ´Â °ÍÀ» º¸¾Ò´Ù´Â °ÍÀ» ÀǵµÀûÀ¸·Î ¾ð±ÞÇÑ´Ù. ¿¬ÀÎÀ¸·Î¼ÀÇ ÇöÀçÀÇ Á¤Ã¼¼ºÀÌ ¹«³ÊÁö´Â µ¿¾È ±ºÀÎÀ¸·Î¼ÀÇ îñ Á¤Ã¼¼ºÀÇ º¸¾È¿¡ ÇÊ»çÀûÀ¸·Î ¸Å´Þ¸®¸é¼ Othello´Â ÀüÀÚ¿Í ÈÄÀÚ¸¦ È¥µ·Çϱ⠽ÃÀÛÇÑ´Ù. ±×ÀÇ ÁúÅõ¿¡ ´ëÇÑ ±×ÀÇ Ç¥ÇöÀº ÀüÅëÀûÀÎ °Í ¡ª¡°°í¿äÇÑ ¸¶À½¿¡ À̺°À»¡±¡ªÀ¸·ÎºÎÅÍ ºÒÇÕ¸®ÇÑ °ÍÀ¸·Î À绡¸® ÀÌÀü ÇÑ´Ù;
Åõ±¸¿¡ ÅÐÀ» ²ÈÀº ±º´ë, ¾ß¸ÁÀ» ¹Ì´öÀ¸·Î ¸¸µå´Â
Å« ÀüÀïµµ À̺°ÀÌ´Ù! ¿À, À̺°ÀÌ´Ù,
¿ì´Â ±º¸¶¿Í ³¯Ä«·Î¿î ³ªÆÈ ¼Ò¸®µµ À̺°ÀÌ´Ù:
°¡½¿À» ¶Ù°Ô ÇÏ´Â ºÏ¼Ò¸®µµ, ±Í¸¦ ¶Õ´Â ÇǸ®¼Ò¸®µµ.
Àú Àå¾öÇÑ ÏÚÐý(±º±â)µµ ¿µ±¤½º·¯¿î ÀüÀïÀÇ ¸ðµç ÈǸ¢ÇÑ °Íµµ,
Àںνɵµ, È·ÁÇÑ Àå°üµµ, »óȲµµ À̺°ÀÌ´Ù!
Othello°¡ ÀûÀýÇÏÁö ¾ÊÀº ´ë»ó¿¡°Ô À̺°À» °íÇÏ°í ÀÖ´Â °ÍÀ¸·Î »ý°¢ÇÒ ¼öµµ ÀÖÀ» °ÍÀÌ´Ù¡ª±×´Â ±ºÀÎÀ¸·Î¼ÀÇ ±×ÀÇ Á¤Ã¼¼º¿¡ ÀüÀûÀ¸·Î »ç·ÎÀâÇô Àֱ⠶§¹®ÀÌ´Ù. ±×·¯³ª ±×ÀÇ »ç°í¹æ½ÄÀº ±×ÀÇ °üÁߵ鿡°Ô ¶ÇÇÑ ¸Å·ÂÀûÀ̶ó´Â °Í¿¡ ÀÇÇؼ ¾î´À Á¤µµ Á¤´çȵȴÙ. ºñÆò°¡µé°ú °üÁß ¸ðµÎ OthelloÀÇ ÃÖÁ¾ ¿¬¼³(speech)°ú ¡°¾ÇÀÇ°¡ ÀÖ°í¡¦ Å͹ø µÎ¸¥ ÅÍÅ° ³ðµé¡±ÀÇ À̾߱â(anecdote)¿¡¼ ¾È¶ô°ú °í±ÍÇÔÀ» ¹ß°ßÇÒ ¼ö ÀÖ´Ù. ºñ·Ï ±× ¿¬¼³¿¡¼, 3¸·3ÀåÀÇ ¿¬¼³¿¡¼Ã³·³, Othello´Â »ç¶÷µé(public)ÀÇ ±â¾ï ¼Ó¿¡ ÀÚ½ÅÀ» ¿µ±¤½º·´°Ô ÇÏ°í °üÁßµé·Î ÇÏ¿©±Ý ±×¿Í DesdemonaÀÇ ÆĸêÀûÀÎ °áÈ¥½ÇÇèÀ» ¸Á°¢Çϵµ·Ï Çϱâ À§Çؼ ±ºÀÎÀ¸·Î¼ÀÇ ±×ÀÇ Á¤Ã¼¼º¿¡ ÀÇÁ¸ÇÑ´Ù.
28-8-215
The Danger of Isolation
The action of Othello moves from the metropolis of Venice to the island of Cyprus. Protected by military fortifications as well as by the forces of nature, Cyprus faces little threat from external forces. Once Othello, Iago, Desdemona, Emilia, and Roderigo have come to Cyprus, they have nothing to do but prey upon one another. Isolation enables many of the play¡¯s most important effects: Iago frequently speaks in soliloquies; Othello stands apart while Iago talks with Cassio in Act IV, scene i, and is left alone onstage with the bodies of Emilia and Desdemona for a few moments in Act V, scene ii; Roderigo seems attached to no one in the play except Iago. And, most prominently, Othello is visibly isolated from the other characters by his physical stature and the color of his skin. Iago is an expert at manipulating the distance between characters, isolating his victims so that they fall prey to their own obsessions. At the same time, Iago, of necessity always standing apart, falls prey to his own obsession with revenge. The characters cannot be islands, the play seems to say: self-isolation as an act of self-preservation leads ultimately to self-destruction. Such self-isolation leads to the deaths of Roderigo, Iago, Othello, and even Emilia.
Jealousy
Jealousy motivates the central conflicts of ¡°Othello¡±: Iago¡¯s resentment of Othello, and Othello¡¯s suspicion of Desdemona. Iago is immediately revealed as a jealous character: in the first scene, he complains that Cassio has been promoted instead of him even though ¡°I am worth no worse a place¡± (1.1.). He also later implies that his hatred of Othello is rooted in jealousy, since there are rumors of Othello having slept with Emilia. As Iago explains, even the hint of this possibility enrages him: ¡°I know not if¡¯t be true / But I for mere suspicion in that kind / Will do as if for surety¡± (1.3.). It seems that his jealousy is so intense that he does not need proof of this infidelity before punishing Othello for it. Appropriately, Iago decides to seek revenge by using jealousy as a weapon against Othello, ¡°practicing upon his peace and quiet / Even to madness¡± (2.1.). Iago knows, perhaps from his own experience, that jealousy is a form of psychological torture which will constantly torment Othello. By making Othello feel the torments of jealousy towards Desdemona and her supposed lover, Iago causes Othello to suffer as much as he does.
°í¸³ÀÇ À§Çè
OthelloÀÇ È°µ¿Àº Venice(°øȱ¹)ÀÇ ¼öµµ·ÎºÎÅÍ Cyprus¼¶À¸·Î À̵¿ÇÑ´Ù. ÀÚ¿¬ÀÇ ÈûÀº ¹°·Ð ±º»çÀû àò(¼º)¿¡ ÀÇÇØ º¸È£¹Þ´Â Cyprus´Â ¿ÜºÎÀÇ ±º´ë·ÎºÎÅÍ´Â À§ÇùÀ» °ÅÀÇ ¹ÞÁö ¾Ê´Â´Ù. Othello¿Í Iago¿Í Desdemona¿Í Emilia ¹× Roderigo°¡ Cyprus¿¡ ÀÏ´Ü µµÂøÇßÀ» ¶§ ¼·Î¼·Î¸¦ ±«·Ó°Ô ÇÏ´Â °Í ¿Ü¿¡´Â ÇÒ ÀÏÀÌ ¾ø´Ù. °í¸³ÀÌ ±ØÀÇ °¡Àå Áß¿äÇÑ È¿°ú(effects) ÁßÀÇ ¸¹Àº °ÍÀ» °¡´ÉÇÏ°Ô ÇÑ´Ù: Iago´Â ÀÚÁÖ µ¶¹éÀ¸·Î ¸»À» ÇÑ´Ù; 4¸· 1Àå¿¡¼ Iago°¡ Cassio¿Í ¸»ÇÏ°í ÀÖÀ» µ¿¾È¿¡ Othello´Â ¶³¾îÁ® ¼ ÀÖ°í 5¸· 2Àå¿¡¼´Â Emilia¿Í DesdemonaÀÇ ½Ã½Å°ú ÇÔ²² ¹«´ë¿¡¼ È¥ÀÚ ³²¾ÆÀÖ°Ô µÈ´Ù; Roderigo´Â ±Ø¿¡¼ Iago¿Ü¿¡´Â ´©±¸ÇÏ°íµµ ¹ÐÂøµÇ¾î ÀÖÁö ¾Ê´Â °Íó·³ º¸ÀδÙ. ±×¸®°í ¸Å¿ì ºÐ¸íÇÏ°Ô(prominently), Othello´Â ±×ÀÇ ½ÅüÀû Å°¿Í ÇǺλö¿¡ ÀÇÇؼ ´Ù¸¥ Àι°µé·ÎºÎÅÍ ´«¿¡ ¶ç°Ô ¶³¾îÁ® ÀÖ´Ù. Iago´Â Àι°µé °£ÀÇ °Å¸®¸¦ Á¶Á¾ÇÏ°í ±×ÀÇ Èñ»ýÀÚµéÀ» °í¸³½ÃÄѼ ±×µé ÀÚ½ÅÀÇ °¹ÚÁõ(obsessions)ÀÇ Èñ»ýÀÚ(prey)·Î Àü¶ô½ÃÅ°´Â µ¥¿¡ Àü¹®°¡ÀÌ´Ù. µ¿½Ã¿¡, ÇÊ¿¬ÀûÀ¸·Î Ç×»ó ¶³¾îÁ® ¼ ÀÖ´Â Iago´Â ÀÚ±â ÀÚ½ÅÀÇ º¹¼ö¿¡ ´ëÇÑ °¹ÚÁõÀÇ Èñ»ýÀÚ°¡ µÈ´Ù. Àι°µéÀº ¼¶ÀÌ µÉ ¼ö ¾ø´Ù¶ó°í ±ØÀº ¸»ÇÏ°í ÀÖ´Â °Íó·³ º¸ÀδÙ. Àڱ⠺¸Á¸ÀÇ ÇàÀ§·Î¼ ÀÚ±â°í¸³Àº ±Ã±ØÀûÀ¸·Î ÀÚ±â Æı«·Î À̲ö´Ù. ÀÌ·¯ÇÑ ÀÚ±â°í¸³Àº Roderigo¿Í Iago¿Í Othello¿Í ±×¸®°í ½ÉÁö¾î EmiliaÀÇ Á×À½À¸·Î À̲ö´Ù.
ÁúÅõ
ÁúÅõ´Â ¡°Othello¡±ÀÇ Áß¿äÇÑ °¥µîÀÇ µ¿±â¸¦ Á¦°øÇÑ´Ù: Othello¿¡ ´ëÇÑ IagoÀÇ ¿øÇÑ°ú OthelloÀÇ Desdemona¿¡ ´ëÇÑ ÀǽÉ(ÀÌ´Ù). Iago´Â ÁúÅõ°¡ ¸¹Àº Àι°·Î Áï°¢ ¹àÇôÁø´Ù: ù ¹ø° Àå¸é¿¡¼ ±×´Â ºñ·Ï ¡°³ªµµ ±×¸¸ÇÑ ÀÚ°ÝÀº ÀÖ¾î¿ä.¡± Àε¥µµ Àڱ⠴ë½Å¿¡ Cassio°¡ ½ÂÁøÇÑ °ÍÀ» ºÒÆòÇÑ´Ù. ±×´Â ¶ÇÇÑ ±× µÚ¿¡ Othello°¡ Emilia¿Í µ¿Ä§ÇÏ¿´´Ù´Â ¼Ò¹®ÀÌ Àֱ⠶§¹®¿¡ Othello¿¡ ´ëÇÑ ±×ÀÇ Áõ¿À´Â ÁúÅõ¿¡ »Ñ¸®¸¦ ¹Ú°í ÀÖ´Ù°í ¾Ï½ÃÇÑ´Ù. Iago°¡ ¼³¸íÇÒ ¶§¿¡ ÀÌ·± °£ÅëÀÇ °¡´É¼º¿¡ ´ëÇÑ ¾Ï½Ã¸¸À¸·Îµµ Iago¸¦ °ÝºÐ½ÃŲ´Ù: ¡°³ª´Â ±×°ÍÀÌ »ç½ÇÀÎÁö ¾Æ´ÑÁö´Â Àß ¸ô¶ó/±×·¯³ª ±×·± Á¾·ùÀÇ ÀÏ¿¡´Â Àǽɸ¸À¸·Îµµ /È®½ÇÇÑ °Íó·³ º¹¼ö¸¦ ÇؾßÁö(do it)¡± ±×ÀÇ ÁúÅõ°¡ ³Ê¹«³ª °·ÄÇؼ °£Åë¿¡ ´ëÇؼ Othello¿¡°Ô ¹úÁÖ±â Àü¿¡ °£Åë¿¡ ´ëÇÑ Áõ°Å¸¦ ÇÊ¿ä·Î ÇÏÁöµµ ¾Ê´Â´Ù. µû¶ó¼ Iago´Â ÁúÅõ¸¦ Othello¿¡ ´ëÇÑ ¹«±â·Î »ç¿ëÇÔ¿¡ ÀÇÇØ º¹¼öÇϱâ·Î °á½ÉÇÏ°í ¡°OthelloÀÇ ¸¶À½ÀÇ ÆòÈ ¾ÈÁ¤À» ¹ÌÄ¥ Á¤µµ±îÁö µé¾¥½Ã±â¡±¸¦ ½ÇÇàÇϱâ·Î ÇÑ´Ù. Iago´Â ¾Æ¸¶µµ ÀÚ½ÅÀÇ °æÇè¿¡ ÀÇÇؼ ÁúÅõ´Â ²÷ÀÓ¾øÀÌ Othello¸¦ °í¹®ÇÏ°Ô µÉ ÀÏÁ¾ÀÇ ½É¸®Àû °í¹®À̶ó´Â °ÍÀ» ¾Ë°í ÀÖ´Ù. Othello·Î ÇÏ¿©±Ý Desdemona¿Í ±×³àÀÇ °¡»óÀÇ ¿¬Àο¡ ´ëÇÑ ÁúÅõÀÇ °í¹®ÀÇ °íÅëÀ» ´À³¢°Ô ÇÔÀ¸·Î¼ Iago´Â Othello°¡ °¡´ÉÇÑ ÇÑ °íÅëÀ» ¸¹ÀÌ ´çÇϵµ·Ï ÇÑ´Ù.
28-9-216
¥³. Symbols
The Handkerchief
The handkerchief symbolizes different things to different characters. Since the handkerchief was the first gift Desdemona received from Othello, she keeps it about her constantly as a symbol of Othello¡¯s love. Iago manipulates the handkerchief so that Othello comes to see it as a symbol of Desdemona herself—her faith and chastity. By taking possession of it, he is able to convert it into evidence of her infidelity. But the handkerchief¡¯s importance to Iago and Desdemona derives from its importance to Othello himself. He tells Desdemona that it was woven by a 200-year-old sibyl, or female prophet, using silk from sacred worms and dye extracted from the hearts of mummified virgins. Othello claims that his mother used it to keep his father faithful to her, so, to him, the handkerchief represents marital fidelity. The pattern of strawberries (dyed with virgins¡¯ blood) on a white background strongly suggests the bloodstains left on the sheets on a virgin¡¯s wedding night, so the handkerchief implicitly suggests a guarantee of virginity as well as fidelity.
The Song ¡°Willow¡±
As she prepares for bed in Act V, Desdemona sings a song about a woman who is betrayed by her lover. She was taught the song by her mother¡¯s maid, Barbary, who suffered a misfortune similar to that of the woman in the song; she even died singing ¡°Willow.¡± The song¡¯s lyrics suggest that both men and women are unfaithful to one another. To Desdemona, the song seems to represent a melancholy and resigned acceptance of her alienation from Othello¡¯s affections, and singing it leads her to question Emilia about the nature and practice of infidelity.
¥³. »ó¡
¼Õ¼ö°Ç
¼Õ¼ö°ÇÀº °¢°¢ ´Ù¸¥ »ç¶÷µé¿¡°Ô ´Ù¸¥ °ÍµéÀ» »ó¡ÇÑ´Ù. ¼Õ¼ö°ÇÀº Desdemona°¡ OthelloºÎÅÍ ¹ÞÀº ù ¹ø° ¼±¹°À̾úÀ¸¹Ç·Î ±×³à´Â ±×°ÍÀ» OthelloÀÇ »ç¶ûÀÇ »ó¡À¸·Î¼ Ç×»ó ¸ö¿¡ Áö´Ï°í ÀÖ´Ù. Iago´Â Othello°¡ ±× ¼Õ¼ö°ÇÀ» Desdemona ÀÚ½ÅÀÇ »ó¡À¸·Î¡ª±×³àÀÇ ¹ÏÀ½°ú ¼ø°á¡ª°£ÁÖÇϵµ·Ï ±× ¼Õ¼ö°ÇÀ» ±³¹¦ÇÏ°Ô ´Ù·é´Ù (manipulates). ±× ¼Õ¼ö°ÇÀ» ¼Õ¿¡ ³ÖÀ½¿¡ ÀÇÇؼ Iago´Â ±×°ÍÀ» DesdemonaÀÇ ÝÕïö(ºÎÁ¤)ÀÇ Áõ°Å·Î Àüȯ½Ãų ¼ö ÀÖ°Ô µÈ´Ù. ±×·¯³ª Iago¿Í Desdemona¿¡ ´ëÇÑ ¼Õ¼ö°ÇÀÇ Á߿伺Àº ±×°ÍÀÇ Othello Àڽſ¡ ´ëÇÑ Á߿伺À¸·ÎºÎÅÍ ÆÄ»ýµÇ¾î ³ª¿Â´Ù. Othello´Â Desdemona¿¡°Ô ±× ¼Õ¼ö°ÇÀº 200¼¼ÀÇ ¿©ÀÚ ¿¹¾ðÀÚ°¡ ½Å¼ºÇÑ ´©¿¡¿¡¼ ³ª¿Â ºñ´Ü°ú ó³à ¹ÌÀ̶óÀÇ ½ÉÀå¿¡¼ õÎõó(ÃßÃâ)µÈ äÔÖù(¾È·á)¸¦ »ç¿ëÇؼ § °ÍÀ̶ó°í ¸»ÇÑ´Ù. Othello´Â ±×ÀÇ ¾î¸Ó´Ï´Â ±×ÀÇ ¾Æ¹öÁö°¡ ±×³à¿¡°Ô Ãæ½ÇÇϵµ·Ï Çϱâ À§Çؼ ±× ¼Õ¼ö°ÇÀ» »ç¿ëÇÏ¿´À¸¸ç ±×·¡¼ Othello¿¡°Ô´Â ±× ¼Õ¼ö°ÇÀº °áÈ¥ÀÇ ïöï½(Á¤Àý)À» ³ªÅ¸³½´Ù°í ÁÖÀåÇÑ´Ù. ¹é»ö ¹ÙÅÁ À§ÀÇ µþ±â ¹«´Ì(ó³àÀÇ ÇÇ·Î ¿°»öµÈ)´Â ó³àÀÇ °áÈ¥ÀÏ ¹ã ½ÃÆ®¿¡ ¹¯Àº ÇÍÀÚ±¹À» °ÇÏ°Ô ¾Ï½ÃÇÏ¸ç ±×·¡¼ ±× ¼Õ¼ö°ÇÀº ëßæÔñé(Àº¿¬Áß)¿¡ Á¤Àý°ú ÇÔ²² ó³à¼ºÀÇ º¸ÁõÀ» ÀǹÌÇÑ´Ù.
³ë·¡ ¡°¹öµå³ª¹«¡±
5¸·¿¡¼ ħ´ë¸¦ ÁغñÇÏ¸é¼ Desdemona´Â ¿¬ÀÎÀ¸·ÎºÎÅÍ ¹è½Å´çÇÑ ÇÑ ¿©Àο¡ °üÇÑ ³ë·¡¸¦ ºÎ¸¥´Ù. ±×³à´Â ±× ³ë·¡¸¦ ¾î¸Ó´ÏÀÇ ÇϳàÀÎ Barbary·ÎºÎÅÍ ¹è¿ü°í Barbary´Â ³ë·¡¿¡ ³ª¿À´Â ¿©ÀÎÀÇ ¿î¸í°ú ºñ½ÁÇÑ ºÒÇàÀ» ´çÇß¾ú´Ù. ±×³à´Â ½ÉÁö¾î ¡°Willow.¡±¸¦ ºÎ¸£´Ù°¡ Á×¾ú´Ù. ³ë·¡ÀÇ °¡»ç´Â ³²³à ¸ðµÎ ¼·Î¿¡°Ô Ãæ½ÇÇÏÁö ¸øÇÏ´Ù´Â °ÍÀ» ¾Ï½ÃÇÑ´Ù. Desdemona¿¡°Ô´Â ±× ³ë·¡´Â ¿ì¿ï°ú OthelloÀÇ »ç¶ûÀ¸·ÎºÎÅÍ ±×³à°¡ ¼Ò¿ÜµÇ´Â °ÍÀ» ü³äÇÏ¸é¼ ¹Þ¾ÆµéÀÌ´Â °ÍÀ» ³ªÅ¸³»´Â °Íó·³ º¸ÀÌ°í ±× ³ë·¡¸¦ ºÎ¸£´Â °ÍÀÌ ±×³à·Î ÇÏ¿©±Ý Þç÷×(»çÅë)ÀÇ º»Áú°ú °üÇà¿¡ ´ëÇؼ Emilia¿¡°Ô ¹°¾îº¸µµ·Ï À̲ö´Ù.
28-10-217
¥´. Motifs
Sight and Blindness
When Desdemona asks to be allowed to accompany Othello to Cyprus, she says that she ¡°saw Othello¡¯s visage in his mind, / And to his honours and his valiant parts / Did I my soul and fortunes consecrate¡± (I.iii. 250–252). Othello¡¯s blackness, his visible difference from everyone around him, is of little importance to Desdemona: she has the power to see him for what he is in a way that even Othello himself cannot. Desdemona¡¯s line is one of many references to different kinds of sight in the play. Earlier in Act I, scene iii, a senator suggests that the Turkish retreat to Rhodes is ¡°a pageant / To keep us in false gaze¡± (I.iii.19–20). The beginning of Act II consists entirely of people staring out to sea, waiting to see the arrival of ships, friendly or otherwise. Othello, though he demands ¡°ocular proof¡± (III.iii.365), is frequently convinced by things he does not see: he strips Cassio of his position as lieutenant based on the story Iago tells; he relies on Iago¡¯s story of seeing Cassio wipe his beard with Desdemona¡¯s handkerchief (III.iii.437–440); and he believes Cassio to be dead simply because he hears him scream. After Othello has killed himself in the final scene, Lodovico says to Iago, ¡°Look on the tragic loading of this bed. / This is thy work. The object poisons sight. / Let it be hid¡± (V.ii.373–375). The action of the play depends heavily on characters not seeing things: Othello accuses his wife although he never sees her infidelity, and Emilia, although she watches Othello erupt into a rage about the missing handkerchief, does not figuratively ¡°see¡± what her husband has done.
¥´. ¸ðƼÇÁ
½Ã·Â°ú ¸Í¸ñ
Desdemona°¡ Othello¸¦ Cyprus±îÁö µû¶ó°¡´Â °ÍÀ» Çã¶ôÇØ ´Þ¶ó°í ûÇÒ ¶§¿¡, ±×³à´Â ¡°OthelloÀÇ ¸¶À½¼Ó¿¡ ÀÖ´Â ±×ÀÇ ¾ó±¼À» º¸¾ÒÀ¸¸ç,/ ±×ÀÇ ¸í¿¹·Î¿î ÀÚÁú°ú ±×ÀÇ ¿ë¸ÍÇÑ Àç´É¿¡ /³ªÀÇ ¿µÈ¥°ú ³ªÀÇ ¿î¸íÀ» ¹ÙÃƽÀ´Ï´Ù¡±¶ó°í ¸»ÇÑ´Ù(I.iii. 250–252). OthelloÀÇ °ËÀº ÇǺÎ(blackness)¿Í ¸ðµç »ç¶÷ÇÏ°í ´Ù¸¥ ±×ÀÇ ½Ã°¢Àû Â÷ÀÌ´Â Desdemona¿¡°Ô´Â °ÅÀÇ Áß¿äÇÏÁö ¾Ê´Ù: ±×³à´Â OthelloÀÇ º»ÁúÀ» Othello Àڽŵµ º¼ ¼ö ¾ø´Â ¹æ¹ýÀ¸·Î ¾Ë¾Æº¼ ¼ö ÀÖ´Â ÈûÀ» °¡Áö°í ÀÖ´Ù. DesdemonaÀÇ ÓæÞò(´ë»ç)´Â ±Ø¿¡¼ ´Ù¾çÇÑ Á¾·ùÀÇ ãÊÊÆ(½Ã°¢)¿¡ ´ëÇÑ ¸¹Àº ¾ð±Þ ÁßÀÇ ÇϳªÀÌ´Ù. ÀÏÂïÀÌ 1¸· 3Àå¿¡¼ ÇÑ ¿ø·Î¿ø ÀÇ¿øÀº ÅÍÅ° ÇÔ´ë(The Turkish)°¡ Rhodes·Î ÈÄÅðÇÏ´Â °ÍÀº ¡°¿ì¸®ÀÇ ´«À» ¼ÓÀ̱â À§ÇÑ/¿¬±Ø¡±À̶ó°í Á¦¾ÈÇÑ´Ù (I.iii.19–20). 2¸·ÀÇ ½ÃÀÛ ºÎºÐÀº ¿ìÈ£ÀûÀÌµç ´Ù¸¥ °ÍÀ̵ç ÇÔ´ë(ships)ÀÇ µµÂøÀ» º¸±â À§ÇØ ±â´Ù¸®¸é¼, °ÅÀÇ ÀüÀûÀ¸·Î ¹Ù´Ù¸¦ ÀÀ½ÃÇÏ°í ÀÖ´Â »ç¶÷µé·Î ±¸¼ºµÇ¾î ÀÖ´Ù. Othello´Â ºñ·Ï ¡°ãêöþ(½ÅŹ)ÀÇ Áõ°Å¡±¸¦ ¿ä±¸ÇÏÁö¸¸(III.iii.365), ±×ÀÇ ´«¿¡ º¸ÀÌÁö ¾ÊÀº ÞÀäÐ(»ç¾È)µé¿¡ ÀÇÇؼ ºó¹øÇÏ°Ô È®½ÅÀ» ÇÏ°Ô µÈ´Ù: ±×´Â Iago°¡ ÇÏ´Â ¸»(story)¸¸À» ±Ù°Å·Î ÇÏ¿© CassioÀÇ ºÎ°ü Á÷À§¸¦ ¹ÚÅ»ÇÑ´Ù; ±×´Â Cassio°¡ DesdemonaÀÇ ¼Õ¼ö°ÇÀ¸·Î ±×ÀÇ ¼ö¿°À» ´Û´Â °ÍÀ» º¸¾Ò´Ù´Â IagoÀÇ À̾߱⸦ ½Å·ÚÇÑ´Ù(III.iii.437–440); ±×¸®°í ±×´Â ´ÜÁö Cassio°¡ ºñ¸íÀ» Áö¸£´Â ¼Ò¸®¸¦ µé¾ú±â ¶§¹®¿¡ ±×°¡ Á×¾ú´Ù°í ¹Ï´Â´Ù. ¸¶Áö¸· Àå¿¡¼ Othello°¡ ÀÚ»ìÇÑ ´ÙÀ½¿¡ Lodovico´Â Iago¿¡°Ô ¡°ÀÌ Ä§»ó À§ÀÇ ¹«ÂüÇÑ ½Ãü´õ¹Ì¸¦ ºÁ¶ó./ ¸ðµÎ°¡ ³×³ðÀÇ ÁþÀ̾ß. Â÷¸¶ ´« ¶ß°í º¼ ¼ö ¾ø±º./ µ¤À¾½Ã´Ù.[object: ´«¿¡ µé¾î¿À´Â °Í. sight ´«](V.ii.373–375).¡± ±ØÀÇ ÇàÀ§´Â »ç½Ç(things)À» º¸Áö ¾Ê°í ÀÖ´Â Àι°¿¡ Å©°Ô ÀÇÁ¸ÇÑ´Ù: Othello´Â ¾Æ³»ÀÇ ºÒ·û Àå¸éÀ» ÇÑ ¹øµµ º¸Áö ¾ÊÀ¸¸é¼µµ ¾Æ³»¸¦ ºñ³Çϸç, Emilia´Â Othello°¡ ¾ø´Â ¼Õ¼ö°Ç ¶§¹®¿¡ ºÐ³ë¸¦ Æø¹ßÇÏ´Â °ÍÀ» º¸¸é¼µµ ±×³à ³²ÆíÀÌ ÇÑ ÁþÀ» »ó¡ÀûÀ¸·Î ¡°º¸Áö¡± ¸øÇÑ´Ù.
28-11-218
Plants
Iago is strangely preoccupied with plants. His speeches to Roderigo in particular make extensive and elaborate use of vegetable metaphors and conceits. Some examples are: ¡°Our bodies are our gardens, to which our wills are gardeners; so that if we will plant nettles or sow lettuce, set hyssop and weed up thyme¡¦ the power and corrigible authority of this lies in our wills¡± (I.iii.317–322); ¡°Though other things grow fair against the sun, / Yet fruits that blossom first will first be ripe¡± (II.iii.349–350); ¡°And then, sir, would he gripe and wring my hand, / Cry ¡®O sweet creature!¡¯, then kiss me hard, / As if he plucked kisses up by the roots, / That grew upon my lips¡± (III.iii.425–428). The first of these examples best explains Iago¡¯s preoccupation with the plant metaphor and how it functions within the play. Characters in this play seem to be the product of certain inevitable, natural forces, which, if left unchecked, will grow wild. Iago understands these natural forces particularly well: he is, according to his own metaphor, a good ¡°gardener,¡± both of himself and of others.
Many of Iago¡¯s botanical references concern poison: ¡°I¡¯ll pour this pestilence into his ear¡± (II.iii.330); ¡°The Moor already changes with my poison: / Dangerous conceits are in their natures poisons, / ¡¦ / ¡¦ Not poppy nor mandragora, / Nor all the drowsy syrups of the world, / Shall ever medicine thee to that sweet sleep¡± (III.iii.329–336). Iago cultivates his ¡°conceits¡± so that they become lethal poisons and then plants their seeds in the minds of others. The organic way in which Iago¡¯s plots consume the other characters and determine their behavior makes his conniving, human evil seem like a force of nature. That organic growth also indicates that the minds of the other characters are fertile ground for Iago¡¯s efforts.
½Ä¹°
Iago´Â ÀÌ»óÇÏ°Ôµµ ½Ä¹°¿¡ ¸ôµÎÇØ ÀÖ´Ù. Roderigo¿¡°Ô ÇÏ´Â ±×ÀÇ ¸»(speeches)Àº ƯÈ÷ ½Ä¹°Àû ëßêç(ÀºÀ¯)¿Í ÐôßÌ(±â»ó)À» ±¤¹üÀ§ÇÏ°í Á¤±³ÇÏ°Ô »ç¿ëÇÏ°í ÀÖ´Ù. ¸î °³ÀÇ ¿¹¸¦ µç´Ù: ¡°»ç¶÷ÀÇ ¸ö¶×¾î¸®´Â, ¸»ÇÏÀÚ¸é ²É¹çÀÌ°í, ¸¶À½(wills)Àº ±×°É °¡²Ù´Â »ç¶÷ÀÌÁö¿ä. ±×·¡¼ ¿ì¸®°¡ ¸¸¾à ½û±âÇ®À» ½É°Å³ª, »óÄ¡¸¦ ½É°Å³ª, È÷¼ÒÇÁ¸¦ ±â¸£°í ¹é¸®ÇâÀ» »Ì¾Æ³»µçÁö¡¦ ÀÌ·¸°Ô ÇÒ ¼ö ÀÖ´Â Èû°ú ±³Á¤ÇÒ ¼ö ÀÖ´Â ±ÇÀ§´Â ¿ì¸®ÀÇ ¸¶À½¼Ó¿¡ ³õ¿© ÀÖÁö¿ä¡±(I.iii.317–322): ¡°´Ù¸¥ °Íµé(½Ä¹°)µµ ÇÞºûÀ» ¹Þ°í Àß ÀÚ¶óÁö¸¸ ²ÉÀÌ ¸ÕÀú ÇÇ´Â °úÀÏÀº ¸ÕÀú ÀÍÁö¿ä(II.iii.349–350); ±×¸®°í ÀúÀÇ ¼ÕÀ» ²À Àâ°í Èçµé¸ç/ ¡®¿À! ´ç½Å¡¯¶ó°í ¼Ò¸®Ä¡°í ±×·¯°í ÀúÇÑÅ× ¿·ÄÇÏ°Ô Å°½º¸¦ Çß¾î¿ä./ ¸¶Ä¡ Á¦ ÀÔ¼ú¿¡ ¹½ÀÌ ³ °ÍÀ»/ Å°½º·Î »Ñ¸®Â°·Î »Ì´Â °Íó·³ ¿ä.¡±(III.iii.425–428). £ÛCassio°¡ Àá°á¿¡ ²Þ¼Ó¿¡¼ Iago¸¦ Desdemona·Î Âø°¢ÇÏ°í Å°½ºÇÏ´Â Àå¸é£Ý. ÀÌµé ¿¹¹® Áß¿¡¼ ù ¹ø°°¡ ½Ä¹° ëßêç(ÀºÀ¯)¿¡ ´ëÇÑ IagoÀÇ ¸ôÀÔ°ú ±×°ÍÀÌ ±Ø ¼Ó¿¡¼ ¾î¶»°Ô ±â´ÉÇÏ°í ÀÖ´ÂÁö¸¦ °¡Àå Àß ¼³¸íÇÏ°í ÀÖ´Ù. ÀÌ ±Ø ¼ÓÀÇ Àι°µéÀº ÅëÁ¦µÇÁö ¾ÊÀ¸¸é ¾ß¸¸ÀûÀ¸·Î µÇ´Â ¾î¶² ºÒ°¡ÇÇÇÏ°í ÀÚ¿¬ÀûÀÎ ÈûÀÇ »ê¹°ÀÎ °Íó·³ º¸ÀδÙ. Iago´Â ÀÌ ÀÚ¿¬ÀûÀÎ ÈûÀ» Ưº°È÷ Àß ÀÌÇØÇÏ°í ÀÖ´Ù: ±×´Â ±× ÀÚ½ÅÀÇ ÀºÀ¯¿¡ ÀÇÇÏ¸é ±×´Â ÀڽŰú ŸÀεéÀ» °ü¸®ÇÏ´Â ÈǸ¢ÇÑ ¡°¿ø¿¹»ç¡±ÀÌ´Ù. IagoÀÇ ½Ä¹°¿¡ ´ëÇÑ ¾ð±Þ Áß¿¡ ¸¹Àº °ÍÀÌ µ¶¾à¿¡ °ü·ÃµÈ´Ù: ¡°
¹«¾î ³à¼®µµ ³ªÀÇ ¾à ¶§¹®¿¡ ÀÌ¹Ì º¯ÇÏ°í ÀÖ¾î:/ À§ÇèÇÑ »ý°¢(conceits)Àº º»ÁúÀûÀ¸·Î µ¶ÀÌÁö,/ ¡¦ / ¡¦ / ¡¦ ¾ÆÆíÀÌ°Ç ¸¸µå¶ó°í¶óÀÌ°Ç,/ ÀÌ ¼¼»óÀÇ ¿Â°® ¼ö¸éÁ¦µµ,/ ±× ´ÞÄÞÇÑ Àá¿¡ ´ëÇØ ¾î¶² ¾àÈ¿µµ ¾øÀ» °Å¾ß.¡°(III.iii.329–336). Iago´Â ±×ÀÇ ¡±ÐôßÌ(conceits)"À» Àß ¹è¾çÇؼ ±×°ÍµéÀÌ Ä¡¸íÀûÀÎ µ¶¾àÀÌ µÇ°í ±×·¯°í´Â ±× µ¶¾àÀÇ ¾¾¸¦ ´Ù¸¥ »ç¶÷µéÀÌ ¸¶À½¿¡ ½É´Â´Ù. IagoÀÇ À½¸ð°¡ ´Ù¸¥ Àι°µéÀ» á¼ò×(¼ÒÁø)½ÃÅ°°í ±×µéÀÇ ÇൿÀ» °áÁ¤ÇÏ´Â êóѦîÜ(À¯±âÀû)ÀÎ ¹æ¹ýÀº ±×ÀÇ À½ÈäÇÑ Àΰ£¾ÇÀ» ÀÚ¿¬ÀÇ ÈûÀÎ °Íó·³ º¸ÀÌ°Ô ÇÑ´Ù. ±×°Í(Àΰ£¾Ç)ÀÇ À¯±âÀûÀÎ ¼ºÀåÀº ¶ÇÇÑ ´Ù¸¥ Àι°µéÀÇ ¸¶À½µµ IagoÀÇ ¼ºÃë(efforts)¸¦ À§ÇÑ ºñ¿ÁÇÑ Åä¾çÀÌ µÈ´Ù.
28-12-219
Animals
Iago calls Othello a ¡°Barbary horse,¡± an ¡°old black ram,¡± and also tells Brabanzio that his daughter and Othello are ¡°making the beast with two backs¡± (I.i.117–118). In Act I, scene iii, Iago tells Roderigo, ¡°Ere I would say I would drown myself for the love of a guinea-hen, I would change my humanity with a baboon¡± (I.iii.312–313). He then remarks that drowning is for ¡°cats and blind puppies¡± (I.iii.330–331). Cassio laments that, when drunk, he is ¡°by and by a fool, and presently a beast!¡± (II.iii.296–297). Othello tells Iago, ¡°Exchange me for a goat / When I shall turn the business of my soul / To such exsufflicate and blown surmises¡± (III.iii.184–186). He later says that ¡°[a] horned man¡¯s a monster and a beast¡± (IV.i.59). Even Emilia, in the final scene, says that she will ¡°play the swan, / And die in music¡± (V.ii.254–255). Like the repeated references to plants, these references to animals convey a sense that the laws of nature, rather than those of society, are the primary forces governing the characters in this play. When animal references are used with regard to Othello, as they frequently are, they reflect the racism both of characters in the play and of Shakespeare¡¯s contemporary audience. ¡°Barbary horse¡± is a vulgarity particularly appropriate in the mouth of Iago, but even without having seen Othello, the Jacobean audience would have known from Iago¡¯s metaphor that he meant to connote a savage Moor.
Hell, Demons, and Monsters
Iago tells Othello to beware of jealousy, the ¡°green-eyed monster which doth mock/ The meat it feeds on¡± (III.iii.170–171). Likewise, Emilia describes jealousy as dangerously and uncannily self-generating, a ¡°monster / Begot upon itself, born on itself¡± (III.iv.156–157). Imagery of hell and damnation also recurs throughout ¡°Othell¡±, especially toward the end of the play, when Othello becomes preoccupied with the religious and moral judgment of Desdemona and himself. After he has learned the truth about Iago, Othello calls Iago a devil and a demon several times in Act V, scene ii. Othello¡¯s earlier allusion to ¡°some monster in [his] thought¡± ironically refers to Iago (III.iii.111). Likewise, his vision of Desdemona¡¯s betrayal is ¡°monstrous, monstrous!¡± (III.iii.431). Shortly before he kills himself, Othello wishes for eternal spiritual and physical torture in hell, crying out, ¡°Whip me, ye devils, / ¡¦ / ¡¦ roast me in sulphur, / Wash me in steep-down gulfs of liquid fire!¡± (V.ii.279–281). The imagery of the monstrous and diabolical takes over where the imagery of animals can go no further, presenting the jealousy-crazed characters not simply as brutish, but as grotesque, deformed, and demonic.
µ¿¹°
Iago´Â Othello¸¦ ¡°Barbaryߧ(»ê) ¸»¡±, ¡°±³È°ÇÑ(old) ¼ý¾ç¡±À̶ó°í ºÎ¸£°í Brabanzio¿¡°Ô ±×ÀÇ µþ°ú Othello°¡ ¡°ÀܵîÀÌ µÑ ´Þ¸° Áü½ÂÀ» ¸¸µé°í ÀÖ½À´Ï´Ù.¡±¶ó°í ¸»ÇÑ´Ù (I.i.117–118). 1¸· 3Àå¿¡¼ Iago´Â Roderigod¿¡°Ô ¡°³ª °°À¸¸é ±×±îÁþ ´ë´ÜÂúÀº ¿©ÀÚ(guinea hen:»Ô´ß) ¶§¹®¿¡ ¹°¼Ó¿¡ ¶Ù¾îµé ¹Ù¿¡¾ß, Â÷¶ó¸® ÀçÁÖ¸¦ ³Ñ¾î¼ °³ÄÚ¿ø¼þÀÌ°¡ µÇ¾î ¹ö¸®°Ú¼Ò¡±[Ere: 〜(ÇÏ´Â °Íº¸´Ù´Â) ¿ÀÈ÷·Á (rather)]. ±×·¯°í ³ª¼ ±×´Â ¹°¿¡ ¶Ù¾îµå´Â °ÍÀº ¡°±ªÀ̳ª °¾ÆÁö³ª ÇÒ Áþ¡±À̶ó°í ¸»ÇÑ´Ù (I.iii.330–331). Cassio´Â ±×°¡ ¼ú¿¡ ÃëÇؼ ¡°´« ±ô¦ÇÒ »õ¿¡ õġ¹Ùº¸°¡ µÅ¼, Áü½ÂÀÌ µÅ ¹ö¸®´Ù´Ï!¡±¶ó¸ç ½½ÆÛÇÑ´Ù(II.iii.296–297). Othello´Â Iago¿¡°Ô ¡°³ª¸¦ ¿°¼Ò¿Í ¹Ù²ã¶ó/ ±×Åä·Ï úÈüØ(ÇãȲ:exsufflicate)µÇ°í ºÎÇ®¾îÁø ÀÇȤ(surmise) ÂÊÀ¸·Î/ ³»°¡ ³» ¸¶À½ÀÇ »ý°¢(business)À» µ¹¸°´Ù¸é¡±¶ó°í ¸»ÇÑ´Ù(III.iii.184–186). ±×´Â ±× µÚ¿¡ ¡°»Ô³ Àΰ£Àº ±«¹°ÀÌ°í Áü½ÂÀ̾ߡ±¶ó°í ¸»ÇÑ´Ù(IV.i.59). ½ÉÁö¾î Emilia±îÁöµµ ¸¶Áö¸· Àå¿¡¼ ¡°¹éÁ¶¿Í °°ÀÌ ³ë·¡ ºÎ¸£¸ç Á×°Ú¾î¿ä¡±¶ó°í ¸»ÇÑ´Ù(V.ii.254–255).[³ë·¡¸¦ ¸ø ºÎ¸£´Â ¹éÁ¶´Â Á×±â Àü¿¡ ³ë·¡¸¦ ºÎ¸¥´Ù.] ½Ä¹°¿¡ ´ëÇÑ ¹Ýº¹ÀûÀÎ ¾ð±Þó·³, µ¿¹°¿¡ ´ëÇÑ ÀÌ·± ¾ð±ÞÀº ÀÚ¿¬ÀÇ ¹ýÄ¢ÀÌ, »çȸÀÇ ¹ýÄ¢º¸´Ù´Â, ÀÌ ±ØÀÇ Àι°µéÀ» Áö¹èÇÏ´Â ÀÏÂ÷ÀûÀÎ ÈûÀ̶ó´Â Àǹ̸¦ Àü´ÞÇÏ°í ÀÖ´Ù. Othello¿Í °ü·ÃÇؼ µ¿¹°¾ð±ÞÀÌ »ç¿ëµÉ ¶§´Â, ÀÚÁÖ ±×·± °Íó·³, ±× ¾ð±ÞµéÀº ±Ø Áß Àι°°ú ShakespeareÀÇ µ¿½Ã´ëÀÎµé µÑ ´ÙÀÇ ÀÎÁ¾ÁÖÀǸ¦ ¹Ý¿µÇÏ°í ÀÖ´Ù. ¡°Barbaryߧ(»ê) ¸»¡±Àº IagoÀÇ ÀÔ¿¡ Ưº°È÷ ¸Â´Â ¾ßºñÇÑ ¸»ÀÌ´Ù. [Barbary´Â ÀÌÁýÆ®¸¦ Á¦¿ÜÇÑ ÝÁ ¾ÆÇÁ¸®Ä« Áö¿ªÀ» °¡¸®Å´]. ±×·¯³ª ½ÉÁö¾î Othello¸¦ º» ÀûÀÌ ¾ø¾ú´Ù ÇÏ´õ¶óµµ Jacobean °üÁßµéÀº IagoÀÇ ÀºÀ¯(Othello¸¦ Barbaryߧ ¸»¿¡ ºñÀ¯ÇÏ´Â °ÍÀ¸·ÎºÎÅÍ Iago´Â ¾ß¸¸ÀÎ ¹«¾î(Othello)¸¦ ¾Ï½ÃÇÏ°í ÀÖ´Ù´Â °ÍÀ» ¾Ë¾ÒÀ» °ÍÀÌ´Ù.
Áö¿Á, ¾Ç¸¶, ±«¹°
Iago´Â Othello¿¡°Ô ¡°ÀڱⰡ ¸Ô°í »ç´Â °í±â(»ç¶÷ÀÇ ¸¶À½)À» ³ó¶ôÇÏ´Â /ÆĶõ ´«À» ÇÑ ±«¹°ÀΡ± ÁúÅõ¸¦ °æ°èÇ϶ó°í(III.iii.170–171) ¸»ÇÑ´Ù. ¸¶Âù°¡Áö·Î Emilia´Â ÁúÅõ¸¦ À§ÇèÇÏ°Ô ±×¸®°í ¹«½Ã¹«½ÃÇÏ°Ô ½º½º·Î »ý¼ºÇØ ³»´Â, ¡°½º½º·Î »ý°Ü¼, ½º½º·Î ž´Â/±«¹°¡±·Î¼ Ç¥ÇöÇÑ´Ù(III.iv.156–157). Áö¿Á°ú ÀúÁÖÀÇ À̹ÌÁöµµ ¶ÇÇÑ ¡°Othello¡± ±Ø Àüü¸¦ ÅëÇؼ ¹Ýº¹Çؼ ³ªÅ¸³ª¸ç, Ưº°È÷ Othello°¡ Desdemona¿Í Àڽſ¡ ´ëÇÑ µµ´öÀû ÆÇ´Ü¿¡ ¸ôµÎÇØ ÀÖÀ» ¶§ÀÎ ±ØÀÇ ³¡¿¡ °¡¼ ³ªÅ¸³´Ù. 5¸· 2Àå¿¡¼ Iago¿¡ ´ëÇÑ Áø½ÇÀ» ¾Ë°í ³ ÈÄ¿¡ Othello´Â Iago¸¦ ¾Ç¸¶ ¶Ç´Â ¾Ç·ÉÀ̶ó°í ¼öÂ÷·Ê ºÎ¸¥´Ù. OthelloÀÇ ÃʱâÀÇ ¡°±×ÀÇ »ý°¢ ¼Ó¿¡ ÀÖ´Â ¾î¶² ±«¹°¡±¿¡ ´ëÇÑ ¾ð±Þ(allusion)Àº ¾ÆÀ̷δÏÄÃÇÏ°Ôµµ Iago¸¦ °¡¸®Å²´Ù(III.iii.111). DesdemonaÀÇ ¹è½ÅÀÇ ¸ð½À(vision)Àº ¡°±«¹° °°¾Æ, ±«¹° °°¾Æ!¡±(III.iii.431). ÀÚ»ìÇϱâ Á÷Àü¿¡ Othello´Â ¡°´ç½Åµé ¾Ç¸¶µéÀÌ¿©,/ ¡¦ / ¡¦ À¯È²ºÒ ¼Ó¿¡ ³ª¸¦ Å¿ö´Ù¿À. / ±íÀº(steep-down) ºÒ¹Ù´Ù(gulfs of liquid fire) ¼Ó¿¡ ³ª¸¦ ´øÁ® ´Þ¶ó(wash)!¡±(V.ii.279–281). ±«¹°°ú ¾Ç¸¶ÀÇ À̹ÌÁö´Â µ¿¹°ÀÇ À̹ÌÁö°¡ ´õÀÌ»ó ´õ ³ª¾Æ°¥ ¼ö ¾ø´Â °÷¿¡¼ ÀÚ¸®¸¦ ¶°¸Ã¾Æ¼ ÁúÅõ·Î ¹ÌÃĹö¸° Àι°µéÀ» Áü½Â °°Àº °ÍÀ¸·Î ¹¦»çÇÒ »Ó ¾Æ´Ï¶ó ÎÖÐô(±«±â)ÇÏ°í Èä¹°½º·´°í ¾Ç¸¶ÀûÀÌ´Ù.
28-13-220
¥µ. Foreshadowing
In ¡°Othello¡±, Iago uses his many asides and soliloquies as opportunities to tell the audience exactly what he is planning to do. He outlines his entire scheme early in the play, explaining in no uncertain terms how he plans to exact his revenge: ¡°Make the Moor thank me, love me, and reward me/ For making him egregiously an ass/ And practicing upon his peace and quiet/ Even to madness¡± (II.i.). We can also find many instances of subtle foreshadowing of the play¡¯s tragic ending from the beginning, as all the characters speak rhetorically about the deaths they eventually come to suffer.
Desdemona¡¯s death
Two significant moments point toward the inevitability of Desdemona¡¯s death. The first comes in Act III, scene iii, after Othello has evaded Desdemona¡¯s attempts to designate a time to dine with Cassio. Once Desdemona exits, Othello utters to himself: ¡°Excellent wretch! Perdition catch my soul / But I do love thee! And when I love thee not, / Chaos is come again¡± (III.iii.). Here, Othello indicates the nature of his affection: either he loves her intensely and feels protective, or else he feels scorned and succumbs to an emotional ¡°chaos.¡± Another moment that foreshadows Desdemona¡¯s death comes in Act IV, scene iii, when she sings for Emilia a song called ¡°Willow¡± about a lover who becomes mad, foreshadowing Othello¡¯s madness. Desdemona says her mother¡¯s maid died while singing the song, further foreshadowing that Desdemona will soon die as well. She misremembers one line, singing ¡°Let nobody blame him; his scorn I approve.¡± This misremembered line foreshadows Desdemona¡¯s dying words, in which she attempts to take the blame for her own murder. Following her mistress¡¯s death, Emilia recalls the song and asks, with the clarity of hindsight, ¡°What did thy song bode, lady?¡± (V.ii.).
¥µ. îñð¼(ÀüÁ¶)
¡°Othello¡±¿¡¼ Iago´Â ±×°¡ ÇÏ·Á°í °èȹÀ» ¼¼¿ì°í ÀÖ´Â °ÍÀ» °üÁß¿¡ Á¤È®È÷ ¸»ÇÏ´Â ±âȸ·Î¼ ¸¹Àº Û¨ÛÜ(¹æ¹é)°ú µ¶¹éÀ» ÀÌ¿ëÇÑ´Ù. ±ØÀÇ Ãʱ⿡ ±×ÀÇ º¹¼ö¸¦ °¡Â÷ ¾øÀÌ ½ÇÇàÇϱâ À§Çؼ ±×°¡ ¾î¶² °èȹÀ» ¼¼¿ì°í ÀÖ´ÂÁö¸¦ ºÒ¸íÈ®ÇÏÁö ¾Ê´Â ¿ë¾î·Î ¼³¸íÇÏ¸é¼ ±ØÀÇ Ãʱ⿡ ±×ÀÇ Àüü°èȹÀÇ À±°ûÀ» ¸»ÇÑ´Ù: ¡°Àú ¹«¾î ³ðÀÌ ³ª¿¡°Ô °¨»çÇÏ°í, ³ª¸¦ »ç¶ûÇÏ°í, ³ª¿¡°Ô º¸»óÇϵµ·Ï ÇÏÀÚ/ ¾Ç¶öÇÏ°Ô ±×¸¦ ¹Ùº¸·Î ¸¸µå´Â °Í¿¡ ´ëÇؼ/ ±×¸®°í ½ÉÁö¾î ±×ÀÇ ÆòÈ¿Í Æò¿ÂÀ» ¾Ç¿ëÇؼ ¹ÌÄ¡°Ô ¸¸µå´Â °Í¿¡ ´ëÇؼ.¡± ¿ì¸®´Â ¶ÇÇÑ ¸ðµç Àι°µéÀÌ °á±¹ ±×µéÀÌ ´çÇÏ°Ô µÉ Á×À½¿¡ ´ëÇؼ ¼ö»çÇÐÀûÀ¸·Î ¾Æ¸§´ä°Ô ¸»ÇÒ ¶§¿¡ ±ØÀÇ Ã³À½ºÎÅÍ ±ØÀÇ ºñ±ØÀû °á¸»¿¡ °üÇÑ ¸¹Àº çÓ(¿¹)ÀÇ Àý¹¦ÇÑ ÀüÁ¶¸¦ º¼ ¼ö ÀÖ´Ù.
DesdemonaÀÇ Á×À½
µÎ °³ÀÇ ÀÇ¹Ì ±íÀº ¼ø°£µéÀÌ DesdemonaÀÇ Á×À½ÀÇ ºÒ°¡ÇǼº ÂÊÀ¸·Î °¡¸®Å²´Ù. ù ¹ø°´Â 3¸· 3Àå¿¡¼ Othello°¡ Cassio¿Í ½Ä»ç½Ã°£À» ¿¹¾à(designate)ÇÏ·Á´Â DesdemonaÀÇ ½Ãµµ¸¦ ȸÇÇÇÑ ÈÄ¿¡ ¿Â´Ù. Desdemona°¡ ÅðÀåÇÏÀÚ Othello´Â Àڽſ¡°Ô ¸»ÇÑ´Ù:¡°³Ê¹« ±Í¿©¿î °Í! ³»°¡ ±×´ë¸¦ »ç¶ûÇÏÁö ¾Ê´Â´Ù¸é(But=If¡¦ not), ³»°¡ Áö¿Á¿¡ ¶³¾îÁ®µµ ÁÁ¾Æ([°¡Á¤¹ý: I wish perdition would catch¡¦ perdition: Áö¿Á¿¡ ¶³¾îÁü]. ±×´ë¸¦ »ç¶ûÇÏÁö ¾Ê´Â ¶§°¡ ¿Â´Ù¸é, ±×¶§´Â õÁö°³º®(chaos)ÀÌ µÉ °Å¾ß.¡± ¿©±â¼ Othello´Â ±×ÀÇ ¾ÖÁ¤ÀÌ º»ÁúÀ» ³ªÅ¸³»°í ÀÖ´Ù: ±×³à¸¦ °·ÄÇÏ°Ô »ç¶ûÇÏ°í ±×³à¸¦ º¸È£ÇÏ°í ÀÖ´Ù°í ´À³¢°Å³ª ¾Æ´Ï¸é ¸ð¿å´çÇÑ´Ù°í ´À³¢°í °¨Á¤Àû ¡°Áö¿ÁÀÇ È¥µ·¡± ¼ÓÀ¸·Î ¶³¾îÁö´Â °ÍÀÌ´Ù. DesdemonaÀÇ Á×À½À» ÀüÁ¶ÇÏ´Â ¶Ç ÇϳªÀÇ ¼ø°£Àº 4¸·3Àå¿¡¼ ³ªÅ¸³ª´Âµ¥ À̶§ Desdemona´Â ¹ÌÄ£ ¿¬Àο¡ °üÇÑ ¡°¹öµé¡±À̶ó´Â ³ë·¡¸¦ Emilia¸¦ À§ÇØ ºÎ¸£´Âµ¥ ÀÌ°ÍÀº OthelloÀÇ ¹ß±¤À» ÀüÁ¶ÇÏ´Â °ÍÀÌ´Ù. Desdemona´Â ±×³à ¾î¸Ó´ÏÀÇ Çϳడ ±× ³ë·¡¸¦ ºÎ¸£´Ù°¡ Á×¾ú´Ù°í ¸»Çϴµ¥ ÀÌ°ÍÀº ´õ¿í´õ Desdemonaµµ Á×°Ô µÉ °ÍÀ̶ó´Â °ÍÀ» ÀüÁ¶ÇÑ´Ù. ±×³à´Â ÇÑ ÁÙÀ» À߸ø ±â¾ïÇÏ¿© ¡°¾Æ¹«µµ ±×¸¦ ºñ³ÇÏÁö ¸¶½Ã¿ä; ±×ÀÇ ÁúÃ¥À» ³ª´Â ÀÎÁ¤ÇØ¿ä.¡±¶ó°í ºÎ¸£¸é¼ ±×³à´Â ÇÑ ÁÙÀ» Ʋ¸®°Ô ±â¾ïÇÑ´Ù. ÀÌ À߸ø ±â¾ïµÈ °¡»ç´Â Desdemona°¡ Á׾¸é¼ ÇÏ´Â ¸»À» ÀüÁ¶ÇÏ¸ç ±×³à´Â ÀÚ½ÅÀÇ Çǻ쿡 ´ëÇÑ ºñ³À» ÀÚ½ÅÀÌ ¹ÞÀ¸·Á°í ÇÑ´Ù. ±×³à ¸¶´ÔÀÇ Á×À½À» µû¸£¸é¼ Emilia´Â ±× ³ë·¡¸¦ ±â¾ïÇÏ°í µÚ´ÊÀº ±ú´ÞÀ½ÀÇ ¸í·á¼ºÀ» °¡Áö°í ¡°¸¶´Ô, ¸¶´ÔÀÇ ³ë·¡´Â ¹«½¼ ¡Á¶¿´½À´Ï±î?¡±¶ó°í ¹¯´Â´Ù.
28-14-221
Iago¡¯s betrayal of Othello
The audience knows from the beginning that Iago is not the loving friend of Othello that he claims to be. But several other characters foreshadow where the play is going as well. When Iago tells Roderigo that Othello gave a promotion to Cassio and made Iago a lowly ancient, Roderigo says ¡°By heaven, I would rather have been his hangman,¡± (I.i.) meaning if he were in Iago¡¯s place, he¡¯d rather kill Othello than serve as his ancient. Iago does exactly what Roderigo says, by convincing Othello that Desdemona has cheated on him. Even Othello seems to subconsciously understand that Iago is not who he seems: he says ¡°By Heaven, thou echo¡¯st me/ As if there were some monster in thy thought/ Too hideous to be shown.¡± (III.iii.) Without consciously being aware of Iago¡¯s treachery, Othello describes Iago¡¯s truly monstrous character accurately.
Emilia¡¯s revelation of Iago¡¯s plot
Emilia¡¯s role as a truth-teller gradually increases over the course of the play, culminating in the moment when she reveals Iago¡¯s plot to Othello and dies as a consequence. One of the earliest moments when she speaks her mind comes in Act III, scene iv, when she bemoans the social hierarchy that places men above women: ¡°They are all but stomachs, and we all but food; / They eat us hungerly, and, when they are full, / They belch us¡± (III.iv.). In saying this line to Desdemona, her social superior, Emilia demonstrates her willingness to risk censure in order to speak the truth. Emilia¡¯s outspokenness becomes more acute in Act IV, where in Iago¡¯s presence she defends Desdemona against Othello¡¯s claim that she is a ¡°whore.¡± In response to Desdemona, who declares that Heaven should pardon the man who planted the idea in her husband¡¯s mind, Emilia makes a foreboding substitution: ¡°A halter pardon him, and Hell gnaw his bones!¡± (IV.ii.). A halter is a noose, and in using this word—in front of Iago, the villain himself—Emilia not only foreshadows her role as the ultimate truth-teller, but she also foretells Iago¡¯s probable future execution.
Othello¿¡ ´ëÇÑ IagoÀÇ ¹è½Å
°üÁßÀº óÀ½ºÎÅÍ Iago´Â ±×°¡ ÁÖÀåÇÏ´Â °Íó·³ Othello¸¦ ÁÁ¾ÆÇϴ ģ±¸°¡ ¾Æ´Ï¶ó´Â °ÍÀ» ¾È´Ù. ±×·¯³ª ¸î ¸íÀÇ ´Ù¸¥ Àι°µéÀº ±ØÀÌ ¾îµð·Î °¡°í ÀÖ´ÂÁö¸¦ ÀüÁ¶ÇØ ÁØ´Ù. Iago°¡ Roderigo¿¡°Ô Othello°¡ Cassio´Â ½ÂÁø½ÃÅ°°í Iago´Â ³·Àº °è±ÞÀÎ ±â¼ö·Î ¸¸µé¾ú´Ù°í ¸»ÇßÀ» ¶§ Roderigo´Â ¡°¸Í¼¼ÄÚ, ³ª´Â Â÷¶ó¸® ±×ÀÇ »çÇüÁýÇàÀÎÀÌ µÇ°Ú´Ù.¡±°í ¸»Çϴµ¥, ÀÌ´Â ±×°¡ ¸¸¾à IagoÀÇ Ã³Áö¿¡ ÀÖ´Ù¸é OthelloÀÇ ±â¼ö·Î º¹¹«ÇÏ´À´Ï Â÷¶ó¸® Othello¸¦ Á×ÀÌ°Ú´Ù´Â °ÍÀ» ÀǹÌÇÑ´Ù. Iago´Â Desdemona°¡ ±×¿¡°Ô ÇùÀâÁúÀ» Çß´Ù°í Othello¸¦ ³³µæ½ÃÅ´À¸·Î½á Roderigo°¡ ¸»ÇÑ °ÍÀ» Á¤È®È÷ ½ÇÇàÇÑ´Ù. ½ÉÁö¾î Othelloµµ Iago´Â °Ñº¸±â¿Í´Â ´Ù¸£´Ù´Â °ÍÀ» ¾î·ÅDzÀÌ(subconsciously) ÀÌÇØÇÏ°í ÀÖ´Â °Íó·³ º¸ÀδÙ: ¡°¸Í¼¼ÄÚ, ÀÚ³×´Â ³» Èä³»(echoes)¸¸ ³»´Ï/¸¶Ä¡ ÀÚ³× »ý°¢ ¼Ó¿¡ ¹«½¼ ±«¹°ÀÌ¶óµµ ÀÖ´Â °Íó·³/º¸¿©Áֱ⿡´Â ³Ê¹«³ª ¼Ò¸§³¢Ä¡µµ·Ï ¹«¼¿î.¡±¶ó°í ±×´Â ¸»ÇÑ´Ù. IagoÀÇ ¹è¹ÝÀ» ÀǽÄÀûÀ¸·Î ¾ËÁö ¸øÇϸ鼵µ Othello´Â IagoÀÇ ±Ø¾Ç¹«µµÇÑ ¼º°ÝÀ» Áø½Ç·Î Á¤È®ÇÏ°Ô ¹¦»çÇÏ°í ÀÖ´Ù.
EmiliaÀÇ Iago À½¸ð Æø·Î
Áø½Ç-Àü´ÞÀڷμÀÇ EmiliaÀÇ ¿ªÇÒÀº ±ØÀÇ Áø·Î¸¦ µû¶ó¼ Á¡Á¡ ´õ Áõ´ëÇÏ°í ±×³à°¡ IagoÀÇ À½¸ð¸¦ Othello¿¡°Ô Æø·ÎÇÏ°í ±× °á°ú·Î Á×À» ¶§ ÀýÁ¤¿¡ ´ÞÇÑ´Ù. ±×³à°¡ ±×³àÀÇ Ò®ãý(³»½É)À» ¸»ÇÏ´Â °¡Àå À̸¥ ¼ø°£ ÁßÀÇ Çϳª´Â 3¸· 4Àå¿¡¼ ¿À¸ç À̶§ ±×³à´Â ¿©¼ºº¸´Ù ³²¼ºÀ» ¿ìÀ§¿¡ µÎ´Â »çȸ°è±ÞÀ» ÇÑźÇÑ´Ù: ¡°±×µéÀº ¸ðµÎ À§ÀåÀÌ°í ¿ì¸®´Â ¸ðµÎ À½½ÄÀÏ »ÓÀÌ¿¡¿ä;/±×µéÀº ¿ì¸®¸¦ °Ô°É½º·´°Ô ¸Ô¾î¿ä, ±×¸®°í ¹è°¡ ²Ë Â÷¸é/¿ì¸®¸¦ ÅäÇØ ³» ¹ö·Á¿ä.¡± ÀÌ ´ë»ç¸¦ ±×³àÀÇ »çȸÀû »ó±ÞÀÚÀÎ Desdemona¿¡°Ô ¸»ÇÒ ¶§ Emilia´Â Áø½ÇÀ» ¸»Çϱâ À§ÇØ ÁúÃ¥À» ¹«¸¨¾µ ¶æÀÌ ÀÖÀ½À» Ç¥½ÃÇÑ´Ù. EmiliaÀÇ ¼ÖÁ÷ÇÔÀº 4¸·¿¡¼ ´õ¿í ´õ ¿¹¸®ÇØÁö°í, 4¸·¿¡¼ ±×³à´Â IagoÀÇ Øüîñ(¸éÀü)¿¡¼ Desdemona°¡ ¡°°¥º¸¡±¶ó´Â OthelloÀÇ ÁÖÀå¿¡ ´ëÇ×Çؼ ±×³à¸¦ ¿ËÈ£ÇÑ´Ù. ±×·± »ý°¢À» ±×³àÀÇ ³²ÆíÀÇ ¸¶À½¼Ó¿¡ ½É¾î ÁØ »ç¶÷À» ÇÏ´ÃÀÌ ¿ë¼ÇØ ÁÙ °ÍÀ» ¸»ÇÏ´Â Desdemona¿¡°Ô ÀÀ´äÇÏ¸é¼ Emilia´Â ºÒ±æÇÑ ÀüÁ¶ ´ë¿ë(substitution)À» ¸»ÇÑ´Ù: ¡°¸ñ¸Å´Â ¹åÁÙÀÌ¿© ±×·± Àΰ£À» ¿ë¼ÇØ ÁֽʽÿÀ¶õ ¸»ÀÌÁö¿ä. ±×³ðÀÇ »À´Â Áö¿ÁÀÇ ±Í½Å(Hell)ÀÌ °¦¾Æ ¸Ô´Â °Ô ÁÁ¾Æ!¡± halter(¸ñ¸Å´Â ¹åÁÙ)´Â ±³¼öÇü ¹åÁÙÀ» ÀǹÌÇÏ°í ÀÌ ´Ü¾î¸¦ »ç¿ëÇÔÀ¸·Î¼¡ª¾ÇÇÑ IagoÀڽŠ¾Õ¿¡¼¡ªEmilia´Â ±Ã±ØÀû Áø½Ç¡ªÀü´ÞÀڷμÀÇ ±×³àÀÇ ¿ªÇÒÀ» ÀüÁ¶ÇÒ »Ó ¾Æ´Ï¶ó ±×³à´Â ¶ÇÇÑ IagoÀÇ ¹Ì·¡ÀÇ ÀÖÀ» ¼ö Àִ óÇüÀ» ¿¹¾ðÇÑ´Ù.
28-15-222
¥¶. Tone
The tone of ¡°Othello¡± largely reflects Iago¡¯s worldview, which is characterized by cynicism and suspicion. Iago expresses his cynicism frequently, and particularly in the play¡¯s opening acts. When Roderigo, sorrowful at losing his chance with Desdemona, confesses, ¡°it is my shame to be so / fond, but it is not in my virtue to amend it¡± (I.iii.), Iago has none of it. Iago responds that one¡¯s ¡°virtue¡± (or character) is not so static or predetermined as Roderigo¡¯s conventional expression would suggest. ¡°Virtue? A fig! ¡¯Tis in ourselves that we are thus or thus. / Our bodies are our gardens, to the which our wills are / gardeners¡± (I.iii.). Iago¡¯s horticultural metaphor forcefully rejects the idea that a person¡¯s character is set in stone; one can cultivate the attributes that are helpful in achieving goals, and suppress attributes that are harmful. Iago¡¯s cynical philosophy of life prevents him from feeling remorse for his actions. From his perspective, he simply exercises his will on others and cannot be held accountable if those others lack his innate distrust and suspicion. To Iago, Othello¡¯s naïve belief in an ¡°honest Iago¡± is the real problem—not Iago¡¯s treachery.
¥¶. À½Á¶
"Othello"ÀÇ ëåðà´Â ³Ã¼Ò¿Í ÀǽÉÀ¸·Î Ư¡µÇ´Â IagoÀÇ ¼¼°è°üÀ» Å©°Ô ¹Ý¿µÇÏ°í ÀÖ´Ù. Iago´Â ±×ÀÇ ³Ã¼Ò¸¦ ºó¹øÇÏ°Ô Ç¥ÇöÇÏ°í ƯÈ÷ ±ØÀÇ ßíØ(¼¸·)¿¡¼ ±×·¸°Ô ÇÑ´Ù. Desdemona¿ÍÀÇ ¸¸³²ÀÇ ±âȸ¸¦ »ó½ÇÇÏ¿© ½½ÇÄ¿¡ ºüÁø Roderigo°¡ ¡°ÀÌ·¸°Ô ³Ê¹« ¸ôµÎÇÏ´Â °ÍÀº ³ªÀÇ ¼öÄ¡ÀÌÁö¸¸ ³» ¹Ì´ö(virtue)À¸·Î´Â ±×°ÍÀ» °íÄ¥ ¼ö°¡ ¾ø³×.¡±¶ó°í °í¹éÇÒ ¶§ Iago¿¡°Ô´Â ±×·± ¹Ì´öÀº ÀüÇô ¾ø´Ù. Iago´Â »ç¶÷ÀÇ ¡°¹Ì´ö¡± (ȤÀº ÀΰÝ)Àº RoderigoÀÇ ÀüÅëÀûÀÎ ¸»(expression)ÀÌ ¾Ï½ÃÇÏ´Â °Í¸¸Å ±×·¸°Ô ð¡îÜ(Á¤Àû)À̰ųª ¹Ì¸® Á¤ÇØÁø °ÍÀº ¾Æ´Ï¶ó°í ÀÀ´äÇÑ´Ù. ¡°¹Ì´öÀ̶ó°í¿ä? ±×°Ç ¾Æ¹«°Íµµ ¾Æ´Ï¿¡¿ä(fig). ÀÌ·¸°Ô µÇ°í Àú·¸°Ô µÇ´Â °ÍÀº ³ª Àڽſ¡°Ô ´Þ¸° °Å¿¹¿ä. »ç¶÷ÀÇ ¸ö¶×¾î¸®´Â ¸»ÇÏÀÚ¸é ²É¹çÀÌ°í ¸¶À½Àº ±×°É °¡²Ù´Â ¿ø¿¹»çÀ̰ŵç¿ä.¡± IagoÀÇ ¿ø¿¹ ÀºÀ¯´Â »ç¶÷ÀÇ ÀΰÝÀº °íÁ¤µÈ °ÍÀ̶ó´Â »ý°¢À» °·ÄÇÏ°Ô °ÅºÎÇÏ°í ÀÖ´Ù: »ç¶÷Àº ¸ñÇ¥¸¦ ¼ºÃëÇÏ´Â µ¥ ÀÖ¾î¼ µµ¿òÀÌ µÇ´Â ¼Ó¼ºÀ» ¹è¾çÇÒ ¼ö ÀÖ°í ÇØ·Î¿î ¼Ó¼ºÀº ¾ï¾ÐÇÒ ¼ö ÀÖ´Ù. IagoÀÇ ³Ã¼ÒÀûÀÎ ÀλýöÇÐÀº ±×ÀÇ Çൿ¿¡ ´ëÇؼ ÂüȸÇÏ´Â °¨Á¤À» ´À³¢Áö ¸øÇÏ°Ô ¸·´Â´Ù. ±×ÀÇ ½Ã°¢¿¡ µû¶ó ±×´Â ´Ü¼øÈ÷ ±×ÀÇ ÀÇÁö¸¦ ´Ù¸¥ »ç¶÷µé¿¡°Ô Çà»çÇÏ°í ¸¸¾à ±×µéÀÌ ±×ÀÇ Ãµ¼ºÀûÀÎ(innate) ºÒ½Å°ú ÀǽÉÀ» °¡Áö°í ÀÖÁö ¾ÊÀ¸¸é ±×´Â Ã¥ÀÓÀ» Áú ¼ö°¡ ¾ø´Ù. Iago¿¡°Ô´Â "Á¤Á÷ÇÑ Iago"¿¡ ´ëÇÑ OthelloÀÇ ¼øÁøÇÑ ¹ÏÀ½Àº ½ÇÁúÀûÀÎ ¹®Á¦°¡ µÈ´Ù¡ª(ÀÌ°ÍÀº) IagoÀÇ ¹è½ÅÀÌ ¾Æ´Ï´Ù.
28-16-223
Iago¡¯s cynicism sets the stage for the paranoid tone of the play¡¯s second half. As Othello gradually falls under Iago¡¯s sway, he too begins to utter suspicious comments that echo Iago¡¯s cynical worldview. In particular, Othello adopts Iago¡¯s misogyny. Not only does he begin alluding to the falseness of women, but he eventually calls his wife a ¡°whore¡± to her face. His intensifying doubt reflects an all-consuming paranoia that stokes the fires of jealousy. As he grows increasingly paranoid, he descends into a nearly schizophrenic confusion. In a moment of unreason he posits: ¡°Nature would not / invest herself in such shadowing passion without some instruction¡± (IV.i.). Othello is saying he would not feel so deeply disturbed if nothing had really happened between Cassio and Desdemona. Therefore, since he does feel disturbed, the charge of adultery must be well founded. Othello, usually so reasonable, well-spoken, and self-assured, now employs a confused logic that showcases the tone of paranoia that overtakes the play.
IagoÀÇ ³Ã¼ÒÁÖÀÇ´Â ±ØÀÇ ÈĹݺÎÀÇ ÆíÁýÁõÀûÀÎ À½Á¶ÀÇ ¹«´ë¸¦ ¼³Ä¡ÇÑ´Ù. Othello°¡ Á¡Â÷ IagoÀÇ ¿µÇ⠾Ʒ¡µµ ¶³¾îÁü¿¡ µû¶ó OthelloÀڽŵµ IagoÀÇ ³Ã¼ÒÀûÀÎ ¼¼°è°üÀ» ÚãúÂ(¹ÝÇâ)ÇÏ´Â ÀÇ½É ¸¹Àº ³íÆòÀ» ¸»Çϱ⠽ÃÀÛÇÑ´Ù. ƯÈ÷ Othello´Â IagoÀÇ ¿©¼º Çø¿ÀÁõÀ» äÅÃÇÑ´Ù. ±×´Â ¿©¼ºÀÇ ºÒ¼º½Ç(falseness)À» ³ÍÁö½Ã ¸»Çϱ⠽ÃÀÛÇÒ »Ó ¾Æ´Ï¶ó ¸¶Ä§³»´Â ±×ÀÇ ¾Æ³»¸¦ ¸éÀü¿¡¼ ¡°°¥º¸¡±¶ó°í ºÎ¸¥´Ù. ±×ÀÇ Á¡Á¡ ´õ °ÈµÇ°í ÀÖ´Â ÀǽÉÀº ÁúÅõÀÇ ºÒ±æÀ» ÁöÇÇ¸ç ¸ðµç °ÍÀ» á¼ò×(¼ÒÁø)½ÃÅ°´Â ÆíÁýÁõÀ» ¹Ý¿µÇÑ´Ù. ±×°¡ Á¡Á¡ ´õ ÆíÁýÁõÀûÀ¸·Î µÇ¾î°¡¸é¼, ±×´Â °ÅÀÇ Á¤½ÅºÐ¿ÁõÀûÀΠȥµ·»óÅ·ΠÀü¶ôÇÑ´Ù. Á¤½ÅÀÌ ³ª°£(unreason) ¼ø°£¿¡ ±×´Â ´ÜÁ¤ÀûÀ¸·Î ¸»ÇÑ´Ù: ¡°ÀÚ¿¬Àº ¹«½¼ °îÀý(instruction)ÀÌ ¾øÀÌ´Â/ ÀÚ½ÅÀ» ÀÌ·¸°Ô °Ý·ÄÇÑ °¨Á¤(À̼ºÀÇ ºûÀ» °¡¸®´Â °ÝÁ¤)¿¡ ¸Ã±âÁö´Â ¾Ê´Â´Ü ¸»À̾ß.¡± Othello´Â Cassio¿Í Desdemona »çÀÌ¿¡ ½ÇÁ¦·Î ¾Æ¹« Àϵµ ÀϾÁö ¾Ê¾Ò¾ú´õ¶ó¸é ±×°¡ ±×Åä·Ï Á¤½ÅÀÌ È¥¹ÌÇÑ »óÅ·ΠºüÁöÁö´Â ¾Ê¾ÒÀ» °ÍÀ̶ó°í ¸»ÇÏ°í ÀÖ´Â °ÍÀÌ´Ù. ±×·³À¸·Î, ±×°¡ °¨Á¤ÀûÀ¸·Î È¥¶õ »óÅ¿¡ Àֱ⠶§¹®¿¡, °£Åë °í¹ßÀº ±Ù°Å°¡ ÀÖÀ» °ÍÀÓ¿¡ Ʋ¸²¾ø´Ù. Æò¼Ò¿¡ ±×Åä·Ï ÇÕ¸®ÀûÀÌ°í ¸»¾¾°¡ ÀûÀýÇÏ°í ÀÚ½ÅÀÌ ÀÖ´ø Othello°¡ Áö±ÝÀº ±ØÀ» ¾ÐµµÇÏ°í ÀÖ´Â ÆíÁýÁõÀÇ À½Á¶¸¦ Àß º¸¿©Áִ ȥµ·µÈ ³í¸®¸¦ Áö±Ý äÅÃÇÏ°í ÀÖ´Ù.