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Theatre

Sword Play as Applied in Othello and Goodnight Desdemona (Good Morning Juliet)

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Sword Play as Applied in Othello and Goodnight Desdemona (Good Morning Juliet)

Swordplay is amalgamated in theatre to show assertion, strength, or generating themes in plot development. In Goodnight Desdemona (Good Morning Juliet), MacDonald applies swordplay to develop the immense hatred amidst Desdemona, Constance, and Iago. Desdemona’s character as a strong, fierce, and bloodthirsty warrior woman who loves war provides the playwright with numerous options for developing the plot of the play. She stands out as a funny warmonger: “Desdemona: Gird thy trembling lions, and slay Professor Night!” (MacDonald, 37).

Constance’s intrusion into the Romeo and Juliet tragedy is at a critical point, whereby a fight between Romeo and Tybalt is impending. MacDonald uses this hostile situation to cleverly alter the original plot of Shakespeare’s chain of deaths by changing it into a comedy after Constance halts the impending fight. It is in this conflict (MacDonald, 24) that the twist in the Shakespearean tragic plot is introduced whereby Constance attracts Romeo’s romantic attention spontaneously when her clothes get ripped off by Desdemona and are totally infatuated. “Romeo: Did my heart love til now? Forswear it, nay! For I ne’er saw true beauty till this day!” (MacDonald, 51).

MacDonald has also used swordplay as a useful tool to bring out the malice of the selfish individuals in the play. For instance, Tybalt resolves to kill Constance after seeing her dancing with Juliet. Romeo, on the other hand, gets his envy building up and decides to dress like a lady to attract Constance. In turn, Juliet disguises herself as a man hoping to win back Constance. The competition becomes a launching pad for a fight that provides MacDonald with an opportunity to let Constance discover the missing page of Gustav Manuscript and the discovery of her true identity as the ‘Wise Fool’; a realization that transports her back to her office at the university.

On the other hand, Shakespeare utilizes the device of swordplay in his drama, Othello, to develop a captivating plot and depict vengeance and betrayal that lives amongst individuals. In the scene where Iago and Rodrigo are standing at a brothel, (Shakespeare, 193); Iago prepares Rodrigo for an ambush on Cassio. “Iago: It makes us think of that. And fix most thy resolution.” He hands him a rapier, which is a type of a sword and steps out of into darkness as Cassio enters. However, Iago was supposed to stay around to assist Rodrigo in attacking Cassio according to plan, (Shakespeare, 193).

Thus the theme of betrayal is depicted when Iago abandons Rodrigo in the dangerous sword fight. That act means Iago was never concerned about Rodrigo’s life but only to ensure that his revenge against Othello succeeds. He hopes to kill Cassio, Desdemona, and Rodrigo. Rodrigo, on the other hand, portrays moral weakness when he agrees to be led out into killing a man he never hates. He does not even think he can defeat Cassio, but foolishly trusts Iago’s assurance of a shoulder to shoulder support.

Shakespeare further develops the plot as Cassio stabs Rodrigo injuring him badly. The playwright consciously makes Rodrigo acquire injury to showcase Iago’s heartlessness by not providing support as promised. In fact, when Iago reappears, he is only focused on killing Cassio and not helping Rodrigo, who is fighting to survive a fatal sword injury. Covered by the darkness of the night and shadows in the street, he manages to satisfy his ego by stabbing Cassio in the leg. When Othello enters the scene after hearing Cassio’s cry for help, he perceives the sword fight as a successful vengeance mission by Iago.

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