The question of race in Othello In his production of Othello for BBC television (1981), Jonathan Miller stated that Othello's race does not have much impact on his fall into work. He argues that although Shakespeare touches on the issue of race, the cause of Othello's demise lies elsewhere.1 However, the implications of race in the play lead directly to its tragic ending; it is this question that pushes the characters to set the tragedy in motion. Brabantio would never rebel against the union of Othello and Desdemona if it were not for Othello's darkness. Roderigo could never be motivated to pursue Desdemona if it were not for his belief that their relationship is unnatural. By far the most significant racism is Othello's own racism, racism that Iago brings to the surface by playing on Othello's racial insecurities. Finally, racism is Iago's main cause in Othello's destruction. Brabantio is very selective about Desdemona's suitors, as is evident from his express condemnation of Roderigo. After learning that it is Roderigo lurking at his window, Brabantio tells him, "Worse welcome! / ... In all sincerity you have heard me say / My daughter is not for you" (1.1.92-95).2 Although Roderigo he is a rich native Venetian, in the eyes of Brabantio he is not worthy of Desdemona. Despite these exacting standards, it would appear that Othello could gain Brabantio's approval; he holds a lucrative and prestigious position as an army general, is of noble origins and enjoys the respect of the state. Furthermore, Brabantio has an affinity with Othello, as he explains, "[he] loved [Othello]; often he invited [him]; / Still he questioned [him] about the story of [his] life" (1.3.128-29) . There is no... half of the card... his chance and he fights it. By resisting stereotypes, instead of acknowledging and accepting their existence, Othello increases his internal conflict. If he had had the necessary strength and confidence in himself, the conflict could not have arisen; for when there is no resistance, the struggle ceases. Rather than labeling Othello as a racist or anti-racist play, it is more meaningful to see how, from a racial perspective, the tragedy demonstrates the explosive effects that racial dissonance can produce when combined with other personal insecurities.Notes1. Jonathan Miller, television interview, BBC, 1981. Quoted from Sylvan Barnet, “Othello on Stage and Screen,” in Alvin Kernan, ed., Othello, Signet Classic Edition (New York: Penguin, 1998): 230.2. All references to Othello are from the Signet Classic Edition (New York: Penguin, 1998).