Coming once again to forefront contemporary media discussion has been the issues surrounding homosexuality and, to a large extent, its degree of naturalness and the subsequent social restrictions employed against it. Although primarily dealing with the love between Othello and Desdemona, strong homosexual, perhaps homoerotic is more suitable, bonds exist between several characters. Such relationships would hardly be uncommon between military men; male-male relationships have occurred in armies from Alexander the Great to Field Marshal (not so great) Hague (Pat Barkers Regeneration Trilogy outlines this beautifully). The foremost pairing is quite obviously that of Othello and Iago. It has been oft argued that Iago's hatred stems from a deep love of Othello. Whether this is accurate or not is debatable, however, obvious affectionate tendencies exist between the two. Iago declares on "My lord, you know I love you (III.iii.121) and in one emotional outburst begs Othello for your pardon/ For loving you too much" (III.iii.216). These in themselves could perhaps be seen as simply two close friends using powerful language but for the event which follows. In a dark parody of marriage, Iago kneels with Othello, clutching him, and announces, in response to the other's earlier promise that "I am bound to thee forever" (III.iii.218), that "I am your own for ever" (III.iii.482). Iago also mentions to Cassio that "good lieutenant, / I think you think I love you" (II.iii.288) and Cassio himself mourns Othello's absence in Cyprus and after losing his command confides that he would "rather sue that to be despised than to deceive so good a /commander" (II.iii.258). Additionally, the relationship between Desdemona and Emilia appears abnormally strong for a recent pairing of mistress and maid. Essentially, love between men (or women) appears to be tolerated as long as it is contained in the shadows. While such secrecy is no longer necessary (in most cases) given the recent American battle over same-sex marriage rights, much empathy can be given to Iago whose love can never be made official, realized in itself totality. Both then and now, the question was a simple one, should homosexuality be accepted, allowed, tolerated, ignored, forbidden, or destroyed?

Characters described as ethnically different do not have a particularly successful record in Shakespeares plays. Indeed Aaron finds himself buried in the sand in Titus Andronicus and Shylock is ostracized and forced to convert to Christianity in The Merchant of Venice. Othello does little better, killing his wife and himself, throwing a brilliant military career away. Indeed, isolation due to race is still a fundamental issue in a contemporary world where racism still rears its head. One of the messages taken from Othello, one that often leads to criticism of the playwright's racial attitudes, is that "with blacks, civilization is only skin deepscratch the surface and you find a primitive savage underneath" (Quince, 103). This made the play remarkably political in South Africa under apartheid and in the United Sates during the civil rights movement. It is commonly debated as to whether Shakespeare is simply shedding light on the issues of racism in his society or whether he was, in fact, a racist himself. Regardless, the message is clear as to the difficulty faced by minorities in societies that hold stereotypes of them. Whether or not Othello really is an aggressive, primitive and uncontrollable African barbarian is, in the end, academic; his actions, however brief, as one will eternally define him. This then begs the question, is Shakespeare a racist for having a black man embrace a stereotypically black role?

Along with the issue of race in Othello is the accompanying concern of domestic abuse. Faith Nostbakken who relates the similarities between the murders of Desdemona and Nicole Simpson highlights the obvious parallel between the play and contemporary North American, the O.J. Simpson fiasco. However, perhaps more alarming in the play than the murder is Othellos physicality towards her in front of the Venetian envoy. That Othello is to be punished for the murder of his wife is automatic; however, that he is permitted to slap his wife is a concept undoubtedly horrifying to many in todays society. This also begs the addressing of the sexual roles to which the plays characters appear defined. Othello orders his wife back to her room and Iago expects complete obedience from Emilia despite her revelation as to his plot. It would appear that contemporary society is somewhat more civilized and equal in its sexual structuring. Nonetheless, women are still beaten by their husbands and the most common murder-victim relationship is spousal. Therefore, what should the relationship between husband and wife amount to?

Everyone in Othello is obsessed. Othello becomes a slave to finding out the truth of Desdemona's affair; Iago is from the get-go emancipated by his plot to destroy everyone around him. Cassio is obsessed with his reputation and, losing is, getting it back. Roderigo is obsessed with Desdemona, willing to kill for her Desdemona and Emelia are obsessed with their husbands, the former going to Othello "with greedy ear/ Devour up my discourse" (I.iii.147) and the latter stealing her mistress' possessions in hopes of pleasing Iago. Perhaps a modern psychologist could have prevented the horrors of Othello through simple treatment for certainly many people today have obsessions that do not result in triple homicides. Indeed, these highlight the fundamental human quality of curiosity. Othello begins by responding to Iagos questioning of Desdemona with an almost playful banter. It is not long, however, before he plans her death. Roderigo is also slowly desensitized as Iago first convinces him to inform on Othello then to fight, and then kill, Cassio. Roderigos obsession is complete; he willingly parts with all of his money, acts upon orders from a bedeviled ensign and eventually gives his life. Obsession quite rightly asks the question, are there things in life worth killing, or dying for?

These questions are far from easily answered but then, that is the point. Had Shakespeare asked easily answered questions his plays would not still be discussed. Because of their universality, Shakespeare's works are read, acted out, watched and commented on across the globe and likely will be for many years to come.