Shakespeare’s Simpleton Suitors
In Shakespeare’s plays, to be in love is to be a fool. This theme recurs in many characters
throughout his works. Silvius from As You Like It, Desdemona and Roderigo from The Tragedy
of Othello and Malvolio from Twelfth Night are all examples of his prevalent portrayal of lovers
as fools.
Shakespeare illustrates the folly of lovers in many ways throughout his plays. Likely the
most common form of love he portrays is passionate love. In Shakespeare’s comedies, this form
of affection is the driving force behind many characters, inclusing Orsino, Olivia and Orlando. In
As You Like It, Silvius is a prime example of Shakespeare’s effort to show passionate lovers as
fools. This young shepherd’s love for Phoebe is so strong that it causes him to commit “actions
most ridiculous” (AYLI 2.4.29) despite the fact that Phoebe has clearly revealed her disdain for
him. She goes so far as to describe his presence as “irksome” (AYLI 3.5.102) and even takes
advantage of his love so that she might woo Rosalind (as Ganymede). Silvius demonstrates the
foolishness of his love by accepting Phoebe’s self-serving request in exchange for only the
occasional “scattered smile” (AYLI 3.5.111). Silvius even confesses that his love for the
Shepherdess has made him a fool. While speaking to Corin about the actions he has carried out
for love, he states: “if thou remember’st not the slightest folly that ever love did make thee run
into, thou hast not loved” (2.4.33-35). In these lines, Silvius suggests that if a lover’s passion has
never caused them to act foolishly, they have not truly loved. A person who is truly in love, then,
must be a fool.
Although more prevalent in Shakespeare’s comedies, the portrayal of lovers as fools is
also present in his tragedies. In Othello, two characters demonstrate this theme: Desdemona and
Roderigo. Even before her first formal appearance in the play, Desdemona is described as
“gentle” (O 1.2.28), “delicate” (O 1.2.93) and “tender, fair and happy” (O 1.2.85). It is therefore
a reasonable assumption that her love for Othello is not lustful or sexual, but affectionate and
committed. Although this steadfast love may be the most honest kind of love, the trust she has in
Othello ultimately makes her a fool and leads to her demise. In the first act of the play,
Desdemona proclaims that she “did love the Moor” (O 1.3.283), so much so that her “heart’s
subdued” (O 1.3.285) to him. The use of the word “subdued” seems to capture her
submissiveness, an aspect of her relationship which becomes apparent near the conclusion of the
play. In the final scene of Othello, the Moor openly admits his intentions to kill Desdemona. He
reveals his plans to her several times in act 5, scene 2, at lines 20, 50, 64 and on many other
occasions. Desdemona realizes that Othello is entirely serious about his intentions to kill her. She
makes this clear when she says, “I fear you, for you are fatal then / When your eyes roll so” (O
