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Shakesperian tragedy eassay
Shakespeare's use of dramatic devices
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The Shakespearian tragedy usually includes manipulation, betrayal and over all jealously. In “All Night Long” directed by Basil Derdan, all of those aspects can be seen within the film. Though they are included, the way the film follows the tragic structure can be both conventional and unconventional, seeing as we do get most of the aspects of a tragic structure throughout, but not a drastic downfall. All Night Long and Othello share many differences in time, place, and action, but similarities in the story line. The translation of the film changes a drastic amount that it is not seen as a tragedy.
All Night Long may not end off on a tragedy, but aspects of a tragic structure are still used throughout the film. When Johnny Cousin, which
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Delia and Desdemona both hold objects close to their heart given to them by Rex and Othello. One being a cigarette case and the other a handkerchief. When both misplace them, Rex and Othello both ask them for the objects to see if they have them and not given it to their “lovers”. Othello gets his ultimate “proof” by hiding and listening in on Iago and Casio’s conversation, while Rex gets his “proof” by listening to a recording between Delia and Cass taped by Johnny. The gender dynamic is also seen in both the play and the film adaption. In Othello, Desdemona puts Othello above everyone else, this is seen when she says “but here’s my husband. And so much duty as my mother showed to you, preferring you before her father, so much I challenge that I profess due to the Moor my lord” (Act 1, Scene 3: 185-189). Desdemona is putting Othello above her own father and is going against him. We see this similarity in All Night Long when Delia gives up her singing carrer after marrying Rex because he told her to. It is quotes from Delia herself that we see how much influence Rex has over her, “I put him above everything else in the world” and when asked to join a band with Johnny she says “If I did I’d loose Rex”. Overall the whole film changes the dynamic of the play, but it still interprets many important aspects of the play
Othello is a play that asks us to examine the position of women in society. This play explores issues such as clandestine marriage, accusations of adultery, and it includes three different social classes of women. First, we have Desdemona, this is a woman from a noble family in Venice and has the least amount of freedom. Her behavior was watched very carefully. The perception of Desdemona is created by the language that other characters use to describe her. In Act 2, Scene 1, Cassio refers to Desdemona as ‘a maid/That paragons description and wild fame’; that she
The director of ‘O’ has made errors which causes Othello to lose its literary value. Othello is known as classic artistic play however, the director of the film has caused the play to lose this element. Of course the director has made overt links between the play and the film. The obvious links between the play and the film include the naming of the characters for example naming Othello’s character O and naming Desdemona’s character Desi. When Desi and O first have sexual intercourse they are in a hotel called ‘Willow’ which represents the song sung by Desdemona when she is about to die. The role of women in the play and the film remain the same, the submissive and obedient type. Yet, in today’s society women would be more confident and feministic in their ways. These obvious and almost childlike connections between ‘O’ and Othello does not necessarily mean that ‘O’ is effective appropriation of the play.
Othello and Iago are diverse in their characters and in their colors. It could be said additionally, notwithstanding, that they are comparative because of their untrustworthiness. Iago is overcome with his longing for vengeance to such a degree that he places it vigorously. Othello 's adoration and possessiveness of Desdemona assume control him until he in the long run would rather murder her than permit any other person to have her. In this way, despite their differentiations, Iago and Othello both speak to the furthest point of the same thing - human emotion.
The women of the play are characterized as something their fathers or husbands own, women were like trophies to them. It all started the night Desdemona and Othello eloped, without Desdemona’s father Brabanito having any sort of awareness or knowledge of their marriage. Rodrigo is told to inform Brabantio of what his daughter has done. Of course Brabantio, who is completely oblivious to this entire dilemma, is displeased with the irregular awakening, what triggered the anger even more was when he saw ...
These behaviours allude towards tension due to their dissimilarity to the accustomed conduct of Othello and Desdemona. Desdemona’s growing fear of Othello is evident. in the precautions she takes to avoid his anger. Desdemona places the importance of Othello’s commands above her need to confide in Emilia.... ...
Othello is one of Shakespeare’s four pillars of great tragedies. Othello is unique in comparison to the others in that it focuses on the private lives of its primary characters. When researching the subject of Othello being an Aristotelian tragedy, there is debate among some critics and readers. Some claim that Shakespeare did not hold true to Aristotle’s model of tragedy, according to his definition in “Poetics,” which categorized Othello as a classic tragedy as opposed to traditional tragedy. Readers in the twenty-first century would regard Othello a psychological thriller; it definitely keeps you on the edge of your seat creating the emotions of terror, heart break, and sympathy. This paper will focus on what Shakespeare actually intended regarding “Othello” and its Aristotelian influences.
Brabantio also endeavours into placing a seed of doubt in Othello’s mind as a result of his jealousy. Consequentially Brabantio objectifies Desdemona when he states, “Where has thou stow’d my daughter?” exemplifying how he deems her as a possession, which can be stolen like any other. Othello prolongs this objectification through asserting that he “won his daughter” portraying Desdemona as a prize to be won, and a possession to be owned and argued over by husband and father. Desdemona is depicted early on in the play as the “angel” wi... ...
The society in which Othello takes place is a patriarchal one, where men had complete control over women. They were seen as possessions rather than being just as equally human and capable of duties performed by men. All women of the Elizabethan were to obey all men, fathers, brothers, husbands, etc. Which leads me to the most reliable and trustworthy character of Desdemona, whom goes through many trials just to satisfy her love. Shakespeare brings the thought of Desdemona into the play by Barbantio, her father, “It is too true an evil. Gone she is....Oh, she deceives me Past thought! …” (1.1.163)(1.1.168-169), whom has just found she has taken off with Othello and firstly suspects they have been hitched. Shakespeare gives reader the impression Desdemona is a devious imp full of disrespect towards her father. However, surpassing normal tradition of asking of her fathers’ permission to wed, Desdemona ran off and did marry the moor. This in a sense was her emancipation of her father’s possessiveness and oblivion of Othello’s dominance over her. Othello replies to Barbantio’s accusation, sedating or using black magic on his daughter, by saying, “My very noble and approved good masters, That I have ta’en away this old man’s daughter. It is most true.” (1.3.79-81), which brings me to the claim that Desdemona’s character in this tragedy, was only to become and to serve as Othello’s private possession rather than a typical beloved daughter or wife as in modern time. Shakespeare bases this tragedy on the foundation of Desdemona’s character by the symbol of the discrimination of women in the Shakespearean time era. Desdemona even for the first and only time within the play stands up and challenges her inferiority under her father’s aut...
The most important relationship displayed in the story is between Othello and Desdimona. Shakespeare uses many examples to illustrate how the bond between them shines in the beginning and then fades as the play progresses. At the opening of the play they are being married without Desdimona's father's consent. In this time period a father owned his daughter in a way, and held the right to choose her husband. When her father ( Brabantio) learns of the news he is furious.
Othello is a man of romantic nature. He fell in love with the beautiful Desdemona. He was accused of stealing her away from her father. Othello was of a different race and did not fit in with her family. Othello makes a plea for Desdemona and tells his story which wooed her to begin with. Othello tells of the love that her father showed him since his boyish days. This was like a match made in heaven that overcame many obstacles which got in their way. Othello could not understand why he was good enough to work and fight alongside of her father, but was not good enough for his daughter.
Many older plays or movies are remade to appeal to a different age of people. These renditions often follow the same story line with only subtle differences to be more appealing. Many of Shakespeare’s plays have been made into movies to enhance the studying or understanding of his plays. An example of this would be Othello which has been created into a movie called “O”. Othello and “O” both follow the same story line. The similarities between them make "O" an excellent rendition of the play. Othello by William Shakespeare and “O” directed by Tim Nelson are very similar in many ways; however, they have distinct differences in their Protagonists. The heinous villain, Iago from Othello and the devious teenager, Hugo from “O” have many of the
From this point on, Othello insecurity manifests into a seemingly irrational fear of being cuckolded, and his self-perceived worth diminishes exponentially. Othello comments on the likelihood of Desdemona cheating, by explaining how it may be “for [he is] black / And have not those soft parts of conversation / That chamberers have…” (3.3.280-282) Othello’s frustration with the threat of being cuckolded puts strain on his relationship with Desdemona, and she quickly becomes a victim of domestic abuse. For example, Othello acts as an interrogator, demanding to see the handkerchief which he gave her that symbolizes faithfulness and commitment towards Othello. (Quotation) When she is unable to produce their symbol of trust, Othello’s anger manifests inside him. The audience is shown a stark contrast to Othello’s typically cool, collected and composted nature. This abrupt and irrational change in behaviour is emphasized when Othello strikes Desdemona in front of Lordovico, (4.1.245) Othello’s
“But jealous for they are jealous: ‘tis a monster Begot upon itself, born on itself” (Shakespeare AIII, Siii, 74). Emilia, Iago’s wife, states that people who are jealous are not jealous for a reason, but instead jealous because they are jealous. With this in mind, it is clear that Othello began the play as a monster that grew and grew out of nothing. Iago’s web of illusions causes Othello to go into a trance and be at a loss of words. “--Is’t possible?—Confess,--hankercheif!—O devil!—[Falls into a trance]” (Shakespeare AIV, Si, 78). Without having the ability to speak, Othello is portrayed as an animal. He has become an animal, a monstrous animal with no honor and consumed by jealousy. When he goes to Desdemona’s chambers to kill her, he thinks about stopping himself. However, he decides that she cannot do this to more men and proceeds with his plan. In fact, he denies her request to live just a bit longer in order to prove her innocence and smothers her to death with a pillow. Jealously has taken over such a big part of his mind that he is not even interested in her innocence and believes she is guilty no matter what she has to say. However, Desdemona does not have an ounce of jealously in her heart. She remained loyal to her husband throughout the entire play and trusted Othello to be faithful just as she was. “Nobody; I myself. Farewell: Commend me to my kind lord: O, farewell!” (Shakespeare AIV, Sii, 113). Desdemona was never jealous; therefore she was never a monster. She was selfless and loving. Even in her dying breath she does not admit that her husband had killed her to spare him the punishment he will get. This is due to the fact that her love for him was so pure and real. The only thing that tore their relationship apart was not Iago, but jealously
The basis of Shakespeare’s plays appears to focus mainly around the dominant male character and his conflicts, which tend to deal with a woman. There are only three women in the play Othello; Desdemona, Emilia and Bianca. The way in which these women behave and present themselves strongly reflects the ideological expectations of women within Shakespeare’s imagined Venetian society as well as the Elizabethan society in which he lived. This patriarchal Venetian society presented in the play depicts women as possessions of men who should remain submissive and meek at all times. The women are expected to unselfishly and unreservedly devote their lives to serve their fathers until they are of age to do so, their husbands. All three women love their respective partners; however, all three are also rejected by them because they each devote more to their men than their men are capable of returning. Desdemona and Emilia display genuine emotions toward each other that are not reflected in any of the male to male associations.
The role of jealousy, love and betrayal play a major role in The Tragedy of Othello, the Moor of Venice. The entire play is based on the human interactions of the characters as related to Othello and Desdemona. The characters’ personalities, their social status, and their relationships to each other control the story line and their fate in the play. Othello is portrayed early in the play as an outsider with animalistic characteristics by Iago and Roderigo because of jealousy. “Your heart is burst; and have lost half of your soul/Even now, now, very now, an old black ram/Is tupping your white ewe”.(531) Desdemona’s father, Brabantio, accuses Othello of using witch craft on his daughter. “If she in chains of magic were not bound/ Whether a maid so tender, fair, and happy/ So opposite to marriage that she shunned…” (535) This point is important because Othello must defend himself not only to Desdemona’s father, Brabantio, but to the entire Venetian Senate. “And till she come, as truly as to heaven,/ I do confess the vices of my blood./ So justly to your grave ears I’ll present/ How I did thrive in this fair lady’s love, / And she in mine.” (539) Othello proves himself to be an intellectual hero early in the play. He has worked hard to gain respectability and power, but because he has a different background, is from another country, is dark-skinned and is older than Desdemona, he becomes jealous very quickly of Cassio. Cassio is from the same social class, is compatible with Desdemona and is a young handsome man. Iago has also convinced Cassio to seek favor with Desdemo...