Shakespeare, William. William Shakespeare: The Complete Works. Ed. Alfred Harbage. 1969.
2nd ed. 1970. Willen, Gerald and Victor B. Reed, eds. A Casebook on Shakespeare’s Sonnets. New York: Crowell, 1964.
Bibliography: Bibliography Burgee, Anthony. Shakespeare. New York: Alfred A. Knopf, 1970 Cahn, Victor L. Shakespeare the playwright: A Companion to the Complete Tragedies, Histories, Comedies, and Romances. New York: Greenwood Press, 1991. Evans, Gareth, and Barbara Lloyd Evans.
13 G. Wilson Knight, The Mutual Flame: on Shakespeare's Sonnets and The Phoenix and the Turtle (London: Methuen, 1955) 118. Works Cited Alpers, Paul J. ed. Elizabethan Poetry: Modern Essays in Criticism. New York: Oxford UP, 1967. Knight, G. Wilson.
"Beyond the Comedy: Othello" Modern Critical Interpretations, Othello Ed. Harold Bloom, Pub. Chelsea House New Haven CT 1987. (page 23-37) Wheale, N. (2000) Nineteenth- and Early-Twentieth Century Critical Evaluations of Othello. Shakespeare Text & Performance
Names are given at birth, and the idea that he is called angelic from the start, would argue against this doctrine of innate depravity. But, as Shakespeare argues, it's a name that can't be lived up to because of natural passions and lusts, which ultimately leads to Angelo's hypocrisy. The play opens up not only dressing up Angelo with a pure name, but also as a puritanical deputy, who has been "elected" to enforce the laws while the Duke is away. This idea of "election" not only signifies the political decree of Vienna, but also a Pauline doctrine that relates to men and angels. Angelo has done an efficient job at fooling people into believing that he is incapable of natural vices.