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A short note on Othello as a Shakespearean tragedy
Racism in literature
A short note on Othello as a Shakespearean tragedy
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Othello in William Shakespeare's Play Most of the characters in "Othello" perceive Othello as unclean and
inhuman using words like "Moor"; from this Shakespeare shows the
issues of society some are subtext to limit any argument.
This play portrays racist characters, but in no way supports racism.
The two characters whose dislikes of Othello are simply racist,
Rodrigo and Brabantio, are shown to be foolish. The play is full of
references to Othello's colour and appearance, which make it quite
clear he is a black African. Rodrigo's racist description "thick lips"
As inconsequential as they may initially seem, the various types of abnormalities in William Shakespeare’s tragic drama Othello do impact upon the audience. Let us explore this subject of the deviant in this play.
Shakespeare’s “Othello” categorizes multiple sins within this play. “Othello” has characters that represent specific sins of the Seven Deadly Sins. The characters, such as Iago, Roderigo, and Othello have sins such as envy, wrath, greed, and vanity that motivate them to commit acts of crimes. Iago is the root of all sins within this play, meaning he commits multiple sins. His envy and greed to become lieutenant motivates him to abandon his name of “honest Iago” and betray his own commander, Othello (Shakespeare). Roderigo is motivated through envy. His jealousy of Othello and Cassio cause Roderigo to become immersed within envy and driven to kill. Othello’s vanity stops him from believing Iago is a traitor and allows him to be tricked. His pride of his servants being completely honest betrays himself. This also drives his wrath onto killing his own wife. Sins such as envy, wrath, greed, and vanity manifest within these characters
In the play Othello by William Shakespeare, the character Othello is portrayed as a fairly good man. By some, he may be known as a bad person, but he has become greatly beneficial to the growth of Venice and the state of Cyprus. Othello is a good man even if he committed murder to his wife because he was a great war general and contributed to Cyprus in time of need. While Othello murdered his wife Desdemona, he did it purely from misunderstanding and jealousy. Iago made Othello believe Desdemona was cheating on him with Cassio even though she never did such actions.
In Shakespeare’s “Othello”, the role of women is deeply emphasized; the significant characters of the play Othello, Iago, and Casio, each have a lady that stands behind him. These women each have commitment to remain faithful and respect their husband's needs, especially Desdemona and Emilia.
In The Tragedy of Othello, William Shakespeare tells the tale of the “noble Moor” whose honor and innocence bring about his downfall. Shakespeare writes of the power of jealousy, and the art of masterful deception and trickery. The story primarily takes place in Cyprus, during a war between the people of Venice and the invading Turks. In this play Shakespeare shows the feelings of Othello’s embittered right-hand man of, Iago, who feels he is passed over for a promotion and swears his revenge. He proceeds to manipulate his friends, enemies, and family into doing his bidding without any of them ever realizing his ultimate goal. He makes Othello believe that his new wife, the innocent Desdemona, is committing adultery with his newly promoted officer Michael Cassio. After this seed of jealousy has been planted, Othello’s mind takes its course in determining the true outcome, with a little more nudging from Iago. The course of action he proceeds to follow is one that not only ends his own life, but also the life of his wife and others. In Shakespeare’s Tragedy of Othello, Othello is a man who is still truly honorable, despite the course of action he takes to resolve his perceived problem.
Nick Potter states: “Othello is a tragedy of incomprehension, not at the level of intrigue but at the deepest level of human dealings. No one in Othello comes to understand himself or anyone else.” Within Shakespeare’s Othello, no character fully understands themselves of one another. This is especially true in human dealings, where the intentions of characters and how others interpret them are often misaligned. Conflict, and eventually, tragedy arises in Othello due to the incomprehension between characters, as well as within the characters themselves. From the reader’s perspective, it is tragic to understand the reality behind all the incomprehension, since the characters are oblivious to what the readers are aware of.
Othello as a Tragic Hero William Shakespeare's famous tragedy "Othello, the Moor of Venice" (c.1604, as reprinted in Laurence Perrine and Thomas R. Arp, Literature: Structure Sound and Sense, 6th ed. [Fort Worth: Harcourt, 1993]1060-1148) is arguably one of the finest, if not the finest, tragedies in the literary history of Western civilization. This paper discusses Othello as a "tragic hero" and compares him to the great Aristotle's concept of what a "tragic hero" actually is. First, we need to understand the characteristics of a so-called "tragic hero" as defined by the Greek critic, Aristotle. He indicates that a tragic hero must have these characteristics: (1) Be a nobleman, prince, or person of high estate; (2) Have a tragic flaw, and a weakness in judgment; and (3) Fall from high to low estate. (Hubele). Using the Aristotle criteria, we can easily classify Othello, the Moor, as a tragic hero. At the time, it was common practice for the Italian city-states to have a foreigner, with proven military capabilities, serving as the head of their Army. Othello, an African Moor of noble birth, is just such a character and held the highest ranking military position as Governor-General of Cyprus. The city of Cyprus was a city-state in the great state of Venice. His title alone, Governor-General, exudes an air of nobility, confidence, and strength. It defines someone who is held in tremendously high esteem by the people of Venice. During Act 1, Scene 3, the Duke and a few Senators are discussing issues around a table when Othello enters the room.
due to his race are vast, for example at the start of the play when
Othello, from the onset, is shown to us a play of love and jealousy. There is however more to this play than just love and jealousy; there is underlying racism, hate, deception, pride, and even sexism between these pages. Othello is a transcendent play, one that will survive the perils of time simply because it is still relevant. Even today, over 400 years later, there are still issues of racism and sexism. Hate is as natural as love in humans and Othello gets right to the root of that. We witness this from the very first scene, “…you’ll have your daughter covered with a Barbary horse/ you’ll have your nephews neigh to you” (I.i.112-14); to the very last, “Moor she was chaste. She loved thee, cruel Moor” (V.ii.258). Moor however is used as an insult all throughout the play; not so much the word itself but the feel of the word. Between these pages we see many different ways as to how the cultural differences between Othello and the other characters.
Shakespeare explores the mechanisms of evil as well as ideas held by the Jacobean society in the play Othello. Analysing the play exposes it 's changing views towards dominant ideas of the society in which it was produced. Early in the play the derogatory black stereotype of the time and patriarchy are challenged. The play later contrasts this and endorses patriarchy and the black stereotype. Othello supports the belief of Christianity through the repetition of Heaven and Hell and Eurocentric idea through its structure. The development, dialogue and actions of Iago, Othello, Desdemona, Emilia and Cassio influence the play 's attitude towards the dominant ideas.
"Othello" is a good example of Aristotelian drama. It is simple play and the focus is on a very small cast of characters. It has few distractions from the main plot and concentrates on just a few themes, such a jealousy, prejudice, pride and honesty. Jealousy is the emotion that drives the action of Othello. It has the classical unities of time, place (setting is in Venice in the first act and Cyprus thereafter) and action. Othello's cast is made up of "ordinary" people of moderate rank, and not of heroic stature and the dramatic action is interpersonal rather than universal.
The Tragedy of Othello William Shakespeare’s, The Tragedy of Othello, the Moor of Venice, from the sixteenth century is an excellent example of Renaissance humanism. “A poet of unparalleled genius, Shakespeare emerged during the golden age of England under the rule of Elizabeth I.”(Fiero 3:98) He produced comedies, tragedies, romances and histories. According to Webster’s pocket dictionary, a tragedy is defined as a form of drama in which the protagonist comes to a disaster, as through a flaw in character, and in which the ending is usually marked by pity or sorrow. I would like to concentrate on the character Iago and the theme of deceit.
Internal and external struggles influence people to action, be it swift and daring or cunning and low. In Shakespeare's plays, the events around and within a character often combine to cause a character to act in a manner that would be considered out of character or unnatural for the person. Shakespeare uses these characters to provide the audience with a lesson or theme; to give them something they can apply to life and see learn from. In Othello, the character he uses as an example is, in fact, Othello. Shakespeare informs his readers of how doubts caused by rumors and lies can lead to the breakdown of even a once noble person.
In Shakespeare’s Othello, dramatic intensity is and dramatic tension is felt throughout the entire drama from the first scene to the last. As you read Othello you get a feeling as if you are in the play from all of the dramatic intensity and conflict that is presented to the reader throughout the drama. We are introduced to some of that dramatic intensity you feel as we read act I scene III 128 - 220. This is one off the many great dramatic points of this play letting us see the true feelings of Othello toward Desdemona, and how it gives Iagos a plot to plan against Othello to bring him down. This drama we see that the internal drama tension is from mainly Iago without him there would be no conflicts really throughout the play. We see inside of Iagos dastardly plan in Act II, Scene I, and Lines 211 – 292 were he is planning with Roderigo to get Desdemona away from Othello so that Roderigo could court her. We then from this scene see that at the end when Roderigo leaves that this is just a big plot to bring down Othello and get back at Cassio out of pure jealousy of him for being named by Othello his military understudy. Iago plotting the way he does in this part of the drama it’s only a mere prelude to the intensity and tension felt throughout the play. It makes us realize that the problem isn’t anything to do with Desdemona and Othello’s conflict of being together as in act I scene III lines 128 - 220. Iago in act II scene I lines 211 – 292 sets the entire plot and scheme of the drama out for us to see, and showing us that Othello’s and Desdemona’s confess to love in act I scene III lines 128 - 220 is no longer the dramatic conflict.
In his play Othello, William Shakespeare depicts themes of flattery, deceit, mistrust, and manipulation. Iago, the main antagonist, exudes and exemplifies all these traits simply out of spite for Othello because Othello gave a promotion to Cassio instead of Iago. This festering jealousy will continue to breed and grow inside of Iago and will eventually dictate his actions that cause him to exude traits of deceitfulness and dishonesty. Iago will make any attempt to preserve his so called “honesty” in order to manipulate anyone he chooses. By the end of Othello, Iago clearly shows no remorse and proves himself to be fully depraved.