authority over you. The falls in book nine of “Paradise Lost” and “Othello” both have parallels in the reasons and methods in which revenge was carried out and perfection was destroyed. But these stories end with different victors and very different balances of power. The fall of “Paradise Lost” does have motives and patterns common with the fall of “Othello.” Each story establishes the authority of a Supreme Being, God the creator and Othello respectively. God the creator made everything that exists, and
Redemption and Damnation in Measure for Measure and Othello Measure for Measure and Othello are closely related. There is a thesis-antithesis bond between these two plays. Much more than just sharing a trait or a source, the two constitute a paired study of the processes of redemption and damnation. Measure for Measure counterbalances Othello. Looking at the text of each play, one finds parallel and contrasting circumstances and characteristics that would incline one to interpret
The play “Othello, The Moor of Venice ” by William Shakespeare, tells the story of the tragic downfall of Othello. In this play, love, loyalty, and honesty are the most important emotions that keep the world prospering, and when those are questioned or lost, chaos takes over. Othello has been tricked to believe the worst about his wife, Desdemona. Then Othello becomes corrupted by jealousy, and he takes that emotion to the extreme. The truth is revealed too late, and because of Othello’s actions
The play “Othello, The Moor of Venice ” by William Shakespeare, tells the story of the tragic downfall of Othello. In this play, love, loyalty, and honesty are the most important emotions that keep the world in order, and when those are questioned or lost, chaos takes over. Othello has been tricked to believe the worst about his wife, Desdemona. Then Othello becomes damaged by jealousy, and he takes that emotion to the extreme. The truth is revealed too late, and because of Othello’s actions the
fact that there is no bad; there is only what people perceive negatively. In his play Othello, protagonist and army general Othello acts in such a way that may cause people to question whether he was truly bad or only a victim of circumstance. Many of the experiences Othello goes through raise the question of whether he suffers from a mental disorder or not. Based on the text, the conclusion can be made that Othello suffers from a borderline personality disorder due to his inability to maintain close
guilty of harboring many flaws, like Othello. Among Othello’s wrongs are gullibility and stupidity. In either case, the character never realizes ones flaws until act five, however, by that time it is too late (Desjardens). 	While the tragic flaw is the key element in a tragedy, the tragic hero’s social status is also of high importance. All tragic heroes are from a very noble class. Whether the heroes are Thanes or Generals in the army, like Macbeth, Othello, and Antony, or from royalty, like
The Role of Femininity in Shakespeare's Hamlet, Othello, and King Lear Hamlet, Othello, and King Lear similarly experience an "unhooking" (Tompkins) in the eponymous plays. These tragic figures struggle with internal and external femininity: after realizing their emotions and labeling them feminine, they identify women as the source of this negative femininity. Their inability to deal with the female gender in any form destabilizes their masculinity, causing an unhooking/unlatching within them
In Shakespeare’s play Othello, the main character Othello is typically victimized and portrayed as a mere scapegoat of the villainous Iago’s devious plans. However, Othello is not completely void of responsibility for the death of his wife. Othello, the tragic hero, is just as responsible as Iago for his premeditated murder of Desdemona due to his own internal flaws. Specifically, flaws such as his vivid imagination and his self over-idealization are brought to the surface by Iago, which consequently
important as protecting another or as petty as fighting over a boy. In Shakespeare’s Othello, Macbeth, Hamlet, Romeo and Juliet, King Lear, and The Winter’s Tale, if family members operate with selfish motives, they hurt the hero and contribute to his fall; but if the family supports each other with only love, the hero can redeem himself from his fall and even succeed in finding lasting happiness. Othello portrays a man out of his element: he is of a different race than his companions and
faults of others). Throughout Othello, Desdemona is presented as pure and innocent – in regards to this, Auden’s comment is unusual as Desdemona is seldom criticised; indeed many critics are complementary, giving her titles such as ‘gentle Desdemona’. Desdemona is a victim of both Othello’s jealousy (the ‘green-eyed monster’) and Iago’s malevolence. However, as a literary construct, she is unable to prevent herself from falling victim to the hamartia of Othello and his hubris, an essential