Redemption in Death in Othello The brilliance of a tragedy lies in its ability to maintain its moral and the values it explores even in the tragic ending or in the downfall of its heroes. William Shakespeare does just this Othello, so quintessentially that the deaths in the end do not only refrain from undermining or canceling out the virtues of the play, but they actually restore them to the deceased, who have died because they have lost them. In this play, love, loyalty, and honesty are of foremost importance in the human condition, and when those are questioned or lost, chaos ensues. The tragedy lies in the fact that the truth is revealed only too late, and because of this only death can restore those values. The loss or misunderstanding of the major virtues in Othello lead to the tragic ending, but because Desdemona retains these virtues into her death, she allows them to be restored, and when the truth comes out, Othello dies to reclaim his honor and complete this restoration.
Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 68-90) Snyder, Susan. "Beyond the Comedy: Othello" Modern Critical Interpretations, Othello Ed. Harold Bloom, Pub.
The comparisons drawn between Beatrice and Benedick's love and the superficial love of Hero and Claudio are typical of the constant contrasts that Shakespeare builds into this play, comical or otherwise. It is in this way that Shakespeare manages to cross-reference almost all of his characters with each other; ` the 'wise' Beatrice with the 'modest' Hero, the 'valiant' Benedick with 'Sir boy,' the young Claudio. This emphasises their strengths and highlights their weaknesses respectively. By this he makes them more interesting, and so more realistic, pointing out things about the society in which the play was written, and about human relationships as a whole. One of the topics Shakespeare is especially fond of is that of Love being a force for good in society, improving anyone who is infatuated with it.
One may believe that Henry is the epitome of kingly glory, a disgrace of royalty, or think that Shakespeare himself disliked Henry and attempted to express his moral distaste subtly to his audience. No matter in which camp one rests, Henry V holds relevance for the modern stage. Despite containing contradictions, Henry is also a symbol as he is one person. This unity of person brings about the victory in the battle of Agincourt. The theme of unity transcends any ambiguity found in Henry's character or motives.
(page 68-90) Shakespeare, W. (1997) Othello (c. 1602) E. A. J Honigmann (Ed.) Surrey: Thomas Nelson & Sons Ltd. Snyder, Susan. "Beyond the Comedy: Othello" Modern Critical Interpretations, Othello Ed. Harold Bloom, Pub. Chelsea House New Haven CT 1987.
Ed. Arthur Kinney. New York: Twayne, 1 1997. Ray, Robert H. "Shakespeare’s Sonnet 18." The Explicator.
But the best of Comedy and the best of Tragedy will produce the same affect: catharsis. Catharsis is the purgation and purifying of the emotions, specifically fear or pity. (“Catharsis”) The plays that manage to produce catharsis in their audience are the ones that we return to time and time again. Although catharsis is one of the main objectives of Greek Tragedy (Jacobus 34), Comedy done well will shape and move its audience in the same way. These two classic genres use characters that are co... ... middle of paper ... ...steful, Works Cited Aristophanes.