The Character of Othello
Shakespeare's Othello is not simply a play which embodies the conflict between insider and outsider. The paradigm of otherness presented in this play is more complicated than the conclusion, "Othello is different; therefore, he is bad." Othello's character is to be revered. He is a champion among warriors; an advisor among councilmen; a Moor among Venetians. Yes, Othello is a Moor, but within the initial configuration of the play, this fact is almost irrelevant. His difference is not constructed as “otherness.” Othello, by his nature, is not an “otherized” character. Besides being the dark-skinned Moor, Othello varies in no real way from the other characters in the play. Further, Othello and Iago can be seen as two sides of the same destructive coin. With Iago as a foil and subversive adversary, Othello is not faulted for the indiscretions he commits. It is the invention and projection of otherness by various characters in the play, especially Iago, which set the stage for the tragedy of dissimilarity which is to ensue.
Continually confronted with his difference, and apparently associated inferiority, Othello eventually ingests and manifests this difference in a violent rage against the symbol and defining emblem of his otherness, Desdemona. Yet, who is to blame? Which character is redeemed through our sympathy so that another can be condemned? Othello, the dark-skinned murdering Moor, himself. The separation of his otherness from explicit and innate evil contrasted with Iago's free-flowing and early-established taste for revenge and punishment, alleviates Othello from responsibility. Surely, Othello has wronged and is to be held reprehensible--with his death--but even this is a self-infli...
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Bloom, Harold. "Introduction" Modern Critical Interpretations, Othello Ed. Harold Bloom, Pub. Chelsea House New Haven CT 1987.
C. W. Slights. "Slaves and Subjects in Othello," Shakespeare Quarterly v48 Winter 1997: 382.
J. Adelman. "Iago's Alter Ego: Race as Projection in Othello," Shakespeare Quarterly v48 Summer 1997: 130.
Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994.
Neely, Carol. "Women and Men in Othello" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994.
Norman Sanders, ed. Othello. Cambridge: New York, 1995: 12.
Snyder, Susan. "Beyond the Comedy: Othello" Modern Critical Interpretations, Othello Ed. Harold Bloom, Pub. Chelsea House New Haven CT 1987.
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But before we get to the whys and why not’s about nuclear weapons, it is important to understand how Nuclear weapons work, how they are so deadly and why countries want them. Nuclear weapons get their power from harnessing the power of nature. According to atomicarchive.com a nuclear weapon gains it’s lethality from certain isotopes of Uranium or Plutonium which can cause a nuclear chain reaction. In a nuclear reaction an atom of either Uranium 235 or Plutonium 239, attracts a neutron that when it bonds with the atom it makes the atom explode and send out two more neutrons. Then the two neutrons released by the first reaction makes two...
"Othello." Shakespearean Criticism. Ed. Lynn M. Zott. Vol. 68. Detroit: Gale, 2003. N. pag. Literature Resources from Gale. Web. 8 May 2014. .
...Gardner, Helen. “Othello: A Tragedy of Beauty and Fortune.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from “The Noble Moor.” British Academy Lectures, no. 9, 1955.
Naremore, James. “The World Without a Self: Virginia Woolf and the Novel.” Twentieth-Century Literary Criticism. Ed. Sharon K. Hall. Detroit: Gale Research, Vol. 5, 1981.
Snyder, Susan. "Beyond the Comedy: Othello" Modern Critical Interpretations, Othello Ed. Harold Bloom, Pub. Chelsea House New Haven CT 1987. (page 23-37)
In Shakespeare’s Othello, race is a concept that is only minimally explored. Characters in the play assume that, since they are English, they are superior and foreign characters (like Othello the Moor) are inferior. This is not questioned much at all, and in fact it is assumed outright that Othello is indeed a lesser man because of his skin color and the ways in which characters like Iago and Roderigo treat him. While an early modern audience would accept this concept without hesitation, an audience of today’s age is left to question whether Othello is actually acting out because of the societal pressures, beliefs, and actions put upon him, or because he is inherently different as a person who is not white. While Shakespeare seems to think the contrary, Othello’s development in his actions and words—from a confident general to a depressed, wife-killing maniac—show clearly that his demise and his reactions were products of his peers (namely, Iago) and that he is not inherently different because of his race. Ultimately, it was all Iago’s fault.
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Shakespeare, William. "Othello". The Norton Shakespeare. Ed. Stephen Greenblatt. New York: W.W. Norton & Company, 1997.
"Othello." Shakespeare for Students: Critical Interpretations of Shakespeare's Plays and Poetry. Ed. Anne Marie Hacht. 2nd ed. Vol. 2. Detroit: Gale, 2007. 649-87. Gale Virtual Reference Library. Web. 30 Oct. 2013. .
Snyder, Susan. "Beyond the Comedy: Othello" Modern Critical Interpretations, Othello Ed. Harold Bloom, Pub. Chelsea House New Haven CT 1987.
William Shakespeare’s tragic drama Othello boasts quite a little list of abnormalities in both occurrences and personal behavior.
Othello is one of Shakespeare?s prime examples of an ?other?, someone who doesn?t truly belong to society by some unfortunate inheritance of ethnicity and race, made worse by the negative stereotypes constructed by the Venetians to apply to outsiders like him. Although Othello is a gifted military hero, a ?worthy governor? (II.i.30) and a ?full soldier? (II.i.36), he is also damned by his color, his blackness. Most of the Venetian insiders, including his wife Desdemona, refer to Othello as merely ?the Moor?, and label him with such blatant insults as ?l...