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Analysis of othello
Othello character analysis
Othello character analysis
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"The Relationship Between Love and Hate in Othello"
A.C. Bradley describes Othello as "by far the most romantic figure among Shakespeare's heroes"(Shakespearean Tragedy, 1). This is an unusual description of a man who murders his own wife. However, Othello's feelings of hate for Desdemona started as an overwhelming love for her when their relationship began. This transformation from love to hate also inflicted the characters Iago and Roderigo and like Othello their hatred resulted in the murder of innocent people. Roderigo's love for Desdemona was transformed into hate towards any man that he thought was loved by her. Iago's love for his job and his wife, Emilia changed into a destructive hatred of Cassio and Othello. As a result of their hatred Cassio, Emilia, and at the end themselves were killed. The connection between love and hate in William Shakespeare's "Othello" is the ugly feeling of jealousy that caused such transformations. Jealousy can be described as a fear of losing something or someone that is valuable (Godfrey 2). As minor as this feeling appears to be by that definition, it can take on varying degrees of damaging behavior. Othello, Roderigo, and Iago became paralyzed by jealousy. Their thoughts, actions, and behaviors were ruled by it. Jealousy caused their inability to the act rationally. They became paranoid and unable to love. This paper will examine the jealousy that caused love to turn into hate for Roderigo, Othello, and Iago.
Roderigo begins with a small jealousy of Othello for being married to Desdemona. It isn't until Iago makes Roderigo believe Desdemona does not really love Othello that Roderigo becomes destructive. Iago tells Roderigo, "It cannot be that Desdemona should long continue...
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...ide of the Moor: A View of Othello's Mind." Shakespeare Survey: An Animal Survey of Shakespearean Study and Production. Vol 10. 1957. 98-106. Novels for Students. 20 November 2004. http://www.enotes.com/othello/17321/print
Godfrey, D.R. "Shakespeare and the Green-Eyed Monster." Neophilologus. Vol VI. No 2. 1972 April. 207-20. Novels for Students. 7 November 2004. http://www.enotes.com/othello/17318/print
Mabillard, Amanda. "Othello Analysis." Shakespeare Online. 2000. 7 November 2004. http://www.shakespeare-online.com/othello.html
Shakespeare, William. "Othello." Literature: The Human Experience. Abcarian, Robert and Marvin Klotz, eds. Bedford/St. Martins: New York, 2002. 1134-1235.
Watkinson, A. "Othello: The Ironic Interdependence of Othello and Iago." Novels for Students. 5 November 2004. http://www.enotes.com/othello/743/print
Shakespeare, William. Othello. Ed. Barbara A. Mowat and Paul Werstine. New York: Simon & Schuster Paperbacks, 2009. Print
Shakespeare, William. Othello. Ed. Barbara A. Mowat and Paul Werstine. New York: Simon & Schuster Paperbacks, 2009. Print
Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 39-55)
Shakespeare, William. The Tragedy of Othello: The Moor of Venice. Ed. Barbara A. Mowat and Paul Werstine. New York; Washington Square Press, 1993.
Towards the tail-end of the play, Roderigo, fed up with Iago’s counsel and frustrated by his lack of personal progress, approaches him with the intention of severing all ties. Iago, though, manages to maintain a leash over of him by playing on his jealous desire for Desdemona, promising him that he will have her in love in the coming days. This proves to be enough for him to convince Roderigo stay, and he resumes his manipulation. Despite his strong affinity for Othello’s wife, any romantic progress is halted due to Iago’s persistent interventions; he knows that merely mentioning the potential for a relationship between the two is enough to persuade him to do his bidding. While this seems desirable to Roderigo, in actuality, Iago is using his imaginative fantasies against him, and preventing any real advances in his journey for Desdemona, effectively destroying any possibility of this
William Shakespeare 's exemplary dramatization Othello bases on the two clashing characters of conspiring, manipulative Iago and the good, however as a rule irresolute Othello. In spite of the way that these men are totally inverse in character, Iago orders such convincing forces that he truly begins to influence Othello 's reasoning, adjusting the metaphors he uses and his view of those near him. Both Othello and Iago use a large number of the same scholarly gadgets and a great part of the same allegorical dialect to express their conclusions of everyone around them, as well as their general originations of the workings of the universe on a more otherworldly level.
Scott, Mark. Critical Interperatation of Othello. from Shakespeare for Students. Detroit, Michigan: Gale Research Incorperated, 1992. 411-457.
"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.
Barthelemy, Anthony G. "Introduction" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 1-19)
11 Dec. 2011. The "Othello". Shakespeare for Students: Critical Interpretations of Shakespeare's Plays and Poetry. Ed. Anne Marie Hacht.
“I am not what I am,” proclaims one of Shakespeare’s darkest and most enigmatic villains, Iago, in the tragedy Othello. Iago’s journey for revenge enables him to become capable of immoral acts, and whilst his malevolence excites us, we are no more intrigued by his attributes than we are of the play’s tragic hero, Othellos’. Rather, both characters’ confrontation with jealousy and their subsequent moral demise as a result of failing to control such an emotion provides the true excitement for audiences. Iago’s spiteful manipulation of Othello makes him a multifaceted character — whose corrupt attributes make the audience examine their own morality. However, the same can be said of Othello; his failure to withstand Iago’s ‘pouring of pestilence’
The role of jealousy, love and betrayal play a major role in The Tragedy of Othello, the Moor of Venice. The entire play is based on the human interactions of the characters as related to Othello and Desdemona. The characters’ personalities, their social status, and their relationships to each other control the story line and their fate in the play. Othello is portrayed early in the play as an outsider with animalistic characteristics by Iago and Roderigo because of jealousy. “Your heart is burst; and have lost half of your soul/Even now, now, very now, an old black ram/Is tupping your white ewe”.(531) Desdemona’s father, Brabantio, accuses Othello of using witch craft on his daughter. “If she in chains of magic were not bound/ Whether a maid so tender, fair, and happy/ So opposite to marriage that she shunned…” (535) This point is important because Othello must defend himself not only to Desdemona’s father, Brabantio, but to the entire Venetian Senate. “And till she come, as truly as to heaven,/ I do confess the vices of my blood./ So justly to your grave ears I’ll present/ How I did thrive in this fair lady’s love, / And she in mine.” (539) Othello proves himself to be an intellectual hero early in the play. He has worked hard to gain respectability and power, but because he has a different background, is from another country, is dark-skinned and is older than Desdemona, he becomes jealous very quickly of Cassio. Cassio is from the same social class, is compatible with Desdemona and is a young handsome man. Iago has also convinced Cassio to seek favor with Desdemo...
Shakespeare, William. "Othello". The Norton Shakespeare. Ed. Stephen Greenblatt. New York: W.W. Norton & Company, 1997.
- - -. Othello. 1968. Ed. Kenneth Muir. The New Penguin Shakespeare. London: Penguin Books, 1996.