His tragedy lies in this--that his whole nature was indisposed to jealousy, and yet was such that he was unusually open to deception, and, if once wrought to passion, likely to act with little reflection, with no delay, and in the most decisive manner conceivable.
The character of Othello is comparatively simple, but, as I have dwelt on the prominence of intrigue and accident in the play, it is desirable to show how essentially the success of Iago's plot is connected with this character.
Othello's description of himself as one not easily jealous, but, being wrought, Perplexed in the extreme, is perfectly just. His tragedy lies in this--that his whole nature was indisposed to jealousy, and yet was such that he was unusually open to deception, and, if once wrought to passion, likely to act with little reflection, with Why othello is an effective piece delay, and in the most decisive manner conceivable.
Let me first set aside a mistaken view. I do not mean the ridiculous notion that Othello was jealous by temperament, but the idea, which has some little plausibility, that the play is primarily a study of a noble barbarian, who has become a Christian and has imbibed some of the civilisation of his employers, but who retains beneath the surface the savage passions of his Moorish blood and also the suspiciousness regarding female chastity common among Oriental peoples, and that the last three Acts depict the outburst of these original feelings through the thin crust of Venetian culture.
It would take too long to discuss this idea, and it would perhaps be useless to do so, for all arguments against it must end in an appeal to the reader's understanding of Shakespeare. If he thinks it is like Shakespeare to look at things in this manner; that he had a historical mind and occupied himself with problems of 'Culturgeschichte'; that he laboured to make his Romans perfectly Roman, to give a correct view of the Britons in the days of Lear or Cymbeline, to portray in Hamlet a stage of the moral consciousness not yet reached by the people around him, the reader will also think this interpretation of Othello probable.
To me it appears hopelessly un-Shakespearean.
I could as easily believe that Chaucer meant the Wife of Bath for a study of the peculiarities of Somersetshire.
I do not mean that Othello's race is a matter of no account. It has, as we shall presently see, its importance in the play. It makes a difference to our idea of him; it makes a difference to the action and catastrophe. But in regard to the essentials of his character it is not important; and if anyone had told Shakespeare that no Englishman would have acted like the Moor, and had congratulated him on the accuracy of his racial psychology, I am sure he would have laughed.
Othello is, in one sense of the word, by far the most romantic figure among Shakespeare's heroes; and he is so partly from the strange life of war and adventure which he has lived from childhood. He does not belong to our world, and he seems to enter it we know not whence--almost as if from wonderland.
There is something mysterious in his descent from men of royal siege; in his wanderings in vast deserts and among marvellous peoples; in his tales of magic handkerchiefs and prophetic Sibyls; in the sudden vague glimpses we get of numberless battles and sieges in which he has played the hero and has borne a charmed life; even in chance references to his baptism, his being sold to slavery, his sojourn in Aleppo.
And he is not merely a romantic figure; his own nature is romantic. He has not, indeed, the meditative or speculative imagination of Hamlet; but in the strictest sense of the word he is more poetic than Hamlet.
Indeed, if one recalls Othello's most famous speeches--those that begin, 'Her father loved me,' 'O now for ever,' 'Never, Iago,' 'Had it pleased Heaven,' 'It is the cause,' 'Behold, I have a weapon,' 'Soft you, a word or two before you go'--and if one places side by side with these speeches an equal number by any other hero, one will not doubt that Othello is the greatest poet of them all.
There is the same poetry in his casual phrases--like 'These nine moons wasted,' 'Keep up your bright swords, for the dew will rust them,' 'You chaste stars,' 'It is a sword of Spain, the ice-brook's temper,' 'It is the very error of the moon'--and in those brief expressions of intense feeling which ever since have been taken as the absolute expression, like If it were now to die, 'Twere now to be most happy; for, I fear, My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate, If she be false, O then Heaven mocks itself.
I'll not believe it; No, my heart is turned to stone; I strike it, and it hurts my hand, or But yet the pity of it, Iago! O Iago, the pity of it, Iago! And this imagination, we feel, has accompanied his whole life.
He has watched with a poet's eye the Arabian trees dropping their med'cinable gum, and the Indian throwing away his chance-found pearl; and has gazed in a fascinated dream at the Pontic sea rushing, never to return, to the Propontic and the Hellespont; and has felt as no other man ever felt for he speaks of it as none other ever did the poetry of the pride, pomp, and circumstance of glorious war.The writer of Othello was William Shakespeare.
He is known as the greatest dramatist of all time. Although this may be true there has been some controversy of others writing his plays. The two suspects of this crime are Francis Bacon and the Earl of Oxford.
Shakespeare began as a actor in , but. - Effective Use of Rhetoric in Othello Shakespeare’s use of rhetoric by his characters is clearly used effectively in Othello through Iago’s and Roderigo’s conversation with Barbantio. The two make use of double meanings, animal imagery, Devil and God comparisons, the use of sexual references, and descriptive insults to confuse Barbantio and make him angry towards Othello.
Othello becomes upset and moody, and Iago furthers his goal of removing both Cassio and Othello by suggesting that Cassio and Desdemona are involved in an affair.
Desdemona’s entreaties to Othello to reinstate Cassio as lieutenant add to Othello’s almost immediate conviction that his wife is unfaithful.
Get an answer for 'In Othello, how do we know Othello's second speech of justification was effective?What makes it effective as a piece of language? Act 1, Scene 3' and find homework help for. How to approach a game of Othello / Reversi game?
Perhaps an experienced Go player can leave a comment explaining why a Go player learning Othello will grasp the game far faster than players without that background.
share take pieces inside of the piece-cluster and not on the border-lines.
If you break an opponent-colored border-line. Explain how the relationship between Othello and Desdemona began. Who first initiated the idea of love? Desdemona first initiated the idea of love to Othello.
When Othello was good friend’s with her father, he used to tell stories of his past and Desdemona was intrigued saying she wished someone like Othello existed for her to marry. %(9).