This is an analytical paper with a thesis statement as follows: How and why men in our hierarchical society treat women as objects. Bibliography lists 2 sources.
Othello's Relationship with Desdemona From Hamlet, an ideal prince, and other essays in Shakesperean interpretation: It is at this point that the second of the great problems of the play emerges. The proper understanding of the relations of Othello and Desdemona is equally important with the question of the relations of lago and Othello.
The exposition of these two elements of the play is set forth by the dramatist with his usual clearness, and Iagos evilness vs othellos race considerable length, but has nevertheless escaped the notice of the critics, or has been discounted as a factor in the interpretation.
But it is high time to learn that whatever Shakespeare put deliberately into his dramas is to be considered in the interpretation. The meeting of the two search parties, each seeking Othello for a different reason, brings the relations of Othello and Desdemona into prominence.
The party of Cassio, with the Senate's hasty summons to Othello, serves to give dramatic importance to Othello's great ability as a commander, and to emphasize his military value to Venice. Brabantio and his troop serve to bring out the private side of Othello's character, hither-to unsuspected.
When the two parties meet, Brabantio is in a very quarrelsome mood. The cool words of Othello prevent a clash between the two: The sudden danger from the Turks at Cyprus has made great dispatch necessary, and the Duke has ordered Othello before him "even on the instant.
The Moor now finds that his old friend, the Signior Brabantio, formerly his admirer, has unexpectedly become his accuser before the Senate.
Formerly honored as a friend and as a great soldier, and gladly admitted to Brabantio's house, Othello discovers that he is now considered an enemy, and execrated as the husband of Brabantio's daughter. For the first time, possibly, Othello becomes aware of the fact that he is not accepted on terms of full and exact equality in all particulars with the Venetians.
It is likely, however, that Othello had feared this, and so took Desdemona in marriage without asking her father, evidently satisfied that as a black man he could not obtain Brabantio's consent.
When the matter is brought before the Senate, Brabantio's objections to Othello all have to do with his difference of race and color.
He thinks it utterly unnatural for Desdemona to accept him willingly and knowingly. He cannot conceive how his daughter, a fair maid of Venice, could consent to marry a man of Othello's color and nationality, unless in some way out of her senses.
So preposterous does it appear to him that he must suppose Othello has charmed her with drugs and magic. He cries out in his desperation: He reiterates his belief that it is "against all rules of nature," and speaks of Othello's supposed magic as "practices of cunning hell.
It seems likely that this was also the opinion of the dramatist, for there is abundant evidence that it was always so regarded on the Elizabethan stage.
Only the development of the drama will show how far Shakespeare sympathizes with this opinion. Two deeds upon the part of Othello have now brought him into active collision with other persons, and the two are related to each other. Because of his obligations to Cassio in the matter of his love-making with Desdemona he has appointed him to an important position over lago, thus making an enemy of his faithful officer.
He has also stolen away Desdemona from her father, and secretly married her, making an enemy of Brabantio, who had been one of his greatest admirers among the Senate.
In both cases there is evidence of his callousness and dullness of mind. Up to this point Othello had been able to carry successfully his exalted responsibility in his adopted state, but in these matters he makes a complete break-down.
Not even his superior military training could save him. He could perform well the duties of military life, but now it begins to be evident that he is not fitted for the higher and more exacting arts of peace, and especially of love, in a civilized state. When Othello leaves "the tented fields" for the streets and homes of a refined city he utterly goes to pieces, and whatever sense of honor he may have had speedily gives place to a dangerous caprice.
An unsuspected weakness, or deficiency, in his character is thus laid bare, upon which the whole tragedy will later be seen to turn. This deficiency, it is now important to notice, the play implies is due to his racial character, and comes from the fact that he is a Moor.Essays and criticism on William Shakespeare's Othello - Iago's Alter Ego: Race as Projection in Othello.
Everything you ever wanted to know about the quotes talking about Hate in Othello, written by experts just for you. Othello - Battle of Good vs. Evil "I am not what I am." What is Iago? -- as distinct from what he pretends to be -- and what are his motives?
In Shakespeare's, Othello, the reader is presented the classic battle between the deceitful forces of evil and the innocence of good. It are these forces of evil that ultimately lead to the breakdown of.
It depicts the attitude of European society towards those that were different in colour, race and language. In Europe, people of white complexion were the majority and all other races were considered to be less important and inferior.
There are several characters in this play that portray this mentality. Iago is a man with an obsession for control and power over others who has let this obsession take over his whole life.
Necessity forces his hand, and, in order to destroy Othello, he must also destroy Roderigo, Emilia, Desdemona, and ultimately himself. The play Othello was written in , around the same time as the beginning of the African slave trade in Europe.
In England, there were great fears of the Moors' Muslim threat to Christendom and.