He lied therefore most rashly, but with his usual luck. Othello's mind must become so unbalanced that, though he loves her, he must see her as the devil. Ulrici has good remarks, though he exaggerates, on this point and the element of intrigue.
First he gets Othello to feel and then verbalise jealousy. In Macbeth the fate which works itself out alike in the external conflict and in the hero's soul, is obviously hostile to evil; and the imagination is dilated both by the consciousness of its presence and by the appearance of supernatural agencies.
It recurs with modifications in King Lear, and it probably formed the attraction which drew Shakespeare to refashion in part another writer's tragedy of Timon. Othello thinks out loud. But the damage is done.
These, as we have seen, produce in Hamlet a somewhat similar effect, which is increased by the hero's acceptance of the accidents as a providential shaping of his end. Othello reveals how much he has become corrupted by Iago's insinuations when he asks Iago to "Set on thy wife to observe".
The first, and least important, of the three passages--that of the blow--seems to me the most doubtful. Even here, however, there is a great difference; for although the idea of such a power is not suggested by King Lear as it is by Hamlet and Macbeth, it is repeatedly expressed by persons in the drama.
Still it makes a difference of the kind I have attempted to indicate, and it leaves an impression that in Othello we are not in contact with the whole of Shakespeare. It seems certain that the blow is by no means a tap on the shoulder with a roll of paper, as some actors, feeling the repulsiveness of the passage, have made it.
One instance is worth pointing out, because the passage in Othello has, oddly enough, given trouble.
Her love is touchingly innocent but inherently naive. Leaving Cert Text 4 Iago: Part Two, the development, continues the action and introduces complications. Devils must be destroyed. The distaste to which I refer is due chiefly to two causes.
What begins as revenge becomes for him a perverted kind of compensation. She should have known that Cassio deserved his punishment. They think--if I may formulate their objection--that in these parts Shakespeare has sinned against the canons of art, by representing on the stage a violence or brutality the effect of which is unnecessarily painful and rather sensational than tragic.
I mean the suffering of Desdemona. Look at her from different points of view. The very rose of purest passion? Iago simultaneously provokes and reassures his victim, and ingeniously uses self-deprecation, appearing to be modest and critical of himself.
Of such references there are very few in Othello. He identifies the weaknesses -- inexperience, insecurity about outsider status -- he will exploit in his victim. Othello is emotionally shattered. Her conversation with Iago in Act 2.The Human Tragedy Shakespeare’s, Othello, met his tragic demise as a result of the combination of fate, forces beyond his control, and his own fatal flaws.
From a Classical Greek standpoint, Othello was a victim of destiny and of forces for which he could not control, which is the premise of a tragedy. Othello is about as near as Shakespeare gets to classical tragedy. The Tragic Flaw A. C. Bradley saw Shakespearean tragedy characterized by the "tragic flaw," the internal imperfection in the hero that brings him down.
Othello: The Tragedy of an Aristotelian Tragic Hero Essay Words 7 Pages Shakespeare's play, “Othello, the Moor of Venice,” is a powerful example of a tragedy and it’s main character, Othello, is an excellent illustration of what Aristotle constitutes as a tragic hero. The tragedy of Othello In a special guide for this year's Leaving Cert students, Pat Hunt looks at Shakespeare's uniquely human tragedy about the Moor of Venice.
November 21 AM. Othello is a tragedy about human nature and relationships. One critic has written that the love of Othello and Desdemona is like the love of Adam and Eve before and after the fall (Barthelemy, Introduction Critical Essays 12).
Othello is the first of these men, a being essentially large and grand, towering above his fellows, holding a volume of force which in repose ensures preeminence without an effort, and in commotion reminds us rather of the fury of the elements than of the tumult of common human passion.Download