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Lago and Roderigo constantly use the words “him” or “he” throughout the first part of the play. When they finally start to specify whom they are referring to, they do so with nicknames that depict racism. Racial epithets used by the actors include “the thick lips” and the “Barbary horse.” Although the presence of Othello is there in the second scene of the play, he becomes vocal at the center of Act 1, scene III. Later, Othello is the last to arrive at Cyprus as depicted in Act II, scene I. He stands apart while Lago and Cassio engage in a discussion, in Act IV the first scene. He also assumes that Cassion has passed away when the Act V’s fight occurs. The status of Othello as an outsider may be why he appears to be an easy target for Lago.
Although Othello stands as a racial and cultural outsider in Venice, his experience and skills as a leader and soldier are valuable to the state, and he serves as an important part of Venetian society. The senate and the duke demand Othello greatly, as evidenced by Cassio’s pronouncements that the senate “sent around three several quests” to search for him (I.ii.46). The Venetian government places sufficient trust in Othello to put him in complete political and martial command of Cyprus. Othello, during his dying moments, helps the people of Venetian to recall the “service” he gave to their state (V.ii.348).
Those who regard Othello as their civic and social peer, such as Brabanzio and Desdemona, appear drawn to him because of his exotic characteristics. Othello admits and tells of his friendship with Brabanzio. He states, “Desdemona’s father loved me, oft invited me” (I.iii.127–129). The character manages to capture the attention of his peers using his speech. The Dukes respond to the speech he gives by describing how he captured the attention of Desdemona with the fables of
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However, this is not true. The plot made by Lago was too strong and appealing for Othello to reject. Lago assumed a very intimate relationship with Othello and hence, was able to retrieve the handkerchief that Othello so adorned as the symbol of his love and relationship with Desdemona.
Brabanzio’s attitude to women is evident when dealing with his daughter (Shakespeare 24). Brabanzio learns that his daughter and Othello are secretly married when Iago and Rodrigo inform him of his daughter’s disappearance. When Brabanzio is sure that his daughter is missing, he commences a mission to search for Othello with the help of officers.
The principal character, Othello, believing (wrongly) that he has been cuckolded by his wife Desdemona, feels that the only way he can defend his honor is by killing her. He also feels that by doing so, not only would he be redeeming his honor but would also be sending a message to others on the fate of women who betray their husbands.
He puts this down to magic, as if their love is caused by some sort of drug, which shows his modesty and his gratitude at this surprising turn of events. In the second passage he appears as a somewhat boastful person, telling tales of his exotic past,
Later in the play Lago murders his wife which could be due to his strong hatred for women. He is an extremely cunning individual and makes various characters in the play believe that he has their best interest at heart. He enjoys watching the downfall of people, so his
the increasing number of black population in England and concerned by the plight of black Caribbean community in the country, Laurence Olivier decided to star as a contemporary Caribbean in a Stuart Burge’s film Othello (1965). This led to an intense discourse on racial
The Othello relationship with Desdemona is one of the instances that portray Othello’s race as a determining factor for his downfall. Many scholars interpret Othello as a white man in the body of a black man. Additionally, acknowledging that
Answer: My initial impression of Iago is that he is an ambitious and vain man. He is angry that Othello did not choose him as his right hand and he ridicules Cassio as someone who does not know what real war is.
He knows he is evil and he does not even hide it from others who know him well. He has no honor and shame. The film Othello, directed by Oliver Parker, reflects who Iago and Othello are in the play. Iago and Othello are the foils of each other,
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