Othello William Shakespeare

In William Shakespeare's Othello, the deceptive Iago weaves an intricate web of lies with which he enmeshes Othello alongside his many other victims. His manipulation of other characters, machinations that serve as the driving force behind the...

Shakespeare's Othello (Shakespeare, 1604) is a tragedy that unfolds based on the actions and language of one character: Iago. As a result, the plot is linear, yet the play manages to maintain a multidimensional effect. Shakespeare uses the...

"I must weep, / But they are cruel tears," says Othello near the end of his soliloquy in Act Five, Scene Two, right before killing Desdemona. Traditional Shakespearean murderers do not shed tears prior to killing their victim; in Shakespeare's...

Fredrick Nietzsche, a renowned German philosopher, believed that one of the strongest governing drives that humans possess is their desire for power. This theme is omnipresent in Ralph Ellison's Invisible Man, Shakespeare's Othello, and Sophocles'...

The tragedy in both Othello and Macbeth is found not so much in the scattering of bodies covering the stage at the end of each play, but instead in the degeneration of the plays' respective protagonists. Men championed by Shakespeare at the...

Military prowess is a quality attributed to many of Shakespeare's male characters. Great military men such as Hotspur, Lear, Hal and Julius Caesar share a proclivity for the military arts with Othello and Marc Antony. As a superior dramatist,...

In “Women and Men in Othello: ‘what should such a fool/Do with so good a woman?’,” critic Carol Thomas Neely asserts that nearly all rational thought in Othello comes from women. In Neely’s view, the men of Othello are too consumed by pride,...

That the character Desdemona in Shakespeare’s play Othello holds on to her dignified manner until the very end, when she is murdered by her jealous husband, is indicative not only of her chaste mind, but also of her willful determination. Given...

At first glance, Shakespeare’s Desdemona may seem like woman remarkable for her beauty and not much else. In fact, Desdemona is a foil and a catalyst who wields power over men who desire her. The male characters in Othello want to control...

It is commonly believed that one can perceive the soul through a person’s eyes. However, Shakespeare allows the audience and readers to perceive the inner spirit of a character through his words, thereby giving words magnificent power. Throughout...

Characters in Shakespeare’s Othello and The Tempest use stories to explain personal history or change the course of events. These are no simple tales; rather, they are complex and thought-provoking means of enriching each play and carrying action...

Often instead of the gallant, chivalrous hero, it is the deceptive, wicked villain that leaves a lasting imprint on the audience. The subversive and incorrigibly horrendous actions of the villains in Shakespeare’s Othello and Titus Andronicus,...

Shakespeare is a subtle author when it comes to religion, and throughout Othello Iago never directly addresses his religious beliefs. Yet one passage in particular, that of Iago’s attempt to persuade Roderigo to control his passions, makes the...

In Act V Scene II, the final scene and crescendo of the play, we see Othello’s character truly unravel, falling into the depths of tragic heroism and despair. In this scene we see at last the resultant action from Iago’s “poison” words, as Othello...

As far as last words of tragic heroes go, Shakespeare’s Othello’s are distinctly honorable. He says to Lodovico, nobleman who is returning to Venice:

When you shall these unlucky deeds relate,

Speak of me as I am. Nothing extenuate,

Nor set down...

In a play of jealousies and passions, patience, as a virtue, is presented as a foil to the “raging motions” seen in many characters. There are two aspects to patience in Othello, demonstrated firstly by suspending intellectual judgment and...

Iago’s isolation from humanity is ideological and emotional hermitry rather than physical solitariness: he detaches himself from social standards and practices, but continues to weave his diabolical influence as a player in the social scene,...

In her 1987 staging of "Othello" at the Market Theatre in South Africa, Janet Suzman aimed to make a pertinent artistic and cultural statement about both the political system of Apartheid and its deep racial underpinnings. Recorded on video for...

The first scene of Othello’s fifth act, unlike those before it, is dominated by physical violence, with Iago at the centre playing the “puppet master”. This scene reminds the audience of the capabilities Iago possesses in controlling the more...

Shakespeare’s Othello is indeed a powerful and impressive figure who is tragically brought down by Iago, a villain who goes undetected through his great drive and intellect until the very end of the play. Despite his shortcomings -- of which a...

In Shakespeare's Othello, the primary obstacle in Othello and Desdemona's relationship is Othello’s race, and hence, his status as an outsider. This difference becomes a barrier when Brabantio objects to their marriage, however, it plays much more...

Emilia from Othello and Helena from A Midsummer Night’s Dream both experience a constant battle against the institutions of men, such as marriage and courting. These institutions have the implications of turning these women against their own sex...

Shakespeare weaves an intricate web ensnaring the characters in The Tragedy of Othello, The Moor of Venice. A handkerchief, a small and seemingly insignificant square of fabric, exerts magical powers over the characters as it transfers from person...

In Richard Dyer’s essay, (now book) White, he states:

There are inevitable associations of white with light and therefore safety, and black with dark and therefore danger, and that this explains racism (whereas one might well argue about the...