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Also can one classify the epileptic seizure of Othello as normal.
Roderigo turns off to Othello; and here comes one, if not the only, seeming justification of our blackamoor or negro Othello. Even if we supposed this an uninterrupted tradition of the theatre, ,—would this prove aught concerning his own intention as a poet for all ages? Can we imagine him so utterly ignorant as to make a barbarous negro plead royal birth,—at a time, too, when negroes were not known except as slaves?—As for Iago’s language to Brabantio, it implies merely that Othello was a Moor, that is, black. Though I think the rivalry of Roderigo sufficient to account for his wilful confusion of Moor and Negro,—yet, even if compelled to give this up, I should think it only adapted for the acting of the day, and should complain of an enormity built on a single word, in direct contradiction to Iago’s ‘Barbary horse.’ It is a common error to mistake the epithets applied by the dramatis personae to each other, as truly descriptive of what the audience ought to see or know.
We recognize in Othello the wild nature of that glowing zone which generates the most ravenous beasts of prey and the most deadly poisons, tamed only in appearance by the desire of fame, by foreign laws of honour, and by nobler and milder manners. His jealousy is not the jealousy of the heart, which is compatible with the tenderest feeling and adoration of the beloved object; it is of that sensual kind which, in burning climes, has given birth to the disgraceful confinement of women and many other unnatural usages. A drop of this poison flows in his veins, and sets his whole blood in the wildest ferment. The Moor seems noble, frank, confiding, grateful for the love shown him; and he is all this, and, moreover, a hero who spurns at danger, a worthy leader of an army, a faithful servant of the state; but the mere physical force of passion puts to flight in one moment all his acquired and mere habitual virtues, and gives the upper hand to the savage over the moral man. (Lecture 25)
Act v. last scene. Othello’s speech:—
The work of this South African poet from the Eastern Cape appeared in online and print journals the world over before an indie UK publisher snagged her collection of fabulous women. Crafted with startling images and deft twirlings of language, they’re as diverse as a bruised wife who wears her “gore like an evening dress – / tanzanite, rubies, and blueberry pearls” and a feisty grandmother who “beats her demons into frothy submission / with a wooden spoon and broom, / and bakes them to keep watch at her gate / like good dogs.”
Throughout the 2000s Othello criticism continued to benefit from the development of increasingly sophisticated accounts of the body, the self, race, ethnicity, religion, nationality, and citizenship, while postcolonial theory offered useful frameworks within which questions about Othello's nature and his relationship to the people and institutions around him could be examined. Ania Loomba's Shakespeare, Race, and Colonialism (2002), for instance, maps the complex connections among race, religion, and colonialism in the play, suggesting that Othello is best understood as the product of a historical moment which understood ethnic identity as fluid: "Despite being a Christian soldier, Othello cannot shed either his blackness or his 'Turkish' attributes, and it is his sexual and emotional self, expressed through his relationship with Desdemona, which interrupts and finally disrupts his newly acquired Christian and Venetian identity" (96).
The Receptionist and other Tales
Is the account which Iago gives of the causes of his action the true account? The answer of the most popular view will be, ‘Yes. Iago was, as he says, chiefly incited by two things, the desire of advancement, and a hatred of Othello due principally to the affair of the lieutenancy. These are perfectly intelligible causes; we have only to add to them unusual ability and cruelty, and all is explained. Why should Coleridge and Hazlitt and Swinburne go further afield?’ To which last question I will at once oppose these: If your view is correct, why should Iago be considered an extraordinary creation; and is it not odd that the people who reject it are the people who elsewhere show an exceptional understanding of Shakespeare?
– The Best Notes
– Jack Whyte
Celtic Twilight –
(another link from the site above)
– History, Legend and Everything in between
– University of Rochester
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Ac bradley othello essay - Forever Living Distributor
He is one who is almost incapable of any other perspective on women than a sexist one:
Iago’s worry that he cannot do what Desdemona asks implies that his dispraise of women was candid and easily produced, while the praise requires labour and inspiration from a source beyond himself.
Shakespearean Tragedy by A.C. Bradley
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It's hard to beat AC Bradley on Shakespeare.
Iago represents evil and cruelty for its own sake. He is deeply unpleasant and this is revealed to the audience in no uncertain terms in his numerous asides. He even acts as an advocate for Othello’s character, telling the audience that he is noble and in doing so, comes across as even more villainous that he is prepared to ruin Othello’s life despite his acknowledged goodness.
A.C Bradley s Definition of Tragic Hero Essay - 342 Words
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A.C Bradley's Definition of Tragic Hero ..
This does not mean that she merits the terrible accusations flung at her by Othello, nor does she in any way deserve her death, but she is partly responsible for the tragic action of the play.
A. C. Bradley's Shakespearean Tragedy, p. 332
Though deeply unpleasant, Iago must have considerable intellect in his ability to devise and deploy such a plan and to convince the other characters of various deceptions along the way.
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