Othello: its Themes
In the Shakespearean tragedy Othello how many themes are there? And which ones predominate. This paper seeks to elucidate the reader on this subject.
In her book, Everybody’s Shakespeare: Reflections Chiefly on the Tragedies, Maynard Mack comments on the seeming predominance of the theme of loss in the drama:
In any event, what comes to us most forcefully from the stage in Othello is not mystery but the agony of loss, loss all the more tragic, in some instances, for not being inevitable. Brabantio loses (in every sense) his much-loved only child and eventually dies of grief. Cassio in a drunken moment loses his soldier’s discipline, then his lieutenancy and his cherished comradeship with Othello. Othello, in turn, losing under Iago’s tuition his ability to distinguish the individual woman he married from the standard cynical stereotype, abandons with it all pride in his profession together with the self-command that made him the man he was. And Desdemona, through no real fault of her own, loses the magical handkerchief. (131)
The theme of loss, however, is not the theme on which the play opens. Lily B. Campbell in Shakespeare’s Tragic Heroes indicates that hate is the theme on which this play opens:
It is then on a theme of hate that the play opens. It is a hate of inveterate anger. It is a hate that is bound up with envy. Othello has preferred to be his lieutenant a military theorist, one Michael Cassio, over the experienced soldier Iago, to whom has fallen instead the post of “his Moorship’s ancient”. Roderigo questions Iago:
Thou told’st me thou didst hold him in thy hate.
And the reply is a torrent of proof of the hatred for Othello...
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Ferguson, Francis. “Two Worldviews Echo Each Other.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare: The Pattern in His Carpet. N.p.: n.p., 1970.
Gardner, Helen. “Othello: A Tragedy of Beauty and Fortune.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from “The Noble Moor.” British Academy Lectures, no. 9, 1955.
Jorgensen, Paul A. William Shakespeare: The Tragedies. Boston: Twayne Publishers, 1985.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos.
Schlegel, August Wilhelm. Criticism on Shakespeare s Tragedies . A Course of Lectures on Dramatic Art and Literature. London: AMS Press, Inc., 1965.
[4] Hickok, Eugene Jr., ed. The Bill of Rights: Original Meaning and Current Understanding. Virginia: University Press of Virginia, 1991
The novel “The Adventure of Huckleberry Finn”, by Mark Twain is an exciting book that describes the story of a young boy and his friend Jim. Huckleberry Finn, who is the protagonist in this tale, is a young boy who enjoys his immature life to the fullest. Playing pranks, going on adventures and running away from society are part of his daily thrill. At first sight it might seem that Huckleberry Finn might be an uneducated boy who has no interest or probability of growing mature. However, throughout the story the immature boy has plenty of encounters which strengthen his character and lead him from boy- to manhood.
Shakespeare's Othello is not simply a play which embodies the conflict between insider and outsider. The paradigm of otherness presented in this play is more complicated than the conclusion, "Othello is different; therefore, he is bad." Othello's character is to be revered. He is a champion among warriors; an advisor among councilmen; a Moor among Venetians. Yes, Othello is a Moor, but within the initial configuration of the play, this fact is almost irrelevant. His difference is not constructed as “otherness.” Othello, by his nature, is not an “otherized” character. Besides being the dark-skinned Moor, Othello varies in no real way from the other characters in the play. Further, Othello and Iago can be seen as two sides of the same destructive coin. With Iago as a foil and subversive adversary, Othello is not faulted for the indiscretions he commits. It is the invention and projection of otherness by various characters in the play, especially Iago, which set the stage for the tragedy of dissimilarity which is to ensue.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
As violence and murder rates escalate in America so does the issue of gun control. The consequence of this tragedy births volatile political discourse about gun control and the Second Amendment. The crux of the question is what the founding fathers meant when they wrote, “A well-regulated militia, being necessary to the security of a free state, the right of the people to keep and bear arms, shall not be infringed.” Since the writing of the Second Amendment the make and model of firearms has changed dramatically and so has the philosophies of the people. A rifle is no longer defined as a single shot, muzzle-loading musket used to primarily protect families or solely for food. Should the weapons we use today be protected by an amendment written nearly 222 years ago? Should the second amendment be rewritten? Does the Second Amendment apply to individual citizens? These questions spark extensive debates in Washington D.C. regarding what the founding fathers intended the amendment to be. The answer to this question lies in the fact that despite hundreds of gun control articles having been written , still the gun control issue remains unresolved. History tells us gun control debates will be in a stalemate until our judicial system defines or rewrites the Second Amend. This paper will examine the history of the Second Amendment, and attempt to define the framers intent, gun control legislation and look at factors that affect Americans on this specific issue...
“A well regulated militia, being necessary to the security of a free state, the right of the people to keep and bear arms, shall not be infringed.”
The Chinese-American architect Ieoh Ming Pei (I.M) is known as one of the greatest architects of the Twentieth Century. His long, brilliant career was highlighted by several internationally famous structures. While many of Pei’s buildings were generally accepted by the public, some of them precipitated fair amounts of controversy. The most notable of these controversial structures is his Glass Pyramid at the entrance of the Louvre in Paris. For these reasons, I.M. Pei seems to be an architect who exhibits interest in the avant-garde through both the creative design and aestheticism of his architecture.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
William Shakespeare’s drama Othello is one concentrated contest between the forces of the morally good and the morally bad. Let us analyze this contest in detail in this essay.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
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