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Brief analysis of OTHELLO
Brief analysis of OTHELLO
Othello character development
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The Feelings or the Mind
The dramatic work "Othello" can rightly be called a tragedy of feelings. The problem of the opposition of the mind and the feelings is the basis of the work. Each character is punished by death for what blindly went on about his desires and emotions.
First of all, let’s start with a basic understanding of what is the difference between the feelings and the mind? I chose the theme of internal conflict between feeling and reason. The sense and the reason are the two essential forces of man's inner world, which are very often in conflict among themselves. There are times when feelings are against the mind. What happens in this situation? Undoubtedly, it is very painful, disturbing and extremely unpleasant, as a person
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There are a lot of examples of it. As far as Russian literature is full of examples of it, I want to compare and to introduce to you some characters from Russian literature. To start with, “Crime and Punishment” is a novel by the Russian author Fyodor Dostoevsky. The main character there was Rodion Raskolnikov. His character is built on the struggle of feelings and mind. Beggar existence Raskolnikov gives rise to a desire to become a man who does not need money. Raskolnikov studied a lot of philosophical works, and create his own theory about the division of people. According to this theory, “all men are divided into 'ordinary' and 'extraordinary.' Ordinary men have to live in submission, have no right to transgress the law, because, don't you see, they are ordinary. But extraordinary men have a right to commit any crime and to transgress the law in any way, just because they are extraordinary” (Dostoevsky, 1866). To test his theory Raskolnikov committed a crime. The work of the mind, in this case, can be considered as the cause of the error. Raskolnikov considers himself to be "strong" personality. In his opinion, such persons have the right to cross any lines separating the crime from the norm. However, having committed a crime, "crossing" this very line, Raskolnikov begins to realize that he does not belong to the circle of "elected". The crime is followed by punishment. Raskolnikov suffering …show more content…
Why do I choose Tatiana? I choose her because when I was reading Othello Tatiana was associating with Desdemona. Tatiana loves to indulge in the dreams – she can spend hours fantasizing. In mind his age and inexperience she is too trusting and naive. She leans into the gust of emotions and feelings. And when Tatiana first met Onegin, who just came to the town, she idealized him. Onegin instantly becomes the hero of Tatiana's novel. She idealizes the young man, he seems to her descended from the pages of her books about love. And relying only on her feelings she decided to write a letter to him where she said that she loves him. But poor girl’s feelings were ruined by Onegin who was just playing with her
Raskolnikov holds that by a law of nature men have been "somewhat arbitrarily" divided into two groups--ordinary and extraordinary. Raskolnikov believe that the duty and vocation of the first group is to be servile, the material out of which the world and society is to be formed. The first group are the people of the present, the now. The second group, those who are extraordinary, are a step above the normal, ordinary curs. They have the ability to overstep normal bounds and transgress the rights of those who are simply ordinary. They are the prime movers--they have a right to transcend normal societal strictures to accomplish those things they have determined are valid in their conscience. Extraordinary men are the prime movers. He cites such extraordinary men as Newton, Mahomet, and Napoleon. He tells us that Newton had the right to kill hundreds of men if need be in order to bring to the world knowledge of his findings. Napoleon and other leaders created a new word. They overturned ancient laws and created new ones. They had the right to uphold their new ideal, even if it meant killing innocent men defending the ancient law. "The first class of people preserve and people the world, the second move the world and lead it to its goal." Despite these tremendous differences in his theory, and the obvious superiority that the extraordinary people are afforded, Raskolnikov maintains that both classes have an equal right to exist. This is interesting, and anyone who sees tremendous problems with this theory must realize this very important point--both classes of men and women are necessary to understand the true meaning of Raskolnikov's theory.
The creation of a stressful psychological state of mind is prevalent in the story “The Yellow Wall-Paper” by Charlotte Perkins Gilman, as well as, Edgar Allen Poe’s “The Tell-Tale Heart”, Ophelia’s struggles in William Shakespeare’s “Hamlet”, and the self-inflicted sickness seen in William Blake’s “Mad Song”. All the characters, in these stories and poems, are subjected to external forces that plant the seed of irrationality into their minds; thus, creating an adverse intellectual reaction, that from an outsider’s point of view, could be misconstrued as being in an altered state due to the introduction of a drug, prescribed or otherwise, furthering the percep...
The professors who composed Psychological Science explain that, “For [Sigmund] Freud, the powerful forces that drive behavior were often in conflict. A key aspect of his thinking was that we are typically unaware of those forces or their conflicts” (Gazzinga et al. 570). To Freud, conflicts in the mind consisted of the never ending battle between the ego, id, and superego. The “id” is the mechanism that drives humans to seek pleasure and avoid pain. The superego is a person’s conscience and morality principle. The “ego” is the mediator between the superego and id. In fact, Freud developed a theory based on analyzing these unconscious struggles which he called the psychoanalytic, sometimes psychodynamic, theory. He recorded peoples’ words and actions to describe their unconscious desires, wishes, fears, and hidden memories. The psychoanalytic theory was later translated into literature as a kind of criticism. This criticism can be applied to any type of literature including dramas. The drama “Naked Lunch” by Michael Hollinger is a good representative of the dramas in which the reader can perceive the unconscious conflicts between the characters through the use of dialogue and non-verbal cues. The reader senses the desires, fears, thoughts, and underlying mechanisms at work behind the conversation and in turn is able to come to a greater understanding of how a person’s word and non-verbal actions describe the person’s subconscious mind.
However, it soon emerges that he, despite the physical nature of his situation, has a very active mind. To reveal whether he is of a special "breed" of humans, he finds it necessary to kill, and the unfortunate subjects of his experiment are an old pawnbroker and her sister. After the murders, Raskolnikov is subject to a series of mental and emotional changes, eventually leading to his confession and, later, his arrest, trial and eight-year prison sentence.
She does not spew out all the reasons why she loves Othello or say that she is unavoidably attracted to him as she could have. Instead, she picks a practical reason –
One of the aspects of Crime and Punishment that stands out is that it is much more than a simple crime story. It is in fact a great study of the mind of a murder. Raskolnikov is a terrifying but sympathetic main character precisely because he is just twisted enough, just ill enough, for the reader to believe anyone is capable of such atrocities. The jumping off point for Raskolnikov is his idea of extraordinary and ordinary people. Looking at his theory and applying it as a tool for analysis of Raskolnikov himself leads not only to a deeper understanding of this idea but also of Raskolnikov. It also explains to some degree how seemingly benign ideas can lead a believer to do unspeakable things.
Raskolnikov, in Dostoevsky's novel Crime and Punishment, is a complex character difficult to understand. He believes himself superior to the rest of humanity, and therefore he believes he has the right to commit murder. After he kills Alena Ivanovna, an old pawnbroker, Raskolnikov discovers his supposed superiority has cut him off from other people. He exists in a self-created alienation from the world around him. Raskolnikov mearly drifts through life, unable to participate in it anymore. It is only through Sonya that Raskolnikov is able to gradually regain his connection to humanity; she helps him to understand that, although he cannot be superior to others, she loves him regardless. Although he finds it difficult to reject his theory that certain individuals may commit acts not permitted ordinary people, Raskolnikov does accept that he is not such an individual, that he is ordinary. Through this realization and Sonya's love for him he finds the strength to confess to his crime and accept responsibility for it; this allows him to slowly began to rejoin the world around him.
Traditional interpretation of literature from a psychoanalytic standpoint has relied extensively upon the work of Sigmund Freud. In the case of Dostoevsky, however, this method is both anachronistic and inadequate. Dostoevsky's great works, considered individually or holistically, though fictional, established him as one of the forefathers of psychoanalysis, and a predecessor to Freud.3 Indeed Freud himself acknowledged that "the poets" discovered the unconscious before he did,4 stating further in a letter to Stefan Zweig, "Dostoevsky 'cannot be understood without psychoanalysis- i.e., he isn't in need of it because he illustrates it himself in every character and every sentence.'"5 There is, however, a complementary relationship between Dostoevsky and Freud brought about through the striking clinical accuracy of psychological traits exhibited both individually in Dostoevsky's characters, as well as in reflecting the author's own mental processes. Thus, it is necessary first to examine Freud as a point of departure before looking at modern alternatives of psychoanalytical method.
In Othello, Iago, Othello's dear truthful friend, wants to ruin Othello's life by "plaguing" his mind of depressing thoughts. He plans to tell Othello that his wife, Desdemona, is cheating on him with his ex-lieutenant, Cassio. "At least jealousy so strong that judgment cannot cure." (p. 79, Iago) Othello being passionately in love with Desdemona begins to believe the rumors he is told, and it breaks his heart. He is not only envious that his beloved wife would cheat on him with Cassio but that idea of her not loving him, troubled him the most. "By heaven, thou echo'st me/ As if there were some monster in thy thought/ too hideous to be shown." ( W.S, 3.3; 121) Othello's emotions begin to grow from jealously to anger. He has never been heart broken before and now all his emotions of melancholy is running through his mind. "How shall I murder him, Iago?" (p. 171, 4.1) Already Othello had sunken in everything Iago had said. Not thinking straight and letting his emotions run untamed, he can only think of death as a way to resolve everything. He soon pays for his jealousy rage by taking both his wife and his own life.
A.C. Bradley describes Othello as "by far the most romantic figure among Shakespeare's heroes"(Shakespearean Tragedy, 1). This is an unusual description of a man who murders his own wife. However, Othello's feelings of hate for Desdemona started as an overwhelming love for her when their relationship began. This transformation from love to hate also inflicted the characters Iago and Roderigo and like Othello their hatred resulted in the murder of innocent people. Roderigo's love for Desdemona was transformed into hate towards any man that he thought was loved by her. Iago's love for his job and his wife, Emilia changed into a destructive hatred of Cassio and Othello. As a result of their hatred Cassio, Emilia, and at the end themselves were killed. The connection between love and hate in William Shakespeare's "Othello" is the ugly feeling of jealousy that caused such transformations. Jealousy can be described as a fear of losing something or someone that is valuable (Godfrey 2). As minor as this feeling appears to be by that definition, it can take on varying degrees of damaging behavior. Othello, Roderigo, and Iago became paralyzed by jealousy. Their thoughts, actions, and behaviors were ruled by it. Jealousy caused their inability to the act rationally. They became paranoid and unable to love. This paper will examine the jealousy that caused love to turn into hate for Roderigo, Othello, and Iago.
In the first act of scene 4, we see Othello and Iago discussing Desdemona’s unfaithfulness. Othello still doesn't want to believe that Desdemona is capable, or would cheat on him. They're discussing the handkerchief, it's a very significant in the play, it's one of the first signs for Othello to believe that Desdemona is cheating on him. We usually see Othello defending Desdemona and Iago accusing her, but the roles have reversed and Iago seems to be defending Desdemona, while producing more "evidence" to condemn her. When Iago simply just says “Lie-” (Page 169, Line 33) without any further elaboration, Othello immediately assumes 'Lie with her”, which gives him more proof to condemn Desdemona and Cassio. Othello almost seems to be persuading himself that Desdemona did cheat on him when he says “Lie with her? Lie on her? We say lie on her when they belie her. Lie with her -Zounds, that's fulsome” (Page 169, lines 35-37). Right after that he falls in a trance, and Iago takes this opportunity, to make his accusation more believable. He calls in Cassio and tells him to come back again...
It is important to understand Raskolnikov’s character before the crime takes place. Although the reader might be tempted to give importance to the aftermath of the crime and observe the effects committing the crime had on Raskolnikov’s physic and psyche, it is necessary to know what kind of person Raskolnikov was and what circumstances led to his being that way before he decided to commit the crime. What preceded the crime is more crucial to unraveling and comprehending Raskolnikov’s motivations. Just as we do not learn Raskolnikov’s name until another character utters it in dialogue to him, likewise the reader comes to build a character profile of Raskolnikov through the observations others offer regarding Raskolnikov. His friend Razumikhin.provides a candid description s...
Dostoyevsky, Fyodor, Jessie Senior Coulson, and Richard Arthur. Peace. Crime and Punishment. Oxford: Oxford UP, 1998. Print.
Raskolnikov's article, "On Crime," is vital to the understanding of his beliefs. This article also has a profound effect on Crime and Punishment as a whole, the subject matter being one of the main themes of the novel. The idea of the "extraordinary man" is referred to literally throughout the book, but also notable is the subconscious effect the idea has on Raskolnikov. Sometimes Raskolnikov is not even aware of this influence. It is important to note originality, or the ability to "utter a new word," as a defining characteristic of the extraordinary man. Therefore, we must take into account the presence of similar ideas, those of Pisarev, Nietzsche, and nihilism, as these might bring to light the possibility that Raskolnikov is not original, a possibility that haunts him throughout the novel.
In Dostoevsky's novel, Crime and Punishment, the author’s voice is heard through Raskolnikov and the other characters. Dostoevsky’s use of polyphony in this novel lets the reader explore both the inside and outside perspectives and motives of a criminal. The point of view follows that of Raskolnikov for most of the novel, but there is also perspective from the other characters as well as a narrator. Because of this, the novel is not strictly about Raskolnikov, but it brings into view the impact of others characters on Raskolnikov’s conscience. Raskolnikov’s inner monologue reflects deeply the voice of Dostoevsky and weight of guilt on the human conscience.