Abstract
This paper explores the the cause of Brabantio's untimely death in William Shakespeare's tragedy, "Othello." According to the paper, his death was caused by guilt that he permitted his daughter to come into contact with Othello and thereby initiate an "illicit" relationship with him. The paper further notes that there is no other explanation for Brabantio's tragic passing, since he was not the victim of violence at the hands of another party and his health was certainly good. Ultimately, Brabantio died of a broken heart occasioned by the knowledge that his daughter's tempestuous relationship with "the moor" was something he made possible.

From the Paper
"The cause of Brabantio's untimely death, as far as can be determined, is guilt - guilt that he permitted his daughter to come into contact with Othello and thereby initiate an "illicit" relationship with him. Put bluntly, there can be no other explanation for Brabantio's tragic passing: he was not the victim of violence at the hands of another party and his health was certainly good. Ultimately, Brabantio died of a broken heart occasioned by the knowledge that his daughter's tempestuous relationship with "the moor" was something he made possible. More than that, he dies knowing that his daughter has flaunted the conventions he holds most dear."

Tags:cause, brabantio, death

Abstract
This paper explores Shakespeare's plays "The Tempest" and "Othello" and focuses on the father-daughter relationships of Desdemona and Brabantio and Miranda and Prospero. Direct quotes support the comparisons and contrasts of the characters' actions, emotions, and motives towards each other, which include anger, love, possessiveness, and manipulation.

From the Paper
"Prospero wants his daughter to marry Ferdinand, because he is of her status and is intelligent. Not only that, Ferdinand is looking for a wife to be Queen of Naples, and the marriage would mean Prospero could finally move back to civilization and out of isolation, and he could reclaim his title as Duke. So not only does Prospero see Miranda as his daughter and companion for the twelve years in isolation, but he sees her as a key part in his plan to get his dukedom restored. However, he wishes well for his daughter in every way possible, and is happy that love has blossomed between her and Ferdinand. "Fair encounter of two most rare affections. Heavens rain grace on that which breeds between 'em!" (Tempest, Act 3 Scene 1) "

Tags:ferdinand, love, anger

Abstract
The paper looks at the female figures Desdemona and Ophelia, who appear in two of Shakespeare's greatest tragedies, "Othello" and "Hamlet". The paper focuses not only on the women, but also on the men who have the strongest influences on them; their fathers and their lovers. The paper shows how despite different personalities and dissimilar sets of circumstances, the young heroines of these unique tales share much in common. The paper portrays how they both find themselves caught up in intricate love triangles that test their alliances to their fathers and their lovers and that ultimately end in tragedy.

Outline:
Abstract
Introduction
Desdemona, Othello, and Brabantio
Ophelia, Hamlet, and Polonius
Conclusion

From the Paper
"Although we never see Desdemona and her father Brabantio alone together, we can determine, from things they say to other characters and from things they say to one another in public, that their relationship has not been based on open communication and trust. In fact, there is an indication, as early as the opening scene, that despite his apparent shock, Brabantio may have subconsciously expected his daughter's elopement, or at least is not completely surprised by it: upon first hearing the news from Iago and Roderigo, Branbatio responds that "This accident is not unlike my dream" (I, i, 141)."

Tags:Brabantio, Polonius, Laertes, female, characters, tragedies, fathers, lovers

Abstract
The paper describes how Iago uses selective honesty as his persuasive tactic to dupe Roderigo into his trust and sway him to his own ends. The paper demonstrates how he pretends to be loyal to Othello while causing Roderigo and Brabantio to turn against Othello. The paper highlights Iago's clever words and deceitful persuasions.

From the Paper
"At the beginning of "Othello," (Act I, Scene I), on a Venice street, Iago is introduced as a friend and trusted ally of Roderigo, and one who has his "purse" (financial trust.) Roderigo reminds Iago that Iago told him previously that he was antagonistic to Othello, and Iago assures him this is so: "Despise me, if I do not" - even giving what sounds like a plausible reason, i.e., Iago is bitter at Othello for selecting another man, Michael Cassio, over himself to serve as Othello's lieutenant, and he admits his jealousy of Cassio and his wish for vengeance against Othello. Of course, it seems that he is telling all this to Roderigo in order better to win him over and gain his trust more."

Tags:deceit, falsehood, trust, Roderigo, Brabantio, Desdemona

Abstract
Beginning with Iago's initial exchange with Roderigo and Brabantio, this paper works through the first 3 Acts of the play "Othello" by William Shakespeare looking at the way in which Iago moves his plan forward. The semantic fields and imagery sequences are examined in detail, with analysis and line references after each quote highlighted in bold for easy cross-referencing. All quotes are well integrated and put into context. The paper also includes character analysis of Iago and Othello.

From the Paper
"Iago's next exchange with Othello shows how successful he has been - Othello makes it clear he has convinced himself of Desdemona's guilt in Iago's absence: "I swear 'its better to be much abused / Than but to know a little." 3.3.338/9, and "What sense had I of her stolen hours of lust?" 3.3.341. One can infer that Iago is delighted by this, as it means he has been successful, and with the handkerchief in his possession he can offer proof of her 'guilt'. Emilia's deception came just at the right moment, as Othello demands "ocular proof" which Iago is now in a position to give. One may argue that he was playing things rather riskily by "abusing" Othello's ears without the proof of the handkerchief, but now things are falling into place more by luck than by his own manipulation."

Tags:roderigo, brabantio, desdemona

Abstract
This paper focuses on the importance of the women's roles in the plays Romeo and Juliet, Hamlet, and Othello. Particularly, the relationship between the woman and their fathers is analyzed in this paper. The father-daughter relationship that this paper focuses on is the relationship between pairs of characters in the plays mentioned above: Lord Capulet and Juliet (Romeo and Juliet), Polonius and Ophelia (Hamlet), and Brabantio and Desdemona (Othello). Each character is evaluated according to their interaction not only with other people, but most importantly their interaction with each other. An analysis on the effect of woman roles in contributing to the tragedy that happened in the play is also discussed.

From the Paper
"Women in many of Shakespeare's plays establish their own identity in the story through a series of interaction with various characters in the play. Aside from their roles as a woman and a wife or lover to the main characters of Shakespearean plays, the author presents another side of the woman's character through a reflection of the existing father and daughter relationship in the story. If women were regarded as "goddess" by their husbands/lovers, their relationships with their fathers present another part of their persona, and each of them possesses unique characteristics that make their roles in the story memorable. "

Tags:hamlet, romeo, juliet, othello, capulet, desdemona, english, theatre, female

Abstract
This paper paper discusses the emotion rampant in Shakespeare's "Othello". The paper contends that many of the loving relationships in "Othello" prove to mock the very word. The paper describes the characters of the play and explains that these characters prove that love, as well as jealousy, can be a destructive force.

From the Paper
"While jealousy is one of the most written about emotions in William Shakespeare's play, Othello, it is far from being the only powerful emotion in the play. Just a jealousy can be a destructive force and "mock the meat it feeds on" (Shakespeare III.iii.168), we learn from some of the characters that love can be as well. Brabantio certainly loves Desdemona but not nearly enough because he allows himself to be swayed against his true instincts. Emilia is blind to what is going on all around her and allows her loving husband to make a mockery of their love. In addition, Othello allows himself to be played as a fool because of his own insecurities. His love for Desdemona becomes nothing more than an afterthought when it too late to do anything at all. These character prove that love, as well as jealousy, is a monster that mocks the meat it feeds on."

Tags:desdemona, brabantio, iago

Abstract
This paper examines how dissimilation is a state that occurs when the impetus is taken for the standard and used, often, to further insidious ends. In particular, it looks at how, in "Othello", Shakespeare uses Iago as a character who represents dissimilation and brings it into the
moral and empathetic lives of the other characters to spread chaos and ruin. It shows how Iago is able to use his cleverness and malice to seek out what seems to be the root cause of a number of actions in the play.

From the Paper
"In Othello, Shakespeare sets up Iago as the culmination of all of the evil, insidious tendencies and inhumane practices known to humanity. One of the first speeches we see from Iago portrays him as egging Rodrigo on to sap the joy from Brabantio: "Though that his joy be joy, Yet throw such chances of vexation on it as it may lose some color"
(Shakespeare I,i,11). It is no wonder, therefore, that Iago is known to be more a fighter (a destructive force) than a statistician comparatively constructive) on the battlefield, and is passed up for promotion by Othello in favor of the more level-headed Cassio. But Iago is
also a character who shows a great deal of dissimilation within himself: this lack of promotion therefore rankles him, and makes him vow revenge against Othello, while at the same time pretending to be his servant."

Tags:rodrigo, brabantio, desdemona

Abstract
This paper deals with the themes of jealousy and revenge within the drama "Othello", written by William Shakespeare. With numerous themes depicted throughout the play, that of jealousy and revenge stands out, as they are the basis of the plot and character development. Includes a number of internal documentations (quotes).

From the Paper
"Othello is a romantic tragedy set in Venice during the early eighteenth century. This play portrays the author's ability to intertwine many deceiving motives of its characters, into one cohesive and interesting plot. Othello, written by William Shakespeare, is a play that possesses many different aspects of literature, ranging from descriptive imagery to deep symbolism. Of all of Othello's characteristics, though, the most significant is that of its numerous themes. Othello is strewn with a number of important themes, including love, hate, racial tensions, deception, and false appearances. Nevertheless, as considerable as these themes may be towards the overall plot, the two most influential in Othello, are those of jealousy and revenge found within the two main characters of Othello and Iago. The themes of jealousy and revenge are difficult to discuss apart from one another, as jealousy causes revenge, and jealousy is the force that motivates the actions of the main characters."

Tags:brabantio, cassio, desdemona, iago

Abstract
This paper critically analyzes Oliver Parker's film adaptation of Shakespeare's famous play, "Othello." The essay explores many aspects of the production including casting, cinematography and direction. It also shows how the film differs from Shakespeare's original work. The review gives the film a rating in the final paragraph.

From the Paper
"Debuting at the height of the O.J. Simpson media-frenzy, Oliver Parker's modern interpretation of Shakespeare's Othello promised to be a controversial one. Othello is, after all, a play about a black man who kills his wife in a jealous fury. Coincidence or not, Parker wisely chooses to downplay the race issue. Casting Laurence Fishburne as his Moor of Venice, Parker's Othello is anything but traditional. If Shakespeare's Othello was the Elizabethan portrayal of an African warrior, then Parker's adaptation fit's the modern stereotype of a metropolitan thug. Reaching out to a modern audience that has a fickle affection for Shakespeare, Parker relies on sex and violence to sell his film where art and poetry fail."

Tags:brabantio, cassio, desdemona, iago, kenneth, roderigo