Abstract
This paper analyzes the passage from Act IV of Othello, Scene iii, 89-106. The paper explains that this scene comes after the dinner that Desdemona has had to host for Othello. By this point in the play, Othello has been made to doubt Desdemona because of the falsehoods carefully promoted by Iago. Othello has just interrogated both Desdemona and Emilia, showing his belief in the perfidy of Desdemona and his refusal to see reason. The paper asserts that this speech by Emilia is an effort on her part to get Desdemona to feel better and not to despair at the way her husband has been treating her, in essence by suggesting to her that she should do what Othello suspects her of and that it would be his own fault.

From the Paper
"The passage from Act IV of Othello, Scene iii, 89-106 comes after the dinner that Desdemona has had to host for Othello. By this point in the play, Othello has been made to doubt Desdemona because of the falsehoods carefully promoted by Iago. Othello has just interrogated both Desdemona and Emilia, showing his belief in the perfidy of Desdemona and his refusal to see reason. This speech by Emilia is an effort on her part to get Desdemona to feel better and not to despair at the way her husband has been treating her, in essence by suggesting to her that she should do what Othello suspects her of and that it would be his own fault. This speech serves as a balance to an earlier speech by Iago on the false ..."

Tags:poetry, meter, Desdemona, Emilia

Abstract
The final scene of Shakespeare's "Othello" presents many difficulties for filming--even beyond presenting the resolution of the tragedy. It is set in a single room and features the ugly intimacy of the murder and then expands to include all the people who come tumbling into the room in its aftermath. The paper shows that the light must be low at the beginning and sufficiently bright at the end in order to distinguish various parts of the room at the same time. Nor does the scene present many opportunities for trimming the script. Most of what is said is exactly to the point and in Othello's speeches it contains some of the play's most famous poetry. The paper shows that in addition to the logistics, of course, it is the scene in which Othello must change once again and Iago must seal his lips so that people would still be speculating about his motives 400 years later.

From the Paper
"Thus when he enters the bedchamber he is on the edge--delicately balancing his own threatened self-image against the new image of the unfaithful Desdemona. The very idea that Desdemona might not conform to his ideal of her tended to undermine his idealized self-conception and the question of killing her becomes a matter of delivering justice. He must kill her "else she'll betray more men" (5.2.6). In this way he attempts to retain his idea of himself and is, once again, performing a civic duty when he kills. The act needs to be filmed so that Othello more or less finds himself apart from the others--to his surprise. Yet even though he berates himself for his stupidity and regrets his crime he has begun to restore Desdemona to her old idealized role."

Tags:Desdemona, Emilia, Roderigo, Cassio

Abstract
This paper examines a passage from Act IV of Shakespeare's "Othello", (scene iii, ll.89-106), which comes after the dinner that Desdemona hosts for Othello. The passage is a speech by Emilia in which she tries to get Desdemona to feel better and not to despair at the way her husband has been treating her, in essence by suggesting what she should do. The paper points out that this speech serves as a balance to an earlier speech by Iago on the false nature of wives from Act II. To conclude, the paper focuses on the way Shakespeare uses the sound of the words the way they are put together to create an impression that guides the listener through Emilia's argument and enhances aspects of that argument to make it more sensible and to show ways in which men and women are alike.

From the Paper
"This speech serves as a balance to an earlier speech by Iago on the false nature of wives from Act II. Emilia here refers to the false nature of husbands and to the consequences for those husbands, for their wives are then unfaithful in retaliation. Emilia is always the practical one in the play, sat least in terms of how she believes people should behave. She takes the practical view that if Desdemona is under suspicion and if her husband is mistreating her, then Desdemona should take care of herself and forget Othello. At the same time, she knows that Desdemona is innocent and also knows part of what Iago is doing. She certainly knows that Iago has taken the handkerchief, and she is likely also bitter about the way she is treated by her own husband, Iago. Much of this bitterness comes out in this speech."

Tags:Iago, fidelity, deception

Abstract
This essay examines the three female characters portrayed in the Tragedy of Othello the Moor of Venice. It finds that Bianca, the mistress of Cassio, is an innocent. Although she is apparently a prostitute, there is a cleanness about her, and a concern for Cassio. Emilia is a conventional waiting woman, fiercely loyal to her mistress. Eventually she exposes Iago for the fiend that he is, and is murdered for it. Desdemona is the sweet, open woman, Iago's opposite, who remains loyal to the end.

Tags:othello, emilia, bianca

Abstract
"Othello" by William Shakespeare is a play demonstrating that we all have strengths and weaknesses and that, while the best of us will focus on people's strengths, the worst of us will not only focus on their weaknesses, but use them in destructive ways. It discusses how, throughout the play, the weakness of jealousy directly or indirectly brings the destruction and downfall of all the major characters, including not only Othello and his bride Desdemona, but Iago, his wife Emilia, Roderigo, and Cassio.

From the Paper
"Othello is particularly vulnerable because, being a Moor, he is somewhat an outsider (Weller, PAGE). He is accepted as a leader in society and as a great military man, but he is aware of his differences. He used them to charm those around him, wooing and winning the beautiful Desdemona and then defending her marriage to others, but the villain of the play, Iago, knows that it can be easy to cast doubt on an outsider, and he uses Othello's differences to his own perverted and personal advantage."

Tags:iago, emilia, roderigo, cassio

Abstract
This paper portrays Shakespeare's "Othello" as a tragic play wherein the revolutionary attempt to overcome the racial prejudice is defeated. Each characters' part in the story is described. The racial discrimination aimed at Othello from the different members of the cast is explained. The paper discusses the ultimate insecurities which stem from Othello's race and the prejudice against him, and which prove to lead to his undoing.

From the Paper
"Othello, one of those great tragedies of Shakespeare was written in 1604. Shakespeare skillfully interleaves the bravado and the accomplishments of Othello along with racial discrimination against him. In fact the two things that run parallel in this novel are Othello's valor as a warrior and the racial prejudice that is harbored against him, albeit on the sly. Shakespeare's dexterity in creating the genre for his plays is something, which is astounding. This is a novel with clear undertones of racism in it. "Othello" is considered a revolutionary and critical work of Shakespeare which exceeds all his other plays in terms of the sheer depth of emotions that the tragedy evokes. It is a tragic play wherein the revolutionary attempt to overcome the racial prejudice is defeated. When we study the play in depth we again and again encounter verses and epithets that carry this sting of racism in a plainly obvious tone."

Tags:desdemona, iago, cassio, emilia, rodreigo

Abstract
The paper offers an analysis of Act IV And Act V of Shakespeare's tragedy "Othello" that focuses on the evil treachery of Iago and the gullibility and pride of Othello, as causes of the tragic ending.

From the Paper
"In Acts IV and V of Shakespeare's "Othello" we see a steady and quick destruction of Othello. In Act IV Iago works his evil on Othello, driving him to jealous rage through a series of ploys. In Act V we see Othello like the base Indian throw a pearl away. Richer than all his tribe when he kills Desdemona, Shakespeare Act IV and Act V bring to light two main themes of the play."

Tags:Desdemona, Cassio, Emilia, jealousy, public reputation, deception, human nature, drama, Venice, infidelity, cuckold

Abstract
The paper discusses Othello's and the other characters' misplaced trust due to their need for empirical evidence in Shakespeare's work, "Othello". It also analyzes Shakespeare's use of monster imagery to describe the darkness in the human heart. Finally, the paper contains an exploration of the liberal use of supposed love by the characters, which is eventually proven not to be love at all.

From the Paper
"Shakespeare's exploration of the concept of jealousy leads to the theme of the human mind's predisposition to favor the "monstrous." Monsters of the human psyche are self-generating, even without the prodding of an evil manipulator such as Iago. He feeds this compulsion by encouraging Othello to "behold," in his mind's eye, his wife being "topped" by Cassio (3. 3. 412). When jealousy is labeled as a monster in the play, it is used to suggest how one can be overtaken by a passion. Iago defines jealousy as "the green-eyed monster, which doth mock the meat it feeds on" (3. 3. 179-80), a foul parasite that torments its host. When Emilia explains jealousy to be a "monster begot upon itself, born on itself" (3. 4. 157), she underscores its self-generating nature. "Jealous souls" do not need real events to fuel their suspicions because, Emilia explains, they are "not ever jealous for the cause" (3. 4. 154-55)."

Tags:brabantio, cassio, desdemona, emilia, iago, montano