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Shakespeare?s ?Othello?, 2004.
This paper analyzes Shakespeare?s ?Othello? as an Aristotelian tragedy.
2,115 words (approx. 8.5 pages), 7 sources, MLA, $ 66.95
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Abstract
This paper explains that Shakespeare?s ?Othello? follows Aristotle?s principles for creating the perfect tragedy. It has a plot that is easily remembered and structured to arouse pity and fear within the audience, with importance placed on the action, and events turning upon surprises. The author points out that the suffering of Othello meets the essential requirements to be considered a tragic hero. The paper stresses that, in ?Othello?, the reader witnesses the genius of Shakespeare; Othello changes from a loving husband and great warrior to a jealous, murdering husband. The reader loves him, hates him, and then feels sorry for him.
From the Paper
"Additionally, Iago also tells Roderigo that Othello ?Is of a constant, loving, noble nature,/And, I dare think, he?ll prove to Desdemona/A most dear husband? (II.i.280-3). In reaction to Othello?s character, A. C. Bradley states, ?Othello's mind, for all its poetry, is very simple. He is not observant. His nature tends outward. He is quite free from introspection, and is not given to reflection. Emotion excites his imagination, but it confuses and dulls his intellect . . . he has little experience of the corrupt products of civilised life, and is ignorant of European women? (Bradley). Our first impression of Othello is a positive one. This fact will help us to feel pity for Othello later in the play."
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William Shakespeare's "Othello", 2006.
This paper discusses the theme of jealousy in William Shakespeare's "Othello".
1,865 words (approx. 7.5 pages), 5 sources, MLA, $ 59.95
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Abstract
This paper explains that "Othello", like Shakespeare's other "big" plays, abounds in spectacular examples of theatrical effect, such as the brawls and the big pageantry;however, the theatrical effect of the rest of the play represents communication by gesture and look, the eloquent silences and whispered, spoken and shouted language. The author points out that jealousy in Shakespeare's "Othello" is a mask for the fear of death because what the jealous lover fears is that there will not be time or space enough for him. The paper relates that one of the peculiar splendors of "Othello" is that Othello's belated jealousy cannot be understood without first understanding Iago's primal envy of Othello, which is at the hidden center of the drama.
From the Paper
"Shakespeare's Iago appears in two aspects: his external appearance, as he reacts with others and his inner life as revealed by the soliloquies. Forget the soliloquies for a moment, and examine the face that Iago turns to the world. Here is a clever, ambitious man coolly manipulating others for his own ends. The current theories of will and reason he voices belong to his character both "psychologically" and dramatically. He denies the reality of loving feelings, they are only a lust of the blood, a permission of the will; he asserts the supremacy of the will and intelligence, ..."
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Shakespeare's "Othello", 2005.
Discusses the themes of doubt versus trust, monster imagery, and human love in William Shakespeare's play, "Othello".
888 words (approx. 3.6 pages), 1 source, MLA, $ 31.95
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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)."
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Shakespeare?s "Othello", 2004.
This paper discusses Shakespeare?s "Othello" as a tragic hero.
1,205 words (approx. 4.8 pages), 4 sources, MLA, $ 41.95
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Abstract
This paper explains that, through Othello, Shakespeare creates, perhaps, the most popular tragic hero in literature because Othello is presented as strong and powerful in the beginning of the play, and, by the play?s end, he is reduced to a man blinded by jealousy. The author points out that Shakespeare allows the downfall of Othello through the character of Iago. The paper concludes that, because Othello recognizes his failure and tries to rectify the situation in the only way he knows how, we feel pity for him.
From the Paper
"Again, we can see the genius of Shakespeare at work. We have witnessed the complete transformation of a warrior to a jealous husband. Othello?s flaw lies in the fact that ?his whole nature was indisposed to jealousy, and yet was such that he was unusually open to deception, and, if once wrought to passion, likely to act with little reflection, with no delay, and in the most decisive manner conceivable?. Cantor agrees with this assertion, adding another crucial element to Othello?s demise. He claims that Othello?s image of himself has become tightly connected with how Desdemona perceives him. He explains that for most of Othello?s life, ?his self-possession came from the fact that he could derive his sense of worth from his own heroic deeds, something largely within his own control."
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Shakespeare's "Othello", 2002.
A look at the characters in Shakespeare's "Othello".
650 words (approx. 2.6 pages), 1 source, $ 26.95
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Abstract
This three-page undergraduate paper examines and analyzes three cases of symbolism in William Shakespeare's play, Othello. The author discusses the symbolism represented through the characters of Desdemona, Othello, and Iago.
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William Shakespeare's "Othello, the Moor of Venice", 2006.
This paper discusses the use of animal imagery in William Shakespeare's "Othello, the Moor of Venice".
1,115 words (approx. 4.5 pages), 0 sources, $ 38.95
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Abstract
This paper explain that the use of animal imagery in William Shakespeare's "Othello, the Moor of Venice" reflects the base instincts, which bring about the tragedy of the main character and his innocent wife. The author points out that negatively characterizing Othello as an animal might imply that he is as base and beastly as Iago, but his honor and nobility throughout the rest of Act I makes the reader doubt that Othello is the animal. The paper concludes that comparing the characters to animals suggests that the play is not about race, politics or social convention but rather about the predator and the prey, which is something deeper and more innate than the trappings of society. The paper includes several quotations.
From the Paper
"The innocent and good Cassio is deceived into believing himself a beast because of the machinations of Iago. Knowing that Cassio cannot tolerate alcohol, Iago encourages him to get drunk and orchestrates a fight in which Cassio appears the violent aggressor. Such behavior, especially because it interrupts the marriage bed of Othello and Desdemona, is perceived negatively by Othello who dismisses Cassio from his service. Cassio then likens himself to an animal, disparaging the effect of alcohol that "put an enemy in their mouths ....transform ourselves into beasts!""
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Shakespeare's "Othello", 2006.
An analysis of Act II, Scene 1 of William Shakespeare's play, "Othello" and the character of Desdemona.
1,095 words (approx. 4.4 pages), 1 source, MLA, $ 38.95
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Abstract
This paper examines Act II, Scene 1 of "Othello" in an attempt to shed some light on the character of Desdemona. The paper analyzes her character and discusses her motives for marrying Othello as well as whether she is really the weak, clinging vine sort of woman of her time that most people assume. The paper also questions whether she is as naive as is assumed and what is the true nature of her marriage to Othello.
From the Paper
"If Desdemona is truly color-blind, having married the moor, Othello, then Iago, with his allusions to "white" and "black" subtly reminds her of the difference. From the very beginning of the scene, when Cassio, as a gesture of courtesy and respect, kisses Desdemona, and she does not resist (even though it is obviously a chaste kiss), Iago has his flashpoint for his cunning ploy to unsettle his commander, and to break that marriage apart."
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Shakespeare's "Othello" and "Hamlet", 2005.
This paper compares Shakespeare's protagonists Othello and Hamlet from his plays "Othello" and "Hamlet".
2,445 words (approx. 9.8 pages), 1 source, MLA, $ 74.95
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Abstract
This paper explains that both the protagonists Othello and Macbeth, in "Othello" and "Hamlet" respectively, are superior men, possessing great courage and outward strength, heroes in war accustomed to commanding a force of men in battle; but both go awry in their personal lives when a different morality and sensitivity is required: Othello is consumed by jealousy and Macbeth, by ambition. The author points out that a key element in Macbeth's nature is his imagination, which he lets soar ahead of his deeds; whereas, Othello is a man of action and not prone to ponder too much. The paper relates that, in their final words, the two men have completely disintegrated: Othello by taking not only Desdemona's life but also his own and Macbeth by resigning himself to go on with the fight for the crown, which even has taken the life of his wife. Many textual examples.
From the Paper
"Macbeth is immediately shown as a man whose ambition is capable of overtaking his personality. However, the additional quality of fear is introduced in Macbeth, who has been referred to in the play's opening passages as "brave Macbeth." Whereas Othello was judicious, Macbeth's courage showed in him a rashness that sets the stage for his later actions. He is described in battle by a soldier as "Disdaining fortune, with his brandish'd steel,/ which smok'd with bloody execution, Like valour's minion,/ Carv'd out his passage till he fac'd the slave;/ And fix'd his head upon our battlements." (I,ii.19-26) He is valour personified and is so ferocious that his sword smokes, an example of hyperbole."
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The Restricted Women of Shakespeare's "Othello", 2005.
Examines the characters of Desdemona and Emilia in "Othello" by William Shakespeare and argues how the violence imposed upon them by their husbands is a social statement of the women's restrained state in society.
1,723 words (approx. 6.9 pages), 0 sources, $ 55.95
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Abstract
This essay looks at marriage as a patriarchal institution, and shows how the violence that occurs against Desdemona and Emilia in "Othello" by William Shakespeare infers the dominance that men hold over women. The essay also looks at the dominant views about femininity, as expressed by Iago, and shows how these stereotypes dictate the fate of Desdemona and Emilia.
From the Paper
"Othello uses words like "greedy" and "devour" to illustrate how Desdemona hungered for him and chased after him. Othello does fear Desdemona will leave him once her curiosity is quenched, as he expresses through lines "She loved me for the dangers I had passed. And I loved her that she did pity them" (I.iii 165-167). In these lines, Othello shows through the use of the past tense and suggestive language that he knows Desdemona loves him for his exoticness, but that the thrill of it may soon wear off as the dangers dwindle."
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William Shakespeare?s ?Othello? and ?King Richard III?, 2003.
This paper compares William Shakespeare?s villains, Iago from ?Othello? and Richard III from ?King Richard III?.
1,490 words (approx. 6.0 pages), 6 sources, APA, $ 49.95
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Abstract
This paper relates that Shakespeare?s primary intent in ?Othello? was to develop the villainous character of Iago, whose motives are represented as being highly complex and ambiguous, but villainous in the extreme. The author points out that Richard is shown to be a villain of the highest caliber, whose power-mad lust for the crown compels him to confirm his claim that, ?I am determined to prove a villain?. The paper concludes that Shakespeare portrays Iago and Richard in much the same light, as sociopaths who view others as merely objects representing obstacles in their path to fame and glory, which makes them villains by any definition.
From the Paper
"However, much like Richard, Iago?s ambition is the source of his villainy rather than his resentment at being overlooked for promotion, sexual jealousy or the racial prejudice he had consistently faced; rather: ?A man motivated by simple jealously and hatred would have no such need. He is not inspired by pure evil and desire to torment Othello either. In reality, Iago?s main motivation, born out of an inferiority complex, is a desire to heighten his sense of superiority and power.? According to Agrawal, Samuel Coleridge?s phrase, ?. . . motive hunting of motiveless malignity,? may best describe Iago?s strange actions and behavior. ?Motive hunting? exactly describes Iago?s soliloquies. He continuously ponders over and tries to understand his emotions. It is clear that he wants to torment and destroy Othello. However, he is not sure of the motivations underlying that desire.? "
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William Shakespeare?s ?Othello?, 2004.
This paper analyzes the character Iago in William Shakespeare?s play, ?Othello?.
1,105 words (approx. 4.4 pages), 5 sources, APA, $ 38.95
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Abstract
This paper explains that Iago, from William Shakespeare?s play, ?Othello,? is probably one of the best evil characters ever created. The author points out that he is an interesting case study because he is proud of his evilness and plans to use it to his utmost abilities to bring Othello down. The paper relates that another aspect about Iago's character that makes him so detestable is that he really has no reasonable excuse to hate Othello so much; he is not crazy, but rather is smart and clever, two characteristics that make him even more dangerous.
From the Paper
"Another characteristic of Iago that is unforgettable is his cleverness throughout the entire play. Iago must know Othello well because he demonstrates that he knows just the right things to say to Othello to spur his anger and jealousy. Robert Heilman claims, ?Wit is Iago?s instrument to compensate for what he does not have. He perversely hates and yet lusts after what he does not have . . . and he undertakes to disparage it, minimize it, debunk it, and destroy it.? Once he knows what it is he wants to do, he has no trouble achieving his goal. Critic Harold Bloom states that Iago?s ruination of Othello is in some ways too subtle for criticism to paraphrase. Iago suggests Desdemona's infidelity by at first not suggesting it, but hovering near and around it.? This is all too true."
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William Shakespeare?s ?Othello?, 2002.
An analysis of Othello's final speech in Act five of the play, with an emphasis on the poetic elements and imagery within the passage.
1,114 words (approx. 4.5 pages), 0 sources, $ 38.95
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This paper attempts to understand the final speech by Othello within the content of the play by understanding Shakespeare's overall writing style and his development of the main character, Othello. He finds that Othello's final speech redeems him even after he murders his wife and is duped by Iago. Through the use of imagery and metaphors, Shakespeare is able to generate a considerable impact on the audience positioning them for the full extent of the tragic outcome.
From the Paper
"Othello is considered by some to be a poem and like most poems, it achieves its impact largely through imagery--language that appeals to the senses. The richness and quantity of Shakespeare's imagery make it impossible to translate the language of his day into modern English. Let's examine consider the way Shakespeare uses the imagery to define character in Othello. The use of imagery in this case is what makes each character's voice so recognizable, and rarely did Shakespeare use it more brilliantly when he did in creating Othello."
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Shakespeare's "Othello", 2004.
Discusses the common misinterpretation of William Shakespeare?s use of true-to-life character illustrations in order for him to demonstrate performance.
4,925 words (approx. 19.7 pages), 7 sources, MLA, $ 125.95
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Abstract
This paper shows that, despite Shakespeare?s genius in his play, "Othello", it becomes virtually unmistakable that the author is presenting a cautionary tale of love and desire. The paper argues that, through his creations, their plight, and various techniques, Shakespeare conveys his sentiments about women, forewarning the reader about the perils of devotion, passion, and the danger of being wholly embroiled by these emotions.
From the Paper
"Iago?s right hand fop, Roderigo, exhibits those same embroiled emotions which bind him to that ?viscous cycle? of the play, making him a prime example of the fate due to characters consumed by passion. His desires, however, are more single-minded as Othello?s and easily established, for this reason his tragic star will burn the brightest and shortest. First note on Roderigo: He is no better than Iago, he is a lackey and a villain, a fool. ?Natural law for Iago, as for Edmund of King Lear, is Hobbesian ? a matter of animal appetites promoted by cleverness, with the strongest and the shrewdest winning out? (Snyder 27). This is also true with Roderigo."
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'Othello' by William Shakespeare, 2006.
A review of the jealousy, submissive female gender roles and race in 'Othello' by William Shakespeare.
675 words (approx. 2.7 pages), 5 sources, $ 26.95
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Abstract
This study examines the role of jealousy, submissive female gender roles, and racism within Othello by William Shakespeare. In many ways, Desdemona pays a submissive role to Othello, as she cannot rise above her fears and confront her husband on the grave error of his theories about her infidelity. Furthermore, the issue of race helps Iago deploy his plan, as both he and Desdemona's father are racist in their jealousy of Othello's success. In this manner, jealousy, submissive female gender roles, and racism are constructed to bring a tragic ending to the once hopeful marriage of Othello and Desdemona. The issue of jealousy begins with Iago's anger at Cassio getting a promotion in Othello's elite guard.
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'Othello' by William Shakespeare., 2006.
A review of the submissive female gender role of Desdemona in 'Othello' by William Shakespeare.
675 words (approx. 2.7 pages), 1 source, $ 26.95
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This paper discusses the submissive victim role played by Desdemona in 'Othello' by William Shakespeare, and how it is the central aspect of Othello's demise. She is privately inquisitive as to why Othello is angered at her, but she cannot properly stand up to her husband and fend off the allegations set against her by Iago. This provides the various episodes of jealousy and rage that will culminate in the destruction of their marriage.
From the Paper
"In this drama study, the character Desdemona in Othello by William Shakespeare will be analyzed for her various submissive roles as the wife of Othello. In many ways, she does portray a victim role, as she is clearly unaware of the seriously necessity to confront her husband. Although she is at once penetrating in her thoughts about her husband inwardly, she does not publicly surmise the danger of her husband's anger throughout much of the play. In essence, Desdemona is a submissive victim role character that cannot reveal the plot set against her by the vicious Iago. "
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