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"The Tragedy of Othello, The Moor of Venice", 2004.
Summary and review of Shakespeare's famous tragedy, "Othello".
1,031 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
This paper gives background information on Shakespeare's play, "Othello", and then summarizes its plot. The paper also describes the main characters in the play and then uses quotations made by each of the described characters to support the descriptions.
From the Paper
"The play takes place against the backdrop of the wars between Venice and Turkey during the late sixteenth century. The setting for most of the action is Cyprus, which was a Venetian outpost attacked and eventually conquered by the Turks in 1570. According to the sixth addition of the Colombia Encyclopedia, most of the information derived by Shakespeare about the Venetian-Turkish conflict was derived from ?The History of the Turks? by Richard Knolles, published in England in 1603. Additionally, Shakespeare is said to have derived material for his play from an Italian tale written by Giovanni Battista Giraldi Cinzio in 1565. The original story contains the bare bones of Shakespeare's plot wherein a Moorish general is tricked by his ensign into thinking that his wife is adulterous. Shakespeare added supporting characters to Cinzio's such as the rich young fool Roderigo and the livid and broken hearted Brabanzio, who is Desdemona's father."
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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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Iago's Role in the Tragedy of "Othello", 2008.
An analysis of Iago's role in the tragedy of William Shakespeare's play, "Othello."
832 words (approx. 3.3 pages), 1 source, MLA, $ 29.95
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Abstract
This paper discusses jealousy as one of the central motives in William Shakespeare's play, "Othello." It discusses the jealousy between Iago and Cassio, the Moor and Cassio, as well as between Iago and the Moor. The paper shows how through Iago's deceitfulness, hatred and disloyalty, the tragedy of the play occurred. The paper suggests that if it had not been for Iago's unsympathetic sentiments and the jealousy, the play might have had a different ending.
From the Paper
"Even though many blame the tragedy on Othello's gullibility, it is Iago's tricky and devious behavior that launched and triggered it. Since Othello profoundly trusted Iago, he hardly ever suspected any infidelity from him and that is proven throughout the whole script, in statements such as, "Honest Iago,/ My Desdemona must I leave to thee"(Act I, Scene III, 295). As a consequence, Iago took advantage of Othello's trust and kept revealing more of his forged love, which is proved in the play when Iago alleged that, " Though I do hate him as I do hell-pains,/Yet, for necessity of present life,/I must show out a flag and sign of love" (Act I, scene I, 154-156). It is the "flag and sign of love" which Iago revealed, that instigated Othello's gullibility, and if it wasn't for that advantage, Othello would've not fallen in Iago's trap. Unfortunately, the one closest to the heart is the greatest enemy; because it is him that knows the weakness of one's heart and mind. Iago was indeed very disloyal to his Moor, and deceitful by his behavior toward him."
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The Environmental History of Venice and the Venice Lagoon, 2002.
An analysis of a city that rose from the water and now struggles to remain above the sea.
3,130 words (approx. 12.5 pages), 44 sources, APA, $ 91.95
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Abstract
This paper examines the town of Venice and how it was built on ground made artificially through land reclamation and land formation over fifteen hundred years ago. The writer explores the environmental maladies it has suffered such as flooding and pollution. It shows how these problems are being dealt with today in a variety of ways.
From the Paper
"Most books about Venice, Italy open with a paragraph describing the mysterious iridescence of the lagoon. Its pale blue, green and gray mirage-like appearance makes it clear why La Serenissima is Venice's second name. Next comes a mention of how the earliest settlers built up the small islands and sandbars to substantial islands fit to build on. Then the book will jump into its true topic, a history of war, government, art, or architecture. Yet the fact remains that only one book has been written in English which is expressly devoted to the environmental history of Venice and the lagoon around it. For a city founded through environmental management, whose landscape is defined by human existence, this lack of literature is appalling."
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The Tragedies of Oedipus Rex and Othello, 2002.
A comparative analysis of the use of tragedy in the "Oedipus" Trilogy by Sophocles and the play "Othello" by William Shakespeare.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper will discuss the two characters Oedipus Rex in the "Oedipus" Trilogy by Sophocles, and the character Othello in the play "Othello" by William Shakespeare. By understand the usage of tragedy in these plays we can learn much from the way that it is sued within this medium of playwriting. With the notion of both characters eventually meeting other doom, we can see why they did not meet on the same terms their fates.
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Othello, 2004.
An analysis of the emotions of love and hate as they apply to the tragic downfall of Othello in Shakespeare's tragedy "Othello."
1,125 words (approx. 4.5 pages), 3 sources, MLA, $ 39.95
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Abstract
This paper analyzes the emotions of love and hate as they apply to the tragic downfall of Othello in Shakespeare's tragedy "Othello." The paper explains the sources of the hatred.
From the Paper
"In the preface to his edition of Shakespeare's plays, Samuel Johnson maintains that Shakespeare's plays are neither comedy nor tragedy, but compositions of a distinct kind exhibiting the real state of good and evil, joy and sorrow mingled with endless variety of proportion and innumerable modes of combination. Love and hate are two among many of the human emotions and motivations Shakespeare employs in a variety of his works."
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Deception and Destruction in Venice, 2003.
An analysis of the themes of deception and destruction in William Shakespeare's "Othello" and "The Merchant of Venice".
926 words (approx. 3.7 pages), 0 sources, $ 32.95
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Abstract
This paper examines how, in both "Othello" and "The Merchant of Venice", Shakespeare associates Venice with a disturbing existence of sadism. It looks at how this idea of sadism is prevalent throughout both plays and can especially be seen in the relationships between the persecutory culture of the Christians and those outsiders who have been spurned by this Venetian community.
From the Paper
"The outcasts in these two plays seek relief in their evil and destructive power. This malign power primarily manifests itself in those who are afflicted by the intense stereotyping of others and the sadistic persecution that makes categorizing others possible. While it can be inferred, through Shylock, that Shakespeare incorporates this idea of sadism because of racism and anti-Semitism in his plays, it is also possible to infer that the sadistic nature of characters such as Iago is a result of something entirely different. And though Shylock?s sadistic behavior stems from his obsession with Antonio, it is also a function of the persecutions visited on him by all of Christian Venice."
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Othello, 2004.
This paper analyzes Act IV And Act V of Shakespeare's tragedy "Othello."
1,125 words (approx. 4.5 pages), 2 sources, MLA, $ 39.95
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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."
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Othello, 2002.
A look at the tragedy of Othello using Marxist critical perspectives.
1,150 words (approx. 4.6 pages), 1 source, $ 44.95
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Abstract
This five-page undergraduate paper analyzes the Tragedy of Othello using Marxist Critical perspectives. It will focus on the type of social, economic and political forces that are at work in the play.
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"Venice Preserved" and "The London Merchant", 2002.
An analysis of tragedy, villainy and drama through character analyses of "Venice Preserved" by Thomas Otway and "The London Merchant" by George Lillo.
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
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Abstract
This paper will seek to understand the character Rinault in Thomas Otway's "Venice Preserved" and the character Millwood in Lillo's "History of George Barnwell" (otherwise called "The London Merchant"). By observing these characters we can see how they present villainy in the tragic drama.
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The Appeal of Tragedy, 2004.
This paper analyzes the continuous appeal of tragedy, with particular focus on Sophocles' "Oedipus Rex" and Shakespeare's "Othello."
675 words (approx. 2.7 pages), 2 sources, MLA, $ 23.95
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Abstract
This paper explores the popular appeal of tragedy, focusing on Sophocles' "Oedipus Rex" and Shakespeare's "Othello." The paper discusses how audiences equate suffering with a certain heroic quality in man.
From the Paper
"Throughout history tragedies have fascinated audiences despite the persistent pain and suffering of their protagonists. Indeed the appeal of tragedy seems to spring from the very misery and self-destruction to which its characters are subjected, as audiences understand that such suffering corresponds to a certain heroic quality in man. This attitude was held in ancient Greece when Sophocles wrote "Oedipus Rex" and sustained itself through the Elizabethan period when Shakespeare produced "Othello." It is still present today as both Greek and Shakespearean tragedies remain immensely popular with audiences."
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"Othello", 2004.
An analysis of the tragedy of Shakespeare's "Othello".
1,154 words (approx. 4.6 pages), 1 source, MLA, $ 39.95
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Abstract
This paper discusses William Shakespeare's play, "Othello". The paper presents a closer look at the fall and redemption of Othello. The paper describes the protagonist, Othello, as a classical tragic hero, fundamentally good and noble in nature but with a fatal flaw which leads to his ultimate demise. The paper provides a scene-by-scene overview of the play, documenting the change in Othello's character.
From the Paper
"Othello's descent from grace begins in Act 3, Scene 3 when he asks "Was not that Cassio parted from my wife?" and Iago's reply that "Cassio, my lord! No, sure, I cannot think it,/ That he would steal away so guilty-like" spawns the seed of doubt in Othello's mind and opens the floodgates for Iago's skilful manipulation of fragile human insecurities. Othello falls easily into Iago's psychological mind games and the insinuations of adultery, cuckoldry and hypocrisy, drive his self-doubt and jealousy. By himself, Othello laments that Desdemona no longer loves him because he is too old, black, and has not the manners of a courtier, all of his hidden insecurities suddenly rearing their ugly heads to manifest their effects on his relationship with his wife. When Desdemona returns, unaware of the devastating change occurring in her husband and unable to grasp the invisible horns causing "pain upon" his "forehead", it is already too late to save Othello from his inner demons (III.iii). "Your napkin is too little" Othello chides to Desdemona, carelessly brushing away the handkerchief symbolic of their love and her innocence; his rejection of his wife's offering of physical solace is an emphatic rejection of Desdemona, her purity and their love (III.iii). "
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Shakespeare, Aristotle, and the Idea of Tragedy, 2004.
Examines the dynamic forms of catharsis and tragic flaws in William Shakespeare?s plays and how they relate to Aristotle's definition of tragedy.
2,409 words (approx. 9.6 pages), 5 sources, MLA, $ 73.95
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Abstract
William Shakespeare?s most beloved plays are his tragedies. If one were to list his best and most popular plays, "Othello", "Romeo and Juliet", "Hamlet", "King Lear" ,and so forth, one would find the list comprised almost entirely of tragedies. The paper states, therefore, that it would not be amiss to say that much of the modern literary conception of theatrical tragedy is shaped and influenced by Shakespeare. At the same time, the paper shows that the definitions of the tragic form ,as understood at the roots of theatrical history in Greco-Roman times, continue to be part and parcel of the official comprehension of tragedy. The paper shows that many critics have sought to force Shakespeare into the mold of tragedy as defined in Aristotle?s "Poetica", and many others have rightfully protested that he was not cast from that mold, and that, in fact, he owes little to it.
From the Paper
"On the other hand, there is a startling number of criteria discusses by Aristotle that Yanni never mentions, and which Shakespeare either fulfills or denies to some degree. For example, Aristotle suggests that the proper metre for drama is ?The iambic? the proof is that in talking to each other we most often use iambic lines.? (Aristotle) The majority of Shakespeare?s tragedies, of course, use iambic lines. Likewise, Aristotle claims that ?Necessarily then every tragedy has six constituent parts, and on these its quality depends. These are plot, character, diction, thought, spectacle, and song.? Shakespeare is well known for his focus on diction, spectacle, and even song. In these categories one could make any number of parallels between Aristotle?s dramatic suggestions and the original staged forms of Shakespeare?s work."
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Tragedy, Aristotle and "Death of a Salesman", 2007.
An analysis of how Aristotle defines tragedy and how it is portrayed by Arthur Miller in his play "Death of a Salesman".
4,224 words (approx. 16.9 pages), 9 sources, APA, $ 112.95
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Abstract
Arthur Miller's "Death of a Salesman" has several strong literary and socially disturbing dimensions, but the one that stands most is its tragic dimension. This paper contends that "Death of a Salesman" is in fact tragic, and that within that tragic dimension there are several themes that are apparent and important: financial failure, emotional inadequacy, false pride, sports promise and sports failure, sexual confusion and impropriety, career stumbling, a dysfunctional family, death and madness. Tragedy to varying and diverse degrees is presented as a dynamic that is witnessed in Willy's family, in Willy's failed careers, and of course in his failed relationship with his son and in his marriage. Additionally there are tragic circumstances within the popular American contemporary vernacular of sports. The paper also examines Aristotle's stance on tragedy and how it compares to that of Arthur Miller.
Outline:
Introduction
What Is Tragedy? Miller's Philosophy on Tragedy and His Perspective on the Play
What Is Aristotle's Philosophy Regarding Tragedy?
The Death of a Salesman: The Literature and the Scholarship
Other Tragic Features of the Play
From the Paper
"After going to lengths to point out that Miller sees the central tragic figure in the play as Willy, Hagopian insists that it's Biff Loman, Willy's son, is the one who "ultimately makes things happen, who responds to the great trauma in his life with an emotional and moral paralysis..." That point could be rebutted effectively, but meantime a more pertinent point that Hagopian makes is that, after Biff finds his dad in a hotel room with another woman; "You fake!" he barks. "You phony little fake! You fake!" And now dad has been fired from his job, and Willy fears his son will expose his immoral deeds to mom. But Biff does not, he just wants to rage at his dad, and say "goodbye to you Pop...let's just wrap it up, heh?" The scene that Willy provokes has definite tragic consequences, Hagopian admits on page 40. "
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Tragedy, 2002.
This paper explores the history of the tragic art form.
1,190 words (approx. 4.8 pages), 8 sources, $ 40.95
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Abstract
The paper begins by looking at different forms of tragedy and at the purpose of tragedy, as espoused by Plato. The basic element of tragedy (the fall of a noble person due to their own inherent flaws) is discussed. The writer brings in examples of tragic art forms, such as Shakespeare?s ?Othello? and Arthur Miller?s ?Death of a Salesman? and ?The Crucible?, to highlight variations of tragedy. It looks at Miller?s seminal essay,?On Tragedy? and at the components of the modern tragic drama. It presents a comparison between the themes of the Elizabethan ?Hamlet? and the modern/absurdist ?Rosencrantz and Guildenstern Are Dead?, two plays following the same tragedy from radically different angles. The paper concludes with a study of the key to writing a good tragedy.
From the Paper
"The history of the tragic art form has through-out history undergone many apparent metamorphoses, even while keeping certain elements consistent through their many changes in form and theory. This artform is thought by many to have been brought into existence by the Greeks, and it is certainly best known classically according to Aristotle?s definition in the 4th century Poetics. Yet the writing of tragic stories, and the role they play in history predates even Aristotle. The Jewish scriptures and Egyptian mythologies both relate stories of overwhelming loss and tragedy and hold these events up as tales which should be repeated often. According to Plato, tragedy on the stage is nothing more or less than play-actors pretending to be sad or villainous for no reason, and thus detrimental to the minds of the impressionable who might be purposefully made sad or villainous. Yet Aristotle claimed, most astutely, that tragedy serves instead a noble purpose (and surely the writers of Jewish scriptures and Egyptian tales would agree) He writes that tragedy serves as a catharsis, a purging and cleansing of the soul. While most other conventions and concepts of tragedy, have undergone and should undergo radical reinvention, this central theme of spiritual or emotional cleansing remains consistent and it may be suggested is the primary reason why tragedy has and should continue to exist."
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