“She, dying, gave it me, and bid me, when my fate would have me wive; to give her.” Desdemona and Othello confess their love for one another in hopes of a blissful life together....
In each case, pride overcomes other human emotions and this quality, even more then jealousy in the case of Othello, can be argued as the tragic flaw that causes the downfall of each protagonist.
The sexual drama of “Othello,” the poisoning of the mind against the bonds of the body, was already on Welles’s mind: the movie is the natural follow-up to his 1948 film noir “,” in which Welles stars as a rugged and virile young writer who wins the love of a beautiful woman (Rita Hayworth, his wife at the time) with his courage and loses her to the persuasive wiles of a brilliantly scheming lawyer. In Shakespeare, Welles found a refracted form of confession, self-doubt, and self-accusation.
Welles’s fundamental and lifelong story is that of a big man who gets his comeuppance. He himself was a big man who, in repeatedly filming his own downfall, displayed a kind of emotional masochism, a delight in his own humiliation, that he veritably trumpets in “Othello.” He films the entire play as a flashback, starting the movie with his own face in closeup: Othello, dead and being borne off for burial. The shock of self-destruction is matched only by the howl of self-pity, albeit a well-earned one—for Welles himself, soon after the world-historical artistic eruption of “Citizen Kane,” found his own strong and stubborn temperament fiercely countered by the plotters and the potentates of his field.
I’ve always thought that Othello is doomed from the start by his life of isolation in the martial realm—by his life lived solely among men—and it’s an aspect of the play that Welles brings to the fore. (He plays the starring role himself, not in anything like blackface but with a mild bronzing that leaves Othello’s Moorishness less a vision than a notion.) Welles’s movie condenses the play to ninety minutes, and he thrusts Othello’s long monologue, about his wooing of Desdemona, into the first few minutes, and gives himself some extended closeups in which to deliver it. The tale that Othello tells—a tale about the very telling of stories—is one of the strangest romances in all literature.
The writer points out that it is important to keep in mind that it is the depiction of human difference in “Othello” that is its defining characteristic, not the depiction of the differences in race.
Coleridge : A Difference of Opinions Concerning the Character of Iago in Shakespeare's "Othello."" The writer of this essay analytically compares the opinions of two well-known critics on Iago's character.
Throughout the play the reader witnesses many different personalities carried out by Othello, the most prominent being; doubtfulness, rationality, and his being a “jealous monster”.
In Shakespeare's Othello the Moor of Venice, Othello is considered a tragic hero because he undergoes a Othello possesses both a noble birth and displays heroic qualities.
The fronted conjunction 'But' shows that Othello unfortunately, has a fatal flaw of being very open with those he thinks he can trust on face value alone/ Othello's devotion and love to Desdemona in Act 1 could lead him to becoming jealous very easily of his wife....
The scene establishes the Duke’s and council members’ respect for Othello, the love that exists between Othello and Desdemona, the foolishness of Brabantio, and, of course, the determination of Iago to destroy the couple.
A comparison between Shakespeare's 'Othello' and Sophocles 'Oedipus Trilogy' in which the writer interprets themes from both stories and finds reason to assert that Othello and Antigone were both very much alike in that they were essentially outsiders, -- alienated from a group.
The aspects of love and relationship are vast and far-reaching within the literary boundaries of William Shakespeare's "Othello" and Robert Browning's "Porphyria's Lover." While both writers equally address each aspect, the manner by which they do so does not mirror the other; rather, Browning's treatment is significantly more traditional when compared to Shakespeare's decidedly more unconventional.
Othello has survived the centuries to this day and age; and continues to captivate and remain relevant to a modern audience; Othello certainly is a timeless classic work of art.
When Brabantio seeks vengeance (for "stealing" his daughter) on Othello, Othello expresses his actions will "tongue out his [Brabantio's] complaints" (1.2.21)....