The nature of the Moor is noble, confiding, tender, and generous; but his blood is of the most inflammable kind; and being once roused by a sense of his wrongs, he is stopped by no considerations of remorse or pity till he has given a loose to all the dictates of his rage and his despair.
The truth of conception, with which timidity and boldness are united in the same character, is marvellous. What dost thou say, Iago?
Her romantic turn is only a consequence of the domestic and practical part of her disposition; and instead of following Othello to the wars, she would gladly have "remained at home a moth of peace," if her husband could have staid with her. What a full fortune does the thick lips owe, If lie can carry her thus!
Othello is a tragedy written by the big dog of English theater himself: This is probing to the quick. Arise black vengeance from the hollow hell; Yield up, O love, thy crown and hearted throne To tyrannous hate!
We will just give an illustration or two.
Call up her father: She is introduced, just before Iago begins to put his scheme in practice, pleading for Cassio with all the thoughtless gaiety of friendship and winning confidence in the love of Othello. And but my noble Moor Is true of mind, and made of no such baseness, As jealous creatures are, it were enough To put him to ill thinking.
Iago is to be sure an extreme instance of the kind; that is to say, of diseased intellectual activity, with the most perfect indifference to moral good or evil, or rather with a decided preference of the latter, because it falls more readily in with his favourite propensity, gives greater zest to his thoughts and scope to his actions.
Can this be true? The difference of their thoughts and sentiments is however laid open, their minds are separated from each other by signs as plain and as little to be mistaken as the complexions of their husbands. In the scenes, where he tries to work Othello to his purpose, he is proportionably guarded, insidious, dark, and deliberate.
It is certain that nothing but the genius of Shakespear could have preserved the entire interest and delicacy of the part, and have even drawn an additional elegance and dignity from the peculiar circumstances in which she is placed. It teaches him that there are and have been others like himself, by showing him as in a glass what they have felt, thought, and done.
One of his most characteristic speeches is that immediately after the marriage of Othello. What a contrast the character of Othello forms to that of Iago! It leaves nothing indifferent to us that can affect our common nature.
So would not I: IT has been said that tragedy purifies the affections by terror and pity. It is in working his noble nature up to this extremity through rapid but gradual transitions, in raising passion to its height from the smallest beginnings and in spite of all obstacles, in painting the expiring conflict between love and hatred, tenderness and resentment, jealousy and remorse, in unfolding the strength and the weakness of our nature, in uniting sublimity of thought with the anguish of the keenest woe, in putting in motion the various impulses that agitate this our mortal being, and at last blending them in that noble tide of deep and sustained passion, impetuous but majestic, that "flows on to the Propontic, and knows no ebb," that Shakespear has shewn the mastery of his genius and of his power over the human heart.
The business of the state does him offence. Nor from my own weak merits will I draw The smallest fear or doubt of her revolt, For she had eyes and chose me. Nay, when I have a suit, Wherein I mean to touch your love indeed, It shall be full of poise, and fearful to be granted.
His farewell speech, before he kills himself, in which he conveys his reasons to the senate for the murder of his wife, is equal to the first speech in which he gave them an account of his courtship of her, and "his whole course of love.
The picturesque contrasts of character in this play are almost as remarkable as the depth of the passion. Is he not jealous?No Fear Shakespeare by SparkNotes features the complete edition of Othello side-by-side with an accessible, plain English translation.
Welcome to the new SparkNotes! Your book-smartest friend just got a. Othello characters analysis features noted Shakespeare scholar William Hazlitt's famous critical essay about Othello's characters Othello Characters Analysis features noted Shakespeare scholar William Hazlitt's famous critical essay about The picturesque contrasts of character in this play are almost as remarkable as the depth of the.
For some, the play's portrayal of a black man who marries and then brutally murders a white woman in a fit of rage and jealousy makes Othello a racist play.
For these critics, Shakespeare seems to endorse a xenophobic (anti-foreigner) attitude that was pretty common throughout England and. Shakespeare makes extensive use of soliloquies in his plays to share the inner thoughts of his characters and to reveal crucial information with his audience.
Through them, characters inform the. In this early speech, Iago explains his tactics to Roderigo. He follows Othello not out of “love” or “duty,” but because he feels he can exploit and dupe his master, thereby revenging himself upon the man he suspects of having slept with his wife.
Character Analysis of Iago from Othello Othello: Iago the Con. character in the tragic play "Othello," by William Shakespeare, is "Honest" Iago. In William Shakespeare's play, Othello, Iago's hatred toward the Moor, Othello, leads him to devise a plan against him.Download