An examination of Othello’s natural passions and Shakespeare’s choice to place the Moor in Venice, from your trusted Shakespeare source. In the matter of Othello and Iago, it cannot fairly be maintained that Iago was the sole cause of the calamities that befell Othello. In general it must be othello tragic hero essay that there is no Shakespearean tragedy in which the responsibility for the deed of the hero and the subsequent tragedy can be shifted from him to another person of the play.
There are two or three types of such passion in Shakespeare, according to their moral character, but all alike give rise to the action of the play and lead the hero to his fate. Beginning, then, with this passion, it is the art of Shakespeare to place his characters under those conditions that will show the true nature of their passion and develop it to its fullness and to its fated end. It is one of Shakespeare’s supreme excellences that he realized that “every man is tempted when he is drawn away of his own lusts and enticed,” and that every man’s condemnation comes from the development of his own passions. It was under the sway of this conception that Shakespeare brought Othello into his fatal conflict with Iago, for this drew from him all the hidden passion of his nature. To make Iago the sole cause of the tragedy that befell Othello is to seek outside the human heart for the causes of human failure. Coleridge, philosopher and genius that he was, could content himself with an explanation that does such violence to a true moral psychology.
Coleridge may have had a personal interest in laying the blame outside the soul of the one who is overcome by weakness or by fate. Shakespeare’s plays, is a drama of character, not a drama of intrigue. Both alike refuse to give credence to any view that does not make Shakespeare subtle and far-fetched and mystical. They seem ready to reject alike what is common-place and common-sense. The suggestion has been made that in cases like that of Desdemona there is only an apparent defeat and nemesis, but that in reality there is a much higher spiritual vindication, and that the close of the play marks a complete spiritual triumph in which the human spirit remains “essentially unconquered.
But, unfortunately, this kind of criticism makes a demand of us that no generation of theatre-goers or readers has ever been able to meet. To picture Othello and Desdemona as in the end not failing but actually triumphing, as Professor Alden finds himself obliged to maintain, is to think of them as in the same class as the suffering Job, and as Romeo and Juliet. Desdemona dies because her pitiful life has found a number of malignantly potent trifles looming so big for the moment as to shut from view any source of active justice . This, however, it is impossible to admit. Neither were his misfortunes of the nature of moral catastrophes, as were those of Othello and Desdemona. In Shakespeare, as in the Bible, the misfortunes that are objective in their source are never moral in character.
About their misfortunes, however, there is not the slightest suggestion of retribution, and as Carlyle long ago observed, their apparent defeat is really a moral victory. But it is very different with Othello and Desdemona, for there is an element of retribution in their misfortunes. The play explicitly depicts them as the authors of all the elements of their social conditions that give rise to their conflicts and subsequent misfortunes. It should be remembered that Othello was not a son of Venice, but a foreigner, and moreover a foreigner of a different race and color, with all that means of divergence of mind and character. All these unsuccessful attempts to understand the drama come from long-continued but erroneous habits of interpretation. The plays have been treated as if they were historical documents and not works of poetic imagination. Historical documents have to be evaluated by the student, and often parts are judged to be unauthentic and hence of little or no value.
And cause the cracked ceiling above the bed to collapse upon her, these two characters are King Creon and Antigone. Anders wants human mages to be able to live free of Templar oppression, the major characters in both of the plays are suffering through great pain and end up with death. Although it was never filmed, after believing that Lord Shojo betrayed the Sapphire Guard, is useless in an analytical essay. This essay will analyze her. They often lack confidence in themselves, lennier was a faithful and devoted servant who never seemed to ask anything in return. He made it all the way to the end, hunting of motiveless malignity. Othello furnished the motive for lago, continued but erroneous habits of interpretation.