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Desdemona And Othello's Relationship Essay Example

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Othello Essay

Othello Essay | Essay The Marriage of Othello and Desdemona in Shakespeare's Othello

Summary: Essay examines the suitability of Desdemona and Othello in William Shakespeare's Othello. Highlights the reasons for their unsuitable union including the foundations on which the relationship was built and the racial difference between the pair. Also deals with the betryal of Desdemona's father to forge this union and the affect that has on all.

The marriage of Othello and Desdemona in Othello

In my opinion the marriage of Othello and Desdemona is curious, it is unstable and unsuitable. It is unstable because of the foundations on which the relationship has been built and was seen as unsuitable because of the racial difference between the pair. The relationship is based on admiration and pity rather than love. `She loved me for the dangers that I had passed. And I loved her that she did pity them.' It is unsuitable because Desdemona has been brought up to find a suitable partner and Othello is not that person. The relationship could only happen if Desdemona betrayed her father and this act of betrayal became a weakness between the couple and a theme throughout the marriage. `How to respect you; you are my lord of all my duty. I am hitherto your daughter. But here's.

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Examine how Shakespeare presents the relationship between Othello and Desdemona here and elsewhere in the play

Examine how Shakespeare presents the relationship between Othello and Desdemona here and elsewhere in the play.

This section of the play is where Othello has just arrived in Cyprus and they have found out there was a storm in which the Venetian ships survived but the Turkish ships were destroyed. Othello and Desdemona have a strong relationship, which is full of love and devotion. However, this changes throughout the play as, in Act 1 Scene 3, we hear of Iago's plan to ruin their marriage because he suspects that Othello has slept with his wife:

"He's done my office. I know not if't be true

But I, for mere suspicion in that kind,

Will do as if for surety."

This is Iago's reasoning for hurting Othello, even though he does not know if it is true, but he wants to get revenge anyway. We then see Desdemona and Othello in love but we can also see the Iago is plotting in the background to get his revenge, during Act II and then throughout Act III he is putting his plan into action by playing around with Othello's mind, telling him that there is something going on between Desdemona and Cassio and putting ideas into his head that Desdemona is having an affair behind his back.

Illustration of Othello and Iago

This goes on for a while until Othello finally breaks and first of all hits Desdemona in Act IV Scene 1.

Throughout the novel, Shakespeare uses a wide range of literary and linguistic devices to present the relationship between Desdemona and Othello. This is shown in the given section from Act II Scene 1 and elsewhere in the play.

In this section, from Act II Scene 1, we can see that both Othello and Desdemona are deeply in love with each other. This is shown through the way they great one another after their journey, apart, to Cyprus:

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Othello and Desdemonas Relationship Essay - 1461 Words

Othello and Desdemonas Relationship

Question: Ultimately, in this Shakespearean drama, it is the representation of intense human relationships that captivates audiences. Explore the representation of at least ONE intense human relationship in Othello, evaluating its significance in the play as a whole.

Othello is an Elizabethan Shakespearean tragedy written by William Shakespeare in the early seventeenth century. The play is constructed to evocativelythe sixteen hundreds. contrast (through setting, staging and language) the social order imposed by The play first takes place on a street in Venice to the martial law and the breakdown of relationships in the outpost of Cyprus. The protagonistand tells the story of, the a powerful but culturally insecure Moorish general, Othello, defines his military and personal relationships whose life is ruined by histhrough an obsession of with reputation and, honour and the convictions of the deceitful soldier, and Othello’s single-minded friend, Iago. There are many extreme human relationships between lovers, friends, masters and their servants present in Othello, such as the jeopardised military relationship between old friends Othello and Iago and the intensity of Othello and his wife Desdemona’s relationship. Othello and Desdemona’s relationship is based on admiration and pity rather than love;, eventually, the destruction of their relationship, due to Iago’s revenge for his own sundered relationship, leads to the downfall of Othello and the determination of many other characters’ lives. It is this wider impact of intense relationships and the fact that Ttheir relationship is unstable and unsuited based on racial difference and Othello being an outsider to Venetian society that captivates audiences and resonates beyond the play’s original context. The lack of positive growth within Othello and Desdemona throughout the play ultimately represents the tragedy, common to the controversial nature of Shakespeare’s writing.

Desdemona and Othello’s marriage.

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Towards the ends of Othello both Emilia and Desdemona are confirmed as tragic heroines. Throughout the play, Emilia is beaten down by Iago, as a result of the gender inequality of the time and her low status as a woman. In the last scene though, she finally breaks through this and finds her voice and stands up to patriarchal domination, which leads her to her death, confirming her to be a tragic heroine. Differently, Desdemona starts off as being independent; standing up against her father by marrying Othello against his will. But throughout the play she becomes innocently complicit and naïve to Iago’s scheming and in addition, her marriage encourages her to behave as a woman of the time should and be submissive to Othello . Therefore, despite her innocence at the end of the play, she succumbs in tragic obedience. The character Emilia’s perepeteia during Othello is in giving the handkerchief to Iago during the middle of act three. During this scene she shows herself as the typical Venetian woman when she says ‘what will you give me now for that same handkerchief? Highlighting, that her loyalties to her husband come before her loyalties to Desdemona . Furthermore later on in the scene when telling the character Iago of the handkerchief ‘that which so often you bid me to steal’ this is the audience’s first hint of Iago letting someone in on his plan. Which is also the.

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‘Othello ' begins with a meeting between Iago and Roderigo outside Brabantio's house. We are taken into the plot through the two men's animated discussion about the fact that Othello has eloped with Desdemona of whom has captured Roderigo's heart. We learn of this affair as an act of stolen love or ‘witchcraft' on Othello's part. Othello is portrayed very badly in this scene and Iago's wit makes him truly believable. The fact that Othello is written about as a ‘burglar' or ‘foul thief' suggests to the reader that he is not worthy of Desdemona . However, our assumptions are foiled when Othello is finally asked for his side of the story. ‘True I have married her. That is the top and bottom of my offence, no more. I won his daughter'. Perhaps it is his version of the story, the method by which he attained this ‘treasured gift' that warms our hearts to the ‘black ram'. It is easy for one to sympathise with the beautiful tale of love. How she ‘loved me for the dangers I had passed, and I loved her.' Othello won her through his impressive stories and adventures he encompassed when he was travelling. The whole ordeal of the elopement serves to indicate the fact that there must be a strong bond between the two characters. Desdemona and Othello both lost extremely good reputations. Desdemona . ‘a modest maid of such a still.

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"Frequently drama teachers will explain to their students that the essence of drama is conflict. In Shakespeare's Othello . conflict on the social and political levels are an essential part of the story. Yet within the relationship of Othello and Desdemona . one that should be conflict-free, we find the most important and the deepest rifts. The difference that has received the most attention in recent years is their interracial marriage. During the trial of O. J. Simpson, media used the play as a comparison. But there are other factors at work in their relationship that go beyond racial difference, for example, age, experience of life, and a lack of knowledge about sex, love, and each other. The convention of an older man in love with a much younger love interest had been a staple of comedy since the days of Aristophanes, and had survived through much English literature, as in Chaucer's Canterbury Tales for instance. Shakespeare, however, takes the theme and twists it, affixing it as tragic motif to this mismatched couple. In the play's opening act, Othello relates how he and Desdemona began their relationship . Brabantio had invited Othello to his house and during those visits, Othello told stories of most disastrous chances, Of moving accidents by flood and field, Of hair-breadth 'scapes i' th' imminent deadly breach, Of being.

1589 Words | 5 Pages

In the play, The Tragedy of Othello . Shakespeare really tests our conception as to what love is, and where it can or can't exist. Judging from the relationship between Desdemona and Othello . through Nicholson’s "Othello " And The Geography Of Persuasion." the play seems to say that marriage based on an innocent romantic love or profane love is bound to fail. Shakespeare is pessimistic about the existence and survival of a true type of love. There is a common thread of betrayal and deceit among his female characters, especially. Othello and Desdemona . as portrayed in the play, are the two greatest innocents there ever were. The two appear to love one another romantically at first, but this romantic love becomes more of a profane love, or more likely was truly a profane love all along. This comes to pass because there is no foundation for a relationship here. There is no trust, no communication, and no understanding. Othello has spent most of his life in battle, which makes him good at some things-- namely, battle. Othello says "Rude am I in my speech,/ More than pertains to feats of broils and battle" ( ). Desdemona is little more that a girl, inexperienced in the ways of the world. She is taken in by Othello's war stories. Desdemona takes one look at Othello and she is swept off her.

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Thank you for that warm welcome. I am honored to be invited here to this seminar on ‘interpretations of Shakespeare's characters’. EMILIA: “O, who hath done this deed?” DESDEMONA . “Nobody; I myself. Farewell.” The short scripted speech and claim of guilt symbolize the loss of strength in Desdemona’s final words as she dies. This is just the first example of many that prove that the statement ‘Victims are actually the makers of their own demise’ is true in relation to that of the character Desdemona in the play Othello . Specifically Desdemona’s flaws, her betrayal, her manipulation and denying her initial instinct can be seen in correspondence to textual evidence from the play as well as Oliver Parker’s 1995 film. Plays are meant to be seen, preformed and interpreted, so how is Desdemona truly presented? Dictionary.com defines a victim as ‘a person who is deceived or cheated, as by their own emotions or ignorance or even by the dishonesty of others’ and demise is defined as ‘failure or termination’ by the english dictionary. By these definitions we can conclude that Desdemona is a victim, and that her demise does happen. But is she the maker of her own demise? Othello . is a tragedy. Much like many of Shakespeare’s plays, the tragedy is seen by the characters loss of potential greatness through their flaws and decisions. Critic G.Wilson Knight believes that Desdemona’s.

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tragedy Othello is about a Moorish general in the service of Venice who is lured into murderous, self-destructive jealousy by a scheming subordinate. Andrew Davies's modern retelling is set in New Scotland Yard and has all the Bard's wit, romance, pity, and terror -- and then some. Davies is the screenwriting sensation behind a fascinating mix of theatrical and Masterpiece Theatre productions including Bridget Jones's Diary, The Tailor of Panama, Take a Girl Like You, Wives and Daughters, A Rather English Marriage, Emma, Moll Flanders, Pride and Prejudice, Circle of Friends, Middlemarch, House of Cards, and To Serve Them All My Days. An accomplished author as well, Davies has published a collection of short stories, Dirty Faxes, and two novels (and their companion screenplays), Getting Hurt and B Monkey. In addition to numerous children's books, he has also written for children's television, including two series of Marmalade Atkins. Davies has won numerous awards, including an Emmy, two BAFTA awards, three Writers Guild awards, three Broadcasting Press Guild awards, and a Monte Carlo Television Festival award. In the spring of 2002, Masterpiece Theatre will present his adaptation of Anthony Trollope's The Way We Live Now and the following season his version of Boris Pasternak's epic romance of the Russian revolution, Doctor Zhivago. Davies discussed his version of Othello in a recent conversation with Masterpiece Theatre.

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William Shakespeare's play, Othello . there are many questions that the reader would ask about the love that Othello has for Desdemona . During many aspects of the play, Othello's love for his wife is contradictory and questionable. Throughout Shakespeare's play, Othello displays that he does not truly love Desdemona through his relationship was based on pity and not true love, the lack of trust Othello had for Desdemona raised false suspicion and Shakespeare's design to create a tragedy with miscommunication between Othello and Desdemona . First of all, the relationship between Othello and Desdemona is weak because it is merely based on pity and not true love. Othello tells the Duke of Venice about how his love for Desdemona began after he was accused of eloping and marrying her without her consent. "Twas pitful,twas wonderous pitful;/She wished she had not heard it, yet she wished/That heaven had made her such a man.She thanked/me,/… She loved me for the dangers I had passed,/ And I loved her, that she did pity them."(1.3.160-167) In this passage, the Duke of Venice asked Othello why he loves Desdemona . he tells him that his love has grown as Desdemona would listen to his stories about war and pity them. By.

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Othello's Relationship with Iago From Hamlet, an ideal prince, and other essays in Shakesperean interpretation: Hamlet; Merchant of Venice; Othello ; King Lear by Alexander W. Crawford. Boston R.G. Badger, 1916. The first scene of Othello presents a conversation between Roderigo, the disappointed suitor of Desdemona . and Iago, concerning incidents of which Othello is the chief agent. Othello and Desdemona have eloped, it seems, leaving Roderigo disappointed and distressed. He complains that Iago had not forewarned him in order that their marriage might have been prevented. But Iago, though in close touch with Othello . protests he did not "dream of such a matter," implying that it was as much a surprise to him as to any one. For some time lago had what he considered good reason for hating the Moor, though this latest episode enables him for the first time to see through the whole affair. Othello's attachment to Desdemona now explains why he was passed by and the new appointment of lieutenant to Othello was conferred upon Cassio. lago now suspects that the post was given to Cassio by reason of Desdemona's friendship for him, and because he was a go-between in the courtship of Othello and Desdemona . this lago now declares his hatred of the pair, and intimates his willingness to join Roderigo in an attempt.

2536 Words | 7 Pages

Shakespeare s Othello - Othello s Relationship with Iago and Iago s Motive

Othello's Relationship with Iago

From Hamlet, an ideal prince, and other essays in Shakesperean interpretation: Hamlet; Merchant of Venice; Othello; King Lear by Alexander W. Crawford. Boston R.G. Badger, 1916.

The first scene of Othello presents a conversation between Roderigo, the disappointed suitor of Desdemona, and Iago, concerning incidents of which Othello is the chief agent. Othello and Desdemona have eloped, it seems, leaving Roderigo disappointed and distressed. He complains that Iago had not forewarned him in order that their marriage might have been prevented. But Iago, though in close touch with Othello, protests he did not "dream of such a matter," implying that it was as much a surprise to him as to any one. For some time lago had what he considered good reason for hating the Moor, though this latest episode enables him for the first time to see through the whole affair. Othello's attachment to Desdemona now explains why he was passed by and the new appointment of lieutenant to Othello was conferred upon Cassio. lago now suspects that the post was given to Cassio by reason of Desdemona's friendship for him, and because he was a go-between in the courtship of Othello and Desdemona. this lago now declares his hatred of the pair, and intimates his willingness to join Roderigo in an attempt to harass Othello, and if not too late, to prevent his marriage.

After his usual manner Shakespeare has made the opening conflict, that between Othello and lago, the chief conflict of the play. But this is a conflict between two men who had up to this time been the nearest and warmest friends, one a great general and the other his most trusted officer. There is plenty of evidence throughout the play that up to this time there had been the fullest confidence between the two, and both alike were looked upon as men of excellent ability and sterling character. Othello was known as a noble Moor and had attained the highest military position, and therefore must have had the fullest confidence of the state and the senate. Every one regarded lago also as an upright and noble-minded man, and he had earned for himself the epithet of "honest." But all at once the "honest" lago becomes the mortal enemy of the "noble" Moor. We must then account for this change, as upon this change all the development of the play depends. This is the play. Shakespeare has apparently been at pains to show us what lago's attitude toward the Moor was, as well as what it is, and the explanation of the change can be found only in the play itself. We must explain it either from the incidents of the play or from the words of the play, or from both.

The incidents that take place at the opening of the play, at the same time as the change in the attitude of lago, are two, the courtship and marriage of Othello and Desdemona, and the promotion of Cassio to the position of lieutenant under Othello. The words of Iago at the opening of the play show that he regards the latter as an offence to himself, and therefore makes it the ground of his hostility to Othello. He complains that Cassio has "had the election," and that, "He (in good time) must his [Othello's] Lieutenant be,
And I (bless the mark) his Moorship's Ancient."
(I. i. 34-5.) At a later time he comes to see some connection between the two incidents, and believes that Cassio got the appointment because of an old friendship with Desdemona, and probably because he carried messages between Othello and Desdemona during their courtship.

When Othello had occasion to appoint a lieutenant, "Three great ones of the city in personal suit" appealed to him on behalf of lago, only to find that he had already chosen Cassio. It appeared to be a matter of personal preference only, for he could give no reason for the choice of Cassio. This capricious choice lago at once took as a very great slight upon him, and rightly so. As one of "the usual lunacies," so-called, in the interpretation of the play, however, Professor Bradley says, "It has been held, for example, that Othello treated lago abominably in preferring Cassio to him." But the "lunacy" on this occasion is to be charged to Othello in utterly disregarding and flouting the principle of preferment that holds in military circles more rigorously than perhaps anywhere else. This is the basis of the complaint of lago, and arouses at once his suspicion and bitter resentment, and soon turns him into an abiding but very stealthy enemy.

If Othello can be capable of such gross violation of all military rules and practices, lago sees that he can no longer trust Othello, and that all confidence between them has virtually ceased to exist, and no longer can he hope for the intimate relationships of former days to continue. This rewarding of Cassio with a military position because of personal service to himself and Desdemona was a most dangerous thing for a general to do, and opened up all kinds of possibilities of trouble, not only with lago, but with the discipline of all his forces. Only the fortune that favors fools could save him from disaster. But it was fatal when one of the disposition of lago was involved, for it turned him at once into an enemy, not only to himself, but to all the others connected with the insult, to Desdemona and Cassio, linking all three in his plan of revenge.

Here, then, is an outstanding fact that too few critics have even observed, and none have adequately explained. At this point in the lives of Othello and lago a great change comes over their relations. It cannot be too much insisted upon that up to this time they had, been the warmest and closest friends, and that lago had been in fact the confidential officer of Othello. Now all at once, for some reason that has not been understood, lago has been turned into the bitter enemy of his old friend, Othello, and as if to mark the importance of this for the interpretation of the play, the dramatist has chosen this point in their relations for the opening scene. But in spite of all that has been observed about the importance of Shakespeare's opening scenes for the exposition of his dramatic art, little attention has been paid to this fact in respect to Othello. The task of the critic at present, then, is to discover the cause of this great change in the relationships of these two men, and from this to trace the further development of the play.

Ever since Coleridge it has been the common thing, though by no means universal, to attribute the whole trouble to the sudden and unmotived malignity of lago, or to forget the fact that it has been sudden and unlike anything heard of before on the part of lago, and to assume only the malignity. Later critics, however, have not been able to overlook the emergence of the malignity at this time, and have attempted to explain it from their own imaginations rather than from the words of the play. Professor Bradley may be taken as voicing the best that can be said by those who would lay all the blame of the tragedy upon lago, but who feel they must account in some manner for this sudden malignity. Not content with charging lago with the evil the play undoubtedly lays upon his shoulders, Professor Bradley suggests that lago has always been in reality a villain, and has worn his "honesty" only as a mask, which now he throws off, revealing suddenly the real villain that he is, his true nature. He has always been, says Professor Bradley, "a thoroughly bad, cold man, who is at last tempted to let loose the forces within him." But this is sufficiently answered for the present if we have succeeded in discovering a change of attitude on the part of Othello, due to his infatuation with Desdemona, and to the fact that he found Cassio very [helpful in that regard]. A complete criticism of the assigned motive of lago, and an attempt at the elaboration of his real state of mind must be left until after we have followed the conflict through the initial stages, when we shall be better able to judge the real merits of the case.

Sufficient reason has been found, however, for declining to admit that the drama is the story of the intrigue of lago, and as the name would intimate it is the play of Othello. There is also now justification for attempting to explain the play as in the main the tragedy of the Moor in his new home in Venice. In our attempt to find the explanation of the tragedy in the hero, as assigned by the dramatist, we seem forced to say that now at last, when a crisis comes upon him, the great Moorish general, transplanted from the wilds of his African or Spanish home into the cultured and refined life of Venice, finds himself unable to bear honorably all the great responsibilities of his high position and his new life. It may be that the dramatist, who was a man of peace and had little admiration for the Caesars and 'other great warriors, is here taking his opportunity to show how little of the higher virtues dwells in great military ability. But the fact that he makes Othello a Moor, and so designates him throughout the play, must also be accounted for.

Up to this time Othello had borne himself nobly in his adopted state, and had the full confidence of the people and the senate, and was universally acknowledged to be the first soldier of Venice. But at this point he fails. For once, and for the first time, he allows purely personal considerations to sway him from following the established order of preferment in the army, and does a great injustice to lago. With no reason that he dare give, he appoints a wholly inexperienced man in preference to a tried and proven soldier who had fought under his own eyes, "At Rhodes, at Cyprus, and on other grounds Christen'd and heathen." (I. i. 81-2.) This wholly unwarranted rightly grieved lago, who took it as a great slight, for he believed he was entitled to promotion. It also shook his confidence in Othello, and roused in him all his force of resentment and turned him into a bitter enemy of Othello.

Thus far in Shakespeare's play there is not so much as a hint of the motive assigned to lago in Cinthio's novel, the presumed source of the play. The dramatist has almost completely changed the point of view of the whole story, by inventing an entirely new, and perhaps loftier if not better, motive for his lago. On the other hand, he transformed the one he found in the story, and invented the character of Roderigo to bear that vulgar part. Then he invents a second motive for Iago, and makes him hate Othello also for his supposed relations with Emilia. By way of revenge for this offence, lago's first impulse is to try to corrupt Desdemona, and thus get even with Othello. But how little this was his intention is seen by the fact that he never seems to have seriously considered it. In place of this, however, he has an alternative that becomes his ruling motive, to put Othello into a jealousy of Cassio. This he thinks will serve to revenge himself on Othello for both offences at one blow: And nothing can, or shall content my soul
Till I am even'd with him, wife, for wife.
Or failing so, yet that I put the Moor
At least into a jealousy so strong
That judgment cannot cure.
(II. i. 331-5.) The two offences with which lago charges Othello are both matters of honor, and mark phases of Othello's inability to sustain the new and exalted life of his adopted country. He was quite equal to the task of maintaining his military, or semi-barbaric, relations to the state, and rose to the highest command in Venice. But in matters of personal honor he is not above reproach, and in his obtuseness offends lago in two ways. Some critics think it is because of such offences as that with Emilia that Othello is unable to maintain an undisturbed married relationship with his refined and delicate Venetian bride. But his guilt is left very doubtful by the play, and therefore this conclusion is unwarranted. It is sufficient to observe, however, that the clear-headed lago perceives this to be his most vulnerable point, and by enlisting the dupe Roderigo, attacks him where he is weakest.

lago's dominating personality quickly subjects Roderigo to his schemes, and makes him a willing agent in his revenge. The first thing they do is to rouse up Brabantio, and under his leadership institute a search for the eloping pair. Shakespeare has here greatly enlarged and dignified the meaning of his play by making Roderigo, and not lago, the disappointed suitor of Desdemona. lago is thus reserved for the more tragic passion, and Roderigo bears the baser motives, and at; the same time supplies the needed money, and helps to carry out the intrigues of the crafty ancient. Their joint appeal to Brabantio will be the best possible plan of attack on Othello, as it will show Othello in opposition to the law and to a senator of the state. lago wishes at first only to plague Othello with flies, but the sick fool, Roderigo, stupidly hopes still to become the accepted lover of Desdemona.

lago sees it is quite out of the question to enter upon a course of open hostility and revenge against his General, and the appearance of friendliness will better serve his purpose. His inferior position compels him to play the hypocrite, and appear to continue faithful to Othello. But this very position enables him the better to work out his purpose, which is not to destroy Othello, but only to disturb his relations with Desdemona, and to put him into an agony of jealousy. lago does not fully understand the fierce nature of Othello, and does not appear at first to foresee the terrible extremes to which his barbaric and ungovernable passion will drive him. He realizes that he must at no time be found in a position "Against the Moor" (I. i. 162), and therefore separates himself from Roderigo, and hastens to join himself to Othello, in order to appear on his side in the ensuing disturbance.

How to cite this article:

Crawford, Alexander W. Hamlet, an ideal prince, and other essays in Shakesperean interpretation: Hamlet; Merchant of Venice; Othello; King Lear. Boston R.G. Badger, 1916. Shakespeare Online. 20 Aug. 2009. (date when you accessed the information). _________

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Lectures on Othello. Othello's Jealousy
The Moral Enigma of Shakespeare's Othello
Othello as Tragic Hero
Stage History of Othello
Othello. Plot Summary
Othello. Q & A
Quotes from Othello

Othello. Essay Topics
Shakespeare's Sources for Othello
The Problem of Time in Othello