Roderigo is upset because he loves Desdemona and had asked her father for her hand in marriage. Iago hates Othello for promoting a younger man named Cassio above him, whom Iago considers less capable a soldier than himself, and tells Roderigo that he plans to use Othello for his own advantage. Iago convinces Roderigo to wake Brabantio and tell him about his daughter's elopement. Meanwhile, Iago sneaks away to find Othello and warns him that Brabantio is coming for him.
Othello's Relationship with Desdemona From Hamlet, an ideal prince, and other essays in Shakesperean interpretation: It is at this point that the second of the great problems of the play emerges. The proper understanding of the relations of Othello and Desdemona is equally important with the question of the relations of lago and Othello.
The exposition of these two elements of the play is set forth by the dramatist with his usual clearness, and at considerable length, but has nevertheless escaped the notice of the critics, or has been discounted as a factor in the interpretation.
But it is high time to learn that whatever Shakespeare put deliberately into his dramas is to be considered in the interpretation.
The meeting of the two search parties, each seeking Othello for a different reason, brings the relations of Othello and Desdemona into prominence. The party of Cassio, with the Senate's hasty summons to Othello, serves to give dramatic importance to Othello's great ability as a commander, and to emphasize his military value to Venice.
Brabantio and his troop serve to bring out the private side of Othello's character, hither-to unsuspected. When the two parties meet, Brabantio is in a very quarrelsome mood. The cool words of Othello prevent a clash between the two: The sudden danger from the Turks at Cyprus has made great dispatch necessary, and the Duke has ordered Othello before him "even on the instant.
The Moor now finds that his old friend, the Signior Brabantio, formerly his admirer, has unexpectedly become his accuser before the Senate.
Formerly honored as a friend and as a great soldier, and gladly admitted to Brabantio's house, Othello discovers that he is now considered an enemy, and execrated as the husband of Brabantio's daughter.
For the first time, possibly, Othello becomes aware of the fact that he is not accepted on terms of full and exact equality in all particulars with the Venetians.
It is likely, however, that Othello had feared this, and so took Desdemona in marriage without asking her father, evidently satisfied that as a black man he could not obtain Brabantio's consent. When the matter is brought before the Senate, Brabantio's objections to Othello all have to do with his difference of race and color.
He thinks it utterly unnatural for Desdemona to accept him willingly and knowingly. He cannot conceive how his daughter, a fair maid of Venice, could consent to marry a man of Othello's color and nationality, unless in some way out of her senses.
So preposterous does it appear to him that he must suppose Othello has charmed her with drugs and magic. He cries out in his desperation: He reiterates his belief that it is "against all rules of nature," and speaks of Othello's supposed magic as "practices of cunning hell.
It seems likely that this was also the opinion of the dramatist, for there is abundant evidence that it was always so regarded on the Elizabethan stage. Only the development of the drama will show how far Shakespeare sympathizes with this opinion. Two deeds upon the part of Othello have now brought him into active collision with other persons, and the two are related to each other.
Because of his obligations to Cassio in the matter of his love-making with Desdemona he has appointed him to an important position over lago, thus making an enemy of his faithful officer.
He has also stolen away Desdemona from her father, and secretly married her, making an enemy of Brabantio, who had been one of his greatest admirers among the Senate. In both cases there is evidence of his callousness and dullness of mind.
Up to this point Othello had been able to carry successfully his exalted responsibility in his adopted state, but in these matters he makes a complete break-down.The BBC Television Shakespeare is a series of British television adaptations of the plays of William Shakespeare, created by Cedric Messina and broadcast by BBC srmvision.comitted in the UK from 3 December to 27 April , the series spanned seven seasons and thirty-seven episodes.
Development began in when Messina saw that the grounds of Glamis Castle would make a . Othello, being not white, would therefore be even more likely to be singled out as the Moor of Venice.
There probably weren't a lot of nonwhite people to choose from, so he was most likely quite. Shakespeare and Race: Othello's Relationship with Desdemona.
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, It is at this point that the second of the great problems of the play emerges. Another similarity between the writing styles for the two plays is the role of the protagonist: Othello and prince Hamlet.
Both the protagonists are superior men possessing great courage. But as the play grows Othello is consumed by jealousy while Hamlet by revenge. Literature: An Introduction to Fiction, Poetry, Drama, and Writing, 13th Edition.
This title is currently unavailable on myPearsonStore. We recommend Literature: An Introduction to Fiction, Poetry, Drama, and Writing, MLA Update Edition, 13th Edition as a replacement.
- William Shakespeare masterfully crafted Othello, the Moor of Venice as an Aristotelian tragedy play. The main protagonist of the play, Othello, is the perfect example of a tragic hero. Shakespeare was influenced by Aristotle’s concept of a tragic hero and used Aristotle’s principles to create Othello.