Othello contect

Ania Loomba Black pekple were usually typed as godless, bestial and hideous, fit only to be safe by Christians
Coleridge It would be something monstrous to conceive this beautiful Venetian girl falling in love with a veritable Negro
Coleridge [iago motivated by] motiveless malignity
Coleridge [Desdemona’s betrayal brings] a civil war in his heart
Coleridge Othello must not be conceived as a Negro, but a high and chivalrous Moorish chief
Honigman Iago enjoys a god-like sense of power ‘liar, betrayed, mental torturer’
Fred West Iago has all the psychological traits of a psychopath
Fred West It isn’t sufficient to simply drape Iago’s to ‘Master Evil’ or a Vice… this limited view is an injustice to his character
Richard Raatzch The phonetic affinity between ‘ego’ and ‘Iago’ could be intentional, as his character is egotistical, egoistic and egocentric
Ingriss Iago’s skill mastery can be compared to that of a devil destroying the lives of its victims
F.R Levis and T.S Elliot [Othello] has a propensity to jealousy and possess a weak character
F.R Levis and T.S Elliot [Othello] too stupid to b regarded as a tragic hero
F.R Levis and T.S Elliot Othello dies belonging to the world of scion in which his true part lay
Ania Loomba Othello should not be read as a patriarchal, authoritative and racist spectacle, nor as a show of female or black superiority. The play should be used to examine and dismantle racism and sexism of the leadership of the state
Ania Loomba The threat of a black man and a white woman [faces the patriarchal society]
McEvoy Othello is both a fantasy of interracial love and social tolerance
Neely Desdemona and Emilia become not the victims of marriage, but of male characters who view them through the lenses of romantic idealisation and anxious misogyny
Neely [Emilia] wifely virtues of silence, obedience and prudence… making herself subservient to him
Fletcher Women not only had to be chaste, they had to be seen as chaste. Silence, humility and modesty were significant
Critics at the time Iago’s hatred stems from racism; Iago hates Othello only because he is black and has more power than him
A.C Bradley Desdemona is helplessly passive
A.C Bradley [Othello] passionate but self-controlled: so noble
A.C Bradley Such jealousy as Othello’s converts human nature into chaos, and liberated the beast in man
A.C Bradley [Othello] self reliant and decides and acts instantaneously
Finyan O’Toole He is not tragic, merely pathetic
George Bernard Shaw The essence of drama is conflict
Drakakis Reputation as a multicultural republic
Dostoevsky Othello was not jealous, he was trustful
Honigman His humour also makes him seem cleverer than his victims
Goddard [Shakespeare bestowed] the highest intellectual gift [on Iago]
F. R Leavis Self-dramatising trick
Ania Loomba Othello is predisposed to believing [Iago’s] pronouncements about the inherent duplicity of women, ad the necessary fragility of an ‘unnatural’ relationship between a young, white, well-born woman and an older black soldier
W.H Auden [Iago] The joker in the pack
F. R. Leavis [Othello has a] self- dramatising trick
Hugh Quarshie [Iago’s understanding of Venice is from a] street level
Adrian Lester Nothing in that play happens because he is black
Adrian Lester [psychiatrist friend called it a] busman’s holiday [link to Othello syndrome]
Adrian Lester [did research on what being a child solider does to a person, found out Othello could’ve been fighting since 7] could be linked to PTSD
Janet Suzman [Desdemona] it’s an active death

You Might Also Like