Othello has something of the structure of a morality swordplay, with Othello caught betwixt Desdemona and Iago, the good angel and the evil angel. Iago is the the master of appearances which he seeks to put to work as realities; Desdemona, cares nothing for appearances. (Routledge 68) Othello stands between the two seeing appearances and realities as indissoluble, the object of the attentions and the assumptions of both. The play is said to be largely a contrast between illusion and reality.
From the first position of the play Othello is not a part of the action which involves Iago and Roderigo even though it concerns him, he is mentioned only as he and him. At the intercept of this first facial expression he is referred to in terms of his consort; black ram, Barbary horse, and thick lips respectively. Othello himself appears in the beginning of the second scene and still his name is not mentioned until later in scene three when he is referred to as valiant Othello by the Duke of Venice.
In Cyprus, Othellos ship will be the last to reach in Act 2 scene 1 and he will stand away while Iago and Cassio supposedly discusses Desdemona in Act 4 scene 1. Lastly when he is not there to see for himself he assumes that Cassio is dead after the campaign takes place in Act five scene 1. In all of these instances Othello is outside of the occurrences and according to Sparknotes he is a cultural and racial outsider in Venice. Othellos status as an outsider may be the reason he is a great deal(prenominal) easy prey for Iago. (Sparknotes)
Othellos dilemma is very much his own; initially he is presented to the reader as a man who is at peace with himself and this is seen as he responds to Iagos call to go inside from a confrontation with Desdemonas father, to which he replies:
Not I; I must be found.
My parts, my...If you want to get a full essay, order it on our website: Ordercustompaper.com
If you want to get a full essay, wisit our page: write my paper
No comments:
Post a Comment