To what extent has your personal response to The Tragedy of Othello has been shaped by the enduring power of Shakespeare's characterisation of Othello.

My personal response to Othello has been completely shaped by Shakespeargon?s picture of Othello. The themes and ideas that Shakespeargon tried to convey done the play atomic number 18 all in all done done the rumple of his characters. Othello is predominantly a traditional Shakespeargonan cataclysm umbrageous with post-colonial aspects. This view is support and demonstrated through the characterization of Othello in Othello. Through Othello?s characterization you ar able to discover that Othello is a sad supporter and that Othello is in accompaniment a traditional peripatetic cataclysm. First of all, in Shakespearean tragedy, you leave be traffic with a man of high body politic: a king, a prince, a general, etc. Normally, you entrust roleplay about him from others out front he makes an entrance in the play. Often, this is w present you are given the graduation impression of the immensity of the sadalal gunman through the eye of others. second 1 depicti on 3 47Duke: ?Valiant Othello we must(prenominal) straight employ you?? play 1 tantrum 3 167Othello: ?And sold to slavery; of my redemption thus.? stand for 1 position 3 286Duke: ?Your son-in-law is far more moderately than scandalous.? within the first two acts or so, you become aware of a driveway force within Othello that is nigh, if non entirely, obsessive in disposition. You as well as witness the nature of the intragroup torment he goes through as he follows his obsession. You try both Othellos greatness as a general and man being and his naive, trusting nature that so easily becomes perverse into an obsessive green-eyed fanatic by Iago. Act 3 Scene 3 167-172Iago: ?O beware, my original, of jealousy;It is the green-eyed lusus naturae which doth mockThe meat it feeds on. That cuckold lives in blissWho received of his fate cheats non his wronger;But O, what damned minutes tells he o?erWho dotes, to that degree doubts, suspects, yet fondly loves. Contribu ting to, and completelying the obsession a! nd the control of the sad flaw are misunderstanding, supernatural suggestion, and disaster or witness. Things materialise a split second besides late: the hero operates on what he believes to be the theme rather than what he actually knows to be the case. Soon they are one and the analogous thing to him. Act 4 Scene 2 81Othello: ? ar you non a strumpet??As the flaw and the misunderstandings continue, forward-looking conflicts and complications arise which bring about the shoemakers last or bit-by-bit derangement of all forms of support for Othello, so that by the end, he must face the opposing forces and the province for his actions alone. Othello is confronted with the knowledge that he has erred, that he had misunderstood the billet, that all the tragic events that are hap now or that has happened is in fact, all his fault. Knowing that he alone is to blame, he alone has erred, and judge it is absolutely undeniable in Shakespearean tragedy ? tragic information. Ac t 5 Scene 2 269-279Othello: ?Now, how dost thou numerate now? O ill-starred wench!Pale as they smock! When we shall meet at comptThis look of thine will spue my consciousness from heavenAnd fiends will snatch at it. Cold, cold, my girl, plain like thy chastity. O darned, cursed slave! Whip me, ye devils,From the possession of this heavenly throne! vaunt me about in winds! Roast me in randomness! break me in steep-down gulfs of liquid fire!O Desdemon! slain Desdemon! out of work! O! O!What you see during this process of alienation and closing off is suffering, sleeplessness, rage, confusion, hallucination, and violence as the internal conflicts intensify to an almost insufferable pitch. Act 4 Scene 1 37-38Iago: ?My churchman is locomote into epilepsy. This is his second fit; he had one yesterday. tragic credit inevitably takes place when there is no chance/ prison term to correct the error: it is too late. Once perception occurs, termination speedily follows. Othello pro vides you with a particularly moving demonstrate of ! braveness or at least nobility of heart. With this good-hearted of display, you are left with the feeling that indeed Othello was a monster who should admit been destroyed, accompanied by a kind of sad recognition on our parts that he as well as had greatness in him: nobility, strength, courage. It makes you regret the waste and tragedy of Othello, you are reminded of what could take in been if only he hadn?t erred from the s murderful path. The tragedy of Othello is further enhanced when you see the great love that exists between Othello and Desdemona. Act 2 Scene 1 173-176Othello: ?O, my fair warrior!?Desdemona: ?My dear Othello.?Othello: ?It gives me enquire great as my contentTo see you here before me. O, my soul?s joy??Therefore it is not only tragic for Othello because of his downfall but also because he has not only just lost the love of his life-time in the unfeigned sense (to death) but also mentally or spiritually as well because he misunderstands the situation and thinks that she has betrayed him.

This perhaps, is more tragic for Othello ? not only did he kill Desdemona but he feels betrayed by Desdemona, he loses his trust in Desdemona. Shakespeare?s characterization of Othello as a fix enhances and contributes to the tragedy of Othello. The post-colonialism aspects of Othello?s characterization contributes to a another layer of inwardness of the play. It provides possible explanations for Othello?s actions and why he is so capable to the mechanisations of Iago. Perhaps the background why Othello so easily believes what Iago tells him is because he is in fact insecure of his po sition in Venetian parliamentary law. As he is a fi! x, and is discriminated against:Act 1 Scene 1 89-90Iago: ?Even now, now, very now, an old black pull is tupping your white ewe.?Act 3 Scene 3 448Othello: ?Arise, black vengeance, from thy hollow cell.?Act 5 Scene 2 166Emilia: ?The Moor hath killed my mistress.?? thickset in his heart, Othello believes that he doesn?t deserve happiness, love. He thinks that because he?s black, because he?s a Moor that rage, murder, being betrayed is in his nature. For him it?s far more apparent that Desdemona is cheating on him than it is for him to believe that it is a misunderstanding. As a result of his jeopardy of his position in Venetian federation he is also insecure about his relationship with Desdemona. Because she does not continually quieten him of her love for him, Othello doubts Desdemona?s love and faithfulness. Othello?s fears and doubts are greatly amplified in his mind ? he could be said to have a split personality. He maintains a shield, a block out of the polite, terrific Ot hello to society, however mysterious inside of him he is the angry, daft Moor that is just delay to be unleashed. Act 3 Scene 4 118Desdemona: ?My lord is not my lord; nor should I know him.?Act 4 Scene 1 255Lodovico: ?Is this the noble Moor whom our full Senate turn to all-in-all sufficient?Act 4 Scene 1 259Iago: ?He is much changed.?Shakespeare has demonstrated to me through the characterization of Othello as a tragic hero whose deep insecurities regarding his race, position in society and his relationship with Desdemona that led to his grievous downfall - that Othello is essentially a traditional Aristotelian tragedy with post-modernist influences. Bibliography:Othello by William Shakespeare If you want to constitute a full essay, sound out it on our website: OrderCustomPaper.com

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