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Issues of Race in Othello
us quite natural, so potent is the art of the dramatist; but it confounds us with a feeling, such as we experience in the Oedipus Tyrannus, that for these star-crossed mortals-both Greek: dysdaimones-there is no escape from fate. Footnote 3: Alden,. But literary products cannot be treated in this manner, for every word of a great poet has been elaborated with turious care and is of value to the whole, and cannot be ignored. In the matter of Othello and Iago, it cannot fairly be maintained that Iago was the sole cause of the calamities that befell Othello. _ footnote karen Walker of Will and Grace 1: One instance is worth pointing out, because the passage in Othello has, oddly enough, given trouble.
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If nevertheless we feel it to occupy a place in our minds a little lower than the other three (and I believe this feeling, though not general, is not rare the reason lies not here but in another characteristic, to which I have already referred,-the. It is now time for criticism to reach the conviction that Shakespeare wrote with supernatural in American Literature a very clear notion of what he was aiming at, and not by mere intuition or chance. Whether this would be so in the murder-scene if Desdemona had to be imagined as dragged about the open stage (as in some modern performances) may be doubtful; but there is absolutely no warrant in the text for imagining this, and it is also quite. In the case of Othello and Desdemona he conflict becomes acute and finally fatal between husband and wife, and from this the play takes its character of a hapless mismarriage. Tit., Atlantic Monthly, February, 1910,. He hates women and is obsessed with other peoples sex lives. And with this change goes another, an enlargement in the stature of the hero. Now, the name calls up ideas only of glory departed 'Her long life hath reached its final day but in the age of the poet Venice was gazed on with admiration by the people of every country, and by none with more devotion than those. But it is very different with Othello and Desdemona, for there is an element of retribution in their misfortunes. Such jealousy as Othello's converts human nature into chaos, and liberates the beast in man; and it does this in relation to one of the most intense and also the most ideal of human feelings. I do not mean that in Othello the suppression is marked, or that, as in Troilus and Cressida, it strikes us as due to some unpleasant mood; it seems rather to follow simply from the design of a play on a contemporary and wholly mundane.
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