The Hecatomitos Of Giovan Battista Giraldi Cintio

The issue of race is one filled with controversy and passion, even today in the twenty-first centaury. In today’s day and age it is more shuttle and underground then it was in its most recent ‘hay-day’. In our time today we see it as more of a shameful, offensive and intolerant thing, but it was the norm in the early 15th and 16th century. Today those people that are outwardly racist are seen as outcasts. In this essay I will tempt to show how even though it was the norm in Victorian England, Shakespeare already had another mind set, and was trying in this creative way that the mind set of the people was not correct even for that time. How and why did Shakespeare purposely portray Othello the Moor as a tragic hero, like Hamlet or King

In the Shakespeare’s tragedy Othello, Desdemona proves herself to be a well-spoken, intelligent and loyal woman. In the introduction, Desdemona proves much wit with her choice of words and explanations of her love for “the Moore.” In Act 1 Scene 3 lines 187-88 Desdemona makes her case in favor of her loyal marriage to Othello; “So much I challenge that I may profess/ Due to the Moor my lord,” (1.3.187-88). Women of this era were typically given away by their fathers, but it is seen in Othello that Desdemona created her own path and marries the Moor against her father’s wishes. In fact, Brabanzio states that Othello is a “foul thief” who has “enchanted her [Desdemona],” (1.1.63-4). This beginning deception leads to the demise of Desdemona by the end of the play. She proves to be loyal to Othello allowing his destructive path and personality shape her fate into what now

The play begins with the introduction of the confident and well-respected general of the Venetian army, Othello. This version of Othello is calm, brave, and fairly unaffected by any racial prejudices against him. He speaks with great sophistication and respect to others, which indicates both his intelligence and rationality. When he elopes with Desdemona, the

“Othello” begins in middle of an argument between Roderigo and Iago. Desdemona and Othello’s wedding is the main topic of their argument. Desdemona is a Venetian beauty who is treated as a possession of her father, Brabantio, but by marrying an outsider Othello, she goes against the tradition of venetian custom which she is expected to marry a rich man to maintain her family’s honour. Iago reports Brabantio that his daughter is being stolen by Othello. “Awake! What ho, Brabantio! Thieves, thieves!” (1.1. 76). This quote depicts how unmarried women were treated back in 16’s century. However, while everyone in the play thinks that Othello has stolen Desdemona to marry him, Desdemona speaks herself to prove that she truly loves Othello. “That I love the Moor to love with him” (1.3. 246). Also, she even asks for her permission to go to Cyprus with Othello because she can’t stand the thought of remaining at home, which doesn’t have any adventure. There is a comparison between her social class and her

Although Othello is set in Venice and Cyprus, the attitudes and values shared in the text are probably reflective of the attitudes and values of Shakespeare's own society. It is difficult to assess the attitudes and values of people in sixteenth-century Britain to the relatively few blacks living amongst them. We are given an insight into those attitudes and values through the representation of race and

The overarching theme of racial discrimination is bought upon by the differing contexts, is bought upon by the different contexts and therefore settings. Shakespeare’s play is set in

Twelfth Night was thought to be written in 1600-1. The play – known for adhering to a genre of romantic comedy by utilising pathos combined with humour – is listed under comedies in the First Folio of 1623 with another of Shakespeare’s works As You Like It. Twelfth Night adheres to Frye’s theory to some extent. The old world, one of repression, is conveyed through the puritanical beliefs of Malvolio; the green world is conveyed through the theories of disguise and confusion; and a new world is established through the restoration of order and the marriages in Act 5. However, the continuous adherence to the old world through Malvolio and a lack of clear structure when transgressing the worlds limits the extent of Frye’s theory. The flexible structure is perhaps more indicative of Berger’s ‘second’ world theory. My aim is to explore the limitations of the green world within the play Twelfth Night.

When Brabantio has finally located Othello, with torches on another street in the middle of the night, the senator exclaims loudly his right of ownership: “O thou foul thief, where hast thou stow'd my daughter?” With the Turkish campaign against Cyprus in motion, the Duke of Venice scarcely has time for Brabantio’s protestations. Furthermore, the duke recognizes Desdemona’s right to marry whomever she prefers. In exasperation the senator disowns his Desdemona, not permitting her to stay at home while Othello is away at Cyprus. So she goes with the ancient and Emilia.

Throughout time, writing has evolved such that gender, race and creed have taken on a more pivotal role in fiction. Some people argue that race in William Shakespeare’s tragedy, “Othello,” is hardly an issue. However, to many people, race is everything in “Othello. The challenges that Othello, the lead character, faces are directly attributed to his “Moor” complexion and if he were of a different nationality, the outcome of his situation would have been drastically different. These claims are supported by the articles of “Othello’s Alienation” by Edward Berry and “Race Mattered: Othello in Late Eighteenth-Century England” by Virginia Mason Vaughan that argue that race is a major element in “Othello.”

Although convinced by Othello and Desdemona that they love each other deeply despite their differences, the Duke of Venice gives Desdemona permission to travel with Othello.

Racism seems to be a big concern in Shakespeare’s tragic play, Othello. Because the hero of the play is an outsider, a Moor, we have an idea how blacks were regarded in England, in Elizabethan times. There are many references that bring about the issue of racism from the very beginning to the end. In the tragedy, where Othello is coming from is not mentioned, yet through the descriptions the reader is informed that he belongs to one of the Eastern nationalities such as African, Ottoman Turk or Arab. In this paper I am going to analyze some episodes involving a prejudicial, racist attitude and try to discuss whether Shakespeare was a racist or not. Even though the play is full of offensive definitions of black

Othello’s tragic flaw can be viewed as jealously which ultimately leads to his downfall. When Othello is manipulated by Iago to believe that Desdemona is having an affair with Desdemona, Othello does not change from his good person mentality. However, Othello carries out with the plan for murder for which he believes is a fine reason to end Desdemona’s once previous life to preserve her innocence. Othello is the tragic hero within the play titled after him and because of his title, because of this Othello, the Moor of Venice follows one of Aristotle’s requirements.

In this essay, I will argue that Othello has the ability to transcend the racial infused “Moor” stereotype to become an individual with an inherent will to do good deeds and extinguish evil. Critical works from Albert Gerard (1957), Edward Berry (1990), and Martin Orkin (1987) will be cited as evidence for this.

The protagonist of the play, Othello, becomes the monster driven by racial prejudice that Venetians depict him to be. The word “moor’ is an indicator of the divide between Othello, a Morrocan with darker skin, and the Venetians of Italy, with fair skin. Even those who respect Othello use the word “moor” to replace his name. By the end of the play, he becomes the cruel character Iago wanted him to be.

Shakespeare explores more than just excessive, impetuous love in portraying the Moor. Othello has been prepared for his role as a jealous, murderous husband from the beginning of the play because his love for Desdemona is suspicious. Othello immediately discloses that the love he and Desdemona share derives from his stories of war, which are strong and heroic: "She loved me for the dangers I had passed/and I loved her that she did pity them." (1.3.168-169). He explains to Iago, "But that I love the gentle Desdemona/I would not my unhoused free condition/put into circumscription and confine/for the sea's worth." (1.2.25-28). Othello tells Iago that sea treasures could not make Othello surrender his love for war and nothing could make him surrender his love for Desdemona. This shows that the power Othello derives from war describes the powerful quality of his love. It seems doubtful that the love Othello has for violent "feats of broil and battle" can be used to describe his love for Desdemona who is "of spirit so still and quiet that her motion/ blushed at herself," without compromising the safety of love (1.3.131, 1.3.96-97). In fact, when he returns from suppressing the Cyprus revolt, he calls out to Desdemona, "My fair warrior!" (2.1.180). Although Desdemona has fallen in love with Othello by listening to his "travailous history", stating that she is a "fair warrior" does not seem to be the next logical step in