Characters Othello Othello is the Moorish general for whom the play is named. He is a middle-aged African, who has come to the aid of Venice in their war against the Turks.
The text comes from The Plays of William Shakespeareed. Samuel Johnson London, ; this abridged edition is roughly half the length of the whole.
The notes and paragraph numbers are my own. My conservative textual policy is spelled out in the Note on the Text at the end. Please send comments and corrections to Jack Lynch.
Some seem to admire indiscriminately whatever has been long preserved, without considering that time has sometimes co-operated with chance; all perhaps are more willing to honour past than present excellence; and the mind contemplates genius through the shades of age, as the eye surveys the sun through artificial opacity.
The great contention of criticism is to find the faults of the moderns, and the beauties of the ancients.
While an authour is yet living we estimate his powers by his worst performance, and when he is dead we rate them by his best. What mankind have long possessed they have often examined and compared, and if they persist to value the possession, it is because frequent comparisons have confirmed opinion in its favour.
As among the works of nature no man can properly call a river deep or a mountain high, without the knowledge of many mountains and many rivers; so in the productions of genius, nothing can be stiled excellent till it has been compared with other works of the same kind.
Demonstration immediately displays its power, and has nothing to hope or fear from the flux of years; but works tentative and experimental must be estimated by their proportion to the general and collective ability of man, as it is discovered in a long succession of endeavours.
Of the first building that was raised, it might be with certainty determined that it was round or square, but whether it was spacious or lofty must have been referred to time. The Pythagorean scale of numbers was at once discovered to be perfect; but the poems of Homer we yet know not to transcend the common limits of human intelligence, but by remarking, that nation after nation, and century after century, has been able to do little more than transpose his incidents, new name his characters, and paraphrase his sentiments.
He has long outlived his centurythe term commonly fixed as the test of literary merit. Whatever advantages he might once derive from personal allusions, local customs, or temporary opinions, have for many years been lost; and every topick of merriment or motive of sorrow, which the modes of artificial life afforded him, now only obscure the scenes which they once illuminated.
The effects of favour and competition are at an end; the tradition of his friendships and his enmities has perished; his works support no opinion with arguments, nor supply any faction with invectives; they can neither indulge vanity nor gratify malignity, but are read without any other reason than the desire of pleasure, and are therefore praised only as pleasure is obtained; yet, thus unassisted by interest or passion, they have past through variations of taste and changes of manners, and, as they devolved from one generation to another, have received new honours at every transmission.
Particular manners can be known to few, and therefore few only can judge how nearly they are copied. The irregular combinations of fanciful invention may delight a-while, by that novelty of which the common satiety of life sends us all in quest; but the pleasures of sudden wonder are soon exhausted, and the mind can only repose on the stability of truth.
His characters are not modified by the customs of particular places, unpractised by the rest of the world; by the peculiarities of studies or professions, which can operate but upon small numbers; or by the accidents of transient fashions or temporary opinions: His persons act and speak by the influence of those general passions and principles by which all minds are agitated, and the whole system of life is continued in motion.
In the writings of other poets a character is too often an individual; in those of Shakespeare it is commonly a species. It is this which fills the plays of Shakespeare with practical axioms and domestick wisdom.
It was said of Euripidesthat every verse was a precept; and it may be said of Shakespeare, that from his works may be collected a system of civil and oeconomical prudence.
Yet his real power is not shown in the splendour of particular passages, but by the progress of his fableand, the tenour of his dialogue; and he that tries to recommend him by select quotations, will succeed like the pedant in Hierocleswho, when he offered his house to sale, carried a brick in his pocket as a specimen.Script of Act V Othello The play by William Shakespeare.
Introduction This section contains the script of Act V of Othello the play by William timberdesignmag.com enduring works of William Shakespeare feature many famous and well loved characters. Shakespeare and the culture of Christianity in early modern England that in Aleppo once, Where a malignant and a turban'd Turk Beat a Venetian and traduced the state, I took by the throat the circumcised dog, Shakespeare and the Culture of Christianity in Early Modern England Issue 6 of Studies in religion and literature, ISSN Free essays on Cuba 9 pages.
With Othello, Desdemona is briefly happy, despite her filial disobedience, until a terrible sexual jealousy is awakened in him, quite without cause other than his own fears and susceptibility to Iago’s insinuations that it is only “natural” for Desdemona to seek erotic pleasure with a .
WILLIAM SHAKESPEARE'S OTHELLO: THE WAY I THOUGHT OF CRITICAL EVALUATION. Even Milton’s Satan is not so wicked and malignant as Iago.
Satan shed tears at the sight of goodness and pined for the loss of heaven. Sample Essay On Othello Writers Per Hour. Racism in Othello - William Shakespeare John Wainwright.
46 “There’s Magicke in the web of it”: The occult dimension of Shakespeare’s Othello Iago. You are a senator. () Iago escapes even the understanding of others. For Othello, when he realizes his fault, Iago finally becomes identifiable as a persona of a fiction, of his private history: Othello.