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Othello Essay features Samuel Taylor Coleridge's famous critique based on his legendary and influential Shakespeare notes and lectures.

when the effect has been fully produced, the repetition of triumph—

which falling in with the associative link, determines Roderigo's continuation of complaint—

The struggle of courtesy in Desdemona to abstract her attention.

In real life, how do we look back to little speeches as presentimental of, or contrasted with, an affecting event! Even so, Shakspeare, as secure of being read over and over, of becoming a family friend, provides this passage for his readers, and leaves it to them.

Ib. Iago's dialogue with Roderigo:

This speech comprises the passionless character of Iago. It is all will in intellect; and therefore he is here a bold partizan of a truth, but yet of a truth converted into a falsehood by the absence of all the necessary modifications caused by the frail nature of man. And then comes the last sentiment,—

Compare this with the behaviour of Leontes to his true friend Camillo.

SparkNotes: Julius Caesar: Plot Overview

The Senator’s of Rome murdered Julius Caesar by stabbing him with daggers. They felt they had to kill him to prevent him from ruling and to save Rome. Caesar’s pride, carelessness, and arrogance led to his demise, and he blindly drove others to this end with his own actions.


Caesar’s carelessness comes in when he fails to realize that his Senators are plotting to kill him. He pays little attention to what is going on around him or to the warnings that something is wrong. The Senators did not like Caesar or respect him, but he was too preoccupied with meaningless things to take notice. Caesar was extremely superstitious and much of his attention was spent on understanding dreams and omens. Calpurnia tries to warn Caesar to stay inside on the day of his death because of a disturbing dream. Caesar agrees, but later is convinced by Decius that the dream means he should go out that day. His careless actions and attention to superstition instead of reality result in his death.

No Fear Shakespeare: Shakespeare's plays plus a …

Finally, let me repeat that Othello does not kill Desdemona in jealousy, but in a conviction forced upon him by the almost superhuman art of Iago, such a conviction as any man would and must have entertained who had believed Iago's honesty as Othello did. We, the audience, know that Iago is a villain from the beginning; but in considering the essence of the Shakspearian Othello, we must perseveringly place ourselves in his situation, and under his circumstances. Then we shall immediately feel the fundamental difference between the solemn agony of the noble Moor, and the wretched fishing jealousies of Leontes, and the morbid suspiciousness of Leonatus, who is, in other respects, a fine character. Othello had no life but in Desdemona:—the belief that she, his angel, had fallen from the heaven of her native innocence, wrought a civil war in his heart. She is his counterpart; and, like him, is almost sanctified in our eyes by her absolute unsuspiciousness, and holy entireness of love. As the curtain drops, which do we pity the most?

The importance given to trifles, and made fertile by the villany of the observer.

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The forced praise of Othello followed by the bitter hatred of him in this speech! And observe how Brabantio's dream prepares for his recurrence to the notion of philtres, and how both prepare for carrying on the plot of the arraignment of Othello on this ground.

This is the rehearsal on the dupe of the traitor's inten-tions on Othello.

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Honesty and love! Ay, and who but the reader of the play could think otherwise?

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But combine all,—wit, subtlety, and fancy, with profundity, imagination, and moral and physical susceptibility of the pleasurable,—and let the object of action be man universal; and we shall have—O, rash prophecy! say, rather, we have—a SHAKSPEARE!