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Desdemona (/ ˌ d ɛ z d ə ˈ m oʊ n ə /) is a character in William Shakespeare's play Othello (c. 1601–1604). Shakespeare's Desdemona is a Venetian beauty who enrages and disappoints her father, a Venetian senator, when she elopes with Othello, a Moorish Venetian military prodigy.
The embraces of the figures representing Othello and Desdemona are viewed by some as scenes that move "from tender and loving to confusion and rage." [6] When the Othello were exhibited at the gallery space of a theater in Atlanta in 1985, the paintings were considered “too provocative” and were taken down the day after the exhibit had been ...
Iago persuades Othello to be suspicious of Cassio and Desdemona's relationship. When Desdemona drops a handkerchief (the first gift given to her by Othello), Emilia finds it and gives it to Iago at his request, unaware of what he plans to do with it. Othello appears and, then being convinced by Iago of his wife's unfaithfulness with his captain ...
See also Shakespeare on screen (Othello). Between 1948 and 1952, Orson Welles directed The Tragedy of Othello: The Moor of Venice (1952), produced as a black-and-white film noir. [4] Rather than focusing on racial disparity, the film plays on a difference between Desdemona and Othello in age, size and personal attractiveness.
Brabantio (sometimes called Brabanzio) is a character in William Shakespeare's Othello (c. 1601–1604). He is a Venetian senator and the father of Desdemona. Brabantio makes his first appearance in 1.1 when Iago and Roderigo rouse him with the news that Desdemona has eloped. In 1.2, Brabantio is led to the Sagittary, where the newlyweds are ...
Roderigo, a wealthy Venetian, is manipulated into funding the antagonist Iago's plot against Othello in the hopeless belief that Iago will aid him in courting Othello's wife Desdemona. In the later acts, Iago recruits Roderigo to assassinate Othello's former lieutenant Michael Cassio , though he is killed by Iago when he fails in his attempt to ...
The name was coined from Shakespeare's play Othello, which provides an "excellent and famous example" [1] of what can happen when fear and distress upon confrontation do not signal deception. In the play, [5] Othello falsely believes that his wife, Desdemona, has been cheating on him with another man. When confronted, she cries and denies it ...
There is debate among critics as to Emilia's character nature in Othello, with some deeming her a villain and some as the true hero of the play.This is because her allegiances initially seem to lie with her husband, and she displays the typical “wifely virtues of silence, obedience, and prudence" [2] of the Elizabethan period (as seen in her theft of the handkerchief in 3.1).