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Othello made the mistake of assuming that he understood the source of Desdemona's anguish. He assumed that his wife's sobs when confronted were a sign of her guilt; he didn't understand that her grief was rooted not in guilt, but in her knowledge that there was no way to convince her husband of her innocence.
Regarding Shakespeare's weaving together of the story's threads, Hazlitt marvels at the "ease and conscious unconcern" with which "[t]he most straggling and seemingly casual incidents are contrived [and] in such a manner as to lead at last to the most complete developement of the catastrophe."
The influential early twentieth-century Shakespeare critic A. C. Bradley defined Othello's tragic flaw as a sexual jealousy so intense that it "converts human nature into chaos, and liberates the beast in man ... the animal in man forcing itself into his consciousness in naked grossness, and he writhing before it but powerless to deny it ...
At literature’s most basic and elemental level of language, form, and vision, Shakespeare’s power is unequaled. If the mark of a writer’s greatness is the creation of the largest imaginary universe populated by believable characters and the reflection of the widest human experience, surely Shakespeare is alone in the magnitude of his ...
Rather than focusing on racial disparity, the film plays on a difference between Desdemona and Othello in age, size and personal attractiveness. The film noir colouring of the picture minimised any commentary on Othello's blackness, to the point that the critic F. R. Leavis wrote that the film made no reference to Othello's colour. [4]
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).
Othello (/ ɒ ˈ θ ɛ l oʊ /, oh-THELL-oh) is the titular protagonist in Shakespeare's Othello (c. 1601–1604). The character's origin is traced to the tale "Un Capitano Moro" in Gli Hecatommithi by Giovanni Battista Giraldi Cinthio .
The critic Abigail Scherer's claim that "Shakespeare's Egypt is a holiday world" [81] recalls the criticisms of Egypt put forth by earlier scholarship and disputes them. Scherer and critics who recognise the wide appeal of Egypt have connected the spectacle and glory of Cleopatra's greatness with the spectacle and glory of the theatre itself.