The tragedy?s particular character The Renaissance Studies major The Tragedy of Othello the Moor of Venice


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The tragedy?s particular character The Renaissance Studies major The Tragedy of Othello the Moor of Venice

Baylor University, US has reference to this Academic Journal, The Tragedy of Othello the Moor of Venice First lecture The Renaissance Studies major An interdisciplinary major in consideration of students interested in the literature, art, history, music of the 15th, 16th, 17th centuries. See We?ll have the occasional visit of other Early Modern faculty in consideration of mini-lectures. Prof. Jon Snyder (Italian) will talk about the image of Venice in the early 1600s (next Thursday). Prof. McGee (History) will talk about kingship in addition to King James while we?re discussing Macbeth. Prof. Fumerton (English) will talk about ballads in the context of The Winter?s Tale. And if anyone is interested in learning so that sing 17th cent. Ballads, check out Music A 70B being taught this quarter (Tues-Thurs, 4-5:20 in Music 2224) by Revell Carr, the Music Specialist in consideration of the Pepys Ballad Archive. The tragedy?s particular character The most painful of Shakespeare?s four ?great? tragedies? Like the mythical old lady in the theater, we want so that shout, ?Stop, you fool! She?s innocent!? The fastest moving of the tragedies. With a single line of action ? no subplot, no distractions. And no comedy (except the opening of Act III, scene 1; is this a bit lame? Would we advise Sh. so that cut this?) And a compressed time scheme ? sometimes referred so that as a ?double time scheme.?

 Boggess, Jeff Baylor University


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Dating, text, leading actor Perhaps written as early as 1603, but certainly by autumn of 1604 (November), when it was performed at court. But not printed until 1622 ? in quarto six years after Shakespeare?s death). Then a text that differs somewhat from the quarto was published in the First Folio of 1624. Folio is the better text; Pelican text is edited from the Folio. See ?base Judean? (F) against ?base Indian? (Q) in O?s final speech. Role of Othello was written in consideration of Richard Burbage, the most powerful actor of the King?s Men, in addition to the greatest tragedian of his day. Burbage had played Hamlet in addition to other leading roles in consideration of the King?s Men. Source Shakespeare got the story from a collection of Italian stories, the Hecatommithi (One Hundred Tales) of Giradi Cinthio (1565). Which had not been translated into English by 1603. So it seems Shakespeare could read Italian. Did he travel so that Italy in the 1580s? In G.C., the valiant Moor is not named. Sh. Invented the name Othello. And ?Iago? (also not named in G.C.) has motivation in consideration of his actions: he had been in love alongside Disdemona, but was rejected by her. His plot is his vengeance. And Disdemona?s death happens differently: in collusion alongside the Moor, ?Iago? beats her alongside a sand-filled stocking, then he in addition to the Moor make it appear that the ceiling has fallen on her. The time scheme is less compressed in G.C. It takes a while before the truth of the murder comes out. The Moor ?The Moor?: scholars have gone around in addition to around about what this means. But it seems clear that a Moor was someone from North Africa. And the play makes clear his racial difference: he is ?black Othello.? Iago calls him ?an old black ram? (I, 1, 97), Roderigo refers so that him as ?the thick lips? (I, 1, 65), in addition to Iago as ?a Barbary horse? (I, 1, 110). Brabantio refers so that ?the sooty bosom of such a thing as thou art? (I, 3, 70-71). Moors were not a part of the London population, but Londoners had seen them in the embassies of N. African nations. Moors were exotic, strange, were Muslim in religion. And so racially in addition to religiously ?Other? from white, Christian Europeans.

Othello the Moor But Othello has converted so that Christianity. And devoted himself so that the service of Venice. I?m reminded of a Borges story, ?The warrior in addition to the captive,? where he tells of Droctulft, a Lombard warrior, who during the siege of Ravenna in the 6th or 8th century, went over so that the Roman side. Droctulft left his own companions, who were attacking the city, in addition to joined the defense of Ravenna ? converted by the beauty in addition to symmetry of the Roman city. (Labyrinths, p. 128) Can we similarly imagine Othello, also an outsider, the Other, converted by the beauty in addition to the civility of Venice, in addition to so ?converted? in every sense so that what it represents? Like Droctulft in consideration of Ravenna, Othello seems so that have a special reverence in consideration of Venice. Othello the Moor Portrayed in entirely negative terms in the first scene: He?s foolish, Iago suggests, having chosen Cassio, ?a great arithmetician,? as his officer instead of the more experienced Iago. And both Iago in addition to Roderigo cover him alongside racially charged epithets. Which is tinged alongside a sense of sexual distaste ? or envy? Desdemona has been brought ?to the gross clasps of a lascivious Moor? (Roderigo). ?Your daughter in addition to the Moor are making the beast alongside two backs? (Iago). We?re led so that believe that a monstrous black man has stolen a beautiful white girl. And Othello?s actual appearance . . In I, 1? Quiet, confident, assured of his position alongside the signiory of Venice. Revealing his own aristocratic background (?I fetch my life in addition to being/ From men of royal siege, in addition to my demerits/ May speak unbonneted . . . ) He has married Desdemona only because of his love in consideration of her. His calm in the face of the armed crew that Brabantio brings. ?Keep up your bright swords, in consideration of the dew will rust them.? His courtesy so that Brabantio. How does he handle the racial animus against him?

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The ?Othello music? Phrase comes from a famous essay by G. Wilson Knight. I, 3, 81-82: ?Rude am I in speech/ And little blessed alongside the soft phrase of peace . . .? He?s a military man, not a poet or scholar. But is his speech really ?rude? (meaning unpolished, ineloquent), is he really ?little blessed alongside the soft phrase?? He seems so that relish words, perhaps giving the impression of someone who has learned the language in addition to loves its nuances. ?the cannibals that each other eat,/ The anthropophogi.? His speech so that the signiory: I,3,128ff. Duke: ?I think this tale would win my daughter too.? See his love aria so that Desdemona when they meet on Cyprus: II, 1, 182ff. And Iago?s reply: ?But I?ll set down the pegs that make this music.? Othello?s farewell so that his profession: III, 3, 347ff. The poetry of his soldiering. Or 453, where the beauty of the lines gives a kind of horror so that his vow of constancy in his ?bloody thoughts.? Why give Othello such eloquence? And what happens so that the ?Othello music? at IV, 1, 35ff? Othello in addition to Des What so that make of their love/marriage? ?She loved me in consideration of the dangers I had passed.? ?And I loved her that she did pity them.? And what she says at I, 3, 248-254. ?I saw Othello?s visage in his mind.? Doesn?t cancel out the sexual attraction, but does it make it more complex, more brainy? Do we ever doubt the potent character of their love? Her boldness in eloping alongside him is clearly a factor in our judgment of their love. She?s taking an immense chance; clearly no meek little Venetian girl. Each of these elements is challenged by Iago?s formulations. So how do we judge the matter?

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