A Christian Moor and general of the armies of Venice, Othello is an eloquent and physically powerful figure, respected by all those around him. In spite of his elevated status, he is nevertheless easy prey to insecurities because of his age, his life as a soldier, and his race. Read an in-depth analysis of Othello. Desdemona and Othello are secretly married before the play begins.
Wilson Knight on Shakespeare A. The Occult and the Mystical in Shakespeare I continue to be impressed by the Iago villain essay of the eminent literary critic and Shakespeare specialist G. Knight wrote several volumes of essays on Shakespeare.
Interpretations of Shakespearean Tragedy. Knight de-emphasizes character, and thinks that earlier Shakespeare critics, like A. Bradley, sometimes over-emphasized character. He sees an analogy to his approach in modern physics: It would be sad were literary investigation to be allowed to lag too far behind these more virile sciences.
Eliot, is neither bold nor profound. Knight regards Shakespeare as a profound philosophical writer, with a proclivity for the mystical and the occult. Eliot, on the other hand, subscribes to the common view that Shakespeare has no philosophy — or at least, no philosophy worthy of the name.
Shakespeare made equally great poetry out of an inferior and muddled philosophy of life. In the last issue of Phlit, I quote a scholar who has found evidence that Shakespeare had a strong interest in the occult, and that Shakespeare was acquainted with a prominent occult thinker John Dee.
I can, however, quote those famous lines from The Tempest: Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange.
Shakespeare here depicts a dead man merging with the universe — changing into coral, pearls, etc. By merging with the universe, the dead achieve a kind of immortality.
His conclusions were reached by a detailed comparison of the play in its totality with other creations of literature, myth, and ritual throughout the ages. That is the interpretative approach. Bradley both developed that approach: By this I mean that there are throughout the play a set of correspondences which relate to each other independently of the time-sequence which is the story: He argues that character is merely a role that we play, not our true nature.
Shakespeare goes deeper than character, and depicts our true self, our fundamental nature. The term, which in ordinary speech often denotes the degree of moral control exercised by the individual over his instinctive passions, is altogether unsuited to those persons of poetic drama whose life consists largely of passion unveiled.
Macbeth and King Lear are created in a soul-dimension of primal feeling, of which in real life we may be only partly conscious or may be urged to control by a sense of right and wrong.
Mystical world-views like Zen pay little heed to character and moral considerations.Iago - Othello’s ensign (a job also known as an ancient or standard-bearer), and the villain of the heartoftexashop.com is twenty-eight years old.
While his ostensible reason for desiring Othello’s demise is that he has been passed over for promotion to lieutenant, Iago’s motivations are never very clearly expressed and seem to originate in an obsessive, almost aesthetic delight in manipulation. Iago. Possibly the most heinous villain in Shakespeare, Iago is fascinating for his most terrible characteristic: his utter lack of convincing motivation for his actions.
Iago By William Shakespeare 's Othello - Iago in William Shakespear’s play “Othello” offers a precise explanation; Iago is a hateful, havoc seeking manipulator who . Dec 05, · A villain is an antagonist who is involved in crime and is able to manipulate the people through words.
Of all the characters existing in Shakespeare’s literature Iago is the most villainous. July 3, 1. G. Wilson Knight on Shakespeare. A.
The Occult and the Mystical in Shakespeare.
I continue to be impressed by the work of the eminent literary critic and Shakespeare specialist G. Wilson Knight. The Jealousy of Othello and the Motives of Iago in William Shakespeare's Othello - The Jealousy of Othello and the Motives of Iago in William Shakespeare's Othello The Orthodox interpretation of Shakespeare's Othello is built on two assumptions; that Othello is not a jealous man and that Iago .