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OTHELLO- CRITICS - Coggle Diagram
OTHELLO- CRITICS
OTHELLO'S ROLE
BONNIE GREER
'othello lives because it exposes something within us, something we cannot-- or do not want to - face. through this play we face and deal with it'
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'jealousy is destroying him. it is the trait of his nature that undermines his life. not racism, although that plays a part'
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'in othello, Shakespeare lifts the ordinary socio-political facts and presents us with a universal drama for all time, the story of us all: the weakness inherent within every human being'
D.L.JEFFREY
(on why othello ends his life) 'realising that his power and command are taken off and his reputation destroyed'
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W.H. AUDEN
'he cannot think why he did what he did, or realise what was wrong'
T. COLERIDGE
'there is no ferocity in othello, his mind is magestic and composed' DISAGREE
PATRIARCHY
NEIL TAYLOR
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'the handkerchief becomes a symbol of all that's precious in the play...Desdemona's honour, Desdemona's life; Othello's honour; Othello's sense of owenership; Othello's sense of identity'
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L.POTTER
(on Emilia) 'Iago's constant depiction of her as overly talkative is a tactic designed to keep her from speaking, or being believed when she does speak'
J.CHIRCRO
'Desdemona and Emilia combat the misoginy they face by firing camaraderie and remaining loyal to each other'
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IAGO'S ROLE
BONNIE GREER
'Iago tells use that he hates othello, but we already know that. This never changes. In a play, a character who never changes, no matter how powerful that character is, is not the main focus.
E. A. J HONIGMANN
'despite his cleverness, he has neither felt nor understood the spiritual, impulses that bind ordinary human beings together'
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TRADGEDY
NIGEL WHEALE
'truly tragic events could only happen to the most powerful individuals in society, whose sufferings were amplified by their status, and which could therefore have terrible consequences for everyone around them'
'observing a tragic event chills us with shock and moves us with compassionate pity, making us realise the vulnerability of human life'.
'Gertrude, ophelia, Cordelia and Desdemona are tragically 'acted upon' rather than being mistresses of their own fates. they provide the focus for the most powerful (male) motivation of renaissance tragedy- revenge'.