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Othello Critics - Coggle Diagram
Othello Critics
Reputation
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Walker - 'Cassio in the end seems to represent the better man. The Higher sophisticate in Othello a mind than his own self'
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Mangam - 'The old stereotypes always there, lurking'
Leavis - 'he really is, beyond any question, the nobly massive man of action, the captain of men he sees himself as being ... in short a habit of self-approving self dramatisation is an essential element in Othello's makeup.
Jorgensen - 'Use of honest and honesty in Othello, with frequent appilcation to the villian of the play.
Jorgensen - 'Iago functions on his renown ofr his honesty, we see him as enacting, not simply claiming the role of Honesty.
Wilson - 'Othello is, among much else, a criticism of the continential code of honour
Vanita - 'a contradiction ... forced to the surface, as the private is insistently made public
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Manipulation
Johnson - 'The cool malignity of Iago, silent in his resentment, subtle in his designs and studios at once of his interest and his vengeance
Goth - 'Iago keeps up his moral facade, while acting the deceiver in a moral play. This duality does not mean that these modes are kept apart rigidly, but rather go hand in hand to the great dstress of his victims"
Honigmann - 'Iago has ambition, the aspiring spirit, the intelletcual activity, which prompts him to overleap those moral fences.
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Bradley - 'Iago stands supreme among Shakespeare's evil characters because the greatest intensity and subtlety of imagination have gone to his making ... such evil is compatible and even appears to ally itself easily, with exeception powers of will and intellect ... We are shown a thing absolutely evil, and - what is more dreaful still - this absolute evil is united with supreme intellectual power'
Bradley - 'Evil is displayed before him, not indeed with the profusion found in King Lear, but forming as it were the soul of a single character, and united with an intellectual superiority so great that he watches its advance fascinated and appalled."
Bradley - 'As a tragic hero, merely a victim, he is blameless, honourable and romantic an dthus his fall is entirely to fault of Iago, who colonises his mind'
Honigmann - 'Iago excels in short-temr tactics, not long term strategdy
Honigmann - Dramatic perspective cam even make us [Iago's] accomplices: he confides in us, so we watch his plot unfolding from his point of view'
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