The play-text, unmediated by performance, is not ‘the play’.The play is more accurately described as the performance of the text, that text being as a blueprint to a finished building, an orchestral score to a concert performance (James Mc Caughey, p.26.) These might appear highly Platonic models, but they imply, I believe, no falling into a ‘logocentric’or ‘phonocentric’ trap, no distrust or downgrading of the written words, but rather a deeper attentiveness to them, and an appreciation of how they differ from the words of novels, poems and other written texts.Tags: Business Plan For A BankApproved Proposal For DissertationHsc English Creative WritingLeadership Essays For ScholarshipsProblem Solving Techniques PsychologyHow To Write Case Study PaperTypes Of An Essay Writing
As Othello, Laurence Olivier entreats the Venetian nobles to relate the true account of his actions and motivations.
Olivier's words seem almost imploring, suggesting that he is an outsider seeking approval from those with foreign sympathies. The name Iago comes from Latin, "Iacobus," meaning "one who trips up another and takes his place." This name also belongs to the most important character in Shakespeare's Othello and one of the most wonderfully evil characters of all time. In William Shakespeare's Othello, the deceptive Iago weaves an intricate web of lies with which he enmeshes Othello alongside his many other victims.
I am led to ask in the present essay how the literary critic can approach or read a play?
The very conjunction here of ‘read’ and ‘play’ suggests a possible contradiction, even, and points to the danger of proceeding on a false premise.
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Membership includes a 10% discount on all editing orders.His talent for developing old literary and mythic plots and themes in order to address contemporary...John Dexter saw Othello as 'a man essentially narcissistic and self-dramatising... However, Helen Gardner believed him to be 'a man of action and heroic in his deeds'. According to the great English essayist and scholar William Hazlitt, the character of Iago from William Shakespeare's masterpiece Othello "is one of the supererogations of Shakespeare's genius," due the fact that Iago's "villainy is without a... " Analyse the final scene of Othello."Iago, you have done well that men must lay their murders on your neck" [5:2 line 166, p.157].In both the tragedies of King Lear and Othello, the plot is affected by one character's malicious actions, which exacerbate any tensions that are already inherent in the relationships between the characters. Separating qualities common to one 'set' or 'type' of Shakespeare's plays which are not common to the plays as a whole is a difficult task: it would no doubt be possible to find evidence of any feature uniting 'the Tragedies' within any of...In Greek tragedy, inevitability plays an important role, portraying the protagonists as pawns of the fates, whose roles in the tragedy are distributed arbitrarily and without justice.Othello is, among other things, a play about words.Each character's essence is expressed by a distinct idiom, and each character succeeds or fails, at least to an extent, because of language. Shakespeare is often recognized for a contributing to the canon in a way that causes the adage "there is nothing new under the sun" to ring true.This ironic tone is akin to that of "Is this the promised end? It has been suggested by many scholars and critics that William Shakespeare (1564-1616) "borrowed" the plotlines in his plays from various sources, such as the tragic works of the ancient Greeks and Romans and from other European writers that... But what qualities does it possess to qualify it as such?The key difference between comedy and tragedy is the ability to reconcile and tolerate the inevitable foibles of the human condition. Shakespeare's Othello is a tragedy unlike others of it's time.The outcomes of these roles are decided before the play even...Tales of women as sorceresses and magic-wielders abound in the literature and mythology of cultures that promote the gendered binary of culture over nature, activity over passivity, and reason over superstition. Choose one non-dramatic text offered on the module, (an extract from Samuel Taylor Coleridge's Literary Remains,) and show how it might help us understand Othello.