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The play, Othello, by William Shakespeare has often been described as a domestic tragedy; however, the play presents tragedy in the human condition through focusing on three central characters that represent three different categories of human beings

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Introduction

Othello: A domestic Tragedy The play, Othello, by William Shakespeare has often been described as a domestic tragedy; however, the play presents tragedy in the human condition through focusing on three central characters that represent three different categories of human beings. The play is a story of fidelity that presents the relationship between Othello and Desdemona as a venture of faith. It is also a relationship that begins in darkness, fails to sustain itself and so plummets into darkness once again. For the purpose of this essay, we are going to examine Othello within the scope of this predetermined definition of the phrase 'domestic tragedy.' This phrase defines the play as one that revolves around the destruction of the 'marriage of true minds' that is found in the relationship between Othello and Desdemona. However, Othello presents the nature of love in its purest form and the ability of jealousy to destruct even the 'marriage of true minds.' The relationship between Othello and Desdemona is one built on the foundations of faith despite the claims made by others that it is

Middle

Not only that, but Othello is portrayed as being recognized as the extraordinary despite being a stranger of alien race and this is further emphasized through the use of the 'Othello music' which essentially becomes a part of the double-narrative that the play maintains until its end. The 'Othello music' contrasts with the 'Iago narrative' thus clarifying the double-think. On one level, there is the marriage of true minds between Othello and Desdemona and yet at the same time Iago is convinced that "Hell and night must bring this monstrous birth to the world's light," (ACT I, Scene 3, line 400). It is this monstrous birth that overpowers the marriage of true minds thus destroying the special relationship and exercising Othello's greatest flaw: Jealousy. Iago is successful at manipulating the hero of the play, simply because his power is derived from the fact that "into what he speaks are projected the half-truths that Othello's romantic vision ignored, but of which his mind held secret knowledge."1 The double narrative has an effect on Othello's character and eventually shows the implicit destruction of integrity through his speech.

Conclusion

"3 Another of these choices is emphasized when his service calls upon him on his wedding night and he obliges without hesitation, "Tis well I am found by you: I will but spend a word here in the house and go with you," (Act I, scene 2, lines 48). This shows that Othello's occupation is the source of the dignity and grandeur. This occupation allows him to act for a cause which is the same word that is echoed in his life crisis. This idea is ironic, in the sense that his suspicions of Desdemona's infidelity do not allow him to investigate a cause and although it serves the plot as well as theatrical purposes that he remain oblivious to Iago's deception until the end of the play, it must be noted that this is uncharacteristic of Othello and is a contradiction of his occupation that formed the basis of his marriage with Desdemona. 1 Bodkin, Maud 2 Gardner, Helen Louise. The Noble Moor. London: Norwood Editions, 1976. 3 Gardner, Helen Louise. The Noble Moor. London: Norwood Editions, 1976. ?? ?? ?? ??

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