Theobald's note from Warburton. Thus it is for no-poets to comment on the greatest of poets! To make Othello say that he, who had killed his wife, was like Herod who killed Mariamne!O, how many beauties, in this one line, were impenetrable to the ever thought-swarming, but idealess, Warburton! Othello wishes to excuse himself on the score of ignorance, and yet not to excuse himself,to excuse himself by accusing. This struggle of feeling is finely conveyed in the word 'base,' which is applied to the rude Indian, not in his own character, but as the momentary representative of Othello's 'Indian'for I retain the old readingmeans American, a savage in genere.
However, all these questions, as it often happens in “Hamlet”, don’t lead to a conclusion or a practical action but only to other questions and thoughts till the end of the play, when he will take a decision.
Hamlet and Othello Ophelia and Desdemona Essay
elicits at length a true feeling of Iago's mind, the dread of contempt habitual to those, who encourage in themselves, and have their keenest pleasure in, the expression of con-tempt for others. Observe Iago's high self-opinion, and the moral, that a wicked man will employ real feelings, as well as assume those most alien from his own, as instru-ments of his purposes:
Essay on Hamlet and Othello - Textual Analysis 6 April …
There is a great significancy in the names of Shakspeare's plays. In the Twelfth Night, Midsummer Night's Dream, As You Like It, and Winter's Tale, the total effect is produced by a coordination of the characters as in a wreath of flowers. But in Coriolanus, Lear, Romeo and Juliet, Hamlet, Othello, &c. the effect arises from the subordination of all to one, either as the prominent person, or the principal object. Cymbeline is the only exception; and even that has its advantages in preparing the audience for the chaos of time, place, and costume, by throwing the date back into a fabulous king's reign.
View Essay - Essay on Hamlet and Othello from ENGL 215 at VCU
Compare the easy language of common life, in which this drama commences, with the direful music and wild wayward rhythm and abrupt lyrics of the opening of Macbeth. The tone is quite familiar;there is no poetic description of night, no elaborate information conveyed by one speaker to another of what both had immediately before their senses(such as the first distich in Addison's Cato, which is a translation into poetry of 'Past four o'clock and a dark morning!');and yet nothing bordering on the comic on the one hand, nor any striving of the intellect on the other. It is precisely the language of sensation among men who feared no charge of effeminacy for feeling what they had no want of resolution to bear. Yet the armour, the dead silence, the watchfulness that first interrupts it, the welcome relief of the guard, the cold, the broken expressions of compelled attention to bodily feelings still under controlall excellently accord with, and prepare for, the after gradual rise into tragedy; but, above all, into a tragedy, the interest of which is as eminently ad et apud intra, as that of Macbeth is directly ad extra.