Analyse the writers’ presentation of obstacles to love in ‘Othello’ (1603) by William Shakespeare, ‘A Streetcar Named Desire’ (1947) by Tennessee Williams and ‘The Color Purple’ (1982) by Alice Walker. Despite being written in vastly different settings, it seems that all three texts are closely concerned with the struggle of extraordinary and ordinary people alike searching for one admirable end: love. The epistolary novel ‘The Color Purple’ explores the intertwined issues of racism and sexism that
From the Victorian Era to the latter half of the nineteenth century, two authors in particular have penned plays worthy of comparison. In the play “Othello,” a maiden marries for love; however she becomes victim of her murderous lover. On the other hand, in the play “Trifles,” the abusive husband falls victim to downtrodden wife. Both Shakespeare’s “Othello” and Glaspell’s “Trifles” present the theme of patriarchal dominance through female characters who exemplify submission, victimization, and veiled
How is Iago an intriguing character? Across the history of literature, we as readers have encountered many villains whom intrigue us. Iago from the play “Othello” is a prime example. Known as one of Shakespeare’s most sinister and manipulative villains, Iago commits countless betrayals without arousing suspicion. Throughout the play, we see Iago constantly scheming to exploit lives- particularly Othello’s. And yet, despite his malevolence, Iago reveals a complexity right through the play that we
is “to depict a conflict that will hold the attention of the audience and provoke a progressively strong emotional response within a relatively short period of time.” (Vitzthum) This method of pathos, or the emotional quality of the text (Hannah), has been used for one purpose, to help the reader relate the work to his or her own life. An interpretation of Sontag’s quote is put best by writer Phillip C. Kolin in his collection, Othello: New Critical Essays: drama “disturbs the reader’s peace of mind
HAMLET was the play, or rather Hamlet himself was the character, in the intuition and exposition of which I first made my turn for philosophical criticism, and especially for insight into the genius of Shakspeare, noticed. This happened first amongst my acquaintances, as Sir George Beaumont will bear witness; and subsequently, long before Schlegel had delivered at Vienna the lectures on Shakspeare, which he afterwards published, I had given on the same subject eighteen lectures substantially the