when the effect has been fully produced, the repetition of triumph—

2, A DISCUSSION OF THE FIRST SCENE WHERE SHAKESPEARE INTRODUCES THE THEME OF HATRED, SHOWING US HOW HATRED HAS AFFECTED BOTH FAMILIES RIGHT FROM THE SERVANTS TO THE ELDERLY MEN.

Compare this with the behaviour of Leontes to his true friend Camillo.
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The optimism and romance of Romeo and Juliet livened the play up, O she doth teach the torches to burn bright” a far cry from the hate that causes so much misery. Love, lies and hate are the recipe for disaster in this play – and resulting in two tragic unnecessary deaths.


The struggle of courtesy in Desdemona to abstract her attention.

The importance given to trifles, and made fertile by the villany of the observer.
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Othello Essay features Samuel Taylor Coleridge's famous critique based on his legendary and influential Shakespeare notes and lectures.


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Finally, let me repeat that Othello does not kill Desdemona in jealousy, but in a conviction forced upon him by the almost superhuman art of Iago, such a conviction as any man would and must have entertained who had believed Iago's honesty as Othello did. We, the audience, know that Iago is a villain from the beginning; but in considering the essence of the Shakspearian Othello, we must perseveringly place ourselves in his situation, and under his circumstances. Then we shall immediately feel the fundamental difference between the solemn agony of the noble Moor, and the wretched fishing jealousies of Leontes, and the morbid suspiciousness of Leonatus, who is, in other respects, a fine character. Othello had no life but in Desdemona:—the belief that she, his angel, had fallen from the heaven of her native innocence, wrought a civil war in his heart. She is his counterpart; and, like him, is almost sanctified in our eyes by her absolute unsuspiciousness, and holy entireness of love. As the curtain drops, which do we pity the most?

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Warburton's note. What any other man, who had learning enough, might have quoted as a playful and witty illustration of his remarks against the Calvinistic thesis, Warburton gravely attributes to Shakspeare as intentional; and this, too, in the mouth of a lady's woman!

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But combine all,—wit, subtlety, and fancy, with profundity, imagination, and moral and physical susceptibility of the pleasurable,—and let the object of action be man universal; and we shall have—O, rash prophecy! say, rather, we have—a SHAKSPEARE!

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This thought, originally by Iago's own confession a mere suspicion, is now ripening, and gnaws his base nature as his own 'poisonous mineral' is about to gnaw the noble heart of his general.