Othello critics Flashcards
French’s desrcibes the binary perception of women
‘There are two types of women, one being a superhuman, totally virtuous the other kind is subhuman bestial’
French’s outlining Desdemona’s love being a vice
‘Associates love with vice’
French’s perception of Italian women
‘Italian women were very lewd and wicked’
Thomas Neely on Desdemona’s protection over Emilia
‘Defends Eilia’s against Iago’s insults’
RA Foakes on the private and public perception of Desdemona’s death
‘There is no real private indoors scene with Desdemona until her death scene.’
Bradley’s perception of Emilia’s blunt cynical character as a result of her scenarios (abusive relationship) also FOIL to Desdemona
‘Blunt in perception and feeling destitute of imagination’
A.C bradley on the extent of evilness of Emilia’s character
‘Rightly resent her unkindness in permitting the theft’
Bradley outlining Emilia’s position as a mentoring figure
‘Defends her chastity’
‘Corrects Desdemona’s ocasional naivety’
Abrahams’s view Emilia being a dutiful wives
‘Iago entreated her to steal the handkerchief’
‘Women’s pre-ordained social roles consign them to suffer and restrict their freedom to act’
Abrahams impression of the goodness of Emilia’s character
‘she impresses Iago’
‘‘confronted with freedom to act.. against Desdemona’
AC Bradley remarks on Iago’s power over Othello and how he manipulates the masculine trust
‘Smile on him or a little, and then strikes him down in his pride’
AC bradley describes Shakespeare’s structural technique of Iago’s A-sides and soliloquies’
‘He confides in us, so we watch his plot unfolding.’
‘Bask in his sense of own superiority; very rarely is at his own expense’
Bradley discusses how Iago’s character is an entertainer and a humourist to a shakespearean audience
‘chief humourist’
Bradley describes Iago’s perception of Love
‘nor understand the spiritual impulses that bind ordinary people together’
Coleridge on Iago’s motivations
‘motiveless malignancy’
