othello critics

sn g

the crucial fact

sn garner the crucial fact of her marriage is not that she elopes but that she, a white woman, weds a black man

cn [emilia acts according to] wifely

carol neely wifely virtues of silence, obedience, and prudence

vw it is an emblem

valerie wayne it is an emblem of desdemona’s body

lb othello is one way

lydia boose othello is one way or another a play about marriage

stc motiv

samuel taylor coleridge motiveless malignancy

lt embodiment

leonard tenenhouse embodiment of power

fr l the mind that

fr leavis the mind that undoes him is not iago’s but his own

fr l iago’s prompt success

fr leavis iago’s prompt success is not so much iago’s diabolic intellect as othello’s readiness to respond

fr l self-approving

fr leavis self-approving self-dramatisation is an essential element of othello’s make-up

al othello is actually

adrian lester othello is actually engaged in the act of playing othello

stc it would be something

samuel taylor coleridge it would be something monstrous to conceive this beautiful venetian girl falling in love with a veritable n****

stc a disprop

samuel taylor coleridge a disproportionateness, a want of balance

at iago places himself

ayanna thompson iago places himself in the role of a subordinate and perhaps also in the role of a wife

at the audience is

ayanna thompson the audience is positioned as distinctly different from othello

tse [of othello’s soft you]

ts eliot cheering himself up

jh pared

j huston pared down to the bone