When he recovers it is to watch Cassio, as he imagines, laughing over his shame.
Convinced, he will act with the authority of a judge and the swiftness of a man in mortal pain. Equally remarkable is his strength of will. As ignorant as dirt. And it is a fact too little noticed but most remarkable, that he presented an appearance not very different to his wife.
But if we glance at some of its other sources, we shall find at the same time certain distinguishing characteristics of Othello. Desdemona's sweetness and forgivingness are not based on religion, and her only way of accounting for her undeserved suffering is by an appeal to Fortune: He is 'on the rack,' in an agony so unbearable that he cannot endure the sight of Iago.
Even here, however, there is a great difference; for although the idea of such a power is not suggested by King Lear as it is by Hamlet and Macbeth, it is repeatedly expressed by persons in the drama. The first contains views which reduce Shakespeare to common-place.
A man moved by simple passions due to simple causes does not stand fingering his feelings, industriously enumerating their sources, and groping about for new ones.
When Cassio identifies Roderigo as one of his attackers, Iago secretly stabs Roderigo to stop him revealing the plot.
Of all Shakespeare's tragedies, I would answer, not even excepting King Lear, Othello is the most painfully exciting and the most terrible. And this method, by which the conflict begins late, and advances without appreciable pause and with accelerating speed to the catastrophe, is a main cause of the painful tension just described.
No wonder he feels in the Temptation-scene that 'this honest creature doubtless Sees and knows more, much more, than he unfolds. Patrick Stewart played the role alongside an otherwise all-black cast in the Shakespeare Theatre Company 's staging of the play   and Thomas Thieme, also white, played Othello in a Munich Kammerspiele staging at the Royal Shakespeare TheatreStratford.
Come, be a man….
She can do nothing whatever. I'll not believe it; No, my heart is turned to stone; I strike it, and it hurts my hand, or But yet the pity of it, Iago.
If he thinks it is like Shakespeare to look at things in this manner; that he had a historical mind and occupied himself with problems of 'Culturgeschichte'; that he laboured to make his Romans perfectly Roman, to give a correct view of the Britons in the days of Lear or Cymbeline, to portray in Hamlet a stage of the moral consciousness not yet reached by the people around him, the reader will also think this interpretation of Othello probable.
In fact so prodigious does his self-control appear that a reader might be excused for feeling a doubt of its possibility. One is the pleasure in an action very difficult and perilous and, therefore, intensely exciting. Othello is about as near as Shakespeare gets to classical tragedy.
The Tragic Flaw A. C.
Bradley saw Shakespearean tragedy characterized by the "tragic flaw," the internal imperfection in the hero that brings him down.
LECTURE VI OTHELLO 1. Evil has nowhere else been portrayed with such mastery as in the character of Iago. Richard III., for example, beside being less subtly conceived, is a far greater figure and a less repellent.
Lecture on Othello - Othello's Jealousy. From Shakespearean Tragedy by A. C. Bradley.
London: MacMillan and Co., The character of Othello is comparatively simple, but, as I have dwelt on the prominence of intrigue and accident in the play, it is desirable to show how essentially the success of Iago's plot is connected with this character. Bradley’s Othello is a man of mystery, exoticism and intense feeling, trustful, open, passionate but self-controlled, ‘so noble [he] inspires a passion of mingled love and pity’ which none of Shakespeare’s other heroes is able to inspire.
Othello (The Tragedy of Othello, the Moor of Venice) is a tragedy by William Shakespeare, believed to have been written in It is based on the story Un Capitano Moro ("A Moorish Captain") by Cinthio, a disciple of Boccaccio, first published in .
Bradley, A. C. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth. 2nd ed. London: Macmillan, PAGE LECTURE V. OTHELLO. There is practically no doubt that Othello was the tragedy written next after Hamlet.
Such external evidence as we possess points to this conclusion.Bradley on othello