Othello’s Ranking Now and Then :: Othello essays

Othellos Ranking Now and Then From Burbages day trough the present, the Shakespearean drama Othello has ranked lavishly on the charts. But how high? And when? And why? Kenneth Muir, in the Introduction to William Shakespeare Othello, explains the popularity which this match had at the time of its population Ric austere Burbage, the leading actor in Shakespeares company, played the part of the grieved moor and it was one of his greatest successes. We are told by Shakespeares neighbor, Leonard Digges, that audiences were bored with Jonsons tragedies They prized more Honest Iago, or the jealous Moor. (12) The ranking of this famous play is not cut and dried, totally clarified and undebated. A. C. Bradley, in his book of literary criticism, Shakespearean calamity, describes the equivocal ranking which some critics give this play Or is there a justification for the fact a fact it surely is that some readers, while acknowledging, of course, the immense power of Othello, an d even admitting that it is dramatically peradventure Shakespeares greatest triumph, still regard it with a certain distaste, or, at any rate, hardly allow it a place in their minds beside Hamlet, top executive Lear and Macbeth? (173-74) To many of the audience, Othello would appear to have a beauty about it which is hard to match thus ranking the play high. Helen Gardner in Othello A Tragedy of Beauty and Fortune touches on this beauty which enables this play to stand preceding(prenominal) the other tragedies of the Bard Among the tragedies of Shakespeare Othello is supreme in one quality beauty. such(prenominal) of its poetry, in imagery, perfection of phrase, and steadiness of rhythm, soaring yet firm, enchants the sensuous imagination. This cast of beauty Othello shares with Romeo and Juliet and Antony and Cleopatra it is a corollary of the theme which it shares with them. But Othello is also remarkable for another(prenominal) kind of beauty. Except for the trivial scene with the clown, all is immediately relevant to the central issue no scene requires critical justification. The play has a rare intellectual beauty, satisfying the desire of the imagination for order and concurrence between the parts and the whole. Finally, the play has intense moral beauty. It makes an immediate spell to the moral imagination, in its presentation in the figure of Desdemona of a passion which does not alter when it alteration finds, but bears it out even to the bunt of doom.