Cincinnati daily press. [volume] (Cincinnati [Ohio]) 1860-1862, 1861-01-15
AnaIysis of shukspenre's Tragedy 'oi
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Analysis of Shakspeure's Tragedy of
OtheliO
A North. eastern scholar, who has been
lecturBg on Shakespeare, speaks thus OF
OtheLLo
The material for the play was partly derived
from one of Cinthio's novels. Whether the
story was accessible to Shakespeare in En-
Plsb, we have no certain knowledge. NO
translation of so early date has been seen
or heard of in modern times; and in several
cases we find reason for thinking that the
poet knew enough Of Italian to take the
matter directly from the original. Shaks-
E,esre can scarcely be said to have taken
any thing from Cinthio more than few in
cidents and the outline of the plot; the char
acter, passion, pathos and poetry being en-
tirely his own.
A comparison of the tale with the tragedy
built upon it, would perhaps show the poets
Judgment to better advantage than could be
done by sn entirely original performance, for
whenever he departs from the story it is for
great ana manifest gain of truth and ma
tufe SO that he appears equally judicious in
what he borrowed and in what he created;
while his resources of invention seem bound
less save as they are self-restrained by the
reason and logic of art. Until recent date
the tragedy was commonly supposed to
have been among the last of Shakspeare's
writings. Chalmers assigned 1t to 1914;
Droke to 1912; Malone at first set it down to
l6ll, afterward to 1904.
Mr., Collier has produced an extract from
the Eqertoa Papers showing that on the
6th of August, 1902, the sum Of &l0 was
paid 10 Burbage's players for Othell0. When
selected for performance, with Burbage as
the original performer of "0thello," at Hars-
field, il was doubtless, in the first blush ana
freshness of its popularity, having probably
had run at the Globe in the spring of that
year, thus recommending itself TO Queen
Elizabeth. Its workmanship bespeaks the
poets highest maturity OF power and art. IL
is one of the pieces rewritten after the au-
thors mind had outgrown their original
form. The drama was not printed during
the authors life. On the 9Th of October,
1921, it was entered at Stationer's Hall, and
soon after appeared in the form of pamph-
let and appeared in the folio of tragedies of
1923 The speaker then gave historical
descrip ion Of the Turkish attack upon Cy-
press, the scene of the play and which is
involved in it.
The play has more intimate hold upon
the sympathies of mankind, from its partak-
ing OF more domestic character than the
other prominent tragedies of Shakespeare
with which it ranks. In "Iago," intellect
has cast of all allegiance to morality, and
becomes an impulse in ITSELF his passions be-
ing emiuently spiritual and satanical, with
out partaking Of sensual desire. He compels
his mind TO act for the sake of Witnessing its
power of criminality. He carries it so far
that he is more fiendish than Milton's Satan,
and prefers eludng to evading consequences,
Ou his principle that he likes to encounter
difficulties, to overcome them. The late Mr..
Booth, in uttering various sentences, looked
toward Heaven, well defining the character
of "Iago," who defied all superiority. He
took malicious pleasure in deceiving the
Moor and receiving his thanks for SO doing
The more angelic qualities he observed il
ha or triupnh I'm
devilish qualification; the more pain he in
hicted upon the too-credulous Moor tn
greater pleasure he experienced. The hon
o. able character of michael Cassie" was
a desirable castle to attack and overthrow
even under the cover of friendly love
Critics have puzzled themselves much abou
"Isgos' motives His motives are tn
strange incontinence of his mind, whicl
suggests him to destroy where he can no
govern He coniures no ideas to keep pac
with his conscience. He teigns tina
"Othello" and 'Cassio" have wronged him
and thus indemnifes himself in putting j
action his busy, wicked madness. In th
dialogue he proves himself to be twenty
eight years Of age the poet having appa
Teutly the object of proving him a Dor
"divinity of hell, without bitter exper
ence of the world.
The Moor has no special predisposition I
Jealousy, as frequently supposed, but it
superlnduced by the mastery ana almo!
superhuman subtlety of "Iago.p He will n
tain his honor at all events, and his love, if
b. compatible with his honor; and h
strength is between these two great qualitit
over which "Iago' triumphs, owing to tt
ligh and delicate honor, unsuspecting ger
eToslty, and confidence which has them
trust. In the killing of "Desdemona" "
have judicial in contradistinction to re
veugeful act. He contemplates her death |
due to his religion which he thinks she hl
lrofaned. We are justified in believing Il
Moor TO be Prince of Mauritania Of Barbar
The character is worked out with gre
breadth and clearness His mind is strong
cast with earnest feeling and high apprecii
ton Of truth, loving his eWn pride and pu
poses, His calmness intrepidity ofsoul, al
general outline of character, show him to
made up Of noble and gentle qualities.
la his address to the Senate we see t
psssoned energy. There is nothing mo
conspicuous ia Shakspeare's works than ii
tale of his thriving in "Desdemona's" loN
'Desdemona" displays her delicacy and fin
Dess of sense in acknowledging it when 81
sees the nobility Of "Othellon through
uDgrscious exterior. She develops more
the innermost springs of pathos than any
the poets female characters. She excit
sympathy when in her innocence she dc
not suspect, but is suspected, eVen.more th
10 her death. Her character is a cOmbiI
tiOn of purity and impressibility, always 81
CeptiYe Of the good. Her heroism does 1
make q special report of herself, and is
ibdiyidusliSed in this age of ensconcemel
yet sbe ia heroic TO link her life with the m
she loves and " suher for her love,