Othello is a Moor, a jealous husband from Shakespeare's drama. "Othello", an artistic analysis of the tragedy of William Shakespeare Desdemona work

The main plot discrepancy between the works lies in the conflict reason: in Cintio, the Ensign loves Disdemona and takes revenge on both her and Maurus out of jealousy; in Shakespeare, Iago hates Othello because of his lost officer position and the suspicion that Emilia cheated on him with the Moor. A handkerchief with a characteristic Arabic pattern, presented by the main character to his wife as a wedding gift, in both stories becomes the main evidence of Desdemona's betrayal: only the three-year-old Ensign's daughter steals it from Cinthio, and the Venetian herself loses the thing from Shakespeare, which Emilia then, as a faithful wife, conveyed by Iago. The murder of Desdemona in the Italian short story is committed by the Ensign. He also develops his plan: to beat the unfortunate stocking filled with sand, and then bring down the ceiling on her body. Shakespeare's Othello, as a noble hero who avenges a desecrated honor, deals with his wife on his own, at the beginning of her soul and only then slaughters her so that she does not suffer. The death of the Moor in Cinthio comes at the hands of Disdemona's relatives, in Shakespeare - the hero takes his own life, realizing that he made an unforgivable mistake and ruined the only thing worth living for.

Artistic heroes images tragedies - lively, vivid, realistic. In each of them you can find both positive and negative features. The purest heroine of the work - Desdemona and she, according to English literary scholars, is not devoid of a penchant for deceit: her father - at the moment when he leaves his father's house and runs into the arms of the Moor, Othello - when he does not admit that he has lost a scarf, Emilia, whom he convinces that he is a murderer she herself. The first deception of the Venetian is due to love, the second - fear and unwillingness to upset her beloved husband, the third - an attempt to protect Othello. Meanwhile, it is to the first deception (once beloved father) of the original that Iago appeals in his cruel game, convincing the Moor that if Desdemona was able to neglect parental feelings, then nothing would prevent her from doing the same with her husband's feelings.

Iago character is a combination of cunning cruelty and incredible logic that accompanies all his actions. The lieutenant calculates every step in advance, guided in his intrigues by an accurate knowledge of the psychological characteristics of the people he plays with. He catches Rodrigo on a passionate love for Desdemona, Othello on the fear of losing the harmony that he found in relations with the Venetian, Cassio on kindness and natural naivety, Emilia on weak will.

Iago's immorality finds no barriers because of his communication with people who are morally pure, who do not imagine that someone (especially a close friend) can stoop to lies, slander and betrayal. At the same time, each of the characters periodically tries to comprehend the words and actions of the lieutenant (Rodrigo several times suspects him of betraying this word, Othello for a long time resists the thought of Desdemona's betrayal inspired by Iago, Emilia tries to figure out why her husband needs her mistress's handkerchief, Cassio refuses the offer of the lieutenant drinking), but Iago stops every attempt to bring him to clean water with a new trick. The lieutenant’s arsenal includes fictional stories (a story about how Cassio talked in a dream with Desdemona), stolen objects (Othello’s handkerchief taken from his wife), playing on other people’s passions (Rodrigo’s desire to possess Desdemona, Cassio’s inability to refuse to drink), building a conversation through omissions and omissions (to give the conversation a sense of authenticity and truthfulness), the issuance of some facts for others (Iago's conversation with Cassio about Bianca, which Othello takes at Desdemona's account), the physical elimination of people who are a danger to his machinations (an attempt to kill Cassio with the hands of Rodrigo, the murder of Rodrigo, the attack and subsequent murder of his wife, Emilia).

It is not enough for Iago to take revenge on Othello alone: ​​along the way, he still wants to cash in on Rodrigo, get Cassio out of the way and destroy Desdemona, whose existence disgusts his ideas about the female essence. The latter is most clearly manifested in the conversation of the Venetian with Emilia: Desdemona does not believe that wives are able to cheat on their husbands, while Iago's wife believes that women are arranged in exactly the same way as men, respectively, nothing prevents them from behaving similarly. Emilia does not see anything bad in treason, when a husband leaves his wife, or a woman is offered a whole world for cheating on her husband, in which she can give her act any color she wants. This conclusion (cunning, subjectively colored) is similar in nature to those positions that Iago expresses throughout the play: it is true in logic, but false in essence.

The murder of Desdemona is committed by Othello, but the responsibility for this lies with Iago. The Moor loves his wife to the last and, even killing her, tries to do everything carefully - without causing her additional harm, without causing her to suffer. The death of Desdemona is terrible for Othello, but necessary: ​​the collapsed ideal, according to the Moor, cannot exist in the world in any form. The tragedy of Othello is not in jealousy, which is customary to talk about in relation to this play by Shakespeare. The tragedy of Othello is the loss of harmony and the destruction of the living space surrounding him.

Othello is not jealous - he is trusting.

A. S. Pushkin.

In the tragedy "Othello" the main character, of course, is not Othello, but Iago. It is he who, with his hellish machinations, creates a tragedy in which evil acquires monstrous power, spreads everywhere, poisons everything around with its stinking breath. Until the last scene of the tragedy, it seems that evil is generally invincible and omnipotent, that evil reigns in the world, and good, like a miserable beggar in mutilations and rags on a church porch, only stretches out his hand in search of alms and receives only ridicule and slaps from evil.

Iago is the genius of evil. He mastered a sophisticated and ingenious mechanism of villainy. He does not disdain either lies, or forgery, or slander, or murder in order to achieve his goal. And gradually, from the source and cause of evil, he turns into a tool of evil, and in the finale, involved in an unthinkable network of intrigues that he spread out for others, Iago himself beats in this spider web, like a caught fly, which will soon be devoured by a voracious spider. Evil is stronger than Iago, and it is not going to pity or pardon its executor. It devours Iago along with everyone whom he dragged into the net of evil. Thus Iago himself becomes a victim of his own evil. Or, more precisely, retribution sooner or later overtakes Iago. The mechanism of evil fails, because evil is imperfect and, therefore, not omnipotent. Good and truth, according to Shakespeare, will triumph anyway, albeit late, when the good and pure Desdemona, Othello, Emilia die in the web of evil, becoming its victims. However, that's a tragedy.

So, let's consider the mechanism of evil launched by Iago. What is he? What does it represent? What are its springs and wheels? Finally, what are the implications of this mechanism?

Although I wrote that Iago is a genius of evil, this is not entirely true, because he is nothing more than a cunning, albeit flexible and resourceful, heartless and immoral. In other words, Iago is a scoundrel, a bastard. That is why Iago's goals are low and selfish, like those of any ordinary person. But you can't refuse Iago's talent, and when he continues to act, evil gradually begins to guide Iago's actions. Evil itself, as it were, takes control of the destinies of those whom it seeks to destroy, and then it is as if the genius of evil is infused into his soul, who planned to destroy all the good that inhabits the world to the ground.

Iago is deeply offended by the fact that, despite the recommendations of three important people ("cones" - in Pasternak's translation), Othello chose his deputies and appointed the Florentine Cassio as a lieutenant, instead of elevating Iago to this rank. Iago, remaining a lieutenant, yearns for revenge on both his boss and the one who suddenly ran across his path on the way to a career.

It is surprising that from the first scene of the tragedy, Iago does not at all consider himself a good person. On the contrary, he is proud of his addiction to evil, his cunning and resourcefulness. This, in his opinion, is his human exclusivity and advantageous difference from others, that is, from the first words we see how Iago despises people and will not give even a broken penny for them.

So, for example, service for Iago is the ability to benefit from it and at the same time a way to hide his inexhaustible selfishness and laziness:

Of course, there are such simpletons,

Who loved bondage

And like donkey zeal,

Life from hand to mouth and old age without a corner.

Whips of such serfs! There are others.

They seem to be busy for the gentlemen,

And in fact - for their own profit.

They are far from being stupid.

And I'm proud to be one of their kind.

I am Iago, not a Moor, and for myself,

And not for their beautiful eyes I try.

But how to open your face - rather

I'll let the jackdaws peck my liver.

No, my dear, I am not what I seem.

Each time, Iago acts in accordance with the immoral, base goals that are obvious to him, but invariably passes them off as moral and disinterested. Desdemona, having fallen in love with the Moor Othello, secretly runs away with him from her father's house at night and gets married, because her father would never give consent to their marriage. Rodrigo, Iago's friend, passionately in love with Desdemona, wakes up Desdemona's unsuspecting father Brabantio with Iago. Iago wants to pass off this kidnapping as robbery and impose on Brabantio the idea that his daughter's escape is a shameful stain on Brabantio's house. Iago hopes that Brabantio, by the power of his senatorial power, will achieve an exemplary punishment of Othello, and then his revenge on the boss will be crowned with success.

Gotta wake up

Her father, publicize the escape

Raise sodom, ignite relatives.

Like flies, annoy the African

May he find so much torment in joy,

That he himself will not be happy with such happiness (p. 193).

It is necessary, according to Iago, that Othello "curse the poisoned happiness" (p. 193) with his young wife. Iago is an excellent psychologist and a connoisseur of human weaknesses. He always chooses the right words so that the person he is trying to influence falls into anger, despair, embarrassment or confusion - in a word, would lose his mind. For the father offended by his daughter, Iago also finds metaphors that hurt his father's feelings, family honor, disgrace his good name and the status of an official respected in Venice:

This minute the evil black ram Dishonours your white sheep (p. 194).

“... do you want your daughter to have an affair with an Arabian stallion, so that your grandchildren would laugh and you would have trotters in your family and connections with pacers? (p. 195)"

“I have come to tell you, sir, that your daughter is at the present moment putting together a beast with two backs with the Moor (p. 195).”

It is curious that he does this behind the back of the stupid Rodrigo, and at the right moment, when he can be recognized, he disappears so as not to be involved in a scandal. He justifies his departure before Rodrigo by the fact that he himself is a subordinate of the Moor and all the beaters will go to him, while the Senate will still forgive the commander Othello. This is typical for the face of evil - to be behind the scenes and commit atrocities by proxy.

The second, no less effective method of Iago in weaving a skillful intrigue is to set off two enemies, slandering one against the other, telling a deliberate lie and slandering (by the way, assigning himself the role of Othello's protector and sincere friend):

Even though I killed people in the war,

Murder in civilian life is a crime.

So I look. It would be easier for me to live

Without this scrupulousness. ten times

I wanted to punch him in the stomach.

And it's better that he didn't touch it.

He is so

I called you names that although

I am soft and flexible, I restrained myself a little (p. 198).

It is curious how Othello immediately imbues confidence in Iago, calls him only affectionate words that emphasize how good a person Iago is and to what extent he appreciates him: “honest Iago” (p. 198), “a devoted and faithful person” (p. 214). “Iago is faithful to duty like no one else” (p. 232). Othello boldly entrusts him with the care of his young wife, who, following Othello, should sail from Venice to Cyprus.

Iago is weaving a net, which means that he needs a lot of people so that they can fasten with their bodies and souls, like strong threads, a villainous intrigue: Rodrigo - this walking purse of Iago - his wife Emilia, Cassio, Bianca, Cassio's mistress - all turn into a tool of evil, the tip of which is turned to the heart of Othello.

Rodrigo is in love with Desdemona and is therefore ready to throw money down the drain. In other words, Iago invites him to go to Cyprus after his beloved, and he, Iago, will convince her to become Rodrigo's mistress for money and jewelry, which he, Iago, will allegedly transfer to Desdemona. In reality, of course, Iago puts fool Rodrigo's money in his pocket. Eight times (!), like a refrain, Iago repeats to Rodrigo: “Puff your wallet tighter” (from 217).

Cassio, a handsome man and a favorite of women, in the plan of Iago should play the role of a provincial seducer. Iago is going to slander him and thereby make Othello jealous. Even for Iago, in order to do evil more comfortably, at least an imaginary, fictitious motivation for villainy is required: there were rumors that Iago's wife Emilia could cheat on him with Othello; if this is so, then how would God himself approve of his plan to take revenge on Othello and answer him with the same coin (in the depths of his soul, Iago himself does not at all believe in this self-deception):

They report

As if he climbed to my wife.

This is unlikely, but let's assume.

If there is suspicion, then so be it.

He puts me high. All the better:

It is more convenient to act. What a thought!

After all, Cassio is a godsend for this!

First, from the place I will knock him down,

And secondly… Hurrah! Hooray! Invented!

I'll start whispering in Othello's ear,

That Cassio is good with his wife,

Just look: manners, camp, -

Ready, born seducer.

The Moor is simple-hearted and open-hearted,

He will take everything at face value.

To lead such a person by the nose is sheer nonsense.

So on hand! Pitch hell and night

They must help me in this plan (p. 218).

Cassio ingenuously gives material against himself, as if he himself is climbing into the snares laid out for him by Iago. Now, every gesture, every look of Cassio in relation to Desdemona Iago will be recorded and remembered, in order to then provide Othello with an invoice for which he will have to pay too dear a price: “He takes her hand. So-so. Whisper, please. In this little web I will catch a fly like Cassio. Oh, my God, how we are brought up! Smile, do me a favor. He kisses his fingertips in pleasure. Kiss, kiss. Somehow you'll still lick it when it deprives you of the lieutenantship! Tell me, please, smacked again! Your misfortune is that these are fingers and not klyster tips” (p. 226).

Shakespeare draws from the very beginning of the play the philosophy of Iago. It is built solely on hatred of man. It seems that Iago preaches the power of the mind that controls the passions. But this intelligence in the transmission of Iago is of a special kind: Iago needs it to manipulate people, since Iago himself is devoid of emotions and attachments. He knows about love only by hearsay. He is attached to his wife in the same way as to cats and puppies, which he is ready to drown at any second: “Each of us is a garden, and the gardener in it is will. Whether nettles, lettuce, hyssop, cumin, one or many things grow in us, whether they die out without care or grow luxuriantly, we ourselves are the masters of all this. If there were no reason, we would be overwhelmed by sensuality. That's what the mind is to curb its absurdities. Your love is one of the garden species that, if you like, you can cultivate, if you like, you can’t” (p. 216).

Similarly, Iago speaks of women:

All of you are visiting - pictures,

Ratchets - at home, cats - at the stove.

Grumpy innocences with claws

Devils in a martyr's crown (...)

You get up from bed for idleness,

And you do business in bed, (p. 224).

He is deliberately rude to Desdemona. Isn't it amazing? If we proceed from common sense, then Iago, on the contrary, should be extremely helpful and polite with her in order to hide his insidious plans. But no, he does not seem to hide his misogyny. Why? This also has its own calculation. No one can reproach Iago for hypocrisy. He, they say, cuts the truth in the eyes, not wanting to flatter Desdemona, neither her beauty, nor her mind. (“I am not accustomed to praise, but to find fault” (p. 224)). Really in that case this extremely straightforward person is capable of betrayal?!

In response to Desdemona's request to compliment her, Iago evades flattery and smears all women with the same black paint. All of them, according to him, are prudent, grumpy and stupid at once:

Beauty with the mind will not grieve:

Ingenuity will find, beauty will get it! (…)

The one that does not shine with beauty, but with a hunch,

The bait will be made from a lack. (…)

There are no such stupid beauties in the world,

To not be able to give birth to children. (p. 225 - 226).

Cassio, according to Iago, “is an animal, which the light did not create, from which it reeks of debauchery” (p. 229). Iago exaggerates the miserable imagination of Rodrigo, he vividly draws the dissolute gestures of Cassio, as if carried away by Desdemona, who is about to give herself to him (“Their lips were so close that their breath was confused” (p. 230)). His goal is to arouse jealousy and anger of Rodrigo, then push Cassio and Rodrigo in a duel and finish both off, better by proxy - one of the two, and kill the other himself. Rodrigo demands the return of money from Iago, and therefore the death of an indefinite and bottomless "living wallet" for Iago would be a longed-for anchor of salvation.

The desire for villainy was intensified for Iago by another circumstance: he himself was carried away by the beauty, intelligence and purity of Desdemona. This means that this purity should be soiled, beauty should be vulgarized, and the mind should be mixed with dirt. Then his philosophy will be confirmed in practice: life will serve as another illustration of the insignificance of man. This is basically what Iago wants: to turn the world into one big dirty pit, and to turn people into garbage dumped into this gutter - the world:

He is a noble, honest man

And Desdemona will be a faithful husband,

Of which I have no doubt whatsoever.

But it looks like I'm in love with her.

What's wrong with that? I'm ready for anything

To annoy Othello. Assumption

That the devil hugged my wife

It eats my insides with poison.

Let him pay his wife's debt for his wife,

And then I still make the Moor

So jealous that he'll go crazy.

I'll let Rodrigo go like a dog from a pack,

On Cassio, and Cassio is an excuse

To arouse Othello's incredulity.

Everyone will be nuts: Lieutenant

Indebted to me, probably, too:

Both are good for women.

The Moor will also thank me for that,

That I will ruin his family world

And I will make you laugh before the whole world (from 231).

Iago's hobby is to play on human weaknesses. Cassio does not know how and is afraid to drink. Iago forces him to get drunk, because in a drunken state Cassio will get out another passion that accompanies drunkenness - anger and intemperance. Cassio will arrange a fight with the inhabitants of Cyprus, who are celebrating a sudden victory over the Turks, and at the same time the wedding of Othello on Desdemona. Instigated by Iago, Rodrigo in disguise, whom Cassio does not know by sight, will become an instigator, and this again plays into the hands of Iago:

I would just pour another glass into it -

And he'll walk like a lady's dog

Throwing at everyone, yapping and grumbling.

And then Rodrigo drinks away the memory

In honor of Desdemona and ready.

I put him on duty with him

Three local, three troubled heads,

Warlike, like all of them in Cyprus.

It cannot be that Cassio endures

And he did not grapple with this herd of drunkards (p. 234).

Along the way, he dishonors Cassio in the eyes of Montano, who ruled Cyprus before the appointment of Othello, killing two birds with one stone: defaming Othello and noting his ignorance of people who picked up a bitter drunkard as his assistant, and, secondly, discrediting Cassio as the most insignificant of officers:

But what to hide, the unfortunate fellow drinks.

Reckless on Othello's part

Entrust him with supervision of the city.

What happens to him often?

Every evening.

The poor guy falls asleep

Continuous day, if you do not get drunk.

Othello must be told this.

He may not know or see

There is only good in a helper (p. 236).

Another way to confuse everyone is to create noise and confusion. Iago had already used this technique to provoke Brabantio during the disappearance of Desdemona from his father's house. Here Iago repeats the same trick: he whispers to Rodrigo the order to run to the bastion, ring the bell and summon all the townspeople, while the drunken Cassio arranges a brawl with Montano, one of the most respected citizens of Cyprus, who is still in the status of an official . Iago pretends to stop the fight between Cassio and Montano, although in fact he incites the fighters:

Cassio! Montano!

Come to your senses! Leave, gentlemen!

For help! You are crazy! For help!

Bell ringing.

Here is the devil! Finished. They strike the alarm.

What a disgrace! You have rebelled the city! (p. 239).

Iago is an improviser of extended speeches and fictional circumstances. He tells the same story of the quarrel between Cassio and Montano twice, each time in a new way, depending on which listeners listen to him and what goals he achieves. However, both times Iago himself turns out to be beyond suspicion and in the role of a noble savior, about which he does not forget to proudly declare: “I will cut off my tongue \\ Rather than say against Cassio ...” (p. 241). However, he was hiding nearby, waiting for a favorable development of events for himself, and waited. Othello is naively convinced of Iago's crystal honesty: "Out of the goodness of your soul, \\ You, Iago, shield your friend" (p. 241).

The intriguer is inexhaustible in his intrigues, because he uses a proven technique: he relies on human kindness and philanthropy, not a bit believing in either one or the other. Pretending to sympathize with Cassio, Iago draws Othello as a good-natured and good-natured simpleton, a rag who is waiting for words of forgiveness from Cassio in order to reinstate him in his position. In fact, Iago knows exactly Othello’s principles, his intolerance for neglecting the affairs of service (not to mention such a blatant violation of military duty as drunkenness during the guard): “You were degraded for warning. It's more for show. Ask him for forgiveness, and he will melt again” (p. 242).

An equally sophisticated trick is to send Cassio to Desdemona so that she becomes an intercessor for Cassio before Othello. So Iago cunningly mixes family life with service, and turns love and compassion into suspicion and stubbornness. These two things should naturally creep into the gullible soul of Othello, whom Iago intends to prepare accordingly. Pushing everyone against everyone, Iago imagines himself almost as a demiurge, God-creator, pulling the strings of his puppets - people involved in intrigue, naively believing that they are endowed with free will. Cassio, delighted with Iago's "wise" advice, calls him "honest Iago", beginning to echo the laudatory epithets generously lavished on Iago by Othello. Later, Cassio will say: “I have never met a more kind person. \\ And how disinterested he is! (p. 249)".

Who will reproach me now for forgery?

My advice is accurate, sincere, smart.

Find the best way to appease the Moor

Than help Desdemona. And she is doomed.

Her generosity Without edge, like nature.

For her, to appease the Moor is worth nothing.

She wraps him around her finger.

All this can be played by notes.

I'm a knight if I give Cassio

Advice on how to take all these threads in hand.

But this is the point: there is nothing in the world

More innocent in appearance than the machinations of hell.

In the meantime, as Cassio goes

Annoy Desdemona with prayers,

She will pester the Moor,

I'll poison his ears with a hint,

It's not without reason that she is sympathetic.

How sincere her defense will be,

That will make him more suspicious.

So I will impute virtue to her as a vice,

And the purity of her soul

Will destroy everyone. (pp. 244 - 245).

Before proceeding to the final stage of the villainous intrigue, Iago calms Rodrigo, desperate and beaten by a heavy hand, Cassio: for this, they say, Cassio was fired; therefore, “things are going smoothly” (p. 245), after which he sends Rodrigo to bed, bruised and abrasions, having spent almost all his money on Iago’s pleasures.

The culmination of Iago's vile intrigue is a psychological masterpiece, evidence of the deepest knowledge of people. Evil finds a loophole where good is powerless: Iago does not slander, does not put pressure on Othello with fictitious stories or ridiculous stories - he asks again, doubts, shakes his head sadly, mourns in silence. And now Othello, the gullible Othello, begins to suspect, listens to the disturbing voice of his heart, talks to himself. The worm of evil penetrates Othello's soul. He begins to doubt the main thing, the only thing that was for him the enduring value of life - the purity and chastity of Desdemona. He believed Iago that she was like everyone else, that she cuckolded him with an angelic face. The mechanism of evil was thus launched by Iago. True, he did not know that this mechanism was so strong that it would crush and ruthlessly destroy him. In the meantime, Iago enjoys his omnipotence in the art of managing people. They, thanks to the intrigues of Iago, go to death, as to a slaughter. Iago thinks that it was he who laid for his enemies (and the enemies for him - the whole world) a harsh bed of death.

I don't like it.

What are you muttering?

Nothing. Empty.

Isn't it Cassio just now

Left Desdemona?

It can not be!

Like a caught thief? No, not him.

He would not be afraid of your appearance.

I still think it is him (p. 252). (…)

Tell me general

Cassio knew about your hobby

Before your wedding?

Knew. Of course he did.

What is it?

Yes, thoughts.

I want to compare them, that's all.

Did he know her before you?

And between us spoke more than once

Intermediary.

Intermediary?

And what's wrong with that? Is he

Not worth the trust?

And justified, as you can see.

Justified.

So what are you concerned about?

Concerned?

What's wrong with you? What did you get

And you repeat everything after me, like an echo?

What's the matter? Is your thought so terrible

What are you afraid of discovering?

Faced with Cassio - not good.

He wooed me to her - again, something was wrong!

What's on your mind? You wrinkle your forehead

As if hidden in your skull

Some kind of horror. If you are my friend

Reveal everything to me (pp. 255 - 256).

Further, the very word that will make Othello the most unfortunate of mortals should sound in the mouth of Iago, but this word must be prepared with many reservations, doubts, equivocations, bring Othello to a semi-conscious state, and, finally, triumphantly utter: "jealousy!" After that, Iago, having sowed a seed of doubt in the soul of Othello, what is called a “rollback”, retreats, says that all this, perhaps, is idle speculation, a mistake of a sick soul. But Othello is now terminally ill. The poisonous seed, planted by Iago, has taken root in Othello's heart, it grows by leaps and bounds, and it will inevitably tear the jealous soul into two halves, kill him from the inside. Iago gives Othello another insidious piece of advice: keep a "sober" eye on Cassio and Desdemona.

Jealousy beware

Green-eyed witch, general,

Who laughs at prey.

Blessed are the suffering husbands,

That everyone knows and cooled off

To the perpetrators of disgrace. But trouble

When you guess and love

You suspect and idolize (p. 259).

For the complete destruction of Othello, only some material smallness, a trifle, a trifle is missing. And this trifle, to the delight of Iago, is - Desdemona's handkerchief. His Othello gave Desdemona after the wedding. This is a family heirloom - his mother's handkerchief, "embroidered with strawberry flowers!" (p. 270). Othello values ​​him very much, because his mother bequeathed to him to give this handkerchief to the one he chooses as his wife. A handkerchief is a magical sign of fidelity: while Othello's father had a handkerchief, he was faithful to his mother. Emilia, Iago's wife, picks up the handkerchief accidentally dropped by Desdemona and hands it to her husband, who allegedly wanted to remove the pattern from the beautiful handkerchief. Iago throws this handkerchief into Cassio's apartment. Along the way, Iago, following the handkerchief, throws firewood into the already blazing soul of Othello. He composes a fantastic story about Cassio's dream, during which he allegedly blurts out the secret of his cohabitation with Desdemona. Only Othello, furious with jealousy and anger, could believe in such crude, tallow-erotic tales of Iago:

I once lay with Cassio

On the bunk. My teeth hurt.

I couldn't sleep. Careless Carter

In a dream, he always blurts out secrets.

So is Cassio. And I hear:

"Be careful, Desdemona's angel.

We need to hide our love."

He squeezed my hand tightly and passionately

Began to kiss, as if from my lips

He plucked those kisses by the roots,

And put his foot on my hip.

Then, sighing, he murmured: “Oh, woe!

Why have you been given into the hands of the Moor! (p. 269)

All that remains is to “squeeze” Othello a little, who is already ready to go crazy or/and kill Desdemona. Iago finishes off Othello by assuring him that Cassio is now trumpeting at all corners about the victory over Desdemona: “I was lying. Snuggled up. He dishonors her. And in what terms” (p. 285). Othello collapses. Iago is delighted with his mastery of baking evil:

Praise, my medicine. Act, act!

This is how gullible fools are caught.

Thus women who are unsullied are denigrated.

He tells Cassio that Othello is having two fits of epilepsy today. He continues to subtly mock Othello, talking about the “horns” that any married person receives from his wife, and Othello is among the millions of “horns”, so there is nothing to be sad about. But words are not as effective as deeds. Iago wants evil to be visible and plays with the ingenuous Cassio and the jealous Othello, whose eyes and mind are blinded by suffering, a brilliant and cruel improvisation.

Cassio gives Desdemona's handkerchief to Bianca in love with him in front of Othello. Iago fakes the situation when Cassio laughs at the fool Bianco and depicts with gestures how she achieves him, and Otello is sure that he laughs at Desdemona and shows how he pulls her into Othello's matrimonial bedroom. Othello, killed by his wife's betrayal, asks Iago to get poison. No, Othello, according to Iago's plan, myself must kill Desdemona. Iago will obligingly give him the sword of murder, and he himself will be left with clean hands and nothing to do with it. That is why Iago presents Othello with another “wise” advice, out of compassion for the deceived husband, so to speak: “Why poison? Better suffocate her in the bed she has desecrated” (p. 293).

Everything seems to be done in such a way that "a mosquito will not undermine the nose." Iago remains only the smallest thing - to eliminate the witnesses. He does not need Rodrigo, who demands from him the jewels given by Iago to bribe Desdemona. He does not need Cassio, whose lucky star has risen again: the Doge of Venice appoints him commandant of Cyprus instead of Othello. Besides, Othello might someday tell how Iago slandered Cassio. Iago persuades Rodrigo to kill Cassio, as Othello is taking Desdemona to Mauritania (in fact, they must return to Venice). If Cassio dies, Othello and Desdemona will remain in Venice, and the very next night Desdemona will be in the arms of Rodrigo. It is amazing what nonsense Iago is carrying, and even more amazing that Rodrigo believes and agrees to the murder, which he does not want at all. Iago is a master of convincing and using the fire of passions that rage in human hearts. Iago himself is completely impassive.

What did Iago achieve? Othello publicly calls his wife a whore. Desdemona asks for Iago's intercession. He assures her that Othello is simply nervous in connection with the service, politics - affairs, in a word. It seems that Iago's victory is complete and unconditional. Evil triumphs in the world. Iago has smeared people with mud, and they die in insignificance and confusion.

And suddenly, unexpectedly, the mechanism of evil ceases to work, or, perhaps, by inertia, evil acts in such a way that it grinds everyone with its millstones, including its initiator and root cause - Iago. Cassio wounds Rodrigo in a scuffle. Iago wounds Cassio from behind, but does not kill him. In the darkness of the night, taking advantage of the turmoil, he strikes the wounded Rodrigo with a mortal blow with a dagger, but again he woke up to expose Iago. Iago's wife Emilia, seeing the corpse of Desdemona strangled by Othello, suddenly exposes her husband and reveals the whole intrigue with the handkerchief. Iago loses his mind for the first time and, in a blind rage, stabs Emilia to death. The captured Iago is severely wounded by Othello and, according to the verdict of the court, Iago will be tortured for a long time before being shamefully executed. Finally, Othello kills himself on the bed of Desdemona strangled by him.

Evil didn't work. Iago will be justly punished. Yes, he caused the death of many. He slandered Desdemona in the eyes of Othello. Evil with its merciless scythe mowed down the innocent and pure. But goodness, albeit, as always, belatedly, showed itself. Evil is not absolute, according to Shakespeare. And evil brings its own retribution. He who lifts the sword will perish by the sword. Iago will die, but before that he takes Othello, Desdemona, Rodrigo and Emilia with him to the grave. In tragedy, therefore, neither evil nor good wins. Yet this is the catharsis of tragedy. Evil must be defeated in the soul of the viewer and reader..

This article will focus on Shakespeare's play, first staged in 1604. Your attention will be offered its summary. "Othello" is a play, the plot of which is based on the work "The Moor of Venice" by G. Cinthio.

The opening scenes take place in Venice. Rodrigo, a local nobleman, is at the house of Brabantio (senator). He is unrequitedly in love with Desdemona, his daughter. Rodrigo reproaches his friend Iago for accepting the rank of lieutenant offered to him by Othello. The protagonist is a Moor, a general in the Venetian service. Rodrigo's friend justifies himself by saying that he himself hates the Moor because he appointed Cassio as his deputy, bypassing Iago. Cassio is a mathematician who is younger than Iago. Rodrigo's friend is outraged and intends to take revenge on Cassio and Othello. The summary of the work continues with unexpected news.

The news that Desdemona fled with Othello

Friends, having finished the bickering, wake up Brabantio by raising a cry. They tell the old man that Desdemona, his only daughter, has fled with Othello. The summary of the work does not imply a detailed description of Brabantio's emotions. Let's just say that he is in despair and believes that his daughter has become a victim of witchcraft. Iago leaves, and Rodrigo and Brabantio are about to arrest the kidnapper.

Othello's conversation with Brabantio

Iago, with false friendliness, hurries to report to Othello, who is already married to Desdemona, that his father-in-law is furious and will come here any minute. The Moor does not want to hide, he says that his conscience, rank and name justify him. Cassio enters and informs that the doge asks the general to come to him. Brabantio appears, accompanied by guards. He intends to arrest the offender. However, Othello stops the upcoming skirmish. He answers his father-in-law with gentle humor. It turns out that Brabantio must also be present at the council of the Doge, the head of the republic.

Shakespeare's Othello continues with a commotion in the council chamber. A summary of this scene is as follows. Every now and then messengers appear, reporting conflicting news. It is only clear that the Turkish fleet is moving towards Cyprus in order to take possession of it. Doge announces an urgent appointment to Othello who has entered. The Moor is sent to war with the Turks. Brabantio, however, accuses the general of attracting Desdemona with sorcery. Othello decides to call Desdemona and listen to her version. In the meantime, he tells the story of marriage. Othello, visiting the house of Brabantio, told at his request about his life, full of sorrows and adventures. The strength of mind of this ugly and middle-aged senator struck a young daughter. Desdemona cried over his stories and was the first to confess her feelings to him. The girl, who entered with the servants of the Doge, answers her father's questions and says that she is now obedient to her husband, the Moor. Brabantio resigns himself. He wishes happiness for the young.

Desdemona and Othello go to Cyprus

We continue to describe the summary. Othello goes to Cyprus, and Desdemona asks her father to let her follow her husband. The Doge does not object to this, and Othello leaves Desdemona in the care of Iago, as well as Emilia, his wife. They must go with her to Cyprus. In desperation Rodrigo, he is about to drown himself. Iago, with a cynicism not devoid of wit, urges his friend not to succumb to feelings. He says that everything will change, because Othello is not a couple of a charming Venetian. Rodrigo will still receive his beloved, and thus Iago's revenge will be accomplished. The insidious lieutenant many times calls on Rodrigo to fill his wallet tighter. The hopeful young man leaves, and an imaginary friend laughs at him, saying that Rodrigo serves him as "free fun" and "purse". The Moor is also trusting and simple-hearted. Maybe he should whisper that his wife is too friendly with Cassio, who is handsome and has excellent manners? Why not a seducer?

Arrival in Cyprus

The inhabitants of Cyprus rejoice: the galleys of the Turks were smashed by a strong storm. He also swept away the ships of the Venetians, going to help by sea. Desdemona therefore goes ashore before her husband. While Othello's ship has not landed, she is entertained by the chatter of the officers. Iago laughs at all the women who are "pictures" at a party, "rattles" at home, at the stove - "cats", etc. Desdemona is outraged by his barracks humor, but Cassio stands up for his colleague. He notes that Iago is a soldier, so he speaks directly. Enter Othello. A brief summary of the actions continues with an unusually tender meeting of the spouses.

Fight between Cassio and Rodrigo

Before going to bed, the general gives the task to Iago and Cassio to check the guards. Then Iago invites his friend to drink for Othello, and although he tries to refuse, because he does not tolerate wine well, he still gets him drunk. Now the sea is knee-deep to the lieutenant. Taught by Iago, Rodrigo easily provokes him into a quarrel. One of the officers is trying to separate them, but Cassio suddenly takes up his sword and wounds the peacekeeper. With the help of Rodrigo, Iago raises the alarm. Othello finds out the details of the fight from the latter. He says that Iago is shielding his friend Cassio out of the kindness of his soul, and decides to remove the lieutenant from his post. Coming to his senses, Cassio burns with shame. Iago advises him to seek reconciliation with him through Othello's wife, because this girl is so generous. Cassio is grateful for this advice. He cannot remember who got him drunk, provoked him into a fight, and then slandered him in front of his comrades. Iago rejoices: Desdemona will now help his insidious plan with her requests, and Iago will destroy all enemies, using their best qualities for this.

New intrigues of Iago

The girl promises her intercession to Cassio. Both of them are touched by the fact that Iago so sincerely experiences someone else's grief. "Good-natured", meanwhile, began to gradually pour poison into the ears of the general. At first, Othello does not even realize why he is asked not to be jealous, and then begins to doubt. He eventually asks Iago to keep an eye on his wife. How does the summary continue? Othello is upset. Entered Desdemona decides that the reason for her husband's bad mood is a headache and fatigue. The girl tries to tie the head of the Moor with a scarf, but he pulls away, the scarf falls to the ground.

Emilia, Desdemona's companion, picks him up. She longs to please her husband, who has long asked her to get a handkerchief, which was a family heirloom, passed from her mother to Othello and then presented to Desdemona on her wedding day. Iago praises his wife, but does not tell her why he needed a scarf, but only tells her to keep quiet.

Othello's Oath

The Moor, tormented by jealousy, cannot believe that his wife has cheated on him. He cannot get rid of suspicions (we have described them above, passing on a summary). Othello demands from Iago to provide evidence, threatens a terrible retribution for slander. Iago then portrays offended honesty, but is ready "out of friendship" to provide Othello with circumstantial evidence. He says that he saw Cassio dry himself with his wife's handkerchief. This rather gullible Moor. He vows revenge. Iago also kneels and promises to help Othello. The general gives him three days to kill Cassio. He agrees, but hypocritically asks to spare Desdemona. Othello decides to make Iago his lieutenant.

The history of the scarf

Othello's wife again asks her husband to forgive Cassio. However, he doesn't listen to anything. He demands to show a handkerchief that has magical properties to protect the beauty of the one who owns it, as well as the love of her chosen one. Finding that his wife does not have a handkerchief, Othello leaves in a rage.

A handkerchief with a beautiful pattern finds Cassio at home. He gives it to Bianca, his girlfriend, for her to copy the embroidery before the owner is found.

Pretending to comfort Othello, Iago manages to make him faint. After that, he persuades the Moor to hide and eavesdrop on his conversation with Cassio. They will talk about Desdemona. In fact, we are talking about Bianca. He tells with a laugh about this windy girl. While in hiding, Othello does not understand half of the words. He is sure that they laugh at him and his wife. Unfortunately, Bianca appears, throwing a precious handkerchief in her lover's face, saying that it must be a gift from some harlot. Cassio begins to calm the jealous charmer. Meanwhile, Iago continues to inflame the fooled Moor, advising him to strangle Desdemona in bed. Othello agrees to this. A summary of the chapters is already approaching the denouement of the plot.

Othello strikes Desdemona

Suddenly enters Ludovico, a relative of Desdemona. He brought with him an order according to which the general was recalled from the island, and he must transfer power to Cassio. Desdemona does not hide her joy. However, Othello understands the girl in his own way. He insults his wife and then hits her.

Premonition of Desdemona

The girl, in a conversation with her husband, swears to him in her innocence, but Othello is only convinced that she is lying. The Moor is beside himself with grief - this is how William Shakespeare (Othello) describes his condition in his work. A summary of further events will show how much this hero loses power over himself. After a dinner arranged in honor of Ludovico, he goes to see off the guest. Othello asks his wife to go to bed, releasing Emilia. The girl is glad - it seems that her husband has become softer, but Desdemona is still tormented by some incomprehensible longing. She remembers the song about the willow, heard in childhood, as well as the unfortunate girl who sang it before her death.

The murder of Rodrigo and the wounding of Cassio

Rodrigo, on the advice of Iago, is going to kill Cassio, who returns from Bianchi at night. However, the shell saves his life. Cassio even wounds Rodrigo. However, an ambush Iago manages to finish off Rodrigo and maim Cassio. When people appear on the street, he tries to direct all suspicions to Bianca, lamenting over Cassio. That's what a hypocritical hero created in his work William Shakespeare ("Othello"). The summary, we hope, helped you to imagine at least in general terms its character.

Murder of Desdemona

Sleeping Desdemona is kissed by Othello. He realizes that, having killed his beloved, he will go crazy, but he sees no other way out of this situation. Desdemona wakes up and Othello asks her if she prayed before going to bed. The girl can neither prove her own innocence, nor convince her husband to take pity. Othello strangles Desdemona, and then, in order to reduce the girl's torment, stabs her with a dagger. Emilia, who has run in and does not see the hostess's body at first, informs the general about Cassio's injury. Desdemona, mortally wounded, manages to shout to her that she is dying innocently, but refuses to name the killer. Othello admits to Emilia that he killed the girl for deceit, deceit and infidelity.

Unmasking the killer

Shakespeare's Othello ends with a spectacular final scene. Its summary is as follows. Emilia understood everything, she calls people and, with Iago and the officers who have entered, exposes the real criminal, tells the Moor the story with the handkerchief. The general is horrified, he tries to stab his former friend. However, Iago kills his wife and then runs away. There is no limit to the despair of the Moor. The summary of the tragedy "Othello" is difficult to convey in a nutshell. The hero calls himself a killer. When Iago is brought in, he wounds him, and then, having explained himself to Cassio, stabs himself to death. The Moor gives a speech before his death, in which he says that he was jealous, but "fell into a rage in a storm of feelings." Everyone pays tribute to his courage and greatness of soul. Cassio remains the ruler of Cyprus. He must judge Iago, and then a painful death awaits the criminal.

Thus ends Shakespeare's Othello. A summary of the chapters, we hope, prompted you to read this great work in the original.

Characters

Doge of Venice.

Brabantio, senator.

Two other senators.

Gratiano, brother of Brabantio.

Lodovico, relative of Brabantio.

Othello, General, Moor.

Cassio, his lieutenant, that is, deputy.

Iago, his lieutenant.

Rodrigo, Venetian nobleman.

Montano, Othello's predecessor in the administration of Cyprus.

Jester, in the service of Othello.

Herald.

Desdemona, daughter of Brabantio and wife of Othello.

Emilia, Iago's wife.

Bianca, courtesan, lover of Cassio.

Officers, nobles, ambassadors, musicians, sailors, servants.

The first act takes place in Venice, the rest in Cyprus.

Act I

Scene 1

Venice. Street. Enter Roderigo and Iago.

Rodrigo

No Iago! No, whatever you say
And it hurts me that you, who had
My treasury, as my own,
Knew about it...

Iago

Damn it, stop!
You don't want to listen to me at all.
I will allow myself to be despised if
Even though I dreamed it all.

Rodrigo

You always
You told me you hated the Moor.

Iago

And you turn away from me with contempt,
When I lied Three noble citizens
Those who wanted to deliver from him
I'm a lieutenant, they bothered
Hard for me. And this honor
I cost; yes, as an honest person
I swear to that: I know my worth ...
But this Moor, madly in love
In your proud disposition and your plans,
I turned away from these requests: for a long time
Some pompous chatter
Stuffed with war words
And finally, to my intercessors
He refused. "Because," he explained,
I have already chosen a lieutenant for myself.
And who is that chosen one? Literate
Great mathematician, Florentine,
Some Cassio, with one beauty
Already bound by hand,
Never walked before the squadron
And knowing the order of battle
No more than any spinner.
Theory is only a book one,
With which the senator is each in a toga
No less familiar, boastfulness
Without practical information - that's all
Military art of the Florentine.
And yet he is chosen - yes; and I,
I, whose deeds Othello has seen more than once
On Rhodes, in Cyprus, fought
In pagan and Christian countries -
A passing devoid of sudden wind
Tsifirnik and simple counter.
He is a lieutenant, and I - God forgive me! -
I remain a lieutenant to the Moor.

Rodrigo

As for me, I would rather wish -
I swear to you - to be his executioner.

Iago

There is no medicine to help here.
This is our order of service:
Only preferred, who is noble and in favor;
Don't follow the old order
Where the first was succeeded by the second.
Judge now, sir, you yourself:
Do I have one reason to be
Located towards the Moor?

Rodrigo

So he would
I didn't serve at all.

Iago

Calm down!
Serving him, I serve myself.
We can't all be masters
And that all have faithful servants.
Of course, there are such scoundrels,
Which, bowing respectfully
And crawling, in love with their
Contemptible servility, like donkeys,
They work for food alone;
And a little they grow old - so out
Now they are being chased. These sticks
All honest scoundrels! But there are others
Who are under the guise of faithful service
Hide the thought only of themselves,
And, pleasing the gentlemen,
Helpfulness visible, meanwhile
They conduct their business with great success;
And having stuffed their pockets, they begin
Serve and please yourself.
These guys aren't stupid at all.
And I belong to their breed.
Yes, yes, sir
If I were a Moor, then Iago would not have remained:
That is true, as that Rodrigo is you.
Serving him, I serve myself only.
Witness God - there is no love, no duty,
But only their mask for cover
My special intentions:
After all, by external actions to reveal
My soul and inside and essence -
Doesn't matter what's in her palm
Lay everything out and give it to the jackdaws as prey?
No, honey, I'm not what I seem!

Rodrigo

Well, if he wins here,
Then the thick-lipped one will achieve everything!

Iago

Now wake up her father:
Let him run the chase, poison
His peace, shout to the whole city,
Try to restore her relatives;
Although he lives on fertile soil -
Torture him with flies; though he
And achieved great happiness -
Try to disturb that happiness,
So that it loses its bright color.

Rodrigo

This is my father's house! I will call out loud.

Iago

Yes, yes, scream as much as you can,
With that terrible voice that
They scream when in the carefree hour of the night
Suddenly the crowded city will light up.

Rodrigo

Brabantio! Signor!

Iago

Brabantio! Get up! The thieves! The thieves!
Get up! Hey! save the house
And daughter, and chests! Hey! Thieves, thieves!

Brabantio appears at the window.

Brabantio

What is this noise? What do these screams mean?
What's the matter? What happened here?

Rodrigo

Signor
Are all your households now at home?

Iago

Are all your doors closed?

Brabantio

What do you want? Why these questions?

Iago

To the fact that you are robbed, sir.
Get up soon, get dressed,
Without delay. Your heart has been broken...
You have lost a part of your soul...
Yes, at this hour, at this black minute
The old ram in his arms strangles your
White sheep. Sir, hurry up.
Wake up the sleeping citizens with the tocsin,
Otherwise, the devil will turn you into a grandfather.
Hurry, hurry!

Brabantio

What are you, crazy?

Rodrigo

Do you know, most honorable sir,
My voice?

Brabantio

Rodrigo

Brabantio

Ah, rascal! Yes, I told you
So that you do not dare to hang around in front of this house!
After all, I already told you clearly
That my daughter is not for you; And you,
Having dined heavily and drunk
Intoxicating drinks, in madness
Came here, boasting of stupid courage,
Broke my peace...

Rodrigo

Signor, signor!

Brabantio

But be quite sure that the influence
Mine and dignity will make you bitter
Pay for it.

Rodrigo

Oh sir,
Listen!

Brabantio

Why are you confusing me
About robbery? After all, the city is here, and my house -
Not a remote farm.

Rodrigo

Signor
Most venerable Brabantio, believe me,
I came to you as a kind person.

Iago

Damn it, sir! You are one of those who will refuse to serve God if the devil requires it. We came here to do you a favor, and you take us for swindlers. Surely you want your daughter to marry a barbarian stallion, for your grandchildren to neigh beside you, for trotters to be your cousins, and pacers to be your nephews?

Brabantio

What kind of a blasphemer are you?

Iago

I am the man who has come to tell you that at this moment your daughter and the Moor are portraying a beast with two backs.

Brabantio

Iago

And you, sir, are a senator.

Brabantio

For this you will answer me, Rodrigo,
You are familiar to me.

Rodrigo

I am responsible for everything.
But be so kind as to tell me
By your wise consent,
By your decision, your daughter
Beautiful in the dead of this midnight
Set off without any guards, except
Hired scoundrel gondolier
In the voluptuous arms of the Moor?
If you know it and it happened
By your consent, then we
You have been greatly offended;
And if not, so common sense will tell you,
That this anger against us is unfair.
Do not think, I ask you, that, forgetting
Decency, over you I have come
Joking and mocking. No! your daughter,
When you did not give consent,
Terribly guilty, I repeat,
Having bound your duty, and mind, and beauty
With a homeless, ugly foreigner.
Rather, see for yourself;
And if you find her in the house
Or in her room - for my deceit
Then bring me to justice.

Brabantio

Fire! Cut out the fire,
Candles here! Call my servants!
With my dream, all this is too similar ...
The thought alone is tormenting me...
Fire, fire, they tell you!

Hiding in the window.

Iago

Farewell!
I must leave. indecent,
It's embarrassing for me, according to my name,
To appear as a witness against the Moor;
Left alone, I have to do it.
After all, our Senate, I know, will not punish
Resign him, but is it easy
Will give a reprimand: it is so necessary
Senators for the upcoming Cyprus
Wars that they are no one else
Othello will not be replaced in this case.
That's why, even though I hate him,
Like hellish torments, but I must
Throw out the flag of love - of course, imaginary;
And you, in order to find him back,
Brabantio to the "Arrow" now direct.
You will find me there too. Goodbye.

Leaves. Brabantio and servants with torches come out of the house.

Brabantio

So it's all true! The crime is done!
No, there is none - and for me now
Everything in the future is only bitterness and torment!
Rodrigo, where, tell me, did you see her?
Unhappy! You say what's wrong with the Moor?
Oh, who wants to be a father now?
How did you know it was her?
Oh, how you terribly deceived me!
Well, what did she tell you? Hey,
More fire, more fire! Wake up
Everyone's home! Do you think you did
Are they getting married?

Rodrigo

Brabantio

Oh heaven! How did she manage
Leave home? Blood betrayal!
Fathers, fathers, do not believe from now on
Do not trust your daughters in anything, in anything!
Is there really no such charm,
Who are led astray
And youth, and virginity? Rodrigo,
Have you read about it somewhere?

Rodrigo

Read, sir.

Brabantio

Where is my brother? Call.
Oh, for what, Rodrigo, I did not give
Her to you! .. In search of it soon!
One here, the other there. Where
Should I find them? Don't you know, Rodrigo?

Rodrigo

I think I can point.
Send first for a good guard
And follow me.

Brabantio

Well, lead
Lead quickly! I will be in every house
Shout for reinforcements.
Take a weapon. call
Watchmen officials as soon as possible.
Let's go! Let's go, my good Roderigo,
I will reward you for this work.

Scene 2

There. Another street. Enter Othello, Iago, and Servants with torches.

Iago

Even though I killed people in the war,
But conscience always considered disgusting
Deliberately commit murder.
I missed this often
Cruelty. Times nine or ten
I was getting ready to stab him in the side.

Othello

And it's good that he didn't.

Iago

Yes, how can it be? He boasted so awfully
And, speaking of you, used
Such offensive expressions
That I, with all the kindness of my heart,
With great difficulty he contained his anger.
However, tell me, sir,
Are you married? You need to remember
That everyone here loves her father,
And in this case, his voice
Twice as strong as the Doge's own voice.
He will probably divorce you, expose you
What severe punishments
The law, strengthened by its influence,
He will be given a choice.

Othello

Well, let
He indulges in rage as he wants,
But my services to the Senate
They will override all his complaints.
Moreover, when I see that swagger
Gives honor, then I will announce everywhere,
That I come from a royal house.
That you don't need a senatorial cap
To me so that I have the right
Although it would be for that high bliss,
which I have now reached.
Yes, Iago, know when Desdemona
I did not love, for all the riches of the sea
I wouldn't put it in tight boundaries
Your free homeless life.
But look, what kind of lights are there?

Cassio and several officers with torches appear in the distance.

Iago

This -
Her father is angry, and with him
His friends. You should leave.

Othello

Against,
I wish to be found.
Merit, dignity and conscience without reproach
I am quite - I know - will be acquitted ...
Are they that?

Iago

No, I swear by Janus
I think others.

Othello

This is Doge
Attendants, and my lieutenant with them.
Good night, my friends! Great!
What do you think?

Cassio

The Doge sent us here
To convey my regards to you, general,
And ask him to come to him now,
Don't hesitate a minute.

Othello

For what?
Do not know?

Cassio

How could I guess
News received now from Cyprus -
Some important things.
Tonight they sent here from the galleys
twelve messengers, one
Following another. Now the Doge
Enough senators gathered!
They sent for you once,
But the messenger did not find you at home.
Now the Senate sent to all ends,
To find out soon...

Othello

Fine,
That you met me here. I just
I'll come to say two words in this house
And I'll be back immediately.

Cassio

Lieutenant!
What is his business here?

Iago

Today
He took to board at night
An excellent galley, and if
Recognized as legitimate is his prize,
He made his happiness forever.

Cassio

I don't quite understand.

Iago

Cassio

Iago

Othello is back.

Well, let's go, General?

Othello

Cassio

Here's another squad:
He is also looking for you.

Enter BRABANTIO, RODRIGO, and Sentinels with torches and weapons.

Iago

This -
Brabantio. Look, general!
It is with unkind intent - beware!

Othello

Stop! Who goes?

Rodrigo

Sir, he is here.

Brabantio

Grab it
Rogue!

Swords are drawn on both sides.

Iago

Is that you, Rodrigo?
Well, sir, I am at your service.

Othello

Moderate your anger, my friends, invest
You are your bright swords in the scabbard,
Otherwise, the dew will cover them with rust.
My dear sir, you have been
Give more obedience
Than all these weapons.

Brabantio

Vile thief!
Where, where did you hide my daughter?
Damn, you bewitched her!
Yes, I will refer to everything that makes sense.
Is it possible that without tying oneself
Chains of some cursed spell,
Is it possible that a girl like that
Beautiful, innocent, for marriage
Watching with such disgust
What do the most noble and handsome young men
Venice denied everyone
So that the girl is like that, I say,
Decided to let myself be laughed at
General, run away from home
And on the chest hide smoky
Creatures of the ugly, in whom everything
Inspires fear, not love joy?
Judge me the whole world when it's not clear
That you are her most vile sorcery
Enchanted that virgin youth
You ruined with drinks and potion,
Exciting passions. I want,
To fully explore
This is all business, and meanwhile it
Just as true for the mind
So tangible that I'm right now
I take and arrest you here,
Deceiver of the worldly, man
Skilled in cursed sorcery,
In activities prohibited by law.
Hey, take it, and if it becomes
Resist - you do not stand on ceremony with him!

Othello

My friends and you, everyone else,
Hold up your hands. If my role
There was a struggle, I would fulfill it
Without the help of a prompter - trust me.
Where do you want me to go with you
Answer your accusation?

Brabantio

To jail, to jail, until you're held accountable
The law and the right court will not call!

Othello

How can I obey?
How will I then execute the Doge's order,
whose ambassadors came here,
To call me on business of the state?

First Officer

He is absolutely right, most honorable sir:
In the council of the Doge They probably sent
And ask you.

Brabantio

How, doge in council? At night?
Lead him there for me -
And my work is not empty.
Doge himself and all fellow senators
Must look at this insult
As for yours. When will we give
Such affairs are free to move, then
We will soon become the head of the board
Pagans and vile slaves.

Scene 3

There. Council room.

The doge and the senators are sitting at the table. The officers stand at a distance.

doge

In the news received, however,
There is no consent - and this hinders us
Believe them.

First Senator

Yes, it's true, controversy
Pretty in them. They write to me that the number
Galleys - one hundred and seven.

doge

And to me that there are one hundred and forty.

Second Senator

And to me that there are two hundred of them. But although
Among the galleys and do not agree letters,
Since guesses in different reports
They always lead to mistakes, yet they
Everyone says that this fleet is Turkish
And that he is sailing to Cyprus.

doge

In it all
There are many possibilities; because
I do not amuse myself with differences in numbers,
But I believe in the main thing - and I'm afraid.

Sailor (behind the scenes )

Let me in quickly! News! News!

Enter officer and sailor.

Officer

Here is one sent from the galleys.

doge

Well? What's the matter?

Sailor

The Turkish fleet is now sailing towards Rhodes.
I was ordered to report it
To Senators Signor Angelo.

doge

Well,
What can you say about this change?

First Senator

Yes, I'll say it's impossible.
And mind is disgusting. It's a joke,
Which they want to confuse us.
After all, it is worthwhile for us to realize how important
For the Turks of Cyprus, then remember that
That they are not so interested in Rhodes,
Then it is much easier to take Cyprus,
Where there are no large and strong fortifications,
Where there are no means of protection such as
Rhodes is rich. Let's think about it -
And we will understand that the Turks are not so
Inexperienced, so that, leaving the main thing
And neglect the easy undertaking
And profitable, embark on another -
Dangerous, unprofitable.

doge

Yes,
They are sailing, probably not to Rhodes.

Officer

Here is a messenger with new news for you.

The messenger enters.

Messenger

Honorable gentlemen, ottomans,
Sailed to Rhodes, near it
With another, they were still connected by a fleet.

First Senator

I knew it. How many of them do you hear?

Messenger

All thirty ships. Then they
Turned back and now
They are already sailing to Cyprus. Signor Montano,
Your devoted and valiant servant,
He informs you about this and asks,
For you to believe him.

doge

Now
There is no doubt: their path is directed to Cyprus.
What, is Mark Lukese in town today?

First Senator

He is now in Florence.

doge

Write to him from us and ask him to return without a moment's delay.

First Senator

Here is Brabantio with the valiant Moor.

Enter BRABANTIO, OTHELLO, IAGO, RODRIGO, and officers.

doge

Othello the valiant, now we must
Use you in the case against the Turks,
Enemies of the Republic. But I do not see…
(to Brabantio.)
And, hello, most venerable sir!
And your advice and your help - today
We all need.

Brabantio

And I expect them from you
Most Serene Doge, forgive me: not my dignity,
Not this news about a new, important matter
They made me get out of bed.
Not a common concern excited me
Then, that my spiritual grief
Runs in such an unstoppable stream,
That sorrows absorb all others,
Not getting weaker for a moment.

doge

But what, sir? What's wrong with you? What's happened?

Brabantio

Daughter, my daughter!

doge

Brabantio

Yes, for me!
Deceived, kidnapped by thieves,
Seduced by the magical drink
And charms, then what is impossible,
Without being blind, crooked, insane,
Fall into such a terrible delusion
Without sorcery.

doge

Whoever the person is
Decided by such a vile means
Take your daughter, and she has consciousness,
Bloody law book you
Open it up and choose
Retribution whatever you want.
Even if my son is my own, I will not change
Solutions.

Brabantio

Lower your grace
Thank you. Guilty - this Moor,
Which in the case of the state
You seem to have sent a call here.

Doge and Senators

We are very sad to hear this news.

Doge (to Othello )

What can you say to this?

Brabantio

Yes, only that I told the truth.

Othello

Venerable, most noble gentlemen
And my good bosses!
That I took my daughter away from this old man -
Not fiction; not an invention either
That I married her; but on this
All my transgression ends.
I am rude in speeches; to the curly phrases of the world
I don't have great ability
No, because with these hands
I from seven years to the present day
He used to work in the camp fields.
From everything that happens in the world,
I can only talk about wars
battles; that's why now
Speaking for myself here
I can hardly make things right.
But let it be so: I, with your consent,
I'll tell you straight, without embellishment
The whole course of my love; I'll tell you what
With potions and charms, what
Whispering and sorcery almighty -
After all, I am accused of this before you -
I drew his daughter to me.

Brabantio

Such
humble and timid girl,
Reddened by her own movements -
And suddenly she, contrary to nature,
To your years, fatherland, wealth,
Everything, everything, fell in love with what
Until now, I was afraid to look!
No, only those who are mentally damaged
Or who is completely crazy, will admit,
What can so forget perfection,
Against all the rules of nature
And such a thing should be explained
Nothing but the machinations of hell.
Therefore, I affirm again
That he acted on her in some way
A stupefying drink or a potion,
For this seasoned on purpose.

doge

To say so is not to prove
And you must back up the accusation
Evidence clearer and more precise
Such empty guesses and such
Insignificant and imaginary conclusions.

First Senator

Well, speak quickly, Othello:
Is it true that the forbidden means,
Then you resorted to violence
To subjugate and poison
Girls of youthful feeling? Or in this
Have You Succeeded Through Beliefs
And those speeches that attract
To one soul another?

Othello

I beg you
Send you now to Strelka for her.
And let her in the presence of her father
Everything about me will tell; if I
From her words I will be guilty,
Then don't just trust me
And dignity, bestowed on me from you,
Deprive you, but let your judgment be true
And take my life from me.

doge

Send for Desdemona now.

Othello (to Iago )

Bring them together, friend: you know where she is.

Iago leaves with several officers.

And meanwhile, venerable sirs,
Until she comes here, I will
So sincerely, as to God, I open
My sins, I'll tell you how I managed
To win the love of this beautiful maiden
And how did she get mine?

doge

Tell us, we're listening, Othello.

Othello

Her father loved me and often
He called to his house. He made me
Tell the story of a lifetime
Year after year - battles, sieges
And experiences that I have experienced.
I told it all from
From childhood days to the very moment,
When he wanted to hear me.
I spoke of all my misfortunes
About disasters on land and seas:
How I escaped in the gap from death,
By a thread hanging from me;
How he was taken prisoner by a hard-hearted enemy
And sold into slavery; as then again
I got freedom. I spoke
Him that I happened to meet
During wanderings: about large caves,
The most barren deserts, terrible abysses,
Inaccessible cliffs and mountains,
Peaks touching the sky;
About cannibals that eat each other
About people who have higher shoulders
Than heads. I'll tell it all
Desdemona listened with participation,
And every time, as soon as they recalled
Her household chores from us,
She quickly tried to finish them,
And she walked again, and greedily into my speech
I got drunk. All this I noticed
And, seizing a convenient hour, skillfully
Managed to wrest a request from her heart
Tell her everything in detail
What can she hear so far without communication,
It came in fits and starts.
And I began my story, and more than once
I saw tears in her eyes,
When I told her about terrible
Misfortunes from my youth.
I graduated - and a whole world of sighs
She rewarded me for my work,
And I swore that it was strange, wonderful
And sad, inexpressibly bitter;
What would she like better?
And don't hear about it; but I would like
For God to make her like this
Like me; then thanked me
Adding that if I have
There is a friend who is in love with her - let him only
Tell her the same about yourself -
And she falls in love with him. Wherein
I revealed my love to a hint.
She loved me for the pain
And I her - for compassion for them.
Here are all the charms that I resorted to.
She's coming - ask her.

Enter Desdemona, Iago, and Officers.

doge

Well, my daughter would be carried away, of course,
Such a story. venerable Brabantio,
What's over, don't bring it back
And you should come to terms with it.
You know that people fight more often
Though a broken weapon, but a weapon,
than bare hands.

Brabantio

I ask,
Listen to her confession
And if she confesses here
In his participation at least half -
Let death fall on my head
When I embarrass him with reproach.
Come hither, dear child!
Do you know which of those sitting here
Most respected sirs, you must
Show everyone more obedience?

Desdemona

I know that, my noble father,
That my duty fell apart here:
I give you life and upbringing
obligated; both life and upbringing
They told me that I should honor you:
You are my head, I am your daughter, parent,
But here is my husband. Let me too
To be as submissive to the Moor as
And my mother, having parted with her father
And having chosen you, I was submissive to you.

Brabantio

Well, God be with you! I have finished, your grace.
It's up to you - we'll get down to business
Republic. Oh, I'd rather
Adopted to have than a daughter!
Moor, come and listen to me.
I give you with all my heart
What would you vomit with all your heart,
When you don't own it.
(Desdemona.)
Well, sweet treasure, sincerely
I am glad that the daughters of another
I don’t, otherwise I would become a tyrant
Because of your escape and in chains
He bound her. I have finished, your grace.

doge

Let me, as if instead of you,
I have to express my opinion now
Who could be in love with this
Serve as steps to achieve
Be kind to yours.
When there is no salvation, sadness must
End with the consciousness of unhappiness
And the death of the last hope.
To mourn the vanished grief -
The surest way to invoke another sorrow.
When it is impossible to prevent a blow -
Patience is a means of revenge
A mockery of unfair fate.
Robbed, laughing at his loss,
Takes something away from the thief:
But, having surrendered to useless grief,
He steals from himself.

Brabantio

So, you know, let's give in with a smile
We are Cyprus to the Turks: it will still be ours.
Oh! Well, such reasoning
Transfer to the one who is dejected
Only sweet consolation, lying in them.
But what about the one who, besides them,
Burdened with sadness? For payment
To his anguish he must occupy
Poor patience. These speeches
Capable of both comforting and tormenting,
Ambiguous, no matter how you turn them.
Words will always remain words!
I never heard that it could
Broken heart heal
By what his ear tells him.
Now I humbly ask you
Take care of the affairs of the state here.

doge

The Turks, powerfully armed, are sailing towards Cyprus. You, Othello, know better than others the means of defense of this place. Although we already have a highly valorous vicegerent there, public opinion - this supreme ruler of success - places a great hope of salvation on you. Therefore, you will now have to dim the brilliance of your new happiness with this inevitable and stormy expedition.

Othello

Honorable senators, habit -
Tyrant of people, and for me she
Siliceous, steel bed of battle
Turned into a downy feather bed.
I, I confess, in hard work joy
Open, direct I find -
And ready to go into battle against the Ottomans.
That's why I turn to you
With complete humility, I ask
To make an order
As for my wife, so that she has a home
Appointed, and servants, and content,
And, in a word, all the amenities, as well
Her high birth.

doge

If you want, then let her live
At his father.

Brabantio

I disagree.

Othello

Desdemona

Neither I. I don't want to live there
So that, being in front of the father's eyes,
He is always angry and annoyed.
Most Serene Doge, listen favorably
My prayer, and a word of indulgence
Let me encourage my inexperience.

doge

What do you want, Desdemona?

Desdemona

Most Serene Doge, I proved to the world
By going openly and fearlessly
Towards all the vicissitudes of fate,
Why did I love the Moor,
To live with the Moor. For my heart is
His call was obeyed.
In his face his spirit appeared to me;
I will move him and glory loud
She dedicated her destiny and soul.
Therefore, venerable sirs,
When I stay here as a mosquito,
While he goes to war,
That's exactly what I'll lose, for which I
I love him, and it will be hard for me
To endure separation from a dear heart.
Let me go with him.

Othello

Senators, vote!
I beg you not to refuse her request.
Witness God, I pray not for this,
To satisfy voluptuous desires,
Not in order to heat the young passion
I alone would give pleasure,
But in order for her soul
From all worries and torment was free.
But God save you, ladies and gentlemen
From the thought of the one that is important to your business
I will neglect, not parting with her.
No no! When careless fun
Winged Cupid will be brought
Elegance and sweet languor
On my thought and my actions,
When they mess up my business
Then let from my helmet
Women will arrange a simple pot for themselves,
And then let them fall on my honor
The most shameful shame and insult!

doge

Let it be as you decide -
Stay or go. Our business
Immediate, and procrastinate
It's impossible. You are driving today.

Desdemona

Tonight at night?

doge

Tonight at night.

Othello

doge

We will meet here again tomorrow
At ten o'clock in the morning. you Othello,
one of your officers
Leave: he is your authority
And all the other papers
You should, they will bring you.

Othello

Let
Leave my lieutenant:
He is both honest and reliable.
He will bring my wife to me,
And whatever else you need
Send to me.

doge

Well, so be it.
Now I wish you all a good night.
(to Brabantio.)
Most respected sir, if virtue
How beautiful beauty is, then your son-in-law,
Believe me, not black, but beautiful.

First Senator

Farewell, brave Moor, and Desdemona
Keep you from all troubles.

Brabantio

Look
Behind her, Moor, look with all your eyes:
She deceived her own father,
And so you, perhaps, will hold.

Exeunt Doge, Senators and Officers.

Othello

No, I give my life for Desdemona's fidelity.
(To Iago.)
I leave with you, honest Iago,
My wife. Please tell me
His wife to look after her; and then,
If possible, bring
Both of them. Let's go, Desdemona, -
Only one hour can I give love
And to all other cares of outsiders:
We must submit to time.

Exeunt Othello and Desdemona.

Rodrigo

Iago

What say you, noble soul?

Rodrigo

What do you think I intend to do now?

Iago

I think you're going to bed now.

Rodrigo

I'm going to go and drown myself now.

Iago

Well, if you do that, then I'll stop loving you. And what is it, stupid man?

Rodrigo

It is foolishness to live when life is torment; and we are bound to die when death can be our healer.

Iago

Oh, nonsense! I have been looking at death for the fifth seven years now, and since I learned to distinguish between beneficence and insult, I have not yet met a person who could love himself. No, as far as I am concerned, I would rather exchange my humanity with a monkey than decide to drown myself out of love for some guinea fowl.

Rodrigo

What am I to do? I confess that I myself am ashamed that I am so in love, but there is no strength to overcome it!

Iago

No forces? Trivia! To be one way or the other is up to us. Our body is our garden, and our will is the gardener in it. Whether we want to plant nettles there or sow lettuce, hyssop, cumin; whether we want to decorate this garden with one kind of herbs or several; whether we want to launch it out of inaction or process it with diligence, the strength and administrative power for this always lies in our will. If there were not a cup of reason on the scales of our life to balance the cup of sensitivity, then the blood and vulgarity of our nature would bring us to the most insane consequences. But we have the mind to cool off mad passions, animal urges, unbridled lusts. That's why what you call love is, I think, a simple escape or offspring.

Rodrigo

This is impossible.

Iago

Yes, just the lust of blood, indulged in the will. Come on, be a man! Drown yourself!.. Drown better than cats and blind puppies. I declared myself your friend, I confess that I am tied to you with ropes of reliable thickness and could never be useful to you as now. Pour money into your purse, go to war, change your face with a fake beard - but, I repeat, put money into your purse. It is impossible that Desdemona should have long loved the Moor. It is impossible that he loved her for a long time. This love began swiftly, and you will see the same break in it; but don't forget your wallet! These Moors are fickle in their desires... So fill your purse with money. Food, which now seems to him as sweet as locusts, will soon become bitter to him than colocynths. She must change because of her youth; when she is sated with his body, she will see how wrong she was. Yes, she will need a change, she definitely needs it - that's why you should fill the purse with money. If you really want to ruin yourself, then use a more pleasant means for this than drowning. Collect as much money as you can. If the false holiness and immaculate oaths of a vagabond foreigner and a cunning Venetian do not defeat my intelligence and the efforts of hell, then you will take possession of it, just get the money. What nonsense - drown yourself! After all, this will lead nowhere ... It’s better for you to hang yourself, having enjoyed bliss, than to drown yourself, having achieved nothing!

Rodrigo

But will you justify my hopes if I follow your advice?

Iago

Have complete confidence in me... Now get the money. I have often told you and now I repeat again: I hate the Moor. I have enough reasons for this - you have no less. Let us unite together for vengeance. If you manage to put horns on him, then you will give yourself pleasure, and fun for me. There is much in the womb of time that will soon be revealed. Well, march - get the money! Tomorrow we will talk about this in more detail. Goodbye.

Rodrigo

Where will we meet tomorrow morning?

Iago

Rodrigo

I'll come early.

Iago

Well, goodbye. But did you hear, Rodrigo?

Rodrigo

Iago

Not a word more about wanting to drown yourself, did you hear?

Rodrigo

I thought. I will sell all my estates.

Iago

Go ahead and save more money.

"Othello" as a tragedy of betrayed trust

otello shakespeare tragedy

Undoubtedly, Othello is considered one of the most popular works of William Shakespeare, and with good reason. The names of the main characters Othello, Iago and Desdemona have long become household names. But only those who are not familiar with the content of the work itself can consider Othello a blind jealous, and Desdemona an unforgivable traitor. Before I read this tragedy, I thought exactly that, guided only by passages I heard once (like “Did you pray at night, Desdemona?”) And the meaning of these names “among the people.” Imagine my surprise when everything turned out to be completely different: the play is much deeper, more interesting and more complex than the primitive story of jealousy and infidelity. In order to be able to more fully judge this work, it is necessary to turn to the work of the author himself. Since I do not have sufficient knowledge on this subject, a previously published work on this topic came to my aid.

Creation

The style and genre of Shakespeare's plays, their themes and character have changed depending on the time they were written. Experts distinguish three periods of William Shakespeare's work.

The first period is characterized by optimism, mostly light and cheerful tones. Such comedies belong to this period: A Midsummer Night's Dream (1595), The Merchant of Venice (1596), Much Ado About Nothing (1598), Twelfth Night (1600) and others. At the same time, Shakespeare writes a series of plays on the subject of English history: "Richard III" (1592), "Richard II" (1595), two parts of "Henry IV" (1597), etc. And although in these plays the author often depicts gloomy and cruel pictures, all but in them faith in a bright beginning, in life, in victory prevails. Before the next period is considered to be "Julius Caesar" (1599).

In the second period (1601-1608) Shakespeare writes about the great tragic problems of life, and here the addition of a pessimistic approach is noticeable. During this period, he wrote the following tragedies: Hamlet (1601), Othello (1604), King Lear (1605), Macbeth (1605), Antony and Cleopatra (1606), (Timon of Athens) (1608). And although Shakespeare does not stop writing comedies, yet they have already lost their lightness and carelessness, and even, on the contrary, have acquired a strong tragic element (with the exception of The Merry Wives of Windsor) (1061-1602).

In the last, third period (1608-1612), Shakespeare wrote mainly "tragicomedies" (plays with sharply dramatic content, but with a happy ending), in which a dreamy, lyrical attitude to life is clearly manifested. The most important works of this time are "Cymbeline" (1609), "The Winter's Tale", "The Tempest" (1612).

Of greatest interest to us, who are interested in the tragedy of Othello, is the second period in which it was written. Shakespeare writes in his tragedies about the greatest and most acute questions of human life and resolves them. In particular, this applies precisely to the second period of the writer's work, when his thought acquires special sharpness and Shakespeare becomes a stern judge of his era.

The essence of Shakespeare's tragedy lies in the clash of two principles: humanistic feelings (pure and noble humanity) and vulgarity, meanness, selfishness and selfishness. According to the writer himself, the fate of everyone is the result of his character and circumstances. And he clearly and indisputably demonstrates this in his plays: the best, noble, intelligent people die under the influence of evil, fall into tenacious networks of lies and get entangled in them, evil takes possession of their souls, which leads to terrible consequences. Even these smartest and noblest people are not able to resist the deceit, cunning and dexterity of others!

This feeling of life is caused by the collapse of the ideals of the humanists at the end of the Renaissance under the onslaught of radical forces.

And now let's talk more about the work itself.

"Othello as a tragedy of betrayed trust"

The source of the plot of "Othello" was the short story "The Moor of Venice" by D. Cinthio from the collection "One Hundred Stories" (1566), where the story is presented as "the story of the ensign's wife." While retaining the general plot line, Shakespeare still significantly reworked the original material, especially at key points. The writer modified the motive of the revenge of the scoundrel Ensign (Iago), according to the short story, in love with Desdemona and rejected by her, and Shakespeare gives an exalted character to the love of Desdemona and Othello, whom she “fell in love with an anxious life”, and she gave him “the ardor of the soul”. The writer changed the very essence of this story, changing the motive of Othello's jealousy: in Shakespeare it is dictated not by a wounded sense of honor or an insulting sense of her husband, but is the fulfillment of the real duty of a hero who seeks to destroy evil in the world. This is evidenced to some extent by these lines (Othello's answer to the question of what to call him now, after the murder of his wife):

"….As you please.

A woman killer out of blind love.

I offered a sacrifice of honor, as I thought.

Thus, the drama here loses its personal, love meaning and rises to the highest tragic motive - the collision of the individual with the environment.

Desdemona for Othello is the center of honor, truth, nobility in his life, in his, of course, a special world, and if she can lie to him so dishonorably, betray him so treacherously, then she is even worse, even more terrible than all primordial evil, which means shouldn't live!

"It's different to be a living target

And everyone pointed a finger. But this too

I would take it. And this. Easily.

But to lose the treasury of the heart,

Where did I take everything that was rich.

But to see that the source is allotted

All that I was alive while I was alive.

But to find out what is fed by this spring

Ponds for breeding vile toads ... "

“That is my duty. That is my duty. ashamed

Name before you, virgin stars,

Her fault. Wipe it off the ground."

Of course, these lines can be interpreted in different ways, but, in my opinion, they here, by the way, emphasize the above opinion.

In "Othello" the development of the action of the play is most concentrated around the events of a personal plan. However, even a slight exaggeration of the intimate-love side of the tragedy leads to limiting the idea of ​​the work only within the narrow framework of jealousy. But the theme of jealousy appears here, if not as a secondary element, then, in any case, as a derivative of more complex problems that determine the depth of the play.

The reflection of the problem of "man and environment", which was mentioned earlier, we see through the opposition of the worldviews of the main characters: Othello and Iago. Comparison of the life positions of these particular heroes has the brightest shade, as characteristic characters. However, besides Iago, Brabantio, Rodrigo, Cassio, Emilia, and many other less significant participants in the play represent that same “environment”.

Each of them is a vivid representative of the time and environment, which was so repugnant to the essence of Othello. That environment was the end of the Renaissance, when the very idea of ​​this great period had been perverted to this point, which we can observe in the example of Iago. He reshapes the idea of ​​“everything for a person” into “everything for himself”, making it soulless and selfish. Iago's actions are determined by his social position:

"There are others

They are busy as if for the masters,

And to check - for your own profit.

They are far from being stupid.

And I'm proud to be one of their kind."

Iago: young, who has already (!) achieved certain merits in military affairs, which so occupied his whole life. The author points this out to us with the sincere indignation of the hero, due to the fact that Othello appointed not Iago, but Cassio, as his deputy. In this injustice, Iago sees Othello's challenge to army order (the first visible reason for Iago's hatred).

"That's it. He moves his favorites

You need to be promoted in seniority.

You'll have to wait for production!

Oh no, I have nothing to love the Moor for.

Iago was a sailor. Critics draw attention to the presence of a large number of naval metaphors that the hero uses in his speech. The image of a sailor in the eyes of that time is "stinking, independent, drunk, bawling and pugnacious." This type was not chosen by chance, the author wanted to emphasize the outward rudeness and lack of education of Iago. His ignorance is conspicuous. Desdemona, not without reason, calls his fun "flat tavern jokes for the amusement of old fools", and Cassio "He cuts straight. This is a military man, not a scientist.” But Iago is not embarrassed by his behavior, but on the contrary, receives every possible benefit from it: he seems to those around him to be a simple, straightforward person, open and honest.

Iago's most important trump card is his sober, practical mind. He has amazing powers of observation, with the help of which he gives capacious and objective assessments of people (apparently, Shakespeare expresses his attitude towards the characters through Iago).

Thanks to this quality, he can also make predictions about the future behavior of a particular hero, build strategies for the implementation of his main plan - to remove Othello.

Cassio, about whom Iago cannot speak without irritation, is handsome, educated, inexperienced in military affairs, prone to frivolous connections (connection with Bianca), drinks little, and gets drunk quickly (while behaving extremely defiantly). All these characteristics are easily confirmed in the actions and deeds of the hero.

Rodrigo Iago considers a fool, which is true and ultimately determines his fate. In fact, he is a rich heir, squandering the estates of his ancestors, he is also a member of a decent society (he was even going to marry his daughter - Desdemona - a respected senator Brabantio!). At the same time, he appears as a coward, a petty person without moral principles. In general, Iago does not have a high opinion of Rodrigo at all, in fact, like Shakespeare (at the end of the play, Rodrigo decides to break with Iago, but due to the fact that Iago robbed him, he intended to turn to Desdemona to return the gifts that Iago "transmitted" to her).

Women for Iago are nothing more than a means to get what they want. Desdemona - to eliminate Othello, Emilia, his wife - an intermediary and a minor executor of some assignments. There can be no talk of any love in such a heart, in my opinion. Such a person is only filled with love for himself and for his interests and goals. He speaks extremely disrespectfully about women (I do not think that the author shares his opinion here!).

“... All of you are visiting - pictures,

Ratchets - at home, cats - at the stove.

Grumpy innocences with claws

Devils in a martyr's crown.

Emilia is used by Iago and is not respected in the least by him, although she is a legal wife. But as for herself… Emilia is not as simple as it seems. It combines two extremes: she and the deceiver (practically stole Desdemona's handkerchief), she and virtue itself (opened Othello's eyes about Iago's actions). It can be said in her defense that she stole the handkerchief on behalf of her husband, not knowing about his plans and about the terrible consequences that this could lead to. But all the same, Emilia took the handkerchief and, in response to a direct question from Desdemona, her kind and most honest mistress, she lied. Do not forget that in a frank conversation, when she and Desdemona talked about treason, Emilia said:

“For such a fee?

For the whole world? A no-nonsense thing!

A huge world for a tiny prank."

So it is impossible to unequivocally state about its nature as negative or, on the contrary, positive.

Let us turn to the fate of Desdemona in order to speak about those qualities of her that Iago will not reveal to us. She is the daughter of a Venetian senator, who enjoys universal honor and respect. Othello, as a valiant fighter, was also respected, loved by her father and often visited him, while talking about what he experienced, saw, learned. And these stories interested the senator's daughter, she passionately sympathized with Othello. So she was immensely in love with Othello, who responded to her feelings.

She went to him from the house in defiance of her father, was his support and support in everything, did not even think about her husband's betrayal or betrayal, and was devoted to him to the end. Even when he kills her, she tries to justify him in her last words, answering the question of who her killer is:

"Nobody. Herself. Let my husband

Doesn't remember badly. Be healthy".

As you can see, Desdemona is the only resident of Venice who is a positive character. It cannot be attributed to the same environment, which has been mentioned more than once.

Othello: the universally recognized savior of Venice, a revered general with royal ancestors. But he is lonely and alien to this republic, and she, in turn, despises him. For what? Apparently, because he is a Moor. During the Venetian council about the true reasons for Desdemona's love, no one except the Venetian Doge could believe in the sincerity of her feelings, and everyone was absolutely seriously interested in whether he resorted to magic or another way of influencing the young girl. Othello understands his role, he cannot explain to the senators how it happened: well, how could the first beauty of the aristocratic world of Venice fall in love with a military Moor? Othello accepts her love as an undeserved gift, as a miracle, as a great happiness.

When Othello first realizes that he can lose Desdemona, he remembers that he is a Moor, that he is black. Why does Shakespeare make Othello black? Probably to emphasize the discrepancy between the appearance and the inner essence of the hero.

The only thing that connects Othello and Venice is military affairs. And even here we see a striking difference between Othello and other warriors, he can hold any post, but he cannot afford to join society.

These elements point to the opposition between Othello and Venetian society (man and environment).

So his inner qualities are different from those familiar to that aristocratic world. Othello is trusting and simple-minded. Before his death, he says that jealousy was not a passion that initially determined his behavior, but she took possession of him when he was unable to resist the influence of Iago. Othello believed him, not only because Iago in his eyes was honest and perfectly understanding the true nature of the relationship between the Venetians, but, perhaps, also because he was a man, and they fought together, but for a man who most of his life devoted to wars and battles - this is a weighty argument.

Iago Othello trusted logic, because he believed that it was inherent in all members of Venetian society. But Othello cannot come to terms with the moral standards of Iago, cannot give up his ideals, and therefore decides to kill Desdemona.

And again we see a confrontation between two incompatible worldviews. If for Iago the best answer to betrayal is to change the offender in return, then Othello sees nothing better than to kill Desdemona, thereby “cleansing” the world of vice.

The Moor has everything that Iago lacks: a pure soul, courage, the talent of a commander, which provided him with honor and respect. And the Venetian Iago, who considers himself by birth to belong to the highest, white breed of people, is forced into eternal submission to the Moor, and his wife is a servant to be with the wife of the Moor. Another reason for Iago's hatred. One can also add here the rumor that Emilia cheated on Iago with Othello - an unproven, empty rumor, which, however, could be the last straw in the relationship between Othello and Iago.

Iago does everything to make Othello believe in Desdemona's insincerity, which was the only weak point of the Moor. He lies, juggles the facts, presents all events in a favorable light for himself.

Desdemona is at a loss, she is frightened and does not understand what evil has taken possession of the soul of her beloved, why he is gloomy, taciturn, looks askance at her, accuses and insults her. Othello, in turn, is crushed. His whole life is concentrated in his passionate love for Desdemona, all that is good and bright that exists. If she, his beloved, is vicious, like everyone else, then the world is hopeless, meaningless. Who will remain in the world that leaves Desdemona? The answer is given by Othello himself, when he, furious and out of control, throws in the faces of the Venetians: “Goats and monkeys!” It is impossible for such a bright soul to exist in such a dirty world - Othello cannot live there, he kills himself. And this is the biggest success of Iago. The main theme is precisely this: the forces of evil managed to destroy Othello.

The success of Iago shows how terrible and powerful the evil lurking in the depths of the Venetian civilization turned out to be. And the death of the characters makes the play one of Shakespeare's most difficult tragedies.

Nevertheless, this work does not leave the conviction that good is initially and inevitably doomed to defeat with evil. Before his death, Othello begins to see clearly, faith in high ideals, in devotion, honesty, selflessness, love returns to him again. The true triumphant in this play is Desdemona, who initially, against all the life views and principles that reigned in the world of Iago, was honest and devoted, who refuted them only with her being. Shakespeare shows that the ideals of truth and nobility are a reality, however, it is difficult for her to survive in the conditions of the Venetian civilization. Thus, the problem of optimism develops into the problem of utopia, in which the representative of the highest values ​​is a black warrior, who is alien to such a society, both by temperament and by origin, where the main principle is expressed by the words of Iago: "Pour money into your wallet." And the only true ally of the Moor is a woman who broke with the Venetian society. Their happiness, the harmony of their truthful, honest relationship is possible. But the realm of such happiness and their lofty ideals is not civilized Venice, but the utopian milieu of the "natural man." Shakespeare's tragedy arouses in readers (spectators) hatred for the society where Iago reigns, but also instills pride in humanity, capable of giving birth to people like Othello and Desdemona. This is the great power of Shakespeare's tragedy, which opened before it a centuries-old triumphal path through the stages of the whole world.