In this paper, I will compare the character of Desdemona in the play "Othello" by Shakespeare with that in the burlesque opera "Otello" by Rice. I will first analyze the figure of Desdemona in Shakespeare’s play and then in Rice’s opera – one after another. Next, I will compare the two characters of Desdemona and will explore in which ways their qualities coin-cide, or rather, in what extent they differ in their personalities. Lastly, I will briefly summarize the different characters of Desdemona in both "Othello" and "Otello".
William Shakespeare’s "Othello" portrays the mixed-race love between Desdemona, a white Venetian beauty, and the Moor Othello, Venice’s general. Mislead by Iago, his ensign and also the play’s villain, Othello develops an unfounded suspicion of his wife Desdemona and his lieu-tenant Cassio, which results not only in Othello’s suicide, but also in the murder of his wife who, as it turns out, has been innocent of adultery all along. The tragedy thus represents love and good on the one hand (embodied by Desdemona) and the involved problem of jealousy and revenge (personified by Othello) – not least the issue of miscegenation – on the other hand.
As many of Shakespeare’s works (which usually are adaptations themselves), "Othello", first performed in 1606, has been the basis for numerous subsequent adaptations, such as the burlesque opera by Thomas D. Rice of 1844. The opera’s plot is essentially similar to that of the play by Shakespeare, yet a few changes have been made. In Rice’s parody, Otello and Desdemona have a child and Shakespeare’s handkerchief has become a common towel. Yet the most conspicuous alteration is Desdemona’s resurrection after being killed at the end of the play. Apart from that, it appears that the two characters of Desdemona in both "Othello" and "Otello" are quite alike.
Depicted as a rather subordinate role in both the play and the opera, as compared to her husband and the title character Othello/Otello, Desdemona actually portrays the heroine in both stories. Both become victims of their husbands’ jealousy and finally have to die despite being innocent. When taking a closer look, however, it becomes apparent that the two characters are not that comparable in their personality as initially seems to be the case. In fact, they both gradually reveal themselves as rather different people.
Table of Contents
1. Introduction
2. The character of Desdemona
2.1 Desdemona in Othello by William Shakespeare
2.2 Desdemona in Otello by Thomas D. Rice
2.3 A comparison of the character of Desdemona in Othello and Otello
3. Conclusion
Research Objectives and Themes
This academic paper aims to conduct a comparative analysis of the character of Desdemona as portrayed in William Shakespeare’s tragedy Othello and Thomas D. Rice’s burlesque opera Otello. The central research question explores how the personality traits and character development of Desdemona differ across these two distinct genres, particularly focusing on her independence, loyalty, and reactions to marital conflict.
- Comparative character analysis between Shakespeare’s original and Rice’s parody.
- Examination of Desdemona’s agency, naivety, and emotional strength.
- Analysis of marital dynamics and the perception of jealousy in both works.
- Symbolic functions of Desdemona as a martyr versus a comic/satirical figure.
- The impact of genre conventions on character portrayal and development.
Excerpt from the Book
2.1 Desdemona in Othello by William Shakespeare
In William Shakespeare’s Othello, the character of Desdemona is portrayed as a young, beautiful, white Venetian woman of a noble family (cf. Hollindale 48). Throughout the play, Desdemona’s name is invariably accompanied by positive adjectives. For instance, Othello refers to her as “gentle Desdemona” (Shakespeare, 1.2.25), Cassio calls her “divine Desdemona” (2.1.73) as well as “virtuous Desdemona” (2.3.311, 3.1.34), Iago names her “fair Desdemona” (4.2.224), while Emilia refers to her as “[s]weet Desdemona” (5.2.122). It is striking that none of the characters simply says Desdemona’s name on its own but instead modifies it with complementary adjectives such as “gentle”, “divine”, “virtuous”, “fair” and “sweet”. Consequently, the audience is encouraged to perceive the character of Desdemona as a pleasant and noble character from the first time her name is mentioned, which is, in fact, even before her actual first appearance.
In the course of the play, the characters retain the positive picture of Desdemona as a “morally perfect and entirely innocent” individual (Rice, Desdemona 209). Cassio alludes to her as the “most exquisite lady” (2.3.17), the “most fresh and delicate creature” (2.3.19) – he even calls her “perfection” (2.3.24). Lodovico refers to Desdemona as “an obedient lady” (4.1.242), while Iago illustrates her as “fair and wise” (2.1.129). Emilia describes her as “honest, chaste, and true” (4.2.17), an “angel” (5.2.130), or simply, “the sweetest innocent” person (5.2.200).
Summary of Chapters
1. Introduction: This chapter provides the context for the comparative analysis between Shakespeare’s Othello and Rice’s Otello, outlining the research goals and the fundamental differences in character perception.
2. The character of Desdemona: This section provides an in-depth analysis of Desdemona’s traits in both the original play and the parody, highlighting her loyalty, innocence, and eventual tragic or satirical outcomes.
2.1 Desdemona in Othello by William Shakespeare: This chapter examines the consistent positive portrayal of Desdemona, her unwavering loyalty to her husband, and her tragic naivety regarding Othello’s mounting jealousy.
2.2 Desdemona in Otello by Thomas D. Rice: This section explores how the parodic nature of Rice’s work alters Desdemona’s character, shifting her towards a more assertive, independent, and physically resilient figure who defies traditional submission.
2.3 A comparison of the character of Desdemona in Othello and Otello: This chapter synthesizes the findings to contrast the emotional and psychological development of both versions of the character, emphasizing the distinction between Shakespeare’s tragic martyr and Rice’s defiant heroine.
3. Conclusion: This chapter summarizes the key arguments, concluding that while both characters appear similar initially, they diverge significantly in their agency and final responses to their husband's betrayal.
Keywords
Desdemona, Othello, Thomas D. Rice, William Shakespeare, character analysis, literary comparison, tragedy, burlesque opera, jealousy, marital dynamics, gender roles, parody, innocence, agency, literary adaptation.
Frequently Asked Questions
What is the primary focus of this academic work?
The work provides a detailed comparative analysis of the character Desdemona in Shakespeare’s Othello and Thomas D. Rice’s 1844 burlesque parody, Otello.
What are the central thematic fields explored in the paper?
The paper focuses on literary characterization, the dynamics of marriage and jealousy, the influence of genre (tragedy vs. parody) on character agency, and the reception of racial and social prejudices.
What is the core research objective of the study?
The goal is to determine how Desdemona’s personality, role, and independence differ between the original Shakespearean play and the later burlesque adaptation, challenging the perception that they are identical.
Which scientific methodology is applied in the research?
The author employs a comparative literary analysis, utilizing close reading of both texts to evaluate character descriptions, dialogue, and narrative outcomes across the two works.
What is covered in the main body of the paper?
The main body systematically analyzes Desdemona’s portrayals, first looking at her in Shakespeare's work, then in Rice's parody, and finally offering a comparative synthesis of their differences and similarities.
Which keywords characterize this study?
Key terms include Desdemona, Othello, parody, characterization, independence, loyalty, and literary comparison.
How does the role of the handkerchief differ between the two works?
In Shakespeare’s play, the handkerchief serves as a critical, symbolic token of love and infidelity. In Rice’s parody, it is reduced to a common towel, emphasizing the satirical and non-traditional nature of the adaptation.
In what way does the ending of the two works impact Desdemona’s character?
In Othello, Desdemona dies as a tragic, innocent martyr. In Otello, her resurrection serves as a satirical element that highlights her resilience, agency, and refusal to be defeated by her husband.
- Quote paper
- Julie Dillenkofer (Author), 2015, The Character of Desdemona. A Comparison of William Shakespeare’s "Othello" and Thomas D. Rice’s "Otello", Munich, GRIN Verlag, https://www.grin.com/document/313783
