Othello William Shakespeare Source of the Play

Total Page:16

File Type:pdf, Size:1020Kb

Othello William Shakespeare Source of the Play Optional English Paper IV Semester II Study of Drama- Full Length Drama Othello William Shakespeare Source of the Play “The Tragedy of Othello: the Moor of Venice” is a tragedy by William Shakespeare written probably in 1603. It was based on the Italian short story “Un Capitano Moro” (a Moorish captain) by Cinthio (nickname of Giovanni Battista Giraldi- Italian novelist and poet of the 16th century). The story was first published in 1565. This play revolves around four major characters: Othello (a Moorish general in the Venetian Army), Desdemona (his young wife), Cassio (his lieutenant), and Iago (Othello’s trusted ensign or ancient). The play has different themed like racism, love, jealousy, betrayal and hatred in love. Characters Major Characters: 1. Othello: The Moor- a general in the Venetian Army, Protagonist of the play 2. Desdemona: Othello’s wife and Brabantio’s daughter 3. Iago: Othello’s ensign and Emilia’s husband, the antagonist of the play 4. Michael Cassio: Othello’s lieutenant, a Florentine 5. Emilia: Iago’s wife, Desdemona’s confidant/maid 6. Bianca: a prostitute in love with Cassio 7. Brabantio: A Venetian senator, Desdemona’s father 8. Roderigo: A Venetian gentleman who wants to marry Desdemona Minor Characters: 1. Duke of Venice 2. Lodovico&Gratiano: Brabantio’s kinsmen 3. Montano: Governor of Cyprus 4. Clown Officers, Gentlemen, Messenger, Herald, Sailors, Attendants, Musicians etc. Critical Evaluation of the Play Introduction: “Othello” belongs to the group of four tragedies that are considered as the greatest tragedies by Shakespeare. “Othello, Macbeth, Hamlet, King Lear” are these four great tragedies. Karuna Deshmukh Optional English Paper IV Semester II Study of Drama- Full Length Drama ‘Othello’ was written during 1603-4. It is a domestic tragedy that shows the conflict in marriage. Deception or treachery in love and the destruction of the marriage is the major theme of the play. Racial Conflict: Racial conflict is also an important aspect of the play since the main plot of the play centers around Othello’s love for Desdemona and their marriage. Whereas Othello is a black, African moor Desdemona is white, European. This peculiar aspect of the play makes it a modern play that is a play of contemporary relevance. In each and every scene of the playhere are several racist remarks on Othello’s appearance as well as the barbaric character of his race. In a way Othello is the ‘other’ of the drama; whereas the rest of the characters are white, Europeans. Othello is made the General in the army of the Venetian state because of his bravery as well as extraordinary skills as a soldier in several wars during his life that he had spent before coming to the Roman city state of Venice that is the past wars that he fought in various African, Asian countries. Shakespeare’s greatness as a dramatist could also be observed by the fact that here in this tragedy the protagonist or the tragic hero is a black moor- very much different from his other heroes like Hamlet, Macbeth, King Lear, Julius Caesar, Antony, Coriolanus, Henry and Richard etc. Iago Another, in fact, the most important aspect of the play is the character of Iago. Iago is the arch villain of the play. He hates Othello because Othello has not made him the lieutenant and he remains his ancient or ensign that is an officer of the lowest rank in the Venetian army. Instead of appointing Iago the lieutenant, Othello favours Cassio which is the main cause of anger in his mind against Othello. There is another reason for Iago’s hatred against Othello; he is suspicious that Othello was guilty of sexual relationship with his wife Emilia. It seems that due to these two reasons Iago wants to destroy Othello and his married life. He also hates Cassio since he has become the lieutenant and also because Cassio is very much handsome. Iago feels that Cassio’s beauty makes him ugly. In his plan to destroy Othello he uses Cassio as an object, a pawn. In fact Iago uses several characters in the play including Othello, Desdemona, his own wife Emilia, Cassio, and mainly Roderigo to become successful in his plan against Othello. He is, in that sense, like Satan of Milton’s “Paradise Lost” who always acts in order to destroy the world created by God. Some critics even think that Iago is pure evil, worse than the Satan of “Paradise Lost”. However Iago’s character is not that simple thatcan be easily understood. It is rather always a matter of argument among Shakespearean critics regarding providing a clear explanation of Iago’s character. The great Romantic poet S. T. Coleridge calls Iago ‘the motiveless malignity’. It is a matter of irony that each and every character of the play, even those who are the victims of his wicked plans- whom he tries to destroy, consider him as an immensely honest person with good intention till the last moment of the play. Othello never feels slightest Karuna Deshmukh Optional English Paper IV Semester II Study of Drama- Full Length Drama doubt about the sense of hatred in Iago’s mind for him. His wife, Emilia, considers him a good, kind, and honest person. At the end of the play she comes to know that Iago is the person who who had put the poison of suspicion in Othello’s mind that makes him jealous and forces him to kill the very innocent, good natured, and faithful wife Desdemona. Right from the beginning of the play, the reader comes to know that Othello is a person loved and respected by all around him except Iago. However this noble soul is transformed into a brute beast that kills Desdemona only because of Iago. Iago in this way is the cleverest, the wisest, theshrewdest and wicked person of the play. Setting of the Play Most of the action of the play takes place at the island Cyprus. In the first act of the play Othello is made the general of Cyprus and is sent there by the Duke of Venice to protect the place from the attack of the Turkish fleet of the Ottoman Empire of Turkey. In other words the focus of attention shifts from Venice to Cyprus. These two places become symbols of civilization and barbarism respectively. Venice stands for normalcy, order, civilization whereas Cyprus represents the wild aspects like barbarism and brutality. This is a kind of clash of civilizations represented on one hand by Othello and by Desdemona on the other; she is the symbol of civilization- white, European supremacy, the self and subject whereas Othello is the symbol of African, Moorish barbarism as well as the ‘Other’ or the ‘Object’. Shakespeare, as if warns that the transgression of boundaries by these ‘Others’ always results in destruction, fatality, and chaos. Study of the Play from Feminist Perspective Reading any work of literature from women’s point of view is the feminist perspective. Almost all the Shakespearean plays can be analyzedfrom this point of view. In “Othello” also, many critics think that, there is warning hidden – as if Shakespeare intends to warn the European women, in case, by chance they marry any oriental men, Asian or African her destruction will surely be her fate. It will be her punishment for crossing the boundaries. In this way the drama could also be studies as the discourse of patriarchy in which even the doubt of treachery by a woman demands her murder as the just punishment. Othello ruthlessly kills Desdemona because of the doubt put in his mind by Iago that she is involved in an immoral relationship with Cassio. Conclusion In this way ‘Othello’ is one of the finest tragedies in world literature having cotemporary relevance in almost all its aspects. Karuna Deshmukh .
Recommended publications
  • A Study of Shakespeare Contribution in Hindi Cinema
    International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Index Copernicus Value (2016): 79.57 | Impact Factor (2015): 6.391 A Study of Shakespeare Contribution in Hindi Cinema Asma Qureshi Abstract: In India, Cinema not only a name of entertainment, but also educate to millions of people every day. Friday is celebrated by screening of new films. Indians happily participate in Cinema culture of the Country. Shakespearean tragedies have been a never ending source of inspiration for all filmmakers across the world. Many Hindi films based on Shakespeare novel like Shahid, Omkara, Goliyo ki raasleela Ramleela etc. William Shakespeare in India has been an exceptional and ground-breaking venture. The literary collection of Shakespeare is dynamic and an unlimited source of inspiration for countless people across the globe. When Shakespeare’s writing is adapted in cinema, it sets it ablaze, and transfers the audience to a cinematic paradise. Indian adaptation of both Shakespearean tragedy and comedy can be comprehended as an Combination of ‘videsi’ and ‘desi’, a synthesis of East and West, and an Oriental and Occidental cultural exchange. Shakespeare’s, “bisexual‟ mind, the complexity of his Narrative, music, story-telling, and creative sensibility categorizes him as an ace literary craftsman. This Research is an attempt to understand the contribution of Shakespeare novel in Hindi cinema. So that we can easily understand the main theme of the story. What writer wants to share with us. We can easily understand main theme of novel. 1. Introduction European library worth the whole native literature of India and Arabia‖. It also has a lot to do with profound resonances Indian Hindi language film industry is also known as Hindi between Shakespeare‘s craft and Indian cultural forms that cinema which is situated or we can say mainly operated converge on one concept: masala.
    [Show full text]
  • The Lost Ethos of Uttam-Suchitra Films: a ‘Nostalgic’ Review of Some Classic Romances from the Golden Era of Bengali Cinema Pramila Panda
    The lost ethos of Uttam-Suchitra films: a ‘nostalgic’ review of some classic romances from the Golden Era of Bengali cinema Pramila Panda Vol. 2, No. 3, pp. 194–200 | ISSN 2050-487X | www.southasianist.ed.ac.uk www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 194 Vol. 2, No. 3, pp. 194-200 The lost ethos of Uttam-Suchitra films A ‘nostalgic’ review of some classic romances from the Golden Era of Bengali cinema Pramila Panda [email protected] www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 195 The mild tune of the sweet and soft song been able to touch every aspect of modern wrapped in sentimental love, “Ogo tumi je human society. This brings us to discussing the aamaar... Ogo tumi je aamaar” (You are status of romance or love in Bengali cinema mine, only mine…) from the Bengali movie half a century back. Harano Sur (Lost Melody) released in 1957 These divine qualities teach us the hymn of still buzzes pleasantries, not only inside my humanity and the art of living. These heavenly ear, but also at the centre of my mind. qualities are highly essential for the survival of Suchitra Sen and Uttam Kumar were the human society in peace and happiness. Of considered the ‘golden couple’ of Bengali films course, the world of cinema has not totally from 1953 to 1978. They left their special ignored the importance of these human identities by contributing the best of qualities to be reflected and utilized through themselves through their marvellous acting the different roles of different characters in talent.
    [Show full text]
  • Verdi Otello
    VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers;
    [Show full text]
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • Omkara: the Adaptation of William Shakespeare's Tragedy Othello
    International Journal of Multidiscip linary Research and Development Volume: 2, Issue: 5, 570-571 May 2015 Omkara: The adaptation of William Shakespeare’s www.allsubjectjournal.com e-ISSN: 2349-4182 tragedy Othello p-ISSN: 2349-5979 Impact Factor: 3.762 Dr. Gajender Kumar Dr. Gajender Kumar Assistant Professor, Abstract Department of English Omkara is a 2006 Indian crime drama film adapted from Shakespeare’s Othello, co-written and directed Govt. College for Women, by Vishal Bhardwaj. It starred Ajay Devgan, Saif Ali Khan, Vivek Oberoi and Kareena Kapoor in the Narnaul M/Garh, Haryana, lead roles, supported by Naseeruddin Shah, Konkona Sen Sharma and Bipasha Basu. The director Vishal India Bhardwaj himself composed the entire music for the film, including the background score, with lyrics by Gulzar. The film is set in Meerut, a town in Western Uttar Pradesh. Keywords: Omkara, drama film, Shakespeare’s Othello Introduction The film was showcased in the Marché du Film section at the 2006 Cannes Film Festival along with a book on the making of Omkara. It was also selected to be screened at the Cairo International Film Festival, where Bhardwaj was awarded for Best Artistic Contribution in [5] Cinema of a Director. The film also won three awards at the Kara Film Festival , an award at the Asian Festival of First Films, three National Film Awards, and seven Filmfare Awards. Omkara Shukla or Omi (Ajay Devgan) is a bahubali, a sort of political enforcer. He is the leader of a gang which commits political crimes for the local politician Tiwari Bhaisaab (Naseeruddin Shah).
    [Show full text]
  • Shakespeare in the “Post”Colonies: What’S Shakespeare to Them, Or They to Shakespeare
    Shakespeare in the “Post”Colonies: What’s Shakespeare To Them, or They to Shakespeare Shakespeare Association of America Annual Meeting 2021 2 April 2021, 8-11am EDT About the Seminar Co-leader: Amrita Dhar (Ohio State University) Co-leader: Amrita Sen (University of Calcutta) Seminar keywords: vernacular, local, multilingual, intersectional, indigenous, postcolonial, race, caste, pedagogy, influence This seminar investigates what Shakespeare has meant and now means in erstwhile colonial geographies (especially those under the British Empire), and how the various 21st-century Shakespeares worldwide impact current questions of indigenous rights, marginalised identities, and caste politics in “post”colonial spaces. The violence of colonialism is such that there can be no truly post-colonial state, only a neo-colonial one. Whether under settler-colonialism (as in the US and Canada, Australia, New Zealand) or extractive colonialism (as in the Indian subcontinent, the Caribbean, and the African continent), the most disenfranchised under colonial rule have only ever changed masters upon any political “post”colonialism. Given the massive continued presence of Shakespeare everywhere that British colonial reach flourished, and the conviction among educators and theatre practitioners that the study of Shakespeare can and should inform the language(s) of resisting injustice, this seminar explores the reality of 21st-century Shakespeares in geographies of postcolonial inheritance, such as the Indian subcontinent, continental Africa, the Caribbean,
    [Show full text]
  • Othello Syndrome G Asha Rani1, Fabiola M Dhanaraj2
    REVIEW ARTICLE Othello Syndrome G Asha Rani1, Fabiola M Dhanaraj2 ABSTRACT Othello syndrome is a psychological disorder where either the husband or the wife is preoccupied with the thought that the partner is being unfaithful without having any real proof and manifests with a delusional jealousy. This case study is that of a 45-year-old man who has this problem and presented to the hospital. A complete detailed history of the patient is important. The line of management is antipsychotic drugs and psychological and social therapies. Keywords: Case, Delusion of jealousy, Male, Psychological disorder, 45 year. The Journal of Nursing Trendz (2020): 10.5005/jp-journals-10086-0006 INTRODUCTION 1,2Arulmigu Meenakshi College of Nursing, Kanchipuram, Tamilnadu, A 45-year-old man presented with a two-week history of delusional India beliefs that his wife was having an affair. His presentation was Corresponding Author: G Asha Rani, Arulmigu Meenakshi College of consistent with the diagnosis of an Othello syndrome, which is Nursing, Kanchipuram, Tamil Nadu, India, Phone: +91 6374678414, characterized by intense delusional beliefs of infidelity by the e-mail: [email protected] patient’s spouse or sexual partner. How to cite this article: Rani GA, Dhanaraj FM. Othello Syndrome. The Othello syndrome was named by the English psychiatrist J Nurs Trend 2020;11(1):20–21. John Todd (1914–1987) in a paper he published with K. Dewhurst, Source of support: Nil entitled “The Othello syndrome: a study in the psychopathology Conflict of interest: None of sexual jealousy.” DEFINITION • Personality It is a psychological disorder in which a person is preoccupied with the • People who are very insecure/even fearful are more likely thought that their spouse/sexual partner is being unfaithful without to become anxious/question their partner’s commitment having any real proof along with a socially unacceptable/abnormal to them.
    [Show full text]
  • 2019 Seminar Abstracts: the King's Men and Their Playwrights
    1 2019 Seminar Abstracts: The King’s Men and Their Playwrights Meghan C. Andrews, Lycoming College James J. Marino, Cleveland State University “Astonishing Presence”: Writing for a Boy Actress of the King’s Men, c. 1610-1616 Roberta Barker, Dalhousie University Although scholarship has acknowledged the influence of leading actors such as Richard Burbage on the plays created for the King’s Men, less attention has been paid to the ways in which the gifts and limitations of individual boy actors may have affected the company’s playwrights. Thanks to the work of scholars such as David Kathman and Martin Wiggins, however, it is now more feasible than ever to identify the periods during which specific boys served their apprenticeships with the company and the plays in which they likely performed. Building on that scholarship, my paper will focus on the repertoire of Richard Robinson (c.1597-1648) during his reign as one of the King’s Men’s leading actors of female roles. Surviving evidence shows that Robinson played the Lady in Middleton’s Second Maiden’s Tragedy in 1611 and that he appeared in Jonson’s Catiline (1611) and Fletcher’s Bonduca (c.1612-14). Using a methodology first envisioned in 1699, when one of the interlocutors in James Wright’s Historia Histrionica dreamt of reconstructing the acting of pre-Civil War London by “gues[sing] at the action of the Men, by the Parts which we now read in the Old Plays” (3), I work from this evidence to suggest that Robinson excelled in the roles of nobly born, defiant tragic heroines: women of “astonishing presence,” as Helvetius says of the Lady in The Second Maiden’s Tragedy (2.1.74).
    [Show full text]
  • 1 Orson Welles' Three Shakespeare Films: Macbeth, Othello, Chimes At
    1 Orson Welles’ three Shakespeare films: Macbeth, Othello, Chimes at Midnight Macbeth To make any film, aware that there are plenty of people about who’d rather you weren’t doing so, and will be quite happy if you fail, must be a strain. To make films of Shakespeare plays under the same constraint requires a nature driven and thick-skinned above and beyond the normal, but it’s clear that Welles had it. His Macbeth was done cheaply in a studio in less than a month in 1948. His Othello was made over the years 1949-1952, on a variety of locations, and with huge gaps between shootings, as he sold himself as an actor to other film- makers so as to raise the money for the next sequence. I’m going to argue that the later movie shows evidence that he learned all kinds of lessons from the mistakes he made when shooting the first, and that there is a huge gain in quality as a consequence. Othello is a minor masterpiece: Macbeth is an almost unredeemed cock-up. We all know that the opening shot of Touch of Evil is a virtuoso piece of camerawork: a single unedited crane-shot lasting over three minutes. What is not often stressed is that there’s another continuous shot, less spectacular but no less well-crafted, in the middle of that film (it’s when the henchmen of Quinlan, the corrupt cop, plant evidence in the fall-guy’s hotel room). What is never mentioned is that there are two shots still longer in the middle of Macbeth .
    [Show full text]
  • Adaptation of Shakespeare in Recent Bollywood Movies Dr
    Adaptation of Shakespeare in Recent Bollywood Movies Dr. Charu C Mishra Assoc. Prof. (English) KG Arts & Science College Raigarh, Chhatisgarh India Abstract Thanks to our drama professor who initiated us to the sheer joy of reading the high flown language and acting in Shakespeare‟s plays that eventually left us spellbound for life. Watching Shakespeare‟s plays in theatre for the yester year English educated Indians has been a hobby. This infatuation with the greatest dramatist has led some Film directors to experiment on the themes of comedies and tragedies. In recent years, director Vishal Bhardwaj holds the credit of adapting themes of his great tragedies to contemporary situation and work wonder through his experimentation. Maqbool is a 2003 Indian crime drama, an adaptation of the play Macbeth. The film had its North American premiere at the 2003 Toronto International Film Festival and was screened in the Marché du Film section of the 2004 Cannes Film Festival. Bhardwaj then moved on to adapt Othello in his 2006 film Omkara which won him commercial as well as critical success and Francis Ford Coppola's attention. Haider is the third installment of Bhardwaj's Shakespearean trilogy. The film is a modern-day adaptation of William Shakespeare's tragedy Hamlet, set amidst the insurgency-hit Kashmir during conflicts of 1995 and civilian disappearances. The film was screened at the 19th Busan International Film Festival and released worldwide on 2 October 2014 to wide critical acclaim, and garnered attention from the media due to its controversial subject matter. The present paper intends to study how the movies inspired by Shakespeare still appeal 21st century audience to concur his universality in changing times.
    [Show full text]
  • Othello: a Teacher's Guide
    A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S OTHELLO By DEBRA (DEE) JAMES, University of North Carolina at Asheville SERIES EDITORS: W. GEIGER ELLIS, ED.D., UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s Othello 2 INTRODUCTION Othello, like all of Shakespeare’s plays, particularly the tragedies, is complex and subtly nuanced. Through its complexities and subtleties, Shakespeare makes us care about the characters who people this story. We understand their weaknesses and their strengths, their passions and their nobility. In our engagement in their lives and our pondering over what has gone wrong and why, we are given the opportunity to analyze human life both in the abstract and in the particular of our own lives. Shakespeare’s ability to involve us in the lives and fortunes of his characters is one of the best reasons for reading, rereading, and teaching Othello. Othello has particular gifts to offer to teenagers. It is a play about passion and reason. Intense feelings are exhibited here: love, hate, jealousy, envy, even lust. Teenagers struggling with their own passions can empathize with both Roderigo’s and Othello’s plight. It is also a play that examines, as do Shakespeare’s other works, human relationships and interactions. For teenagers in the first rush of attempting to understand how romantic relationships work and when and why they might fail, this text provides much to ponder. In addition, studying the play gives young people a rich literary vehicle for developing their critical thinking and analytical reading skills.
    [Show full text]
  • Shakespeare's Cymbeline and the Mystical
    International Journal of Transpersonal Studies Volume 32 | Issue 2 Article 13 7-1-2013 Shakespeare’s Cymbeline and the Mystical Particular: Redemption, Then and Now, for a Disassembled World Judy Schavrien Sofia University Follow this and additional works at: https://digitalcommons.ciis.edu/ijts-transpersonalstudies Part of the Philosophy Commons, Psychology Commons, Religion Commons, and the Sociology Commons Recommended Citation Schavrien, J. (2013). Schavrien, J. (2013). Shakespeare’s Cymbeline and the mystical particular: Redemption, then and now, for a disassembled world. International Journal of Transpersonal Studies, 32(2), 122–140.. International Journal of Transpersonal Studies, 32 (2). http://dx.doi.org/10.24972/ijts.2013.32.2.122 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Special Topic Article is brought to you for free and open access by the Journals and Newsletters at Digital Commons @ CIIS. It has been accepted for inclusion in International Journal of Transpersonal Studies by an authorized administrator of Digital Commons @ CIIS. For more information, please contact [email protected]. Shakespeare’s Cymbeline and the Mystical Particular: Redemption, Then and Now, for a Disassembled World Judy Schavrien Sophia University Palo Alto, CA, USA Cymbeline reflected Shakespeare’s late-in-life aspirations for a world redeemed. Those in baroque England, past the first burgeoning of Renaissance vision, were nevertheless making a literal New World abroad. Likewise, Shakespeare arrived at a vision both post-innocent and post-tragic. As they compared to tragic heroes, he down-sized the late play characters; still, he granted them a gentler end.
    [Show full text]