Сравнительный анализ пьесы Шекспира "Отелло" и Лермонтова "Маскарад".

Сравнительный анализ пьесы Шекспира "Отелло" и Лермонтова "Маскарад".

All venetian society is contrast for Othello. These people in constant struggle for the power and money all lose last stocks balance of humanity faster. Gallery of images of representative work of this civilisation crowns Iga. The most mean and artful hero of tragedy interests in the intrigues. Throughout all play you try to guess, that all the same wins, kindly or angrily. In "Othello" the basic negative character is absolute harm. At first Othello is not exposed on provocation Яга. In him speaks common sense. The moor considers what to live with jealousy and suspicions it is impossible and says, that would solve them as soon as they arise. He trusted Desdemona, considering, that her beauty and talents in singing or dancing is only good addition to all moral virtues. So, Othello have been assured, that the wife on the true loves him. By all Othello's reaction the author shows, that at the beginning he was not predisposed to jealousy, what is it is not characteristic for him nature. The first, that has made Iga – he has generated doubts in a shower of the moor, easier to force him to think of the words. The remarkable expert on psychology, he knows, that doubts is already half of road.
Under the influence of these doubts other conflict in tragedy arises. Othello's conflict to self. This conflict has no physical display. It is local or as it still name, closed, such that occurs against a frictionless situation. Such isolation is characteristic for many comedies and Shakespeare's some tragedies. Othello's sincere drama is bodily concentrated to that time interval when Iga spuns the diabolical intrigue. So, the basic and uniform reason of travails of the protagonist of tragedy is the malicious and artful plan of the envious person.
The main conflict in the play is domestic, as is characteristic for tragedy. The ardent love to Desdemona struggles with doubts and indecisions, the basis for which has created by Iga. Othello cannot believe that hears from Igo which pretends to be him friend, but at the same time it does not have reasons not to believe. Igo puts plausible enough arguments and starts to specify Othello such qualities of Desdemona which he did not guess also which actually was not. The anger starts to boil in Othello's heart as it by nature the hot-tempered person. He starts to demand from Igo arguments of incorrectness of Desdemona, as he is agonizingby jealousy, doubts and guesses. The moor wishes to get rid or the doubts concerning the wife and to be happy with her, or to convince of her and to decide, what to do further.
It is important to note the various nature of jealousy in two these works. Jealousy of Arbenin not from love but from painfull arrogance: someone has dared to attempt upon a thing of his property which he considers his own. It not Shakespearean Othello's jealousy. At Shakespeare the moor slays not through jealousy and the knocked vanity because of faithlessness of Desdemona as Arbenin did. Othello itself declares a principal cause on which he is assured, that Desdemona should die - he does not want, that she still someone play pranks, wishes to deprive of patterns from the incorrect and dishonest woman who so painfully to it has made. It bears about complete absence at him egoism. Othello - not the owner who worries that his honour now under the threat. To the contrary, he considers itself as the person who relieves the world from dirty and hypocritical peoples whom in his opinion are Desdemona and Cassio. But he still love Desdemona, admires her, kisses her lips. He worries about her soul - understanding, that she now will die, Othello wants, that sins have been absolved. Unfortunately Othello's and Desdemona thin and gentle love perishes from conflict with the world of ambition and acquisition. They do not find support in associates, not looking that among them there are also kind people. Accident which occurs in the end of the work, caused exactly both actions Igo, and Othello's character. Behind Othello's own adjudicating in the end of the play before suicide, he says, that was not predisposed to jealousy but when they have flashed in his soul, it went up to the end, not stopping a front than. Long time he confuted suggestion of Igo, but eventually has surrendered before at first sight incontestable arguments which that has presented. Othello dies. On it the conflict between it and the venetian society which and has not accepted it is settled. He could not learn to live under its laws. But Othello by own death is hoisted over it, it does not need to try to assimilate among dishonourable people - it simply goes away from it. In this conflict is not available defeated or of the winners, after all any side could not change each other. Othello, not looking at attempts of Igo? remained the decent person who believes in very well in this world. The venetian society which embodiment in Igo, remains such as well as was - malicious, artful and ruthless. Certainly, despite result of this counteraction, all liking here on Othello's side.
In the ending, has learnt, that Nina guilt-free, Arbenin, torn apart by tormenting travails, goes mad («and this proud mind was exhausted today!»). There is no salvaging to the romantic hero, but there is no also a return under the darkness power.
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