T he ardent love to Desdemona struggles with doubts and indecisions, the basis for which has created by Iga. O thello 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.
I go puts plausible enough arguments and starts to specify Othello such qualities of Desdemona which he did not guess also which actually was not. T he anger starts to boil in Othello’s heart as it by nature the hot-tempered person. H
e 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.
I t is important to note the various nature of jealousy in two these works. J ealousy 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.
I t not Shakespearean Othello’s jealousy. A t Shakespeare the moor slays not through jealousy and the knocked vanity because of faithlessness of Desdemona as Arbenin did. O thello 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.
I t bears about complete absence at him egoism. O thello — not the owner who worries that his honour now under the threat. T o 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.
B ut he still love Desdemona, admires her, kisses her lips. H e worries about her soul — understanding, that she now will die, Othello wants, that sins have been absolved. U nfortunately Othello’s and Desdemona thin and gentle love perishes from conflict with the world of ambition and acquisition. T
hey do not find support in associates, not looking that among them there are also kind people. A ccident which occurs in the end of the work, caused exactly both actions Igo, and Othello’s character. B ehind 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. L ong time he confuted suggestion of Igo, but eventually has surrendered before at first sight incontestable arguments which that has presented. O
thello dies. O n it the conflict between it and the venetian society which and has not accepted it is settled. H e could not learn to live under its laws. B ut 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.
I n this conflict is not available defeated or of the winners, after all any side could not change each other. O thello, not looking at attempts of Igo? remained the decent person who believes in very well in this world.
T he 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.
Список литературы
Уильям Шекспир. Отелло (пер.М.Лозинский), Айрис-Пресс, 2009 г.
М. Ю. Лермонтов. Сочинения в 2-х томах. Т. 2. М.: Правда, 1990.
Ю. Шведов «Трагедия Шекспира «Отелло», М.: «Высшая школа», 1969.
Ломунов К. «Маскарад» Лермонтова как социальная трагедия // Лермонтов М. Ю. Маскарад: Сб. ст. — М.; Л.: Изд-во ВТО, 1941.
