Othello was first published in 1622. It was first performed in 1604 and it is one of Shakespeare's great tragedies. On one level, Othello is an examination of the differences between the public and private spheres of civilized life. As represented in the play, private life is the site of true and spontaneous

Desdemona was not a weak, helpless woman. Desdemona's actions were not necessarily based on the desire to be a man, but more so a desire to have the equal powers of men. By marrying Othello, Desdemona was showing that she was strong enough and educated enough to break the societal confines of passivity for women. Berggren sees how Desdemona progresses throughout out the play. "...evil in Shakespearean women seems to grow from a sexuality so out of tune with its procreative potential that it breeds villainy rather than children" (Berggren 24) Desdemona transforms from the courageous bride in Act 1, to witty Venetian lady of Act 2, into womanly warrior in Act 4, and says a prayer in Act 5. Shakespeare's women as a rule maintain a remarkably disinterested view of the masculine physique. Desdemona was submissive to Othello, as any good wife at the time would have been. we lose sight of her personal charms in her attachment and devotedness to her husband. Race was not an issue to Desdemona and this was a result of her intelligence and determination to become liberated. Othello, however, may have been frightened by Desdemona's aggressiveness as a woman. This, along with the misperceptions brought on by Iago, could have led to his changing views of Desdemona. When Othello and Desdemona are first married, Othello spoke nothing but love for Desdemona. Robert Burns' poem, "A Red, Red Rose" best represents Othello's feelings toward Desdemona. Desdemona, although an intelligent woman seeking liberation, fell into Iago's trap because she loved Othello and was upset that he had considered her a "whore." She was a very trusting person and did not think that Iago would her hurt. Although she was striving to be play an equal role of the men in Venice, at times her sensitivities overpowered her desire to break the gender barriers.

love, while public life is the site of ritualized courtship. But, as is no less strongly represented, private life is also the site of deadly deception while public life is the site of truth and justice. Othello may also be a play about knowledge. It shows us how mental categories such as those of race and sexuality, which we rely upon in forming our knowledge and experience of the world, are misleading and potentially destructive. In terms of race Desdemona's father, has a specific idea of the sort of man who should marry his daughter. The fact that Othello does not fit the type makes Brabantio die of grief. In terms of sexuality, it is largely because Othello holds a certain view of women that he is able to believe Iago's accusations of Desdemona. And race and sexuality are only two of the categories we rely upon to order our experience into manageable portions. The play encourages us to engage heuristically with the world, to not rely too heavily on any fixed understanding of things that would limit our sensitivity to the variety of human experience. The hero is revealed in a host of cultural manifestations, including political and social ones, Shakespeare dramatizes love, joy, hatred, fear, etc. in the play so deeply, with such intensity and such fidelity.

Carol Neely sees Desdemona as "helplessly passive." That she can do nothing whatsoever. "... Tell me, Othello: I wonder in my soul, What you could ask me, that I should deny? Or stand so m

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Approximate Word count = 2213
Approximate Pages = 9 (250 words per page double spaced)