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In this paper we will present about the conflict in Othello, the moor of Venice, has promote Cassio as his lieutenant ; Iago, who was hoping for the promotion himself, makes plots against both Cassio and Othello to exact revenge. Othello has secretly married Desdemona, the beautiful daughter of Venetian senator Brabantio, and Iago determines to use Desdemona as the means of this revenge. happy reading!!

A conflict in Othello of this drama tell about Othello a tragedy that the time of movement is quickly and the use of language is simple and directly. A play jealousy and Shakespeare put deliberately into his dramas is to be considered in the interpretation.

This drama is a tragedy that is a play jealousy and particular of the great problems of the play emerges. The proper understanding of the relations of Othello and Desdemona is equally important with the question of the relations of lago and Othello. The exposition of these two elements of the play is set forth by the dramatist with his usual clearness, and at considerable length, but has nevertheless escaped the notice of the critics, or has been discounted as a factor in the interpretation. But it is high time to learn that whatever Shakespeare put deliberately into his dramas is to be considered in the interpretation.

a)      Conflict

The conflict of this drama tell about Othello a tragedy that the time of movement is quickly and the use of language is simple and directly. It’s tell about a tight, love, hate, and jealousy.

When the matter is brought before the Senate, Brabantio's objections to Othello all have to do with his difference of race and color. He thinks it utterly unnatural for Desdemona to accept him willingly and knowingly. He cannot conceive how his daughter, a fair maid of Venice, could consent to marry a man of Othello's color and nationality, unless in some way out of her senses. So preposterous does it appear to him that he must suppose Othello has charmed her with drugs and magic. He cries out in his desperation:

This deficiency, it is now important to notice, the play implies is due to his racial character, and comes from the fact that he is a Moor. The half- civilized Othello is but ill adapted for life in civilized and cultured Venice. Some critics endeavor to make out that nothing whatever of the happenings of the play are in any way connected with the fact that Othello is a Moor. They allege he is nothing but a man, though he happens to be a black man. His color, they say, is an entirely indifferent matter in the play, and can be all but ignored in the interpretation. On this assumption, however, the many references to his color and race throughout the play cannot well be explained. This view takes for granted that the dramatist heaps up idle words having no significance, and refuses to believe that there was a meaning in all he wrote. It is not necessary to hold, as Professor Bradley would have us believe, that the dramatist must be credited with clear doctrines of Kulturgeschichteif we are to maintain that he made the problem of Othello at least in part a problem of race. Feelings of racial differences did not have to wait for the Germans of later times to write histories of culture. In Shakespeare's day the discovery of new lands and new peoples must have impressed all thoughtful Europeans with the conception of their own superiority in all the arts and character of civilized life. And the play makes Othello quite as conscious as any one else of his diversity of race, though it is to other causes that he assigns his want of grace and culture.

When charged before the Senate with the abduction of Desdemona, Othello's defence consists of a frank and free admission that he had taken Brabantio's daughter, and an apologetic account of his "whole course of love." He pleads that he is "little blest with the soft phrase of peace," for he has spent all his life in "feats of broils, and battle." (I. iii. 104 ff.) In the course of his apology, his "round unvarnished tale" becomes eloquent with a barbaric sincerity and splendor that almost enlists the sympathy of the Senate. The story of "the battle, sieges, fortune" he had passed is almost as potent with the senators as it had been with Desdemona, who, he says,

There are numerous Shakespearean plays which seem to bear out the idea that the dramatist thought it to be the woman's right to choose her own husband, without meeting her father's wishes in the matter. But there are many differences, and these must be given consideration. Shakespeare undoubtedly approves such choice when it means a larger and fuller life. Juliet disobeyed a tyrannical and hateful father to find a larger life and a true spiritual union with Romeo. In the same spirit Imogen refused the coarse and villainous Cloten, to join hands and hearts with the virtuous Posthumous. The lovely Jewess, Jessica, ran away from the miserly Shylock to marry the Christian, Lorenzo, and at the same time accepted the religion of her husband. In all these cases the maidens found their true life with the men of their own choice, and the dramatist gives his verdict in making their love happy and successful, and in bringing out of their marriage a larger good to all.

There are in these and other instances, however, many differences from the case of Othello and Desdemona. It is not so much the willful disrespect to her father that is the fault of Desdemona, though some critics make a great deal of this, but the fact that in marrying Othello she showed a willful disregard of her own highest interests. It can scarcely be maintained that the marriage of Othello and Desdemona was a complete spiritual union, for there were too many diverse elements that at the time seemed incompatible and in the end proved entirely irreconcilable. It is true, of course, that as in the case of Juliet the passion of love transformed Desdemona from a meek and blushing maiden into a strong and self-reliant woman. There need be no attempt to deny the reality of the love of these two, and its effect upon their development, but it was not strong enough or natural enough to overcome all its enemies, as a true and natural love like that of Romeo and Juliet can do. Under some conditions it is possible that their love might have outlived their lives and overcome its handicaps, yet it is to miss the art of this drama not to see that the dramatist is here showing its unnaturalness by placing it in the conditions that test it to the uttermost and that reveal its weakness and bring it to defeat.

When Desdemona is brought into court to speak for herself in the matter of the marriage, she declares that she freely and lovingly takes Othello for her husband, and intimates that she is willing to take all the consequences of that act. She affirms her love for the Moor, and her desire to live with him, and requests to be permitted to accompany him to Cyprus. She says she understands fully what she is doing, recognizes Othello as a Moor, but that she accepts him as he is, or, as her words imply, she finds compensation for his color in the quality of his mind, in his honors, and in his courage:

In some recent criticism there has been an attempt to glorify the purity and beauty of the love of Othello and Desdemona, and to place it among the most spiritual of the loves of Shakespeare. Professor Bradley speaks of Desdemona's choice of Othello as rising "too far above our common level," and adds: "There is perhaps a certain excuse for our failure to rise to Shakespeare's meaning, and to realize how extraordinary and splendid a thing it was in a gentle Venetian girl to love Othello, and to assail fortune with such a downright violence and storm as is expected only in a hero." But this is only another instance of that fanciful criticism that makes a new Shakespeare, and yet thinks it is interpreting the old. If Goethe's suggestions for the re-casting of Hamlet in order to express better the meaning have not helped but hindered the understanding of Shakespeare's drama, we should learn the lesson of letting the dramatist have his way. Some of the critics before Professor Bradley have more truly seen the character of the love of Othello and Desdemona. Professor Dowden has observed that "In the love of each there was a romantic element; and romance is not the highest form of the service which imagination renders to love. For romance disguises certain facts, or sees them, as it were, through a luminous mist."¹

Snider has noticed that the qualities in Othello that attract Desdemona are "his bravery against external danger," that is, physical rather than mental or moral qualities, and that "no feats of mind, or skill, or cunning are recorded."²Her love, indeed, seems to be a kind of romantic fascination, a love of the sensuous imagination, what Professor Herford properly calls "a perilous ecstasy of the idealizing brain without secure root in the heart."³The last mentioned writer shows clear insight when he contrasts the love of Othello and Desdemona with that of Romeo and Juliet, which so "completely possesses and occupies their simple souls, that they present no point of vantage for distintegrating forces."⁴ Apparently it needs to be said over again that no conflict arose between Romeo and Juliet, but that all their trouble was with a world arrayed against them. But, between Othello and Desdemona, on the other hand, a most distressing conflict arose that almost completely overshadowed the original conflict and ended only in the greatest catastrophe of the drama. Instead of bearing a comparison, the loves of the two plays are in almost every way a contrast.

The marriage of Othello and Desdemona was a union of different races and colors that the sense of the world has never approved. The marriage of black and white seems always to have been repulsive to an Elizabethan, and dramatists before Shakespeare had always presumed that to be the case. Shakespeare no doubt shared this feeling, for in the two plays where no doubts on the matter are possible he follows the usual tradition. Assuming he had a part in writing the play, he has made Aaron, the Moor of Titus Andronicus, not only repulsive but a veritable brute and as cruel as Marlowe's Barabas. And in The Merchant of Venice, about whose authorship there can be no doubt, and which is earlier than Othello, he had previously portrayed a Moor as a suitor for the hand of Portia, and presented him as unsuccessful. When the Prince of Morocco chooses the golden casket, only to find "a carrion death" awaiting him, Portia remarks:

It has not generally been observed that Shakespeare makes more of this racial difference than did Cinthio, the Italian original. To Cinthio it is almost entirely a matter of a difference of color, which in itself is external though not unimportant. But to Shakespeare, who always reads deeper than others, it is on the surface a matter of color, but at bottom a matter of racial divergence that amounts to an incompatibility of character.

External:
Iago is the character who causes the majority of the conflict in the play. When Iago discovers he is not been chosen as Othello's lieutenant, it infuriates him and he starts to plot his revenge. This is where the external conflict begins. Iago is a jealous man who sets out to get what he wants, he does not care for the lives of others but instead uses them for his own gain. He causes many people to be manipulated and hurt in turn for his wealth.

Iago being jealous brings out the next external conflict as he lets Desdemonas father know that she has gotten married to Othello, a black man, without her fathers permission. "Even now, now, very now, an old black ram Is tupping your white ewe." The animalistic imagery in this quote makes Othello sound like a dirty ld man who has manipulated a beautiful and pure young white girl, Branbantio's daughter. This causes the external conflict between Othello and Brabantio to become heightened as Iago has made it seem as if Othello has 'stollen' Desdemona.
"Keep up your bright swords, for the dew will rust them." (1,2,59) -Othello. Here Othello is faced with some external conflict but he is not bothered, Othello is not interested in fighting and believes that he and the men who wanted to fight are gentlemen and do fight out of sudden anger.
"thou hast practiced on her with foul charms" (1,2,73) -Brabantio
"Look to her, Moor, if thou hast eyes to see: She has deceived her father, and may thee." - Brabantio. Brabantio says to Othello that she may lie to him also and so he better watch out. This warning is seen as rudeness towards Othello as Brabantio has made the accusation that Desdemona may cheat on Othello which would be a disgrace to Othello's name.
Iago is a manipulative, persuasive man who takes great enjoyment in starting conflict. Iago even states “I am not what I am” and that he only follows Othello to “serve my turn upon him.” He finds Othello’s weakness, bringing out his fatal flaw of jealousy and making him believe that Desdemona and Cassio are having an affair. During the course of the play, Iago carefully and cunningly manipulates everyone. He kills Roderigo and Emilia and he stabs Cassio, wounding his leg. This leads to the deaths of Desdemona and Othello.

Rascism sparks much conflict in the play.  Race has a great amount of influence on how people regard Othello for those who distrust black people. There is conflict between Brabantio and Othello, when he discovers that Desdemona and Othello are married. Iago once again is the root of this conflict as he suggests horrific things about the two of them. "Even now, now, very now, an old black ram is tupping your white ewe."  When Othello is confronted by Brabantio, we can see that Othello is very humble, calm and in control of his actions. He does not rebel and become outraged at the things he is accused of. This contrasts to his conflict with Desdemona, showing his weaknesses and how he has changed due to jealousy. At the end of the play, he now has internal conflict with his own actions. He has murdered the woman he loves and learns that he did so through the conflict of Iago and his lies. It is too late to change his actions. Othello trusts too easily, which is why he suffers when he must chose between the "honesty" of Iago and the truth from Desdemona.

Internal:
One of the major conflicts in the play, is the internal conflict of Othello. Othello becomes increasingly jealous because of the lies and manipulation of the truth that Iago feeds him. This pulls him away from his love for Desdemona.

The majority of internal conflict within the play comes from Othello. He is beside himself when it comes to what he should do about his 'cheating' wife. Othello loves Desdemona more than anything but feels he must kill her in order to protect other men from Desdemona doing the same thing to them. "O blamy breath, that doth almost persuade justice to break her sword." (5,2,16) - Othello. This quote tells us that Othello is very torn, he is unsure if he should or should not kill Desdemona, he sees her as such a sweet and pure girl that could do no harm, this feeling he has for her almost persuades him that he doesn't need to kill Desdemona.
"One more, one more." (5,2,17) - Othello. In saying this quote it re-emphasizes the internal conflict that Othello feels, even after he has said that he will not be persuaded by her he is then again tempted , his love of her makes him not want to let her go and so he lets himself kiss her over and over even though it makes him remeber how much he really does love Desdemona.
"It is the cause, it is the cause" (5,2,1) -Othello. This quote expresses Othello's internal conflict as he repeats the same words over, telling us that Othello trying to convince himself that killing Desdemona is the right thing to do. He repeats the same sentence over as he does not believe this is true and so must continue to tell himself that there is a need to have her dead for him to then be able to have the heart to kill his love. Othello needs to truly believe that Desdemona should die and by him repeating that it needs to be done shows that he himself is unsure whether it is necessary or not.[3]

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