I definitely plan to post more on the chick flick that is King Lear. Othello, surprisingly, is also a chick flick. Lady Desdemona is very much the center of attention of that play and not Othello. What's in it for the guys is the mind-blowing connection between the Holy Roman Empire and the Ottoman Empire.
For the commoner, Othello is a warning to local girls about the fatal attraction of foreign dudes. For the aristocracy it is a pointed reminder of the New World pecking-order and its implications for England.
First, as "Captain" of the Good Ship Mother Earth, is the Holy Roman Emperor (who is also Sultan of Religio-Political Swing). Next, as his "Ensign", is the Emperor's brother the King of Spain (along with his Franco-Scottish opposite King James). The third member making up the Evil Axis of threat to a free Venice (and her opposite England) is a Medici "Corporal" in Florence. The Medici is promoted to "Lieutenant" by Othello and much to the aggravation of Ensign Iago whom he now outranks. It is the dual-natured Ensign that does most of the conspiring, ultimately destroying trust and the fragile balance of power, and to the ruin of all parties including himself.
All the officers covet Desdemona, but in real life it was the Franco-Scottish Iago/James ("Jacob the Grabber" and "Moor Killer") that got the girl. The play Othello indicates that she was not won fairly and that Desdemona learned only too late about his double-dealing (with her and the Holy Roman Matrix), and the price that Desdemona and her city was about to pay. Given that Othello was performed so close to Elizabeth's death, one must wonder if it did represent her true feelings, those of her court that wanted to prevent the succession of James, or actually both. King James did not later try to suppress the play, but this may only have reflected the attitude of "all's well that end's well" (for him).
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