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Othello
In a period of ten years, Shakespeare wrote a series of tragedies that established him, by universal consent, in the front rank of the world's dramatists. Critics have praised either "Hamlet" or "King Lear" as the greatest of these; Ernst Honigmann, in the most significant edition of the play for a generation, asks: why not "Othello"? The third of the mature tragedies, it contains, as Honigmann persuasively demonstrates, perhaps the best plot, two of Shakespeare's most original characters, the most powerful scene in any of the plays, and poetry second to none. Honigmann's cogent and closely argued introduction outlines the reasons both for a reluctance to recognize the greatness of "Othello" and for the case against the play.
This edition sheds new light on the text of the play as we have come to know it, and on our knowledge of its early history. Honigmann examines the thematic portrayal of feminism, morality, and otherness. He provides a general character criticism, but delves more deeply into Othello, Iago, Desdemona, and Emilia in individual sections. He discusses the play in performance and the relationship between reading it and seeing it. He also explores topics such as its date, sources, and the conundrum of "double time."
Appendices cover date, details about and possible explanations for the textual inconsistencies, the principal and minor sources for the play, Edward Pudsey's extracts, and musical settings, reproduced from F.W. Sternfeld's "Music in Shakespearean Tragedy." Finally, a reference section provides a list of abbreviations and references, a catalog of Shakespeare's works and works partly by Shakespeare, and citations for the modern productions mentioned in the text, other collated editions of his work, and other related reading.
The Arden Shakespeare has developed a reputation as the pre-eminent critical edition of Shakespeare for its exceptional scholarship, reflected in the thoroughness of each volume. An introduction comprehensively contextualizes the play, chronicling the history and culture that surrounded and influenced Shakespeare at the time of its writing and performance, and closely surveying critical approaches to the work. Detailed appendices address problems like dating and casting, and analyze the differing Quarto and Folio sources. A full commentary by one or more of the play's foremost contemporary scholars illuminates the text, glossing unfamiliar terms and drawing from an abundance of research and expertise to explain allusions and significant background information. Highly informative and accessible, Arden offers the fullest experience of Shakespeare available to a reader.
This edition sheds new light on the text of the play as we have come to know it, and on our knowledge of its early history. Honigmann examines the thematic portrayal of feminism, morality, and otherness. He provides a general character criticism, but delves more deeply into Othello, Iago, Desdemona, and Emilia in individual sections. He discusses the play in performance and the relationship between reading it and seeing it. He also explores topics such as its date, sources, and the conundrum of "double time."
Appendices cover date, details about and possible explanations for the textual inconsistencies, the principal and minor sources for the play, Edward Pudsey's extracts, and musical settings, reproduced from F.W. Sternfeld's "Music in Shakespearean Tragedy." Finally, a reference section provides a list of abbreviations and references, a catalog of Shakespeare's works and works partly by Shakespeare, and citations for the modern productions mentioned in the text, other collated editions of his work, and other related reading.
The Arden Shakespeare has developed a reputation as the pre-eminent critical edition of Shakespeare for its exceptional scholarship, reflected in the thoroughness of each volume. An introduction comprehensively contextualizes the play, chronicling the history and culture that surrounded and influenced Shakespeare at the time of its writing and performance, and closely surveying critical approaches to the work. Detailed appendices address problems like dating and casting, and analyze the differing Quarto and Folio sources. A full commentary by one or more of the play's foremost contemporary scholars illuminates the text, glossing unfamiliar terms and drawing from an abundance of research and expertise to explain allusions and significant background information. Highly informative and accessible, Arden offers the fullest experience of Shakespeare available to a reader.
442 pages, Paperback
First published January 1, 1603
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About the author
William Shakespeare
22.3k听books45.8k听followersWilliam Shakespeare was an English playwright, poet, and actor. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "the Bard"). His extant works, including collaborations, consist of some 39 plays, 154 sonnets, three long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare remains arguably the most influential writer in the English language, and his works continue to be studied and reinterpreted.
Shakespeare was born and raised in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Sometime between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner ("sharer") of a playing company called the Lord Chamberlain's Men, later known as the King's Men after the ascension of King James VI and I of Scotland to the English throne. At age 49 (around 1613), he appears to have retired to Stratford, where he died three years later. Few records of Shakespeare's private life survive; this has stimulated considerable speculation about such matters as his physical appearance, his sexuality, his religious beliefs, and even certain fringe theories as to whether the works attributed to him were written by others.
Shakespeare produced most of his known works between 1589 and 1613. His early plays were primarily comedies and histories and are regarded as some of the best works produced in these genres. He then wrote mainly tragedies until 1608, among them Hamlet, Romeo and Juliet, Othello, King Lear, and Macbeth, all considered to be among the finest works in the English language. In the last phase of his life, he wrote tragicomedies (also known as romances) and collaborated with other playwrights.
Many of Shakespeare's plays were published in editions of varying quality and accuracy during his lifetime. However, in 1623, John Heminge and Henry Condell, two fellow actors and friends of Shakespeare's, published a more definitive text known as the First Folio, a posthumous collected edition of Shakespeare's dramatic works that includes 36 of his plays. Its Preface was a prescient poem by Ben Jonson, a former rival of Shakespeare, that hailed Shakespeare with the now famous epithet: "not of an age, but for all time".
Shakespeare was born and raised in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Sometime between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner ("sharer") of a playing company called the Lord Chamberlain's Men, later known as the King's Men after the ascension of King James VI and I of Scotland to the English throne. At age 49 (around 1613), he appears to have retired to Stratford, where he died three years later. Few records of Shakespeare's private life survive; this has stimulated considerable speculation about such matters as his physical appearance, his sexuality, his religious beliefs, and even certain fringe theories as to whether the works attributed to him were written by others.
Shakespeare produced most of his known works between 1589 and 1613. His early plays were primarily comedies and histories and are regarded as some of the best works produced in these genres. He then wrote mainly tragedies until 1608, among them Hamlet, Romeo and Juliet, Othello, King Lear, and Macbeth, all considered to be among the finest works in the English language. In the last phase of his life, he wrote tragicomedies (also known as romances) and collaborated with other playwrights.
Many of Shakespeare's plays were published in editions of varying quality and accuracy during his lifetime. However, in 1623, John Heminge and Henry Condell, two fellow actors and friends of Shakespeare's, published a more definitive text known as the First Folio, a posthumous collected edition of Shakespeare's dramatic works that includes 36 of his plays. Its Preface was a prescient poem by Ben Jonson, a former rival of Shakespeare, that hailed Shakespeare with the now famous epithet: "not of an age, but for all time".
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Displaying 1 - 30 of 12,394 reviews
September 26, 2023
Hands down the worst pillow fight in history.
January 13, 2020
I have always admired this play as Shakespeare's most theatrical tragedy, but I also feel that it often veers too close to melodrama. Shaw remarked that Othello is written "in the style of Italian opera," and it shares with Verdi and Donizetti the same big emotions, the same clear demarcation of good and evil, that give Lucia and Trovatore their emotional intensity--and their lack of essential seriousness too. During this reading, however, I began to realize that Othello is much more than the greatest of melodramas, and that the key to appreciating its depth lies in the concept of the public mask.
Othello is a man who always wears a mask in public: the mask of the thoroughly professional military leader who is far too noble to be moved by emotions which might cause others to be petty or untrustworthy. Iago wears a similar mask: the mask of the thoroughly professional military subordinate who is frank and blunt and incapable of dishonesty.
Othello's mask hides a snake's nest of fears, fears bred from the insecurity of being a black man in an alien white society. Iago's mask hides the fact that he is a sociopath motivated by jealousy and rage.
Othello cannot see the reality of the evil beneath a mask that in some ways is similar to his own, and instead misinterprets each frank gesture of his devoted wife as proof of the diabolical mask of an accomplished adulteress. This is Othello's fatal error, and Desdemona--and Othello himself--pay dearly for it.
July 2, 2022
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September 30, 2021
The Tragedy of Othello, The Moor of Venice, William Shakespeare
Othello is a tragedy by William Shakespeare, believed to have been written in 1603. It is based on the story Un Capitano Moro (A Moorish Captain) by Cinthio, a disciple of Boccaccio, first published in 1565.
The story revolves around its two central characters: Othello, a Moorish general in the Venetian army and his unfaithful ensign, Iago. Given its varied and enduring themes of racism, love, jealousy, betrayal, revenge and repentance, Othello is still often performed in professional and community theater alike, and has been the source for numerous operatic, film, and literary adaptations.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 跇丕賳賵蹖賴 爻丕賱 1974賲蹖賱丕丿蹖貨 鬲丕乇蹖禺 禺賵丕賳卮 丕蹖賳 賳爻禺賴: 賲丕賴 跇賵卅賳 爻丕賱 2012賲蹖賱丕丿蹖
毓賳賵丕賳 賯乇丕乇丿丕丿蹖: 丕鬲鈥嵸勨€嵸勨€嵸堌� 毓賳賵丕賳: 丿丕爻鬲丕賳 睾賲 丕賳诏蹖夭 丕鬲賱賱賵蹖 賲睾乇亘蹖 丿乇 賵賳丿蹖讴 (賳賲丕蹖卮 丿乇 倬賳噩 倬乇丿賴貨 賳賵蹖爻賳丿賴: 賵蹖賱蹖丕賲 卮讴爻倬蹖乇 (賵蹖賱蹖賲 卮丕讴爻倬蹖乇)貨 賲鬲乇噩賲: 丕亘賵丕賱賯丕爻賲 禺丕賳 賳丕氐乇丕賱賲賱讴貨 賲卮禺氐丕鬲 賳卮乇 丕氐賮賴丕賳貙 賳卮乇 丕爻倬丕丿賳丕貙 1370貙 丿乇 127氐貙 讴鬲丕亘 賳禺爻鬲蹖賳 亘丕乇 丿乇 爻丕賱 1340禺賵乇卮蹖丿蹖 丿乇 芦倬丕乇蹖爻禄 賵 丿乇 爻丕賱1364禺賵乇卮蹖丿蹖 鬲賵爻胤 丕賳鬲卮丕乇丕鬲 賳蹖賲丕 賳蹖夭 賲賳鬲卮乇 卮丿賴 丕爻鬲
趩丕倬 爻賵賲 丕蹖賳 毓賳賵丕賳 亘丕 鬲乇噩賲賴 噩賳丕亘: 賲丨賲賵丿 丕毓鬲賲丕丿 夭丕丿賴 (賲.丕. 亘賴 丌匕蹖賳) 丿乇 卮乇讴鬲 爻賴丕賲蹖 賳卮乇 丕賳丿蹖卮賴貙 1340貨 丿乇 丌匕乇 賲丕賴 1343禺賵乇卮蹖丿蹖 丿乇 202氐 丿乇 趩丕倬禺丕賳賴 亘丕賳讴 賲賱蹖 賳蹖夭 趩丕倬 賵 賳卮乇 卮丿賴 丕爻鬲貨 趩丕倬 倬賳噩賲貨 鬲賴乇丕賳貙 丕賳丿蹖卮賴貙 1350貙 丿乇 212氐貨
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鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 11/11/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 07/07/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Othello is a tragedy by William Shakespeare, believed to have been written in 1603. It is based on the story Un Capitano Moro (A Moorish Captain) by Cinthio, a disciple of Boccaccio, first published in 1565.
The story revolves around its two central characters: Othello, a Moorish general in the Venetian army and his unfaithful ensign, Iago. Given its varied and enduring themes of racism, love, jealousy, betrayal, revenge and repentance, Othello is still often performed in professional and community theater alike, and has been the source for numerous operatic, film, and literary adaptations.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 跇丕賳賵蹖賴 爻丕賱 1974賲蹖賱丕丿蹖貨 鬲丕乇蹖禺 禺賵丕賳卮 丕蹖賳 賳爻禺賴: 賲丕賴 跇賵卅賳 爻丕賱 2012賲蹖賱丕丿蹖
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賵 亘爻蹖丕乇蹖 丿蹖诏乇 賳蹖夭 丕蹖賳 讴鬲丕亘 乇丕 鬲乇噩賲賴 讴乇丿賴 丕賳丿
丕購鬲賽賱賵 蹖丕 芦丕購鬲賽賱賱賵禄貨 蹖丕 芦鬲乇丕跇丿蹖 丕購鬲賽賱賵蹖 賲睾乇亘蹖 賵賳蹖夭禄貙 毓賳賵丕賳 賳賲丕蹖卮鈥屬嗀з呝団€� 丕蹖 毓丕卮賯丕賳賴貙 賵 鬲乇丕跇蹖讴 賵 丕孬乇蹖 丕夭 芦賵蹖賱蹖丕賲 卮讴爻倬蹖乇禄 亘乇蹖鬲丕賳蹖丕蹖蹖 丕爻鬲貙 讴賴 丿乇 爻丕賱鈥屬囏й� 1603賲蹖賱丕丿蹖 鬲丕 爻丕賱 1604賲蹖賱丕丿蹖 賳诏丕卮鬲賴 卮丿賴鈥� 丕爻鬲貨 丕蹖賳 賳賲丕蹖卮鈥屬嗀з呝� 亘乇丕爻丕爻 丿丕爻鬲丕賳蹖貙 亘賴 賳丕賲 芦讴丕倬蹖鬲丕賳 賲睾乇亘蹖 (爻丕賱 1565賲)禄貙 賳賵卮鬲賴 蹖 芦爻蹖賳爻蹖賵禄貙 賳賵蹖爻賳丿賴 蹖 芦丕蹖鬲丕賱蹖丕蹖蹖禄貙 賳诏丕卮鬲賴 卮丿賴鈥� 丕爻鬲貨 丿乇 丕蹖賳 賳賲丕蹖卮鈥屬嗀з呝� 芦卮讴爻倬蹖乇禄貙 亘賴 賲囟賲賵賳 禺蹖丕賳鬲 丿乇 毓卮賯貙 賲蹖鈥屬矩必ж操嗀� 丿乇 丕蹖賳 鬲乇丕跇丿蹖貙 丕購鬲賽賱賱賵 (賳丕賲 丿蹖诏乇卮 芦賲睾乇亘蹖禄 丕爻鬲)貙 卮禺氐蹖鬲 丕氐賱蹖 賲乇丿 丿丕爻鬲丕賳貙 賮乇賲丕賳丿賴蹖 賲睾乇亘蹖貙 丿乇 丕乇鬲卮 芦賵賳蹖夭禄 丕爻鬲貙 丕蹖卮丕賳 亘賴鈥� 鬲丨乇蹖讴 蹖讴蹖 丕夭 夭蹖乇丿爻鬲丕賳卮貙 亘賴鈥� 賳丕賲 芦丕蹖丕诏賵禄貙 亘賴 賵賮丕丿丕乇蹖賽 賴賲爻乇 禺賵丿 芦丿賽夭丿賽賲賵賳丕禄貙 卮讴 賲蹖鈥屭┵嗀� 賵 亘蹖 丌賳讴賴 卮讴 禺賵丿 乇丕貙 亘丕 賴賲爻乇 禺賵蹖卮 丿乇 賲蹖丕賳 亘诏匕丕乇丿貙 亘蹖鈥屫必呚з嗁� 丕賵 乇丕 賲蹖鈥屭┵徹簇� 丕賲丕 倬爻 丕夭 賯鬲賱貙 亘賴 亘蹖鈥屭嗀з囒� 賴賲爻乇 賵賮丕丿丕乇卮貙 倬蹖 賲蹖鈥屫ㄙ庁辟庁� 讴賴 亘爻蹖丕乇 丿蹖乇 丕爻鬲貨 倬爻 丿爻鬲 亘賴 禺賵丿讴卮蹖 賲蹖鈥屫操嗀� 賳賲丕蹖卮賳丕賲賴贁 芦丕鬲賱賱賵禄 賴賳賵夭 賴賲貙 丿乇 亘爻蹖丕乇蹖 丕夭 賲噩丕賲毓 丨乇賮賴鈥� 丕蹖賽 鬲卅丕鬲乇 噩賴丕賳貙 賲丨亘賵亘蹖鬲 亘爻蹖丕乇蹖 丿丕乇丿貙 賵 賲賳亘毓蹖 亘乇丕蹖 亘爻蹖丕乇蹖 丕夭 丌孬丕乇 丕倬乇丕蹖蹖貙 賮蹖賱賲貙 賵 丕賯鬲亘丕爻鈥屬囏й� 丕丿亘蹖 卮賳丕禺鬲賴 賲蹖鈥屫促堌�
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鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 11/11/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 07/07/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
July 1, 2023
Othello is considered not only the greatest of Shakespeare's tragedies but also the timeliest. This might be a play written hundreds of years ago, but all the themes discussed in it are even entirely relevant today. We can see multiple manipulation levels, betrayal, jealousy, and even racism in this book if we read between the lines.
Iago's maudlin concerns and jealousy force him to plot against general Othello and his wife, Desdemona. Othello, a battle-scarred yet lovable person, turns into a mercurial misogynistic and nihilistic personality due to the mundane concerns injected by Iago. Iago鈥檚 multiple interventions obfuscated the issues further. His character can be considered the paradigm for jealousy and hatred, a phony partisan who slanders to destroy any relationships. He knew to tell the right things to the right people at the right time to manipulate them to whatever extent he wanted. The way Shakespeare has counter projected jealously is simply brilliant. The way Iago engineers the jealousy of other characters is peerlessly done by the author.
We will get many interesting ideas from this play. If you are being robbed, and yet if you can smile about the losses, you are considered superior to the thief who robbed you. If you cry instead of smiling, then you are just wasting your time. This is an interesting way of depicting the concept of letting go and forgiving the people who hurt you.
If you closely observe each line from this play, you can see a vast amount of wisdom hidden within it. If you are a person who loves to think deeply, Othello will be one of the best books you can pick to read.
鈥斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌�
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Iago's maudlin concerns and jealousy force him to plot against general Othello and his wife, Desdemona. Othello, a battle-scarred yet lovable person, turns into a mercurial misogynistic and nihilistic personality due to the mundane concerns injected by Iago. Iago鈥檚 multiple interventions obfuscated the issues further. His character can be considered the paradigm for jealousy and hatred, a phony partisan who slanders to destroy any relationships. He knew to tell the right things to the right people at the right time to manipulate them to whatever extent he wanted. The way Shakespeare has counter projected jealously is simply brilliant. The way Iago engineers the jealousy of other characters is peerlessly done by the author.
We will get many interesting ideas from this play. If you are being robbed, and yet if you can smile about the losses, you are considered superior to the thief who robbed you. If you cry instead of smiling, then you are just wasting your time. This is an interesting way of depicting the concept of letting go and forgiving the people who hurt you.
鈥淲hat cannot be preserved when fortune takes,
Patience her injury a mock'ry makes.
The robbed that smiles steals something from the thief,
He robs himself that spends a bootless grief."
If you closely observe each line from this play, you can see a vast amount of wisdom hidden within it. If you are a person who loves to think deeply, Othello will be one of the best books you can pick to read.
鈥淥, beware, my lord, of jealousy;
It is the green-ey'd monster, which doth mock
The meat it feeds on. That cuckold lives in bliss,
Who, certain of his fate, loves not his wronger:
But O, what damn猫d minutes tells he o'er
Who dotes, yet doubts, suspects, yet strongly loves!鈥�
鈥斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌�
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November 6, 2016
丕鬲賱賱賵 乇丕 賴乇賰爻賷 禺賵丕賳丿賴 亘丕卮丿 鬲丕 丕亘丿 賮乇丕賲賵卮 賳賲賷 賰賳丿
毓賱鬲卮 賴賲 乇賵賷 丿丕丿賳 丨賵丕丿孬 賳丕诏賵丕乇 亘乇丕賷 賰爻賷 丕爻鬲 賰賴 亘賴 丿爻鬲 禺賵賷卮 禺賵卮亘禺鬲賷 丕卮 乇丕 賳丕亘賵丿 賲賷 賰賳丿
丕蹖賳 蹖讴蹖 丕夭 亘賴鬲乇蹖賳 賳賲丕蹖卮賳丕賲賴 賴丕蹖蹖 亘賵丿 讴賴 丕夭 卮讴爻倬蹖乇 禺賵丕賳丿賲 賵 丨丕賱丕 賲蹖 禺賵丕賴賲 亘賴 丕蹖賳 賳讴鬲賴 亘倬乇丿丕夭賲 讴賴 趩乇丕 卮讴爻倬蹖乇 蹖讴 賳丕亘睾賴 丕爻鬲
:卮讴爻倬蹖乇 賵 乇賵丕賳 丿乇賲丕賳蹖
趩賳丿 爻丕賱 蹖倬卮 丿乇 乇賵夭賳丕賲賴 蹖 噩丕賲 噩賲 禺賵丕賳丿賲 讴賴 賲丨賯賯丕賳 禺丕乇噩蹖 亘賴 賳鬲丕蹖噩 噩丕賱亘蹖 丿乇 賲賵乇丿 鬲丕孬蹖乇 爻賴 賳賲丕蹖卮賳丕賲賴 丕夭 卮讴爻倬蹖乇 亘乇 亘賷賲丕乇丕賳 乇賵丕賳賷 乇爻蹖丿賴 丕賳丿 讴賴 亘丕 禺賵丕賳丿賳 丌賳 丕孬乇丕鬲 賲孬亘鬲蹖 丿乇 賲睾夭 丌賳丕賳 丕蹖噩丕丿 賲蹖 诏乇丿丿
.賵 丕鬲賱賱賵 蹖讴蹖 丕夭 爻賴 賳賲丕蹖卮賳丕賲賴 亘賵丿
亘乇丕蹖 丿乇讴 丕蹖賳讴賴 趩诏賵賳賴 丕蹖賳 賳賲丕蹖卮賳丕賲賴 趩賳蹖賳 鬲丕孬蹖乇蹖 賲蹖诏匕丕乇丿 亘丕蹖丿 丕亘鬲丿丕 乇賵丕賳 倬乇蹖卮蹖 鬲毓乇蹖賮 诏乇丿丿
丕乇蹖讴 賮乇賵賲 賲蹖 诏賵蹖丿: 乇賵丕賳 倬乇蹖卮蹖貙 丨丕賱鬲蹖 丕夭 禺賵丿卮蹖賮鬲诏蹖 賲胤賱賯 丕爻鬲貙 賵 卮禺氐 乇賵丕賳 倬乇蹖卮 賴賲賴 蹖 丕乇鬲亘丕胤 禺賵蹖卮 乇丕 亘丕 賵丕賯毓蹖鬲 亘乇賵賳 诏爻爻鬲賴 丕爻鬲貙 賵 禺賵丿 乇丕 噩丕賳卮蹖賳 賵丕賯毓蹖鬲 爻丕禺鬲賴 丕爻鬲. 鬲賲丕賲丕 丕夭 禺賵蹖卮 爻乇卮丕乇 丕爻鬲貙 賵 亘乇丕蹖 禺賵丿卮 芦禺丿丕 賵 噩賴丕賳禄 卮丿賴 丕爻鬲. 丿賯蹖賯丕 亘丕 丕蹖賳 亘蹖賳卮 丕爻鬲 讴賴 賮乇賵蹖丿貙 亘乇丕蹖 賳禺爻鬲蹖賳 亘丕乇 乇丕賴 賮賴賲 倬賵蹖丕蹖 賲丕賴蹖鬲 乇賵丕賳 倬乇蹖卮蹖 乇丕 賲蹖 诏卮丕蹖丿
卮禺氐蹖 亘丿亘蹖賳 亘賲丕賳賳丿 丕鬲賱賱賵 賴賲 蹖讴 乇賵丕賳 倬乇蹖卮 丕爻鬲 賵蹖 鬲賵賴賲丕鬲 匕賴賳蹖 乇丕 亘乇 賵丕賯毓蹖鬲 丕乇噩丨 賲蹖 丿丕乇丿. 丕賵 亘乇 倬丕蹖賴 丨乇賮賴丕蹖蹖 讴賴 丕夭 胤乇賮 丿賵爻鬲 亘丿禺賵丕賴 賵 丨爻賵丿卮 "丕賷丕诏賵" 亘賴 丕賵 鬲賱賯蹖賳 賲蹖 卮賵丿 亘賴 賴賲锟斤拷乇 倬丕讴丿丕賲賳卮 "丿夭丿賲賵賳丕" 卮讴 賲蹖 讴賳丿
賵丕賯毓蹖鬲 丕蹖賳 亘賵丿 讴賴 丿夭丿賲賵賳丕 丿禺鬲乇賽 賳噩蹖亘 夭丕丿賴 亘丕 賴賲賴 賲禺丕賱賮鬲 禺丕賳賵丕丿賴 丕卮貙 丨丕囟乇 亘賴 丕夭丿賵丕噩蹖 卮丿賴 亘賵丿 讴賴 丿乇 噩丕賲毓賴 賲乇爻賵賲 賳亘賵丿: 賴賲爻乇 蹖讴 爻蹖丕賴倬賵爻鬲 卮丿賳
丕賲丕 丕鬲賱賱賵 丕蹖賳 賵丕賯毓蹖鬲 賲賴賲 蹖毓賳蹖 賮丿丕讴丕乇蹖 賵 毓卮賯賽 丿夭丿賲賵賳丕 乇丕 丕夭 蹖丕丿 賲蹖 亘乇丿 賵 亘乇 倬丕蹖賴 鬲賵賴賲 丿爻鬲 亘賴 賯鬲賱 賴賲爻乇卮 賲蹖 夭賳丿
鬲丕孬蹖乇 毓賲蹖賯 丕蹖賳 賳賲丕蹖卮賳丕賲賴 乇丕 賲蹖鬲賵丕賳 丿乇 丌禺乇 丌賳 丿蹖丿. 蹖讴 乇賵丕賳 倬乇蹖卮 亘丕 禺賵丕賳丿賳 趩賳蹖賳 鬲乇丕跇丿蹖 賴賵賱賳丕讴蹖貙 卮丕蹖丿 亘丕賱丕禺乇賴 亘賴 丕蹖賳 亘蹖丕賳丿蹖卮丿 讴賴 爻賵馗賳 賴丕蹖卮 賴賲 亘賲丕賳賳丿 卮讴 賴丕蹖 丕鬲賱賱賵 禺丕賱蹖 丕夭 賵丕賯毓蹖鬲 賴爻鬲賳丿 賵 亘乇丕蹖 亘賴亘賵丿蹖 丕卮 鬲賱丕卮 讴賳丿
October 1, 2021
Othello = The Tragedy of Othello, William Shakespeare
Othello (The Tragedy of Othello, the Moor of Venice) is a tragedy by William Shakespeare, believed to have been written in 1603.
It is based on the story Un Capitano Moro ("A Moorish Captain") by Cinthio, a disciple of Boccaccio, first published in 1565.
The story revolves around its two central characters: Othello, a Moorish general in the Venetian army and his unfaithful ensign, Iago. Given its varied and enduring themes of racism, love, jealousy, betrayal, revenge and repentance, Othello is still often performed in professional and community theater alike, and has been the source for numerous operatic, film, and literary adaptations.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 跇丕賳賵蹖賴 爻丕賱 1974賲蹖賱丕丿蹖貙 亘丕乇 丿賵賲 乇賵夭 丿賴賲 賲丕賴 跇賵卅賳 爻丕賱 2012賲蹖賱丕丿蹖
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讴鬲丕亘 芦丕鬲賱賱賵 亘丕 丕爻鬲賮丕丿賴 丕夭 丕卮毓丕乇 賳蹖賲丕 蹖賵卮蹖噩禄貙 丕孬乇 賳賲丕蹖卮賳丕賲賴 賳賵蹖爻 丕賳诏賱蹖爻蹖: 芦賵蹖賱蹖丕賲 卮讴爻倬蹖乇禄 丕爻鬲貨 讴賴 乇賵丕賳卮丕丿 芦毓亘丿丕賱丨爻蹖賳 賳賵卮蹖賳禄 丕孬乇 芦卮讴爻倬蹖乇禄 乇丕 鬲乇噩賲賴 讴乇丿賴貙 賵 诏丕賴 亘乇丕蹖 鬲乇噩賲賴 蹖 丿蹖丕賱賵诏賴丕貙 丕夭 卮毓乇 芦賳蹖賲丕 蹖賵卮蹖噩禄 爻賵丿 亘乇丿賴 丕爻鬲貨 賳賲丕蹖卮鈥屬嗀з呝団€� 丕蹖 毓丕卮賯丕賳賴 賵 鬲乇丕跇蹖讴 丕爻鬲貙 讴賴 丿乇 爻丕賱鈥� 1603賲蹖賱丕丿蹖 蹖丕 丿乇 爻丕賱 1604賲蹖賱丕丿蹖 賳賵卮鬲賴 卮丿賴鈥� 丕爻鬲貨 丕蹖賳 賳賲丕蹖卮賳丕賲賴 亘乇 丕爻丕爻 丿丕爻鬲丕賳蹖 亘賴 賳丕賲 芦讴丕倬蹖鬲丕賳 賲睾乇亘蹖 (1565賲)禄貙 賳賵卮鬲賴 蹖 芦爻蹖賳爻蹖賵禄貙 賳賵蹖爻賳丿賴 蹖 芦丕蹖鬲丕賱蹖丕蹖蹖禄貙 賳诏丕卮鬲賴 卮丿賴鈥� 丕爻鬲貨 丿乇 丕蹖賳 賳賲丕蹖卮鈥屬嗀з呝囏� 芦卮讴爻倬蹖乇禄貙 亘賴 賲囟賲賵賳 禺蹖丕賳鬲 丿乇 毓卮賯 賲蹖鈥屬矩必ж操嗀� 丿乇 丕蹖賳 鬲乇丕跇丿蹖貙 芦丕購鬲賽賱賱賵 (賳丕賲 丿蹖诏乇卮 芦賲睾乇亘蹖禄 丕爻鬲)禄貙 卮禺氐蹖鬲 丕氐賱蹖 賲乇丿 丿丕爻鬲丕賳貙 讴賴 賮乇賲丕賳丿賴蹖 賲睾乇亘蹖貙 丿乇 丕乇鬲卮 芦賵賳蹖夭禄 丕爻鬲貙 亘賴 鬲丨乇蹖讴 蹖讴蹖 丕夭 夭蹖乇丿爻鬲丕賳卮貙 亘賳丕賲 芦丕蹖丕诏賵禄貙 亘賴 賵賮丕丿丕乇蹖賽 賴賲爻乇 禺賵丿貙 芦丿賽夭丿賽賲賵賳丕禄 卮讴 賲蹖鈥屭┵嗀� 賵 亘蹖 丌賳讴賴 賲爻卅賱賴 乇丕 亘丕 賴賲爻乇 禺賵丿 丿乇 賲蹖丕賳 亘诏匕丕乇丿貙 亘蹖鈥屫必呚з嗁� 丕賵 乇丕 賲蹖鈥屭┵徹簇� 丕賲丕 倬爻 丕夭 賯鬲賱 丕賵貙 亘賴 亘蹖鈥屭嗀з囒� 賴賲爻乇 賵賮丕丿丕乇卮 倬蹖 賲蹖鈥屫ㄙ庁辟庁� 丕賲丕貙 亘爻蹖丕乇 丿蹖乇 丕爻鬲貨 ...貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 03/08/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 08/07/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Othello (The Tragedy of Othello, the Moor of Venice) is a tragedy by William Shakespeare, believed to have been written in 1603.
It is based on the story Un Capitano Moro ("A Moorish Captain") by Cinthio, a disciple of Boccaccio, first published in 1565.
The story revolves around its two central characters: Othello, a Moorish general in the Venetian army and his unfaithful ensign, Iago. Given its varied and enduring themes of racism, love, jealousy, betrayal, revenge and repentance, Othello is still often performed in professional and community theater alike, and has been the source for numerous operatic, film, and literary adaptations.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 跇丕賳賵蹖賴 爻丕賱 1974賲蹖賱丕丿蹖貙 亘丕乇 丿賵賲 乇賵夭 丿賴賲 賲丕賴 跇賵卅賳 爻丕賱 2012賲蹖賱丕丿蹖
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鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 03/08/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 08/07/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
May 7, 2024
賮賷 賰鬲亘 賰丿丞 亘毓丿 賲丕 鬲禺賱氐賴丕 鬲丨爻 廿賳賰 賲卮 毓丕賵夭 鬲賰鬲亘 毓賱賷賴丕 賲乇丕噩毓丞 賱廿賳賰 賲賴賲丕賸 賯賱鬲 賲卮 丨鬲賯丿乇 鬲丿賷賴丕 丨賯賴丕..
賷毓賳賷 丨賰鬲亘 丕賷賴 毓賳 賯氐丞 丨亘 毓胤賷賱 賵丿賷丿賲賵賳丞責
丨賵氐賮 廿夭丕賷 毓賲賯 賵 噩賲丕賱 丕賱丨賵丕乇丕鬲責
丨鬲賰賱賲 廿夭丕賷 毓賳 卮賰爻亘賷乇 賵 兀賮賰丕乇賴 丕賱賱賷 爻丕亘賯丞 毓氐乇賴責
丨賯賵賱 丕賷賴 毓賳 鬲乇噩賲丞 禺賱賷賱 賲胤乇丕賳 丕賱賲賲鬲丕夭丞責
賵丕賱賱賴 賲賷賳賮毓卮 賳賯賵賱 丨丕噩丞..丕賱氐賲鬲 賮賷 丨乇賲 丕賱噩賲丕賱 噩賲丕賱..
賲爻乇丨賷丞 鬲乇丕噩賷丿賷丞 乇丕卅毓丞 賵 卮賰爻亘賷乇 賵 賰鬲亘賴 丨賯賷賯賷 賮賷 丨鬲丞 鬲丕賳賷丞 禺丕賱氐 馃槏
賷毓賳賷 丨賰鬲亘 丕賷賴 毓賳 賯氐丞 丨亘 毓胤賷賱 賵丿賷丿賲賵賳丞責
丨賵氐賮 廿夭丕賷 毓賲賯 賵 噩賲丕賱 丕賱丨賵丕乇丕鬲責
丨鬲賰賱賲 廿夭丕賷 毓賳 卮賰爻亘賷乇 賵 兀賮賰丕乇賴 丕賱賱賷 爻丕亘賯丞 毓氐乇賴責
丨賯賵賱 丕賷賴 毓賳 鬲乇噩賲丞 禺賱賷賱 賲胤乇丕賳 丕賱賲賲鬲丕夭丞責
賵丕賱賱賴 賲賷賳賮毓卮 賳賯賵賱 丨丕噩丞..丕賱氐賲鬲 賮賷 丨乇賲 丕賱噩賲丕賱 噩賲丕賱..
賲爻乇丨賷丞 鬲乇丕噩賷丿賷丞 乇丕卅毓丞 賵 卮賰爻亘賷乇 賵 賰鬲亘賴 丨賯賷賯賷 賮賷 丨鬲丞 鬲丕賳賷丞 禺丕賱氐 馃槏
May 17, 2018
鈥淥, beware, my lord, of jealousy;
It is the green-ey'd monster, which doth mock
The meat it feeds on."
This famous quote made my 14-year-old son, reading Othello for the first time (it was his first Shakespeare ever), come into my room to complain. He was deeply frustrated with the sweet tongue of the evil Iago, speaking in one way and acting in another, spreading fake news and rumours while pretending to be supportive and unselfish.
"Iago is even worse than Uriah Heep", he said, referring to a controversy we had about some time ago. "I begin to believe that being 'umble is the most treacherous thing in the world, hiding evil purposes!"
I of course had to go back and reread Othello in a haste to be able to answer properly, and I realised that my son has a point. The truly honest people are not humble, and do not claim to be. They show their strengths, weaknesses and intentions clearly, and play with open cards, only to lose to the characters they consider most 'onest, for being so very 'umble.
It was interesting for me to see that my son reads Othello not so much as a passionate drama based on jealousy, but rather as a political post-truth play, with the most wicked players on stage winning.
Shakespeare certainly put both jealousy and politics into the plot, and young people who begin their path towards political understanding of the world now, post-2016, feel more strongly about the lying, the manipulation, the slander than about the unreasonable reaction to the suspicion of faithlessness.
For me, reading Shakespeare with more pleasure now than ever, it is proof that his voice is universal and timeless, and that he speaks to yet another generation of readers, just like Dickens.
Unfortunately, we can't write our villains into prisons in the end like Dickens and Shakespeare!
It is the green-ey'd monster, which doth mock
The meat it feeds on."
This famous quote made my 14-year-old son, reading Othello for the first time (it was his first Shakespeare ever), come into my room to complain. He was deeply frustrated with the sweet tongue of the evil Iago, speaking in one way and acting in another, spreading fake news and rumours while pretending to be supportive and unselfish.
"Iago is even worse than Uriah Heep", he said, referring to a controversy we had about some time ago. "I begin to believe that being 'umble is the most treacherous thing in the world, hiding evil purposes!"
I of course had to go back and reread Othello in a haste to be able to answer properly, and I realised that my son has a point. The truly honest people are not humble, and do not claim to be. They show their strengths, weaknesses and intentions clearly, and play with open cards, only to lose to the characters they consider most 'onest, for being so very 'umble.
It was interesting for me to see that my son reads Othello not so much as a passionate drama based on jealousy, but rather as a political post-truth play, with the most wicked players on stage winning.
Shakespeare certainly put both jealousy and politics into the plot, and young people who begin their path towards political understanding of the world now, post-2016, feel more strongly about the lying, the manipulation, the slander than about the unreasonable reaction to the suspicion of faithlessness.
For me, reading Shakespeare with more pleasure now than ever, it is proof that his voice is universal and timeless, and that he speaks to yet another generation of readers, just like Dickens.
Unfortunately, we can't write our villains into prisons in the end like Dickens and Shakespeare!
November 2, 2022
賰賷賮 賰鬲亘賴丕 卮賰爻亘賷乇 賯亘賱 兀乇亘毓丞 賯乇賵賳責!
賲賳 兀賷賳 兀鬲賶 亘鬲賱賰 丕賱丨亘賰丞 丕賱丿乇丕賲賷丞 賵 賴匕丕 丕賱丨賵丕乇 賵 丕賱賳囟噩 丕賱賮賳賷 賱賱毓賲賱 丕賱賲爻乇丨賷責!
毓賲賱 賮賳賷 賲賲鬲毓 丕賯鬲購亘爻鬲 賲賳賴 賲卅丕鬲 丕賱兀毓賲丕賱 亘毓丿 匕賱賰 賵 賱丕 兀亘丕賱睾 廿賳 賯賱鬲 丌賱丕賮 丕賱兀毓賲丕賱 丕賱賮賳賷丞 賲賳 賲賯胤賵毓丕鬲 賲賵爻賷賯賷丞 廿賱賶 賱賵丨丕鬲 賵 兀睾丕賳賷 賵 兀賮賱丕賲 賵 賲爻乇丨賷丕鬲 賵 兀毓賲丕賱 鬲賱賮夭賷賵賳賷丞 賵 睾賷乇賴丕.
毓胤賷賱 匕賱賰 丕賱亘胤賱 丕賱爻丕匕噩 丕賱毓丕卮賯 賱丿賷夭丿賲賵賳賴 兀賵 丿賷丿賲賵賳賴 爻賱賷賱丞 丕賱丨爻亘 賵 丕賱賳爻亘 賵 賴賵 丕賱賲睾乇亘賷 兀爻賵丿 丕賱亘卮乇丞 廿賱丕 兀賳 亘胤賵賱丕鬲賴 卮賮毓鬲 賱賴 賱賷賰賵賳 賯丕卅丿 丕賱亘賳丿賯賷丞 賵 賮丕乇爻賴丕 賵 丕賱賲丿丕賮毓 毓賳賴丕 囟丿 丕賱毓孬賲丕賳賷賷賳.
賷丨賯丿 毓賱賷賴 丨丕賲賱 乇丕賷鬲賴 廿賷丕噩賵 賱丕禺鬲賷丕乇賴 賰丕爻賷賵 賳丕卅亘丕 賱賴 亘賷賳賲丕 賷乇賶 賳賮爻賴 兀丨賯 賵 兀噩丿乇 賮賷乇鬲亘 丨賷賱賴 卮賷胤丕賳賷丞 賱賷夭乇毓 亘匕賵乇 丕賱卮賰 賮賷 賯賱亘 毓胤賷賱 賳丨賵 丨亘賷亘鬲賴 賵 賳丕卅亘賴 賵 賷賯賳毓賴 亘禺賷丕賳鬲賴賲丕 賱賴 賵 鬲賳鬲賴賷 丕賱賲爻乇丨賷丞 亘兀賳 賷禺賳賯賴丕 亘賷丿賷賴 毓賱賶 賮乇丕卮 丕賱夭賵噩賷丞 孬賲 賷鬲亘賷賳 賱賴 亘乇丕亍鬲賴丕 賮賷賯鬲賱 賳賮爻賴 兀賷囟丕.
".... 乇噩賱 賱賲 賷毓賯賱 賮賷 丨亘賴. 亘賱 兀爻乇賮 賮賷賴.... 乇噩賱 乇賲賶 亘賷丿賴 (賰賴賳丿賷 睾亘賷 噩丕賴賱) 賱丐賱丐丞. 兀孬賲賳 賲賳 毓卮賷乇鬲賴 賰賱賴丕. 乇噩賱 廿匕丕 丕賳賮毓賱 丿乇鬲 毓賷賳賴. 賵廿賳 賱賲 賷賰賳 丕賱匕乇賮 賲賳 丿兀亘賴丕. 丿賲賵毓丕賸 睾夭賷乇丞 賰賲丕 鬲丿乇 兀卮噩丕乇 丕賱毓乇亘 氐賲睾賴丕 丕賱卮丕賮賷.."丕賱亘胤賱 賲賳 賵噩賴丞 賳馗乇賷 賱賷爻 毓胤賷賱 賵 賱丕 丿賷丿賲賵賳丞 賵 廿賳賲丕 廿賷丕噩賵 丕賱匕賷 賳爻噩 賰賱 亘匕賵乇 丕賱卮乇 賵 爻禺乇 噩賲賷毓 丕賱卮禺氐賷丕鬲 賮賷 丕賱賲爻乇丨賷丞 亘亘乇丕毓丞 鬲丕賲丞 賵 毓賯賱賷丞 噩亘丕乇丞 賱禺丿賲丞 睾乇囟賴 丕賱賳賴丕卅賷 爻賵丕亍 毓賱賲 賲賳賴賲 賲賳 毓賱賲 賵 噩賴賱 賲賳 噩賴賱.
丕爻鬲賲毓鬲 賱賱賲爻乇丨賷丞 賲賳 賰賳賵夭 廿匕丕毓丞 丕賱亘乇賳丕賲噩 丕賱孬丕賳賷 鈥� 賲氐乇 毓賱賶 賷賵鬲賷賵亘.
April 24, 2024
Jealousy, "The green -ey'd monster," that is what the wise Shakespeare wrote...Othello loved his wife, Desdemona, too much so, nothing could continue that fever, emotions lessen over time....The mighty general was a very capable soldier of Venice, commanding respect on the battlefield, he could do no wrong, brave, ferocious, dynamic, his sword deadly, still life is more complicated than just war, though, the Moor was a fish out of water, in a quite different, and strange culture, becoming a Christian, fighting for Europeans, against his former friends, marrying a gorgeous, gentle, young , very sheltered, naive woman, their elopement crushed the spirits of her father, Brabantio, an influential Senator, in the mighty Venetian Republic... Assigned by the Duke, (Doge) to lead in the defense of their important colony, of Cyprus , against the Ottoman Empire's vast , invading fleet, he unwisely takes his new bride, Desdemona, with him. Luckily a boiling sea storm, who's gigantic waves rise, then fall, pulverize the Turkish ships, wrecks spewed over and under the Mediterranean Sea's floor, only a few escape the carnage. Othello's own greatly damaged craft, somehow, stays above the foaming water, and limps into a safe harbor , on the mountainous island, a miracle. Nevertheless the crisis seemingly solved, but not for Othello...it has just begun, for the much too trusting general, has an officer, honest Iago, ( his wife Emilia, is a loyal servant of Desdemona) starting to whisper in his ear, that all is not well in his marriage. That the loving, innocent appearing woman, is not so...he has been betrayed by her with another man, his buddy, Michael Cassio, the second -in -command, in the army, better looking and younger than the Moor. Can this be true ? Disbelief becomes belief, why would the good Iago, lie...Desdemona, his pride, and salvation, maybe is false... The calm, unfazed , in bloody battle, Othello, becomes agitated, seething in uncontrollable rage, his whole body enveloped with it, his one idea, to seek sweet revenge, only by this, can he be satisfied, nothing else matters, yet his career will end, but that is not important now, he must do what his honor demands, less is not acceptable for a respectable man... A magnificent play , that encompasses the thin line between love and hate, animosity, racial hatred, jealousy, suspicion, believing in the evil, not the goodness of the erratic world, everything's an illusion, nobody is what they seem, deception engulfs all...but are these things the whole story... A virtuoso work by an incomparable master...
January 11, 2016
Not trying to upset Proust or Joyce, but these days, it's Shakespeare who's been taking me to bed every night. He's become part of my daily routine and his are my last conscious thoughts before departing to dreamland. Granted, it could be another playwriter or even a regular book. All I need really are small chapters that I can finish quickly when slumber's tentacles start to wrap my body and their calming effects slowly soothe my mind. But it's been Shakespeare... and any insomniac who's recently found a new drug isn't willing to give it up that easily. So Shakespeare stays.
I've recently finished and and rated them 5 stars for I truly considered them nothing short of amazing plays, but I confess so much has been written about them, not only in amazing reviews but also in other literary classics that I'm not sure I have much to add. Plus - while I enjoy writing my usual ramblings about books I just finished, I try to keep this exercise as natural as possible and avoid turning it into a mandatory thing - my feelings about them were not necessarily words - or known words, and I don't want to emulate Joyce's style by having a review filled with weenybeenyveenyteeny. So I let them be, aware that they might come back as ghosts to haunt me at anytime.
, however, has its plot centered around one of my favorite subjects - and on that I always have one or two things to say: jealousy and its outcomes. Ah, that powerful, destroying force that can conjure up hurricanes in sealed bedrooms where the wind wouldn't possibly get in otherwise. That overwhelming emotion that can spontaneously generate - or mutate - fear, anxiety and insecurity out of nothing.
A mind affecting virus - and the powers of the mind are unlimited, specially when it's running unbridled, wildly on its own - that's invisible, a quality that makes it even more dangerous. Could our eyes perceive jealousy - they can only see it's effects after it has taken over its victims - or had it a distinct color or even a form that we could see surrounding the jealous, Desdemona perhaps would've not been blindsided the way she was by Othello, and Othello perhaps would've been able to escape Iago's double-dealings.
I've read some criticism cast upon Othello (the play) because of how easily he (the character) believes in Iago's schemes and lies. Never, not even for one second, I could doubt the realism of Shakespeare's plot (of course, some of the drama is over the top, but still...) As much as insecurity can act as an inflammatory factor for a little kid to believe he's seeing monsters when he's all alone up in his room, watching different and unsettling shadows dance on his walls, it can also - for a person who's jealous is merely insecure - make a handkerchief look like an indisputable evidence of guilt in the court of jealousy.
Had it not been written a couple of centuries before Proust was even born, I would suspect Iago read In Search of Lost Time. Not only he understood how jealousy works - he himself was suffering from it - but he also devised a plan that would grant him his revenge by using its vigorous strengths. His only downfall was not foreseeing jealousy would eventually be up against other powers, as it happens constantly in life's battles.
Rating: for yet another masterful play, with great lines and for allowing me to connect his work to my favorite author: 5 stars.
I've recently finished and and rated them 5 stars for I truly considered them nothing short of amazing plays, but I confess so much has been written about them, not only in amazing reviews but also in other literary classics that I'm not sure I have much to add. Plus - while I enjoy writing my usual ramblings about books I just finished, I try to keep this exercise as natural as possible and avoid turning it into a mandatory thing - my feelings about them were not necessarily words - or known words, and I don't want to emulate Joyce's style by having a review filled with weenybeenyveenyteeny. So I let them be, aware that they might come back as ghosts to haunt me at anytime.
"Jealousy is often only an uneasy need to be tyrannical, applied to matters of love."
Marcel Proust,
, however, has its plot centered around one of my favorite subjects - and on that I always have one or two things to say: jealousy and its outcomes. Ah, that powerful, destroying force that can conjure up hurricanes in sealed bedrooms where the wind wouldn't possibly get in otherwise. That overwhelming emotion that can spontaneously generate - or mutate - fear, anxiety and insecurity out of nothing.
"My jealousy was born of mental images, a form of self torment not based upon probability."
Marcel Proust,
A mind affecting virus - and the powers of the mind are unlimited, specially when it's running unbridled, wildly on its own - that's invisible, a quality that makes it even more dangerous. Could our eyes perceive jealousy - they can only see it's effects after it has taken over its victims - or had it a distinct color or even a form that we could see surrounding the jealous, Desdemona perhaps would've not been blindsided the way she was by Othello, and Othello perhaps would've been able to escape Iago's double-dealings.
"Jealousy, which wears a bandage over its eyes, is not merely powerless to discover anything in the darkness that enshrouds it, it is also one of those torments where the task must be incessantly repeated, like that of the Danaids, or of Ixion."
Marcel Proust,
I've read some criticism cast upon Othello (the play) because of how easily he (the character) believes in Iago's schemes and lies. Never, not even for one second, I could doubt the realism of Shakespeare's plot (of course, some of the drama is over the top, but still...) As much as insecurity can act as an inflammatory factor for a little kid to believe he's seeing monsters when he's all alone up in his room, watching different and unsettling shadows dance on his walls, it can also - for a person who's jealous is merely insecure - make a handkerchief look like an indisputable evidence of guilt in the court of jealousy.
"For what we suppose to be our love or our jealousy is never a single, continuous and indivisible passion. It is composed of an infinity of successive loves, of different jealousies, each of which is ephemeral, although by their uninterrupted multiplicity they give us the impression of continuity, the illusion of unity."
Marcel Proust,
Had it not been written a couple of centuries before Proust was even born, I would suspect Iago read In Search of Lost Time. Not only he understood how jealousy works - he himself was suffering from it - but he also devised a plan that would grant him his revenge by using its vigorous strengths. His only downfall was not foreseeing jealousy would eventually be up against other powers, as it happens constantly in life's battles.
Rating: for yet another masterful play, with great lines and for allowing me to connect his work to my favorite author: 5 stars.
September 4, 2021
The thing with Othello is that he's a fuckin鈥� idiot and he sucks. There's this towering scene, Act 3 scene 3, it鈥檚 the centerpiece of the play. Iago's convincing him that his wife Desdemona is cheating on him with Cassio, and he has this whole complicated plan worked out involving handkerchiefs and innuendo, but he needs none of it: at the first drop of poison in his ear, Othello's like,
"Villain, be sure thou prove my love a whore.
Be sure of it, give me the ocular proof."
Mekhi Phifer and Josh Hartnett in 2001 high school Othello, I love this version
He's like ooh, show me. Iago's all, it can鈥檛 be this easy.
"Beware, my lord, of jealousy!
It is the green-eyed monster."
But it is! Othello careens totally off the rails:
"I had been happy if the general camp,
Pioneers and all, had tasted her sweet body,
So I had nothing known."
He instantly believes the worst, and then he makes it entirely about him, right? "She could have fucked the whole army - it's the part where I found out that hurts." Othello sucks.
Top Five Worst Husbands
5. Othello (would also accept the Duke of Cornwall from Lear)
4. Heathcliff
3. Agamemnon
2. Humbert Humbert
1. Tie, Bluebeard & Shahryar (that's Scheherezade's husband from Arabian Nights; I had to look up his name)
If there's a problem with Othello it's that, it's what an irredeemable dickbag Othello is. He sounds great. He's maybe my favorite Shakespearean character to read. Try it, read some out loud: everyone sounds like Shakespeare but him. But he has no real character arc, and that鈥檚 frustrating. He talks big but he's flimsy.
Only one thing happens here: Iago subverts Othello. There are none of Shakespeare鈥檚 characteristic parallel, wandering subplots, which is mostly a good thing. Othello is his most focused work. It's as close as he comes to classic Greek tragedy. One - thing - happens.
Lawrence Fishburne in Branagh鈥檚 1995 version
Right, so on to that one thing: Iago. He's Shakespeare's best villain ever, the apotheosis of a certain thing Shakespeare loves to do, what James Earl Jones called "motiveless malignity." He tosses motives around - he thinks Othello fucked his wife? - but he doesn't really go into it and you don't get the sense he really cares any more than you do. Motiveless malignity. Iago gets compared to the personified Vice character in old morality plays, who was (of course) always the most fun. Vice for Vice's sake. He snickers to the audience. He's the one who connects with us; no one else is paying attention.
Iago works in darkness. He's enshadowed at the beginning, and in most of his key scenes. He works by suggestion and sudden moves from alleys. There are maybe hints of gayness? In 3.3, as "proof" of Desdemona's infidelity, he says he shared an army cot with Cassio and in the middle of the night Cassio started dreaming, called him Desdemona, and frenched him. It's not less weird than it sounds.
We like Iago because he's fun and he's not an idiot, and this is a play mostly populated by idiots - Othello, Roderigo, Cassio, omg is Cassio a chump. The only other characters with any sense are the women: Desdemona, the sex worker Bianca, and Iago's wife Emilia, the actual linchpin of the play. Shakespeare's women are often powerful. Here鈥檚 my favorite part with Desdemona: Othello gets called off to war on their wedding day and he鈥檚 like oh, man, bummer, see you when I get back, and she鈥檚 like fuuuuuuuuck that, I'm coming too! 鈥淭he rites for why I love him are bereft me,鈥� she complains. I was promised sex! That was the point! Where is the sex? You鈥檙e not getting rid of me until you sex me!
Carver from The Wire and Marianna Bassham in 2010 Othello on the Boston Common, which I got to see and it was fun
Later on, she will feel differently about the other sex. 鈥淥h these men,鈥� she cries, 鈥淭hese 尘别苍!鈥� Emilia agrees:
They are all but stomachs, and we all but food:
They eat us hungerly, and when they are full
They belch us.
And the ending is as painful as anything Shakespeare's ever written. Watching Desdemona beg for life:
So that鈥檚 part of what the play鈥檚 about: these men, these men, these men and their posturing and their dicks. How weak they are, and what chumps. 鈥淭hou hast not half that power to do me harm,鈥� says Emilia optimistically in the final act, 鈥淎s I have to be hurt.鈥� But it鈥檚 a lot of harm.
"Villain, be sure thou prove my love a whore.
Be sure of it, give me the ocular proof."
Mekhi Phifer and Josh Hartnett in 2001 high school Othello, I love this version
He's like ooh, show me. Iago's all, it can鈥檛 be this easy.
"Beware, my lord, of jealousy!
It is the green-eyed monster."
But it is! Othello careens totally off the rails:
"I had been happy if the general camp,
Pioneers and all, had tasted her sweet body,
So I had nothing known."
He instantly believes the worst, and then he makes it entirely about him, right? "She could have fucked the whole army - it's the part where I found out that hurts." Othello sucks.
Top Five Worst Husbands
5. Othello (would also accept the Duke of Cornwall from Lear)
4. Heathcliff
3. Agamemnon
2. Humbert Humbert
1. Tie, Bluebeard & Shahryar (that's Scheherezade's husband from Arabian Nights; I had to look up his name)
If there's a problem with Othello it's that, it's what an irredeemable dickbag Othello is. He sounds great. He's maybe my favorite Shakespearean character to read. Try it, read some out loud: everyone sounds like Shakespeare but him. But he has no real character arc, and that鈥檚 frustrating. He talks big but he's flimsy.
Only one thing happens here: Iago subverts Othello. There are none of Shakespeare鈥檚 characteristic parallel, wandering subplots, which is mostly a good thing. Othello is his most focused work. It's as close as he comes to classic Greek tragedy. One - thing - happens.
Lawrence Fishburne in Branagh鈥檚 1995 version
Right, so on to that one thing: Iago. He's Shakespeare's best villain ever, the apotheosis of a certain thing Shakespeare loves to do, what James Earl Jones called "motiveless malignity." He tosses motives around - he thinks Othello fucked his wife? - but he doesn't really go into it and you don't get the sense he really cares any more than you do. Motiveless malignity. Iago gets compared to the personified Vice character in old morality plays, who was (of course) always the most fun. Vice for Vice's sake. He snickers to the audience. He's the one who connects with us; no one else is paying attention.
Iago works in darkness. He's enshadowed at the beginning, and in most of his key scenes. He works by suggestion and sudden moves from alleys. There are maybe hints of gayness? In 3.3, as "proof" of Desdemona's infidelity, he says he shared an army cot with Cassio and in the middle of the night Cassio started dreaming, called him Desdemona, and frenched him. It's not less weird than it sounds.
We like Iago because he's fun and he's not an idiot, and this is a play mostly populated by idiots - Othello, Roderigo, Cassio, omg is Cassio a chump. The only other characters with any sense are the women: Desdemona, the sex worker Bianca, and Iago's wife Emilia, the actual linchpin of the play. Shakespeare's women are often powerful. Here鈥檚 my favorite part with Desdemona: Othello gets called off to war on their wedding day and he鈥檚 like oh, man, bummer, see you when I get back, and she鈥檚 like fuuuuuuuuck that, I'm coming too! 鈥淭he rites for why I love him are bereft me,鈥� she complains. I was promised sex! That was the point! Where is the sex? You鈥檙e not getting rid of me until you sex me!
Carver from The Wire and Marianna Bassham in 2010 Othello on the Boston Common, which I got to see and it was fun
Later on, she will feel differently about the other sex. 鈥淥h these men,鈥� she cries, 鈥淭hese 尘别苍!鈥� Emilia agrees:
They are all but stomachs, and we all but food:
They eat us hungerly, and when they are full
They belch us.
And the ending is as painful as anything Shakespeare's ever written. Watching Desdemona beg for life:
It's wrenching.
D: But half an hour!
O: Being done, there is no pause.
D: But while I say one prayer!
O: It is too late.
So that鈥檚 part of what the play鈥檚 about: these men, these men, these men and their posturing and their dicks. How weak they are, and what chumps. 鈥淭hou hast not half that power to do me harm,鈥� says Emilia optimistically in the final act, 鈥淎s I have to be hurt.鈥� But it鈥檚 a lot of harm.
September 10, 2021
moral of the story : abolish men's rights, they don't deserve anything馃檮
October 13, 2017
Will you, I pray, demand that demi-devil
Why he hath thus ensnared my soul and body?
-Othello, end of Act V
When I was about 9 years old, I put a healthy, live mouse into my parents' microwave oven. It was a summer day and I was all alone. I had this devilish feeling inside me. I knew it was wrong, but I had to do it. I grabbed a kitchen chair, dragged it across the floor, stood on it, opened the door, and threw the mouse in. Then I hit start.
At first it was no big deal. The light turned on inside, the mouse sniffed around, and I watched from outside, keen to see the first sign of distress. I felt exhilarated, euphoric, omnipotent. This living thing鈥� this twitching, whiskered, beady-eyed creature鈥� its life was mine for the taking, its fate mine for the making.
After ten seconds, I stopped the microwave and cracked the door. The mouse seemed unfazed and crawled toward me. I shut the door again and hit start: another ten seconds. It was just enough. When I cracked the door again, the mouse was visibly shaken. It crawled much slower and traced a clumsy arc across the microwave floor. I shut the door again and hit start. Another ten seconds. Then ten more. Then ten more.
I never felt any hate for that mouse. I wasn't seeking revenge for its past acts. I didn't even draw any specific pleasure from its pain or agony. Why then? Why would I, a young and well-adjusted child of God, a pillar of Cub Scout values and lover of mothers and cousins and little brothers... why would I nuke this helpless rodent in the mortal chamber of parents' microwave oven?
Why? Because I could, that's why.
And I believe Shakespeare's Iago would say the same thing to Othello's question above. Why did Iago ensnare the Moor's soul? Why did he devise, occasion, direct, and execute the collapse of the man's entire world?
Why? Because he could, that's why.
Rodrigo, Cassio, Desdemona, Othello... mere mice in Iago's oven.
The fact that he can destroy them so cleverly, so precisely, so artistically functions as proof to him. It proves the superiority of his will over theirs, just as my minute-mice experiment proved the superiority of a 9-year-old's will over another creature's entire existence.
I find little mystery in the psychology of Shakespeare's Iago. His motivation is clearly all-too-human. The real mystery of the play and the play's deepest question is why that is so. Why do such beings like Iago, like the 9-year-old me, like the thousandfold prison guard, priest and parent who, seduced by omnipotence, inflicts terror and torment on a fellow living being... why do such creatures exist?
It鈥檚 a sublime question asked by a sublime play. Iago is evil, no doubt. But the kernel of his wickedness is commonplace among men. Be honest. If I were suddenly to place you at the almighty helm of mankind, can you really be sure you wouldn鈥檛 inflict on man the kinds of calamities and catastrophes wrought by old Jehovah? Overflowing with power, knowledge and time, could you really avoid torturing man? Even if you were the only one watching?
Read this play, or better, watch it. I assure you, if you're honest, you will see a bit of yourself in Iago and a bit of him in you. And you will be properly horrified.
_____
.
.
.
.
.
.
.
.
.
.
.
Disclaimer: the "mouse" was actually a spider. Sorry for the embellishment, but an arachnid didn't have the same "punch" as a mammal.
Why he hath thus ensnared my soul and body?
-Othello, end of Act V
When I was about 9 years old, I put a healthy, live mouse into my parents' microwave oven. It was a summer day and I was all alone. I had this devilish feeling inside me. I knew it was wrong, but I had to do it. I grabbed a kitchen chair, dragged it across the floor, stood on it, opened the door, and threw the mouse in. Then I hit start.
At first it was no big deal. The light turned on inside, the mouse sniffed around, and I watched from outside, keen to see the first sign of distress. I felt exhilarated, euphoric, omnipotent. This living thing鈥� this twitching, whiskered, beady-eyed creature鈥� its life was mine for the taking, its fate mine for the making.
After ten seconds, I stopped the microwave and cracked the door. The mouse seemed unfazed and crawled toward me. I shut the door again and hit start: another ten seconds. It was just enough. When I cracked the door again, the mouse was visibly shaken. It crawled much slower and traced a clumsy arc across the microwave floor. I shut the door again and hit start. Another ten seconds. Then ten more. Then ten more.
I never felt any hate for that mouse. I wasn't seeking revenge for its past acts. I didn't even draw any specific pleasure from its pain or agony. Why then? Why would I, a young and well-adjusted child of God, a pillar of Cub Scout values and lover of mothers and cousins and little brothers... why would I nuke this helpless rodent in the mortal chamber of parents' microwave oven?
Why? Because I could, that's why.
And I believe Shakespeare's Iago would say the same thing to Othello's question above. Why did Iago ensnare the Moor's soul? Why did he devise, occasion, direct, and execute the collapse of the man's entire world?
Why? Because he could, that's why.
Rodrigo, Cassio, Desdemona, Othello... mere mice in Iago's oven.
The fact that he can destroy them so cleverly, so precisely, so artistically functions as proof to him. It proves the superiority of his will over theirs, just as my minute-mice experiment proved the superiority of a 9-year-old's will over another creature's entire existence.
I find little mystery in the psychology of Shakespeare's Iago. His motivation is clearly all-too-human. The real mystery of the play and the play's deepest question is why that is so. Why do such beings like Iago, like the 9-year-old me, like the thousandfold prison guard, priest and parent who, seduced by omnipotence, inflicts terror and torment on a fellow living being... why do such creatures exist?
It鈥檚 a sublime question asked by a sublime play. Iago is evil, no doubt. But the kernel of his wickedness is commonplace among men. Be honest. If I were suddenly to place you at the almighty helm of mankind, can you really be sure you wouldn鈥檛 inflict on man the kinds of calamities and catastrophes wrought by old Jehovah? Overflowing with power, knowledge and time, could you really avoid torturing man? Even if you were the only one watching?
Read this play, or better, watch it. I assure you, if you're honest, you will see a bit of yourself in Iago and a bit of him in you. And you will be properly horrified.
_____
.
.
.
.
.
.
.
.
.
.
.
Disclaimer: the "mouse" was actually a spider. Sorry for the embellishment, but an arachnid didn't have the same "punch" as a mammal.
August 13, 2023
My second attempt at reading Shakespeare outside of school, saw me attempt to try to get to grips with Othello... Shakespeare's powerful drama set around an inter-racial marriage! A truly immense piece of work as the love of the couple (Othello and Desdemona) looks like it can overcome their multitude of differences, but for the machinations of Iago. Set in Venice and Cyprus to boot!
I enjoyed this a lot more than MacBeth, but still struggled with the language and the nuances, and also kind of pissed off with what feels like the bass stupidity of Othello! 4 out of 12, Two Star read.
2006 read
I enjoyed this a lot more than MacBeth, but still struggled with the language and the nuances, and also kind of pissed off with what feels like the bass stupidity of Othello! 4 out of 12, Two Star read.
2006 read
March 1, 2017
Here's my thing:
Who am I supposed to root for?
Othello? Who doesn't seem to know how to communicate with anyone? He gets so jealous and infuriated by conjecture about his wife (of less than a week, I believe) that he has a seizure. Then proceeds to treat said wife absolutely horribly?
Desmonda? In her first speech, she defends her marriage to Othello then does nothing else. She seemed constantly determined to please everyone. Joking with Iago, defending Cassio, repeatedly proclaiming her love for Othello-- she never had any motivation outside of the happiness of whoever she was with.
Cassio? Who doesn't have any personality outside of reacting the exact way Iago predicts he will?
Roderigo? The 14th century "nice-guy" who complains about being "friend-zoned" the entire play, and seems incapable of thinking for himself?
I couldn't even root for the villain. Iago all-but admits he has no clear-cut motive, and he spends large amounts of time detracting from the plot to illustrate the reasons he hates women.
I guess I still prefer Shakespeare's comedies to his tragedies. While this clearly was a well-constructed situation and a true tragedy-- I just didn't care at all?
Also, my childish brain went to this every time I read Iago's name:
Who am I supposed to root for?
Othello? Who doesn't seem to know how to communicate with anyone? He gets so jealous and infuriated by conjecture about his wife (of less than a week, I believe) that he has a seizure. Then proceeds to treat said wife absolutely horribly?
Desmonda? In her first speech, she defends her marriage to Othello then does nothing else. She seemed constantly determined to please everyone. Joking with Iago, defending Cassio, repeatedly proclaiming her love for Othello-- she never had any motivation outside of the happiness of whoever she was with.
Cassio? Who doesn't have any personality outside of reacting the exact way Iago predicts he will?
Roderigo? The 14th century "nice-guy" who complains about being "friend-zoned" the entire play, and seems incapable of thinking for himself?
I couldn't even root for the villain. Iago all-but admits he has no clear-cut motive, and he spends large amounts of time detracting from the plot to illustrate the reasons he hates women.
I guess I still prefer Shakespeare's comedies to his tragedies. While this clearly was a well-constructed situation and a true tragedy-- I just didn't care at all?
Also, my childish brain went to this every time I read Iago's name:
July 15, 2020
Le铆 Otelo justo despu茅s de terminar Macbeth y me decanto claramente por el moro de Venecia, aunque lo digo sin demasiado entusiasmo. No le cojo el gusto al autor. No negar茅 su relevancia hist贸rica en la literatura y en el teatro, la tendr谩, sin duda, pero no son argumentos que a m铆 me sirvan para disfrutar una lectura. Tampoco puedo negar su habilidad en el manejo del lenguaje, en la forma en la que juega con 茅l, pero sus obras me parecen que recalcan en exceso lo obvio y que en alg煤n momento, m谩s en Macbeth que en esta, su argumento o las situaciones que plantea presentan goteras m谩s que apreciables.
January 15, 2025
It had been a while since I had read Shakespeare. As usual, it took me time to adapt to the narrative style. I take this opportunity to say that the method (as well as the translation; my level is far from good enough for the original) is magnificent, especially Othello's tirades, which I often find full of lyricism. The character of Othello himself is fascinating, with so much quality, and yet very destructive, like any good tragic hero. I wondered about Shakespeare's choice of a Moorish hero. Relations with the Ottoman world were in good shape at writing, with an ambassador recently visiting London. A little historical discovery is the icing on the cake.
But the character I like the most is undoubtedly the puppeteer of this tragedy, the famous Iago! At some point, when he seems too omniscient, Iago artfully deploys the strings of his revenge, which is much more critical than the "wrong" at the beginning. I recommend a great time with this classic to anyone wanting to get into Shakespeare.
But the character I like the most is undoubtedly the puppeteer of this tragedy, the famous Iago! At some point, when he seems too omniscient, Iago artfully deploys the strings of his revenge, which is much more critical than the "wrong" at the beginning. I recommend a great time with this classic to anyone wanting to get into Shakespeare.
November 16, 2015
鈥淭he trust, the office I do hold of you
Not only take away, but let your sentence
Even fall upon my life.鈥� Act I, Scene 3.
This is the Othello the reader meets at the beginning of this tragedy. The Renaissance ideal, an archetypal hero, sure of himself, valiant and honorable, in complete self-control when falsely accused of forcing fair Desdemona, the daughter of a nobleman, to marry him. When confronted by the Duke, his defense plea shines with splendid poetry, calm dignity and the voice of reason, charming everybody who listens to his refined soliloquy.
But Othello is also a black African, known as The Moor, a General in the Venetian Army and a Christian. He is the epitome of many stereotypical paradoxes that coexist in him that somehow anticipate disaster, for there are evil forces that lure the gullible man to give way to the savage instincts of his double nature.
Ironically, Othello鈥檚 word is taken at face value in Act I, no sentence is imposed on him and his life is spared but his vows become darkly prophetic when he doesn鈥檛 grant innocent Desdemona the same just treatment in the brutal Act V.
鈥淥 perjured woman! Thou dost stone my heart,
And mak鈥檚t me call what I intend to do
A murder, which I thought a sacrifice.鈥� Act V, Scene 2.
This is the other Othello, the barbarous beast that possesses the man and transforms him into a 鈥渃ivil monster鈥�, into his opposite image, the good Christian 鈥渢urning Turk鈥�, the 鈥渇orked-animal鈥�, who blinded by rage and jealousy, kills his wife Desdemona believing she has been unfaithful to him with lieutenant Cassio.
At the root of such violent development, there is the malignant Iago, the most villain of villains whose whole 鈥渞aison d鈥櫭猼re鈥� is wickedness. Never a character was so duplicitous in his machinations, his 鈥渄irect and honest鈥� glib moralizing so overtly treacherous and his misanthropy so sublimely revealed in the perpetual flow of verbal splendor that blooms in his lines, where there is place for rhymed oaths, sexual puns and degrading animal imagery.
鈥淭o show the love and duty that I bear you
With franker spirit. Therefore, as I am bound,
Receive it from me. I speak not yet of proof.
Look to your wife; observe her well with Cassio.鈥� Act III, Scene 3.
鈥淟ove and duty鈥� are at odds and radically confronted in this strangely powerful yet moving tragedy. One can locate them between father and daughter, husband and wife, General and official. But as it鈥檚 usual in Shakespeare鈥檚 plays, the dramaturge鈥檚 main intention remains elusive, for beyond the Christian myth of the temptation scene and the ploys of the devil that influenced centuries of sermons, legends and fables, beyond the crime of passion, there is a pattern of interacting opposites; black vs white, Christian vs Pagan, civilized vs dehumanized, honest vs two-faced; that denotes a superb psychological realism, which echoes with racial prejudice and the inequality in gender relations.
Making virtuous use of symbols, an allegoric storm that separates Othello and Desdemona at sea anticipating Iago鈥檚 鈥渇oul ad violent鈥� designs, or the macabre incantation of Emilia鈥檚 summoning of the General 鈥淢y Lord, my lord!鈥� when she enters the bedchamber where Desdemona has just pleaded for her life screaming 鈥淥 Lord, Lord, Lord!鈥� before being mercilessly smothered to death, Shakespeare鈥檚 language mesmerizes with stylistic brilliance, intricate syntax and inner rhythms. It is this sumptuous style, which oscillates between majestic control and wild rage, that reflects Othello鈥檚 double nature and his tormented love for noble-hearted Desdemona, giving imaginative veracity to the action that won鈥檛 fail to moisten the eyes of the most detached of audiences when the fallen hero consumed by 鈥減ure grief鈥� seals his own fate with anguished lines that will pierce through the heart of anyone whose love has topped extremity, enough to temporally madden the most lucid of minds. Words never felt more unjust and sublime than in Shakespeare's tragedies:
鈥淐old, cold, my girl,
Even like thy chastity.
O cursed, cursed slave! Whip me, ye devils,
From the possession of this heavenly sight!
Blow me about in winds! Roast me in sulphur!
Wash me in steep-down gulf of liquid fire!
O Desdemon! Dead Desdemon! Dead! O! O!鈥�
Not only take away, but let your sentence
Even fall upon my life.鈥� Act I, Scene 3.
This is the Othello the reader meets at the beginning of this tragedy. The Renaissance ideal, an archetypal hero, sure of himself, valiant and honorable, in complete self-control when falsely accused of forcing fair Desdemona, the daughter of a nobleman, to marry him. When confronted by the Duke, his defense plea shines with splendid poetry, calm dignity and the voice of reason, charming everybody who listens to his refined soliloquy.
But Othello is also a black African, known as The Moor, a General in the Venetian Army and a Christian. He is the epitome of many stereotypical paradoxes that coexist in him that somehow anticipate disaster, for there are evil forces that lure the gullible man to give way to the savage instincts of his double nature.
Ironically, Othello鈥檚 word is taken at face value in Act I, no sentence is imposed on him and his life is spared but his vows become darkly prophetic when he doesn鈥檛 grant innocent Desdemona the same just treatment in the brutal Act V.
鈥淥 perjured woman! Thou dost stone my heart,
And mak鈥檚t me call what I intend to do
A murder, which I thought a sacrifice.鈥� Act V, Scene 2.
This is the other Othello, the barbarous beast that possesses the man and transforms him into a 鈥渃ivil monster鈥�, into his opposite image, the good Christian 鈥渢urning Turk鈥�, the 鈥渇orked-animal鈥�, who blinded by rage and jealousy, kills his wife Desdemona believing she has been unfaithful to him with lieutenant Cassio.
At the root of such violent development, there is the malignant Iago, the most villain of villains whose whole 鈥渞aison d鈥櫭猼re鈥� is wickedness. Never a character was so duplicitous in his machinations, his 鈥渄irect and honest鈥� glib moralizing so overtly treacherous and his misanthropy so sublimely revealed in the perpetual flow of verbal splendor that blooms in his lines, where there is place for rhymed oaths, sexual puns and degrading animal imagery.
鈥淭o show the love and duty that I bear you
With franker spirit. Therefore, as I am bound,
Receive it from me. I speak not yet of proof.
Look to your wife; observe her well with Cassio.鈥� Act III, Scene 3.
鈥淟ove and duty鈥� are at odds and radically confronted in this strangely powerful yet moving tragedy. One can locate them between father and daughter, husband and wife, General and official. But as it鈥檚 usual in Shakespeare鈥檚 plays, the dramaturge鈥檚 main intention remains elusive, for beyond the Christian myth of the temptation scene and the ploys of the devil that influenced centuries of sermons, legends and fables, beyond the crime of passion, there is a pattern of interacting opposites; black vs white, Christian vs Pagan, civilized vs dehumanized, honest vs two-faced; that denotes a superb psychological realism, which echoes with racial prejudice and the inequality in gender relations.
Making virtuous use of symbols, an allegoric storm that separates Othello and Desdemona at sea anticipating Iago鈥檚 鈥渇oul ad violent鈥� designs, or the macabre incantation of Emilia鈥檚 summoning of the General 鈥淢y Lord, my lord!鈥� when she enters the bedchamber where Desdemona has just pleaded for her life screaming 鈥淥 Lord, Lord, Lord!鈥� before being mercilessly smothered to death, Shakespeare鈥檚 language mesmerizes with stylistic brilliance, intricate syntax and inner rhythms. It is this sumptuous style, which oscillates between majestic control and wild rage, that reflects Othello鈥檚 double nature and his tormented love for noble-hearted Desdemona, giving imaginative veracity to the action that won鈥檛 fail to moisten the eyes of the most detached of audiences when the fallen hero consumed by 鈥減ure grief鈥� seals his own fate with anguished lines that will pierce through the heart of anyone whose love has topped extremity, enough to temporally madden the most lucid of minds. Words never felt more unjust and sublime than in Shakespeare's tragedies:
鈥淐old, cold, my girl,
Even like thy chastity.
O cursed, cursed slave! Whip me, ye devils,
From the possession of this heavenly sight!
Blow me about in winds! Roast me in sulphur!
Wash me in steep-down gulf of liquid fire!
O Desdemon! Dead Desdemon! Dead! O! O!鈥�
January 11, 2024
New York City, sometime in the late 1990s: I'm in the first semester of my freshman year of college. I'm in way over my head financially (Manhattan is expensive, y'all). I'm working 40+ hours a week, making a whopping $6.50 an hour selling porcelain dolls at a certain famous toy store for the Christmas season and attending classes full time. One night while I'm at work listening to some old rich biddy yell at me because her credit card is expired and I can't magically make it work (鈥淣OW I'M GOING TO HAVE TO GET MY DRIVER TO DRIVE ME ALL THE WAY BACK TO CENTRAL PARK WEST TO GET THE NEW CARD, I HOPE YOU'RE HAPPY!!鈥�) when I realize 鈥淥h, fudge.* My term paper on Othello is due tomorrow morning!鈥� I'm supposed to have written about how reading the play differs from watching it on film (specifically the 1995 version starring Laurence Fishburne as Othello), but have inconveniently forgotten about actually reading the book 鈥� or watching the movie, for that matter. So after work I swing by the Astor Place Blockbuster to rent the film (where the manager yells at me because I don't have my own pen to fill out the membership application 鈥� I'm still salty about it twenty-five years later because shouldn't a business that relies on paper forms have a stock of pens?!), and proceed to go back to my dorm room and do what any fine red-blooded American college student would do: I watch the movie and bullshit the actual book-related bits. Even got a good grade in the end, thank you very much.**
Anyway, here I am in the present day, working my way through the 2015 PopSugar Reading Challenge (I realize it's 2024, but I didn't like this year's prompts so I'm completing a previous year's challenge instead), and lo and behold one of the prompts is 鈥淎 book you were supposed to read in school but didn't.鈥� So, whoo hoo, I've finally read Othello two-and-a-half decades after the fact.
And, well, what is it with the men in Shakespeare's plays? They're dense and gullible and incapable of actually communicating with their spouses. I mean, why have an honest conversation when you can just strangle your wife in bed, amirite?
But, anyway, it's a perfectly fine play, Othello's stupidity aside. It's not my favorite Shakespeare, but it's still a solid four-star read.
*Not actual f-word used.
**I'd go on to repeat this minor bit of sorcery years later during grad school when writing a paper comparing two editions of The Adventures of Huckleberry Finn without having actually read either.
Anyway, here I am in the present day, working my way through the 2015 PopSugar Reading Challenge (I realize it's 2024, but I didn't like this year's prompts so I'm completing a previous year's challenge instead), and lo and behold one of the prompts is 鈥淎 book you were supposed to read in school but didn't.鈥� So, whoo hoo, I've finally read Othello two-and-a-half decades after the fact.
And, well, what is it with the men in Shakespeare's plays? They're dense and gullible and incapable of actually communicating with their spouses. I mean, why have an honest conversation when you can just strangle your wife in bed, amirite?
But, anyway, it's a perfectly fine play, Othello's stupidity aside. It's not my favorite Shakespeare, but it's still a solid four-star read.
*Not actual f-word used.
**I'd go on to repeat this minor bit of sorcery years later during grad school when writing a paper comparing two editions of The Adventures of Huckleberry Finn without having actually read either.
May 2, 2025
Othello is one of Shakespeare's popular tragedies. Its main themes are jealousy, treachery and revenge, but race, too, plays a vital role. Othello is a Moor and he weds the Venetian Desdemona against her father's wishes. Since Othello is a trusted general of the Duke of Venice, the only objection between the union of Othello and Desdemona is race. It's incredible to think that people are generous enough to bestow honours on a man based on merit despite his race, although ungenerous to ally through marriage.
Othello's race forms part of Iago's jealousy because he feels that his superior is inferior to him in race.
"O, beware, my lord, of jealousy;
It is the green-eyed monster with doth mock."
Iago utters these famous lines, the man who sowed the seed of jealousy in Othello's mind. The irony is that he who warns Othello is also driven by jealousy and turns treacherous. Using false accusations, Iago poisons Othello's mind against Desdemona. The result is that once a blissful and loving marriage ends in tragedy.
Iago is a vile but a clever villain. He well understands the character traits of his victim and deceives him accordingly. With vile actions and far-fetched accusations too painful to read, Iago guides Othello to his doom. Though a victim himself, I disliked Othello more than Iago. He is so gullible - a "credulous fool" as Iago calls him. Othello is a fool indeed - a weakling who couldn't honour a woman's trust so lovingly placed on him. Desdemona chose him, giving up her family and country, and he couldn't honour her sacrifice. Unfortunately, we see too many Othellos today and Iagos in both male and female forms.
Reading the play was painful. The injustice done to Desdemona was too much to bear. The only way to vent my frustration was to curse the villain and his imbecile victim, which I did quite generously. Having said that, I enjoyed the play since it was full of drama and poetry. Othello is both beautiful and tragic. Can a tragedy be beautiful? Yes, it can. Read Othello or Romeo and Juliet, you'll agree.
More of my reviews can be found at
Othello's race forms part of Iago's jealousy because he feels that his superior is inferior to him in race.
"O, beware, my lord, of jealousy;
It is the green-eyed monster with doth mock."
Iago utters these famous lines, the man who sowed the seed of jealousy in Othello's mind. The irony is that he who warns Othello is also driven by jealousy and turns treacherous. Using false accusations, Iago poisons Othello's mind against Desdemona. The result is that once a blissful and loving marriage ends in tragedy.
Iago is a vile but a clever villain. He well understands the character traits of his victim and deceives him accordingly. With vile actions and far-fetched accusations too painful to read, Iago guides Othello to his doom. Though a victim himself, I disliked Othello more than Iago. He is so gullible - a "credulous fool" as Iago calls him. Othello is a fool indeed - a weakling who couldn't honour a woman's trust so lovingly placed on him. Desdemona chose him, giving up her family and country, and he couldn't honour her sacrifice. Unfortunately, we see too many Othellos today and Iagos in both male and female forms.
Reading the play was painful. The injustice done to Desdemona was too much to bear. The only way to vent my frustration was to curse the villain and his imbecile victim, which I did quite generously. Having said that, I enjoyed the play since it was full of drama and poetry. Othello is both beautiful and tragic. Can a tragedy be beautiful? Yes, it can. Read Othello or Romeo and Juliet, you'll agree.
More of my reviews can be found at
May 17, 2015
Othello and Macbeth have long been competing for the title of my favourite Shakespeare play. I'm still not sure. The protagonists are similar in that they both instigate their own downfall through fear and paranoia and jealousy - that's what makes their tales so wonderfully tragic. The fantasy aspect of Macbeth works in its favour, but then, it doesn't have Iago. It's a difficult one.
April 2, 2016
I鈥檝e always believed that Iago is one of the greatest literary villains ever! A nemesis who was so twisted by hate and even acknowledged that he had no good reason for wanting to destroy the hero. Iago is the archetype for so many modern villains.
Whenever I reread 鈥淥thello鈥�, I picture a cinematic version where Denzel Washington plays Othello, Cate Blanchett plays Desdemona, and Tim Roth plays Iago鈥he movie wouldn鈥檛 even have to be titled 鈥淲illiam Shakespeare鈥檚 Othello鈥�, it could simply be named 鈥淕reatest Movie Ever鈥� instead!
Whenever I reread 鈥淥thello鈥�, I picture a cinematic version where Denzel Washington plays Othello, Cate Blanchett plays Desdemona, and Tim Roth plays Iago鈥he movie wouldn鈥檛 even have to be titled 鈥淲illiam Shakespeare鈥檚 Othello鈥�, it could simply be named 鈥淕reatest Movie Ever鈥� instead!
August 28, 2017
*Reread for class January 2016*
This is the first Shakespeare play I read on my own and rereading it and studying it in class is giving me a whole new perspective on it which makes me love it even more!
This is the first Shakespeare play I read on my own and rereading it and studying it in class is giving me a whole new perspective on it which makes me love it even more!
June 29, 2017
Book Review
4+ of 5 stars to , a tragic play written in 1603, by . When it comes to writing a thorough review about this Shakespearean work of art, it could take weeks and days to craft perfection; however, I've already stumbled upon a few across 欧宝娱乐, and the world doesn't need another interpretation by a middle-aged white guy. Nor does it need my opinion about what this says of a person's ethnic background, skin color or personality traits. But what the world does need to hear from me... at least if I'm going to post a review... is why I liked it. And I'll keep it shorts, as we've all likely studied this one in high school or college, read it on our own, or watched a TV/Film adaption at some point. If you haven't, shame on you... stop reading right now, go find one, then come back and let's chat.
All sarcasm aside, my commentary on Othello is going to purely reflect my thoughts on three characters: Desdemona, Othello and Iago. Your non-classic classic triangle. A battle of good versus evil. Issues of trust in a marriage. All themes that have been explored countless times in literature. What captivates my attention in this play, over 400 years old, is the connection between Desdemona and Othello. A pure love tortured by all the games people play.
Desdemona is an enigma. She is a beautiful woman. A Greek goddess by any other means. She has it all. But she still falls prey to another's claws. We've all been there. None of us are strong enough to resist with 100% force that our lover, partner, significant other or spouse are truly perfect. Doubt will always pervade our minds. Sometimes it's just a momentary twitch. Others, you stalk the person until you are convinced chastity remains. :)
Othello is brilliant. He's strong and faithful. He is powerful. But he is weak. As are we all. We allow ourselves to get into these positions, all because of experience and hearsay and tunnel vision. He is flawed, but he is every single one of us.
Iago, of course, the villain. Perhaps he simply has his own needs and wants. Maybe he is trying to meet his own objectives in some strange manner. But he is what so many future evil characters are based upon.
Reading this story in play format would be hard by today's standards. But Shakespeare made it glisten during his time, and for me, it does so now, as well.
I love this story for all the hidden gems. It has more complexities than most of his other works, though many would argue it's a basic story of love, betrayal, revenge and confusion. At first glance, yes. But when you dig deeper, you'll find all the treasures.
I promised short... I've gone overboard. But hopefully your eyes are tearing from boredom. Read it please. And let's converse, friends.
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on 欧宝娱乐, and then I send it on over to my WordPress blog at , where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by.
4+ of 5 stars to , a tragic play written in 1603, by . When it comes to writing a thorough review about this Shakespearean work of art, it could take weeks and days to craft perfection; however, I've already stumbled upon a few across 欧宝娱乐, and the world doesn't need another interpretation by a middle-aged white guy. Nor does it need my opinion about what this says of a person's ethnic background, skin color or personality traits. But what the world does need to hear from me... at least if I'm going to post a review... is why I liked it. And I'll keep it shorts, as we've all likely studied this one in high school or college, read it on our own, or watched a TV/Film adaption at some point. If you haven't, shame on you... stop reading right now, go find one, then come back and let's chat.
All sarcasm aside, my commentary on Othello is going to purely reflect my thoughts on three characters: Desdemona, Othello and Iago. Your non-classic classic triangle. A battle of good versus evil. Issues of trust in a marriage. All themes that have been explored countless times in literature. What captivates my attention in this play, over 400 years old, is the connection between Desdemona and Othello. A pure love tortured by all the games people play.
Desdemona is an enigma. She is a beautiful woman. A Greek goddess by any other means. She has it all. But she still falls prey to another's claws. We've all been there. None of us are strong enough to resist with 100% force that our lover, partner, significant other or spouse are truly perfect. Doubt will always pervade our minds. Sometimes it's just a momentary twitch. Others, you stalk the person until you are convinced chastity remains. :)
Othello is brilliant. He's strong and faithful. He is powerful. But he is weak. As are we all. We allow ourselves to get into these positions, all because of experience and hearsay and tunnel vision. He is flawed, but he is every single one of us.
Iago, of course, the villain. Perhaps he simply has his own needs and wants. Maybe he is trying to meet his own objectives in some strange manner. But he is what so many future evil characters are based upon.
Reading this story in play format would be hard by today's standards. But Shakespeare made it glisten during his time, and for me, it does so now, as well.
I love this story for all the hidden gems. It has more complexities than most of his other works, though many would argue it's a basic story of love, betrayal, revenge and confusion. At first glance, yes. But when you dig deeper, you'll find all the treasures.
I promised short... I've gone overboard. But hopefully your eyes are tearing from boredom. Read it please. And let's converse, friends.
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on 欧宝娱乐, and then I send it on over to my WordPress blog at , where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by.
November 11, 2018
Over breakfast this morning, Not and I invented a new game. It's called 滨苍蝉别苍蝉颈迟颈惫别!鈩� and the rules are very simple: in twenty-five words or less, write a summary of a book, movie or play that offends as many socio-economic groups as possible. My first entry is below. Not will be posting hers in due course.
Othello(24 words. I'm not quite sure how many groups are referenced in an 滨苍蝉别苍蝉颈迟颈惫别!鈩� way, but surely at least seven?)
Italian bitch with learning disability and daddy issues gets involved with mentally unstable armed forces type and becomes another victim of black-on-white domestic violence.
May 16, 2017
I have now read Shakespeare's Sonnets and 9 of his 38 plays, mostly the better known ones, slowly working my way through his canon. Othello was, compared to some of the others, an easy read. The themes running through the play are familiar ones with jealously being primary. But interracial prejudice and racism is what sets this play apart from the others, and probably defines it for most modern day readers.
September 17, 2017
鈥淭is in ourselves that we are thus or thus. Our bodies are our gardens to the which our wills are gardeners.鈥�
鈥� William Shakespeare, Othello
Othello is one of my favorite of Shakespeare's plays. I'm all about the villians, and damn, Iago isn't JUST a nearly perfect villian, but carries away almost 1/3 the lines in this play. He owns the stage. It is like Shakespeare scraped every rotten grain off the soiled shoe of humanity and mixed it with beautiful prose. Iago isn't a monster because he is foreign to us, he is a perfect monster because he so closely resembles the worst in all of us. Wicked man. Wicked us.
Othello, while not as interesting (to me) is still a great character. His decent into madness, his fits, his passion, his otherness, his race, etc., make him a dynamic and powerful character. Enough to balance Iago, but not enough (in the end) to beat him. One of the reasons this play has been, is, and will be for a while, so powerful is the reactions interracial/interethnic evoke. It seems like every couple steps society takes forward, we fall (hard) back at least one. Anyway, Shakespeare jumped into this mess 400+ years ago. Bravo.
Just a few of my favorite lines:
鈥� 鈥淭he robb'd that smiles, steals something from the thief; He robs himself that spends a bootless grief.鈥� (Act 1, Scene 3)
鈥� 鈥淚t is silliness to live when to live is torment, and then have we a prescription to die when death is our physician.鈥� (Act 1, Scene 3)
鈥� 鈥淥 God, that men should put an enemy in their mouths to steal away their brains!" (Act 2, Scene 3)
鈥� 鈥淩eputation is an idle and most false imposition; oft got without merit, and lost without deserving." (Act 2, scene 3)
鈥� William Shakespeare, Othello
Othello is one of my favorite of Shakespeare's plays. I'm all about the villians, and damn, Iago isn't JUST a nearly perfect villian, but carries away almost 1/3 the lines in this play. He owns the stage. It is like Shakespeare scraped every rotten grain off the soiled shoe of humanity and mixed it with beautiful prose. Iago isn't a monster because he is foreign to us, he is a perfect monster because he so closely resembles the worst in all of us. Wicked man. Wicked us.
Othello, while not as interesting (to me) is still a great character. His decent into madness, his fits, his passion, his otherness, his race, etc., make him a dynamic and powerful character. Enough to balance Iago, but not enough (in the end) to beat him. One of the reasons this play has been, is, and will be for a while, so powerful is the reactions interracial/interethnic evoke. It seems like every couple steps society takes forward, we fall (hard) back at least one. Anyway, Shakespeare jumped into this mess 400+ years ago. Bravo.
Just a few of my favorite lines:
鈥� 鈥淭he robb'd that smiles, steals something from the thief; He robs himself that spends a bootless grief.鈥� (Act 1, Scene 3)
鈥� 鈥淚t is silliness to live when to live is torment, and then have we a prescription to die when death is our physician.鈥� (Act 1, Scene 3)
鈥� 鈥淥 God, that men should put an enemy in their mouths to steal away their brains!" (Act 2, Scene 3)
鈥� 鈥淩eputation is an idle and most false imposition; oft got without merit, and lost without deserving." (Act 2, scene 3)
September 25, 2015
That bloody handkerchief.
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