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    Othello
    Othello
    Othello
    Ebook232 pages2 hours

    Othello

    By William Shakespeare

    4/5

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    Othello, The Moor of Venice is a tragedy by William Shakespeare based on the short story "Moor of Venice" by Cinthio, believed to have been written in approximately 1603. The work revolves around four central characters: Othello, his wife Desdemona, his lieutenant Cassio, and his trusted advisor Iago. Attesting to its enduring popularity, the play appeared in 7 editions between 1622 and 1705. Because of its varied themes — racism, love, jealousy and betrayal — it remains relevant to the present day and is often performed in professional and community theatres alike. The play has also been the basis for numerous operatic, film and literary adaptations. (From Wikipedia)

    LanguageEnglish
    PublisherBooklassic
    Release dateJun 17, 2015
    ISBN9789635236527
    Author

    William Shakespeare

    William Shakespeare is widely regarded as the greatest playwright the world has seen. He produced an astonishing amount of work; 37 plays, 154 sonnets, and 5 poems. He died on 23rd April 1616, aged 52, and was buried in the Holy Trinity Church, Stratford.

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    Reviews for Othello

    4/5

    2,573 ratings45 reviews

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    • 4/5
      1603, claustrofobe tragedie, over jaloezie en roddelHuiselijke tragedie; de intrige is belangrijker dan de karakters. Een één-thema-drama.Grote eenheid van tijd en ruimte (behalve I), blind noodlot overheerst. -Othello: neger, nobel en simpel, krachtig, maar geen subtiliteit, beheerst door zijn obsessie (jaloersheid)-Jago: fascinerende, complexe schurk, type machtswellusteling, verstrikt in zijn eigen list, maar geen andere keuze, wel ijskoud monster
    • 4/5
      Huh. Well, I'll lay myself open to charges of philistinery and admit that Othello – the only one of the Big Tragedies that I'd not read until now — disappointed me. Our noble hero is even more easily duped regarding his “beloved's” faithfulness than Claudio (Much Ado about Nothing), and the true-hearted Desdemona is even more of a doormat than Viola (Twelfth Night). Given the references I've seen so often to the “noble Moor,” I expected Othello to be an intelligent, competent, stalwart sort of fellow, who would only be misled as to his wife's faithfulness through the most devious maneuvers and false evidence. All it actually took, though, was a dropped and stolen hankie. I mean, REALLY? If Othello had given it a moment's thought he'd have remembered that Desdemona pulled the handkerchief out to mop his grumpy brow after one of his (many, many) temper tantrums, and that he dropped the thing on the floor, complaining that it was too Small for his big, manly head. What a freakin' moaner. I was appalled by his self-absorption – his whole reason for “loving” Desdemona was that she hung on his every word and felt sorry for all the troubles he'd suffered. What he wanted was not a Wife, but a particularly devoted German Shepherd. And Desdemona, who initially was an appealingly spunky girl, gets slapped around in public and dissolves into a puddle of masochistic goo. Iago is plenty villainous, but his villainy is so all encompassing that it really seems pretty pointless. He's just mean. His scheming – the astute way he uses suggestion to arouse Othello's insecurities and jealousies – is impressive at first, but after a while his one-trick character gets dull. At least Thersites (Troilus and Cressida), another evil-for-no-reason character, offers astonishingly creative invective to liven his performance, whereas when asked to explain himself Iago just harumphs and says he has no intention of explaining anything. So, the play offers seemingly endless histrionics from Othello, who somehow earned the friendship of a nice fellow like Cassio and the love of the sweet Desdemona despite the fact that all we ever see from him are braggadocio and raging insecurities, and evil schemes to no particular end but the general misery by Iago. Not one of my favorites.I read this in the Oxford Shakespeare edition, which has nice heavy paper and dark print, but I have to say that the cheap paper and larger print (and less copious notes) of the Folger editions are easier reading. I listened to the Archangel recording, which is really, really excellent. Iago is just Perfectly done, and Desdemona is wonderful. Othello – well, the actor does a great job with what he had to work with; an insecure, egotistical, hysterical bully.
    • 4/5
      Othello, believing the report of the lying Iago, believes his wife Desdemona was unfaithful to him. Much of the evidence rests on a handkerchief. It's definitely sad as are most tragedies. Sadly there are far too many people who tell lies with consequences just as devastating as the ones in this play. It also shows the consequences of jealousy.
    • 5/5
      Iago has to be one of the nastiest villains in all of literature. Good, old, Honest Iago. In a matter of hours, he takes a happily married man and a successful general and turns him into a jealous, vengeful caricature of his former self. Iago uses innuendo to sow the seeds of distrust, then sits back to watch what he's set in motion. When it looks like things are straying off course, a gentle nudge from Iago keeps things moving in the direction he's set. I'd love to believe that people like Iago exist only in fiction, but I fear that there are too many Iagos in the halls of power, intent on corrupting any whose nature is too trusting.
    • 4/5
      Read this in preparation for seeing it on the Boston Common tonight. This is probably the third time I've read the thing, and there's something weird about it; I like it, but I keep failing to love it. I feel like this is a personal problem; Othello's one of the best, everyone says so, right? And it has some scenes that are incredibly powerful; the (uh, spoiler alert?) bit where Othello kills Desdemona is brutal. And, of course, it has Iago, the apotheosis of Shakespeare's "As evil as I wanna be" villains.

      Maybe it's Othello himself who throws me off. He's sortof a wimp, y'know? Awfully easily manipulated, anyway. I guess he's insecure, because there's no other explanation for his fall, but that's not really reflected in anything he says - just what he does.

      Everyone always focuses on his race: "As an outsider, he doesn't believe his position is secure; therefore he's all too ready to believe Iago's lies." But none of that is really in the play. Iago, Roderigo and Desdemona's dad engage in some vicious ranting right at the beginning, but that serves to set up Othello's introduction as an eloquent, respected general; the difference between their description and his reality simply establishes their villainy.

      Traditionally, the tragic hero must have flaws that lead inexorably to his downfall; here, I'm left guessing at what Othello's flaws might be. Despite some moving scenes and the presence of one of Shakespeare's best villains, Othello doesn't stand with Shakespeare's best plays.
    • 4/5
      I've seen "Othello" performed before but never picked it up and read it through... and I'm glad I finally did. "Othello" has a reputation as one of Shakespeare's great tragedies and it is well deserved. The story is well-paced-- full of action and great passages of dialog that move the plot a long. This is one of his plays that never drags.In the play, the villainous Iago plots against the Moor Othello by driving a wedge into his marriage with Desdemonda by convincing Othello that his wife is cheating on him. Iago plays the other characters like chess pieces to achieve his aims and destroying them all in the process.Overall, this tragedy was a fun read... lots of good tidbits in the dialog to pour over, interwoven in a strong and compelling story.
    • 3/5
      Shakespeare has built thefoundation of modern drama. I can totally see in "Othello" the elements of Pinoy telanovellas. This one is a real tragedy (which Pinoy teleseryes lack - tehy always end in happy endings. Funny thing about this are the lines the characters say before they die which is very FIlipino. Characters in Shakespeare does not die easily. Cassio is also very smart, too bad he got a "too honest" wife - another common Pinoy plot but the wife is usually the bad one and the husband is not "too honest" but "too stupid". I still like "Romeo and Juliet", "AMND" and "Twelfth Night" than "Othello" and I believe that plays are better watched than read especially if its a Shakespeare play.
    • 4/5
      It's hard to review Shakespeare in a way that's worthy. I'll simply add my observation: so basic and so base.
    • 3/5
      Not bad. Shakespeare once again shows his ability to take an age-old story and give it the Bard's Twist. However, I didn't like this story as much as Macbeth--where the magnificent Lady Macbeth helps push her husband to his crimes--nor did I like it as much as Hamlet--where the deep psychological issues rooted in Hamlet's character make him come to life in so many ways.Othello is an interesting character, but lacking in character and nobility.
    • 4/5
      I actually found Othello one of the easiest of Shakespeare's plays to read. I knew the basic plot, which probably helped -- when reading the histories like Henry V, I wasn't always sure what was going to happen -- but just in general I found it by far the easiest to follow. And very real: I actually know someone who was as easily lead as astray as Othello, about someone almost as blameless as Desdemona... luckily, it didn't end as badly as this play!

      I really enjoyed this, anyway -- I'm really glad I never had it ruined by having to study it too much. (Alas for Romeo and Juliet, which -- for me -- suffered that fate.)
    • 3/5
      Despite the great dramatic aspects of this famous play, I really struggled to maintain my interest. I don't know why the language here seemed so much more difficult than in Titus Andronicus… will have to reread this someday to see if it just my inability to concentrate or whether it was actually the play that is the cause.
    • 4/5
      It is a bit difficult to read Shakespeare in English if it is not ones mother language, but it is still an enjoyable experience. Poor Othello, deceived by his 'honest, honest' Iago.
    • 5/5
      I have difficulty understanding and enjoying Shakespeare due to the archaic language. This edition ("The Oxford Shakespeare: Othello" by Oxford World's Classics) has extensive explanatory notes on the bottom every page. This clears up the language and makes the story much more interesting and enjoyable. I expected that reading these notes frequently would interrupt the flow of the story. Instead it adds to it. I recommend this edition to anyone who enjoys a good plot story but is hindered from completely enjoying it due to the language of Shakespeare.
    • 5/5
      Othello is one of Shakespeare's greatest tragedies. It stands beside Hamlet, Macbeth and Lear in this regard. Each of these works has its own 'personality' and in Othello this includes the prominence of the title character's antagonist. For it almost seems that this play could have been entitled Iago. Iago demonstrates a superior mind, coldly calculating and planning his actions to achieve his end, the usurpation of Othello. In this he appears to be completely evil. Othello, on the other hand, seems clueless and is easily manipulated. His innocence plays into the hands of Iago. There is much more in this complex drama, including two interesting and intelligent women in Desdemona and Emilia. Emilia stands out as a courageous woman who has been described by some as a "proto-feminist". The conflict between Iago and Othello is stark as Iago's schemes play out. It makes this one of Shakespeare's best plays.
    • 3/5
      Beware you are entering heresy: Not one of Bill's best. It was a drag to finsih, Iago's actions seem out of line with motivation, no great set speeches, few memorable lines and Othello's change of heart is too rapid. That said, Shakespeare was a working playwright and it is the academy that has enshrined all his work as great. The Folger Library edition was excellent.
    • 4/5
      This is not my favorite Shakespeare play. I just find it so very sad. Sadder then the other tragedies. I can never get past Desdemona smothered to death. So, while this is great literature I simply cannot like it as it makes me too sad.
    • 3/5
      My first expereince in Shakespeare. I didn't know what to expect, but in the end I really enjoyed it. I was pleasently surprised.
    • 5/5
      The first of the third series of Arden Shakespeare, it feels a tad experimental. However, unlike some of the later output (such as the Sonnets), this doesn't feel like it has an agenda. It's more of an overview of criticism on "Othello" with copious notes, and that's what I really expect of the Ardens.
    • 4/5
      I read this seminal tragedy for the first time in anticipation of seeing it next week at The Globe. I'm ashamed to say I have read comparatively little Shakespeare and this is only the sixth complete play I have read. It remains a classic exposition of values of racism, revenge, jealousy and repentance. There are comparatively few characters, which makes it easy to focus on the main four or five and really get under the skin of their motivations.
    • 4/5
      This is a nice edition, with a readable typeface, and appropriate notes and context, including descriptions of selected performances through 2001.
    • 5/5
      Read this for A-Level English and really enjoyed it. I love the story of Othello - my favourite Shakespeare as of yet.Iago is one of the best villains I have ever read - I absolutely loathe him but he is so fascinating. People who can manipulate you psychologically like that, tap into people's weaknesses and use them against people - truly very fascinating.
    • 5/5
      I love the rap of this! look it up on YouTube!
    • 4/5
      Oh how I hate this play! Desdemona is frustratingly naive, but Othello is driven mad with jealous ridiculously easily. The only character I like is Emilia. But it's a dense, rich play, and the right production can make me believe in it.
    • 4/5
      This is perhaps Shakespeare’s darkest play – featuring characters that are flawed and damaged, but which completely captivate us. Our title character – Othello, the Moor - is a highly regarded general. As the play opens he has recently eloped with the lovely Desdemona, to the consternation of her father and others who were hopeful suitors. Egged on by Iago (one of literature’s most reviled villains), they accuse Othello of somehow bewitching Desdemona, but the couple successfully convinces everyone that their love is true and pure.

      Iago is a true sociopath. Rules do not apply to him, and duplicity is second nature to him. His oily manner convinces everyone that he has only their own best interests at heart while he plants seeds of doubt everywhere, ensuring that everyone becomes suspicious and disheartened. Iago uses the other characters as his pawns some sort of game he plays for his own benefit. He particularly targets Othello, recognizes the chink in his armor is his relationship with Desdemona, and manages to turn this noble general into a homicidal, emotional wreck.

      I do wonder how Othello, Cassio, and Roderigo (among others) can be so easily swayed by Iago. Othello, in particular, should be able to see through this smarmy false friend. I’m completely perplexed by Emilia’s role in this tragedy. How can she abet her husband’s evil plans? Is she really so clueless?

      Shakespeare writes a true psychological drama, exploring the darkest human emotion and motivation.
    • 5/5
      Othello, a moor from Africa, is a well-loved and respected Venetian nobleman. After the beautiful Desdemona falls in love with him, the two wed in secret. Their blissful existence is thrown into chaos as Iago, Othello's personal attendant, begins to plant doubts of Desdemona’s faithfulness in Othello’s mind. Iago is one of the most conniving and depraved characters I’ve ever read. His cold calculating nature is sociopathic. He feels that Othello has slighted him and sets his mind to destroying his life. He moves each pawn to further his plan, all the while maintaining his alleged devotion to Othello and poisoning his thoughts with rumors of jealousy. He does it in such a calm, unbothered way that it’s all the more disturbing. The worst part of the whole things is that Othello is in the thralls of newly-wedded happiness. He and his wife Desdemona are so incredibly in love and then he acts as the tool for his own destruction. He is manipulated by someone else, but no one truly forces his hand. He allows himself to be persuaded to believe that worst about his wife and causes his own downfall by his lack of faith and trust. I loved the character of Emilia. She’s Iago’s wife, but she’s also Desdemona’s hand maid. She asks as a conscience for the players, holding them accountable when they have committed a wrong. She stands up for her lady’s honor when others doubt it. Othello pulls no punches when it comes to the issues it touches on. It deals with marital abuse, racism, trust, jealousy and more. It gives readers a lot to chew on and would be a great book to discuss. I’ve never seen this one performed live, but I’m sure it would be incredibly powerful.  
    • 3/5
      too much talking, not enough happening. This is definitely a play that's better watched than read.
    • 5/5
      Setting: This play reflects on the love Othello has for his wife on the island of CyprusPlot: Othello's jealous servant Iago schemes to come between the Moor and Desdemona and nearly succeeds.Characters: Othello (protagonist)- a Moor, general in Venice; Desdemona- Othello's wife; Iago (antagonist)- Othello's scheming servant; Cassio- a soldierSymbols: the handkerchiefCharacteristics: a major tragedyResponse: I understood better the performance by reading the play. I also appreciated Shakespeare's clever insights into human nature through all his characters especially Iago.
    • 5/5
      Iago is possibly the slimiest villain ever penned, and Othello will always hold a place in my heart as the most tragic of Shakespeare's plays. The inevitability of the conclusion, the senselessness of all the deaths...it is such a beautiful, heartbreaking play. I think it's also one of the most readable, as well - the language is heightened, but understandable to a modern day audience, and the pure passion of the words is easily parse-able.
    • 5/5
      Loved this play from start to finish, thanks largely in part to Iago. His near flawless scheme against his general was absolutely brilliant. Shakespeare's language, is as eloquent as it is insightful, but that's unsurprising. I highly recommend this book to anyone who enjoys a good tale of betrayal.
    • 5/5
      One of my favourite Shakespeare plays. Had the privilege of playing Desdemona; being in a Shakespeare play really gives you such a feel for what he's trying to convey. As is frequently noted, his messages and metaphors never seem to fade with time. Beautiful.

    Book preview

    Othello - William Shakespeare

    978-963-523-652-7

    Act I

    SCENE I. Venice. A street.

    Enter RODERIGO and IAGO

    RODERIGO

    Tush! never tell me; I take it much unkindly

    That thou, Iago, who hast had my purse

    As if the strings were thine, shouldst know of this.

    IAGO

    'Sblood, but you will not hear me:

    If ever I did dream of such a matter, Abhor me.

    RODERIGO

    Thou told'st me thou didst hold him in thy hate.

    IAGO

    Despise me, if I do not. Three great ones of the city,

    In personal suit to make me his lieutenant,

    Off-capp'd to him: and, by the faith of man,

    I know my price, I am worth no worse a place:

    But he; as loving his own pride and purposes,

    Evades them, with a bombast circumstance

    Horribly stuff'd with epithets of war;

    And, in conclusion,

    Nonsuits my mediators; for, 'Certes,' says he,

    'I have already chose my officer.'

    And what was he?

    Forsooth, a great arithmetician,

    One Michael Cassio, a Florentine,

    A fellow almost damn'd in a fair wife;

    That never set a squadron in the field,

    Nor the division of a battle knows

    More than a spinster; unless the bookish theoric,

    Wherein the toged consuls can propose

    As masterly as he: mere prattle, without practise,

    Is all his soldiership. But he, sir, had the election:

    And I, of whom his eyes had seen the proof

    At Rhodes, at Cyprus and on other grounds

    Christian and heathen, must be be-lee'd and calm'd

    By debitor and creditor: this counter-caster,

    He, in good time, must his lieutenant be,

    And I—God bless the mark!—his Moorship's ancient.

    RODERIGO

    By heaven, I rather would have been his hangman.

    IAGO

    Why, there's no remedy; 'tis the curse of service,

    Preferment goes by letter and affection,

    And not by old gradation, where each second

    Stood heir to the first. Now, sir, be judge yourself,

    Whether I in any just term am affined

    To love the Moor.

    RODERIGO

    I would not follow him then.

    IAGO

    O, sir, content you;

    I follow him to serve my turn upon him:

    We cannot all be masters, nor all masters

    Cannot be truly follow'd. You shall mark

    Many a duteous and knee-crooking knave,

    That, doting on his own obsequious bondage,

    Wears out his time, much like his master's ass,

    For nought but provender, and when he's old, cashier'd:

    Whip me such honest knaves. Others there are

    Who, trimm'd in forms and visages of duty,

    Keep yet their hearts attending on themselves,

    And, throwing but shows of service on their lords,

    Do well thrive by them and when they have lined

    their coats

    Do themselves homage: these fellows have some soul;

    And such a one do I profess myself. For, sir,

    It is as sure as you are Roderigo,

    Were I the Moor, I would not be Iago:

    In following him, I follow but myself;

    Heaven is my judge, not I for love and duty,

    But seeming so, for my peculiar end:

    For when my outward action doth demonstrate

    The native act and figure of my heart

    In compliment extern, 'tis not long after

    But I will wear my heart upon my sleeve

    For daws to peck at: I am not what I am.

    RODERIGO

    What a full fortune does the thicklips owe

    If he can carry't thus!

    IAGO

    Call up her father,

    Rouse him: make after him, poison his delight,

    Proclaim him in the streets; incense her kinsmen,

    And, though he in a fertile climate dwell,

    Plague him with flies: though that his joy be joy,

    Yet throw such changes of vexation on't,

    As it may lose some colour.

    RODERIGO

    Here is her father's house; I'll call aloud.

    IAGO

    Do, with like timorous accent and dire yell

    As when, by night and negligence, the fire

    Is spied in populous cities.

    RODERIGO

    What, ho, Brabantio! Signior Brabantio, ho!

    IAGO

    Awake! what, ho, Brabantio! thieves! thieves! thieves!

    Look to your house, your daughter and your bags!

    Thieves! thieves!

    BRABANTIO appears above, at a window

    BRABANTIO

    What is the reason of this terrible summons?

    What is the matter there?

    RODERIGO

    Signior, is all your family within?

    IAGO

    Are your doors lock'd?

    BRABANTIO

    Why, wherefore ask you this?

    IAGO

    'Zounds, sir, you're robb'd; for shame, put on

    your gown;

    Your heart is burst, you have lost half your soul;

    Even now, now, very now, an old black ram

    Is topping your white ewe. Arise, arise;

    Awake the snorting citizens with the bell,

    Or else the devil will make a grandsire of you:

    Arise, I say.

    BRABANTIO

    What, have you lost your wits?

    RODERIGO

    Most reverend signior, do you know my voice?

    BRABANTIO

    Not I what are you?

    RODERIGO

    My name is Roderigo.

    BRABANTIO

    The worser welcome:

    I have charged thee not to haunt about my doors:

    In honest plainness thou hast heard me say

    My daughter is not for thee; and now, in madness,

    Being full of supper and distempering draughts,

    Upon malicious bravery, dost thou come

    To start my quiet.

    RODERIGO

    Sir, sir, sir,—

    BRABANTIO

    But thou must needs be sure

    My spirit and my place have in them power

    To make this bitter to thee.

    RODERIGO

    Patience, good sir.

    BRABANTIO

    What tell'st thou me of robbing? this is Venice;

    My house is not a grange.

    RODERIGO

    Most grave Brabantio,

    In simple and pure soul I come to you.

    IAGO

    'Zounds, sir, you are one of those that will not

    serve God, if the devil bid you. Because we come to

    do you service and you think we are ruffians, you'll

    have your daughter covered with a Barbary horse;

    you'll have your nephews neigh to you; you'll have

    coursers for cousins and gennets for germans.

    BRABANTIO

    What profane wretch art thou?

    IAGO

    I am one, sir, that comes to tell you your daughter

    and the Moor are now making the beast with two backs.

    BRABANTIO

    Thou art a villain.

    IAGO

    You are—a senator.

    BRABANTIO

    This thou shalt answer; I know thee, Roderigo.

    RODERIGO

    Sir, I will answer any thing. But, I beseech you,

    If't be your pleasure and most wise consent,

    As partly I find it is, that your fair daughter,

    At this odd-even and dull watch o' the night,

    Transported, with no worse nor better guard

    But with a knave of common hire, a gondolier,

    To the gross clasps of a lascivious Moor—

    If this be known to you and your allowance,

    We then have done you bold and saucy wrongs;

    But if you know not this, my manners tell me

    We have your wrong rebuke. Do not believe

    That, from the sense of all civility,

    I thus would play and trifle with your reverence:

    Your daughter, if you have not given her leave,

    I say again, hath made a gross revolt;

    Tying her duty, beauty, wit and fortunes

    In an extravagant and wheeling stranger

    Of here and every where. Straight satisfy yourself:

    If she be in her chamber or your house,

    Let loose on me the justice of the state

    For thus deluding you.

    BRABANTIO

    Strike on the tinder, ho!

    Give me a taper! call up all my people!

    This accident is not unlike my dream:

    Belief of it oppresses me already.

    Light, I say! light!

    Exit above

    IAGO

    Farewell; for I must leave you:

    It seems not meet, nor wholesome to my place,

    To be produced—as, if I stay, I shall—

    Against the Moor: for, I do know, the state,

    However this may gall him with some cheque,

    Cannot with safety cast him, for he's embark'd

    With such loud reason to the Cyprus wars,

    Which even now stand in act, that, for their souls,

    Another of his fathom they have none,

    To lead their business: in which regard,

    Though I do hate him as I do hell-pains.

    Yet, for necessity of present life,

    I must show out a flag and sign of love,

    Which is indeed but sign. That you shall surely find him,

    Lead to the Sagittary the raised search;

    And there will I be with him. So, farewell.

    Exit

    Enter, below, BRABANTIO, and Servants with torches

    BRABANTIO

    It is too true an evil: gone she is;

    And what's to come of my despised time

    Is nought but bitterness. Now, Roderigo,

    Where didst thou see her? O unhappy girl!

    With the Moor, say'st thou? Who would be a father!

    How didst thou know 'twas she? O she deceives

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