Othello

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In Cyprus, Montano, the governor of Cyprus, and his soldiers greet Cassio, Iago, Desdemona, and Emilia as they disembark. Othello soon arrives with news that storms at sea have dispersed the Turkish fleet. A night of celebration is proclaimed. Roderigo confesses doubts about his potential to woo Desdemona, but Iago assures him that there is hope. He urges Roderigo to challenge Cassio to a duel that night, since (as Iago claims) Desdemona is actually falling in love with him. When the night comes, Iago gets Cassio drunk, and Roderigo incites his anger. Montano, the governor, is stabbed during his attempt to contain Cassio. Othello is angered by the fight and blames Cassio, stripping him of his recently conferred officer status. The official authority in Venice, the duke has great respect for Othello as a public and military servant. His primary role within the play is to reconcile Othello and Brabanzio in Act I, scene iii, and then to send Othello to Cyprus. Montano Honigmann, E. A. J. and Thompson, Ayanna (eds.) "Othello" The Arden Shakespeare, Third Series Revised Edition, Bloomsbury Publishing Plc., 2016, p.28. Iago refuses to explain his motives, vowing to remain silent from that moment on. Lodovico apprehends both Iago and Othello for the murders of Roderigo, Emilia, and Desdemona, but Othello commits suicide. Lodovico appoints Cassio as Othello's successor and exhorts him to punish Iago justly. He then denounces Iago for his actions and leaves to tell the others what has happened.

Gurr, Andrew and Ichikawa, Mariko "Oxford Shakespeare Topics: Staging in Shakespeare's Theatres" Oxford University Press, 2000, p.55. Folger Theatre reopens this fall, with the rest of the building to follow in 2024. Learn about the building renovation and start planning your visit. The play has been a popular source for opera. Rossini's 1816 Otello, ossia il Moro di Venezia made Desdemona its focus, and was followed by numerous translations and adaptations, including one with a happy ending. [319] But the most notable version, considered a masterpiece with a power equivalent to that of the play, is Verdi's 1887 Otello, [320] for which Arrigo Boito's libretto marked a return to faithfulness to the original plot, including the reappearance of the pillow as the murder weapon, rather than Ducis' dagger. [321] Othello was performed in the Shimpa style in Japan in 1903 by Otojiro Kawakami, resetting the location Cyprus to Taiwan, which was then a Japanese colony. [221]Become a Teacher Member Get full access to the latest resources and ongoing professional development Rosenfeld, Colleen Ruth "Shakespeare's Nobody" in Orlin, Lena Cowen (ed.) "Othello - The State of Play" The Arden Shakespeare, Bloomsbury Publishing, 2014, pp.257-279 at p.269. Othello and Iago are two of the five longest parts in the Shakespeare canon. At 1097 lines, Iago's is the larger of the two: only Hamlet (in Hamlet) and Richard (in Richard III) are longer. [138] Genre [ edit ] Othello confronts a sleeping Desdemona. She denies being unfaithful, but he smothers her. Emilia arrives, and Desdemona defends her husband before dying, and Othello accuses Desdemona of adultery. Emilia calls for help. The former governor Montano arrives with Gratiano and Iago. When Othello mentions the handkerchief as proof, Emilia realizes what Iago has done, and she exposes him. Othello, belatedly realising Desdemona's innocence, stabs Iago (but not fatally), saying that Iago is a devil, but not before the latter stabs Emilia to death in the scuffle.

But there is also a long time scheme. Iago persuades Othello that Desdemona and Cassio have "the act of shame a thousand times committed"; [170] Emilia says Iago "hath a hundred times" [171] asked her to steal the handkerchief; Bianca complains Cassio has been away from her "a week"; [172] news of the Turkish defeat needs time to reach Venice then Lodovico needs time to reach Cyprus; [173] and by Act 4 Roderigo (who sold all his land at the end of Act 1) [174] has already squandered all his money. [175] [176] As Robert Watson summarises it: "The seemingly endless critical debate about Iago's motivation reflects a truth, rather than a confusion, about the play. ... If it is disturbing to suspect that a devil may be lurking around us in human form, perhaps within our most trusted friend, it is even more disturbing to realize that this devil may be ... a reflection of our own destructive tendencies." [160] Bate, Jonathan (ed.), Rasmussen, Eric (ed.) and Shakespeare, William "Othello", The RSC Shakespeare, The Random House Publishing Group, 2009, p.3. Brode, Douglas "Shakespeare in the Movies - From the Silent Era to Today" Oxford University Press, 2000, pp.167-168. Buhler, Stephen M., "Musical Shakespeares: Attending to Ophelia, Juliet, and Desdemona" in Shaughnessy, Robert (ed.) "The Cambridge Companion to Shakespeare and Popular Culture", Cambridge University Press, 2007, pp.150–174, at pp.171–172.The next day, Iago convinces Cassio to ask Desdemona for help in regaining his post. When Cassio asks, Desdemona innocently agrees. Meanwhile, Iago has sown seeds of jealousy in Othello’s mind, suggesting that Desdemona is overfond of Cassio. With no reason to suspect Iago of bad intentions, Othello begins to watch his wife. Othello becomes angry when Desdemona cannot find the first gift (a handkerchief) he had ever given her. The handkerchief is embroidered with strawberries and especially important to Othello. But Desdemona had not lost the handkerchief. Iago had instructed Emilia, his wife, to take it. Iago then hid the handkerchief where Cassio would find it. When Desdemona urges her husband to reconsider Cassio’s demotion, Othello gets jealous and suspects her of infidelity. Voltaire's 1732 French play Zaïre was a "neoclassical refurbishment" of Shakespeare's "barbarous" work. [290] And across continental Europe through most of the eighteenth and nineteenth centuries the play was better known than Shakespeare's in Jean-François Ducis' adaptation and its subsequent translations, in which a heroine renamed Hédelmone is stabbed to death by Othello. [291] Booth was also an acclaimed Iago, and his advice to actors of the role was: "to portray Iago properly you must seem to be what all the characters think and say you are, not what the spectators know you to be; try to win even them by your sincerity. Don't act the villain." [219] Enterline, Lynn "Eloquent Barbarians: Othello and the Critical Potential of Passionate Character" in Orlin, Lena Cowen (ed.) "Othello - The State of Play" The Arden Shakespeare, Bloomsbury Publishing, 2014, pp.149-175 at p.158. Discover Shakespeare’s stories and the world that shaped them. Deepen your understanding of his works and their cultural influence.

Orgel, Stephen "Introduction" in Sutherland, John and Watts, Cedric (eds.) "Henry V, War Criminal? & Other Shakespeare Puzzles" Oxford World's Classics series, Oxford University Press, 2000, pp.ix-xvi at p.xi.

Gary Taylor in 1983 agreed with Coghill that F incorporated the author's own improvements to Q, but argued that another scribal hand had also made intervening changes to F. [56] Although Othello is a cultural and racial outsider in Venice, his skill as a soldier and leader is nevertheless valuable and necessary to the state, and he is an integral part of Venetian civic society. He is in great demand by the duke and senate, as evidenced by Cassio’s comment that the senate “sent about three several quests” to look for Othello (I.ii. 46). The Venetian government trusts Othello enough to put him in full martial and political command of Cyprus; indeed, in his dying speech, Othello reminds the Venetians of the “service” he has done their state (V.ii. 348). There’s something for everyone. From award-winning theater and music, to poetry and exhibitions, experience the power of the arts with us. Othello sometimes makes a point of presenting himself as an outsider, whether because he recognizes his exotic appeal or because he is self-conscious of and defensive about his difference from other Venetians. For example, in spite of his obvious eloquence in Act I, scene iii, he protests, “Rude am I in my speech, / And little blessed with the soft phrase of peace” (I.iii. 81–82). While Othello is never rude in his speech, he does allow his eloquence to suffer as he is put under increasing strain by Iago’s plots. In the final moments of the play, Othello regains his composure and, once again, seduces both his onstage and offstage audiences with his words. The speech that precedes his suicide is a tale that could woo almost anyone. It is the tension between Othello’s victimization at the hands of a foreign culture and his own willingness to torment himself that makes him a tragic figure rather than simply Iago’s ridiculous puppet. Tags: Analysis Of William Shakespeare’s Othello, Bibliography Of William Shakespeare’s Othello, Character Study Of William Shakespeare’s Othello, Criticism Of William Shakespeare’s Othello, Drama Criticism, ELIZABEHAN POETRY AND PROSE, Essays Of William Shakespeare’s Othello, Literary Criticism, Notes Of William Shakespeare’s Othello, Othello, Othello Analysis, Othello Criticism, Othello Essay, Othello Feminism, Othello Notes, Othello Play, Othello PSychoanalysis, Othello Summary, Plot Of William Shakespeare’s Othello, Simple Analysis Of William Shakespeare’s Othello, Study Guides Of William Shakespeare’s Othello, Summary Of William Shakespeare’s Othello, Synopsis Of William Shakespeare’s Othello, Themes Of William Shakespeare’s Othello, William Shakespeare, William Shakespeare’s Othello Related Articles

The play’s protagonist and hero. A Christian Moor and general of the armies of Venice, Othello is an eloquent and physically powerful figure, respected by all those around him. In spite of his elevated status, he is nevertheless easy prey to insecurities because of his age, his life as a soldier, and his race. He possesses a “free and open nature,” which his ensign Iago uses to twist his love for his wife, Desdemona, into a powerful and destructive jealousy. Sometimes critics have struggled to define the kind of jealousy Othello suffers, or to deny it as a motive (for example, those who claim that in Russia between 1945 and 1957 only one actor portrayed Othello as obsessed by jealousy). In fact jealousy is a wide-ranging emotion and encompasses the spectrum from lust to spiritual disillusionment within which Othello's obsession must fall. [65] And he displays many accepted aspects of jealousy: an eagerness to snatch at proofs, indulging degrading images of the jealousy's object, snatching at ambiguities to ease the mind, dread of vulgar ridicule, and a spirit of vindictiveness. [66] The two other songs sung in the play are the drinking songs in Act 2 Scene 3. [316] The first of these, "And Let Me The Cannikin Clink", has no surviving arrangement, although it fits to several extant popular tunes. [317] The other, "King Stephen Was a Worthy Peer", is the seventh of the eight stanzas of the existing ballad "Take Thy Old Cloak About Thee". [318] Other adaptations of Shakespeare's story to be filmed include Franco Zeffirelli's 1986 film of Verdi's Otello [282] and the 1956 Jubal which resets the story as a Western, centered on the Cassio character. [283] The play was abridged to 30 minutes by Leon Garfield, and produced with cel animation for the TV series Shakespeare: The Animated Tales. [284] Tim Blake Nelson's basketball-themed teen drama O reset the story at an elite boarding school. The similarity of the film's ending to the Columbine massacre, which happened while the film was being edited, delayed its release for over two years, until August 2001. [285] A British TV adaptation by Andrew Davies, screened in 2001, re-set the story among senior officers of the Metropolitan Police. [286] And the first decade of the 21st-Century saw two non-English language film adaptations: Alexander Abela's French Souli set the story in a modern-day Madagascan fishing village, and Vishal Bhardwaj's Hindi Omkara amidst political violence in modern Uttar Pradesh. [287] Other media [ edit ] Stage adaptations [ edit ] Iago will direct the remainder of the play, constructing Othello’s down-fall out of the flimsiest evidence and playing on the strengths and weaknesses of Othello’s nature and the doubts that erode Othello’s faith in Desdemona. Act 3, one of the wonders of the stage, anatomizes Othello’s psychic descent from perfect contentment in his new wife to complete loathing, from a worldview in which everything is as it appears to one in which nothing is as it seems. Iago leads Othello to suspect that love and devotion are shams disguising the basest of animalistic instincts. Misled by the handkerchief, his love token to Desdemona, that Iago has planted in Cassio’s room and by a partially overheard conversation between Iago and Cassio, Othello, by the end of act 3, forsakes his wife and engages himself in a perverse version of the marriage ceremony of act 2 to Iago. As the pair kneels together, they exchange vows:Act 3, scene 4 Desdemona, still actively seeking to have Cassio reinstated, is worried about the loss of her handkerchief. Her anxiety about it increases when Othello asks her for it and then sternly rebukes her when she cannot produce it. Cassio approaches her, but she must now, because of Othello’s anger, postpone her efforts on his behalf. As he waits, Bianca, his lover, appears. Cassio has found Desdemona’s handkerchief in his room (placed there by Iago) and he asks Bianca to copy the embroidery work for him. Thompson and Honigmann, 2016, pp.75–77, citing Ellen Terry's The Story of My Life: Recollections and Reflections. In contrast, Emilia ("the only real grown-up in the play", in the words of stage director Michael Attenborough [117]) revolts against misogyny, defying her husband Iago's demands three times in the final scene. [118] [119] The handkerchief [ edit ] At the turn of the century, performances at the RSC were dominated by their Iagos. Richard McCabe followed Simon Russell Beale in portraying misogynistic, embittered NCOs, older than their respective Othellos: [240] The daughter of the Venetian senator Brabanzio. Desdemona and Othello are secretly married before the play begins. While in many ways stereotypically pure and meek, Desdemona is also determined and self-possessed. She is equally capable of defending her marriage, jesting bawdily with Iago, and responding with dignity to Othello’s incomprehensible jealousy.