By William Shakespeare
Shakespeare shines a fierce highlight at the jealous center and on our attitudes towards the outsider. a narrative of its time and for our time, filled with terror and sweetness, Othello is pressing, gripping, radical, and beautiful.
Under the editorial supervision of Jonathan Bate and Eric Rasmussen, of today’s such a lot complete Shakespearean students, this contemporary Library sequence comprises definitive texts and authoritative notes from William Shakespeare: entire Works. every one play contains an creation in addition to an summary of Shakespeare’s theatrical occupation; observation on previous and present productions in response to interviews with major administrators, actors, and architects; scene-by-scene research; key proof in regards to the paintings; a chronology of Shakespeare’s existence and occasions; and black-and-white illustrations.
Ideal for college students, theater execs, and common readers, those sleek and available versions from the Royal Shakespeare corporation set a brand new commonplace in Shakespearean literature for the twenty-first century.
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Extra resources for Othello (Modern Library Classics)
Sample text
Only when he has killed her does he rediscover the true coldness of her chastity—though just because Othello speaks of Desdemona thus, we should not regard her as the icy maiden of Petrarchan poetic tradition. In the scene before Othello’s arrival in Cyprus she proves herself adept in feisty and sexually knowing banter with her male interlocutors. And at the very beginning of the play she has shown extraordinary strength of character in going against her father’s will, eloping with Othello and then insisting on accompanying him to the frontier zone of Cyprus.
Arise, arise! Awake the snorting94 citizens with the bell, Or else the devil95 will make a grandsire of you. Arise, I say! BRABANTIO What, have you lost your wits? RODORIGO Most reverend98 signior, do you know my voice? BRABANTIO Not I: what are you? RODORIGO My name is Rodorigo. BRABANTIO The worser welcome. I have charged102 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 distemp’ring draughts105 — Upon malicious knavery dost thou come To start107 my quiet.
This is why talk of a “tragic flaw” is misleading. The theory of the flaw arises from a misunderstanding of Aristotle’s influential account of ancient Greek tragedy. For Aristotle, hamartia, the thing that precipitates tragedy, is not a psychological predisposition but an event—not a character trait but a fatal action. In several famous cases in Greek tragedy, the particular mistake is to kill a blood relative in ignorance of their identity. So too in Shakespeare, it is action (in Othello’s case, over-precipitate action) that determines character, and not vice versa.