Othello

By William Shakespeare and Mint Editions

Othello, the general of the Venetian army, holds much power and influence but becomes the target of an insidious plot to steal his coveted position. He is overcome with paranoia and enthralled with rumors of his wife’s potential infidelity.

Othello has fallen in love with a senator’s daughter, Desdemona, and the two secretly marry. Their partnership generates shock and confusion as Desdemona was also loved by Roderigo, who’d already asked for her hand. Othello’s ensign, Iago, is envious of the general and is spurned when he promotes the young Cassio to a higher position. This marks the beginning of a plot in which Iago plans to destroy Othello’s personal and professional life. He attacks his marriage by stoking the flames of jealousy, insinuating Desdemona’s infidelity. This leads to a violent confrontation with a morbid outcome.

Othello is one of William Shakespeare’s most well-known plays. It tackles multiple topics including race, gender, politics and revenge. It’s a gripping drama that details the dangers of greed, envy and their inescapable consequences.

With an eye-catching new cover, and professionally typeset manuscript, this edition of Othello is both modern and readable.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

• Language: English
• Publisher: Mint Editions
• Release date: Feb 23, 2021
• ISBN: 9781513276755

William Shakespeare

William Shakespeare (1564–1616) is arguably the most famous playwright to ever live. Born in England, he attended grammar school but did not study at a university. In the 1590s, Shakespeare worked as partner and performer at the London-based acting company, the King’s Men. His earliest plays were Henry VI and Richard III, both based on the historical figures. During his career, Shakespeare produced nearly 40 plays that reached multiple countries and cultures. Some of his most notable titles include Hamlet, Romeo and Juliet and Julius Caesar. His acclaimed catalog earned him the title of the world’s greatest dramatist.

Book preview

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 practice

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 belee’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 affin’d

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 lin’d 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 complement 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 thick-lips 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 color.

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!

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 locked?

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 tupping 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 charg’d 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 cover’d 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 anything. 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 everywhere. 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 from above)

IAGO: Farewell; for I must leave you:

It seems not meet nor wholesome to my place

To be produc’d, as if I stay I shall,

Against the Moor. For I do know the state,

However this may gall him with some check,

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 Brabantio with Servants and torches.

BRABANTIO: It is too true an evil. Gone she is,

And what’s to come of my despised time,

Is naught 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 me

Past thought.) What said she to you? Get more tapers,

Raise all my kindred. Are they

Reviews for Othello

[et.carole · Rating: 2 out of 5 stars]

This was another exhausting tragedy. It felt entirely too long, and as if the main themes were done better in other plays. Then again, after Cymbeline, I find most Shakespeare plays thin on plot.

[tobinelliott · Rating: 4 out of 5 stars]

Though I knew the names Othello, Roderigo, Cassio, Desdemona, and, of course, Iago, I realized very early on that I had absolutely no knowledge of Othello whatsoever, which I found weird. I normally have at least a basic sense of the plot.

Not this time. And that was a good thing. This one was a fun one to come in cold on.

And oh, what a story. Iago feels like the original scheming bastard, and all I could think of was Kevin Spacey's Frank Underwood character in House of Cards. Iago is almost gleefully sociopathic in his unrelenting need to manipulate everyone.

While this is a straightforward plot, it was a lot of fun, and carried a fair amount of suspense throughout, especially around that damned handkerchief.

Really liked this one. Probably because I know and loathe a few Iagos of my own.

[pgchuis · Rating: 4 out of 5 stars]

I read this in preparation for an OU course. For the first three acts not a lot happens: Othello is sent to defeat the Turkish navy, but all their ships are destroyed in a storm and Othello's own ship takes many extra days to reach its destination. It seems a weakness to me that we never actually see Othello being particularly noble or courageous. Iago spends the whole play plotting and pulling the strings of all the other characters - that's clearly the most fun role in the play. Things pick up in the final two acts with stabbings wiping out most of the cast, and I am looking forward to watching it performed.

[arewenotben · Rating: 5 out of 5 stars]

London Globe Theatre. Mark Rylance as Iago, André Holland as Othello. Immense.

[charlie68_1 · Rating: 4 out of 5 stars]

A tale of all consuming jealousy versus virtue. Well presented by the company.

[john257hopper · Rating: 4 out of 5 stars]

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.

[deckla_1 · Rating: 4 out of 5 stars]

This is a nice edition, with a readable typeface, and appropriate notes and context, including descriptions of selected performances through 2001.

[jeterat-844391 · Rating: 3 out of 5 stars]

My first time reading Othello to completion and I discovered the play was more about Iago than it's titular character. I found Iago somewhat wanting in characterization and I couldn't make him out. I think that to fully understand this play, I'll have to watch a screen or stage adaptation of it. I don't understand how Iago would be played. He seemed to gain nothing from his desire to undo Othello, Desdemona, Cassio, and Roderigo. He did receive some riches from stealing from Roderigo, but this was offset by no political gains (and ultimately his discovery and the accidental murder of his wife).

I've never been a huge Spakespearean and this hasn't changed. I think to really enjoy this novel, I'd need to further study it, but since I'm not in school anymore, I don't have a reason to. I wished that the place setting was stronger, I didn't really feel Venice in it. A worthwhile read just to say I have it under my belt (and recognize when it's plot is being used in other places), but I wasn't as impressed with this as with Titus or Romeo and Juliet.

[meandmybooks-1 · Rating: 4 out of 5 stars]

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.

[thornton37814 · Rating: 4 out of 5 stars]

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.

[cbl_tn · Rating: 5 out of 5 stars]

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.

[juva_3 · Rating: 4 out of 5 stars]

After the elopement of Othello, a renowned commander of men, and Desdemona, the unlikely daughter of a prominent man, Iago begins to stir up trouble in hopes of revenging himself upon Othello for being passed over for a promotion. When informing the girl's father comes to no bad end, he devises a much more sinister plan.Employing his many wiles he hopes to ingratiate himself with Othello and poison his thoughts against his new bride. Now certain of Desdemona's infidelity and consumed with jealousy, Othello determines to kill both her and her supposed lover. Only after the deed is done is the truth revealed and Othello kills himself out of his remorse.The haunting play about love, revenge, obsession and jealousy.

[katieloucks · Rating: 5 out of 5 stars]

I love the rap of this! look it up on YouTube!

[bookconcierge · Rating: 4 out of 5 stars]

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.

[eyejaybee · Rating: 4 out of 5 stars]

I don't think there is any point writing a formal review of Othello - there is nothing that a simple country boy such as myself can say that will add in any useful manner to the vast corpus of more worthy comment.It is, of course, marvellous, yet simultaneously repulsive. The manipulation of Othello by the scheming of Iago is dreadful to see. Othello contributes to, indeed almost collaborates in, his own downfall, while Desdemona is left prey to malign forces entirely beyond her control, or even her understanding.Quite frankly, I think I find it too dark and oppressive. There seems no let up, not even much in the way of Shakespeare's excruciating 'comic' roles. Iago may be my namesake (more or less) but, on balance, I think that when it comes to scheming, Machiavellian figures I prefer Bosola, Richard III or even Lorenzo from 'The Spanish Tragedy.

[aliceanna-1 · Rating: 4 out of 5 stars]

Love, jealousy, lust, revenge, ambition -- it doesn't get much better than this. Iago is the consummate villain, dripping in evil. Othello is, of course, an idiot -- albeit a noble one. Very tight plot and narrative. Holds up well after hundreds of years -- that still blows me away.

[krizia_lazaro_3 · Rating: 3 out of 5 stars]

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.

[kirmuriel-1 · Rating: 4 out of 5 stars]

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.

[leslie398 · Rating: 3 out of 5 stars]

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.

[alcracka · Rating: 4 out of 5 stars]

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.

[amerynth · Rating: 4 out of 5 stars]

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.

[carolfoasia_1 · Rating: 5 out of 5 stars]

Iago is EVIL! Just sayin'. Iago is the serpent of Genesis 3 in human form. He is possibly the most evil character of all of literature. Which is why this play is so amazing! I saw this performed on stage at the Oregon Shakespeare Festival, but this is the first time I have ever read the play. It was good to have the visual picture of the blond haired Iago on the black background of the stage with the big, burly, black Othello contrasted on the white part of the stage, and the shift in the colors and lights when Iago gets a hold of Othello's ear. Chilling. I remember all of us who had attended the play sitting, unnerved at the end. It reaches to your heart . . . and rips it out.I think Shakespeare was meant to be heard. So, I listened to this unabridged dramatic version while following along on my Kindle. The host of actors in this were superb. Here is the cast: Othello, The Moor, a general in the service of Venice – Hugh QuarshieDesdemona, a daughter to Brabantio, and wife to Othello – Emma FieldingIago, his ancient, a villain – Anton LesserEmilia, wife to Iago – Patience TomlinsonCassio, his honourable lieutenant/2nd senator – Roger MayBianca, a courtesan, in love with Cassio – Alison PettitDuke of Venice/2nd Gentleman/Herald – Roy SpencerBrabantio, senator, father to Desdemona/3rd Gentleman/Gratiano, brother to Brabantio – Peter YappRoderigo, a Venetian gentleman/1st Gentleman/Sailor (I,iii) – John McAndrewLodovico, kinsman to Brabantio/1st Musician/1st Senator/Messenger (III) – Stephen ThorneMontano, Governor of Cyprus before Othello/Messenger (I,iii)/Clown – Jonathan Keeble

[bookworm12_1 · Rating: 5 out of 5 stars]

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.  

[soonercatholic · Rating: 5 out of 5 stars]

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.

[norabelle414 · Rating: 3 out of 5 stars]

too much talking, not enough happening. This is definitely a play that's better watched than read.

[ayling_52 · Rating: 5 out of 5 stars]

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.

[orix_bluewave · Rating: 4 out of 5 stars]

This is a sad story.Everyone in this story is very poor.Without crying, you can't read this book.

[bookomaniac-1 · Rating: 4 out of 5 stars]

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

[hankiii · Rating: 5 out of 5 stars]

Whew!I've read this drama at least 3 times; in fact, I teach it every fall semester.I doubt my review will shed anymore life on this tragedy, so I'll go for the gist of it, and how I relate it to 16 year old I-Pod/internet/cellphone/sparknotes/cliff notes instilled with apathy and teenaged-drama inclined students:Iago is just plain wicked, amorally so; he has a real beef about Othello, a well-respected General who has passed him over for a lieutenant's position in favor of Cassio, who has very little if any military experience. Of course, such a choice flies into the face of Iago, and lights the fuse of his quest to destroy Othello.Iago employs that ol'human shortcoming of jealousy, and he does it very well. Iago knows that Othello is open, trusting, loyal, and faithful. These qualities Othello demonstrates to his friends as well as to Desdemona, his wife.From there Iago creates havoc at every turn; you would think early on after setting up Cassio in a brawl with a governor, resulting in Cassio losing his position, and Iago replaces him, that it would end all there, but noooooooooo! That's not good enough for Iago; he has to go to great lengths to manipulate all of those around him to bring Othello to a jealous pile of mush.Anyway, I think this tragedy is very revelant about Othello's racial difference among white society even by today's standards, and how instead of seeing the goodness in others we are only too inclined to not trust even if we have good qualities. Also, there are some real literary gems like "the beast with two backs" and other sexual innuendo which appeals to 16 year old hormonal instincts.Usually of course, I take the easy way out--since my students'attention spans are only geared toward the latest edition of Guitar Hero, I show the 1995 film version with Laurence Fishbourne and Kenneth Branaugh if the students find the actual study of the play or me too much.

[beequiet · Rating: 5 out of 5 stars]

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.