Otelo

De William Shakespeare e Beatriz Viégas-Faria

O ciúme virou um clássico a partir de "Otelo", que é citado sempre como um símbolo do ciúme. Shakespeare vai fundo ao construir esta tragédia na qual explora várias faces da alma humana. O pérfido Iago, através de intrigas sutis conduz Otelo ao ciúme infernal e enlouquecedor. O bravo mouro, veterano de terríveis batalhas e representante militar do reino de Veneza, capitula diante do mais mesquinho sentimento de ciúme em relação a bela Desdêmona...

• Idioma: Português
• Editora: L&PM Editores
• Data de lançamento: 1 de jun. de 1999
• ISBN: 9788525422934

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.

Pré-visualização do livro

OTELO

As cenas passam-se em Veneza e Chipre.

Personagens da peça

O Doge de Veneza

Brabâncio, um senador, pai de Desdêmona

Outros senadores

Graciano, irmão de Brabâncio

Ludovico, parente de Brabâncio

Otelo, um nobre mouro a serviço do Estado de Veneza

Cássio, seu tenente

Iago, seu alferes

Rodrigo, um cavalheiro veneziano

Montano, o antecessor de Otelo como governador do Chipre

Bobo, criado de Otelo

Desdêmona, filha de Brabâncio e esposa de Otelo

Emília, esposa de Iago

Bianca, amante de Cássio

Marinheiro, Mensageiro, Arauto, Oficiais, Cavalheiros, Músicos e Criadagem

PRIMEIRO ATO

CENA I

Veneza. Uma rua.

Entram Rodrigo e Iago.

Rodrigo – Chega, não quero ouvir! Acho de extrema insensibilidade que tu, Iago, que já dispuseste de minha bolsa como se teus fossem os cordões dela, tenhas conhecimento disso.

Iago – Pelo sangue de Cristo, o senhor não está me escutando. Se alguma vez esse assunto foi fruto de minha imaginação, pode abominar-me.

Rodrigo – Disseste a mim que por ele tens ódio.

Iago – Se não é assim, pode desprezar-me. Três grandes nomes da cidade, pessoalmente empenhados em me ver promovido a tenente dele, foram com ele falar, chapéus nas mãos. E, pela boa-fé humana, conheço o meu valor: não sou merecedor de um posto mais baixo. Mas ele, gostando como gosta de seu próprio orgulho e de seus propósitos pessoais, desconversa esses homens com uma história comprida e cheia de fraseados bombásticos, horrivelmente recheada de epítetos de guerra. Para concluir, dá por improcedente a causa de meus mediadores. Seguramente, diz ele, já escolhi o meu oficial. E quem é ele? Seguramente, um grande aritmético, um tal de Miguel Cássio, um florentino, um sujeito quase condenado a assumir um papel de bela esposa, um sujeito que nunca liderou um esquadrão até o campo de batalha, um sujeito que conhece as divisões de uma batalha tanto quanto uma fiandeira ... a menos que o teórico ponha-se a arrotar suas leituras naquilo que os cônsules togados podem propor com tanta maestria quanto ele. Não passa de tagarelice sem prática o que ele entende de táticas militares. Mas ele, meu senhor, foi o eleito. E eu, que perante os próprios olhos dele dei provas de minha capacidade militar em Rodes, em Chipre e em outros campos de batalha, cristãos e gentílicos, devo ficar agora destituído de ventos para navegar, detido por calmaria decretada por um simples guarda-livros. Não deixa de ser em boa hora que esse compilador de deveres e haveres vai ser o tenente dele. E eu ... Deus abençoando minha boa mira! ..., continuo sendo o alferes de sua majestade, o Mouro.

Rodrigo – Céus, eu preferiria ser dele o carrasco.

Iago – Qual o que, não tem remédio. Esta é a praga do serviço militar: as promoções acontecem por recomendação e por simpatia, e não pela velha graduação, onde sempre o segundo herda o posto do primeiro. Agora, meu senhor, seja o senhor mesmo juiz desta questão: posso eu, com justiça, ser obrigado a gostar do Mouro?

Rodrigo – Eu não seria dele seguidor.

Iago – Ah, meu senhor, não se preocupe. Continuo dele sendo seguidor que é para dar-lhe o troco que merece. Não podemos todos ser mestres, nem todos os mestres podem ser lealmente seguidos. O senhor com certeza não deixará de notar vários criados obsequiosos e submissos que, apaixonados por seu próprio vínculo de servidão, vão esgotando seu tempo de vida, igualzinho como fazem os asnos de seus amos, matando-se de trabalhar por nada além de forragem seca só para, quando ficarem velhos, serem despedidos. Pois quero mais é que sejam açoitados esses criados honestos. Outros há que, maquilados com as formas e fantasias do dever, mantêm no entanto seus corações a serviço de si mesmos e, cobrindo seus amos e senhores com não mais que demonstrações de servitude, prosperam por seu lado; e, quando forraram os bolsos, prestam homenagem a si próprios. Esses sujeitos têm alguma alma, e uma alma assim tenho eu, é o que lhe declaro. Pois, meu senhor, tão certo como o seu nome é Rodrigo, fosse eu o Mouro, não seria Iago. Ao ser dele seguidor, estou seguindo apenas a mim mesmo. Os céus podem me julgar: eu não sou eu por amor e por dever, mas eu pareço ser eu por causa de meu peculiar propósito. E, quando minhas ações aparentes demonstrarem a verdadeira conduta e os verdadeiros contornos de meu coração em formal expressão de cortesia, não se passará muito tempo e estarei abrindo o meu coração para que os urubus dele façam picadinho ... não sou quem eu sou.

Rodrigo – Se conseguir sair ileso dessa, o Lábios Grossos vai ficar devendo sua sorte ao destino.

Iago – Chame o pai dela, faça com que ele acorde, vá atrás dele, envenene seus prazeres, proclame sua presença nas ruas, inflame os parentes dela e, embora ele more num clima fértil, faça com que ele se infeste de moscas; embora sua alegria seja alegria, ainda assim ... joguem-se tais nuances de vexação sobre essa alegria de modo que ela venha a perder o brilho.

Rodrigo – Esta aqui é a casa do pai dela. Vou gritar por ele.

Iago – Faça-o. Com tom de voz tão tímido e berro tão medonho como aqueles com que, por causa da noite e da negligência, o incêndio é avistado em cidades populosas.

Rodrigo – Ei, alô, Brabâncio! Signior Brabâncio, alô!

Iago – Acordai-vos! – Ei, alô, Brabâncio! Ladrões! Ladrões! Ladrões! Vigie a sua casa, a sua filha e as suas bolsas de dinheiro! Ladrões! Ladrões!

Brabâncio aparece acima, numa janela.

Brabâncio – Qual é a causa desse terrível chamado? Qual é o problema aqui?

Rodrigo – Signior, está toda a sua família em casa?

Iago – Estão as vossas portas trancadas?

Brabâncio – Por quê? Qual o motivo dessas perguntas?

Iago – Meu senhor, pelas feridas de Cristo! O senhor foi roubado! Que humilhação! Vá vestindo a sua toga. O seu coração foi arrombado; o senhor acaba de perder metade de sua alma. Neste instante mesmo, agora, agorinha, um bode preto e velho está cobrindo sua branca ovelhinha. – Levantai-vos, rebelai-vos! – Acorde com o toque do sino os cidadãos que ora roncam, pois do contrário o diabo vai lhe dar netos. – Levantai-vos contra isso, digo eu.

Brabâncio – Mas o que é isso? Perdeste o juízo?

Rodrigo – Ilustríssimo signior, o senhor reconhece minha voz?

Brabâncio – Eu não. Quem és tu?

Rodrigo – Meu nome é Rodrigo.

Brabâncio – Pois não te dou as boas-vindas. Eu mesmo te instruí a parar de rondar a minha casa. Com a maior franqueza, tu me ouviste dizer que minha filha não é para ti. E, agora, ensandecido, afrontado depois da ceia e perturbado pela bebida, me apareces aqui com essa patifaria cheia de maldade e vens interromper meu descanso.

Rodrigo – Senhor, senhor, senhor, ...

Brabâncio – Mas devo assegurar-te que minha força de espírito e minha posição na sociedade têm por si só o poder de tornar essa experiência amarga para ti.

Rodrigo – Tenha paciência, meu bom senhor.

Brabâncio – Por que vens me falar de roubo? Estamos em Veneza. Minha casa não é uma granja qualquer.

Rodrigo – Venerável Brabâncio, venho ter com o senhor de alma limpa, de coração puro.

Iago – Pelas feridas de Cristo, senhor, sei que o senhor é uma dessas pessoas que não serve a Deus se o Diabo ordenar-lhe que assim o faça. Só porque nós viemos lhe fazer um favor e o senhor pensa que somos dois desordeiros, terá um cavalo berbere cobrindo sua filha; terá seus sobrinhos relinchando para o senhor; terá corcéis por primos e ginetes por parentes.

Brabâncio – Que tipo de canalha blasfemo és tu?

Iago – Um canalha, senhor, que vem lhe participar que sua filha e o Mouro estão neste exato momento fazendo a figura da besta com duas costas.

Brabâncio – És um verme.

Iago – E o senhor, um senador.

Brabâncio – Vais responder por isso. Eu te conheço, Rodrigo.

Rodrigo – Senhor, eu respondo a qualquer coisa. Mas lhe pergunto se é de sua vontade e com seu douto consentimento, como eu em parte acho que é, que sua linda filha, em horas tão tardes da noite, em tediosa noite de vigília, foi transportada por um guarda nem melhor nem pior que um criado de aluguel, um gondoleiro, até o abraço bruto de um Mouro lascivo. Se o senhor é sabedor de tal fato e com ele consente, então estamos cometendo uma tremenda e insolente injustiça para com o senhor. Mas, se o senhor desse fato não tem conhecimento, a boa-educação me diz que fomos pelo senhor indevidamente repreendidos. Não creia que, mesmo faltando-me todo e qualquer senso de civilidade, eu estaria assim brincando e debochando de sua ilustre e respeitada pessoa. Sua filha, se é que não recebeu a sua permissão, digo-lhe mais uma vez, rebelou-se de modo grosseiro, vinculando sua submissão, sua beleza, sua inteligência e seus dotes a um estranho extravagante e errático tanto por aqui como em qualquer outro lugar. Mas dissipe suas dúvidas neste minuto mesmo. Se ela estiver em seus aposentos ou ainda em outro canto de sua casa, senhor, que me persiga a justiça do Estado por tentar enganá-lo dessa maneira.

Brabâncio – Acendam o pavio! Alô! Passem para cá um círio! Chamem o meu pessoal! – Este acidente não é diferente do meu sonho. Acreditar nele já me vai oprimindo. – Luz, estou dizendo! Luz!

[Sai da sacada, entrando em casa.]

Iago – Adeus, pois devo deixá-lo. Dada a minha posição, não me parece nem apropriado nem saudável que eu seja chamado para me apresentar contra o Mouro ... o que inevitavelmente acontecerá se eu aqui ficar. Conheço bem como funciona o Estado: por mais que possam esfolar-lhe a pele com alguma reprimenda, não podem dele prescindir por questões de segurança. Ele foi encarregado das guerras em Chipre, que ainda agora se desenrolam, e foi delas encarregado por motivos tão clamorosos que, pelas almas dos estadistas, eles não têm outro líder de sua estatura para levar adiante essa empreitada. Tendo isso em vista, embora eu o odeie tanto quanto odeio os piores castigos do inferno, ainda assim, dadas as necessidades das presentes circunstâncias, devo desfraldar a

Avaliações de Otelo

[bookomaniac-1 · Nota: 4 de 5 estrelas]

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

[meandmybooks-1 · Nota: 4 de 5 estrelas]

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 · Nota: 4 de 5 estrelas]

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 · Nota: 5 de 5 estrelas]

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.

[alcracka · Nota: 4 de 5 estrelas]

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.

[tjwilson_1 · Nota: 3 de 5 estrelas]

I never thought I would give Shakespeare three stars out of five. There is something eerie about it. All I have to say is that Othello, being a wonderful general and seaman, becomes a very unbelievable character once he murders his wife. Such emotional and intellectual swings in this book!

I did like Desdemona and Emilia's discussion about infidelity and femininity. That was probably the best part. Ah well.

[wispywillow · Nota: 3 de 5 estrelas]

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.

[krizia_lazaro_3 · Nota: 3 de 5 estrelas]

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.

[shanaqui_1 · Nota: 4 de 5 estrelas]

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.)

[leslie398 · Nota: 3 de 5 estrelas]

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.

[kirmuriel-1 · Nota: 4 de 5 estrelas]

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.

[kriegs-2 · Nota: 5 de 5 estrelas]

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.

[amerynth · Nota: 4 de 5 estrelas]

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.

[katieloucks · Nota: 5 de 5 estrelas]

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

[jpsnow · Nota: 4 de 5 estrelas]

It's hard to review Shakespeare in a way that's worthy. I'll simply add my observation: so basic and so base.

[jwhenderson_1 · Nota: 5 de 5 estrelas]

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.

[smiley_13 · Nota: 3 de 5 estrelas]

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.

[nikkles_1 · Nota: 4 de 5 estrelas]

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.

[rybeewoods · Nota: 3 de 5 estrelas]

My first expereince in Shakespeare. I didn't know what to expect, but in the end I really enjoyed it. I was pleasently surprised.

[therebelprince · Nota: 5 de 5 estrelas]

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.

[john257hopper · Nota: 4 de 5 estrelas]

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 · Nota: 4 de 5 estrelas]

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

[ayling_52 · Nota: 5 de 5 estrelas]

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.

[wealhtheowwylfing · Nota: 4 de 5 estrelas]

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.

[bookconcierge · Nota: 4 de 5 estrelas]

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.

[bookworm12_1 · Nota: 5 de 5 estrelas]

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.  

[norabelle414 · Nota: 3 de 5 estrelas]

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

[soonercatholic · Nota: 5 de 5 estrelas]

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.

[carolfoasia_1 · Nota: 5 de 5 estrelas]

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

[joririchardson · Nota: 4 de 5 estrelas]

This tragic play by Shakespeare is one that I read as a child, but didn't quite understand. So last night in Barnes & Noble's, I decided to re-read it.This is the story of a Venetian nobleman named Othello, a Moor from Northern Africa, who made his way from slavery to wealth and power. His sad story and noble character inspire Desdemona, a beautiful young woman, to fall in love with him. The two hastily marry in secret, to the disapproval of many. Othello's personal attendant, a man named Iago, is meanwhile hunting for a way to bring about his master's ruin. Iago feels that Othello promoted another man to a higher position that should have been his, and dwells on a rumor that Othello slept with his wife. For this, he actively and purposefully sets out to usher in Othello's destruction. He plants doubts in Othello's mind about his wife's faithfulness, and goes to great lengths to set up an entire story of her alleged affair. Though Othello believes his wife to be loyal, he eventually allows the smallest doubt to creep into his mind, which Iago coaxes into certainty with his clever words and twisting of events.Eventually, Othello decides that he must kill Desdemona and her supposed lover.This play was, indeed, very tragic and sad. I would even go so far as to say that it is the saddest Shakespeare play I have ever read. For some reason, the idea of a perfect couple being torn apart by an outsider seemed even more horrible than the "Romeo and Juliet" plot line.I thought at one point in the story: Poor Othello, poor Desdemona, poor Cassio! Really, all of the characters played out a very unfortunate story, and met an equally unfortunate end, all because of one scheming man.This man is Iago, who everyone believes to be a loyal, mostly good individual, even if he does have a negative view on women, as is witnessed by his wife and Desdemona. Iago has heard rumors that Othello slept with his wife, Emilia. He has no proof, and he never tells us where exactly he heard these rumors. In fact, he seems more interested in picturing his wife cheating than actually trying to discover if the rumors are true or not. With this already in his mind, he takes the advancement of Cassio as the last straw. Cassio is a younger, less experienced man, who has just been promoted in the army. Iago feels that he deserves the job, and that it was wrong of Othello to forget him.Though he never voices this like his other complaints, Iago also seems to have a racist grudge against Othello, who is black. At the time, serving under a black man would have been unusual and controversial, and Iago makes a few snide remarks in the beginning that pertain to Othello's race, mostly in the form of name-calling.So Iago does not like Othello.But he takes it much farther than a simple dislike toward someone. He truly hates the man, he loathes him, he obsesses day and night over how to bring about his ruin. This is not done over just a few days, and nor does Iago simply come up with one plan and go through with it.Iago's plans are complex and extremely involved, taking enormous effort. Because his plans are so complicated and rely heavily on how others react to them, Iago's plots must adapt constantly, and require much quick-thinking.Iago has a way with words. Simple everyday acts like greeting someone politely, laughing, walking, or making a new friend are twisted into terrible acts of wickedness by his silver tongue. Shakespeare uses Iago's character to do what he does best: clever dialogue, which no can do quite like him, still to this day.An example of this is the scene in which Iago tells Othello to listen to him speak to Cassio (who is supposedly cheating with Desdemona, Othello's wife). Iago asks Cassio about his whore, knowing that Cassio will assume he is referring to Bianca, who actually is a whore and can thus be accurately referred to as one. Iago also knows that Othello, listening, will assume that Iago is referring to Desdemona, who is not a whore, and thus is being insulted. Cassio speaks lightly of her, laughing, just as men normally do when speaking of their latest conquest. However, Othello takes this to mean that Cassio is shameless and thinks that cheating with his master's wife is a joke.Scenes like this are scattered through-out the play, and if the topic at hand weren't so grave, they would be extremely funny in how witty they are. Othello is a Moor (meaning that he is from northern Africa) who is honorable, respectful, and logical. He does not seem like a jealous man, and at first is doubtful that Iago can possibly be right about Desdemona's unfaithfulness. However, I believe that even a trusting man married to an angel would have eventually grown suspicious with Iago's tricky words leading him on.Othello also shows himself, farther on in the story, to be very passionate, which was actually what made Desdemona attracted to him in the first place. Yet another sad little fact: The thing that made her fall in love with her husband is also what ruins their relationship. Othello becomes utterly enraged by the idea of another man touching his wife, and the thought consumes him as he does his best to dismiss it. By the time Iago is done, Othello completely believes the story he has been told, and is driven even to murder.Cassio, yet another of Iago's victims, is another character whose life is ruined simply by Iago's word choice. One day, he is a handsome, charismatic young ladies man who has just been promoted to a prestigious new title. But the next day, he has been falsely labeled a drunkard and a brawler, is thought to be an adulterer, and has two men scheming out how to murder him.Iago's third victim would be Desdemona, a pretty young rich girl who fell in love with Othello despite the public opinion that they were an ill match. She risks and endures her father's disownment of her just to be with Othello, only to have her romance torn apart by Iago's lies. The injustice of it all is a sense that is strongly felt through-out the play, particularly in the scenes involving Desdemona, due to her innocence.Desdemona is completely unaware of the schemes being plotted against her, and the suspicions that her husband is needlessly drawing up about her.She struck me as naive, angelic, and very sweet. This cherubic character only served to make the audience pity her even more.At the end, when Othello voices his thoughts about her cheating, she remains devoted to him, a touching and heartbreaking scene.I think that every single character in this play suffers in some way (mostly in a very large way) due to Iago. Jealousy is a prominent theme here. Iago is jealous of almost everyone, seeing himself as deserving of whatever pleasures they may have. He uses other men's admiration of Desdemona's beauty to prod them into jealousy over Othello (who is certainly sleeping with her, since he is her husband) or of Cassio (who is allegedly sleeping with her just because Iago says so). Understanding jealousy inside and out and being an apparent expert on the subject, Iago skillfully weaves other men's jealousy into yet another way of getting what he wants.Though the entire play is about jealousy and cheating, it appears that none of the characters actually ever cheat.The first woman who is accused of cheating by Iago is his wife, Emilia, but this is presumably not true. No evidence to it being true is ever even hinted at.The next is, of course, Desdemona, who is unquestionably innocent. This is a sad play that sets off Shakespeare's style and abilities perfectly. I would recommend it highly.