By William Shakespeare

Shakespeare shines a fierce highlight at the jealous middle and on our attitudes towards the outsider. a narrative of its time and for our time, packed with terror and wonder, Othello is pressing, gripping, radical, and beautiful.

Under the editorial supervision of Jonathan Bate and Eric Rasmussen, of today’s so much comprehensive 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; statement on previous and present productions in keeping with interviews with top administrators, actors, and architects; scene-by-scene research; key evidence concerning the paintings; a chronology of Shakespeare’s lifestyles and occasions; and black-and-white illustrations.

Ideal for college kids, theater pros, and normal readers, those glossy and available variations from the Royal Shakespeare corporation set a brand new common in Shakespearean literature for the twenty-first century.

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Additional resources for Othello (Modern Library Classics)

Sample text

Signior Brabantio, ho! IAGO Awake! What, ho! Brabantio, thieves, thieves! Look to your house, your daughter and your bags83! Thieves, thieves! BRABANTIO What is the reason of this terrible summons? Above85 At a window What is the matter there? RODORIGO Signior, is all your family within? IAGO Are your doors locked? BRABANTIO Why? Wherefore89 ask you this? IAGO Sir, you’re robbed. For shame, put on your gown90! Your heart is burst, you have lost half your soul: Even now, now, very now, an old black ram92 Is tupping93 your white ewe.

Shakespeare’s fluidity of composition accords well with this convention, so in addition to act and scene numbers we provide a running scene count in the right margin at the beginning of each new scene, in the typeface used for editorial directions. Where there is a scene break caused by a momentary bare stage, but the location does not change and extra time does not pass, we use the convention running scene continues. There is inevitably a degree of editorial judgment in making such calls, but the system is very valuable in suggesting the pace of the plays.

A minority of scholars believe, to the contrary, that the Quarto preserves a cut text. The Folio seems closer to playhouse practice. 128–47), which serves to clarify matters for the audience, and a new extended simile for Othello at the climax of the temptation scene (“Like to the Pontic Sea… ”), which serves to convert Iago’s oath to the stars and elements into a cruel parody of Othello’s rhetoric. It is possible that the experience of symmetrical staging, with both characters kneeling, required a rewrite creating symmetrical speeches.

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