~~~What They Think of Shakespeare & Othello~~~
Monday, January 17, 2011
Let's Play OTHELLO.......
How to Play Othello
Othello is the name for an abstract strategy board game that involves play by two players on an eight-by-eight square grid with pieces that are black and white. Black always goes first. Each player starts with two pieces on the board in the center. The object of the game is to have more of your color on the board then your opponent at the end of the game.Here is the Link: http://www.nickyee.com/flash/othello.html
ENJOY!!!!!!
Sunday, January 16, 2011
Othello: character
Some issues that can be seen in Othello: Racistism
Characters of Othello.
Called as non-white, the colors of Othello had been disputed and because we imagine as we read, and it give us some understanding of the play.
In the introduction from the book Othello edited by M.R Ridley, he quoted Coleridge. " It would be monstrous to conceive this beautiful Venetian girl falling in love with a veritable Negro. It would be argue a disproportionateness, a want of balance, in Desdemona, which Shakespeare does not appear to have in the least contemplated."
Othello is describe as a tragic hero. A man of noble birth and by fate of his own doing . The flaw in the character ia a defect which keep him from being aware of the situation around him. He do not understand and oblivious his part in the situation.
Now aday, it is not an issue if two from different colors to be together. but in Elizabethan era, it is clearly an issue.
In the text from the play [act I ScI] "(as partly I find it is) that your fair daughter,
at thus odd-even and dull watch o'the night, transported with no worse nor better guard,
But with a knave of common hire, agondolier, to the gross clasps of a lascivious Moor."
Is shakerspeare a racist? i will post again about this issue based on the text excerted from the play, and some issues in relevence to Othello and the character Othello.
Characters of Othello.
Called as non-white, the colors of Othello had been disputed and because we imagine as we read, and it give us some understanding of the play.
In the introduction from the book Othello edited by M.R Ridley, he quoted Coleridge. " It would be monstrous to conceive this beautiful Venetian girl falling in love with a veritable Negro. It would be argue a disproportionateness, a want of balance, in Desdemona, which Shakespeare does not appear to have in the least contemplated."
Othello is describe as a tragic hero. A man of noble birth and by fate of his own doing . The flaw in the character ia a defect which keep him from being aware of the situation around him. He do not understand and oblivious his part in the situation.
Now aday, it is not an issue if two from different colors to be together. but in Elizabethan era, it is clearly an issue.
In the text from the play [act I ScI] "(as partly I find it is) that your fair daughter,
at thus odd-even and dull watch o'the night, transported with no worse nor better guard,
But with a knave of common hire, agondolier, to the gross clasps of a lascivious Moor."
Is shakerspeare a racist? i will post again about this issue based on the text excerted from the play, and some issues in relevence to Othello and the character Othello.
The text below is taken from the Google site, there are a lot of text wrriten on this topic.
Racism is an issue in Othello, a story of black versus white, and deals with the idea of a black hero and a white nemesis.
Racism is an issue in Othello, a story of black versus white, and deals with the idea of a black hero and a white nemesis.
Othello is a story of black and white. Perhaps black versus white would be more accurate. This battle takes place on two different levels. There is the battle of good versus evil. That always is seen as black versus white. Yet, this is also a personal battle, of a white man and a black man. Shakespeare’s twist of fate is that he has made the good represented by black, and evil represented by white. Whether it be simply irony, or an attempt on Shakespeare to make a political statement about race, you are constantly reminded of this one decision consistently throughout the story of Othello.
A man of African heritage is typically portrayed in Elizabethan literature in a negative light, yet is allowed to shine in Othello. From the onset of this story, Othello is depicted as a true hero. He is a great general and a great man. Like any Elizabethan hero, he is flawed; his nobility and honesty permits Iago to use his deceitful ways. Whereas a black person would normally be used in Elizabethan literature to represent the darkness, Iago’s absolute evil takes on that role. One idea that does not change is the idea of purity. Desdemona represents purity in its truest form; a young beautiful white female.
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The play opens with Iago proclaiming his hatred for Othello. Iago has been passed up for a promotion, which went to a less experienced man. Othello, whom is Iago’s master has made this decision, which Iago obviously does not agree with.
This seems to be the only reason for Iago to detest Othello, but his anger stretches beyond this into personal attacks. Iago refers to Othello’s "thick-lips" (I.i.66) and to him as "an old black ram" (I.i.88-89). His hatred may have started on a professional level, but in part due to Othello’s heritage, Iago’s contempt quickly deteriorates to racism. This brings about a reoccurring paradox in Othello. While an extremely powerful man in a political context, his race makes him inferior in a white man’s society. Iago is able to trick his master and manipulate him on a consistent basis.
Since Iago has no real foundation for this hatred, he needs to invent new reasons to hate Othello. He forms the idea in his own mind that Othello is sleeping with his wife. While this is obviously untrue, it helps give Iago a reason to despise Othello for other than the color of his skin. His anger is quite obvious when he lashes out with the statement "hell and night / must bring this monstrous birth to the world's light" (I.iii.397-98). Not only does this outburst show Iago’s contempt for Othello, it clearly shows the ironic switching of color once again. He refers to himself as hell and night, while Othello is the world’s light.
Iago’s evil plan to destroy Othello starts to take hold. The seeds of jealousy that Iago has planted over the last several chapters finally start to bloom. Othello is planning on taking the life of his beloved Desdemona for what he believes to be her infidelity. Othello starts to lose his humanity, and takes on the mentality of a savage. One can make the symbolic link between his ‘savage’ behavior and that of his ancestry. The only thing that keeps Othello as a man is love. With Othello believing the love is gone, he no longer has a need to be a man. Word of nobility has been replaced with profanity normally reserved for the dialogue of Iago.
As the conclusion of the play unfolds, we wind up with Cassio injured, Desdemona dead, and Iago’s wife dead as well. Othello has taken the life of his wife, and had unsuccessfully tried to kill Cassio, due to Iago’s manipulation. On the other hand, Iago killed his own wife in cold blood publicly for unveiling his evil doings.
When Othello’s love is restored, although a little too late, his nobility returns as well. One must wonder then why Othello takes his own life. It can be argued that while Othello possessed all that he did, he did not possess the ability to keep what he had. In a perfect world, love would have been enough for Othello to live happily ever after. However, Elizabethan literature hardly depicts such a world.
If Othello had been white, would he have rode off into the sunset to start again? When he states that he wished to be remembered as one who "loved not wisely but too well"(V.ii.344), he seems concerned about the image people would have of him. Perhaps he is worried that the limitations he has faced thus far due to his heritage will taint him once more when he must face the law for his crimes. If that were the case, then the only person to be able to judge him fairly would be God, and he simply went to find justice.
A man of African heritage is typically portrayed in Elizabethan literature in a negative light, yet is allowed to shine in Othello. From the onset of this story, Othello is depicted as a true hero. He is a great general and a great man. Like any Elizabethan hero, he is flawed; his nobility and honesty permits Iago to use his deceitful ways. Whereas a black person would normally be used in Elizabethan literature to represent the darkness, Iago’s absolute evil takes on that role. One idea that does not change is the idea of purity. Desdemona represents purity in its truest form; a young beautiful white female.
google_protectAndRun("ads_core.google_render_ad", google_handleError, google_render_ad);
The play opens with Iago proclaiming his hatred for Othello. Iago has been passed up for a promotion, which went to a less experienced man. Othello, whom is Iago’s master has made this decision, which Iago obviously does not agree with.
This seems to be the only reason for Iago to detest Othello, but his anger stretches beyond this into personal attacks. Iago refers to Othello’s "thick-lips" (I.i.66) and to him as "an old black ram" (I.i.88-89). His hatred may have started on a professional level, but in part due to Othello’s heritage, Iago’s contempt quickly deteriorates to racism. This brings about a reoccurring paradox in Othello. While an extremely powerful man in a political context, his race makes him inferior in a white man’s society. Iago is able to trick his master and manipulate him on a consistent basis.
Since Iago has no real foundation for this hatred, he needs to invent new reasons to hate Othello. He forms the idea in his own mind that Othello is sleeping with his wife. While this is obviously untrue, it helps give Iago a reason to despise Othello for other than the color of his skin. His anger is quite obvious when he lashes out with the statement "hell and night / must bring this monstrous birth to the world's light" (I.iii.397-98). Not only does this outburst show Iago’s contempt for Othello, it clearly shows the ironic switching of color once again. He refers to himself as hell and night, while Othello is the world’s light.
Iago’s evil plan to destroy Othello starts to take hold. The seeds of jealousy that Iago has planted over the last several chapters finally start to bloom. Othello is planning on taking the life of his beloved Desdemona for what he believes to be her infidelity. Othello starts to lose his humanity, and takes on the mentality of a savage. One can make the symbolic link between his ‘savage’ behavior and that of his ancestry. The only thing that keeps Othello as a man is love. With Othello believing the love is gone, he no longer has a need to be a man. Word of nobility has been replaced with profanity normally reserved for the dialogue of Iago.
As the conclusion of the play unfolds, we wind up with Cassio injured, Desdemona dead, and Iago’s wife dead as well. Othello has taken the life of his wife, and had unsuccessfully tried to kill Cassio, due to Iago’s manipulation. On the other hand, Iago killed his own wife in cold blood publicly for unveiling his evil doings.
When Othello’s love is restored, although a little too late, his nobility returns as well. One must wonder then why Othello takes his own life. It can be argued that while Othello possessed all that he did, he did not possess the ability to keep what he had. In a perfect world, love would have been enough for Othello to live happily ever after. However, Elizabethan literature hardly depicts such a world.
If Othello had been white, would he have rode off into the sunset to start again? When he states that he wished to be remembered as one who "loved not wisely but too well"(V.ii.344), he seems concerned about the image people would have of him. Perhaps he is worried that the limitations he has faced thus far due to his heritage will taint him once more when he must face the law for his crimes. If that were the case, then the only person to be able to judge him fairly would be God, and he simply went to find justice.
Synopsis
In a street in Venice, the villain Iago complains to Roderigo that Othello the Moor chose Cassio to be his lieutenant, rather than Iago. Iago vows to stay loyal to Othello only as long as it works to his advantage. They then inform Barbantio that his daughter Desdemona is sleeping with Othello. Barbantio hesitates to believe them, since Roderigo has been an unwelcome suitor to his daughter, but he soon finds she is missing. At Othello's house, Cassio and other officers arrive summoning Othello to the Duke of Venice on urgent matters. Barbantio then arrives and orders Othello arrested, until he learns of the Dukes summons. At the Duke's chambers, Barbantio accuses Othello of using spells and potions to win Desdemona. He, however, proves this is not so, and Barbantio reluctantly blesses their marriage. We then learn that the Turkish fleet (the Ottomites) is sailing toward Cypress. The Duke asks Othello to go defend it, and Desdemona asks to come with. Othello asks Iago to take care of Desdemona and follow him to Cyprus. Roderigo laments to Iago that he has lost Desdemona since Othello has married her. Iago convinces Roderigo to make money by selling his lands and fighting in wars. Over time, Iago feels Othello will tire of Desdemona and she will again become available. Iago, for his own part, reveals to the audience that he is only using Roderigo for his money. He also begins to plot his revenge against Othello for choosing Cassio.
At Cyprus, the governor Montano reports that a tempest has droned the Turkish fleet, effectively eliminating their threat. Next, Cassio arrives, then Iago, his wife Emilia, and Desdemona, and lastly, Othello. In private, Iago tells Roderigo he believes Desdemona is in love with Cassio, based on their flirting before Othello arrived. He convinces Roderigo to pick a fight with Cassio to get Cassio in trouble with the local authorities. Alone, Iago reveals his plans to make Othello jealous of Cassio and/or Roderigo for courting Desdemona. That evening, after supper, Othello and Desdemona head to bed, while Iago arrives with wine, hoping to get Cassio drunk. He does, then Roderigo eggs him on, and a fight ensues, pulling Montano into the melee. Othello breaks it up, and after Iago explains (pretending not to know Roderigo), Othello tells Cassio he is no longer his lieutenant. Privately, Iago convinces Cassio to entreat Desdemona to ask Othello to reinstate him. Alone, Iago reveals that he'll use their private meetings to convince Othello that Desdemona is disloyal.
At the Citadel (Othello's lodging), Cassio entreats Desdemona to help him. When Iago and Othello appear in the distance, Cassio leaves. Desdemona relays Cassio's penance, then leaves herself. Iago begins dropping hints of his "suspicions" about Cassio and Desdemona to Othello, to which Othello probes Iago for his thoughts, and Iago pretends to reluctantly reveal them. Thus, Iago plants the seed that Desdemona is being disloyal to Othello. All throughout, Othello keeps stating how he genuinely believes Iago is of "exceeding honesty". Iago leaves and Desdemona appears calling Othello to dinner. He, already becoming (wrongly) suspicious, is rude to her when she tries to cure his "headache" with her handkerchief, given to her by Othello as his first gift to her. They leave, and Emilia appears and picks up the handkerchief, remembering that her husband Iago has asked her to steal it repeatedly before. Iago appears and takes it from her; then privately states that he'll plant it at Cassio's room to fuel Othello's suspicions. Othello reappears, and reveals to Iago how greatly depressed he has become. Othello yells at Iago and demands proof of the suspicions which Iago has planted in his head. Iago then claims he has heard Cassio talk of his love for Desdemona in his sleep. Iago also claims he's seen Cassio wipe his beard with Desdemona's handkerchief. This being the final straw, Othello names Iago his lieutenant and orders Iago to kill Cassio within the next three days. As for Desdemona, Othello wishes her dead too. In her room, Desdemona and Emilia look for the lost handkerchief. Othello appears and claims to have a cold and asks to see it. Desdemona says she doesn't have it, but promises it is not lost. Othello, enraged, leaves. Cassio again appears and entreats Desdemona to talk to Othello. She tells him she has tried, but Othello has become irritable. Cassio's mistress Bianca appears and he asks her to copy the handkerchief he found in his room (Desdemona's), since he likes it, but fears someone will ask for it soon.
At his chamber, Iago eggs Othello on more as Othello slowly goes crazy, since Iago tells him Cassio admitted sleeping with Desdemona. Iago rejoices as Othello goes into a seizure/trance. Iago convinces Othello to hide while he questions Cassio about Desdemona. In reality, Iago plans to speak to Cassio about Bianca, eliciting laughter and smiles. Othello sees this and thinks they are talking about escapes with Desdemona. Bianca then appears, enraged, and throws the handkerchief at Cassio, accusing him of getting it from another lady. This, too, Othello sees. After Cassio and Bianca leave, Iago comes to Othello and convinces him to strangle Desdemona in bed that night, while Iago promises to take care of Cassio. The noble Lodovico from Venice arrives at Cyprus and gives Othello a letter. Already angered, the letter enrages Othello as it orders him home to Venice and Cassio to remain in Cyprus, taking over Othello's command. Desdemona tries to calm him and he strikes her, shocking Lodovico. Iago tells him Othello has changed, but will not reveal more. At the citadel, Othello questions Emilia about Desdemona's honesty; she swears Desdemona is honest, though Othello summons Desdemona and accuses her of being disloyal and a shore, all while himself weeping. When Othello leaves, Desdemona summons Iago and Emilia to comfort her. Emilia tells Iago she belies an evil villain hath put the thoughts into Othello's head. Ironically, Iago replies "it is impossible". Separately, Roderigo comes to Iago complaining that he has given Iago all his jewels to give to Desdemona, and has seen no positive results from her. Iago calms him down and explains that Othello and Desdemona are leaving, by order of Venice, and Cassio will take over in Cyprus. However, Iago says, if Cassio were to die, Othello would have to stay in Venice, and Roderigo would be able to have Desdemona. Iago tells Roderigo to wait outside Bianca's house after midnight, then kill Cassio when he leaves. Iago promises to help, if necessary. At supper, Lodovico and Othello go on a walk, and Othello orders Desdemona to wait, alone, in her bedroom for him.
At night, in a street, Iago sets Roderigo up to kill Cassio. Iago thinks to himself that both must die, or his plotting will be revealed. Cassio appears and Roderigo attacks him, cutting off one of Cassio's legs, during which Cassio wounds Roderigo. Othello overhears Roderigo's cries for help and thinks Cassio is dead; he thus returns to Desdemona. Meanwhile, Iago, who had left, reappears to "investigate" the noise. Lodovico and Gratiano also come. Iago finds Cassio, who's still alive. Alone, he finds Roderigo and stabs him, assuring his death. Iago then "discovers" Roderigo and calls the others. Bianca appears and Iago accuses her of being in cohorts with Roderigo. He calls her a strumpet and takes her into custody. Othello then arrives back at Desdemona's chamber, ready to kill her, even though he still finds her beautiful. Despite her pleadings, he smothers her with a pillow, though she doesn't completely die. Emilia appears and tells Othello that Roderigo is dead, but Cassio is alive. She then hears Desdemona cry for help and tries to help her, but she dies. Emilia asks Othello why he killed her and he says Iago told him she had slept with Cassio. Montano, Gratiano, and Iago appear and Emilia accuses Iago of being a liar. He admits he told Othello Desdemona was sleeping with Cassio. Gratiano tells us Desdemona's father has died over the grief of losing her. Othello explains that Cassio had Desdemona's handkerchief, given to him by her, but Emilia laments that she found it and gave it to Iago. At this, Iago tries to kill Emilia, but Gratiano and Montano hold him back. Othello, in a rage, comes at Iago, but he escapes and kills his wife (Emilia), then flees. Montano and Gratiano take Othello's sword, then chase Iago. Othello finds another weapon, then Lodovico, Cassio, Montano, and Iago (captured) reappear. This time Othello wounds Iago, but is disarmed. All is revealed as letters explaining Iago's deeds were found on Roderigo, and he, when near death, professed that Iago had put him up to attacking Cassio. In a closing speech, Othello pulls a hidden dagger and kills himself. Fittingly, Lodovico leaves Iago for Cassio to sentence and torture.
taken from;
http://www.online-literature.com/shakespeare/othello/
Sunday, January 9, 2011
An Introductory Reference to works of William Shakespeare and Christopher Marlowe
William Shakespeare
"Shakespeare's works include the 36 plays printed in the First Folio of 1623, listed below according to their folio classification as comedies,histories and tragedies.[188] Two plays not included in the First Folio, The Two Noble Kinsmen and Pericles, Prince of Tyre, are now accepted as part of the canon, with scholars agreed that Shakespeare made a major contribution to their composition.[189] No Shakespearean poems were included in the First Folio.
In the late 19th century, Edward Dowden classified four of the late comedies as romances, and though many scholars prefer to call themtragicomedies, his term is often used.[190] These plays and the associated Two Noble Kinsmen are marked with an asterisk (*) below. In 1896,Frederick S. Boas coined the term "problem plays" to describe four plays: All's Well That Ends Well, Measure for Measure, Troilus and Cressida and Hamlet.[191] "Dramas as singular in theme and temper cannot be strictly called comedies or tragedies", he wrote. "We may therefore borrow a convenient phrase from the theatre of today and class them together as Shakespeare's problem plays."[192] The term, much debated and sometimes applied to other plays, remains in use, though Hamlet is definitively classed as a tragedy.[193] The other problem plays are marked below with a double dagger (‡).
Plays thought to be only partly written by Shakespeare are marked with a dagger (†) below. Other works occasionally attributed to him are listed as apocrypha."
from:
Christopher Marlowe
Dido, Queen of Carthage (c.1586) (possibly co-written with Thomas Nashe)
Tamburlaine, part 1 (c.1587)
Tamburlaine, part 2 (c.1587-1588)
The Jew of Malta (c.1589)
Doctor Faustus (c.1589, or, c.1593)
Edward II (c.1592)
The Massacre at Paris (c.1593)
The play Lust's Dominion was attributed to Marlowe upon its initial publication in 1657, though scholars and critics have almost unanimously rejected the attribution.
[edit]
Poetry
Translation of Book One of Lucan's Pharsalia (date unknown)
Translation of Ovid's Elegies (c. 1580s?)
The Passionate Shepherd to His Love (pre-1593; because it is constantly referred to in his own plays we can presume an early date of mid-1580s)
Hero and Leander (c. 1593, unfinished; completed by George Chapman, 1598)
Tamburlaine, part 1 (c.1587)
Tamburlaine, part 2 (c.1587-1588)
The Jew of Malta (c.1589)
Doctor Faustus (c.1589, or, c.1593)
Edward II (c.1592)
The Massacre at Paris (c.1593)
The play Lust's Dominion was attributed to Marlowe upon its initial publication in 1657, though scholars and critics have almost unanimously rejected the attribution.
[edit]
Poetry
Translation of Book One of Lucan's Pharsalia (date unknown)
Translation of Ovid's Elegies (c. 1580s?)
The Passionate Shepherd to His Love (pre-1593; because it is constantly referred to in his own plays we can presume an early date of mid-1580s)
Hero and Leander (c. 1593, unfinished; completed by George Chapman, 1598)
from:
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