Othello - Knowledge

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covers an estimated 33 hours. Yet this short timeframe does not allow any time for the supposed affair between Desdemona and Cassio to have happened. In support of the short time scheme is the continuous nature of the action: the fleet arrives in Cyprus in the afternoon and the plot against Cassio proceeds that evening into the early morning; Cassio resolves to seek Desdemona's help the following morning, and does so, commencing the long "temptation scene" by the end of which Othello has resolved to kill Desdemona and has ordered Iago to attempt to kill Cassio, all of which happens that same night. And this urgency is underlined by the text: in particular's Iago's concern that if Othello compares notes with anyone else it will become clear that Iago is playing one character against another.

40: 365:, Brabantio's kinsmen Lodovico and Gratiano, and various senators. Othello explains that, while he was invited to Brabantio's home, Desdemona became enamoured of him for the sad and compelling stories he told of his life before Venice, not because of any witchcraft. The senate is satisfied once Desdemona confirms that she loves Othello, but Brabantio leaves, saying that Desdemona will betray Othello: "Look to her, Moor, if thou hast eyes to see. She has deceived her father, and may thee" (Act I, Sc 3). Iago, still in the room, takes note of Brabantio's remark. By order of the Duke, Othello leaves Venice to command the Venetian armies against invading Turks on the island of 300: 2398:

sometimes spliced together from one actor filmed in Italy in one year, and another actor filmed in Morocco the next. Welles uses shadows, extreme camera angles and discordant piano music to force the audience to feel Othello's disorientated view of Desdemona. Cages, grilles and bars are frequent images. And the text is heavily cut: Othello's first words are his speech to the Senators from Act 1 Scene 3. The film was critically panned on its 1955 release (headlines included "Mr Welles Murders Shakespeare in the Dark" and "The Boor of Venice") but was acclaimed as a classic upon its re-release in a restored version in 1992.

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the Ensign (Iago), the Corporal (Cassio) and similar descriptions. In its story the Ensign falls in love with the Moor's wife Disdemona, but her indifference turns his love to hate and in revenge he persuades the Moor that Disdemona has been unfaithful. The Moor and the Ensign murder Disdemona with socks filled with sand, and bring down the ceiling of her bedchamber to make it appear an accident. The story continues until the Ensign is tortured to death for unrelated reasons and the Moor is killed by Disdemona's family.

7356: 1550:, asked about it in an interview, replied "I strongly suspect Shakespeare didn't think about it very much.") And as Michael Neill points out, many of the problems disappear if one supposes that Othello believed Cassio and Desdemona's affair had commenced prior to Othello and Desdemona's elopement. Neill summarises the issue as "no more than a particularly striking side-effect of the general indifference to naturalistic handling of time and space that Shakespeare shared with other dramatists of the period." 1139:"Can we imagine so utterly ignorant as to make a barbarous negro plead royal birth, - at a time, too, when negroes were not known except as slaves? ... and most surely as an English audience was disposed at the beginning of the seventeenth century, it would be something monstrous to conceive this beautiful Venetian girl falling in love with a veritable negro. It would argue a disproportionateness, a want of balance, in Desdemona, which Shakespeare does not appear to have in the least contemplated." 1180:, with Orkin aruging that the introduction's racist undertones supported the regime's educative goals. Karen Newman sharply criticises Ridley's assumption that "a great many people" assume his claims and censures his defence of the ability for a black person to not look "subhuman" involving the projection of a black conductor onto a white general. She additionally views that publising such views in the "widely used" Arden edition "canonizes the prejudices of Rymer and Coleridge". 1847: 633:. Himself a Moor from Barbary, Leo said of his own people "they are so credulous they will beleeue matters impossible, which are told them" and "no nation in the world is so subject vnto iealousie; for they will rather their liues than put vp any disgrace in the behalfe of their women" – both traits seen in Shakespeare's Othello. And from Leo's own life story Shakespeare took a well-born, educated African finding a place at the height of a white European power. From 8002: 2408:, was an attempt to make Shakespeare accessible to "the working man". Yutkevitch had begun his career as a painter and then as a set designer, and his film was widely praised for its pictorial beauty. The director saw his film as an opposite of Welles': where Welles began his film with a sequence from the end of the story, highlighting fate, Yutkevitch began with his Othello's back-story, thereby highlighting his characters' free will. 1966:"Black all over my body, Max Factor 2880, then a lighter brown, then Negro Number 2, a stronger brown. Brown on black to give a rich mahogany. Then the great trick: that glorious half yard of chiffon with which I polished myself all over until I shone... The lips blueberry, the tight curled wig, the white of the eyes, whiter than ever, and the black, black sheen that covered my flesh and bones, glistening in the dressing-room lights." 2948:, sung by Desdemona in Act 4 Scene 3, is not an original creation of Shakespeare's, but was already a well-known ballad. As such it has surviving arrangements from both before and after Shakespeare's time. The version of it thought to be most authentic, because it closely matches the lyric given by Shakespeare, is known as "The Poore Soule Sate Sighing" and is one of the most performed pieces of early modern English music. 315: 1083:, the character Disdemona (the equivalent of Shakespeare's Desdemona) says "I know not what to say of the Moor; he used to be all love towards me; but within these few days he has become another man; and much I fear that I shall prove a warning to young girls not to marry against the wishes of their parents, and that the Italian ladies may learn from me not to wed a man whose nature and habitude of life estrange from us". 6815: 8012: 812: 1032:

news. The racist slurs used by Iago, Roderigo and Brabantio in the play suggest that Shakespeare conceived of Othello as a black African: "thicklips"; "an old black ram is tupping your white ewe"; "you'll have your daughter covered with a Barbary horse"; "the sooty bosom of such a thing as thou" – as do things Othello says of himself: "haply for I am black"; or "begrimed and black as mine own face".

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test Desdemona. There is certainly a contradiction between Othello's assertion – linked to its supposed magical properties – that his mother received the handkerchief from an Egyptian charmer in Act 3 Scene 4, and his later assertion that his father gave it to his mother, made in Act 4 Scene 2. Are we, the audience, intended to believe in the handkerchief's magical properties?

1593:, by his Maiesties seruants". These two theatres had very different features – the former a large outdoor theatre accommodating an audience of 3,000; the latter a private indoor theatre that sat around 700, paying higher prices – and the style of playing would have adapted to these different conditions. The play was performed at 979:

spectrum from lust to spiritual disillusionment within which Othello's obsession must fall. And he displays many accepted aspects of jealousy: an eagerness to snatch at proofs, indulging degrading images of the jealousy's object, snatching at ambiguities to ease the mind, dread of vulgar ridicule, and a spirit of vindictiveness.

390:(the first gift given to her by Othello), Emilia finds it and gives it to Iago at his request, unaware of what he plans to do with it. Othello appears and, then being convinced by Iago of his wife's unfaithfulness with his captain, vows with Iago for the death of Desdemona and Cassio, after which he makes Iago his lieutenant. 378:

angry and drunk Cassio. This leads to their fighting one another and Montano's being injured. Othello arrives and questions the men as to what happened. Othello blames Cassio for the disturbance and strips him of his rank. Cassio, distraught, is then persuaded by Iago to ask Desdemona to persuade her husband to reinstate him.

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in his first outing as a screen villain. The overall effect was to create, in Douglas Brode's words "the tragedy of Iago" – a performance in which Iago's dominance is such that Othello is a foil to him, not the other way around. The film was described as a "fair stab at turning the Bard into a decent

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in a range of different costumes and disguises, including a gorilla suit for part of Act 4 – creating a performance in which everything is (in Ayanna Thompson's words) "conveyed through representational metaphors which render Othello's race less of a stable physical marker and more of a fractured and

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In the world of the play itself, Jyotsna Singh argues that Brabantio's – and others' – objection to Othello, a decorated and respected general, as a suitable husband for Desdemona, a senator's daughter, only makes sense in racist terms: reinforced by the bestial imagery used by Iago in delivering the

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Othello confronts a sleeping Desdemona. She denies being unfaithful, but he smothers her. Emilia arrives, and Desdemona defends her husband before dying, and Othello accuses Desdemona of adultery. Emilia calls for help. The former governor Montano arrives with Gratiano and Iago. When Othello mentions

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was plagued by chaos. A pattern emerged where Welles would collect his cast and crew for filming, then after four or five weeks his money would run out and filming would cease: Welles would then appear in another movie, and using his acting fee would reconvene filming. Scenes in the final movie were

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production, a retired army veteran was employed to teach the cast about ranks, comportment and off-duty behaviours. Another 21st century trend exemplified by that performance is to reduce the focus of the play on Othello's race by having other parts played by actors of colour also. And a third is an

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In spite of Othello's protestations in the first act that no magic was used in his wooing of Desdemona, he later claims magical properties for the handkerchief, his first gift to her. A question which has interested critics is whether he himself believes these stories or is using them to pressure or

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acknowledges the racist sentiments in the play; but vindicates Shakespeare who confines these views to discredited characters such as Iago, Roderigo and Brabantio. He concludes that "in its fine scrutiny of the mechanisms underlying Iago's use of racism, and in its rejection of human pigmentation as

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production. The effect to modern audiences is (in the words of Daniel Rosenthal) "laughably over-the-top" – in keeping with its nature as a filmed stage performance, rather than a performance designed for the screen. The film was a financial success, and earned Oscar nominations for each of Olivier

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was not adapted in this way, although it has often been cut to conform to current ideas of decorum or refinement. These cuts were not limited to removing violent, religious or sexual content, but extended on different occasions to removing references to eavesdropping, to Othello's fit, to Othello's

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But there is also a long time scheme. Iago persuades Othello that Desdemona and Cassio have "the act of shame a thousand times committed"; Emilia says Iago "hath a hundred times" asked her to steal the handkerchief; Bianca complains Cassio has been away from her "a week"; news of the Turkish defeat

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has a double time scheme – meaning that the timeframe of the play does not contain enough time for its action. Its action is continuous from Othello and Desdemona's wedding night, except for the voyage from Venice to Cyprus (during which Cassio and Desdemona are not together) and the time in Cyprus

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The handkerchief provides many examples of how chance operates in support of Iago's plots: Desdemona loses it just when Iago is in need of evidence of the invented affair; Cassio fails to recognise that it is hers; Cassio gives it to Bianca to copy, who throws it back at him at the very moment when

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At Brabantio's first appearance towards the end of the first scene, he asks whether sinister "charms" may have abused "the property of youth and maidenhood" of Desdemona. For him, Desdemona denying her father's right to choose her husband, and choosing a black man for herself, can only be explained

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To a great many people the word “negro” suggests at once the picture of what they would call a “nigger”, the woolly hair, thick lips, round skull, blunt features, and burnt-cork blackness of the traditional nigger minstrel. There are more races than one in Africa, and that a man is black in colour

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This jealousy is symbolized in the play through animal imagery. In the early acts of the play it is Iago who mentions ass, daws, flies, ram, jennet, guinea-hen, baboon, wild-cat, snipe, monkeys, monster and wolves. But from the third act onwards Othello catches this line of imagery from Iago as his

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about love, grouped into ten "decades" by theme. The third decade deals with marital infidelity. Of Cinthio's characters, only Disdemona (the equivalent of Shakespeare's Desdemona – her name means "ill-omened" in Italian) is named – the others are simply called the Moor (the equivalent of Othello),

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Iago refuses to explain his motives, vowing to remain silent from that moment on. Lodovico apprehends both Iago and Othello for the murders of Roderigo, Emilia, and Desdemona, but Othello commits suicide. Lodovico appoints Cassio as Othello's successor and exhorts him to punish Iago justly. He then

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Roderigo unsuccessfully attacks Cassio in the street after Cassio leaves Bianca's lodgings, as Cassio wounds Roderigo. During the scuffle, Iago comes from behind Cassio and badly cuts his leg. In the darkness, Iago manages to hide his identity, and when Lodovico and Gratiano hear Cassio's cries for

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Enraged and hurt, Othello resolves to kill his wife and tells Iago to kill Cassio. Othello proceeds to make Desdemona's life miserable and strikes her in front of visiting Venetian nobles. Meanwhile, Roderigo complains that he has received no results from Iago in return for his money and efforts to

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The party arrives in Cyprus to find that a storm has destroyed the Turkish fleet. Othello orders a general celebration and leaves to consummate his marriage with Desdemona. In his absence, Iago gets Cassio drunk, and then persuades Roderigo to draw Cassio into a fight. Montano tries to calm down an

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The two other songs sung in the play are the drinking songs in Act 2 Scene 3. The first of these, "And Let Me The Cannikin Clink", has no surviving arrangement, although it fits to several extant popular tunes. The other, "King Stephen Was a Worthy Peer", is the seventh of the eight stanzas of the

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Towards the end of the play, Desdemona's goodness increasingly becomes represented by long-suffering martyrdom, perceived as a longstanding sign of acceptable femininity. In place of the headstrong heroine of the opening acts, Desdemona, increasingly stripped of agency, endures her husband's anger

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defined Othello's tragic flaw as a sexual jealousy so intense that it "converts human nature into chaos, and liberates the beast in man ... the animal in man forcing itself into his consciousness in naked grossness, and he writhing before it but powerless to deny it entrance, grasping inarticulate

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As Robert Watson summarises it: "The seemingly endless critical debate about Iago's motivation reflects a truth, rather than a confusion, about the play. ... If it is disturbing to suspect that a devil may be lurking around us in human form, perhaps within our most trusted friend, it is even more

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Iago plants the handkerchief in Cassio's lodgings, then tells Othello to watch Cassio's reactions while Iago questions him. Iago goads Cassio on to talk about his affair with Bianca, a local courtesan, but whispers her name so quietly that Othello believes the two men are talking about Desdemona.

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Shakespeare's source story in Cinthio takes place entirely in the long time scheme: Shakespeare appears to have introduced the shorter time scheme to increase dramatic tension, while also introducing moments where Iago's plot could fall apart – for example if Emilia had given an honest answer to

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who played a "neoclassical hero". In contrast, Kean presented Othello as a man of romantic temperament, and uncontrollable passion. It was also Kean who initiated the so-called "Bronze Age of Othello" by insisting that "it was a gross error to make Othello either a negro or a black" and thereby

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being allocated to the King's Company's repertoire. These patents stated that "all the women's parts to be acted in either of the said two companies for the time to come may be performed by women". The first professional acting appearance by a woman on the English stage was that of Desdemona in

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Sometimes critics have struggled to define the kind of jealousy Othello suffers, or to deny it as a motive (for example, those who claim that in Russia between 1945 and 1957 only one actor portrayed Othello as obsessed by jealousy). In fact jealousy is a wide-ranging emotion and encompasses the

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Symbolically the handkerchief represents the bond between Othello and Desdemona, and its loss the breaking of that bond: Othello blames Desdemona for its loss when in fact he casts it aside while she is trying to use it to help him. The whiteness of the handkerchief is often taken to represent

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suggested that one of the play's morals was "a caution to all Maidens of Quality how, without their Parents consent, they run away with Blackamoors." Rymer, however, dryly observed that another such moral might be "a warning to all good Wives, that they look well to their Linnen" – as such his

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in Calcutta. The casting of the white "Mrs. Anderson" opposite the dark-skinned Indian Baishnav Charan Auddy led to controversy, to polarized reviews, and to a fiasco on the opening night when half of the cast, military men, were prohibited from leaving barracks by order of the Brigadier of

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The word "honest" is used more than 40 times in the play, sometimes with reference to Desdemona's chastity, but in almost all other cases with reference to Iago, where it has a double meaning – as a condescending term for a social inferior, and as a reference to his supposed truthfulness.

1672:. A review of the latter by John Bernard expressed how Barry's Othello "looked a few seconds in Desdemona's face, as if to read her feelings and disprove his suspicions; then, turning away, as the adverse conviction gathered in his heart, he spoke falteringly, and gushed into tears." 1806:

the role of Othello was a career-length project. Salvini always played the role in Italian, even when acting alongside a company performing in English. His conception of the role was of a barbarian with savage and passionate instincts concealed by a thick veneer of civilisation.

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Martin Orkin described Ridley's comments as a "particular strain of racism" with his attempt to dismiss the arguments of others instead helping to "indicate the flavour of his own attitudes". Additional criticism was directed at the Arden 2 edition being the predominant text in

1240:"If a black actor plays a role written for a white actor does he not risk making racial stereotypes seem legitimate and even true ... does he not encourage the white way, or rather the wrong way, of looking at black men, namely that are over-emotional, excitable and unstable." 342:

Iago hates Othello for promoting an aristocrat named Cassio above him, whom Iago considers a less capable soldier than himself. Iago tells Roderigo that he plans to exploit Othello for his own advantage and convinces Roderigo to wake Brabantio and tell him about his daughter's

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Greenhall, Susanne and Shaughnessy, Robert "Our Shakespeares: British Television and the Strains of Multiculturalism" in Burnett, Mark Thornton and Wray, Ramona (eds.) "Screening Shakespeare in the Twenty-First Century" Edinburgh University Press Ltd., 2006 pp.90-112 at

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Lanier, Douglas "Shakespeare on the Record" in Hodgdon, Barbara and Worthen, W. B. (eds.) "A Companion to Shakespeare and Performance", Blackwell Publishing Limited, 2008, pp. 415–435, at p. 424. The stage production is discussed in the section "20th Century"

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as Emilia. Subsequent critics have been less sympathetic to Olivier's performance than his contemporary audience had been, tending to read it as racist. As Barbara Hodgdon expresses it: "Oliver's Othello confirms an absolute fidelity to white stereotypes of blackness."

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Ultimately, Othello becomes persuaded that his honour is tarnished by his wife's unfaithfulness and can only be restored through Desdemona's and Cassio's deaths. And this – a code of behaviour no longer considered valid – is one reason why modern critics rarely regard

1217:, arguing that because "it is possible that Othello actually is a blackened white man" he is not a fully formed character with a psychology but a "white myth or stereotype of black masculinity". Even with that knowledge, Okri writes, "The black person's response to 1821:

played Desdemona she commented on how much Booth's style helped her: "It is difficult to preserve the simple, heroic blindness of Desdemona to the fact that her lord mistrusts her, if her lord is raving and stamping under her nose. Booth was gentle with Desdemona."

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is no reason why he should, even to European eyes, look subhuman. One of the finest heads I have ever seen on any human being was that of a negro conductor on an American Pullman car He was coal-black, but he might have sat to a sculptor for a statue of Caesar.

2723:: with the contrast between Shakespearean verse and African-American dialect a source of racist humour. Indeed, racist parodies were common in the aftermath of the abolition of the slave trade in the UK and, later, in the US: for example Maurice Dowling's 1834 430:

the handkerchief as proof, Emilia realizes what Iago has done, and she exposes him. Othello, belatedly realising Desdemona's innocence, stabs Iago (but not fatally), saying that Iago is a devil, but not before the latter stabs Emilia to death in the scuffle.

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Stanislavski himself first played Othello in 1896. He was dissatisfied with his own performance, later recalling "I was able to reach nothing more than insane strain, spiritual and physical impotence, and the squeezing of tragic emotion out of myself."

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in 1822 a soldier interrupted the performance just before Desdemona's murder, shouting "It will never be said that in my presence a confounded Negro has killed a white woman!" The soldier fired his gun, breaking the arm of the actor playing Othello.

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Howard, Jean E. "Feminist Criticism" in Wells, Stanley and Orlin, Lena Cowen "Shakespeare: An Oxford Guide", Oxford University Press, 2003, pp.411-430 at p.427, in turn citing Lisa Jardine's essay "She sat like Patience on a Monument / Smiling at

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questioned whether the play could even be called a "true tragedy" when it dramatized the inviolable taboo of a white woman in a relationship with a black man. Coleridge, writing in 1818, argued that Othello could not have been conceived as black:

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Albanese, Denise "Black and White and Dread All Over: The Shakespeare Theatre's "Photonegative" Othello and the Body of Desdemona" in Callaghan, Dympna (ed.) "A Feminist Companion to Shakespeare" Blackwell Publishers Limited, 2001, pp.226-247 at

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sets its story in a timeless afterlife of the characters, in which Othello and Desdemona have leisure to talk through all facets of their relationship, and in which Desdemona is reunited with her former maid Barbary, whose actual name is Sa'ran.

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Although not performed in Portugal until the nineteenth century, the play holds of the distinction of being the first of Shakespeare's works to have reached a Portuguese-speaking country, possibly at the request of a Portuguese reader, in 1765.

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Greenhalgh, Susanne "Shakespeare Overheard: Performances, Adaptations, and Citations on Radio" in Shaughnessy, Robert (ed.) "The Cambridge Companion to Shakespeare and Popular Culture", Cambridge University Press, 2007, pp. 175–198, at

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in 1964, his sense of "being black", in his words, required him "to be beautiful" with a voice "dark violet - velvet stuff" and a walk "like a soft black leopard". (The filmed version of this production is discussed under "Screen" below.)

1608:, whose eulogies reveal that he was admired in the role. Moorish characters were conventionally played in turbans, with long white gowns and red trousers, with the actor's face darkened with lampblack or coal. The original Iago was likely 5615:

Gillies, John; Minami, Ryuta; Li, Ruru and Trivedi, Poonam "Shakespeare on the Stages of Asia" in Wells, Stanley and Stanton, Sarah (eds.) "The Cambridge Companion to Shakespeare on Stage", Cambridge University Press, 2002, pp.259-283 at

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Significant critical attention has been devoted to the matter. Notably, Coleridge controversially stated in his notes that "it would be something monstrous to conceive this beautiful Venetian girl falling in love with a veritable negro".

1817:, Stanislavski recalls Salvini's scene before the Senate, saying that the actor "grasped all of us in his palm, and held us there as if we were ants or flies". Booth, in complete contrast, played Othello as a restrained gentleman. When 4511:

Stanton, Kay ""Made to write 'whore' upon?": Male and Female Use of the Word "Whore" in Shakespeare's Canon" in Callaghan, Dympna (ed.) "A Feminist Companion to Shakespeare" Blackwell Publishers Limited, 2001, pp.80-102 at pp.94 &

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Buhler, Stephen M., "Musical Shakespeares: Attending to Ophelia, Juliet, and Desdemona" in Shaughnessy, Robert (ed.) "The Cambridge Companion to Shakespeare and Popular Culture", Cambridge University Press, 2007, pp. 150–174, at

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irrational jealousy takes hold. The same occurs with "diabolical" imagery (i.e. images of hell and devils) of which Iago uses 14 of his 16 diabolical images in the first two acts, yet Othello uses 25 of his 26 in the last three acts.

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played Othello as white, while almost all other speaking parts were played by actors of African descent. The script remained unchanged as regards the character's race, so the white Othello was, throughout, referred to as black.

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Taylor, Neil "National and Racial Stereotypes in Shakespeare Films" in Jackson, Russell (ed.) "The Cambridge Companion to Shakespeare on Film" Cambridge University Press, 2000 pp.261-273 at p.269, in turn quoting Olivier's "On

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Shakespeare's direct sources for the story do not include any threat of warfare: it seems to have been Shakespeare's innovation to set the story at the time of a threatened Turkish invasion of Cyprus – apparently fixing it in

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Booth was also an acclaimed Iago, and his advice to actors of the role was: "to portray Iago properly you must seem to be what all the characters think and say you are, not what the spectators know you to be; try to win even

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called "the vilest affection, and the most depraved; for which cause, it is the proper attribute of the Devil... As it always cometh to pass, that envy worketh subtilly, and in the dark; and to the prejudice of good things."

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Watts, Cedric "Othello's Magical Handkerchief" in Sutherland, John and Watts, Cedric (eds.) "Henry V, War Criminal? & Other Shakespeare Puzzles" Oxford World's Classics series, Oxford University Press, 2000, pp.76-84 at

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in 1996 partly revived Walker's theory, by arguing that the scribe responsible for preparing the manuscript for F had consulted Q whenever the copy was illegible. He also argues that sequences in F but not in Q, such as the

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made Desdemona its focus, and was followed by numerous translations and adaptations, including one with a happy ending. But the most notable version, considered a masterpiece with a power equivalent to that of the play, is

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Shakespeare took the references to the Pontic Sea, to Arabian trees with their medicinable gum, and to the "Anthropophagi and men whose heads do grow beneath their shoulders", elements which also featured in the fantastic

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Marsden, Jean I "Improving Shakespeare: from the Restoration to Garrick" in Wells, Stanley and Siddons, Sarah (eds.) "The Cambridge Companion to Shakespeare on Stage", Cambridge University Press, 2002, pp. 21–36, at

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help, Iago joins them. When Cassio identifies Roderigo as one of his attackers, Iago secretly stabs Roderigo to death to stop him from revealing the plot. Iago then accuses Bianca of the failed conspiracy to kill Cassio.

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adaptations. Among actors, the roles of Othello, Iago, Desdemona, and sometimes Emilia (Iago's wife) are regarded as highly demanding and desirable. Critical attention has focused on the nature of the play's tragedy, its

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Banham, Martin; Mooneeram, Roshni and Plastow, Jane "Shakespeare in Africa" in Wells, Stanley and Stanton, Sarah (eds.) "The Cambridge Companion to Shakespeare on Stage", Cambridge University Press, 2002, pp.284-299 at

468:. Those historical events would however have been well known to Shakespeare's original audience, who would therefore have been aware that – contrary to the action of the play – the Turks took Cyprus, and still held it. 1770:

played Desdemona in 1848 she changed the performance tradition. Previously, Desdemonas had (in her words) "always appeared to me to acquiesce with wonderful equanimity in their assassination" but Kemble, a passionate

1361:, the handkerchief fell to the ground immediately before the interval and remained onstage throughout it, as if – as the reviewer Richard Butler put it – "challenging one of us to pick it up and prevent a tragedy." 1918:'s 1943 Broadway production was considered a theatrical landmark, with Robeson (in the words of Howard Barnes) "making the Moor the great and terrible figure of tragedy which he has so rarely been on the stage." 1307:

and humiliations – even his striking her in public – and eventually, while dying, tries to exonerate him for his murder of her. Others perceive Desdemona's reaction as one of strength and dignity, not passivity.

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is understood as the true and essential nature of women – yet this is constantly shown to be a projection of male imaginations, completely unrelated to the women's perceptions of themselves or to their behavior.

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Taylor, Gary "Shakespeare Plays on Renaissance Stages" in Wells, Stanley and Stanton, Sarah (eds.) "The Cambridge Companion to Shakespeare on Stage", Cambridge University Press, 2002, pp. 1–20 at p. 4.

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are a recurrent feature of both its critical and performance histories: where they once focused on the supposed scandal of miscegenation, they are nowadays more likely to address the play's complicity in racial

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Gay, Penny "Women and Shakespearean Performance" in Wells, Stanley and Stanton, Sarah (eds.) "The Cambridge Companion to Shakespeare on Stage" Cambridge University Press, 2002, pp. 155–173, at p. 157.

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was trailed as an "erotic thriller", including a ritualized love scene between Othello and Desdemona, and, most memorably, Othello's jealous fantasies of encounters between Desdemona and Cassio. Swiss actress

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Orgel, Stephen "Introduction" in Sutherland, John and Watts, Cedric (eds.) "Henry V, War Criminal? & Other Shakespeare Puzzles" Oxford World's Classics series, Oxford University Press, 2000, pp.ix-xvi at

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real but an impersonation, the enactment of Othello's jealous rage and murder of his wife can strike audiences as the embodiment of their own stereotypes of black pathology rather than an actorly performance"

1039:" broadly refers to someone from northwest Africa, especially if Muslim, but in Shakespeare's England "Moor" was used with broader connotations: sometimes referring to Africans of all regions, sometimes to 3148:

Except where otherwise stated, references to other works by Shakespeare are to Wells, Stanley and Taylor, Gary (Eds.) "The Oxford Shakespeare - The Complete Works" Second Edition, Oxford University Press,

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Watson, Robert N. "Tragedy" in Braunmuller, A. R. and Hattaway, Michael (eds.) "The Cambridge Companion to English Renaissance Drama" Second Edition, Cambridge University Press, 2003, pp.292-343 at p.329.

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Green MacDonald, Joyce "Black Ram, White Ewe: Shakespeare, Race, and Women" in Callaghan, Dympna (ed.) "A Feminist Companion to Shakespeare" Blackwell Publishers Limited, 2001, pp.188-207 at p.188 &

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was a "neoclassical refurbishment" of Shakespeare's "barbarous" work. And across continental Europe through most of the eighteenth and nineteenth centuries the play was better known than Shakespeare's in

6160:

Daileader, Celia B. "Nude Shakespeare in Film and Nineties Popular Feminism" in Alexander, Catherine M. S. and Wells, Stanley "Shakespeare and Sexuality" Cambridge University Press, 2001, pp.183-200 at

5382:

Morrison, Michael A. "Shakespeare in North America" in Wells, Stanley and Stanton, Sarah (eds.) "The Cambridge Companion to Shakespeare on Stage", Cambridge University Press, 2002, pp. 230–258, at

2091:

in Christchurch, New Zealand made effective use of a trope (which had had racist overtones when used by earlier European directors) of Othello reverting to his native culture: setting the action in the

1292:, more often than in any other work by Shakespeare, often used (in Kay Stanton's words) as a "male-initiated inscription onto the female as scapegoat." And it is one of only two of the plays (alongside 399:

Later, Bianca accuses Cassio of giving her a second-hand gift which he had received from another lover. Othello sees this, and Iago convinces him that Cassio received the handkerchief from Desdemona.

6494:

Holland, Peter "Shakespeare Abbreviated" in Shaughnessy, Robert (ed.) "The Cambridge Companion to Shakespeare and Popular Culture", Cambridge University Press, 2007, pp. 26–45, at p. 41.

6133:

Chillington Rutter, Carol "Looking at Shakespeare's Women on Film" in Jackson, Russell (ed.) "The Cambridge Companion to Shakespeare on Film" Cambridge University Press, 2000 pp.141-260 at p.257.

5461:

Moody, Jane "Romantic Shakespeare" in Welles, Stanley and Stanton, Sarah (eds.) "The Cambridge Companion to Shakespeare on Stage", Cambridge University Press, 2002, pp. 37–57, at p. 53.

350:

Brabantio, provoked by Roderigo, is enraged and seeks to confront Othello, but he finds Othello accompanied by the Duke of Venice's guards, who prevent violence. News has arrived in Venice that

1281:

The notion of women as property pervades the play. Even after her death, Othello says of Desdemona: "Had she been true, / If heaven would make me such another world / Of one entire and perfect

5443:, and the Motives of Eloquence" in Hodgson, Barbara and Worthen, W. B. (eds.) "A Companion to Shakespeare and Performance", Blackwell Publishing Limited 2008, pp. 267–284, at p. 267. 1664:

Among seventeenth- and eighteenth-century actors praised for expressing the nobility of the Moor – and fully exploring the degrading passions which lead to the brutal murder he commits – were

1100:"For this noble lady, who regarded the mind more than the features of men, with a singularity rather to be admired than imitated, had chosen for the object of her affections a Moor, a black." 4493:: A Modern Perspective" in Mowat, Barbara A (ed.), Werstine, Paul (ed.) and Shakespeare, William, "Othello", Folger Shakespeare Library edition, Simon and Schuster, 2017, pp.291-302 at p.299. 1221:

is more secret, and much more anguished, than can be imagined. It makes you unbearably lonely to know that you can empathise with , but they will rarely empathise with you. It hurts to watch

6677:

Hoenselaars, Ton "Shakespeare and Translation" in Wells, Stanley and Orlin, Lena Cowen (eds.) "An Oxford Guide: Shakespeare". Oxford University Press, 2003, pp. 645–657, at p. 649.

2785:

in 1968, depicting Othello as a charismatic religious cult leader, Desdemona as a naive convert, and Iago as a malcontent cult member who thinks himself to be Satan. In Murray Carlin's 1969

1202:

is among Shakespeare's greatest plays are rendered irrelevant in the context of discussions about how the play illuminates the racial thinking of Shakespeare's time, and of the present day.

610:

One such influence is not a literary work at all. In 1600, London was visited for "half a year" by the Moorish ambassador of the King of Barbary, whose entourage caused a stir in the city.

4770:: Recontextualizing Black Speech in the Global Renaissance" in Orlin, Lena Cowen (ed.) "Othello - The State of Play" The Arden Shakespeare, Bloomsbury Publishing, 2014, pp.63-93 at p.86. 1024:

In plot terms, Othello's race serves to mark him as "other". As both a Christian and a black African, Othello is (as scholar Tom McAlindon puts it) both of, and not of, Venice. And actor

6030:

Mason, Pamela "Orson Welles and Filmed Shakespeare" in Jackson, Russell (ed.) "The Cambridge Companion to Shakespeare on Film" Cambridge University Press, 2000 pp.183-198 at pp.189-193.

1517:

Ultimately Iago provides no answer – refusing, at the end of the play, to reveal his motive: "Demand me nothing. What you know, you know. From this time forth I never will speak word."

5945:

Howard, Tony "Shakespeare's Cinematic Offshoots" in Jackson, Russell (ed.) "The Cambridge Companion to Shakespeare on Film", Cambridge University Press, 2000, pp.295-313 at pp.303-306.

354:, and Othello is therefore summoned to advise the senators. Brabantio has no option but to accompany Othello to the Duke's residence, where he accuses Othello of seducing Desdemona by 1930:

saw the production numerous times when he was 17 and later recalled "this tremendous excitement - the first African-American onstage to be playing this role ... to all the blacks, he

5985:

and the Make-up of Race" in Burnett, Mark Thornton and Wray, Ramona (eds.) "Screening Shakespeare in the Twenty-First Century" Edinburgh University Press Ltd., 2006 pp.53-71 at p.53.

6668:

Gross, John "Shakespeare's Influence" in Wells, Stanley and Orlin, Lena Cowen (Eds.) "An Oxford Guide: Shakespeare", Oxford University Press, 2003, pp. 633–644, at p. 642.

3229:

and the Critical Potential of Passionate Character" in Orlin, Lena Cowen (ed.) "Othello - The State of Play" The Arden Shakespeare, Bloomsbury Publishing, 2014, pp.149-175 at p.158.

6616:

Austern, Linda Phyllis "The Music in the Play" in Neil, Michael (ed.) and Shakespeare, William "Othello" The Oxford Shakespeare, Oxford University Press, 2006 pp.445-454 at p.445.

6021:

Tatspaugh, Patricia "The Tragedies of Love on Film" in Jackson, Russell (ed.) "The Cambridge Companion to Shakespeare on Film" Cambridge University Press, 2000 pp.135-159 at p.144

3392:

Siemon, James "Making Ambition Virtue" in Orlin, Lena Cowen (ed.) "Othello - The State of Play" The Arden Shakespeare, Bloomsbury Publishing, 2014, pp.177-202 at p.178 and p.198n.

843:

F contains about 160 lines which are not in Q, sometimes in passages which are quite extended and well-known, such as Othello's "Pontic Sea" speech and Desdemona's "Willow Song".

205:, the plot of which Shakespeare borrowed and reworked substantially. Though not among Shakespeare's longest plays, it contains two of his four longest roles in Othello and Iago. 3023:

Sometimes the order of the play influencing a composer is reversed, as in the appropriations of classical music by filmmakers retelling Othello's story: for example in the film

1598: 4757:

Rosenfeld, Colleen Ruth "Shakespeare's Nobody" in Orlin, Lena Cowen (ed.) "Othello - The State of Play" The Arden Shakespeare, Bloomsbury Publishing, 2014, pp.257-279 at p.269.

890:

M. R. Ridley in 1958, rejecting Walker's argument and accepting Greg's, argued that Q had greater authority and rejected F's changes as "memorial contamination" from a theatre

3189:

Thompson and Honigmann, 2016, pp.13-14. The complete novella appears, in different translations, in Thompson and Honigmann, 2016 at pp.377-396 and in Neill, 2006, pp.434-444.

1354:

symbolising her virgin marriage. In contrast, professor Ian Smith argues that a handkerchief "dyed in mummy" would not be white but black, and therefore symbolic of Othello.

1028:

considered Othello's colour as essentially secondary, as a way of emphasizing his cultural difference and consequent vulnerability in a society he does not fully understand.

8977: 3544:, scene 5 lines 7-8 in Thompson, Ann and Taylor, Neil (eds.) and Shakespeare, William "Hamlet: The Texts of 1603 and 1623", The Arden Shakespeare Third Series, 2006 at p.73. 1533:

needs time to reach Venice then Lodovico needs time to reach Cyprus; and by Act 4 Roderigo (who sold all his land at the end of Act 1) has already squandered all his money.

5918:, Theatre Boundaries, and Audience Cognition" in Orlin, Lena Cowen (ed.) "Othello - The State of Play" The Arden Shakespeare, Bloomsbury Publishing, 2014, pp.17-43 at p.34. 3102:

involves the central character Lazarus, a freed slave, travelling to London in the time of Shakespeare and authoring many of the plays attributed to Shakespeare, including

2184:

intended this to be strange, enigmatic, open to interpretation. But Sher later wrote that he was always clear about it: in his head the question which always rang out was:

1755:

commencing a stage tradition of using lighter makeup rather than blackface. An advantage of this change was that the actor's facial expressions could be more clearly seen.

6325:

Hoenselaars, Ton "Shakespeare and Translation" in Wells, Stanley and Orlin, Lena Cowen "Shakespeare: An Oxford Guide", Oxford University Press, 2003, pp. 645-657 at p.648.

5541:

Wells, Stanley (ed.) "Oxford Shakespeare Topics: Shakespeare in the Theatre – An Anthology of Criticism", Oxford University Press, 2000, pp. 112–113.

4718:

Smith, Ian "Othello's Black Handkerchief" in Orlin, Lena Cowen (ed.) "Othello - The State of Play" The Arden Shakespeare, Bloomsbury Publishing, 2014, pp.95-120 at p.95.

3728:

Desmet, Chisty "Character Criticism" in Wells, Stanley and Orlin, Lena Cowen "Shakespeare: An Oxford Guide", Oxford University Press, 2003, pp.351-372 at p.357, citing

1738:

Throughout the eighteenth and nineteenth centuries, Othello was regarded as the most demanding of Shakespeare's roles: it is considered a part of theatre legend that

339:

general in the Venetian army. Roderigo is upset because he loves Desdemona and had asked her father, Brabantio, for her hand in marriage, which Brabantio denied him.

3864:

Singh, Jyotsna "Post-Colonial Criticism" in Wells, Stanley and Orlin, Lena Cowen "Shakespeare: An Oxford Guide", Oxford University Press, 2003, pp.492-507 at p.493.

2081:

featured actors, musicians, designers and artists from India, Korea, Myanmar, Indonesia and Singapore, performing in a range of different traditional Asian styles.

849:

Q has 63 oaths or profanities which do not appear in F, suggesting the possibility that F was based on a manuscript which had been edited to conform with the 1606

4266: 3091:. In it, the characters of Tortzov, the director, and Kostya, the young actor – both partly autobiographical – rehearse the role of Othello in the opening act. 910:

in 1983 agreed with Coghill that F incorporated the author's own improvements to Q, but argued that another scribal hand had also made intervening changes to F.

688:(that is, the latest year in which the play could have been written) is 1604, since a performance of the play in that year is mentioned in the accounts book of 1198:

edited by Mythili Kaul, which made clear that black readers and audience members may be experiencing a different play from white ones. Questions about whether

900:

in 1964 argued that the changes in F were improvements made by the author, who might have taken advantage of the need to revise the play in consequence of the

4597:

Orlin, Lena Cowen "Introduction" in Orlin, Lena Cowen (ed.) "Othello - The State of Play" The Arden Shakespeare, Bloomsbury Publishing, 2014, pp.1-16 at p. 5.

1703:

Paul Robeson's iconic performance (see 20th Century, below) was not the first professional performance of the title role by a black actor: the first known is

4302: 5239:

Honigmann, E. A. J. and Thompson, Ayanna (eds.) "Othello" The Arden Shakespeare, Third Series Revised Edition, Bloomsbury Publishing Plc., 2016, p. 28.

7656: 5927:

McKernan, Luke and Terris, Olwen (eds.) "Walking Shadows: Shakespeare in the National Film and Television Archive" British Film Institute, 1994 pp.119-131.

2893: 8480: 5864: 4816:

Mowat, Barbara A (ed.), Werstine, Paul (ed.) and Shakespeare, William, "Othello", Folger Shakespeare Library edition, Simon and Schuster, 2017, p.xxii.

3301:

Thompson and Honigmann, 2016, p.397. Lockwood, Tom (ed.), White, Martin (ed.) "Arden of Faversham", New Mermaids edition, Methuen Drama, 2007, p.vii.

3126:, the central character Mustafa Sa'eed, on trial for the murder of his white mistress, refuses to be judged by the standards of the play, declaring: 2909:

and World Shakespeare Festival. It was one of the few sold-out shows during the festival and went on to have several successful international tours.

3292:

Bate, Jonathan (ed.), Rasmussen, Eric (ed.) and Shakespeare, William "Othello", The RSC Shakespeare, The Random House Publishing Group, 2009, p.3.

1510:'s suggestion that Iago may be motivated by a repressed homosexual desire for Othello has been influential in subsequent performances of the role. 7759: 1546:

in 1849 and 1850, although references to the problem predate that. The whole question is sometimes rejected as "academic nit-picking". (Director

8987: 7812: 1095:

comments should be read within the context of his overarching criticism of the play, as unrealistic and lacking in obvious moral conclusions.

795:

in the bad quarto (for example "to my vnfolding / Lend thy listning eare" in the bad quarto and "To my unfolding lend your prosperous ear" in

6898: 2980:'s libretto marked a return to faithfulness to the original plot, including the reappearance of the pillow as the murder weapon, rather than 1408:. For example, there are similarities between Egeus' complaint about his daughter Hermia's lover Lysander, in the first Act of Shakespeare's 726:, since the play appears to have elements designed to appeal to the new king, who had written a poem about the defeat of the Turkish navy at 2107:. Although the translation consistently used the word "Schwarze" for "Moor" in the original, Othello was played by the white German actress 8947: 5360:

McAlindon, Tom (ed.), Muir, Kenneth (ed.) and Shakespeare, William "Othello" Penguin Shakespeare Series, Penguin Books, 2005 pp.lxvi–lxvii.

5257:

Gurr, Andrew and Ichikawa, Mariko "Oxford Shakespeare Topics: Staging in Shakespeare's Theatres" Oxford University Press, 2000, p. 55.

4278: 1152:

second edition has been heavily criticsed for his anecdotes in an apparent defence of Othello as a black man, in opposition to Coleridge:

8720: 8385: 2552:, which happened while the film was being edited, delayed its release for over two years, until August 2001. A British TV adaptation by 1183:

These sentiments were instrumental in ushering in the so-called "bronze age of Othello" (discussed further under "19th century" below).

8962: 7377: 7314: 7309: 3145:

are to Honigmann, E. A. J. and Thompson, Ayanna (Eds.) "Othello" The Arden Shakespeare, Third Series, Bloomsbury Publishing Plc., 2016.

2870:, Othello's lover challenges his subservient passion: "...why you trying to please her? ... I'm so tired of pleasing White folks." And 335:, that Iago has not told him about the recent secret marriage between Desdemona, the daughter of Brabantio, a senator, and Othello, a 8937: 8645: 7714: 1958: 4979:, cited by Thomson and Honigmann, 2016, p.45; Neil, 2006, p.31; McAlindon & Muir, 2005, p.xliv and by Honigmann, 1997, pp.33-34 1444: 465: 1369:

Othello and Iago are two of the five longest parts in the Shakespeare canon. At 1097 lines, Iago's is the larger of the two: only

8194: 7990: 7668: 2200:

has influenced many film makers, and often the results are adaptations, rather than performances of Shakespeare's text. The UK's

614:

is known to have played at court during the time of the visit, and so would have encountered the foreign visitors at first hand.

3047:

features lyrics in which Desdemona turns the tables on Othello, borrowing the idea of using poisoned wine from the final act of

2007:

in 1988, the performance was passionately politicised, with the racism of several characters – and especially Iago (modelled on

1194:

The critical approach to racial issues in the play changed direction with the publication in 1996 by Howard University Press of

9002: 7830: 7729: 6352:

Lanier, Douglas "Oxford Shakespeare Topics: Shakespeare and Modern Popular Culture", Oxford University Press, 2002, p. 38.

1687:

at a makeshift theatre in New York on 26 December 1751; and religious objections to theatre led the Hallam Company to perform

921:, may have been cuts from the original made for the manuscript of Q, rather than later additions made for the manuscript of F. 369:, accompanied by his new wife, his new lieutenant Cassio, his ensign Iago, and Iago's wife, Emilia, as Desdemona's attendant. 8347: 7825: 7257: 6551: 6275: 4193: 4031: 3368: 6290: 8511: 8132: 7326: 5879: 2096:, Othello was a British-adopted general leading forces against his own people, until finally bursting into a "terrifying 1758:

Critics have naturally focused on the two central male roles. But Emilia becomes a powerful role in the final act. Indeed

8952: 8370: 8234: 7903: 7406: 7265: 3020:) came to stand for Othello telling his tales of travel and adventure to Desdemona, as reported in the play's first act. 1453:

Iago's role is (in Robert Watson's words) "overdetermined in renaissance dramatic convention": he is partly the scheming

1338:, arguing "the handkerchief is so remote a trifle, no booby on this side Mauritania could make any consequence from it." 8230: 4218: 8942: 8927: 8309: 1726:

There are stories of extravagant audience reactions to the play. One of the most extreme is related by French novelist

1298:) in which the word "whore" is used with specific reference to every named female character. In the world of the play, 475:: things which are not themselves sources but whose impact on Shakespeare can be identified in the play: these include 131:

is widely considered one of Shakespeare's greatest works and is usually classified among his major tragedies alongside

4062:

Neill, 2006, pp.122-123 citing Virginia Mason Vaughan's "Othello: A Contextual History". The quotation is a parody of

2659:

reversed the racial roles, featuring the "swagger part" of a black villain called Zanga whose victim was a white man.

8048: 8015: 7769: 7739: 6891: 5294:

Brown, John Russell "The Oxford Illustrated History of the Theatre", Oxford University Press, 1995, pp. 206–207.

4286: 901: 850: 6659:

Sanders, Julie "Shakespeare and Music – Afterlives and Borrowings", Polity Press, 2007, p. 103.

6191:

Brode, Douglas "Shakespeare in the Movies - From the Silent Era to Today" Oxford University Press, 2000, pp.167–168.

8982: 8932: 7807: 7802: 7734: 4419:

Mowat and Werstine, 2017, p.335, citing Virginia Vaughan's 2005 "Performing Blackness on English Stages 1500-1800".

2674:' adaptation and its subsequent translations, in which a heroine renamed Hédelmone is stabbed to death by Othello. 2180:, the final moment of the play, before a snap blackout, was for him to look up and stare at the audience. Director 1680: 39: 8713: 7782: 7777: 7697: 5207:

Neill, Michael (ed.) Shakespeare, William "Othello", The Oxford Shakespeare, Oxford University Press, 2006, p.35.

2534: 1578: 2455:

in the title role. Miller is said to have commented that "the play is about jealousy, not race." The TV film of

1779:, decided "I shall make a desperate fight for it, for I feel horribly at the idea of being murdered in my bed." 8967: 8687: 8360: 8355: 7749: 7521: 7336: 7296: 6265: 2549: 1991:

The play was extremely popular in Ethiopia, running for three years in the mid-1980s at the City Hall Theatre,

2528:

which resets the story as a Western, centered on the Cassio character. The play was abridged to 30 minutes by

2463:(discussed under 20th Century performances above) has been described by Carol Chillington Rutter as "The one 1926:

Desdemona. Taking the Broadway run with its subsequent tour, the show was seen by over half a million people.

8814: 7650: 1787: 6530:

Della Gatta, Carla (2018). "Shakespeare, Race, and 'Other' Englishes: The Q Brothers's Othello: The Remix".

447:

Shakespeare's primary source for the plot was the story of a Moorish Captain (third decade, story seven) in

8005: 7872: 7688: 7341: 6989: 6933: 6884: 6858: 4123:

Lamb, Charles and Lamb, Mary "Tales from Shakespeare", 1807, Penguin Popular Classics edition, 1995, p.281.

3016: 1409: 970:

Not only Othello, but also Iago is consumed by jealousy: his is a kind of envy, which contemporary scholar

705:(i.e. the earliest year in which it could have been written) is given by the fact that one of its sources, 565: 299: 587:, in which a Moor, Aaron, was a prominent villain, and as such was a forerunner of both Othello and Iago. 8992: 8957: 8729: 8332: 7678: 7639: 7626: 7500: 7032: 3044: 2704:

got around the illegality of performing Shakespeare by allusion and parody, such as Charles Westmacott's

2419: 2088: 2034: 1887:. The performance was directed remotely, by letter, while Stanislavski recovered from illness in France. 6867: 3106:, in a production of which Lazarus plays the title character, and kills himself. The narrative voice of 2022:

in 1989 was the first black actor to play Othello at Stratford since Paul Robeson thirty years earlier.

1590: 8997: 8972: 8922: 8706: 8404: 7846: 7564: 7392: 7331: 7291: 6982: 6961: 6835: 4156: 2448: 2300: 2291: 2104: 595: 386:

Iago persuades Othello to be suspicious of Cassio and Desdemona's relationship. When Desdemona drops a

5322: 2008: 1675:

The first professional performances of the play in North America are likely to have been those of the

948:"O beware, my lord, of jealousy! It is the green eyed monster, which doth mock the meat it feeds on." 830:

in 1622 (usually abbreviated to "Q"), which was followed a year later by the play's appearance in the

8613: 8148: 7865: 7860: 7817: 7693: 7491: 6849: 3971: 2789:

the protagonist says of Shakespeare's play that it was "the first play of the Age of Imperialism ...

2630: 2317: 2252: 2177: 2051: 1911: 1228:

From the 1980s, Othello became a role that only black actors performed. However, in 1998 black actor

1076: 759: 611: 452: 351: 202: 5326: 2103:

A radically different approach was taken in Jette Steckel's 2009 German language production for the

7724: 7673: 7663: 7644: 7631: 7371: 7003: 3084: 2814: 2655: 2063: 1884: 1514:

disturbing to realize that this devil may be ... a reflection of our own destructive tendencies."

1476:

The character's own motives are never made clear, because Iago himself expresses too many motives:

1248:"The danger of a black actor in the title role is that with the loss of the reminders that this is 839:

There are significant differences between the two early editions, the most prominent of which are:

44: 31: 2128:

increasing focus on Desdemona's youth and innocence, at the expense of her strength of character.

1191:

a means of identifying human worth, the play, as it always has done, continues to oppose racism."

307: 8782: 8669: 8637: 8210: 7447: 7011: 4972: 4007: 3976: 3080: 2906: 2781: 2093: 1949:

play Othello and Iago respectively, and described the experience as equivalent to witnessing the

1876: 1808: 1750:

as "the masterpiece of the living stage". Before Kean, the leading exponent of the role had been

1731: 1542: 1537:

Desdemona's "Where should I lose that handkerchief?" or if Roderigo had chosen to denounce Iago.

1500: 1127: 740: 715: 650: 643: 411: 6779: 5071:

Honigmann, 1997, pp.68-72, citing M R Ridley's Arden Second Series edition of the play, at p.69.

4173: 2917:

One of the first full-length plays to be released on vinyl was the Broadway production starring

1585:

belonged, and the 1622 Quarto notes on its title page that the play was "Diuerse times acted at

1164: 7877: 7604: 7542: 7462: 7385: 6996: 6975: 6915: 6505: 2839:

whose own story begins to mirror the play's plot: with Iago's seduction of Othello played as a

2553: 2423: 2362:

developing murderous jealousy for their Desdemonas. This plot is also shared by the very first

2124: 1984: 1954: 1716: 1597:

by the King's Men on 1 November 1604, and again in 1612-13 as part of the celebrations for the

1358: 1314:) revolts against misogyny, defying her husband Iago's demands three times in the final scene. 1110: 1008: 926: 874: 868: 603: 577: 571: 497: 2981: 2671: 1540:

The discovery of a double time scheme has been ascribed to articles written by John Wilson in

1454: 1256: 347:. Meanwhile, Iago sneaks away to find Othello and warns him that Brabantio is coming for him. 8774: 8621: 8266: 8041: 7969: 7883: 7852: 7754: 7417: 7148: 7058: 7039: 6850:

Hecatommithi, Deca Terza, Novella VII: "Un Capitano Moro", di Giovan Battista Giraldi Cinthio

4158:

Coleridge's essays & lectures on Shakespeare: & some other old poets & dramatists

3992: 2821:

is a metadrama about a performance of Shakespeare's play, and the racial tensions it evokes.

2620: 2615: 2262: 2030: 2011:) – foregrounded. The play was highly controversial – the physical contact between the black 1704: 907: 883:

in 1955 argued that Q's copy must have been a difficult-to-read transcript of Shakespeare's "

555: 541: 419: 1326:

upon a trivial prop, the handkerchief, was noted in the play's earliest criticism. The same

8589: 8581: 8538: 8498: 8276: 7792: 7579: 7557: 7137: 7088: 7067: 7047: 6947: 6924: 5674:

Earle Hyman interviewed by Michael A. Morrison 9 April 1999 cited in Morrison, 2002, p.252.

3073: 2992: 2225: 2220: 2202: 1996: 1898:

as Othello. Robeson had previously played the role in London in 1930 with a cast including

1719:") played many Shakespearean roles across Europe for forty years, including Othello at the 1676: 1656:

In Restoration theatres, it was common for Shakespeare's plays to be adapted or rewritten.

1547: 1311: 1086:

Similar wording was used in one of the earliest, and most negative, critiques of the play:

826:

was not published in Shakespeare's lifetime. The first published version of the play was a

693: 513: 503: 24: 2862:

sets the story in a kitchen in Cyprus, where only Desdemona, Emilia and Bianca appear. In

2560:. And the first decade of the 21st-Century saw two non-English language film adaptations: 1310:

In contrast, Emilia ("the only real grown-up in the play", in the words of stage director

8: 8917: 8873: 8806: 8752: 8597: 8520: 8375: 8365: 8337: 8327: 8322: 8317: 8178: 8078: 8057: 8026: 7963: 7945: 7744: 7586: 7550: 7483: 7440: 7399: 6968: 6907: 6291:

https://web.archive.org/web/20090110064022/http://movies.bizhat.com/review_kaliyattam.php

4023: 2743: 2625: 2557: 2483: 2414:

said that the role of Othello demanded "enormously big" acting, and he incorporated what

2393: 2278: 2268: 2230: 2166: 2059: 1625: 1582: 750: 550: 531: 215: 112: 96: 20: 2548:

reset the story at an elite boarding school. The similarity of the film's ending to the

1869: 1285:, / I'd not have sold her for it." Also pervasive is the male fear of female sexuality. 722:

Within this range, scholars have tended to date the play 1603–1604, within the reign of

194:, the role of Othello began to be played by black actors beginning in the 19th century. 8489: 8471: 8444: 7957: 7915: 7797: 7535: 7433: 7238: 6868:

Gli Ecatommiti, Deca Terza, Novella VII: "Un Capitano Moro", di Giovan Battista Giraldi

6859:

Gli Ecatommiti, Deca Terza, Novella VII: "Un Capitano Moro", di Giovan Battista Giraldi

4433: 4296: 4247: 3006: 2806: 2697: 2645: 2635: 2576: 2509: 2493: 2242: 2206:

holds over 25 20th-Century films containing performances, adaptations or extracts from

2149:

The play has provided opportunities for breakout roles for rising black stars, such as

2115:

A common theme of modern productions of the play is an emphasis on military life. When

1950: 1880: 1751: 1381: 913: 787:, published in 1603. The theory is that the bad quarto is a memorial reconstruction of 701: 680: 546: 158: 1558: 8661: 8653: 8186: 8170: 7927: 7245: 7172: 7164: 6798: 6547: 6271: 4282: 4239: 4189: 4027: 3364: 3079:

In addition to his theatrical performances noted above, the play was also central to

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where the women's stories get fully told", particularly praising the dynamic between

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There are over a thousand variations in wording, lineation, spelling and punctuation.

766:. This date is also supported by the possibility that Shakespeare may have consulted 734:, in whose circle there was an interest in the blackface exoticism also reflected in 727: 618: 2025:

A "singular and idiosyncratic" performance of a white actor in the central role was

1811:

admired, and was greatly influenced by, Salvini's Othello, which he saw in 1882. In

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10.4324/9781315018584-7/wash-ethiop-white-femininity-monstrous-othello-karen-newman

4274: 4231: 4181: 4019: 3980: 3069: 2961: 2880: 2794: 2606: 2539: 2411: 2401: 2339: 2273: 2236: 2154: 2150: 2074: 1980: 1915: 1907: 1854: 1665: 1466: 1261: 706: 634: 590: 583: 508: 248: 242: 59: 5330: 2472: 2138:

Othello's "difference" has been tested in ways other than race. A rare example is

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tears, to the first 200 lines of the fourth act, or to the entire role of Bianca.

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Thompson and Honigmann, 2016, p. 32, citing Kean's biographer F. W. Hawkins.

3088: 3001: 2756: 2709: 2682: 2571: 2561: 2497: 2452: 2444: 2405: 2287: 2120: 2038: 1903: 1799: 1720: 1650: 1640:) were established, and the existing theatrical repertoire divided between them: 1605: 1563: 1462: 1294: 867:

in 1930 argued that Q derived from a scribal manuscript, and F from the author's

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If Othello did not begin as a play about race, then its history has made it one.

860:

There is no scholarly consensus to account for the differences between Q and F:

799:– and a number of others) it suggests that the actors must have been performing 434:

denounces Iago for his actions and leaves to tell the others what has happened.

8881: 8744: 8093: 7200: 6940: 5602: 5561: 5058:"The temptation scene" is a term often used in the critical literature to mean 3114:

harangues Othello as a sexual and political sell-out. And in Sudanese novelist

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Rosenthal, Daniel "100 Shakespeare Films", British Film Institute, 2007, p.163

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and the white Joanna Weinburg provoking walk-outs and a pile-up of hate mail.

1919: 777:

However, evidence of an earlier date, 1601–1602, is provided by the so-called

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appeared as "daughters of Niger". That dating is supported by similarities to

331:

Roderigo, a wealthy and dissolute gentleman, complains to his friend Iago, an

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in France was a fashion for re-writing English plays as melodrama, including

2544: 2529: 2478: 2468: 2456: 2415: 2330: 2321: 2295: 2181: 2158: 2116: 2108: 2019: 1946: 1938: 1872:, resetting the location Cyprus to Taiwan, which was then a Japanese colony. 1763: 1708: 1586: 1470: 1458: 1370: 1229: 971: 963:

images of pollution, and finding relief only in a bestial thirst for blood."

959: 689: 626: 491: 332: 116: 4975:'s marginal note to the closing speech of Act 1 in his own personal copy of 4727:

Howard, 2003, p.426. Neill, 2006, p.155. Thompson and Honigmann, 2016, p.51.

3410:

Honigmann, 1997, p,4. Neill, 2006, p.19. Thompson and Honigmann, 2016, p.15.

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amidst political violence in modern Uttar Pradesh. The 1997 malayalam movie

2496:, more experienced in expletive-ridden thriller roles, as Othello. Iago was 19:

This article is about the Shakespeare tragedy. For the title character, see

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Joseph Knight's 1875 "Theatrical Notes" cited in Welles, 2000, p. 113.

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has been one of Shakespeare's most popular plays, both among playgoers and

6829: 6810: – Includes the annotated text, a search engine, and scene summaries. 2131:

In 21st century productions, more emphasis has been given to the theme of

1846: 754:, another of Shakespeare's plays often dated around 1604, and which, like 8830: 8629: 8452: 7702: 7514: 7270: 7018: 6871: 6862: 6853: 5575: 5401: 3965: 3115: 2855: 2802: 2678: 2501:

night at the multiplex" but failed to achieve success at the box office.

2358:

all feature the plot of an actor playing the title role in Shakespeare's

2335: 2313: 2173: 2162: 2139: 1992: 1927: 1818: 1803: 1739: 1594: 1052: 891: 884: 832: 791:, made by some of its actors: so where there are unintentional echoes of 671: 148: 4429: 4141:

Thompson and Honigmann, 2016, pp.29-31 citing Samuel Taylor Coleridge's

1649:

on 8 December 1660, although history does not record who took the role.

257:– Venetian senator and Desdemona's father (can also be called Brabanzio) 8420: 7787: 7074: 4771: 4251: 3059: 2581: 2211: 2026: 1743: 1609: 1145: 1040: 880: 803:, at the latest, in the season preceding the bad quarto's publication. 778: 735: 617:

Among Shakespeare's non-fiction, or partly-fictionalised, sources were

526: 355: 6876: 4267:""And wash the Ethiop white": femininity and the monstrous in Othello" 4012: 1483:

He is angry that Cassio has been promoted to Lieutenant, over himself.

8113: 8083: 7719: 7571: 7507: 7095: 6954: 3420: 3040: 2934: 2926: 2832: 2418:

described as his "outsize, elaborate, overwhelming" performance into

2012: 2004: 1923: 1119: 811: 344: 254: 224: 191: 136: 124: 6793: 5559:

Gillies, 2008, pp. 269–270 (in turn citing the 1982 reprint of

4235: 3087:". In particular, the part of Othello is a main subject of his book 2443:

The last of the screen versions to portray Othello in blackface was

2161:(see "20th century", above) was better known as an opera singer and 2157:

in 2008, and for a change of direction for other established stars:

2100:" (a warrior's challenge) before exacting his revenge on Desdemona. 277:

Montano – Othello's Venetian predecessor in the government of Cyprus

8846: 8108: 6824: 4368: 3803: 3064: 2847: 2662: 2165:(see "True Identity" under "Screen" below), who played Othello for 1999:'s translation – performed in a static and declamatory style. When 1772: 1727: 1206: 996: 289:

Officers, Gentlemen, Messenger, Herald, Attendants, Musicians, etc.

260: 4178:

Shakespearean Continuities: Essays in Honour of E. A. J. Honigmann

3346:

Neil, 2006, p.18. Thompson and Honigmann 2016, pp.8, 20 & 397.

3180:

Thompson and Honigmann, 2016, pp.13-14. Honigmann, 1997, pp.12-13.

3033:

are used as a theme for Odin (the Othello character) while modern

2556:, screened in 2001, re-set the story among senior officers of the 314: 7476: 7469: 7301: 7102: 6841: 5880:"Othello review – Clint Dyer makes this tragedy feel utterly new" 3072:, reset Othello's enslavement in the context of the then-current 2764:

are said to "represent the ultimate African American revision of

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are more associated with the white college students around him.

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editor Michael Neill summarises things: "The textual mystery of

8256: 7081: 5600:

Gillies, 2008, p. 271 (in turn citing the 1982 reprint of

2972: 2518: 1865: 1599:

Wedding of Princess Elizabeth and Frederick V of the Palatinate

1405: 1375: 1048: 827: 816: 783: 481: 476: 366: 170: 144: 140: 104: 100: 5321:

Marsden, p. 21. For examples see Knowledge's articles on

2570:

set the story in a modern-day Madagascan fishing village, and

2504:

Other adaptations of Shakespeare's story to be filmed include

1503:

to refer to Iago's "motive-hunting of motive-less Malignity".

2018:

White actors continued to dominate the role until the 1980s.

1742:

collapsed while playing the role, and died two months after.

1401: 1351: 1282: 1044: 1036: 877:

in 1952 argued that F was printed from a corrected copy of Q.

662: 599: 219: 143:. Unpublished in the author's life, the play survives in one 108: 6379:

Thompson and Honigmann, 2016, p.106, citing James Andreas' "

2933:

has been performed on at least twelve separate occasions on

1350:

Desdemona's purity; and the red strawberries blood from her

68: 8088: 2840: 958:

The influential early twentieth-century Shakespeare critic

606:

in 1600, sometimes suggested as the inspiration for Othello

486: 230: 120: 77: 71: 8056: 1746:

saw Kean's Othello in 1819, describing his performance in

1691:

as a series of "moral dialogues" at Rhode Island in 1761.

1480:

He hates the Moor: often with reference to Othello's race.

1035:

There is critical divide over Othello's ethnic origin. A "

933:

is unlikely ever to be resolved to general satisfaction."

62: 4143:

Lectures and Notes on Shakespeare and Other English Poets

1334:, suggested that the play should better have been called 455:(Giovanni Battista Giraldi), a collection of one hundred 4176:. In Batchelor, John; Cain, Tom; Lamont, Claire (eds.). 3623:

Neill, 2006, p.405. Thompson and Honigmann, 2016, p.358.

3505:

Neill, 2006, p.399. Thompson and Honigmann, 2016, p.349.

2891:

is parodied in the form of a rap song in the stage show

1506:

Some critics have suggested other motives: psychologist

846:

Q has fuller and more elaborate stage directions than F.

4766:

Hornback, Robert "'Speak Parrot' and Ovidian Echoes in

1569: 1244:

Scholar Virginia Vaughan made a related point in 2005:

3493:

Neill, 2006, p.20. Thompson and Honigmann, 2016, p.17.

3141:

Except where otherwise stated, references to the play

2188:"You saw what was happening - why didn't you stop it?" 1126:

In the nineteenth century, such well-known writers as

1065:"I think this play is racist, and I think it is not." 403:

win Desdemona, but Iago convinces him to kill Cassio.

233:– Othello's trusted, but jealous and traitorous ensign 5865:"Killing Desdemona: The domestic violence in Othello" 5763:

in 1990, quoted by Welles, 2000, pp.307-313 at p.311.

5574:

Thompson and Honigmann, 2016, pp. 75–77, citing

4018:. Oxford: Oxford University Press. pp. 151–164. 2813:

made Iago himself a Moor and a victim of racism. And

2772:

murder of Clay, a black man, by Lulu, a white woman.

569:. These also include Shakespeare's own earlier plays 274:

Lodovico – Brabantio's kinsman and Desdemona's cousin

8978:

United States National Recording Registry recordings

5479:

Thompson and Honigmann, 2016, pp. 31–32, 71–72.

2894:

The Complete Works of William Shakespeare (Abridged)

2601:

Adaptations of – or borrowings from – Shakespeare's

2532:, and produced with cel animation for the TV series 1055:, and sometimes to Muslims of any race or location. 581:

with its high-born, Moorish, Prince of Morocco, and

318:

Othello costume. Illustration by Percy Anderson for

74: 6264:Hodgdon, Barbara; Worthen, W. B. (8 January 2024). 5580:

The Story of My Life: Recollections and Reflections

4410:

Thompson and Honigmann, 2016, pp.65-66 & 87-89.

2831:is set among a group of Indian actors rehearsing a 2338:'s character Miles lands the role of understudy to 1653:is the first woman known to have played Desdemona. 1169:. The Arden Shakespeare, Methuen. 1962. p. li. 65: 8481:Othello Ballet Suite/Electronic Organ Sonata No. 1 6458:Gillies, Minami, Li and Trivedi, 2002, pp.278-280. 6114:Barbara Hodgdon, quoted in Tatspaugh, 2000, p.151. 5981:Burt, Richard "Backstage Pass(ing): Stage Beauty, 5523:Gillies, Minami, Li and Trivedi, 2002, pp.273-274. 4217: 4011: 3964: 3162:Thompson and Honigmann, 2016, pp.13 & 376-377. 2169:in 2009, was better known as a stand-up comedian. 1883:, which was influential in the development of his 1424:And Brabantio's complaint to the Duke in Act 1 of 1416:With cunning hast thou filched my daughter's heart 471:Scholars have identified many other influences on 6069:Laurence Olivier quoted by Rosenthal, 2007, p.174 4301:: CS1 maint: DOI inactive as of September 2024 ( 2952:existing ballad "Take Thy Old Cloak About Thee". 2605:began shortly after it first appeared, including 936: 161:, since its first performance, spawning numerous 8904: 5656:20 October 1943, cited by Morrison, 2002, p.252. 4269:. In Howard, Jean E; O'Connor, Martin F (eds.). 4077:Gli Hecatommithi - Third Decade, Seventh Novella 2719:was often used in parody, sometimes allied with 2050:At the turn of the century, performances at the 1562:Poster for an 1884 American production starring 1486:He suspects Othello of having slept with Emilia. 575:, in which a similar plot was used in a comedy, 8728: 4010:. In Wells, Stanley; Cowen Orlin, Lena (eds.). 2384:depicts a restoration performance of the play. 1615: 1489:He suspects Cassio of having slept with Emilia. 1011:editor Professor Michael Neill summarises it: 6263: 6078:The Spectator quoted by Rosenthal, 2007, p.174 5591:Edwin Booth, cited by McAlindon, 2005, p.lxix. 4180:. London: Palgrave Macmillan UK. p. 139. 4079:in Neil, 2006, Appendix C pp.434-444 at p.440. 3963: 3363:. Basingstoke, England: Macmillan. p. 3. 2955:The play has been a popular source for opera. 2492:as Desdemona struggled with the verse, as did 198: 16:Play by William Shakespeare written circa 1603 8714: 8042: 6892: 5421:Thompson and Honigmann, 2016, pp. 78-79. 5412:Honigmann and Thompson, 2016, pp. 77–78. 3355: 2996:, one of the two plays which most influenced 2584:is an adaptation set against the backdrop of 596:Abd el-Ouahed ben Messaoud ben Mohammed Anoun 4846:1.1.5-7, 1.1.32, 1.1.87-90 & 1.1.108-112 3083:'s writings, and to the development of his " 2366:-influenced film: the 18-minute Danish 1911 2146:, as an American Navy man adrift in Norway. 894:or as "sophistications" by the editors of F. 263:– dissolute Venetian, in love with Desdemona 218:– General in the Venetian military, a noble 7839: 6529: 6200:The Times, quoted by Rosenthal, 2007 p.179. 5692:Thompson and Honigmann, 2016, p.82, citing 5506:Thompson and Honigmann, 2016, p.93, citing 4367:Thompson and Honigmann, 2016, p.63, citing 4333:Neill, 2006, p.120, quoting Martin Orkin's 4174:"Othello, The Infamous Ripley and SHAKSPER" 2142:'s 2015 casting of a white American actor, 1890:The most significant theatre production in 1711:, New York, in 1822. And Hewlett's protégé 1432:Do you perceive, in all this noble company, 1236:should be played by a black actor, saying: 320:Costume Fanciful, Historical and Theatrical 8721: 8707: 8049: 8035: 6899: 6885: 6312: 6310: 6267:A companion to Shakespeare and performance 6254:Rosenthal, 2007, pp.184-185 & 188-191. 6178: 6176: 5185: 5183: 5036: 5034: 4921:McAlindon & Muir, 2005, pp.xliii-xliv. 239:– Othello's loyal and most beloved captain 183: 88:The Tragedy of Othello, the Moor of Venice 6485:Thompson and Honigmann, 2016, pp.111-113. 6467:Thompson and Honigmann, 2016, pp.108-109. 6427: 6425: 6047: 6045: 5827:Thompson and Honigmann, 2016, pp.100-101. 5708: 5706: 5373:(1772) cited by McAlindon, 2005, p.lxvii. 5226: 5224: 5222: 5161: 5159: 4875: 4873: 4855:Honigmann, 1997, p.35. Neill, 2006, p.31. 4154: 3577: 3575: 3573: 3571: 3565:Thompson and Honigmann, 2016, pp.349-350. 3501: 3499: 2793:is about colour and nothing but colour." 2374:reframes the story in a jazz milieu. And 2003:directed the play in South Africa during 1879:directed a production of Othello for the 1624:government on 6 September 1642. Upon the 1015:Anxieties about the treatment of race in 245:– Iago's wife and Desdemona's maidservant 8159: 6300: 6298: 4354: 4352: 4335:"Othello and the "Plain Face" of Racism" 4219:"Othello and the "plain face" Of Racism" 3771: 3769: 3640: 3638: 3198:McAlindon and Muir, 2005, pp.lvii-lviii. 2801:reworked the play in the context of the 2066:, older than their respective Othellos: 1910:, and would later take the role for the 1845: 1604:The title role was originally played by 1557: 1255: 1047:peoples beyond Africa, such as those of 987:among Shakespeare's greatest tragedies. 810: 661: 589: 442: 410: 313: 298: 38: 6906: 6307: 6173: 5896:Thompson and Honigmann, 2016, pp.83-84. 5809:Thompson and Honigmann, 2016, pp.98-99. 5750:Thompson and Honigmann, 2016, pp.97-98. 5180: 5031: 4807:Thompson and Honigmann, 2016, pp.10-11. 4637:Thompson and Honigmann, 2016, pp.50-51. 4346:Thompson and Honigmann, 2016, pp.62-63. 4171: 4005: 3401:Thompson and Honigmann, 2016, pp.17-18. 3337:Thompson and Honigmann, 2016, pp.20-21. 2304:, a 1988 South African TV screening of 2062:in portraying misogynistic, embittered 2037:in Washington, D.C. in 1997, in which 1465:, partly the instigator of jealousy in 1418:Turned her obedience which is due to me 1232:questioned whether the central role in 1148:'s introduction to the "infamous" 1958 227:– Othello's wife; daughter of Brabantio 175: 8905: 6422: 6370:Thompson and Honigmann, 2016, 102-105. 6042: 5703: 5402:https://doi.org/10.1093/notesj/gjae022 5219: 5156: 4870: 4670:Watts, 2000, p.80. Smith, 2014, p.102. 4264: 3568: 3496: 3225:Enterline, Lynn "Eloquent Barbarians: 3068:, and its subsequent dramatisation by 2860:Desdemona, A Play about a Handkerchief 2404:'s Russian film, with a screenplay by 1971:Laurence Olivier's makeup routine for 1553: 1188:Othello and the "Plain Face" of Racism 162: 8988:Race-related controversies in theatre 8702: 8030: 7651:Complete Works of William Shakespeare 6880: 6503: 6295: 5877: 4900:Thompson & Honigmann, 2016, p.45. 4570:5.2.192-194, 5.2.217-220 and 5.2.222. 4349: 4215: 3766: 3635: 2342:(playing himself) in a production of 2282:discussed below, two productions for 1934:us. It was a moment of great pride." 1620:All theatres were closed down by the 1577:was written for and performed by the 1520: 1492:He himself is in love with Desdemona. 1445:Iago's manipulativeness and character 1288:The word "whore" appears 14 times in 623:Commonwealth and Government of Venice 187: 43:"Othello and Desdemona in Venice" by 6719:Sanders, 2007, p. 154, 171–172. 6449:Thompson and Honigmann, 2016, p.108. 6440:Thompson and Honigmann, 2016, p.107. 6392:Thompson and Honigmann, 2016, p.106. 4879:McAlindon & Muir, 2005, p.xliii. 3993:participating institution membership 3319:Thompson and Honigmann, 2016, p.355. 2596: 2203:National Film and Television Archive 1570:Shakespeare's day to the Interregnum 1461:, partly the vengeful malcontent of 1438: 1196:Othello: New Essays by Black Writers 352:the Turks are going to attack Cyprus 8948:Plays adapted into television shows 8011: 6838: – lists numerous productions. 5854:Thompson and Honigmann, 2016, p.96. 5845:Thompson and Honigmann, 2016, p.90. 5836:Thompson and Honigmann, 2016, p.83. 5712:Honigmann and Thompson, 2016, p.80. 5312:Thompson and Honigmann, 2016, p.68. 5230:Thompson and Honigmann, 2016, p.67. 4963:McAlindon & Muir, 2005, p.xliv. 4679:Thompson and Honigmann, 2016, p.50. 4384:Thompson and Honigmann, 2016, p.65. 4358:Thompson and Honigmann, 2016, p.63. 4315:Thompson and Honigmann, 2016, p.32. 4053:Thompson and Honigmann, 2016, p.25. 3439:Thompson and Honigmann, 2016, p.15. 3283:Thompson and Honigmann, 2016, p.18. 3247:Thompson and Honigmann, 2016, p.11. 3171:Thompson and Honigmann, 2016, p.13. 3010:. Its opening track (itself titled 2829:Othello - A Play in Black and White 2715:In the 19th-Century United States, 1786:was produced by Barry Lewis at the 1364: 1317: 1268:as Othello. The Walters Art Museum. 772:The Generall Historie of the Turkes 437: 361:Othello defends himself before the 13: 7826:Shakespeare's influence on Tolkien 4161:. London: J. M. Dent. p. 170. 4024:10.1093/oso/9780199245222.003.0014 3855:McAlindon and Muir, 2005, p.lxxii. 2897:. In 2012, the Q Brothers debuted 2737:Dar's de Money (Othello Burlesque) 1469:and partly the devil incarnate of 1213:included several "meditations" on 651:The Travels of Sir John Mandeville 14: 9014: 8963:Fiction about interracial romance 6772: 4606:Green MacDonald, 2001, pp.193-194 4549:McAlindon & Muir, 2005, p.lv. 4155:Coleridge, Samuel Taylor (1907). 4008:"Shakespeare's view of the world" 3846:McAlindon and Muir, 2005, p.xxii. 3632:Mowat and Werstine, 2017, p.xlix. 3429:A Geographical Historie of Africa 3274:McAlindon and Muir, 2005, p.xxiv. 3029:, in which excerpts from Verdi's 3014:, a quotation from Shakespeare's 2901:, a 90-minute hip-hop version of 2733:Desdemonum An Ethiopian Burlesque 2700:, London Theatres other than the 2077:version of the play in 2000: his 1336:"The Tragedy of the Handkerchief" 1322:The over-reliance of the plot of 806: 631:A Geographical Historie of Africa 8938:British plays adapted into films 8010: 8001: 8000: 7354: 6813: 6759: 6750: 6741: 6732: 6722: 6713: 6704: 6692: 6680: 6671: 6662: 6653: 6644: 6635: 6619: 6610: 6601: 6592: 6580: 6570: 6560: 6523: 6497: 6488: 6479: 6470: 6461: 6452: 6443: 6434: 6413: 6404: 6395: 6386: 6373: 6364: 6355: 6346: 6337: 6328: 6319: 6284: 6257: 6248: 6239: 6230: 6221: 6212: 6203: 6194: 6185: 6164: 6154: 6145: 6142:Chillington Rutter, 2000, p.257. 6136: 6127: 6117: 6108: 6099: 6090: 6081: 6072: 6063: 6054: 6033: 6024: 6015: 6006: 5997: 5988: 5975: 5966: 5957: 5948: 5939: 5930: 5921: 5908: 5905:Bate and Rasmussen, 2009, p.159. 5899: 5890: 5871: 5857: 5848: 5839: 5830: 5821: 5812: 5803: 5794: 5785: 5775: 5766: 5753: 5744: 5735: 5725: 5715: 5686: 5677: 5668: 5659: 5646: 5637: 5628: 5619: 5609: 5594: 5585: 5568: 5553: 5544: 5535: 5526: 5517: 5500: 5491: 5488:Bate and Rasmussen, 2009, p.152. 5482: 5473: 5464: 5455: 5446: 5433: 5424: 5415: 5406: 5386: 5376: 5363: 5354: 5345: 5336: 5315: 5306: 5297: 5288: 5278: 5275:Bate and Rasmussen, 2009, p.149. 5269: 5260: 5251: 5242: 5233: 5210: 5201: 5198:Rasmussen and Bate, 2009, p.189. 5192: 5168: 5144: 5132: 5123: 5111: 5099: 5087: 5074: 5065: 5052: 5043: 5021: 5012: 5000: 4991: 4982: 4966: 4957: 4945: 4936: 4924: 4915: 4903: 4894: 4882: 4858: 4849: 4837: 4828: 4819: 4810: 4801: 4789: 4777: 4760: 4751: 4742: 4730: 4721: 4712: 4703: 4691: 4682: 4673: 4664: 4652: 4640: 4631: 4621: 4609: 4600: 4591: 4582: 4573: 4561: 4558:Bate and Rasmussen, 2009, p.188. 4552: 4543: 4533: 4524: 4515: 4505: 4496: 4483: 4471: 4468:McAlindon and Muir, 2005, p.xxv. 4462: 4452: 4440: 4422: 4413: 4404: 4387: 3954:Mowat and Werstine, 2017, p.267. 3124:Season of Migration to the North 2962:Otello, ossia il Moro di Venezia 2706:Othello The Moor of Fleet Street 2542:'s basketball-themed teen drama 1914:in 1959 at Stratford-Upon-Avon. 58: 8070: 6756:Lanier, 2002, pp. 135–136. 5351:Honigmann, 1997, p. 90–92. 4378: 4361: 4340: 4327: 4318: 4309: 4258: 4209: 4165: 4148: 4135: 4126: 4117: 4108: 4097:Honingmann, 1997, p.29, citing 4091: 4082: 4069: 4056: 4047: 3999: 3957: 3948: 3936: 3924: 3912: 3900: 3888: 3876: 3867: 3858: 3849: 3840: 3831: 3822: 3813: 3796: 3787: 3778: 3757: 3748: 3739: 3722: 3710: 3701: 3692: 3683: 3674: 3665: 3656: 3647: 3626: 3617: 3608: 3596: 3584: 3559: 3547: 3535: 3526: 3517: 3508: 3487: 3478: 3466: 3454: 3442: 3433: 3413: 3404: 3395: 3386: 3377: 3349: 3340: 3331: 3322: 3313: 3304: 3295: 3286: 3277: 3268: 3259: 3250: 3241: 2750:in an entirely different vein. 2535:Shakespeare: The Animated Tales 2054:were dominated by their Iagos. 2045: 1841: 1698: 1581:, the playing company to which 8688:Cultural references to Othello 8133:Della descrittione dell’Africa 7831:Works titled after Shakespeare 6710:Sanders, 2007, pp. 17–18. 6401:Sanders, 2007, pp. 73–74. 5878:Akbar, Arifa (December 2022). 4748:Smith, 2014, pp.102 & 105. 4393:Neill, 2006, pp.69-70, citing 3614:Neill, 2006, pp.405 & 411. 3232: 3219: 3210: 3207:Bate and Rasmussen, 2009, p.7. 3201: 3192: 3183: 3174: 3165: 3156: 2591: 1762:'s Emilia was said to upstage 1075:In Shakespeare's main source, 937:Themes and critical approaches 836:(usually abbreviated to "F"). 271:Gratiano – Brabantio's brother 201:for the play was a novella by 192:by white actors in dark makeup 1: 9003:Frederick V of the Palatinate 7991:Shakespeare and other authors 5759:Robert Smallwood writing for 5452:Welles, 2000, pp. 55–57. 5439:Gillies, John "Stanislavski, 4281:(inactive 9 September 2024). 3419:Honigmann, 1997, p,4, citing 3134: 3054: 2729:Othello (Ethiopian Burlesque) 2677:Part of the explosion of the 1766:'s Othello in 1845. And when 1628:of the monarchy in 1660, two 1434:Where most you owe obedience? 1272: 744:, in which the queen and her 523:Certaine Tragicall Discourses 208: 147:edition from 1622 and in the 8123: 7873:Shakespeare Birthplace Trust 6689:Act 4 Scene 1 Lines 116–117. 6504:Yates, Kieran (7 May 2012). 6245:Rosenthal, 2007, pp.182-183. 6236:Rosenthal, 2007, pp.180-181. 6170:Rosenthal, 2007, pp.178-179. 5342:Honigmann, 1997, p. 90. 4891:1.3.385-9 & 2.1.293-297. 4075:Ferraro, Bruno (translator) 4014:Shakespeare: an Oxford guide 2779:story became the rock opera 2727:, George W H Griffin's 1870 1853:as Othello, photographed by 1616:Restoration and 18th century 1428:in which he asks Desdemona: 1400:– takes elements from other 1357:In a 1997 production at the 566:A Woman Killed with Kindness 115:as he is manipulated by his 7: 8730:Tony Award for Best Revival 7679:English Renaissance theatre 7522:The Second Maiden's Tragedy 7501:The Merry Devil of Edmonton 7033:The Two Gentlemen of Verona 6823:public domain audiobook at 6209:Rosenthal, 2007, pp.176-177 6096:Rosenthal, 2007 pp.174-175. 5392:Stone, John (March 2024). " 4186:10.1007/978-1-349-26003-4_9 3802:Neill, 2006, p.113, citing 2035:Shakespeare Theatre Company 1495:He envies Cassio's virtues. 941: 166: 123:, into suspecting his wife 10: 9019: 8953:Plays adapted into ballets 7847:Folger Shakespeare Library 7393:The Phoenix and the Turtle 6983:The Merry Wives of Windsor 6836:Internet Broadway Database 6747:Gillies, pp. 277–278. 6650:Austern, 2006, pp.447-448. 6598:Sanders, 2007, p. 30. 6383:African American Progeny". 5994:Rosenthal, 2007 pp.165-166 5972:Rosenthal, 2007 pp.171-173 5741:McAlindon, 2005, p.lxxiii. 5643:Morrison, 2002, p.251-252. 5625:Gillies, 2008, pp.272-273. 4786:Act 1 Scene 1 Lines 36-38. 3359:; Rasmussen, Eric (2009). 2735:of 1874 and the anonymous 2449:BBC Television Shakespeare 2328:in the central roles, and 2294:series, discussed below), 2292:BBC Television Shakespeare 2153:who played Othello at the 1868:style in Japan in 1903 by 1683:'s advance man) performed 1442: 1346:Othello is eavesdropping. 1330:quoted above, in his 1693 1186:Martin Orkin's 1987 essay 381: 23:. For the board game, see 18: 8943:Plays adapted into operas 8928:English Renaissance plays 8857: 8766: 8736: 8680: 8571: 8548: 8530: 8510: 8463: 8384: 8346: 8308: 8229: 8158: 8122: 8069: 7985: 7896: 7866:Royal Shakespeare Theatre 7861:Royal Shakespeare Company 7768: 7625: 7596: 7425: 7416: 7363: 7352: 7284: 7256: 7147: 7057: 6990:A Midsummer Night's Dream 6934:All's Well That Ends Well 6923: 6914: 6687:A Midsummer Night's Dream 6641:Austern, 2006, p.446-447. 6607:Austern, 2006, p.451-452. 6544:10.1017/9781108557177.011 6410:Lanier, 2002, p. 71. 6334:Brown, 1995, p. 309. 4988:Honigmann, 1997, pp.50-51 4784:A Midsummer Night's Dream 4502:Snyder, 2017, pp.299-300. 4006:Bartels, Emily C (2003). 3972:Oxford English Dictionary 3017:A Midsummer Night's Dream 2334:– a crime caper in which 2192: 2087:' 2001 production at the 1983:performed Othello at the 1830:by your sincerity. Don't 1410:A Midsummer Night's Dream 1058: 719:, was published in 1601. 393: 372: 179: 8250:(1816; opera by Rossini) 8143:"Un Capitano Moro" from 7004:Pericles, Prince of Tyre 6343:Moody, 2002, p. 39. 5266:Taylor, 2002, p. 5. 4172:Pechter, Edward (1997). 3698:Neill, 2006, pp.416-417. 3680:Neill, 2006, pp.414-415. 3605:4.3.29-52 and 4.3.54-56. 3514:Neill, 2006, pp.399-400. 2940: 2912: 2843:-disciple relationship. 2815:Caleen Sinnette Jennings 2105:Deutsches Theater Berlin 1730:who reports that at the 1715:(billed as "The African 1388: 1264:portrays American actor 1070:Scholar Virginia Vaughan 815:Title page of the first 730:, and to the new queen, 406: 326: 32:Othello (disambiguation) 8983:Fiction about uxoricide 8933:Shakespearean tragedies 8783:The Pirates of Penzance 7012:The Taming of the Shrew 6182:Rosenthal, 2007, p.179. 6151:Rosenthal, 2007, p.178. 6003:Rosenthal, 2007, p.166. 5800:Neill, 2006, pp.99-100. 5396:Goes to Lisbon, 1765". 4973:Samuel Taylor Coleridge 4103:A Short View of Tragedy 3977:Oxford University Press 3423:'s 1600 translation of 3238:Enterline, 2014, p.163. 3081:Konstantin Stanislavski 2907:Globe to Globe Festival 2787:Not Now Sweet Desdemona 2228:, the 1922 German film 1809:Konstantin Stanislavski 1501:Samuel Taylor Coleridge 1332:A Short View of Tragedy 1128:Samuel Taylor Coleridge 1092:A Short View of Tragedy 990: 741:The Masque of Blackness 657: 294: 190:. Originally performed 188:relationship to Othello 107:, the play depicts the 8260:(1887; opera by Verdi) 7694:Lord Chamberlain's Men 7605:The Passionate Pilgrim 7378:comparison to Petrarch 6997:Much Ado About Nothing 6976:The Merchant of Venice 6846:at the British Library 6039:Rosenthal, 2007 p.167. 5772:Albanese, 2001, p.226. 5634:Morrison, 2002, p.251. 5189:Honigmann, 1997, p.68. 5165:Honigmann, 1997, p.70. 4834:Honigmann, 1997, p.34. 4688:Honigmann, 1997, p.72. 4399:Hesitations on Othello 4271:Shakespeare Reproduced 4265:Newman, Karen (1987). 4216:Orkin, Martin (1987). 4088:Honigmann, 1997, p.60. 3985:10.1093/OED/2172406316 3132: 2850:appropriations of the 2754:'s twinned 1964 plays 2190: 1968: 1858: 1566: 1436: 1422: 1420:To stubborn harshness. 1359:Royal National Theatre 1269: 1254: 1242: 1173: 1141: 1111:Tales from Shakespeare 1102: 1067: 1022: 1005: 950: 904:to make other changes. 887:" (i.e. first drafts). 820: 781:of Shakespeare's play 758:, draws its plot from 675: 607: 578:The Merchant of Venice 572:Much Ado About Nothing 422: 323: 311: 48: 30:. For other uses, see 8968:Fiction about suicide 8058:William Shakespeare's 7884:Shakespeare Institute 7853:Shakespeare Quarterly 7372:Shakespeare's sonnets 7040:The Two Noble Kinsmen 6831:Othello 6738:Gillies, p. 272. 6105:Gillies, 2008, p.268. 6012:Tatspaugh, 2000 p.145 5761:Shakespeare Quarterly 5665:Morrison, 2002, p.252 5652:Howard Barnes in the 5532:Gillies, p. 267. 5512:Records of Later Life 5371:The Theatrical Review 4273:. London: Routledge. 4224:Shakespeare Quarterly 3837:Bartels, 2003, p.160. 3745:Muir, 1968, pp.21-22. 3734:Shakespearean Tragedy 3484:Neil, 2006, pp.19-20. 3383:Honigmann, 1997, p.2. 3128: 2905:that was part of the 2263:Return to Glennascaul 2186: 2069:Singaporean director 2033:" production for the 1964: 1864:was performed in the 1849: 1709:African Grove Theatre 1561: 1430: 1414: 1259: 1246: 1238: 1154: 1137: 1098: 1063: 1013: 1001: 946: 814: 665: 612:Shakespeare's company 593: 542:The Battle of Alcazar 443:Shakespeare's sources 420:Alexandre-Marie Colin 416:Othello and Desdemona 414: 317: 308:Antonio Muñoz Degrain 304:Desdemona and Othello 302: 42: 8539:Beast with two backs 8499:The Othello Syndrome 8484:(1967; ballet suite) 8290:(1998; ballet score) 7740:Spelling of his name 7580:Vortigern and Rowena 7558:Thomas Lord Cromwell 7138:Troilus and Cressida 7068:Antony and Cleopatra 6962:Love's Labour's Lost 6948:The Comedy of Errors 6227:Holland, 2007, p.43. 5963:Howard, 2000, p.295. 5791:Taylor, 2000, p.271. 5683:Welles, 2000, p.239. 5018:Watson, 2003, p.331. 4997:Watson, 2003, p.329. 4709:Howard, 2003, p.425. 4530:Stanton, 2001, p.98. 3216:Neil, 2006, pp.16-17 3130:"Othello was a lie." 3118:'s retelling of the 2993:Antony and Cleopatra 2665:'s 1732 French play 2276:'s Russian language 2176:played Iago for the 2009:Eugène Terre'Blanche 1997:Tsegaye Gabre-Medhin 1548:Michael Attenborough 1543:Blackwood's Magazine 1312:Michael Attenborough 1090:writing in his 1693 694:Master of the Revels 514:The Canterbury Tales 99:around 1603. Set in 8874:Fiddler on the Roof 8807:Death of a Salesman 8646:Goodnight Desdemona 7964:Richard Shakespeare 7946:Gilbert Shakespeare 7878:Shakespeare's Globe 7783:Authorship question 7778:Attribution studies 7745:Stratford-upon-Avon 7587:A Yorkshire Tragedy 7565:Thomas of Woodstock 7551:The Spanish Tragedy 7492:Love's Labour's Won 7484:The London Prodigal 7441:The Birth of Merlin 7400:The Rape of Lucrece 7386:A Lover's Complaint 7266:Quarto publications 6969:Measure for Measure 6908:William Shakespeare 6218:Brode, 2000, p.173. 6087:Rosenthal, 2007, p. 6051:Brode, 2000, p.159. 5954:Brode, 2000, p.172. 5049:Orgel, 2000, p.xii. 4774:is in fourth place. 4579:Neill, 2006, p.176. 4521:Stanton, 2001, p.97 4373:A Way of Being Free 4324:Neill, 2006, p.120. 4132:Singh, 2003, p.494. 3975:(Online ed.). 3808:A Way of Being Free 3707:Neill, 2006, p.430. 3689:Neill, 2006, p.414. 3662:Neill, 2006, p.413. 3653:Neill, 2006, p.412. 3644:Neill, 2006, p.411. 3581:Neill, 2006, p.405. 3532:Neill, 2006, p.400. 3112:The Nature of Blood 2744:Black Arts Movement 2672:Jean-François Ducis 2588:artform of Kerala. 2558:Metropolitan Police 2167:Northern Broadsides 2119:played the role in 2112:performative one." 2060:Simon Russell Beale 1723:, London, in 1825. 1554:Performance history 1459:Renaissance tragedy 1211:A Way of Being Free 751:Measure for Measure 532:The Spanish Tragedy 498:The Merchant's Tale 184:motivations of Iago 178:, its treatment of 111:military commander 97:William Shakespeare 45:Théodore Chassériau 21:Othello (character) 8993:Domestic tragedies 8958:Plays set in Italy 8775:Morning's at Seven 7958:Edmund Shakespeare 7916:Hamnet Shakespeare 7813:Screen adaptations 7536:Sir John Oldcastle 7434:Arden of Faversham 6765:Neil, 2006, p.118. 6532:Shakespeare Survey 6506:"Othello - review" 6476:Neill, 2006, p.13. 6431:Neill, 2006, p.12. 6361:Neill, 2006, p.42. 6304:Neill, 2006, p.14. 6060:Brode, 2000, p.160 5867:. 24 October 2016. 5818:Neill, 2006, p.69. 5497:Neil, 2006, p.102. 5216:Neill, 2006, p.36. 5040:Orgel, 2000, p.xi. 4942:Neill, 2006, p.31. 4434:Walters Art Museum 3873:Neill, 2006, p.45. 3828:Neill, 2006, p.41. 3819:Neill, 2006,p.146. 3671:Neil, 2006, p.413. 3523:Neil, 2006, p.400. 3310:Neill, 2006, p.17. 3012:Such Sweet Thunder 3007:Such Sweet Thunder 2929:, issued in 1944. 2899:Othello: The Remix 2807:C. Bernard Jackson 2646:The Fatal Jealousy 2550:Columbine massacre 2494:Laurence Fishburne 2459:'s performance as 2243:East of Piccadilly 1881:Moscow Art Theatre 1859: 1788:Sans Souci Theatre 1752:John Philip Kemble 1567: 1521:Double time scheme 1379:) and Richard (in 1270: 1205:The Nigerian poet 927:Oxford Shakespeare 914:E. A. J. Honigmann 821: 709:'s translation of 676: 666:The first page of 637:'s translation of 608: 547:Arden of Faversham 466:the events of 1570 423: 324: 312: 49: 8998:Blackface theatre 8973:Venice in fiction 8923:Cyprus in fiction 8900: 8899: 8696: 8695: 8654:An Imaginary Tale 8277:The Moor's Pavane 8171:The Duke of Milan 8024: 8023: 7928:Elizabeth Barnard 7892: 7891: 7621: 7620: 7350: 7349: 7048:The Winter's Tale 6799:Project Gutenberg 6729:pp. 171–172. 6553:978-1-108-55717-7 6419:Neill, 2006, p.1. 6316:Neil, 2006, p.15. 6277:978-1-4051-1104-1 5914:Maguire, Laurie " 5430:Neill, 2006, p.8. 5398:Notes and Queries 5383:pp. 231-232. 5129:Muir, 1968, p.26. 4588:Neill, 2006, p.4. 4195:978-1-349-26003-4 4033:978-0-19-924522-2 3991:(Subscription or 3793:Muir, 1968, p.38. 3784:Muir, 1968, p.24. 3775:Muir, 1968, p.23. 3763:Muir, 1968, p.20. 3754:Muir, 1968, p.22. 3370:978-0-230-57621-6 3265:Neil, 2006, p.20. 3256:Muir, 1968, p.11. 3074:Atlantic triangle 2768:", especially in 2725:Othello Travestie 2691:Le More de Venise 2679:Romantic movement 2641:Henry Nevil Payne 2597:Stage adaptations 2506:Franco Zeffirelli 2214:'s 1920 animated 2133:domestic violence 2094:Waikato Land Wars 1955:Quetta Earthquake 1894:America featured 1760:Charlotte Cushman 1732:Baltimore Theatre 1439:Iago's motivation 1150:Arden Shakespeare 690:Sir Edmund Tilney 674:, printed in 1623 619:Gasparo Contarini 604:Queen Elizabeth I 504:The Miller's Tale 176:unusual mechanics 9010: 8723: 8716: 8709: 8700: 8699: 8606:Men Are Not Gods 8503: 8485: 8301: 8291: 8281: 8271: 8270:(1892; overture) 8261: 8251: 8206: 8179:Love's Sacrifice 8151: 8145:Gli Hecatommithi 8051: 8044: 8037: 8028: 8027: 8014: 8013: 8004: 8003: 7952:Joan Shakespeare 7934:John Shakespeare 7837: 7836: 7818:Shakespeare and 7529:Sejanus His Fall 7496: 7456:Double Falsehood 7423: 7422: 7407:Venus and Adonis 7358: 7131:Titus Andronicus 7117:Romeo and Juliet 6921: 6920: 6901: 6894: 6887: 6878: 6877: 6817: 6816: 6801: 6766: 6763: 6757: 6754: 6748: 6745: 6739: 6736: 6730: 6726: 6720: 6717: 6711: 6708: 6702: 6696: 6690: 6684: 6678: 6675: 6669: 6666: 6660: 6657: 6651: 6648: 6642: 6639: 6633: 6623: 6617: 6614: 6608: 6605: 6599: 6596: 6590: 6584: 6578: 6574: 6568: 6564: 6558: 6557: 6527: 6521: 6520: 6518: 6516: 6501: 6495: 6492: 6486: 6483: 6477: 6474: 6468: 6465: 6459: 6456: 6450: 6447: 6441: 6438: 6432: 6429: 6420: 6417: 6411: 6408: 6402: 6399: 6393: 6390: 6384: 6377: 6371: 6368: 6362: 6359: 6353: 6350: 6344: 6341: 6335: 6332: 6326: 6323: 6317: 6314: 6305: 6302: 6293: 6288: 6282: 6281: 6261: 6255: 6252: 6246: 6243: 6237: 6234: 6228: 6225: 6219: 6216: 6210: 6207: 6201: 6198: 6192: 6189: 6183: 6180: 6171: 6168: 6162: 6158: 6152: 6149: 6143: 6140: 6134: 6131: 6125: 6121: 6115: 6112: 6106: 6103: 6097: 6094: 6088: 6085: 6079: 6076: 6070: 6067: 6061: 6058: 6052: 6049: 6040: 6037: 6031: 6028: 6022: 6019: 6013: 6010: 6004: 6001: 5995: 5992: 5986: 5979: 5973: 5970: 5964: 5961: 5955: 5952: 5946: 5943: 5937: 5934: 5928: 5925: 5919: 5912: 5906: 5903: 5897: 5894: 5888: 5887: 5875: 5869: 5868: 5861: 5855: 5852: 5846: 5843: 5837: 5834: 5828: 5825: 5819: 5816: 5810: 5807: 5801: 5798: 5792: 5789: 5783: 5779: 5773: 5770: 5764: 5757: 5751: 5748: 5742: 5739: 5733: 5729: 5723: 5719: 5713: 5710: 5701: 5694:Laurence Olivier 5690: 5684: 5681: 5675: 5672: 5666: 5663: 5657: 5650: 5644: 5641: 5635: 5632: 5626: 5623: 5617: 5613: 5607: 5598: 5592: 5589: 5583: 5572: 5566: 5557: 5551: 5548: 5542: 5539: 5533: 5530: 5524: 5521: 5515: 5504: 5498: 5495: 5489: 5486: 5480: 5477: 5471: 5468: 5462: 5459: 5453: 5450: 5444: 5437: 5431: 5428: 5422: 5419: 5413: 5410: 5404: 5390: 5384: 5380: 5374: 5369:John Bernard in 5367: 5361: 5358: 5352: 5349: 5343: 5340: 5334: 5319: 5313: 5310: 5304: 5301: 5295: 5292: 5286: 5282: 5276: 5273: 5267: 5264: 5258: 5255: 5249: 5246: 5240: 5237: 5231: 5228: 5217: 5214: 5208: 5205: 5199: 5196: 5190: 5187: 5178: 5172: 5166: 5163: 5154: 5148: 5142: 5136: 5130: 5127: 5121: 5115: 5109: 5103: 5097: 5091: 5085: 5078: 5072: 5069: 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4130: 4124: 4121: 4115: 4114:Neil, 2006, p.3. 4112: 4106: 4095: 4089: 4086: 4080: 4073: 4067: 4060: 4054: 4051: 4045: 4044: 4042: 4040: 4017: 4003: 3997: 3996: 3988: 3968: 3961: 3955: 3952: 3946: 3940: 3934: 3928: 3922: 3916: 3910: 3904: 3898: 3892: 3886: 3880: 3874: 3871: 3865: 3862: 3856: 3853: 3847: 3844: 3838: 3835: 3829: 3826: 3820: 3817: 3811: 3800: 3794: 3791: 3785: 3782: 3776: 3773: 3764: 3761: 3755: 3752: 3746: 3743: 3737: 3726: 3720: 3714: 3708: 3705: 3699: 3696: 3690: 3687: 3681: 3678: 3672: 3669: 3663: 3660: 3654: 3651: 3645: 3642: 3633: 3630: 3624: 3621: 3615: 3612: 3606: 3600: 3594: 3588: 3582: 3579: 3566: 3563: 3557: 3551: 3545: 3539: 3533: 3530: 3524: 3521: 3515: 3512: 3506: 3503: 3494: 3491: 3485: 3482: 3476: 3470: 3464: 3458: 3452: 3446: 3440: 3437: 3431: 3417: 3411: 3408: 3402: 3399: 3393: 3390: 3384: 3381: 3375: 3374: 3353: 3347: 3344: 3338: 3335: 3329: 3328:Muir, 1968, p.8. 3326: 3320: 3317: 3311: 3308: 3302: 3299: 3293: 3290: 3284: 3281: 3275: 3272: 3266: 3263: 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the anonymous 449:Gli Hecatommithi 438:Date and sources 251:– Cassio's lover 159:literary critics 84: 83: 80: 79: 76: 73: 70: 67: 64: 9018: 9017: 9013: 9012: 9011: 9009: 9008: 9007: 8903: 8902: 8901: 8896: 8853: 8762: 8759:No Award (1979) 8732: 8727: 8697: 8692: 8676: 8573: 8567: 8562:Filming Othello 8544: 8526: 8506: 8496: 8478: 8459: 8387: 8380: 8342: 8304: 8294: 8284: 8274: 8264: 8254: 8244: 8237: 8225: 8201: 8161: 8154: 8142: 8118: 8065: 8055: 8025: 8020: 7981: 7930:(granddaughter) 7888: 7835: 7764: 7730:Religious views 7708:Curtain Theatre 7629: 7617: 7592: 7543:Sir Thomas More 7489: 7463:Edmund Ironside 7412: 7359: 7346: 7320:Ghost character 7280: 7252: 7143: 7124:Timon of Athens 7053: 6910: 6905: 6814: 6791: 6785:Standard Ebooks 6775: 6770: 6769: 6764: 6760: 6755: 6751: 6746: 6742: 6737: 6733: 6727: 6723: 6718: 6714: 6709: 6705: 6697: 6693: 6685: 6681: 6676: 6672: 6667: 6663: 6658: 6654: 6649: 6645: 6640: 6636: 6624: 6620: 6615: 6611: 6606: 6602: 6597: 6593: 6585: 6581: 6575: 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2572:Vishal Bhardwaj 2562:Alexander Abela 2498:Kenneth Branagh 2453:Anthony Hopkins 2445:Jonathan Miller 2406:Boris Pasternak 2387:The filming of 2288:Jonathan Miller 2226:its 1932 remake 2195: 2121:Nicholas Hytner 2048: 2039:Patrick Stewart 1977: 1970: 1904:Sybil Thorndike 1844: 1800:Tommaso Salvini 1721:Royalty Theatre 1701: 1651:Margaret Hughes 1618: 1606:Richard Burbage 1572: 1564:Thomas W. Keene 1556: 1523: 1463:revenge tragedy 1447: 1441: 1433: 1419: 1417: 1391: 1367: 1320: 1295:Timon of Athens 1275: 1172: 1163: 1161: 1124: 1104: 1073: 1069: 1061: 993: 956: 952: 944: 939: 809: 768:Richard Knolles 732:Anne of Denmark 716:Natural History 660: 644:Natural History 519:Geoffrey Fenton 445: 440: 409: 396: 384: 375: 329: 297: 292: 280:Clown – servant 211: 127:of infidelity. 61: 57: 35: 17: 12: 11: 5: 9016: 9006: 9005: 9000: 8995: 8990: 8985: 8980: 8975: 8970: 8965: 8960: 8955: 8950: 8945: 8940: 8935: 8930: 8925: 8920: 8915: 8898: 8897: 8895: 8894: 8886: 8882:Guys and Dolls 8878: 8870: 8861: 8859: 8855: 8854: 8852: 8851: 8843: 8835: 8827: 8819: 8811: 8803: 8795: 8787: 8779: 8770: 8768: 8764: 8763: 8761: 8760: 8757: 8749: 8745:Porgy and Bess 8740: 8738: 8734: 8733: 8726: 8725: 8718: 8711: 8703: 8694: 8693: 8691: 8690: 8684: 8682: 8678: 8677: 8675: 8674: 8666: 8658: 8650: 8642: 8634: 8626: 8618: 8610: 8602: 8594: 8586: 8577: 8575: 8569: 8568: 8566: 8565: 8558: 8552: 8550: 8546: 8545: 8543: 8542: 8534: 8532: 8528: 8527: 8525: 8524: 8516: 8514: 8508: 8507: 8505: 8504: 8494: 8486: 8476: 8467: 8465: 8461: 8460: 8458: 8457: 8449: 8441: 8433: 8425: 8417: 8409: 8405:All Night Long 8401: 8392: 8390: 8382: 8381: 8379: 8378: 8373: 8368: 8363: 8358: 8356:1964 Australia 8352: 8350: 8344: 8343: 8341: 8340: 8335: 8330: 8325: 8320: 8314: 8312: 8306: 8305: 8303: 8302: 8292: 8282: 8280:(1949; ballet) 8272: 8262: 8252: 8241: 8239: 8227: 8226: 8224: 8223: 8215: 8207: 8199: 8191: 8183: 8175: 8166: 8164: 8156: 8155: 8153: 8152: 8140: 8128: 8126: 8120: 8119: 8117: 8116: 8111: 8106: 8101: 8096: 8091: 8086: 8081: 8075: 8073: 8067: 8066: 8054: 8053: 8046: 8039: 8031: 8022: 8021: 8019: 8018: 8008: 7997: 7996: 7993: 7986: 7983: 7982: 7980: 7979: 7973: 7967: 7961: 7955: 7949: 7943: 7937: 7931: 7925: 7919: 7913: 7907: 7900: 7898: 7894: 7893: 7890: 7889: 7887: 7886: 7881: 7875: 7870: 7869: 7868: 7858: 7857: 7856: 7843: 7841: 7834: 7833: 7828: 7823: 7815: 7810: 7805: 7800: 7795: 7790: 7785: 7780: 7774: 7772: 7766: 7765: 7763: 7762: 7757: 7752: 7747: 7742: 7737: 7732: 7727: 7722: 7717: 7712: 7711: 7710: 7705: 7691: 7686: 7681: 7676: 7671: 7669:Collaborations 7666: 7661: 7660: 7659: 7654: 7642: 7636: 7634: 7623: 7622: 7619: 7618: 7616: 7615: 7608: 7600: 7598: 7594: 7593: 7591: 7590: 7583: 7576: 7568: 7561: 7554: 7547: 7539: 7532: 7525: 7518: 7511: 7504: 7497: 7487: 7480: 7473: 7466: 7459: 7452: 7444: 7437: 7429: 7427: 7420: 7414: 7413: 7411: 7410: 7403: 7396: 7389: 7382: 7381: 7380: 7367: 7365: 7361: 7360: 7353: 7351: 7348: 7347: 7345: 7344: 7339: 7334: 7329: 7324: 7323: 7322: 7317: 7312: 7304: 7299: 7294: 7288: 7286: 7282: 7281: 7279: 7278: 7273: 7268: 7262: 7260: 7258:Early editions 7254: 7253: 7251: 7250: 7242: 7235: 7234: 7233: 7226: 7219: 7204: 7197: 7196: 7195: 7188: 7176: 7169: 7161: 7153: 7151: 7145: 7144: 7142: 7141: 7134: 7127: 7120: 7113: 7106: 7099: 7092: 7085: 7078: 7071: 7063: 7061: 7055: 7054: 7052: 7051: 7044: 7036: 7029: 7022: 7015: 7008: 7000: 6993: 6986: 6979: 6972: 6965: 6958: 6951: 6944: 6941:As You Like It 6937: 6929: 6927: 6918: 6912: 6911: 6904: 6903: 6896: 6889: 6881: 6875: 6874: 6865: 6856: 6847: 6839: 6827: 6811: 6802: 6789: 6787: 6774: 6773:External links 6771: 6768: 6767: 6758: 6749: 6740: 6731: 6721: 6712: 6703: 6701:, 1.3.129–170. 6691: 6679: 6670: 6661: 6652: 6643: 6634: 6628:2.3.65-69 and 6618: 6609: 6600: 6591: 6579: 6569: 6559: 6552: 6522: 6496: 6487: 6478: 6469: 6460: 6451: 6442: 6433: 6421: 6412: 6403: 6394: 6385: 6372: 6363: 6354: 6345: 6336: 6327: 6318: 6306: 6294: 6283: 6276: 6256: 6247: 6238: 6229: 6220: 6211: 6202: 6193: 6184: 6172: 6163: 6153: 6144: 6135: 6126: 6116: 6107: 6098: 6089: 6080: 6071: 6062: 6053: 6041: 6032: 6023: 6014: 6005: 5996: 5987: 5974: 5965: 5956: 5947: 5938: 5929: 5920: 5907: 5898: 5889: 5870: 5856: 5847: 5838: 5829: 5820: 5811: 5802: 5793: 5784: 5774: 5765: 5752: 5743: 5734: 5724: 5714: 5702: 5685: 5676: 5667: 5658: 5654:Herald Tribune 5645: 5636: 5627: 5618: 5608: 5603:My Life in Art 5593: 5584: 5567: 5562:My Life in Art 5552: 5543: 5534: 5525: 5516: 5499: 5490: 5481: 5472: 5463: 5454: 5445: 5432: 5423: 5414: 5405: 5385: 5375: 5362: 5353: 5344: 5335: 5314: 5305: 5296: 5287: 5277: 5268: 5259: 5250: 5241: 5232: 5218: 5209: 5200: 5191: 5179: 5167: 5155: 5143: 5131: 5122: 5110: 5098: 5086: 5073: 5064: 5051: 5042: 5030: 5020: 5011: 4999: 4990: 4981: 4965: 4956: 4944: 4935: 4923: 4914: 4902: 4893: 4881: 4869: 4857: 4848: 4836: 4827: 4818: 4809: 4800: 4788: 4776: 4759: 4750: 4741: 4729: 4720: 4711: 4702: 4690: 4681: 4672: 4663: 4651: 4639: 4630: 4620: 4608: 4599: 4590: 4581: 4572: 4560: 4551: 4542: 4532: 4523: 4514: 4504: 4495: 4482: 4470: 4461: 4451: 4439: 4421: 4412: 4403: 4386: 4377: 4360: 4348: 4339: 4326: 4317: 4308: 4287: 4257: 4230:(2): 166–188. 4208: 4194: 4164: 4147: 4134: 4125: 4116: 4107: 4090: 4081: 4068: 4055: 4046: 4032: 3998: 3956: 3947: 3935: 3923: 3911: 3899: 3887: 3875: 3866: 3857: 3848: 3839: 3830: 3821: 3812: 3795: 3786: 3777: 3765: 3756: 3747: 3738: 3721: 3709: 3700: 3691: 3682: 3673: 3664: 3655: 3646: 3634: 3625: 3616: 3607: 3595: 3583: 3567: 3558: 3546: 3534: 3525: 3516: 3507: 3495: 3486: 3477: 3465: 3453: 3441: 3432: 3412: 3403: 3394: 3385: 3376: 3369: 3357:Bate, Jonathan 3348: 3339: 3330: 3321: 3312: 3303: 3294: 3285: 3276: 3267: 3258: 3249: 3240: 3231: 3218: 3209: 3200: 3191: 3182: 3173: 3164: 3154: 3153: 3151: 3150: 3146: 3138: 3136: 3133: 3108:Caryl Phillips 3096:Farrukh Dhondy 3062:'s 1688 novel 3056: 3053: 3004:'s jazz suite 2998:Duke Ellington 2942: 2939: 2914: 2911: 2721:minstrel shows 2616:The Changeling 2598: 2595: 2593: 2590: 2431:as Desdemona, 2372:All Night Long 2301:All Night Long 2284:BBC Television 2194: 2191: 2056:Richard McCabe 2047: 2044: 1963: 1959:Hiroshima Bomb 1943:Frederick Valk 1900:Peggy Ashcroft 1843: 1840: 1834:the villain." 1814:My Life in Art 1700: 1697: 1681:William Hallam 1677:Hallam Company 1670:Spranger Barry 1638:Duke's Company 1634:King's Company 1617: 1614: 1571: 1568: 1555: 1552: 1522: 1519: 1497: 1496: 1493: 1490: 1487: 1484: 1481: 1471:morality plays 1440: 1437: 1390: 1387: 1385:) are longer. 1366: 1363: 1319: 1316: 1274: 1271: 1162:M. R. Ridley, 1159: 1097: 1062: 1060: 1057: 992: 989: 945: 943: 940: 938: 935: 923: 922: 911: 905: 898:Nevill Coghill 895: 888: 878: 872: 865:E. K. Chambers 858: 857: 854: 847: 844: 808: 807:Early editions 805: 702:terminus a quo 659: 656: 602:ambassador to 556:Doctor Faustus 444: 441: 439: 436: 408: 405: 395: 392: 383: 380: 374: 371: 363:Duke of Venice 328: 325: 296: 293: 291: 290: 287: 284: 281: 278: 275: 272: 269: 267:Duke of Venice 264: 258: 252: 246: 240: 234: 228: 222: 212: 210: 207: 197:Shakespeare's 85:; full title: 15: 9: 6: 4: 3: 2: 9015: 9004: 9001: 8999: 8996: 8994: 8991: 8989: 8986: 8984: 8981: 8979: 8976: 8974: 8971: 8969: 8966: 8964: 8961: 8959: 8956: 8954: 8951: 8949: 8946: 8944: 8941: 8939: 8936: 8934: 8931: 8929: 8926: 8924: 8921: 8919: 8916: 8914: 8911: 8910: 8908: 8892: 8891: 8890:Anna Christie 8887: 8884: 8883: 8879: 8876: 8875: 8871: 8868: 8867: 8863: 8862: 8860: 8856: 8849: 8848: 8844: 8841: 8840: 8839:Anything Goes 8836: 8833: 8832: 8828: 8825: 8824: 8823:Sweet Charity 8820: 8817: 8816: 8812: 8809: 8808: 8804: 8801: 8800: 8796: 8793: 8792: 8788: 8785: 8784: 8780: 8777: 8776: 8772: 8771: 8769: 8765: 8758: 8755: 8754: 8750: 8747: 8746: 8742: 8741: 8739: 8735: 8731: 8724: 8719: 8717: 8712: 8710: 8705: 8704: 8701: 8689: 8686: 8685: 8683: 8679: 8672: 8671: 8667: 8664: 8663: 8659: 8656: 8655: 8651: 8648: 8647: 8643: 8640: 8639: 8635: 8632: 8631: 8627: 8624: 8623: 8619: 8616: 8615: 8614:A Double Life 8611: 8608: 8607: 8603: 8600: 8599: 8595: 8592: 8591: 8587: 8584: 8583: 8579: 8578: 8576: 8570: 8564: 8563: 8559: 8557: 8556:Othello error 8554: 8553: 8551: 8547: 8540: 8536: 8535: 8533: 8529: 8523: 8522: 8518: 8517: 8515: 8513: 8509: 8502:(2008; album) 8501: 8500: 8495: 8492: 8491: 8487: 8483: 8482: 8477: 8474: 8473: 8469: 8468: 8466: 8462: 8455: 8454: 8450: 8447: 8446: 8442: 8439: 8438: 8434: 8431: 8430: 8426: 8423: 8422: 8418: 8415: 8414: 8413:Catch My Soul 8410: 8407: 8406: 8402: 8399: 8398: 8394: 8393: 8391: 8389: 8383: 8377: 8374: 8372: 8369: 8367: 8364: 8362: 8359: 8357: 8354: 8353: 8351: 8349: 8345: 8339: 8336: 8334: 8331: 8329: 8326: 8324: 8321: 8319: 8316: 8315: 8313: 8311: 8307: 8300:(1999; opera) 8299: 8298: 8293: 8289: 8288: 8283: 8279: 8278: 8273: 8269: 8268: 8263: 8259: 8258: 8253: 8249: 8248: 8243: 8242: 8240: 8236: 8232: 8228: 8221: 8220: 8216: 8213: 8212: 8211:Catch My Soul 8208: 8204: 8203:Catch My Soul 8200: 8197: 8196: 8192: 8189: 8188: 8184: 8181: 8180: 8176: 8173: 8172: 8168: 8167: 8165: 8163: 8157: 8150: 8146: 8141: 8139: 8138:Leo Africanus 8135: 8134: 8130: 8129: 8127: 8125: 8121: 8115: 8112: 8110: 8107: 8105: 8102: 8100: 8097: 8095: 8092: 8090: 8087: 8085: 8082: 8080: 8077: 8076: 8074: 8072: 8068: 8064: 8063: 8059: 8052: 8047: 8045: 8040: 8038: 8033: 8032: 8029: 8017: 8009: 8007: 7999: 7998: 7994: 7992: 7988: 7987: 7984: 7977: 7976:Thomas Quiney 7974: 7971: 7968: 7966:(grandfather) 7965: 7962: 7959: 7956: 7953: 7950: 7947: 7944: 7941: 7938: 7935: 7932: 7929: 7926: 7923: 7922:Judith Quiney 7920: 7917: 7914: 7911: 7908: 7905: 7904:Anne Hathaway 7902: 7901: 7899: 7895: 7885: 7882: 7879: 7876: 7874: 7871: 7867: 7864: 7863: 7862: 7859: 7855: 7854: 7850: 7849: 7848: 7845: 7844: 7842: 7838: 7832: 7829: 7827: 7824: 7822: 7821: 7816: 7814: 7811: 7809: 7806: 7804: 7801: 7799: 7796: 7794: 7791: 7789: 7786: 7784: 7781: 7779: 7776: 7775: 7773: 7771: 7767: 7761: 7758: 7756: 7753: 7751: 7748: 7746: 7743: 7741: 7738: 7736: 7733: 7731: 7728: 7726: 7723: 7721: 7718: 7716: 7713: 7709: 7706: 7704: 7701: 7700: 7699: 7695: 7692: 7690: 7687: 7685: 7684:Globe Theatre 7682: 7680: 7677: 7675: 7672: 7670: 7667: 7665: 7662: 7658: 7655: 7653: 7652: 7648: 7647: 7646: 7643: 7641: 7638: 7637: 7635: 7633: 7628: 7624: 7614: 7613: 7609: 7607: 7606: 7602: 7601: 7599: 7595: 7589: 7588: 7584: 7582: 7581: 7577: 7574: 7573: 7569: 7567: 7566: 7562: 7560: 7559: 7555: 7553: 7552: 7548: 7545: 7544: 7540: 7538: 7537: 7533: 7531: 7530: 7526: 7524: 7523: 7519: 7517: 7516: 7512: 7510: 7509: 7505: 7503: 7502: 7498: 7494: 7493: 7488: 7486: 7485: 7481: 7479: 7478: 7474: 7472: 7471: 7467: 7465: 7464: 7460: 7458: 7457: 7453: 7450: 7449: 7445: 7443: 7442: 7438: 7436: 7435: 7431: 7430: 7428: 7424: 7421: 7419: 7415: 7409: 7408: 7404: 7402: 7401: 7397: 7395: 7394: 7390: 7388: 7387: 7383: 7379: 7376: 7375: 7374: 7373: 7369: 7368: 7366: 7362: 7357: 7343: 7340: 7338: 7335: 7333: 7330: 7328: 7325: 7321: 7318: 7316: 7313: 7311: 7308: 7307: 7305: 7303: 7300: 7298: 7297:Late romances 7295: 7293: 7292:Problem plays 7290: 7289: 7287: 7283: 7277: 7274: 7272: 7269: 7267: 7264: 7263: 7261: 7259: 7255: 7248: 7247: 7243: 7241: 7240: 7236: 7232: 7231: 7227: 7225: 7224: 7220: 7217: 7216: 7212: 7211: 7210: 7209: 7205: 7203: 7202: 7198: 7194: 7193: 7189: 7187: 7186: 7182: 7181: 7180: 7177: 7175: 7174: 7170: 7167: 7166: 7162: 7160: 7159: 7155: 7154: 7152: 7150: 7146: 7140: 7139: 7135: 7133: 7132: 7128: 7126: 7125: 7121: 7119: 7118: 7114: 7112: 7111: 7107: 7105: 7104: 7100: 7098: 7097: 7093: 7091: 7090: 7089:Julius Caesar 7086: 7084: 7083: 7079: 7077: 7076: 7072: 7070: 7069: 7065: 7064: 7062: 7060: 7056: 7050: 7049: 7045: 7042: 7041: 7037: 7035: 7034: 7030: 7028: 7027: 7026:Twelfth Night 7023: 7021: 7020: 7016: 7014: 7013: 7009: 7006: 7005: 7001: 6999: 6998: 6994: 6992: 6991: 6987: 6985: 6984: 6980: 6978: 6977: 6973: 6971: 6970: 6966: 6964: 6963: 6959: 6957: 6956: 6952: 6950: 6949: 6945: 6943: 6942: 6938: 6936: 6935: 6931: 6930: 6928: 6926: 6922: 6919: 6917: 6913: 6909: 6902: 6897: 6895: 6890: 6888: 6883: 6882: 6879: 6873: 6869: 6866: 6864: 6860: 6857: 6855: 6851: 6848: 6845: 6844: 6840: 6837: 6833: 6832: 6828: 6826: 6822: 6821: 6812: 6809: 6807: 6803: 6800: 6796: 6795: 6790: 6788: 6786: 6782: 6781: 6777: 6776: 6762: 6753: 6744: 6735: 6725: 6716: 6707: 6700: 6695: 6688: 6683: 6674: 6665: 6656: 6647: 6638: 6631: 6627: 6622: 6613: 6604: 6595: 6588: 6583: 6573: 6563: 6555: 6549: 6545: 6541: 6537: 6533: 6526: 6511: 6507: 6500: 6491: 6482: 6473: 6464: 6455: 6446: 6437: 6428: 6426: 6416: 6407: 6398: 6389: 6382: 6376: 6367: 6358: 6349: 6340: 6331: 6322: 6313: 6311: 6301: 6299: 6292: 6287: 6279: 6273: 6269: 6268: 6260: 6251: 6242: 6233: 6224: 6215: 6206: 6197: 6188: 6179: 6177: 6167: 6157: 6148: 6139: 6130: 6120: 6111: 6102: 6093: 6084: 6075: 6066: 6057: 6048: 6046: 6036: 6027: 6018: 6009: 6000: 5991: 5984: 5978: 5969: 5960: 5951: 5942: 5933: 5924: 5917: 5911: 5902: 5893: 5885: 5881: 5874: 5866: 5860: 5851: 5842: 5833: 5824: 5815: 5806: 5797: 5788: 5778: 5769: 5762: 5756: 5747: 5738: 5728: 5718: 5709: 5707: 5699: 5695: 5689: 5680: 5671: 5662: 5655: 5649: 5640: 5631: 5622: 5612: 5605: 5604: 5597: 5588: 5581: 5577: 5571: 5564: 5563: 5556: 5547: 5538: 5529: 5520: 5513: 5509: 5503: 5494: 5485: 5476: 5467: 5458: 5449: 5442: 5436: 5427: 5418: 5409: 5403: 5399: 5395: 5389: 5379: 5372: 5366: 5357: 5348: 5339: 5332: 5328: 5324: 5318: 5309: 5300: 5291: 5281: 5272: 5263: 5254: 5245: 5236: 5227: 5225: 5223: 5213: 5204: 5195: 5186: 5184: 5176: 5171: 5162: 5160: 5152: 5147: 5140: 5135: 5126: 5119: 5114: 5107: 5102: 5095: 5090: 5083: 5077: 5068: 5061: 5055: 5046: 5037: 5035: 5024: 5015: 5008: 5003: 4994: 4985: 4978: 4974: 4969: 4960: 4953: 4948: 4939: 4932: 4927: 4918: 4911: 4906: 4897: 4890: 4885: 4876: 4874: 4866: 4861: 4852: 4845: 4840: 4831: 4822: 4813: 4804: 4797: 4792: 4785: 4780: 4773: 4769: 4763: 4754: 4745: 4738: 4733: 4724: 4715: 4706: 4699: 4694: 4685: 4676: 4667: 4660: 4655: 4648: 4643: 4634: 4624: 4617: 4612: 4603: 4594: 4585: 4576: 4569: 4564: 4555: 4546: 4536: 4527: 4518: 4508: 4499: 4492: 4486: 4479: 4474: 4465: 4455: 4448: 4443: 4435: 4431: 4425: 4416: 4407: 4400: 4396: 4395:Hugh Quarshie 4390: 4381: 4374: 4370: 4364: 4355: 4353: 4343: 4336: 4330: 4321: 4312: 4304: 4298: 4290: 4288:9781315018584 4284: 4280: 4276: 4272: 4268: 4261: 4253: 4249: 4245: 4241: 4237: 4233: 4229: 4225: 4220: 4212: 4197: 4191: 4187: 4183: 4179: 4175: 4168: 4160: 4159: 4151: 4144: 4138: 4129: 4120: 4111: 4104: 4100: 4094: 4085: 4078: 4072: 4065: 4059: 4050: 4035: 4029: 4025: 4021: 4016: 4015: 4009: 4002: 3994: 3986: 3982: 3978: 3974: 3973: 3967: 3960: 3951: 3944: 3939: 3932: 3927: 3920: 3915: 3908: 3903: 3896: 3891: 3884: 3879: 3870: 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W. Greg 779:bad quarto 736:Ben Jonson 356:witchcraft 209:Characters 8622:Saptapadi 8512:Paintings 8219:Desdemona 8114:Brabantio 8084:Desdemona 7970:John Hall 7960:(brother) 7948:(brother) 7880:(replica) 7820:Star Trek 7808:Memorials 7803:Influence 7793:Festivals 7735:Sexuality 7725:Portraits 7720:New Place 7572:Ur-Hamlet 7508:Mucedorus 7418:Apocrypha 7158:King John 7149:Histories 7096:King Lear 7059:Tragedies 6955:Cymbeline 6808:Navigator 6538:: 74–87. 6381:Othello's 6270:. Wiley. 5698:On Acting 5331:King Lear 4867:1.1.7-32. 4649:3.4.57-60 4430:"Othello" 4297:cite book 4244:0037-3222 3542:Hamlet Q1 3421:John Pory 3098:'s novel 3041:Bob Dylan 2935:BBC Radio 2927:Uta Hagen 2881:Desdemona 2833:Kathakali 2739:of 1880. 2712:in 1833. 2621:John Ford 2607:Middleton 2574:'s Hindi 2510:1986 film 2368:Desdemona 2240:, 1941's 2218:, 1921's 2079:Desdemona 2058:followed 2013:John Kani 2005:Apartheid 1937:In 1947, 1924:Uta Hagen 1782:In 1848, 1589:, and at 1587:the Globe 1455:Machiavel 1120:Mary Lamb 869:holograph 670:from the 345:elopement 255:Brabantio 225:Desdemona 137:King Lear 125:Desdemona 8847:Our Town 8590:Carnival 8582:Carnival 8297:Bandanna 8109:Roderigo 8006:Category 7954:(sister) 7942:(mother) 7936:(father) 7448:Cardenio 7337:Settings 7285:See also 7208:Henry VI 7179:Henry IV 6925:Comedies 6825:LibriVox 5722:Acting". 5510:'s 1882 5141:1.3.380. 5120:3.4.173. 5108:3.3.296. 4628:pp.78-79 4369:Ben Okri 3933:3.3.267. 3804:Ben Okri 3451:3.3.456. 3065:Oroonoko 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