Othello: The Moor of Venice

( 131 )

Overview

This second edition of Othello updates the first (Bristol Classical Press, 1987), both chronologically and conceptually. It includes consideration of productions from the last seventeen years, and reconsiders earlier material in the light of more recent critical attitudes. Post-colonial and feminist studies have had an impact on the way Othello is perceived and interpreted. The question of blacked-up/black/colour-blind casting and the significance of white and/or black audiences in different political and racial ...
See more details below
Available through our Marketplace sellers.
See All Options
Other sellers (Paperback)
  • All (1) from $105.00   
  • New (1) from $105.00   
Close
Sort by
Page 1 of 1
Showing All
Note: Marketplace items are not eligible for any BN.com coupons and promotions
$105.00
bluehouse
Seller since 2013

Feedback rating:

(39)

Condition:

New — never opened or used in original packaging.

Like New — packaging may have been opened. A "Like New" item is suitable to give as a gift.

Very Good — may have minor signs of wear on packaging but item works perfectly and has no damage.

Good — item is in good condition but packaging may have signs of shelf wear/aging or torn packaging. All specific defects should be noted in the Comments section associated with each item.

Acceptable — item is in working order but may show signs of wear such as scratches or torn packaging. All specific defects should be noted in the Comments section associated with each item.

Used — An item that has been opened and may show signs of wear. All specific defects should be noted in the Comments section associated with each item.

Refurbished — A used item that has been renewed or updated and verified to be in proper working condition. Not necessarily completed by the original manufacturer.

New
Brand new.

Ships from: acton, MA

Usually ships in 1-2 business days

  • •Standard, 48 States
Page 1 of 1
Showing All
Close
Sort by
Othello

Available on NOOK devices and apps  
  • Nook Devices
  • NOOK HD/HD+ Tablet
  • NOOK
  • NOOK Color
  • NOOK Tablet
  • Tablet/Phone
  • NOOK for Windows 8 Tablet
  • NOOK for iOS
  • NOOK for Android
  • NOOK Kids for iPad
  • PC/Mac
  • NOOK for Windows 8
  • NOOK for PC
  • NOOK for Mac
  • NOOK Study
  • NOOK for Web

Want a NOOK? Explore Now

This digital version does not exactly match the paperback displayed here.
NOOK Book (eBook)
$0.99
BN.com price
Marketplace
BN.com

All Available Formats & Editions

More About This Book

Overview

This second edition of Othello updates the first (Bristol Classical Press, 1987), both chronologically and conceptually. It includes consideration of productions from the last seventeen years, and reconsiders earlier material in the light of more recent critical attitudes. Post-colonial and feminist studies have had an impact on the way Othello is perceived and interpreted. The question of blacked-up/black/colour-blind casting and the significance of white and/or black audiences in different political and racial contexts have recently become much more clearly articulated. In the process, Shakespeare himself has not escaped the charge of racism. Equally, the position of Desdemona has received more focused attention, both as the forbidden object of desire within a racial framework and as a woman in her own right. This edition takes account of these developments in criticism, in the theatre, on film and in the adaptations which set out to interrogate Shakespeare's text.

Presents the original text of Shakespeare's play side by side with a modern version, with marginal notes and explanations and full descriptions of each character.

Read More Show Less

Editorial Reviews

Publishers Weekly - Publisher's Weekly
More than a retelling, this aptly termed "reconceptualization" provocatively modernizes Shakespeare's play. As in the original, the middle-aged general Othello the ``moor'' and young European noblewoman Desdemona fall in love and marry secretly. But Lester (To Be a Slave; John Henry) transplants the action from Venice and Cyprus to Elizabethan England and turns Iago and Emily into Africans like Othello, so that the three of them share a distinctly non-European point of view. Iago's envy of Othello and ability to whip him into a jealous rage at Desdemona are thus cast in a new light, though the tragic outcome remains the same. While the ending feels abrupt, Lester's novel succeeds in holding up a mirror to contemporary society. Phrases and passages directly based on Shakespeare's language are printed in a different typeface, a device that may distract the reader but eases comparisons with the original work. Ages 8-12. (Apr.)
The ALAN Review - Barbara G. Samuels
Shakespeare's plays often retell stories from other sources. In this novel, Julius Lester reverses that order and transforms Othello from drama to novel form. In doing so, he further investigates the characters of Othello, Iago, and Desdemona and provides answers to questions left unanswered by Shakespeare. He transforms Iago and his wife Emilia into Africans, sets the novel in England, and explores the racial issues in the story. Lester, author of books on slavery and African Americans in the United States, makes the mixed-race marriage and the relationships between blacks and whites more relevant and accessible to contemporary young people with his interpretation of the play. Of course most of the language in the novel is changed, but readers familiar with Shakespeare will recognize phrases and sentences as well as modern paraphrasing of allusions to Elizabethan society. Othello: A Novel may provide a transition to help students move into Shakespeare while at the same time raising challenging questions for discussion.
School Library Journal
Gr 8 Up-In this beautiful and powerful novelization of Shakespeare's play, Lester has kept the plot intact but made some other changes crucial to his purpose. He shifts the setting from Venice to England and, most significantly, makes Othello, Iago, and Iago's wife all definitively black. They share a three-way friendship that originated in their native Africa. It is important that Iago is black and thereby released from any racist intent; the author is then able to maintain the focus of the tragedy on the weaknesses of the human soul and on problems of perception versus reality. But through the enhanced character development afforded by the novel form, Lester has also explored problems of racial alienation. His prose is an incredibly skillful blend of his own words and Shakespeare's, both paraphrased and quoted directly, interwoven seamlessly into a narrative that transmutes the musical feeling of Shakespeare's language into modern English. This is a book to be enjoyed on its own but is sure to send many readers back to the original with a heightened understanding of and appreciation for it. This wonderful achievement is a must for all libraries.-Margaret Cole, Oceanside Library, NY
School Library Journal
Gr 10 Up-Naxos AudioBooks' top-drawer Classic Drama Series blissfully continues with this exquisite rendition of Othello starring Hugh Quarshie, Anton Lesser, Emma Fielding, and a full cast of professional English actors with extensive credits in the Royal National Theatre, BBC Radio Drama Company, and the Royal Shakespeare Company. Shakespeare's most domestic tragedy is an exceedingly complex journey through jealousy, self-doubt, inadequacies, and societal acceptance. Passed over for military promotion, Iago, perhaps Shakespeare's most nefarious character, manipulates Othello's downfall, culminating in the murder of his beloved wife, Desdemona, and Othello's subsequent suicide. Under David Timson's stewardship as director, the story is beautifully and simply told, embellished only with intermittent brassy flourishes of classical music and a dramatic echo effect and throbbing heart beat to underscore Othello's chaotic descent and rage. While the entire cast is excellent, the trio of Quarshie (Othello), Lesser (Iago), and Fielding (Desdemona) are outstanding. An outline of each individual cassette, complete synopsis, full notes regarding the text, and cast biographies are included in a compact 24-page supplemental booklet. For all collections.-Barry X. Miller, Austin Public Library, TX Copyright 2001 Cahners Business Information.
Read More Show Less

Product Details

  • ISBN-13: 9780415015141
  • Publisher: CENGAGE Learning
  • Publication date: 12/28/1996
  • Series: English Series
  • Edition description: Revised
  • Edition number: 7

Meet the Author


Terry Des Jardins, M.Ed, RRT is Professor Emeritus in the Department of Respiratory Care at Parkland College in Champaign, IL where he taught for 35 years. He still actively lectures third year medical students on clinical manifestations and assessment of respiratory disease and cardiopulmonary physiology at the University of Illinois College of Medicine at UrbanChampaign.
Read More Show Less

Read an Excerpt


Cambridge University Press
0521618762 - Othello - Edited by Jane Coles
Excerpt



List of characters


OTHELLO A black army general in the service of the Duke of Venice
DESDEMONA Othello's wife, daughter of Brabantio
IAGO Othello's ensign (standard-bearer)
EMILIA Iago's wife, companion to Desdemona
CASSIO Othello's lieutenant
BIANCA in love with Cassio
DUKE OF
VENICE
BRABANTIO A Venetian senator, father of Desdemona
RODERIGO A Venetian gentleman, in love with Desdemona
GRATIANO Brabantio's brother
LODOVICO Brabantio's relative
MONTANO Governor of Cyprus
Senators of Venice
Gentlemen of Cyprus
CLOWN Servant to Othello
Herald
Messenger
Musicians, soldiers, attendants, servants
Sailor

The action of the play takes place in Venice and Cyprus.


Two men are in the middle of an argument. Roderigo accuses Iago of cheating him. Iago is angry about failing to gain the promotion that has gone instead to Michael Cassio.

1 A dramatic opening (in pairs)

In the theatres of Shakespeare's time there was no electric lighting and no stage curtain. The playwright had to signal the start of the play by means of a dramatic opening scene. Here, the noisy audience would be silenced by two men in the middle of a heated argument, with much swearing.

  1. Read this opening conversation (lines 1-34) aloud. Try reading it in several different ways to find which way sounds best. Discuss which words in the script gave you clues as to how it should be spoken.
  2. Film and theatre directors have chosen various ways in which to begin the play (see pp. 240-1 for a detailed activity exploring some of these). Think about ways in which you might want to set the scene, how you might have actors enter the stage, and what sound and lighting effects might suggest a street at night.
  3. The play opens half-way through an argument. Make up what you think Iago and Roderigo have been saying before the play begins. End your dialogue on the first line of the play.

2 Michael Cassio - why does Iago dislike him?

Iago explains why he believes he has not been promoted to the rank of lieutenant (lines 8-27). Look carefully at the way Iago describes Cassio (lines 19-26) and pick out four key phrases which suggest why Iago is jealous of him.


Othello, the Moor of Venice

Act 1 Scene 1
Venice A street at night


Enter RODERIGO and IAGO.
RODERIGO Tush, never tell me, I take it much unkindly
That thou, Iago, who hast had my purse
As if the strings were thine shouldst know of this.
IAGO 'Sblood, but you will not hear me.
If ever I did dream of such a matter,		 5
Abhor me.
RODERIGO Thou told'st me thou didst hold him in thy hate.
IAGO Despise me if I do not: three great ones of the city,
In personal suit to make me his lieutenant,
Off-capped to him; and by the faith of man,		 10
I know my price, I am worth no worse a place.
But he, as loving his own pride and purposes,
Evades them with a bombast circumstance,
Horribly stuffed with epithets of war,
And in conclusion,		 15
Non-suits my mediators. For 'Certes', says he,
'I have already chosen my officer.'
And what was he?
Forsooth, a great arithmetician,
One Michael Cassio, a Florentine,		 20
A fellow almost damned in a fair wife,
That never set a squadron in the field,
Nor the devision of a battle knows
More than a spinster, unless the bookish theoric,
Wherein the togèd consuls can propose		 25
As masterly as he. Mere prattle without practice
Is all his soldiership. But he, sir, had the election,



Iago continues to complain about 'the Moor' and the system of promotion. He says he pretends to be a faithful officer, but follows Othello only to serve his own purposes.

1 First impressions of Iago (in small groups)

Read the page of script aloud several times, sharing out the lines.

On a large plain piece of paper, write IAGO in the centre (see the diagram below) and collect together any key things Iago seems to say about himself. Include anything that reveals something about his character or motivation. On the outer layer of the diagram explain in your own words what you believe each quotation might indicate about him.

Image not available in HTML version


When you have finished, join together with other groups and compare your sheet with theirs. Explain how and why you chose your particular words/phrases/lines.

Pool your ideas to produce one final diagram for display on your classroom wall.


And I, of whom his eyes had seen the proof
At Rhodes, at Cyprus, and on other grounds
Christian and heathen, must be lee'd and calmed		 30
By debitor and creditor; this counter-caster,
He, in good time, must his lieutenant be,
And I, God bless the mark, his Moorship's ancient.
RODERIGO By heaven, I rather would have been his hangman.
IAGO Why, there's no remedy. 'Tis the curse of service;		 35
Preferment goes by letter and affection,
Not by the old gradation, where each second
Stood heir to the first. Now sir, be judge yourself
Whether I in any just term am affined
To love the Moor.
RODERIGO I would not follow him then.		 40
IAGO O sir, content you.
I follow him to serve my turn upon him.
We cannot all be masters, nor all masters
Cannot be truly followed. You shall mark
Many a duteous and knee-crooking knave,		 45
That doting on his own obsequious bondage,
Wears out his time much like his master's ass
For nought but provender, and when he's old, cashiered.
Whip me such honest knaves. Others there are
Who, trimmed in forms and visages of duty,		 50
Keep yet their hearts attending on themselves,
And throwing but shows of service on their lords,
Do well thrive by them; and when they have lined their coats,
Do themselves homage. These fellows have some soul,
And such a one do I profess myself.		 55
For, sir,
It is as sure as you are Roderigo,
Were I the Moor, I would not be Iago;
In following him, I follow but myself.
Heaven is my judge, not I for love and duty,		 60
But seeming so for my peculiar end.
For when my outward action doth demonstrate
The native act and figure of my heart
In complement extern, 'tis not long after
But I will wear my heart upon my sleeve		 65
For daws to peck at. I am not what I am.



Iago suggests a way of taking revenge against Othello. They shout in the street outside Brabantio's house, and tell him the news that he has been 'robbed'.

1 'BRABANTIO [appears] above at a window ' (in pairs)

Turn to page 186, where you will find an illustration of an Elizabethan theatre. It has a deep 'thrust' stage, with two exits at the back and a balcony above. Some of the audience stood crammed in 'the pit' (the 'groundlings'), others sat in tiers of seating around the walls, and a few even sat on the stage.

Talk together about how you would stage lines 68-93:

  • on the Elizabethan stage
  • on a modern acting space.

Think about use of lighting, and any props which seem appropriate.

2 Iago's role (in groups of three)

Take parts and read lines 68-143 (to 'Light, I say, light!'). Notice the differences in the way the three characters speak. Do Iago and Roderigo take an equal share in giving information to Brabantio? Now look more closely at the way Iago speaks:

  1. Identify each occasion on which Iago uses the imperative form of a verb (lines 68-74).
  2. Find any times Iago uses animal imagery between lines 68 and 92. What kind of animals are they and what are they doing? (This activity is continued on p. 8.)
  3. On the previous page Iago has talked a good deal about himself - count how many times he uses the first-person pronoun in approximately ten lines of script (see lines 57-66).

Discuss what Shakespeare's use of language suggests about Iago and his relationship with the other men at this point in the play.


RODERIGO What a full fortune does the thick-lips owe,
If he can carry it thus!
IAGO Call up her father:
Rouse him, make after him, poison his delight,
Proclaim him in the street, incense her kinsmen,		 70
And though he in a fertile climate dwell,
Plague him with flies: though that his joy be joy,
Yet throw such chances of vexation on't
As it may lose some colour.
RODERIGO Here is her father's house; I'll call aloud.		 75
IAGO Do, with like timorous accent and dire yell,
As when, by night and negligence, the fire
Is spied in populous cities.
RODERIGO What ho, Brabantio! Signior Brabantio, ho!
IAGO Awake! What ho, Brabantio! Thieves, thieves!		 80
Look to your house, your daughter, and your bags!
Thieves, thieves!
BRABANTIO [appears] above at a window.
BRABANTIO What is the reason of this terrible summons?
What is the matter there?
RODERIGO Signior, is all your family within?		 85
IAGO Are your doors locked?
BRABANTIO Why, wherefore ask you this?
IAGO Zounds, sir, you're robbed; for shame, put on your gown;
Your heart is burst; you have lost half your soul;
Even now, now, very now, an old black ram
Is tupping your white ewe. Arise, arise;		 90
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you.
Arise, I say!



Brabantio suspects the two men are drunk. He learns Roderigo's name, but not Iago's. Iago obscenely tells him that Desdemona and Othello are having sexual intercourse and that his descendants will be mere animals.

1 Animals

Read through the script on pages 7 and 9. Identify any references to animals or insects in the dialogue. It may help you to know that a 'Barbary horse' is a North African breed, 'coursers' are racehorses, and 'jennets' are a breed of small Spanish horse.

Write down which characters make the comments, and what significance the choice of each animal image carries for you. Discuss what effect this choice of language might be intended to have. You will find further examples of this type of imagery on page 229.

2 Verse and prose

Brabantio and Roderigo speak in verse. When Iago interjects (at line 109), the script switches to prose. Read 'Verse and prose' on page 228, then suggest why Shakespeare gives Iago prose here.

3 A different perspective (in pairs)

Imagine you are two servants in Brabantio's house, intrigued by the commotion outside. What can you make of the rag-bag of information shouted by the two men in the street? Improvise a 'below-stairs' scene between the two servants.


BRABANTIO What, have you lost your wits?
RODERIGO Most reverend signior, do you know my voice?
BRABANTIO Not I; what are you?		 95
RODERIGO My name is Roderigo.
BRABANTIO The worser welcome;
I have charged thee not to haunt about my doors;
In honest plainness thou hast heard me say
My daughter is not for thee. And now in madness,
Being full of supper and distempering draughts,		 100
Upon malicious bravery dost thou come
To start my quiet.
RODERIGO Sir, sir, sir -
BRABANTIO But thou must needs be sure
My spirit and my place have in them power
To make this bitter to thee.
RODERIGO Patience, good sir.		 105
BRABANTIO What tell'st thou me of robbing? This is Venice;
My house is not a grange.
RODERIGO Most grave Brabantio,
In simple and pure soul I come to you.
IAGO Zounds, sir; you are one of those that will not serve God if the devil bid you. Because we come to do you service and you think we are ruffians, you'll have your daughter covered with a Barbary horse, you'll have your nephews neigh to you, you'll have coursers for cousins, and jennets for germans.		 110
BRABANTIO What profane wretch art thou?
IAGO I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs.		 115
BRABANTIO Thou art a villain.
IAGO You are a senator.



Roderigo tells Brabantio that Desdemona has run away to live with Othello. Brabantio leaves to check if the story is true, saying he has already dreamt of such a happening.

1 Desdemona's flight (in groups of three)

Read Roderigo's report of Desdemona's secret departure from home (lines 119-36).

Mime her flight, using captions taken from Roderigo's story. Share your version with the rest of the class.

2 '. . . a gross revolt' (in small groups)

Desdemona has run away from home to marry a man of whom her father disapproves. There are several of Shakespeare's plays in which young people rebel against their parents' wishes (most famously Romeo and Juliet). Generally speaking, in Shakespeare's comedies the young people are eventually forgiven; in tragedies the situation ends with disaster for them.

Talk together about other stories you have read or films you have seen which include a similar plot element. How is the family split resolved in those stories?

3 Word association (in pairs)

In lines 119-39 Roderigo refers to Desdemona in positive terms (e.g. 'fair'), whereas he uses derogatory language to refer to Othello (e.g. 'gross clasps'). Identify all words/phrases he uses to talk about Othello and Desdemona. Discuss with your partner why you think he makes this distinction.


© Cambridge University Press
Read More Show Less

Table of Contents

List of Illustrations
Preface
A Note on the Text
The Text of Othello
The Tragedy of Othello, the Moor of Venice 2
Textual Commentary 119
Textual Notes 123
Sources and Contexts
Othello in Its Own Time 129
The Moor of Venice 151
Criticism
Othello in Critical History 165
"A Bloody Farce" 201
Comments on Rymer's Othello 210
Shakespeare, the Rules, and Othello 216
Othello's Color: Theatrical versus Literary Representation 221
Iago, Heroic Tragedy, and Othello 222
Comments on Othello 230
"The Most Painfully Exciting and the Most Terrible" of Shakespeare's Tragedies 235
"The Last Great Speech of Othello" 244
Othello: An Essay to Illustrate a Method 244
Othello and Colour Prejudice 248
Othello's Handkerchief: "The Recognizance and Pledge of Love" 262
Othello's Occupation: Shakespeare and the Romance of Chivalry 275
"Nay, That's Not Next": Othello, [5.2] in Performance, 1760-1900 289
Unproper Beds: Race, Adultery, and the Hideous in Othello 306
Othello and Hamlet: Dilation, Spying and the "Secret Place" of Woman 329
Charivari and the Comedy of Abjection in Othello 350
"Too Much Violence": Murdering Wives in Othello 366
Selected Bibliography 389
Read More Show Less

Customer Reviews

Average Rating 3.5
( 131 )
Rating Distribution

5 Star

(56)

4 Star

(28)

3 Star

(20)

2 Star

(10)

1 Star

(17)

Your Rating:

Review Guidelines
Add Recommendations
Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously
See All Sort by: Showing 1 – 20 of 132 Customer Reviews

  • Posted November 28, 2009

    An excellent edition of Othello

    This review is not of Othello itself (which is tremendously good), but rather on this edition of Othello (ISBN: 9781411400399), which was edited by Daniel Vitkus and David Scott Kastan.

    I read a lot of heavily annotated books, and I have to say that the Barnes & Noble Shakespeare editions have one of the best book designs I've ever encountered. The various references materials (footnotes and definitions for archaic words) appear in a manner that makes the text very easy to follow.

    The scholarship is also top-notch. The annotations give you enough to make things clear without insulting your intelligence, or without overburdening you with unnecessary detail. The essays are also interesting and informative.

    I've been avoiding Shakespeare ever since high school, which was many years ago. Now that I'm reading him again, I'm glad I'm in such good hands. It is making the experience a joy, rather than a chore.

    My compliments to the editors and the book designer. They have done a superior job of making this difficult text accessible to the modern reader. Highly recommended.

    8 out of 10 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted January 10, 2013

    ???

    Why give samples of books if the sample is only the introduction or publishers notes? It gives no sample of the actual story itself, so you have no way of knowing how the story is written to see if you understand it. Very annoying.

    2 out of 2 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted September 12, 2012

    Something wrong....

    There seems to be something wrong with Act IV in this version and it will not open on my Nook or on my PC... Either way I would go with a different version.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted August 4, 2012

    Students only

    It works. Its a book. But there were so many typos and random numbers everywhere, it was annoying to read. But for desperate students, its cheaper than buying the book.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted December 12, 2011

    Take a look

    This is a good book for those who are somewhat familiar with the works of Shakespeare as it provided translation to some of the text (but not all). The beginning gives good insight into Shakespeare.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Posted January 5, 2011

    YES!!!!

    This play was absolutely amazing. It definitely teaches you the result of jealousy without "ocular proof". A great read. I zoomed by it so fast... finished it in two days. Amazing amazing amazing. This addition is absolutely perfect for Shakespeare beginners. :)))
    Whoever said his plays were a bore?

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Posted June 26, 2009

    more from this reviewer

    I Also Recommend:

    Romeo and Juliet (Barnes & Noble Shakespeare)
    Macbeth (Barnes & Noble Shakespeare)
    Hamlet (Barnes & Noble Shakespeare)

    My favorite tragedy

    Yes, Romeo and Juliet, Hamlet, and Macbeth are indeed more famous plays, but Othello deserves more recognition! It's a delightfully convoluted plot, and the characters are so believable. Plus, the dialogue is beautiful, and it deals with a problem relevant to today's society:racism. So, yeah, read this play.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted May 26, 2008

    Shakespeare's Othello

    I absolutely loved Othello. The love between Othello and Desdemona was beyond comprehension. Shakespeare uses beautiful metaphores and use of language that makes us believe the beauty of love, power of hatred and most of all, jealousy. My all time favorite villain is Iago. Shakespeare gives this particular character its own world. The multiple personality of Iago is very frightening that leads to a great tragedy of this play. Throughout the play, Iago builds his way up to the top and explodes leaving his good side behind. A true Shakespeare classic that will never leave your heart.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted May 20, 2013

    Boulderpaw

    "How." ((Wheres your den?"

    0 out of 1 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted May 20, 2013

    Nightclaw

    "Kinda sll in here, wanna come for a run Eclipse?"

    0 out of 1 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted May 20, 2013

    Silverstorm

    I know. She snuggled against fawnpaw. I gtgtb bbt.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted May 20, 2013

    Fawnpaw

    Pads in. Stares confused. "That was strange..." she whisperedm

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted May 20, 2013

    Eclispepaw

    "Sure Nihtclaw."

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted May 16, 2013

    APPRENTICE DEN

    Brackenpelt

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted December 26, 2012

    GREAT!!

    Everyone has to tead this explains tje hatdship of racial issues back then so amazing yet anotheastepeice from shakespere.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted June 25, 2012

    A waste of a click

    It would have been nice to know the text is in French.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted May 16, 2012

    Ughhh

    When dods the book start ughhhhhhh waist if tine

    0 out of 2 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Posted March 23, 2012

    more from this reviewer

    great

    Shakespeare sure knew how to write a good villain, very good worth your time

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Anonymous

    Posted February 29, 2012

    RonniResurection

    I am a fiery red fox with the tip of my tail black as so are my paws. My eyes are a glowing green and i have teeth white as snow. *grins* my my my you are who?

    0 out of 1 people found this review helpful.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.

  • Posted January 9, 2010

    Outstanding edition of a Shakespeare classic

    The story of Othello is one of Shakespeare's best: Iago is the ultimate antagonist you love to hate. On the one hand, it is fascinating to watch him plot, scheme and set his traps. On the other, you are appalled at how quickly Othello turns on his new wife, just on the word of Iago. Shakespeare is the master! The Folger edition is also a classic. These are the editions I bought as a student, and now that I'm teaching Shakespeare, I was delighted that this was the edition my students requested. The edition combines the Folio version and the Quarto version, indicating those words unique to one version. My (middle school) students enjoy the plot summaries at the beginning of each scene and the definitions of unfamiliar words on the left hand page. Definitely a book to keep in your library.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.
See All Sort by: Showing 1 – 20 of 132 Customer Reviews
If you find inappropriate content, please report it to Barnes & Noble
Why is this product inappropriate?
Comments (optional)