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Summary
Summary
BBC Audiobooks America and Arkangel Productions present a fully-dramatized production of William Shakespeare's classic tragedy Othello. Incorporating the themes of love, passion, nobility, purity, deception, tragedy, and murder, this widely studied play is one of the best sellers of the Shakespearean canon.
Summary
This great tragedy confronts the mystery at the heart of evil and contains some of Shakespeare's most magnificent dramatic verse.Othello, a Moorish general in the service of Venice, has married Desdemona, beautiful daughter of a Venetian senator. But Iago, Othello's malignant ensign, is determined to destroy their happiness. Cunningly bending Othello to his own purposes, Iago persuades the Moor that Desdemona is unfaithful to him. Tormented in a hell of jealousy, Othello moves inexorably toward the destruction of his innocent wife and himself. Othello is played by Don Warrington, David Threlfall is Iago, Anne-Marie Duff is Desdemona, and Jasper Britton plays Cassio.
Author Notes
William Shakespeare, 1564 - 1616 Although there are many myths and mysteries surrounding William Shakespeare, a great deal is actually known about his life. He was born in Stratford-Upon-Avon, son of John Shakespeare, a prosperous merchant and local politician and Mary Arden, who had the wealth to send their oldest son to Stratford Grammar School.
At 18, Shakespeare married Anne Hathaway, the 27-year-old daughter of a local farmer, and they had their first daughter six months later. He probably developed an interest in theatre by watching plays performed by traveling players in Stratford while still in his youth. Some time before 1592, he left his family to take up residence in London, where he began acting and writing plays and poetry.
By 1594 Shakespeare had become a member and part owner of an acting company called The Lord Chamberlain's Men, where he soon became the company's principal playwright. His plays enjoyed great popularity and high critical acclaim in the newly built Globe Theatre. It was through his popularity that the troupe gained the attention of the new king, James I, who appointed them the King's Players in 1603. Before retiring to Stratford in 1613, after the Globe burned down, he wrote more than three dozen plays (that we are sure of) and more than 150 sonnets. He was celebrated by Ben Jonson, one of the leading playwrights of the day, as a writer who would be "not for an age, but for all time," a prediction that has proved to be true.
Today, Shakespeare towers over all other English writers and has few rivals in any language. His genius and creativity continue to astound scholars, and his plays continue to delight audiences. Many have served as the basis for operas, ballets, musical compositions, and films. While Jonson and other writers labored over their plays, Shakespeare seems to have had the ability to turn out work of exceptionally high caliber at an amazing speed. At the height of his career, he wrote an average of two plays a year as well as dozens of poems, songs, and possibly even verses for tombstones and heraldic shields, all while he continued to act in the plays performed by the Lord Chamberlain's Men. This staggering output is even more impressive when one considers its variety. Except for the English history plays, he never wrote the same kind of play twice. He seems to have had a good deal of fun in trying his hand at every kind of play.
Shakespeare wrote 154 sonnets, all published on 1609, most of which were dedicated to his patron Henry Wriothsley, The Earl of Southhampton. He also wrote 13 comedies, 13 histories, 6 tragedies, and 4 tragecomedies. He died at Stratford-upon-Avon April 23, 1616, and was buried two days later on the grounds of Holy Trinity Church in Stratford. His cause of death was unknown, but it is surmised that he knew he was dying.
(Bowker Author Biography)
Reviews (7)
Publisher's Weekly Review
Shakespeare's legendary tragedy is revisited in this spirited and entertaining production that ran in London from November 2007 to February 2008. The flawless, talented cast features Ewan McGregor as the conniving Iago, Chiwetel Ejiofor as Othello (whose performance won him the Olivier Award as best actor) and Kelly Reilly as Desdemona. There is also excellent support from Tom Hiddleston (as Cassio) and Michelle Fairley (as Emilia). This audio production is a rousing, theatrical performance expertly guided by director Michael Grandage. Complete with a musical score as well as full sound effects and background noises, listening is so enjoyable that the play speeds by at breakneck pace. An enclosed booklet contains color photographs of the production and a well-written essay by drama professor Russell Jackson. There's also an entertaining bonus DVD disc featuring interviews with the cast and crew. Brilliantly produced in all departments, listening is the next best thing to seeing it live. (July) (c) Copyright PWxyz, LLC. All rights reserved
Horn Book Review
An intepretation of Shakespeare's play in the form of a novel casts Othello, Iago, and Iago's wife as African immigrants in Elizabethan England. The first half of the book details the courtship and marriage of Othello and Desdemona; the second half closely follows the plot of the play and includes, in boldface, quotations and paraphrases from Shakespeare's play. An ambitious yet accessible reworking. From HORN BOOK 1995, (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Booklist Review
Gr. 8-12. Some may wonder what Lester is up to here. A novelization of Shakespeare's Othello? Why not just read the play? But in his well-reasoned introduction, Lester tackles that subject head-on, and his answers should convince even purists that there's a place for this book. After all, it's common knowledge that Shakespeare took plots from other works, so Lester is only following the Bard's example. Moreover, Lester firmly states that his book is not a substitute for the play but, rather, a re-imagining of the story. Though he follows the original story line, Lester has made significant changes in the characterizations. Now Iago and Emilia (Emily in the play), like Othello, are black. Lester wanted race to be a more central theme of his novel, and by repositioning these characters, he brings a new and powerful dimension to that aspect of the story. In portraying Othello, Iago, and Emily as Africans who have come to England (the new setting) together, Lester gives them a mutual history that also adds psychological depth to his new conceptualization. Another goal of Lester's is to make his book a bridge to the play. Since Shakespeare's language can be an inhibiting factor for young people, this more modern rendering makes the story accessible. But Lester does not entirely remake Shakespeare's style. Sometimes Lester paraphrases; at other times, he uses exact wording, which is printed in boldface, a useful, if occasionally awkward device.There's only one problem with the book, and it's one that has played around the edges of Shakespeare's work as well. Othello's dramatic about-face concerning Desdemona, ending in her murder, comes with a quickness that will probably startle young readers. Despite the pyschological motivations Lester has tried to establish, Othello's haste to distrust does not seem to mesh with the image of the noble general that's been presented. Perhaps because of the intimacy a novel engenders, this jump seems more jarring here than it does in the play. On the whole, however, this is a fascinating effort. The story of Othello, with its questions about perceptions, race, and the nature of love and friendship, will be a natural draw for young people, just as it has been for readers worldwide, for centuries. --Ilene Cooper
Choice Review
Published to coincide with the performance schedule of the Globe Theatre in London, these handsomely printed editions of Shakespeare's plays are facsimiles of the First Folio of 1623. Intended to "provide students, actors, and the general reader with portable and affordable facsimiles of individual plays," each volume features Anthony James West's brief introduction to the printing history of the First Folio, its place in literary studies, and the original performance date and environment (when known) of the play. The short overview of the role of the First Folio in editorial practices (for better and for worse) is particularly helpful. Though otherwise lacking textual or editorial context, each volume nonetheless offers the feel of how the play would perhaps have been first experienced by early readers of Shakespeare. To understand the full complexity of the First Folio's influence and the debates currently going on regarding its authority and usefulness for scholarship and performance issues, readers will need to supplement these volumes by consulting the painstaking work of Stanley Wells and Gary Taylor. Summing Up: Recommended. With reservations. Lower- and upper-division undergraduates, graduate students, general readers. K. Farley Virginia Commonwealth University
School Library Journal Review
Gr 9 Up-These full-text editions of the plays have clear, thoughtful annotations. Both volumes begin with the same good introductory essay about Shakespeare's life and times and include an essay that gives a voice coach's perspective on the Bard. What truly distinguishes these titles from other books, however, is the emphasis on the plays in performance. Each volume includes a discussion of a famous production and an analysis of the play in popular culture, as well as a section entitled "The Cast Speaks," which contains interviews with actors and actresses from modern productions who share their ideas about the characters and their motivations. Black-and-white photographs from contemporary stage productions and movie adaptations of each play are included. The really exciting feature of these editions is the audio CD that features recordings of famous actors such as Kenneth Branagh, Paul Robeson, and Kate Beckinsale performing scenes. The CDs include multiple readings of the same scene by different performers, which would be extremely useful for instructors who want their students to think about differing interpretations of the lines, as well as for instructors who would simply like their students to hear Shakespeare spoken by actors who have had training in speaking blank verse. Good purchases for schools in which these plays are a part of the curriculum.-Kathleen E. Gruver, Burlington County Library, Westampton, NJ (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Kirkus Review
Lester has taken on an immensely ambitious task, rewriting Shakespeare's tale and making a bridge to the play. A few of the bard's words are incorporated, and the basic plot is maintained, but this is primarily a literary venture. Reflecting modern sensibilities, Lester makes Othello black, enslaved by Moors, and shifts the story (it's not clear why) to England. Iago is also black, negating racism as a factor in his villainy. No longer is the title character burdened either by human flaws or falling sickness. With interpretive license and undue force, Lester makes his Othello a superman: he is apparently untraumatized by enslavement; speaks Arabic, Italian, English, etc.; he is a superb warrior; and having the wisdom of all humankind and a heart of gold, he is unable to recognize evil. Even murder springs from honor rather than the all-too-human flaw of jealousy. Unfortunately, enjoying this will be affected by one's reaction to or familiarity with domestic violence on both the minute and grand scales (the O.J. Simpson case, for example). To many readers, it will be troubling when Desdemona says, ``I want to greet each day with love burning as fiercely as the pain in the arrow-pierced heart of a deer,'' and is too foolish to see trouble brewing. She remains a traditional victim who ``asks for it'' and is just a means of exacting revenge for Lester's central characters, Othello and Iago. In spite of sensibilities over race and gender, this is a worthy effort for its exploration of the poison of jealousy, whether based on love or ambition. Lester revitalizes what for many would remain an unread text, through the all-too-fashionable concepts of notoriety and controversy, and the familiar old process of sedition. (Fiction. 10+)
Library Journal Review
A comedy and drama about strained marital relations get Yale's red-carpet treatment. Each volume contains an essay by Harold Bloom and other extras. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.
Excerpts
Excerpts
The Names of the Actors Othello, the Moor Brabantio, [a senator,] father to Desdemona Cassio, an honorable lieutenant [to Othello] Iago, [Othello's ancient,] a villain Roderigo, a gulled gentleman Duke of Venice Senators [of Venice] Montano, Governor of Cyprus Gentlemen of Cyprus Lodovico and Gratiano, [kinsmen to Brabantio,] two Noble Venetians sailors clown Desdemona, [daughter to Brabantio and] wife to Othello Emilia, wife to Iago Bianca, a courtesan [and mistress to Cassio] [a messenger a herald a musician Servants, Attendants, Officers, Senators, Musicians, Gentlemen scene: Venice; a seaport in Cyprus] 1.1 Location: Venice. A street. 1 never tell me (An expression of incredulity, like "tell me another one.") 3 this i.e., Desdemona's elopement. 4 'Blood By His (Christ's) blood 7 him Othello 14 Bombast circumstance wordy evasion. (Bombast is cotton padding.) 15 epithets of war military expressions 17 Nonsuits rejects the petition of. Certes Certainly 20 arithmetician i.e., a man whose military knowledge is merely theoretical, based on books of tactics 22 A . . . wife (Cassio does not seem to be married, but his counterpart in Shakespeare's source does have a woman in his house. See also 4.1.131.) 24 division of a battle disposition of a military unit 25 a spinster i.e., a housewife, one whose regular occupation is spinning. Theoric theory 26 Togaed consuls toga-wearing counselors or senators. propose discuss 1.1 A Enter Roderigo and Iago. Roderigo Tush, never tell me! I take it much unkindly 1 That thou, Iago, who hast had my purse As if the strings were thine, shouldst know of this. 3 Iago 'Sblood, but you'll not hear me. 4 If ever I did dream of such a matter, Abhor me. Roderigo Thou told'st me thou didst hold him in thy hate. 7 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, 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 14 Horribly stuffed with epithets of war, 15 And, in conclusion, Nonsuits my mediators. For, "Certes," says he, 17 "I have already chose my officer." And what was he? Forsooth, a great arithmetician, 20 One Michael Cassio, a Florentine, A fellow almost damned in a fair wife, 22 That never set a squadron in the field Nor the division of a battle knows 24 More than a spinster--unless the bookish theoric, 25 Wherein the Togaed consuls can propose 26 As masterly as he. Mere prattle without practice Is all his soldiership. But he, sir, had th'election; 29 his Othello's 31 Beleed and calmed left to leeward without wind, becalmed. (A sailing metaphor.) 32 Debitor and Creditor (A name for a system of bookkeeping, here used as a contemptuous nickname for Cassio.) countercaster i.e., bookkeeper, one who tallies with counters, or "metal disks." (Said contemptuously.) 33 in good time opportunely, i.e., forsooth 34 God bless the mark (Perhaps originally a formula to ward off evil; here an expression of impatience.) ancient standard-bearer, ensign. 35 his hangman the executioner of him. 37 Preferment promotion. letter and affection personal influence and favoritism 38 old gradation step-by-step seniority, the traditional way 40 term respect. affined bound 43 content you don't you worry about that. 46 truly faithfully 50 cashiered dismissed from service. 51 Whip me Whip, as far as I'm concerned 52 trimmed . . . duty dressed up in the mere form and show of dutifulness 55 lined their coats i.e., stuffed their purses 56 Do themselves homage i.e., attend to self-interest solely. And I, of whom his eyes had seen the proof 29 At Rhodes, at Cyprus, and on other grounds Christened and heathen, must be beleed and calmed 31 By debitor and creditor. This countercaster, 32 He, in good time, must his lieutenant be, 33 And I--God bless the mark!--His Moorship's ancient. 34 Roderigo By heaven, I rather would have been his hangman. 35 Iago Why, there's no remedy. 'Tis the curse of service; Preferment goes by letter and affection, 37 And not by old gradation, where each second 38 Stood heir to th' first. Now, sir, be judge yourself Whether I in any just term am affined 40 To love the Moor. Roderigo I would not follow him then. Iago Oh, sir, content you. 43 I follow him to serve my turn upon him. We cannot all be masters, nor all masters Cannot be truly followed. You shall mark 46 Many a duteous and knee-crooking knave That, doting on his own obsequious bondage, Wears out his time, much like his master's ass, For naught but provender, and when he's old, cashiered. 50 Whip me such honest knaves. Others there are 51 Who, trimmed in forms and visages of duty, 52 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, 55 Do themselves homage. These fellows have some soul, 56 59 Were . . . Iago i.e., if I were able to assume command, I certainly would not choose to remain a subordinate, or, I would keep a suspicious eye on a flattering subordinate. 62 peculiar particular, personal 64 native innate. figure shape, intent 65 compliment extern outward show (conforming in this case to the inner workings and intention of the heart) 67 Daws small crowlike birds, proverbially stupid and avaricious. I am not what I am i.e., I am not one who wears his heart on his sleeve. 68 full swelling. thick-lips (Elizabethans often applied the term "Moor" to Negroes.) owe own 69 Carry't thus carry this off. 72-3 though . . . flies though he seems prosperous and happy now, vex him with misery. 73 Though . . . be joy Although he seems fortunate and happy. (Repeats the idea of line 72.) 74 changes of vexation vexing changes 75 As . . . color that may cause it to lose some of its first gloss. 77 timorous frightening 78 As . . . fire as when a fire, having gained hold by negligence at night 83.1 at a window (This stage direction, from the quarto, probably calls for an appearance on the gallery above and rearstage.) And such a one do I profess myself. For, sir, It is as sure as you are Roderigo, Were I the Moor I would not be Iago. 59 In following him, I follow but myself-- Heaven is my judge, not I for love and duty, But seeming so for my peculiar end. 62 For when my outward action doth demonstrate The native act and figure of my heart 64 In compliment extern, 'tis not long after 65 But I will wear my heart upon my sleeve For daws to peck at. I am not what I am. 67 Roderigo What a full fortune does the thick-lips owe 68 If he can carry't thus! Iago Call up her father. 69 Rouse him, make after him, poison his delight, Proclaim him in the streets; incense her kinsmen, And, though he in a fertile climate dwell, 72 Plague him with flies. Though that his joy be joy, 73 Yet throw such changes of vexation on't 74 As it may lose some color. 75 Roderigo Here is her father's house. I'll call aloud. Iago Do, with like timorous accent and dire yell 77 As when, by night and negligence, the fire 78 Is spied in populous cities. Roderigo What ho, Brabantio! Signor Brabantio, ho! Iago Awake! What ho, Brabantio! Thieves, thieves, thieves! Look to your house, your daughter, and your bags! Thieves, thieves! 83 Brabantio [enters] above [at a window]. 88 Zounds By His (Christ's) wounds 91 Tupping covering, copulating with. (Said of sheep.) 92 snorting snoring 93 the devil (The devil was conventionally pictured as black.) 102 distemp'ring intoxicating 103 Upon malicious bravery with hostile intent to defy me 104 start startle, disrupt Brabantio What is the reason of this terrible summons? What is the matter there? Roderigo Signor, is all your family within? Iago Are your doors locked? Brabantio Why, wherefore ask you this? Iago Zounds, sir, you're robbed. For shame, put on your gown! 88 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! 91 Awake the snorting citizens with the bell, 92 Or else the devil will make a grandsire of you. 93 Arise, I say! Brabantio What, have you lost your wits? Roderigo Most reverend signor, do you know my voice? Brabantio Not I. What are you? 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 distemp'ring drafts, 102 Upon malicious bravery dost thou come 103 To start my quiet. 104 Roderigo Sir, sir, sir-- Brabantio But thou must needs be sure 106 My . . . power my temperament and my authority of office have it in their power 109 grange isolated country house. 110 simple sincere 114 Barbary from northern Africa (and hence associated with Othello) 115 nephews i.e., grandsons 115-16 you'll . . . Germans you'll consent to have powerful horses for kinfolks and small Spanish horses for near relatives. 121 a senator (Said with mock politeness, as though the word itself were an insult.) 122 Answer be held accountable for. 124 wise well-informed 126 At . . . night at this hour that is between day and night, neither the one nor the other 127 with by 128 But with a knave than by a low fellow, a servant 130 and your allowance and has your permission 131 saucy insolent My spirits and my place have in their power 106 To make this bitter to thee. Roderigo Patience, good sir. Brabantio What tell'st thou me of robbing? This is Venice; My house is not a grange. Roderigo Most grave Brabantio, 109 In simple and pure soul I come to you. 110 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 114 have your nephews neigh to you; you'll have coursers 115 for cousins and jennets for germans. 116 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. Brabantio Thou art a villain. Iago You are--a senator. 121 Brabantio This thou shalt answer. I know thee, Roderigo. 122 Roderigo Sir, I will answer anything. But I beseech you, If't be your pleasure and most wise consent-- 124 As partly I find it is--that your fair daughter, At this odd-even and dull watch o'th' night, 126 Transported with no worse nor better guard 127 But with a knave of common hire, a gondolier, 128 To the gross clasps of a lascivious Moor-- If this be known to you and your allowance 130 We then have done you bold and saucy wrongs. 131 But if you know not this, my manners tell me 134 from contrary to. civility good manners, decency 135 your reverence (1) the respect due to you (2) Your Reverence. 138 wit intelligence 139-40 In . . . everywhere to a wandering and vagabond foreigner of uncertain origins. 140 Straight Straightaway 144 tinder charred linen ignited by a spark from flint and steel, used to light torches or tapers (lines 145, 170) 146 accident occurrence, event 149 meet fitting. place position (as ensign) 150 producted produced (as a witness) 152 gall rub; oppress. check rebuke 153 cast dismiss. embarked engaged 154 loud urgent 155 stands in act have started. for their souls to save their souls 156 fathom i.e., ability, depth of experience 157 in which regard out of regard for which 159 life livelihood 162 Sagittary (An inn or house where Othello and Desdemona are staying, named for its sign of Sagittarius, or Centaur.) raised search search party roused out of sleep 163.1 nightgown dressing gown. (This costuming is specified in the quarto text.) We have your wrong rebuke. Do not believe That, from the sense of all civility, 134 I thus would play and trifle with your reverence. 135 Your daughter, if you have not given her leave, I say again, hath made a gross revolt, Tying her duty, beauty, wit, and fortunes 138 In an extravagant and wheeling stranger 139 Of here and everywhere. Straight satisfy yourself. 140 If she be in her chamber or your house, Let loose on me the justice of the state For thus deluding you. Brabantio [calling] Strike on the tinder, ho! 144 Give me a taper! Call up all my people! This accident is not unlike my dream. 146 Belief of it oppresses me already. Light, I say, light! Exit [above]. Iago Farewell, for I must leave you. It seems not meet nor wholesome to my place 149 To be producted--as, if I stay, I shall-- 150 Against the Moor. For I do know the state, However this may gall him with some check, 152 Cannot with safety cast him, for he's embarked 153 With such loud reason to the Cyprus wars, 154 Which even now stands in act, that, for their souls, 155 Another of his fathom they have none 156 To lead their business; in which regard, 157 Though I do hate him as I do hell pains, Yet for necessity of present life 159 I must show out a flag and sign of love, Which is indeed but sign. That you shall surely find him, Lead to the Sagittary the raised search, 162 And there will I be with him. So farewell. Exit. 163 Enter [below] Brabantio [in his nightgown] with servants and torches. 165 time i.e., remainder of life 175 charms spells 176 property special quality, nature 177 abused deceived. 182 discover reveal, uncover 185 command demand assistance 187 deserve show gratitude for Brabantio It is too true an evil. Gone she is; And what's to come of my despised time 165 Is naught but bitterness. Now, Roderigo, Where didst thou see her?--Oh, unhappy girl!-- With the Moor, say'st thou?--Who would be a father!-- How didst thou know 'twas she?--Oh, she deceives me Past thought!--What said she to you?--Get more tapers. Raise all my kindred.--Are they married, think you? Roderigo Truly, I think they are. Brabantio Oh, heaven! How got she out? Oh, treason of the blood! Fathers, from hence trust not your daughters' minds By what you see them act. Is there not charms 175 By which the property of youth and maidhood 176 May be abused? Have you not read, Roderigo, 177 Of some such thing? Roderigo Yes, sir, I have indeed. Brabantio Call up my brother.--Oh, would you had had her!-- Some one way, some another.--Do you know Where we may apprehend her and the Moor? Roderigo I think I can discover him, if you please 182 To get good guard and go along with me. Brabantio Pray you, lead on. At every house I'll call; I may command at most.--Get weapons, ho! 185 And raise some special officers of night.-- On, good Roderigo. I will deserve your pains. 187 Exeunt. Excerpted from Othello by William Shakespeare, David Scott Kastan All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
