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The Tragedy of Othello, the Moor of Venice, often shortened to Othello (/ ɒ ˈ θ ɛ l oʊ /), is a tragedy written by William Shakespeare around 1603. Set in Venice and Cyprus , the play depicts the Moorish military commander Othello as he is manipulated by his ensign , Iago , into suspecting his wife Desdemona of infidelity.
Othello (/ ɒ ˈ θ ɛ l oʊ /, oh-THELL-oh) is the titular protagonist in Shakespeare's Othello (c. 1601–1604). The character's origin is traced to the tale "Un Capitano Moro" in Gli Hecatommithi by Giovanni Battista Giraldi Cinthio. There, he is simply referred to as the Moor.
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Iago's story, however, is a lie. Desdemona and Cassio try to convince Othello of their honesty but are rejected. Pursuing a plan suggested by Iago, Othello sends assassins to attack Cassio, who is wounded, while Othello himself smothers Desdomona in her bed. Iago's plot is revealed too late, and Othello commits suicide. Romeo and Juliet
Shakespeare produced most of his known works between 1589 and 1613. [11] [12] His early plays were primarily comedies and histories and are regarded as some of the best works produced in these genres. He then wrote mainly tragedies until 1608, among them Hamlet, Othello, King Lear and Macbeth, all considered to be among the finest works in English.
Shakespeare contrasts Iago with Othello's nobility and integrity. With 1,097 lines, Iago has more lines in the play than Othello himself. Iago is a Machiavellian schemer and manipulator, as he is often referred to as "honest Iago", displaying his skill at deceiving other characters so that not only do they not suspect him, but they count on him ...
Desdemona (/ ˌ d ɛ z d ə ˈ m oʊ n ə /) is a character in William Shakespeare's play Othello (c. 1601–1604). Shakespeare's Desdemona is a Venetian beauty who enrages and disappoints her father, a Venetian senator, when she elopes with Othello, a Moorish Venetian military prodigy.
He explores Hazlitt's accounts of Shakespeare's tragedies—Macbeth, Hamlet, Othello, King Lear, and especially Coriolanus—where he shows that Hazlitt reveals that our love of power in sympathising with what can involve evil can overcome the human desire for the good. This, Kinnaird points out, has serious implications in considering the ...