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Shakespeare, William. The tragedy of Othello, the Moor of Venice.

Barbara A. Mowat and Paul Werstine. New York: Washington Square Press, When I'm citing Shakespeare's text, I just use the standard Othello 4. How can I cite the annotations? Would it just be Shakespeare ?

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When you cite from the Bible, Shakespeare, Homer, and similar texts, which are labelled by book and verse or section or chapter and these labels and the text itself remain the same across different editions of the text, you cite these texts by giving the name of the text and the section number e. Genesis When you cite annotations and other material that an editor or other scholar has added to such a text in their specific edition of that text, then you cite that specific edition in the same way that you would cite from any other "normal" book, e.

Hendel, Ronald S. The text of Genesis textual studies and critical edition. Oxford University Press, Do the same for your annotated edition of Shakespeare. In your case, if you refer to the annotations a lot, I would not cite your source as Shakespeare, William. This makes it immediately clear to the reader that you refer to the writing of the editors of a specific edition of Shakespeare instead of Shakespeare's work as something that exists beyond its individual editions.

An annotated edition of a work is essentially a book within a book.

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The inner book is the original text and the outer book is the volume of annotations. Cite the book you are citing, inner if you are citing the original text, outer if you are citing the annotations. Themes All Themes. Symbols All Symbols. Theme Wheel.

William Shakespeare – Othello Act 1 Scene 1 | Genius

Understand every line of Othello. Themes and Colors Key. LitCharts assigns a color and icon to each theme in Othello , which you can use to track the themes throughout the work. On a street in Venice, Italy, Roderigo , a nobleman, and Iago are in the middle of an argument. Roderigo has paid Iago a lot of money to help him win the hand of Desdemona.

Yet he has just learned that Desdemona has eloped with Othello , the Moorish North African general under whom Iago serves. Roderigo's primary reason for hating Othello is not racial prejudice, but rather jealousy that Othello has won Desdemona. That Iago has not managed to help Roderigo despite being paid hints at his duplicity. Active Themes.

Appearance vs.

The Complete Othello: An Annotated Edition of the Shakespeare Play

Iago assures Roderigo that he hates Othello , and explains that Othello recently passed him over for a promotion to lieutenant despite the fact that he was Othello's ancient standard bearer and had the recommendations of three leading men of Venice. Instead, Othello promoted Michael Cassio , a man who in Iago's estimation is just a "spinster" 1. Iago has his own jealous motives for hating Othello.


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When he calls Cassio a "spinster," Iago is questioning Cassio's manhood, while also implying that just as real men know how to fight, real women know how to have sex. A spinster is an old, unmarried woman who has no experience of sex, just as the military theorist Cassio has no experience of battle. Iago then adds that while he currently pretends to serve Othello , he is in fact just looking out for his own self-interest: "In following him I but follow myself [ Iago here reveals his capacity to hide his feelings and motives so that his actions don't reveal them.

Related Quotes with Explanations. Iago and Roderigo go to the house of Brabantio , a senator and Desdemona 's father. They shout from the street that Brabantio has been robbed.

Othello Contents

Brabantio comes to the window, but at first doesn't believe them because he recognizes Roderigo, whom he has recently told to stop hanging around his house and pursuing Desdemona. But then Iago, who doesn't give his name and whom Brabantio doesn't recognize, graphically describes Othello and Desdemona having sex—he says that "an old black ram is tupping your white ewe " 1. Brabantio thinks little of Roderigo. Iago, however, rallies the white Brabantio on their side by using prejudice as a tool, describing Othello as an animal "black ram" and sex with Desdoma as bestial. Iago also makes use of the fact that Brabantio will feel his manly honor challenged by his daughter's having sex.


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Notice that Desdemona is also described in animal terms. In her case, the comparison is meant to evoke purity, but it also indicates that the men do not think of her as an equal human being. Download it! Brabantio goes to search his house for his daughter, worried because he has had a "dream" 1. Iago takes the chance to leave in order to keep his plot against Othello secret. The language of "dreams" plays into the theme of appearance vs. As does Iago's slipping away without giving away his identity, so he can continue to plot against Othello.

Brabantio emerges from his house without finding Desdemona.

Othello Summary (Act 1 Scene 3) - Nerdstudy

Furious, lamenting his life as wasted, he says that his daughter has been stolen by magic and that he wishes she had married Roderigo. They set off to raise an armed search party and confront Othello.