- Series: Norton Critical Editions
- Paperback: 432 pages
- Publisher: W. W. Norton & Company; annotated edition edition (December 5, 2003)
- Language: English
- ISBN-10: 0393976157
- ISBN-13: 978-0393976151
- Product Dimensions: 5.2 x 1 x 8.4 inches
- Shipping Weight: 5.6 ounces
- Average Customer Review: 4.3 out of 5 stars See all reviews (666 customer reviews)
- Amazon Best Sellers Rank: #362,094 in Books (See Top 100 in Books)
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Othello (Norton Critical Editions) annotated edition Edition
Use the Amazon App to scan ISBNs and compare prices.
Customers who bought this item also bought
What other items do customers buy after viewing this item?
`The new Oxford Othello is quite simply a major achievement, a volume alive with exemplary editorial and critical thought. It sets a landmark in Shakespeare studies and fully deserves to become the preferred edition for many years to come.' TLS --This text refers to an alternate Paperback edition.
From the Publisher
An exciting new edition of the complete works of Shakespeare with these features: Illustrated with photographs from New York Shakespeare Festival productions, vivid readable readable introductions for each play by noted scholar David Bevington, a lively personal foreword by Joseph Papp, an insightful essay on the play in performance, modern spelling and pronunciation, up-to-date annotated bibliographies, and convenient listing of key passages. --This text refers to an alternate Paperback edition.
Browse award-winning titles. See more
If you are a seller for this product, would you like to suggest updates through seller support?
Top Customer Reviews
Othello is a Moor; hence, he is dark-skinned. He and the fair, and beautiful, Desdemona fall in love and marry, over her father's objections and against social conventions. No sooner are they married than Othello, a mighty warrior, is sent abroad to fight the Turks. Desdemona chooses to go with him. As will become relevant, it seems that their marriage never is consummated via intercourse. Iago is Othello's ensign. At bottom Iago is thoroughly malicious and monstrous. Among other deceits, he convinces Othello that Desdemona has been sleeping with Cassio, whom Othello recently appointed to be his lieutenant (in lieu of Iago). The principal device by which Iago "proves" to Othello that Desdemona is in thrall with Cassio is a special handkerchief -- white with red strawberries -- that Othello had given her, that she accidentally dropped, and that Iago plants in Cassio's room. As great a warrior as Othello is, he is a poor judge of people. Mistakenly then, and tragically, he believes in the loyalty and honesty of Iago and the infidelity and dishonesty of Desdemona. (Is some sort of sexism operative?) Driven and poisoned by jealously, Othello seeks revenge. At the end of the play, four of the principal characters have died on stage and two others have been seriously wounded.
It is a bloodbath. OTHELLO might also be called a play of bloodlust. "Sblood" is Iago's very first word, occurring in the play's fourth line. Convinced that Desdemona has cuckolded him, Othello curses her as a "strumpet" and vows that "Thy bed, lust-stained, shall with lust's blood be spotted." The perversely curious thing, however, is that if he is wrong and Desdemona is still virginal, then the act of defoliation would also stain the marital bed. And then there is Desdemona's missing handkerchief (also called a napkin) -- white, decorated with red strawberries -- a rather unambiguous allusion to menstruation. After the last stabbing at the very end of the play, Desdemona's uncle cries, "O bloody period!" It's all a little much for me.
Iago is a compelling character, supreme in his malignity. He calls to mind Milton's Satan (Milton probably took some inspiration from Shakespeare's Iago). Also fascinating is Iago's wife Emilia, who is staunch in her devotion to Desdemona and belief in Desdemona's integrity. Othello and Desdemona, on the other hand, strike me more as caricatures than fully developed and nuanced Shakespearian characters. Couple that with the stark nature of the play (no shades of gray here) and I personally end up ranking OTHELLO somewhere in the middle of Shakespeare's plays.
I bought this for my Shakespeare class. Hell no I am not reading the original edition in hard to read language. This has a simple version next to it in PLAIN english so I can comprehend what the story is actually about instead of dozing off as i take in zero. It made me appreciate Shakespeare and enjoy this story. I used it for a college class (non-english majors) and I passed all quizzes and was able to discuss what happened and identify quotes. PLUS there is the original version on the page next to it. When the teacher asked what we thought the line meant I always had the answer.
This makes me ENJOY the story, PASS the class and save TIME. Get this series for each adn every shakespear book.
As for the play itself, it is certainly Shakespeare's most theatrical tragedy; at times it borders on melodramatic. To this reviewer's mind, the key to appreciating its depth lies in the concept of the public mask. Othello is a man who always wears a mask in public: the mask of the thoroughly professional military leader who is far too noble to be moved by the emotions that might cause others to be petty or untrustworthy. Iago wears a similar mask: the mask of the thoroughly professional military subordinate who is frank and blunt and incapable of dishonesty. Othello's mask hides a snake's nest of fears bred from the insecurity of being a black man in an alien white society; Iago's mask hides the fact that he is a stone-cold sociopath motivated by jealousy and rage. Othello cannot see the reality of the evil beneath a mask so similar to his own, and instead misinterprets every frank gesture of his devoted wife as proof of the diabolical mask of an accomplished adulteress. This is Othello's fatal error, and he and Desdemona pay dearly for it.