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Othello is the title character of Othello. A Moorish general in the Venetian army, he is persuaded by Iago that his wife Desdemona is having an affair with Michael Cassio. Some Outlaws, three of which are speaking roles, initially try to rob Valentine, but decide to invite him to be their leader, in The Two Gentlemen of Verona.
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.
Hasegawa's How to play Othello (Osero No Uchikata) in Japan in 1974, was published in 1977 in an English translation entitled How to Win at Othello. [16] Kabushiki Kaisha Othello, which was owned by Hasegawa, registered the trademark "OTHELLO" for board games in Japan; Tsukuda Original registered the trademark in the rest of the world.
The Nigerian poet Ben Okri in his 1997 A Way of Being Free included several "meditations" on Othello, arguing that because "it is possible that Othello actually is a blackened white man" he is not a fully formed character with a psychology but a "white myth or stereotype of black masculinity". [94]
Iago (/ i ˈ ɑː ɡ oʊ /) is a fictional character in Shakespeare's Othello (c. 1601–1604). Iago is the play's main antagonist, and Othello's standard-bearer.He is the husband of Emilia who is in turn the attendant of Othello's wife Desdemona.
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.
Michael Cassio, or simply Cassio (/ ˈ k æ s i oʊ /), is a fictional character in William Shakespeare's Othello.The source of the character is the 1565 tale "Un Capitano Moro" by Cinthio; Cassio is unnamed in Cinthio but referred to as "the squadron leader".
Characters, to him, centres excessively on Shakespeare's characters and, worse, Hazlitt "confuses fiction and reality" and discusses fictional characters as though they were real people. [331] Yet he also notes, a half-century after Saintsbury, and following Schneider's lead, that for all of Hazlitt's impressionism, "there is more theory in ...