Origins[ edit ] The concept for the series originated in with Cedric Messinaa BBC producer who specialised in television productions of theatrical classics, while he was on location at Glamis Castle in AngusScotland, shooting an adaptation of J.
That is, it substitutes imaginary sympathy for mere selfishness. It gives us a high and permanent interest, beyond ourselves, in humanity as such. It raises the great, the remote, and the possible to an equality with the real, the little and the near.
It makes man a partaker with his kind. It subdues and softens the stubbornness of his will. It teaches him that there are and have been others like himself, by showing him as in a glass what they have felt, thought, and done.
It opens the chambers of the human heart. It leaves nothing indifferent to us that can affect our common nature. It excites our sensibility by exhibiting the passions wound up to the utmost pitch by the power of imagination or the temptation of circumstances; and corrects their fatal excesses in ourselves by pointing to the greater extent of sufferings and of crimes to which they have led others.
Tragedy creates a balance of the affections. It makes us thoughtful spectators in the lists of life. It is the refiner of the species; a discipline of humanity. The habitual study of poetry and works of imagination is one chief part of a well-grounded education.
A taste for liberal art is necessary to complete the character of a gentleman, Science alone is hard and mechanical. It exercises the understanding upon things out of ourselves, while it leaves the affections unemployed, or engrossed with our own immediate, narrow interests.
It excites our sympathy in an extraordinary degree. We have not the same degree of sympathy with the passions described in Macbeth. The interest in Hamlet is more remote and reflex.
That of Othello is at once equally profound and affecting. The picturesque contrasts of character in this play are almost as remarkable as the depth of the passion.
The Moor Othello, the gentle Desdemona, the villain Iago, the good-natured Cassio, the fool Roderigo, present a range and variety of character as striking and palpable as that produced by the opposition of costume in a picture.
These characters and the images they stamp upon the mind are the farthest asunder possible, the distance between them is immense: What a contrast the character of Othello forms to that of Iago: The making one black and the other white, the one unprincipled, the other unfortunate in the extreme, would have answered the common purposes of effect, and satisfied the ambition of an ordinary painter of character.
Shakespeare has laboured the finer shades of difference in both with as much care and skill as if he had had to depend on the execution alone for the success of his design.
On the other hand, Desdemona and Aemilia are not meant to be opposed with anything like strong contrast to each other. Both are, to outward appearance, characters of common life, not more distinguished than women usually are, by difference of rank and situation.
The difference of their thoughts and sentiments is, however, laid as open, their minds are separated from each other by signs as plain and as little to be mistaken as the complexions of their husbands.
The movement of the passion in Othello is exceedingly different from that of Macbeth. In Macbeth there is a violent struggle between opposite feelings, between ambition and the stings of conscience, almost from first to last: The revenge of Othello, after it has once taken thorough possession of his mind, never quits it, but grows stronger and stronger at every moment of its delay.
The nature of the Moor is noble, confiding, tender, and generous; but his blood is of the most inflammable kind; and being once roused by a sense of his wrongs, he is stopped by no considerations of remorse or pity till he has given a loose to all the dictates of his rage and his despair.
The third act of Othello is his masterpiece, not of knowledge or passion separately, but of the two combined, of the knowledge of character with the expression of passion, of consummate art in the keeping up of appearances with the profound workings of nature, and the convulsive movements of uncontrollable agony, of the power of inflicting torture and of suffering it.
Not only is the tumult of passion heaved up from the very bottom of the soul, but every the slightest undulation of feeling is seen on the surface, as it arises from the impulses of imagination or the different probabilities maliciously suggested by Iago.The Fascinating Stage History of Othello According to the Accounts of the Master of the Revels (published in ), Othello was performed in The full entry reads: "By the King's Majesty's Players.
Hallowmas Day, being the first of November, a play in the banqueting house at Whitehall called The Moor of Venice."Other evidence supports the fact that Shakespeare wrote the play in or before.
Shakespeare's tragedy about the Moor of Venice with explanatory notes and analysis. Four tragedies written by William Shakespeare are provided in this quite portable book. Hamlet, Othello, King Lear, and Macbeth all share the pages and are edited by four different people, one for each play.
For this updated edition of Shakespeare's Othello, Scott McMillin has added a new section on the key events in both scholarship and theatre since the s, inlcuding political, feminist and postcolonial treatments in various parts of the world.
The most striking difference between Othello and Shakespeare's other tragedies is its more intimate scale. Because the play focuses on personal rather than public life, Othello's private descent into jealous obsession is especially chilling to behold.
Othello (The Tragedy of Othello, the Moor of Venice) is a tragedy by William Shakespeare, believed to have been written in It is based on the story Un Capitano Moro ("A Moorish Captain") by Cinthio, a disciple of Boccaccio, first published in The story revolves around its two central characters: Othello, a Moorish general in the Venetian army and his unfaithful ensign, Iago.