PART I. BACKGROUND INFORMATION 1.

Author William Shakespeare was born on April 26th, 1564 and died on April 23rd, 1616 in Stratford-upon-Avon. He was the son of John Shakespeare and Mary Arden. Not much is known about Williams childhood, although it is safe to assume that he attended the local grammar school, the Kings New School, which was staffed with a faculty who held Oxford degrees, and whose curriculum included mathematics, natural sciences, Latin language and rhetoric, logic, Christian ethics, and classical literature. He did not attend the university, which was not unusual at this time, since university education was reserved or prospective clergymen and was not a

particularly mind-opening experience. However, the education he received at grammar school was excellent, as evidenced by the numerous classical and literary references in his plays. His early works especially drew on such Greek and Roman greats as Seneca and Plautus. What is more impressive than his formal education, however, is the wealth of general knowledge exhibited in his works, from a working knowledge of many professions to a vocabulary that is far greater than any other English writer. At the age of 18, he married Anne Hathaway, with whom he had three children. Although we have many records of his life as a citizen of Stratford, including marriage and birth certificates, very little information exists about his life as a young playwright. Legend characterizes Shakespeare as a roguish young scrapper who was once forced to flee London under sketchy circumstances. However, the little written

information we have of his early years does not confirm this. Young Will was not an immediate and universal success; the earliest written record of Shakespeares life in London comes from a statement by rival playwright
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Robert Greene, who calls Shakespeare an upstart crow ..... supposes he is as well able to bombast out a blank verse as the best of you: - hardly high praise. In 1594 Shakespeare became a charter member of The Lord

Chamberlains Men, a group of actors who later changed their name to The King's Men when they gained the sponsorship of King James I. By 1598 he was principal comedian for the troupe, and by 1603 he was principal tragedian. Acting and writing plays at this time were not considered noble professions, but successful and prosperous actors were relatively wellrespected. Shakespeare was very successful and made quite a bit of money. He invested this money in Stratford real estate and was able to purchase the second largest house in Stratford, the New Place, for his parents in 1597. In 1596 Shakespeare applied for a coat of arms for his family, in effect making himself into a gentleman, and his daughters married successfully and wealthily. Shakespeare produced most of his known work between 1589 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the 16th century. He then wrote mainly tragedies until about 1608, including Hamlet, King Lear, Othello and Macbeth, considered some of the finest works in the English language. Many of his plays were published in editions of varying quality and accuracy during his lifetime. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the 19th century.

In the 20th century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are constantly studied, performed, and reinterpreted in diverse cultural and political contexts throughout the world.

2. The whole play Othello was based on a Italian short story A Moorish Captain by Cinthio. Many researchers tried to find out when this play had been produced, but nothing is clear up to now. In general, most suppose that Othello was produced and be public around 1604s. According to Longworth Chambrun in his book, this play was first public on November 1st, 1604. However, Molone, a famous researcher with other companions claimed that the play was on in 1611. The characters in this play were built as real people with extremely vivid characteristics. Othello becomes a symbol for those who love unquestioningly. Othello killed his wife not because he didnt love her any more, but because his wife let him too much disappointed. His nature is not jealous in love, but gullible. That is why after Iagos cover was blown and Desdemona was innocent, Othello, a person with disgusted eyes sheds tears. Hence, Shakespeares writings are tragic, but there is still a persons belief in life. Equally important, this play was performed in public when European society still had racial discrimination and the black was considered as a kind of goods and cattle. Therefore, that Shakespeare used a black person as a main actor with unusual talent and a noble soul shows that he has great thinking, which is over his trivial era. To Iago, this character is considered as Shakespeares wonderful creation and also becomes a symbol of a wicked and crafty person. He couldnt become second-in-command, he doubted Otello about amorous intention with his wife; so, he found many ways to revenge. Iago was meditated as the most wicked and cruel charater in worldwide literature

PART II. THE TRATEGY OF OTHELLO, THE MOOR OF VENICE, ACT V 1. Summary a. Scene one Despite feeling feint of heart, Roderigo resolves to kill Cassio if only for the sake of preventing Othello from leaving Cyprus right away with Desdemona in tow, which he assuredly will attend to his father-in-laws funeral if nothing is done to bring the affairs of state to the point of a crisis. By killing Cassio, Roderigo would create a vacuum in the chain-of-command which would compel Othello, and by extension Desdemona, to linger in Cyprus. Roderigos ambush proves to be a disaster, however, as Roderigo sustains a serious wound due in large part to the thickness of Cassios coat. Worse, Roderigo is betrayed by Iago who, having determined that the mutual deaths of Cassio and Roderigo are the ideal outcomes of the ambush, slays Roderigo. Luckily for Cassio, circumstances limit the harm that befalls him to a body wound. Attacked from the rear, Cassio is ignorant of his assailant, but Othello correctly surmises that Iago is Cassios assailant upon hearing Cassios dire yell in the night. Praising Iagos loyalty, Othello goes to see about Desdemona. Meanwhile, Cassios welfare is attended to by Iago, Lodovico, Gratiano, Bianca, and Emilia b. Scene two Awakened by Othellos arrival, Desdemona anticipates her husband to be joining her in bed only to be alarmed by his strange words and; moreover, by the expression on his face which denotes a grimness of purpose from which there is no appeal. When asked to explain his black mood, Othello alleges Desdemona of infidelity and perjury which allegations Desdemona
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categorically denies but to no avail. Othello means to kill her and kill her now. In vain, Desdemona pleads for her life. Subsequently, Emilia arrives to inform the Moor of Roderigos death and Cassios injury when she discovers that Desdemona is dead. Desdemonas dying voice informs Emilia that Desdemona's death was self-afflicted and that Desdemona's final thoughts are for her husband, Othello, whom she, Desdemona, will forever love. Addressing Emilia, Othello questions the credibility of Desdemonas dying voice. When Emilia says that she wont contradict it, Othello divulges that it was in fact he who had killed Desdemona. Emilia denounces Othello who defends himself, citing Emilias husband as the source of his intelligence which intelligence proved Desdemona to be lecherous and unfaithful. Incredulous, Emilia cries murder at the top her voice drawing Montano, Gratiano, and Iago to the scene. Addressing Iago, Emilia pleads with him to deny Othellos claim that it was he, Iago, who called Desdemonas faithfulness into question. Iago confirms Othellos claim, however, arguing that his suspicion of Desdemonas unfaithfulness was based entirely on evidence. When Othello justifies Iagos suspicion by mentioning Desdemonas handkerchief, of its being in Cassios possession, Emilia proves to Othello that his understanding of how the handkerchief got into Cassios hand is patently false, that Iago had made it seem as if Desdemona had given it to Cassio as a token of love. Consequently, Othello attacks Iago only to be restrained and disarmed. In the skirmish, Iago flees but not before fatally wounding his wife. Montano pursues Iago and Othello mourns for Desdemona. Eventually, Iago is caught and brought before Othello. Also present are Lodovico and Cassio. Once again Othello attacks Iago and once again Othello is disarmed. Though wounded this time, Iago will live. Othello asks why, why has Iago done what he has, but Iago refuses to
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say. Lodovico avows that Iago will be prosecuted to the full extent of the law and then some. The evidence in support of Iagos guilt is overwhelming. As for Othello, he is to be divested of his command and his case brought before the Venetian state for review. Lodovico thus concludes the proceedings when Othello delivers an impromptu speech, wherein he urges he be remembered as someone foolish and ignorant who has discarded lifes greatest treasure but for all that someone deserving of some pity and praise, before stabbing himself to death. Kissing Desdemona, Othello dies.

2. Analysis In the first scene, again, Iago addresses the audience directly about his intentions, and his actions; Iago is only truly honest with the audience, and hides something from each of the players. This creates an undercurrent of dramatic irony throughout the play, since the audience knows all of his plans, and individual characters know nothing, like Othello, or only a small portion of it, like Roderigo. Iago's tendency to disclose himself to the audience gives him a connection to the audience that Othello does not have; although Othello is the title character of the play, Iago has more lines and more interaction with the audience as well. It is Othello's tragedy that is the focus of the play, but Iago succeeds in stealing the show; he is one of those peculiar villains, like Richard III, who is more compelling, complex, and sometimes more interesting than any of the protagonists in the play. Here, Iago again proves himself a consummate actor. This scene again brings up the theme of appearance vs. reality; for though Iago claims to know nothing of this battle, and be merely discovering it, he is the mastermind of the entire situation. Iago is many selves in this act; he is friend and advisor to Roderigo, then betrayer and murderer of Roderigo, consoler of Cassio, and the lead officer in this crisis. He uses misrepresentation to fill each of these roles as best he can, and not let the others know of his true plans and character. In the second scene, Othello's farewell to Desdemona is a return to his former eloquence, though it is also a farewell to his own peace and his life. Though he believes Desdemona's soul to be black, he can only focus on her whiteness; he pledges not to mar "that whiter skin of hers than snow", although he is determined to take her life. The metaphor highlights Desdemona's innocence, as does comparing her to a "light" to be put out. There is irony in Othello's
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references to Desdemona here; he describes her with words that suggest her brightness and innocence, yet he is determined to condemn and kill her. She is also "the rose" to Othello, another beautiful, innocent image to relate her with. Othello's allusion to Prometheus explains his wish to put out Desdemona's light in order to restore her former innocence; even when the act of murder is drawing near, Othello seems intent upon dwelling in beautiful images and poetic metaphors to hide the ugliness and wrongness of his deed. And where before Othello felt only hatred and anger, now he is forced to feel his love, along with his mistaken determination to see Desdemona die. Here, Desdemona learns too late of the trap that was set for her with the handkerchief; this symbol of her love has come back to condemn her, just as all her protestations of her love and devotion for Othello do not soften his resolve to kill her. Othello refers to the belief of the time, that to die with all one's sins repented of meant that the soul was saved for heaven; that he asks Desdemona if she has prayed, and urges her to do so if she hasn't, shows a strange kind of mercy built into Othello's determination to have her killed. But Othello takes Desdemona's cries for mercy and her remorse at Cassio's misfortune, as proof of her indiscretion; although his rage is tempered, he is still set on having her dead. Othello's reaction after smothering Desdemona shows an even greater rift between his resolve and his emotion. He does not want to admit that Desdemona is dead; he speaks to her, ponders her stillness, and seems very hysterical. He is also grieved by this action; "methinks it should be now a huge eclipse of sun and moon", he says, referring back to the light/dark imagery of the play to communicate how unsettled and unhinged he feels.

Desdemona's last words are especially cryptic; when asked who killed her, she remarks, "nobody, I myself commend me to my kind lord." This could be seen as a kind of condemnation of Othello for killing her; but, taking into account her resigned behavior before her death, she might be trying to absolve her husband of blame with her last breath, or trying to express her love for the one who has killed her. If this is so, it certainly does not sit well with her line, "falsely, falsely murdered", which seems to refer both to Desdemona's death, as to Emilia's mention of the death of Roderigo and wounding of Cassio. Othello's reaction upon Desdemona's death is a mixture of shock, hysterics, and anger; still, he is very conflicted at this act he has committed. The greatest irony of the play is that it is only after killing Desdemona that Othello learns the truth about her; he finds out that she was blameless, and that Iago was manipulating him into believing otherwise. Still, even after the murder is exposed, Othello cannot let go of the idea that Desdemona really did cheat on him; but his fixation on the handkerchief is ended when Emilia reveals how the token was used to make him believe in the affair. Emilia's fate is parallel to Desdemona's; although she was more realistic than Desdemona, she too was betrayed by her husband, had a good sense of perception, but yet died through other's wrongs. Desdemona might be a more central figure in the play, but Emilia is the conscience; she makes Othelo finally feel remorse for his act, and undoes some of the damage that Iago's allegations wreaked, which not even Desdemona was able to allay. Emilia knows, almost as well as her husband, how human nature works; she knows of husbands' jealousies, of how men believe women are less human, of how people are naturally prone to folly. She is the sole voice of reason in the play, the only besides Desdemona who is uncorrupted by Iago's manipulations.
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At last, Othello's grief comes to its fruition, as his reason and speech are finally fully restored. "Roast me in sulfur! Wash me in steep-down gulfs of molten fire!" Othello laments, the images of pain and torment reflecting the feelings which are coming over him. He juxtaposes heaven and hell to explain his despair, and the virtue he knows again that Desdemona did possess. But though Othello has some sense again, he still wounds Iago; this act seems to be done as a distraction of his pain, and makes Othello's character seem even more deeply flawed. Othello insists that he is an "honorable murderer"; but Iago was surely killed out of anger and Desdemona out of jealousy and offended pride. Othello is driven to kill out of his own shortcomings; and although his beautiful language and his remorse at the end of this scene make him seem noble again, yet Othello still denies the flaws in himself that have led him to this end. Iago was definitely the catalyst for Desdemona's death and Othello's jealous rages; but the seeds of jealousy and suspicion were already inherent in Othello, though not yet grown. It certainly makes the resolution of the play neater to believe that Othello is returned to his nobility; but, since he still denies the deep wrong he has committed, and his own part in this dirty act, he cannot be fully redeemed or forgiven. Of course, all threads are wrapped up in this last scene of the play; letters are produced that expose Iago's part in these unfortunate events, even though these letters have not been mentioned or shown earlier in the play. Cassio seems to have been kept alive merely to testify about his part in this whole debacle; and Lodovico and Gratiano are conveniently there as witnesses of the Venetian state, with Montano representing the law and order of Cyprus. Although the plot is brought to its conclusion in this last scene, there are still questions and issues to consider, especially in Othello's last speech.
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Othello has always been concerned with his reputation and public image; this was one of his reasons for killing Desdemona. His last speech reveals that he is still fixated on this cause; "speak of me as I am", he tells them, yet there is great irony in this statement, since he goes on to misrepresent himself and his motives. He says that he is "not easily jealous", although it is apparent from Iago's first insinuations that he is very jealous and possessive of his wife. He also says he is one who "drops tears as fast as the Arabian trees their medicinable gum"; however, Othello found it difficult to be sorry for killing his wife, until he found out that his motives were wrong. This last speech is filled with heroic language; he reduces his foul, treacherous murder to "throwing a pearl away richer than all his tribe", which is a beautiful metaphor, but hardly does justice to the brutality and cruelty of Othello's behavior. Othello tries to die with honor and some reputation intact; but his speech shows that his preoccupation with his image is still keeping him from the truth, as is his penchant for storytelling. Still, Othello is uniquely human, like Hamlet; his flaws and follies make him a compelling tragic figure, and his more noble aspects also make him sympathetic. Although Iago steals most of the spotlight during the play, in the end, the tragedy is Othello's; it is his pain, folly, and misfortune which reverberate, and make this drama so compelling and so telling of human nature.

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3. Evaluation The plot of Shakespeares Othello is largely taken from Giraldi Cinthio's Gli Hecatommithi, a tale of love, jealousy, and betrayal; however, the characters, themes, and attitudes of the works are vastly different, with Shakespeares play being a more involved study of human nature and psychology. There are, however, a few deviations from Shakespeares source, one of which being the motivations of the Iago figure. Cithios Iago was driven to revenge when Desdemona refused to have an affair with him; Iagos motivations are not nearly so plain in Shakespeares version. Othello also touches upon a major issue in Europe of this time period; the intermingling of Muslim religion and culture with the West. Written just a century after the Muslims were driven out of Spain as a part of the Reconquista, there are obvious threads of hostility within the play about Othellos Moorish origins, and his differences in religion and culture. The hostility between the West and the East is also shown in the conflict between Venice and the Turks; the Christian Venetians want to protect Christendom from the influence of the Muslim Turks, and ironically, Moorish Othello is the one sent to complete this mission. Othello is considered to be a prime example of Aristotelian drama; it focuses upon a very small cast of characters, one of the smallest used in Shakespeare, has few distractions from the main plot arc, and concentrates on just a few themes, like jealousy. As such, it is one of the most intense and focused plays

Shakespeare wrote, and have also enjoyed a great amount of popularity from the Jacobean period to the present day. In brief, Othello is the tragedy of a noble hero brought down by a fatal flaw -jealousy -- in his character. Shakespeare's other great tragedies -- Hamlet, King Lear and Macbeth -- deal with issues that affect the well-being of entire
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nations, whereas Othello is a domestic tragedy with timeless themes such as love, hate, jealousy, intrigue, revenge, trust, suspicion, self-interest, racism, judgment and reason. Here we have humanity in all its dazzling diversity. Tragedy affects us by revealing scenes that inspire pity and terror. Pity is aroused by the spectacle of a human being who is in some ways like us, whose fate might become ours also. The hero endures suffering that exposes the bare bones of his nature to our scrutiny. An awareness of a human being's strengths and nobility, as well as weaknesses, emerges from the experience of tragedy. We should feel a sense of uplift at the end of a tragedy. The tragic hero dies, but his endeavour to resist his negative emotions over the course of the action and the insight he gains reaffirms our faith in human nature. Inevitable death comes as a relief; we do not wish the hero to suffer any more.

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PART III. REFERENCES http://vi.wikipedia.org/wiki/Othello http://vietsciences.free.fr/biographie/artists/writers/shakespeare.htm http://www.online-literature.com/forums/showthread.php?54223-quotOthello-quot-A-Critical-Review http://thaibatan.com/index.php?option=com_content&task=view&id=1236&It emid=53 http://lmvn.com/truyen/?func=viewpost&id=4kpkKWh29RkSQ6q6p3CdP1tp uI39RCzL http://en.wikipedia.org/wiki/Othello

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