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Among seventeenth- and eighteenth-century actors praised for expressing the nobility of the Moor - and fully exploring the degrading passions which lead to the brutal murder he commits - were Thomas Betterton and Spranger Barry. [199] A review of the latter by John Bernard expressed how Barry's Othello "looked a few seconds in Desdemona's face, as if to read her feelings and disprove his suspicions; then, turning away, as the adverse conviction gathered in his heart, he spoke falteringly, and gushed into tears." [200] Except where otherwise stated, references to the play Othello are to Honigmann, E. A. J. and Thompson, Ayanna (Eds.) "Othello" The Arden Shakespeare, Third Series, Bloomsbury Publishing Plc., 2016. Thompson and Honigmann, 2016, pp.13-14. The complete novella appears, in different translations, in Thompson and Honigmann, 2016 at pp.377-396 and in Neill, 2006, pp.434-444.

Singh, Jyotsna "Post-Colonial Criticism" in Wells, Stanley and Orlin, Lena Cowen "Shakespeare: An Oxford Guide", Oxford University Press, 2003, pp.492-507 at p.493. Although Othello is a cultural and racial outsider in Venice, his skill as a soldier and leader is nevertheless valuable and necessary to the state, and he is an integral part of Venetian civic society. He is in great demand by the duke and senate, as evidenced by Cassio’s comment that the senate “sent about three several quests” to look for Othello (I.ii. 46). The Venetian government trusts Othello enough to put him in full martial and political command of Cyprus; indeed, in his dying speech, Othello reminds the Venetians of the “service” he has done their state (V.ii. 348). Greenhalgh, Susanne "Shakespeare Overheard: Performances, Adaptations, and Citations on Radio" in Shaughnessy, Robert (ed.) "The Cambridge Companion to Shakespeare and Popular Culture", Cambridge University Press, 2007, pp.175–198, at p.186.Greenhall, Susanne and Shaughnessy, Robert "Our Shakespeares: British Television and the Strains of Multiculturalism" in Burnett, Mark Thornton and Wray, Ramona (eds.) "Screening Shakespeare in the Twenty-First Century" Edinburgh University Press Ltd., 2006 pp.90-112 at p.94. Folger Theatre reopens this fall, with the rest of the building to follow in 2024. Learn about the building renovation and start planning your visit.

Watts, Cedric "Othello's Magical Handkerchief" in Sutherland, John and Watts, Cedric (eds.) "Henry V, War Criminal? & Other Shakespeare Puzzles" Oxford World's Classics series, Oxford University Press, 2000, pp.76-84 at pp.78-79 If you're looking for fun ways to discover more about the plot of Othello while learning at home, take a look at our Activity Toolkit.E. K. Chambers in 1930 argued that Q derived from a scribal manuscript, and F from the author's holograph. [51] The word "honest" is used more than 40 times in the play, sometimes with reference to Desdemona's chastity, but in almost all other cases with reference to Iago, where it has a double meaning - as a condescending term for a social inferior, and as a reference to his supposed truthfulness. [142]

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