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- Herausgeber: Henri Gallas
- Kategorie: Gesellschafts- und Liebesromane
- Sprache: Englisch
- Veröffentlichungsjahr: 2018
Othello, The Moor of Venice is a tragedy by William Shakespeare based on the short story "Moor of Venice" by Cinthio, believed to have been written in approximately 1603. The work revolves around four central characters: Othello, his wife Desdemona, his lieutenant Cassio, and his trusted advisor Iago. Attesting to its enduring popularity, the play appeared in 7 editions between 1622 and 1705. Because of its varied themes — racism, love, jealousy and betrayal — it remains relevant to the present day and is often performed in professional and community theatres alike. The play has also been the basis for numerous operatic, film and literary adaptations.
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Othello
William Shakespeare
William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 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 sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world.
Act I
SCENE I. Venice. A street.
Enter RODERIGO and IAGO
RODERIGO
Tush! never tell me; I take it much unkindly That thou, Iago, who hast had my purse As if the strings were thine, shouldst know of this.
IAGO
'Sblood, but you will not hear me: If ever I did dream of such a matter, Abhor me.
RODERIGO
Thou told'st me thou didst hold him in thy hate.
IAGO
Despise me, if I do not. Three great ones of the city, In personal suit to make me his lieutenant, Off-capp'd to him: and, by the faith of man, I know my price, I am worth no worse a place: But he; as loving his own pride and purposes, Evades them, with a bombast circumstance Horribly stuff'd with epithets of war; And, in conclusion, Nonsuits my mediators; for, 'Certes,' says he, 'I have already chose my officer.' And what was he? Forsooth, a great arithmetician, One Michael Cassio, a Florentine, A fellow almost damn'd in a fair wife; That never set a squadron in the field, Nor the division of a battle knows More than a spinster; unless the bookish theoric, Wherein the toged consuls can propose As masterly as he: mere prattle, without practise, Is all his soldiership. But he, sir, had the election: And I, of whom his eyes had seen the proof At Rhodes, at Cyprus and on other grounds Christian and heathen, must be be-lee'd and calm'd By debitor and creditor: this counter-caster, He, in good time, must his lieutenant be, And I—God bless the mark!—his Moorship's ancient.
RODERIGO
By heaven, I rather would have been his hangman.
IAGO
Why, there's no remedy; 'tis the curse of service, Preferment goes by letter and affection, And not by old gradation, where each second Stood heir to the first. Now, sir, be judge yourself, Whether I in any just term am affined To love the Moor.
RODERIGO
I would not follow him then.
IAGO
O, sir, content you; I follow him to serve my turn upon him: We cannot all be masters, nor all masters Cannot be truly follow'd. You shall mark Many a duteous and knee-crooking knave, That, doting on his own obsequious bondage, Wears out his time, much like his master's ass, For nought but provender, and when he's old, cashier'd: Whip me such honest knaves. Others there are Who, trimm'd in forms and visages of duty, Keep yet their hearts attending on themselves, And, throwing but shows of service on their lords, Do well thrive by them and when they have lined their coats Do themselves homage: these fellows have some soul; And such a one do I profess myself. For, sir, It is as sure as you are Roderigo, Were I the Moor, I would not be Iago: In following him, I follow but myself; Heaven is my judge, not I for love and duty, But seeming so, for my peculiar end: For when my outward action doth demonstrate The native act and figure of my heart In compliment extern, 'tis not long after But I will wear my heart upon my sleeve For daws to peck at: I am not what I am.
RODERIGO
What a full fortune does the thicklips owe If he can carry't thus!
IAGO
Call up her father, Rouse him: make after him, poison his delight, Proclaim him in the streets; incense her kinsmen, And, though he in a fertile climate dwell, Plague him with flies: though that his joy be joy, Yet throw such changes of vexation on't, As it may lose some colour.
RODERIGO
Here is her father's house; I'll call aloud.
IAGO
Do, with like timorous accent and dire yell As when, by night and negligence, the fire Is spied in populous cities.
RODERIGO
What, ho, Brabantio! Signior Brabantio, ho!
IAGO
Awake! what, ho, Brabantio! thieves! thieves! thieves! Look to your house, your daughter and your bags! Thieves! thieves!
BRABANTIO appears above, at a window
BRABANTIO
What is the reason of this terrible summons? What is the matter there?
RODERIGO
Signior, is all your family within?
IAGO
Are your doors lock'd?
BRABANTIO
Why, wherefore ask you this?
IAGO
'Zounds, sir, you're robb'd; for shame, put on your gown; Your heart is burst, you have lost half your soul; Even now, now, very now, an old black ram Is topping your white ewe. Arise, arise; Awake the snorting citizens with the bell, Or else the devil will make a grandsire of you: Arise, I say.
BRABANTIO
What, have you lost your wits?
RODERIGO
Most reverend signior, do you know my voice?
BRABANTIO
Not I what are you?
RODERIGO
My name is Roderigo.
BRABANTIO
The worser welcome: I have charged thee not to haunt about my doors: In honest plainness thou hast heard me say My daughter is not for thee; and now, in madness, Being full of supper and distempering draughts, Upon malicious bravery, dost thou come To start my quiet.
RODERIGO
Sir, sir, sir,—
BRABANTIO
But thou must needs be sure My spirit and my place have in them power To make this bitter to thee.
RODERIGO
Patience, good sir.
BRABANTIO
What tell'st thou me of robbing? this is Venice; My house is not a grange.
RODERIGO
Most grave Brabantio, In simple and pure soul I come to you.
IAGO
'Zounds, sir, you are one of those that will not serve God, if the devil bid you. Because we come to do you service and you think we are ruffians, you'll have your daughter covered with a Barbary horse; you'll have your nephews neigh to you; you'll have coursers for cousins and gennets for germans.
BRABANTIO
What profane wretch art thou?
IAGO
I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs.
BRABANTIO
Thou art a villain.
IAGO
You are—a senator.
BRABANTIO
This thou shalt answer; I know thee, Roderigo.
RODERIGO
Sir, I will answer any thing. But, I beseech you, If't be your pleasure and most wise consent, As partly I find it is, that your fair daughter, At this odd-even and dull watch o' the night, Transported, with no worse nor better guard But with a knave of common hire, a gondolier, To the gross clasps of a lascivious Moor— If this be known to you and your allowance, We then have done you bold and saucy wrongs; But if you know not this, my manners tell me We have your wrong rebuke. Do not believe That, from the sense of all civility, I thus would play and trifle with your reverence: Your daughter, if you have not given her leave, I say again, hath made a gross revolt; Tying her duty, beauty, wit and fortunes In an extravagant and wheeling stranger Of here and every where. Straight satisfy yourself: If she be in her chamber or your house, Let loose on me the justice of the state For thus deluding you.
BRABANTIO
Strike on the tinder, ho! Give me a taper! call up all my people! This accident is not unlike my dream: Belief of it oppresses me already. Light, I say! light!
Exit above
IAGO
Farewell; for I must leave you: It seems not meet, nor wholesome to my place, To be produced—as, if I stay, I shall— Against the Moor: for, I do know, the state, However this may gall him with some cheque, Cannot with safety cast him, for he's embark'd With such loud reason to the Cyprus wars, Which even now stand in act, that, for their souls, Another of his fathom they have none, To lead their business: in which regard, Though I do hate him as I do hell-pains. Yet, for necessity of present life, I must show out a flag and sign of love, Which is indeed but sign. That you shall surely find him, Lead to the Sagittary the raised search; And there will I be with him. So, farewell.
Exit
Enter, below, BRABANTIO, and Servants with torches
BRABANTIO
It is too true an evil: gone she is; And what's to come of my despised time Is nought but bitterness. Now, Roderigo, Where didst thou see her? O unhappy girl! With the Moor, say'st thou? Who would be a father! How didst thou know 'twas she? O she deceives me Past thought! What said she to you? Get more tapers: Raise all my kindred. Are they married, think you?
RODERIGO
Truly, I think they are.
BRABANTIO
O heaven! How got she out? O treason of the blood! Fathers, from hence trust not your daughters' minds By what you see them act. Is there not charms By which the property of youth and maidhood May be abused? Have you not read, Roderigo, Of some such thing?
RODERIGO
Yes, sir, I have indeed.
BRABANTIO
Call up my brother. O, would you had had her! Some one way, some another. Do you know Where we may apprehend her and the Moor?
RODERIGO
I think I can discover him, if you please, To get good guard and go along with me.
BRABANTIO
Pray you, lead on. At every house I'll call; I may command at most. Get weapons, ho! And raise some special officers of night. On, good Roderigo: I'll deserve your pains.
Exeunt
SCENE II. Another street.
Enter OTHELLO, IAGO, and Attendants with torches
Lesen Sie weiter in der vollst?ndigen Ausgabe!
Lesen Sie weiter in der vollst?ndigen Ausgabe!
Lesen Sie weiter in der vollst?ndigen Ausgabe!
Lesen Sie weiter in der vollst?ndigen Ausgabe!
Lesen Sie weiter in der vollst?ndigen Ausgabe!
Lesen Sie weiter in der vollst?ndigen Ausgabe!
Lesen Sie weiter in der vollst?ndigen Ausgabe!
Lesen Sie weiter in der vollst?ndigen Ausgabe!
Lesen Sie weiter in der vollst?ndigen Ausgabe!
Lesen Sie weiter in der vollst?ndigen Ausgabe!
Lesen Sie weiter in der vollst?ndigen Ausgabe!
Lesen Sie weiter in der vollst?ndigen Ausgabe!
Lesen Sie weiter in der vollst?ndigen Ausgabe!
