
By William Shakespeare
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Additional resources for Othello (The New Cambridge Shakespeare)
Example text
St. 13 (1980), 192. W. Adamson, 'Unpinned or undone? St. 3 13 (1980), 183. Adamson, 'Othello' as Tragedy, p. 263. L. Schiicking, Character Problems in Shakespeare's Plays, 1922; E. E. Stoll, Othello: An Historical and Comparative Study, 1915. R. Hapgood, 'Othello', in S. ), Shakespeare : Select Bibliographical Guides, 1973, pp. 165-6; see also Adamson, 'Othello' as Tragedy, on this topic. 29 Introduction the nature of his medium. But the literary critic is not obliged to ignore the multiple levels of the part that the performer cannot simultaneously represent on stage.
A black/white opposition is clearly built into the play at every level : factually, physically, visually, poetically, psychologically, symbolically, morally and religiously. This is ultimately the only important theatrical fact. And being so, it is probably true that, regardless of how such an effect could have been created on the Jacobean stage, only a Negroid Othello can produce the desired responses in the theatres of the Western world, at present and in the foreseeable future. The plot and its inconsistencies Shakespeare's dramatic fashioning of Cinthio's story has long raised problems of interpretation because of the large number of inconsistencies between what is said or implied in some parts of the play and information given on the same subjects at others.
This being so, we should perhaps give less weight to the study-produced 'problems' of the play. Sur. 21 (1968), 13-29. See Textual Analysis, pp. 211-15 below. 17 Introduction modem mind dissatisfied with some aspects of Renaissance drama: the widely allusive exploration of a dramatic idea, the frequent loose ends, and fierce concentration on the truth of the immediate moment. Like his contemporaries, Shakespeare often worked using large impressionistic effects and his delving into the depths of the human spirit always recognises the futility of any effort to pluck out its mystery completely.