..., Iago, ad Desdemona by ‘Ihree Centuries of Actors and Critics. By MARVIN ROSEN- BERG. Berkeley and Los Angeles: University of California Press, 1961. Pp. xii -I- 313. $5.00. 274 Reviews This account of the productions and interpretations of Ofhello...

... scene are we not tempted by Shakespeare to imagine Othello doing something else with Desdemona in bed” (137)? What else would he do? If, as Stanley Cavell argues in “ Othello and the Stake of the Other,” Othello’s murder of Desdemona is born of his attempt to avoid intimacy with a spouse who reputedly...

... of the separate existence of the other and of the self. “Nothing could be more certain to Othello than that Desdemona exists; is flesh and blood; is separate from him; other. This is precisely the possibility that tortures him. The content of his torture is the premonition of the existence of another...

... and hell, salvation and damnation : To come away from [ Desdemona’s] tragic experience remembering her as either a saint or sinner is to abstract from the complex weave of the character a few small threads of behavior, meaningless out of the pattern, and find in them the design of the whole...

... CHITTICK 7he Masks of Othello: ’Ihe Search for the Identity of Othello, Iago, ad Desdemona by ‘Ihree Centuries of Actors and Critics. By MARVIN ROSEN- BERG. Berkeley and Los Angeles: University of California Press, 1961. Pp. xii -I- 313. $5.00. ...

... might be applied to all the innocent victims in the play. One grain more of common sense, and Desdemona would not have lied to her husband or Cassio sought pardon while his commander was angry or Emilia lent her aid to a trick she did not understand. It was widely believed in the time...

..., and Desdemona would not have lied to her husband or Cassio sought pardon while his commander was angry or Emilia lent her aid to a trick she did not understand. It was widely believed in the time of Tate and Cibber that to improve on Shakespeare one need only rewrite his plays. More recently...

... period in similar terms through humoral theory. Paster’s analyses of Rosalind and Desdemona in As You Like It and Othello shed light on the baffling medical assumptions of the period while offer- ing keen insights into the actions of characters that have posed interpre- tive problems...

... propounded in the early modern period in similar terms through humoral theory. Paster’s analyses of Rosalind and Desdemona in As You Like It and Othello shed light on the baffling medical assumptions of the period while offer- ing keen insights into the actions of characters that have posed...

.... The “body without organs” proffers a nonhierarchical, nonor- ganistic body that splinters out into the world around it: a body that Pas- ter sees propounded in the early modern period in similar terms through humoral theory. Paster’s analyses of Rosalind and Desdemona in As You Like It and Othello...

... around it: a body that Pas- ter sees propounded in the early modern period in similar terms through humoral theory. Paster’s analyses of Rosalind and Desdemona in As You Like It and Othello shed light on the baffling medical assumptions of the period while offer- ing keen insights...

... body that splinters out into the world around it: a body that Pas- ter sees propounded in the early modern period in similar terms through humoral theory. Paster’s analyses of Rosalind and Desdemona in As You Like It and Othello shed light on the baffling medical assumptions of the period...

...-body dichotomy. The “body without organs” proffers a nonhierarchical, nonor- ganistic body that splinters out into the world around it: a body that Pas- ter sees propounded in the early modern period in similar terms through humoral theory. Paster’s analyses of Rosalind and Desdemona...

... body that splinters out into the world around it: a body that Pas- ter sees propounded in the early modern period in similar terms through humoral theory. Paster’s analyses of Rosalind and Desdemona in As You Like It and Othello shed light on the baffling medical assumptions of the period...

... typology that inspired Shakespeare to make the comedic trial of Othello in Act I a proleptic “parody” of the tragic trial of Desdemona in Act V. Nothing of these backgrounds appears in Shakespeare? Analogical Scene. The opportunity to show Shakespeare exploiting a cultural heritage...

... is expected to be. The connection between this self-concep- tion and paternal authority is shown by the way he presents himself to the graybeards of the Venetian senate in I.iii, insisting that the “young affects” in him are “defunct,” that he loves Desdemona only to “be free and bounteous to her mind...

... sketch as we do about Ophelia or Desdemona)-regrettable, because no J. A. Scott 89 such evaluation can legitimately be made-and the likewise “regrettable anti- mony between the poet and the thinker” in Dante. More should have been made...

... Desdemona’s elope- ment to her father, (a) Your daughter, if you have not given her leave, I say again, hath made a gross revolt. (I.i. 134-35) Such was the working of Shakespeare’s mind4 that the use of the motif of revolt in conjunction...

... Creation, Paisiello’s Froscatana, Mozart’s Don Giovnnni, and Jomelli’s ~lliserere.~As final argument against Beyle’s perspicacity, we may quote one of his not infrequent aberrations on the subject of music : Je voudrais que le dernier acte d’Otello s’owrit par Desdemona marchant tristement et...

..., 1961. Pp. ix + 99. $3.00. Rosenberg, Marvin. Masks of Othello: The Search for the Identity of Othello, Iago, and Desdemona by Three Centuries of Actors and Critics. Berkeley and Los Angeles: University of California Press, 1961. Pp. xii 4- 313. $5.00. Schilling, Bernard N. Dryden aid...