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    SHAKESPEARE: Othello
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• • 莎士比亚: 奥赛罗 / SHAKESPEARE: Othello
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  • William ShakespeareOthello Othello, dating from 1602-1604, is the second inShakespeare’s great sequence of four tragedies: preceded by Hamlet (1600-1601)and followed by King Lear (1605) and Macbeth (1606), it differs markedly fromthe others in its essentially domestic milieu—the story unfolds withsuffocatingly close intensity, unrelieved by the religious or metaphysicalcontext we expect to find in Shakespearean tragedy. There is no sense here ofProvidence (Hamlet), gods who kill us for their sport (Lear) or the powersabove (Macbeth): everything depends upon the actions and motivation ofindividuals operating within a particular culture. The Date and Sources Shakespeare’s main source for the play was Giraldi Cinthio’sHecatommithi, first published in Venice in 1566. Shakespeare also used thiscollection of stories in Measure for Measure; we cannot be sure to what extenthe drew on the Italian or French versions, or whether he used a now lostEnglish translation. The changes made by Shakespeare are, obviously, of specialinterest. For example, Brabantio, Desdemona’s father, is developedinto an influential Venetian senator whose racial bigotry adds significantly tothe tension of early scenes and enhances our sense of his daughter’s spiritedindependence. More generally, the richness of Shakespeare’s language and thedepth of his psychological insight transform a simple tale of primitivejealousy (Thomas Rhymer’s bloody farce, perhaps) into an overwhelminglypowerful drama.There are other, less significant, sources, but ofparticular interest is Pliny’s Naturalis Historia (translated by Holland, 1601)for some of the more exotic allusions in Othello’s speeches: the cannibals,anthropophagi, hollow caves, mines of sulphur, gum-dropping Arabian trees, chrysolite,mandragora, colloquintida … (for this and much else I am indebted to NormanSanders’ introduction to the New Cambridge Shakespeare edition of the play). Synopsis of the Play Act 1, Scene 1: The scene is set in Venice. Roderigo, whofancies himself in love with Desdemona, is angry with Iago, Othello’s ensign,for only now telling him of Othello’s planned elopement with Desdemona. Iagoproclaims his hatred of Othello for promoting the less experienced Cassio tothe position of personal lieutenant. Iago prompts Roderigo to help him rouseBrabantio by telling him of his daughter’s marriage to ‘an old black ram’.Scene 2: Iago warns Othello of Brabantio’s pursuit; meanwhile Cassio brings amessage requesting Othello’s urgent attendance on the Duke on militarybusiness. Brabantio, arriving, is compelled to defer his attempted arrest ofOthello and goes also to attend the Duke’s council of war. Scene 3: The Duke’sappointment of Othello to command the Venetian garrison in Cyprus, threatenedby a Turkish fleet, is interrupted by Brabantio’s complaint against Othello.Othello suggests that Desdemona be summoned to account for her actions, andmeanwhile tells the story of his wooing: how she fell in love with him as shelistened to his tales of travel and adventure. Desdemona then announces herdevotion to Othello, and Brabantio is forced to accept the match. Desdemonarequests, and is granted, permission to accompany her new husband to Cyprus.She will travel with Iago. Iago, alone with Roderigo, urges him not to despairof winning Desdemona and to come to Cyprus: Desdemona will soon tire of Othelloand welcome Roderigo’s advances. Iago, alone, begins to hatch his plot todestroy Othello by convincing him that his wife is having an affair with thehandsome young Cassio. Act 2, Scene 1: Cassio, Iago and Desdemona, and lastlyOthello arrive in Cyprus, emerging unscathed from a storm, which hasprovidentially destroyed the Turkish fleet. Iago involves Roderigo in a plan todisplant Cassio. In his closing soliloquy Iago justifies his plot againstOthello and Cassio. Scene 2: Definite news of the Turkish fleet’s destructionis to be marked by sport and revels that night. Scene 3: Cassio, who is onduty, is lured into drinking too much by Iago; Roderigo then prompting a brawl,Othello, arriving on the scene, is informed by an apparently reluctant Iagothat Cassio was at fault. As a result, Cassio loses his position as Othello’slieutenant. Iago consoles Cassio and tells him that the best way to recover hisreputation with Othello is to ask for Desdemona’s help in pleading his case.Iago, in soliloquy, tells us that he will persuade the Moor that Desdemona’sintercession is prompted by her body’s lust for the young officer. Act 3, Scene 1: Iago’s good-natured wife Emilia arranges forCassio to speak with Desdemona. Scene 2: Othello will meet Iagolater in the day. Scene 3: Iago ensures that Othello observes the figure ofCassio as he leaves Desdemona. Desdemona makes her first plea for thereinstatement of Cassio. Iago warns Othello to observe [Desdemona] well withCassio, boldly reminding his general that she has already behaved unnaturallyin favoring him, and may do so again. Deeply troubled, Othello answersDesdemona distractedly on her return. A handkerchief of Desdemona’s—an earlierpresent from Othello—is accidentally dropped: Emilia picks it up and decides togive it to Iago, who has a hundred times asked her to steal it. Iago takes thehandkerchief eagerly and resolves to leave it in Cassio’s lodging as furtherevidence of Desdemona’s infidelity. By the time Othello returns he is already aman possessed by the near certainty that his wife is unfaithful. Iago plays onthis growing conviction by telling Othello how he recently heard Cassiomuttering loving words to Desdemona in his sleep, and that he has seen theprecious handkerchief in Cassio’s hand. Iago and Othello swear a sacred vow topunish the guilty lovers. Scene 4: Desdemona’s failure to produce thehandkerchief is further evidence for Othello of her infidelity. Desdemonaapologizes to Cassio that she cannot press his case at the moment. Cassio asksthe courtesan Bianca to copy the work in the handkerchief, which he has foundin his chamber, not knowing its owner. Act 4, Scene 1: Iago tells Othello that Cassio has admittedsleeping with Desdemona: the shock sends Othello into an epileptic fit. Iagothen sets up a conversation between himself and Cassio, which Othello willobserve but not overhear. Iago incites Cassio to lewd laughter by discussingCassio’s affair with Bianca: Othello duly misinterprets Cassio’s looks andgestures. Bianca enters and, in a jealous rage, refuses to copy thehandkerchief; nevertheless she invites Cassio to supper tonight. Othello, now utterlyconvinced of Desdemona’s guilt, will strangle her in her bed, while Iago willbe Cassio’s undertaker. Lodovico arrives from Venice with orders for Othello’sreturn, his place in Cyprus to be taken by Cassio. Desdemona unwittinglyprompts a cruel blow from Othello, witnessed by a shocked Lodovico amongothers. Scene 2: Emilia swears to Othello that his wife is faithful. Alonetogether, Othello accuses Desdemona of being a strumpet and a whore. Emiliabegins to suspect Iago of the slander, while Desdemona remains resolutelyforgiving of her husband. A discontented Roderigo is persuaded by Iago to killhis supposed rival Cassio later that night. Scene 3: Supper ended, Desdemona isordered to bed. Desdemona sings the touching song of willow to her loyalattendant Emilia, who expresses female impatience with the masculine temper. Act 5, Scene 1: Roderigo and Iago botch the murder ofCassio: Cassio and Roderigo are wounded, the former unaware that Iago attackedhim. Othello, believing Cassio dead, passes on towards the marriage chamber. AsLodovico and Gratiano arrive on the scene, Iago eliminates a potential witnessby slyly stabbing Roderigo. Bianca appears and is roundly berated by Iago.Scene 2: Desdemona reacts with angry defiance to Othello’s accusation, but thesympathy she expresses for the supposedly dead Cassio finally prompts Othelloto smother her in the bed. Emilia demands to be let into the chamber; Desdemonastirs and speaks before dying. Emilia discovers from Othello that theslandering of Desdemona came from her husband, and rounds in fury on the Moor.When Montano, Gratiano and Iago arrive, Emilia bravely confronts her husband;Othello, realizing the dreadfulness of his deed when Emilia spells out thestory of the handkerchief, runs at Iago who escapes, mortally stabbing his wifefrom behind as he does so. Montano pursues Iago while Gratiano guards Othello’sdoor. Montano, accompanied by Lodovico and the wounded Cassio, returns with thecaptured Iago. Othello succeeds in wounding Iago who is then removed fortorture and questioning. Lodovico shows letters taken from Iago, which provethe conspiracy. After a last speech, which combines contrition andgrandiloquence, Othello stabs himself and dies upon a kiss, falling on the bedwhere Desdemona lies. Commentary Othello has, in the words of Norman Sanders, had an unbrokenstage history from the Restoration to the present day, never suffering from thecycles of popularity and neglect that have been the fate of other plays in theShakespeare canon. Part of the reason for this continuous interest must have todo with the way in which the audience is irresistibly drawn into the actionsand feelings of a small number of key characters: one could indeed argue thatthe play consists essentially of powerful duets between hero and villain (nowonder Verdi was attracted to it). But what kind of hero is Othello? If the character is tohold our sympathy at the end of the play—‘O gull! O dolt! / As ignorant asdirt’—he must be firmly established at the outset as one whom we can admire,even love. Shakespeare achieves this by showing his effortless, sereneauthority: ‘Keep up your bright swords, for the dew will rust them’; his amazedtenderness for the young woman who loves him in spite of the fact that he is somewhatdeclined into the vale of years; and, comprehending these, what Wilson Knighthas famously called the Othello music. It is evident above all in the earlierscenes, although it returns—with poignant inappropriateness —in the great, ifself-regarding, speeches at the close. When Othello recounts the story of hiswooing, the poetry is at once stately, tender, concrete, mellifluous, somehowboth personal and rhetorical—even when he is deprecating his ability to speak(using the old device of diminution), he sounds wonderfully assured: ‘Rude am Iin my speech/And little blessed with the soft phrase of peace…’This approaches urbanity, sophistication: and yet, when thetwo hours’ traffic of the stage is over, we have seen him reduced to the kindof barbarian that racial bigotry delights in. This is a tricky area.Shakespeare seems to have conceived of his character as a strange combinationof Arab prince and conventional black African—the ‘thick-lips’. I think weshould not shirk the obvious point that Shakespeare wrote out of the knowledge(or ignorance) of his time. Being Shakespeare, of course, he transforms theconventional prejudice of his day, yet he also confirms it: Othello is indeednoble in his calm authority, his magical yet rational speech, but he is also asavage. This barbarism is implicit in his fit, in his childish superstition(‘of the handkerchief, there’s magic in the web of it’), in his final andabsolute loss of control, utterly subservient to the cheap trickery of Iago.Tragically, he understands only a little of the culture he serves: as he sayshimself, ‘little of this great world can I speak/ More than pertains to featsof broil and battle.’ Iago’s perverse achievement is to corrupt and thenredirect this military passion into another and wholly inappropriate channel. Iago’s character has been endlessly discussed. I incline tothe view rather engagingly advanced by Giuseppe di Lampedusa (author of TheLeopard and notable anglophile): ‘Iago is not some symbolic manifestation ofpure Satanic evil, but simply an official who has been passed over forpromotion —and to what state envy and bitterness can reduce an individual inthis position can easily be understood in a quarter of an hour spent at aregimental mess after the Official Gazette has arrived with this unhappy newsin print.’Clearly this view reduces the mystique of the character: yethow much more horribly real this pettiness is—Iago hasn’t even thought his planthrough. True, he improvises cleverly, perhaps brilliantly—but in reality he isvery fortunate to achieve as much as he does, and so quickly. Even Iago hasunderestimated the painfully extreme vulnerability of his victim. NormanSanders emphasizes the imaginative narrowness and relentlessly reductivematerialism of Iago, and this seems to me entirely right. Finally, a word about the structure of the play. Put simply,the problem is this: more is alleged to have happened in the time scheme of theplay than is strictly possible. For example, Othello claims to be convinced thathis wife has committed ‘the act of shame/ A thousand times’, which is clearlyimpossible. Again, Bianca reproaches Cassio for keeping a week away—yet theyhave only been on Cyprus for two nights. Such carelessness on Shakespeare’spart really is irrelevant: what the playwright knew very well was that thepower of dramatic involvement in a live performance easily outweighs anymathematical exactitude, and that the specific subject of this play—sexualobsession—twists, distorts and ultimately negates the power of reason. Notes by Perry Keenlyside The Director, David Timson Writes:‘I am not what I am.’Othello is often referred to disparagingly as a ‘domestic’tragedy, but I think this is a strength and not a weakness of theplay. Othello is not a Prince like Hamlet, or a King like Lear, but a Generalin the Venetian army, a position he has acquired through his own merits and notby birth. His achievement is all the more remarkable, considering he is anoutsider, a Moor, and not a Venetian. This image of a self-made man makesOthello one of the most accessible Shakespearian heroes. Modern audiences canidentify with the emotions of Othello—we can all recognize Othello’s dilemma,his jealousy of his attractive wife, his doubts about his inadequacies, his suspicionof his friends: his self-doubt and ultimate loss of control are all the stuffof modern domestic drama. Jealousy dominates, and runs in all its forms throughthe play. The play begins with an expression of jealousy from Iago towardsCassio who he sees as usurping his place, Roderigo is jealous of Othello’ssuccess with Desdemona, Bianca is jealous of Cassio, even the Turks can be saidto be jealous of the Venetian empire, but of course the play is dominated bythe sexual jealousy of Othello. The play’s ‘domestic’ tone makes it a tragedyfor all the characters, not just Othello. The characters in Othello belong to a tightly knit society.The Venetians were masters of commerce in the mid-sixteenth century and theirsociety was essentially materialistic. Reputation, who you were and what youwere, was of fundamental importance in this society based on money; trust isessential in trade. Shakespeare emphasizes the importance of reputationthroughout Othello, most significantly through Cassio, who realizes only toowell that ‘chaos’ and disaster face him without it: ‘I have lost the immortalpart of myself, and what remains is bestial.’ Shakespeare makes it clear that the image we present to theworld and our opinions of ourselves and can be in conflict. Othelloappears to be a man of dignified authority when we first meet him, in completecontrol of himself, yet self-doubt and insecurity prove to be not far beneaththe surface, and it is this weakness that Iago so cleverly exploits. Othello is a play about the perception of one’s fellow man,and the trust and judgment we put in him, essential for a society to function,and what happens when that trust breaks down: ‘chaos’. Iago, describedsometimes as the most frightening of Shakespeare’s creations, understands thefragility of a society built on trust and exploits it ruthlessly for his ownmalicious ends. Only Iago, who everyone in the play believes to be ‘honest’, byclever manipulation maintains his false image to the last moments of the play. Most of Othello is set in Cyprus, a Venetian colony in thesixteenth century, so the characters are a small band of ex-patriots in ahostile country. The Mediterranean heat and the hostility of a repressed peopleacts as a catalyst on the domestic situation manufactured by Iago. The foreignenvironment intensifies and tests all the relationships exposing weaknesses,such as Cassio’s drunkenness, and Desdemona’s lack of experience. Othello toois in a new world of domesticity, not as familiar as ‘feats of broil and battle’.If time had not dictated haste in dealing with the Turks, Othello and Desdemonamight have stayed in Venice and within the relative security of Venetiansociety, Iago may not have had the opportunity to set his plot in motion. The insecurities of Othello and Desdemona, which aremagnified when in the unfamiliar surroundings of a garrison town in Cyprus,make the action of the play credible. As we identify more and more with Othello’s position, thesense of time within the play begins to fragment. Literal time, so evident inthe first three scenes of the play, in fact ceases to be important. We aredrawn so far into Othello’s fevered mind, that that becomes reality. This isnot by any means a straightforward tragedy of a fallen hero, but a tragedy ofordinary men and women, much like us. The Cast of Othello Othello, The Moor, a general in the service of Venice Hugh QuarshieDesdemona, a daughter to Brabantio, and wife to Othello Emma FieldingIago, his ancient, a villain AntonLesserEmilia, wife to Iago PatienceTomlinsonCassio, his honorable lieutenant/2nd senator Roger MayBianca, a courtesan, in love with Cassio AlisonPettitDuke of Venice/2nd Gentleman/Herald Roy SpencerBrabantio, Senator, father to Desdemona/3rd Gentleman/ Gratiano, brother to Brabantio PeterYappRoderigo, a Venetian gentleman/1st Gentleman/ Sailor(I,iii) John McAndrewLodovico, kinsman to Brabantio/1st musician/1st Senator/ Messenger (IIi) StephenThorneMontano, Governor of Cyprus, before Othello/ Messenger (I,iii)/clown JonathanKeebleGentlemen of Cyprus, Sailors, Officers, Messenger, Musicians, Herald, Attendants etc.Director DavidTimsonProducer NicolasSoamesEngineer SimonWeirGrams NormanGoodmanStage Management VanessaSpringScribe Beth HammondRecorded at Motivation Sound Studios, London HUGH QUARSHIE (Othello) lives in England but maintains closelinks with Ghana, where he was born and spent the first years of his life. Hestudied politics, philosophy and economics at Oxford, where he was president ofthe OU African Society and co-director of the Oxford and Cambridge ShakespeareCompany. After graduating, he worked as a journalist, becoming sub-editor atWest Africa Magazine. He helped produce the Channel 4 arts program Signals, andco-produced Othello at the Greenwich Theatre. He wrote the play The Prisoner ofHendon. He has worked extensively in film, television and theater. Some of hiscredits include The Murder of Stephen Lawrence, A Respectable Trade, Star Wars:The Phantom Menace, and he has appeared with the Royal National Theatre and theRoyal Shakespeare Company. Hugh Quarshie has made a special study of Othello.His paper, Second Thoughts About Othello, has been issued by the InternationalShakespeare Association (Occasional Paper No 7). It was originally delivered bythe author to inaugurate the 1998/9 Hudson Stroke Lectures on Race and Class inthe Renaissance at the University of Alabama, Tuscaloosa. EMMA FIELDING (Desdemona) trained at RSAMD. She as workedfor the Royal National Theatre and the Royal Shakespeare Company, most notablyin John Ford’s The Broken Heart for which she won the Dame Peggy Ashcroft Awardfor Best Actress and the Ian Charleson Award. She has also appeared in numerousradio plays for the BBC. ANTON LESSER (Iago) has played many of the principalShakespearean roles for the Royal Shakespeare Company and performedcontemporary drama, notably The Birthday Party, by Harold Pinter. Appearanceson television include The Cherry Orchard, The Mill on the Floss and ThePolitician’s Wife. PATIENCE TOMLINSON (Emilia) has appeared extensively intheater and radio in the UK. She has worked for the Royal National Theatre andthe Young Vic, and was twice a member of the BBC Radio Drama Company. She hasmade over 1,500 broadcasts, including stories, books and radio plays as well aspoetry. ROGER MAY (Cassio) has done over 80 radio plays and spent ayear with the BBC Radio Drama Company in 1995-6, following that with a seasonat the Royal Shakespeare Company. On television he has appeared in, amongothers, Mosley, Peak Practice and Hornblower and, on film, The Scarlet Tunicand An Ideal Husband. ALISON PETTIT (Bianca) has been a member of the BBC RadioDrama Company twice. Her work there included Sonya in War and Peace, Lorna inLorna Doone and Cecile in Les Liaisons Dangereuses. Her theater work hasincluded the Sugar Plum Fairy. ROY SPENCER’s (Duke of Venice/2nd Gentleman/Herald) spearcarrying, repertory work, first appearance on television and first broadcastfollowed training at RADA. Fans still request photos and send questionnairesabout the making of a 1970s Dr. Who serial. For BBC Radio 4, he has written andpresented programs and has made three American tours with his one-man D.H.Lawrence shows. PETER YAPP (Brabantio/3rd Gentleman/Gratiano) has appearedin plays and theaters across Britain and in the West End including Rosencrantzand Guildenstern are Dead at the Piccadilly, and The Black Prince at theAldwych, and spent a year with the BBC Radio Drama Company. His televisioncredits include House of Elliot, Martin Chuzzlewit and Poirot. JOHN McANDREW (Roderigo/1st Gentleman/Sailor) trained atLAMDA. He has spent several seasons at the Royal Shakespeare Company whereproductions have included Peter Pan, All’s Well That Ends Well, Edward II andSchool of Night. Seasons at Manchester Royal Exchange appearing in The VoyseyInheritance and Much Ado About Nothing. He won the Carleton Hobbs Radio Awardand has since appeared in numerous radio plays, including the highly successfuladaptation of Lord of the Rings. STEPHEN THORNE (Lodovico/1st Musician/1st Senator/Messenger) has made over 2,000 broadcasts for BBC Radio as well as theater andtelevision appearances. He has recorded over 100 audiobooks, mostly unabridged,including The Sheep Pig and all the Brother Cadfael novels and works by Dickensand Hardy. JONATHAN KEEBLE (Montano/Messenger/Clown) trained at theCentral School of Speech and Drama. Theater includes Coventry, Liverpool,Lancaster, West Yorkshire Playhouse, and a season at Manchester’s RoyalExchange. He has featured in over 150 radio plays for the BBC and is anestablished voice actor. DAVID TIMSON (Director) has performed in modern and classicplays across the country and abroad, including Wild Honey for Alan Ayckbourn,Hamlet, The Man of Mode, and The Seagull. He has been seen on television inNelson’s Column and Swallows and Amazons, and in the film The Russia House. Afamiliar and versatile audio and radio voice, he is also a popular reader onNaxos AudioBooks. SIMON WEIR (Engineer) has recorded and edited Hamlet,Macbeth and A Midsummer Night’s Dream for Naxos AudioBooks, as well as editingover 100 spoken word recordings for the label. He spends much of his timeengineering and editing classical music recordings for Radio 3 and manyclassical record companies.
  • • 作品列表
    • • CD01
      • 作品编号：23359  Othello

      • Act 1 Scene 1: Tush Never Tell Me...

      • Act 1 Scene 1: lago Call Up Her Father...

      • Act 1 Scene 2: Though In The TRade Of War I Have Slain Men...

      • Act 1 Scene 2: Here Comes Another Troop To Seek You...

      • Act 1 Scene 3: There Is No Composition In These News...

      • Act 1 Scene 3: Here Comes Brabanito And The Valiant Moor...

      • Act 1 Scene 3: Most Potent, Grave, And Reverend Signiors...

      • Act 1 Scene 3: Good Brabanito Take Up This Mangled Matter At The Best...

      • Act 1 Scene 3: What Sayst Thou Noble Heart

      • Act 1 Scene 3: Thus Do I Ever Make My Fool My Purse...

      • Act 2 Scene 1: What From The Cape Can You Disern At Sea?

      • Act 2 Scene 1: O Behold The Riches Of The Ship Is Come On Shore...

      • Act 2 Scene 1: The Moor, I Know His Trumpet...

      • Act 2 Scene 1: Come Hither. If Thou Best Valiant...

      • Act 2 Scene 1: That Cassio Loves Her I Do Well Believe It...

      • Act 2 Scene 2: It Is Othello's Plaesure...

      • Act 2 Scene 3: Good Michael Look You To The Guard Tonight...

      • Act 2 Scene 3: Come Lieutenant, I Have A Stoup Of Wine...

      • Act 2 Scene 3: What Is The Matter Here?

      • Act 2 Scene 3: What, Are You Hurt, Lieutenant

      • Act 2 Scene 3: And What's He Then That Says I Play The Villain...

      • Act 2 Scene 3: How Now Roderigo?

      • CD02
      • 作品编号：23359  Othello

      • Act 3 Scene 1: Masters, Play Here; I Will Content Your Pains...

      • Act 3 Scene 2: These Letters Give, lago, To The Pilot...

      • Act 3 Scene 3: Be Thou Good Assured Good Cassio, I Will Do All My Abilities In Thy Behalf

      • Act 3 Scene 3: Madam Here Comes My Lord...

      • Act 3 Scene 3: My Noble Lord... - What Dost Thou Say?

      • Act 3 Scene 3: O Beware My Lord Of Jealousy...

      • Act 3 Scene 3: This Fellow's Of Exceeding Honesty...

      • Act 3 Scene 3: I Am Glad I Have Found This Napkin...

      • Act 3 Scene 3: Look Where He Comes! Not Poppy Nor Mandragora...

      • Act 3 Scene 4: Do You Know Sirrah, Where Lieutenat Cassio Lies?

      • Act 3 Scene 4: Look Where He Comes - I Will Not Leave Him Now...

      • Act 3 Scene 4: Look You Cassio And My Husband - There Is No Other Way...

      • Act 3 Scene 4: Save You Friend Cassio - What Make You From Home?

      • Act 4 Scene 1: Will You Think So? - Think So lago?

      • Act 4 Scene 1: Now Will I Question Cassio Of Bianca...

      • Act 4 Scene 1: How Shall I Murder Him Lago?

      • Act 4 Scene 1: What Trumpet Is That Same? - I Warrant Something From Venice

      • Act 4 Scene 2; You Have Seen Nothing Then - Noe Ever Heard, Nor Ever Did Suspect

      • Act 4 Scene 2: My Lord What Is Your Will? - Pray, Chuck, Come Hither

      • Act 4 Scene 2: How Do You Madam? How Do You, My Good Lady?

      • Act 4 Scene 2: How Now Roderigo? - I Do Not Find That Thou Dealst Justly With Me

      • Act 4 Scene 3: I Do Beseech You Sir, Trouble Yourself No Further

      • Act 4 Scene 3: How Goes It Now? He Looks Gentler Than He Did.

      • CD03
      • 作品编号：23359  Othello

      • Act 5 Scene 1: Here Stand Behind This Bulk, Straight Will He Come...

      • Act 5 Scene 1: What Is The Matter Ho? Who Ist That Cried?

      • Act 5 Scene 2: It Is The Cause, It Is The Cause, My Soul...

      • Act 5 Scene 2: My Lord, My Lord! What Ho!

      • Act 5 Scene 2: Help, Help, Ho, Help!

      • Act 5 Scene 2: I Have Another Weapon In This Chamber...

      • Act 5 Scene 2: Soft You; A Word Or Two Before You Go...