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The play begins with a prologue, spoken by Chorus. The Chorus invokes the Muse, before explaining the limitations of Shakespeare’s stage, and finally asks the audience to “piece out our imperfections with your thoughts”, so that the war between England and France can be brought to life in the theater.

The Archbishop of Canterbury and the Bishop of Ely are discussing a bill from Parliament which had been sidelined during the civil wars fought by Henry IV (detailed in 1 Henry IV and 2 Henry IV). The bil would take money from the church, and give it to the King, the army and the poor. Ely and Canterbury agree it needs to be sidelined again, before mentioning how well the King (usually called Hal in the previous plays) has matured. Canterbury then says he’s given the King the biggest “sum” of money the church has ever bestowed on a monarch.

https://www.youtube.com/watch?v=B5dI65LvbrE

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In the first proper scene from the play, we’re introduced to the feud between the Montagues and Capulets via some low-level characters and even lower-level sexual punning, before the more important characters (Benvolio, Tybalt, and later Old Montague and the Prince) join in.

Later, we meet Romeo for the first time, and we’re shown his deep, unrequited love for a Capulet girl: not Juliet, at first, but Rosaline.

It’s a high-octane scene that sets the tone for the rest of the play: punning fighting, authority, heartbreak, in that order.

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At this point, everyone is tired of the Capulets and the Montagues fighting.

Clubs, bills and partisans are all kinds of weapon (the last two are forms of halberd).

Here, they’re used to refer to the people who carry them, as in “Halberds, this way!”.

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Women are the second sex and take in laying down. Montague’s men may as well be women, and he’ll take them to the wall the same way he’d do any other woman.

This line begins a serious of pretty lowbrow puns over the next 15 lines:

“thrust”
“cut… heads”
“maidenheads”
“take it in sense”
“stand”
“piece of flesh”
“fish”
“tool”
“Naked weapon”

For further explanation of these, check out The Dramatic Use of Bawdy in Shakespeare by E. A. M. Coleman (1974).

Mills & Boon has NOTHING on Shakespeare!

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“Loins” refers to the genitalia of Romeo and Juliet’s parents. We still use the phrase “the fruit of one’s loins” to mean “children” today. Actually, in Original Pronunciation, the word “loins" is a homophone of “lines,” as in the respective genealogical lines of Romeo and Juliet.

Loins was also a pun; in the pronunciation of the day “lines” would have been pronounced the same way as “loins”, thus the pun was that the two lovers are from the literal loins, and also the blood or genetic lines of their respective parents.

Fatal means deadly, while loins means vitality and proliferation; Shakespeare reinforces the idea that fate was against Romeo and Juliet with a near-oxymoron.

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Othello is a play about jealousy: the “green-eyed monster” that drives the play to its tragic conclusion. It is also a play about insecurity, loss of innocence, violence, and the nature of evil. One of its central plot elements is indicated by its subtitle: Othello, the Moor of Venice. Othello is black (a member of the ethnic group known as the Moors), and while this fact held different implications in Elizabethan England than in the contemporary West, in the play it nevertheless sets him apart within the insular culture of Venice and is frequently remarked upon by other characters. Othello’s status as black lead has remained a fundamental and much-debated aspect of the play as attitudes towards race have evolved.

The play is dominated, dramaturgically and in terms of line-count, by two characters: the eponymous general Othello and his third-in-command Iago, a malevolently hateful and brilliantly manipulative villain who maneuvers the action of the play to its grim conclusion. Both parts are in the top 5 longest in all of Shakespeare’s works, but Iago’s part is longer (and more memorable).

Othello is a vivid depiction of the ways in which our strongest and most positive emotions can be turned against us, as the fundamentally honorable Othello, thanks to “honest” Iago, is undone by his own passion for his new bride Desdemona.

Purchase Othello:

The Arden Shakespeare
The Yale Annotated Shakespeare
The Oxford Shakespeare
The New Cambridge Shakespeare
Signet Classics Shakespeare

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