奧賽羅故事情節英文版

Ⅰ 奧賽羅的英文劇情介紹

Plot Summary of Othello

Act 1

The play opens in Venice, Italy, at night. Iago, General Othello's ensign, and Roderigo, who is in love with Desdemona, are on the street outside of the home of Brabantio, Desdemona's father. Iago tells Roderigo of his hatred for Othello, primarily because Othello has promoted Michael Cassio ahead of Iago. They call out to Brabantio, telling him in crude language that his daughter is having a sexual encounter with Othello. Brabantio, enraged, goes with his servants to find the couple. Meanwhile, Iago goes to Othello to warn him of Brabantio's anger.

In the next scene, the ke and the senators discuss the Turkish threat on Cyprus. Brabantio, Othello, Cassio, and Roderigo, all enter and Brabantio levels his charges against Othello. Othello replies that he has not stolen Desdemona but has rather legally married her, although without her father's consent. Desdemona is sent for, and when she arrives, she concurs with Othello's summary of their relationship. The ke recognizes their marriage and tells Othello that he must go to Cyprus to defend against the Turks. Othello asks that his wife accompany him, and Desdemona says that she wants to go with him as well.

The act closes with an exchange between Iago and Roderigo. Iago says that Othello will soon change his mind and that Iago will help Roderigo win Desdemona. After Roderigo's exit, Iago reveals to the audience how much he hates Othello and Cassio and that he plans to ruin both of them.

Act 2

Act 2 opens in Cyprus in a storm. The Turks have lost their entire fleet in the tempest. Ultimately, all the characters arrive in Cyprus, and Othello and Desdemona are lovingly reunited. Iago hatches his plot with Roderigo and instructs Roderigo to make Cassio angry this evening after Iago makes Cassio drunk.

In the next scene, Othello leaves to celebrate his nuptials with Desdemona. After Othello's departure, Iago manages to get Cassio to drink more than he should. As a consequence, when angered by Roderigo, Cassio gets into a fight with him and ends up seriously injuring the Cypriot governor Montano. Othello is called from his chambers to resolve the crisis. Othello is very angry and dismisses Cassio as an officer.

Cassio is distraught and bares his soul to Iago, whom he thinks is his friend. Iago sets his second scheme in motion by instructing Cassio to try to get back into Othello's favor through Desdemona.

Act 3

As this act opens, Emilia speaks to Cassio and tells him she will work on his behalf with Desdemona. Then, Cassio speaks to Desdemona himself. Cassio leaves quickly when he sees Othello and Iago approaching. Iago makes an oblique comment about how he does not like seeing Cassio speaking with Desdemona. This begins to work on Othello and marks the beginning of his deterioration through jealousy. Desdemona and Othello make up, and Othello repeats his great love for her. However, Desdemona, through her unwitting support of Cassio to Othello, contributes to his growing jealousy. After Desdemona and Emilia exit, Iago goes to work on Othello again, suggesting that Cassio and Desdemona have betrayed Othello. He reminds Othello that Desdemona deceived her father when she married him, suggesting that Desdemona is not what she seems to be.

When Iago exits, Othello in a soliloquy contemplates what he will do if he finds that Desdemona has betrayed him, yet when Desdemona and Emilia come on stage, he says that he will not believe she is untrue. They exit together, but Desdemona drops her handkerchief accidentally.

Emilia picks up the handkerchief, saying that her husband has asked her to take it for him. She gives it to Iago then leaves the stage. Iago then says that he will leave the handkerchief in Cassio's lodgings to be used as evidence against him. Othello returns, and Iago works on him further, finally convincing him that Desdemona has been unfaithful. He tells Othello that he has seen her handkerchief in Cassio's possession. Othello vows to have Desdemona put to death.

When Desdemona enters, Othello asks her for the handkerchief. Desdemona is unable to proce it, and Othello takes this as evidence of her betrayal. Othello exits, angry.

Act 4

In Act 4, Iago continues to torment Othello with innuendo and suggestions of Desdemona's dishonesty. Othello has a fit of epilepsy. When he recovers he sees Cassio and Iago speaking about Bianca, who arrives with the handkerchief that Cassio has given her. Othello recognizes it as Desdemona's handkerchief and thus resolves to kill both Cassio and Desdemona.

Emissaries from Venice arrive and observe Othello's cruelty to Desdemona. They question Iago about Othello's sanity, and Iago implies that Othello is if not mad, certainly dangerous.

In the next scene, Othello interrogates Emilia concerning Desdemona's fidelity. He is clearly growing more distraught by the moment. Desdemona describes the drastic change in her husband to Iago and Emilia. After the women exit, Roderigo enters and accuses Iago of playing false with him. Iago makes up a story that convinces Roderigo that he should kill Cassio.

Act 4 closes with Desdemona in her bedchamber, having been sent there with Emilia by Othello. There is a grim sense of foreboding over the scene.

Act 5

As the act opens, Roderigo seriously wounds Cassio. Iago appears to save Cassio and implicates Roderigo to Ludovico, and Roderigo is killed. In the next scene, Othello is in the bedroom with Desdemona as he prepares to kill her. Desdemona protests her innocence, but Othello does not believe her. He kills her by smothering her with a pillow. Emilia comes to the room; Desdemona revives for just a moment to tell Emilia that she has killed herself and then she dies. Othello tells Emilia that he has killed her and says that Desdemona was false. Emilia contradicts him and offers proof that it was Iago who plotted against the pair. Iago threatens Emilia with his sword as she testifies against him, but he is stopped by Desdemona's uncle, Gratiano, and placed under arrest. Othello finally understands that he has killed the innocent Desdemona and asks why Iago has treated him thus. Iago refuses to respond. Othello begs for Cassio's forgiveness. Ludovico proces a letter from Roderigo that reveals the whole plan. There being no recourse, Othello kills himself with his own knife.

Ⅱ 求奧賽羅簡介

內容簡介

黑臉的摩爾人奧賽羅是威尼斯城邦僱傭的一個將軍，受種族限制而顯得地位卑微的他愛上了貴族元老院元老勃羅班修聰明、美麗、大方的女兒苔絲狄蒙娜，明知婚事將不被允許，他們瞞著父母秘密結婚。

作為統帥的奧賽羅有一個看起來很忠勇的旗官伊阿古，他嫉妒奧賽羅提拔了卡西奧任副將而未關注自己，同時他也覬覦苔絲狄蒙娜的美貌，從而嫉妒奧賽羅娶妻成功。

這個外表忠厚、內心姦猾的小人伊阿古，想方設法製造令奧賽羅誤以為卡西奧與其妻子苔絲狄蒙娜私通的假象和證據，讓已經被伊阿古讒陷之言所引起的妒恨迷惑了心智的奧賽羅看到。破壞奧賽羅和苔絲狄蒙娜幸福婚姻，成為伊阿古最大的滿足。

於是他想盡辦法利用暗戀苔絲狄蒙娜的小貴族羅德里戈的急迫以及自己的妻子艾米利亞不明就裡，苔絲狄蒙娜不貞的「證據」被奧賽羅信以為真，他任「懷疑」這種毒葯在心間像硫黃一樣燃燒，把伊阿古所提供的「間接證據」鏈條之間的斷裂帶用自己的聯想填補並發酵、放大。

最後妒恨令他幾近發瘋。在新婚的床上，親手掐死了忠貞而單純的妻子苔絲狄蒙娜。但當伊阿古的妻子揭穿這一謊言與騙局的時候，奧賽羅如夢初醒，拔劍自刎。

(2)奧賽羅故事情節英文版擴展閱讀

奧賽羅（Othello）》是莎士比亞的四大悲劇之一，是莎士比亞大約於1603年所寫作的。目前所知這出戲最早於1604年11月1日在倫敦的Whitehall Palace首演。

奧賽羅是威尼斯公國一員勇將。他與元老的女兒苔絲狄夢娜相愛。因為兩人年紀相差太多，婚事未被准許。兩人只好私下成婚。奧賽羅手下有一個陰險的旗官伊阿古，一心想除掉奧賽羅。他先是向元老告密，不料卻促成了兩人的婚事。

他又挑撥奧賽羅與苔絲狄夢娜的感情，說另一名副將凱西奧與苔絲狄夢娜關系不同尋常，並偽造了所謂定情信物等。奧賽羅信以為真，在憤怒中掐死了自己的妻子。當他得知真相後，悔恨之餘拔劍自刎，倒在了苔絲狄夢娜身邊。

《奧賽羅》向人們展示了摩爾人奧賽羅、高貴的苔絲狄蒙娜、戀人伊阿古、天性善良的凱西奧、思量的羅多維科等一系列鮮明的人物形象。他們鮮明的程度就像圖畫中人物所穿的不同顏色的服裝一樣。他們的性格各異，即便不去想像他們的行動和情感，他們的容貌仍然能夠顯示在讀者眼前。

Ⅲ 《奧賽羅》主要講了什麼樣的的故事

《奧賽羅》寫正直來淳樸的摩爾人自、將軍奧賽羅與威尼斯貴族少女苔斯德蒙娜相愛結婚，但是，他們純真的愛情，卻受到了奸佞之徒依阿古的破壞，他搬弄是非，造謠生事，致使奧賽羅懷疑妻子對自己不貞，憤而將其扼死。真相大白之後，奧賽羅愧悔不已，自殺身亡。

Ⅳ 《奧賽羅》主要故事內容是什麼

《奧賽羅》寫正直純朴的摩爾人、將軍奧賽羅與威尼斯貴族少女苔斯德蒙專娜相愛結婚，但是，他屬們純真的愛情，卻受到了奸佞之徒依阿古的破壞，他搬弄是非，造謠生事，致使奧賽羅懷疑妻子對自己不貞，憤而將其扼死。真相大白之後，奧賽羅愧悔不已，自殺身亡。

Ⅳ 奧賽羅的劇情簡介

奧賽羅生來高大威武，是一員猛將。某日，他遇見了元老的女兒苔絲狄蒙娜，內一見鍾情的兩人迅速墜容入了愛河。然而，巨大的年齡差距讓兩人的愛情遭到了眾人的強烈反對，婚事亦遙遙無期，兩個相愛的人決定私定終身。 陰險狡詐的伊阿古將風頭正勁的奧賽羅視為眼中釘，企圖除之而後快。在向元老告密的陰謀失敗之後，伊阿古開始挑撥奧賽羅和苔絲狄蒙娜之間的感情，他偽造了副將凱斯奧和苔絲狄蒙娜之間的定情信物，使得奧賽羅信以為真。憤怒的奧賽羅將苔絲狄蒙娜掐死，卻在之後得知了整個事件的真相，悲痛和悔恨之中，奧賽羅選擇了死亡。

Ⅵ 《奧賽羅》講述了一個什麼故事

摩爾人抄奧賽羅是威尼斯大將，他和一個元老的女兒苔絲德蒙娜成了婚。元老歧視奧賽羅的膚色，反對這樁婚事並訴諸於威尼斯公爵。此時正值土耳其入侵，奧賽羅率兵御敵。奧賽羅統帥軍隊去塞普勒斯，並任命凱西奧為副將。旗官伊阿古嫉恨凱西奧的地位，誣陷凱西奧與苔絲德蒙娜有私。並利用苔絲德蒙娜的天真，設下許多圈套。引起奧賽羅對妻子的懷疑。奧賽羅中計將苔絲德蒙娜扼死。這時，伊阿古妻子哀米利霞憤然揭發了丈夫的罪行。奧賽羅發現真情，也悲憤自殺，伊阿古被押回威尼斯，受到應得的懲罰。

Ⅶ 奧賽羅的英文劇情介紹100字以內緊急

檢舉Explanation of Contents
This is the fourth edition of these pages. It is hard to believe, but once again they are new and improved. My motive in publishing these pages remains to help and stimulate others in Shakespeare studies, and especially those who might contribute their work to the Internet. The spirit of altruism that originally built the Internet is not quite gone, though, sadly, through the pressures of time and profit has diminished. If you find links which would be a good addition to these pages, please write so that I might add them.

A major new addition to the pages is a Shakespeare Timeline (requires frames), which is an online biography mounted at this site. Part of the timeline is a separate Shakespeare genealogical chart and a timeline summary chart that places the events of Shakespeare's life into historical context. A bibliography is included for those wishing to pursue their own research.

The critical resources page has grown to the extent that it has been sub-divided into several pages. The Searching page has been greatly modified and now contains links to specifically Shakespearean search tools and also the "Metasites" (those sites which are an index to other sites, like this one).

The graphics banners with this version are all new and of my own invention, but using certain public domain materials found on the Internet. If I have somehow inadvertently used someone's righted materials, please let me know and I will remove them immediately.

From the beginning these pages have been an annotated guide to the scholarly Shakespeare resources on the Internet. By 'annotated' I mean I give my opinions about the sites and try to indicate what their strengths may be.

The problems with searching for Shakespeare (or any other) resources using the available Search Engines are:

It is difficult to focus most searches so that you get a manageable number of relevant hits;
It is impossible by simply reading an abstract to winnow the chaff from the wheat; meaning that the Internet search tools make no distinctions between the output of a Junior High School student and that of a professional researcher.
Perhaps this is the democracy we prize on the Internet, but if you are doing research, you are bound to end up either overwhelmed or deceived. Thus, the need for an annotated guide. It is an attempt to lower the frustration factor. It also attempts to be more thorough than traditional Internet indexes, like Yahoo, in the specialized field of Shakespeare studies.

I have attempted to categorize the resources as logically as possible, and the major subdivisions are reflected in the menu at the upper left of each major page. The "Works" page, for example, not only contains links to the various collected and indivial Internet editions of Shakespeare's plays, but also contains links for the canon in general, links to this site's edition of Charles and Mary Lamb's Tales From Shakespeare, links to available study guides, to non-English editions of the plays, to the non-dramatic poetry, to quotes, bibliographies, and booksellers and publishers. Each of the other major menu items have a similar set of sub-divisions which I hope are logically arranged. Where a page is linked from a sub-page, but not from the main menu or the home page, I list it at the top of the linking page as a "related linked page." Use the site map to get an overview of the entire layout.

What I consider to be the best Shakespeare related sites on the web I have summarized as Five Diamond Sites. This is not meant as a disparagement on the many good sites which I have not so designated. It is just a way to save harried students some time and to recognized the truly outstanding labors of theses "Five Diamond" web authors.

By 'scholarly' I mean those sites that will interest serious students of Shakespeare, Elizabethan drama or the Renaissance in general. The real emphasis is on web sites, but gopher, telnet, usenet and listserv tools are all included. The sorts of resources that are not indexed here are book advertisements, book reviews (generally), director's notes to proctions (unless outstanding for scholarly merit), and most commercial sites, unless they are related to ecational procts in which instructors may be interested. The exceptions to all these rules occur on the "Other Sites" page. Furthermore, since I have received so many requests, I have added performance and festival information on a separate page, and give the scholarly theatre information on a different (but linked) Theatre page. Pernicious above all sites are those that sell Shakespeare research papers to students. You will not find links to them here.

Another change in these pages over previous editions is the "What's News" page. As its name implies it is used to announce exciting new sites, colloquia, special events, and even publish intermittent reviews.

If you come away from these pages with the feeling that they are very useful but slightly pedantic, I will have realized my goal.

I hope I have not been overly influenced by the traditional prejudices against minority views, and have therefore included links to sites such as The Oxford Society page (which is well designed and presents substantial, interesting material) and the pages of the Richard III Society (among the best on the web for serious content and scholarship!). For those sites which one would not describe as "scholarly," I have included a page called "Other Sites". Other is the operative word. They can be described as "sites your mother should have warned you about." They range from mildly amusing (like the ubiquitous Shakespeare Insult Server) to the truly lunatic. (Do you believe that Shakespeare translated the Bible or that William Shatner can sing?)

An Apology
I am continually apologizing to the many who have written me requesting revisions of the pages. We are all too busy. I simply have not had the time to dedicate to these pages that I wish. But I love the material and so have, at long last, made some time to update them. I'm sorry if you expected to see your favorite site linked here and have been long disappointed.

The URL where these pages are mounted has changed, and is:

http://shakespeare.palomar.e

If you are seeing this page at any other URL, or on a CD (yes, this has happened) it is not authorized.

A Reminder to young Students
These pages contain the best links I can find to Shakespeare on the Internet. I keep looking. As a reminder, I would say I very much enjoy hearing from people who view and use these pages, but I really do not have the time to participate in your research projects. If you want to do Shakespeare research using the web, this page is a great starting point, and I keep it as current as I can. If you can't find what you are looking for here, use the search engines to try to focus your search or find new material which I have not yet been able to include. The web is in its infancy in bringing good, scholarly content to students. Don't forget the best, if not quickest, resources are still in your library. If you are stuck, perhaps you can get a reference librarian in your local library to help you. The librarians at the library where I work are experts at both print and electronic media.

I receive two species of emails from students. The first goes something like,

"Send me everything you know about this or that quickly. I am desperate and have a report e tomorrow."
The other goes,

"Do you know of a site where I can find out about this or that."
Regarding the second, if I know of a site, I have included it in the index already, so learn how the index works and look there.

Regarding the first, as I said above, I simply do not have time, nor would it be right, I think you will agree upon reflection, for me to do your work for you.

Much as I wish to further Shakespeare research, requests for materials (especially from high school students telling me how , by the way, they were just pondering Hamlet and procrastination, or Romeo and Juliet and predestination), must go unanswered. If you wish to read more on my policy regarding student inquiries, and information on Internet in general, you may read my note to students.

Notices & Copyrights
The opinions expressed on these pages are entirely my own and do not represent the views of Palomar College. I can say with certainty that my department and employer would never own up to my views. This is righted material, and you may not plicate the original materials or their html renderings without permission. These materials may not be used in a for profit venture.

Thanks
Thanks to all who have written with suggestions for improvements. This is the sort of thing I really like. If you have a link that belongs here, please let me know. Thanks also to the many altruistic and truly generous people who have made resource sharing on the Internet a reality. As these pages continue to develop, I hope to emulate their example. Thanks also to those who have granted this site recognition and awards.
參考資料：引自:Introction to Mr. William Shakespeare and the Internet

Ⅷ 奧賽羅故事

黑臉的摩爾人奧賽羅是威尼斯城邦僱傭的一個將軍，受種族限制而顯得地位卑微的他愛上了貴族元老院元老勃羅班修聰明、美麗、大方的女兒苔絲狄蒙娜，明知婚事將不被允許，他們瞞著父母秘密結婚。作為統帥的奧賽羅有一個看起來很忠勇的旗官伊阿古。

他嫉妒奧賽羅提拔了卡西奧任副將而未關注自己，同時他也覬覦苔絲狄蒙娜的美貌，從而嫉妒奧賽羅娶妻成功。這個外表忠厚、內心姦猾的小人伊阿古，想方設法製造令奧賽羅誤以為卡西奧與其妻子苔絲狄蒙娜私通的假象和證據。

讓已經被伊阿古讒陷之言所引起的妒恨迷惑了心智的奧賽羅看到。破壞奧賽羅和苔絲狄蒙娜幸福婚姻，成為伊阿古最大的滿足。於是他想盡辦法利用暗戀苔絲狄蒙娜的小貴族羅德里戈的急迫以及自己的妻子艾米利亞不明就裡，苔絲狄蒙娜不貞的「證據」被奧賽羅信以為真。

他任「懷疑」這種毒葯在心間像硫黃一樣燃燒，把伊阿古所提供的「間接證據」鏈條之間的斷裂帶用自己的聯想填補並發酵、放大，最後妒恨令他幾近發瘋。在新婚的床上，親手掐死了忠貞而單純的妻子苔絲狄蒙娜。但當伊阿古的妻子揭穿這一謊言與騙局的時候，奧賽羅如夢初醒，拔劍自刎。

(8)奧賽羅故事情節英文版擴展閱讀：

解讀《奧賽羅》：

莎士比亞的四大悲劇中，《奧賽羅》無疑講的是家庭悲劇，婚姻悲劇，當然也是愛情悲劇。勇將奧賽羅和貴族元老的女兒苔絲狄夢娜相愛成婚，卻終究被心懷叵測的小人伊阿古所算計，最終親手冤殺了自己的妻子，真相大白後又羞愧自盡。殺父之仇，奪妻之恨。

不論是哪個時代，不論是哪個國家，都是男人最不能容忍的。但也是最容易讓心懷叵測的歹徒所利用的致命弱點。雖然很多人在讀完《奧賽羅》後，都對魯莽沖動的奧賽羅百般批評，說他沒腦子，說他太容易上當，但那不過只是戲劇的需要，畢竟針對不同的人，需要的手段也是不同的。

對付奧賽羅，妻子無意間丟失的手帕，出現在了傳聞中和妻子偷情的俊朗小伙房裡，這個證據就夠了。有很多專家們會從裡面分析出種族主義，殖民主義等等符合時代特點的高大觀點。但我讀這部悲劇後的感觸卻是，莎士比亞的初衷不是告誡貴婦人們看好自己的手帕，不要被人偷偷利用。

而是要告訴我們，自卑，嫉妒還有懷疑，這三大人性的弱點，會給我們的婚姻，甚至是我們的人生帶來怎樣的悲劇。世界上所有的人都有自卑的理由。我長得不夠高，我的出身不夠顯赫，我不夠聰明，不夠漂亮。就連高高在上的帝王，也會和歷史上其他的帝王對比。

覺得自己有些方面做得不夠好。在《奧賽羅》中，主人公奧賽羅的自卑則源於那個時代的不公平，他是個摩爾人，他是個黑人。即便是他戰功卓越，即便是他勇敢，正直，即便是他禮貌待人，即便是他符合那個時代完美男人的一切標准。但他唯一的缺陷。

唯一他無法改變的卻又本來與他無關的罪，也讓他陷入了深深的自卑，他是個黑人，生為黑人，在那個時代，就是罪，就應該低人一等。他能得到美麗的百人女孩苔絲狄夢娜為妻，即便是其他方面他無可挑剔，但是他身為黑人，他就配不上苔絲狄夢娜。

這個和他無法更改的事實卻讓奧賽羅背負了不該背負的自卑，在妻子和年輕帥氣陽光，同樣戰功非凡的白人副官卡西奧傳出緋聞時，他本能的會覺得，妻子對自己不忠，即便是卡西奧在各方面不如自己，但他有一點優勢，那就是他是白人，這一點，擊中了奧賽羅內心深處的自卑感。

讓他覺得妻子真的會背叛自己。自卑之後，會不信任，會懷疑。不僅僅是懷疑別人，更會懷疑自己，否定自己，覺得自己是不是太自信過頭，是不是自己把自己想得太好。當然，也會懷疑別人是不是沒有自己想像中的那麼好，例如，會懷疑出軌，會懷疑偷情。當這個懷疑在心中積壓後。

只要點點火星，就能燃起燎原之勢。就好像《奧賽羅》當中的那一方小小的手帕。不管是不是奸佞小人故意設的局，只要是讓內心的懷疑得到了證實，得到了自己一直懷疑的，或者是一直想要的答案，那必然會導致情感的爆發。再如何優秀的人，都有自己的七情六慾。

所謂的得道高僧都很難做到枯井無波，大徹大悟，更何況是身處塵世間的我們。發狂的奧賽羅，根本沒有給妻子辯解的機會，在他的想法中，所有的解釋都是掩飾，他沒有絲毫的猶豫，直接掐死了無辜的妻子。在得知真相後，又羞愧難當，只能自盡贖罪。