奥赛罗故事情节英文版

Ⅰ 奥赛罗的英文剧情介绍

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 求奥赛罗简介

内容简介

黑脸的摩尔人奥赛罗是威尼斯城邦雇佣的一个将军，受种族限制而显得地位卑微的他爱上了贵族元老院元老勃罗班修聪明、美丽、大方的女儿苔丝狄蒙娜，明知婚事将不被允许，他们瞒着父母秘密结婚。

作为统帅的奥赛罗有一个看起来很忠勇的旗官伊阿古，他嫉妒奥赛罗提拔了卡西奥任副将而未关注自己，同时他也觊觎苔丝狄蒙娜的美貌，从而嫉妒奥赛罗娶妻成功。

这个外表忠厚、内心奸猾的小人伊阿古，想方设法制造令奥赛罗误以为卡西奥与其妻子苔丝狄蒙娜私通的假象和证据，让已经被伊阿古谗陷之言所引起的妒恨迷惑了心智的奥赛罗看到。破坏奥赛罗和苔丝狄蒙娜幸福婚姻，成为伊阿古最大的满足。

于是他想尽办法利用暗恋苔丝狄蒙娜的小贵族罗德里戈的急迫以及自己的妻子艾米利亚不明就里，苔丝狄蒙娜不贞的“证据”被奥赛罗信以为真，他任“怀疑”这种毒药在心间像硫黄一样燃烧，把伊阿古所提供的“间接证据”链条之间的断裂带用自己的联想填补并发酵、放大。

最后妒恨令他几近发疯。在新婚的床上，亲手掐死了忠贞而单纯的妻子苔丝狄蒙娜。但当伊阿古的妻子揭穿这一谎言与骗局的时候，奥赛罗如梦初醒，拔剑自刎。

(2)奥赛罗故事情节英文版扩展阅读

奥赛罗（Othello）》是莎士比亚的四大悲剧之一，是莎士比亚大约于1603年所写作的。目前所知这出戏最早于1604年11月1日在伦敦的Whitehall Palace首演。

奥赛罗是威尼斯公国一员勇将。他与元老的女儿苔丝狄梦娜相爱。因为两人年纪相差太多，婚事未被准许。两人只好私下成婚。奥赛罗手下有一个阴险的旗官伊阿古，一心想除掉奥赛罗。他先是向元老告密，不料却促成了两人的婚事。

他又挑拨奥赛罗与苔丝狄梦娜的感情，说另一名副将凯西奥与苔丝狄梦娜关系不同寻常，并伪造了所谓定情信物等。奥赛罗信以为真，在愤怒中掐死了自己的妻子。当他得知真相后，悔恨之余拔剑自刎，倒在了苔丝狄梦娜身边。

《奥赛罗》向人们展示了摩尔人奥赛罗、高贵的苔丝狄蒙娜、恋人伊阿古、天性善良的凯西奥、思量的罗多维科等一系列鲜明的人物形象。他们鲜明的程度就像图画中人物所穿的不同颜色的服装一样。他们的性格各异，即便不去想象他们的行动和情感，他们的容貌仍然能够显示在读者眼前。

Ⅲ 《奥赛罗》主要讲了什么样的的故事

《奥赛罗》写正直来淳朴的摩尔人自、将军奥赛罗与威尼斯贵族少女苔斯德蒙娜相爱结婚，但是，他们纯真的爱情，却受到了奸佞之徒依阿古的破坏，他搬弄是非，造谣生事，致使奥赛罗怀疑妻子对自己不贞，愤而将其扼死。真相大白之后，奥赛罗愧悔不已，自杀身亡。

Ⅳ 《奥赛罗》主要故事内容是什么

《奥赛罗》写正直纯朴的摩尔人、将军奥赛罗与威尼斯贵族少女苔斯德蒙专娜相爱结婚，但是，他属们纯真的爱情，却受到了奸佞之徒依阿古的破坏，他搬弄是非，造谣生事，致使奥赛罗怀疑妻子对自己不贞，愤而将其扼死。真相大白之后，奥赛罗愧悔不已，自杀身亡。

Ⅳ 奥赛罗的剧情简介

奥赛罗生来高大威武，是一员猛将。某日，他遇见了元老的女儿苔丝狄蒙娜，内一见钟情的两人迅速坠容入了爱河。然而，巨大的年龄差距让两人的爱情遭到了众人的强烈反对，婚事亦遥遥无期，两个相爱的人决定私定终身。 阴险狡诈的伊阿古将风头正劲的奥赛罗视为眼中钉，企图除之而后快。在向元老告密的阴谋失败之后，伊阿古开始挑拨奥赛罗和苔丝狄蒙娜之间的感情，他伪造了副将凯斯奥和苔丝狄蒙娜之间的定情信物，使得奥赛罗信以为真。愤怒的奥赛罗将苔丝狄蒙娜掐死，却在之后得知了整个事件的真相，悲痛和悔恨之中，奥赛罗选择了死亡。

Ⅵ 《奥赛罗》讲述了一个什么故事

摩尔人抄奥赛罗是威尼斯大将，他和一个元老的女儿苔丝德蒙娜成了婚。元老歧视奥赛罗的肤色，反对这桩婚事并诉诸于威尼斯公爵。此时正值土耳其入侵，奥赛罗率兵御敌。奥赛罗统帅军队去塞浦路斯，并任命凯西奥为副将。旗官伊阿古嫉恨凯西奥的地位，诬陷凯西奥与苔丝德蒙娜有私。并利用苔丝德蒙娜的天真，设下许多圈套。引起奥赛罗对妻子的怀疑。奥赛罗中计将苔丝德蒙娜扼死。这时，伊阿古妻子哀米利霞愤然揭发了丈夫的罪行。奥赛罗发现真情，也悲愤自杀，伊阿古被押回威尼斯，受到应得的惩罚。

Ⅶ 奥赛罗的英文剧情介绍100字以内紧急

检举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.
参考资料：引自:Introction to Mr. William Shakespeare and the Internet

Ⅷ 奥赛罗故事

黑脸的摩尔人奥赛罗是威尼斯城邦雇佣的一个将军，受种族限制而显得地位卑微的他爱上了贵族元老院元老勃罗班修聪明、美丽、大方的女儿苔丝狄蒙娜，明知婚事将不被允许，他们瞒着父母秘密结婚。作为统帅的奥赛罗有一个看起来很忠勇的旗官伊阿古。

他嫉妒奥赛罗提拔了卡西奥任副将而未关注自己，同时他也觊觎苔丝狄蒙娜的美貌，从而嫉妒奥赛罗娶妻成功。这个外表忠厚、内心奸猾的小人伊阿古，想方设法制造令奥赛罗误以为卡西奥与其妻子苔丝狄蒙娜私通的假象和证据。

让已经被伊阿古谗陷之言所引起的妒恨迷惑了心智的奥赛罗看到。破坏奥赛罗和苔丝狄蒙娜幸福婚姻，成为伊阿古最大的满足。于是他想尽办法利用暗恋苔丝狄蒙娜的小贵族罗德里戈的急迫以及自己的妻子艾米利亚不明就里，苔丝狄蒙娜不贞的“证据”被奥赛罗信以为真。

他任“怀疑”这种毒药在心间像硫黄一样燃烧，把伊阿古所提供的“间接证据”链条之间的断裂带用自己的联想填补并发酵、放大，最后妒恨令他几近发疯。在新婚的床上，亲手掐死了忠贞而单纯的妻子苔丝狄蒙娜。但当伊阿古的妻子揭穿这一谎言与骗局的时候，奥赛罗如梦初醒，拔剑自刎。

(8)奥赛罗故事情节英文版扩展阅读：

解读《奥赛罗》：

莎士比亚的四大悲剧中，《奥赛罗》无疑讲的是家庭悲剧，婚姻悲剧，当然也是爱情悲剧。勇将奥赛罗和贵族元老的女儿苔丝狄梦娜相爱成婚，却终究被心怀叵测的小人伊阿古所算计，最终亲手冤杀了自己的妻子，真相大白后又羞愧自尽。杀父之仇，夺妻之恨。

不论是哪个时代，不论是哪个国家，都是男人最不能容忍的。但也是最容易让心怀叵测的歹徒所利用的致命弱点。虽然很多人在读完《奥赛罗》后，都对鲁莽冲动的奥赛罗百般批评，说他没脑子，说他太容易上当，但那不过只是戏剧的需要，毕竟针对不同的人，需要的手段也是不同的。

对付奥赛罗，妻子无意间丢失的手帕，出现在了传闻中和妻子偷情的俊朗小伙房里，这个证据就够了。有很多专家们会从里面分析出种族主义，殖民主义等等符合时代特点的高大观点。但我读这部悲剧后的感触却是，莎士比亚的初衷不是告诫贵妇人们看好自己的手帕，不要被人偷偷利用。

而是要告诉我们，自卑，嫉妒还有怀疑，这三大人性的弱点，会给我们的婚姻，甚至是我们的人生带来怎样的悲剧。世界上所有的人都有自卑的理由。我长得不够高，我的出身不够显赫，我不够聪明，不够漂亮。就连高高在上的帝王，也会和历史上其他的帝王对比。

觉得自己有些方面做得不够好。在《奥赛罗》中，主人公奥赛罗的自卑则源于那个时代的不公平，他是个摩尔人，他是个黑人。即便是他战功卓越，即便是他勇敢，正直，即便是他礼貌待人，即便是他符合那个时代完美男人的一切标准。但他唯一的缺陷。

唯一他无法改变的却又本来与他无关的罪，也让他陷入了深深的自卑，他是个黑人，生为黑人，在那个时代，就是罪，就应该低人一等。他能得到美丽的百人女孩苔丝狄梦娜为妻，即便是其他方面他无可挑剔，但是他身为黑人，他就配不上苔丝狄梦娜。

这个和他无法更改的事实却让奥赛罗背负了不该背负的自卑，在妻子和年轻帅气阳光，同样战功非凡的白人副官卡西奥传出绯闻时，他本能的会觉得，妻子对自己不忠，即便是卡西奥在各方面不如自己，但他有一点优势，那就是他是白人，这一点，击中了奥赛罗内心深处的自卑感。

让他觉得妻子真的会背叛自己。自卑之后，会不信任，会怀疑。不仅仅是怀疑别人，更会怀疑自己，否定自己，觉得自己是不是太自信过头，是不是自己把自己想得太好。当然，也会怀疑别人是不是没有自己想象中的那么好，例如，会怀疑出轨，会怀疑偷情。当这个怀疑在心中积压后。

只要点点火星，就能燃起燎原之势。就好像《奥赛罗》当中的那一方小小的手帕。不管是不是奸佞小人故意设的局，只要是让内心的怀疑得到了证实，得到了自己一直怀疑的，或者是一直想要的答案，那必然会导致情感的爆发。再如何优秀的人，都有自己的七情六欲。

所谓的得道高僧都很难做到枯井无波，大彻大悟，更何况是身处尘世间的我们。发狂的奥赛罗，根本没有给妻子辩解的机会，在他的想法中，所有的解释都是掩饰，他没有丝毫的犹豫，直接掐死了无辜的妻子。在得知真相后，又羞愧难当，只能自尽赎罪。