This is yet another variation of the game Othello. You can choose who starts playing - you or the computer. Revello – The Othello strategy board game is available online. You have five computer opponents and the champions mode is very powerful, but it's responding fast without making long calculations for the next move. Enjoy Revello with its next generation interface design. 'O, beware, my lord, of jealousy; It is the green-ey'd monster, which doth mock The meat it feeds on.' With its racing concentrated plot and intense dramatic details, Othello is one of Shakespeare's most exciting, atmospheric and heartbreaking plays.
- Revello – The Othello strategy board game is available online. You have five computer opponents and the champions mode is very powerful, but it's responding fast without making long calculations for the next move.
- The story of an African general in the Venetian army who is tricked into suspecting his wife of adultery, Othello is a tragedy of sexual jealousy. First performed around 1604, the play is also a pioneering exploration of racial prejudice. Read a character analysis of Othello, plot summary, and important quotes.
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The rules may be easy, but it is not easy to win this game! Do you have the right strategy?
With our Othello app for Android and iOS it is possible to play against the computer, your friends and family or other players from around the world. All you need is your Smartphone or Tablet!
The difficulty level is freely adjustable, so that the game is suitable for beginners and advanced players. Endless fun for everyone!
You can learn the game and work on your tactics. Unlock amazing achievements and earn yourself a spot in the global leaderboards!
A wide range of options and rules are adaptable individually!
Feel free to visit our Facebook page for the latest news and our Leaderboard Community where the weekly and monthly top players are announced.
The download is just one click away!
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Please see the bottom of this page for full explanatory notes.| ACT I SCENE I | Venice. A street. | |
| Enter RODERIGO and IAGO. | ||
| RODERIGO | Tush! never tell me; I take it much unkindly | |
| That thou, Iago, who hast had my purse | ||
| As if the strings were thine, shouldst know of this. | ||
| IAGO | 'Sblood, but you will not hear me: | |
| If ever I did dream of such a matter, Abhor me. | ||
| RODERIGO | Thou told'st me thou didst hold him in thy hate. | |
| IAGO | Despise me, if I do not. Three great ones of the city, | |
| In personal suit to make me his lieutenant, | ||
| Off-capp'd to him: and, by the faith of man, | 10 | |
| I know my price, I am worth no worse a place: | ||
| But he; as loving his own pride and purposes, | ||
| Evades them, with a bombast circumstance | ||
| Horribly stuff'd with epithets of war; | ||
| And, in conclusion, | ||
| Nonsuits my mediators; for, 'Certes,' says he, | ||
| 'I have already chose my officer.' | ||
| And what was he? | ||
| Forsooth, a great arithmetician, | ||
| One Michael Cassio, a Florentine, | 20 | |
| A fellow almost damn'd in a fair wife; | ||
| That never set a squadron in the field, | ||
| Nor the division of a battle knows | ||
| More than a spinster; unless the bookish theoric, | ||
| Wherein the toged consuls can propose | ||
| As masterly as he: mere prattle, without practise, | ||
| Is all his soldiership. But he, sir, had the election: | ||
| And I, of whom his eyes had seen the proof | ||
| At Rhodes, at Cyprus and on other grounds | ||
| Christian and heathen, must be be-lee'd and calm'd | 30 | |
| By debitor and creditor: this counter-caster, | ||
| He, in good time, must his lieutenant be, | ||
| And I--God bless the mark!--his Moorship's ancient. | ||
| RODERIGO | By heaven, I rather would have been his hangman. | |
| IAGO | Why, there's no remedy; 'tis the curse of service, | |
| Preferment goes by letter and affection, | ||
| And not by old gradation, where each second | ||
| Stood heir to the first. Now, sir, be judge yourself, | ||
| Whether I in any just term am affined | ||
| To love the Moor. | ||
| RODERIGO | I would not follow him then. | 40 |
| IAGO | O, sir, content you; | |
| I follow him to serve my turn upon him: | ||
| We cannot all be masters, nor all masters | ||
| Cannot be truly follow'd. You shall mark | ||
| Many a duteous and knee-crooking knave, | ||
| That, doting on his own obsequious bondage, | ||
| Wears out his time, much like his master's ass, | ||
| For nought but provender, and when he's old, cashier'd: | ||
| Whip me such honest knaves. Others there are | ||
| Who, trimm'd in forms and visages of duty, | 50 | |
| Keep yet their hearts attending on themselves, | ||
| And, throwing but shows of service on their lords, | ||
| Do well thrive by them and when they have lined | ||
| their coats | ||
| Do themselves homage: these fellows have some soul; | ||
| And such a one do I profess myself. For, sir, | ||
| It is as sure as you are Roderigo, | ||
| Were I the Moor, I would not be Iago: | ||
| In following him, I follow but myself; | ||
| Heaven is my judge, not I for love and duty, | ||
| But seeming so, for my peculiar end: | 60 | |
| For when my outward action doth demonstrate | ||
| The native act and figure of my heart | ||
| In compliment extern, 'tis not long after | ||
| But I will wear my heart upon my sleeve | ||
| For daws to peck at: I am not what I am. | ||
| RODERIGO | What a full fortune does the thicklips owe | |
| If he can carry't thus! | ||
| IAGO | Call up her father, | |
| Rouse him: make after him, poison his delight, | ||
| Proclaim him in the streets; incense her kinsmen, | ||
| And, though he in a fertile climate dwell, | 70 | |
| Plague him with flies: though that his joy be joy, | ||
| Yet throw such changes of vexation on't, | ||
| As it may lose some colour. | ||
| RODERIGO | Here is her father's house; I'll call aloud. | |
| IAGO | Do, with like timorous accent and dire yell | |
| As when, by night and negligence, the fire | ||
Is spied in populous cities. | ||
| RODERIGO | What, ho, Brabantio! Signior Brabantio, ho! | |
| IAGO | Awake! what, ho, Brabantio! thieves! thieves! thieves! | |
| Look to your house, your daughter and your bags! | 80 | |
| Thieves! thieves! | ||
| BRABANTIO appears above, at a window. | ||
| BRABANTIO | What is the reason of this terrible summons? | |
| What is the matter there? | ||
| RODERIGO | Signior, is all your family within? | |
| IAGO | Are your doors lock'd? | |
| BRABANTIO | Why, wherefore ask you this? | |
| IAGO | 'Zounds, sir, you're robb'd; for shame, put on | |
| your gown; | ||
| Your heart is burst, you have lost half your soul; | ||
| Even now, now, very now, an old black ram | ||
| Is topping your white ewe. Arise, arise; | ||
| Awake the snorting citizens with the bell, | ||
| Or else the devil will make a grandsire of you: | ||
| Arise, I say. | ||
| BRABANTIO | What, have you lost your wits? | |
| RODERIGO | Most reverend signior, do you know my voice? | |
| BRABANTIO | Not I; what are you? | 90 |
| RODERIGO | My name is Roderigo. | |
| BRABANTIO | The worser welcome: | |
| I have charged thee not to haunt about my doors: | ||
| In honest plainness thou hast heard me say | ||
| My daughter is not for thee; and now, in madness, | ||
| Being full of supper and distempering draughts, | ||
| Upon malicious bravery, dost thou come | ||
| To start my quiet. | ||
| RODERIGO | Sir, sir, sir,-- | |
| BRABANTIO | But thou must needs be sure | |
| My spirit and my place have in them power | ||
| To make this bitter to thee. | ||
| RODERIGO | Patience, good sir. | 100 |
| BRABANTIO | What tell'st thou me of robbing? this is Venice; | |
| My house is not a grange. | ||
| RODERIGO | Most grave Brabantio, | |
| In simple and pure soul I come to you. | ||
| IAGO | 'Zounds, sir, you are one of those that will not | |
| serve God, if the devil bid you. Because we come to | ||
| do you service and you think we are ruffians, you'll | ||
| have your daughter covered with a Barbary horse; | ||
| you'll have your nephews neigh to you; you'll have | ||
| coursers for cousins and gennets for germans. | ||
| BRABANTIO | What profane wretch art thou? | |
| IAGO | I am one, sir, that comes to tell you your daughter | |
| and the Moor are now making the beast with two backs. | ||
| BRABANTIO | Thou art a villain. | |
| IAGO | You are--a senator. | |
| BRABANTIO | This thou shalt answer; I know thee, Roderigo. | |
| RODERIGO | Sir, I will answer any thing. But, I beseech you, | |
| If't be your pleasure and most wise consent, | ||
| As partly I find it is, that your fair daughter, | 110 | |
| At this odd-even and dull watch o' the night, | ||
| Transported, with no worse nor better guard | ||
| But with a knave of common hire, a gondolier, | ||
| To the gross clasps of a lascivious Moor-- | ||
| If this be known to you and your allowance, | ||
| We then have done you bold and saucy wrongs; | ||
| But if you know not this, my manners tell me | ||
| We have your wrong rebuke. Do not believe | ||
| That, from the sense of all civility, | ||
| I thus would play and trifle with your reverence: | 120 | |
| Your daughter, if you have not given her leave, | ||
| I say again, hath made a gross revolt; | ||
| Tying her duty, beauty, wit and fortunes | ||
| In an extravagant and wheeling stranger | ||
| Of here and every where. Straight satisfy yourself: | ||
| If she be in her chamber or your house, | ||
| Let loose on me the justice of the state | ||
| For thus deluding you. | ||
| BRABANTIO | Strike on the tinder, ho! | |
| Give me a taper! call up all my people! | ||
| This accident is not unlike my dream: | 130 | |
| Belief of it oppresses me already. | ||
| Light, I say! light! | ||
| Exit above. | ||
| IAGO | Farewell; for I must leave you: | |
| It seems not meet, nor wholesome to my place, | ||
| To be produced--as, if I stay, I shall-- | ||
| Against the Moor: for, I do know, the state, | ||
| However this may gall him with some cheque, | ||
| Cannot with safety cast him, for he's embark'd | ||
| With such loud reason to the Cyprus wars, | ||
| Which even now stand in act, that, for their souls, | ||
| Another of his fathom they have none, | 140 | |
| To lead their business: in which regard, | ||
| Though I do hate him as I do hell-pains. | ||
| Yet, for necessity of present life, | ||
| I must show out a flag and sign of love, | ||
| Which is indeed but sign. That you shall surely find him, | ||
| Lead to the Sagittary the raised search; | ||
| And there will I be with him. So, farewell. | ||
| Exit | ||
| Enter, below, BRABANTIO, and Servants with torches. | ||
| BRABANTIO | It is too true an evil: gone she is; | |
| And what's to come of my despised time | ||
| Is nought but bitterness. Now, Roderigo, | 150 | |
| Where didst thou see her? O unhappy girl! | ||
| With the Moor, say'st thou? Who would be a father! | ||
| How didst thou know 'twas she? O she deceives me | ||
| Past thought! What said she to you? Get more tapers: | ||
| Raise all my kindred. Are they married, think you? | ||
| RODERIGO | Truly, I think they are. | |
| BRABANTIO | O heaven! How got she out? O treason of the blood! | |
| Fathers, from hence trust not your daughters' minds | ||
| By what you see them act. Is there not charms | ||
| By which the property of youth and maidhood | 160 | |
| May be abused? Have you not read, Roderigo, | ||
| Of some such thing? | ||
| RODERIGO | Yes, sir, I have indeed. | |
| BRABANTIO | Call up my brother. O, would you had had her! | |
| Some one way, some another. Do you know | ||
| Where we may apprehend her and the Moor? | ||
| RODERIGO | I think I can discover him, if you please, | |
| To get good guard and go along with me. | ||
| BRABANTIO | Pray you, lead on. At every house I'll call; | |
| I may command at most. Get weapons, ho! | ||
| And raise some special officers of night. | 170 | |
| On, good Roderigo: I'll deserve your pains. | ||
| Exeunt |
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Othello online, free
Explanatory Notes for Act 1, Scene 1
From Othello. Ed. Brainerd Kellogg. New York: Clark & Maynard.
Othello Online Version
Abbreviations. — A.-S. = Anglo-Saxon: M.E. = Middle English (from the 13th to the 15th century) ; Fr. = French ; Ger. = German ; Gr. = Greek ; Cf. = compare (Lat. confer) ; Abbott refers to the excellent Shakespearean Grammar of Dr. Abbott; Schmidt, to Dr. Schmidt's invaluable Shakespeare Lexicon.
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4. Easy poker games to play. 'Sblood, for God's blood, as 'swounds, or zounds, for God's wounds. In 1606 the use of bad language on the stage was checked by Act of Parliament.
10. Off-capped, took off their cap to him.
11. I am qualified to be at least lieutenant,
13. Them, lago's supporters. Bombast, cotton padding, hence affected language. Circumstance, the opposite of a straightforward answer.
14. The hemistich (half-line), as in line 18, enables the actor to make a more effective pause.
20. The commercial tone of Florence is contrasted with warlike Venice.
21. Cassio has almost decided to ruin himself by marrying Bianca, a courtezan.
23. Battle, battalion.
24. Bookish theoric, object of knows. The theory of war, learnt from reading treatises, opposed to practice.
25. Toged; the toga is symbolic of peace. Propose, speak.
27. He was chosen.
30. Be-le'd, having the wind taken out of the sails.
31. By a mere book-keeper, who adds up counters; i.e., money.
33. God bless the mark, used to avert the evil omen in using strong language. Ancient, corruption of ensign, a flag-bearer.
35. sq. We cannot help it. Promotion goes not, as in former times, by seniority, but by influence and partiality.
39. In any reasonable way. Affin'd, related, so well disposed to.
41. lago would not serve Othello, but that he sees a chance of revenge.
45. Knave, German Knabe, boy.
46. Doting on, growing foolish over.
49. Me. Ethic dative. More common in French. But cf. sc. 2, 72; Hamlet, ii. 2, 601, 'Who does me this?'
50. Visages. Like Latin visus, looks.
60. So, loving and duteous.
61, sq. For lago to give the key-note to his real character is a touch of genius.
66. Owe, own.
68. The second him refers to Othello.
69. Proclaim him as an offender against the public peace.
71. Allusion to one of the plagues of Egypt.
72. Metaphor from the artist's mixmg colors.
73. As, for that.
91. Worser, the double comparative — common in Shakespeare. Three double superlatives — most unkindest, most worst, and most boldest — are also found.
96. Upon, for the purpose of.
99. I am annoyed at your joke, and have power to make you regret it.
102. Grange, a farm-house.
111. Odd-even and dull watch. Odd-even is interpreted to mean the interval between midnight and one a.m. The hyphen not in earliest copies.
113. But, than or except.
115. Allowance, approval.
116. Saucy, insolent, outrageous. 'Full of sauce, pungent.' — Skeat.
117. I am sure you are wrong in abusing us.
119. From, away from.
137. Cast, dismiss.
141. In which regard, on account of which,
146. The name of the inn.
169. I am sure of aid almost everywhere.
Shakespeare, William. Othello. Ed. Brainerd Kellogg. New York: Clark & Maynard, 1892. Shakespeare Online. 20 Feb. 2010. (date when you accessed the information) < http://www.shakespeare-online.com/plays/othello_1_1.html >.
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