This was written by my great, great, grandfather! I was so excited about it! Finally I can read it as I do not speak German! My maiden name is Fricke and there are were four Richard Frickes that followed him: my brother, father, grandfather (who are all alive) and then his son and himself (both deceased). Who is George? We must be related!

I gave it a three because I thought it contained other information, but however it is a good guide to the ancient rituals of Egypt. It's contents just tell about what they said and all during the process of the ceremonies.

I've always had something of an interest in Egyptian mythology and especially art, so this book is a goldmine for me. The plates are astoundingly beautiful in my opinion, and the translation is...well...it's hard to read, but I imagine there's no other way for it to be; it's of an ancient language very different than English. But it is readable, and it offers interesting insights into the pantheon--how even the god most commonly called the evil god had some very good and noble purposes. So it helps flesh out the gods and goddesses in ways that ordinary books with stories can't.

This book is an outstanding translation and presentation of the books that make up the Papyrus of Ani. Faulkner is far superior to Budge, and this book proves it out. In addition to the beautiful pictures and fine translations, the commentaries in the back, along with the explanations of the vignettes contained in the papyrus are well worth the money. A must for anyone interested in Ancient Egypt and their culture.

...this book is at the top of the list for clarity, description of quantitative methods, and sound business sense. The opening chapter, though quite accurate, spent too much time touting real estate investing as superior to paper securities, but this is the only problem I had with the book. The theoretical concepts are outlined and well-illustrated. The practical concepts are surprisingly well-developed for a relatively short treatment of this complex subject matter. While I don't recommend executing a real estate investment strategy using this book alone, it will definitely encourage you to seek further education and experience. I especially appreciated the realistic take on 'creative' financing, the appraisal primer, and the quantitative examples.

I bought the top 3 r.e. books (Investing in Real Estate, Real Estate Riches, Unofficial Guide). I could have bought just this one. It covers EVERYTHING the other books go over, AND it gives you FAR MORE DETAILS and far better explanations. I urge you to compare the contents--buying foreclosures, buying bargains, creative improvements, financing, paying less taxes, predicting appreciation, valuing properties. You will see what I mean. While Unofficial clearly beats Riches, it still gives you wrong or glossed over info much of the time. Unofficial is especially weak on financing, buying bargains, foreclosures, and valuation, though it's pretty good on management. I can offer this critique because Investing In Real Estate set the standard from which I could make an intelligent comparison. All of those readers who rated UNOFFICIAL with five stars could not have known much about real estate. They surely believed that they learned more than they actually did. Over and over, I read similar topics in IRE and Unofficial, and each time I developed my understanding from IRE and quickly spotted the glibness of Unofficial. Don't take my word for it. Go into a bookstore and compare for yourself. As to Real Estate Riches, DON"T BOTHER--unless you're a rich dad groupie.

You're not just buying a book to read here. The amount of information in "Investing In Real Estate" makes it an investment. These are the facts. The way things are. There has been spiked interest in RE recently because of the recent low interest rates which has caused an upsurge home-buying in many parts of the country. With all of the real estate courses, seminars, tapes and books being marketed, how rare is it today to hear the facts and not just the hyperbole? This is the most comprehensive and detailed, to-the-point real estate book available.

If you're a normal home owner and want to increase your home's value with some shrewd fixing-up before you sell it, you can get tons of pointers here. Want to find the best bargain with your first purchase or your new home? Manage your property(ies)?
What criteria do you use to find the best property? How do you check to make sure? Creative financing is also covered.

This is not just for those investing in apartments or a duplex but everyone. Want to rent-out your house? You will learn the basic laws and procedures, and how to write up the most appropriate lease and how to cross your "T's" and dot your "I's." Almost all of us know people who've rented their homes out and had "bad tenants." You'll learn how to screen properly here to avoid them, and how you can use the (local) law.

There are many simple and proven math models on how to calculate the return you'll get from buying a detached house, condo, duplex, tri, fourplex, or multi-unit apartment complex. The Gross Rent Muliplyer (GRM), Income Capitalization "Caps," Net Operating Income (NOI), Return on Investment (ROI), and Before Tax Cash Flow (BTCF) etc. Add these simple equations and formulas to the fact that you likely live in the community (familiar with) you'll be buying/investing in, and you'll have the best chance to earn some positive Cash Flow, and choose the best option available. Ways to evaluate neighborhoods and areas that are up-and-coming, paying less taxes, and using depreciation and deductions properly are also covered. Very important for homebuyers and owners yes, but this is the most comprehensive book written for people who are looking to purchase property to plan ahead.

The cold Alaskan air could burn anybody's skin and heart, but not this wolf named Buck. He showed he had heart in everything that he did. One of the many things Buck did during his three thousand miles was earning ownership from all the dogs on the team and from all of the men and women who owned him. He showed courage by pulling twenty five-pound sacks of flour for one hundred yards all by himself. This book is a good one to read if you love adventure, excitement and danger. I would recommend this book to anybody, but mostly the younger children because of its many fun adventures.

This review is by a family of three kids. Our mom read this book aloud to us. Here are our opinions:
Anne (12): I think this was a really moving book, but some of the writer's opinions, I didn't quite agree with. Jack London says that we are shaped by our society, but I believe that we can change ourselves, because we have free will.
Michelle (11): It was a great book, but I didn't like the middle portion, because White Fang was all hatred, killing all the dogs he met.
John (9): The best part was when White Fang was sitting at the shore as boats came up, waiting to kill all the dogs. I think White Fang was good and bad. He would be a good guard dog. But he was bad because he tried to kill. He never let any dog retreat to save themselves.
Mom: This was really a good book, but I recommend it as a read aloud. The reading level is way above my kids heads, but they understood it in context as a read aloud. There are some very ferocious parts that I skipped as I read, because I thought them too graphic. But the book did inspire us to discuss the idea that we are shaped by our surroundings, and that we have free will to make our way. But also, we shape other's lives by our own choices -- so we are responsible before God to others.

London's near epic tail of a wolf struggling to adapt to civilization is one marked by adventure, excitement and emotion. London flawlessly depicts the nature of wild beasts and the environment in which they live.
The storyline follows a young gray cub called White Fang, who is thrown into the midst of human culture against his will. The young cub develops into a dominant wolf and experiences confrontations beyond his vivid imagination. White Fang possesses unique and distinctive qualities for a wolf which is wonderfully detailed in the characters countless struggles.
This is truly a well-written book, with more than enough excitement to keep any apathetic reader intrigued. Although an interesting and insightful look at the nature of animals, the book's beginning can be considered a toil to accomplish and perhaps even tedious for some.
Fortunately, with the introduction of mankind, the story sweeps into action as White Fang strives to fuse with society, and the domesticated animals that come along with it. White Fang's Possession changes multiple times during the novel, keeping readers enthused and captivated. Be advised however, the exhilaration reaches a climax only halfway into the book, and never achieves the high level of excitement at any point afterward.
Despite the less absorbing material in the first and last parts of the book, Jack London's timeless account of a ferocious wolf molded by the fingers of civilization is well worth the read. The emotional attachment one attains from reading the pages of White Fang is more than enough to engage readers of all types. Don't miss out on this book.

This book has the most dog breeds I have ever seen!! But not much information on the breeds. It's good if you are a beginner and would like to see what many of the dog breeds look like.

We use this book constantly at our small animal shelter. Good photographs of breeds, and the breed key with each description helps people focus in on breeds they'd like to do further research on, and to drop from their list, the breeds that would not be suitable for their lifestyle. It's great for showing people what kind of personalities are blended together in that adorable mutt they are considering adopting from the shelter. The adoption helpers almost never put this one down while showing the dogs.

If you ever wanted to know about dogs or the history of dog breeds, this is the definitive book that you should own. There is almost every breed of dog ever known and the descriptions will guide you if you are thinking about getting a dog, and if you just love them, it's for you!!

James Joyce had begun "Dubliners" in his early twenties. He wanted to satirize the problems of Irish culture. The book itself is an assemblage of smaller tales. They seem to involve drinking abuse, violence, money problems, and escapism.

My own professor, Dr. Richard Greene of the University of Toronto, had noted the prevalance of railing and fencing in the stories. There are, all over the place, imagery of rails and fences. Accordingly, says Greene, these imply constriction, entrapment. And, the characters are ones who want to 'escape' the difficulties of their lives. They want more money and a new place to live. In one story, "Eveline," the woman protagonist reflects on her abusive father. She wonders how things will change if she leaves to marry her boyfriend. Another story, "the encounter," has a pair of boys who retreat from school to an open field. They rely on their imagination, as the real world is to gross for them. Here, there are no physical restrictions. They have freedom. But they come across a perverted old man who reminds them again of the 'real world.' Also, the story "counterparts" deals with a father who loses his job and beats his son.

Now these stories are controversial. They are designed to shock us. They were meant to give the Irish "one good look at themselves " (Joyce). In due course, the book was denied publication for many years. The Irish resented the book.

The stories are easy to read. They have instances of humour, even. They have to do with the middle and lower classes of turn-of-the-century Ireland. We might call them 'labouring' classes. The reader will be interested to know how hard working people, who struglle, react to 'life.' Are the happy to be alive? Do they feel a sense of purpose? What is life to them? The existentialist, then, wants to know how the average working man tallies up 'life.'

I did not want to give the stories a full 5/5 because some of them were weaker than others. Some were boring, uneventful, and awkwardly narrated. Others, however, were emotional and blunt enough. Powerful relationships unfolded in only a few pages. They made me want to be there, in Ireland. After all, the tales convey a sense of culture.

The most famous of them, 'the Dead' involves a man who discovers that his wife may still be in love with a boy who died years ago. Of course, the story is of more than that, but I haven't the indecency to ruin things for you by telling anything more.

From the first page on, I started to love this book and to adore James Joyce's style of writing. In fact, the stories build a unity, but every single story is also convincing on its own. How James Joyce reveals the paralysis that Dublin holds upon its inhabitants, is fantastic. The story that moved me most is "The Dead". This one scene is marvellous: When Gabriel Conroy sees his wife standing on the top of the first flight, leaning on the banisters, listening to some far away sound... When he "paints" this picture of hers, calling it "Distant Music". That's something that reaches one's heart. I was really touched by this feelings which Joyce let his main character create. It's obvious that I recommend this book to everyone, especially to those who're interested in the literature of the early 19th century.

The first of James Joyce's books, "Dubliners" is a collection of fifteen stories written between 1904 and 1907. Joyce wrote the first of the fifteen stories in this collection, "Sisters," in Ireland in 1904. The story was published in August of that year under the pseudonym "Stephen Daedalus." Joyce wrote the last, longest and most famous of the stories, "The Dead," in Rome in 1907. The stories were published in the book known as "Dubliners" in 1914. While there are many editions of "Dubliners" in print, the definitive edition of the work is generally considered to be the corrected text prepared by Robert Scholes in consultation with Richard Ellman, Joyce's biographer. Random House publishes the Scholes edition under its Modern Library imprint and I recommend this edition.

"Dubliners" stands as one of the Ur-texts of modernism, a startlingly original collection of stories set in turn-of-the-century Dublin that began the Joycean literary project. That project subsequently moved through the increasingly difficult, and characteristically modernist, iterations of "Portrait of the Artist as a Young Man," "Ulysses" and "Finnegan's Wake." Like those succeeding texts, the interested reader can find thousands of pages of commentary on "Dubliners," the study of Joyce's works being akin to a Talmudic undertaking, an undertaking that can, if one chooses, occupy an entire life.

Joyce once commented that the stories of "Dubliners" constitute a "chapter of moral history" that represents the "first step towards the spiritual liberation of [Ireland]." He also said, "I call the series 'Dubliners' to betray the soul of that hemiplegia or paralysis which many consider a city." The stories are, in other words, inherently critical (although also, at times, appreciative) of the Dublin life that Joyce abandoned, living and writing as an expatriate in Paris, Trieste, Rome, and Zurich for nearly the entirety of his adult life.

The stories operate on two levels. On one level, the stories are realistic narratives of every day life in Dublin. On another level, however, the stories are suffused with symbolism, with recurring, allusive images of spiritual, sexual and political meanings that mark a departure from nineteenth century literary realism and make "Dubliners" an enduring, and deservedly canonical, modernist narrative.

The first story, "Sisters," begins with a striking example of the tone of the stories in "Dubliners." A young boy stands, in the evening, looking up at the shadows flickering through the window of an upstairs room where a priest is dying:

"Every night as I gazed up at the window I said softly to myself the word 'paralysis'. It had always sounded strangely in my ears, like the word 'gnomon' in the Euclid and the word 'simony' in the Catechism. But now it sounded to me like the name of some maleficent and sinful being. It filled me with fear, and yet I longed to be nearer to it and to look upon its deadly work."

Thus, a vivid, realistic image appears in the reader's mind, but so does a collection of words that suggest meanings and themes that go far beyond the real, that capture physical and intellectual and religious undercurrents, the inner life of a young boy living in Dublin.

"Sisters" is a brilliant story, as is "The Dead" and nearly every other story in "Dubliners" (excluding, perhaps, one or two, the worst being "After the Race," a story that Joyce reluctantly included in the collection). Realistic in its narratives, richly allusive in its language and symbolism, "Dubliners" is one of a handful of story collections that truly deserves the label "classic" and should be read and studied by every serious reader.

Although the cover fell off my copy years ago, I still use the book. It only makes sense there's no cover. After all, my cookbook is a first printing from about forty years ago, and was passed on through at least two other families before making its way to me.

This book covers the basics of North American/western European cuisine. I learned how to make killer omelettes (plain, or oven-puffed with cheese sauce) with this, and my terrified-of-the-kitchen hubby learned to make a delicious ham supper. Whenever I'm sick and can't cook but we're expecting company, he always goes for this particular cookbook. If he can't find it, he whinges ferociously. None of my other books are as clear and concise, I guess.

The James Beard Cookbook is an excellent book for anyone. For the absolute novice, it details the best ways to cook bacon and eggs. For the kitchen maestro, it explains numerous sauce and souffle techniques. So, if you're looking for a good basic cookbook for yourself or for a lost-in-the-kitchen bachelor(ette), I strongly recommend this book.

I learned to cook using an early edition of this cookbook. When it wore out, I bought another. I am now ordering a copy for my 18 year old son. He discovered in on my shelves and always goes to James Beard first. Basic techniques, theme and variation, putting together menus and learning how ingredients go together - learning by doing! - James Beard wrote the book.

This cookbook is the basis for most of what I know and love about cooking. I read it over and over as a young person - I was fascinated by James Beard's appreciation for simple but elegant dishes. I differ with the earlier reviewer's comment that the dishes are "fancy". In fact, most of the recipes are basics - how to roast a chicken, how to cook green beans, and so on. With many of the recipes are suggestions for which dishes would go well with them. Granted, the recipe for whiskey cake does start something like, "Cut a pound of raisins in half," and you have to actually start this task to realize just how many trillions of raisins there are in a pound. I've usually avoided this excessive raisin involvement by substituting currants or chopped dates, but somehow the freshly-halved raisins do make the cake go from excellent to great.

In addition to its literary importance, Chaucer's Canterbury Tales are an enchanting reading experience. The Bantam Classic edition presents the tales in Modern English translation alongside the Middle English so that one can fully appreciate the tales as Chaucer composed them, or if you're just in the mood for a fun romp you can speedily read the translation. The tales themselves move at a quick pace, so beginners will probably enjoy the modern version much more.

The Canterbury Tales revolve around a group of 29 on a pilgrimage to Canterbury Cathedral to pay homage to the martyred St. Thomas a'Becket. The members of the pilgrimage come from all walks of life, including a Knight, Prioress, Merchant, Miller, the ever-entertaining Wife of Bath, and many others. The Canterbury Tales are the pilgrims' stories and each one reflects the individual character's personality beautifully. One can't help but feel a part of this lively group.

Whether you like a bawdy, raucous tale or a morally sound fable you will definitely find something entertaining in this book. I laughed out loud several times and found Chaucer's use of symbolism, wit, wisdom, and the glimpse into 14th Century life absolutely fascinating.

The Canterbury Tales by Geoffrey Chaucer is one of the first great works of literature in the English language and are good reading for a number of reasons. They are written in "old English", however, and read like a foreign language for most of us. Barbara Cohen's adapted translation gives us four of the tales in contemporary English and therefore provides an excellent introduction to Chaucer's Canterbury Tales. Cohen's tales retain Chaucer's colorful insight into fourteenth century England including life as a knight, the horror of the plague, and the religous hypocrisy of the age. The illustrations by Trina Schart Hyman are vivid and tell a story all by themselves. I use Cohen's book as a supplement to teaching medieval history and literature to 7th and 8th graders.

The version of this classic I read was a translation into modern English by Nevill Coghill. As you can see above, I awarded Chaucer (and the translation) five stars; but I do have a criticism. This translation (and many other publications of Chaucer) do not contain the two prose tales ("The Tale of Melibee" and "The Parson's Tale"). These are rarely read and I understand the publisher's and the translator's desire to keep the book to a managable size. Still, that should be the readers decision and no one else's. I had to go to the University library and get a complete copy in order to read those sections. As I mentioned, this copy is a translation into modern English. However, I do recommend that readers take a look at the Middle English version, at least of the Prologue. Many years ago, when I was in high school, my teacher had the entire class memorize the first part of the Prologue in the original Middle English. Almost forty years later, I still know it. I am always stunned at how beautiful, fluid, and melodic the poetry is, even if you don't understand the words. Twenty-nine pilgrims meet in the Tabard Inn in Southwark on their way to Canterbury. The host suggests that the pilgrims tell four stories each in order to shorten the trip (the work is incomplete in that only twenty-four stories are told). The tales are linked by narrative exchanges and each tale is presented in the manner and style of the character providing the story. This book was a major influence on literature. In fact, the development of the "short story" format owes much to these tales. All of the elements needed in a successful short story are present: flow of diction and freedom from artifice, faultless technical details and lightness of touch, and a graphic style which propels the story. In poetry, Chaucer introduced into English what will become known as rime royal (seven-line stanza riming ababbcc), the eight-line stanza (riming ababbcbc), and the heroic couplet. His poetry is noted for being melodious and fluid and has influenced a great many later poets. He has a remarkable talent for imagery and description. With respect to humor, which often receives the most negative responses from a certain group of readers (as witnessed by some of the comments below), there are at least three types: good humor which produces a laugh and is unexpected and unpredictable (for example, the description of the Prioress in the Prologue), satire (for example, the Wife of Bath's confession in the Prologue to her tale), and course humor, which is always meant to keep with the salty character of the teller of the tale or with the gross character of the tale itself. I am really stunned at the comments of the reviewer from London (of June 21, 1999). He/she clearly has no idea of the influence of the work nor on the reasons why Chaucer chose to present the humor the way he has. T. Keene of May 17 gave the work only three stars, presumably because it was once banned in Lake City, Florida. (Does that mean it would get fewer stars if it hadn't been banned?) Perhaps our London reviewer will be more comfortable moving to Lake City! Another reviewer suggested that "The Canterbury Tales" was only a classic because it had been around a long time. No! Chaucer's own contemporaries (for example, Gower, Lydgate, and Hoccleve) acknowledged his genius. My goodness, even science fiction books acknowledge the Tales (for example, Dan Simmons' "Hyperion," which won the 1990 Hugo Award for best science fiction novel of the year, is based on the Tales). These brief entries are too short to review all of the tales. Let me just descibe the first two. Other readers might consider reviewing the other tales in later responses. In "The Knight's Tale," the Theban cousins Palamon and Arcite, while prisoners of the King of Athens (Theseus), fall in love with Emelyn, sister of Hippolyta and sister-in-law to Theseus. Their rivalry for Emelyn destroys their friendship. They compete for her in a tournament with different Greek gods supporting the two combatants. Arcite, supported by Mars, wins but soon dies from a fall from his horse (due to the intervention of Venus and Saturn). Both Palamon and Emelyn mourn Arcite, after which they are united. It is the basis of "The Two Noble Kinsmen" by Fletcher and Shakespeare. "The Miller's Tale" is a ribald tale about a husband, the carpenter John, who is deceived by the scholar Nicholas and the carpenter's wife Alison that a second flood is due. In this tale, a prospective lover is deceived into kissing a lady in an unusual location. And, recalling the response from our reviewer from London, apparently this Tale should not be read by people from London (or Lake City)!

I have read several books on PHP, but found this one particularly interesting because of the well structured-ness of the content.
All the topics are fit in a logical progression and i could feel myself gaining more knowledge at each progressive step. However, individual chapters did not help me become an expert in that area, but i felt justified with the money i spent on 974 pages of quality PHP reading.

With the book market flooded with compendia on PHP and MySQL,
I have been looking avidly around for a PHP book with coverage on PostgreSQL and ODBC.
This book has come at the right time for me - It covers the functionality aspects of MySQL,
PostgreSQL and ODBC - MS access and SQL server, through a common application that
runs through each of these chapters. I must admit however that the application was not high-end, but
it served very well the purpose of demonstrating the functionality of each database with PHP. I further
appreciated the use of GTK to develop a standalone app for the same database application. I am looking
forward to buying more of these common-theme-thread books - It has really helped me to good effect.

Good book to start serious programming with DB (MySQL or other ones) outside of learning to do
real medium to large scale web app development with PHP.
Also notice that this book has been written by authoritative peers like Luis Argerich (i am a fan of
his phpbuilder articles), Thomas,Rawat and scollo(from the earlier Professional PHP Programming) and
James Moore (moderator on PHP-GTK) and reviewed by many memebers from the PHP quality team.

I am mastering professional PHP knowledge undaunted.BUY IT NOW!

Jealousy is perhaps the ugliest of emotions, an acid that corrodes the heart, a poison with which man harms his fellow man. Fortunately for us, Shakespeare specializes in ugly emotions, writing plays that exhibit man at his most shameful so we can elevate ourselves above the depths of human folly and watch the carnage with pleasure and awe.

In "Othello," the "green-eyed monster" has afflicted Iago, a Venetian military officer, and the grand irony of the play is that he intentionally infects his commanding general, Othello, with it precisely by warning him against it (Act 3, Scene 3). Iago has two grievances against Othello: He was passed over for promotion to lieutenant in favor of the inexperienced Cassio, and he can't understand why the Senator's lily-white daughter Desdemona would fall for the black Moor. Not one to roll with the punches, he decides to take revenge, using his obsequious sidekick Roderigo and his ingenuous wife Emilia as gears in his transmission of hatred.

The scheme Iago develops is clever in its design to destroy Othello and Cassio and cruel in its inclusion of the innocent Desdemona. He arranges (the normally temperate) Cassio to be caught by Othello in a drunken brawl and discharged from his office, and using a handkerchief that Othello had given Desdemona as a gift, he creates the incriminating illusion that she and Cassio are having an affair. Othello falls for it all, and the tragedy of the play is not that he acts on his jealous impulses but that he discovers his error after it's too late.

It is a characteristic of Shakespeare that his villains are much more interesting and entertaining than his heroes; Iago is proof of this. He's the only character in the play who does any real thinking; the others are practically his puppets, responding unknowingly but obediently to his every little pull of a string. In this respect, this is Iago's play, but Othello claims the title because he -- his nobility -- is the target.

As a play, "Othello" encompasses many things but more than anything else it is a study of pure evil. Although Othello is an accomplished professional soldier and a hero of sorts, he is also a minority and an outcast in many ways. As a Black man and a Moor (which means he's a Moslem), Othello has at least two qualities, which make him stand out in the Elizabethan world. He is also married to a Caucasian woman named Desdemona, which creates an undercurrent of hostility as evidenced by the derogatory remark "the ram hath topped the ewe".

Othello's problems begin when he promotes one of his soldiers, Michael Cassio as his lieutenant. This arouses the jealousy and hatred of one of his other soldiers, Iago who hatches a plot to destroy Othello and Michael Cassio. When Cassio injures an opponent in a fight he is rebuked, punished, and subsequently ignored by Othello who must discipline him and teach him a lesson. Iago convinces Desdemona to intervene on Cassio's behalf and then begins to convince Othello that Desdemona is in love with Cassio.

This is actually one of the most difficult Shakespeare plays to watch because the audience sees the plot begin to unfold and is tormented by Othello's gradual decent into Iago's trap. As with other Shakespeare plays, the critical components of this one are revealed by language. When Othello is eventually convinced of Cassio's treachery, he condemns him and promotes Iago in his place. When Othello tells Iago that he has made him his lieutenant, Iago responds with the chilling line, "I am thine forever". To Othello this is a simple affirmation of loyalty, but to the audience, this phrase contains a double meaning. With these words, Iago indicates that the promotion does not provide him with sufficient satisfaction and that he will continue to torment and destroy Othello. It is his murderous intentions, not his loyal service that will be with Othello forever.

Iago's promotion provides him with closer proximity to Othello and provides him with more of his victim's trust. From here Iago is easily able to persuade Othello of Desdemona's purported infidelity. Soon Othello begins to confront Desdemona who naturally protests her innocence. In another revealing statement, Othello demands that Desdemona give him "the ocular proof". Like Iago's earlier statement, this one contains a double meaning that is not apparent to the recipient but that is very clear to the audience who understands the true origin of Othello's jealousy. Othello's jealousy is an invisible enemy and it is also based on events that never took place. How can Desdemona give Othello visual evidence of her innocence if her guilt is predicated on accusations that have no true shape or form? She can't. Othello is asking Desdemona to do the impossible, which means that her subsequent murder is only a matter of course.

I know that to a lot of young people this play must seem dreadfully boring and meaningless. One thing you can keep in mind is that the audience in Shakespeare's time did not have the benefit of cool things such as movies, and videos. The downside of this is that Shakespeare's plays are not visually stimulating to an audience accustomed to today's entertainment media. But the upside is that since Shakespeare had to tell a complex story with simple tools, he relied heavily on an imaginative use of language and symbols. Think of what it meant to an all White audience in a very prejudiced time to have a Black man at the center of a play. That character really stood out-almost like an island. He was vulnerable and exposed to attitudes that he could not perceive directly but which he must have sensed in some way.

Shakespeare set this play in two locations, Italy and Cypress. To an Elizabethan audience, Italy represented an exotic place that was the crossroads of many different civilizations. It was the one place where a Black man could conceivably hold a position of authority. Remember that Othello is a mercenary leader. He doesn't command a standing army and doesn't belong to any country. He is referred to as "the Moor" which means he could be from any part of the Arab world from Southern Spain to Indonesia. He has no institutional or national identity but is almost referred to as a phenomenon. (For all the criticism he has received in this department, Shakespeare was extrordinarlily attuned to racism and in this sense he was well ahead of his time.) Othello's subsequent commission as the Military Governor of Cypress dispatches him to an even more remote and isolated location. The man who stands out like an island is sent to an island. His exposure and vulnerability are doubled just as a jealous and murderous psychopath decides to destroy him.

Iago is probably the only one of Shakespeare's villains who is evil in a clinical sense rather than a human one. In Kind Lear, Edmund the bastard hatches a murderous plot out of jealousy that is similar to Iago's. But unlike Iago, he expresses remorse and attempts some form of restitution at the end of the play. In the Histories, characters like Richard III behave in a murderous fashion, but within the extreme, political environment in which they operate, we can understand their motives even if we don't agree with them. Iago, however, is a different animal. His motives are understandable up to the point in which he destroys Michael Cassio but then they spin off into an inexplicable orbit of their own. Some have suggested that Iago is sexually attracted to Othello, which (if its true) adds another meaning to the phrase "I am thine forever". But even if we buy the argument that Iago is a murderous homosexual, this still doesn't explain why he must destroy Othello. Oscar Wilde once wrote very beautifully of the destructive impact a person can willfully or unwittingly have on a lover ("for each man kills the things he loves") but this is not born out in the play. Instead, Shakespeare introduces us to a new literary character-a person motivated by inexplicable evil that is an entity in itself. One of the great ironies of this play is that Othello is a character of tragically visible proportions while Iago is one with lethally invisible ones.

Othello relects the true meaning of a tragedy both in its content and its structure.Tragedy is 'a story of exceptional calamity produced by human actions, leading to the death of a man in high estate.'The downfall of Othello is caused by his own actions, rather than by his character, or rather the two work in unison to create the stage for his downfall.
This is what captured my attention when I read this play.It is very profound to realize the fact that Shakespeare uses Iago to set this stage on which Othello is a mere player.
I love the character of Iago. His total confidence, the superiority that he feels when psychoanalysing human nature, his rational thinking and intellectualism sways the reader to think: 'Wow, this is a compelling and sophisticated man we're dealing with here!'
However, my admiration of Iago does not in anyway undermine my love of Othello. His poetic and calm demeanor makes the reader feel the pity and terror for him when he falls from grace (catharsis). Yet, we are made to understand that the reason why he is made to appear a gullible and ignorant fool to some readers is that he does not have any knowledge of a delicate, domesticated life. Venetian women were foreign to him. This tragic flaw in Othello added to the circumstances used by Iago to destroy him.
The meaning, and hence the tragedy of the play is conveyed through the use of Shakespeare's language, style, literary devices and imagery. Without these dramatic effects, readers would never be able to enjoy the play as much, although the dialogue is at times difficult to decipher.
I thoroughly enjoyed Othello and it is my hope that more people find it enticing as I have. I would be delighted to contribute more of my reviews to that effect.