Anatomy of Othello
William Shakespeare, 1604. Public domain in the UK and the US. The manipulator; dramatic irony.
Ask Othello a question about its craft (free beta)
Answers cite chapter and paragraph, and every quote is checked against the text. (3 free questions a day).
27,562 words
13 chapters
90% dialogue
7.6 words a sentence
play script
1.8 hours to read
Lessons to borrow
- Use a single object or symbol to anchor a plot's emotional core and make abstract betrayal concrete and visible to the audience.
- Create dramatic irony by letting the audience know the villain's plan while the hero remains ignorant, making their descent into error feel both inevitable and tragic.
- Show how suggestion and appearance can be more persuasive than truth when the listener is primed by emotion, prejudice, or insecurity.
All 180 lenses
The 20 lenses below are the most asked for. The full set of 180 is grouped in 12 pages:
Beat positions Both
Story and structure · lens A1 · compare across books
| Beat | Where | Our reading | |
|---|---|---|---|
| Inciting incident | Ch 1 (SCENE I. Venice. A street), about 3% through | Iago and Roderigo reveal Othello and Desdemona's secret marriage to Brabantio, setting the conflict in motion. | |
| First turning point | Ch 3 (SCENE III. Venice. A council chamber), about 15% through | The Duke resolves the marriage dispute in Othello's favour and sends him to Cyprus, but Iago reveals his plan to destroy him through jealousy. | |
| Midpoint | Ch 7 (SCENE III. Cyprus. The Garden of the Castle), about 51% through | Iago poisons Othello's mind with hints about Cassio and Desdemona, and Othello swears a terrible oath of revenge. | |
| Low point | Ch 9 (SCENE I. Cyprus. Before the Castle), about 69% through | Othello reaches peak jealous rage, misinterpreting Cassio's laughter as mockery of Desdemona and planning both their murders. | |
| Climax | Ch 13 (SCENE II. Cyprus. A Bedchamber in the castle), about 94% through | Othello smothers Desdemona in bed, then learns from Emilia that she was innocent and Iago lied about the handkerchief. | |
| Resolution | Ch 13 (SCENE II. Cyprus. A Bedchamber in the castle), about 94% through | Othello stabs himself and dies upon Desdemona's body, while Iago is captured and Cassio survives to tell the truth. |
Get weapons, ho! And raise some special officers of night. On, good Roderigo. (Ch 1, para 50)
Thus do I ever make my fool my purse. For I mine own gain’d knowledge should profane If I would time expend with such a snipe But for my sport and profit. (Ch 3, para 96)
Excellent wretch! Perdition catch my soul, But I do love thee! And when I love thee not, Chaos is come again. (Ch 7, para 42)
Cassio shall have my place. And, sir, tonight, I do entreat that we may sup together. You are welcome, sir, to Cyprus. Goats and monkeys! (Ch 9, para 158)
Percent is the middle of that chapter as a share of all words. The beat labels are our AI reading of the chapter notes.
Chapter length chart Count
Pace · lens D1 · compare across books
13 chapters. Median 2,107 words, shortest 489, longest 4,074. Whole book 27,562 words, about 1.8 hours at 250 words a minute.
Each bar is one chapter in reading order. Hover for the title and count.
Dialogue share per chapter Count
Dialogue and voice · lens C1 · compare across books
90% of all words are dialogue. Speech tags: "said" is 50% of tag verbs we found.
Cast and presence map Count
Character · lens B1, B2 · compare across books
| Character | Role (our reading) | Share of mentions | Chapters on page | First appears |
|---|---|---|---|---|
| Cassio | foil | 27% | 12 of 13 | Ch 1, para 5 |
| Othello | lead | 21% | 13 of 13 | Ch 1, para 7 |
| Iago | antagonist | 16% | 12 of 13 | Ch 1, para 1 |
| Desdemona | love interest | 12% | 12 of 13 | Ch 2, para 5 |
| Roderigo | ally | 8% | 8 of 13 | Ch 1, para 1 |
| Emilia | ally | 6% | 8 of 13 | Ch 4, para 37 |
| Brabantio | minor | 2% | 3 of 13 | Ch 1, para 14 |
| Bianca | minor | 2% | 3 of 13 | Ch 8, para 88 |
| Montano | minor | 2% | 4 of 13 | Ch 3, para 19 |
| Lodovico | minor | 2% | 4 of 13 | Ch 9, para 116 |
| Gratiano | minor | 1% | 2 of 13 | Ch 12, para 25 |
Who is on the page, chapter by chapter
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Cassio | |||||||||||||
| Othello | |||||||||||||
| Iago | |||||||||||||
| Desdemona | |||||||||||||
| Roderigo | |||||||||||||
| Emilia | |||||||||||||
| Brabantio | |||||||||||||
| Bianca | |||||||||||||
| Montano | |||||||||||||
| Lodovico |
Most shared chapters: Cassio and Iago (12), Cassio and Othello (12), Iago and Othello (12), Desdemona and Othello (12), Cassio and Desdemona (11).
Counts use the names and aliases in our cast list. A name in narration or speech counts as a mention.
Chapter ending hooks AI
Pace · lens D8 · compare across books
Chapter endings: 6 cliffhanger, 4 reveal, 2 quiet, 1 question.
Most chapters end with cliffhangers or reveals that propel the action forward. Iago's soliloquies at chapter ends expose his plans and raise stakes, while violent scenes and accusations create urgent tension.
Every chapter ending
- Ch 1: cliffhanger. Brabantio exits to raise arms and search for Othello and Desdemona, leaving the plot in motion
Get weapons, ho! And raise some special officers of night. On, good Roderigo. (Ch 1, para 50)
- Ch 2: question. All exit toward the Duke's council, leaving the matter unresolved but redirected to higher authority
How? The duke in council? In this time of the night? (Ch 2, para 38)
- Ch 3: reveal. Iago reveals his full plot to the audience after everyone exits, showing his intent to destroy Othello through jealousy
Thus do I ever make my fool my purse. For I mine own gain’d knowledge should profane If I would time expend with such a snipe But for my sport and profit. (Ch 3, para 96)
- Ch 4: reveal. Iago's soliloquy reveals his full scheme to use Roderigo, Cassio, and the handkerchief to destroy Othello
Knavery’s plain face is never seen till us’d. (Ch 4, para 106)
- Ch 5: reveal. Iago's soliloquy reveals how he will turn Desdemona's virtue into a net to catch them all
So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh them all. (Ch 5, para 125)
- Ch 6: quiet. Cassio and Emilia exit together, moving toward the garden where Desdemona waits
- Ch 7: cliffhanger. Othello vows a terrible revenge and kneels with Iago in a sacred oath to destroy Cassio and Desdemona
- Ch 8: cliffhanger. Cassio gives the handkerchief to Bianca, unaware it will be used as evidence against him and Desdemona
I found it in my chamber. I like the work well. Ere it be demanded, As like enough it will, I’d have it copied. (Ch 8, para 98)
- Ch 9: cliffhanger. Othello exits vowing revenge as Lodovico witnesses his violent outburst, setting up the final tragedy
Cassio shall have my place. And, sir, tonight, I do entreat that we may sup together. You are welcome, sir, to Cyprus. Goats and monkeys! (Ch 9, para 158)
- Ch 10: cliffhanger. Iago and Roderigo exit together, committed to Cassio's murder that very night
Why, by making him uncapable of Othello’s place: knocking out his brains. (Ch 10, para 114)
- Ch 11: quiet. The women exit after Desdemona's prayer for mercy, a moment of false peace before the tragedy
Good night, good night. Heaven me such usage send, Not to pick bad from bad, but by bad mend! (Ch 11, para 50)
- Ch 12: cliffhanger. Iago exits after telling Emilia to inform Othello and Desdemona of the violence, setting up the final scene
This is the night That either makes me or fordoes me quite. (Ch 12, para 96)
- Ch 13: reveal. Othello's final speech reveals his self-awareness of his tragic error before he stabs himself, dying upon Desdemona's body
Viewpoint per chapter Both
Viewpoint and narration · lens E2 · compare across books
Counted: the narration is mostly play script (first person words per 1,000 outside speech: 58.8).
The play shifts between characters' perspectives, though Iago and Othello dominate the viewpoint in later chapters. Iago's soliloquies give the audience knowledge of his deception that Othello lacks, creating dramatic irony.
- Ch 1: Roderigo and Iago
- Ch 2: Othello and Iago
- Ch 3: The Duke, Othello, Desdemona, and Iago
- Ch 4: Cassio, Iago, Othello, and Desdemona
- Ch 5: Iago and Cassio
- Ch 6: Cassio and Emilia
- Ch 7: Othello and Iago
- Ch 8: Othello, Desdemona, Emilia, Iago, Cassio, and Bianca
- Ch 9: Othello, with Iago as manipulator
- Ch 10: Othello, Desdemona, then Iago and Roderigo
- Ch 11: Desdemona and Emilia
- Ch 12: Iago, with brief views of Roderigo, Cassio, and Othello
- Ch 13: Othello, Desdemona, Emilia, and Iago
Want and need of the lead AI
Character · lens B3 · compare across books
| Lead | Othello |
|---|---|
| Wants | To keep Desdemona's love and maintain his honour and position. |
| Needs | To trust his wife and resist manipulation by those who envy him. |
| False belief | That appearance and suggestion are proof of infidelity, and that his wife has betrayed him with Cassio. |
| Arc | negative. Othello descends from a confident military leader into a jealous murderer, destroying everything he loves. |
Scene log AI
Story and structure · lens A4 · compare across books
One line per chapter: goal, conflict, outcome
| Ch | Summary | Goal | Conflict | Outcome |
|---|---|---|---|---|
| 1 | Iago and Roderigo stir up Brabantio by revealing that his daughter Desdemona has eloped with Othello the Moor. | Roderigo wants Desdemona; Iago wants to damage Othello | Othello has married Desdemona in secret, and Brabantio must be made to act | Brabantio is roused to fury and sets out to find and apprehend the couple |
| 2 | Othello encounters Cassio with news from the Duke, then faces Brabantio's armed men who accuse him of witchcraft and theft. | Othello must reach the Duke; Brabantio wants to arrest him for stealing his daughter | Brabantio arrives with weapons and officers, but the Duke's messengers are also present | Othello is taken to the Duke's council instead of to prison |
| 3 | The Duke hears of the Turkish threat to Cyprus, then resolves the matter of Othello's marriage to Desdemona, and sends him to defend the island. | The Duke must decide Othello's fate and respond to the Turkish threat | Brabantio accuses Othello of witchcraft; the state needs Othello for war | Othello is cleared, the marriage is accepted, and he is sent to Cyprus with Desdemona |
| 4 | Othello and Desdemona arrive safely in Cyprus after a storm destroys the Turkish fleet; Iago begins poisoning Othello's mind about Cassio and Desdemona. | Othello and Desdemona reunite; Iago must plant seeds of jealousy | Iago watches Cassio greet Desdemona warmly and uses this to suggest infidelity | Othello and Desdemona are joyfully reunited, but Iago has set his trap in motion |
| 5 | Iago gets Cassio drunk, provokes a brawl with Roderigo, and then advises Cassio to seek Desdemona's help to restore his reputation. | Iago must remove Cassio from his post and make him seek Desdemona's aid | Cassio is reluctant to drink but is pressured; a fight breaks out and Othello dismisses him | Cassio loses his position and is advised to appeal to Desdemona, playing into Iago's trap |
| 6 | Cassio sends musicians to greet Othello, then asks Emilia to arrange a meeting with Desdemona to plead for his reinstatement. | Cassio must regain Othello's favour through Desdemona's intercession | Cassio is ashamed and uncertain how to proceed | Emilia agrees to help and brings Cassio to speak with Desdemona |
| 7 | Desdemona promises to help Cassio, but when Othello arrives, Iago's hints about Cassio and Desdemona begin to poison Othello's mind with jealousy. | Desdemona wants to restore Cassio; Iago wants to make Othello jealous | Cassio leaves hastily when Othello enters; Iago uses this to suggest guilt | Othello becomes increasingly suspicious and demands proof of Desdemona's infidelity |
| 8 | Othello demands the handkerchief from Desdemona; Emilia finds it and gives it to Iago, who plants it in Cassio's lodging; Cassio gives it to Bianca to copy. | Othello wants proof of infidelity; Iago must plant the handkerchief as false evidence | Desdemona cannot produce the handkerchief; Emilia unknowingly helps Iago's plot | The handkerchief is planted and will be found by Othello as proof of Cassio's affair with Desdemona |
| 9 | Iago manipulates Othello into jealous rage by suggesting Desdemona gave his handkerchief to Cassio, then stages a scene where Cassio's laughter about Bianca is misread as boasting about Desdemona, driving Othello to plan murder. | Iago wants to push Othello past doubt into murderous certainty; Othello wants proof of infidelity | Iago provides only circumstantial evidence and innuendo, yet Othello's jealousy transforms ambiguity into conviction | Othello commits to killing both Desdemona and Cassio; Lodovico arrives with news that Othello is recalled to Venice and Cassio made governor |
| 10 | Othello brutally accuses Desdemona of infidelity and calls her a whore; she protests her innocence in despair; Iago comforts her while secretly plotting with Roderigo to kill Cassio so Othello will stay in Cyprus. | Othello wants Desdemona to confess; Desdemona wants to understand his anger; Iago wants to keep Roderigo committed to murder | Desdemona's denials only deepen Othello's conviction of her guilt; Roderigo doubts Iago's promises | Othello dismisses Desdemona as a whore and leaves; Iago persuades Roderigo that killing Cassio will prevent Othello's departure to Mauritania |
| 11 | Desdemona prepares for bed, sings the willow song, and discusses with Emilia whether wives should betray their husbands; Othello has ordered her to bed and dismissed her attendant. | Desdemona seeks comfort and rest; Emilia seeks to console her | Desdemona is haunted by premonition of death and sings of abandonment; Emilia argues that wives have cause to stray if husbands neglect them | Desdemona goes to bed in a state of sad resignation, unaware that Othello plans to murder her |
| 12 | Iago orchestrates an ambush where Roderigo attacks Cassio; Iago wounds Cassio from behind, then stabs the wounded Roderigo to silence him; Othello hears the commotion and believes Iago has killed Cassio as promised. | Iago wants Cassio dead and Roderigo silenced; Roderigo wants to kill Cassio; Cassio wants to survive | Roderigo's attack fails; Iago must improvise by wounding both men and blaming Bianca | Cassio is maimed but alive; Roderigo is killed; Iago appears as the hero who discovered the attackers |
| 13 | Othello smothers Desdemona in bed; Emilia discovers the murder and reveals that Iago lied about the handkerchief; Othello learns he has killed an innocent woman; Iago stabs Emilia and flees; Othello stabs himself and dies kissing Desdemona. | Othello wants to execute Desdemona for infidelity; Emilia wants to expose Iago's lies; Iago wants to escape | Desdemona's innocence is revealed too late; Othello's jealousy has already driven him to murder | Desdemona is dead; Emilia is killed by Iago; Othello kills himself in despair; Iago is captured but refuses to speak |
Setups and payoffs AI
Story and structure · lens A8 · compare across books
| Planted | Pays off | |
|---|---|---|
| Iago declares he serves only himself and plots to use Roderigo as a tool. (Ch 1) | Iago manipulates Roderigo throughout and finally stabs him to silence him. (Ch 12) | |
| Othello's handkerchief, given as a first gift to Desdemona, becomes the crucial object of proof. (Ch 7) | The handkerchief is revealed to be false evidence planted by Iago, not given by Desdemona to Cassio. (Ch 13) | |
| Iago's false dream about Cassio speaking Desdemona's name in sleep. (Ch 7) | This lie, combined with the handkerchief, convinces Othello of infidelity. (Ch 9) | |
| Cassio's dismissal from his post after the drunken brawl. (Ch 5) | Cassio's attempts to restore his reputation through Desdemona are twisted by Iago into evidence of an affair. (Ch 7) | |
| Iago instructs Roderigo to provoke Cassio into a fight. (Ch 4) | The brawl occurs and Cassio is dismissed, setting up Iago's larger plot. (Ch 5) | |
| Desdemona's persistent pleas for Cassio's reinstatement. (Ch 6) | These pleas are misread by Othello as evidence of her infidelity with Cassio. (Ch 7) | |
| Othello orders Desdemona to bed and dismisses her attendant. (Ch 11) | Othello smothers Desdemona in bed that night, executing his murder plan. (Ch 13) | |
| Emilia suspects a villain has slandered Desdemona and vows to expose him. (Ch 10) | Emilia reveals Iago's deception about the handkerchief and his villainy. (Ch 13) |
I am not what I am. (Ch 1, para 9)
Heaven is my judge, not I for love and duty, But seeming so for my peculiar end. (Ch 1, para 9)
But that I love the gentle Desdemona, I would not my unhoused free condition Put into circumscription and confine For the sea’s worth. (Ch 2, para 5)
Speech fingerprints Count
Dialogue and voice · lens C3 · compare across books
| Character | Share of attributed speech | Lines | Words a line | Questions per 100 lines | Exclaims per 100 | Pet words |
|---|---|---|---|---|---|---|
| Iago | 32% | 271 | 29.3 | 39.9 | 29.5 | cassio, shall, love, lord, moor, hath |
| Othello | 24% | 271 | 22.0 | 42.1 | 44.3 | thou, iago, thee, heaven, love, shall |
| Desdemona | 11% | 165 | 15.7 | 44.8 | 18.8 | lord, cassio, love, shall, thou, heaven |
| Cassio | 8% | 111 | 16.8 | 25.2 | 33.3 | iago, general, give, most, drunk, thou |
| Emilia | 7% | 103 | 17.6 | 47.6 | 41.7 | lord, thou, speak, husband, moor, heaven |
| Brabantio | 4% | 30 | 34.8 | 70.0 | 53.3 | thou, thee, hast, moor, daughter, roderigo |
| Roderigo | 4% | 59 | 14.6 | 25.4 | 16.9 | thou, iago, signior, most, find, hath |
| Lodovico | 2% | 33 | 16.1 | 48.5 | 15.2 | cassio, shall, lord, call, heavy, villain |
| Duke | 2% | 23 | 21.1 | 26.1 | 0.0 | othello, brabantio, shall, sense, what’s, cyprus |
| Montano | 2% | 24 | 17.3 | 54.2 | 8.3 | lieutenant, soldier, general, moor, hath, hold |
We give a line to a speaker only when one cast name appears in the narration of that paragraph, so many lines stay unattributed. Treat the figures as a sample.
Sentence length per chapter Count
Pace · lens D2 · compare across books
Mean sentence 7.6 words, median 4. 75% of sentences are under 10 words and 4% over 30. In the last fifth of the book, chapters run at 103% and sentences at 64% of the earlier average.
Emotional arc shape Count
Pace · lens D7 · compare across books
Computed shape: Icarus (rise then fall) (fit 0.69 on a scale of 0 to 1).
We score the mood of each paragraph with a standard word list, then average across 20 equal slices of the book and smooth it. It is a rough reading of word mood, not of plot, and old styles of English can fool it. Shapes follow Reagan and others (2016).
When the lead and the first dialogue arrive Count
Openings and endings · lens F3, F4 · compare across books
First line of dialogue: after 62 words (Ch 1, para 5), 0.2% into the book.
The lead, Othello, is first named after 267 words (Ch 1, para 7). In a first person book the narrator may be on the page from the first line before we learn the name.
Mystery clue list AI
Genre craft · lens G4 · compare across books
| Clue | Kind | Laid | Explained | |
|---|---|---|---|---|
| The handkerchief spotted with strawberries is described as having magical properties. | clue | Ch 7 | Ch 13 | |
| Iago claims to have seen Cassio with the handkerchief, but this is a lie. | red herring | Ch 7 | Ch 13 | |
| Desdemona cannot produce the handkerchief because she lost it. | clue | Ch 8 | Ch 13 | |
| Cassio has the handkerchief but does not know its significance. | clue | Ch 8 | Ch 13 | |
| Cassio laughs and denies marrying Bianca, but Othello interprets this as mockery of Desdemona. | red herring | Ch 9 | Ch 13 | |
| Bianca returns the handkerchief to Cassio, calling it a token left in his chamber. | clue | Ch 9 | Ch 13 | |
| Emilia declares she will expose the villain who slandered Desdemona. | clue | Ch 10 | Ch 13 | |
| Iago stabs Roderigo to prevent him from revealing the plot. | clue | Ch 12 | Ch 13 | |
| Bianca's appearance and concern for Cassio is used by Iago to suggest her involvement in the attack. | red herring | Ch 12 | Ch 13 | |
| Roderigo's letters reveal Iago's plot to have Cassio killed. | clue | Ch 13 | Ch 13 |
By heaven, that should be my handkerchief! (Ch 9, para 80)
I will be hang’d, if some eternal villain, Some busy and insinuating rogue, Some cogging, cozening slave, to get some office, Have not devis’d this slander. (Ch 10, para 77)
O thou dull Moor, that handkerchief thou speak’st of I found by fortune and did give my husband; For often with a solemn earnestness, More than indeed belong’d to such a trifle, He begg’d of me to steal it. (Ch 13, para 142)
Antagonist AI
Character · lens B7 · compare across books
| Who | Iago |
|---|---|
| Goal | To destroy Othello by making him jealous and causing him to murder Desdemona and Cassio. |
| Methods | Planting false suggestions, using the handkerchief as fake evidence, orchestrating violence, and exploiting Othello's trust. |
| Shows their hand | Ch 3 |
| Our note | Iago reveals his full plot in soliloquies throughout, showing his hatred stems from being passed over for promotion and racial prejudice. |
Tension curve AI
Pace · lens D6 · compare across books
Tension score per chapter, 1 to 5 (our AI reading). The play accelerates from political intrigue in Cyprus to intimate jealousy to violent tragedy, with tension rising steadily from chapter 7 onward. The final three chapters move rapidly through murder, revelation, and suicide.
Subplot thread map Both
Story and structure · lens A7 · compare across books
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Iago's revenge plot | |||||||||||||
| Othello's jealousy | |||||||||||||
| Cassio's downfall and redemption | |||||||||||||
| Roderigo's pursuit and desperation | |||||||||||||
| Desdemona's innocence and helplessness | |||||||||||||
| The handkerchief as false evidence |
- Iago's revenge plot: Iago systematically manipulates Othello through false suggestions and planted evidence to destroy him.
- Othello's jealousy: Othello's jealousy grows from Iago's hints into murderous rage, consuming his reason and love.
- Cassio's downfall and redemption: Cassio is dismissed from his post, manipulated into seeking Desdemona's help, and nearly killed by Iago's plot.
- Roderigo's pursuit and desperation: Roderigo pursues Desdemona and is used by Iago as a tool, eventually being killed to silence him.
- Desdemona's innocence and helplessness: Desdemona remains innocent and loyal but is unable to convince Othello of her fidelity and is murdered.
- The handkerchief as false evidence: The handkerchief becomes the central object of proof for Othello's jealousy, though it is planted by Iago.
Motif tracker AI
Theme and motif · lens J3 · compare across books
- Deception and seeming (Ch 1, 3, 4, 5, 7, 8, 9, 12, 13): Appearance and suggestion are used to manipulate perception and truth throughout the play.
- The handkerchief (Ch 7, 8, 9, 13): The handkerchief transforms from a token of love into false evidence of infidelity, driving the tragedy.
- Jealousy as poison (Ch 7, 8, 9, 10, 13): Jealousy corrupts Othello's mind and reason, turning love into murderous rage.
- Service and betrayal (Ch 1, 2, 3, 5, 10, 12): Characters claim service but betray trust, with Iago's false loyalty being the deepest betrayal.
- The willow song (Ch 11, 13): Desdemona's song of lost love foreshadows her death and serves as a moment of tragic premonition.
- Race and prejudice (Ch 1, 2, 3): Othello's race is used as a weapon against him by those who resent his authority and marriage.
O, beware, my lord, of jealousy; It is the green-ey’d monster which doth mock The meat it feeds on. (Ch 7, para 75)
Lie with her! lie on her!—We say lie on her when they belie her.—Lie with her! that’s fulsome. Handkerchief—confessions—handkerchief! (Ch 9, para 25)
Was this fair paper, this most goodly book, Made to write “whore” upon? What committed? Committed! (Ch 10, para 38)
The poor soul sat sighing by a sycamore tree, Sing all a green willow. Her hand on her bosom, her head on her knee, Sing willow, willow, willow. (Ch 11, para 26)
Signature words Count
Prose style · lens H3 · compare across books
Words this book uses far more than the other books on our shelf (log odds, at least 8 uses). Names often top the list.
Commercial facts card Research
Commercial facts · lens L1, L2, L4 · compare across books
| First published | 1604 |
|---|---|
| Author died | 1616 |
| Copyright | Public domain in the UK (author died 1616, so life plus 70 years has passed) and in the US (first published 1604, before 1931). |
| Length | 27,562 words in 13 chapters; about 1.8 hours to read |
| Genre | Plays |
| Sales and adaptations | Coming in a later phase, with sources. |
Method: counts come from a clean public domain plain text, split into chapters and paragraphs with stable IDs (for example c3p12 is chapter 3, paragraph 12, in reading order). Lenses marked AI are our AI reading of each chapter, made once and stored. Every quote shown was checked word for word against the text; 2 AI quotes for this book failed that check and were dropped.
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