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Othello Story In Tamil Pdf ((FREE)) Free

Sergei Yutkevich's Russian film, with a screenplay by Boris Pasternak was an attempt to make Shakespeare accessible to "the working man".[89] Yutkevitch had begun his career as a painter and then as a set designer, and his film was widely praised for its pictorial beauty.[90] The director saw his film as an opposite of Welles': where Welles began his film with a sequence from the end of the story, highlighting fate, Yutkevitch began with his Othello's back-story, thereby highlighting his characters' free will.[91]

Othello Story In Tamil Pdf Free

Sisir Kumar Das comments that the reception of Shakespeare in different languages in India is "complex and problematic as the story of Western impact on Indian literature itself," and a definite pattern of translations and degree of influence is difficult to be ascertained (42). He however observes that the first phase of translations of Shakespeare in Indian languages involved "indigenization" or "Indianization" through adaptations (46). This was the case in Malayalam literature too. Shakespeare was introduced into Malayalam literature as early as 1866 when Kalloor Oommen Philippose freely adapted A Comedy of Errors as Almarattam "with the intention of introducing the Western form of drama into Malayalam" (Nair 128). Several works of Shakespeare have been translated into Malayalam since then. In most of the translations, right from the very first one by Philippose, Malayalis have always strived to make Shakespeare their own. Thus Petruchio becomes Parthasarathy, Hippolyta becomes Kanakalekha and Athens become Avantidesam (Jayashree 130-131). Many celebrated poets and reputed scholars took up the challenge of rendering Shakespeare into Malayalam, including Vallathol Narayana Menon and Kunjikuttan Thampuran.1 Vallathol "made a free rendering of The Merchant of Venice with the help of an English-knowing friend" while Thampuran translated Hamlet with the help of a friend in 1897 (George 149). Shakespeare's rich use of the blank verse posed a veritable challenge to translators who diverted much of their creative energy into experimenting with the metre, fitting the verses into either classic Sanskrit metres or Dravidian metres. Many translators also tried free verse, and even poetic prose. For example, Kainikkara Kumara Pillai is faithful to the important scenes in the play "though they are interspersed with interpretative comments and elucidations" (77). According to him, "the major portion of the book was devoted to an imaginative interpretation and appreciation of the various characters in the play,

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