This paper is to explore how Shakespeare's Otello be represented after three centuries in the music context of the nineteenth century, Early in the seventeenth century in a work Mr. William Shakespeare h Comedies, Histories and Tragedies (1623) the litterateur Ben Johnson (1572-1637) bias already forecasted in the preface titled ”To the memory of my beloved the author, Mr. William Shakespeare” as following: ”Triumph, my Britain, thou hast one to show To whom all Scenes of Europe homage owe. He was not of an age, but for alt time!” Till today this comment is still true. The greatness, impact and sustainability of Shakespeare are out of question. Nevertheless, through Verdi's and Boito's interpretations of opera, Shakespeare's Otello has won aesthetic meaning. Following this context and along different viewpoints of personality-character arrangement and music interpretation for love and death, this research is trying to explore: firstly, comparing the characters of Jago Otello and Desdemona separately in original text with them in opera text, the specific aesthetic viewpoints of conflict and evil in nineteenth century would in this way be clarified. Hence, basing on the ending of the act IV in the opera, the representation of different viewpoints of death in nineteenth century from that in the era of Shakespeare will be musically interpreted. Through the survey, we can then more clearly segment the Verdi's representations of aesthetic thinking in his works. Nonetheless, this approach is more or less in accordance with his expecting art as a form of ”creating the truth”. In this sense, leaning on the Ben Johnson's words, Shakespeare's spirit is not only eternal, the interpretations about him and his works are also according with the aesthetic trends of the nineteenth century.