Othello Test
What is Othello's tragic flaw?
jealousy (subjective but this is likely the best answer)
What is prose?
non-poetry, written or spoken language in its ordinary form, without structure
O sir, content you. I follow him to serve my turn upon him. We cannot all be masters, nor all masters Cannot be truly followed., 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 naught but provender, and when he's old, cashiered. Whip me such honest knaves! Others there are Who, trimmed in forms and visages of duty, 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 I do profess myself. For, sir, It is as sure as you are X, 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. For when my outward action doth demonstrate The native act and figure of my heart In complement 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.
(Act 1, Scene 1) 1. Iago 2. Roderigo - X 3. No, calm down. I'm serving under him to take advantage of him. We can't all be masters, and not all masters should be followed. Look at all the devoted servants who work for their masters their whole lives for nothing but their food, and then when they get old they're terminated. They ought to be whipped for being so stupid. But then there's another kind of servant who looks dutiful and devoted, but who's really looking out for himself. By pretending to serve their lords, these men get rich, and when they've saved up enough they can be their own masters. Guys like that have soul, and that's the kind of guy I am. Let me tell you, as sure as your name's Roderigo, if I were the Moor I wouldn't want to be Iago. I may seem to love and obey him, but in fact, I'm just serving him to get what I want. If my outward appearance started reflecting what I really felt, soon enough I'd be wearing my heart on my sleeve for birds to peck at. No, it's better to hide it. I'm not who I appear to be. 4. This is the first instance the audience sees of Iago's hatred for Othello, which is his motive for his villainous actions throughout the play.
O, thou foul thief, where hast thou stowed my daughter? Damned as thou art, thou hast enchanted her! For I'll refer me to all things of sense [If she in chains of magic were not bound,] Whether a maid so tender, fair, and happy, So opposite to marriage that she shunned The wealthy curlèd darlings of our nation, Would ever have, t' incur a general mock Run from her guardage to the sooty bosom Of such a thing as though--to fear, not to delight! [Judge me the world, if 'tis not gross in sense That though hast practiced on her with foul charms, Abused her delicate youth with drugs or minerals That weakens motion. I'll have't disputed on. 'Tis probable, and palpable to thinking. I therefore apprehend and do attach thee] For an abuser of the world, a practicer If arts inhibited and out of warrant.-- Lay hold upon him. If he do resist, Subdue him at his peril.
(Act 1, Scene 2) 1. Brabantio 2. Othello 3. You evil thief, where have you hidden my daughter? You devil, you've put a spell on her! Anybody with eyes could tell you that a beautiful and happy young girl like her, who's refused to marry all of the handsome young men of the city, wouldn't run off with a black thing like you unless she'd been bewitched. You're something to fear, not to love. It's obvious to everyone that you've tricked her, drugged her, or kidnapped her. That's probably what happened, so I'm arresting you.—Arrest this man as a practitioner of black magic. Grab him. If he struggles, use force! 4. This is when Brabantio thinks that Othello is tricking his daughter into marrying him. This demonstrates a sense of protection that Brabantio feels for his daughter.
Let him do his spite. My services which I have done the signiory Shall out-tongue his complaints. 'Tis yet to know (Which, when I know that boasting is an honor, I shall promulgate) I fetch my life and being From men of royal siege, and my demerits May speak unbonneted to as proud a fortune As this that I have reached. For know, X, But that I love the gentle Y, I would not my unhousèd free condition Put into the circumscription and confine For the sea's worth. But look, what lights come yond?
(Act 1, Scene 2) 1. Othello (Y is Desdemona) 2. X-Iago 3. Let him do his worst. The services I have done for the Venetian government will count for more than his complaints will. No one knows this yet—and I don't like to brag, but I come from a royal family, and I'm as noble as the woman I've married. And let me tell you, Iago, if I didn't love Desdemona as much as I do, I'd never agree to get married and lose my freedom at all. But look at those lights. Who's coming? 4. Here, Othello is bragging to Iago, adding insult to injury about how he picked Cassio over him
My noble father, I do perceive here a divided duty. To you I am bound for life and education. My life and education both do learn me How to respect you. You are the lord of duty. I am hitherto your daughter. But here's my husband. And so much duty as my mother showed To you, preferring you before her father, So much I challenge that I may profess Due to the Moor my lord.
(Act 1, Scene 3) 1. Desdemona 2. Brabantio (and the duke and others present like Othello and Iago) 3. Father, this isn't easy for me. I'm torn. I owe you respect because you gave me life and education. You're the one I have to obey. I'm your daughter. But this man here is my husband now, and I owe him as much as my mother owed you, just as she preferred you to her own father. So I have to give my obedience to the Moor, my husband. 4. This is when Desdemona is supporting Othello's story of how they fell in love. This further proves the strong love they have for each other, once again making Iago's stories to Othello not plausible. This once again stresses Iago's strong rhetoric and tactics to get Othello to believe him and to control the situation.
Thus do I ever make my fool my purse. For I mine own gained knowledge should profane If I would time expend with such a snipe But for my sport and profit. I hate the Moor, And it is thought abroad that 'twixt my sheets 'Has done my office. I know not if 't be true, But I, for mere suspicion in that kind, Will do as if for surety. He holds me well. The better shall my purpose work on him. Cassio's a proper man. Let me see now: To get his place and to plume up my will In double knavery--How? how?--Let's see. After some time, to abuse Othello's ear That he is too familiar with his wife. He hath a person and a smooth dispose To be suspected, framed to make women false. The Moor is of a free and open nature That thinks men honest that but seem to be so, And will as tenderly be led by th' nose As asses are. I have't. It is engendered. Hell and night Must bring this monstrous birth to the world's light.
(Act 1, Scene 3) 1. Iago 2. Audience 3. That's how I always do it, getting money from fools. I'd be wasting my skills dealing with an idiot like that if I couldn't get something useful out of him. I hate the Moor, and there's a widespread rumor that he's slept with my wife. I'm not sure it's true, but just the suspicion is enough for me. He thinks highly of me. That'll help. Cassio's a handsome man. Let's see, how can I get his position and use him to hurt Othello at the same time? How? How? Let's see. After a while I'll start telling Othello that Cassio is too intimate with Desdemona. Cassio is a smooth talker and a good-looking guy, the sort of man that people would expect to be a seducer. The Moor is open and straightforward. He thinks any man who seems honest is honest. People like that are easy to manipulate. So it's all decided. I've worked it out. With a little help from the devil, I'll bring this monstrous plan to success. 4. This is significant because it is Iago's first soliloquy of the play, and explains his plan of how Roderigo is connected to this whole scheme and involving the others in his scheme to eventually bring the Moor down.
It is merely a lust of the blood and a permission of the will. Come, be a man! Drown thyself? Drown cats and blind puppies. I have professed me thy friend, and I confess me knit to thy deserving with cables or perdurable toughness. I could never better stead thee than now. Put money in thy purse. Follow though the wars; defeat thy favor with an usurped beard. I say, put money in thy purse. It cannot be that Desdemona should long continue her love to the Moor--put money in thy purse--nor he his to her. It was a violent commencement in her, and thou shalt see an answerable sequestration--put but money in thy purse. These Moors are changeable in their wills. Fill thy purse with money. The food that to him is now as luscious as locusts shall be to him shortly as bitter as coloquintida. Se must change for youth. When she is sated with his body she will find the error of her choice. Therefore, put money in thy purse. If thou wilt needs damn thyself, do it a more delicate way than drowning. Make all the money thou canst. If sanctimony and a frail vow betwixt an erring barbarian wits and all the tribe of hell, thou shalt enjoy her. Therefore make money. A pox of drowning thyself! it is clean out of the way. Seek thou rather to be hanged in compassing in thy joy than to be drowned and go without her.
(Act 1, Scene 3) 1. Iago 2. Roderigo 3. You feel love because you feel lust and you have no willpower. Come on, be a man. Drown yourself? Drowning is for cats or blind puppies—don't drown yourself! I've told you I'm your friend, and I'll stick by you. I've never been more useful to you than I will be now. Here's what you'll do. Sell all your assets and your land, and turn it into cash. Desdemona can't continue loving the Moor any more than he can continue loving her. She fell in love with him very suddenly, and they'll break up just as suddenly. Moors are moody people.—So sell your lands and raise a lot of cash. What seems sweet to him now will soon turn bitter. She'll dump Othello for a younger man. When she's had enough of the Moor's body, she'll realize her mistake. She'll need to have a new lover. She'll have to have it. So have your money ready. If you want to go to hell, there are better ways to do it than killing yourself. Raise all the money you can. I can get the better of religion and a few flimsy vows between a misguided barbarian and a depraved Venetian girl. You'll get to sleep with her—just put together some money. And to hell with drowning yourself! That's completely beside the point. If you're ready to die, you can risk death by committing crimes in an attempt to get the woman you want. Don't just give up on her and drown yourself. 4. This is when Iago is telling Roderigo to go after Desdemona instead of killing himself. This is very significant to the play since it is the first real instance of Iago manipulating someone into doing what he wants to work with his plan of hurting Othello.
Most potent, grave, and reverend signiors, My very noble and approved good masters: That I have ta'en away this old man's daughter, It is most true; true I have married her. The very head and front of my offending Hath this extent, no more. Rude am I in my speech, And little blessed with the soft phrase of peace; For since these arms of mine had seven years' pith, Till now some nine moons wasted, they have used Their dearest action in the tented field, And little of this great world I can speak More than pertains to feats of broil and battle. And therefore little shall I grace my cause In speaking for myself. Yet, by your gracious patience, I will round unvarnished tale deliver Of my whole course of love--what drugs, what charms, What conjuration, and what mighty magic (For such proceeding I am charged withal) I won his daughter.
(Act 1, Scene 3) 1. Othello 2. Brabantio (and the duke and others present) 3. Noble, honorable gentlemen whom I serve: it's true that I've taken this man's daughter from him and married her. But that's my only offense. There's nothing more. I'm awkward in my speech and I'm not a smooth talker. From the time I was seven years old until nine months ago I've been fighting in battles. I don't know much about the world apart from fighting. So I won't do myself much good by speaking in my own defense. But if you'll let me, I'll tell you the plain story of how we fell in love, and what drugs, charms, spells, and powerful magic—because that's what I'm being accused of—I used to win his daughter. 4. This is significant because it is when Othello is trying to convince Brabantio that he didn't poison his daughter and that he actually loves her. This is significant because it shows how Othello is very charming and a master of rhetoric--saying he is awkward in his speech when that isn't necessarily true--in order to convince the others.
Her father loved me, oft invited me, Still questioned me the story of my life From year to year--the battles, sieges, fortunes That have passed. I ran it through, even from my boyish ways To th' very moment that he bade me tell it, Wherein I spoke of most disastrous chances: Of moving accidents by flood and field, Of hairbreadth 'scapes i' th' imminent deadly breach, Of being taken by the insolent foe And sold to slavery, of my redemption thence, And portance in my traveler's history, Wherein of antres vast and deserts idle, Rough quarries, rocks, and hills whose heads touch heaven, It was my hint to speak--such was my process-- And of the cannibals that each other eat, The Anthropophagi, and men whose heads Do grow beneath their shoulders. These things to hear Would X seriously incline. But still the house affairs wold draw here thence, Which ever as she could with haste dispatch She;d come again, and with a greedy ear Devour up my discourse. Which I, observing, Took once a pliant hour, and found good means To draw from her a prayer of earnest heart That I would all my pilgrimage dilate, Whereof by parcels she had something heard, But not intentively. I did consent, And often did beguile her of her tears When I did speak of some distressful stroke That my youth suffered. My story being done, She gave me for my pains a world of sighs. She swore, in faith, 'twas strange, 'twas passing strange, 'Twas pitiful, 'twas wondrous pitiful. She wished she had not heard it, yet she wished That heaven had made her such a man. She thanked me, And bade me, if I had a friend that loved her, I should but teach him how to tell my story, And that would woo her. Upon this hint I spake. She loved me for the dangers I had passed, And I loved her that she did pity them. This is the only witchcraft I have used. Here comes the lady. Let her witness it.
(Act 1, Scene 3) 1. Othello ( X is Desdemona) 2. Brabantio (and the duke and others present) 3. Her father loved me and used to invite me to his house often, continually asking me about my life and all the battles I've fought. I told him everything, from my boyhood up until the time when I was talking to him. I told him about unfortunate disasters, hair-raising adventures on sea and on land, and near-catastrophes and dangerous adventures I've been through. I told him how I was captured and sold as a slave, how I bought my freedom, and how I wandered through caves and deserts. I was able to tell him about cannibals who eat each other, and men with heads growing below their shoulders. When I talked about all these things, Desdemona used to listen attentively. If she had to go do some household chore, I noticed that she'd always come back quickly to hear more of my stories. When I was relaxing, she'd pull me aside and ask to hear some part of a story she had missed. Her eyes would fill with tears at the bad things I went through in my younger years. When my stories were done, she'd sigh and tell me how strangely wonderful and sad my life had been. She said she wished she hadn't heard it, but she also wished there was a man like me for her. She thanked me and told me that if a friend of mine had a story like mine to tell, she'd fall in love with him. I took the hint and spoke to her. She said she loved me for the dangers I'd survived, and I loved her for feeling such strong emotions about me. That's the only witchcraft I ever used. Here comes my wife now. She'll confirm everything. 4. This is when Othello is trying to convince Brabantio that he didn't use witchcraft on his daughter, but instead they actually fell in love because of his storytelling to her. This is significant to the rest of the story because it shows the strong feelings Desdemona and Othello have for each other, showing how it would never be plausible for Desdemona to cheat on him, making Iago's plan seem ironic and impossible. This stresses the tactics Iago uses because it shows how he was able to convince Othello of this act that seemed impossible because of the strong love he and Desdemona had for each other.
A: It gives me wonder great as my content To see you here before me. O my soul's joy! If after every tempest come such calms, May the winds blow till they have wakened death, And let the laboring bark climb hills of seas Olympus high, and duck again as low As hell's heaven! If it were now to die, 'Twere now to be most happy, for I fear My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate. B: The heavens forbid But that our loves and comforts should increase Even as our days do grow A: Amen to that, sweet powers! It stops me here; it is too much of joy. And this, and this, the greatest discords be That e're our hearts shall make!
(Act 2 scene 1) 1. A - Othello; B - Desdemona 2. Each other (and miscellaneous people around them) 3. Othello: I'm amazed you got here before me. But I'm overjoyed! My love, if the calm after the storm could always be this wonderful, I'd want the wind to blow until it waked the dead, and whipped up waves as tall as mountains! If I died right now I'd be completely happy, since I'll probably never be as happy as this again in my life. Desdemona: God willing, our love and our happiness will only increase as we get older. Othello: Amen to that! I can't talk about my happiness anymore. It's too much. I hope these kisses I'm about to give you are the closest we ever come to fighting. 4. This public display of affection is significant because it provides another sense of irony when Othello is convinced that Desdemona cheated on him, since they are outwardly declaring their love for each other. This also shows how Othello is a very public man, and isn't afraid to share his feelings about Desdemona in public.
That Cassio loves her, I do well believe 't. That she loves him, 'tis apt and of great credit. The Moor, howbeit that I endure him not, Is of a constant, loving, noble nature, And I dare think he'll prove to Desdemona A most dear husband. Now, I do love her too, Not out of absolute lust (though peradventure I stand accountant for as great a sin) But partly led to diet my revenge For that I do suspect the lusty Moor Hath leaped into my seat--the thought whereof Doth, like a poisonous mineral, gnaw my inwards, Till I am evened with him, wife for wife, Or, failing so, yet that I put the Moor At least into a jealousy so strong That judgement cannot cure. Which thing to do, If this poor trash of Venice, whom I trace For his quick hunting, stand the putting on, I'll have our Michael Cassio on the hip, Abuse him to the Moor in the rank garb (For I fear Cassio with my nightcap too), Make the Moor thank me, love me, and reward me For making him egregiously an ass And practicing upon his peace and quiet Even to my madness. 'Tis here, but yet confused. Knavery's plain face is never seen till used.
(Act 2 scene 1) 1. Iago 2. Audience 3. I think Cassio really does love her, and it's perfectly likely that she loves him too. I can't stand the Moor, but I have to admit that he's a reliable, loving, and good-natured man. He'd probably be a good husband to Desdemona. I love her too, not simply out of lust, but also to feed my revenge. I have a feeling the Moor slept with my wife. That thought keeps gnawing at me, eating me up inside. I won't be satisfied until I get even with him, wife for wife. If I can't do that, I can at least make the Moor so jealous that he can't think straight. If that piece of Venetian trash Roderigo can do what I need to carry out my plan, I'll have power over Cassio. I'll say bad things about him to the Moor. I have a feeling Cassio seduced my wife as well. I'll make the Moor thank me, love me, and reward me, even though the joke will be on him the whole time. I've got a good plan, though I haven't worked out the details yet. You can never see the end of an evil plan until the moment comes. 4. This is significant because it highlights Iago's deep hatred for Othello---showing that he would go the full distance to harm him (and others if necessary)
A: 'Fore God, this is a more exquisite song than the other! B: Will you hear't again? A: No, for I hold him to be unworthy of his place that does those things. Well, God's above all; and there be souls must be saved, [and there be souls must not be saved]. B: It's true, good lieutenant. A: For mine own part--no offense to the General, nor any man of quality--I hope to be saved. B: And so do I, too, lieutenant. A: Ay, but, by your leave, not before me. The Lieutenant is to be saved before the Ancient. Let's have no more of this. Let's to our affairs. God forgive us our sins! Gentlemen, let's look to our business. Do not think, gentlemen, I am drunk. This is my ancient, this is my right hand, and this is my left. I am not drunk now. I can stand well enough, and I speak well enough.
(Act 2, Scene 3) 1. A - Cassio; B - Iago 2. To each other and the other guards there 3. Cassio: God, that song's even better than the other one. Iago: Do you want to hear it again? Cassio: No, because we shouldn't be doing that—stuff. Oh well, God's in charge, and some people have to go to heaven, while other people have to go to hell. Iago: That's true, lieutenant. Cassio: Speaking for myself—and no offense to the general or anyone else—I hope I'm going to heaven. Iago: Me too, lieutenant. Cassio: Okay, but please not before me. The lieutenant has to get to heaven before the ensign. But let's stop this drinking and get down to business.—God forgive our sins!—Gentlemen, let's get down to business. By the way, I don't want anyone thinking I'm drunk. This is my ensign. This is my right hand, and this is my left hand. I'm not drunk. I can stand well enough, and I can speak just fine. 4. This is when Iago gets Cassio drunk, which allows Iago to manipulate him into getting into a fight with Roderigo. This is significant because it is another basis for furthering Iago's plan.
What is important to know about a tragedy (discussed in class)?
- ends in death and downfall of tragic hero (protagonist) - features a tragic hero with a tragic flaw - meant to offer both solace and instruction - often has dramatic irony (audience knows more than hero)
When does Shakespeare use verse?
- more formal (for a stricter sound) - higher status characters (heroins, kings, lovers) - the city - to stress something important from a character
When does Shakespeare use prose?
- more informal and relax statements - lower status characters (clowns, peasants) - drunk characters - the country
A: Welcome, B. We must to the watch. B: Not this hour, lieutenant. 'Tis not yet ten o' th' clock. Our general cast us thus early for the love of his Desdemona--who let us not therefore blame; he hath not yet made wanton the night with her, and she is a sport for Jove. A: She's a most exquisite lady. B: And, I'll warrant her, full of game. A: Indeed, she's a most fresh and delicate creature. B: What an eye she has! Methinks it sounds a parley to provocation. A: An inviting eye, and yet methinks right modest. B: And when she speaks, is it not an alarum, to love? A: She is indeed perfection. B: Well, happiness to their sheets! Come, lieutenant, I have a stoup of wine; and here without are a brace of Cyprus gallants that would fain have a measure to the health of black X. A: Not tonight, good Iago. I have very poor and unhappy brains for drinking. I could well wish courtesy would invent some other custom of entertainment. B: O, they are our friends! But one cup; I'll drink for you.
1. A - Cassio; B - Iago 2. To each other 3. Cassio: Hello, Iago. It's time for us to stand guard. Iago: Not yet, lieutenant. It's not even ten o'clock. The general got rid of us early tonight so he could be with Desdemona.—I can't blame him. He hasn't spent the night with her yet, and she's beautiful enough to be Jove's lover. Cassio: She's an exquisitely beautiful lady. Iago: And I bet she's good in bed too. Cassio: Yes, she's young and tender. Iago: And such pretty eyes! Like an invitation. Cassio: Yes, she's pretty. But she's modest and ladylike too. Iago: And when she speaks, doesn't her voice stir up passion? Cassio: She's a perfect woman, it's true. Iago: Well, good luck to them tonight in bed! Come with us, lieutenant. I've got a jug of wine, and these two Cyprus gentlemen want to drink a toast to the black Othello. Cassio: Not tonight, Iago. I'm not much of a drinker. I wish there was less social pressure to drink. 4. This is when Iago is trying to get Cassio to like Desdemona so that he can cheat with her on Othello in accordance with his plan to ruin his life. This lays the framework for the rest of Iago's plan in the story.
A: I am about it, but indeed my invention comes from my pate as birdlime does from frieze: it plucks out brains and all. But my muse labors, and thus she is delivered: If she be fair and wise, fairness and wit, The one's for use, the other useth it. B: Well praised! How if she be black and witty? A: If she be black, and thereto have a wit, She'll find a white that shall her blackness hit. B: Worse and worse. C: How if fair and foolish? A: She never yet was foolish that was fair, For even her folly helped her to an heir. B: These are old fond paradoxes to make fools laugh i' th' alehouse. What miserable praise hast thou for her and that's foul and foolish? A: There's none so foul and foolish thereunto, But does foul pranks which fair and wise ones do.
1. A - Iago; B - Desdemona, C - Emilia 2. Each other 3. Iago: I'm trying to think of something, but I'm not good at inventing clever things. It takes time. Ah, I've got it. If a woman is pretty and smart, she uses her good looks to get what she wants. Desdemona: Very clever! But what if the woman is smart but ugly? Iago: Even if she's ugly, she'll be smart enough to find a guy to sleep with her. Desdemona: This is getting worse and worse! Emilia: What if she's pretty but stupid? Iago: No pretty woman is stupid, because her stupidity will make her more attractive to men. Desdemona: These are stupid old jokes that men tell each other in bars. What horrible thing do you have to say about a woman who's both ugly and stupid? Iago: No matter how ugly or stupid the woman is, she plays the same dirty tricks that the smart and pretty ones do. 4. This is when Iago, Emilia, and Desdemona are all talking about women, and how Iago thinks that they are innately intelligent in able to play tricks on men. This highlights Iago's perception of women and how he doesn't value them (since he is picking them apart like objects). This also shows how ahead of the time Shakespeare was to highlight issues like Iago's.
A: You see this fellow that is gone before? He's a soldier fit to stand by Caesar And give direction; and do but see his vice. 'Tis to his virtue a just equinox, The one as long as th' other. 'Tis pity of him/ I fear the trust Othello puts him in, On some odd time of his infirmity Will shake this island. B: But is he often thus? A: 'Tis evermore the prologue to his sleep. He'll watch the horologe a double set If drink rock not his cradle. B: It were well The General were out in mind of it. Perhaps he sees it not, or his good nature Prizes the virtue that appears in Cassio And looks not on his evils. Is this not true?
1. A - Iago; B - Montano 2. Each other 3. Iago: You see that man who just left? He's a good soldier, good enough to be Caesar's right-hand man. But he has a serious weakness. It's too bad. I'm worried that Othello trusts him too much, and it'll be bad for Cyprus eventually. Montano: But is he often like this? Iago: He drinks like this every night before he goes to sleep. He'd stay up all night and all day if he didn't drink himself to sleep. Montano: The general should be informed about this. Maybe he's never noticed, or he only wants to see Cassio's good side. Don't you think so?
A: Do you know, sirrah, where Lieutenant Cassio lies? B: I dare not say he lies anywhere. A: Why, man? B: He's a soldier, and for one to say a soldier lies, 'tis stabbing. A: Go to. Where lodges he? B: To tell you where he lodges is to tell you where I lie. A: Can anything be made of this? B: I know not where he lodges, and for me to devise a lodging and say he lies here, or he lies there, were to lie in mine own throat. A:Can you inquire him out and be edified by report? B: I will catechize the world for him, that is, make questions, and by them answer. A: Seek him, bid him come hither. Tell him I have moved my lord on his behalf, and hope all will be well. B: To do this is within the compass of man's wit, and therefore I will attempt the doing it.
1. A- Desdemona; B- Clown 2. Each other 3. Excuse me, do you know which room Lieutenant Cassio lies in? B: I wouldn't dare say he lies anywhere. A: Why do you say that? B: He's a soldier. If I accused a soldier of lying, he'd stab me. A: Oh, come on. Where does he sleep? B: Telling you where he's sleeping is like telling you where I'm lying. A: What on earth does that mean? B: I don't know where he's staying, so if I told you he's sleeping here or there, I'd be lying. A: Can you ask around and find out? B: I'll go ask questions everywhere. A: Find him and tell him to come here. Tell him I've spoken to my husband on his behalf, and I think everything will be all right. B: I think I can do that. It's not too much to ask. 4. The different meanings of lie and how the scene adds comic relief amidst the heated conflict.
A: I durst, my lord, to wager she is honest, Lay down my soul at stake. If you think other Remove your thought, it doth abuse your bosom. If any wretch have put this in your head Let heaven requite it with the serpent's curse For if she be not honest, chaste, and true There's no man happy. The purest of their wives Is foul as slander. B: Bid her come hither. Go. A: She says enough, yet she's a simple bawd That cannot say as much. This is a subtle *****, A closet, lock and key, of villainous secrets. And yet she'll kneel and pray, I have seen her do 't.
1. A- Emilia; B- Othello 2. Each other (Emilia leaves at one point so Othello is talking to the audience) 3. Emilia: I'd swear to you on my soul that she's a good, honest person, sir. If you suspect otherwise, stop thinking that right now because you're wrong. If any jerk has tried to convince you she's bad, I hope God curses him. If she's not honest, faithful, and true, then there's no such thing as a faithful wife or a happy husband. Othello: Tell her to come here. Go. Emilia exits She says all the right things, but the dumbest brothel-keeper would tell the same story. Desdemona's a tricky ***** with a closet full of awful secrets, but still she'll kneel and pray like an honest woman. I've seen her do it.
A: So they do nothing, 'tis a venial slip. But if I give my wife a handkerchief— B: What then? A: Why then 'tis hers, my lord, and, being hers, She may, I think, bestow 't on any man. B: She is protectress of her honor too. May she give that? A: Her honor is an essence that's not seen, They have it very oft that have it not. But for the handkerchief—
1. A- Iago; B- Othello 2. Each other 3. Iago: As long as they didn't do anything, it would only be a minor sin. But if I gave my wife a handkerchief— Othello: Then what? Iago: Then it's hers. And if it's hers, I guess she can give it to any man she wants. Othello: Her reputation is also her own. Can she give that away too? Iago: You can't see a reputation. A lot of people don't even deserve the reputations they have. But a handkerchief— 4. By making it seem like it's not a big deal causes the opposite effect on Othello (reverse psychology).
A: Ha! I like not that. B: What dost thou say? A: Nothing, my lord, or if—I know not what. B: Was not that Cassio parted from my wife? A: Cassio, my lord? No, sure, I cannot think it That he would steal away so guiltylike, Seeing you coming. B: I do believe 'twas he.
1. A- Iago; B- Othello 2. Each other 3. Iago: Hey! I don't like that. Othello: What did you say? Iago: Nothing, my lord, or if I did—I don't know what. Othello: Wasn't that Cassio leaving my wife? Iago: Cassio, my lord? No, I don't think so. He wouldn't sneak away looking so guilty when he saw you coming. Othello: I really think it was him. 4. Iago is seeming reluctant/uncertain of himself.
A: My noble lord— B: What dost thou say, X? A: Did Michael Cassio, when you wooed my lady, Know of your love? B: He did, from first to last. Why dost thou ask? A: But for a satisfaction of my thought, No further harm. B: Why of thy thought, X? A: I did not think he had been acquainted with her. B: Oh, yes, and went between us very oft. A: Indeed? B: Indeed? Ay, indeed! Discern'st thou aught in that? Is he not honest? A: Honest, my lord? B: Honest, ay, honest. A: My lord, for aught I know. B: What dost thou think? A: Think, my lord? B: "Think, my lord?" Alas, thou echo'st me As if there were some monster in thy thought Too hideous to be shown. Thou dost mean something. I heard thee say even now thou lik'st not that When Cassio left my wife. What didst not like? And when I told thee he was of my counsel Of my whole course of wooing, thou cried'st "Indeed?" And didst contract and purse thy brow together As if thou then hadst shut up in thy brain Some horrible conceit. If thou dost love me Show me thy thought.
1. A- Iago; B- Othello 2. Each other 3. Iago: My noble lord— Othello: What is it, Iago? Iago: When you were wooing Desdemona, did Michael Cassio know about it? Othello: Yes, he knew about it the whole time. Why do you ask? Iago: I was just curious. No reason. Othello: Why are you curious, Iago? Iago: I didn't realize he knew her. Othello: Oh, yes. He carried messages back and forth between us very often. Iago: Oh, really? Othello: Oh, really? Yes, really. Do you see something wrong with that? Isn't he an honest man? Iago: Honest, my lord? Othello: Honest, yes, honest. Iago: As far as I know, sir. Othello: What are you thinking? Iago: Thinking, my lord? Othello: "Thinking, my lord?" My God, you keep repeating everything I say as if you were thinking something too horrible to say out loud. You're thinking something. Just a minute ago I heard you say you didn't like it when Cassio left my wife. What didn't you like? And when I told you he was involved the whole time I was trying to get Desdemona, you were like, "Oh, really?" And then you frowned and wrinkled up your forehead as if you were imagining something horrible. If you're my friend, tell me what you're thinking.
A: I do beseech you, Though I perchance am vicious in my guess, As, I confess, it is my nature's plague To spy into abuses, and oft my jealousy Shapes faults that are not, that your wisdom, From one that so imperfectly conceits, Would take no notice, nor build yourself a trouble Out of his scattering and unsure observance. It were not for your quiet nor your good, Nor for my manhood, honesty, and wisdom To let you know my thoughts. it wouldn't be wise, honest, or responsible for me to tell them. B: What dost thou mean? A: Good name in man and woman, dear my lord, Is the immediate jewel of their souls. Who steals my purse steals trash. 'Tis something, nothing: 'Twas mine, 'tis his, and has been slave to thousands. But he that filches from me my good name Robs me of that which not enriches him And makes me poor indeed. B: I'll know thy thoughts. A: You cannot, if my heart were in your hand, Nor shall not, whilst 'tis in my custody. B: Ha! A: Oh, beware, my lord, of jealousy! It is the green-eyed monster which doth mock The meat it feeds on. That cuckold lives in bliss Who, certain of his fate, loves not his wronger, But, oh, what damnèd minutes tells he o'er Who dotes, yet doubts— suspects, yet soundly loves!
1. A- Iago; B-Othello 2. Each other 3. Iago: Please don't ask me to tell you. I might be completely wrong. I have a bad tendency to be suspicious of people and to look too closely into what they're doing. Often I imagine crimes that aren't really there. You would be wise to ignore my weak guesses and imaginary suspicions, and don't worry yourself about the meaningless things I've noticed. For me to tell you my thoughts would only destroy your peace of mind, and it wouldn't be wise, honest, or responsible for me to tell them. Othello: What are you talking about? Iago: A good reputation is the most valuable thing we have—men and women alike. If you steal my money, you're just stealing trash. It's something, it's nothing: it's yours, it's mine, and it'll belong to thousands more. But if you steal my reputation, you're robbing me of something that doesn't make you richer, but makes me much poorer. Othello: I'm going to find out what you're thinking. Iago: You can't find that out, even if you held my heart in your hand you couldn't make me tell you. And as long my heart's inside my body, you never will. Othello: What? Iago: Beware of jealousy, my lord! It's a green-eyed monster that makes fun of the victims it devours. The man who knows his wife is cheating on him is happy, because at least he isn't friends with the man she's sleeping with. But think of the unhappiness of a man who worships his wife, yet doubts her faithfulness. He suspects her, but still loves her. 4. Iago is suggesting rather than telling.
A: She did deceive her father, marrying you, And when she seemed to shake and fear your looks, She loved them most. B: And so she did. A: Why, go to then. She that, so young, could give out such a seeming, To seel her father's eyes up close as oak, He thought 'twas witchcraft. But I am much to blame. I humbly do beseech you of your pardon For too much loving you. B: I am bound to thee forever. A: I see this hath a little dashed your spirits. B:Not a jot, not a jot. A: Trust me, I fear it has. I hope you will consider what is spoke Comes from my love. But I do see you're moved. I am to pray you not to strain my speech To grosser issues nor to larger reach Than to suspicion.
1. A- Iago; B-Othello 2. Each other 3. Iago: She lied to her father to marry you. And when she pretended to be afraid of you, she loved you the most. Othello: That's right, she did. Iago: Well, there you go. She was so young, but she deceived her father so thoroughly he thought it was witchcraft! But I'm sorry I've blurted all this out. I beg your pardon for loving you too much. Othello: I'm indebted to you forever. Iago: You seem a little depressed about this. Othello: Not at all, not at all. Iago: Really, I'm afraid you are. I hope you remember that I said all this because I love you. But I see you're troubled. Please don't take what I said more seriously than it deserves to be taken. 4. Iago is seeding a little plot detail.
A: Oh, devil, devil! If that the earth could teem with woman's tears, Each drop she falls would prove a crocodile. Out of my sight! B: I will not stay to offend you. C: Truly, an obedient lady. I do beseech your lordship, call her back. A: Mistress! B: My lord? A: What would you with her, sir? C: Who, I, my lord? A: Ay, you did wish that I would make her turn. Sir, she can turn, and turn, and yet go on, And turn again. And she can weep, sir, weep. And she's obedient, as you say, obedient, Very obedient.—Proceed you in your tears.— Concerning this, sir—Oh, well-painted passion!— I am commanded home.—Get you away, I'll send for you anon.—Sir, I obey the mandate And will return to Venice.—Hence, avaunt! 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! Cassio can have my job. And tonight, sir, I invite you have dinner with me. Welcome to Cyprus. Horny animals! C: Is this the noble Moor whom our full senate Call all in all sufficient? Is this the nature Whom passion could not shake? Whose solid virtue The shot of accident nor dart of chance Could neither graze nor pierce?
1. A- Othello; B- Desdemona; C- Lodovico 2. Each other 3. Othello: Oh, you devil, you devil! You can cry all day and all night, and I still won't believe you're sad. Get out of my sight! Desdemona: I wouldn't want to stay here and make you angry. Lodovico: She's obedient—a fine lady. Please, my lord, call her back. Othello: Madam! Desdemona: My lord? Othello: What would you with her, sir? Lodovico: Who, me? Othello: Yes, you asked me to call her back. See how well she can turn? She can turn and turn, and then turn on you again. And she can cry, sir—oh, how she can cry! And she's obedient, as you say, obedient. Very obedient—keep crying.—Concerning this—oh, what fake emotion!—I am being ordered home—Get away from me, I'll send for you later.—Sir, I'll obey the order and return to Venice. Get away from me, you witch! Cassio can have my job. And tonight, sir, I invite you have dinner with me. Welcome to Cyprus. Horny animals! Lodovico: Is this the same Moor whom the senate considers so capable? Is this the guy who's supposed to never get emotional, and who never gets rattled, no matter what disaster happens? 4. Lodovico sheds light on what Othello was like before and how that is completely different than what he is now.
A: If thou dost slander her and torture me, Never pray more. Abandon all remorse. On horror's head horrors accumulate, Do deeds to make heaven weep, all earth amazed, For nothing canst thou to damnation add Greater than that. B: Oh, grace! Oh, heaven forgive me! Are you a man? Have you a soul or sense? God buy you, take mine office. O wretched fool That lov'st to make thine honesty a vice! O monstrous world! Take note, take note, O world, To be direct and honest is not safe. I thank you for this profit, and from hence I'll love no friend, sith love breeds such offence. A: Nay, stay. Thou shouldst be honest. B: I should be wise, for honesty's a fool And loses that it works for. A: By the world, I think my wife be honest and think she is not. I think that thou art just and think thou art not.
1. A- Othello; B- Iago 2. Each other 3. Othello: If you're slandering her just to torture me, then it'll be no use to pray for mercy or say you're sorry. You might as well go ahead and commit every unspeakable crime you can think of, because there's nothing you could that would top what you've already done! Iago: Oh, heaven help me! Aren't you a rational human being? Don't you have any sense at all? Goodbye. I resign my official position. I'm such an idiot for always telling the truth! What a horrible world we live in! Listen, pay attention, everybody. It's not safe to be straightforward and honest. I'm glad you've taught me this valuable lesson. From now on, I'll never try to help a friend when it hurts him so much to hear the truth. Othello: No, stop. You should always be honest. Iago: I should always be wise. Honesty's stupid, it makes me lose my friends even when I'm trying to help them. Othello: I swear, I think my wife's faithful, and I think she's not. I think you're trustworthy one minute and then not the next. 4: Iago is acting offended and/or pitiful.
A: Give me your hand. This hand is moist, my lady. B: It hath felt no age nor known no sorrow. A: This argues fruitfulness and liberal heart. Hot, hot, and moist. This hand of yours requires A sequester from liberty, fasting, and prayer, Much castigation, exercise devout, For here's a young and sweating devil here, That commonly rebels. 'Tis a good hand, A frank one. B: You may indeed say so, For 'twas that hand that gave away my heart.
1. A- Othello; B-Desdemona 2. Each other 3. Othello: Give me your hand. Your hand's moist, my lady. Desdemona: It's moist because it's still young and inexperienced. Othello: It says you're fertile, and you've got a giving heart. Hot, hot and moist. With a hand like this you need to fast and pray to stave off temptations. Someone with a young sweating hand like this one is bound to act up sooner or later. It's a nice hand, an open one. Desdemona: You're right to say that. This was the hand that gave you my heart. 4. Clearly Desdemona isn't realizing what Othello is hinting. It makes the audience feel even worse for her because it showcases how truly ignorant she is to the infection that plagues her husband's head.
Something, sure, of state, Either from Venice, or some unhatched practice Made demonstrable here in Cyprus to him, Hath puddled his clear spirit, and in such cases Men's natures wrangle with inferior things, Though great ones are their object. 'Tis even so, For let our finger ache and it endues Our other healthful members even to that sense Of pain. Nay, we must think men are not gods, Nor of them look for such observances As fit the bridal. Beshrew me much, Emilia, I was, unhandsome warrior as I am, Arraigning his unkindness with my soul, But now I find I had suborned the witness, And he's indicted falsely
1. Desdemona 2. Emilia 3. There must be some political news from Venice, or some dangerous plot here in Cyprus has ruined his good mood. Men always get angry about little things when they're really worried about bigger ones. That's the way it goes. When our finger hurts, it makes the rest of the body hurt too. We shouldn't expect men to be perfect, or for them to be as polite as on the weddingday. Oh, Emilia, I'm so inexperienced that I thought he was being unkind, but actually I was judging him harshly. 4. Desdemona is self-blaming herself for Othello's actions.
Alas X, What shall I do to win my lord again? Good friend, go to him. For, by this light of heaven, I know not how I lost him. Here I kneel: If e'er my will did trespass 'gainst his love, Either in discourse of thought or actual deed, Or that mine eyes, mine ears, or any sense, Delighted them, or any other form, Or that I do not yet, and ever did, And ever will—though he do shake me off To beggarly divorcement—love him dearly, Comfort forswear me! Unkindness may do much, And his unkindness may defeat my life, But never taint my love. I cannot say "*****," It does abhor me now I speak the word. To do the act that might the addition earn Not the world's mass of vanity could make me.
1. Desdemona 2. Iago 3. Oh God, Iago, what can I do to win my husband back again? Please go to him, my friend. I swear I have no idea why he stopped loving me. Here I'm kneeling to swear that if I ever did anything to destroy his love for me, either by thoughts or actions, or if I ever took pleasure in anyone else, or if I never did love him, or don't love him now—even though he tries to shake me off— then I hope I have a life of misery! Unkindness is powerful, and his unkindness may kill me, but it'll never destroy my love. I can't say "*****." It makes me sick to say the word even now. I wouldn't do the thing that would make me a ***** for all the money in the world.
And what's he then that says I play the villain? When this advice is free I give and honest, Probal to thinking and indeed the course To win the Moor again? For 'tis most easy Th' inclining Desdemona to subdue In any honest suit. She's framed as fruitful As the free elements. And then for her To win the Moor, were to renounce his baptism, All seals and symbols of redeemèd sin, His soul is so enfettered to her love, That she may make, unmake, do what she list, Even as her appetite shall play the god With his weak function. How am I then a villain To counsel Cassio to this parallel course, Directly to his good? Divinity of hell! When devils will the blackest sins put on They do suggest at first with heavenly shows As I do now. For whiles this honest fool Plies Desdemona to repair his fortune And she for him pleads strongly to the Moor, I'll pour this pestilence into his ear: That she repeals him for her body's lust. And by how much she strives to do him good She shall undo her credit with the Moor. So will I turn her virtue into pitch And out of her own goodness make the net That shall enmesh them all. tries to help Cassio, the more she'll shake Othello's confidence in her. And that's how I'll turn her good intentions into a big trap to snag them all. How now, Roderigo!
1. Iago 2. Audience 3. Who can say I'm evil when my advice is so good? That's really the best way to win the Moor back again. It's easy to get Desdemona on your side. She's full of good intentions. And the Moor loves her so much he would renounce his Christianity to keep her happy. He's so enslaved by love that she can make him do whatever she wants. How am I evil to advise Cassio to do exactly what'll do him good? That's the kind of argument you'd expect from Satan! When devils are about to commit their biggest sins they put on their most heavenly faces, just like I'm doing now. And while this fool is begging Desdemona to help him, and while she's pleading his case to the Moor, I'll poison the Moor's ear against her, hinting that she's taking Cassio's side because of her lust for him. The more she tries to help Cassio, the more she'll shake Othello's confidence in her. And that's how I'll turn her good intentions into a big trap to snag them all. Hello, Roderigo! 4. Iago's subconscious of his concience
As I am an honest man, I thought you had received some bodily wound. There is more sense in that than in reputation. Reputation is an idle and most false imposition, oft got without merit and lost without deserving. You have lost no reputation at all unless you repute yourself such a loser. What, man, there are ways to recover the general again. You are but now cast in his mood, a punishment more in policy than in malice, even so as one would beat his offenseless dog to affright an imperious lion. Sue to him again and he's yours.
1. Iago 2. Cassio 3. I swear I thought you meant you'd been hurt physically. Your physical health matters more than your reputation. A reputation is a useless and fake quality that others impose on us. You haven't lost it unless you think you have. There are lots of ways to get on the general's good side again. You've been discharged because he's angry, and because he's obliged to do so for policy reasons, not because he dislikes you. He's got to beat up the weak to frighten the strong. Go to him, petition him. He'll change his mind. 4. Reputation
Had it pleased heaven To try me with affliction, had they rained All kinds of sores and shames on my bare head, Steeped me in poverty to the very lips, Given to captivity me and my utmost hopes, I should have found in some place of my soul A drop of patience. But, alas, to make me The fixèd figure for the time of scorn To point his slow and moving finger at! Yet could I bear that too, well, very well. But there where I have garnered up my heart, 60Where either I must live or bear no life, The fountain from the which my current runs Or else dries up—to be discarded thence! Or keep it as a cistern for foul toads To knot and gender in! Turn thy complexion there, Patience, thou young and rose-lipped cherubin,— Ay, there, look grim as hell!
1. Othello 2. Desdemona 3. If God had decided to treat me like Job, making me sick and covered with sores, reducing me to abject poverty, selling me into slavery and destroying all my hopes, I would have found some way to accept it with patience. But instead He's made me a laughingstock for everyone in our time to point at and scorn! Even that I could put up with. But instead, my wife, who's supposed to be like the fountain that my children and all my descendants flow from, has rejected me! Worse than that, she's polluted herself, so that the fountain is a place where disgusting toads copulate and reproduce! Even the goddess of patience couldn't look at this and be patient—it's too horrifying!
That's a fault. That handkerchief Did an Egyptian to my mother give, She was a charmer and could almost read The thoughts of people. She told her, while she kept it 'Twould make her amiable and subdue my father Entirely to her love, but if she lost it Or made gift of it, my father's eye Should hold her loathèd and his spirits should hunt After new fancies. She, dying, gave it me And bid me, when my fate would have me wived, To give it her. I did so, and take heed on 't, Make it a darling like your precious eye. To lose 't or give 't away were such perdition As nothing else could match.
1. Othello 2. Desdemona 3. That's not good. An Egyptian woman gave that handkerchief to my mother. She was a witch, and she could almost read people's thoughts. She told my mother that as long as she kept it with her, my father would love and desire her. But if she lost it or gave it away, my father would start hating her and looking at other women. When she was dying she gave it to me and told me to give it to my wife when I got married. I did. So pay attention. Treat it as something precious. Losing it or giving it away would be an unspeakable loss, a loss like none other. 4. Similar to the way Othello now views Desdemona. He has lost any feeling of love for her and despises her.
Now by heaven, My blood begins my safer guides to rule, And passion, having my best judgement collied, Assays to lead the way. Zounds, if I stir, Or do but lift this arm, the best of you Shall sink in my rebuke. Give me to know How this foul rout began, who set it on; And he that is approved in this offense, Though he had twinned with me, both at a birth, Shall lose me. What, in a town of war Yet wild, the people's hearts brimful of fear, To manage private and domestic quarrel, In night, and on the court and guard of safety? 'Tis monstrous, X, who began't?
1. Othello 2. Iago 3. All right, now I'm starting to lose my cool. By God, if you don't tell me what happened you'll all suffer. Tell me how this fight began, who started it. Whoever is guilty, even if he were my twin brother, I swear I'm through with him. We're in a town that's just avoided a war, everyone's still on edge, and you're getting into private fights while you're supposed to be on guard duty? That's unbelievably bad. Iago, who started it?
Ay, let her rot and perish and be damned tonight, for she shall not live. No, my heart is turned to stone. I strike it and it hurts my hand. Oh, the world hath not a sweeter creature, she might lie by an emperor's side and command him tasks.
1. Othello 2. Iago 3. Yes, let her die and rot and go to hell tonight. She won't stay alive for long. No, my heart's turned to stone—when I hit it, it hurts my hand. Oh, the world never saw a sweeter creature. She could be married to an emperor, and he'd be like her slave!
What is iambic pentameter?
A poetic type of writing in which every line has 10 syllables.
What is within?
Indicates that a person speaking or being spoken to is somewhere offstage.
What is an exunt?
Indicates the departure of two or more characters from the stage.
Too tired the last 5 are not here sorry!
Lo siento
What is the pattern for iambic pentameter?
One unstressed + one stressed syllable
What always happens at the end of a tragedy?
The hero (whose name is in the title) dies
What happens after the main character dies in a tragedy?
The society tries to learn something from it and move on
How often does Shakespeare use prose vs. poetry?
Verse is most common (75%), while Prose is not as common (25%)
What is a heroic downfall?
When the tragic hero reaches a peak so they inevitably downfall towards the end of the play
What is aside?
Words an actor speaks to the audience which other actors on the stage cannot hear.
What is a soliloquy?
a long speech that a character gives in which they speak their thoughts aloud with nobody else around to hear what they're saying; often it is directed at the audience
What is verse?
poetry, writing arranged with a metrical rhythm
What is a tragic flaw?
the character defect that causes the downfall of the tragic hero (protagonist) of a tragedy
Who is the tragic hero in a tragedy?
the main character who faces their inevitable downfall; the hero isn't always the protagonist of the play, depends
