Love Flashcards
(63 cards)
Iago: ‘thieves, thieves, thieves’
Reflects the way in which Desdemona and Othello’s love is initially demonised
- It is significant that he chooses to use the reptetiion of thieves to wake up Brabantio – emphasises the importance of property, establishing Othello as dangerous and thieving, but it also relates to Othello stealing his daughter – reflecting the subordination of women
‘Even now, now, very now, and old black ram is tupping your white ewe’
Creates a sense of urgency and panic.
Reflects contemporary stereotypes of old black men as more sexually threatening – also reflecting the idea of the January May romance. He lays the ground emotionally, then moves to explicitly offensive sexual imagery which is often tied to animalistic imagery, reflecting racism. He attempts to provoke Brabantio. Contrast in colour reflects racial difference and characterises Desdemona as with pure Venetian innocence.
Desdemona presented as dominated by her animalistic husband (Othello is the subject and she is the object). The bestial language used to describe Othello would have resonated with the Shakesperean audience – great chain of being wa s ahierarchical Christian structure which places animals lower than even the lowest of humans – demonstrating Iago’s belief that Moors are lowlier than Europeans. The colour black allows Iago to emphasise othello’s apparent evil nature
‘the devil will make a grandsire of you’
Devils were thought to be black. Iago positions Othello within the narrative as evil. Audience becomes aware of Iago as masterful.
‘you’ll have your daughter covered with a Barbary horse’
Crude sexual animalistic imagery. Deliberate attempts to provoke and inflame.
your daughter and the Moor are now making the beast with two backs’
Development of image of bestiality into a truly monstrous image
Roderigo: ‘gross clasps of a lascivious Moor’
Predatory sexual undertones.
Othello: ‘‘I love the gentle Desdemona’
Contrasting with iago’s description of their relationship as purely sexual – comes across as proud, calm, confident
IAGO: ‘Faith, he tonight hath boarded a land carrack’
Iago creates a sexual image of a treasure ship, reflecting an image of piracy. Iago views relationships as purely sexual/lusting. Presents Othello as a thief.
Brabantio: ‘damned as thou art, thou hast enchanted her… in chains of magic’
Accuses Othello of black magic – reflecting racist stereotypes. Imagery of entrapment
This is an almost hysterical soliloquy
Brabantio cannot fathom why DESDEMONA WOULD HAVE MARRIED A MOOR UNLESS SHE WERE ENCHANTED BY HIM, THUS INTRODUCING THE motif of witchcraft. This gives Othello an air of otherworldliness and exoticism. Magic was neither understood nor accepted by Christian Europe, so associating Othello with magic further removes him from society and others him.
That I have ta’en away this old man’s daughter it is most true; true, I have married her’
Reclaims and redefines.
Frames this as an almost pure act despite the fact it is a transgression
Othello: ‘of my whole course of love, what drugs, what charms’
Almost mocking/undermining what he is charged with
‘I won his daughter’
She chooses him – giving desdemona agency. Contrasts with Brabantio
However it is also the possessive language of objectification.
Brabantio: ‘to fall in love with what she feared to look on’
Emphasises to audience the bravery of choice to leave her father
- her love is initially something liberating, it is transformed into restricting
Senator: ‘subdue and poison this young maid’s affections?’
poison imagery reflects the shocking nature of their love
Senator: ‘Or came it by request and such fair question as soul to soul affordeth’
Nature of mutual respect – mutuality of respect and care – makes the fall more tragic = transformative love at the start of play is destroyed
Othello: ‘How I did thrive in this fair lady’s love and she in mine’
Sense of balance in love – love mot corruption/magic
Her father loved me, oft invited me, still questioned me the story of my life’
Long but important speech gives an insight into Othello’s past. Noble, heroic qualities are expressed. He draws on exoticism
‘She’d come again, and with a greedy ear devour up my discourse’
Image of consumption – reference to her appetite – interested in the wider world and exoticism of Othello – consumes his stories. Establishes their relationship as not just sexual, but based on stories – he presents a version of himself and she falls in love with that – almost idealistic love? Desdemona makes the controversial choice of rejecting the monotony of her life in favour of the exotic.
Also indicative of an early 17th century fascination with ‘otherness’ – it was a time of exciting exploration, Francis Drake ect.
‘She loved me for the dangers I had passed and I loved her that she did pity them’
Perhaps there is not a soldi foundation for their love
Desdemona: ‘I am hitherto your daughter. But here’s my husband’
Assertive, controlled in command of her thoughts. She both subverts and accepts male authority
Love is initially liberating
‘My heart’s subdued even to the very quality of my lord’
Despite overturning conventions with her father she submits to Othello – goves her agency and allegiance to him – he has power over her heard
‘And to his honours and his valiant parts did I my should and fortunes consecrate’
His great deeds – she fell in love with his stories. Religious imagery reflects her total commitment
I saw Othello’s visage in his mind’
His face is transformned by his mind – race isn’t an obstacle for her
Othello: ‘But to be free and bounteous to her mind’
He wants to pay attention to her mind. Tries to justify that their love is more than just sexual lust – contrasts with iago who only understands love through sex. He highlights that his interest in her isn’t motivated by sexual desire – anticipating this stereotypical charge against black men
