Love Flashcards
(7 cards)
She loved me for the dangers I had passed/I loved her that she did pity them Act 1 scene 3
• Chiasmus: Othello uses a mirrored structure (“loved me” / “I loved her”) to show how their emotions reflect but also subtly mismatch each other.
• Metaphor: “Dangers” are used metaphorically to represent Othello’s past traumas, turning his life story into something heroic and appealing.
• Transactional Language: Their love is shown almost as an exchange — dangers for pity — hinting that their relationship is based on admiration, not deep emotional connection.
• Emotive Language: Words like “loved” and “pity” create a tender tone but also foreshadow emotional imbalance.
• Self-Mythologising: Othello presents himself like a tragic hero from a story, shaping his identity through the lens of suffering and survival.
If after every tempest come such calms/May the winds blow till they have wakened death Act 2, scene 1
• Juxtaposition: The contrast between “tempest” (storm) and “calms” (peace) reflects the tension in Othello’s emotions, shifting rapidly between extremes, which mirrors his volatile character.
• Metaphor: The “tempest” symbolizes emotional turmoil or conflict, while “calms” represents the peace Othello seeks, illustrating the cyclical nature of his passions.
• Hyperbole: The wish for the winds to “waken death” is an exaggerated expression of Othello’s emotional intensity, showing his desire for an all-consuming, final resolution to his internal chaos.
• Rhetorical Question/Condition: By posing this hypothetical (“if after every tempest…”), Othello is reflecting on the idea of peace following conflict, suggesting that he seeks closure through dramatic and absolute means.
• Foreshadowing: The mention of “death” hints at the tragic ending, indicating Othello’s increasing instability and his growing obsession with fatalistic thoughts.
• Iambic Pentameter: The rhythmic flow of this line mirrors the movement from conflict to calm, showing how Othello is emotionally torn between extremes, even within a single breath.
‘You’ll have your daughter covered with a Barbary bourse; your nephews will neigh to you; Act 1 scene 1 Iago
Animal Imagery: The phrase “nephews will neigh to you” uses animalistic imagery to dehumanize Othello and suggest that his offspring (and, by extension, his bloodline) will be marked by brutish, animalistic traits. The “neigh” evokes a sense of primitive, unrefined behavior, emphasizing Iago’s racial prejudice and Othello’s otherness.
• Metaphor: “Barbary bourse” is a metaphor for the idea of a mixed-race child, referencing the Barbary Coast known for slavery and racial mixing, suggesting that Othello’s daughter will be born into a racialized legacy. This reflects Iago’s racist worldview.
• Foreshadowing: Iago’s cruel words foreshadow the tragic destruction of Othello’s family, particularly the racial and cultural conflict that will come to define his relationship with Desdemona.
• Verbal Irony: Iago uses sarcasm and irony here, disguising his deep disdain for Othello’s marriage to Desdemona by pretending to offer a warning, when in reality, he is feeding his malicious desires.
• Dehumanization: Iago’s reference to Othello’s potential offspring as “neighing” animals and comparing his daughter to a “Barbary” animal works to strip Othello of his humanity, reinforcing Iago’s racist attitudes.
• Symbolism: The “Barbary” reference symbolically links Othello to a racial and cultural “otherness” while implying that the legacy of this “foreignness” will inevitably manifest in his children, marking them as something unnatural or undesirable.
‘Her delicate tenderness will find itself abused, begin to heave the gorge, disrelish and abhor the Moor’ Act 2 scene 1
• Animalistic Imagery: The phrase “begin to heave the gorge” uses animalistic imagery to depict Desdemona’s supposed physical revulsion, implying a visceral, involuntary response to her marriage with Othello. This reflects Iago’s belief that her “tenderness” will ultimately lead to disgust due to her supposed incompatibility with Othello.
• Metaphor of “Tenderness”: Desdemona’s “delicate tenderness” is a metaphor for her perceived naivety and emotional fragility, which Iago manipulates, suggesting that this innocence will be “abused” as Othello’s racial identity makes her susceptible to revulsion.
• Rhetorical Manipulation: Iago’s words serve to manipulate the audience into thinking that Desdemona’s affection for Othello will ultimately fail. His calculated use of language sows doubt about the longevity of their love.
• Foreshadowing: The imagery of revulsion and abhor foreshadows the disintegration of Othello and Desdemona’s relationship, pointing toward the tragic breakdown driven by racial prejudice and Iago’s manipulation.
• Diction: The harsh, physical verbs like “heave,” “disrelish,” and “abhor” suggest an intense emotional and bodily rejection, heightening the sense of inevitable failure in their marriage.
• Psychological Projection: Iago’s projection of Desdemona’s presumed future feelings reflects his own deep-seated racial hatred, suggesting that he believes her eventual rejection of Othello is an inevitable consequence of her “nature.”
‘I cannot believe that in her. She’s full of most blessed condition’. Act 2 scene 1 Rodrigo about Des
Juxtaposition: The contrast between “I cannot believe that in her” and “She’s full of most blessed condition” highlights Roderigo’s inner conflict and naïve perception of Desdemona. His disbelief is immediately countered by the idealization of her, showcasing how he is manipulated by his obsession.
• Irony: Roderigo’s statement is ironic, as he cannot believe that Desdemona could have the flaws implied by Iago, while simultaneously professing that she is “full of most blessed condition,” which is itself a naive overidealization of her. This irony highlights his gullibility.
• Religious Connotations: The phrase “most blessed condition” uses religious diction, casting Desdemona as a pure, almost saintly figure, which is indicative of Roderigo’s infatuation and his inability to see her as a complex individual. This also contrasts with Iago’s view of her as a manipulative figure.
• Hyperbole: The use of “full of most blessed condition” is an exaggeration of Desdemona’s character, emphasizing Roderigo’s blind worship and idealization of her, which makes him susceptible to Iago’s manipulation.
Now, by yond marble heaven/ (stage direction of kneeling) in due reverence of a sacred vow/ I here engage my words Act 3 scene 3 Othello & Iago, slight homoerotic undertones
Religious Imagery: The reference to “yond marble heaven” invokes religious imagery, associating Othello’s pledge with the solemnity and sanctity of a sacred vow. This imbues his promise with a sense of divine authority and highlights his seriousness in committing to Iago.
• Symbolism of Kneeling: The stage direction of kneeling adds a physical manifestation of subordination and devotion, amplifying the gravity of Othello’s commitment. The act of kneeling can symbolize humility or submission, both of which underscore his trust and loyalty to Iago.
• Hyperbole of a “Sacred Vow”: The phrase “sacred vow” is an exaggeration, elevating the commitment Othello makes to Iago to a near religious or spiritual level, emphasizing how deeply Othello is bound by his honor and his faith in Iago.
• Homoerotic Undertones: The act of kneeling, paired with Othello’s emotional vulnerability and verbal subordination to Iago, can be seen as carrying slight homoerotic undertones. The dynamics of power, submission, and reverence, especially in such an intimate context, hint at an emotional dependency or closeness between the two men that transcends typical friendship.
• Rhetorical Engagement: The phrase “I here engage my words” can be seen as a formal pledge of loyalty and devotion. The language suggests that Othello is entrusting his very identity and actions to Iago, highlighting the manipulative power Iago holds over him.
• Dramatic Irony: The sincerity with which Othello makes this pledge contrasts sharply with the audience’s knowledge of Iago’s deceitful nature, heightening dramatic irony. The more Othello commits, the more the audience understands the tragic consequences of his trust.
‘The sweetest innocent. That e’er did lift up eye’ Act 5, scene 2
Diction: The choice of words like “sweetest” and “innocent” reflects Othello’s deep emotional attachment and guilt. He associates her with purity and goodness, which emphasizes the enormity of his regret and tragic self-awareness in this moment.
• Religious Connotations: The term “innocent” has religious undertones, often used to describe someone without sin. This elevates Desdemona to a saintly or Christ-like status, which, in the context of Othello’s remorse, highlights the sacrificial nature of her death and Othello’s spiritual and moral downfall.
• Pathos: The phrase elicits strong emotional response from the audience, emphasizing the pathos of the situation. Othello’s recognition of Desdemona’s innocence in the final moments creates a profound sense of sorrow, as the audience sees the tragic consequences of jealousy and manipulation.
• Anagnorisis (Recognition): This line represents a crucial moment of anagnorisis—Othello’s realization of his tragic mistake and the irrevocability of his actions. His final acknowledgment of Desdemona’s purity is a painful epiphany, marking the moment he understands the depth of his misjudgment.
• Imagery: The phrase “lift up eye” evokes an image of innocence and vulnerability, suggesting a childlike purity or unprotected beauty. The use of visual imagery here underscores Desdemona’s helplessness in the face of Othello’s violent jealousy.
