Othello Flashcards
(51 cards)
Tush … ‘Sblood
A1S1: Roderigo and Iago
first words = curse words = crudeness and vulgarity
Immediately establishing the theme of debasement
Begins in media res - conflict is throughout the novel and key to it (conflict about Cassio’s promotion- Iago’s motive?)
Michael Cassio, a Florentine … mere prattle without practice
…
And I … His Moorship’s ancient.
A1S1: Iago
Denoting Cassio (racially exacerbated?)
…
‘ancient’ - noun, servant - angry at his low position in society
I follow him to serve my turn upon him.
A1S1: Iago
Duplicity - Iago employs ‘Face Theory’
I am not what I am.
A1S1: Iago
Biblical allusion to Exodus (God declaring himself as Yahweh)
Aggrandises himself
Adverb ‘not’ suggests evil and malevolence (opposite to God’s attributes- explore how much power Iago really has)
Enter Brabantio at a window above
A1S1:
Staging and preposition signals hierarchy of power
an old black ram / Is tupping your white ewe!
A1S1: Iago
- Exclamatory sentence
- Bestial language, gerund verb suggestion of sexual violence?
- Colour imagery + adjective, Othello’s insecurities
- Pronoun - instils patriarchal norms
hath made a gross revolt … extravagant and wheeling stranger
instils the patriarchal norms- this is the one time desdemona shows some defiance
adjectives
‘I won his daughter’
A1S3: Othello
possessive verb - commodification of women
possessive pronoun - absence of her name (and identity), lack of autonomy
Desdemona is ‘a prize, spoil of war’
Carol Phillips
‘I will chop her into messes’ - Othello
present participle, declarative, modal verb - affirmative in his decision to kill her
violent, plosive verb - emphasises Othello’s debasement, a brutish and barbaric strength
noun - sheer brutality, regression into racial stereotypes
‘Our great captain’s captain’ - Cassio
collective pronoun + premodification - aggrandising and respectful, a universal admiration
noun - seemingly unified in strength, atypical of the Renaissance time highlighting her influence over Othello
‘Your wife, my Lord, your true and loyal wife’ - Desdemona
pronoun - submissive and passive in her commodification, links to the acceptance of her death
ironic adjectives - Desdemona is the only virtuous, loyal character and goes against the stereotypes of a Venetian woman
Desdemona ‘accepts her culture’s dictum that she must be obedient to males’
Marilyn French
‘I will not charm my tongue, I am bound to speak’ - Emilia
personal pronouns - reclaiming her autonomy
declarative and modal verb - a clear defiance of patriarchy
double entendre (charm) - she is no longer willing to be constrained by Iago, and unashamedly states the vulgarity of the situation
verb - reclaiming of feminism (yet this is what gets her killed), links to the tropes of an Aristotelian tragedy
‘pelt… wind-shaked surge… monstrous mane’ - The Storm whilst travelling to Cyprus
conceit - the power of the sea/setting and their removal from comfortability mimics the personal and political
barbaric and animalistic description of the sea mimics the characters’ debasement
‘Till I am evened with him, wife for wife’ - Iago
biblical allusion - commodification of women (an eye for an eye)
is Iago losing because of his wife’s unfaithfulness or because of his loss of control?
connotations of sport and competition - are Iago and Othello more concerned about their manhood?
‘Reputation, reputation, reputation’ - Cassio
triplet engenders Cassio’s protection and obsession with image within manhood
‘I will incontinently drown myself’ - Roderigo
is Roderigo suicidal because of his failed pursuit of love or his inferiority as a result of this rejection?
‘She must die, else she’ll betray more men’
Is men’s “love” for women really an obsession with image? Do women in the play have their love centered around their service to men and NOT themselves
Iago ‘it is merely a lust of the blood … Come, be a man’
A1S3
links to Augustinian ideas of original sin and cupiditas
adverb - reflects iago’s lack of love/lack of understanding of love?, his disdain towards roderigo
imperative and noun instills the stereotypical images of masculinity
Cassio ‘The divine Desdemona’
A2S1 Cassio
premodification - heavenly connotations, good set up for iago (instils respect which is atypical of the context)
alliteration/mild plosive- forshadows her fate
Othello ‘Iago is most honest’
A2S2 Othello
dramatic irony
ironic premodification
superlative reflects othello’s hamartia + iagos masterful manipulation
Iago (soliloquy) ‘I play the villain’
A2S3
reflects iagos love of performance
his awareness in what he is doing- sheer cruelty
still no intention given - motiveless malignity s.t. coleridgw
A3S1 Clown is comic relief
A3S1 Clown
though relieving after the turmoil, it marks that the audience is reaching the climax of the play