Othello Flashcards

(51 cards)

1
Q

Tush … ‘Sblood

A

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?)

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2
Q

Michael Cassio, a Florentine … mere prattle without practice

And I … His Moorship’s ancient.

A

A1S1: Iago

Denoting Cassio (racially exacerbated?)

‘ancient’ - noun, servant - angry at his low position in society

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3
Q

I follow him to serve my turn upon him.

A

A1S1: Iago

Duplicity - Iago employs ‘Face Theory’

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4
Q

I am not what I am.

A

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)

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5
Q

Enter Brabantio at a window above

A

A1S1:

Staging and preposition signals hierarchy of power

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6
Q

an old black ram / Is tupping your white ewe!

A

A1S1: Iago

  • Exclamatory sentence
  • Bestial language, gerund verb suggestion of sexual violence?
  • Colour imagery + adjective, Othello’s insecurities
  • Pronoun - instils patriarchal norms
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7
Q

hath made a gross revolt … extravagant and wheeling stranger

A

instils the patriarchal norms- this is the one time desdemona shows some defiance

adjectives

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8
Q

‘I won his daughter’

A

A1S3: Othello

possessive verb - commodification of women

possessive pronoun - absence of her name (and identity), lack of autonomy

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9
Q

Desdemona is ‘a prize, spoil of war’

A

Carol Phillips

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10
Q

‘I will chop her into messes’ - Othello

A

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

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11
Q

‘Our great captain’s captain’ - Cassio

A

collective pronoun + premodification - aggrandising and respectful, a universal admiration

noun - seemingly unified in strength, atypical of the Renaissance time highlighting her influence over Othello

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12
Q

‘Your wife, my Lord, your true and loyal wife’ - Desdemona

A

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

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13
Q

Desdemona ‘accepts her culture’s dictum that she must be obedient to males’

A

Marilyn French

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14
Q

‘I will not charm my tongue, I am bound to speak’ - Emilia

A

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

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15
Q

‘pelt… wind-shaked surge… monstrous mane’ - The Storm whilst travelling to Cyprus

A

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

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16
Q

‘Till I am evened with him, wife for wife’ - Iago

A

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?

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17
Q

‘Reputation, reputation, reputation’ - Cassio

A

triplet engenders Cassio’s protection and obsession with image within manhood

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18
Q

‘I will incontinently drown myself’ - Roderigo

A

is Roderigo suicidal because of his failed pursuit of love or his inferiority as a result of this rejection?

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19
Q

‘She must die, else she’ll betray more men’

A

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

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20
Q

Iago ‘it is merely a lust of the blood … Come, be a man’

A

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

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21
Q

Cassio ‘The divine Desdemona’

A

A2S1 Cassio

premodification - heavenly connotations, good set up for iago (instils respect which is atypical of the context)

alliteration/mild plosive- forshadows her fate

22
Q

Othello ‘Iago is most honest’

A

A2S2 Othello

dramatic irony
ironic premodification

superlative reflects othello’s hamartia + iagos masterful manipulation

23
Q

Iago (soliloquy) ‘I play the villain’

A

A2S3

reflects iagos love of performance
his awareness in what he is doing- sheer cruelty
still no intention given - motiveless malignity s.t. coleridgw

24
Q

A3S1 Clown is comic relief

A

A3S1 Clown

though relieving after the turmoil, it marks that the audience is reaching the climax of the play

25
Desdemona 'I am obedient' (wedding vow)
A3S3 Desdemona gender stereotypes not only does she embrace these stereotypes, she is also completely devoted to her wedding vows- naivety given that othello thinks she has cheated
26
Iago 'O, beware, my lord, of jealousy; / It is the green-eyed monster'
a3s3 iAGO ironic prophecy as othello's hamartia is jealousy noun - divinity, loyalty noun associated with sickness, it is all-consuming and may lead to death (link to tropes of aristotelian tragedy)
27
Iago: Desdemona is 'so young'
A3S3 adverb intensifies their differences (aside from race + othellos other insecurities) adjective displays iagos knowledge of othellos deepest insecurities, thus implying their friendship
28
Emilia: 'My wayward husband hath a hundred times / Wooed me to steal it ... I nothing, but to please his fantasy'
A3S3 Emilia adjecdtive implies disdain towards iago + also what she is doing verb implies he has said he will reward her for doing so clear exemplification of sterotypes through diminutive language of herself
29
#Othello: 'There's magic in the web of it'
A3S4 Othello reverts back to sterotypes (accusations of using a 'spell' to woo desdemona) he demands 'ocular proof' but is willing to rely on 'magic'- infantile/debased
30
Othello: 'cunning whore of Venice'
A4S2 Othello lstereotype of venetian women which desdemona definetely is not modern audience officially lost hope for their "radical interrace marriage"
31
Desdemona: tell me, Emilia - / That there be women do abuse their husbands / In such gross kind?'
DesdemonaA4S3 naitivty begs the question, does she find it 'gross' if men cheat? further reinforcement of patriarchy and a womans place ironic as she uses imperatives now, when it is too late
32
The willow song
A4S3 SONG s about a woman who has been abandoned by her lover and is consumed by grief The mention of the willow being "near the brook" adds an additional layer of meaning. Brooks or streams often represent the passage of time or the flow of life. In this context, it could suggest the inevitability of Desdemona’s fate—she is being carried toward a tragic end, helpless and unable to stop it, much like a river flowing to its destination.
33
Emilia: it is 'husbands' faults / If wives do fall... Let husbands know / Their wives have sense like them
Feminist diatribe A4S3 blame on men if women were to cheat futile use of impertives setting is ISOLATED, FEMALE ONLY
34
Othello: 'she must die, else she'll betray more men'
A5S1 Othello By having her die, Othello will supposedly be released from the burden that comes with his cheating wife, and his reputation will still be just as excellent. in a twisted way, does he love her? if i cant have you, nobody can attitude in no way can cheating be equated with murder- unjustifiable what he does- reflects his hamartia + debasement
35
SD: OTHELLO: Kissing her
A5S2 The fact that he kisses her without waking her up suggesting a break and lack of intimacy in the relationship# Even though he (supposedly) hates her, he still kisses her- male gaze
36
Desdemona: my lord?
A5S2: Still addresses him with respect despite the abuse and violence. Perhaps this references the patriarchal context of the play- her role in society as an obedient wife. Her innocence and respect for Othello in this scene only emphasises the enormity of his crime.
37
Othello: Methinks ... huge eclipse /Of sun and moon, and that the affrighted globe / Should yawn at alteration.
In the New Testament accounts of Jesus’ crucifixion, there is a solar eclipse and earthquake (see Matthew 27:45-52). Desdemona’s death is equally momentous to Othello, and of course also carries the same connotations of an innocent victim wrongly killed by human evil especially noticeable to a jacobean audience
38
Post "dying" Desdemona - O, falsely, falsely murder'd!
The apparent revival of a corpse was a typical feature of revenge tragedy. also echoes this "resurrection"
39
Desdemona: A guiltless death I die.
‘As Othello falls victim to racism, Desdemona falls victim to him’ Therefore she feels little guilt because she has contributed to her own downfall by loving Othello; an outsider.
40
Emilia: O, the more angel she, / And you the blacker devil!
physical and emotional contrast
41
Emilia: 'Tis proper I obey him, but not now.
In her vows, Emilia would have agreed to ‘obey’ her husband and in this society Emilia is aware of the fact that she is supposed to be submissive to her husband. However, Emilia becomes a martyr for the truth and will not be prevented from making justice.
42
IAGO offers to stab EMILIA
for speaking up (misogyny) or to protect himself from his plan being exposed? extreme lack of love from iago
43
Emilia: I will play the swan / And die in music.
This refers to the phrase ‘swan song’, derived from the Greek Mythological belief that swans sang a beautiful song before death after being silent throughout most of their lifetime. This is similar to how Emilia stayed quiet about her husband’s misdeeds like other women in this patriarchal society, until she decided to speak out to get justice for Desdemona’s murder.
44
Othello:For nought I did in hate, but all in honour.
Reinforcing his credentials as an honourable soldier Othello values fame, status and reputation even if he had committed a terrible deed
45
Lodovico: Myself will straight aboard: and to the state This heavy act with heavy heart relate.
rhyming couplet - restoration of order in society
46
Kenneth Tyan
Othello is the most easily jealous man that anybody’s ever written about
47
A.C Bradley
a blackness suddenly intervenes between his eyes and the world
48
Anita Loomba
women and blacks exist as ‘the other'
49
Ruth Cowhig
Othello is an alien in a white society
50
Carol Neely
Emilia acts according to wifely virtues of silence, obedience, and prudence
51
Sean McEvoy
The audience becomes complicit in Iago’s intention