Othello - A2S3 Flashcards
(7 cards)
IAGO
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 Othello.
CASSIO
Not to-night, good Iago: I have very poor and
unhappy brains for drinking: I could well wish
courtesy would invent some other custom of
entertainment.
IAGO
O, they are our friends; but one cup: I’ll drink for
you.
CASSIO
I have drunk but one cup to-night, and that was
craftily qualified too, and, behold, what innovation
it makes here: I am unfortunate in the infirmity,
and dare not task my weakness with any more.
IAGO
What, man! ‘tis a night of revels: the gallants
desire it.
How is Iago characterised in this scene?
How do we see his duplicitousness here?
Exit
IAGO
If I can fasten but one cup upon him,
With that which he hath drunk to-night already,
He’ll be as full of quarrel and offence
As my young mistress’ dog. Now, my sick fool Roderigo,
Whom love hath turn’d almost the wrong side out,
To Desdemona hath to-night caroused
Potations pottle-deep; and he’s to watch:
Three lads of Cyprus, noble swelling spirits,
That hold their honours in a wary distance,
The very elements of this warlike isle,
Have I to-night fluster’d with flowing cups,
And they watch too. Now, ‘mongst this flock of drunkards,
Am I to put our Cassio in some action
That may offend the isle.–But here they come:
If consequence do but approve my dream,
My boat sails freely, both with wind and stream.
Why are the stage directions vital here? … what dramatic techniques are involved?
How do we see Iago’s characterisation further developed?
Why is this monologue so important?
Enter RODERIGO
IAGO
[Aside to him] How now, Roderigo!
I pray you, after the lieutenant; go.
Exit RODERIGO
Again, how are the stage directions vital here?
How do we see the characterisation of Roderigo further developed here?
OTHELLO
What is the matter here?
…
What is the matter, masters?
Honest Iago, that look’st dead with grieving,
Speak, who began this? on thy love, I charge thee.
Analyse the …
Language techniques?
Dramatic techniques?
IAGO
I cannot speak
…
OTHELLO
ive me to know
How this foul rout began, who set it on;
And he that is approved in this offence,
…
‘Tis monstrous. Iago, who began’t?
…
IAGO
Touch me not so near:
I had rather have this tongue cut from my mouth
Than it should do offence to Michael Cassio;
Yet, I persuade myself, to speak the truth
Shall nothing wrong him.
…
There comes a fellow crying out for help:
And Cassio following him with determined sword,
To execute upon him. Sir, this gentleman
Steps in to Cassio, and entreats his pause:
Myself the crying fellow did pursue,
Lest by his clamour–as it so fell out–
The town might fall in fright: he, swift of foot,
Outran my purpose; and I return’d the rather
For that I heard the clink and fall of swords,
And Cassio high in oath; which till to-night
I ne’er might say before.
OTHELLO
I know, Iago,
Thy honesty and love doth mince this matter,
Making it light to Cassio. Cassio, I love thee
But never more be officer of mine.
How is Iago portrayed - to the audience?
–> dramatic technique?
Give specific evidence
Othello
- How is he portrayed?
Exeunt all but IAGO and CASSIO
IAGO
What, are you hurt, lieutenant?
CASSIO
Reputation, reputation, reputation! O, I have lost
my reputation! I have lost the immortal part of
myself, and what remains is bestial. My reputation,
Iago, my reputation!
IAGO
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:
…
CASSIO
I will ask him for my place again; he shall tell me
I am a drunkard!
…
IAGO
You or any man living may be drunk! at a time, man.
I’ll tell you what you shall do. Our general’s wife
is now the general: may say so in this respect, for
that he hath devoted and given up himself to the
contemplation, mark, and denotement of her parts and
graces: confess yourself freely to her; importune
her help to put you in your place again: she is of
so free, so kind, so apt, so blessed a disposition.
…
CASSIO
You advise me well.
IAGO
I protest, in the sincerity of love and honest kindness.
CASSIO
I think it freely; and betimes in the morning I will
beseech the virtuous Desdemona to undertake for me:
I am desperate of my fortunes if they cheque me here.
IAGO
You are in the right. Good night, lieutenant; I
must to the watch.
CASSIO: Good night, honest Iago.
Exit
Motif? Can you see a motif developing here?
What is interesting about this motif (technique)?
How is Cassio portrayed (characterised)?
–> How do Iago and Cassio ‘act’ the archetype
[link to storytelling throughout the ages]
- what role does Roderigo play?
How do we see Iago setting his PLAN into action? (quotes needed)
What is interesting about Desdemona’s role here (given the Shakespearean times)… what does this show about underlying themes (think Othello)?
IAGO
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?
…
With his [Othello’s] 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 fortunes
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.
…
Two things are to be done:
My wife must move for Cassio to her mistress;
I’ll set her on;
Myself the while to draw the Moor apart,
And bring him jump when he may Cassio find
Soliciting his wife: ay, that’s the way
Dull not device by coldness and delay.
How is ‘humorous’ about Iago’s self depiction?
How do we see an interesting ‘side’ of Iago? Is he more than just duplicitous? How is he depicted?
What is interesting about the language Shakespeare uses here “ Divinity of hell!
When devils will the blackest sins put on”?
- How does this again ‘cement’ the foundations (themes) of the play?
What is the purpose of this excerpt here?
How does Iago end the first part of his soliloquy? Note the language devices.
What is the purpose of this last excerpt?
