Trials

Question 1

Venice A street at night

Answer 1

Setting associated with sexualism and prostitution, which might be the reason that Othello leads to accept D’s cheating.
Argument takes place under the cover of night, bringing secrets, deception and the ever present of threat of violence
The play opens in media res and in darkness, foreshadowing the malcontent and disorder that will define the rest of the play
sets a sinister tone - audience knows a tragedy is about to unfold

Question 2

I follow him to serve my turn upon him

Answer 2

Iago immediately makes clear his grudge against Othello as a result of Othello picking Cassio to be his lieutenant over him. This overt grudge stated at the opening of the pay immediately presents Iago as manipulative and deceitful – a stereotypical antagonist
The extent and depth of his hate for Othello and his desire and willingness to totally destroy him require a motivation more compelling than having been passed over for this promotion. That motivation lies in the racial attitudes identified in the conversations, references, and defamatory images of the characters in this scene. This hatred for Othello consumes Iago
R’s pathetic nature is highlighted through the fact that despite Iago making all these assertions, he fails to see that he too is being manipulated.

Question 3

But I will wear my heart upon my sleeve for daws to peck at. I am not what I am

Answer 3

Iago emphasises his duplicitous nature to Roderigo and the audience. He is an unambiguous tragic villain
Gothic imagery
sinister

Question 4

Even now, now, very now, an old black ram is tupping your white ewe

Answer 4

Iago uses crude, animalistic imagery to infuriate Brabantio, and contrasts the races and ages of the two lovers to highlight Desdemona’s purity and innocence, compared to Othello, who seems like a lascivious old man. The verb tupping almost seems violent, and so is perhaps used to give the audience a prejudiced view of Othello before they have even seen him on stage.
The repetition of now here mimics the sexual act that Othello is referring too. His language here is base and coarse – crude sexual imagery is often a feature of a tragic villain’s language. This statement also reveals the racist beliefs that are a cause of Othello’s tragic isolation and downfall.

Question 5

Roderigo: Sir, sir, sir….

Answer 5

This interruption reveals Roderigo’s inability to get his words out and presents him clearly as Iago’s puppet.

Question 6

This accident is not unlike my dream;

Answer 6

Structurally this is significant – Brabantio is very quick to emphatically believe Roderigo. This is later echoed when Cassio and Othello fall quickly for Iago’s lies. Only a few lines later Brabantio calls Roderigo ‘good Roderigo’ a dramatic shift in his feelings towards him – a theme of the play.

Question 7

Nay but he prated and spoke such scurvy and provoking terms against…

Answer 7

Iago is a skillful actor - able to successfully present a contrary appearance and get away with it
Iago’s hypocritical statement serves to present him as a complete contrast to all that we have seen in S1, this presents him as a dangerously effective manipulator.

Question 8

For know Iago that I love the gentle Desdemona

Answer 8

The romantic and tender language acts as a contrast to Iago and Roderigo’s base and crude depiction of their relationship. The simplicity of the statement also counteracts the lewd accusations of curses
First character to speak of love - all other men think of women as something to possess not love = manhood sexuality

Question 9

Keep up your bright swords for the dew will rust them. Good signor you…

Answer 9

Othello’s peaceful and civilised actions again contrast with the barbaric depiction of him in S1. Stage craft here will be helpful, Othello is unarmed and peaceful in the face of many raised swords.

Question 10

Thou hast practised on her with foul charms

Answer 10

Brabantio’s speech reveals the racist and xenophobic attitudes of the time, a belief that Iago exploits and a cause of Othello’s downfall. Here, however, the audience recognises the lack of judgement from Brabantion and sees Othello as the tragic hero.

Question 11

‘Tis a pageant to keep us in false gaze’

Answer 11

Symbolic significance - attempted trickery echoes I’s behaviour They managed to see through Turkish ploy - symbolic significant - deception, one of Iago’s major weapons - his attacks on other characters are particularly devastating because his enemies don’t know that he is attacking them

Question 12

‘Here comes Brabantio and the valiant moor’

Answer 12

The duke and other characters treat O as essential parts of Venetian state - respected characters refer to O’s position and civilised characteristics - affirms audiences belief in this side of his character - both insider and outsider
Repetition of valiant - elevation of tragic hero’s position and value - making his downfall greater and more tragic

Question 13

Othello leaving to Cyprus

Answer 13

Othello’s appointment to Cyprus marks the true beginning of his tragedy. When he is away from venice, a place of familiarity, order and law, Othello will be much more vulnerable to Iago’s attacks

Question 14

Most potent, grave and reverend seigniors, my very noble…

Answer 14

Othello’s speech is dignified, cultured, ordered and formal this will later contrast to his furious and impassioned ramblings

Question 15

Send for the lady and let her speak of me before her father.

Answer 15

Othello allows Desdemona autonomy, revealing his trust in her and presenting her as an active female character whose voice is head and respected.

Question 16

She’d come again, and with a greedy ear devour up my discourse

Answer 16

Animilastic and sexual imagery - desdemona is aware of sexuality - progressive not typical victim. Both othello and desdemona revert to stereotypes
Desdemona seems remarkably forward and aggressive, particularly in relation to renaissance expectations of female behaviour
Hardly any full stops, makes himself sound clever and fantastic

Question 17

She loved me for the dangers I had passed and Ioved her

Answer 17

Their relationship has honesty and empathy at the heart of it. It’s purity is emphasised here so as to allow for the impact of it’s later disintergration.
claims that desdemona fell in love with him because of his stories and that he fell in love with her because of her reaction to his stories - desdemona conforms and validates othello’s self image - may suggest why her faithfulness is such all consuming importance to him

Question 18

Put money in thy purse

Answer 18

This is repeated 7 times during this section to highlight the mercenary nature of Iago.

Question 19

Let me see now; to get his place and to plume up my will in double knavery.

Answer 19

Shakespeare allows the audience to witness Iago’s plotting on stage. He is presented as a shrewd and calculating villain who understands that manipulation and mental cruelty are his best weapons.

Question 20

The moor is of a free and open nature, (…) and will as …

Answer 20

The audience is put in a kind of cahoots with Iago here because he shares his plans with them, allowing for dramatic irony later on meaning the audience can see how effective his plans are. Iago revels in his cruelty, enjoying his own malevolence and showboating his villany. Meanwhile Othello is presented as trusting and honest allowing the audience to feel empathy for him and to give him aspects of the tragic victim.

Question 21

Our wars are done…

Answer 21

The conflict has been resolved by nature rather than man and this use of natural disorder a ‘high and monstrous main’ sets a melancholic tone. It has been suggested that the Turks lack of adequate protection against the storm is symbolic of Othello’s own lack of power against the mighty force of Iago later in the play.

Question 22

O let the heavens give him defence against the elements…

Answer 22

Religious refernce emphasies O’s goodness and C’s level of concern
His manners and courtesy will be his downfall - I uses these against him with O, who knows mostly ways of battlefield not as knowledgeable with manners
C’s dear for O’s safety elevates position of him as a tragic heor - othello’s value as ‘brave# and ‘full soldier’
Conforms to O’s sense of identity as a repsetful soldier which has been undermined by I’s xenophobic claims

Question 23

He hath achieved a maid That paragons description and wild fame; A2 S1 L61

Answer 23

Cassio’s hyperbolic description of Desdemona (tragic victim) develops her positive qualities and reputation. The verb choice ‘achieved’ is interesting here meaning ‘wooed and won’ but also implies that she is of higher status and virtue than Othello. Thus echoing Iago’s provocative comments in the opening scene to Brabantio.

Question 24

Left in the conduct of the bold Iago…Whose footing here anticipates our thoughts. A2 S1 L76

Answer 24

Firstly, Shakespeare deliberately refers to Iago after Cassio’s description of Desdemona to set up the central tension between antagonist and victims in the play. Cassio echoes Othello’s own blindness towards Iago as he respects him and trusts Desdemona’s safe passage with him.

Question 25

O, but I fear…

Answer 25

Desdemona’s fearful plea could be seen as an example of female intuition/instinct which adds to the melancholic tone. The use of ellipsis shows her inability to speak her fears; reinforcing her gentle and timid nature. This creates a tragic tone as we see her genuine/spontaneous feelings of love and affection for Othello for the first time which creates sympathy for both characters.

Question 26

She that was ever fair and never proud,

Answer 26

Shakespeare furthers Iago’s characterisation as villainous through his misogynistic attitude towards women. Although presented in ‘jest’ he sets up a series of contradictory statements that show his lack of respect for women through crude language and sexualised imagery. Concluding that their role is only domestic and focused on motherhood (‘suckle fools and chronicle small beer’). In turn this highlights how easily he can manipulate both Desdemona and Othello due to their weakened positions (woman/other)

Question 27

He takes her by the palm. Ay, well said, whisper…

Answer 27

Shakespeare use of aside reveals Iago’s plotting to the audience so we are implicated. His manipulation of a courteous interaction highlights his ruthless nature as antagonist. The metaphor of trapping a spider in its own web is interesting as it suggests the disruption of domestic harmony which foreshadows Desdemona’s death in her own marital bed.

Question 28

If it were now to die…

Answer 28

Othello’s gratitude for their safe passage to Cyprus and reunion with Desdemona is touchingly presented through the poetic and hyperbolic language which characterises him. However this is undercut with a melancholic and foreboding tone as he worries that he might not feel happier in the future. Unwittingly the use of dramatic irony highlights his blindness towards Iago’s plotting and his own fate.

Question 29

Her delicate tenderness will find itself abused…

Answer 29

Iago’s manipulation of Roderigo (sub-plot) is based on the principle that Desdemona and Othello’s union is unnatural and therefore cannot continue. This highlights Iago’s loathing of Othello and his presentation of Desdemona as a sexually voracious woman would have shocked a contemporary audience. Roderigo’s dramatic functions in the play are to give the audience an insight into Iago’s motivations and set him up as another tragic victim.

Question 30

The Moor, howbeit that I endure him not...

Answer 30

Iago reveals here that he actually believes that Othello would make a ‘dear husband’. This creates sympathy and fear for our hero as Othello’s positive traits make him vulnerable (hamartia-is his trust in Iago) to Iago’s continued plot against him.

Question 31

And, I’ll warrant her, full of game

Answer 31

Shakespeare develops the theme of female virginity and reputation here. Iago once again uses crude language to imply that Desdemona has a sexual appetite which questions her virtue; setting the seeds of doubt for both Cassio and, then later, Othello.

Question 32

If consequence do but approve my dream#My boat sails freely both with wind and stream.

Answer 32

Iago develops the metaphor of natural disorder from the start of the act to refer to his own plotting. The comparison to nature creates a sense of inevitability for our tragic hero. Arguably, it also suggests that he is an opportunist who plots for ‘sport’.

Question 33

Well, God’s above all; and there be souls must be saved…And there be souls must not be saved. A2 S3 L97

Answer 33

The religious reference emphasises Cassio’s innocence and sets him up as tragic victim. The use of antithesis in the line also shows his despair and lack of control over his own fate which foreshadows Desdemona’s pleas at the end of the play. Dramatically, he is speaking to Iago-the self-titled-’Devil’ of the play.

Question 34

For Christian shame, put by this barbarous brawl. He that stirs next to carve for his own rage…Holds his soul light; he dies upon his motion. A2 S3 L166

Answer 34

Othello is presented as decisive and powerful, in place of a war he can be seen to deal with the fight well. He uses religious reference to authorise his actions which further contrasts him to Iago.

Question 35

That you unlace your reputation thus…And spend your rich opinion for the name of a night-brawler. A2 S3 L187

Answer 35

Shakespeare further develops the tragic elements of reputation and shame which are central to the plot. Othello’s own identity is bound up with his professional duty (soldier) and the reputation associated with this. Consider the verb ‘unlace’ to suggest disorder or vice and the value is shown through ‘rich’ opinion. Here we see the fragility of reputation and the speed with which it can be taken which links to later in the play.

Question 36

I know, Iago, thy honesty and love doth mince this matter…Cassio, I love thee; but nevermore be officer of _________.

Answer 36

Shakespeare shows the influence of Iago over Othello as he immediately dismisses Cassio from his position on his word alone-highlighting his hamartic/blindness. It also shows his own misjudgement as he defers to Iago’s statement/opinion rather than his own feelings. This serves to isolate Othello from someone who respects and gives Iago more power and control.

Question 37

Divinity of hell, when devils will the blackest sins put on…

Answer 37

Shakespeare’s presentation of the ‘devil’ firstly with reference to Othello in the opening act is now used to describe Iago and his intentions. Counteracting his performance as an ‘honest’ man believed by the other characters. The image of heaven and hell offers a tragic juxtaposition to the religious references used by the innocent victims within the play.

Question 38

She shall undo her credit with the Moor…

Answer 38

Iago’s plotting quickly develops to focus on Desdemona his next tragic victim. Once again, his plotting is revealed so the audience are implicated in his villainy increasing sympathy for both the unwitting and helpless Desdemona and Othello. There is a juxtaposition between innocence and evil presented here which contrasts and develops his reference to the ‘black ram’ and ‘white ewe’ in the opening scene.

Question 39

I never knew a Florentine…

Answer 39

The hyperbolic reference develops the theme of blindness/misjudgement regarding Iago the antagonist which serves to speed up the plot and build dramatic irony.

Question 40

And needs no other suitor but his likings to..Take the safest occasion by the front to bring you in again. A3 S1 L46

Answer 40

emphasises Emilia’s innocence and sets her up as another unwitting victim of Iago’s plotting. Shakespeare uses dramatic irony here to build tension as we see their innocent and compliant natures used against both characters. There is catharsis here too, this impies that without Iago’s meddling it could all still have worked out well.

Question 41

My lord shall never rest (…) his bed

Answer 41

Desdemona is presented sympathetically through her loyalty to Cassio and so her implied loyalty to Othello. Although this is undercut with natural disorder as her forceful pleas gives her a position of power/will over Othello which develops throughout the scene. The active nature of her service to Cassio causes foreboding in the audience.

Question 42

No, sure I cannot think it that he would…Steal away so guilty-like’. A3 S3 L38

Answer 42

Iago is once again given power through his speech (as is seemingly commentating to himself) about Cassio’s change in behaviour. The use of negative language ‘no’ and ‘cannot’ serve to emphasise his supposed doubt/shock at Cassio’s behaviour. He further ‘villainises’ him by using the negative terms ‘steal’ and ‘guilt’ playing on Cassio’s shame/loss of reputation. The audience are aware of how readily Othello elevates Iago’s opinion/judgements above his own and so the tension builds.

Question 43

If I have any grace or power…to move you

Answer 43

The theme of natural disorder/reversal of gender roles is developed here as Desdemona is strong-willed and insistent with Othello. This foreshadows the frighteningly quick breakdown in their communication and relationship.

Question 44

I will deny thee nothing…Grant me this, to leave me but a little to myself. A3 S3 L85

Answer 44

Othello’s repetition of line 76 suggests his response is dutiful rather than genuine-suggesting that the reversal of roles/power combined with Iago’s manipulation is already impacting on his mental state and marriage. The tragedy is heightened through his desire for isolation/escape.

Question 45

Be as your fancies teach you: whate’er you be… i am obedient

Answer 45

Shakespeare furthers Desdemona’s characterisation as a victim here. In spite of her earlier assertion of will/power now we see her obedience to Othello. The use of ‘fancies’ means his desires but could also perhaps link to his changeable/inconstant will which will contribute to their shared downfall and deaths.

Question 46

And for I know thou’rt full of love and honesty…And weigh’st thy words before thou giv’st them breath,’ A3 S3 L119

Answer 46

Othello’s blindness/misjudgement in this speech once again hinges on his belief that Iago is loving, honest and pragmatic. The use of ‘weigh’st’ adds to the dramatic irony as the audience know that Iago’s plot and ‘poisoning’ of Othello is crafted and controlled.

Question 47

Certain, men should be…what they seem

Answer 47

Othello echoes Iago’s words to show the power shift between antagonist and tragic hero. The use of the generalised term ‘men’ allows Iago to set seeds of doubt about Cassio’s behaviour and sets him up as wise/knowledgeable. This also adds to the theme of blindness and sight as the term ‘seem’ not only refers to Cassio but also Iago’s own performance of ‘heavenly shows’.

Question 48

No, to be once in doubt...Is once to be resolved. A3 S3 L181

Answer 48

Shakespeare further characterises our tragic hero as flawed due to his rash/impetuous behaviour-already seen in his dismissal of Cassio. This also adds to his pride and certainty that he would act immediately if he has proof of Desdemona’s infidelity.

Question 49

I’ll see before I doubt; when I doubt… prove; and on the proof, there is no more but this. A3 S3 L192

Answer 49

Shakespeare develops the theme of blindness/sight here from ‘seem’ to ‘see’. There is a sense of inevitability for Othello and Desdemona’s marital breakdown through the use of ‘when’. Also, the term ‘proof’ suggests it is factual but the audience know that Iago is trusted and so has the power to recast/comment on events.

Question 50

I am bound to theeFor ever. A3 S3 L215

Answer 50

Othello’s isolation and downfall continues here with the shift of power from hero to antagonist. His poetic and hyperbolic language is reminiscent of marriage vows and sets up the subversion of his own marriage which leads to the ceremony later in the scene. There is also an inevitable and melancholic tone as Othello unwittingly predicts his own fate.

Question 51

Set on thy wife to observe. A3 S3 L241

Answer 51

Othello’s catastrophic moment as his misjudgement/blindness about his own power/position and assumption that Iago ‘loves’ him. Unwittingly the transference of power to Iago is complete. The audience know that Othello will listen to Iago’s version of events and so he has free reign to manipulate everything.

Question 52

She’s gone, I am …abused and my relief must be to loath…. her.

Answer 52

Language choices contrast extremely with his previous choices for Desdemona and are emphatic. Othello is past the point of redemption now.

Question 53

‘Tis destiny unshunnable, like death…Even then this forked plague is fated to us when we do quicken. A3 S3 L277

Answer 53

Shakespeare further develops the tragic elements of fate/destiny here as the reference suggests that deception is as certain and inescapable as death. Firstly, the viewpoint/attitude is clearly Iago’s misogynistic one showing his ‘infection’ of Othello is complete. Shakespeare cleverly links jealousy, infidelity and death to create a bleak and foreboding tone which generates sympathy for Othello as it suggests his complete lack of power.

Question 54

If she be false, O then heaven mocks ____.

Answer 54

Religious reference is hyperbolic and is more typical of Othello’s speech which once again focuses on the innocence of Desdemona. This reminds the audience of their genuine love for one another and creates sympathy for both characters. However, unwittingly he echoes Iago’s soliloquy where he contrasted ‘heavenly shows’ with the ‘divinity of hell’.

Question 55

What he will do with it, heaven knows, not I…I nothing but to please his fantasy. A3 S3 L300

Answer 55

Emilia is presented as another victim of Iago’s as she takes the handkerchief to please him. It confirms to the audience that she doesn’t know about his plot with the ironic use of ‘heaven’ to emphasise her innocence. The line also echoes Desdemona’s earlier one-showing that women are marginalised and controlled by their husbands. The use of ‘fantasy’ is interesting meaning ‘whim’ but it could also link to the scale of Iago’s plot.

Question 56

Villain, be sure thou prove my love a whore…

Answer 56

The double time scheme sees Othello very quickly move from a state of confidence in his marriage to a certainty that Desdemona is unfaithful and this should be ‘proved’. The crude term ‘whore’ is Iago’s language and signals Desdemona’s ruined reputation and so her inevitable downfall. Once again, Shakespeare undercuts this command with Othello’s misjudgement through his ironic reference to Iago as a ‘villain’ adding to the tragedy.

Question 57

I’ll tear her all to pieces!

Answer 57

Shakespeare’s use of exclamation here shows Othello’s loss of control and violent tendencies. The verb ‘tear’ is graphically vicious and serves to dehumanise him-almost conforming to Iago’s negative characterisation of him in the opening act.

Question 58

Arise, black vengeance, from they hollow cell!…

Answer 58

Othello’s descent into a violent madness is furthered here as he appears to repeat a black magic incantation or spell. The speech explores the extremes of turning love into hatred. It is reminiscent of Lady Macbeth’s calling on the spirits-they both need to prepare to be strong and fight their instincts. As this hints at a doubt it frightens the audience that Othello is so willing to be led by Iago (catastrophe) and the speech echoes Iago’s own about the ‘divinity of hell’. The absolute nature of his language here creates fear and sympathy for Desdemona as she will be the victim of his ‘tyrannical violence’.

Question 59

Witness you ever-burning lights above… Iago doth give up the execution of his wit, hands, heart, to wronged Othello’s service. A3 S3 L464

Answer 59

Shakespeare presents their vows to one another (against Desdemona) as an unsettling subversion of the marriage ceremony to dramatically end a scene about performance, loyalty and honesty. In place of genuine respect (Cassio) and love (Desdemona) Othello is completely isolated trusting Iago as a loyal attendant to Othello. This links to both his hubris and hamartia. The misjudgement is exaggerated through the use of a triplet to highlight everything Iago has used against Othello in his plot.

Question 60

Heaven keep that monster from Othello’s mind

Answer 60

The religious reference confirms Desdemona’s innocence and helpless state as she seemingly has no other power over Othello. Consider how quickly this has happened and is shown through their stilted speech patterns. Shakespeare highlights that it is too late/her downfall is inevitable as the ‘monster’ referring to jealousy but also Iago has infected his mind.

Question 61

Or to be naked with her friend in bed…

Answer 61

The escalation of Iago’s lies mean this is almost comic in its ridiculously unconvincing attempt to appear like he is protecting Cassio. Demonstrates his growing boldness and confidence as his suggestions become more base and crude.

Question 62

Pish! Noses, ears and lips. Is’t possible. Confess? Handkerchief? Oh devil! He falls…

Answer 62

Marks Othello’s extreme physical and mental downfall. It is at this point that his language and his physicality deteriorate to such a point that he collapse on the stage after muttering a series of fragmented exclamations and questions. His mental suffering is emphasised through the brief shift to prose.

Question 63

And many worthy and chaste dames even thus, all guiltless meet reproach.

Answer 63

Pins down women as tragic victims at the mercy of men. Highlights Desdemona’s innocence and Iago’s knowledge of her lack of guilt explicitly.

Question 64

I will chop her into messes. cuckold me!

Answer 64

Presents Othello as savage and barbaric and reveals the extent of his change. His behaviour mimicking the behaviour predicted of him by Brabantio and Iago increases the sense of inevitability.

Question 65

Is this the noble moor whom our full senate call all-in-all sufficient?

Answer 65

This comment from Lodovico (a representative of Venice and therefore of civilisation) emphasises Othello’s extreme reversal of fortune. Lodovico’s condemnation of his behaviour towards Desdemona serves to increase the sense of shock and pity that the audience feel in response to Othello’s on stage act of violence.

Question 66

Lay down my soul at stake. A4 S2 L11

Answer 66

This is a pivotal moment. Othello could choose to believe Emilia’s emphatic vow here instead of continuing on his destructive course.

Question 67

Alas the heavy day! Why do you weep?

Answer 67

This gentle act of concern serves to emphasise both Desdemona’s innate goodness, further presenting her as a traditional victim and to act as indirect stage directions which remind the audience that Othello too is suffering and is to be pitied too.

Question 68

Was this fair paper, this most goodly book, made to..

Answer 68

Othello continues to repeat the word whore as well as giving her money, implying she is a prostitute. The escalation and repetition of this coarse and misogynistic language here shows how under Iago’s influence Othello is. This also highlights his tragic flaw and personal weakness

Question 69

The moor is abused by some most villainous knave…

Answer 69

Emilia’s repetition of knave reveals her overpowering fury. She us also presented as perceptive; she understands some of what has gone on here. These also act as good descriptions of Iago as antagonist. . It is also interesting to remember that while Emila is describing the villain with such hatred and disgust, Iago himself is on stage listening.

Question 70

Here I kneel: If e’er my will did trespass against his love either in discource or thought or actual deed.

Answer 70

This stage action is a mirroring of Othello and Iago’s earlier kneeling. However, while there was a sinister and corrupt sub version of the marriage vows, Desdemona’s is a pure and honest repetition of hers. Again this increases feelings of pity and contrasts her against her husband in honesty and integrity.

Question 71

Faith I have heard too much; for your words..

Answer 71

Roderigo’s complaint that Iago is untrue, yet his continuation of support for him proves the power of Iago’s words. Perhaps Shakespeare employs this semi-sub-plot to demonstrate how powerful Iago’s manipulations are to help the audience understand that Othello is also a victim.

Question 72

Roderigo: How do you mean ‘removing of him’?Iago:…

Answer 72

Important moment in the plot – Iago dictates Roderigo’s unsuccessful murder of Cassio.

Question 73

Desdemona: He hath commanded me to go to bed and bade me dismiss u. Emilia: _______?

Answer 73

Creates foreboding, fear and dread. The dramatic irony serves to intensify the inevitability which is mirrored in Emilia’s own fear, expressed through the repetition of Desdemona’s words in the form of a question.

Question 74

Let husbands know their wives have sense like them:

Answer 74

Emila’s plea is an insight into her no-doubt abusive marriage and this coupled with the intimate setting and the female-centric nature of this scene gives a voice to victimised women. Othello is not just a tragedy of a great general it is also an intimate domestic tragedy.

Question 75

I have no great devotion to the deed and yet he hath given me satisfying reasons

Answer 75

Iago’s manipulative power is emphasised by Roderigo’s puzzlement at his own following. Perhaps Shakespeare does this right before Othello murders Desdemona to show again Iago’s culpability.

Question 76

Two or three groan. It is a …..heavy night

Answer 76

The escalating murder suggests the growing chaos and disorder leading towards Desdemona’s climactic murder. Iago’s victims are growing in number.

Question 77

Yet I’ll not shed her blood,

Answer 77

Othello’s obsession with Desdemona’s ‘whiteness’ – given to him by Iago’s manipulations – is emphasised here, as is his warped love for her. Shakespeare emphasises his personal weaknesses right before the climax.

Question 78

I would not kill thy unprepared spirit. I would not…..

Answer 78

Othello claims Christian sensitivities as a way of offering Desdemona ‘mercy’. This attempt at hanging onto his sensibilities even at the point of violence allows Shakespeare to present his suffering and confusion.

Question 79

Why I should fear I know not, since guiltiness I know not...

Answer 79

The repetition of ‘fear’ here creates feelings of fear and pity for Desdemona and allows Shakespeare to build tension and foreboding. Again, Desdemona’s innocence as a tragic victim is emphasised.

Question 80

Alas, why gnaw you so your nether lip? Some __________ shakes your very frame.

Answer 80

Indirect stage directions emphasise Othello’s transformation into madness. His weakness or flaw (his extreme passion) is presented as dangerous rather than romantic through the adjective choice and he is presented again as savage and animalistic.

Question 81

Thou art to … die

Answer 81

This simple declaration is emphatic and chilling. The use of the future tense increases the horror and inevitability.

Question 82

O, the more _____ angel she and you the blacker ______devil

Answer 82

The use of contrast here emphasises the horror of Desdemona’s innocent death and presents the dichotomy of the roles of tragic villain and victim

Question 83

Emilia: My husband? Othello…. thy husband

Answer 83

The repetition of ‘thy husband’ throughout this section emphasises Emilia’s disbelief and growing understanding of her husband’s role in the tragedy. The denouement is approaching.

Question 84

You told a lie, an odious damned lie: upon my soul a lie, a wicked lie.

Answer 84

The extreme repetition emphasises Emilia’s outrage and verbalises Iago’ great sin for the first time on stage.

Question 85

Blow me about in the winds! Roast me in Sulphur! Wash me in…

Answer 85

The series of hyperbolic exclamatives emphasise Othello’s suffering and the horror of his moment of realisation or anagnorisis.

Question 86

Will you I pray, demand that demi devil why he hath…

Answer 86

Here it is Iago who is presented as colluding in black magic – the crime initially associated with Othello has been used to destroy him.

Question 87

From this time forth I never will speak a word

Answer 87

Iago’s final revenge is his silence. This is what Coleridge refers to as his motiveless malignancy and what others have described as his psychopathic behaviour.

Question 88

Then must you speak of one that loved too wisely

Answer 88

Othello’s fatal flaw and also a statement which some have described as self aggrandizing and reflective of his arrogance rather than true repentance. It is still his reputation (the reason he murdered Desdemona) that he is most concerned with.