Act 1 to 3 Flashcards
Act 1 scene 1 summary
- Rodrigo is unhappy with Iago for failing to promote his marriage to Desdemona who has recently married Othello
- Iago says that Othello has promoted an inexperienced solider, Michael Cassio, over him and that he hates Othello and wants to take revenge on him
- To cause trouble, Iago uses Rodrigo to wake up Brabantio and inform him of his daughter Desdemona’s elopement
- Brabantio discovers that Desdemona is not in her room
Act 1 scene 3 summary
- Othello is told to prepare for war against the Turks
- Brabantio accuses Othello of using withcraft against Desdemona
- Othello recounts the history of his relationship with Desdemona. She is brought in the council to confirm words
- Desdemona asks to accompany Othello to Cyprus. Othello places her in Iago’s care
- Brabantio warns Othello about trusting Desdemona
- ## Iago says he will help Rodrigo seduce Desdemona and cuckold(man who’s been cheated on) Othello
Act 2 scene 1 summary
- The Turkish fleet is destroyed by a storm, but all the characters arrive safely in Cyprus (Important as it means Othello has pent up war energy in him so he is restless )
- Iago dislikes the courteous way Cassio greets Emilia
- Othello is overjoyed to be reunited by Desdemona
- Iago persuades Roderigo to provoke Cassio into losing his temper in the hope of discrediting him
- Iago reiterates his desire to have revenge on Othello and Cassio in a soliloquy. He suspects them both of cuckolding him
End of act 1 scene 3 (Iago’s soliloquy)
- By the end of this act, Iago’s soliloquy reveals to the audience some of his reasons for hating Othello
- Iago’s willingness to act on “suspicion.. as if for surety” suggests there is an inherent evil nature to his character, and that the motives he gives are purely incidental
- Ironically, this is exactly what Iago is able to convince Othello to do – change from being a man who judges by what he sees, to judging by what he hears and convincing him to believe suspicion as truth
Act 2 Scene 3
- Iago gets Cassio to drink a bit, knowing that he cannot hold his liquor at all.
- Iago also tries to get Cassio’s feelings about Desdemona, but his intentions are innocent
- Iago hopes to cause a quarrel between Cassio and Roderigo and wants to see Cassio discredited through this, so that he might take Cassios place.
- Cassio fights with Roderigo. Montano tries to hinder Cassio, but Cassio ends up injuring him. The noise wakes Othello, who comes down to figure out what has happened.
- Montano tells what he knows of it all, and Iago fills in the rest making sure to fictionalize his part in it all.
- Cassio is stripped of his rank, and all leave Cassio and Iago alone. Iago tries to convince Cassio that a reputation means little
- Iago suggests talking to Desdemona, maybe he can get her to vouch for him with Othello.
- This will help Iago get the impression across that Desdemona and Cassio are together
- Iago then gives a soliloquy about knowing that Desdemona will speak for Cassio, and that he will be able to turn that against them both.
Act 3 Scene 3
In this scene, Iago begins to poison Othello’s mind into believing that Desdemona is having an affair with Cassio. At first, Othello cannot believe that Desdemona would behave in such a way, but slowly Iago makes suggestions that get into Othello’s imagination and he begins to believe it could be true. To make matters worse, Desdemona, unsuspecting, tries to get Cassio’s job back not knowing that it is making the situation worse
Act 3 Scene 4
Desdemona realises she has lost the handkerchief and denies she has lost it to Othello. He informs her of its sentimental value. Cassio finds the handkerchief in his bedroom and gives it to his mistress Bianca
“We cannot all be masters, nor all masters / Cannot be truly followed.”
What are the language techniques in this line and why has shakespeare used this + audience response
Repetition of masters
Inverted phrasing
This statement is significant as it it Iago’s first admission of his true feelings towards Othello. This line sets up Iago’s character throughout the whole play and makes the audience understand better Iago’s character and his role in the play. It also gives the audience a sense of suspicion and by repeating the word “masters,” Shakespeare draws our attention to the word and enforces the idea of hierarchy and power structures within society. The inverted phrase gives two different meanings to this line the first part of the line “we cannot all be masters” almost has a resigned tone and gives us an insight to how subordinates felt during this time. The second part has an ominous tone and foreshadows Iago’s duplicitous nature.
“Others there are / Who, trimmed in forms and visages of duty, / Keep yet their hearts attending on themselves, / And, throwing but shows of service on their lords, / Do well thrive by them.”
Metaphor: “Trimmed in forms and visages of duty” suggests a façade of loyalty
Contrast: The contrasting behaviors of dutiful servants versus self-serving ones
Irony: Those who only appear loyal succeed better than those who are genuinely devoted
“Were I the Moor I would not be Iago.
In following him, I follow but myself.”
Paradox: The statement is contradictory. It suggests that if Iago were in Othello’s position, he would be different, implying a fundamental difference between their natures or roles. He wouldn’t want to be a lowly servant
Foreshadowing: Implied deception of Iago later on
Repetition: enforces idea
“honest knaves”
oxymoron + motif of honest
“But I will wear my heart upon my sleeve /
For daws to peck at. I am not what I am.” (language techniques + analysis
Basically saying I will be truly honest when I’m dead
Metaphor: “Wear my heart upon my sleeve”: This metaphor suggests openly showing one’s true feelings or intentions. It vividly illustrates the vulnerability and transparency of doing so
Imagery: “For daws to peck at” This creates a stark image of birds (daws) pecking at an exposed heart, symbolizing mockery and attack. It evokes a sense of danger and the consequences of exposing one’s true self.
Biblical Allusion: “I am not what I am” echoes God’s statement to Moses, “I am that I am” (Exodus 3:14). This allusion inverts the divine assertion of truth and existence, highlighting Iago’s role as a deceiver and manipulator.
Dramatic irony: By making Iago’s duplicity clear to the audience while keeping other characters in the dark, Shakespeare creates dramatic irony. This enhances the tension and engagement as the audience anticipates the unfolding of Iago’s schemes. (Also makes audience feel like coconspirators)
How to write introduction?
One line of context
One line explaining what happens in passage
This point in the play is important because ________________________
How to write body paragraphs?
One line of introduction rewording essay question and adding what overall point is
“Of moving accidents by flood and field,
Of hairbreadth ’scapes i’ th’ imminent deadly
breach,
Of being taken by the insolent foe”
Anaphora: It emphasizes the dangerous and perilous situations Othello has experienced. Each repetition reinforces the severity and impact of these events, highlighting their significance in Othello’s life and character. This creates a rhythmic pattern that draws attention to Othello’s narrative, making his recounting of these events more compelling and memorable for the audience.
War imagery: Reminds us that Othello is a soldier and how he applies military strategy to his personal decisions as well as his job as a soldier. War is all he has ever known.
Emotive adjectives: Suggesting how dramatic his past life is. These adjectives evoke sympathy and admiration from the audience. “Moving” suggests the emotional impact of the accidents, while “hairbreadth” emphasizes the narrowness of Othello’s escapes, heightening tension and drama.
What is consistent in Othello’s speech throughout Act 1 Scene 3?
Othello’s language is controlled and poetic like a well-bred person from the court
What does Shakespeare make Othello do for the audience’s enjoyment?
Othello in this passage talks about his war stories which makes it interesting for the audience as they will never travel out of their town and this is their entertainment
“Her father loved me, oft invited me, / Still questioned me the story of my life / From year to year—the battles, sieges, fortunes”
War imagery
Listing: In this case, Othello lists the significant events (“battles, sieges, fortunes”) he has experienced throughout his life. This technique serves to emphasize the breadth and depth of Othello’s experiences, portraying him as a seasoned and worldly character.
Parallelism: Parallelism involves using similar grammatical structures or patterns within a sentence or passage. Here, the repetition of the structure “the [noun], [noun], [noun]” creates a rhythmic and balanced effect. It also underscores the thematic unity of Othello’s life experiences, focusing on the challenges and successes he has encountered.
“hills whose heads touch heaven”
Personification and hyperbole
“And of the cannibals that each other eat, / The Anthropophagi, and men whose heads / Do grow beneath their shoulders. These things to hear”
Imagery: Othello’s fantastical descriptions. Suggesting he’s experienced everything, further portrays his exotic nature. The description of “men whose heads / Do grow beneath their shoulders” evokes a fantastical or monstrous image, suggesting creatures or people with abnormal and grotesque features.
Allusion: “Anthropophagi” refers to a mythical race of people described in ancient Greek and Roman literature who were believed to be cannibals. By using this term, Shakespeare draws on cultural and literary references that would have been familiar to his audience, enriching the imagery and adding depth to the description of exotic and distant lands.
” with a greedy ear / Devour up my discourse.”
Personification: of the ear suggesting that it eagerly desires to hear and absorb Othello’s words. This personification enhances the vividness of Desdemona’s attentiveness and her emotional response to Othello’s stories.
Alliteration: Devours and discourse
“She swore, in faith, ’twas strange, ’twas passing strange, / ’Twas pitiful, ’twas wondrous pitiful.”
Anaphora: Emphasises how much Desdemona was moved by Othello’s stories
The audience empathizes with Desdemona’s emotional response, understanding the impact of Othello’s narrative on her and appreciating her sincere affection for him. Also depicts Desdemona’s gentle, loving personality
“She loved me for the dangers I had passed,
And I loved her that she did pity them.”
Parallel structure: Suggests that their love is based on Desdemona’s reaction to Othello’s fantastical stories rather than them spending time together and getting to know eachother in person
“My downright violence and storm of fortunes
May trumpet to the world.”
Alliteration: Emphasises forecefulness and intensity of Desdemona’s feelings for Othello
War imagery/metaphor: To describe her love for Othello, she mirrors Othello’s language here which is ironic as she is gentle and kind. This reflects her understanding and admiration of his character and experiences. This parallel not only showcases her empathy and connection
“The tyrant custom, most grave senators,
Hath made the flinty and steel couch of war
My thrice-driven bed of down.”
Othello is saying he’s so used to war it’s like a bed to him
Metaphor: Othello uses metaphorical language to describe his experience of war. The phrase “flinty and steel couch of war” metaphorically contrasts the hardness and harshness of warfare (“flinty and steel”) with the comfort and softness of a “bed of down.” By calling it his “thrice-driven bed,” he emphasizes that he has repeatedly endured the hardships of war.
Alliteration: repetition of the “t” sound in “tyrant,” “custom,” and “senators”
Personification: war is personified as having the ability to “make” or impose its harsh conditions on Othello, emphasizing its forceful impact on his life and experiences.
“if I be left behind, / A moth of peace, and he go to the war”
Juxtaposition of peace and war showing how different Desdemona and Othello are
“That my disports corrupt and taint my business, / Let housewives make a skillet of my helm,”
Hyperbole and metaphor. Adds humour but shows how serious Othello is to his duties
“A man he is of honesty and trust”
Ironic, Othello trust Iago. Use of motif honesty
“If virtue no delighted beauty lack, / Your son-in-law is far more fair than black.”
Rhyming couplet. Black/white imagery ( In this context, “black” and “fair” are used metaphorically to represent moral qualities rather than physical appearance. “Black” traditionally connotes darkness or evil, while “fair” represents goodness or virtue.) Duke is saying Othello is virtuous with racist undertones. the Duke indirectly underscores Othello’s racial difference and the societal prejudices associated with it. The implication is that Othello’s virtues are exceptional for someone of his race, reinforcing the stereotype that blackness is generally associated with moral inferiority or suspicion.
In act one scene 3 what is Iago’s private conversation with Roderigo said in?
prose to suggest secrecy
“put money in thy purse”
Imperative sentence (commanding tone)
Repeated throughout Iago and Roderigo’s conversation so it reinforces Iago’s persuasive intent. By repeating it, Iago subtly implants the idea in Roderigo’s mind that money is crucial for achieving his desires, particularly winning Desdemona’s love. Iago plans to simply spend all the money.
Metaphor: Purse is a metaphor for money
