Act 2 Flashcards
He hath achieved a maid that paragons description and wild fame.
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.
She that was ever fair and never proud, had tongue at will and yet was never loud.
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)
With as little web as this will I ensnare as great a fly as Cassio.
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.
Her delicate tenderness will find itself abused, begin to heave the gorge, disrelish and abhor the Moor.
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.
The Moor, howbeit that I endure him not is of a constant, loving, noble nature.
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.
And, I’ll warrant her, full of game.
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.
He that stirs next to carve for his own rage holds his soul light; he dies upon his motion.
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.
I know, Iago, thy honesty and love doth mince this matter…Cassio, I love thee; but nevermore be officer of mine.
Shakespeare shows the influence of Iago over Othello as he immediately dismisses Cassio from his position on his word alone-highlighting his hamartia/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.
She shall undo her credit with the Moor. So shall I turn her virtue into pitch.
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.
