Act 4 Flashcards
Pish! Noses, ears and lips. Is’t possible. Confess? Handkerchief? Oh devil! He falls into a trance.
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.
And many worthy and chaste dames even thus, all guiltless meet reproach.
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.
I will chop her into messes. Cuckold me!
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.
Is this the noble moor whom our full senate call all-in-all sufficient?
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.
I durst, my lord, to wager she is honest, lay down my soul at stake.
This is a pivotal moment. Othello could choose to believe Emilia’s emphatic vow here instead of continuing on his destructive course.
Alas the heavy day! Why do you weep? Am I the motive of these tears, my lord?
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.
Was this fair paper, this most goodly book, made to write whore upon?
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
The moor is abused by some most villainous knave, some base notorious knave, some scurvy fellow.
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.
The moor is abused by some most villainous knave, some base notorious knave, some scurvy fellow.
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.
Roderigo: How do you mean ‘removing of him’? Iago: Why by making him incapable of Othello’s place- knocking out his brains.
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.
Roderigo: How do you mean ‘removing of him’? Iago: Why by making him incapable of Othello’s place- knocking out his brains.
Important moment in the plot – Iago dictates Roderigo’s unsuccessful murder of Cassio.
Desdemona: He hath commanded me to go to bed and bade me dismiss you. Emilia: Dismiss me?
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.
