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Z - english tragedy - othello > ao2 > Flashcards

ao2 Flashcards

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1
Q

Jealousy: ‘Othello was not…’

Who said this?

A

Jealousy: ‘Othello was not jealous, he was trustful

Dostoevsky

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2
Q

William Empson - ‘honest’ was in transition at the time Othello was written.
What two meanings did it have?

A

William Empson:

1) aristocratic virtues of truthfulness, faithfulness
2) down-to-earth frankness and lack of pretension

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3
Q

Appearance vs reality: The Delphic Oracle exhorted…

A

Appearance vs reality: The Delphic Oracle exhorted the Ancient Greeks to ‘know thyself’ is a recurring issue in the tragic genre

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4
Q

How did Thomas Rymer sum up Othello?

A

Thomas Rymer: ‘so much ado, so much stress…about a handkerchief

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5
Q

Key things to consider about Othello (2)

A
  • tragic noble hero or flawed egoist

- otherness

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6
Q

Key things to consider about Iago (2)

A
  • Iago = Spanish saint known as the ‘Moor killer

- defies Elisabethan beliefs about app vs reality

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7
Q

Key things to consider about Desdemona (2)

A
  • Her name means ‘the unfortunate’ in Greek

- Desdemona = Christian martyr who is pure, devoted to her lord and master

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8
Q

‘Haply, for I am…’

A

‘Haply, for I am black and have not those soft parts of conversation’ - Act 3.3

  • otherness - insecurity, vulnerability to manipulation
  • blurred perception of oneself theme
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9
Q

‘I am not what..’ (3)

A

‘I am not what I am’ - Act 1.1

  • duplicity from the start - knowing oneself?
  • ironically echos God words to Moses in Exodus - ‘I am that I am’
  • scene takes place in the darkness - call for light at the end
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10
Q

‘How am I then a villain to counsel Cassio…’ (2)

A

‘How am I then a villain to counsel Cassio….directly to his good? Divinity of hell!’ - Act 2.3

  • gloats his villainy - in this soliloquy he teases the audience with the knowledge of his duplicity
  • divinity of hell - iago’s diabolical nature - paradoxical phrase entrenches the concept of app vs reality and his role as the tragic villain
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11
Q

‘They are all but stomachs, and…’ (4)

A

‘They are all but stomachs, and we all but food’ - Act 3.4

  • low bestial view of relationship - may reflect her own
  • Iago’s view of the world imposed onto many characters
  • explicit how women are passive victims of men - fate of Des and Emilia
  • disposable, merely for appetite - Iago and Cassio enter after
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12
Q

‘She had a ‘Song of Willow’… (3)

A

‘She had a ‘Song of Willow’…and she died singing it’ - Act 4.3

  • Barbary - black woman - reversal of fate
  • Willow - common theme in Sh plays - reflection of utmost despair - tragic victim, pathos, fate
  • sets up tragic climax for death
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13
Q

‘My parts, my title and my…’ (3)

A

‘My parts, my title, and my perfect soul shall manifest me rightly’ - Act 1.2

  • Othello introduces himself as a noble character - proud his esteem and position - craves regard?
  • Exudes self-confidence
  • Flaw - arrogance and belief that men are judged on their actions and reputation
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14
Q

‘She has deceived…’ (2)

A

‘She has deceived her father, and may thee’ - Act 1.3

  • prophetic, deeply ironic statement - Desdemona may not be as virtuous as she seems
  • Ironic - suspicion cast onto Desdemona, when Iago is the villainous - tragic fate
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15
Q

‘My life upon …’ (2)

A

‘My life upon her faith’ - Act 1.3

  • ironic declaration of trust - after machinations of iago, othello literally gives his life for what he believes is her lack of ‘faith’
  • complete devotion and trust in Des - iago undermines by tapping into othello’s securities - social and racial worthiness of desdemona
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16
Q

‘An old black ram is…’

A

‘An old black ram is tupping your white ewe’ - Act 1.1

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17
Q

‘Will be as tenderly led…’ (2)

A

Will be as tenderly led by the nose as asses are’ - Act 2.3

  • exploits positive characteristics
  • sees chance for revenge in all behaviour and actions - e.g Cassio acts according to etiquette of Venetian society - iago sees a more lascivious side of his actions
18
Q

‘O, my fair warrior!… If it were now to die…’ (2)

A

‘O, my fair warrior!… If it were now to die, ‘Twere now to be most happy’ - Act 2.1

  • equality and profoundness of love within their relationship - contrasts Emilia and Iago’s
  • this love displayed early on - heightens tragedy
19
Q

‘Wife for a wife’ (2)

A

Act 2.1

  • jealousy which drives Iago - and othello later on too
  • ToW
20
Q

‘Thy honesty and love doth mince this matter…’ (3)

A

‘Thy honesty and love doth mince this matter… Cassio, I love thee but never more be an officer of mine’ - Act 2.3

  • early example of iago’s false honesty and loyalty
  • DI of ‘mince this matter’ - recognises iago only tells him part of the truth - but not the fact he caused it
  • Iago’s aim of discrediting Cassio achieved - in Othello believing to demonstrate authoritative leadership, he is actually proving his credulity and rash judgment (which will progress)
21
Q

‘Reputation is an idle and most false imposition…’

A

‘Reputation is an idle and most false imposition, oft got without merit and lost without deserving. - Act 2.3

22
Q

‘I’ll pour this pestilence into his ear…’ (3)

A

‘I’ll pour this pestilence into his ear,
That she repeals him for her body’s lust’ - Act 2.3 (*)
- ‘pestilence’ - connotations of disease and virus
- this soliloquy demonstrates the powerful, diabolical villain iago plays
- plays into his otherness and his view on women

23
Q

‘Sweet Bianca’

A

‘Sweet Bianca’ - term used regularly by Cassio - links to ‘divine Desdemona’ - seemingly loving terms but are both inevitably silenced

24
Q

‘He foams at the mouth and…’

A

‘He foams at the mouth and by breaks out into savage madness’ - Act 4.1

25
Q

‘Good sir, be a man’

A

‘Good sir, be a man’ - Act 4.1

26
Q

‘What art thou? Your wife…’ (2)

A

‘What art thou? Your wife my lord, your true and loyal wife’ - Act 4.2

  • insecurity - questioning her being as a whole
  • pathos/tragic victim insufferable here - chosen to believe iago over his wife
27
Q

‘O good Iago..’ (3)

A

‘O good Iago, what shall I do to win my Lord again?’ - 4.2

  • ‘good iago’ - epithets
  • link to questions of murder that othello askes before
  • state of vulnerability and iago sublimely has supreme power
28
Q

‘There be women do abuse…’ (3)

A

‘There be women do abuse their husbands in such a gross kind?’ 4.3

  • stagecraft - men continue to have dominance over them
  • scene just after falseness of iago and roderigo
  • women confide in each other within their sorrow - des doesn’t change despite lack of males
29
Q

‘The ills we do, their ills…’ (2)

A

‘The ills we do, their ills instruct us to do so’ - Act 4.3

  • Emilia pins the blame on patriarchy - worldly woman to heighten tragic victim role
  • flawed cycle of society - every woman has been sucked into this chaos due to male influence
30
Q

‘Ha! I like not that…’ (4)

A

‘Ha! I like not that…That he would steal away so guilty-like’ Act 3.3

  • Ha! - immediately garners interest from Othello
  • Insinuates guilt - ‘steal’ ‘guilty-like’ - smallest suggestion stirs up guilt in othello
  • Audience laughed at this moment - 2007 production
  • Immediately after Cassio’s exit (Des and Emilia still on stage)
31
Q

‘O beware, my lord, of jealousy. It is the green-eyed monster, which…’ (3)

A

‘O beware, my lord, of jealousy. It is the green-eyed monster, which doth mock the meat it feeds on’ Act 3.3

  • Iago has complete control of this conversation - subtly introduces idea of guilt - attaching it to Des and Cassio
  • Idea of ‘jelousy’ Iago directly pins on Othello
  • monstrous imagery encapsulates how jealousy will destroy him - fs
32
Q

‘I’ll see before I doubt…’ (2)

A

‘I’ll see before I doubt, when I doubt prove’ - Act 3.3

  • ‘ocular proof’ - glimmer of hope which heightens tragedy/fall
  • tries to come across as rational character - reality = he makes rash decisions and makes decisions based on what he hears - believes to make him appear authoritative - links to deep-rooted insecurity - link to slap
33
Q

‘Trifles light as air are to the jealous…’ (4)

A

‘Trifles light as air are to the jealous confirmations strong as proof of Holy Writ’ - Act 3.3

  • Iago recognises the significance of the handkerchief - symbolic as a wedding band - faith and commitment
  • Iago explains his plan - such a small thing can bring such great catastrophe (Othello’s insecurity)
  • possession of the handkerchief - links to control of the narrative - ‘play of storytellers’
  • Holy Writ - permanence, set in stone
34
Q

‘I’ll tear her…’

A

‘I’ll tear her all to pieces.’ - Act 3.3

  • nearer the end of the scene - reverted into stereotypes
  • violent lexical field - ‘O blood, blood, blood!’
  • overwhelmed by the disloyalty - all within one scene - Iago’s brilliance, Othello’s insecurity/true character, or racial stereotypes?
35
Q

The importance of Cyprus (as a representation of catastrophe and chaos’)

A
  • the ‘halfway house’ between civilisation and the heathen world
  • D isolated from everything she knows
  • Othello - looming threat of danger - storm not only reflects fear and violence but also a symbol of the fate of their love
36
Q

“Oh brave Iago…’

A

“Oh brave Iago, honest and just.”

5.1 - The dramatic irony and the height of which Othello has fallen is extremely evident here. Othello is a mighty war general who should not be taught how to slay and kill. The audience continue to view the extent that Othello is completely blind to Iago’s villainy which is where the absurd and comic nature lies. Almost too unbelievable.

37
Q

“Oh banish me…’’

A

“Oh banish me my lord but kill me not”

Act 5 Scene 2 Desdemona: although her clear struggle against Othello in her murder can be viewed as displaying autonomy and courage, this courage is unfortunately undermined by her passive acceptance of her death and her unwillingness to see Othello’s jealousy. This servitude was a key contributor to her murder in this scene.

38
Q

“Nobody; I myself. Farewell”

A

“Nobody; I myself. Farewell”

Act 5 scene 2 Desdemona: though this quote prove to create even more pathos from the audience through Desdemona’s undying love that she continues to feel for Othello highlighting her devotion towards him, it could also convey many character tragic flaws that Desdemona truly has. Her subversive nature is highlighted here and the fact that Desdemona blames herself could actually show that she has come to the realization that going against societies conventions and desiring a marriage that would have been portrayed as negatively towards the contemporary audience is her downfall. The tragedy lies in Shakespeare conforming to these racist social conventions

39
Q

'’That’s he that was Othello…

A

'’That’s he that was Othello: here I am” “O cursed cursed slave! Whip me ye devils”
Act 5 Scene 2 Othello: By Othello distancing himself and creating almost two identities Shakespeare heightens the tragic downfall of the person that Othello once was and who he became as a result of his jealousy. Othello’s use of language here is a return to the romanticism he once shared with Desdemona. Shakespeare is allowing Othello a route back to honor through his language, whilst reminding us how far he has fallen.

40
Q

“Villainy, villainy, villainy!” “He begged me to steal it” “fool”

A

Act 5 Scene 2 Emilia: Emilia is the guardian of Desdemona’s honor, a role Othello should have assumed. Emilia’s castigation of Othello reminds us how far the noble Moor has fallen and the cruelty of her words might perhaps represent some kind of poetic justice. Othello recognises the justice of Emilia’s description when he reiterates her words, “‘O fool, fool, fool!’”.

41
Q

‘put out a light…’

A

‘put out a light, and then put out a light’

42
Q

“She’s like a liar gone to burning hell: Twas I that killed her!”af

A

Act 5 Scene 2 Othello: Othello proudly declares that he has killed his wife moments after denying having any knowledge of her death. This is further evidence of the tumultuous state of his mind but also that in denying having done any wrong, his strong conviction and belief that he is in fact merely and agent of justice.

Z - english tragedy - othello (7 decks)

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