Jealousy Flashcards
Jealousy as a Self-Consuming Force
“O, beware, my lord, of jealousy; / It is the green-eyed monster which doth mock / The meat it feeds on”
Iago ironically warns Othello against jealousy whole planting the seeds of it, show casing his manipulative nature (AO2).
The metaphor of the “green-eyed monster” suggests that jealousy is destructive and self-consuming, mocking its victim even as it grows.
Reflects the destructive power of Othello’s growing mistrust in Desdemona (AO1).
Renaissance views of jealousy often linked it to dishonour and male pride, particularly regarding women’s chastity (AO3).
Similar to Shakespeare’s Much Ado About Nothing, where Claudio’s jealousy over Hero’s perceived infidelity leads to humiliation (AO4).
A psychoanalytic critic might see jealousy as a projection of Othello’s insecurities.
Feminist critics may argue this reflects the patriarchal fear of female autonomy (AO5).
Iago’s Professional Jealousy
“I am worth no worse a place”
Iago’s resentment stems from Othello promoting Cassio instead of him, demonstrating professional jealousy (AO1).
This jealousy motivates Iago’s manipulation and revenge plot, revealing his cunning and ambition (AO2).
Hierarchical structures in the military placed great importance on status and recognition, making Iago’s demotion a personal and public insult (AO3).
Comparable to Edmund in King Lear, who envies his legitimate brother Edgar, using manipulation to rise in power (AO4).
Marxist critics might argue Iago’s jealousy highlights frustrations with a rigid social hierarchy.
A post-structuralist view could interpret Iago’s language as destabilising traditional ideas of loyalty (AO5).
Othello’s Transformation Through Jealousy
Farewell the tranquil mind! Farewell content! / Farewell the plumed troop, and the big wars / That make ambition virtue!”
Othello’s jealousy leads to his emotional unraveling, as he bids farewell to reason, peace, and his heroic identity (AO2).
His language becomes fragmented and chaotic, mirroring his internal turmoil.
Highlights the destructive power of jealousy on his identity and relationship with Desdemona (AO1).
Othello’s reliance on reputation reflects Renaissance ideas of honour, particularly among military leaders (AO3).
Links to Macbeth, where ambition consumes Macbeth’s identity, just as jealousy consumes Othello (AO4).
Aristotelian critics might see jealousy as Othello’s tragic flaw (hamartia).
Racial readings highlight how societal prejudices amplify Othello’s insecurities, making him more susceptible to jealousy (AO5).
Emilia’s Critique of Jealousy
They are not ever jealous for the cause, / But jealous for they are jealous: ‘tis a monster / Begot upon itself, born on itself”.
Emilia critiques jealousy as irrational and self-perpetuating, independent of evidence or reason (AO2).
This insight contrasts with Othello’s perception of his jealousy as justified, exposing his self-destruction (AO1).
Emilia’s commentary reflects growing proto-feminists awareness of male insecurity and its destructive effects on women (AO3)
Mirrors Lady Macbeths’s critique of her husband’s ambitions as self-defeating in Macbeth (AO4).
feminist critics may see Emilia as exposing the patriarchal roots of jealousy.
Psychoanalytic readings might view jealousy as stemming from deep- seated insecurities (AO5).
Desdemona as a Victim of Jealousy
“She must die, else she’ll betray more men”
Othello justifies Desdemona’s murder as an act of justice, showing how jealousy distorts his morality and love (AO2).
Desdemona’s innocence contrasts with Othello’s irrational jealousy, making her a tragic victim of his insecurities (AO1).
Renaissance tragedies often depict women as victims of male power and jealousy (AO3).
Similar to Ophelia in Hamlet , whose death results. from male domination and misunderstanding (AO4).
Feminist critics argue Desdemona represents women silenced and destroyed by patriarchal control.
New Historicists might explore how Desdemona’s murder reflects societal anxieties about female autonomy and fidelity (AO5).
The Role of the Handkerchief
“That handkerchief / Did an Egyptian to my mother give”.
The handkerchief symbolises love and fidelity, but Othello’s jealousy transforms it into evidence of betrayal (AO2).
Its role in the tragedy highlights how jealousy distorts meaning and perception (AO1).
In Renaissance culture, objects were often imbued with symbolic meanings, and a token of love like the handkerchief could signify loyalty (AO3).
Like the poison in Hamlet, the handkerchief is a seemingly small object with catastrophic consequences (AO4).
Post-structuralist critics might argue the handkerchief’s meaning shifts based on characters’ perspectives, illustrating the instability of symbols.
Feminist critics may see its role as reflecting societal obsession with controlling women’s bodies and fidelity (AO5).
Iago’s Manipulation of Othello’s Jealousy
“Look to your wife; observe her well with Cassio”
Iago’s indirect accusations manipulate Othello into doubting Desdemona, sowing jealousy while appearing loyal (AO2) .
His rhetorical skills and use of insinuation reveal his mastery of manipulation (AO1).
Reflect Renaissance anxieties about cuckoldry , which was seen as a threat to male honour (AO3).
Iago’s manipulation mirrors Edmund’s exploitation of Gloucester in King Lear (AO4).
Psychoanalytic critics might argue Iago’s actions stem from deep-seated envy and resentment.
Marxist critics may interpret Iago’s manipulation as a response to social and professional power dynamics (AO5).
