Othello - A1, Sc 1. Flashcards
Describe Act 1 Scene 1 in terms of the use/lack of use of Othello’s name:
● We see early on that Roderigo and Iago refuse to use Othello’s name and will continue to use pronouns and epithets of an “old black ram” in its place. Using overtly sexual metaphors of him “tupping” Brabantio’s “white ewe” when referring to Othello puts primacy on his race which reflects the attitudes towards inter-racial marriages. Moreover, this is reflective of the contempt Iago, Roderigo, and Brabantio have for Othello. In a sense, the audience is primed to view Othello disfavorably.
Why does Shakespeare open without Othello there?
● The fact that Shakespeare opens his play Othello without the titular (main) character Othello is to give the audience an incorrect impression of Othello where they, like all the other characters, fall victim to his deceitful nature where Iago dehumanises Othello.
Describe the quote ‘Venice, a street at night’ and what it means in terms of the future of the play.
(Where is it too).
● The play opens in darkness and in media res (in middle of action) with Roderigo and Iago in the middle of a fight – this foreshadows the disorder and malcontent which will define the play as a whole.
A1, S1.
Who says ‘I am worth no worse a place’?
(Describe it, too).
Iago.
- The alliteration of the “w” sound gives the line a more mellow tone, and the effect it makes is to put us in a sort of a dazed state. Iago uses this when he talks about himself which suggests his infatuation with himself.
What quote said by Iago in A1 S1 shows how Iago emphasises his nature to the audience?
(Give further description too).
“But I will wear my heart upon my sleeve for daws to peck at. I am not what I am.”
● Iago emphasises his duplicitous (deceitful) nature to Roderigo and the audience. He is an unambiguous tragic villain. Moreover, Iago’s choice of words suggests his dishonesty is so extreme that he does not even have a stable personality beneath his strategic manipulation of others.
● Indeed, Roderigo thinks he owns more principle because he’s of a higher class, petulant in his anger when he says “I will not follow him then”. However, Iago manages to manipulate him and go to Brabantio’s house as well as explicitly tell him he is not to be trusted - “I am not what I am”. This instantly established Roderigo as a fop (a deluded person).
What quote shows that Iago wants to play God and where is this?
(Give further description).
“In following him I follow but myself” (line 57, A1; S1.) - IAGO
- This is a biblical link to Exodus 314 from the Bible god says “i am what i am” therefore Iago wants to play God.
What does Roderigo’s gullibility foreshadow?
● Roderigo’s gullibility foreshadows Othello’s credulous acceptance of Iago, and his crass attempt to buy Desdemona’s affections contrasts with both the mature love of Othello before he is corrupted and the gentlemanly adoration of Cassio.
Describe and analyse the quote “Even now, now, very now, an old black ram is tupping your white ewe”:
(Give character name and Scene number too).
Said by IAGO - A1,S1.
● Iago solidifies his position as a stereotypical antagonist where he uses anthropomorphism to dehumanise Othello which is emphasised by the anadiplosis of “now”, immediately making clear his grudge against Othello because of him picking Cassio to be lieutenant over him. Iago’s crude and coarse language solidifies him as a tragic villain.
Analyse the term ‘ram’ in the context of “Even now, now, very now, an old black ram is tupping your white ewe”:
● The idea of him being a “ram” is aggressive, forceful, and sexually disturbing. In one of the plays, Roderigo and Iago take turns to saw “now” they’re trying to make Brabantio go into a frenzy, the sentence structure shows Othello as an active one, Desdemona is the passive character giving the idea of a non-consensual relationship, she is a passive participant in the sentence, Othello is acting upon her.
Phonetically, “barbary” in “you’ll have your daughter covered by a Barbary horse” is similar to the word barbarian, furthering the image they paint of Othello; someone who is savage, uncivilised, not in control of their urges. Roderigo calls him a “lascivious moor” trying to suggest Othello’s intentions are only sexual.
What does the repetition of ‘now’ mimic in the quotation “Even now, now, very now, an old black ram is tupping your white ewe”?
● The repetition of “now” also mimics the sexual act they’re referring too. His language here is base and coarse – crude sexual imagery is often a feature of a tragic villain’s language. This statement also reveals the racist beliefs that are a cause of Othello’s tragic isolation and downfall.
What does Richard Twyman’s production of Othello do differently in the scene involving Iago and Roderigo telling Brabantio of Desdemona and Othello’s relationship?
Interestingly, Roderigo and Brabantio are seen at the centre of the stage, whereas Iago is seen lurking in the shadows at the corner of the stage. This is emblematic of Iago’s manipulative nature. He convinces Roderigo to call out Brabantio’s name with him and when Brabantio shows up he goes to hide in the shadows to conceal his two-faced nature.
What quote proves that Iago is a self-pronounced Machiavellian?
(Also give the meaning of Machiavellian with the Act and Scene numbers).
● “And such a one do I profess myself”
He confesses to being totally self-seeking and willing to do anything to ‘line his coats’.
A1, S1.
What is the one important quote from Brabantio in A1, S1?
“Is there not charms by which the property of youth and maidhood. May be abused? Have you not read, Roderigo, Of some such thing?”
Analyse Brabantio’s quote in A1, S1:
● Note that Brabantio’s horror emerges in particular from the thought of his daughter, whom he describes with a lexical of innocent terms that evoke pure white womanhood “a maid, so tender, fair, and happy”, who is presented as de-sexualized, an innocent child, whereas Othello is suggested to have sinister sexual powers akin to magical enchantment, this idea robs Desdemona of agency; Brabantio considers it impossible that she has chosen to marry Othello of her own free will.
● This is furthered through Roderigo’s comment of “how got she out” as if she’s some caged animal who has escaped.
What punctuation is used at the end of Brabantio’s sentences and what does this show?
● Brabantio being overcome with disbelief is shown through his hyphenated sentences coupled with exclamatives in “get weapons-ho!-”.
