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Othello > Othello - quotes > Flashcards

Othello - quotes Flashcards

1
Q

Act 1 Scene 2
- in reference to Roderigo - uncaring and solid in his resolve against racist attacks

A

'’Let him do his spite’’

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2
Q

Act 1 Scene 2
- knows his position in society well - title of General = a good basis for his character - he believes

A

'’My services…Shall out tongue his complaints’’
‘‘My demerits may speak unbonneted’’

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3
Q

Act 1 Scene 2
- true love - genuine and sincere

A

'’I love the gentle Desdemona’’

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4
Q

Act 1 Scene 2
- metaphor - unrestrained love

A

'’unhoused free condition’’

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5
Q

Act 1 Scene 2
- hyperbole / nautical metaphor- his own semantic plain of battle - transfers into his resolute sense of love

A

'’for the seas worth’’

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6
Q

Act 1 Scene 2
- asyndetic list = pure intentions - loves freely and genuinely

A

'’my parts my title and my perfect soul’’

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7
Q

Act 1 Scene 2
- saddening encounter with Cassio - irony - care - comradery and future irony for the later betrayal / misunderstanding

A

'’Tis well I am found by you’’

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8
Q

Act 1 Scene 2
- metaphor - established sense of moral authority - knows that violence will not occur

A

'’keep up your bright swords, for the dew will rust them’’

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9
Q

Act 1 Scene 2
- is presently aware of societal hierarchy in Venice - recognises Brabantio’s authority

A

'’more command with years than with your weapons’’

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10
Q

Act 1 Scene 2
- self assured - rejects Brabantio’s violent gesture

A

'’hold your hands’’

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11
Q

Act 1 Scene 2
- respects Desdemona’s own ability to speak for herself - opposes Brabantio’s language - pure intentions

A

'’how may the Duke be therewith satisfied?’’

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12
Q

Act 1 Scene 3
- quote from the Senator = regarded with respect
- Duke mirrors this - bar racist language

A

'’valiant moor’’
‘‘valiant Othello’’

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13
Q

Act 1 Scene 3
- Othello makes his case x2 = sets up argument - respectful
- tells the honest truth - contrasts Iago

A

'’most potent grave and reverend signiors’’

'’it is most true; true I have married her’’

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14
Q

Act 1 Scene 3
- Sprezzatura = feigns difficulty in speech?
struggles to keep face with Venetian society - non-chalent denial of ability

A

'’Rude am I in my speech’’

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15
Q

Act 1 Scene 3
- semantic field of battle - plosive - accentuates his unfamiliarity with love yet consolidates his ability to negotiate - well spoken - powerful oracy

A

'’broil and battle’’

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16
Q

Act 1 Scene 3
- unquestionable defence yet - echoes Brabantio

A

'’I won his daughter’’

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17
Q

Act 1 Scene 3
- yet again - asks for Desdemona’s word - gives a woman a voice - doesn’t allow others to jump to conclusions and make decisions for her - irony

A

'’and let her speak of me before her father’’

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18
Q

Act 1 Scene 3
- another endearing way of referring to Desdemona

A

'’I did thrive in this fair lady’s love and she in mine’’

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19
Q

Act 1 Scene 3
- Brabantio responsible for their meeting - Venetian double standards

A

'’Her father loved me, oft invited me’’

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20
Q

Act 1 Scene 3
- very worldly - accentuates outsider

A

'’Anthropophagi’’

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21
Q

Act 1 Scene 3
- Desdemona - lustful for tales - gustatory imagery

A

'’greedy ear’’
‘‘devour up’’

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22
Q

Act 1 Scene 3
- harmonious - non contradictory love

A

'’she gave for my pains a world of sighs’’
‘‘she loved me for the dangers I had pass’d’’

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23
Q

Act 1 Scene 3
- more emancipating language towards Desdemona

A

'’free and bounteous to her mind’’

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24
Q

Act 1 Scene 3
- faith in his wife - irony

A

'’my life upon her faith’’

25
Q

Act 2 Scene 1
- lexical field of war - masculinity used paradoxically / unconventionally - subversive to the nature of contemporary attitudes / texts - gender transference + her reply

A

'’my fair warrior’’
‘‘my dear Othello’’

26
Q

Act 2 Scene 1
- hyperbolic - nautical imagery - calms with her

A

'’tempest come such calms’’

27
Q

Act 2 Scene 3
- Othello - trust for Iago - culminate in future demise

A

'’Iago is most honest’’

28
Q

Act 2 Scene 3
- subversive (A03) language - religion

A

'’for Christian shame’’

29
Q

Act 2 Scene 3
- chaos born from brawl - stilted language

A

'’fights the Isle’’

30
Q

Act 2 Scene 3
- assertion of power

A

'’sink in my rebuke’’

31
Q

Act 2 Scene 3
- too trusting in Iago - dismisses matter swiftly - falls into Iago’s hands

A

'’mince this matter’’

32
Q

Act 3 Scene 3
- dismissive of Desdemona

A

'’Went he hence now?’’
‘‘some other time’’

33
Q

Act 3 Scene 3
- repetition - ignores

A

'’I will deny thee nothing’’

34
Q

Act 3 Scene 3
- exclamative - ruined by Iago’s manipulation

A

'’Excellent wretch! perdition catch my soul’’

35
Q

Act 3 Scene 3
- dismissive - resolute of his self and Desdemona

A

'’away at once with love or jealousy’’
‘‘I do not think but Desdemona’s honest’’

36
Q

Act 3 Scene 3
- tortured by Iago

A

'’thou hast set me on the rack’’

37
Q

Act 3 Scene 3
- begins to doubt Desdemona

A

'’stolen hours of lust’’

38
Q

Act 3 Scene 3
- only comfortable in semantic field of war

A

'’general camp’’
‘‘farewell’’ - repetition
‘‘Othello’s occupations gone’’

39
Q

Act 3 Scene 3
- harsh language - needs proof

A

'’prove my love a whore’’
‘‘ocular proof’’

40
Q

Act 3 Scene 3 - self depreciation - insecurity

A

'’begrimed and black as mine own face’’

41
Q

Act 3 Scene 3
- violent display of jealousy

A

'’arise black vengeance’’
‘‘he kneels’’

42
Q

Act 3 Scene 3
- damns Desdemona - all love and care for her lost

A

'’lewd minx’’

43
Q

Act 3 Scene 4
- hellish imagery - younger women untrustworthy

A

'’sweating devil’’

44
Q

Act 3 Scene 4
- pressures Desdemona in regards to the Handkercheif

A

'’Is it lost? is it gone?’’
‘‘the handkerchief’’ - anaphoric repetition

45
Q

Act 4 Scene 1
- crude display of masculine insecurity

A

'’naked in bed’’

46
Q

Act 4 Scene 1
- epileptic fit
- repetition beforehand - cant beleive

A

'’he falls in a trance’’

47
Q

Act 4 Scene 1
- evil intent stark contrast to before

A

'’how shall I murder him Iago?’’
‘‘rot and perish’’

48
Q

Act 4 scene 1
- lost all sense or ability to love - pathos lost?

A

'’my heart is turned to stone’’

49
Q

Act 4 Scene 1
- violent imagery

A

'’I will chop her into messes cuckhold me’’

50
Q

Act 4 Scene 1
- stage direction - violence - switch
- misogyny

A

'’she strikes her’’
‘‘Mistress!’’

51
Q

Act 4 Scene 1
- commands Desdemona mockingly

A

'’she’s obedient’’

52
Q

Act 4 Scene 2
- overt display of lack of affection

A

'’subtle whore’’

53
Q

Act 4 Scene 2
- grapples with his new reality - feels cheated - pained as well as angry

A

'’drop of patience’’

54
Q

Act 4 Scene 2
- religious imagery paired with masculine insecurity

A

'’made to write whore upon?’’

55
Q

Act 4 Scene 2
- feels as though he mistook Desdemona

A

'’I took you for that cunning whore of Venice’’

56
Q

Act 5 Scene 2
- wild display of confliction and love - pathos care, sadism?

A

'’he kisses her’’

57
Q

Act 5 Scene 2
- religious imagery

A

'’have you prayed tonight?’’
‘‘take heed of perjury’’
‘‘liar gone to burning hell’’

58
Q

Act 5 Scene 2
- realisation causes him to crumble

A

'’Roast me in sulphur’’
‘‘Desdemona! Dead!’’
‘‘happiness to die’’
‘‘circumcised dog’’

Othello (22 decks)

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