Othello - quotes Flashcards
Act 1 Scene 2
- in reference to Roderigo - uncaring and solid in his resolve against racist attacks
'’Let him do his spite’’
Act 1 Scene 2
- knows his position in society well - title of General = a good basis for his character - he believes
'’My services…Shall out tongue his complaints’’
‘‘My demerits may speak unbonneted’’
Act 1 Scene 2
- true love - genuine and sincere
'’I love the gentle Desdemona’’
Act 1 Scene 2
- metaphor - unrestrained love
'’unhoused free condition’’
Act 1 Scene 2
- hyperbole / nautical metaphor- his own semantic plain of battle - transfers into his resolute sense of love
'’for the seas worth’’
Act 1 Scene 2
- asyndetic list = pure intentions - loves freely and genuinely
'’my parts my title and my perfect soul’’
Act 1 Scene 2
- saddening encounter with Cassio - irony - care - comradery and future irony for the later betrayal / misunderstanding
'’Tis well I am found by you’’
Act 1 Scene 2
- metaphor - established sense of moral authority - knows that violence will not occur
'’keep up your bright swords, for the dew will rust them’’
Act 1 Scene 2
- is presently aware of societal hierarchy in Venice - recognises Brabantio’s authority
'’more command with years than with your weapons’’
Act 1 Scene 2
- self assured - rejects Brabantio’s violent gesture
'’hold your hands’’
Act 1 Scene 2
- respects Desdemona’s own ability to speak for herself - opposes Brabantio’s language - pure intentions
'’how may the Duke be therewith satisfied?’’
Act 1 Scene 3
- quote from the Senator = regarded with respect
- Duke mirrors this - bar racist language
'’valiant moor’’
‘‘valiant Othello’’
Act 1 Scene 3
- Othello makes his case x2 = sets up argument - respectful
- tells the honest truth - contrasts Iago
'’most potent grave and reverend signiors’’
'’it is most true; true I have married her’’
Act 1 Scene 3
- Sprezzatura = feigns difficulty in speech?
struggles to keep face with Venetian society - non-chalent denial of ability
'’Rude am I in my speech’’
Act 1 Scene 3
- semantic field of battle - plosive - accentuates his unfamiliarity with love yet consolidates his ability to negotiate - well spoken - powerful oracy
'’broil and battle’’
Act 1 Scene 3
- unquestionable defence yet - echoes Brabantio
'’I won his daughter’’
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
'’and let her speak of me before her father’’
Act 1 Scene 3
- another endearing way of referring to Desdemona
'’I did thrive in this fair lady’s love and she in mine’’
Act 1 Scene 3
- Brabantio responsible for their meeting - Venetian double standards
'’Her father loved me, oft invited me’’
Act 1 Scene 3
- very worldly - accentuates outsider
'’Anthropophagi’’
Act 1 Scene 3
- Desdemona - lustful for tales - gustatory imagery
'’greedy ear’’
‘‘devour up’’
Act 1 Scene 3
- harmonious - non contradictory love
'’she gave for my pains a world of sighs’’
‘‘she loved me for the dangers I had pass’d’’
Act 1 Scene 3
- more emancipating language towards Desdemona
'’free and bounteous to her mind’’
Act 1 Scene 3
- faith in his wife - irony
'’my life upon her faith’’
Act 2 Scene 1
- lexical field of war - masculinity used paradoxically / unconventionally - subversive to the nature of contemporary attitudes / texts - gender transference + her reply
'’my fair warrior’’
‘‘my dear Othello’’
Act 2 Scene 1
- hyperbolic - nautical imagery - calms with her
'’tempest come such calms’’
Act 2 Scene 3
- Othello - trust for Iago - culminate in future demise
'’Iago is most honest’’
Act 2 Scene 3
- subversive (A03) language - religion
'’for Christian shame’’
Act 2 Scene 3
- chaos born from brawl - stilted language
'’fights the Isle’’
Act 2 Scene 3
- assertion of power
'’sink in my rebuke’’
Act 2 Scene 3
- too trusting in Iago - dismisses matter swiftly - falls into Iago’s hands
'’mince this matter’’
Act 3 Scene 3
- dismissive of Desdemona
'’Went he hence now?’’
‘‘some other time’’
Act 3 Scene 3
- repetition - ignores
'’I will deny thee nothing’’
Act 3 Scene 3
- exclamative - ruined by Iago’s manipulation
'’Excellent wretch! perdition catch my soul’’
Act 3 Scene 3
- dismissive - resolute of his self and Desdemona
'’away at once with love or jealousy’’
‘‘I do not think but Desdemona’s honest’’
Act 3 Scene 3
- tortured by Iago
'’thou hast set me on the rack’’
Act 3 Scene 3
- begins to doubt Desdemona
'’stolen hours of lust’’
Act 3 Scene 3
- only comfortable in semantic field of war
'’general camp’’
‘‘farewell’’ - repetition
‘‘Othello’s occupations gone’’
Act 3 Scene 3
- harsh language - needs proof
'’prove my love a whore’’
‘‘ocular proof’’
Act 3 Scene 3 - self depreciation - insecurity
'’begrimed and black as mine own face’’
Act 3 Scene 3
- violent display of jealousy
'’arise black vengeance’’
‘‘he kneels’’
Act 3 Scene 3
- damns Desdemona - all love and care for her lost
'’lewd minx’’
Act 3 Scene 4
- hellish imagery - younger women untrustworthy
'’sweating devil’’
Act 3 Scene 4
- pressures Desdemona in regards to the Handkercheif
'’Is it lost? is it gone?’’
‘‘the handkerchief’’ - anaphoric repetition
Act 4 Scene 1
- crude display of masculine insecurity
'’naked in bed’’
Act 4 Scene 1
- epileptic fit
- repetition beforehand - cant beleive
'’he falls in a trance’’
Act 4 Scene 1
- evil intent stark contrast to before
'’how shall I murder him Iago?’’
‘‘rot and perish’’
Act 4 scene 1
- lost all sense or ability to love - pathos lost?
'’my heart is turned to stone’’
Act 4 Scene 1
- violent imagery
'’I will chop her into messes cuckhold me’’
Act 4 Scene 1
- stage direction - violence - switch
- misogyny
'’she strikes her’’
‘‘Mistress!’’
Act 4 Scene 1
- commands Desdemona mockingly
'’she’s obedient’’
Act 4 Scene 2
- overt display of lack of affection
'’subtle whore’’
Act 4 Scene 2
- grapples with his new reality - feels cheated - pained as well as angry
'’drop of patience’’
Act 4 Scene 2
- religious imagery paired with masculine insecurity
'’made to write whore upon?’’
Act 4 Scene 2
- feels as though he mistook Desdemona
'’I took you for that cunning whore of Venice’’
Act 5 Scene 2
- wild display of confliction and love - pathos care, sadism?
'’he kisses her’’
Act 5 Scene 2
- religious imagery
'’have you prayed tonight?’’
‘‘take heed of perjury’’
‘‘liar gone to burning hell’’
Act 5 Scene 2
- realisation causes him to crumble
'’Roast me in sulphur’’
‘‘Desdemona! Dead!’’
‘‘happiness to die’’
‘‘circumcised dog’’
