Trials Flashcards
Venice A street at night
Setting associated with sexualism and prostitution, which might be the reason that Othello leads to accept D’s cheating.
Argument takes place under the cover of night, bringing secrets, deception and the ever present of threat of violence
The play opens in media res and in darkness, foreshadowing the malcontent and disorder that will define the rest of the play
sets a sinister tone - audience knows a tragedy is about to unfold
I follow him to serve my turn upon him
Iago immediately makes clear his grudge against Othello as a result of Othello picking Cassio to be his lieutenant over him. This overt grudge stated at the opening of the pay immediately presents Iago as manipulative and deceitful – a stereotypical antagonist
The extent and depth of his hate for Othello and his desire and willingness to totally destroy him require a motivation more compelling than having been passed over for this promotion. That motivation lies in the racial attitudes identified in the conversations, references, and defamatory images of the characters in this scene. This hatred for Othello consumes Iago
R’s pathetic nature is highlighted through the fact that despite Iago making all these assertions, he fails to see that he too is being manipulated.
But I will wear my heart upon my sleeve for daws to peck at. I am not what I am
Iago emphasises his duplicitous nature to Roderigo and the audience. He is an unambiguous tragic villain
Gothic imagery
sinister
Even now, now, very now, an old black ram is tupping your white ewe
Iago uses crude, animalistic imagery to infuriate Brabantio, and contrasts the races and ages of the two lovers to highlight Desdemona’s purity and innocence, compared to Othello, who seems like a lascivious old man. The verb tupping almost seems violent, and so is perhaps used to give the audience a prejudiced view of Othello before they have even seen him on stage.
The repetition of now here mimics the sexual act that Othello is 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.
Roderigo: Sir, sir, sir….
This interruption reveals Roderigo’s inability to get his words out and presents him clearly as Iago’s puppet.
This accident is not unlike my dream;
Structurally this is significant – Brabantio is very quick to emphatically believe Roderigo. This is later echoed when Cassio and Othello fall quickly for Iago’s lies. Only a few lines later Brabantio calls Roderigo ‘good Roderigo’ a dramatic shift in his feelings towards him – a theme of the play.
Nay but he prated and spoke such scurvy and provoking terms against…
Iago is a skillful actor - able to successfully present a contrary appearance and get away with it
Iago’s hypocritical statement serves to present him as a complete contrast to all that we have seen in S1, this presents him as a dangerously effective manipulator.
For know Iago that I love the gentle Desdemona
The romantic and tender language acts as a contrast to Iago and Roderigo’s base and crude depiction of their relationship. The simplicity of the statement also counteracts the lewd accusations of curses
First character to speak of love - all other men think of women as something to possess not love = manhood sexuality
Keep up your bright swords for the dew will rust them. Good signor you…
Othello’s peaceful and civilised actions again contrast with the barbaric depiction of him in S1. Stage craft here will be helpful, Othello is unarmed and peaceful in the face of many raised swords.
Thou hast practised on her with foul charms
Brabantio’s speech reveals the racist and xenophobic attitudes of the time, a belief that Iago exploits and a cause of Othello’s downfall. Here, however, the audience recognises the lack of judgement from Brabantion and sees Othello as the tragic hero.
‘Tis a pageant to keep us in false gaze’
Symbolic significance - attempted trickery echoes I’s behaviour They managed to see through Turkish ploy - symbolic significant - deception, one of Iago’s major weapons - his attacks on other characters are particularly devastating because his enemies don’t know that he is attacking them
‘Here comes Brabantio and the valiant moor’
The duke and other characters treat O as essential parts of Venetian state - respected characters refer to O’s position and civilised characteristics - affirms audiences belief in this side of his character - both insider and outsider
Repetition of valiant - elevation of tragic hero’s position and value - making his downfall greater and more tragic
Othello leaving to Cyprus
Othello’s appointment to Cyprus marks the true beginning of his tragedy. When he is away from venice, a place of familiarity, order and law, Othello will be much more vulnerable to Iago’s attacks
Most potent, grave and reverend seigniors, my very noble…
Othello’s speech is dignified, cultured, ordered and formal this will later contrast to his furious and impassioned ramblings
Send for the lady and let her speak of me before her father.
Othello allows Desdemona autonomy, revealing his trust in her and presenting her as an active female character whose voice is head and respected.
She’d come again, and with a greedy ear devour up my discourse
Animilastic and sexual imagery - desdemona is aware of sexuality - progressive not typical victim. Both othello and desdemona revert to stereotypes
Desdemona seems remarkably forward and aggressive, particularly in relation to renaissance expectations of female behaviour
Hardly any full stops, makes himself sound clever and fantastic
She loved me for the dangers I had passed and Ioved her
Their relationship has honesty and empathy at the heart of it. It’s purity is emphasised here so as to allow for the impact of it’s later disintergration.
claims that desdemona fell in love with him because of his stories and that he fell in love with her because of her reaction to his stories - desdemona conforms and validates othello’s self image - may suggest why her faithfulness is such all consuming importance to him
Put money in thy purse
This is repeated 7 times during this section to highlight the mercenary nature of Iago.
Let me see now; to get his place and to plume up my will in double knavery.
Shakespeare allows the audience to witness Iago’s plotting on stage. He is presented as a shrewd and calculating villain who understands that manipulation and mental cruelty are his best weapons.
The moor is of a free and open nature, (…) and will as …
The audience is put in a kind of cahoots with Iago here because he shares his plans with them, allowing for dramatic irony later on meaning the audience can see how effective his plans are. Iago revels in his cruelty, enjoying his own malevolence and showboating his villany. Meanwhile Othello is presented as trusting and honest allowing the audience to feel empathy for him and to give him aspects of the tragic victim.
Our wars are done…
The conflict has been resolved by nature rather than man and this use of natural disorder a ‘high and monstrous main’ sets a melancholic tone. It has been suggested that the Turks lack of adequate protection against the storm is symbolic of Othello’s own lack of power against the mighty force of Iago later in the play.
O let the heavens give him defence against the elements…
Religious refernce emphasies O’s goodness and C’s level of concern
His manners and courtesy will be his downfall - I uses these against him with O, who knows mostly ways of battlefield not as knowledgeable with manners
C’s dear for O’s safety elevates position of him as a tragic heor - othello’s value as ‘brave# and ‘full soldier’
Conforms to O’s sense of identity as a repsetful soldier which has been undermined by I’s xenophobic claims
He hath achieved a maid That paragons description and wild fame; A2 S1 L61
Cassio’s hyperbolic description of Desdemona (tragic victim) develops her positive qualities and reputation. The verb choice ‘achieved’ is interesting here meaning ‘wooed and won’ but also implies that she is of higher status and virtue than Othello. Thus echoing Iago’s provocative comments in the opening scene to Brabantio.
Left in the conduct of the bold Iago…Whose footing here anticipates our thoughts. A2 S1 L76
Firstly, Shakespeare deliberately refers to Iago after Cassio’s description of Desdemona to set up the central tension between antagonist and victims in the play. Cassio echoes Othello’s own blindness towards Iago as he respects him and trusts Desdemona’s safe passage with him.
O, but I fear…
Desdemona’s fearful plea could be seen as an example of female intuition/instinct which adds to the melancholic tone. The use of ellipsis shows her inability to speak her fears; reinforcing her gentle and timid nature. This creates a tragic tone as we see her genuine/spontaneous feelings of love and affection for Othello for the first time which creates sympathy for both characters.
She that was ever fair and never proud,
Shakespeare furthers Iago’s characterisation as villainous through his misogynistic attitude towards women. Although presented in ‘jest’ he sets up a series of contradictory statements that show his lack of respect for women through crude language and sexualised imagery. Concluding that their role is only domestic and focused on motherhood (‘suckle fools and chronicle small beer’). In turn this highlights how easily he can manipulate both Desdemona and Othello due to their weakened positions (woman/other)
He takes her by the palm. Ay, well said, whisper…
Shakespeare use of aside reveals Iago’s plotting to the audience so we are implicated. His manipulation of a courteous interaction highlights his ruthless nature as antagonist. The metaphor of trapping a spider in its own web is interesting as it suggests the disruption of domestic harmony which foreshadows Desdemona’s death in her own marital bed.
If it were now to die…
Othello’s gratitude for their safe passage to Cyprus and reunion with Desdemona is touchingly presented through the poetic and hyperbolic language which characterises him. However this is undercut with a melancholic and foreboding tone as he worries that he might not feel happier in the future. Unwittingly the use of dramatic irony highlights his blindness towards Iago’s plotting and his own fate.
Her delicate tenderness will find itself abused…
Iago’s manipulation of Roderigo (sub-plot) is based on the principle that Desdemona and Othello’s union is unnatural and therefore cannot continue. This highlights Iago’s loathing of Othello and his presentation of Desdemona as a sexually voracious woman would have shocked a contemporary audience. Roderigo’s dramatic functions in the play are to give the audience an insight into Iago’s motivations and set him up as another tragic victim.
The Moor, howbeit that I endure him not…
Iago reveals here that he actually believes that Othello would make a ‘dear husband’. This creates sympathy and fear for our hero as Othello’s positive traits make him vulnerable (hamartia-is his trust in Iago) to Iago’s continued plot against him.
And, I’ll warrant her, full of game
Shakespeare develops the theme of female virginity and reputation here. Iago once again uses crude language to imply that Desdemona has a sexual appetite which questions her virtue; setting the seeds of doubt for both Cassio and, then later, Othello.
If consequence do but approve my dream#My boat sails freely both with wind and stream.
Iago develops the metaphor of natural disorder from the start of the act to refer to his own plotting. The comparison to nature creates a sense of inevitability for our tragic hero. Arguably, it also suggests that he is an opportunist who plots for ‘sport’.
Well, God’s above all; and there be souls must be saved…And there be souls must not be saved. A2 S3 L97
The religious reference emphasises Cassio’s innocence and sets him up as tragic victim. The use of antithesis in the line also shows his despair and lack of control over his own fate which foreshadows Desdemona’s pleas at the end of the play. Dramatically, he is speaking to Iago-the self-titled-’Devil’ of the play.
For Christian shame, put by this barbarous brawl. He that stirs next to carve for his own rage…Holds his soul light; he dies upon his motion. A2 S3 L166
Othello is presented as decisive and powerful, in place of a war he can be seen to deal with the fight well. He uses religious reference to authorise his actions which further contrasts him to Iago.
That you unlace your reputation thus…And spend your rich opinion for the name of a night-brawler. A2 S3 L187
Shakespeare further develops the tragic elements of reputation and shame which are central to the plot. Othello’s own identity is bound up with his professional duty (soldier) and the reputation associated with this. Consider the verb ‘unlace’ to suggest disorder or vice and the value is shown through ‘rich’ opinion. Here we see the fragility of reputation and the speed with which it can be taken which links to later in the play.
