A Level Literature at Caldew School - Paper 1: Othello



Othello – Key QuotationsAct, SceneQuotation SignificanceAct 1, Scene 1Venice, a street at nightRoderigo: Tush never tell me, I take it most unkindlyThe play opens in darkness and in media res with Roderigo and Iago in the middle of a fight – this foreshadows the disorder and malcontent which will define the play as a wholeI follow him to serve my turn against himIago 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 antagonistBut I will wear my heart upon my sleeve for daws to peck at. I am not what I amIago emphasises his duplicitous nature to Roderigo and the audience. He is an unambiguous tragic villain. Roderigo’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. Even now, now, very now, an old black ram is tupping your white eweThe 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.Act 1, Scene 2For know Iago that I love the gentle DesdemonaThe 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 cursesKeep up your bright swords for the dew will rust them. Good signor you shall more command with years than with weaponsOthello’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, abused her delicate youth with drugsBrabantio’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 Brabantio and sees Othello as the tragic hero.Act 1, Scene 3Senator: Here comes Brabantio and the valiant MoorDuke: Valiant Othello, we must straight employ youThe repetition of valiant here serves to emphasise Othello’s elevated positon and value. Respected characters refer to his positive and civilised characteristics, affirming the audiences belief in this side of his character.Most potent, grave and reverend seigniors, my very noble and approved good mastersOthello’s speech is dignified, cultured, ordered and formal this will later contrast to his furious and impassioned ramblingsSend 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 discourseDesdemona is presented as forward and an active figure through the sexual imagery here. She is not a typical tragic victim.Put money in thy purse.This is repeated 7 times during this section to highlight the mercenary nature of Iago.And it is thought abroad that twixt my sheets he’s done my office.Iago’s first soliloquy – here he reveals that gossip about Othello and his wife has bred jealousy in him. The moor is of a free and open nature, (…) and will as tenderly be led by the nose as asses are.Iago shares his plans with the audience, 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.Act 2, Scene 1He hath achieved a maid that paragons description and wild fame.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. She that was ever fair and never proud, had tongue at will and yet was never loud.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) With as little web as this will I ensnare as great a fly as Cassio.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. Her delicate tenderness will find itself abused, begin to heave the gorge, disrelish and abhor the Moor.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 is of a constant, loving, noble nature.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. Act 2, Scene 3And, 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. He that stirs next to carve for his own rage holds his soul light; he dies upon his motion.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. I know, Iago, thy honesty and love doth mince this matter…Cassio, I love thee; but nevermore be officer of mine.Shakespeare shows the influence of Iago over Othello as he immediately dismisses Cassio from his position on his word alone-highlighting his hamartia/blindness. It also shows his own misjudgement as he defers to Iago’s statement/opinion rather than his own feelings. This serves to isolate Othello from someone who respects and gives Iago more power and control. She shall undo her credit with the Moor. So shall I turn her virtue into pitch.Iago’s plotting quickly develops to focus on Desdemona his next tragic victim. Once again, his plotting is revealed so the audience are implicated in his villainy increasing sympathy for both the unwitting and helpless Desdemona and Othello. There is a juxtaposition between innocence and evil presented here which contrasts and develops his reference to the ‘black ram’ and ‘white ewe’ in the opening scene. Act 3, Scene 1I never knew a Florentine more kind and more honest.The hyperbolic reference develops the theme of blindness/misjudgement regarding Iago the antagonist which serves to speed up the plot and build dramatic irony. Act 3, Scene 3No, sure I cannot think it that he would steal away so guilty-like.The use of negative language ‘no’ and ‘cannot’ serve to emphasise Iago’s supposed doubt/shock at Cassio’s behaviour. He further ‘villainises’ him by using the negative terms ‘steal’ and ‘guilt’ playing on Cassio’s shame/loss of reputation. If I have any grace or power to move you.The theme of natural disorder/reversal of gender roles is developed here as Desdemona is strong-willed and insistent with Othello. This foreshadows the frighteningly quick breakdown in their communication and relationship.I will deny thee nothing. Grant me this, to leave me but a little to myself.Othello’s repetition of ‘deny thee nothing’ suggests his response is dutiful rather than genuine-suggesting that the reversal of roles/power combined with Iago’s manipulation is already impacting on his mental state and marriage. The tragedy is heightened through his desire for isolation/escape. Be as your fancies teach you: whate’er you be I am obedient.Shakespeare furthers Desdemona’s characterisation as a victim here. In spite of her earlier assertion of will/power now we see her obedience to Othello. The use of ‘fancies’ means his desires but could also perhaps link to his changeable/inconstant will which will contribute to their shared downfall and deaths. Certain, men should be what they seem.Othello echoes Iago’s words to show the power shift between antagonist and tragic hero. The use of the generalised term ‘men’ allows Iago to set seeds of doubt about Cassio’s behaviour and sets him up as wise/knowledgeable. This also adds to the theme of blindness and sight as the term ‘seem’ not only refers to Cassio but also Iago’s own performance of ‘heavenly shows’. No, to be once in doubt is once to be resolved.Shakespeare further characterises our tragic hero as flawed due to his rash/impetuous behaviour-already seen in his dismissal of Cassio. This also adds to his pride and certainty that he would act immediately if he has proof of Desdemona’s infidelity. I am bound to thee for ever.Othello’s isolation and downfall continues here with the shift of power from hero to antagonist. His poetic and hyperbolic language is reminiscent of marriage vows and sets up the subversion of his own marriage which leads to the ceremony later in the scene. There is also an inevitable and melancholic tone as Othello unwittingly predicts his own fate. She’s gone, I am abused and my relief must be to loathe her.Language choices contrast extremely with his previous choices for Desdemona and are emphatic. Othello is past the point of redemption now.If she be false, O then heaven mocks itself.Religious reference is hyperbolic and is more typical of Othello’s speech which once again focuses on the innocence of Desdemona. This reminds the audience of their genuine love for one another and creates sympathy for both characters. However, unwittingly he echoes Iago’s soliloquy where he contrasted ‘heavenly shows’ with the ‘divinity of hell’. I’ll tear her all to pieces!Shakespeare’s use of exclamation here shows Othello’s loss of control and violent tendencies. The verb ‘tear’ is graphically vicious and serves to dehumanise him-almost conforming to Iago’s negative characterisation of him in the opening act. Arise, black vengeance, from they hollow cell! Yield up, O love, thy crown and hearted throne to tyrannous hate!Othello’s descent into a violent madness is furthered here as he appears to repeat a black magic incantation or spell. The speech explores the extremes of turning love into hatred. The absolute nature of his language here creates fear and sympathy for Desdemona as she will be the victim of his ‘tyrannical violence’. Act 4, Scene 1Pish! Noses, ears and lips. Is’t possible. Confess? Handkerchief? Oh devil! He falls into a trance.Marks Othello’s extreme physical and mental downfall. It is at this point that his language and his physicality deteriorate to such a point that he collapse on the stage after muttering a series of fragmented exclamations and questions. His mental suffering is emphasised through the brief shift to prose.And many worthy and chaste dames even thus, all guiltless meet reproach.Pins down women as tragic victims at the mercy of men. Highlights Desdemona’s innocence and Iago’s knowledge of her lack of guilt explicitly.I will chop her into messes. Cuckold me!Presents Othello as savage and barbaric and reveals the extent of his change. His behaviour mimicking the behaviour predicted of him by Brabantio and Iago increases the sense of inevitability. Is this the noble moor whom our full senate call all-in-all sufficient?This comment from Lodovico (a representative of Venice and therefore of civilisation) emphasises Othello’s extreme reversal of fortune. Lodovico’s condemnation of his behaviour towards Desdemona serves to increase the sense of shock and pity that the audience feel in response to Othello’s on stage act of violence.Act 4, Scene 2I durst, my lord, to wager she is honest, lay down my soul at stake.This is a pivotal moment. Othello could choose to believe Emilia’s emphatic vow here instead of continuing on his destructive course. Alas the heavy day! Why do you weep? Am I the motive of these tears, my lord? This gentle act of concern serves to emphasise both Desdemona’s innate goodness, further presenting her as a traditional victim and to act as indirect stage directions which remind the audience that Othello too is suffering and is to be pitied too.Was this fair paper, this most goodly book, made to write whore upon?Othello continues to repeat the word whore as well as giving her money, implying she is a prostitute. The escalation and repetition of this coarse and misogynistic language here shows how under Iago’s influence Othello is. This also highlights his tragic flaw and personal weaknessThe moor is abused by some most villainous knave, some base notorious knave, some scurvy fellow.Emilia’s repetition of knave reveals her overpowering fury. She us also presented as perceptive; she understands some of what has gone on here. These also act as good descriptions of Iago as antagonist. . It is also interesting to remember that while Emila is describing the villain with such hatred and disgust, Iago himself is on stage listening.Roderigo: How do you mean ‘removing of him’? Iago: Why by making him incapable of Othello’s place- knocking out his brains.Important moment in the plot – Iago dictates Roderigo’s unsuccessful murder of Cassio.Desdemona: He hath commanded me to go to bed and bade me dismiss you. Emilia: Dismiss me?Creates foreboding, fear and dread. The dramatic irony serves to intensify the inevitability which is mirrored in Emilia’s own fear, expressed through the repetition of Desdemona’s words in the form of a question.Act 5, Scene 1Two or three groan. It is a heavy night.The escalating murder suggests the growing chaos and disorder leading towards Desdemona’s climactic murder. Iago’s victims are growing in number.Act 5, Scene 2Yet I’ll not shed her blood, nor scar that whiter skin of hers than snow.Othello’s obsession with Desdemona’s ‘whiteness’ – given to him by Iago’s manipulations – is emphasised here, as is his warped love for her. Shakespeare emphasises his personal weaknesses right before the climax.I would not kill thy unprepared spirit. I would not kill thy soul.Othello claims Christian sensitivities as a way of offering Desdemona ‘mercy’. This attempt at hanging onto his sensibilities even at the point of violence allows Shakespeare to present his suffering and confusion. Why I should fear I know not, since guiltiness I know not but yet I feel fear.The repetition of ‘fear’ here creates feelings of fear and pity for Desdemona and allows Shakespeare to build tension and foreboding. Again, Desdemona’s innocence as a tragic victim is emphasised.Alas, why gnaw you so your nether lip? Some bloody passion shakes your very frame.Indirect stage directions emphasise Othello’s transformation into madness. His weakness or flaw (his extreme passion) is presented as dangerous rather than romantic through the adjective choice and he is presented again as savage and animalistic. Thou art to die.This simple declaration is emphatic and chilling. The use of the future tense increases the horror and inevitability. O, the more angel she and you the blacker devil!The use of contrast here emphasises the horror of Desdemona’s innocent death and presents the dichotomy of the roles of tragic villain and victim.Emilia: My husband? Othello: Thy husband.The repetition of ‘thy husband’ throughout this section emphasises Emilia’s disbelief and growing understanding of her husband’s role in the tragedy. The denouement is approaching. You told a lie, an odious damned lie: upon my soul a lie, a wicked lie.The extreme repetition emphasises Emilia’s outrage and verbalises Iago’s great sin for the first time on stage.I will not charm my tongue; I am bound to speak.The irony that Iago’s wife is the first person on stage who is not ‘charmed by him’ is emphasised here by her furious declaration. She is presented in complete contrast to Desdemona who dies passive and forgiving. Here Emilia is active and literally refuses to be silenced.O thou dull moor, that handkerchief thou speakest of I found by fortune and did give my husband.Emilia’s insult here emphasises Othello’s stupidity and overreaction. His flaw in believing in Iago over his wife is highlighted.Othello runs at Iago; Montano disarms him; Iago stabs Emilia from behind and exits.Stage directions emphasise the chaos and the typical ending to a Shakespearian tragedy which involves mass deaths. Iago’s stabbing Emilia ‘from behind’ is a physical representation of his treachery.Blow me about in the winds! Roast me in Sulphur! Wash me in steep down gulfs of liquid fire!The series of hyperbolic exclamations emphasises Othello’s suffering and the horror of his moment of realisation or anagnorisis.Will you I pray, demand that demi devil why he hath thus ensnare my soul and body.Here it is Iago who is presented as colluding in black magic – the crime initially associated with Othello has been used to destroy him.From this time forth I never will speak a word.Iago’s final revenge is his silence. This is what Coleridge refers to as his motiveless malignancy and what others have described as his psychopathic behaviour.Then must you speak of one that loved not wisely but too well.Othello’s fatal flaw and also a statement which some have described as self aggrandizing and reflective of his arrogance rather than true repentance. It is still his reputation (the reason he murdered Desdemona) that he is most concerned with. ................
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