Othello Review
Final Review Bring Friday: completed tragedy chart Review Suggestions: Shakespearean Structure Introductory handout, study guide Act III, scene 3 & 4 Act IV, scene 2 & 3 Act V, scene 2 (all) On class website: Willow Song Wedding Sheets Act I-V lit charts and more
Analysis: Language Act III represents the beginning of Othello's giving up language From this point forward, notice how Othello's use of imagery and story become less and less frequent, and how he begins to rely upon Iago for speech and explanation. Othello is reduced by Iago and his own jealousy to single lines of speech, monosyllabic utterings of "O!" and the like. And just as language is the power with which Othello was able to woo Desdemona, his loss of it is a resignation of this power which attracted her to him. Othello suspects his wife's language, and Cassio's as well; he is distracted from suspicion of Iago Othello begins to lose his power over himself, and over others, when he loses his beautiful language This resignation marks a huge shift in the balance of power between Othello and Iago Iago becomes more dominant in the relationship, and begins to steer Othello.
Act III Scene 4 Desdemona asks the clown where Cassio is; the clown goes off to fetch him. Desdemona is looking everywhere for the handkerchief, very sorry to have lost it; she knows that her losing it will upset Othello greatly Othello enters, and asks for Desdemona's handkerchief; she admits that she does not have it, and then Othello tells her of its significance and alleged magical powers. Desdemona does not like Othello's tone; he seems obsessed with this object, and Desdemona is so frightened by him that she wishes she had nothing to do with it. She interrupts Othello's inquiry by bringing up Cassio's attempt to get back into Othello's favor; Othello becomes angry, and storms out.
Act III Scene 4 Cassio then enters, with Iago and laments that his suit is not successful, and that Othello does not seem likely to take him back. Desdemona is sorry for this, since she knows that Cassio is a man of worth She tells Cassio and Iago that Othello has been acting strange, and is upset, and Iago goes to look for him, feigning concern. Emilia thinks that Othello's change has something to do with Desdemona, or Othello's jealous nature
Act III Scene 4 Bianca comes in, and Cassio asks her to copy the handkerchief that he found in his room It is Desdemona's handkerchief, though Cassio has no idea. He claims he does not love her, and gets angry at her for allegedly suspecting that the handkerchief is a gift of another woman. Bianca is not disturbed, and leaves with the handkerchief.
Analysis: Double Meanings Othello's words often have a double meaning When he is describing Desdemona's hand, he says it is "moist" and "hot an allusion to a lustful nature. He says she is of a "liberal heart"; this could mean a generous heart, but could also be indicating Desdemona's supposed licentiousness. "Here's a young and sweating devil here, who constantly rebels," Othello says; the metaphor speaks badly of Desdemona, and betrays his distrust of her. In the next breath, he says, "tis a good hand"; the juxtaposition of the two statements shows Othello trying not to betray his disappointment He is deeply disturbed, and seems to be questioning and examining her to prove that she really is the harlot
Analysis: Handkerchief Here, Othello finally elaborates upon the handkerchief's importance for Desdemona. "There's magic in the web of it," Othello says; he language is full of mystical, dark images Othello reveals that he believes the handkerchief to literally symbolize Desdemona's affection The irony is that although the handkerchief is lost, Desdemona still loves him. The theme of appearance vs. reality appears
Analysis: Bianca Cassio's behavior toward Bianca is in sharp contrast to the courtly politeness he shows Desdemona and Emilia. This is because of Bianca's station as a courtesan; not regarded the same respect as ladies Bianca proves to be as perceptive as Emilia and Desdemona, and even more realistic about matters of love. The change in Cassio's tone and behavior around Bianca betray a cultural bias of the time toward women of certain stations His behavior would not have been thought mean at the time, because of Bianca's lowly status.
Act IV Scene 1 Othello is trying, even after swearing that Desdemona was unfaithful, not to condemn her too harshly. He is talking with Iago about the handkerchief still, and its significance in being found Iago whips Othello into an even greater fury through mere insinuation, and Othello takes the bait. Othello falls into a trance of rage, and Iago decides to hammer home his false ideas about his wife. Iago calls Cassio in, while Othello hides Iago speaks to Cassio of Bianca, but Othello believes that is talking of Desdemona This is the last "proof" he needs before declaring his wife guilty. Bianca comes in, and gives the handkerchief back to Cassio, since she swears she will have nothing to do with it.
Act IV Scene 1 Othello is incensed by Cassio, still believing that he was speaking of Desdemona, rather than Bianca. Othello is resolved to kill Desdemona himself, and charges Iago with murdering Cassio. Ludovico, a noble Venetian whom Desdemona knows, has recently landed; Desdemona and Othello welcome him there. When Desdemona mentions Cassio, Othello becomes very angry and slaps her in front of everyone Ludovico especially is shocked at this change in Othello, and has no idea how such a noble man could act so cruelly.
Analysis When Othello strikes Desdemona, he shows the severity of his change. Just her mention of Cassio sends him into an unreasonable rage Although one of his greatest fears regarding Desdemona's alleged infidelity was that it would blacken his name and reputation The irony is that Othello is doing that himself Savagery is taking over his civility, he continues to become the cruel, jealous, passion-spurred "savage" that Brabantio accused him of being. He is beginning to become a stereotype by his own doing, as he falls farther and farther from himself.
Act IV Scene 2 Othello questions Emilia about Desdemona's guilt Emilia admits to having seen nothing, though Othello does not believe her. Emilia swears that Desdemona is pure and true. Othello believes that Emilia is in on all this too Othello leaves, and Desdemona and Emilia try to figure out what has happened to Othello Emilia thinks that someone has manipulated Othello into accusing Desdemona, and has poisoned his mind
Act IV Scene 2 Iago is there to dispel this opinion, so that Emilia does not inquire further into her theory. Iago comes across Roderigo; he is not pleased with how Iago has handled things, and knows that although Iago is promising him Desdemona's favor, he has done nothing to indicate that he has worked to achieve this. Iago quiets him by making him believe that if he kills Cassio, then he will win Desdemona
Analysis: Emilia Emilia, ever perceptive, knows that someone has done this to Othello which is the truth. It is ironic that Emilia thinks of this, and condemns the man who must be manipulating Othello, since the one who has devised this whole thing is her own husband Iago is there to hush this suspicion, but they know something is awry
Analysis: Foreshadowing Roderigo, at last, is the one to accuse Iago of treachery He has discovered the truth, that Iago's "words and performances are no kin together." Iago does his best to deny this, and convinces Roderigo to kill Cassio in order to win Desdemona Roderigo's accusation means: Iago will be revealed by Roderigo if Roderigo is not satisfied Roderigo will have to die so that Iago's plans will go through. Othello is a tragedy and this confrontation foreshadows Roderigo's death.
Act IV Scene 3 Othello tells Desdemona to go to bed, and dismiss Emilia Emilia regrets Desdemona's marriage, although Desdemona cannot say that she does not love Othello. Desdemona knows that she will die soon; she sings a song of sadness and resignation, and decides to give herself to her fate. Desdemona asks Emilia whether she would commit adultery to win her husband the world. Emilia, the more practical one, thinks that it is not too big a price for a small act Desdemona is too good, and too devout, to say that she would do so.
Analysis: Desdemona Desdemona knows of her impending death; she is almost too good to live The "Willow Song" and her tale of her mother's maid also foreshadow Desdemona's death. She is not trying to fight it; she seems like a totally different woman than the one who stood up to her father and the Venetian nobles. Martyr? How should we view Desdemona? Desdemona is suddenly depicted as being meek; this sudden shift in her character is strange, and the source is unknown. Her character is parallel to that of Ophelia; both are good, virtuous, obedient, but both are subjected to tragic fates because of their own innocence. Desdemona's fate is unfair and unearned
Analysis: Emilia & Desdemona Emilia pronounces what seems like a theme of the play, up until this point: "let husbands know, their wives have sense like them they see, and smell, and have their palates both for sweet and sour, just as their husbands have" (96-99). Indeed, this is one of the reasons why Othello is so angry at Desdemona; the thought that she could have desire in her, just as he does, bewilders him and angers him That she could have opinions and ideas independent of his own, especially about Cassio and his rightful place, also upset him. Othello is good at heart but does not individualize women
Act V
Act V Scene 1 Iago has Roderigo poised and ready to pounce on Cassio, and kill him; if either of them is killed, it is to Iago's benefit Roderigo and Cassio fight, and both are injured Othello hears the scuffle, is pleased, and then leaves to finish off Desdemona. Iago enters, pretending that he knows nothing of the scuffle Roderigo is still alive, so Iago feigns a quarrel, and finishes him off. Cassio is carried away, and Roderigo is already dead. Emilia also comes in, and pins more blame on Bianca; she has done nothing, but Iago has some quick work to do if he is to exonerate himself in this mess.
Act V Scene 2 Othello enters Desdemona's room while she is asleep; and still is determined to kill her. He justifies this with images, metaphors, and ideas of her rebirth after death Desdemona awakens, and he tells her to repent of any sins before she dies Othello tells her that he found her handkerchief with Cassio, though Desdemona insists it must not be true She pleads with Othello not to kill her right then, but he begins to smother her. Emilia knocks, curious about what is going on Othello lets her in, but tries to conceal Desdemona, who he thinks is already dead. Emilia brings the news of Roderigo's death, and Cassio's wounding.
Act V Scene 2 Emilia soon finds out that Desdemona is nearly dead, by Othello's hand Desdemona speaks her last words, and then Emilia pounces on Othello for committing this horrible crime. Othello is not convinced of his folly until Iago confesses his part, and Cassio speaks of the use of the handkerchief Othello is overcome with grief. Iago stabs Emilia for telling all about his plots, and then Emilia dies Venetian nobles reveal that Brabantio, Desdemona's father, is dead, and so cannot be grieved by this tragedy now. Othello stabs Iago when he is brought back in Othello then tells all present to remember him how he is, and kills himself. Cassio becomes temporary leader of the troops at Cyprus Iago is taken into custody, and his crimes will be judged back in Venice.
Analysis: Othello Monologue Opening Monologue: Othello's farewell to Desdemona is a return to his former eloquence (unlike most of his monologues). Is Shakespeare's use of language fit for Othello in this monologue? Though he believes Desdemona's soul to be black, he can only focus on her whiteness; he pledges not to mar "that whiter skin of hers than snow" The metaphor highlights Desdemona's innocence, as does comparing her to a "light" to be put out. There is irony in Othello's references to Desdemona here: he describes her with words that suggest her brightness and innocence he is determined to condemn and kill her. She is also "the rose" to Othello, another beautiful image Othello's allusion to Prometheus explains his wish to put out Desdemona's light in order to restore her former innocence. Before Othello felt only hatred and anger, now he is forced to feel his love, along with his mistaken determination to see Desdemona die.
Analysis: Desdemona Act V Scene 2 Desdemona's last words are especially cryptic. How does this characterize her? Why? When asked who killed her, she remarks: "nobody, I myself commend me to my kind lord." Why? She might be trying to absolve her husband of blame with her last breath? Or? Dies in bed (notice all die on bed: Desdemona, Emilia, Othello) wedding sheets Act IV, scene 2 What are her last lines to Othello? What is her last line to Emilia? A guiltless death I die
Analysis: Emilia Emilia's fate is parallel to Desdemona's: She was more realistic than Desdemona She too was betrayed by her husband She died through other's wrongs (but is she a martyr?) Desdemona might be a more central figure in the play, but Emilia is the Conscience & Truth Emilia knows how human nature works, logical She knows of husbands' jealousies, of how men believe women are less human, of how people are naturally prone to folly. (Act IV scene 3) Emilia: Willow Song death (review Act IV scene 3) She is the sole voice of reason in the play uncorrupted by Iago's manipulations.
Analysis: Othello Othello insists that he is an "honorable murderer (side note plot: Brabantio is dead remember Lady Montague?) Realizes Iago lied and tries to attack him. Why does Shakespeare not allow Othello to kill or maim him? Othello still denies the flaws in himself that have led him to this end. Iago was definitely the catalyst for Desdemona's death and Othello's jealous rages; but the seeds of jealousy and suspicion were already inherent in Othello. What is the analysis here Mr. Shakespeare? Since he still denies the deep wrong he has committed, he cannot be fully redeemed or forgiven. Accused as devil by Emilia. How is he restored? I look down towards his feet: but that s a fable. If that thou best a devil. I cannot kill thee.
Necessary final moments: Iago Kills Emilia, flees Captured Cassio returns, wounded (I, R, O) Othello stabs Iago, injured Othello demands Iago refuses to speak Roderigo s letters (v.smart Roderigo), Iago exposed Othello: speak of me as I am Othello stabs himself Iago s fate Cassio to replace Othello