"DESDEMONA. I have heard it said so. Oh, these men, these men!
Dost thou in conscience think -- tell me, Emilia --
That there be women do abuse their husbands
In such gross kind?
EMILIA. There be some such, no question.
DESDEMONA. Wouldst thou do such a deed for all the world?
EMILIA. Why, would you not?
DESDEMONA. No, by this heavenly light!
EMILIA. Nor I neither by this heavenly light.
I might do 't as well i' the dark" (Othello, IV.iii.58-65).
Let's talk about the relationship between these two characters. They've definitely developed a close friendship that they can be as open to each other with this, but they also illustrate themselves as foil characters. I know this because Mr. Costello said so on the last test we took. I think the handkerchief incident reflects this well. Desdemona accidentally dropped the handkerchief when she was helping Othello out of loyalty to him -- Emilia stole the handkerchief out of loyalty to Iago, not to Othello.
It took me a few rereads to realize that Emilia is essentially admitting in Act IV, Scene iii that she's (at the very least) open to the idea of cheating on Iago. While it seems unlikely that she would do so with Othello -- a gullible but honorable man -- it doesn't seem like there would be anything holding her back from doing so. Maybe Iago has some grounds when he is suspicious of Emilia; whether or not he has grounds to hate Othello to the extent that he does is debatable.
However, Emilia makes a good point later on: "I do think it is their husbands' faults / If wives do fall" (IV.iii.82-3). Maybe that's not always the case, but I'm going to put myself in Emilia's shoes. I'll be the first to admit that I love Iago's character, but if I were married to him, the idea of cheating on him would seem appealing.
So, getting back to the topic of foil characters, this dialogue between Emilia and Desdemona reveals another crucial difference in their characters. Desdemona would never be disloyal to Othello, but Emilia would "venture Purgatory" to abuse her relationship with Iago.
Also, "these men, these men!" reminded me of an episode of The West Wing called "The Crackpots and These Women": http://www.youtube.com/watch?v=NTuXSdFjQSg
Tuesday, January 31, 2012
"I didn't get rid of the Bandon Banshee by smiling at her!"
"I pray you, in your letters, / When you shall these unlucky deeds relate, / Speak of me as I am, nothing extenuate, / Nor set down aught in malice" (Othello, V.ii.339-42).
In Othello's final speech, he reestablishes his greatness and illustrates himself as a classic Shakespearean tragic hero. First, as quoted above, he requests of his audience that they talk about him as he is -- nothing more, nothing less.
Then, Othello continues to say that he was "perplexed in the extreme" (V.ii.345). When Othello killed his wife, he acted out of jealousy, but he argues that this jealousy was not entirely his fault. Instead, he admitted that we was duped by the genius, witty, and attractive Iago. (I'm taking some liberties in paraphrasing the text, here.) I would argue that Othello's tragic flaw isn't his jealousy but his innate gullibility -- as Othello said in his speech, he is not naturally jealous but was hoodwinked into jealousy by the intelligent and beautiful Iago. (Again, taking some liberties.)
Finally, Othello makes a little analogy. One lovely morning*, Othello witnessed a Turk beating a Venetian, and Othello "took by the throat the circumcised dog / And smote him, thus" (V.ii.354-5). Othello compared himself to Venice's enemy and explained through this analogy that he did not deserve to live due to his disservice to his people. What a guy.
*lovely morning: setting not actually specified in the text
In Othello's final speech, he reestablishes his greatness and illustrates himself as a classic Shakespearean tragic hero. First, as quoted above, he requests of his audience that they talk about him as he is -- nothing more, nothing less.
Then, Othello continues to say that he was "perplexed in the extreme" (V.ii.345). When Othello killed his wife, he acted out of jealousy, but he argues that this jealousy was not entirely his fault. Instead, he admitted that we was duped by the genius, witty, and attractive Iago. (I'm taking some liberties in paraphrasing the text, here.) I would argue that Othello's tragic flaw isn't his jealousy but his innate gullibility -- as Othello said in his speech, he is not naturally jealous but was hoodwinked into jealousy by the intelligent and beautiful Iago. (Again, taking some liberties.)
Finally, Othello makes a little analogy. One lovely morning*, Othello witnessed a Turk beating a Venetian, and Othello "took by the throat the circumcised dog / And smote him, thus" (V.ii.354-5). Othello compared himself to Venice's enemy and explained through this analogy that he did not deserve to live due to his disservice to his people. What a guy.
*lovely morning: setting not actually specified in the text
Suspense!
"Do it not with poison, strangle her in her bed, even the bed she hath contaminated" (Othello, IV.i.191-2).
One of the questions in the book asks how Shakespeare creates dramatic suspense -- in other words, what makes the reader ask, "What's going to happen next?" The quote above is an instance of dramatic irony PLUS an example of where the reader awaits the fates of characters, two main factors in the suspense of this play.
Dramatic irony is a driving force behind the suspense in Othello. The Moor of Venice endows Iago with the epithet "honest" because he believes Iago that Cassio and Desdemona are having an affair. This explicitly conflicts with what the audience knows: that Desdemona is honest, and Iago is the disloyal character to Othello. While that's the main irony in the play, other examples appear -- "Oh, no," speaks Iago of Othello to Roderigo, "he goes into Mauritania, and takes away with him the fair Desdemona, unless his abode be lingered here by some accident, wherein none can be so determinate as the removing of Cassio" (IV.ii.217-9). This is a false statement, but Roderigo does not know that -- Iago successfully manipulates him to kill (or at least pathetically try) to kill Cassio. The question from the reader then becomes, "When and how will these clueless characters* figure out what's actually going on here?"
Another creation of suspense is the audience's awaiting the fates of the characters. Obviously, since this is the Tragedy of Othello, Othello is going to die somehow -- but how? The quote above builds suspense because it lays out the plan for Desdemona's death. Will Othello be successful in this scheme? If so, how will that affect Othello, her husband, and Emilia, her friend? More importantly, while killing Desdemona, will he go with a pillow or just use his hands? I'm just asking a bunch of questions to which I already know the answers, but those were the questions I was asking myself as suspense built.
*clueless characters: everyone but Iago
One of the questions in the book asks how Shakespeare creates dramatic suspense -- in other words, what makes the reader ask, "What's going to happen next?" The quote above is an instance of dramatic irony PLUS an example of where the reader awaits the fates of characters, two main factors in the suspense of this play.
Dramatic irony is a driving force behind the suspense in Othello. The Moor of Venice endows Iago with the epithet "honest" because he believes Iago that Cassio and Desdemona are having an affair. This explicitly conflicts with what the audience knows: that Desdemona is honest, and Iago is the disloyal character to Othello. While that's the main irony in the play, other examples appear -- "Oh, no," speaks Iago of Othello to Roderigo, "he goes into Mauritania, and takes away with him the fair Desdemona, unless his abode be lingered here by some accident, wherein none can be so determinate as the removing of Cassio" (IV.ii.217-9). This is a false statement, but Roderigo does not know that -- Iago successfully manipulates him to kill (or at least pathetically try) to kill Cassio. The question from the reader then becomes, "When and how will these clueless characters* figure out what's actually going on here?"
Another creation of suspense is the audience's awaiting the fates of the characters. Obviously, since this is the Tragedy of Othello, Othello is going to die somehow -- but how? The quote above builds suspense because it lays out the plan for Desdemona's death. Will Othello be successful in this scheme? If so, how will that affect Othello, her husband, and Emilia, her friend? More importantly, while killing Desdemona, will he go with a pillow or just use his hands? I'm just asking a bunch of questions to which I already know the answers, but those were the questions I was asking myself as suspense built.
*clueless characters: everyone but Iago
Thursday, January 26, 2012
Any other Iago fans?
"IAGO. She was a wight, if ever such wight were --
DESDEMONA. To do what?
IAGO. To suckle fools and chronicle small beer" (Othello, II.i.157-159).
I mean, if anything, I'm a feminist -- go, Abigail Adams and Margaret Sanger! (apparently, I need more pictures of American women in this blog) -- but this part was really funny, and not because I agree with Iago. I think I find humor in the fact that since Shakespeare's time, we haven't really made much progress in sexist jokes.
Let's identify the protagonist and antagonist. I previously mentioned that Iago is the antagonist, and I believe Othello would be considered the protagonist. And if the hero really always dies in Shakespearean tragedies -- well, sorry about your luck, Othello.
Now, let's talk about why I like Iago, which is potentially controversial.
1. Iago is an extremely round character; I mean, his character is a perfect circle. He's wicked smart and clever, he has experience serving his state, and he wants to see justice in action (at least when he's faced with the injustice, which brings me to . . .).
2. Iago has right on his side. I agree -- planning to frame and murder somebody, lie to just about everybody, and treat one's wife with childish contempt is a bit of an overreaction to not getting a desired promotion -- but gosh darn it, Iago should have been appointed lieutenant.
3. Iago makes the play interesting. Think of how crappy this story would be if Iago gave in and decided that Cassio is a worthy lieutenant.
4. Iago is telling me the story as we go along. Iago is anything but withholding, and I appreciate the fact that he's keeping me and not the other characters in the loop. It makes me feel special.
5. Iago is funny in an astutely vulgar way, as we witnessed above.
DESDEMONA. To do what?
IAGO. To suckle fools and chronicle small beer" (Othello, II.i.157-159).
I mean, if anything, I'm a feminist -- go, Abigail Adams and Margaret Sanger! (apparently, I need more pictures of American women in this blog) -- but this part was really funny, and not because I agree with Iago. I think I find humor in the fact that since Shakespeare's time, we haven't really made much progress in sexist jokes.
Let's identify the protagonist and antagonist. I previously mentioned that Iago is the antagonist, and I believe Othello would be considered the protagonist. And if the hero really always dies in Shakespearean tragedies -- well, sorry about your luck, Othello.
Now, let's talk about why I like Iago, which is potentially controversial.
1. Iago is an extremely round character; I mean, his character is a perfect circle. He's wicked smart and clever, he has experience serving his state, and he wants to see justice in action (at least when he's faced with the injustice, which brings me to . . .).
2. Iago has right on his side. I agree -- planning to frame and murder somebody, lie to just about everybody, and treat one's wife with childish contempt is a bit of an overreaction to not getting a desired promotion -- but gosh darn it, Iago should have been appointed lieutenant.
3. Iago makes the play interesting. Think of how crappy this story would be if Iago gave in and decided that Cassio is a worthy lieutenant.
4. Iago is telling me the story as we go along. Iago is anything but withholding, and I appreciate the fact that he's keeping me and not the other characters in the loop. It makes me feel special.
5. Iago is funny in an astutely vulgar way, as we witnessed above.
Seeing into the Mind of Iago
"Thus do I ever make my fool my purse, / For I mine own gained knowledge should profane / If I would time expend with such a snipe / But for my sport and profit. I hate the Moor, / And it is thought abroad that 'twixt my sheets / He's done my office. I know not if 't be true, / But I for mere suspicion in that kind / Will do as if for surety" (Othello, I.iii.363-370).
I was going to shorten that quote, but I just had to keep typing -- everything Iago says is pure gold.
What we have here is a significant contrast between what the audience knows and what the characters know. In Othello, the only character who has a firm handle on what's actually going on is Iago. (This is essentially due to the fact that this play is from the vantage point of Iago, who is actually the antagonist.) Here, he establishes a contrast between what the audience knows and what Roderigo and Othello know. Roderigo believes that Iago will help him win back Desdemona if he gives Iago money, but Iago is using him for his "sport and profit." Othello believes that Iago is an honest ensign, but Iago is planning his revenge against Othello who (a) appointed Cassio as his lieutenant rather than Iago and (b) maybe slept with his wife, Edith. I mean, Emilia -- why do I have issues with that name? Maybe it's just because I'm a fan of Edith Wilson.
Iago delivers another soliloquy at the end of Act II to reveal his plan to plant a seed of suspicion that Cassio is spending time 'twixt the sheets with Desdemona, Othello's wife.
What sort of breaks this special relationship Iago has with the audience is that in Act III, Othello begins to share private information with the audience in addition to Iago. In one soliloquy, Othello expresses his internal concerns about Desdemona potentially sleeping with Cassio (III.iii.259-78). However, still, Othello doesn't know the half of what's really going on -- an instance of dramatic irony. Only Iago and the audience can share in the fullness of truth.
I was going to shorten that quote, but I just had to keep typing -- everything Iago says is pure gold.
What we have here is a significant contrast between what the audience knows and what the characters know. In Othello, the only character who has a firm handle on what's actually going on is Iago. (This is essentially due to the fact that this play is from the vantage point of Iago, who is actually the antagonist.) Here, he establishes a contrast between what the audience knows and what Roderigo and Othello know. Roderigo believes that Iago will help him win back Desdemona if he gives Iago money, but Iago is using him for his "sport and profit." Othello believes that Iago is an honest ensign, but Iago is planning his revenge against Othello who (a) appointed Cassio as his lieutenant rather than Iago and (b) maybe slept with his wife, Edith. I mean, Emilia -- why do I have issues with that name? Maybe it's just because I'm a fan of Edith Wilson.
Iago delivers another soliloquy at the end of Act II to reveal his plan to plant a seed of suspicion that Cassio is spending time 'twixt the sheets with Desdemona, Othello's wife.
What sort of breaks this special relationship Iago has with the audience is that in Act III, Othello begins to share private information with the audience in addition to Iago. In one soliloquy, Othello expresses his internal concerns about Desdemona potentially sleeping with Cassio (III.iii.259-78). However, still, Othello doesn't know the half of what's really going on -- an instance of dramatic irony. Only Iago and the audience can share in the fullness of truth.
Why isn't anybody jealous of "honest Iago"?
"But jealous souls will not be answered so. / They are not ever jealous for the cause, / But jealous for they are jealous. 'Tis a monster / Begot upon itself, born upon itself" (Othello, III.iv.153-156).
After reading three acts of Othello, I'm noticing that jealousy plays an important thematic role in the play. The first clear instance of jealousy is Iago's jealousy of Cassio, whom Othello appointed to be his lieutenant rather than Iago. Additionally, Roderigo is clearly jealous of Othello, who married Desdemona -- Roderigo has tried to steal her heart before the play begins, but to no avail. Another big hint that jealousy is important is the handout Mr. Costello gave me with four important themes in Othello, one of which is jealousy.
Iago's wife, Emilia (whom I keep wanting to call Edith -- I'm not sure I can explain why), provides an interesting commentary on jealousy when she talks to Desdemona of Othello's apparent suspicion of Desdemona. She says that people aren't jealous for a cause -- we are only jealous because we are jealous. In other words, jealousy works in a repetitious cycle, and Othello becomes a part of that cycle when he suspects Desdemona of cheating on him with Cassio. Also, I don't think I've used the word "jealous" so frequently in anything I've written before.
In honor of tonight's beautiful couple, Iago and Edith, I present this love song:
After reading three acts of Othello, I'm noticing that jealousy plays an important thematic role in the play. The first clear instance of jealousy is Iago's jealousy of Cassio, whom Othello appointed to be his lieutenant rather than Iago. Additionally, Roderigo is clearly jealous of Othello, who married Desdemona -- Roderigo has tried to steal her heart before the play begins, but to no avail. Another big hint that jealousy is important is the handout Mr. Costello gave me with four important themes in Othello, one of which is jealousy.
Iago's wife, Emilia (whom I keep wanting to call Edith -- I'm not sure I can explain why), provides an interesting commentary on jealousy when she talks to Desdemona of Othello's apparent suspicion of Desdemona. She says that people aren't jealous for a cause -- we are only jealous because we are jealous. In other words, jealousy works in a repetitious cycle, and Othello becomes a part of that cycle when he suspects Desdemona of cheating on him with Cassio. Also, I don't think I've used the word "jealous" so frequently in anything I've written before.
In honor of tonight's beautiful couple, Iago and Edith, I present this love song:
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