#it's about .... making a choice between love and a higher power ( duty for james ; god for esme )

[emcads]

one of these days i will make a norvilla for dummies post where i elucidate all of their narrative parallels and foils and why they work so well together as a ship because my brain has been full of nothing but them

[francesbeau]

Othello - Quote Analysis - William Shakespeare

Started: 30th of April 2021 Finished: 30th of April 2021 

Act One Scene One: 

- Iago talking about Cassio: “great arithmetician/mere prattle without prance” Targets Cassio’s lack of experience 

- Iago talking about Cassio: “A Florentine never damned in a fair wife” Mentions outsider status to disconnect him from the dynamism of Venetian life. Depicts Cassio as a bachelor to create more realism, goes against Cinthios original play.

- Iago: “We cannot all be masters, nor all masters truly be followed” A corruption of the master/servant relationship. Draws upon the tricky servant trope (servus callidus) King James had just been appointed to so this was very topical. 

- Iago: “I am not what I am”, teasingly obscure and creates the question of who really is Iago? Also makes an allusion to 12th night where Viola says “I am not what I am” This showcases how vows about dissemblance can have benign intention. 

- Iago to Brabantio: “look at your house, your daughter and your bags!” asyndetic listing highlights women as secondary importance. 

- “An old black ram is tuping your white ewe” explicate reference to miscegenation. women as an extension of property. Subdued pun to make Brabantio the victim of violation. This sexually suggestive language is because black rams are associated with lust and sexual potency and its horns imply its the reincarnation of the devil. 

- “You’ll have your nephews neigh to you, coursers for cousins, and jennets for germans” Paronomasia is where words nearly sound alike, similar to eye rhyme. Cluster of racial attacks. 

- Brabantio: “thou art a villain” - Iago: “you are a senator”. Dissonance of identity, highlights corrupt higher structures. 

- Roderigo: “tying her beauty, duty and wit in an extravagant and wheeling stranger” 

- Iago: “However, this may gall him with some check” - Subdued equestrian metaphor of a horse being pulled back by reins. 

Act One Scene Two: 

- Iago: “By Janus” Appropriate God to evoke as it is the twofaced God.

- Othello: “Keep up your bright swords” Where Christ, betrayed by Judas, is arrested he order Peter to “put up thy sword into thy sheath” 

Act One Scene Three: 

- Duke: “Valliant Othello” first person to use his name and its the most important man in all of Venice. 

- Othello: “Rude I am in speech, and little blessed in the soft phrase of peace” Actually highly articulated. Spezzatura -  ‘certain nonchalance, so as to conceal and make whatever one does or says appear to be without effort’

- Othello: “I won his daughter” - Links to patriarchal norms, Romeo and Juliet there is challenge for Paris to win and “woo” Juliet. 

- Othello: “The anthropophagi and men...” The allusion to the race of the cannibals in the Odyssey called Laestryganes who tried to eat Odysseus. 

- Othello: “she wished heaven had made her such a man” Kind of fickle and would love any man with same fantastical tales. 

- Desdemona: “divided duty” / “I saw Othello’s visage in my mind” Blackness of face is merely a deceptive outward show and his true countenance lies in the mind. 

Othello: “Nor to comply with the heat of young affects” - He is confining his sexual passion due to his stereotypes and has a lack of matched enthusiasm. Separates himself from sexual desire. Could be guilty repression. Freud: Sexual instincts are allied to emotional condition of fear” 

- Duke: “your son-in-law is far more fair than black”

- Iago: “our bodies are gardens to the which our wills are gardeners” - whole soliloquy goes on to examine to argument that if we didn’t have rational minds to counterbalance our emotions our desires would take over. 

- Iago: “these Moors are changeable in their ways” / “Moor is of free and open nature”

- Iago: “when she is sated with his body she will find the errors of her choices” Sexual reference

- Iago: “womb of time.”

- Iago: “twixt my sheet/ done my office” anxiety within marriage links to 2.3 when he calls Othello the “lusty moor” who leapt into his “seat”

- Iago: “Cassio’s a proper man” Acknowledges adversaries advantages. 

Act Two Scene One

- “What from the cape can you discern at sea?” Begins in storm which is symbolic of passions of Cyprus. Starts with the limitations of light and foreshadows metaphorical blindness. 

- “Our great captains, captain” 

- Othello: “oh my souls joy if after every tempest come such calms” / “If i were to die twere now the to e the most happy, for I fear my soul hath her content to absolute” Last time Othello is truly happy 

- Desdemona: “Our loves and comforts should increase even as our days grow”

Act Two Scene Three 

- Othello: “Are we turned Turks?/For Christian shame” Evokes intermittent conflict between European powers and the Ottoman Empire

- Othello to Cassio: “what's the matter, that you unlace your reputation thus.” 

- Iago: “I’ll pour this pestilence into his ear” Link to Hamlet where the King was poisoned by it being poured into his ear

Act Three Scene Three 

- Iago: “Ha, I like not that.” / “Nothing My Lord, or if, I know not what”. Plants seeds of suspicion with mysterious interjection 

- Othello: “Excellent wretch, perdition catch my soul. But i do love thee, and when i love thee not chaos comes again” Oxymoran - doesn't have a grip on emotions. breakdown of cosmos and order as chaos is the undoing of the gods. 

- Iago: “Honest My Lord?” Othello: “Honest? Ay, Honest.” Anadiplosis is the repetition of the last line of previous conversation

- Iago: “My lord you know I Love thee” - John 21;15 “Lord thou knowest I love thee” 

- “Beware my Lord of Jealousy! It is the green-eyed monster that doth mock the meat it feeds upon”

- Othello: “Haply for I am black and have not these soft parts of conversation” - Endemic to Venetian culture are attitudes that Othello cant inculcate. In the shape of Iago the venomous rage of society that are rocked by the elopement play out. 

- “She s gone, I am abused and my relief must be to loathe her” 

- “I had rather be a toad and live upon the vapor of a dungeon than to keep a corner in the thing i love” - This metaphor places emphasis on the embarrassment of cuckoldry. The animalistic imagery is interesting as toads are insignificant and gross which highlight how he feels. Women is the aggressor.

- “I think my wife be honest, and think she is not”

- Iago about a fake dream from Cassio, “I heard him say, ‘Sweet Desdemona let us be wary and hide our love”

- Iago to Othello: “I am your own forever” language of service, however Iago hints at mephisteplion bargain by which Iago has ensnared his soul. 

Act Three Scene Four 

- “There is magic in the web of it”, assumes bizarre shape of perverted trail

Act Four Scene One

- Iago: “to kiss in private” aggressively plants seeds of images of animated sexual congress 

- Othello about himself: “A horned man’s a monster and a beast” Sign of cuckoldry 

- Othello: “My heart has turned to stone” / ‘He Beats his chest’ / “sweeter creature” (like Cassio’s dream) 

- “I’ll chop her into messes” Truculent 

“Each drop she falls would prove a crocodile” - complex conceit, crocodiles generated spontaneously and a proverbial hypocrisy. Plutarch suggests that crocodiles wept when devouring their victims. Crocodile pretends to be in distress to lure victims in. 

Act Four Scene Two

- Othello about Emilia - “a lock and key of villainous secrets”

- Desdemona: “I understand a fury in your words, bot not the words.” 

- Emilia: “she forsook so many noble matches” - links ti act one scene two: she shunned the wealthy curled darlings of our nation

Act Four Scene Three

- The whole song of willow, link to Hamlet as Ophelia fell from a willow tree and drowned after finding out her husband did not love her. 

- Emilia: “if wives do fall” - Post-lapsyrian, eve’s fall from grace. 

- “The ills we do, their ills instruct us so” inverts traditional male leadership role. 

Act Five Scene One 

- ‘Iago wounds Cassio in the leg from behind and exit’ - constant scene controlment. Displays talent for improvisation. 

Act Five Scene Two

- Othello: ‘Think on thy sins’ Desdemona: ‘They are the loves I bear to you’ could be a reference to race but more so an allusion to the sin of living a human more than god. 

- Othello: “A murder which I thought a sacrifice” Zenith of insanity.

- “The sun and the moon and that affrighted globe” Christs crucifixion similar events. Globe theater in terror. 

- “It is the very error of the moon” - Power of the moon can induce madness

- “Base Indian who threw away a pearl” - Matthew 8 Merchant who looses everything trying to obtain a pearl. 

- “Malignant and a turband turk” - symbolically annihilating both Iago and himself. Whole speech is about the salvation of a soul peppered with semantics of Orientalism.

- Lodovico: “this heavy heart with heavy heart relate” Rhyming is emblematic of balance that civilized Venetians are saturated with