Look beyond!
Friday, March 16, 2012
What the female characters of "Othello" reveal about Shakespeare's attitude towards women
Shakespeare was always wary of women and careful to give them respect, which is obvious when reading Othello. The society of Othello is strongly dominated by men who are the political and military leaders of their homeland. These men are expected to stay loyal to their reputations and to uphold the strong sense of character that earned them their positions in the first place. Women on the other hand, are thought of as weak second-class citizens or even defective males, who are in place for nothing more than to serve their men. The captivating thing about Othello is Shakespeare’s upheaval of these expectations, demonstrating his malaise over the way gender relationships were so often represented. The monstrous actions and subsequent downfall of the men in Othello show how no one is above being corrupted and how men are not nearly as powerful as they seem. The resolve of the female characters demonstrates their capacities to do much more than simply serve. Furthermore, by the end of the play, I believe the men of Othello are not the ones who represent strength; instead, this title goes to the women.
From the way the play begins, women seem like nothing more than affectionate wives and pawns in Iago’s evil scheme. Emilia claims, “I nothing, but to please his fantasy,” (Norton Ed., 2157) referring to Iago, as she snatches up Desdemona’s handkerchief in order to give it to her husband. Such a line seems uncharacteristically submissive compared to the Emilia of later on, but it also shows her intriguing devotion to her husband who seems to care nothing for her. She does not trust Iago entirely though, as she tries to take the handkerchief back when Iago cannot explain why he wants it. Of course, the man is easily able to overpower his wife and he orders her to depart, which she does, leaving Iago to bask in satisfaction as his plan seems to fall into place. Little does he know, his wife knows him better than he gives her credit for, and he will have to answer to her in the end.
Desdemona's Sexual Power Over Her (Supposedly) Mighty Man
At this point in the play, the men are the dominant figures. Most of the attention has been given the power struggle between Iago and the rest, and the women are often brushed to the side. Yet, as Shakespeare delves deeper into Othello’s tormented mind, it becomes clear that his wife has an incredible power over him. Some of the Moor’s most raw and desperately tortured lines come out as he appears to become weakened by Iago’s words. He states, “I had been happy if the general camp, / Pioneers and all, had tasted her sweet body, / So I had nothing known,” (Norton Ed., 2158) as he grieves over the words Iago has poisoned him with about the supposed infidelity of his wife. These lines speak volumes about Othello’s vulnerability to words as he blatantly admits that he would rather not be told that his wife is false because he cannot cope with the thought of her with someone else. The emotions are all the more striking because they are so relatable to those of us who understand jealousy and heartbreak.
When one is truly in love, it can be hard to think about anything else, and for a man to imagine his lover with another man can be as agonizing an ordeal as any in life. It therefore makes sense that Othello bids his life goodbye at this point by exclaiming, “Farewell the tranquil mind, farewell content, / Farewell the pluméd troops and the big wars / That makes ambition virtue!” (Norton Ed., 2158). If Desdemona is untrue, all of Othello’s glory would be violently stripped away. Any future successes will only come at the expense of the loss of his wife, and he cannot cope with such dramatic failure. Such forfeiture of life by Othello indicates not only the power of Iago’s words, but of Desdemona’s body as well, which may be the most potent weapon of all.
Famous Handkerchief Scene featuring Ian McKellen and Willard White. The Portrayal of Manipulation and Emotional Destruction is Unrivaled
Emilia's Refusal to Submit and the Rise of Feminine Bravado
Iago’s plan seems to work very well as he strategically poisons the minds of his fellow men. Yet, his gross underestimation of his wife is where his scheme unfurls. A very revealing passage is when Emilia bitterly states, “’Tis not a year or two shows us a man, / They are all but stomachs, and we all but food. / They eat us hungrily, and when they are full, / They belch us.” Emilia’s antipathy toward males contradicts any societal notions of female meekness. Her words are bold demonstrations against men who want nothing but to use women for their own pleasure, and they should strike a chord with any man who thinks he may take his lover for granted. Emilia is obviously not as willing to submit to men as other women may be, and for the first time she shows herself as a possible foe against the seemingly unstoppable Iago.
Emilia continues to defend the name of women as the play moves forward, and is characterized as anything but submissive in her conversations and actions. She becomes more distant from her husband and draws ever nearer to her true companion of Desdemona whose side she refuses to leave. In her most important speech of the play, Emilia at last calls men out as equals and expresses her unwillingness to be heartlessly cast aside. She states, “And have not we affections, / Desires for sport, and frailty, as men have? / Then let them use us well, else let them know / The ills we do, their ills instruct us so.” (Norton Ed., 2179) Her bitter, uncompromising, and inspiring words here are surely Shakespeare’s warning to men that they best take care of women. As Othello has already demonstrated, the love and affection of a female is an awful thing to lose. Emilia’s cogent perspective signifies the death of male-dominated sex for sport. Yet even more so, it signifies the death of male domination in its entirety. By this point, it is clear from Othello’s words that women can destroy men with nothing more than their sexuality and for a woman to share her willingness to harness this power is striking. This is the point where Shakespeare makes clear that the women of Othello are much more than “defective males,” and that the men will have to pay for their mistakes in falsely judging these women.
By now, the characters with the most strength seem to be Emilia and Iago. Desdemona does not necessarily agree with Emilia’s independent attitude, and Othello’s mental state is weakening as he is “impregnated” by Iago’s poisonous words. Only in the final act of the play is a climax reached and Shakespeare’s conclusions regarding the power balance between men and women are fully elucidated. In the end, the women are victorious for several reasons.
Sexual Power Revisited
Othello’s strength is shattered as he undermines the vows of his marriage because he cannot handle his emotions. He is played for a fool by Iago and allows his own self-conscious woes to cripple his better senses. In his suicide he admits his wrongs and his defeat. He valued the words of a man he considered his friend over those of his wife, and for such a mistake he is justly punished. Desdemona, although murdered, shows far greater strength than her husband. She shows phenomenal moral strength and honesty as she never sways from her vows of marriage or does anything to wrong her husband. When she is asked who killed her, Desdemona’s final words are, “Nobody, I myself. Farewell. / Commend me to my kind lord. O, farewell!” (Norton Ed., 2185). These words show her enduring moral strength in not vilifying Othello even when he deserves it most. She also seems unafraid to die and confident in the “kind lord” to take care of her in the after-life. Desdemona’s actions in comparison to those of Othello make him seem like a pathetic excuse for a man. In this instance, the woman is no doubt the one who deserves respect.
Emilia's Fierce Murder and Martyrdom
When it comes to Iago and Emilia, victory for the female comes about in a different manner. After Desdemona is murdered, Emilia is hysterical and delivers her most emotionally forceful and penetrating lines of the play. She no longer feels compelled to submit in any way to her husband, and in fact, she daringly goes against his word in order to let the truth be told. As Iago tells her to shut up, Emilia retorts, “I will not charm my tongue. I am bound to speak. / My mistress lies murdered in her bed,” and goes on to directly indict her husband by stating, “your reports have set the murder on.” (Norton Ed., 2187). Such words could not possibly come from a woman as desperately loyal as Desdemona, but Emilia is a far different type of woman, and she understands when the time to harness her power is right. Her words are the reason for her husband’s downfall. Without such an unrelenting speech from Emilia, justice against Iago could never be served, and even though Iago pitifully murders her, nothing is more suitable than for such a brutally honest barrage of words to destroy him in return. The poison of his lies is not undone with his arrest in the end, but Emilia’s onslaught of truth easily overpowers any strength Iago may have still possessed. Emilia dies a martyr’s death for women willing to stand up for themselves and show that they can be just as dangerous as men whereas Iago is left to suffer for the remainder of his days in shame.
How Did Shakespeare Really Feel?
Judging by his characterizations of Desdemona and Emilia in Othello, Shakespeare could have either had great admiration for women, a deep-seated fear of them, or just been confused altogether. In the very least, he gave them respect. Since it is known that Othello was revised with the specific intent of augmenting Emilia’s role, it seems obvious that Shakespeare understood the strength of character women could possess. In reality, Shakespeare’s wife was much older than he, and quite possibly a bit more sexually experienced at the time of their marriage. He had to cope with such a relationship and inevitably learn many lessons about how women operate. Although no man can ever fully understand the way a woman thinks, Shakespeare had an uncanny ability to portray his female characters in frighteningly believable ways.
I see Desdemona as woman’s sexual superiority over men. She shows how a woman can put a spell on a man and drive him to madness by doing nothing than being pure and beautiful. Emilia is man’s punishment should he ever take his woman for granted. She makes men pay for their abuses by channeling her natural feminine strength against her own evil husband. These two women are spectacular examples of the capabilities women have in terms of strength.
If Shakespeare intended to warn men against miscalculating the potential of women, then he succeeded in Othello. The play is an ode to the wonders of the female sex. It is a mysterious sex that can seem as harmless as the face of Desdemona, or as indomitable as the words of Emilia. In either case, it is clear that men are not the only ones who deserve to rule humanity, and in many cases, they do not rule at all. As witnessed in Othello, the powers of women can overwhelm a man’s strongest intentions with ease. Through this work, Shakespeare warns us of this. Yet it is hard to tell whether this warning is for men to greet with reassurance or with fear. Women can be great allies, yet maybe far greater foes.
From your experiences, how do you feel about the portrayal or women in Othello?
Do you agree with an inherent power of women over men?
Are Shakespeare's views still relevant?
From the way the play begins, women seem like nothing more than affectionate wives and pawns in Iago’s evil scheme. Emilia claims, “I nothing, but to please his fantasy,” (Norton Ed., 2157) referring to Iago, as she snatches up Desdemona’s handkerchief in order to give it to her husband. Such a line seems uncharacteristically submissive compared to the Emilia of later on, but it also shows her intriguing devotion to her husband who seems to care nothing for her. She does not trust Iago entirely though, as she tries to take the handkerchief back when Iago cannot explain why he wants it. Of course, the man is easily able to overpower his wife and he orders her to depart, which she does, leaving Iago to bask in satisfaction as his plan seems to fall into place. Little does he know, his wife knows him better than he gives her credit for, and he will have to answer to her in the end.
Desdemona's Sexual Power Over Her (Supposedly) Mighty Man
At this point in the play, the men are the dominant figures. Most of the attention has been given the power struggle between Iago and the rest, and the women are often brushed to the side. Yet, as Shakespeare delves deeper into Othello’s tormented mind, it becomes clear that his wife has an incredible power over him. Some of the Moor’s most raw and desperately tortured lines come out as he appears to become weakened by Iago’s words. He states, “I had been happy if the general camp, / Pioneers and all, had tasted her sweet body, / So I had nothing known,” (Norton Ed., 2158) as he grieves over the words Iago has poisoned him with about the supposed infidelity of his wife. These lines speak volumes about Othello’s vulnerability to words as he blatantly admits that he would rather not be told that his wife is false because he cannot cope with the thought of her with someone else. The emotions are all the more striking because they are so relatable to those of us who understand jealousy and heartbreak.
When one is truly in love, it can be hard to think about anything else, and for a man to imagine his lover with another man can be as agonizing an ordeal as any in life. It therefore makes sense that Othello bids his life goodbye at this point by exclaiming, “Farewell the tranquil mind, farewell content, / Farewell the pluméd troops and the big wars / That makes ambition virtue!” (Norton Ed., 2158). If Desdemona is untrue, all of Othello’s glory would be violently stripped away. Any future successes will only come at the expense of the loss of his wife, and he cannot cope with such dramatic failure. Such forfeiture of life by Othello indicates not only the power of Iago’s words, but of Desdemona’s body as well, which may be the most potent weapon of all.
Famous Handkerchief Scene featuring Ian McKellen and Willard White. The Portrayal of Manipulation and Emotional Destruction is Unrivaled
Emilia's Refusal to Submit and the Rise of Feminine Bravado
Iago’s plan seems to work very well as he strategically poisons the minds of his fellow men. Yet, his gross underestimation of his wife is where his scheme unfurls. A very revealing passage is when Emilia bitterly states, “’Tis not a year or two shows us a man, / They are all but stomachs, and we all but food. / They eat us hungrily, and when they are full, / They belch us.” Emilia’s antipathy toward males contradicts any societal notions of female meekness. Her words are bold demonstrations against men who want nothing but to use women for their own pleasure, and they should strike a chord with any man who thinks he may take his lover for granted. Emilia is obviously not as willing to submit to men as other women may be, and for the first time she shows herself as a possible foe against the seemingly unstoppable Iago.
Emilia continues to defend the name of women as the play moves forward, and is characterized as anything but submissive in her conversations and actions. She becomes more distant from her husband and draws ever nearer to her true companion of Desdemona whose side she refuses to leave. In her most important speech of the play, Emilia at last calls men out as equals and expresses her unwillingness to be heartlessly cast aside. She states, “And have not we affections, / Desires for sport, and frailty, as men have? / Then let them use us well, else let them know / The ills we do, their ills instruct us so.” (Norton Ed., 2179) Her bitter, uncompromising, and inspiring words here are surely Shakespeare’s warning to men that they best take care of women. As Othello has already demonstrated, the love and affection of a female is an awful thing to lose. Emilia’s cogent perspective signifies the death of male-dominated sex for sport. Yet even more so, it signifies the death of male domination in its entirety. By this point, it is clear from Othello’s words that women can destroy men with nothing more than their sexuality and for a woman to share her willingness to harness this power is striking. This is the point where Shakespeare makes clear that the women of Othello are much more than “defective males,” and that the men will have to pay for their mistakes in falsely judging these women.
By now, the characters with the most strength seem to be Emilia and Iago. Desdemona does not necessarily agree with Emilia’s independent attitude, and Othello’s mental state is weakening as he is “impregnated” by Iago’s poisonous words. Only in the final act of the play is a climax reached and Shakespeare’s conclusions regarding the power balance between men and women are fully elucidated. In the end, the women are victorious for several reasons.
Sexual Power Revisited
Othello’s strength is shattered as he undermines the vows of his marriage because he cannot handle his emotions. He is played for a fool by Iago and allows his own self-conscious woes to cripple his better senses. In his suicide he admits his wrongs and his defeat. He valued the words of a man he considered his friend over those of his wife, and for such a mistake he is justly punished. Desdemona, although murdered, shows far greater strength than her husband. She shows phenomenal moral strength and honesty as she never sways from her vows of marriage or does anything to wrong her husband. When she is asked who killed her, Desdemona’s final words are, “Nobody, I myself. Farewell. / Commend me to my kind lord. O, farewell!” (Norton Ed., 2185). These words show her enduring moral strength in not vilifying Othello even when he deserves it most. She also seems unafraid to die and confident in the “kind lord” to take care of her in the after-life. Desdemona’s actions in comparison to those of Othello make him seem like a pathetic excuse for a man. In this instance, the woman is no doubt the one who deserves respect.
Emilia's Fierce Murder and Martyrdom
When it comes to Iago and Emilia, victory for the female comes about in a different manner. After Desdemona is murdered, Emilia is hysterical and delivers her most emotionally forceful and penetrating lines of the play. She no longer feels compelled to submit in any way to her husband, and in fact, she daringly goes against his word in order to let the truth be told. As Iago tells her to shut up, Emilia retorts, “I will not charm my tongue. I am bound to speak. / My mistress lies murdered in her bed,” and goes on to directly indict her husband by stating, “your reports have set the murder on.” (Norton Ed., 2187). Such words could not possibly come from a woman as desperately loyal as Desdemona, but Emilia is a far different type of woman, and she understands when the time to harness her power is right. Her words are the reason for her husband’s downfall. Without such an unrelenting speech from Emilia, justice against Iago could never be served, and even though Iago pitifully murders her, nothing is more suitable than for such a brutally honest barrage of words to destroy him in return. The poison of his lies is not undone with his arrest in the end, but Emilia’s onslaught of truth easily overpowers any strength Iago may have still possessed. Emilia dies a martyr’s death for women willing to stand up for themselves and show that they can be just as dangerous as men whereas Iago is left to suffer for the remainder of his days in shame.
How Did Shakespeare Really Feel?
Judging by his characterizations of Desdemona and Emilia in Othello, Shakespeare could have either had great admiration for women, a deep-seated fear of them, or just been confused altogether. In the very least, he gave them respect. Since it is known that Othello was revised with the specific intent of augmenting Emilia’s role, it seems obvious that Shakespeare understood the strength of character women could possess. In reality, Shakespeare’s wife was much older than he, and quite possibly a bit more sexually experienced at the time of their marriage. He had to cope with such a relationship and inevitably learn many lessons about how women operate. Although no man can ever fully understand the way a woman thinks, Shakespeare had an uncanny ability to portray his female characters in frighteningly believable ways.
I see Desdemona as woman’s sexual superiority over men. She shows how a woman can put a spell on a man and drive him to madness by doing nothing than being pure and beautiful. Emilia is man’s punishment should he ever take his woman for granted. She makes men pay for their abuses by channeling her natural feminine strength against her own evil husband. These two women are spectacular examples of the capabilities women have in terms of strength.
If Shakespeare intended to warn men against miscalculating the potential of women, then he succeeded in Othello. The play is an ode to the wonders of the female sex. It is a mysterious sex that can seem as harmless as the face of Desdemona, or as indomitable as the words of Emilia. In either case, it is clear that men are not the only ones who deserve to rule humanity, and in many cases, they do not rule at all. As witnessed in Othello, the powers of women can overwhelm a man’s strongest intentions with ease. Through this work, Shakespeare warns us of this. Yet it is hard to tell whether this warning is for men to greet with reassurance or with fear. Women can be great allies, yet maybe far greater foes.
From your experiences, how do you feel about the portrayal or women in Othello?
Do you agree with an inherent power of women over men?
Are Shakespeare's views still relevant?
Thursday, March 15, 2012
Wednesday, March 14, 2012
Analyse these ads
What similarities do these ads share?
How is the common theme of these ads used to good effect in selling the product?
Gender in Othello
Gender relations are pretty antagonistic in Othello. Unmarried women are regarded as their fathers' property and the play's two marriages are marked by male jealousy and cruelty (both wives are murdered by their own husbands). Most male characters in Othello assume that all Venetian women are inherently promiscuous, which explains why female sexuality is a huge threat to men in the play. Othello is easily convinced his wife is cheating on him and feels emasculated and humiliated as a result.
We should also note that it's impossible to discuss gender and sexuality without considering race – several characters in the play, including Othello, believe that black men sexually contaminate white women, which may partially explain why Othello sees his wife as soiled.
We should also note that it's impossible to discuss gender and sexuality without considering race – several characters in the play, including Othello, believe that black men sexually contaminate white women, which may partially explain why Othello sees his wife as soiled.
What is Bianca's role in Othello?
Bianca is a minor character in Shakespeare’s play Othello. She works as an example of real and justified jealousy, as a foil in the play to the jealousy constructed by Iago in Othello’s imagination. Bianca is a prostitute who is in love with the character Cassio, accused of having an affair with Desdemona, Othello’s wife.
Cassio mocks Bianca’s love for him to Iago (a device Iago uses to pretend it is Desdemona who is being mocked); calling her a whore and laughing at how she wants to marry him and hangs around him, particularly describing a scene on the bay/harbour in Venice. Later on in the plot Iago plants Desdemona’s handkerchief on Cassio, who gives it to Bianca to copy. Jealous that the handkerchief might be a token from another woman, nevertheless Bianca takes the handkerchief, saying she “must be circumstanced”.
I have always found Bianca’s character fascinating. She doesn’t say very much in the play, but she reflects the angers and hurts of many of the characters, and the problematic status of women in this period and today, with the dichotomy of the whore/angel; what it means to love someone who doesn’t love you, and the nature of real and imagined jealousies.
Sian Norris
Cassio mocks Bianca’s love for him to Iago (a device Iago uses to pretend it is Desdemona who is being mocked); calling her a whore and laughing at how she wants to marry him and hangs around him, particularly describing a scene on the bay/harbour in Venice. Later on in the plot Iago plants Desdemona’s handkerchief on Cassio, who gives it to Bianca to copy. Jealous that the handkerchief might be a token from another woman, nevertheless Bianca takes the handkerchief, saying she “must be circumstanced”.
I have always found Bianca’s character fascinating. She doesn’t say very much in the play, but she reflects the angers and hurts of many of the characters, and the problematic status of women in this period and today, with the dichotomy of the whore/angel; what it means to love someone who doesn’t love you, and the nature of real and imagined jealousies.
Sian Norris
Tuesday, March 13, 2012
Contextual questions on Othello
QUESTION 14: OTHELLO – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT A
OTHELLO
It gives me wonder great as my content
To see you here before me. O my soul's joy!
If after every tempest come such calms,
May the winds blow till they have wakened death,
And let the labouring bark climb hills of seas,
Olympus-high, and duck again as low
As hell's from heaven. If it were now to die
'Twere now to be most happy, for I fear
My soul hath her content so absolute
That not another comfort like to this
Succeeds in unknown fate.
DESDEMONA
The heavens forbid
But that our loves and comforts should increase,
Even as our days do grow.
OTHELLO
Amen to that, sweet powers!
I cannot speak enough of this content;
It stops me here, it is too much of joy.
And this, (they kiss,) and this, the greatest discords be
That e'er our hearts shall make.
IAGO
(Aside) O, you are well tuned now!
But I'll set down the pegs that make this music,
As honest as I am.
OTHELLO
Come, let's to the castle.
News, friends: our wars are done, the Turks are drowned.
[Act 2, Scene 1]
14.1 Account for Othello's feelings in 'It gives me wonder great as my content/
To see you here before me.' (Lines 1 and 2)
(3)
14.2 Examine Desdemona's words in lines 11 to 13: 'The heavens forbid … days
do grow.'
What does Desdemona's response to Othello in these lines reveal about her?
(3)
14.3 'O, you are … this music' (lines 17 and 18)
Discuss the effectiveness of this metaphor in the context of the extract.
(3)
14.4 Refer to line 19: 'As honest as I am.'
How does this statement contribute to your understanding of Iago's
character?
(3)
14.5 Critically discuss the dramatic irony in '... our wars are done, the Turks are
drowned.' (Line 20)
(4)
AND
EXTRACT B
OTHELLO
I have a pain upon my forehead here.
DESDEMONA
Faith, that's with watching. 'Twill away again.
Let me but bind it hard, within this hour
It will be well.
OTHELLO
Your napkin is too little.
(He pushes the handkerchief away; Desdemona drops it.)
Let it alone. Come, I'll go in with you.
DESDEMONA
I am very sorry that you are not well.
(Othello and Desdemona off)
EMILIA
(Picks up the handkerchief)
I am glad I have found this napkin.
This was her first remembrance from the Moor.
My wayward husband hath a hundred times
Wooed me to steal it, but she so loves the token –
For he conjured her she should ever keep it –
That she reserves it evermore about her
To kiss and talk to. I'll have the work ta'en out
And give it Iago. What he will do with it
Heaven knows, not I;
I nothing, but to please his fantasy.
[Act 3 Scene 3]
14.6 Refer to the stage direction after line 4: '(He pushes the handkerchief away;
Desdemona drops it.)'
Discuss what Othello's action reveals about his attitude to Desdemona at this
point in the play.
(3)
14.7 Explain why this is a crucial moment in the play. Refer to Desdemona's
dropping the handkerchief and Emilia's picking it up.
(3)
14.8 Refer to Emilia's speech in lines 7 to 16: 'I am glad ... please his fantasy.'
Do you think that Emilia is justified in her motive for taking the handkerchief
for her husband?
(3)
[25]
Read the extracts below and then answer the questions that follow.
EXTRACT A
OTHELLO
It gives me wonder great as my content
To see you here before me. O my soul's joy!
If after every tempest come such calms,
May the winds blow till they have wakened death,
And let the labouring bark climb hills of seas,
Olympus-high, and duck again as low
As hell's from heaven. If it were now to die
'Twere now to be most happy, for I fear
My soul hath her content so absolute
That not another comfort like to this
Succeeds in unknown fate.
DESDEMONA
The heavens forbid
But that our loves and comforts should increase,
Even as our days do grow.
OTHELLO
Amen to that, sweet powers!
I cannot speak enough of this content;
It stops me here, it is too much of joy.
And this, (they kiss,) and this, the greatest discords be
That e'er our hearts shall make.
IAGO
(Aside) O, you are well tuned now!
But I'll set down the pegs that make this music,
As honest as I am.
OTHELLO
Come, let's to the castle.
News, friends: our wars are done, the Turks are drowned.
[Act 2, Scene 1]
14.1 Account for Othello's feelings in 'It gives me wonder great as my content/
To see you here before me.' (Lines 1 and 2)
(3)
14.2 Examine Desdemona's words in lines 11 to 13: 'The heavens forbid … days
do grow.'
What does Desdemona's response to Othello in these lines reveal about her?
(3)
14.3 'O, you are … this music' (lines 17 and 18)
Discuss the effectiveness of this metaphor in the context of the extract.
(3)
14.4 Refer to line 19: 'As honest as I am.'
How does this statement contribute to your understanding of Iago's
character?
(3)
14.5 Critically discuss the dramatic irony in '... our wars are done, the Turks are
drowned.' (Line 20)
(4)
AND
EXTRACT B
OTHELLO
I have a pain upon my forehead here.
DESDEMONA
Faith, that's with watching. 'Twill away again.
Let me but bind it hard, within this hour
It will be well.
OTHELLO
Your napkin is too little.
(He pushes the handkerchief away; Desdemona drops it.)
Let it alone. Come, I'll go in with you.
DESDEMONA
I am very sorry that you are not well.
(Othello and Desdemona off)
EMILIA
(Picks up the handkerchief)
I am glad I have found this napkin.
This was her first remembrance from the Moor.
My wayward husband hath a hundred times
Wooed me to steal it, but she so loves the token –
For he conjured her she should ever keep it –
That she reserves it evermore about her
To kiss and talk to. I'll have the work ta'en out
And give it Iago. What he will do with it
Heaven knows, not I;
I nothing, but to please his fantasy.
[Act 3 Scene 3]
14.6 Refer to the stage direction after line 4: '(He pushes the handkerchief away;
Desdemona drops it.)'
Discuss what Othello's action reveals about his attitude to Desdemona at this
point in the play.
(3)
14.7 Explain why this is a crucial moment in the play. Refer to Desdemona's
dropping the handkerchief and Emilia's picking it up.
(3)
14.8 Refer to Emilia's speech in lines 7 to 16: 'I am glad ... please his fantasy.'
Do you think that Emilia is justified in her motive for taking the handkerchief
for her husband?
(3)
[25]
Monday, March 12, 2012
Iago timeline
1.1 Iago tells Roderigo about Othello's marriage. Together they rat out Othello and Desdemona to Desdemona's father.
1.2 Iago warns Othello that Desdemona's father is coming.
1.3 After the Duke approves the marriage, Roderigo wants to give up and drown himself. Iago convinces him that he can still get Desdemona in the end. Iago decides to convince Othello that Desdemona's cheating on him.
2.1 Iago arrives at Cyprus with Desdemona and his own wife, Emilia. To amuse Desdemona, Iago says lots of nasty, clever things about women. Later, Iago convinces Roderigo that Cassio and Desdemona are getting it on, and decides that he will use Cassio to make Othello jealous. He convinces Roderigo to fight with Cassio in order to get Cassio in trouble.
2.3 Iago gets Cassio drunk, watches him get into a brawl, and then tells Othello all about it. After Cassio is fired, Iago suggests to him that he ask Desdemona to intervene with Othello in his favor. Cassio thinks this is a great idea. Iago gloats about how well his plan is working.
3.1 Iago makes sure his wife will bring Cassio in to talk with Desdemona.
3.2 Iago and Othello tour the city.
3.3 Iago begins with small comments and gradually reels Othello in until he tells him point blank that Desdemona is cheating on him. Othello demands proof and Iago promises to give him some. Then Iago swears that he will help Othello revenge himself on Desdemona.
3.4 Iago comes in with Cassio and finds Desdemona upset at Othello's weird behavior. He promises her he will find out what's wrong.
4.1 Iago stages a conversation with Cassio such that Othello, overhearing, thinks they're talking about Desdemona. In fact, they're talking about a prostitute (Bianca) who is in love with Cassio.
4.2 Iago convinces Roderigo that he should kill Cassio.
5.1 Iago watches Roderigo try to kill Cassio. Then Iago stabs Cassio from behind. When more of Othello's soldiers appear, Iago stabs Roderigo too, as if trying to help Cassio. Then Iago tries to pin all the blame on Bianca, Cassio's prostitute lover.
5.2 After Othello strangles Desdemona, Emilia starts to realize what Iago has done. He tells her to shut up, but she tells Othello and everyone present that Iago is to blame for the whole situation. Othello tries to stab him, but instead Iago stabs Emilia and runs out. He's captured and brought back in, but he refuses to explain why he did all these terrible things. He swears he will never speak again.
1.2 Iago warns Othello that Desdemona's father is coming.
1.3 After the Duke approves the marriage, Roderigo wants to give up and drown himself. Iago convinces him that he can still get Desdemona in the end. Iago decides to convince Othello that Desdemona's cheating on him.
2.1 Iago arrives at Cyprus with Desdemona and his own wife, Emilia. To amuse Desdemona, Iago says lots of nasty, clever things about women. Later, Iago convinces Roderigo that Cassio and Desdemona are getting it on, and decides that he will use Cassio to make Othello jealous. He convinces Roderigo to fight with Cassio in order to get Cassio in trouble.
2.3 Iago gets Cassio drunk, watches him get into a brawl, and then tells Othello all about it. After Cassio is fired, Iago suggests to him that he ask Desdemona to intervene with Othello in his favor. Cassio thinks this is a great idea. Iago gloats about how well his plan is working.
3.1 Iago makes sure his wife will bring Cassio in to talk with Desdemona.
3.2 Iago and Othello tour the city.
3.3 Iago begins with small comments and gradually reels Othello in until he tells him point blank that Desdemona is cheating on him. Othello demands proof and Iago promises to give him some. Then Iago swears that he will help Othello revenge himself on Desdemona.
3.4 Iago comes in with Cassio and finds Desdemona upset at Othello's weird behavior. He promises her he will find out what's wrong.
4.1 Iago stages a conversation with Cassio such that Othello, overhearing, thinks they're talking about Desdemona. In fact, they're talking about a prostitute (Bianca) who is in love with Cassio.
4.2 Iago convinces Roderigo that he should kill Cassio.
5.1 Iago watches Roderigo try to kill Cassio. Then Iago stabs Cassio from behind. When more of Othello's soldiers appear, Iago stabs Roderigo too, as if trying to help Cassio. Then Iago tries to pin all the blame on Bianca, Cassio's prostitute lover.
5.2 After Othello strangles Desdemona, Emilia starts to realize what Iago has done. He tells her to shut up, but she tells Othello and everyone present that Iago is to blame for the whole situation. Othello tries to stab him, but instead Iago stabs Emilia and runs out. He's captured and brought back in, but he refuses to explain why he did all these terrible things. He swears he will never speak again.
Iago - what motivates him?
Iago is one of the most notorious and mysterious villains of all time. He spends all of his time plotting against Othello and Desdemona, eventually convincing Othello that his wife has been cheating, despite the fact that Desdemona has been completely faithful. Iago's capacity for cruelty seems limitless, and no motivation he gives for his actions seems enough to explain the incredible destruction he wreaks on the lives of the people he knows best.
Iago as a Masterful Plotter
Shakespeare scholar Harold Bloom argues that Iago is an artist of evil. The same way that some people enjoy writing songs or filming movies, Iago enjoys ruining people's lives. He does it with a sense of craftsmanship, appreciating the elegance or cleverness of a particular step in his scheme as much as its final result: incredible suffering for the people he has chosen. Ever notice how he stops every time he does something cleverly evil, to muse on it and tell us how awesome he is? Exactly.
We tend to think of evil people as being brutal and insensitive, or at least disconnected from the people they hurt. Iago, however, is able to hurt Othello so much because he understands him so well. He even grows closer to Othello as his plot progresses. Iago manipulates him so expertly that at times it seems he is actually inside Othello's head.
Iago's Motives
Most other Shakespearean characters do bad things in order to achieve a particular goal. Oftentimes the culprit is ambition, as in Macbeth, or revenge, as in Hamlet. The thing about Iago is this – we never really know for certain why it is that Iago wants to destroy Othello. Throughout the play, Iago provides multiple and incompatible motives for hating Othello. At one point, Iago says he's angry because Othello passed him over for a promotion. Later, he claims to suspect that Othello is having an affair with his (Iago's) wife (Emilia).
So, what are we to make of this? On the one hand, we could say that Iago has no real motives – he's just plain evil. Poet Samuel Taylor Coleridge calls Iago "a being next to the devil, only not quite the devil" and goes on to call Iago's behavior "motiveless malignity." If we agree that Iago has no real motives for hurting Othello, we could also argue that Iago's character is kind of "Vice" figure. A "Vice" figure is stock character from medieval Morality plays like "Everyman." Vice figures are typically personifications of, well, vice (immoral behavior) – they tend to be tempters and often agents of the devil. (By the way, Richard III, of Shakespeare's play, Richard III, is also often seen as a kind of Vice figure.) Iago is a lot more complex than most Vice figures but we can definitely see how Shakespeare is borrowing from literary tradition.
Is Iago in Lust with Othello?
What? You don't like the "motiveless malignancy" theory? Fine. Here's another explanation that some critics like. Iago secretly wants to get it on with Othello and ends up hurting Othello because he's jealous of Desdemona. (Orson Welles seemed partial to this idea – his film version of the drama exploits the homoerotic undertones of the play and Iago basically woos Othello away from Desdemona.) If you think this idea may be worth exploring (or if you just want to know what the heck Orson Welles was thinking), be sure to check out Act 3, Scene 4, line 64, the passage where Othello makes Iago his new lieutenant and Iago vows to kill Cassio. It sounds a whole lot like a sixteenth-century wedding ceremony, which suggests a homoerotic attachment between Iago and Othello.
No matter how you choose to interpret it, think about the fact that Iago is often our focus in this play. We follow his storyline more than Othello's and we spend more time with him than Othello. We watch him in a variety of relationships – his manipulation of Roderigo, his treatment of his wife, his pseudo-friendship with Othello. If it weren't for the fact that Iago undergoes basically no changes, you could even argue that he's the main character.
Iago as a Masterful Plotter
Shakespeare scholar Harold Bloom argues that Iago is an artist of evil. The same way that some people enjoy writing songs or filming movies, Iago enjoys ruining people's lives. He does it with a sense of craftsmanship, appreciating the elegance or cleverness of a particular step in his scheme as much as its final result: incredible suffering for the people he has chosen. Ever notice how he stops every time he does something cleverly evil, to muse on it and tell us how awesome he is? Exactly.
We tend to think of evil people as being brutal and insensitive, or at least disconnected from the people they hurt. Iago, however, is able to hurt Othello so much because he understands him so well. He even grows closer to Othello as his plot progresses. Iago manipulates him so expertly that at times it seems he is actually inside Othello's head.
Iago's Motives
Most other Shakespearean characters do bad things in order to achieve a particular goal. Oftentimes the culprit is ambition, as in Macbeth, or revenge, as in Hamlet. The thing about Iago is this – we never really know for certain why it is that Iago wants to destroy Othello. Throughout the play, Iago provides multiple and incompatible motives for hating Othello. At one point, Iago says he's angry because Othello passed him over for a promotion. Later, he claims to suspect that Othello is having an affair with his (Iago's) wife (Emilia).
So, what are we to make of this? On the one hand, we could say that Iago has no real motives – he's just plain evil. Poet Samuel Taylor Coleridge calls Iago "a being next to the devil, only not quite the devil" and goes on to call Iago's behavior "motiveless malignity." If we agree that Iago has no real motives for hurting Othello, we could also argue that Iago's character is kind of "Vice" figure. A "Vice" figure is stock character from medieval Morality plays like "Everyman." Vice figures are typically personifications of, well, vice (immoral behavior) – they tend to be tempters and often agents of the devil. (By the way, Richard III, of Shakespeare's play, Richard III, is also often seen as a kind of Vice figure.) Iago is a lot more complex than most Vice figures but we can definitely see how Shakespeare is borrowing from literary tradition.
Is Iago in Lust with Othello?
What? You don't like the "motiveless malignancy" theory? Fine. Here's another explanation that some critics like. Iago secretly wants to get it on with Othello and ends up hurting Othello because he's jealous of Desdemona. (Orson Welles seemed partial to this idea – his film version of the drama exploits the homoerotic undertones of the play and Iago basically woos Othello away from Desdemona.) If you think this idea may be worth exploring (or if you just want to know what the heck Orson Welles was thinking), be sure to check out Act 3, Scene 4, line 64, the passage where Othello makes Iago his new lieutenant and Iago vows to kill Cassio. It sounds a whole lot like a sixteenth-century wedding ceremony, which suggests a homoerotic attachment between Iago and Othello.
No matter how you choose to interpret it, think about the fact that Iago is often our focus in this play. We follow his storyline more than Othello's and we spend more time with him than Othello. We watch him in a variety of relationships – his manipulation of Roderigo, his treatment of his wife, his pseudo-friendship with Othello. If it weren't for the fact that Iago undergoes basically no changes, you could even argue that he's the main character.
Friday, March 9, 2012
Analyse this ad
How is a consumer able to relate to the visual?
How is the visual linked to the product?
What are the qualities of the product that are emphasised in this ad? Justify your response.
Act 3 questions
Act III, scene i
1) How might information from this scene affect future actions in the play?
Act III, scene ii
2) What do you think is in the letters that Othello gives to Iago to dispatch?
3) Do you believe that Iago will actually take the letters? Why or why not?
Act III, scene iii
4) Do you believe Emilia when she says, “I warrant it grieves my husband/ As if the cause were his” or do you think she really knows and understands what her husband is up to? Explain and give proof for your answer.
5) Desdemona foreshadows her destiny. Quote the line and predict how it will occur.
6) In pleading to her husband, Desdemona’s word choice hurts her argument. What words have double meanings that might make it seem to Othello that she is in love with Cassio? Explain the two meanings of each word
7) When Desdemona asks Othello to see Cassio, she tries to set a day and time that her husband will meet with him. Why do you think Othello puts off setting a specific time?
8) Why do you think Othello finally gives in to Desdemona’s request? In other words, he finally says, “Prithee no more; let him come when he will; / I will deny thee nothing.” Why?
9) Othello says that he wants “ocular proof” before he will believe that Desdemona has betrayed him. How is it that he is eventually convinced and why do you think that the evidence he is given is able to convince him that his wife has betrayed him?
10) Cassio denies Desdemona’s request to stay and hear her plead his case. Iago uses Cassio’s exit to make him seem guiltier. What do you think would’ve happened if Cassio had agreed to stay as Desdemona requested? Would Othello have been as likely to believe what Iago later says about the affair? Explain your answers.
11) What line in this scene foreshadows the tragic ending of the play? What do you think it means will happen?
12) What is ironic about Othello’s speech to Iago in lines 121-132?
13) What techniques does Iago use in his speech to Othello to make his assertion about Desdemona and Cassio seem more plausible?
14) Emilia refers to Iago as her “wayward husband” in this scene. What do you think this implies about her view of Iago? What does the fact that she gives the handkerchief to Iago imply about her relationship with her husband?
15) What has Iago accomplished by the end of this scene and how do you think it will affect the remainder of the play?
16) Give at least three examples of irony from this scene.
Act III, scene iv
17) Why do you think Emilia doesn’t tell Desdemona about the handkerchief? Explain.
18) Why do you think Desdemona lies to Othello? Do you think she would’ve responded differently if he hadn’t been out of sorts?
19) Iago’s plans for the handkerchief may have gone slightly askew. What do you think he intended to have happen? What did happen and how might it affect the play?
20) How do you think Bianca will fit into the play?
21) What do you predict will happen in acts four and five? Be specific.
1) How might information from this scene affect future actions in the play?
Act III, scene ii
2) What do you think is in the letters that Othello gives to Iago to dispatch?
3) Do you believe that Iago will actually take the letters? Why or why not?
Act III, scene iii
4) Do you believe Emilia when she says, “I warrant it grieves my husband/ As if the cause were his” or do you think she really knows and understands what her husband is up to? Explain and give proof for your answer.
5) Desdemona foreshadows her destiny. Quote the line and predict how it will occur.
6) In pleading to her husband, Desdemona’s word choice hurts her argument. What words have double meanings that might make it seem to Othello that she is in love with Cassio? Explain the two meanings of each word
7) When Desdemona asks Othello to see Cassio, she tries to set a day and time that her husband will meet with him. Why do you think Othello puts off setting a specific time?
8) Why do you think Othello finally gives in to Desdemona’s request? In other words, he finally says, “Prithee no more; let him come when he will; / I will deny thee nothing.” Why?
9) Othello says that he wants “ocular proof” before he will believe that Desdemona has betrayed him. How is it that he is eventually convinced and why do you think that the evidence he is given is able to convince him that his wife has betrayed him?
10) Cassio denies Desdemona’s request to stay and hear her plead his case. Iago uses Cassio’s exit to make him seem guiltier. What do you think would’ve happened if Cassio had agreed to stay as Desdemona requested? Would Othello have been as likely to believe what Iago later says about the affair? Explain your answers.
11) What line in this scene foreshadows the tragic ending of the play? What do you think it means will happen?
12) What is ironic about Othello’s speech to Iago in lines 121-132?
13) What techniques does Iago use in his speech to Othello to make his assertion about Desdemona and Cassio seem more plausible?
14) Emilia refers to Iago as her “wayward husband” in this scene. What do you think this implies about her view of Iago? What does the fact that she gives the handkerchief to Iago imply about her relationship with her husband?
15) What has Iago accomplished by the end of this scene and how do you think it will affect the remainder of the play?
16) Give at least three examples of irony from this scene.
Act III, scene iv
17) Why do you think Emilia doesn’t tell Desdemona about the handkerchief? Explain.
18) Why do you think Desdemona lies to Othello? Do you think she would’ve responded differently if he hadn’t been out of sorts?
19) Iago’s plans for the handkerchief may have gone slightly askew. What do you think he intended to have happen? What did happen and how might it affect the play?
20) How do you think Bianca will fit into the play?
21) What do you predict will happen in acts four and five? Be specific.
Books on thinking, philosophy and religion
Six Questions of Socrates - Christopher Phillips
Sophie's World - Jostein Gaarder
Zen and the Art of Motorcycle Maintenance - Robert Pirsig
The Tao of Pooh and the Te of Piglet - Benjamin Hoff
Sway - Ori Brafman and Rom Brafman
Lateral Thinking - Edward de Bono
6 Thinking Hats - Edward de Bono
Simplicity - Edward de Bono
The Art of War - Sun Tzu
Sophie's World - Jostein Gaarder
Zen and the Art of Motorcycle Maintenance - Robert Pirsig
The Tao of Pooh and the Te of Piglet - Benjamin Hoff
Sway - Ori Brafman and Rom Brafman
Lateral Thinking - Edward de Bono
6 Thinking Hats - Edward de Bono
Simplicity - Edward de Bono
The Art of War - Sun Tzu
10 books to challenge your thinking
1984 - George Orwell
The Bell Jar - Sylvia Plath
Disgrace - J.M. Coetzee
The Crying of Lot 49 - Thomas Pynchon
Life of Pi - Yann Martel
The Curious Incident of the Dog in the Night-Time - Mark Haddon
American Psycho - Bret Easton Ellis
Heart of Darkness - Joseph Conrad
Fury - Salman Rushdie
The Book of Illusions - Paul Auster
The Bell Jar - Sylvia Plath
Disgrace - J.M. Coetzee
The Crying of Lot 49 - Thomas Pynchon
Life of Pi - Yann Martel
The Curious Incident of the Dog in the Night-Time - Mark Haddon
American Psycho - Bret Easton Ellis
Heart of Darkness - Joseph Conrad
Fury - Salman Rushdie
The Book of Illusions - Paul Auster
Wednesday, March 7, 2012
Analyse these cartoons
Who is the character depicted in both cartoons?
Which visual clues suggest that it is this person?
What common theme do both cartoons address?
Tuesday, March 6, 2012
Analyse this ad
Why is the analogy drawn between an ice-cream and the world?
Don't just think global warming, think of the effects and how they are similar.
The handkerchief as symbol in Othello
Shauna Solaman
In William Shakespeare’s Othello, Shakespeare makes use of a symbol that helps to weave the
entire story together. This symbol is that of the handkerchief, a gift from Othello to his new wife,
Desdemona. The symbol is from the very beginning of the book that marks an important event in
their new life together to the end of the book, which marks their very demise.
The handkerchief that Othello owns is that of his mother, which she then passed on to him, for
his wife. The story that comes along with the handkerchief is that it was woven by an Egyptian
sibyl with silk worms and dyed in the mummies of conserved maidens’ hearts. The sibyl then
gave Othello’s mother the handkerchief and assured her that as long as she kept this
handkerchief, then his husband would stay devoted to her. However, if the handkerchief were
ever lost to its owner, then the unfortunate wife would lose her husband. So in the beginning of
the book, the handkerchief is a symbol of fidelity. Othello gave it to his wife, and told her the
story with it.
The meaning of the handkerchief alters according to the person. For Othello, the importance of
the handkerchief lies in the words passed down from his mother as well as the assurance of
fidelity and virginity expected of Desdemona. For Desdemona, this is a symbol of Othello’s love
for her. She cherishes the handkerchief, not only for the meaning that Othello gives to it, but it
was also the first gift Othello bestowed upon her – a true gift of his love for her. Emilia sees the
handkerchief as a way of finally be able to fulfill one of her husband’s desires of her, which is to
retrieve the handkerchief and relinquish it to him. Iago sees the handkerchief as a way of finally
being able to get to Othello. Iago feels that the handkerchief is a symbol of Desdemona’s faith to
Othello. By obtaining this symbol of her faith, he is able to deploy his plan of revenge against
Othello. For Cassio, the handkerchief is nothing more than a pretty object and for Bianca, the
same symbol is one that signals to her that Cassio doesn’t care for her.
The handkerchief moves through many hands throughout the play. However as it is physically
moving through the play, it is silently putting a wedge between Desdemona and Othello. The two
of them don’t quite realize how really important this symbol is. The reader at this point already
realizes that this handkerchief is something more than it seems to be. After all, how could one
symbol move through so many hands and hold so many different meanings?
Othello at the beginning of the book holds the handkerchief to mean Desdemona’s fidelity to
him. With the help of Iago’s cunning words, doubt of this fidelity is placed deep within the
crevices of Othello’s mind. The one thing that he goes to, to prove that Desdemona is faithful or
not is the handkerchief. He doesn’t even think to ask Desdemona directly about his suspicions
and later his charges. He asks her for the handkerchief and when she isn’t able to produce it for
him, he charges her with infidelity. The same symbol that once represented this love between the
two of them now represents Othello’s anger and Desdemona’s confusion. All this time, since he
doesn’t charge her until he has decided to kill her, she doesn’t know what is going on. Not at any
point does she realize that he is relying on the handkerchief to confirm his suspicions. Now by
the middle of the book, the very same symbol that represented love now represents betrayal.
Interestingly enough though, the handkerchief still heeds its makers warnings. Desdemona lost
the handkerchief and now she must suffer the consequences of this. The twist to this is that she
didn’t lose Othello; for he didn’t stray, rather she loses herself.
The symbol of the handkerchief makes it’s way from beginning to end of the book. Every hand it
touches, the meaning changes. However when Othello reveals the history behind the
handkerchief, it was a direction to the end of the book. It also marked that this meaning, these
two people, Othello and Desdemona, and their meaning would be most important, and most
altered. This symbol of love could easily be lost if it itself is lost. From the beginning of the
book, the handkerchief held two beings together in marriage, and by the end the handkerchief
represented betrayal and hatred. Othello killed his wife even though she tried to deny the
charges. Still in her death she protected her husband and took the blame for herself. In the end,
the handkerchief marked Desdemona’s death and Othello’s death. Iago achieved what was
necessary, and was able to do so with the aide of wife, whom he killed. Nonetheless, he still
achieved what he needed to do, all through cleverly chosen words at the right time and a simple
handkerchief. Had it not been for the handkerchief, or at least the loss of the handkerchief, then
Iago never would have been able to achieve the results he wanted – revenge on Othello.
In William Shakespeare’s Othello, Shakespeare makes use of a symbol that helps to weave the
entire story together. This symbol is that of the handkerchief, a gift from Othello to his new wife,
Desdemona. The symbol is from the very beginning of the book that marks an important event in
their new life together to the end of the book, which marks their very demise.
The handkerchief that Othello owns is that of his mother, which she then passed on to him, for
his wife. The story that comes along with the handkerchief is that it was woven by an Egyptian
sibyl with silk worms and dyed in the mummies of conserved maidens’ hearts. The sibyl then
gave Othello’s mother the handkerchief and assured her that as long as she kept this
handkerchief, then his husband would stay devoted to her. However, if the handkerchief were
ever lost to its owner, then the unfortunate wife would lose her husband. So in the beginning of
the book, the handkerchief is a symbol of fidelity. Othello gave it to his wife, and told her the
story with it.
The meaning of the handkerchief alters according to the person. For Othello, the importance of
the handkerchief lies in the words passed down from his mother as well as the assurance of
fidelity and virginity expected of Desdemona. For Desdemona, this is a symbol of Othello’s love
for her. She cherishes the handkerchief, not only for the meaning that Othello gives to it, but it
was also the first gift Othello bestowed upon her – a true gift of his love for her. Emilia sees the
handkerchief as a way of finally be able to fulfill one of her husband’s desires of her, which is to
retrieve the handkerchief and relinquish it to him. Iago sees the handkerchief as a way of finally
being able to get to Othello. Iago feels that the handkerchief is a symbol of Desdemona’s faith to
Othello. By obtaining this symbol of her faith, he is able to deploy his plan of revenge against
Othello. For Cassio, the handkerchief is nothing more than a pretty object and for Bianca, the
same symbol is one that signals to her that Cassio doesn’t care for her.
The handkerchief moves through many hands throughout the play. However as it is physically
moving through the play, it is silently putting a wedge between Desdemona and Othello. The two
of them don’t quite realize how really important this symbol is. The reader at this point already
realizes that this handkerchief is something more than it seems to be. After all, how could one
symbol move through so many hands and hold so many different meanings?
Othello at the beginning of the book holds the handkerchief to mean Desdemona’s fidelity to
him. With the help of Iago’s cunning words, doubt of this fidelity is placed deep within the
crevices of Othello’s mind. The one thing that he goes to, to prove that Desdemona is faithful or
not is the handkerchief. He doesn’t even think to ask Desdemona directly about his suspicions
and later his charges. He asks her for the handkerchief and when she isn’t able to produce it for
him, he charges her with infidelity. The same symbol that once represented this love between the
two of them now represents Othello’s anger and Desdemona’s confusion. All this time, since he
doesn’t charge her until he has decided to kill her, she doesn’t know what is going on. Not at any
point does she realize that he is relying on the handkerchief to confirm his suspicions. Now by
the middle of the book, the very same symbol that represented love now represents betrayal.
Interestingly enough though, the handkerchief still heeds its makers warnings. Desdemona lost
the handkerchief and now she must suffer the consequences of this. The twist to this is that she
didn’t lose Othello; for he didn’t stray, rather she loses herself.
The symbol of the handkerchief makes it’s way from beginning to end of the book. Every hand it
touches, the meaning changes. However when Othello reveals the history behind the
handkerchief, it was a direction to the end of the book. It also marked that this meaning, these
two people, Othello and Desdemona, and their meaning would be most important, and most
altered. This symbol of love could easily be lost if it itself is lost. From the beginning of the
book, the handkerchief held two beings together in marriage, and by the end the handkerchief
represented betrayal and hatred. Othello killed his wife even though she tried to deny the
charges. Still in her death she protected her husband and took the blame for herself. In the end,
the handkerchief marked Desdemona’s death and Othello’s death. Iago achieved what was
necessary, and was able to do so with the aide of wife, whom he killed. Nonetheless, he still
achieved what he needed to do, all through cleverly chosen words at the right time and a simple
handkerchief. Had it not been for the handkerchief, or at least the loss of the handkerchief, then
Iago never would have been able to achieve the results he wanted – revenge on Othello.
Monday, March 5, 2012
Analyse this ad
Discuss the visual appeal of this ad.
What role does colour play in this ad?
How does the shoe link to ice-cream?
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