For Friday:
Shakespeare, Othello, Act 1
For those of you
still getting your Shakespearean-legs, here is a brief scene-by-scene synopsis
of the action of the first Act.
Act
1, Scene 1: Iago and Roderigo appear before Brabantio’s house at night; they
are plotting together to bring down Othello, whom Iago serves as an “ancient”
(kind of a lieutenant). They awake Brabantio and tell him his daughter,
Desdemona, has stolen out of his house to wed Othello without his knowledge.
Brabantio doesn’t believe them—he doesn’t even like Roderigo—but finally
realizes the truth. He vows to take this up before the Duke and get vengeance.
Act
1, Scene 2: Iago re-appears with Othello, this time spitting venom about
Roderigo. He warns Othello that Brabantio is up in arms about his daughter, and
Cassio, another member of Othello’s camp, appears to warn of evil tidings about
war from abroad—the Turks are invading. At the same moment, Brabantio appears
with swords drawn, demanding Othello’s arrest. Yet Othello is wanted by the
Duke, so they all decide to retire to his chambers and plead their various
cases.
Act
1, Scene 3: The Duke is at his council of war, discussing the invasion of the
Turkish fleet. After some debate, they confirm that the Turks will invade the
island of Cyprus, and the Venetians need a counter-force led by their greatest
commander, Othello. Othello appears with Brabantio and company, and Brabantio
demands justice against the abductor of his daughter. The duke agrees—until he
learns that Othello is the culprit. Othello makes his case, that he didn’t rape
or seduce Desdemona with witchcraft, but simply by telling her stories of his
life. The Duke sides with Othello, and when Desdemona enters, she confirms his
story. Brabantio washes his hands of both of them. Othello (and Desdemona) then
beg to travel together to Cyrpus, and the Duke agrees. The scene ends with
another exchange between Roderigo and Iago; Roderigo is ready to hang himself,
but Iago talks him out of it. Then, at the very end, he expresses his ‘true’ feelings
to the audience in a sinister monologue.
Answer TWO of
the following:
Q1: Iago gives two
reasons for plotting against Othello: what are they? Who does he tell each one
to? Do you think he believes them equally (or either of them)? Would either one
be sufficient to make him betray his comrade-in-arms?
Q2: Though Act 1
is largely in iambic pentameter, there is a slight but telling use of prose.
Who speaks it and when? Why is it spoken? How might it change what is said by
speaking it in the ‘common language’?
Q3: At this
time, Moors or anyone of another race would be seen as barbaric, animalistic,
and sinister. Many plays of Shakespeare’s time played on exactly these
stereotypes. How does Shakespeare play against
the stereotype in his portrayal of Othello? In other words, what does
Othello say that humanizes him and
makes us sympathize with his character?
Q4: Iago has two
conversations with Roderigo, each of them quite long.
What is revealing about the language he uses to Roderigo? What does it reveal
about his character and motives? If we can glimpse something of the ‘real’ Iago
here, what does he look like?
Q2: Iago is usually the one that speaks prose. Towards the end of Scene 3, on pages 24 and 25, Iago is trying to convince Roderigo that he shouldn't dwell, and he should "make more money" and "put money in thy purse". He says so in a non-formal way, perhaps because they are now by themselves and he is giving a "friend" some advice, and the lines have no rhythm, rhyme, or structure compared to the rest of the poem.
ReplyDeleteQ3: I imagined Shakespeare slapping society across the face with this entire poem. The Moor is a black man, but Desdemona falls in love with him regardless of color. Brabontio is furious (definitely a racist), because he sees only the color, and not the experience of war and slavery. I sympathized a lot with Othello, because I hate prejudice and racism. However, one line that can really make the audience sympathize is when he's trying to make his case (Act 3, page 17), and he tells them to fetch Desdemona. He then says that if they still think she's lying, that they can not only take her away, but they can kill him. This doesn't happen, obviously, but when the Duke gives him a "thumbs up", and even says the tales would win HIS daughter over, it gave me hope that they could be together.
Great responses: this would be a revolutionary characterization for Shakespeare's time, since he speaks beautifully and is truly honorable--not qualities one would connect with Moors in the 16th century. Shakespeare's wants his hero to be heroic in the beginning, as it will make for a better tragedy by the end. No spoilers...
DeleteQ2 It seems that Iago uses prose when he comforts the suicidal Roderigo in the last scene of act 1. I think the informal nature of prose compared to iambic pentameter is more effective at comforting someone in distress. It could even be meant to show Iago's bond of friendship with Roderigo. The change of language style could be compared to formal/informal conjugations in other languages. For example, if a french speaking person were addressing an authoritative figure, they would use the "vous" instead of "tu" when addressing someone. The latter would be used in an informal conversation, like two close friends conversing.
ReplyDeleteQ3 So far, I feel like Othello is a likable character. I think Shakespeare is doing him justice by giving him a commanding position in the military. It also seems that Othello's dialog is a bit more formal sounding than most other characters. Desdemona, the daughter of a man in a position of much authority, agrees with Othello when questioned before the Duke. Her acknowledgment of their love for each other convinces the Duke, and the reader (possibly), that Othello is a good man. I have not noticed any specific events that humanize Othello, but I feel that his personality itself humanizes him by making him a likable character.
Yes, the prose is more informal and more intimate--a way of suggesting the "tu" that English is sadly without (even though in Shakespeare's time, using thy/thou and you/your would be similar). However, it shows that he is pretty familiar with him, which might raise eyebrows, since Roderigo seems to be of a higher class than him--a nobleman vs. a soldier. He probably shouldn't take such liberties.
DeleteDana Welch
ReplyDeleteQ3. I don't think it is what Othello says, I think it is more of the way he says it. Clearly he is educated and very intelligent and also very sensitive, as he can see other people's point of view and he knows that his wife accepts him as he does her. I think Shakespeare wanted us to see the humility in his mannerisms and his thoughts and actions.
Q4.
Well, Iago uses prose for a start. He seems to be uneducated and all he cares about is money. I think he is just concerned about getting money for booze and causing a riot whenever he can.But he is also a coward. He never sticks around and he is two faced.
Good, but be a little more specific: can we see where Othello appears intelligent/sensitive? What are the clues Shakespeare planted for us to read? Help us see this, since that will help me see how you read the lines/the play.
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ReplyDelete1. Iago’s first reason for plotting against Othello occurs on page 4 when he is speaking privately with Roderigo. Othello, a Venetian general, had given a military promotion to Cassio, a “great arithmetician…that never set a squadron in the field”, over Iago, a warrior with experience. The second reason Iago offers is at the end of Act 1, on page 26, when he is speaking confidentially to the audience. He mentions that he has heard it from “abroad” that Othello had slept with his wife. I believe Iago had either heard this from people of a foreign country who hate a Moor even more than Iago does, or he made up the lie himself, which isn’t improbable given he is a compulsive liar. The first reason is definitely one sufficient for upsetting an individual, but certainly not enough to drive Iago to want to perform some diabolical scheme against Othello – being a Moor is cause enough for a racist such as Iago to want to have him done away with. There must be some other, deeper reason for Iago’s animosity.
ReplyDelete2. Iago is the only character who speaks outside of an iambic pentameter. He speak in prose primarily with he and Roderigo are alone and only briefly with Brabantio. Roderigo is wealthy, but he isn’t bright. Iago takes advantage of Roderigo’s dull mind by speaking in prose with privately both in the opening scene as well as on pages 23-26. We can see, in the latter portion, a psychological tactic to convince Roderigo that Iago has befriended him and is now speaking to him in a mode of intimate secrecy, when Iago is talking down to him – he plays Roderigo by using him in his scheme against Othello while having an alternate agenda to also take Roderigo’s wealth. Iago also speaks in prose to Brabantio on pages 6 and 7 when revealing that Desdamona has had relations with Othello. The prose is spoken second to a line spoken in verse, though both lines say the same thing. Initially in verse, Iago states, “Zounds, sir, you’re robbed! For shame, put on your gown! / … / Even now, now, very now, an old black ram / Is tupping your white ewe. Arise, arise!” This is fairly profane, but it is poetic so it slides by the proper Venetian senator. On the next page, Iago says the same thing in prose. “Zounds, sir…you’ll have your daughter covered with a Barbary horse; you’ll have your nephews neigh to you…” This is much more profane speech than the former not only because of the animalist imagery, but primarily because of the prose spoken by Iago to the senator. This poor use of language to a higher-up incredibly upsets Brabantio as he quickly snaps back with, “What profane wretch art thou?”
3. As previously said in lecture, Othello is a man of war and that is known by those he interacts with. He is a man of strength and he knows that too, but doesn’t choose his to defend himself by means of fighting. An example of this occurs on page 13, around lines 84-86 says, “Were it my cue to fight, I should have known it/Without a prompter. Where will you that I go/To answer this your charge?” Not only does Othello know when to fight, is willing to go with them to wherever they want him to go. I don’t know if Shakespeare meant to do this or not, but the way that Othello is displayed here reminds me of Jesus being betrayed in the garden. Luke 22:49-53 talks about when talks about it in description by saying, 49 And when those who were around him saw what would follow, they said, “Lord, shall we strike with the sword?” 50 And one of them struck the servant[h] of the high priest and cut off his right ear. 51 But Jesus said, “No more of this!” And he touched his ear and healed him. 52 Then Jesus said to the chief priests and officers of the temple and elders, who had come out against him, “Have you come out as against a robber, with swords and clubs? 53 When I was with you day after day in the temple, you did not lay hands on me. But this is your hour, and the power of darkness.” Despite people coming to arrest Jesus, he remains calm and even heals the ear of someone wanting to arrest them. In turn, though not to the same degree, Othello is willing to comply with the request and demands of others.
ReplyDelete"Bible Gateway Passage: Luke 22:49-53 - English Standard Version." Bible Gateway. Bible Gateway, n.d. Web. 23 Sept. 2016.
4. Iago is a character that two things on his mind currently within the play; he desires revenge and money which he makes clearly known. He says that he, “hates the Moor” on page 26, line 377, while he pretends to be Othello’s friend in every interaction with him. As Iago is talking the Roderigo, he tells him many times, “put money in thy purse,” (pg. 25, line 337). While trying to give him a “peep-talk,” he is also telling him to get some money and “follow thou the/wars” (pg. 25, lines 337-338). He doesn’t really want to help Roderigo avenge his pride and get the fair maiden back, rather he wants to feed his own agenda in regard to the situation. After Roderigo exits stage on page 26, line 376, Iago says, “Thus do I ever make my fool my purse.”
Q1: One reason that Iago gives to Roderigo for betraying Othello is that while the “Three great ones of the city / In personal suit to make me his lieutenant / Off-capped to him…”, in other words three influential Venetian politicians went to Othello and asked for him to make Iago his lieutenant, but instead Othello “…as loving his own pride and purposes / Evades them with a bombast circumstance / Horribly stuffed with epithets of war, / And in conclusion / Nonsuits my mediators” (4). Iago is angry that Othello goes against the wishes of the most prominent and give the position that he saw as his to Cassio, who he says is nothing more than “…a great arithmetician. / … / That never set a squadron in the field, / Nor the division of a battle knows / More than a spinster…” (4), whereas Iago believes he is more suitable for the job because these important men wanted him as lieutenant and he has actually been in war and seen war.
ReplyDeleteThe second reason that Iago gives is in his monologue to the audience is that “…it is thought abroad, that 'twixt my sheets / He has done my office…”, in other words that there is a rumor that Iago had heard about Othello supposedly sleeping with Iago’s wife (26). But, even Iago admits: “…I know not if't be true; / But I, for mere suspicion in that kind, / Will do as if for surety” (26). So, I doubt Iago actually believes the claims and would only possibly use it as an excuse when all other plans fail. While I feel like Iago could also potentially believe both to be true, even then I’d believe that Iago is still more concerned about not getting his proper promotion because as he said to Roderigo, “I know my price, I am worth no worse a place” (4) and in his monologue, “Cassio's a proper man. Let me see now… / To get his place and to plume up my will / In double knavery—How, how? Let's see” (26).
Q4: With Roderigo there is always a discussion of money and using Roderigo’s money, for example, Roderigo says, “…thou, Iago, who hast had my purse / As if the strings were thine…” (4) when he finds out that Iago knows about Othello’s marriage to Desdemona and didn’t think to warn him. Afterward, Iago begins to remind Roderigo of his loyalty and why he despises Othello, though he can’t show it outright. The discussion about money happens again near the end of the scene when Roderigo is depressed and lamenting about killing himself since he cannot have Desdemona. Iago tells him many times to “put money in thy purse”, which may, to Roderigo, be a phrase of encouragement, but to Iago it is yet another trick to encourage Roderigo to get more money so then Iago can use for his selfish gains. This is even more clear in his monologue when Roderigo leaves the room and Iago is alone and says, “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” (26). Even when Iago talks to Roderigo he speaks in prose to sell the point to Roderigo even more that he is his friend by faking this sense of intimacy, when in reality he is talking down to him.
#2
ReplyDeleteSpeaking Prose is usually used for the lower uneducated class of people. Iago seems to be the only character to speak outside of iambic pentameter. Iago speaks in iambic pentameter with Brabantiob, the he speaks Prose to him at his house. That shows disrespect to the higher authority. He also speaks with Roderigo. Roderigo is very wealthy but he's not smart. We see that in how we wanted to kill himself because there was no chance of him having Desdamona. Iago uses his Prose as a means of "intimate" conversation with him, almost like he is Roderigo's friend. In reality, he is just using Roderigo for his money.
#3
I love this question the most. I love seeing the human behind the vessel, you know? Othello is African American. His role is contradicting what they believed in at that time. His features say that he barbaric and not fit for this job, but his personality and his title (and Shakespeare) say that he is humble, humane, and worthy of it. First of all, when confronted with a fight from Brabantio, he says no. If it were his time to fight, he would know. Second, he talks of his love for Desdamona and that is backed by her fight for Othello. She fell in love with him through the stories of his life. His stories alone tell that he is human. He struggled and she saw that. She was the only woman to have compassion for him as a human being, not a gross thing. He loves her and she loves him. THAT is beautiful!