IMPORTANT QUOTATIONS EXPLAINED READING AND ANALYZING NON-AFRICAN DRAMA: OTHELLO BY WILLIAM SHAKESPEARE

FIRST TERM E-LEARNING NOTE

 

SUBJECT: LITERATURE IN ENGLISH                                                               CLASS: SS3

 

SCHEME OF WORK

 

WEEK FOUR

READING AND ANALYZING NON-AFRICAN DRAMA: OTHELLO BY WILLIAM SHAKESPEARE

IMPORTANT QUOTATIONS EXPLAINED

1.

Were I the Moor I would not be Iago.

In following him I follow but myself;

Heaven is my judge, not I for love and duty,

But seeming so for my peculiar end.

For when my outward action doth demonstrate

The native act and figure of my heart

In compliment extern, ’tis not long after

But I will wear my heart upon my sleeve

For daws to peck at. I am not what I am. (I.i.57–65)

In this early speech, Iago explains his tactics to Roderigo. He follows Othello not out of “love” or “duty,” but because he feels he can exploit and dupe his master, thereby revenging himself upon the man he suspects of having slept with his wife. Iago finds that people who are what they seem are foolish. The day he decides to demonstrate outwardly what he feels inwardly, Iago explains, will be the day he makes himself most vulnerable: “I will wear my heart upon my sleeve / For daws to peck at.” His implication, of course, is that such a day will never come.

This speech exemplifies Iago’s cryptic and elliptical manner of speaking. Phrases such as “Were I the Moor I would not be Iago” and “I am not what I am” hide as much as, if not more than, they reveal.Iago is continually playing a game of deception, even with Roderigo and the audience. The paradox or riddle that the speech creates is emblematic of Iago’s power throughout the play: his smallest sentences (“Think, my lord?” in III.iii.109) or gestures (beckoning Othello closer in Act IV, scene i) open up whole worlds of interpretation.

2.

My noble father,

I do perceive here a divided duty.

To you I am bound for life and education.

My life and education both do learn me

How to respect you. You are the lord of my duty,

I am hitherto your daughter. But here’s my husband,

And so much duty as my mother showed

To you, preferring you before her father,

So much I challenge that I may profess

Due to the Moor my lord. (I.iii.179–188)

These words, which Desdemona speaks to her father before the Venetian senate, are her first of the play. Her speech shows her thoughtfulness, as she does not insist on her loyalty to Othello at the expense of respect for her father, but rather acknowledges that her duty is “divided.” Because Desdemona is brave enough to stand up to her father and even partially rejects him in public, these words also establish for the audience her courage and her strength of conviction. Later, this same ability to separate different degrees and kinds of affection will make Desdemona seek, without hesitation, to help Cassio, thereby fueling Othello’s jealousy. Again and again, Desdemona speaks clearly and truthfully, but, tragically, Othello is poisoned by Iago’s constant manipulation of language and emotions and is therefore blind to Desdemona’s honesty.

3.

Haply for I am black,

And have not those soft parts of conversation

That chamberers have; or for I am declined

Into the vale of years—yet that’s not much—

She’s gone. I am abused, and my relief

Must be to loathe her. O curse of marriage,

That we can call these delicate creatures ours

And not their appetites! I had rather be a toad

And live upon the vapor of a dungeon

Than keep a corner in the thing I love

For others’ uses. Yet ’tis the plague of great ones;

Prerogatived are they less than the base.

’Tis destiny unshunnable, like death. (III.iii.267–279)

When, in Act I, scene iii, Othello says that he is “rude” in speech, he shows that he does not really believe his own claim by going on to deliver a lengthy and very convincing speech about how he won Desdemona over with his wonderful storytelling (I.iii.81). However, after Iago has raised Othello’s suspicions about his wife’s fidelity, Othello seems to have at least partly begun to believe that he is inarticulate and barbaric, lacking “those soft parts of conversation / That chamberers [those who avoid practical labor and confine their activities to the ‘chambers’ of ladies] have.” This is also the first time that Othello himself, and not Iago, calls negative attention to either his race or his age. His conclusion that Desdemona is “gone” shows how far Iago’s insinuations about Cassio and Desdemona have taken Othello: in a matter of a mere 100 lines or so, he has progressed from belief in his conjugal happiness to belief in his abandonment.

The ugly imagery that follows this declaration of abandonment—Othello finds Desdemona to be a mere “creature” of “appetite” and imagines himself as a “toad” in a “dungeon”—anticipates his later speech in Act IV, scene ii, in which he compares Desdemona to a “cistern for foul toads / To knot and gender in,” and says that she is as honest “as summer flies are in the shambles [slaughterhouses], / That quicken even with blowing” (IV.ii.63–64, 68–69). Othello’s comment, “’tis the plague of great ones,” shows that the only potential comfort Othello finds in his moment of hopelessness is his success as a soldier, which proves that he is not “base.” He attempts to consider his wife’s purported infidelity as an inevitable part of his being a great man, but his comfort is halfhearted and unconvincing, and he concludes by resigning himself to cuckoldry as though it were “death.”

4.

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 ha’ the work ta’en out,

And give’tIago. What he will do with it,

Heaven knows, not I.

I nothing, but to please his fantasy. (III.iii.294–303)

This speech of Emilia’s announces the beginning of Othello’s “handkerchief plot,” a seemingly insignificant event—the dropping of a handkerchief—that becomes the means by which Othello, Desdemona, Cassio, Roderigo, Emilia, and even Iago himself are completely undone. Before Othello lets the handkerchief fall from his brow, we have neither heard of nor seen it. The primary function of Emilia’s speech is to explain the prop’s importance: as the first gift Othello gave Desdemona, it represents their oldest and purest feelings for one another.

While the fact that Iago “hath a hundred times / Wooed me to steal it” immediately tips off the audience to the handkerchief’s imminently prominent place in the tragic sequence of events, Emilia seems entirely unsuspicious. To her, the handkerchief is literally a trifle, “light as air,” and this is perhaps why she remains silent about the handkerchief’s whereabouts even when Desdemona begins to suffer for its absence. It is as though Emilia cannot, or refuses to, imagine that her husband would want the handkerchief for any devious reason. Many critics have found Emilia’s silence about the handkerchief—and in fact the entire handkerchief plot—a great implausibility, and it is hard to disagree with this up to a point. At the same time, however, it serves as yet another instance in which Iago has the extraordinary power to make those around him see only what they want to see, and thereby not suspect what is obviously suspicious.

5.

Then must you speak

Of one that loved not wisely but too well,

Of one not easily jealous but, being wrought,

Perplexed in the extreme; of one whose hand,

Like the base Indian, threw a pearl away

Richer than all his tribe; of one whose subdued eyes,

Albeit unused to the melting mood,

Drop tears as fast as the Arabian trees

Their medicinable gum. Set you down this,

And say besides that in Aleppo once,

Where a malignant and a turbaned Turk

Beat a Venetian and traduced the state,

I took by th’ throat the circumcised dog

And smote him thus. (V.ii.341-354)

With these final words, Othello stabs himself in the chest. In this farewell speech, Othello reaffirms his position as a figure who is simultaneously a part of and excluded from Venetian society. The smooth eloquence of the speech and its references to “Arabian trees,” “Aleppo,” and a “malignant and a turbaned Turk” remind us of Othello’s long speech in Act I, scene iii, lines 127–168, and of the tales of adventure and war with which he wooed Desdemona. No longer inarticulate with grief as he was when he cried, “O fool! fool! fool!,” Othello seems to have calmed himself and regained his dignity and, consequently, our respect (V.ii.332). He reminds us once again of his martial prowess, the quality that made him famous in Venice. At the same time, however, by killing himself as he is describing the killing of a Turk, Othello identifies himself with those who pose a military—and, according to some, a psychological—threat to Venice, acknowledging in the most powerful and awful way the fact that he is and will remain very much an outsider. His suicide is a kind of martyrdom, a last act of service to the state, as he kills the only foe he has left to conquer: himself.

 

GENERAL EVALUATION

1.     Appreciate the language of the work.

2.     Comment on the use of irony in the play.

WEEKEND ASSIGNMENT

1.     The clash of interest that originates from opposing forces in literature is A. climax. B. denouement. C. conflict. D. aside.

2.     A major character whose flaws combine with external forces that lead to his downfall is aA. flat character. B. round character. C. romantic hero. D. tragic hero.

3.     Which of the following is not a drama? A. Burlesque B. Resolution C. Pantomime D. Opera

4.     A literary work in which the characters and events are used as symbols is known as A. characterization. B. allegory. C. metaphor. D. parallelism.

5.     Characterization in a novel refers to the A. writer’s opinion of the characters. B. way the characters are revealed to the reader. C. characters and the way they behave. D. reader’s opinion of the characters.

6. Which of the following is an example of a conflict? A. love vs. friendship B. wealth vs. poverty C. man vs. nature D. man vs. destiny

7. A story that covers events in time, with the details and sequence of events presented in order by chapter or section number is called A. an epic. B. a memoir C. a novel D. a parable

8. What is the main conflict in “The Glass Menagerie”? A) The struggle between Tom and his mother for control of the family business B) Amanda’s inability to let go of her past, which prevents her from accepting Jim as their “gentleman caller” C) Laura’s desire to pursue her own dreams in spite of family pressures D) Tom’s struggle to balance familial obligations with his need for independence

9. What is the main conflict in “The Chrysanthemums”? A) Elisa’s dissatisfaction with her situation as a housewife B) Henry and Elisa’s struggles to overcome their cultural differences and reconcile their love for each other C) Elisa’s inability to understand her son, who has run away from home D) The disparity between Elisa’s romantic expectations and the reality of married life

10. What is the main conflict in “The Lottery”? A) the struggle between individual happiness and communal duty B) the struggle between life and death C) the tension among community members who are divided as to whether to make any changes to tradition D) the conflict over Jack’s decision to put his family first rather than participate in a human sacrifice

11. What is the main conflict in “The Yellow Wallpaper”? A) Jane’s underlying mental illness vs. her unsustainable marriage and life in a new city B) the conflict between Jane’s desire to live freely and critically and Tom’s more traditional, conformist ideas C) Jane’s struggle with an unknown assailant who she believes is attempting to control her D) John’s resentment of his wife as she neglects domestic duties in favor of writing

THEORY

What is the main theme in Othello?

READING ASSIGNMENT

Read the style and language of the play in Exam Focus.