Achievement Standard 3.3 William Shakespeare’s Othello

Achievement Standard 3.3
William Shakespeare’s Othello
NEXT YEAR ...
• READ THE NOTES FROM IAIN’S REVISION LESSONS –
SUPERB
• More emphasis on imagery – beasts, monsters,
animals, Heaven and Hell Black and white
• Emphasis on Setting and Order Vs Chaos
• Character and dramatic devise as a means through
theme is presented.
• Wider theme net – appearance vs reality – reputation,
loyalty and disloyalty, Trust vs Jealousy– THEMES as
BINARY OPPOISTES
Othello Independent Learning
Rationale – to enable you to learn anywhere, any
time – in a snow cave, under Mt Cook, even in AshVegas on Tournament
To develop your ability to learn
independently in preparation for
tertiary study
To get through all we need to get through
Key Resource - Wiki
• http://mrschaumannsenglish.wikispaces.com/
• Key Resource – the cloud – google docs
The key product …
• In groups of three, working in the cloud …
complete the following …
Act/Scene
Brief Summary
1.1
Roderigo and Iago
I immediately deceptive and
argue.
manipulative – R foolish
R knows D married O
Iago reassures
Roderigo that he
hates O because of
recent promotion of
Michael Cassio to
the post of
lieutenant.
Analysis
I = Villain – part of WHY he hates
Othello explained
Themes – Corrosiveness of
Jealousy – Iago jealous of Cassio –
plots revenge (revenge drives
plot)
Key Quotations
In following him I
follow but myself;
Lesson One – not losing the plot ...
• Goal: To understand the storyline of Othello; what the
characters do, who they do it to, where they do it, how
they do it ... And begin to understand why they do it.
• Who said English isn’t street ...
• C:\Users\DSC\Desktop\Othello in Three Minutes
[www.keepvid.com].mp4
• But seriously ... The animated tale
• Plot summary task ...
Dates
11.8 Film
12.8 Film
15.8 Pe
Pe
Pe
Pe
TW
TW
TW
TW
Summary Task
• Either in a flow chart, or using sub-headings
and bullets, create a plot summary using the
following clip (Look for the error in the last
slide)
Character Mind Map
Othello
• - The play’s protagonist and hero. A Christian
Moor and general of the armies of Venice,
Othello is an eloquent and physically powerful
figure, respected by all those around him. In
spite of his elevated status, he is nevertheless
easy prey to insecurities because of his age, his
life as a soldier, and his race. He possesses a
“free and open nature,” which his ensign Iago
uses to twist his love for his wife, Desdemona,
into a powerful and destructive jealousy
(I.iii.381). Read an in-depth analysis of Othello.
• ]
Desdemona
• .
• - The daughter of the Venetian senator
Brabanzio. Desdemona and Othello are secretly
married before the play begins. While in many
ways stereotypically pure and meek, Desdemona
is also determined and self-possessed. She is
equally capable of defending her marriage,
jesting bawdily with Iago, and responding with
dignity to Othello’s incomprehensible jealousy.
Read an in-depth analysis of Desdemona.
Iago • Othello’s ensign (a job also known as an
ancient or standard-bearer), and the
villain of the play. Iago is twenty-eight
years old. While his ostensible reason for
desiring Othello’s demise is that he has
been passed over for promotion to
lieutenant, Iago’s motivations are never
very clearly expressed and seem to
originate in an obsessive, almost aesthetic
delight in manipulation and destruction.
Read an in-depth analysis of Iago.
The also-rans
• Michael Cassio - Othello’s lieutenant. Cassio is a young and inexperienced
soldier, whose high position is much resented by Iago. Truly devoted to
Othello, Cassio is extremely ashamed after being implicated in a drunken
brawl on Cyprus and losing his place as lieutenant. Iago uses Cassio’s
youth, good looks, and friendship with Desdemona to play on Othello’s
insecurities about Desdemona’s fidelity.
• Emilia - Iago’s wife and Desdemona’s attendant. A cynical, worldly
woman, she is deeply attached to her mistress and distrustful of her
husband.
• Roderigo - A jealous suitor of Desdemona. Young, rich, and foolish,
Roderigo is convinced that if he gives Iago all of his money, Iago will help
him win Desdemona’s hand. Repeatedly frustrated as Othello marries
Desdemona and then takes her to Cyprus, Roderigo is ultimately
desperate enough to agree to help Iago kill Cassio after Iago points out
that Cassio is another potential rival for Desdemona.
Lesson Two: Getting to grips with he
lingo ...
• Goal: To be prepared to process the dialogue from Othello ... By
understanding some of the key differences between Shakespeare’s
language and our own
Top Tips for Reading Shakespeare
•
•
•
•
•
•
Read to the punctuation, not the ends of the lines. Punctuation makes meanings
clearer.
Inversion is common in Shakespeare so rearrange the words into a natural
speaking order.
• subject – verb – object
• the verb is the most important part of the sentence: find it
Read with intonation, not in a monotone. Try to look for the actors’ inflexions.
Thou and thee mean “you” and thy and thine mean “your.”
Expect a great deal of metaphorical language. No CGI or SFX in Shakespeare’s day.
He used IGI.
Consider the purpose of each scene and speech. The most common purposes are:
• to advance the plot, often by foreshadowing
• to build suspense (a plot function)
• to illustrate a character trait
• to develop a theme
• to describe the setting
A Taster – What do you notice about
the language here?
RODERIGO Tush! Never tell me. I
take it much unkindly
That thou, Iago, who hast had my
purse
As if the strings were thine, shouldst
know of this.
IAGO 'Sblood, but you’ll not hear
me! If ever I did dream of such a
matter, abhor me.
RODERIGO Thou told’st me
Thou didst hold him in thy hate
Fear
Not!!!!!!
RODERIGO I would not follow him then.
IAGO O sir, content you.
I follow him to serve my turn upon him.
We cannot all be masters, nor all masters
Cannot be truly followed. You shall mark
Many a duteous and knee-crooking knave
That (doting on his own obsequious bondage)
Wears out his time much like his master’s ass
For naught but provender, and when he’s old, cashiered.
Whip me such honest knaves. Others there are
Who, trimmed in forms and visages of duty,
Keep yet their hearts attending on themselves
And, throwing but shows of service on their lords,
Do well thrive by them. And when they have lined their coats,
Do themselves homage. These fellows have some soul,
RODERIGO I would not follow him then.
RODERIGO If you don’t like him you should
quit.
IAGO O sir, content you.
I follow him to serve my turn upon him.
We cannot all be masters, nor all masters
Cannot be truly followed. You shall mark
Many a duteous and knee-crooking knave
That (doting on his own obsequious bondage)
Wears out his time much like his master’s ass
For naught but provender, and when he’s old,
cashiered.
Whip me such honest knaves. Others there
are
Who, trimmed in forms and visages of duty,
Keep yet their hearts attending on themselves
And, throwing but shows of service on their
lords,
Do well thrive by them. And when they have
lined their coats,
Do themselves homage. These fellows have
some soul,
IAGO No, calm down. I’m serving under him
to take advantage of him. We can’t all be
masters, and not all masters should be
followed. Look at all the devoted servants
who work for their masters their whole lives
for nothing but their food, and then when
they get old they’re terminated. They ought to
be whipped for being so stupid. But then
there’s another kind of servant who looks
dutiful and devoted, but who’s really looking
out for himself. By pretending to serve their
lords, these men get rich, and when they’ve
saved up enough they can be their own
masters. Guys like that have soul, and that’s
the kind of guy I am. Let me tell
Othello Act One, Scene One (I.i.)
• Goal: To understand HOW Shakespeare
Theyour
Big Question
shapes
response to Iago in this scene.
How do the creators of
texts shape the response
of the receivers of texts?
What might the goal of today’s
lesson be?
Key Analysis – What to look for
• Othello is a play of CONTRAST – of oppositional forces:
•
•
•
•
•
Trust
V
Order
V
Appearance
V
White
V
Honour and Reputation
Jealousy
Chaos
Reality
Black
Dishonour
• And one character bridges the divide – turning the one
into the other… turning ‘virtue into pitch’
That is WHY …
“It might be
Othello’s tragedy
but it is Iago’s
play”
Reading – Act One, Scene One
Interplay of characterisation and theme
Listen out for the following lines:
He, in good time, must his lieutenant be,
And I--God bless the mark!--his Moorship's ancient.
Call up her father,
Rouse him: make after him, poison his delight,
Your heart is burst, you have lost half your soul;
Even now, now, very now, an old black ram
Is topping your white ewe
Farewell; for I must leave you:
It seems not meet, nor wholesome to my place,
To be produced--as, if I stay, I shall-Against the Moor
First, the facts ...
• Answer the following to clarify the plot in this act.
1. What does Iago think of Othello?
2. Does Othello know this? (Explain)
3. What does Iago think of Cassio? Why is he
seemingly jealous of him?
4. What has happened between Othello and
Desdemona?
5. What does Brabantio know about this?
Technique (S)
Quotation (X)
Characterised
through how he
speaks
Your heart is burst, you have
lost half your soul; Even now,
now, very now, an old black ram
Is topping your white ewe
Characterised by
what is said
about him
That thou, Iago, who hast had
my purse As if the strings were
thine
Characterised
through what he
says
[Cassio] in good time, must his
lieutenant be, And I--God bless
the mark!--his Moorship's
ancient.
Characterised
through his
actions
Farewell; for I must leave you:
It seems not meet, nor
wholesome to my place, To be
produced--as, if I stay, I shall-Against the Moor
Characterised
Through his
interactions
But I will wear my heart upon
my sleeve For daws to peck at: I
am not what I am.
Characterisation (Y)
Thematic Connection (Y)
Technique (S)
Quotation (X)
Characterisation (Y)
Thematic Connection (Y)
Characterised
through how he
speaks
Your heart is burst, you have
lost half your soul; Even now,
now, very now, an old black ram
Is topping your white ewe
Base and low – uses shocking
animal imagery – appaling to
a father and audience
Chaos and Order – here Iago is
bringing Chaos to Brabantio –
notice the imagery of black and
white too
Characterised by
what is said
about him
That thou, Iago, who hast had
my purse As if the strings were
thine
Iago exploits, manipulates
and decieves – spening all this
fops money
Appearance Vs Reality – Iago
has, and continues to appear
honest – we know better
Characterised
through what he
says
[Cassio] in good time, must his
lieutenant be, And I--God bless
the mark!--his Moorship's
ancient.
Jealousy drives him – he feels
overlooked, taken for granted
and is VERY bitter about this
The corrosiveness of jealousy –
how much it can drive someone
to seek vengeance
Characterised
through his
actions
Farewell; for I must leave you:
It seems not meet, nor
wholesome to my place, To be
produced--as, if I stay, I shall-Against the Moor
Deceptive and manipulative –
and very good at it – he
creates chaos, then leaves
Roderigo to deal with the fall
out
Appearance Vs Reality – Iago
takes great pains to APPEAR
honest – can’t be seen to be
against Othello
Characterised
Through his
interactions
But I will wear my heart upon
my sleeve For daws to peck at: I
am not what I am.
Decietfulness – he is almost
never open and honest – in
fact he IS not what he IS (Or
appeasrs to be
Appearance Vs Reality
Goal: To understand HOW Shakespeare shapes
your response to characters
Complete a SXY paragraph on the following
topic:
How does Shakespeare present Iago in Act One,
Scene One.
Challenge – synthesise – use More the one
technique, more than one quotation.
Model Mediocity
Iago’s language in Act One, scene one, signify that
he is dishonourable.. When he shouts:
Your heart is burst, you have lost half your soul;
Even now, now, very now, an old black ram
Is topping your white ewe
The audience is repelled by the graphic nature of
the metaphor. This shockingly graphic language is
used to manipulate Barbantio: clearly an action
with no honour.
Model much more like it ...
Iago’s language and actions in Act One, scene one, signify that he is untrustworthy,
deceitful and dishonourable – clearly and immediately he is established as the villain.
He admits his deceit to Rodergio, asserting he only appears to follow Othello in order
to, ‘Serve my turn upon him.’ A more shocking impression is created through the
language Shakespeare gives him. When he shouts:
Your heart is burst, you have lost half your soul;
Even now, now, very now, an old black ram
Is topping your white ewe
The audience is simultaneously impressed by the strength of emotion and repelled by
the graphic nature of the metaphor. Thus, one sees Iago openly admitting his
deception of Othello, and using shockingly graphic language to appal and manipulate
Barbantio: clearly actions with no honour, in a social context in which honour is of
singular import. We see immediately that it is Iago who will drive the conflict and
themes: he will manipulate appearances to erode trust in order to create chaos
through the corrosiveness of jealousy
Act One, Scene Two (I.ii)
• Goal: To explore how Shakespeare creates a
powerful first impression of Othello
Listen out for these key lines?
Reading and comprehension – what happens here?
Iago: Nay, but he prated,
And spoke such scurvy and provoking terms
Against your honour
That, with the little godliness I have,
I did full hard forbear him.
Othello: Which, when I know that boasting is an honour,
I shall promulgate--I fetch my life and being
From men of royal siege
IAGO He's married.
CASSIO To who?
Who’s more in
Othello’s
confidence?
OTHELLO Keep up your bright swords, for the dew will rust them.
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?
Group Character Analysis
• Your group will be allocated a section of the act. Your
job is to...
• Find and annotate at least three quotations that reveal
something about Othello’s characteristics
• Remember – it could be what he says, how he acts,
how he interacts, how he speaks or how he is spoken
about.
• Feedback and quotation file
• My services which I have done the signiory
Shall o
• Not I I must be found:
My parts, my title and my perfect soul
Shall manifest me rightlyut-tongue his
complaints.
• And many of the consuls, raised and met,
Are at the duke's already: you have been
hotly call'd for;
SXY paragraph time ...
• How does Shakespeare present Othello in I.ii of Othello?
• Think techniques – through his actions – responding to the
men fighting
• Through his dialogue – his faith that he won’t be misjudged
for marrying Desdemona, because of the service he has
done Venice – his reputation and honour are very sound
• Through his interaction with Barbantio – the dignified, aloof
manner he responds to the insulting slanders
• Through other characters dialogue – who seems more in his
confidence? Is this wise?
Act One Scene Three – The Political
the Personal and the vindictive
• Goal: To understand the two movements within the scene
and analyse how Othello’s dialogue reveals more about his
character; and understand the purpose of soliloquy
• Reading – The first movement – discussion
• The Second Movement – close analysis of Othello’s
dialogue
• The third movement – what more do we find out about
Iago?
OTHELLO Most potent, grave, and reverend signiors,
My very noble and approved good masters,
That I have ta'en away this old man’s daughter,
It is most true. True, I have married her.
The very head and front of my offending
Hath this extent, no more. Rude am I in my speech,
And little blessed with the soft phrase of peace,
For since these arms of mine had seven years' pith
Till now some nine moons wasted, they have used
Their dearest action in the tented field,
And little of this great world can I speak, More than
pertains to feats of broils and battle,
And therefore little shall I grace my cause
In speaking for myself. Yet, by your gracious
patience,
I will a round unvarnished tale deliver
Of my whole course of love. What drugs, what
charms,
What conjuration and what mighty magic—
For such proceeding I am charged withal—
I won his daughter.
•
OTHELLO Noble, honorable
gentlemen whom I serve: it’s true
that I’ve taken this man’s daughter
from him and married her. But that’s
my only offense. There’s nothing
more. I’m awkward in my speech and
I’m not a smooth talker. From the
time I was seven years old until nine
months ago I’ve been fighting in
battles. I don’t know much about the
world apart from fighting. So I won’t
do myself much good by speaking in
my own defense. But if you’ll let me,
I’ll tell you the plain story of how we
fell in love, and what drugs, charms,
spells, and powerful magic—because
that’s what I’m being accused of—I
used to win his daughter.
Iago’s First Soliloquy
Forget Not – Soliloquy is powerful for revealing character – it
allows the audience to read the character’s private thoughts
•
What do we find out
here about ...
•
•
Iago’s motives
His understanding of
Othello
His intentions
•
IAGO Thus do I ever make my fool my purse.
For I mine own gained knowledge should profane
If I would time expend with such a snipe
But for my sport and profit. I hate the Moor,
And it is thought abroad that ’twixt my sheets
He’s done my office. I know not if ’t be true,
But I, for mere suspicion in that kind,
Will do as if for surety. He holds me well.
The better shall my purpose work on him.
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.
After some time, to abuse Othello’s ear
That he is too familiar with his wife.
He hath a person and a smooth dispose
To be suspected, framed to make women false.
The Moor is of a free and open nature
That thinks men honest that but seem to be so,
And will as tenderly be led by th' nose
As asses are.
I have ’t. It is engendered! Hell and night
Must bring this monstrous birth to the world’s
light.
Iago’s Soliloquy
Act Two: Iago At Work
Goal: To explore the means
through which Iago
manipulates, and the role
of dramatic irony in
presenting his character
Starter: A definition – what
is dramatic irony?
Viewing – Branagh’s film –
all of Act Two
Act Two, Scene Three
• As we read through this scene, underline any
part where Iago is being manipulative
• Sneaky, sneaky ...
Find a quotation which shows Iago at work, manipulating
the following characters in this scene:
Cassio
Montano
Othello
Roderigo
The audience
For each one, explain HOW he is being manipulative
Focus - Iago’s Three Soliloquys
How do these soliloquys:
Add to the dramatic Irony and build dramatic
tension?
Develop our understanding of Iago’s
character?
Further develop the themes?
Annotate the test on the
google doc …
•
And what's he then that says I play the villain?
When this advice is free I give and honest,
Probal to thinking and indeed the course
To win the Moor again? For 'tis most easy
The inclining Desdemona to subdue
In any honest suit: she's framed as fruitful
As the free elements. And then for her
To win the Moor--were't to renounce his baptism,
All seals and symbols of redeemed sin,
His soul is so enfetter'd to her love,
That she may make, unmake, do what she list,
Even as her appetite shall play the god
With his weak function. How am I then a villain
To counsel Cassio to this parallel course,
Directly to his good? Divinity of hell!
When devils will the blackest sins put on,
They do suggest at first with heavenly shows,
As I do now: for whiles this honest fool
Plies Desdemona to repair his fortunes
And she for him pleads strongly to the Moor,
I'll pour this pestilence into his ear,
That she repeals him for her body's lust;
And by how much she strives to do him good,
She shall undo her credit with the Moor.
So will I turn her virtue into pitch,
And out of her own goodness make the net
That shall enmesh them all.
Re-enter RODERIGO
The Final Word ...
• Two things are to be done:
My wife must move for Cassio to her mistress;
I'll set her on;
Myself the while to draw the Moor apart,
And bring him jump when he may Cassio find
Soliciting his wife: ay, that's the way
Dull not device by coldness and delay.
•
IAGO That Cassio loves her, I do well believe it;
That she loves him, 'tis apt and of great credit:
The Moor, howbeit that I endure him not,
Is of a constant, loving, noble nature,
And I dare think he'll prove to Desdemona
A most dear husband. Now, I do love her too;
Not out of absolute lust, though peradventure
I stand accountant for as great a sin,
But partly led to diet my revenge,
For that I do suspect the lusty Moor
Hath leap'd into my seat; the thought whereof
Doth, like a poisonous mineral, gnaw my inwards;
And nothing can or shall content my soul
Till I am even'd with him, wife for wife,
Or failing so, yet that I put the Moor
At least into a jealousy so strong
That judgment cannot cure. Which thing to do,
If this poor trash of Venice, whom I trash
For his quick hunting, stand the putting on,
I'll have our Michael Cassio on the hip,
Abuse him to the Moor in the rank garb-For I fear Cassio with my night-cap too-Make the Moor thank me, love me and reward me.
For making him egregiously an ass
And practising upon his peace and quiet
Even to madness. 'Tis here, but yet confused:
Knavery's plain face is never seen tin used.
IAGO Thus do I ever make my fool my purse.
For I mine own gained knowledge should profane
If I would time expend with such a snipe
But for my sport and profit. I hate the Moor,
And it is thought abroad that ’twixt my sheets
He’s done my office. I know not if ’t be true,
But I, for mere suspicion in that kind,
Will do as if for surety. He holds me well.
The better shall my purpose work on him.
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.
After some time, to abuse Othello’s ear
That he is too familiar with his wife.
He hath a person and a smooth dispose
To be suspected, framed to make women false.
The Moor is of a free and open nature
That thinks men honest that but seem to be so,
And will as tenderly be led by th' nose
As asses are.
I have ’t. It is engendered! Hell and night
Must bring this monstrous birth to the world’s
light.
Iago’s Soliloquy
Act Three
• Goal: To explore what drives Othello to so quickly
suspect and condemn Desdemona.
• Starter: Copy and fill the blanks: The t_____ of events
is very i________ in Act III. Iago ant______ and
___________tes the other characters so s________
that they seem to be acting si____________ly of their
own free will and as Iago’s p_______s.
• Viewing – Act Three, scenes I – III.
Being the teacher ...
• As you watch, come up with at least five
questions, with answers, that you could use to
test someone’s understanding of this scene.
• At least ONE must contain a quotation.
Act Three, Scene Two – the ending
• Goal: To explore how the central theme of the corrosive
effects of jealousy is explored through this scene.
• Starter – exploring connotation – what does it actually
mean ...
• Beware jealousy my lord, it is the green-eyed monster
which doth mock the meat it feeds on.
• Reading and annotation – look for evidence of jealousy
corroding Othello’s piece of mind.
Explore how Act Three, Scene Three, develops
the relationship between Iago and Othello.
Act 3, Scene 4: Trifles light as air ...)
Goal: To explore the dramatic tension created by Othello and Desdemona talking
past each other in this scene
Activities:
• Reading Act 3, Scene 4.
• Annotating scene with emphasis on lines which are misinterpreted or misleading.
Questions
1. What does Desdemona say has happened to the handkerchief? WHY?
2. Desdemona tries to distract Othello from thinking about the handkerchief by changing
the subject. What is the irony here?
3. What effect does this conversation have on Othello? WHY?
Act 4, Scene 1: The eyes have it ...
Goal: To use drama to explore how Iago manages to provide Othello with
“ocular proof”.
Activities:
• Annotating Act 4, Scene 1, lines 1-90.
• Drama activity: Act 4, Scene 1, lines 91-161.
•In groups of 4 – Othello, Iago, Cassio and Bianca – find FIVE KEY LINES
•Produce FIVE TABLEAUX to match these lines, thinking about positioning,
actions and gestures to make plausible Othello’s words at line162, “How shall I
murder him, Iago?”
• Reading and annotating lines 162-273.
IV.ii & IV.iii
• To be able to illustrate the extent to which Othello’s reason and
judgement has been corroded by jealousy.
• Focussing questions – IV.ii
1.
2.
3.
4.
5.
How does Othello respond to Emilia’s answers to his interrogation?
In what ways does this, ‘violate the principle of listening to both sides of
the story before passing judgement.’ (York Notes Othello, p51)
Look at Othello’s dialogue with Desdemona – what does he do with her
words?
What does this reveal about him?
What evidence can you find of him being obsessed with the idea that he
is now a model for all cuckolds? (Look to IV.ii.52-54)
IV.iii
•
Goal: To appreciate how the timing of this scene and the
contrast between characters shapes the audience’s sympathy.
•
Reading and annotation – look for Xs for the SXY paragraphs
below
•
Discussion: Why here, why now?
•
Annotating with a focus on what the scene reveals about
Desdemona’s character, and how the sense of tragedy is
mounting.
•
Contrasting ideals: 3 SXY paragraphs:
1.
2.
3.
Explore the ways in which Desdemona is presented
Explore the ways in which Emilia contrasts with this
Comment on Shakespeare’s purpose in creating this contrast.
(Think sympathy, irony, tragedy)
Act Five Scene One
• Goal: To appreciate how the ending of Othello
conforms to the conventions of tragedy.
• Starter: What is tragedy in the sense of the genre?
•
•
•
•
•
•
Tragic Flaw?
Noble, high ranking protagonist?
Deaths of Principle Characters?
Role of Chance?
Increasing pathos?
Influence of higher powers/gods/supernatural figures?
Othello - Themes
Starter: If theme is an abstract concept or idea being
explored through the interaction of characters in a text
– what are some of the key themes of Othello?
The corrosive effects of jealousy
Appearance Vs Reality
Reputation and honour
Trust and manipulation
Constancy and Loyalty
Revenge?
Topic Tracking Via ‘Book Rags’
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Topic Tracking: Jealousy
Jealousy 1: The play opens with a discussion of jealousy. Iago is upset because Othello selected Michael Cassio as
his lieutenant. He is jealous of Cassio's position both in the military and with Othello's service. This initial jealousy
is the catalyst for the play's sequential plot of mixed jealousy and destruction.
Jealousy 2: Brabantio is partially jealous of the Moor for stealing his daughter's love. He no longer may be the
most important man in Desdemona's life. Furthermore, Roderigo is in love with Desdemona, and is slightly jealous
of her relationship with Othello.
Jealousy 3: The lovesick Roderigo has trouble with his hidden feelings for Desdemona and is jealous watching the
two in love. He follows Iago's directions easily, perhaps partially because of his jealousy of Othello's relationship
with Desdemona.
Jealousy 4: Iago openly divulges his plan of destruction, which incorporates jealousy as the key factor. He intends
to create a strong sense of jealousy in Othello by setting up the mirage of an affair between Desdemona and
Cassio.
Jealousy 5: Iago plants seeds of jealousy in Othello and then speaks of the 'green-eyed monster' as a force to be
feared. Jealousy is personified as a monster.
Jealousy 6: When Iago tells Othello of the handkerchief, he has the evidence necessary to prove Desdemona's
unfaithfulness. It is now that the jealousy sinks deep into Othello's soul and starts to vividly destroy his psyche.
Jealousy 7: Bianca, Cassio's common lover, also becomes sick with jealousy. She sees the planted handkerchief in
Cassio's room and believes him to also have taken a lover. Her jealousy exists on a much smaller scale, but
illustrates that the sentiment is universal.
Jealousy 8: As the play concludes, all causes of jealousy are proved false. Desdemona was never unfaithful, but
Othello realizes the truth too late. Jealousy is the source of pain and death for these tragic characters; the greeneyed monster has succeeded in killing them.
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To abuse Othello’s ear
That he is too familiar with his wife;
Iago – Why, there’s no remedy. ‘tis the curse of service;
Preferment goes by letter and affection,
Iago- Two things are to be done. My wife must move for Cassio to her mistress ill set on her. Myself the while to draw
the moor apart, and bring him jump when he may Cassio find soliciting his wife.
“It is silliness to live, when to live is torment...”
-Roderigo
“By Heaven, I rather would have been his [Othello’s] hangman”
-Roderigo
“This is some token of a newer friend”
-Bianca
“This is some minx’s token”
-Bianca
“She is abus’d, stol’n from me, and corrupted”
-Brabantio
O beware, my lord, of jealousy:
It is the green eyed monster which doth mock
The meat it feeds on.
-Iago (rather mischievously tbh)
That cuckhold lives in bliss
Who certain of his fate loves not his wronger;
But O what damned minutes tells he o’er
Who dotes, yet doubts, suspects, yet fondly loves?
- Iago
“i have a salt and sorry rheum offends me;
Lend me thy handkerchief.”
-Othello
I here do give thee that with which, but thou hast allready, with all my heart I would keep from thee
-Brabantio