Othello #7

     The play becomes tragic for Othello promptly after he realizes that he murdered his innocent and loving Desdemona. Othello's ultimate weakness is that he relies too heavily on justice and his honorable reputation to guide his actions. When Desdemona is still sleeping, Othello whispers, "O balmy breath, that dost almost persuade/ Justice to break her sword" (5.ii.16-7). An internal battle is consuming Othello. On one hand, her beauty is tempting him to refrain from murder, however, in order for justice to prevail, Othello believes she must be slain. When the evil truth about Iago has been revealed, Othello grievously remarks how,  "For naught did I in hate, but all in honor" (5.ii.294). For the honor of their marriage and the honor of the men he believed she would cheat on, Othello implemented his own form of justice. Hearing the truth is heartbreaking for all of the characters to witness, and the reader is left wondering if Iago meant for the truth to be discovered in order to inflict maximal pain and suffering onto the characters involved. Iago targeted Othello's weaknesses to take advantage of him and manipulate the situation. Before he commits suicide, Othello says that he saw "in Aleppo once,/ Where a malignant and turbaned Turk/ Beat a Venetian and traduced the state,/ I took by the'throat the circumcised dog/ And smote him thus" (5.ii.351-5). The reader is not sure if these actions ever occurred, but one can see how this relates to the battle fought within Othello. Iago was able to bring about the Turkish side in Othello, with its brutish and cruel nature. This persona is able to dominate over Othello's reasonable and logical side which is portrayed in Venice. His actions devastate the citizens of Venice and insult his own sophistication and intelligence; therefore, Othello finds it imperative to take his own life. Othello ends tragically, and almost every character is left miserable, heartbroken, and defeated.

Sound & Sense 4

     As we prepare to go to sleep, the prior events of the day, or possibly the thoughts in preparation for tomorrow, may hopelessly preoccupy our brains. The speaker in Robert Frost's poem "After Apple-Picking" constantly has thoughts of apples coursing through his mind. Even as he is about to go to sleep, "[he] cannot rub the strangeness from [his] sight." "Magnified apples appear and disappear,/ Stem end and blossom end,/ And every fleck of russet showing clear." In his dreams, the speaker is able to see all sides of the apples, both the 'stem' and the 'end.' A metaphorical comparison can be drawn between the speaker's life and the apples. When the speaker's days are finally coming to an end: "[The] essence of winter sleep is on the night," thoughts of apples still flood his mind. He is thinking about both the positive and negative aspects of his work and life. The speaker of this poem seems to believe that he is in his final days. Subtly throughout the poem he includes lines such as, "Toward heaven still" and "I am overtired/ Of the great harvest myself desired." The speaker has lived a long, dutiful life that revolved around picking apples, and it is now coming to an end. The last lines of the poem emphasize the idea that his death is nearing: "Were he not gone/ The woodchuck could say whether it's like his/ Long sleep, as I describe its coming on,/ Or just some human sleep." The speaker inverts the syntax of the first two lines. Instead of saying "The woodchuck could say whether it's like his were he not gone,"  the speaker inverses the order of the sentence through the use of anastrophe. This inversion places emphasis on the word "gone," which is used as a euphemism for death. The speaker knows that his winter sleep is coming, but he is uncertain if it will closer resemble peaceful hibernation or a dreary death. "After Apple-Picking" is a poem that recognizes how when we are close to our final days, we realize how our thoughts are consumed by the activities that dominated our lives, but not necessarily the activities that were most meaningful or fulfilling.

Othello #6

     There were two characters in tonight's reading that really stood out to me, so they each deserve some acknowledgement!

     First of all, Roderigo, formally considered the comic relief, caught the audience in gripping suspense as he was the first one to see through the lies and manipulation of Iago. Roderigo approaches Iago and shortly after calls him out, "I do not find that thou deal'st justly with me" (4.ii.173). The other characters, whom are considered to be of higher social standing and capability, are blind to the manipulation of Iago. However, the portrayed idiot of the play is able to recognize the dishonesty of the antagonist! During this moment, the reader is cheering for Roderigo to succeed and expose Iago. However, shortly after, Iago is able to prey on Roderigo's lower intelligence and coerce him into aiding with the murder of Cassio. The play becomes tragic when it is Iago that supplies the death blow, killing Roderigo: "O murderous slave! O villain! IAGO STABS RODERIGO" (5.i.63). The reader is not only saddened by the death of Roderigo, but also feels that with his death perishes the possibility of exposing Iago for the devil that he is. 

     Also Emilia, Desdemona's lady-in-waiting, is due acknowledgement for one of her monologues. If only Mr. George had assigned this for tomorrow night's reading, it would have been a perfect "throwback Thursday" because her monologue parallels many aspects of Shylock's well known 'Hath not a Jew eyes' speech in Shakespeare's The Merchant of Venice. Desdemona and Emilia begin debating whether staying faithful to your husband is worth the value of the entire world. Desdemona relentlessly refuses to believe she would ever cheat on Othello: "Beshrew me, if I would ever do such a wrong for the whole world" (4.iii.80-1). Emilia is then set on persuading her that under particular circumstances it would be the logical choice:

"What is that they do

When they change us for others? Is it sport?

I think it is. And doth affection breed it?

I think it doth. Is't frailty that thus errs?

It is so too. And have not we affections, 

Desires for the 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" (4.iii.99-105).

In Shylock's speech, he draws attention to the fact that men of all religions share the basic functions of life, and therefore should not be treated with discrimination. In Emilia's monologue, she depicts how men and women share the basic "affections,/ Desires for the sport, and frailty." By announcing and illuminating the similarities, Emilia is explaining to Desdemona that if it is acceptable for men to be cruel and cheat on their wives, then the same should be expected in return. Both Shylock and Emilia highlight at the end of their monologues that as pupils they will learn from and, one day, outdo their teachers. Shakespeare gives both Desdemona and Shylock, characters of the weaker sex and religion respectively, powerful and progressive speeches that provide qualifications for equality and its assurance of ultimate achievement. 

Othello #4

     Othello's veins have become poisoned with the idea that his loving wife Desdemona is unfaithful. Iago initiates this spark of jealousy and doubt, and Othello is now convinced that Desdemona has cheated on him with the handsome Cassio. Back in Venice, Othello was a strong and confident man. He had no secrets and no ugly character traits. However, his love for Desdemona is so inflated that the smallest pin prick of doubt deflates his confidence in their love and marriage. Iago has punctured a hole in their marriage, and at the thought of her unfaithfulness, Othello plans to kill his wife: "I will withdraw/ To furnish me with some swift means of death/ For the fair devil" (III.iii.476-8). This is a very rash and impulsive decision for the levelheaded Othello. In Venice, Othello professed his eternal love for Desdemona and vowed: "My life upon her faith" (I.iii.295). Now, it appears as though he reverses this statement. Desdemona will die on account of his distrust brought about by Iago's manipulation. The contrasting settings of Venice and Cyprus bring about different personalities in the characters. Venice is portrayed as the setting of logic and reason, whereas the Turks live in a savage and bestial environment. Cyprus is in the middle of these two locations, and we can see the struggle within Othello. He tells Iago, "I think my wife be honest, and think she is not/ I think that art just, and think thou art not" (III.iii.384-5). Othello is torn between his logical reasoning and his emotional reasoning. In Cyprus, he is placed in between the two worlds and does not know which direction to follow. With power and great mistrust will come a tragedy.

Iago's Soliloquy

"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 is 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 enfettered 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 fortune, 

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, 

Add out of her own goodness make the net

That shall enmesh them all" (II.iii.313-339).

      This soliloquy is given by Iago as his plans are set in motion. Cassio has recently been relieved of his position of lieutenant, and he ironically seeks advice from Iago, the man who cost him his title and reputation. Iago takes great pride in knowing that he can construct the disasters and then also be included in their false reparations. The first half of the soliloquy is dripping with sarcasm. Iago, fully aware that he has been manipulating the characters and the plot, asks who could consider him villainous after he so thoughtfully offered such charitable advice? No. If I push my sister down the stairs and then suggest that she go to the emergency room, the intentions of my actions were malicious and cannot be reconciled by possible solutions to the problem which I created. Furthermore, the manner in which Iago calls Desdemona "fruitful" and says how she "shall play god/With his weak function" is both insulting to Desdemona and Othello. Desdemona is being portrayed as a lustful temptress, and Iago is poking fun at Othello, the renowned navy general, by insinuating that she dominates the relationship. In this era, women were supposed to be submissive to men, so by suggesting the opposite Iago is insulting both of the characters and their marriage.

      About half way through the soliloquy, Iago begins to take responsibility for his actions. Once he aligns himself with the devil: "When devils will the blackest sins put on/ They do suggest at first with heavenly shows,/ As I do now," he unravels his plan to the audience. Iago plans to drive a wedge between the married couple by manipulating their love for each other into mistrust. "That shall enmesh them all." The reader is still wondering why Iago has such a lust for revenge, but through this soliloquy we can see that he is singularly focused on their destruction and is willing to ruin the lives of others to enact his revenge. 

     

Sound & Sense: Chapter 3

        One of my favorite days in English class was when we read a short story told by the perspective of a caveman named Oog... or was it Boog? The speaker talked in short, direct sentences in order to starkly convey the message of the story, similar to Henry Reed's poem, "Naming of Parts." The poem takes the reader through a very monosyllabic adventure where the speaker teaches his fellow soldiers the parts of a gun. In the fourth stanza, the speaker is teaching the soldiers how to slide the bolt in a process called easing the spring. The speaker then utilizes a metaphor to further explain his sentiments revolving this process: "The early bees are assaulting and fumbling the flowers:/ They call it easing the Spring" (23-24). The prior use of the word spring was referencing a piece of a handgun. The same phrase, "easing the Spring," is now used to describe the season and warming temperature. The connotation of springtime is normally light and cheery; we think of flowers blooming and baby does frolicking through lush green grass. However, the speaker describes the process of easing the Spring with words such as 'assaulting' and 'fumbling.' The derogatory connotation of the words suggests that easing the Spring is not as beautiful as it appears, implying that the speaker is not fond of war and fighting. The corruption of the blooming season parallels the speaker's belief of the corruption and misrepresentation of war. The metaphors utilized by Henry Reed in his poem "Naming of Parts" unravel his true sentiments revolving warfare.

Othello #3: Intoxication of Reason

     The setting of the play has shifted from Venice, the city of logic and reason, and migrated to Cyprus, home of emotional decisions and manipulative relationships. When Brabantio and Othello come close to blows in Venice, the dispute is settled in court. Hatred and violent remarks are uttered in words and clever comebacks, but there is no physical clash. However, after the victory and wedding celebration in Cyprus, alcohol is able to corrupt the logical thinking and reasoning of Cassio. After Iago encourages Cassio to drink, Iago sends Roderigo after Cassio to start an altercation. The intention is to depict Cassio as an incompetent and untrustworthy lieutenant. Iago's plan succeeds, and Othello relieves Cassio of his position. Afterwards, Iago is consoling Cassio when Cassio admits that he cannot remember how their skirmish began: "I know not/ I remember a mass of things, but nothing distinctly" (2.3.267-9). This conflict highly contrasts with the conflict we saw earlier in Venice. Brabantio was furious that his daughter eloped without his knowledge or permission into a marriage he did not approve, an understandable cause of anger and frustration. Furthermore, this disagreement was settled through discussions and the due process of law. On the contrary, Cassio became involved in a violent fist fight for no significant reason. When Cassio is able to calmly reflect upon his actions, he says, "I have lost the immortal part of myself, and what remains is bestial" (2.3.247-8). Here the reader can witness the disparity between the two locations. Venice is portrayed as the city of morals, restraint, and logic; whereas Cyprus conjures emotional and instinctual responses over intellect and reason. With unconstrained emotions and rash actions, I predict that Cyprus will be a location dense with conflict and secrecy.

Othello 1

 Original Depictions:

       Iago is a character of mystery, deceit, and sorrow. The play begins with a conversation between Roderigo and Iago, where Roderigo is flustered and agitated by the marriage of Othello and Desdemona. Iago claims that he had no prior knowledge of their marriage, and even becomes offended at the thought. The reader can sense a tension stemming from Iago towards Othello when Iago starts complaining about how he was not chosen as lieutenant: "I know my price, I am worth no worse a place" (1.1.10). Although Iago is not selected as lieutenant, he remains under the command of Othello, the man he supposedly abhors. His reasoning is quite simple: "I follow him to serve my turn upon him" (1.1.40). It has not yet been disclosed to the reader why Iago views Othello with such contempt. The relationship between Roderigo and Iago is solely existent because of their connection of a common enemy; they will support each other in the hopes of destroying Othello. The reader begins to question the source Iago's anger and hatred towards Othello, and Iago colloquially hints at the answer: "And it is thought abroad that 'twixt my sheets/ He has done my office" (1.3.380-1) implying that Othello may have slept with Iago's wife. Iago presents himself as selfish and manipulative, but there is the possibility that his actions are generated by the loneliness and betrayal felt from an unfaithful partner. The first impressions of Iago in Act 1 depict him as a revengeful and self-centered man, but I predict that as the play unravels we will begin to unravel the explanation behind his actions.