A Streetcar Named Desire by Tennessee Williams (Scenes 3 and 4, p. 45-78)

A Streetcar Named Desire by Tennessee Williams (Scenes 3 and 4, p. 45-78)

Summary: In Scene 3, Stanley, Mitch, Paolo, and Steve are drinking and playing poker at Stanley and Stella’s house. Meanwhile, Stella and Blanche are out at a show and drinking. However, when the two women return, the men are still there playing poker. Of the four men, Mitch is the least drunk and seems the most civilized, as he contemplates whether or not to return home to his ailing mother. Blanche and Mitch speak for a while until Blanche turns on the radio, which causes a drunk Stanley to storm in and throw the radio out the window. When Stella retreats, Stanley hits her. Stella, stunned, flees to the woman who lives upstairs, Eunice, to stay. Stanley calls Eunice to ask for Stella to return, and when she refuses, he angrily slams the phone to the ground. He then goes outside and yells her name “with heaven-splitting violence.” After a few calls, Stella surprisingly appears, and Stanley carries her inside. In Scene 4, Stella and Blanche have a serious conversation about the abuse that took place, and Stella assures Blanche that although the incident was not uncommon, it was not too bad. Flustered, Blanche insists that they call rich ex-boyfriend to help them rebuild their lives, despite the fact that Stella insists she’s perfectly content. Unbeknownst to Blanche, Stanley overhears a conversation between Blanche and Stella, in which Blanche launches into a tirade about how primitive Stanley is.

Unfamiliar Vocabulary
Wolf: a man who habitually seduces women
Improvident: irresponsible
Bestial: savagely cruel

Quote Analysis

“Drunk – drunk – animal thing, you!” (57). – Stella

Stella says this to Stanley after he drunkenly throws the radio out of the window. After Stella says this, Stanley is enraged and wildly attacks her, which forces the guys to hold him back. This scene not only shows Stanley’s short-temperedness, but also his insecurity, as he is angered at the accusation of being animalistic.

“I’m not in anything I want to get out of” (65). – Stella

After Blanche confronts Stella the morning after the commotional night, the reader and Blanche are thoroughly surprised to find that Stella is perfectly calm and speaks of the prior incident as if it were no big deal. She regards Stanley’s alcoholism as simply one of his “pleasures” and compares it to her enjoyment of bridge and movies. When Blanche prepares her message to the wealthy ex-, she writes, “Sister and I are in a desperate situation.” When Stella sees her write this, she vehemently protests. Later, when Blanche says again that she needs to plan for them both to get out, Stella responds saying, “You take it for granted that I am in something that I want to get out of.” Blanche is blinded by her own judgment and cannot see that Stella truly is content to continue to live the way she is, and Stella is blinded by her love for Stanley and cannot see the unhealthy abuse she is putting up with.

“He acts like an animal, has animal’s habits! Thousands and thousands of years have passed him right by, and there he is – Stanley Kowalski – survivor of the stone age! Bearing the raw meat home from the kill in the jungle! And you – you here – waiting for him! His poker night! – you call it – this party of apes! God! Maybe we are a long way from being made in God’s image, but Stella – my sister – there has been some progress since then! Such things as art – as poetry and music – such kinds of new light have come into the world since then! In some kinds of people some tenderer feelings have had some little beginning! That we have got to make grow! And cling to and hold as our flag! Don’t – don’t hang back with the brutes!” (72). – Blanche

In the brutally honest monologue, Blanche unrestrainedly tells Stella her true feelings and impression of Stanley, after seeing his performance the night before. Through this speech, all of the previous implications of Stanley are explicitly spoken. Blanche has clearly been broken, as she desperately tries to convince Stella that Stanley’s primitive ways are indeed harmful to her and to society. However, she realizes that Stella is oddly drawn to the violence, and so seems even more desperate, as she knows her words have had little effect on Stella’s judgment. This is confirmed, as after the speech when Stanley enters, Stella fiercely hugs him in front of Blanche. Also, it is interesting to note that though Stanley hears Blanche’s entire rant about him, he chooses not to address it and instead pretends as if nothing had happened.

A Streetcar Named Desire by Tennessee Williams (Scenes 1 and 2, p. 1-44)

A Streetcar Named Desire by Tennessee Williams (Scenes 1 and 2, p. 1-44)

Summary: In the first scene, Blanche, Stella’s sister, unexpectedly arrives at Stella’s house to find that she is living with her husband in a small, rather unassuming home in comparison to the house they lived in before. Blanche brings news about the loss of their former house in Belle Reve. However, upon seeing Blanche’s extravagant clothes and jewelry, Stanley believes Stella made up the reason for losing their home and is instead keeping the money for herself and cheating Stella. In frustration, Stanley throws Blanche’s belongings onto the bed. When Stanley confronts Blanche with his accusations, Blanche then provides him with paperwork showing transactions from various mortgage firms to prove that the house was indeed lost through mortgages. In the last part of scene two, Stanley tells Blanche that Stella is pregnant.

Unfamiliar Vocabulary:
Bodice: the part of a woman’s dress that is above the waist
Perpetrate: to carry out or commit
Valise: a small traveling bag or suitcase

Character Analysis: Stanley

From the very first line of the play, Stanley is portrayed bellowing, “Hey there! Stella, baby!” right before he heaves a package of meat to a presumably dainty Stella. Just after that, he rounds the corner as he goes off to a bowling game with his friends. Right from the beginning, the contrast between Stanley and Stella’s characters is emphasized, and Stanley is portrayed as an extremely virile, almost primitive man. This is further accentuated with the arrival of Blanche. The first conversation held between Blanche and Stanley showed the difference in upbringing of the two people; Stanley uses very unrefined language and doesn’t engage in small talk, and seems almost impolite when first meeting and speaking with Blanche. Furthermore, there was a subtle hint at this when Stanley refused to tie Blanche’s buttons on her dress, saying that he, “can’t do nothing with them.” Also, in the director’s notes, he describes that, “Animal joy in his being is implicit in all his movements and attitudes. Since earliest manhood the center of his life has been pleasure with women… branching out from this complete and satisfying center are all the auxiliary channels of his life, such as his heartiness with men, his appreciation of rough humor, his love of good drink, and food and games, his car… he sizes women up at a glance with sexual classifications and crude images flashing into his mind.”

Aside from initially being portrayed as crude and dissimilar to Stella and Blanche in nearly all aspects, Stanley is also shown as having a short temper. When he first becomes suspicious of Blanche “swindling him through the Napoleonic Code” after Stella tells him what Blanche reported to her about the lost house in Belle Reve, he immediately storms into the bedroom and immediately throws Blanche’s clothes onto the bed and snatches a fist-full of her jewelry, saying that the clothes and jewelry were too expensive to have come from Blanche’s pay, and were rather paid for through money gained from selling the house. He swears that he has acquaintances who will appraise all of Blanche’s belongings to prove to Stella that Blanche is a fraud. However, this is all even before Stanley confronts Blanche about the situation. Not only does this show that Stanley is short-tempered, but also, it suggests that Stanley may be jealous of Blanche’s former wealth and their social standings.

Othello by William Shakespeare (Act 5 Scene 1-2, pg. 223-265)

Othello by William Shakespeare (Act 5 Scene 1-2, pg. 223-265)

Summary: Following Iago’s advice, Roderigo proceeds to attack Cassio. However, in a duel, Cassio ends up stabbing Roderigo. To make Othello think that Iago has killed Cassio, Iago then wounds Cassio in the leg. Othello, hearing Cassio’s cry, proceeds to Desdemona’s bedroom to murder her. Iago also puts an end to a wounded Roderigo. Italian officials then join Iago and tend to Cassio’s wounds. When Bianca arrives, Iago accuses her of plotting against Cassio in order to try to keep people from suspecting him, feeding off the fact that Bianca was previously angered by Cassio’s treatment of her. In Scene 2, Othello again accuses Desdemona of cheating, and dramatically smothers her to death. Emilia arrives to tell Othello the news about Cassio and Roderigo, and upon discovering a dead Desdemona, she flees the site and shouts cries of murder. When everyone arrives, Emilia uncovers the truth about the handkerchief, and Othello attempts to kill Iago. However, he fails in his attempts, and Iago then kills Emilia. Othello, realizing his mistake and recognizing himself as a murderer, commits suicide. Iago is then taken by the officials and sentenced to death.

Unfamiliar Vocabulary:
Restitution: the restoration of something lost or stolen to its proper owner
Iterance: repetition
Pernicious: having a harmful effect (in a gradual or subtle way)
Anon: soon; shortly
Alabaster: a typically whitish form of gypsum often carved into ornaments
Relume: relight
Forfend: avert, keep away (ward off)
Reprobance: reprobation, damnation
Coxcomb: fool

Quote Analysis
Iago (aside): “I have rubbed this young quat almost to the sense, and he grows angry. Now, whether he kill Cassio, or Cassio him, or each do kill the other, every way makes my gain. Live Roderigo, he calls me to a restitution large of gold and jewels that I bobbed from him as gifts to Desdemona. It must not be. If Cassio do remain, he hath a daily beauty in his life that makes me ugly. And besides, the Moor may unfold me to him. There stand I in much peril. No, he must die” (lines 12-23, Act 5 Scene 1).

Throughout Othello, Iago has had the most asides of all the main characters. In these monologues, he has proven to be uncharacteristically truthful, and has admitted the deepest of his feelings in order to clue the audience in to his thoughts. In this quote said right before Roderigo throws himself at Cassio, Iago tells the audience that the death of either of the two would only be to his benefit, as the death of Roderigo would absolve Iago’s debts to him for all of the gifts Roderigo had asked Iago to give to Desdemona, and the death of Cassio would eliminate the risk of uncovering Iago’s deception. Furthermore, Iago recognizes himself as a “bad” person, as he says that Cassio “has a daily beauty in his life that makes [him] ugly.” In other words, Cassio’s uprightness makes Iago look crude.

“My husband?” –Emilia

In Act 5 Scene 2, Emilia arrives at Othello’s bedroom to discover Desdemona dead on her bed. Othello explains to her why he has guiltlessly murdered her, and he tells her that Desdemona was unfaithful according to Iago, Emilia’s husband. In response to all of his statements, Emilia simply repeats the phrase “My husband,” as if she were laughing at the thought of trusting Iago over Desdemona.

“I peace? No, I will speak as liberal as the north. Let heaven and men and devils, let them all, all, all cry shame against me, yet I’ll speak! O thou dull Moor, that handkerchief thou speak’st of I found by fortune, and did give my husband – for often, with a solemn earnestness (more than indeed belonged to such a trifle), He begged of me to steal ‘it… she give it Cassio? No, alas, I found it, and I did give ‘it my husband… O murd’rous coxcomb, what should such a fool do with so good a wife?”

In the final confrontation with all the main characters, Emilia gives her final speech, and unleashes the silent disapproval that had been suppressed and bottled inside of her for so long. In this speech, as if motivated by Desdemona’s unjust murder, she unrestrainedly shouts the truth for all to hear, and is punished by death at the hand of Iago. Nonetheless, she finally is able to speak the truth, and is relieved by it. This shows us that keeping to ourselves for too long is terminally unhealthy, and that outspokenness is an important trait to have.

Othello by William Shakespeare (Act 4 Scene 1-3, pg. 171-219)

Othello by William Shakespeare (Act 4 Scene 1-3, pg. 171-219)

Summary: In Act 4, Iago continues to taunt Othello with descriptions of Desdemona and Cassio’s “actions,” which causes Othello to pass out. When he awakes, he sees Cassio and Iago speaking, but cannot hear of what. When he draws nearer, he hears Cassio speaking of how Bianca had thrown herself at him the other day, but thinks that Cassio is speaking of Desdemona rather than Bianca. He is infuriated, and vows to murder Desdemona. With Iago’s suggestion, he decides to strangle her in the bed she has allegedly contaminated. At that moment, Lodovico arrives with orders from the duke telling Othello to return to Venice immediately and to appoint Cassio in his place. Upon seeing Desdemona, Othello hits her. Later, Othello speaks with Emilia about Desdemona, and she insists that she does not suspect any misdemeanors on Desdemona’s part. However, Othello is not moved, and calls Desdemona a whore to her face. Meanwhile, Roderigo confronts Iago, saying that he sees no change in Desdemona’s actions towards him. Iago then tells him that Othello and Desdemona will soon be leaving unless a delay can be caused, and suggests that Roderigo kill Cassio. That night, before going to bed, Desdemona speaks with Emilia, saying that women wouldn’t cheat on their husbands for the whole world. Emilia disagrees.

Unfamiliar Vocabulary:

Venial: forgivable, pardonable
Peculiar: exclusively theirs
Strumpet: a prostitute or woman too sexually active; slut
Prithee: please
Requite: pay something back; avenge oneself
Cistern: large tank
Callet: strumpet
Fulsome: obscene
Cozening: cheating
Votaress: nun
Harlotry: strumpet
Incontinent: immediately OR usu., uncontrolled
Affection: passion

Character Analysis: Othello

Throughout the course of the play, Othello has been the protagonist: the venerable general of the Venetian army. However, as Iago has artfully orchestrated, Othello’s confidence and nobleness have been gradually yet undeniably undermined by false suspicions planted in his mind by Iago himself. Although Othello has not actually witnessed any conclusive evidence proving that Desdemona has in fact been cheating on him, with Iago’s help, he seems set on expecting the worst, and is almost determined now to verify the affair. For example, partly due to his complete trust in Iago, Othello is quick to jump to the conclusion that Cassio is referring to his wife when he speaks of romantic gestures, even though he was in fact speaking of Bianca. Also, when he discovers that Cassio has his wife’s handkerchief, he becomes furious and immediately jumps to the conclusion that his wife willingly gave it to him, when in fact Iago had placed it in Cassio’s quarters. As Abraham Lincoln once said, “Am I not destroying my enemies when I make friends of them?” By becoming Othello’s most trusted advisor, he has with just a few subtle implications changed Othello from a trusting, noble man to a cynical, bitter one.

The effects of this change have affected not only his actions, but also, his language. Shortly before falling into a coma, Othello launches into a traumatic outburst, saying, “Lie with her? Lie on her? We say ‘lie on her’ when they belie her. Lie with her –Zounds, that’s fulsome! Handkerchief – confessions – handkerchief. [To confess and be hanged for his labor. First to be hanged and then to confess – I tremble at it. It is not words that shakes me thus. Pish! Noses, ears, and lips – is’t possible? Confess – handkerchief – O, devil!]” As one can see, Othello’s eloquence has deteriorated into a loss for words.

Furthermore, as previously noticed in the beginning of the play, Iago’s words were often crude and animalistic. However, Othello’s words have also now become as such. For example, he says, “O, she will sing the savageness out of a bear!” and, “If that the earth could teem with a woman’s tears, each drop she falls would prove a crocodile.” Also, he shouts indignantly to Lodovico, “You are welcome, sir, to Cyprus. Goats and monkeys!” Later, he says directly to Desdemona, “The fountain from the which my current runs or else dries up – to be discarded thence, or keep it as a cistern for foul toads to know and gender in… O, ay, as summer flies are in the shambles, that quicken even with blowing!” As shown by these lines, the transformation has changed Othello completely, from the way he treats people and his outlook on life to the words he uses.

Othello by William Shakespeare (Act 3 Scene 1-4, pg. 111-167)

Othello by William Shakespeare (Act 3 Scene 1-4, pg. 111-167)

Summary: In Act 3, essentially, Iago’s plan seems to be flawlessly executed as different characters react to events just as Iago had hoped. After arrangements are made, Cassio speaks to Desdemona about his potential for reinstatement, but when Othello approaches, Cassio slinks away to avoid confronting Othello. When Iago and Othello are left alone, Iago discreetly suggests to Othello that Desdemona and Cassio are having an affair. However, without proof, Othello refuses to believe it. Later, Desdemona binds Othello’s head with a handkerchief to relieve his headache, which later falls to the floor unnoticed. Iago’s wife, Emilia, later finds it and gives it to Iago, not knowing what he may plan with it. Iago then confronts Othello again and tells him that he saw Cassio wiping his beard with that handkerchief that Othello gave to Desdemona as a gift, suggesting that Desdemona gave it to Cassio. Othello approaches Desdemona asking for the handkerchief, and when she cannot produce it, he is enraged. At this point, Cassio has found the handkerchief in his room placed there by Iago, and asks Bianca to copy it.

Unfamiliar Vocabulary:
Leets: a yearly or half-yearly court of record that the lords of certain manors held
Clime: Region
Importunity: persistence, esp to the point of annoyance or intrusion
Wench: a young girl or woman (or prostitute)
Aspics: a savory jelly, often made with meat stock, used as a garnish, or to contain pieces of food such as meat, seafood, or eggs, set in a mold.
Sequester: isolate or hide away (someone or something)
Castigation: reprimand
Catechize: instruct someone in the principles of Christian religion by means of question and answer, typically by using a catechism.

Quote Analysis

“Good name in man and woman, dear my lord, is the immediate jewel of their souls. Who steals my purse steals trash. ‘Tis something, nothing; ‘Twas mine, ‘tis his, and has been slave to thousands. But he that filches from me my good name robs me of that which not enriches him and makes me poor indeed” (129). –Iago

In this quote, Iago says that reputation is the most precious part of their souls. He says that money is fleeting, but that he who robs one of his/her reputation makes the thief not richer but the victim much poorer. This was his response to Othello when Othello pressed him to tell his suspicions about Desdemona and Cassio. In other words, he claimed to not want to speak for fear of speaking falsely and losing his “good name.”

"Villain, be sure to prove my love a whore! Be sure of it. Give me the ocular proof, or, by the worth of mine eternal soul, thou hadst better have been born a dog than answer my waked wrath. Make me to see 'it, or at the least so prove that the probation bear no hinge nor loop to hang a doubt on, or woe upon thy life! If thou dost slander her and torture me, never pray more. Abandon all remorse; on horror's head horrors accumulate; do deeds to make heaven weep, all earth amazed; for nothing canst thou to damnation add greater than that" (143). -Othello

After Iago finally tells Othello of his suspicions and provides "proof" (an implicatively fabricated dream and a "gifted handkerchief), Othello cannot bear the thought and lashes out at Iago, despite his previous assurances not to. Already, the reader can see Othello losing his sanity as he cracks and cannot cope with the allegation.

“Tis not a year or two shows us a man. They are all but stomachs, and we but food; they eat us hungerly, and when they are full, they belch us” (159). -Emilia

In this quote, Emilia, Iago’s wife, speaks to Desdemona in realization, as she says that men but use and then dispose of women for their own purposes. This is after Desdemona is rebuked by an angry Othello.

Othello by William Shakespeare (Act 2 Scene 1-3, pg. 59-107)

Othello by William Shakespeare (Act 2 Scene 1-3, pg. 59-107)

Summary: In Act 2 Scene 1, Cassio, Desdemona, Othello, Iago, and Roderigo all arrive at Cyprus, and find out that the Turkish fleet they were to pursue was destroyed by a storm. Through a chain of events, Iago successfully convinces Roderigo that Desdemona is in love with Cassio, and that Roderigo should try to find a way to anger Cassio for an excuse to remove him. Act 2 Scene 2 is very brief and is simply a herald announcing Othello’s arrival. In Act 2 Scene 3, Iago manages to get Cassio drunk, and Roderigo provokes Cassio to fight him. When Montano tries to intervene, Cassio fights with Montano and injures him. Othello finds out about this and immediately strips Cassio of his lieutenancy. Iago then encourages Cassio to go to Desdemona in order to try to regain his position so that Iago can later go to Othello and tell him that Desdemona is supporting Cassio because she loves him.

Unfamiliar Vocabulary:

Descry: to catch sight of
Mortise: a hole or recess cut into a part, designed to receive a corresponding projection (a tenon) on another part so as to join or lock the parts together.
Egregious: outstandingly bad
Perdition: (in Christian theology) a state of eternal punishment and damnation into which a sinful and unpenitent person passes after death.
Nuptial: of or relating to marriage or weddings
Alarum: alarm
Horologe: a timepiece
Assay: determine the content or quality of (a metal or ore)

Character Analysis: Iago

Othello is currently the noble protagonist, Desdemona is the beautiful wife, and Roderigo is the wealthy suitor. However, by far, the most interesting character so far is Iago, the villain. The reader quickly develops a strong dislike for Iago, as he is both spiteful and devious, and fixed on making Othello’s life miserable. However, it is interesting that Iago is willing to take such drastic measures just to make Othello’s life harder. For example, he got Desdemona’s father involved to stir up conflict between him and Othello, he took up Roderigo’s offer to try to get him and Desdemona together (by breaking up Desdemona and Othello), he sailed to Cyprus to continue his attempts, and he got Cassio drunk to ultimately plant a potential seed of doubt in Othello’s mind about Desdemona’s faithfulness. He may have some ulterior motive for all of his actions, but at this point, it is still unclear.

I find it especially interesting that from a reader’s omniscient perspective, Iago seems so blatantly villainous, yet virtually all of the characters in Othello are unable to see his insincerity. Even as Iago plots against him, Othello says, “Iago is most honest,” and constantly refers to him as “Honest Iago.” When Iago professes that Cassio started the brawl, Othello turns to him and says, “I know, Iago, thy honesty and love doth mince this matter.” Furthermore, even as Iago tries to coax Cassio into a few drinks, Cassio calls him “good Iago.” Iago’s skillfulness in masking a glib tongue is egregiously admirable.

Othello by William Shakespeare (Act 1 Scene 3, pg. 29-55)

Othello by William Shakespeare (Act 1 Scene 3, pg. 29-55)

Summary: In Act 1 Scene 3, the duke decides to send Othello to Cyprus on a military mission. At the same time, Brabantio is still fixed on the idea that Othello “bewitched” his daughter, but after calling in Desdemona, she professes she loves him. However, despite her testimony, Brabantio is still disapproving of Othello. After hearing of Othello’s assignment, Desdemona pleads to join him on his trip, and is finally awarded her wish. At this, Roderigo contemplates suicide, but is persuaded by Iago to instead sell his lands and follow Desdemona to Cyprus. The act ends with a monologue by Iago showing that he is up to no good.

Unfamiliar Vocabulary:
Courser: a swift horse
Jennet: a female donkey
Indign: disgraceful
Hyssop: a small bushy aromatic plant of the mint family, the bitter minty leaves of which are used in cooking and herbal medicine
Sequestration: the action of taking legal possession of assets until a debt has been paid or other claims have been met
Betwixt: between
Clogs: weights fastened to the legs of captives

Critical Analysis:
“Even now, now, very now, an old black ram is tupping your white ewe” (13).
“Because we come to do you service and you think we are ruffians, you’ll have your daughter covered with a Barbary horse, you’ll have your nephews neigh to you, you’ll have coursers for cousins and jennets for germans” (15).
“Ere I would say I would drown myself for the love of a guinea-hen, I would change my humanity with a baboon” (51).

In the first two quotes, Iago makes references to Othello in rather vulgar imagery as he speaks to Brabantio about Othello’s alleged offenses. In the third quote, he says this as he speaks to Roderigo in attempt to dissuade him from committing suicide; he uses this reference as an example to show the absurdity and foolishness of Roderigo’s thoughts. Throughout the play, Iago uses animal references to create more vivid imagery in the reader’s mind.

“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 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” (41).

This monologue was spoken by Desdemona to her father when summoned to testify about her wedding to Othello. These few lines help the reader better understand and interpret the character of Desdemona, as they show that she is deeply in love with Othello, as well as portray her confidence and willingness to stand up for herself.

On page 43, after Desdemona makes her testimony, the Duke followed by Brabantio break out into rhyming couplets. Although Shakespeare’s intentions are unclear, it seems as though the Duke’s words represented a kind of blessing on their marriage, and Brabantio’s speech shows that although he still doesn’t approve of his daughter’s marriage, he accepts that it has happened and agrees to move on.

“I hate the Moor, and it is thought abroad that ‘twixt my sheets ‘has done my office… 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… the Moor is of a free and open nature… and will as tenderly be led by th’ nose as asses are. I have ‘it. It is engendered. Hell and night must bring this monstrous birth to the world’s light” (55).

Act 1 closes with this satanic monologue spoken by none other than Iago. At this point, it is clear that Iago is a cunning and manipulative man, and the villain of the novel. He seems to have adopted an obsession on spiting Othello for not promoting him, as well as for his own sadistic pleasure.

Othello by William Shakespeare (pg. 7-27)

Othello by William Shakespeare (Act 1 Scenes 1 and 2, pg. 7-27)

Summary: Othello opens with a very dramatic scene, in which the main characters and their basic motives are introduced. Roderigo, a wealthy Italian suitor, speaks to Iago, a military personnel, about his increasingly bleak love interests with Desdemona. Roderigo expresses his dismay in paying Iago, who promised to help Roderigo win over Desdemona, since he discovers that Desdemona and Othello (the general of the Italian military) have just gotten secretly married. Iago in turn expresses his dislike of Othello as well, since he resents Othello’s decision to promote Michael Cassio over him to the position of lieutenant. Then, Iago plays on Roderigo’s desperateness and tells him that to threaten Othello and Desdemona’s relationship, he should confront Desdemona’s father before he finds out about his daughter’s marriage and tell him that Othello had seduced his daughter. Sure enough, Roderigo and Iago carry out with the plan, and Desdemona’s father, Brabantio, believes them and becomes infuriated at Othello. Act 1 Scene 2 closes with Brabantio confronting Othello and expressing his demands for Othello to go to prison for his actions.

Unfamiliar Vocabulary:
Bombast: high-sounding language with little meaning
Epithet: a descriptive phrase expressing a quality characteristic of the person or thing mentioned
Forsooth: indeed
Spinster: a (typically older) unmarried woman
Obsequious: obedient or attentive to an excessive or servile degree
Provender: food OR animal fodder
Timorous: showing or suffering from nervousness, fear, or lack of confidence
Promulgate: to put a law or decree into effect by official proclamation OR to promote or make widely known
Grange: a house in the country (implying that it is easily robbed)
Saucy: impudent, insincere
Lascivious: feeling or revealing an overt and often offensive sexual desire
Iniquity: immoral or grossly unfair behavior
Carrack: a large merchant ship
Palpable: able to be touched or felt OR clear to the mind or plain to see

Critical Analysis:
In the first few scenes of Othello, Shakespeare artfully introduces the characters and their personality traits. I would like to take this opportunity to synopsize the information presented directly and indirectly about each of the main characters of Othello, Iago, Brabantio, and Roderigo.

Othello: Othello is the protagonist of the play. He is sometimes referred to as a “Moor”; therefore the reader can assume he is black. He is the general of the army, and is a highly respected figure in society. This is reflected in the language he uses, as it is always noble and eloquent.

Iago: Iago is at this point the instigator of conflict. He is in a sense a mastermind, as he was the one who effectively played on the emotions of a foolish Roderigo, incited Desdemona’s father against Othello, yet is still regarded to as “Honest Iago”.

Brabantio: Brabantio is Desdemona’s father a senator. Upon finding out that his daughter and friend Othello were married without his knowledge, he is offended and struck by disbelief, and therefore jumps to premature conclusions offered by Iago and Roderigo.

Roderigo: Roderigo is a desperate young suitor in love with a married Desdemona. He is portrayed as having lots of money, signifying that he may have substantial means to achieve his goals. Also, he does not seem to be the brightest, so he may be used as a tool as shown in the first scene in which he was easily persuaded by Iago to do his bidding.

Interesting quotes explained…

“Call up her father. Rouse him. Make after him, poison his delight, proclaim him in the streets; incense her kinsmen, and, though he in a fertile climate dwell, plague him with flies. Though that his joy be joy, yet throw such chances of vexation on ‘t as it may lose some color” (11).

This is a quote spoken by Iago telling Roderigo what he must do to win over Desdemona. The grotesque imagery reflects the morality of the suggested action, as Iago plots to lie and pit two friends against each other.

“By Janus, I think no” (23).

Iago says this in response to being asked by Othello if the approaching company was Brabantio. Janus in mythology was the god of the door, and was known to always look forward and back at the same time: to be two faced. This is ironic in the sense that it reflects Iago’s personality.
“Faith, he tonight hath boarded a land carrack” (23).

Iago says in reference to Othello marrying Desdemona; he suggests that Desdemona is the “carrack”, or treasure ship, and he has boarded it, implying that he is a pirate and thief taking what is not rightfully his.

“For if such actions may have bondage free, bondslaves and pagans shall our statesmen be” (27).

Act 1 Scene 2 closes with this quote spoken by Brabantio. This reflects the common ideology at the time, as many still thought of the “Great Chain of Being”, in which certain classes of people as well as animals and even inanimate objects had a certain hierarchal ranking that was not to be disturbed. Brabantio is suggesting that if Othello may get away with his allegedly dishonest actions, disorder and absurdity will surface.

Oedipus Rex by Sophocles (pg. 37-end)

Oedipus Rex by Sophocles (pg. 37-77)

Summary: After accusing Tiresias, the prophet, of conspiring with his brother-in-law Creon against Oedipus, Oedipus then confronts Creon and accuses him of treachery, and tells him he wants him dead. However, after another heated argument, Oedipus speaks to his wife Jocasta, and realizes that his prophecy and that of King Laius coincided. It was said that King Laius was “fated to be killed by a child conceived by him and [Queen Jocasta]” (45). Also, it was said that Oedipus would ultimately kill his father and marry his mother. After piecing the information together through the help of a servant and messenger, he realizes that he was placed on a mountain to die during infancy, but he was given to a shepherd and was ultimately adopted by King Polybus of Corinth. Upon realizing his destiny from the Delphic Oracle, Oedipus fled from Corinth in an attempt to avoid it. However, on the road, he encountered King Laius’ company, and in rage at the company’s rudeness, killed all but one messenger who escaped. After arriving at Thebes, he bests the Sphinx and is therefore granted permission to marry Jocasta and become king of Thebes. In this way, he killed his father and married his mother without even knowing it. However, after finding out about his unintentional atrocities, he puts out his eyes, as he can no longer bear to see himself.

Unfamiliar Vocabulary:
Prescribe: to state authoritatively or as a rule that should be carried out
Rack: to cause extreme physical or mental pain
Edict: an official order or proclamation
Besotted: strongly infatuated OR drunk
Imprecation: a curse

Critical Reflection:
As stated in a previous post, the structure of tragedies is generally based on the development and amplification of the protagonist’s tragic flaw. In Oedipus Rex, Oedipus’ tragic flaw is hubris, or excessive pride. However, this “pride” doesn’t refer to our typical conception of pride, but rather refers to an arrogant or conceited pride in oneself. In Oedipus’ case, his excessive pride reflects in his attempt to avoid his fate, as well as in his confidence in being able to save the city from the plague. Although the audience sees his departure from Corinth as admirable, the oracle never lies, and he is inevitably punished for his defiance and does in fact ultimately fulfill his prophecy.

This leads to the role of fate in the play. The idea of fate is an underlying theme throughout the play provided in the form of the Delphic Oracle, and foreshadows the final result and demise of the protagonist. Although this adds predictability to the play, this does not detract from its impact; rather, it enhances it. Because the audience is cued in early on and knows what to expect, it feels even more pity and regret when it sees Oedipus unknowingly take steps to fulfill its prophecy.

A major literary device used in Oedipus Rex is irony. It is used multiple times throughout the play, such as in his conversation with the blind prophet, Tiresias. Also, it is ironic when he condemns the murderer of Laius so vehemently, when in fact he was the murderer. Finally, perhaps the most obvious of examples of irony is the fact that he fulfilled his prophecy during his deliberate attempt to avoid doing so. Irony is used effectively in this tragedy, as it shows that the misfortune was not caused by cruel intentions; contrarily, Oedipus was portrayed as a good man cursed by a critical character flaw and a most unfortunate fate.

Oedipus Rex by Sophocles (pg. 1-36)

Oedipus Rex by Sophocles (pg. 1-36)

Summary: Oedipus Rex opens with an exchange between Oedipus and a priest, setting the scene of the play. Through this conversation, the reader, or in Sophocles' time, the audience immediately becomes aware of the dire state of the city of Thebes, as a plague is mercilessly sweeping through the town and killing copious amounts of citizens. Oedipus has sent his brother-in-law Creon to the Delphi Oracle to ask for Apollo's guidance. When Creon returns, he brings news saying that the city must "drive away the polluting stain" the city had harbored and avenge the murder of King Laius. Then, they engage in a conversation about the details of King Laius' murder, and Creon informs Oedipus (and consequently the reader) that King Laius was murdered on a trip by a band of robbers, and all but one messenger from the king's party were killed. Further investigation of the King's murder was impeded by the Sphinx tormenting of the citizens, which was considered to be the most urgent issue. Oedipus then publicly resolves to do all he can to catch the murderer. Upon suggestion by the "Chorus Leader", Oedipus summons Tiresias, a blind prophet, to tell him about the murderer. Tiresias first resolves to say nothing of the matter, but after Oedipus insists he speak out, he finally announces that Oedipus is the murderer. Oedipus refuses to believe this, and accuses Tiresias of conspiring with Creon against him. They get into a heated argument, which ends in Tiresias leaving the palace.

Unfamiliar Vocabulary:

supplicate: to ask or beg for something earnestly or humbly
augury: an omen
pithy: concise and forcefully expressive

Critical Reflection: This portion of the play serves perhaps primarily as an introduction and also as a means of character development. However, before discussing the specifics of the play, I find it fitting to first discuss some general background information about the time period in which it was written and popular thought at the time.

Oedipus Rex is a quintessential Greek tragedy, a form of theatrical literature that was widely popular during Sophocles’ time in Athens. In these Greek tragedies, the protagonist is general portrayed as a model citizen, seemingly flawless at first in all respects. In the beginning, a specific characteristic shortcoming, known as the protagonist’s tragic flaw, is at first almost undetectable, but as time goes on, it becomes more and more evident until it ultimately leads to the demise of the tragic hero. In Aristotle’s Poetics, he writes that the two main purposes of tragedies is to arouse pity and fear, and therefore to have a cathartic effect on the audience.

In Oedipus Rex, Sophocles uses a chorus effectively, a literary device that has largely been abandoned in modern literature. The chorus has numerous functions in Oedipus Rex. In the play, the chorus takes the role of the public, and interacts both directly with Oedipus and with the audience. However, the chorus also has the liberty of impunity, so it can say whatever it wishes without fear of punishment, much like the voice of a conscience or logic.

I also found the paradox between blindness and knowledge to be rather ironic in the case of Oedipus and Tiresias. Though Tiresias is physically blind, he can “see” clearer than Oedipus, who is blinded by his own pride. Oedipus presses Tiresias to tell him about the identity of the murderer, but when Tiresias finally tells him what he wanted to hear, he refuses to believe him, essentially out of denial.