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.
Tuesday, March 17, 2009
Monday, March 9, 2009
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.
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.
Thursday, February 26, 2009
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.
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.
Wednesday, February 18, 2009
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.
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.
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