Othello Question notes and answers
Othello Monologue/ Soliloquy Study
B. Mitic
Act II Response
Shakespeare hints at jealousy from the very first act of the play, with Iago confessing his jealousy at Michael Cassio’s recent promotion to lieutenant. He asserts his opinion that Cassio is of less experience than him, with phrases such as “never set a squadron in the field” and “mere prattle without practice”. The latter phrase contains violent alliteration with the ‘p’ sound, giving the audience an insight into Iago’s frustration anger and jealousy at the fact that he was not promoted; one can almost imagine him spitting the words out in rage. These quotes may also give the reader an insight into Iago’s past, showing on the other hand that he had experience ‘in the field’ of battle, and that he had, judging by his evident disappointment at lack of promotion, served for quite a long time at Othello’s side. This is also shown when he states “Othello’s eyes had seen the proof at Rhodes”. This is very much Iago's scene, and we see the versatility of his linguistic gifts most clearly throughout: where Othello's poetry serves to discover beauty and wonder in the world, Iago's language is fundamentally dishonest, allowing him to seem whatever serves his purpose. while taking his new friends into his confidence about Casio's "vice"; he protests that he would rather have his tongue cut from his mouth than "it should do offence to Michael Cassio", and suggests that Cassio's conduct must have been provoked by "some strange indignity" from "him that fled". Othello sees this as covering up inexcusable violence and demotes Cassio, who believes nevertheless that he has "well approved" (that is, proved) Iago's friendship. Shakespeare adds another twist in the plot, which draws the audience in to explore the full intentions of Iago's plan. In his remarks upon “reputation”, Iago comes as close as he ever does to revealing his true opinions: the notion of deserved reputation or integrity does not enter into his view, which is that reputation bears little relation to merit in many cases. Shakespeare releases pieces of information that may change the audiences perspective on lago, whether he gets caught saying to much or indefinitely follows through with his initial plan. The informality of Iago's prose in praising English drinking is explained by the situation; but in consoling Cassio, as in his conversation at the start of the scene, Iago's informal prose suggests intimacy and friendship. He does not need to make this effort with Roderigo, as he is able, for once, to show his dupe some return on his expenditure: he has seen his "rival", Cassio, "cashiered" in exchange for some "small hurt", and Rodrigo is sent away unceremoniously. Shakespeare creates an image for each character, and with certain language choices he raises or downgrades a character. The continuous lines of lago that seem to be successful initiates irritation within the audience.
Act III Response
Othello’s speech of Act III, Scene iii, represents the dramatic and psychological tipping point of the play. Up until this point he is characterized as a sturdy, stentorian nobleman, brave warrior, and devoted husband, from here we witness Othello’s murderous intent build and his personality disintegrate. Shakespeare use of rhetoric, reveals some of Othello's most private, powerful anxieties, his vanities as a private man and public figure. All of these coalesce to create a foundation of credulity for Desdemona’s betrayal, pointing the way forward to his ultimate undoing. Many of the play’s core motifs, recurring ideas, concepts, images and figurations, are furthered in this speech, and open the way for subsequent events. Shakespeare use of irony influences the audiences interpretation of several characters, in contrast to what is really happening in the play. For example: Othello's single true soliloquy opens with the most ironic of statements, that is, his reconciliation of Iago’s trustworthiness: “This fellow's of exceeding honesty, / And knows all qualities with a learned spirit / Of human dealings.” the constant use of the word ‘honest’ and its attachment to Iago, of whom “every moral attribute applied to him by anyone in the play is ironic finger pointing to the truth of its opposite".
This motif is entwined with Desdemona’s perceived lack of honesty, she and Iago being dualistic opposites in the work – Desdemona, honest, angelic, but not believed; Iago, dishonest, devilish, readily believed. Shakespeare creates a plot in which the characters in the play are oblivious to one another's true intentions, however the truth is completely revealed to the audience. This changes how the audience preserves characters such as lago, because all his claims of truthfulness are completely disregarded. The audience also develops a sense of empathy for Desdemona, as we know she is unrightfully murdered, and innocent. Othello's reflections on his predicament are more problematic: although we are moved by his dilemma, his tendency to dramatize it (as, say, "the plague of great ones") is clear. Shakespeare highlights this event by the tone of Othello's speech, and this captivates the audience due the dramatic wording. His poetic faculty is turned on himself famously in the speech in which, seeing that his private vengeance must end his public career of military service, he bids repeated "farewell" to all he loves in the soldier's life. He speaks as if for a captive audience, and yet only Iago is present, however, the audience does gain perspective as if they were part of the speech, due the fact that it is spoken as if Othello is addressing the audience, which does surely captivate the listener.
Act IV Response
Othello is resolute but composed, and he has recovered his rhetorical powers. He attempts to moralize about his situation, to explain how he could endure all sorts of trials, even the world's contempt, but when he considers his own plight, this, he claims, is too much for the "rose-lipped" face of patience; the right response is his, as he looks "grim as hell". The device of repetition, which we have met earlier in the play, appears as Othello four times repeats Desdemona's "committed". The rhetorical question (conventionally) presupposes the answer is obvious; the audience sees that what is obvious to Othello is neither obvious to Desdemona, innocent both of any offence and of Othello's meaning, nor true. Shakespeare creates empathy from the audience for Desdemona, we all know she is innocent, but keeps trying to defend herself to no appeal. Because Othello increasing believes that Desdemona was unfaithful towards him, its becomes harder for Desdemona to defend herself. Shakespeare language creates distress from the audience towards Othello, this is because he is constantly believing lies told by Iago. Desdemona is at times a submissive character, most notably in her willingness to take credit for her own murder. In response to Emilia’s question, “O, who hath done this deed?” Desdemona’s final words are, “Nobody, I myself. Farewell. / Commend me to my kind lord. O, farewell”. The play, then, depicts Desdemona contradictorily as a self-effacing, faithful wife and as a bold, independent personality. This contradiction may be intentional, meant to portray the way Desdemona herself feels after defending her choice of marriage to her father in Act I, scene iii, and then almost immediately being put in the position of defending her fidelity to her husband. She begins the play as a supremely independent person, but midway through she must struggle against all odds to convince Othello that she is not too independent. The manner in which Desdemona is murdered—smothered by a pillow in a bed covered in her wedding sheets—is symbolic: she is literally suffocated beneath the demands put on her fidelity. Since her first lines, Desdemona has seemed capable of meeting or even rising above those demands. In the end, Othello stifles the speech that made Desdemona so powerful. Shakespeare elevates text, so he can bring it down with a different context, much like giving hope to something certain to fail. It keeps the audience captivated.
Act V Response
Othello begins this soliloquy with: "It is the cause, it is the cause, my soul. Let me not name it to you" Shakespeare brings out a sense of the unknown for the audience. Othello is certain with the reasoning of his actions, but is not willing to share his reasoning. This choice of language leaves the audience seeking answers. In result this influences the audience to dig deeper within the text, and furthermore the thought behind Othello's actions. The audience is struck by sensuous or exotic imagery in this soliloquy, that is spoken by Othello, Shakespeare's choice in language captures the audience: the final speech contains a list of similes to describe his condition, in which the audience encounter the "base Indian" and the "Arabian trees", while the opening soliloquy presents us with Desdemona's "whiter skin than snow"..."smooth as monumental alabaster", and her "balmy breath". Behind these vivid images we see how Othello explores his private and public conceptions of himself. The use of Shakespeare similes gives the text a level of depth that the audience is left to explore. "When I have plucked thy rose I cannot give it vital growth again" This simile captures Othello's decision to kill Desdemona, and create a different perspective on the events, and the thoughts within Othello minds.
The use of these similes by Shakespeare creates several aspects for the audience to absorb the information that is being presented. Shakespeare uses this language as a vehicle for deliberate dramatic effect. This is constant throughout most, if not all of his work. Shakespeare use of imagery gives the audience a better perspective of the characters and their intentions. The way Desdemona skin tone is described as snow white. Shakespeare language in this soliloquy is very confident and blunt, therefore giving the audience reason to question Othello, as the once quiet, sturdy, stentorian nobleman.
B. Mitic
Act II Response
Shakespeare hints at jealousy from the very first act of the play, with Iago confessing his jealousy at Michael Cassio’s recent promotion to lieutenant. He asserts his opinion that Cassio is of less experience than him, with phrases such as “never set a squadron in the field” and “mere prattle without practice”. The latter phrase contains violent alliteration with the ‘p’ sound, giving the audience an insight into Iago’s frustration anger and jealousy at the fact that he was not promoted; one can almost imagine him spitting the words out in rage. These quotes may also give the reader an insight into Iago’s past, showing on the other hand that he had experience ‘in the field’ of battle, and that he had, judging by his evident disappointment at lack of promotion, served for quite a long time at Othello’s side. This is also shown when he states “Othello’s eyes had seen the proof at Rhodes”. This is very much Iago's scene, and we see the versatility of his linguistic gifts most clearly throughout: where Othello's poetry serves to discover beauty and wonder in the world, Iago's language is fundamentally dishonest, allowing him to seem whatever serves his purpose. while taking his new friends into his confidence about Casio's "vice"; he protests that he would rather have his tongue cut from his mouth than "it should do offence to Michael Cassio", and suggests that Cassio's conduct must have been provoked by "some strange indignity" from "him that fled". Othello sees this as covering up inexcusable violence and demotes Cassio, who believes nevertheless that he has "well approved" (that is, proved) Iago's friendship. Shakespeare adds another twist in the plot, which draws the audience in to explore the full intentions of Iago's plan. In his remarks upon “reputation”, Iago comes as close as he ever does to revealing his true opinions: the notion of deserved reputation or integrity does not enter into his view, which is that reputation bears little relation to merit in many cases. Shakespeare releases pieces of information that may change the audiences perspective on lago, whether he gets caught saying to much or indefinitely follows through with his initial plan. The informality of Iago's prose in praising English drinking is explained by the situation; but in consoling Cassio, as in his conversation at the start of the scene, Iago's informal prose suggests intimacy and friendship. He does not need to make this effort with Roderigo, as he is able, for once, to show his dupe some return on his expenditure: he has seen his "rival", Cassio, "cashiered" in exchange for some "small hurt", and Rodrigo is sent away unceremoniously. Shakespeare creates an image for each character, and with certain language choices he raises or downgrades a character. The continuous lines of lago that seem to be successful initiates irritation within the audience.
Act III Response
Othello’s speech of Act III, Scene iii, represents the dramatic and psychological tipping point of the play. Up until this point he is characterized as a sturdy, stentorian nobleman, brave warrior, and devoted husband, from here we witness Othello’s murderous intent build and his personality disintegrate. Shakespeare use of rhetoric, reveals some of Othello's most private, powerful anxieties, his vanities as a private man and public figure. All of these coalesce to create a foundation of credulity for Desdemona’s betrayal, pointing the way forward to his ultimate undoing. Many of the play’s core motifs, recurring ideas, concepts, images and figurations, are furthered in this speech, and open the way for subsequent events. Shakespeare use of irony influences the audiences interpretation of several characters, in contrast to what is really happening in the play. For example: Othello's single true soliloquy opens with the most ironic of statements, that is, his reconciliation of Iago’s trustworthiness: “This fellow's of exceeding honesty, / And knows all qualities with a learned spirit / Of human dealings.” the constant use of the word ‘honest’ and its attachment to Iago, of whom “every moral attribute applied to him by anyone in the play is ironic finger pointing to the truth of its opposite".
This motif is entwined with Desdemona’s perceived lack of honesty, she and Iago being dualistic opposites in the work – Desdemona, honest, angelic, but not believed; Iago, dishonest, devilish, readily believed. Shakespeare creates a plot in which the characters in the play are oblivious to one another's true intentions, however the truth is completely revealed to the audience. This changes how the audience preserves characters such as lago, because all his claims of truthfulness are completely disregarded. The audience also develops a sense of empathy for Desdemona, as we know she is unrightfully murdered, and innocent. Othello's reflections on his predicament are more problematic: although we are moved by his dilemma, his tendency to dramatize it (as, say, "the plague of great ones") is clear. Shakespeare highlights this event by the tone of Othello's speech, and this captivates the audience due the dramatic wording. His poetic faculty is turned on himself famously in the speech in which, seeing that his private vengeance must end his public career of military service, he bids repeated "farewell" to all he loves in the soldier's life. He speaks as if for a captive audience, and yet only Iago is present, however, the audience does gain perspective as if they were part of the speech, due the fact that it is spoken as if Othello is addressing the audience, which does surely captivate the listener.
Act IV Response
Othello is resolute but composed, and he has recovered his rhetorical powers. He attempts to moralize about his situation, to explain how he could endure all sorts of trials, even the world's contempt, but when he considers his own plight, this, he claims, is too much for the "rose-lipped" face of patience; the right response is his, as he looks "grim as hell". The device of repetition, which we have met earlier in the play, appears as Othello four times repeats Desdemona's "committed". The rhetorical question (conventionally) presupposes the answer is obvious; the audience sees that what is obvious to Othello is neither obvious to Desdemona, innocent both of any offence and of Othello's meaning, nor true. Shakespeare creates empathy from the audience for Desdemona, we all know she is innocent, but keeps trying to defend herself to no appeal. Because Othello increasing believes that Desdemona was unfaithful towards him, its becomes harder for Desdemona to defend herself. Shakespeare language creates distress from the audience towards Othello, this is because he is constantly believing lies told by Iago. Desdemona is at times a submissive character, most notably in her willingness to take credit for her own murder. In response to Emilia’s question, “O, who hath done this deed?” Desdemona’s final words are, “Nobody, I myself. Farewell. / Commend me to my kind lord. O, farewell”. The play, then, depicts Desdemona contradictorily as a self-effacing, faithful wife and as a bold, independent personality. This contradiction may be intentional, meant to portray the way Desdemona herself feels after defending her choice of marriage to her father in Act I, scene iii, and then almost immediately being put in the position of defending her fidelity to her husband. She begins the play as a supremely independent person, but midway through she must struggle against all odds to convince Othello that she is not too independent. The manner in which Desdemona is murdered—smothered by a pillow in a bed covered in her wedding sheets—is symbolic: she is literally suffocated beneath the demands put on her fidelity. Since her first lines, Desdemona has seemed capable of meeting or even rising above those demands. In the end, Othello stifles the speech that made Desdemona so powerful. Shakespeare elevates text, so he can bring it down with a different context, much like giving hope to something certain to fail. It keeps the audience captivated.
Act V Response
Othello begins this soliloquy with: "It is the cause, it is the cause, my soul. Let me not name it to you" Shakespeare brings out a sense of the unknown for the audience. Othello is certain with the reasoning of his actions, but is not willing to share his reasoning. This choice of language leaves the audience seeking answers. In result this influences the audience to dig deeper within the text, and furthermore the thought behind Othello's actions. The audience is struck by sensuous or exotic imagery in this soliloquy, that is spoken by Othello, Shakespeare's choice in language captures the audience: the final speech contains a list of similes to describe his condition, in which the audience encounter the "base Indian" and the "Arabian trees", while the opening soliloquy presents us with Desdemona's "whiter skin than snow"..."smooth as monumental alabaster", and her "balmy breath". Behind these vivid images we see how Othello explores his private and public conceptions of himself. The use of Shakespeare similes gives the text a level of depth that the audience is left to explore. "When I have plucked thy rose I cannot give it vital growth again" This simile captures Othello's decision to kill Desdemona, and create a different perspective on the events, and the thoughts within Othello minds.
The use of these similes by Shakespeare creates several aspects for the audience to absorb the information that is being presented. Shakespeare uses this language as a vehicle for deliberate dramatic effect. This is constant throughout most, if not all of his work. Shakespeare use of imagery gives the audience a better perspective of the characters and their intentions. The way Desdemona skin tone is described as snow white. Shakespeare language in this soliloquy is very confident and blunt, therefore giving the audience reason to question Othello, as the once quiet, sturdy, stentorian nobleman.