Othello #3

            In his soliloquy near the end of Act 2 Scene 3, Iago appears to be justifying the fact that he behaves like the devil. He begins by asking, “And what’s he, then, that says I play the villain […]?” (2.3.356). Iago seems to wish to dispute this misconception and explain his side of the situation. However, none of the characters in the play see Iago as a villain; indeed, Cassio, Othello, and Roderigo all believe that Iago supports them. Thus, Iago must be addressing the audience and the concerns that he anticipates people have after watching his behavior. His soliloquy does not function as a confession or an analysis of his actions, but instead it serves as a means of justifying his actions and manipulating the audience into agreeing with his point of view. Since it is a soliloquy, the audience assumes that Iago is being honest with them. However, Iago is really using the same techniques on the audience that he uses on other characters in order to trick them into trusting him. First, Iago capitalizes on other characters’ predominant traits, spinning them in a negative way. For example, in his soliloquy Iago explains how Othello’s love for Desdemona is so great “That she may make, unmake, do what she list, / Even as her appetite shall play the god / With his weak function”  (2.3.366-8). Iago casts Othello’s extensive love as the potential detriment to their relationship. The audience, with its attention directed at Othello, may miss the fact that Iago is orchestrating the entire event. In the same way, Iago convinces Montano that Cassio is a drunkard and that he is unsuitable to be lieutenant; Iago’s role in influencing Cassio’s decision to drink is overlooked. Iago appears to be strikingly honest as he explains, “When devils will the blackest sins put on, / They do suggest at first with heavenly shows, / As I do now” (2.3.371-3). Iago blatantly admits his plan to behave like the devil in order to corrupt other characters. He will take advantage of Desdemona, just as he takes advantage of other characters, in order to “enmesh them all” in his trap (2.3.382). However, the audience should be wary of his candidness. Iago seems to be very honest with all of the characters he interacts with and manipulates; everyone thinks that Iago is on their side. The audience believes that they are in cahoots with Iago as well, but there is no way to determine whether he is truly on their side.

Sound & Sense: Chapter 13 Exercise

1.      A- The euphonious sounds in “guide” and “guard” give the line a more pleasing and comforting sound than the second set of lines. The rhythm in conjunction with the sounds gives a sense of security.

2.      B- The cacophonous sounds in “harsh” and “crabbed” are contrasted by the euphonious sounds in the following lines. The repeated “l” sound in “dull fools” and “Apollo’s lute” adds a melodious sound that represents the pleasing, musical nature of philosophy more effectively than “lute of Phoebus.”

3.      A- The long “o” sounds of “crows croak hoarsely over the snow” suggest a gloomy or sorrowful tone. The lines describe a drab, slightly depressing scene of birds flying away on a cold day, and the sound adds to the melancholy tone of the description. The second set of lines does not carry the same tone because the long “o” sounds are broken up.

4.      B- The euphonious sounds of “low voice” as opposed to the cacophonous sounds of  “talk attests” better represent the resounding fullness of bells ringing over the water. In addition, the repetition of the “l” sound lines adds to the flow of the lines, creating a musical quality.  

5.      B- The repeated “m” sound such as in “myriads,” “moan,” and “murmuring” as well as the “im” and “in” sounds in “immemorial” and “innumerable” create a business and intensity. There is energy in the lines, almost as if there were a hum in the background. The first set of lines does not have quite the same effect because it misses the repeating “m” sounds.

6.      A- The repeated “s” sound of “sings so” introduces the soft sound associated with song. However, the “s” sound is later cut off in “straining harsh discords” and “sharps,” demonstrating through sound how the lark is out of tune. In the second set of lines, the words “doleful flats” do not have the same cacophonous sound to them.  

7.      B- The cacophonous sounds contrast the euphony in “soft Muses’ gullets,” demonstrating how weapons of war disturb the peace. The harsh repeated “b” sounds add to the bluntness and incessancy of the lines. In the first set of lines, the cacophony is not present to the same extent, particularly in the second line.  

8.      A- The repeated “s” sound of “sisters,” “incessantly,” “softly,” and “soiled” mimic a hissing, cleansing sound. In contrast to “repeatedly,” the use of “incessantly softly” adds a certain insidious nature to the concepts of night and death.

9.      B- The euphonious sounds add to the peace at the end of the day. The long “o” sound in “lowing” and “slowly o’er” represents slowness and lack of energy. The alliteration of “weary way” demonstrates a sense of exhaustion while the repeated “pl” sound in “plowman” and “plods” carries a certain heaviness. The first set of lines separate the alliteration, thereby dampening the potential effect.

10.  B- Most of the words in these lines are only one syllable, so they create a staccato rhythm in the poem. The short vowel sounds and cacophony add a more energetic feel compared to the other set of lines.  

Othello #2

            Iago is truly a master of manipulation. His skill comes from both observation and knowledge of human nature. Iago understands how people judge each other, and he uses this understanding to his advantage. Essentially, his strategy is to make others believe the worst of whomever he wants to sabotage. One of Iago’s first targets is Cassio, Othello’s second in command. Cassio seems to be incredibly polite and loyal, particularly to Othello. He desperately wishes for Othello to reach Cyprus safely, pleading, “O, let the heavens / Give him defense against the elements, / For I have lost him on a dangerous sea” (2.1.49-51). His actions never suggest any ill-will towards Othello, and it seems unlikely that he is secretly plotting behind Othello’s back like Iago. Just as he is quick to praise Othello, Cassio profusely complements Desdemona when he speaks of her. He tells Montano that Othello “hath achieved a maid / That paragons description and wild fame, / One that excels the quirks of blazoning pens, / And in the essential vesture of creation / Does tire the ingener” (2.1.67-71). Desdemona may truly be as amazing as Cassio describes her, Cassio may always look for the best in people and try to highlight their strengths, or Cassio may be attracted to Desdemona. At this point, however, nothing has suggested that Cassio wishes to steal Desdemona from Othello. Additionally, it is important to note that Cassio believes in extreme courtesy. He kisses Emilia when she arrives, and he takes Desdemona’s hand when Iago says insulting things about women to her. He is naturally very forward and well-mannered.   

            Iago takes note of Cassio’s nature, and he uses his observations to spin a tale for Roderigo. Pointing to Cassio’s behavior, Iago convinces Roderigo that Cassio is in love with Desdemona and that as soon as Desdemona tires of Othello, she will be swept up by him. Referring to when Cassio takes Desdemona’s hand, Iago asks Roderigo, “Didst thou / not see her paddle with the palm of his hand?” (2.1.275-6). Although Roderigo replies that it was just “courtesy,” he eventually comes to believe Iago’s story. However, Iago actually brought about the situation in the first place by making rude remarks to Desdemona. Roderigo does not think of this fact, and instead he has agreed to sabotage Cassio. Iago is in control of the situation, and he can convince other characters to do all of his work for him in order to exact his revenge.

Othello #1 (Iago's Motives)

            Iago has multiple motives for ruining Othello’s reputation. First, Iago resents Othello for naming Cassio as his lieutenant instead of him. Iago complains to Roderigo, “I know my price, and I am worth no worse a place” (1.1.12). Not only does Othello brush off the nobles who come to recommend Iago for lieutenancy, but he also elects Cassio, a man with no practical experience in war. Othello most likely decided to choose Cassio as his lieutenant because Cassio is a well-educated man who knows war theory. Since Othello has been in many wars, he does not need another officer to offer him advice based on experience, so Iago would not have been as helpful to him as a lieutenant. However, Iago sees Othello’s choice as offensive, and he wants revenge for the dishonor Othello causes him by not offering him the position. In addition, Iago harbors some jealousy toward Othello. In terms of the racial hierarchy of the time period, Othello should be Iago’s inferior. However, Othello has earned his elevated position in society through his skill and achievements. He is highly regarded by others in Venice, and Iago recognizes others’ favorable opinions toward him. Iago realizes that Othello will not be seriously punished for secretly marrying Desdemona because “Another of his fathom [the rulers of Venice] have none / To lead their business” (1.1.169-70). Othello is so vitally important to the war effort that Venice cannot afford to lose him. Iago resents this contrast between the weight Othello carries and the ease with which Othello ignored his desire to be lieutenant. In one sense, Iago resents his own admiration for Othello. Iago knows that Othello would never accept a position that he did not think he deserved, and he points out, “Were I the Moor I would not be Iago” (1.1.63). Iago recognizes Othello’s strength of character as well as his success. However, jealousy drives him to desire the destruction of Othello’s reputation and character. A final potential motivation for Iago to seek revenge on Othello is that “it is thought abroad that ’twixt [Iago’s] sheets / ’Has done [his] office” (1.3.430-31). Essentially, there is a rumor that Othello has had an affair with Iago’s wife. Iago has no idea whether this rumor is true, but he decides to act as though it is because it gives him another justification for his actions. Jealousy and resentment appear to be the primary motives for Iago’s plan to sabotage Othello.

Rhythm and Meter (Sound & Sense ch. 12)

 

·         rhythm= any wavelike recurrence of motion or sound

o   in speech: natural rise and fall of language

o   depends on stress, duration, pitch, juncture

ð  not formulaic

·         accented/stressed: given more prominence in pronunciation than other syllables

·         different intended meaning will produce different rhythms

o   rhetorical stresses: used to make intentions clear

·         pauses: esp. important in poetry

o   end-stopped line: end of line corresponds with a natural speech pause

o   run-on line: sense of the line moves on without pause into the next line

o   caesuras: pauses that occur within lines (grammatical or rhetorical)

·         poetic line = basic rhythmic unit in free verse

o   except for lines, no difference between rhythms of free verse and prose

·         prose poem: depends completely on ordinary prose rhythms (has a bunch of poetic elements, so it’s still considered a poem)

·         meter: regular patterns of accent that underlie metrical verse; measurable repetition of accented and unaccented syllables

o   follows patterns as POET arranged them

o   foot: usually one accented syllable + 1-2 unaccented syllables

§  compare syllables within foot

§  ˘ = unstressed;  ́= stressed

§  Iamb: ˘  ́

§  Trochee:  ́ ˘

§  Anapest: ˘ ˘  ́

§  Dactyl:  ́ ˘ ˘

§  Spondee:  ́ ́

o   mono-, di- tri-, tetra-, penta-, hexameter (based on # of feet)

·         stanza: group of lines whose metrical pattern is repeated throughout the poem

·         metrical variations: different from regular

o   substitution: replace regular foot with another foot

o   extrametrical syllables: added to beginnings or endings of lines

o   truncation: omission of unaccented syllable at beginning or ending of line

·         scansion: process of defining metrical form of poem

1.      identify prevailing foot

2.      name # feet/line

3.      describe stanzaic pattern

·         n. usually receives more stress than adj. modifying it; adv. > verb; adj. > adv.

o   except when modifier points to unusual/unexpected condition

·         feet do NOT indicate rhythm

·         rhythm often runs counter to meter

·         deviations from meter are significantà often have meaning

·         expected rhythm (set up by basic meter) v. heard rhythm

·         grammatical and rhetorical pauses

·         Purpose: pleasing, emotional stimulus, heighten awareness, reinforce meaning