Death Poem

Game On

People talk about you all the time,

It seems you’re always on their minds,

In the papers, on TV,

But, sorry Death, you can’t catch me.

I’ve seen your creepy shadow cloak

As you convince some kids to smoke,

Plenty of youth, take your pick,

But, sorry Death, I know your tricks.

You seem to think you’re awfully tough,

Encouraging people to just “play rough,”

Starting wars, great disputes,

But, sorry Death, I just won’t shoot.

Sometimes though, you’re awfully sly,

Slipping through cracks, chinks in the armor,

Finding weaknesses we didn’t know existed,

Weaknesses we didn’t think we had.

You quietly cripple us,

Taking down those who do not seem to deserve it.

What did they do to you, Death?

How can I thwart you

When you don’t play fair?

A game of cat and mouse—

That’s what you and I are playing.

You are pretty good at it, I’ll admit,

But you’ve had quite a bit of practice.

You think you have the upper hand,

But I have one more trick of my own.

Didn’t expect that, did you Death?

What will you do

When I turn to embrace you, not run?

Othello #7

            Emilia demonstrates both loyalty and confidence when she tells Othello that he has made a grievous mistake in murdering Desdemona. Unlike Iago, Emilia does not shy away from the truth; she clearly and directly states her honest opinions. When Othello admits to murdering Desdemona, Emilia responds, “O, the more angel she, and you the blacker devil!” (5.2.161). Not only is Emilia admonishing a man who has just committed murder, but she is also gravely insulting the most powerful man on the island. Emilia highlights the disparity between Desdemona’s virtue and Othello’s corruption, using a religious reference to further sanctify Desdemona while condemning Othello. Unlike Desdemona, Emilia refuses to submit herself to men. While Desdemona would have found a way to blame herself, Emilia calls Othello out: “O gull! O dolt, / As ignorant as dirt!” (5.2.199-200). She decides to ensure that Othello’s actions are recognized by others, no matter the consequences. Perhaps her vow to expose Othello represents Emilia’s profound loyalty to Desdemona. However, if she were truly loyal, she should have stopped the murder from happening in the first place. Emilia then goes on to insult Iago, her husband. When Othello tells her that Iago informed him of Desdemona’s infidelity, Emilia wishes that Iago’s “pernicious soul / Rot half a grain a day!” (5.2.190-1). Again, Emilia’s reaction heightens the contrast between her and Desdemona. When Othello treated Desdemona poorly, she justified his actions and blamed herself. When Iago behaves poorly, Emilia condemns his soul. Emilia is not the obedient wife; she is confident in herself, and her confidence takes precedence over her duty to Iago. When Iago orders Emilia to be silent, she retorts, “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” (5.2.261-263). Emilia’s response is the epitome of defiance. She stands up for what she believes is right, and she refuses to back down. Unfortunately, Emilia’s self-assurance does not change her fate; like Desdemona, she ends up murdered.

Othello V.ii.1-24

            Before Othello kills Desdemona, he sees her sleeping and must mentally prepare himself for the murder. He repeats to himself, “It is the cause, it is the cause” (5.2.1). The repetition hints at Othello’s uncertainty. He knows that he must kill Desdemona in order to stop her unfaithful actions, and he is determined to keep this “cause” in mind so that he will follow through with murder. Othello must focus on her supposed infidelity because everything else about Desdemona is perfect. By starting the monologue with a reminder of the cause, Othello establishes that the only reason for murdering Desdemona is her infidelity. This view of Desdemona will color the way he looks at her for the rest of the monologue; he must make himself see her as unfaithful. As much as Othello tries to hate Desdemona, he cannot ignore her beauty. He decides not to “shed her blood, / Nor scar that whiter skin of hers than snow” (5.2.3-4). Othello cannot bear to mar Desdemona’s outward image of purity even in her death. This decision can be interpreted in multiple ways. If Othello were particularly vindictive, he may leave Desdemona’s outward appearance intact so that she would forever remain deceptively pure on the outside with evil in her core. However, perhaps Othello cannot bear to destroy her body because he is still in love with Desdemona, and although he must kill her, he still wants to preserve her beauty. Indeed, Desdemona’s beauty has a profound effect upon Othello. Looking at Desdemona, Othello says, “O balmy breath, that dost almost persuade / Justice to break her sword!” (5.2.17-8). Just seeing Desdemona wavers Othello’s resolve because she appears so sweet and innocent. Othello obviously does not want to murder Desdemona, and the only reason keeping him on track is the knowledge of her infidelity. He comments, “So sweet was ne’er so fatal” (5.2.22). Othello is still trying to reconcile Desdemona’s supposed actions with the purity of her appearance. In order to murder her, Othello must completely believe the lies he has heard about her. Comparing Desdemona to the light he carries, Othello says, “But once I put out thy light, / Thou cunning’st pattern of excelling nature, / I know not where is that Promethean heat / That can thy light relume” (5.2.10-13). Unlike a candle that can be relit, Desdemona cannot come back to life after Othello murders her. Othello recognizes the finality of his action, so he makes sure to fully convince himself that this is the correct course of action. Othello uses many conjunctions and commas to break up the sentences in his monologue, establishing a logical flow of ideas that convince him to keep on his course of action. Othello believes that he must kill Desdemona, and he will follow through with his choice.

Othello #5

            Iago’s discreet form of manipulation allows him to work his way into others' thoughts without being noticed. By the end of Act 4 Scene 1, Othello has reached the point of no return in terms of his impending demise. He is so consumed by jealousy that irrationality colors everything he sees, preventing him from recognizing his egregious error in his contempt for Desdemona. Othello allows Iago to direct his thoughts and convince him of Desdemona’s guilt without realizing that he has given up control. They complete each other's lines, demonstrating the synchronization of their thought. For instance, when Othello asks what Cassio did with Desdemona, Iago begins, “Lie—” and Othello breaks in, “With her?” after which Iago completes, “With her—on her—what you will” (4.1.40-2). Oftentimes, the sharing of lines represents the harmonization of passionate lovers that know each other so well that they can complete each other's thoughts. However, in this case, the sharing of lines with Iago may symbolize the net of influence that penetrates and ensnares Othello’s thoughts. The reader almost has difficulty differentiating between Iago’s lines and Othello’s, just as Othello cannot distinguish between the lies he has been told by Iago and his true perception of Desdemona. Iago’s parasitic manipulation of thought runs deep enough to completely control Othello. Othello has no hope of extracting himself from Iago’s control, so the reader continues to see shared lines between them. Othello is not, however, the only character that Iago influences, and he is not the only character that Iago shares lines with. When speaking to Lodovico about Othello, Iago says he knew “That stroke would prove the worst,” and Lodovico breaks in, “Is it his use?” (4.1.310-11). By subtly inducing Lodovico to complete his lines, Iago is directing him to formulate his own negative opinion about Othello. When Iago manipulates people, they think that they are coming up with the ideas on their own while in actuality Iago is leading them down a certain path. The sharing of lines helps to emphasize the complete control Iago has over others, even when they fail to notice it.

Othello #4

            Jealousy threatens to be the cause of Othello’s downfall. Various characters have opinions about the nature of jealousy, and although the opinions differ, they agree that it can be detrimental. When discussing Desdemona’s potential infidelity, Iago warns Othello, “O, beware, my lord, of jealousy! / It is the green-eyed monster which doth mock / The meat it feeds on. That cuckold lives in bliss / Who, certain of his fate, loves not his wronger; / But O, what damned minutes tells her o’er / Who dotes, yet doubts; suspects, yet strongly loves!” (3.3.195-200). Iago recognizes the preying nature of jealousy, identifying the pleasure the “monster” gleans from watching the jealousy take effect. Perhaps Iago interprets jealousy in this way because he feels perverse pleasure from watching Othello being eaten away by it. Also, Iago claims that it is better to be aware of a wife’s infidelity than to love her yet simultaneously doubt her. Iago may not actually believe this, however. He obviously wants Othello to find proof of Desdemona’s supposed affair with Cassio, so he may be encouraging Othello to continue searching for evidence, thereby allowing his jealousy to fester and grow. Becoming angry with Iago, Othello cries, “I had been happy if the general camp, / Pioneers and all, had tasted her sweet body, / So I had nothing known. O, now, forever / Farewell the tranquil mind!” (3.3.397-400). Jealousy has been eating away at Othello, and he claims that he would rather not known anything about Desdemona’s unfaithfulness. To him, the knowledge of her infidelity is worse than the act itself. His jealousy has taken on a life of its own, and now the jealousy itself is worse than the supposed act that engendered it. Othello would therefore disagree with Iago’s claim that it is better to figure out the truth, but now he is completely under the influence of jealousy and cannot turn back. He turns on Desdemona, behaving cruelly to her. Desdemona berates herself for unfairly judging Othello’s behavior, and denies Emilia’s claim that Othello may be jealous. She believes that Othello has no cause to feel this way. Emilia explains the nature of jealousy to Desdemona: “But jealous souls will not be answered so. / They are not ever jealous for the cause, / But jealous for they’re jealous. It is a monster / Begot upon itself, born on itself” (3.4.180-3). Like Iago, Emilia personifies jealousy as a monster. She understands the irrationality of how jealousy feeds upon itself. Desdemona cannot understand this irrationality because she is honest, straightforward, and virtuous. Thus, she does not know how to prevent Othello’s destruction as jealousy preys upon their relationship.