Achievement Standard 3 3 William Shakespeares Othello NEXT

Achievement Standard 3. 3 William Shakespeare’s Othello

NEXT YEAR. . . • READ THE NOTES FROM IAIN’S REVISION LESSONS – SUPERB • More emphasis on imagery – beasts, monsters, animals, Heaven and Hell Black and white • Emphasis on Setting and Order Vs Chaos • Character and dramatic devise as a means through theme is presented. • Wider theme net – appearance vs reality – reputation, loyalty and disloyalty, Trust vs Jealousy– THEMES as BINARY OPPOISTES

Othello Independent Learning Rationale – to enable you to learn anywhere, any time – in a snow cave, under Mt Cook, even in Ash. Vegas on Tournament To develop your ability to learn independently in preparation for tertiary study To get through all we need to get through

Key Resource - Wiki • http: //mrschaumannsenglish. wikispaces. com/ • Key Resource – the cloud – google docs

The key product … • In groups of three, working in the cloud … complete the following … Act/Scene Brief Summary 1. 1 Roderigo and Iago I immediately deceptive and argue. manipulative – R foolish R knows D married O Iago reassures Roderigo that he hates O because of recent promotion of Michael Cassio to the post of lieutenant. Iago only pretends to Analysis I = Villain – part of WHY he hates Othello explained Themes – Corrosiveness of Jealousy – Iago jealous of Cassio – plots revenge (revenge drives plot) Key Quotations In following him I follow but myself;

Lesson One – not losing the plot. . . • Goal: To understand the storyline of Othello; what the characters do, who they do it to, where they do it, how they do it. . . And begin to understand why they do it. • Who said English isn’t street. . . • C: UsersDSCDesktopOthello in Three Minutes [www. keepvid. com]. mp 4 • But seriously. . . The animated tale • Plot summary task. . .

Dates 11. 8 Film 12. 8 Film 15. 8 Pe Pe TW TW

Summary Task • Either in a flow chart, or using sub-headings and bullets, create a plot summary using the following clip (Look for the error in the last slide)

Character Mind Map

Othello • - The play’s protagonist and hero. A Christian Moor and general of the armies of Venice, Othello is an eloquent and physically powerful figure, respected by all those around him. In spite of his elevated status, he is nevertheless easy prey to insecurities because of his age, his life as a soldier, and his race. He possesses a “free and open nature, ” which his ensign Iago uses to twist his love for his wife, Desdemona, into a powerful and destructive jealousy (I. iii. 381). Read an in-depth analysis of Othello. • ]

Desdemona • . • - The daughter of the Venetian senator Brabanzio. Desdemona and Othello are secretly married before the play begins. While in many ways stereotypically pure and meek, Desdemona is also determined and self-possessed. She is equally capable of defending her marriage, jesting bawdily with Iago, and responding with dignity to Othello’s incomprehensible jealousy. Read an in-depth analysis of Desdemona.

Iago • Othello’s ensign (a job also known as an ancient or standard-bearer), and the villain of the play. Iago is twenty-eight years old. While his ostensible reason for desiring Othello’s demise is that he has been passed over for promotion to lieutenant, Iago’s motivations are never very clearly expressed and seem to originate in an obsessive, almost aesthetic delight in manipulation and destruction. Read an in-depth analysis of Iago.

The also-rans • Michael Cassio - Othello’s lieutenant. Cassio is a young and inexperienced soldier, whose high position is much resented by Iago. Truly devoted to Othello, Cassio is extremely ashamed after being implicated in a drunken brawl on Cyprus and losing his place as lieutenant. Iago uses Cassio’s youth, good looks, and friendship with Desdemona to play on Othello’s insecurities about Desdemona’s fidelity. • Emilia - Iago’s wife and Desdemona’s attendant. A cynical, worldly woman, she is deeply attached to her mistress and distrustful of her husband. • Roderigo - A jealous suitor of Desdemona. Young, rich, and foolish, Roderigo is convinced that if he gives Iago all of his money, Iago will help him win Desdemona’s hand. Repeatedly frustrated as Othello marries Desdemona and then takes her to Cyprus, Roderigo is ultimately desperate enough to agree to help Iago kill Cassio after Iago points out that Cassio is another potential rival for Desdemona.

Lesson Two: Getting to grips with he lingo. . . • Goal: To be prepared to process the dialogue from Othello. . . By understanding some of the key differences between Shakespeare’s language and our own

Top Tips for Reading Shakespeare • • • Read to the punctuation, not the ends of the lines. Punctuation makes meanings clearer. Inversion is common in Shakespeare so rearrange the words into a natural speaking order. • subject – verb – object • the verb is the most important part of the sentence: find it Read with intonation, not in a monotone. Try to look for the actors’ inflexions. Thou and thee mean “you” and thy and thine mean “your. ” Expect a great deal of metaphorical language. No CGI or SFX in Shakespeare’s day. He used IGI. Consider the purpose of each scene and speech. The most common purposes are: • to advance the plot, often by foreshadowing • to build suspense (a plot function) • to illustrate a character trait • to develop a theme • to describe the setting

A Taster – What do you notice about Obs ging n c a h u C r the language here? e voca age bul word us ary Different gs word endin d, – Hast = ha shouldst = should hes Apostrop ct to conta orical h p a t e M e languag im) (Hate h RODERIGO Tush! Never tell me. I take it much unkindly That thou, Iago, who hast had my purse As if the strings were thine, shouldst know of this. IAGO 'Sblood, but you’ll not hear me! If ever I did dream of such a matter, abhor me. RODERIGO Thou told’st me Thou didst hold him in thy hate ’ – ‘Never ’t for ‘Don Differen t Pronou ns – thine fo r yours, thee/th ou for you Diff wor erent d “If I order dre ever ame d. . .

Fear Not!!!!!! RODERIGO I would not follow him then. IAGO O sir, content you. I follow him to serve my turn upon him. We cannot all be masters, nor all masters Cannot be truly followed. You shall mark Many a duteous and knee-crooking knave That (doting on his own obsequious bondage) Wears out his time much like his master’s ass For naught but provender, and when he’s old, cashiered. Whip me such honest knaves. Others there are Who, trimmed in forms and visages of duty, Keep yet their hearts attending on themselves And, throwing but shows of service on their lords, Do well thrive by them. And when they have lined their coats, Do themselves homage. These fellows have some soul,

RODERIGO I would not follow him then. RODERIGO If you don’t like him you should quit. IAGO O sir, content you. I follow him to serve my turn upon him. We cannot all be masters, nor all masters Cannot be truly followed. You shall mark Many a duteous and knee-crooking knave That (doting on his own obsequious bondage) Wears out his time much like his master’s ass For naught but provender, and when he’s old, cashiered. Whip me such honest knaves. Others there are Who, trimmed in forms and visages of duty, Keep yet their hearts attending on themselves And, throwing but shows of service on their lords, Do well thrive by them. And when they have lined their coats, Do themselves homage. These fellows have some soul, IAGO No, calm down. I’m serving under him to take advantage of him. We can’t all be masters, and not all masters should be followed. Look at all the devoted servants who work for their masters their whole lives for nothing but their food, and then when they get old they’re terminated. They ought to be whipped for being so stupid. But then there’s another kind of servant who looks dutiful and devoted, but who’s really looking out for himself. By pretending to serve their lords, these men get rich, and when they’ve saved up enough they can be their own masters. Guys like that have soul, and that’s the kind of guy I am. Let me tell

Othello Act One, Scene One (I. i. ) • Goal: To understand HOW Shakespeare Theyour Big Question shapes response to Iago in this scene. How do the creators of texts shape the response of the receivers of texts? What might the goal of today’s lesson be?

Key Analysis – What to look for • Othello is a play of CONTRAST – of oppositional forces: • • • Trust V Order V Appearance V White V Honour and Reputation Jealousy Chaos Reality Black Dishonour • And one character bridges the divide – turning the one into the other… turning ‘virtue into pitch’

That is WHY … “It might be Othello’s tragedy but it is Iago’s play” chie i R The arean – oom akespe l B old of Sh … r a H w ritics a C c Mc

Reading – Act One, Scene One Interplay of characterisation and theme Listen out for the following lines: He, in good time, must his lieutenant be, And I--God bless the mark!--his Moorship's ancient. Call up her father, Rouse him: make after him, poison his delight, Your heart is burst, you have lost half your soul; Even now, very now, an old black ram Is topping your white ewe Farewell; for I must leave you: It seems not meet, nor wholesome to my place, To be produced--as, if I stay, I shall-Against the Moor

First, the facts. . . • Answer the following to clarify the plot in this act. 1. What does Iago think of Othello? 2. Does Othello know this? (Explain) 3. What does Iago think of Cassio? Why is he seemingly jealous of him? 4. What has happened between Othello and Desdemona? 5. What does Brabantio know about this?

Technique (S) Quotation (X) Characterised through how he speaks Your heart is burst, you have lost half your soul; Even now, very now, an old black ram Is topping your white ewe Characterised by what is said about him That thou, Iago, who hast had my purse As if the strings were thine Characterised through what he says [Cassio] in good time, must his lieutenant be, And I--God bless the mark!--his Moorship's ancient. Characterised through his actions Farewell; for I must leave you: It seems not meet, nor wholesome to my place, To be produced--as, if I stay, I shall-Against the Moor Characterised Through his interactions But I will wear my heart upon my sleeve For daws to peck at: I am not what I am. Characterisation (Y) Thematic Connection (Y)

Technique (S) Quotation (X) Characterisation (Y) Thematic Connection (Y) Characterised through how he speaks Your heart is burst, you have lost half your soul; Even now, very now, an old black ram Is topping your white ewe Base and low – uses shocking animal imagery – appaling to a father and audience Chaos and Order – here Iago is bringing Chaos to Brabantio – notice the imagery of black and white too Characterised by what is said about him That thou, Iago, who hast had my purse As if the strings were thine Iago exploits, manipulates and decieves – spening all this fops money Appearance Vs Reality – Iago has, and continues to appear honest – we know better Characterised through what he says [Cassio] in good time, must his lieutenant be, And I--God bless the mark!--his Moorship's ancient. Jealousy drives him – he feels overlooked, taken for granted and is VERY bitter about this The corrosiveness of jealousy – how much it can drive someone to seek vengeance Characterised through his actions Farewell; for I must leave you: It seems not meet, nor wholesome to my place, To be produced--as, if I stay, I shall-Against the Moor Deceptive and manipulative – and very good at it – he creates chaos, then leaves Roderigo to deal with the fall out Appearance Vs Reality – Iago takes great pains to APPEAR honest – can’t be seen to be against Othello Characterised Through his interactions But I will wear my heart upon my sleeve For daws to peck at: I am not what I am. Decietfulness – he is almost never open and honest – in fact he IS not what he IS (Or appeasrs to be Appearance Vs Reality

Goal: To understand HOW Shakespeare shapes your response to characters Complete a SXY paragraph on the following topic: How does Shakespeare present Iago in Act One, Scene One. Challenge – synthesise – use More the one technique, more than one quotation.

Model Mediocity Iago’s language in Act One, scene one, signify that he is dishonourable. . When he shouts: Your heart is burst, you have lost half your soul; Even now, very now, an old black ram Is topping your white ewe The audience is repelled by the graphic nature of the metaphor. This shockingly graphic language is used to manipulate Barbantio: clearly an action with no honour.

Model much more like it. . . Iago’s language and actions in Act One, scene one, signify that he is untrustworthy, deceitful and dishonourable – clearly and immediately he is established as the villain. He admits his deceit to Rodergio, asserting he only appears to follow Othello in order to, ‘Serve my turn upon him. ’ A more shocking impression is created through the language Shakespeare gives him. When he shouts: Your heart is burst, you have lost half your soul; Even now, very now, an old black ram Is topping your white ewe The audience is simultaneously impressed by the strength of emotion and repelled by the graphic nature of the metaphor. Thus, one sees Iago openly admitting his deception of Othello, and using shockingly graphic language to appal and manipulate Barbantio: clearly actions with no honour, in a social context in which honour is of singular import. We see immediately that it is Iago who will drive the conflict and themes: he will manipulate appearances to erode trust in order to create chaos through the corrosiveness of jealousy

Act One, Scene Two (I. ii) • Goal: To explore how Shakespeare creates a powerful first impression of Othello

Listen out for these key lines? ’s? e h ‘ o’s Irony? h W tic a m Dra Reading and comprehension – what happens here? Iago: Nay, but he prated, And spoke such scurvy and provoking terms Against your honour That, with the little godliness I have, I did full hard forbear him. Why is this (The significant orical t is h d n a l socia context? Othello: Which, when I know that boasting is an honour, I shall promulgate--I fetch my life and being From men of royal siege IAGO He's married. CASSIO To who? Who’s more in Othello’s confidence? OTHELLO Keep up your bright swords, for the dew will rust them. Were it my cue to fight, I should have known it Without a prompter. Where will you that I go To answer this your charge? Wha t is sayin Othello g he re? What’s th implicat e ion of this ima gery?

Group Character Analysis • Your group will be allocated a section of the act. Your job is to. . . • Find annotate at least three quotations that reveal something about Othello’s characteristics • Remember – it could be what he says, how he acts, how he interacts, how he speaks or how he is spoken about. • Feedback and quotation file

• My services which I have done the signiory Shall o • Not I I must be found: My parts, my title and my perfect soul Shall manifest me rightlyut-tongue his complaints. • And many of the consuls, raised and met, Are at the duke's already: you have been hotly call'd for;

SXY paragraph time. . . • How does Shakespeare present Othello in I. ii of Othello? • Think techniques – through his actions – responding to the men fighting • Through his dialogue – his faith that he won’t be misjudged for marrying Desdemona, because of the service he has done Venice – his reputation and honour are very sound • Through his interaction with Barbantio – the dignified, aloof manner he responds to the insulting slanders • Through other characters dialogue – who seems more in his confidence? Is this wise?

Act One Scene Three – The Political the Personal and the vindictive • Goal: To understand the two movements within the scene and analyse how Othello’s dialogue reveals more about his character; and understand the purpose of soliloquy • Reading – The first movement – discussion • The Second Movement – close analysis of Othello’s dialogue • The third movement – what more do we find out about Iago?

OTHELLO Most potent, grave, and reverend signiors, My very noble and approved good masters, That I have ta'en away this old man’s daughter, It is most true. True, I have married her. The very head and front of my offending Hath this extent, no more. Rude am I in my speech, And little blessed with the soft phrase of peace, For since these arms of mine had seven years' pith Till now some nine moons wasted, they have used Their dearest action in the tented field, And little of this great world can I speak, More than pertains to feats of broils and battle, And therefore little shall I grace my cause In speaking for myself. Yet, by your gracious patience, I will a round unvarnished tale deliver Of my whole course of love. What drugs, what charms, What conjuration and what mighty magic— For such proceeding I am charged withal— I won his daughter. • OTHELLO Noble, honorable gentlemen whom I serve: it’s true that I’ve taken this man’s daughter from him and married her. But that’s my only offense. There’s nothing more. I’m awkward in my speech and I’m not a smooth talker. From the time I was seven years old until nine months ago I’ve been fighting in battles. I don’t know much about the world apart from fighting. So I won’t do myself much good by speaking in my own defense. But if you’ll let me, I’ll tell you the plain story of how we fell in love, and what drugs, charms, spells, and powerful magic—because that’s what I’m being accused of—I used to win his daughter.

Iago’s First Soliloquy Forget Not – Soliloquy is powerful for revealing character – it allows the audience to read the character’s private thoughts • What do we find out here about. . . • • Iago’s motives His understanding of Othello His intentions •

IAGO Thus do I ever make my fool my purse. For I mine own gained knowledge should profane If I would time expend with such a snipe But for my sport and profit. I hate the Moor, And it is thought abroad that ’twixt my sheets He’s done my office. I know not if ’t be true, But I, for mere suspicion in that kind, Will do as if for surety. He holds me well. The better shall my purpose work on him. Cassio’s a proper man. Let me see now, To get his place and to plume up my will In double knavery. How? Let’s see. After some time, to abuse Othello’s ear That he is too familiar with his wife. He hath a person and a smooth dispose To be suspected, framed to make women false. The Moor is of a free and open nature That thinks men honest that but seem to be so, And will as tenderly be led by th' nose As asses are. I have ’t. It is engendered! Hell and night Must bring this monstrous birth to the world’s light. Iago’s Soliloquy

Act Two: Iago At Work Goal: To explore the means through which Iago manipulates, and the role of dramatic irony in presenting his character Starter: A definition – what is dramatic irony? Viewing – Branagh’s film – all of Act Two

Act Two, Scene Three • As we read through this scene, underline any part where Iago is being manipulative • Sneaky, sneaky. . . Find a quotation which shows Iago at work, manipulating the following characters in this scene: Cassio Montano Othello Roderigo The audience For each one, explain HOW he is being manipulative

Focus - Iago’s Three Soliloquys How do these soliloquys: Add to the dramatic Irony and build dramatic tension? Develop our understanding of Iago’s character? Further develop themes? Annotate the test on the google doc …

• And what's he then that says I play the villain? When this advice is free I give and honest, Probal to thinking and indeed the course To win the Moor again? For 'tis most easy The inclining Desdemona to subdue In any honest suit: she's framed as fruitful As the free elements. And then for her To win the Moor--were't to renounce his baptism, All seals and symbols of redeemed sin, His soul is so enfetter'd to her love, That she may make, unmake, do what she list, Even as her appetite shall play the god With his weak function. How am I then a villain To counsel Cassio to this parallel course, Directly to his good? Divinity of hell! When devils will the blackest sins put on, They do suggest at first with heavenly shows, As I do now: for whiles this honest fool Plies Desdemona to repair his fortunes And she for him pleads strongly to the Moor, I'll pour this pestilence into his ear, That she repeals him for her body's lust; And by how much she strives to do him good, She shall undo her credit with the Moor. So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh them all. Re-enter RODERIGO

The Final Word. . . • Two things are to be done: My wife must move for Cassio to her mistress; I'll set her on; Myself the while to draw the Moor apart, And bring him jump when he may Cassio find Soliciting his wife: ay, that's the way Dull not device by coldness and delay.

• IAGO That Cassio loves her, I do well believe it; That she loves him, 'tis apt and of great credit: The Moor, howbeit that I endure him not, Is of a constant, loving, noble nature, And I dare think he'll prove to Desdemona A most dear husband. Now, I do love her too; Not out of absolute lust, though peradventure I stand accountant for as great a sin, But partly led to diet my revenge, For that I do suspect the lusty Moor Hath leap'd into my seat; the thought whereof Doth, like a poisonous mineral, gnaw my inwards; And nothing can or shall content my soul Till I am even'd with him, wife for wife, Or failing so, yet that I put the Moor At least into a jealousy so strong That judgment cannot cure. Which thing to do, If this poor trash of Venice, whom I trash For his quick hunting, stand the putting on, I'll have our Michael Cassio on the hip, Abuse him to the Moor in the rank garb-For I fear Cassio with my night-cap too-Make the Moor thank me, love me and reward me. For making him egregiously an ass And practising upon his peace and quiet Even to madness. 'Tis here, but yet confused: Knavery's plain face is never seen tin used.

IAGO Thus do I ever make my fool my purse. For I mine own gained knowledge should profane If I would time expend with such a snipe But for my sport and profit. I hate the Moor, And it is thought abroad that ’twixt my sheets He’s done my office. I know not if ’t be true, But I, for mere suspicion in that kind, Will do as if for surety. He holds me well. The better shall my purpose work on him. Cassio’s a proper man. Let me see now, To get his place and to plume up my will In double knavery. How? Let’s see. After some time, to abuse Othello’s ear That he is too familiar with his wife. He hath a person and a smooth dispose To be suspected, framed to make women false. The Moor is of a free and open nature That thinks men honest that but seem to be so, And will as tenderly be led by th' nose As asses are. I have ’t. It is engendered! Hell and night Must bring this monstrous birth to the world’s light. Iago’s Soliloquy

Act Three • Goal: To explore what drives Othello to so quickly suspect and condemn Desdemona. • Starter: Copy and fill the blanks: The t_____ of events is very i____ in Act III. Iago ant______ and ______tes the other characters so s____ that they seem to be acting si______ly of their own free will and as Iago’s p_______s. • Viewing – Act Three, scenes I – III.

Being the teacher. . . • As you watch, come up with at least five questions, with answers, that you could use to test someone’s understanding of this scene. • At least ONE must contain a quotation.

Act Three, Scene Two – the ending • Goal: To explore how the central theme of the corrosive effects of jealousy is explored through this scene. • Starter – exploring connotation – what does it actually mean. . . • Beware jealousy my lord, it is the green-eyed monster which doth mock the meat it feeds on. • Reading and annotation – look for evidence of jealousy corroding Othello’s piece of mind.

Explore how Act Three, Scene Three, develops the relationship between Iago and Othello.

Act 3, Scene 4: Trifles light as air. . . ) Goal: To explore the dramatic tension created by Othello and Desdemona talking past each other in this scene Activities: • Reading Act 3, Scene 4. • Annotating scene with emphasis on lines which are misinterpreted or misleading. Questions 1. What does Desdemona say has happened to the handkerchief? WHY? 2. Desdemona tries to distract Othello from thinking about the handkerchief by changing the subject. What is the irony here? 3. What effect does this conversation have on Othello? WHY?

Act 4, Scene 1: The eyes have it. . . Goal: To use drama to explore how Iago manages to provide Othello with “ocular proof”. Activities: • Annotating Act 4, Scene 1, lines 1 -90. • Drama activity: Act 4, Scene 1, lines 91 -161. • In groups of 4 – Othello, Iago, Cassio and Bianca – find FIVE KEY LINES • Produce FIVE TABLEAUX to match these lines, thinking about positioning, actions and gestures to make plausible Othello’s words at line 162, “How shall I murder him, Iago? ” • Reading and annotating lines 162 -273.

IV. ii & IV. iii • To be able to illustrate the extent to which Othello’s reason and judgement has been corroded by jealousy. • Focussing questions – IV. ii 1. 2. 3. 4. 5. How does Othello respond to Emilia’s answers to his interrogation? In what ways does this, ‘violate the principle of listening to both sides of the story before passing judgement. ’ (York Notes Othello, p 51) Look at Othello’s dialogue with Desdemona – what does he do with her words? What does this reveal about him? What evidence can you find of him being obsessed with the idea that he is now a model for all cuckolds? (Look to IV. ii. 52 -54)

IV. iii • Goal: To appreciate how the timing of this scene and the contrast between characters shapes the audience’s sympathy. • Reading and annotation – look for Xs for the SXY paragraphs below • Discussion: Why here, why now? • Annotating with a focus on what the scene reveals about Desdemona’s character, and how the sense of tragedy is mounting. • Contrasting ideals: 3 SXY paragraphs: 1. 2. 3. Explore the ways in which Desdemona is presented Explore the ways in which Emilia contrasts with this Comment on Shakespeare’s purpose in creating this contrast. (Think sympathy, irony, tragedy)

Act Five Scene One • Goal: To appreciate how the ending of Othello conforms to the conventions of tragedy. • Starter: What is tragedy in the sense of the genre? • • • Tragic Flaw? Noble, high ranking protagonist? Deaths of Principle Characters? Role of Chance? Increasing pathos? Influence of higher powers/gods/supernatural figures?

Othello - Themes Starter: If theme is an abstract concept or idea being explored through the interaction of characters in a text – what are some of the key themes of Othello? The corrosive effects of jealousy Appearance Vs Reality Reputation and honour Trust and manipulation Constancy and Loyalty Revenge?

Topic Tracking Via ‘Book Rags’ • • • Topic Tracking: Jealousy 1: The play opens with a discussion of jealousy. Iago is upset because Othello selected Michael Cassio as his lieutenant. He is jealous of Cassio's position both in the military and with Othello's service. This initial jealousy is the catalyst for the play's sequential plot of mixed jealousy and destruction. Jealousy 2: Brabantio is partially jealous of the Moor for stealing his daughter's love. He no longer may be the most important man in Desdemona's life. Furthermore, Roderigo is in love with Desdemona, and is slightly jealous of her relationship with Othello. Jealousy 3: The lovesick Roderigo has trouble with his hidden feelings for Desdemona and is jealous watching the two in love. He follows Iago's directions easily, perhaps partially because of his jealousy of Othello's relationship with Desdemona. Jealousy 4: Iago openly divulges his plan of destruction, which incorporates jealousy as the key factor. He intends to create a strong sense of jealousy in Othello by setting up the mirage of an affair between Desdemona and Cassio. Jealousy 5: Iago plants seeds of jealousy in Othello and then speaks of the 'green-eyed monster' as a force to be feared. Jealousy is personified as a monster. Jealousy 6: When Iago tells Othello of the handkerchief, he has the evidence necessary to prove Desdemona's unfaithfulness. It is now that the jealousy sinks deep into Othello's soul and starts to vividly destroy his psyche. Jealousy 7: Bianca, Cassio's common lover, also becomes sick with jealousy. She sees the planted handkerchief in Cassio's room and believes him to also have taken a lover. Her jealousy exists on a much smaller scale, but illustrates that the sentiment is universal. Jealousy 8: As the play concludes, all causes of jealousy are proved false. Desdemona was never unfaithful, but Othello realizes the truth too late. Jealousy is the source of pain and death for these tragic characters; the greeneyed monster has succeeded in killing them.

• To abuse Othello’s ear That he is too familiar with his wife; Iago – Why, there’s no remedy. ‘tis the curse of service; Preferment goes by letter and affection, Iago- Two things are to be done. My wife must move for Cassio to her mistress ill set on her. Myself the while to draw the moor apart, and bring him jump when he may Cassio find soliciting his wife. “It is silliness to live, when to live is torment. . . ” -Roderigo “By Heaven, I rather would have been his [Othello’s] hangman” -Roderigo “This is some token of a newer friend” -Bianca “This is some minx’s token” -Bianca “She is abus’d, stol’n from me, and corrupted” -Brabantio O beware, my lord, of jealousy: It is the green eyed monster which doth mock The meat it feeds on. -Iago (rather mischievously tbh) That cuckhold lives in bliss Who certain of his fate loves not his wronger; But O what damned minutes tells he o’er Who dotes, yet doubts, suspects, yet fondly loves? - Iago “i have a salt and sorry rheum offends me; Lend me thy handkerchief. ” -Othello I here do give thee that with which, but thou hast allready, with all my heart I would keep from thee -Brabantio