Context
Othello
in
7
Key
Scenes
Text
vocab
Defini7ons
16th
Century
Venice:
The
Venice
in
Othello
is
very
unlike
the
bustling,
greedy
Venice
of
The
Merchant
of
Venice.
In
Venice,
R
(an
unsuccessful
suitor
to
D)
persuaded
by
I
to
overthrow
O.
I
has
been
Admired
for
its
wealth,
its
cosmopolitan
society
and
republican
cons4tu4on,
which
it
fiercely
defended
against
Act
1
Scene
1:
passed
over
for
promo4on
by
O
in
favour
of
C.
I
tells
R
that
he
hates
O
but
will
pretend
1)
desolate
spiritual
ruin;
loss
of
soul
repeated
Papal
assaults
and
aWempts
to
take
control,
this
Venice,
was
“the
idealized
city
of
classical
theory
–
a
to
love
him
while
ploHng
his
downfall.
Resentment
and
place
where
the
turbulence
of
individual
emo4on
is
subjected
to
the
ra4onal
calm
of
authority”.
It
is
a
dynamic
redress
R
and
I
wake
B
with
the
news
that
D
has
eloped
with
O.
When
B
discovers
that
his
daughter
really
has
gone,
he
accepts
R’s
offer
to
take
him
to
O
and
D.
1)
laconic
using
few
words;
concise
port
city,
a
site
of
transi4on
and
exchange,
which
connects
it
to
the
play’s
explora4on
of
bifurcated
characters.
The
Music
of
the
Spheres:
originated
in
the
Ptolemaic
concep6on
of
the
finite,
ordered
universe,
thinkers
1)
sordidness
lacking
in
morals
Duke
and
senators
are
concerned
the
Turks
will
invade
Cyprus.
Duke
thinks
B
and
O
during
the
Renaissance
were
in
agreement
that
the
universe
possessed
a
finely
constructed
and
harmonious
have
arrived
to
discuss
the
military
situa4on
but
B
accuses
O
of
abduc4ng
his
daughter.
natural
order.
This
divine
sense
of
order
is
oAen
transformed,
through
another
concep6on
from
the
era,
“The
Chains
of
Being”,
to
be
running
through
all
“hierarchies“
of
human
existence,
from
the
bru6sh
Act
1
Scene
3:
O
explains
how
he
wooed
D
uninten4onally
recoun4ng
his
past
life.
D
confirms
this
1)
candid
sincere;
straighdorward
version
of
events
and
since
she
is
married
to
O,
her
father
is
told
to
make
the
best
of
it.
concep6on
of
the
lowest
forms
of
nature,
right
up
to
the
divinity
of
God.
Iago
draws
on
these
concepts
in
Talk
of
Love
and
The
Duke
orders
O
to
go
to
Cyprus
immediately.
O
tells
‘honest’
I
to
escort
D
who
conceiving
of
his
plan
for
the
domes6c
disrup6on
of
O
and
D’s
rela6onship.
(II:!
–
196-‐198)
War
in
Venice.
pleads
to
accompany.
Thinking
he
has
lost
D
forever,
R
is
urged
by
I
to
get
money
and
1)
bombast
preten4ous
words
follow
them
to
Cyprus
where
he
will
have
the
opportunity
to
cuckold
O.
Once
alone,
I
reveals
that
he
will
convince
O
that
D
and
C
are
having
an
affair.
Vene7an
–
Turkish
War
–
Othello
is
set
against
the
backdrop
of
the
wars
between
Venice
and
Turkey
that
raged
in
the
laWer
part
of
the
sixteenth
century.
Cyprus,
which
is
the
seHng
for
most
of
the
ac4on,
was
a
1)
guileless
open
with
words;
honest;
Vene4an
outpost
aWacked
by
the
Turks
in
1570
and
conquered
the
following
year.
Cyprus
would
have
been
seen
as
an
embaWled
military
outpost,
a
island
belonging
to
the
story
domain
of
the
passions.
If
Venice
is
a
Turkish
fleet
destroyed
in
a
storm
and
Vene4an
forces
in
Cyprus
celebrate.
Before
O
1)
perdi4on
abandoned
by
friends/hope
place
of
social
order,
Cyprus
is
suspended
between
a
locus
of
“civilisa4on”
and
African
barbarism
re4res
to
his
marriage
bed
with
Desdemona,
he
leaves
C
in
charge
of
the
guard.
I,
Act
2
Scene
3:
aware
that
C
is
alcohol-‐intolerant,
deliberately
plies
him
with
drink.
A
4psy
and
quarrelsome
C,
encouraged
by
R,
gets
into
a
fight
during
which
he
aWacks
Montano
1)
subjuga4ng
bringing
under
control
Gionvanni
Cinzio’s
text
–
The
story
of
Othello
is
also
derived
from
another
source—an
Italian
prose
tale
Cassio
Carouses
in
when
he
tries
to
stop
him
pursuing
R.
wriWen
in
1565
by
Giovanni
Cinzio
The
original
story
contains
the
bare
bones
of
Shakespeare’s
plot:
a
Cyprus
The
fight
is
stopped
by
Othello,
who
has
leY
the
bridal
chamber.
I
pretends
to
defend
C
Moorish
general
is
deceived
by
his
ensign
into
believing
his
wife
is
unfaithful.
To
Cinzio’s
story
Shakespeare
but
O
strips
C
of
his
officership.
I
pretends
to
reassure
the
devastated
C
and
offers
to
2)
forbear
to
refrain
or
abstain
from
added
suppor4ng
characters
such
as
the
rich
young
dupe
Roderigo
and
the
outraged
and
grief-‐stricken
bring
about
reconcilia4on
with
O
through
his
wife,
E,
who
will
ask
D
to
intervene.
Braban4o.
Shakespeare
compressed
the
ac4on
into
the
space
of
a
few
days
and
set
it
against
the
backdrop
of
military
conflict.
And,
most
memorably,
he
turned
the
ensign,
a
minor
villain,
into
the
arch-‐villain
Iago.
2)
circumspec4on
cau4on;
thoughdulness
D
tells
C
that
she
will
speak
to
O
on
his
behalf.
As
they
approach,
I
suggests
to
O
that
C
Also,
D
and
O’s
rela4onship
is
not
disastrous
in
the
source
text.
Also,
Iago
is
in
love
with
Desdemona.
is
guilty.
Despite
D’s
pleas,
O
refuses
to
recall
C.
Once
alone
with
O,
I
con4nues
to
suggest
that
there
is
something
going
on
between
D
and
C.
O
begins
to
have
doubts
2)
facile
easily
done
or
performed
Act
3
Scene
3
about
his
wife’s
fidelity.
D
senses
that
O
is
unwell
so
offers
him
a
handkerchief,
his
first
giY
to
her.
O
pushes
the
Moors
and
racial
iden7ty:
The
word
Moor
now
refers
to
the
Islamic
Arabic
inhabitants
of
North
Africa
who
conquered
Spain
in
the
eighth
century,
but
the
term
was
used
widely
in
the
period
and
was
some4mes
“The
Green
Eyed
handkerchief
away
and
it
drops
to
the
floor,
where
E
finds
it
and
hands
it
to
I,
who
has
2)
beguile
to
influence
by
trickery
applied
to
Africans
from
other
regions.
George
AbboW
in
his
A
Brief
Descrip6on
of
the
Whole
World
of
Monster”
jealousy
been
eager
to
obtain
it.
1599,
made
dis4nc4ons
between
“blackish
Moors”
and
“black
Negroes”;
a
1600
transla4on
of
John
Leo’s
is
aroused
O
returns
and
demands
I
give
him
proof
of
D’s
unfaithfulness.
I
tells
O
that
when
he
shared
a
bedroom
with
C,
he
overheard
him
ploHng
with
D
in
his
sleep.
He
has
also
2)
alacrity
cheerful
willingness
The
History
and
Descrip6on
of
Africa
dis4nguishes
“white
or
tawny
Moors”
of
the
Mediterranean
coast
of
seen
C
wiping
his
beard
with
the
handkerchief.
O
vows
that
he
will
tear
D
apart
and
Africa
from
the
“Negroes
or
black
Moors”
of
the
south.
Jacobean
theatre
oYen
wrote
hos4le,
cri4cal
roles,
associa4ng
black
skin
with
primi4vism,
barbarism
and
lasciviousness.
The
binary
between
black
and
white
makes
I
swear
to
kill
C.
3)
consecrate
to
make
or
declare
sacred
imagery
that
runs
throughout
Othello
is
certainly
a
marker
of
difference
between
Othello
and
his
European
peers.
However,
on
the
Elizabethan
and
Jacobean
stage,
none
are
given
so
major
or
heroic
a
role
as
Othello.
The
most
vividly
stereotypical
black
character
of
the
period
is
Aaron,
the
villain
of
Shakespeare’s
I
stokes
the
flames
of
jealousy
un4l
O
collapses
in
an
unconscious
fit.
When
C
appears,
3)
wanton
without
mo4ve
or
provoca4on
I
tells
him
that
O
has
epilepsy
and
if
roused
will
be
enraged,
so
C
agrees
to
return
later.
early
play
Titus
Andronicus.
The
an4thesis
of
Othello,
Aaron
is
lecherous,
cunning,
and
vicious.
Othello,
by
As
O
revives,
I
urges
him
to
hide
and
overhear
his
conversa4on
with
C.
contrast,
is
a
noble
figure
of
great
authority,
respected
and
admired.
Only
I
voices
an
explicitly
Act
4
Scene
1
I
and
C
laugh
and
joke
about
B,
who
loves
C,
but
I
tricks
O
into
thinking
they
are
3)
usurped
taken
or
used
by
force
stereotypical
view
of
O,
depic4ng
him
from
the
beginning
as
an
animalis4c,
barbarous,
foolish
outsider.
discussing
D.
To
make
maWers
worse,
B
angrily
returns
the
special
handkerchief
to
C,
Othello
receives
who
has
previously
given
it
to
her,
having
discovered
it
in
his
chamber,
where
I
had
“proof”
secretly
planted
it.
3)
sated
sa4sfied;
full
This
charade
convinces
O
of
D’s
guilt
and
he
vows
to
kill
her.
I
suggests
O
should
The
age
of
Explora7on
and
the
impact
of
exchange
on
concep7ons
of
self:
In
his
study
of
the
period,
strangle
her
in
bed
and
he
promises
to
kill
C.
When
D
arrives
with
news
from
V,
she
sociologist
Daniel
Lerner
defines
the
West
as
a
"mobile
society”;
one
characterized
by
a
"mobile
inadvertently
ignites
O’s
fury
by
referring
to
her
regard
for
C,
for
which
he
strikes
her.
3)
surfeited
indulged
in
excess
sensibility
so
adap4ve
to
change
that
rearrangement
of
the
self-system
is
its
dis4nc4ve
mode."
He
established
an
opposi4on
between
tradi4onal
socie4es
based
on
a
"highly
constric4ve
personality",
one
that
resists
change
and
is
incapable
of
grasping
the
situa4on
of
another”
with
the
newly
modern
West,
3)
paragon
models
of
excellence
where
the
mobile
personality
of
Western
society
"is
dis4nguished
by
a
high
capacity
for
iden4fica4on
with
Under
cover
of
darkness,
I
hides,
while
R
strikes
the
approaching
C
with
his
sword
but
fails
to
kill
him.
In
defending
himself,
C
seriously
wounds
R.
I
secretly
stabs
C
in
the
leg.
new
aspects
of
his
environment.”
He
labels
these
terms
as
forms
of
empathy,
defined
as
"the
capacity
to
see
oneself
in
the
other
fellow's
situa4on"
(50).
In
the
West,
this
capacity
fostered
first
by
the
physical
Act
5
Scene
1:
His
cries
are
heard
by
O,
who
thinks
I
has
fulfilled
his
promise
of
killing
C.
Delighted,
O
4)
peevish
annoyed;
irritated
mobility
ini4ated
by
the
Age
of
Explora4on,
then
confirmed
and
broadened
by
mass
media.
The
play
seems
The
deadly
aWack
leaves
to
deal
with
D.
I
reveals
himself
and
pretends
to
respond
to
the
commo4on.
He
to
ques4on
the
associa4on
between
these
facul4es
and
beneficence
through
I.
He,
more
than
any
other
on
Cassio
finds
R
and
kills
him
in
the
darkness.
Then
he
aWends
to
C
and
accuses
B
of
being
4)
impervious
incapable
of
being
persuaded
character,
demonstrates
these
imagina4ve
facul4es,
using
them
exclusively
for
diabolic
outcomes.
behind
the
aWack.
Finally,
he
instructs
E
to
inform
O
and
D.
4)
entreat
ask
earnestly;
beg
A
resolute
O
approaches
the
sleeping
D,
bends
over
the
bed
and
kisses
her.
When
she
Gender
and
“sexual
order”:
The
concept
of
equality
between
the
sexes
would
have
seemed
very
foreign
to
wakes,
he
urges
her
to
pray
because
he
is
about
to
kill
her
D
professes
her
innocence,
most
in
Shakespeare's
day:
Adam
was
created
first,
and
Eve
from
his
body;
she
was
created
specifically
to
give
him
comfort,
and
was
to
be
subordinate
to
him,
to
obey
him
and
to
accept
her
lesser
status.
A
insis4ng
she
doesn’t
love
C
and
never
gave
him
the
handkerchief.
O
tells
her
that
C
is
4)
dilatory
tending
to
waste
4me
dead
but
her
tears
at
this
news
provoke
him
to
smother
her.
E
pleads
to
be
let
in
to
the
dominant
woman
was
unnatural,
a
symptom
of
disorder.
The
medieval
church
had
inculcated
a
view
of
chamber
and
eventually
O
obeys.
E
informs
O
that
R
has
been
killed
by
C,
who
is
s4ll
women
that
was
split
between
the
ideal
of
the
Virgin
Mary,
and
her
fallible
counterpart,
Eve,
or
her
an4-‐
alive.
5)
vehement
strongly
emo4onal
or
vocal
type,
the
Whore
of
Babylon.
Unfortunately,
the
Virgin
Mary
was
one
of
a
kind,
so
there
was
oYen
a
general
Act
5
Scene
2:
D
revives
temporarily
and
E
hears
her
cries.
Her
dying
words
affirm
her
innocence
and
distrust
of
women;
Renaissance
and
Medieval
literature
is
oYen
misogynis4c.
Queen
Elizabeth
cul4vated
she
insists
that
O
is
not
to
blame.
O
and
E
argue
about
D
un4l
she
reveals
he
has
been
the
view
that
she
was
the
ideal;
Joan
of
Arc,
on
the
other
hand
(at
least
in
Shakespeare's
play
Henry
VI,
Smothering
Love
deceived
by
her
husband,
I.
E
calls
for
help
and
when
Montano
and
Gra4ano
arrive
5)
cas4ga4on
severe
verbal
punishment
Part
One),
was
seen
as
a
devil.
and
Exposing
with
I,
she
accuses
O
of
murdering
D
and
I
of
being
a
liar.
Gra4ano
brings
news
from
Venice
that
D’s
father,
B,
has
died
from
grief
as
a
result
of
Villainy
her
marriage
to
O.
E
confirms
that
she
gave
the
handkerchief
to
I.
O
tries
to
kill
I,
who
5)
pernicious
causing
harm
or
ruin
The
Age
of
Explora7on:
absorp7on
and
displacement
–
sociological
reading
of
early
European
colonialism,
fatally
stabs
E
before
escaping.
The
truth
discovered,
O
mourns
his
innocent
D.
When
I
with
its
displacement
and
absorp4on
of
na4ve
cultures,
posits
that
power
is
exercised
by
absorbing
that
is
brought
back
as
a
prisoner,
O
stabs
him
but
fails
to
kill
him.
I
resolutely
refuses
to
say
5)
odious
deserving
hatred
which
is
“other”
by
par4al
replica4on
and
then
displacing
the
original.
This
exercise
of
power
connects
to
anything.
O’s
command
in
Cyprus
is
given
to
C,
so
he
is
ruined
professionally
as
well
as
Othello’s
cultural
role
in
the
play
and
Iago’s
role
as
the
arch-‐mainpulator.
personally.
O
stabs
himself
with
a
sword
he
has
previously
concealed
then
kisses
the
lifeless
D
and
dies.
It
is
leY
to
C
to
decide
I’s
punishment.
5)
traduce
speak
maliciously
and
falsely
Othello
in
7
Key
Scenes
Text
vocab
Defini7ons
16th
Century
Venice:
The
Venice
in
Othello
is
very
unlike
the
bustling,
greedy
Venice
of
The
Merchant
of
Venice.
In
Venice,
R
(an
unsuccessful
suitor
to
D)
persuaded
by
I
to
overthrow
O.
I
has
been
Admired
for
its
wealth,
its
cosmopolitan
society
and
republican
cons4tu4on,
which
it
fiercely
defended
against
Act
1
Scene
1:
passed
over
for
promo4on
by
O
in
favour
of
C.
I
tells
R
that
he
hates
O
but
will
pretend
1)
desolate
spiritual
ruin;
loss
of
soul
repeated
Papal
assaults
and
aWempts
to
take
control,
this
Venice,
was
“the
idealized
city
of
classical
theory
–
a
to
love
him
while
ploHng
his
downfall.
Resentment
and
place
where
the
turbulence
of
individual
emo4on
is
subjected
to
the
ra4onal
calm
of
authority”.
It
is
a
dynamic
redress
R
and
I
wake
B
with
the
news
that
D
has
eloped
with
O.
When
B
discovers
that
his
daughter
really
has
gone,
he
accepts
R’s
offer
to
take
him
to
O
and
D.
1)
laconic
using
few
words;
concise
port
city,
a
site
of
transi4on
and
exchange,
which
connects
it
to
the
play’s
explora4on
of
bifurcated
characters.
The
Music
of
the
Spheres:
originated
in
the
Ptolemaic
concep6on
of
the
finite,
ordered
universe,
thinkers
1)
sordidness
lacking
in
morals
Duke
and
senators
are
concerned
the
Turks
will
invade
Cyprus.
Duke
thinks
B
and
O
during
the
Renaissance
were
in
agreement
that
the
universe
possessed
a
finely
constructed
and
harmonious
have
arrived
to
discuss
the
military
situa4on
but
B
accuses
O
of
abduc4ng
his
daughter.
natural
order.
This
divine
sense
of
order
is
oAen
transformed,
through
another
concep6on
from
the
era,
“The
Chains
of
Being”,
to
be
running
through
all
“hierarchies“
of
human
existence,
from
the
bru6sh
Act
1
Scene
3:
O
explains
how
he
wooed
D
uninten4onally
recoun4ng
his
past
life.
D
confirms
this
1)
candid
sincere;
straighdorward
version
of
events
and
since
she
is
married
to
O,
her
father
is
told
to
make
the
best
of
it.
concep6on
of
the
lowest
forms
of
nature,
right
up
to
the
divinity
of
God.
Iago
draws
on
these
concepts
in
Talk
of
Love
and
The
Duke
orders
O
to
go
to
Cyprus
immediately.
O
tells
‘honest’
I
to
escort
D
who
conceiving
of
his
plan
for
the
domes6c
disrup6on
of
O
and
D’s
rela6onship.
(II:!
–
196-‐198)
War
in
Venice.
pleads
to
accompany.
Thinking
he
has
lost
D
forever,
R
is
urged
by
I
to
get
money
and
1)
bombast
preten4ous
words
follow
them
to
Cyprus
where
he
will
have
the
opportunity
to
cuckold
O.
Once
alone,
I
reveals
that
he
will
convince
O
that
D
and
C
are
having
an
affair.
Vene7an
–
Turkish
War
–
Othello
is
set
against
the
backdrop
of
the
wars
between
Venice
and
Turkey
that
raged
in
the
laWer
part
of
the
sixteenth
century.
Cyprus,
which
is
the
seHng
for
most
of
the
ac4on,
was
a
1)
guileless
open
with
words;
honest;
Vene4an
outpost
aWacked
by
the
Turks
in
1570
and
conquered
the
following
year.
Cyprus
would
have
been
seen
as
an
embaWled
military
outpost,
a
island
belonging
to
the
story
domain
of
the
passions.
If
Venice
is
a
Turkish
fleet
destroyed
in
a
storm
and
Vene4an
forces
in
Cyprus
celebrate.
Before
O
1)
perdi4on
abandoned
by
friends/hope
place
of
social
order,
Cyprus
is
suspended
between
a
locus
of
“civilisa4on”
and
African
barbarism
re4res
to
his
marriage
bed
with
Desdemona,
he
leaves
C
in
charge
of
the
guard.
I,
Act
2
Scene
3:
aware
that
C
is
alcohol-‐intolerant,
deliberately
plies
him
with
drink.
A
4psy
and
quarrelsome
C,
encouraged
by
R,
gets
into
a
fight
during
which
he
aWacks
Montano
1)
subjuga4ng
bringing
under
control
Gionvanni
Cinzio’s
text
–
The
story
of
Othello
is
also
derived
from
another
source—an
Italian
prose
tale
Cassio
Carouses
in
when
he
tries
to
stop
him
pursuing
R.
wriWen
in
1565
by
Giovanni
Cinzio
The
original
story
contains
the
bare
bones
of
Shakespeare’s
plot:
a
Cyprus
The
fight
is
stopped
by
Othello,
who
has
leY
the
bridal
chamber.
I
pretends
to
defend
C
Moorish
general
is
deceived
by
his
ensign
into
believing
his
wife
is
unfaithful.
To
Cinzio’s
story
Shakespeare
but
O
strips
C
of
his
officership.
I
pretends
to
reassure
the
devastated
C
and
offers
to
2)
forbear
to
refrain
or
abstain
from
added
suppor4ng
characters
such
as
the
rich
young
dupe
Roderigo
and
the
outraged
and
grief-‐stricken
bring
about
reconcilia4on
with
O
through
his
wife,
E,
who
will
ask
D
to
intervene.
Braban4o.
Shakespeare
compressed
the
ac4on
into
the
space
of
a
few
days
and
set
it
against
the
backdrop
of
military
conflict.
And,
most
memorably,
he
turned
the
ensign,
a
minor
villain,
into
the
arch-‐villain
Iago.
2)
circumspec4on
cau4on;
thoughdulness
D
tells
C
that
she
will
speak
to
O
on
his
behalf.
As
they
approach,
I
suggests
to
O
that
C
Also,
D
and
O’s
rela4onship
is
not
disastrous
in
the
source
text.
Also,
Iago
is
in
love
with
Desdemona.
is
guilty.
Despite
D’s
pleas,
O
refuses
to
recall
C.
Once
alone
with
O,
I
con4nues
to
suggest
that
there
is
something
going
on
between
D
and
C.
O
begins
to
have
doubts
2)
facile
easily
done
or
performed
Act
3
Scene
3
about
his
wife’s
fidelity.
D
senses
that
O
is
unwell
so
offers
him
a
handkerchief,
his
first
giY
to
her.
O
pushes
the
Moors
and
racial
iden7ty:
The
word
Moor
now
refers
to
the
Islamic
Arabic
inhabitants
of
North
Africa
who
conquered
Spain
in
the
eighth
century,
but
the
term
was
used
widely
in
the
period
and
was
some4mes
“The
Green
Eyed
handkerchief
away
and
it
drops
to
the
floor,
where
E
finds
it
and
hands
it
to
I,
who
has
2)
beguile
to
influence
by
trickery
applied
to
Africans
from
other
regions.
George
AbboW
in
his
A
Brief
Descrip6on
of
the
Whole
World
of
Monster”
jealousy
been
eager
to
obtain
it.
1599,
made
dis4nc4ons
between
“blackish
Moors”
and
“black
Negroes”;
a
1600
transla4on
of
John
Leo’s
is
aroused
O
returns
and
demands
I
give
him
proof
of
D’s
unfaithfulness.
I
tells
O
that
when
he
shared
a
bedroom
with
C,
he
overheard
him
ploHng
with
D
in
his
sleep.
He
has
also
2)
alacrity
cheerful
willingness
The
History
and
Descrip6on
of
Africa
dis4nguishes
“white
or
tawny
Moors”
of
the
Mediterranean
coast
of
seen
C
wiping
his
beard
with
the
handkerchief.
O
vows
that
he
will
tear
D
apart
and
Africa
from
the
“Negroes
or
black
Moors”
of
the
south.
Jacobean
theatre
oYen
wrote
hos4le,
cri4cal
roles,
associa4ng
black
skin
with
primi4vism,
barbarism
and
lasciviousness.
The
binary
between
black
and
white
makes
I
swear
to
kill
C.
3)
consecrate
to
make
or
declare
sacred
imagery
that
runs
throughout
Othello
is
certainly
a
marker
of
difference
between
Othello
and
his
European
peers.
However,
on
the
Elizabethan
and
Jacobean
stage,
none
are
given
so
major
or
heroic
a
role
as
Othello.
The
most
vividly
stereotypical
black
character
of
the
period
is
Aaron,
the
villain
of
Shakespeare’s
I
stokes
the
flames
of
jealousy
un4l
O
collapses
in
an
unconscious
fit.
When
C
appears,
3)
wanton
without
mo4ve
or
provoca4on
I
tells
him
that
O
has
epilepsy
and
if
roused
will
be
enraged,
so
C
agrees
to
return
later.
early
play
Titus
Andronicus.
The
an4thesis
of
Othello,
Aaron
is
lecherous,
cunning,
and
vicious.
Othello,
by
As
O
revives,
I
urges
him
to
hide
and
overhear
his
conversa4on
with
C.
contrast,
is
a
noble
figure
of
great
authority,
respected
and
admired.
Only
I
voices
an
explicitly
Act
4
Scene
1
I
and
C
laugh
and
joke
about
B,
who
loves
C,
but
I
tricks
O
into
thinking
they
are
3)
usurped
taken
or
used
by
force
stereotypical
view
of
O,
depic4ng
him
from
the
beginning
as
an
animalis4c,
barbarous,
foolish
outsider.
discussing
D.
To
make
maWers
worse,
B
angrily
returns
the
special
handkerchief
to
C,
Othello
receives
who
has
previously
given
it
to
her,
having
discovered
it
in
his
chamber,
where
I
had
“proof”
secretly
planted
it.
3)
sated
sa4sfied;
full
This
charade
convinces
O
of
D’s
guilt
and
he
vows
to
kill
her.
I
suggests
O
should
The
age
of
Explora7on
and
the
impact
of
exchange
on
concep7ons
of
self:
In
his
study
of
the
period,
strangle
her
in
bed
and
he
promises
to
kill
C.
When
D
arrives
with
news
from
V,
she
sociologist
Daniel
Lerner
defines
the
West
as
a
"mobile
society”;
one
characterized
by
a
"mobile
inadvertently
ignites
O’s
fury
by
referring
to
her
regard
for
C,
for
which
he
strikes
her.
3)
surfeited
indulged
in
excess
sensibility
so
adap4ve
to
change
that
rearrangement
of
the
self-system
is
its
dis4nc4ve
mode."
He
established
an
opposi4on
between
tradi4onal
socie4es
based
on
a
"highly
constric4ve
personality",
one
that
resists
change
and
is
incapable
of
grasping
the
situa4on
of
another”
with
the
newly
modern
West,
3)
paragon
models
of
excellence
where
the
mobile
personality
of
Western
society
"is
dis4nguished
by
a
high
capacity
for
iden4fica4on
with
Under
cover
of
darkness,
I
hides,
while
R
strikes
the
approaching
C
with
his
sword
but
fails
to
kill
him.
In
defending
himself,
C
seriously
wounds
R.
I
secretly
stabs
C
in
the
leg.
new
aspects
of
his
environment.”
He
labels
these
terms
as
forms
of
empathy,
defined
as
"the
capacity
to
see
oneself
in
the
other
fellow's
situa4on"
(50).
In
the
West,
this
capacity
fostered
first
by
the
physical
Act
5
Scene
1:
His
cries
are
heard
by
O,
who
thinks
I
has
fulfilled
his
promise
of
killing
C.
Delighted,
O
4)
peevish
annoyed;
irritated
mobility
ini4ated
by
the
Age
of
Explora4on,
then
confirmed
and
broadened
by
mass
media.
The
play
seems
The
deadly
aWack
leaves
to
deal
with
D.
I
reveals
himself
and
pretends
to
respond
to
the
commo4on.
He
to
ques4on
the
associa4on
between
these
facul4es
and
beneficence
through
I.
He,
more
than
any
other
on
Cassio
finds
R
and
kills
him
in
the
darkness.
Then
he
aWends
to
C
and
accuses
B
of
being
4)
impervious
incapable
of
being
persuaded
character,
demonstrates
these
imagina4ve
facul4es,
using
them
exclusively
for
diabolic
outcomes.
behind
the
aWack.
Finally,
he
instructs
E
to
inform
O
and
D.
4)
entreat
ask
earnestly;
beg
A
resolute
O
approaches
the
sleeping
D,
bends
over
the
bed
and
kisses
her.
When
she
Gender
and
“sexual
order”:
The
concept
of
equality
between
the
sexes
would
have
seemed
very
foreign
to
wakes,
he
urges
her
to
pray
because
he
is
about
to
kill
her
D
professes
her
innocence,
most
in
Shakespeare's
day:
Adam
was
created
first,
and
Eve
from
his
body;
she
was
created
specifically
to
give
him
comfort,
and
was
to
be
subordinate
to
him,
to
obey
him
and
to
accept
her
lesser
status.
A
insis4ng
she
doesn’t
love
C
and
never
gave
him
the
handkerchief.
O
tells
her
that
C
is
4)
dilatory
tending
to
waste
4me
dead
but
her
tears
at
this
news
provoke
him
to
smother
her.
E
pleads
to
be
let
in
to
the
dominant
woman
was
unnatural,
a
symptom
of
disorder.
The
medieval
church
had
inculcated
a
view
of
chamber
and
eventually
O
obeys.
E
informs
O
that
R
has
been
killed
by
C,
who
is
s4ll
women
that
was
split
between
the
ideal
of
the
Virgin
Mary,
and
her
fallible
counterpart,
Eve,
or
her
an4-‐
alive.
5)
vehement
strongly
emo4onal
or
vocal
type,
the
Whore
of
Babylon.
Unfortunately,
the
Virgin
Mary
was
one
of
a
kind,
so
there
was
oYen
a
general
Act
5
Scene
2:
D
revives
temporarily
and
E
hears
her
cries.
Her
dying
words
affirm
her
innocence
and
distrust
of
women;
Renaissance
and
Medieval
literature
is
oYen
misogynis4c.
Queen
Elizabeth
cul4vated
she
insists
that
O
is
not
to
blame.
O
and
E
argue
about
D
un4l
she
reveals
he
has
been
the
view
that
she
was
the
ideal;
Joan
of
Arc,
on
the
other
hand
(at
least
in
Shakespeare's
play
Henry
VI,
Smothering
Love
deceived
by
her
husband,
I.
E
calls
for
help
and
when
Montano
and
Gra4ano
arrive
5)
cas4ga4on
severe
verbal
punishment
Part
One),
was
seen
as
a
devil.
and
Exposing
with
I,
she
accuses
O
of
murdering
D
and
I
of
being
a
liar.
Gra4ano
brings
news
from
Venice
that
D’s
father,
B,
has
died
from
grief
as
a
result
of
Villainy
her
marriage
to
O.
E
confirms
that
she
gave
the
handkerchief
to
I.
O
tries
to
kill
I,
who
5)
pernicious
causing
harm
or
ruin
The
Age
of
Explora7on:
absorp7on
and
displacement
–
sociological
reading
of
early
European
colonialism,
fatally
stabs
E
before
escaping.
The
truth
discovered,
O
mourns
his
innocent
D.
When
I
with
its
displacement
and
absorp4on
of
na4ve
cultures,
posits
that
power
is
exercised
by
absorbing
that
is
brought
back
as
a
prisoner,
O
stabs
him
but
fails
to
kill
him.
I
resolutely
refuses
to
say
5)
odious
deserving
hatred
which
is
“other”
by
par4al
replica4on
and
then
displacing
the
original.
This
exercise
of
power
connects
to
anything.
O’s
command
in
Cyprus
is
given
to
C,
so
he
is
ruined
professionally
as
well
as
Othello’s
cultural
role
in
the
play
and
Iago’s
role
as
the
arch-‐mainpulator.
personally.
O
stabs
himself
with
a
sword
he
has
previously
concealed
then
kisses
the
lifeless
D
and
dies.
It
is
leY
to
C
to
decide
I’s
punishment.
5)
traduce
speak
maliciously
and
falsely
