49 Matching Annotations
  1. Feb 2020
    1. Desdemona. Alas! he is betray’d and I undone.Othello. Out, strumpet! weep’st thou for him to my face?3395Desdemona. O, banish me, my lord, but kill me not!Othello. Down, strumpet!Desdemona. Kill me to-morrow: let me live to-night!Othello. Nay, if you strive—Desdemona. But half an hour!3400Othello. Being done, there is no pause.Desdemona. But while I say one prayer!Othello. It is too late.[He stifles her]

      I think this concept of time running out is beautifully done. I didn't really notice it till we discussed it in class, but now I can't read the scene without it. I think its amazing and symbolic in the way we deal with death. We try to bargain and escape (much as Desdemona does) but when the time come its already to late even if it's abrupt. I feel like since we read plays we do miss out on the importance of timing overall to the story being told anyway.

    2. [Aside]This is the nightThat either makes me or fordoes me quite.[Exeunt]

      I always found this scene as Iago's own personal turning point. He is very calculated and behind the scenes of the manipulation. Even though this is no exception to this pattern, I always felt that as Iago started to feel more confident in succeeding, he became more upfront and bold with what he does. I also feel like this is foreshadowing.

    3. The poor soul sat sighing by a sycamore tree,Sing all a green willow:Her hand on her bosom, her head on her knee,Sing willow, willow, willow:3065The fresh streams ran by her, and murmur’d her moans;Sing willow, willow, willow;Her salt tears fell from her, and soften’d the stones;Lay by these:—[Singing]3070

      I always found this song of hers so interesting. Is it an actual song? I found it random since even though they do use music as metaphors and such, nobody has actually done anything musically till now? This also mad me wonder even more about her mother.

    4. I will be hang’d, if some eternal villain,Some busy and insinuating rogue,Some cogging, cozening slave, to get some office,Have not devised this slander; I’ll be hang’d else.2900Iago. Fie, there is no such man; it is impossible.Desdemona. If any such there be, heaven pardon him!Emilia. A halter pardon him! and hell gnaw his bones!Why should he call her whore? who keeps her company?What place? what time? what form? what likelihood?

      I appreciate how angered Emilia gets but I find it so ironic as she had not only part of it but it was her husband.

    5. Do it not with poison, strangle her in her bed, eventhe bed she hath contaminated.

      Iago is the one who wanted her strangled while Othello wanted her poisoned. I honestly don't know which is worse but I feel like it kind of show there insights and relation to the murder that is going to take place. Iago's way seems to be way more "passionate" and personal as opposed to Othello who's approach is cold and seemingly calculated for the long run.

    6. I marry her! what? a customer! Prithee, bear somecharity to my wit: do not think it so unwholesome.Ha, ha, ha!

      I always found Cassio's approach to woman intriguing since its not as clear cut as we initially thought. In the beginning you thing he'd show them respect and hold them in high regard, but when it's not Desdemona it's very reminiscent of his other male peers.

    7. [Speaking lower]

      Did he do this in a whisper? Did know body see him talk but realized he was to low to be audible to everyone? Maybe it's just a small detail i would probably overthink but nonetheless this is weird. Also, I feel like this action is Iago showing how more comfortable he is in his plan as this was rather bold of him. He's often doing his dirty work behind the scenes but this was in front of others.

    8.  Lie with her! lie on her! We say lie on her, whenthey belie her. Lie with her! that’s fulsome.—Handkerchief—confessions—handkerchief!—Toconfess, and be hanged for his labour;—first, to be2455hanged, and then to confess.—I tremble at it.Nature would not invest herself in such shadowingpassion without some instruction. It is not wordsthat shake me thus. Pish! Noses, ears, and lips.—Is’t possible?—Confess—handkerchief!—O devil!—2460[Falls in a trance]

      I always personally loved this part of the scene since you can see Othello spiraling even more in his head and losing his sanity to the point he falls into a trance. I think it's rather powerful.

    9. Pardon me, Bianca:2375I have this while with leaden thoughts been press’d:But I shall, in a more continuate time,Strike off this score of absence. Sweet Bianca,[Giving her DESDEMONA’s handkerchief]

      Alright, so this always bugged me because the handkerchief is really important for relationships in the play but outside. It's often considered a symbol that is endearing and intimate. But Cassio giving this to Bianca annoys me because he doesn't respect Bianca later down the line so why give her it in the first place (especially if he knew it wasn't his).

    10. Desdemona. It is not lost; but what an if it were?

      I always found it intriguing that with Desdemona being such a kind and honest character that he would lie about something so small at like the worst time possible. Did she do this out of Othello's fear? What was the reason for her change of character in this incident?

    11.  O, beware, my lord, of jealousy;It is the green-eyed monster which doth mockThe meat it feeds on; that cuckold lives in blissWho, certain of his fate, loves not his wronger

      I feel like this such a powerful metaphor for jealousy but also as it is ironic coming from Iago since he himself seems to be fueled by jealousy (or maybe envy is better way to describe it).

    12.  I humbly thank you for’t.

      I understand that Cassio may not want to be seen by Othello out of embarrassment, but I don't understand why he doesn't feel like it would go just as fine if not better with Othello present. Also, I kind of find it as a red flag to Iago true intentions as he says he will "draw the moor" instead of something in the lines of "I'll keep him company for you" or less malicious in a way.

    13. Cassio. Reputation, reputation, reputation! O, I have lostmy reputation! I have lost the immortal part ofmyself, and what remains is bestial. My reputation,Iago, my reputation!

      I feel that reputation is a huge part of their identity and masculinity in this play.

    14. Iago. Not this hour, lieutenant; ’tis not yet ten o’ theclock. Our general cast us thus early for the loveof his Desdemona; who let us not therefore blame:he hath not yet made wanton the night with her; and1150she is sport for Jove.Cassio. She’s a most exquisite lady.Iago. And, I’ll warrant her, fun of game.Cassio. Indeed, she’s a most fresh and delicate creature.Iago. What an eye she has! methinks it sounds a parley of1155provocation.Cassio. An inviting eye; and yet methinks right modest.Iago. And when she speaks, is it not an alarum to love?Cassio. She is indeed perfection.

      I really love this interaction between Iago and Cassio because I partly feel like this shows the two opposing sides of what the men in this play feels including Othello. Cassio is the more respective and sweet p.o.v. that hold woman in respect and Iago is the opposite. The fact that they are also both heavily involved with Othello and considered his right hand men, leaves me to assume that this is symbolism for Othello's two different point of views himself.

    15. Villain, be sure thou prove my love a whore,Be sure of it; give me the ocular proof:Or by the worth of man’s eternal soul,Thou hadst been better have been born a dogThan answer my waked wrath!

      It's quotes like this at the turning point that makes me wonder about Othello's actual integrity or personality in the first place. I feel like someone who wasn't so insecure and toxic when it came to partners wouldn't have acted this way at all. Maybe he's showing his more true colors?

    16. If it be not for some purpose of import,Give’t me again: poor lady, she’ll run madWhen she shall lack it.

      She knew full on well that he wasn't going to give it back and probably didn't have the best intentions from the start.

    17. Emilia. I am glad I have found this napkin:This was her first remembrance from the Moor:My wayward husband hath a hundred timesWoo’d me to steal it; but she so loves the token,1960For he conjured her she should ever keep it,That she reserves it evermore about herTo kiss and talk to. I’ll have the work ta’en out,And give’t Iago: what he will do with itHeaven knows, not I;1965I nothing but to please his fantasy.

      I've always been so confused on Emilia's decision here. She acknowledges the fact that her husband (who is up to know good) wanted her to steal it from him, but then still practically hands it over. Why didn't she hide it and give it to her friend privately? Did she still feel obligated because of the pressure of being fully devoted to one's husband? I know technically he snatched it from her, put she was taunting him when she could've easily gone her way with out Iago even knowing.

    18. Why, your lieutenant, Cassio. Good my lord,If I have any grace or power to move you,His present reconciliation take;For if he be not one that truly loves you,That errs in ignorance and not in cunning,1680I have no judgment in an honest face:I prithee, call him back.

      Cassio should've been a man about it and talk to Othello himself or at least talk to both Othello and Desdemona at the same time.

    19. I’ll send her to you presently;And I’ll devise a mean to draw the MoorOut of the way, that your converse and business1590May be more free.

      Why does anybody trust anybody or anything with Iago! This is so freaking frustrating.

    20. Touch me not so near:I had rather have this tongue cut from my mouth1370Than it should do offence to Michael Cassio;

      Why does Iago remind me of younger siblings that are so bad but get away with murder if they're just like "it wasn't me"

    21. Hold, ho! Lieutenant,—sir—Montano,—gentlemen,—Have you forgot all sense of place and duty?Hold! the general speaks to you; hold, hold, for shame!

      He deserves an Oscar

    22. Ay, but, by your leave, not before me; thelieutenant is to be saved before the ancient. Let’s1240have no more of this; let’s to our affairs.—Forgiveus our sins!—Gentlemen, let’s look to our business.Do not think, gentlemen. I am drunk: this is myancient; this is my right hand, and this is my left:I am not drunk now; I can stand well enough, and1245speak well enough.

      My gut is still telling me he's wasted

    23. Now, my sick fool Roderigo,Whom love hath turn’d almost the wrong side out,

      I find it really funny how quick he is to throw his friend under the bus as if he doesn't have his own dirty laundry. I mean I doubt Iago was ever a good person but I think you could say the same thing for him with his hate for Cassio and Othello.

    24. Not this hour, lieutenant; ’tis not yet ten o’ theclock. Our general cast us thus early for the loveof his Desdemona; who let us not therefore blame:he hath not yet made wanton the night with her; and1150she is sport for Jove.

      My god, all of them feel like such creeps

    25. O most lame and impotent conclusion! Do not learnof him, Emilia, though he be thy husband. How say950you, Cassio? is he not a most profane and liberalcounsellor?

      I love how Desdemona isn't only kindhearted but also ready to call b.s when she hears it

    26. Sir, would she give you so much of her lipsAs of her tongue she oft bestows on me,You’ll have enough.

      Not gonna lie I think Iago and his wife's dynamic is hilarious for the comedic relief (this one was a rather clever one in my opinion).

    27. As having sense of beauty, do omitTheir mortal natures, letting go safely byThe divine Desdemona.

      Desdemona is always seen as divine, or heaven sent. Is that only because of her beauty? because I feel like it is.

    28. If virtue no delighted beauty lack,Your son-in-law is far more fair than black.

      Why do I find this compliment to be such a contradiction to what it's trying to say in a way? He holds Othello in a high regard so he doesn't care about race but still felt compelled to say that he is more "fair than black" implies in my head he still consider black or sees it as a negative thing.

    29. I am glad at soul I have no other child:545For thy escape would teach me tyranny,To hang clogs on them. I have done, my lord.

      The fact that this was his reaction doesn't shock me but still disgusts me. He doesn't deserve a daughter like Desdemona

    30. My noble father,I do perceive here a divided duty:To you I am bound for life and education;530My life and education both do learn meHow to respect you; you are the lord of duty;I am hitherto your daughter: but here’s my husband,And so much duty as my mother show’dTo you, preferring you before her father,535So much I challenge that I may professDue to the Moor my lord.

      This quote has me so happy and makes me respect Desdemona so much because she was strong enough to stand up for herself and her love but also kind enough to reassure her father about her devoutness and love she has for him since they are bounded by blood and in my eyes this is such a power move. I know what it feels like to be divided between what you want and the family you feel obligated to please. I can only imagine what she must be going through.

    31. I won his daughter.

      I personally love this whole speech Othello gives, but I still have a pet peeve of the fact that Desdemona is considered or treated as a prize or property one way or another.

    32. Damn’d as thou art, thou hast enchanted her;For I’ll refer me to all things of sense,If she in chains of magic were not bound,285Whether a maid so tender, fair and happy,So opposite to marriage that she shunnedThe wealthy curled darlings of our nation,Would ever have, to incur a general mock,

      I wonder if he was referencing Voodoo instead of witchcraft, since voodoo is more correlated with blacks

    33. Let him do his spite:My services which I have done the signioryShall out-tongue his complaints. ‘Tis yet to know,—Which, when I know that boasting is an honour,I shall promulgate—I fetch my life and being225From men of royal siege, and my demerits

      This is honestly one of my favorite quotes in the play cause it really gives me a feeling of the integrity and respect Othello has from not only others but for himself.

    34. ‘Zounds, sir, you are one of those that will notserve God, if the devil bid you. Because we come to120do you service and you think we are ruffians, you’llhave your daughter covered with a Barbary horse;you’ll have your nephews neigh to you; you’ll havecoursers for cousins and gennets for germans.

      Here we go with the dehumanization of Othello and the almost literal at times black and white parallels between Othello and Desdemona.

    35. My name is Roderigo.Brabantio. The worser welcome:I have charged thee not to haunt about my doors:In honest plainness thou hast heard me say105My daughter is not for thee; and now, in madness,Being full of supper and distempering draughts,Upon malicious bravery, dost thou comeTo start my quiet.

      This is so pathetic. Roderigo is such a creep even Brabatio is like "oh god not this one again." It's a shame that as soon as his little ego and reputation is poked at the slightest he just throws his history with Roderigo out the window.

    36. Call up her father,70Rouse him: make after him, poison his delight,Proclaim him in the streets; incense her kinsmen,And, though he in a fertile climate dwell,

      They are such petty individuals. I get that they wanted to pick on the kings pride and or reputation to get them on their side and make matters worse, but the just imagining someone actually doing this makes me cringe.

    37. For when my outward action doth demonstrateThe native act and figure of my heartIn compliment extern, ’tis not long after65But I will wear my heart upon my sleeveFor daws to peck at: I am not what I am.

      Even though I can't stand Iago, it's points like this in the story where I can't help put give him credit for where it's do. This is one of the major yet subliminal quotes that show how well he is at playing the victim when he needs to.

    38. Why, there’s no remedy; ’tis the curse of service, [35]Preferment goes by letter and affection,And not by old gradation, where each secondStood heir to the first. Now, sir, be judge yourself,Whether I in any just term am affinedTo love the Moor.40Roderigo. I would not follow him then.

      It pains me to say this is one of the very few times I'd agree with a creep like Roderigo, since in my opinion if you don't like someone then don't be bothered with them. But for Iago there's a gain for his greedy desires so here he is.