Well, my good lord, I’ll do’t.
This scene may be short but it is incredibly vital. Othello trusts Iago with the delivery of information to powerful individuals, one of those being Desdemona's father. This shows a major turning point as Iago now has means of manipulating what Othello wants the politicians to know, being able to puppeteer several people.
I am much bound to you
Interesting to see the use of "bound" tied to conversation. It shows a great deal of devotion and respect.
Alas, she has no speech.
Possibly could Desdemona be referring to Emilia being unable to voice her own opinion on the matter? "Giving of lips" while used as such a mundane action may be interpreted as the offering and then ownership of Emilia's desire from her to Iago. "No speech" may refer to Emilia's inability to speak b/c of her stolen lips or that she has been reduced to her lips and is therefore her mouth is now an object of desire and not intellect.
I can again thy former light restore,3310Should I repent me: but once put out thy light
Light refers to Desdemona's life but can also be a Biblical reference to her knowledge and self-expression. By "putting out her light" Othello is not only taking away her soul, but the very narrative attached to it. He commits the ultimate act of misogyny by silencing her voice forever.
I am no strumpet; but of life as honestAs you that thus abuse me.
It is interesting to see Bianca, a prostitute (a position considered incredibly low in society), to be standing up for herself. Here, a character who would probably be depicted in a negative light shine through with her strength and composure through speech. To hold another women accountable for reducing Bianca to the very ideas society has forced people to associate her with is refreshing.
And she died singing it: that song to-nightWill not go from my mind;
Desdemona witnessed a traumatizing experience regarding female abuse in an intimate relationship, which alludes to her own. Despite the indelible mark it left on her consciousness, she has been able to compose her self and ground her emotions. It depicts strength and perseverance despite the societal belief that women are incompetent beings with their naive and overly-emotional minds.
Lie with her! lie on her! We say lie on her, whenthey belie her. Lie with her! that’s fulsome.
Using lie to refer to both the dishonesty w/i his relationship and the act of cheating itself. By discussing both at the same time depict the significance of sexual acts and how extreme the consequence was for having an affair.
Othello. The handkerchief!
Constant repetition of the handkerchief in contrast to Desdemona's begging Othello to have reasonable conversation, depicts ineffective conversation. Instead of talking to one another, they are talking at one another. The tension is heightened by the close proximity of their bodies as well as the intimacy of their emotional bond and topic of discussion (a symbol of their union & faithfulness).
. 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;
A monster makes jealousy seem like the manifestation of fear. It seems like jealousy is not so much an illness, but a physical presence in one's life. Perhaps it is meant to represent an alternate state of self.
What if I do obey?310How may the duke be therewith satisfied,Whose messengers are here about my side,Upon some present business of the stateTo bring me to him?
Believes that his position, rank, & honor will allow him to override whatever Brabantio thinks & will earn his honor with Desdemona.
Act II, Scene 2A street.[Enter a Herald with a proclamation; People following]Herald. It is Othello’s pleasure, our noble and valiantgeneral, that, upon certain tidings now arrived,importing the mere perdition of the Turkish fleet,every man put himself into triumph; some to dance,some to make bonfires, each man to what sport and1120revels his addiction leads him
Taking time to create a party signifies the importance Othello carries among those he works for and how much they value him.
He that is robb’d, not wanting what is stol’n,Let him not know’t, and he’s not robb’d at all.
If s/o is robbed & doesn't care for what was stolen & doesn't know they were robbed, is not actually robbed. Robbed refers the object being something of value but if it wasn't of value in the first place, said object couldn't have been stolen. Othello feels guilty and disgusted with himself for having believed Desdemona would betray him.
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!
Reputation seems to be a mark of masculinity throughout the play. First, Iago's motives are soley based on reputation - he wishes to increase his rank and is willing to do whatever means necessary in order to achieve that. Othello uses his reputation to prove his worthiness as a leader and fair partner to Desdemona. Here, we see Cassio stripped entirely of his reputation and it causes him to cry out in loss. The use of immortal is especially interesting as it highlights the godlike significance of a man of his previous reputation. This can link back to the first act in which Iago discusses how his actions will create a "monstrous birth into the world's light" depicting a godlike presence. There seems to be no in between in an individual's purpose: either heroic and noble or a dreg of society. Those who live up to or supersede the ideals set out for them in society are glorified and if any less is brought forward, they are cast off as a low-life and bottom feeder.
Also, can be depicted with the women. Either "pure" and submissive or independent and whoreish.
Hell and night760Must bring this monstrous birth to the world’s light.
Hell and night may represent the forboded chaos and trickery that will be performed in order to bring Iago's desires into reality. It is interesting to see how hell and night would bring about a monstrous birth, depicting that Iago's intentions are anything but benevolent. The world's light may represent the understanding and acknowledgement of unknown information. While in Genesis, light was the first component to the world's birth, darkness is providing the birth. It is as if Iago is trying to play the role of God by choosing his own fate and manipulating that of others.
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 the noseAs asses are.I have’t. It is engender’d.
Iago believes he has Othello under his thumb as Othello believes that men are who they claim to be (a statement Iago has personally opposed). Since Othello believes this, Iago finds him to be gullible enough to manipulate.
Our bodies are our gardens, to the whichour wills are gardeners: so that if we will plantnettles, or sow lettuce, set hyssop and weed up680thyme, supply it with one gender of herbs, ordistract it with many, either to have it sterilewith idleness, or manured with industry, why, thepower and corrigible authority of this lies in ourwills.
Gardens are areas that must be provided the proper amount of sunlight, water, and other substances to flourish properly and fully. We are the one's who can change the outcome of our own fates simply by changing who we are as individuals.Iago suggests that fate is not predetermined but is within the individual's own control.
The Garden of Eden was depicted as a place that depicted the nature of individuals. All parts of a garden need tending to or it cannot thrive. What parts of our character we choose to work on, gain, or lose in within our own realm of control.
‘Zounds, sir, you’re robb’d; for shame, put on your gown;Your heart is burst, you have lost half your soul;
The very act of robbing can highlight how women were viewed in society. In lines 94-96, we see Desdemona depicted as an animal - a piece of property. Iago refers to her as an object of her father's possession, making it seem that her actions are meant to be controled. By her having sex, especially with a Moor, can be taken as a slight toward Brabantio's whole family, but specifically toward Brabantio as the head of his household.
Rouse him: make after him, poison his delight,Proclaim him in the streets; incense her kinsmen,And, though he in a fertile climate dwell,Plague him with flies: though that his joy be joy,
The ways in which Iago describes telling Brabantio of this hurtful news are slow, painful, and build in intensity as time goes on (e.g. poison, plague). Iago's goal is to gradually have Brabantio become consumed with negativity and hatred for what Othello is doing. Maybe drawing out "suffering" is part of Iago's tactics to get what he wants.
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.
If Iago makes known his intentions, he will suffer judgement from others, therefore he acts in a way that is not true to his desires. Could display a manipulative and calculating nature, the reasons for a thickly veiled vulnerability and bruised ego, or both.
We, therefore, the Representatives of the united States of America,
Assertive tone depicts confidence & strength by claiming themselves to be an entity dependent of GB. Depicting themselves as a country b/f being officially named a country is the greatest act of defiance w/i this text.
"I take on a new name Mother. I am no longer Child but Person, for you were never truly my Mother."
All human victories, all human progress, stand upon the inner force.
It is an individual's motivation and purpose for learning and choosing to study a certain field that affects the progress of that field.
Thus a young student may become a great doctor if he is spurred to his study by an interest which makes medicine his real vocation. But if he works in the hope of an inheritance, or of making a desirable marriage, or if indeed he is inspired by any material advantage, he will never become a true master or a great doctor, and the world will never make one step forward because of his work.
Essentially, if one's intention of pursuing a certain career is to instead make a high-paying income, because he or she is passionate about it, he or she is not advancing the field. It is here that, the student treats the learning process and ultimately the career in a mechanical way. Mechanical thinking instead of passionate thinking does not foster productive learning and therefore is not productive for the field as a whole.
There does exist, however, an external prize for man; when, for example, the orator sees the faces of his listeners change with the emotions he has awakened, he experiences something so great that it can only be likened to the intense joy with which one discovers that he is loved. Our joy is to touch, and conquer souls, and this is the one prize which can bring us a true compensation.
Links to Cronon's ideas that understanding the ins and outs of learning, purely for learning's sake, empower's the individual and, in turn, empowers the community as a whole. People learn through connection and communication. If ideas are not communicated in a way that fosters understanding several perspectives, an idea will never be understood for all it encompasses.
The scientist is not the clever manipulator of instruments, he is the worshipper of nature and he bears the external symbols of his passion as does the follower of some religious order. To this body of real scientists belong those who, forgetting, like the Trappists of the Middle Ages, the world about them, live only in the laboratory, careless often in matters of food and dress because they no longer think of themselves; those who, through years of unwearied use of the microscope, become blind; those who in their scientific ardour inoculate themselves with tuberculosis germs; those who handle the excrement of cholera patients in their eagerness to learn the vehicle through which the diseases are transmitted; and those who, knowing that a certain chemical preparation may be an explosive, still persist in testing their theories at the risk of their lives. This[Pg 9] is the spirit of the men of science, to whom nature freely reveals her secrets, crowning their labours with the glory of discovery.
Montessori was born twenty years following the Romantic era, yet some of her ideas about education align with the themes of this time period. She preaches a reverence of the natural world and heightened passion. She does preach individual betterment but only in a certain light. While Montessori claims her ideas on education will cultivate a better scholarly mindset, she also claims that the passion and drive focuses on progressing the field of science. Individuals must become so wrapped up in their passions for discovering the truth and intricacies of nature that they "annihilate the thought of [themselves]" (9). It is almost as if they are becoming subservient to their passions of furthering something greater than just themselves.
Now one who has learned to spell mechanically all the words in his spelling-book, would be able to read in the same mechanical way the words in one of Shakespeare’s plays, provided the print were sufficiently clear. He who is initiated solely into the making of the bare experiment, is like one who spells out the literal sense of the words in the spelling-book; it is on such a level that we leave the teachers if we limit their preparation to technique alone.
Montessori asserts that providing teachers with passion and having teach concepts in a non-strict fashion, fosters a more well-rounded sense of learning. Students are better able to understand material if there is an emotional attachment or drive associated with it. Similarly, Postman asserts that there is not just one definition of a word or concept, and instead by teaching objects and ideas through the use of metaphor, opens doors to understanding concepts in a different, and sometimes more expansive, perspective. Both claims preach a richer understanding of language in order to foster original ideas and passion in the students and teachers.