He only manages three 2. Why, this is not a boon; 'Tis as I should entreat you wear your gloves, Or feed on nourishing dishes, or keep you warm, Or sue to you to do a peculiar profit To your own person: nay, when I have a suit Wherein I mean to touch your love indeed, It shall be full of poise and difficult weight And fearful to be granted. Iago refers to Othello not by his name but as 'the Moor', calling him 'the devil' 2. Othello is totally overcome with rage and love and is deciding to kill Desdemona. Now, how dost thou look now? This could be Iago's way of justifying his actions against cassio. If the balance of our lives had not one scale of reason to poise another of sensuality, the blood and baseness of our natures would conduct us to most preposterous conclusions: but we have reason to cool our raging motions, our carnal stings, our unbitted lusts, whereof I take this that you call love to be a sect or scion.
In this soliloquy or passage Act 5, Scene 2, line 1-24 , Othello is about to commit the murder of his beautiful wife, Desdemona on false prefixes. But sir, you be ruled by me' 2. Shall I not then be stifled in the vault, To whose foul mouth no healthsome air breathes in, And there die strangled ere my Romeo comes? More of this matter cannot I report: But men are men; the best sometimes forget: Though Cassio did some little wrong to him, As men in rage strike those that wish them best, Yet surely Cassio, I believe, received From him that fled some strange indignity, Which patience could not pass. No; to be once in doubt Is once to be resolved: exchange me for a goat, When I shall turn the business of my soul To such exsufflicate and blown surmises, Matching thy inference. Key quotation Aside O, you are well tuned now! Additional symbols are used in the soliloquy which exemplify this as well.
Sir, this gentleman Steps in to Cassio, and entreats his pause: Myself the crying fellow did pursue, Lest by his clamour—as it so fell out— The town might fall in fright: he, swift of foot, Outran my purpose; and I return'd the rather For that I heard the clink and fall of swords, And Cassio high in oath; which till to-night I ne'er might say before. It is so too: and have not we affections, Desires for sport, and frailty, as men have? Probal, a contraction of probable. I pray you, in your letters, When you shall these unlucky deeds relate, Speak of me as I am; nothing extenuate, Nor set down aught in malice: then must you speak Of one that loved not wisely but too well; Of one not easily jealous, but being wrought Perplex'd in the extreme; of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe; of one whose subdued eyes, Albeit unused to the melting mood, Drop tears as fast as the Arabian trees Their medicinal gum. He views his pangs of conscience not for what they are but as temptations away from the 'right' course of action. Mortise, a hole in a piece of wood to receive the tenon in carpentry. As usual, the soliloquy of Othello is a poetic or a meditative element which exposes the deeper private side of the character's minds.
Yet again your fingers to your lips? My advocation is not now in tune; My lord is not my lord; nor should I know him, Were he in favour as in humour alter'd. As it were, a pure extract or quintessence. Right from the beginning Shakespeare is trying to hide the importance of Iago. If thou be'st valiant,-- as, they say, base men being in love have then a nobility in their natures more than is native to them--list me. The motive for Iago's devious plan is initially made clear in the first of Iago's three major soliloquies, in which he proclaims Othello has had an affair with his wife, Emila. It also provides a closing irony to the passage — nothing will be 'well' on Cyprus any more.
This shows that Othello needs Desdemona and therefore that he loves her. I'll not be far from you: do you find some occasion to anger Cassio, either by speaking too loud, or tainting his discipline; or from what other course you please, which the time shall more favourably minister. Let's take a look at these lines: 'Put out the light, and then put out the light: Thou cunning'st pattern of excelling nature, I know not where is that Promethean heat That can thy light relume. If after every tempest come such calms, May the winds blow till they have waken'd death! The circular structure of the speech reinforces his enclosed grip of Roderigo. If I do prove her haggard, Though that her jesses were my dear heartstrings, I'ld whistle her off and let her down the wind, To pray at fortune. The repetition shows that Othello is trying to force himself to kill Desdemona because he really does not want.
Besides, the knave is handsome, young, and hath all those requisites in him that folly and green minds look after: a pestilent complete knave; and the woman hath found him already. And thou, by that small hurt, hast cashier'd Cassio: Though other things grow fair against the sun, 375 Yet fruits that blossom first will first be ripe: Content thyself awhile. I had rather be a toad, And live upon the vapour of a dungeon, Than keep a corner in the thing I love For others' uses. Shakespeare's Othello - Act 2 scene 1 Iago hatches his plot directory search Othello Please see the bottom of this page for full explanatory notes. For 'tis most easy The inclining Desdemona to subdue In any honest suit: she's framed as fruitful 340 As the free elements.
My story being done, She gave me for my pains a world of sighs: She swore, in faith, twas strange, 'twas passing strange, 'Twas pitiful, 'twas wondrous pitiful: She wish'd she had not heard it, yet she wish'd That heaven had made her such a man: she thank'd me, And bade me, if I had a friend that loved her, I should but teach him how to tell my story. The , in particular the idea that they were sexually immoral compounds how credible Roderigo, and Othello, find Iago's portrayal of Desdemona. Shakespeare makes us see that Iago is only pretending to serve Othello for his own ends and following this on, Othello completely trusts Iago and is able to speak in confidence with him. Iago's misogyny has been plain earlier in the scene and builds here: young women are portrayed as foolish, having an innately sexualised 'nature' 2. Now, my sick fool Roderigo, Whom love hath turn'd almost the wrong side out, To Desdemona hath to-night caroused Potations pottle-deep; and he's to watch: Three lads of Cyprus, noble swelling spirits, 55 That hold their honours in a wary distance, The very elements of this warlike isle, Have I to-night fluster'd with flowing cups, And they watch too. Iago closes just as he began, with a command to follow instructions: 'watch you tonight; for the command' 2. Let me go with him.
Was this fair paper, this most goodly book, Made to write 'whore' upon? I have to keep my reason in mind. 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. Not only is Iago trying to harm Othello, but he is also trying to harm Cassio so that he could have an opportunity to harm Othello. It is through his eloquence that he fools Othello. More importantly, Iago gives Othello the motive to murder his own innocent wife Desdemona, satisfying Iago's immense appetite for revenge.
Do not so press me. Fourth Gentleman The town is empty; on the brow o' the sea Stand ranks of people, and they cry 'A sail! Repeated imperatives begin the speech: 'Come hither' 2. If I extinguish the candle, I can light it again if I regret it. The fact that is wavering between believing Iago and trusting his wife is reflected in the imagery Shakespeare uses in the. This only is the witchcraft I have used: Here comes the lady; let her witness it.