Free Academic Vocabulary Flashcards about LD ELA OTHELLO TEST
Everything you ever wanted to know about Brabantio in Othello, written by masters of this Plans · Test Prep · Literature Guides · Learning Guides · Finance · College Desdemona's father, Brabantio, is a rich and important Venetian politician. his daughter's marriage from his grave in The Merchant of Venice), Brabantio. In the play Othello, by William Shakespeare, Brabantio and Desdemona have a father-daughter relationship, even though it is not seen a lot in this play, It is a. Brabantio was Desdemona's father. Iago and Roderigo awaken him to tell him of Desdemona's marriage to Othello. 3. Why did Iago leave.
What is Iago's reply when Othello demanded proof of his wife's disloyalty? He says he saw Cassio with Desdemona's handkerchief What does Othello decide and command at the end of Scene 3? To get proof that Cassio has the handkerchief How likely is it that Othello will keep an open mind until he has seen real proof? How much have Iago's suggestions about Desdemona's "nature" worked on Othello? Unlikely because he still believes Iago without proof Is there any chance of his changing his mind or of Desdemona's convincing him of her innocence after this speech?
There is no chance of Othello changing his mind because even Desdemona is trying to explain herself Othello still doesn't listen. What is Emilia's relationship with Iago?
Emilia is Iago's wife that he uses. Emilia is Desdemona's friend and servant What, according to Othello, is the history of the handkerchief 3.
Is Othello telling the truth here? What else might he be doing? It was made by an Egyptian magician and his mom got it. Then his mom gave it tom him as his last gift from her. He might be trying to make Desdemona feel bad. What does the argument in 3. Shows that Desdemona is innocent and Othello is not being himself. What is Emilia's view of men 3. How justified is she? She has a cynical view of men.
It is compound when she realizes that he used her to get the handkerchief. She feels tht men do not truly love women they only use them and toss them away when they are no longer useful. What is her emotional response? How does Cassio get the handkerchief? She mistakenly assumes he got it from a new girlfriend. He assures her that he found it in his room, and only wants to have one like it for her.
He then asks her to leave because he is waiting to talk with Othello.
Who had the handkerchief at the end of Act 3? What does Iago intend to do with it? Plans to plant it with Cassio. What does Cassio ask Bianca to do? Gives her the handkerchief, asks her to hold on to it for him. After Iago lied and told Othello that Cassio confessed going to bed with Desdemona, what advice does he give the overwhelmed Othello? How does Iago respond? He has an epileptic seizure and Cassio says he has been having them lately How does Iago trick Othello into thinking Cassio is gloating and bragging about his affair with Desdemona?
He talks about Bianca wanting to marry him and he laughed because he felt awkward. Why is Bianca angry with Cassio? She thinks that he is cheating on her How does Blanca's return with the handkerchief help Iago? Because he is angry that she "lost" her handkerchief Who is Ludovico, and why has he come to Cyprus?
He has arrived from Venice to deliver a message to Othello for his return to Venice. What is Lodovico's reaction to Othello's behavior towards Desdemona? He is surprised because he had respected Othello as a virtuous and noble man. How does Iago later explain Othello's behavior to Lodovico?
Why does Othello ask Emilia about Cassio's affair with Desdemona, and what is her reply? He asks Emilia, who is closest to Desdemona, to find out is she knows anything. How correctly does Othello identify his weakness in Scene 2? Othello believes he was a fool to believe Desdemona loved him and was faithful to him. That I did love the Moor to live with him, My downright violence and storm of fortunes May trumpet to the world: I saw Othello's visage in his mind, And to his honour and his valiant parts Did I my soul and fortunes consecrate.
While Othello appears confident of her love for him in Act 1 deep down he is insecure in the relationship. He can't quite believe how happy he is that she loves him: If it were now to die, 'Twere now to be most happy; for I fear, My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate. When Iago starts making vague suggestions of Cassio's untrustworthy nature Othello's confidence is knocked sideways very rapidly: This would point to him being more worried about his hurt pride than about the fact that she might not love him.
Desdemona, unlike her husband, is not insecure, even when called a 'whore' she remains loyal to him and resolves to love him despite his misunderstanding of her; she is resolute and tenacious in the face of adversity.
Her love for Othello is unwaning: My love doth so approve him That even his stubbornness, his checks, his frowns - Prithee unpin me - have grace and favour in them.
She bids Othello to do the sensible thing and ask Cassio how he obtained the handkerchief but this is too rational for Othello who has already ordered his murder. Even as Desdemona faces her death, she asks Emilia to commend her to her 'kind lord'. She remains in love with him knowing that he is responsible for her death. They allege he is nothing but a man, though he happens to be a black man. His color, they say, is an entirely indifferent matter in the play, and can be all but ignored in the interpretation.
Brabantio and Desdemona - The Patriarchy in Othello
On this assumption, however, the many references to his color and race throughout the play cannot well be explained. This view takes for granted that the dramatist heaps up idle words having no significance, and refuses to believe that there was a meaning in all he wrote.
It is not necessary to hold, as Professor Bradley would have us believe, that the dramatist must be credited with clear doctrines of Kulturgeschichte if we are to maintain that he made the problem of Othello at least in part a problem of race. Feelings of racial differences did not have to wait for the Germans of later times to write histories of culture.
Relationships in Othello
In Shakespeare's day the discovery of new lands and new peoples must have impressed all thoughtful Europeans with the conception of their own superiority in all the arts and character of civilized life.
And the play makes Othello quite as conscious as any one else of his diversity of race, though it is to other causes that he assigns his want of grace and culture. When charged before the Senate with the abduction of Desdemona, Othello's defence consists of a frank and free admission that he had taken Brabantio's daughter, and an apologetic account of his "whole course of love.
In the course of his apology, his "round unvarnished tale" becomes eloquent with a barbaric sincerity and splendor that almost enlists the sympathy of the Senate. The story of "the battle, sieges, fortune" he had passed is almost as potent with the senators as it had been with Desdemona, who, he says, "lov'd me for the dangers I had passed, And I lov'd her, that she did pity them.
He further says he is ready to abide by the decision of Desdemona, and advises the senate to call her to speak for herself. He considers the marriage to be a matter for themselves alone, and implies that the lady has a right to choose her husband without her father's consent. There are numerous Shakespearean plays which seem to bear out the idea that the dramatist thought it to be the woman's right to choose her own husband, without meeting her father's wishes in the matter.
But there are many differences, and these must be given consideration. Shakespeare undoubtedly approves such choice when it means a larger and fuller life.
Juliet disobeyed a tyrannical and hateful father to find a larger life and a true spiritual union with Romeo. In the same spirit Imogen refused the coarse and villainous Cloten, to join hands and hearts with the virtuous Posthumus. The lovely Jewess, Jessica, ran away from the miserly Shylock to marry the Christian, Lorenzo, and at the same time accepted the religion of her husband.
In all these cases the maidens found their true life with the men of their own choice, and the dramatist gives his verdict in making their love happy and successful, and in bringing out of their marriage a larger good to all.
There are in these and other instances, however, many differences from the case of Othello and Desdemona. It is not so much the wilful disrespect to her father that is the fault of Desdemona, though some critics make a great deal of this, but the fact that in marrying Othello she showed a wilful disregard of her own highest interests. It can scarcely be maintained that the marriage of Othello and Desdemona was a complete spiritual union, for there were too many diverse elements that at the time seemed incompatible and in the end proved entirely irreconcilable.
It is true, of course, that as in the case of Juliet the passion of love transformed Desdemona from a meek and blushing maiden into a strong and self-reliant woman. There need be no attempt to deny the reality of the love of these two, and its effect upon their development, but it was not strong enough or natural enough to overcome all its enemies, as a true and natural love like that of Romeo and Juliet can do. Under some conditions it is possible that their love might have outlived their lives and overcome its handicaps, yet it is to miss the art of this drama not to see that the dramatist is here showing its unnaturalness by placing it in the conditions that test it to the uttermost and that reveal its weakness and bring it to defeat.
When Desdemona is brought into court to speak for herself in the matter of the marriage, she declares that she freely and lovingly takes Othello for her husband, and intimates that she is willing to take all the consequences of that act. She affirms her love for the Moor, and her desire to live with him, and requests to be permitted to accompany him to Cyprus.
She says she understands fully what she is doing, recognizes Othello as a Moor, but that she accepts him as he is, or, as her words imply, she finds compensation for his color in the quality of his mind, in his honors, and in his courage: Seeing her determination and her willingness to abide by her decision, her father accepts what seems inevitable, but leaves them with the needless and cruel mark: