Shakespeare On Film Spring 2017 Jordan Platt

Shakespeare On Filmspring 2017jordan Plattone Pager 1pay Attention To

Shakespeare on Film Spring 2017 Jordan Platt One-Pager #1 Pay attention to the format of this one-pager, as it models for you how to present a long passage that is not poetry. You can tell because there is no meter or “beat”; the lines are presented paragraph style and the dialogue around it is in normal (although Early Modern) syntax. Your task for this assignment is to do a “close reading” that pays attention to the language in the quotation below. You can copy and paste the introduction below and then type your close reading beneath, or you can handwrite your response, as long as it is legible.

Here is a passage from Othello, Act I, Scene 3, right before Act II begins. Iago, the villain, is talking to Roderigo, who has been paying Iago to help him court Desdemona. Now that Desdemona is married, Iago is trying to convince Roderigo that he should continue their plot to separate Desdemona from her new husband, Othello. Iago wants more money to continue to help Roderigo win Desdemona, but Roderigo wants reassurance that Iago will follow through, will be true in his efforts. Iago responds with this speech: Thou art sure of me. Go, make money. I have told thee often, and I retell thee again and again, I hate the Moor. My cause is hearted; thine hath no less reason. Let us be conjunctive in our revenge against him. If thou canst cuckold him, thou dost thyself a pleasure, me a sport. There are many events in the womb of time which will be delivered. Traverse, go, provide they money. We will have more of this tomorrow. Now your task is to provide a close reading and interpretation of this quotation.

Paper For Above instruction

The passage from Shakespeare’s Othello, Act I, Scene 3, exemplifies Iago’s manipulative and duplicitous nature, as well as his strategic use of language to sow discord and further his malicious schemes. The language employed by Iago reveals a complex interplay of betrayal, cynicism, and assured self-interest, which is essential to understanding his character and the dramatic tension of the play.

At the outset, Iago’s assertion, “Thou art sure of me. Go, make money,” establishes a tone of reassurance and manipulation. The phrase “sure of me” functions both as a declaration of loyalty and as a psychological tool to bolster Roderigo’s confidence in Iago’s intentions. This reassurance is insidious, as it masks Iago’s true duplicity; he does not genuinely intend to support Roderigo’s pursuit of Desdemona but instead seeks to exploit him for his own ends. The commanding tone of “Go, make money” also reflects Iago’s pragmatic and unfeeling attitude towards Roderigo’s aspirations, emphasizing a transactional relationship based on financial gain rather than genuine concern.

Moreover, Iago’s repeated statement, “I have told thee often, and I retell thee again and again, I hate the Moor,” underscores the depth of his animosity towards Othello. The repetition signals the importance Iago places on his personal vendetta, which fuels his darker motivations. The phrase “I hate the Moor” is particularly revealing, exposing the racial and racialized dimensions of Iago’s hatred, as Othello’s race is often linked with otherness and suspicion within the societal context of Venice. Iago’s declaration indicates that his actions are driven not solely by strategic manipulation but also by personal and perhaps racial animus, which complicates interpretations of his character as merely a scheming villain.

In the subsequent lines, Iago advocates for a collective effort: “Let us be conjunctive in our revenge against him.” The term “conjunctive” connotes a union or partnership, suggesting that Iago views their plot as a joint venture animated by shared hatred. This camaraderie is built on mutual benefit and common purpose, highlighting the sinister alliance that Iago seeks to forge. The use of “revenge” elevates their schemes from petty scheming to a form of moral retribution, implying that their actions are justified in the face of perceived wrongs. Iago’s language here manipulates Roderigo into believing their cause is righteous, masking the sinister intent behind their conspiracy.

Furthermore, Iago’s provocative suggestion, “If thou canst cuckold him, thou dost thyself a pleasure, me a sport,” employs wit and provocative language. To cuckold someone means to make them the victim of infidelity, and here, Iago implies that Roderigo’s success in this endeavor would bring Roderigo personal satisfaction while providing Iago with entertainment—an embodiment of Iago’s cruel voyeurism. The phrase “me a sport” underscores Iago’s ruthless enjoyment of others’ suffering, exposing a darker aspect of his character—his derive pleasure from orchestrating others’ misery for his own amusement.

The closing line, “There are many events in the womb of time which will be delivered,” suggests an ominous outlook, indicating that Iago foresees a future filled with unfolding events that will serve their revenge. The phrase “womb of time” poetically personifies the future as a fertile ground for the gestation of their schemes, reinforcing Iago’s belief in the inevitability and predestined nature of their actions. It also emphasizes the calculated and patient approach Iago adopts, viewing time itself as a vessel that will eventually deliver the results he desires.

Overall, this passage demonstrates Iago’s masterful manipulation, his deeply rooted resentment and racial animus, and his amoral enjoyment of chaos. His language is both strategic and revealing—serving to deceive Roderigo and others while also illuminating his own character’s darker impulses. The use of repetitive reassurance, provocative language, and poetic imagery underscores the complexity of Iago’s villainy, making him one of Shakespeare’s most memorable and sinister figures. The language exposes how language can be wielded as a tool of manipulation and evil, which is a central theme in both Othello and broader literature.

References

• Greenblatt, S., & Cohen, J. J. (Eds.). (2004). Shakespearean Negotiations. University of California Press.
• Honigmann, E. (2006). Shakespeare: The Life, The Works, The Campaigns. Thames & Hudson.
• McDonald, R. (2010). The Cambridge Companion to Shakespeare. Cambridge University Press.
• Neill, M. (2004). Shakespeare and the Uses of History. Routledge.
• Rosenberg, A. (2014). Shakespeare's Tragedies. Yale University Press.
• Stern, J. (2015). Shakespeare and the Question of History. Princeton University Press.
• Weinmann, H. (2011). Shakespeare’s Language. Routledge.
• Wright, C. (2012). The Elizabethan World Picture. HarperOne.
• Loomba, A. (2005). Shakespeare, Race, and Colonialism. Oxford University Press.
• Bloom, H. (1998). Shakespeare's ‘Othello’. Chelsea House Publishing.