Shakespeare's Techniques (Absent)

Shakespeare uses several literary devices throughout Othello. The most obvious is probably foreshadowing. The entire plot is based around Iago's attempt to destroy Othello's career and marriage, and he often talks about it, which adds tension to the plot. Shakespeare also uses the handkerchief as a symbol for trust. When Othello drops the handkerchief that he gave Desdemona, it shows he is already beginning to mistrust her. Then when he asks for it back and doesn't receive it, he immediately loses all trust in her. Finally, Shakespeare uses rhythm in the verses to contrast different characters and different feelings in the play. Some monologues he writes in iambic pentameter, to create an eloquent flow, such as Othello's. Other conversations are written in normal prose, especially conversations between Iago and Roderigo, showing that they're less noble people. By the end, Othello talks the same way.

Othello Character (Absent)

I played Othello in our scene. Othello, while being the protagonist of the story, is not the hero. In the beginning he seems to be, as he's a great military commander. But after being corrupted and manipulated by Iago, the antagonist, we find that he is not infallible. He kills his wife and himself, for nothing, showing that even those we view as strong have weaknesses, which could be a major theme in Othello.

Analytical paragraph

"Othello: Get me some poison, Iago, this night. I'll not expostulate with her, lest her body and beauty unprovide my mind again. This night, Iago.
Iago: Do it not with poison. Strangle her in her bed, even the bed she hath contaminated." (179)

This passage is important because Shakespeare uses foreshadowing to increase the suspense in the plot. By telling the reader that Othello plans to kill his wife, it adds to the urgency and intensity of the play. When Iago suggests that he strangle Desdemona, it makes it even more suspenseful, because now he's siding with Othello, whereas before he was telling Othello to let her live. Of course, we also know at this time that Iago is lying to Othello about everything, which adds dramatic irony to increase the suspense. It's getting very intense.

Comment: "Thats a really important passage, you're right. Basically all of Iago's asides and soliloquies are really important because they show how cunning he is. And I feel the same way as Katie, it's amazing that Iago's getting away with this so easily!"

Casting Othello!

Othello:

"Most potent, grave, and reverend signors, my very noble and approved good masters; that I have ta'en away this old man's daughter, it is most true; true, I have married her." (33)

"Now, by heaven, my blood begins my safer guides to rule,

and passion, having my best judgement collied, essays to lead the way." (93)I'd have Shemar Moore play Othello because

I think Moore is a talented

dramatic actor, plus his last name is Moore like the Moor!

What a cowinkydink.

Iago:

"And nothing can or shall content my soul til I am evened with him, wife for wife, or failing so, yet that I put the Moor at least into a jealousy so strong that judgement cannot cure." (77)

"My wife must move for Cassio to her mistress; I'll set her on; myself the while to draw the Moor apart and bring hi

m jump when he may Cassio find soliciting his wife. Ay, that's the way." (105)

Topher Grace, because he played such a perfect snivelly little annoying evil character in Spiderman 3. Hahaha.

Desdemona:

"To you I am bound for life and education; my life and education both do learn me how to respect you." (41)

"My noble Moor is true of mind and made of no such baseness as jealous creatures are..." (149)

Rachel Weisz because she is beautiful and plays very sensible characters, not to mention she's exotic looking and a good actress.

Emilia:

"If it be not for some purpose of import, give't me again. Poor lady, she'll run mad when she shall lack it." (135)

"I am glad to have found this napkin... I'll have the work taken out and give't Iago. What he will do with it heaven knows, not I; I nothing but to please his fantasy."

Amanda Seyfried

because Emilia seems kind of... dumb. Or at least oblivious to Iago's evilness. She reminds me of Amanda Seyfried's character in Mean Girls.

And also Cassio:

Darren Criss, because Darren Criss is gorgeous and is very good at playing a protagonist. Darren Criss is my favorite actor ever and Cassio is my favorite character, and I hope Cassio doesn't die.

Othello 2.1

Iago is very cunning. And I can't tell if he actually is friends with Rodrigo, or if he's just using him to take Othello down. Because he MIGHT be actually trying to get Desdemona back with Rodrigo, but that's only secondary to his main intent, to get back at Othello.
Also, I do like Cassio. I think he sounds like a really nice guy and he idolizes Othello. I hope nothing bad happens to him. Othello and Desdemona and Iago can go attack and kill each other but I want Cassio to live. AND- did Iago really say that Othello slept with his wife and that Cassio was about to do it too? Or is he just paranoid? Hmm...

Othello #1

Iago and Rodrigo are jerks. Iago more than Rodrigo. Rodrigo is just hurt that he got shot down, whereas Iago is miffed that he didn't get a promotion and blames Othello. Who he should REALLY be blaming is himself.
Also, all the racism really puts it into perspective how prejudiced everyone is. I mean, Othello is a commander in the army, but he's still treated badly and compared with a horse. And then when Desdemona's dad gets all angry, HE starts being super racist too! I mean, I can understand that he's angry. Most dads would be angry if their daughter snuck out in the middle of the night to go to an inn with some older guy.
Still, I think Iago is a jerk.

Essay thing

Paragraph 3: During the same scene, Lymon tells Berniece that he "left home when I was about sixteen. Everything I tried seem like it just didn't work out. Now I'm trying this." (79) This shows us that Lymon has been without a true home for about thirteen years. When he left his home, he didnt really have a plan for where to go, so he ended up on the wrong side of the law for stealing wood. After that, he bought a truck and lived in the truck to escape the sherriff. Then, he traveled north with Boy Willie, and ended up sleeping on Doaker's couch. All of these events are evidence that Lymon does not have a home, and his actions portray transience: Sleeping on someone's couch, living out of a car, and stealing wood.