Shakespeare Quotes, Characters

Front 1

Salad Days, Morsel for a Monarch

Back 1

Cleopatra; Antony and Cleopatra

Front 2

Enobarbous

Back 2

dies of a broken heart, normative character, Antony sent him away because the ship was sinking and Antony sent his treasurers after him which broke his heart; Antony and Cleopatra

Front 3

"That would make his will lord of his reason"

Back 3

Enobarabous; Antony and Cleopatra
Reason will and appetite

Front 4

"Antony shall be brought drunken forth, and I shall see some squeaking Cleopatra boy my greatness I' the posture of a whore. "

Back 4

Cleopatra; Antony and Cleopatra
Ironic because Cleopatra would in fact have been played by a squeaking boy in the play (all actors were men) Shakespeare communicated with his audience like this.

Front 5

Aristotlean Unities

Back 5

A play can only take place in a 24 hours period and it must take place. Shakespeare ignores this except in his first play and his last.

Front 6

"Only the poet doth grow in effect a better nature" "The Poet nothing affirms and therefore never lieth"

Back 6

Sir Phillip Sydney

Front 7

"The barge she sat in, like a burnish'd throne, Burn'd on the water: the poop was beaten gold; Purple the sails, and so perfumed that The winds were love-sick with them"

Back 7

Enobarbous, Antony and Cleopatra
Burnished=bronzed and polished burnt=no longer gleaming

Front 8

Reason Will Appetite

Back 8

Reason is servant to appetite and panders to will; we see this happening to Antony

Front 9

Monarchs in the Play Antony and Cleopatra

Back 9

Shakespeare is the first person to depict royalty on the stage; the royals were upset to be portrayed by actors because actors were lowly citizens; Antony and Cleopatra Cross-dress and he couldn't have gotten away with this in a historical play, but this was a Roman play so he did

Front 10

Antony and Politics

Back 10

Antony mismanages political and military affairs; even botches his own suicide.

Front 11

Comprehension Vs. Apprehension

Back 11

Apprehension is Egyptian; Comprehension is Roman; Comprehension precedes apprehension

Front 12

Two kinds of truth

Back 12

Rational and Imaginative

Front 13

Death of Enobarbous

Back 13

Death of comprehension, dies of magnaminity

Front 14

"Age cannot wither her, nor custom stale Her infinite variety. Other women cloy The appetites they feed, but she makes hungry Where most she satisfies. For vilest things Become themselves in her, that the holy priests Bless her when she is riggish."

Back 14

Enobarbous, Antony and Cleopatra
Cleopatra is an actress and has control over Antony because of this; she is the director of a play in which he's the main character

Front 15

Antony
Cleopatra
Octavius Caesar
Enobarbous

Back 15

Antony: has been a bad leader of Rome because of his affair with Cleopatra in Egypt; if he loses honor he loses self; kills himself to restore ultimate power but botches that

Cleopatra: actress, if Caesar parades her through the street as a trophy she will lose her multi-faceted character

Caesar: Seems to hate Antony but ends up mourning his loss, commands the lovers be buried side by side

Enobarbous: normative character; clear minded

Front 16

Othello's tragic flaw

Back 16

they don't actually exist but it would be jealousy if they did

Front 17

Hubris

Back 17

Means excessive pride today; but in Shakespeare's time it was any outrage you commit on another person

Front 18

Nemesis

Back 18

Today it is the enemy who is always there; during Shakespeare's time it was the feeling of outrage you get when you witness an act of hubris

Front 19

Hamartia

Back 19

Hamartia came from Aristotle's Poetics; that is the origin of the tragic flaw theory but it actually meant misidentification of a person; tragic flaw is a powerful misreading that is wrong but still stuck--great way to explain the unexplainable

Front 20

"I have a pain upon my forehead"

Back 20

Othello, Othello The cuckholds that a man gets when his wife is an adulterer

Front 21

Love in Othello

Back 21

The marriage of true minds, like in Sonnet 116 in which Shakespeare attempts to define love; this marriage is shattered by Iago

Front 22

Iago in Morality Plays

Back 22

Iago would have been a character called "vice" in the mystery/morality plays. Vice is the personification of evil. Vices hate people for being good--that is Iago's only possible motive

Front 23

Morality/Mystery Plays

Back 23

Morality play you know how evil is because it's in their name (Allegorical names) Characters always knew who the bad guy was too; but no one knows that Iago is bad.

Front 24

3 Basic Situations of Names

Back 24

Personification--Allegorical (they are what their name says)
Essential name (there name disguises who they are)
or: no connection between name and vice--this is Iago

Front 25

Iago

Back 25

Villainy is his identity; the other characters are his audience; no explanation of his motives. Othello calls him "honest Iago"

Front 26

Othello and Desdemona's Love

Back 26

Shakespeare makes this love impossible so that he can define it through his sonnet 116. Othello is black and older. Desdemona never regrets love for Othello

Front 27

History of Love

Back 27

Plato: You love boys, then you love women, then you love love, then you love at first sight

Spencer: Epithalamin at the end of sonnet sequence caller Amereti. The first time a woman is attainable and they get married. Before, the woman was always unattainable, making her attractive.

Milton: The angel Rafael says "hell wedded love" no talk in genesis of marriage

Shakespeare: Iago only believes in sexual appetite. Libido is every where in this play. Iago asks, "are you honest" in reference to Desdemona's chastity.

Front 28

Comic Relief

Back 28

Doesn't exist. We don't feel relieved when we laugh at the death of Roderigo

Front 29

Othello and Irony

Back 29

Othello is a really good guy but he is devoid of irony. He sees everything in black and white. Words are absolute to him; he doesn't understand that you always have two meanings since the fall of Adam and Eve. Irony is the capacity to see things from various sides. One of Othello's meanings is always hidden to him. As a black man, Othello can only see Desdemona's whiteness--this lack of irony is dangerous. Those who lack irony don't understand language. Jealousy becomes tautological.

Front 30

Black Vs. White

Back 30

Black Othello has White insides; White Iago has Black insides.

Front 31

Venice v. Cyprus; Center v. Periphery; Christendom v. Turks

Back 31

Where opposites merge and come together

Front 32

Dramatic Irony

Back 32

You know more than the chracters do. You see more in what Othello says than he does.

Front 33

"Good night, honest Iago."

Back 33

Cassio, Othello. Iago replies after Cassio leaves: "And what's he then that says I play the villain? When this advice is free I give and honest, Probal to thinking and indeed the course To win the Moor again?" Which means how can he be a villain when his advice is so good?

Front 34

": “Our bodies are our gardens, to which our wills are gardeners; so that if we will plant nettles or sow lettuce, set hyssop and weed up thyme . . . the power and corrigible authority of this lies in our wills”

Back 34

Iago, Othello
Iago is a gardener of himself of of others; he understands the natural forces and their tendency to run wild if not checked by our wills.

Front 35

"I'll pour this pestilence into his ear: That she repeals him for her body's lust. And by how much she strives to do him good She shall undo her credit with the Moor.So will I turn her virtue into pitch And out of her own goodness make the net That shall enmesh them all."

Back 35

Iago, Othello
Iago's plan to get Othello not to trust Desdemona; the more she tries to help Cassio the less Othello will trust her.

Front 36

"She did deceive her father, marrying you,And when she seemed to shake and fear your looks, She loved them most."

Back 36

Iago, Othello
Planting the seed of fear into Othello's head. Acting as the conductor of this play.

Front 37

"Make me to see 't, or at the least so prove it
That the probation bear no hinge nor loop
To hang a doubt on, or woe upon thy life!"

Back 37

Othello to Iago, Othello
Othello requests tangible proof of Desdemona's disloyalty. This is when Iago gets the idea for the scarf.

Front 38

"But jealous souls will not be answered so.They are not ever jealous for the cause, But jealous for they're jealous. It is a monster Begot upon itself, born on itself."

Back 38

Emilia to Desdemona, Othello
Emilia is Iago's wife.

Front 39

"Were I the Moor I would not be Iago. In following him I follow but myself; Heaven is my judge, not I for love and duty,But seeming so for my peculiar end. For when my outward action doth demonstrate The native act and figure of my heart In compliment extern, ’tis not long after But I will wear my heart upon my sleeve For daws to peck at. I am not what I am."

Back 39

Iago, Othello
He is not what they all think he is: honest.

Front 40

"Light, I say! Light!"

Back 40

Brabantio, Othello
Upon hearing from Roderigo that his daughter was out with Othello Brabantio cries for light so that he can check her room

Front 41

"Reputation reputation reputation of I have lost my reputation the immortal part of myself myself, and what remains is bestial. My reputation, Iago, my reputation!"

Back 41

Cassio to Iago, Othello

The Great Chain of Being. You have to go down the chain before you can go back up.