Week 6: The Winter’s Tale:

Play: https://www.folger.edu/explore/shakespeares-works/the-winters-tale/
read/

Who is transformed in the play and why? By what method?

The statue of Hermnione comes to life page 233 and transformation of
Hermnione same page. She lives but she speaks no. page 235, Leontes
affirms that he say Hermnone dead, how come she came back to life?

Leontes and Polixene’s friendship undergo transformation. In scene one they

called each other “brother” emphasizing their strong bond of friendship,
however as the play displays their friendship deteriorates.
In scene 3 he realizes he has been wrong and unjust all along, at the news
that his son died, the queen drops dead at the news too, and Leonte is all
alone now “She will recover.
I have too much believed mine own suspicion.
Beseech you, tenderly apply to her
Some remedies for life” (3. 1. 165) he fixes his relaitonships
“Apollo, pardon
My great profaneness ’gainst thine oracle.
I’ll reconcile me to Polixenes,
New woo my queen, recall the good Camillo,
Whom I proclaim a man of truth, of mercy. Same page.
Leotenes cannot forgive himself “Whilst I remember
Her and her virtues, I cannot forget
My blemishes in them, and so still think of
10 The wrong I did myself, which was so much
That heirless it hath made my kingdom and
Destroyed the sweet’st companion that e’er man
Bred his hopes out of” (5. 1. 13)
He clearly regrets the harm he has caused “The blessèd gods
Purge all infection from our air whilst you
210 Do climate here! You have a holy father,
A graceful gentleman, against whose person,
So sacred as it is, I have done sin,
For which the heavens, taking angry note,
Have left me issueless. And your father’s blest,
215 As he from heaven merits it, with you,
Worthy his goodness” (5. 1. 208)
The thrid gentleman recalls the encounter of the 2 kings after 16
years and they were happy “There might
you have beheld one joy crown another, so and in
such manner that it seemed sorrow wept to take
leave of them, for their joy waded in tears. There
50 was casting up of eyes, holding up of hands, with
countenance of such distraction that they were to
be known by garment, not by favor. Our king, beingready to leap
out of himself for joy of his found
daughter, as if that joy were now become a loss,
55 cries “O, thy mother, thy mother!” then asks Bohemia
forgiveness, then embraces his son-in-law, then
again worries he his daughter with clipping her.
Now he thanks the old shepherd, which stands by
like a weather-bitten conduit of many kings’ reigns.
60 I never heard of such another encounter, which
lames report to follow it and undoes description to
do it.” (5. 2. 47)
resolution the shepherd’s son to his father
“but I was a gentleman
150 born before my father. For the King’s son took me
by the hand and called me brother, and then the
two kings called my father brother, and then the
Prince my brother and the Princess my sister called
my father father; and so we wept, and there was the
155 first gentlemanlike tears that ever we shed” (5. 2. 149)

Hermione also undergoes some transformation throughout the play. In scene

2, when she has been accused of adultery by Leontes, she says
“I never wished to see you sorry” (2. 1. 149), but in the final
scene she softens up.

Polixenes: still resents Leones even after 16 years

“Of that fatal country

p. 123
Sicilia, prithee speak no more, whose very
naming punishes me with the remembrance of that
penitent, as thou call’st him, and reconciled king
my brother, whose loss of his most precious queen
25 and children are even now to be afresh lamented” (4. 1. 124).

A great character to look at transformation is Leontes.

Is truth really the daughter of time in this play, and what transformations are
necessary to get there?
The play makes reference to divine intervention when a storm begins to fall
when the baby is left in the desert, and when Leontes receives the news that
Apolo is angry with him and says that Hermione is innocent.

Time description in scene 4.

At Hermnione’s trial, the officer reads the message send by Apolo’s priest
“ Hermione is chaste, Polixenes blameless,
Camillo a true subject, Leontes a jealous tyrant,
his innocent babe truly begotten; and the King shall
145 live without an heir if that which is lost be not
found” (3. 3. 142). T some extent this is true, because Leontes
only achieve happiness when he finds his lost daughter and his
wife comes back to life.

The Winter’s Tale Quotes

Camillo says “The heavens continue their loves” (1. 1. 33), when
referring to the close relationship between Leontes and the King
of Bohemia.

Hermione’s behavior could have made Leontes jealous.

Hermione to Polixenes “Yet of your royal presence I’ll

adventure” (1. 1. 48-49)
Leontes to Mamillius “To be full like me; yet they say we are
Almost as like as eggs” (1. 1. 165)
- Your nose, “They say it is a copy out of mine” (1. 1. 156)

What is it exactly that made Leontes jealous?

His wife’s affection for Polixenes, caused him to suspect that they
were romantically involved. He confuses his wife’s kindness with
decisiveness”
Her insistence for the king to extend his visit got her in trouble
“My prisoner or my guest? (1. 1. 16)
When Leontes asks Camillo why Polixenes decides to extend his
visit, Camillo answers
“To satisfy your Highness and the entreaties
Of our most gracious mistress.” (1. 1. 288). The word “satisfy”
has a great effect on Leontes. “Satisfy?
Th’ entreaties of your mistress? Satisfy?” Leontes exclaims.
Camillo tells Leontes that his jealousy is irrational
“Good my lord, be cured / Of this diseased opinion, and betimes,
For ’tis most dangerous.” (1. 1. 360)
Camillo agrees, only for the sake of Hermione, to Leontes
petition to get rid of Polixenes
“I do, and will fetch off Bohemia for ’t/
Provided that, when he’s removed, your Highness
405 Will take again your queen as yours at first,
Even for your son’s sake” (1. 1. 402)
Camillo unwillingly agrees to poison Polixenes
“O miserable lady! But, for me,
What case stand I in? I must be the poisoner
425 Of good Polixenes, and my ground to do ’t
Is the obedience to a master” (1. 1. 423)
Camillo makes mention of a sickeness that has plagues the heart
of Leontes, but he doesn’t name the sickness as jealousy,
although that’s what he means by it. Camillo tells Polixenes
“There is a sickness
Which puts some of us in distemper, but
 I cannot name the disease, and it is caught
Of you that yet are well” (1. 1. 463). Polixenes inquiries what this
sickness, Camillo refers to, is about and could he be infected by it
“What incidency thou dost guess of harm
485 Is creeping toward me; how far off, how near;
Which way to be prevented, if to be;
If not, how best to bear it.” (1. 1. 484)
Camillo reveals to Polixenes, that Leontes is angry because he
believes that Polixenes has “touched his queen
Forbiddenly” and for this he must die.
Polixenes about Leonte’s jealousy “I saw his heart in ’s face”

Leontes is so blinded by angriness that he truly believes that

Camilo has been Polixenes’s employee all along and that’s why he
betrayed him and escaped to Bohemia with his enemy
“There is a plot against my life, my crown.
All’s true that is mistrusted. That false villain
60 Whom I employed was pre-employed by him” (2. 1. 57)

Leontes accuses Hermione of adultery and calls her a “Traitor”.

He sends her to prison and denies his son to visit her.
I like Hermione’s strength “I am not prone to weeping, as our sex
Commonly are, the want of which vain dew
Perchance shall dry your pities. But I have
135 That honorable grief lodged here which burns
Worse than tears drown“ (2. 1. 132)

Shakespeare develops the concept of jealousy by making us

recognize that it is a product of Leontes mind only. Non of the
other characters in the play believe that Hermione is guilty, not
Camillo, Antigonus nor his lords. “I dare my life lay down—
and will do ’t, sir,
Please you t’ accept it—that the Queen is spotless
I’ th’ eyes of heaven, and to you—I mean
160 In this which you accuse her.” (2. 1. 257) says one of his
lords.
The one person who is brave to stand by the truth against her
king, even after the king threatens to “hang” and “burn” her, is
Paulina “I care not.
It is an heretic that makes the fire,
Not she which burns in ’t. I’ll not call you tyrant;
150 But this most cruel usage of your queen,
Not able to produce more accusation
Than your own weak-hinged fancy, something
savors
Of tyranny, and will ignoble make you,
155 Yea, scandalous to the world” (2. 3. 148)

Leontes insists that he is right and everyone else who comes to

the Queen’s defense is wrong “How could that be?
210 Either thou art most ignorant by age,
Or thou wert born a fool. Camillo’s flight,
Added to their familiarity” (2. 1. 209). He is hardheached
“Though I am satisfied and need no more
Than what I know” (2. 1. 229)

Paulina believes that if the newborn be taken to the presense of

the King, he will change his mind about everything
“he may soften at the sight o’ th’ child.
50 The silence often of pure innocence
Persuades when speaking fails” (2. 2. 49)
Leontes blames Hermione for his son’s illness
“To see his nobleness,
15 Conceiving the dishonor of his mother.
He straight declined, drooped, took it deeply,
Fastened and fixed the shame on ’t in himself,
Threw off his spirit, his appetite, his sleep,
And downright languished. Leave me solely. Go,
20 See how he fares” (2. 3. 14)
Hater blinds him “Camillo and Polixenes
Laugh at me, make their pastime at my sorrow” (2. 3. 26)
Leontes call his newborn daughter a “bastard”
“This brat is none of mine.
120 It is the issue of Polixenes.” (2. 3. 119). His rage is so big that
he want the baby to be set on fire “ take it hence,
And see it instantly consumed with fire” (2. 3. 168)
Leontes orders Antigono “thou carry
This female bastard hence, and that thou bear it
To some remote and desert place quite out
Of our dominions, and that there thou leave it,
Without more mercy, to it own protection
220 And favor of the climate” (2. 3. 215)
Leontes is not satisfy by having his daughter killed, he want the
trial of his wife to start to he can have peace “While she lives,
My heart will be a burden to me” (3. 1. 250)
It is evident that the crime he says Hermnione commited is only a
product of his mind. At the trial her charges were
“of high treason, in committing adultery with Polixenes,
King of Bohemia, and conspiring with Camillo
to take away the life of our sovereign lord the King, thy
royal husband” (3. 1. 15) this only happened in his mind.
Leontes comes to his senses at a high price
Camillo convinces Florizell to go to Cecilia and present himself
infront of the king with Perdita “Sent by the King your father
To greet him and to give him comforts” (4. 3. 661)
Week 5: All’s Well that ends well:
https://www.folger.edu/explore/shakespeares-works/alls-well-that-ends-
well/read/
Or this one: https://internetshakespeare.uvic.ca/doc/AWW_M/index.html
There is more tension than I imagined in the movie clip, in the scene where Helen confesses to
the countess that she loves her son. “What pale again? My fear hath catched your fondness! /
Now I see/The mystery of your ⌜loneliness⌝ and find/ Your salt tears’ head. Now to all sense ’
tis gross:/ You love my son. Invention is ashamed/ Against the proclamation of thy passion/ To s
ay thou dost not. /Therefore tell me true,/But tell me then ’tis so, for, look, thy cheeks/Confess
it th’ one to th’ other, and thine eyes / See it so grossly shown in thy behavior /
That in their kind they speak it” ( 1. 3. 37). The countess’s tone of voice is firm and sometimes
you sense anger in it, the tenderness and passivity that I perceived while reading her lines are
not shown in the film. The performance of Helen on the other hand, is exactly as I imagined. At
first, she doesn’t know where the conversation is going when the countess tells her that she
considers her a “daughter”. However, when the countess says “you might be my daughter-in-
law,” Helen’s reaction quickly changes, as if she wasn’t expecting the countess to suspect that
she was in love with Bertram. The movie clip clearly shows this reaction in the same way I
imagined it in the play as I read this scene.

The setting of the scene in the clip doesn’t really resemble the Shakespearean setting in the
play. In my opinion, the setting in the clip is too modern. However, there is little light and the
room cannot be fully appreciated, which reflects the complexity of assembling a stage for a
Shakespeare’s play for the movie production.

The war sound background and romantic music, in the first trailer, create the perfect
combination of war and romance. It shows the plot of the story in a way that is engaging to the
audience. However, the image of the soldier loading his gun is unrealistic though, because guns
were not used in the play, swords were used instead. The modern touch given in the film,
affects the originality of the play. Even their clothes are too modern. Helen wearing high heels
and Bertram wearing soldier military pants, just doesn’t go in accordance with the play. There
is a scene in the clip, where Bertram is smiling as he is ready to go to war, and the image of
Helen smiling is also shown simultaneously. This shows the plot of the story, a woman setting
up a plan to conquer the man he loves, despite differences in social status, and shows Bertram
going to war to escape his forced marriage. Both are committed to achieving their goals, and
this trailer is effective in transmitting that to the audience.

My general question is why didn’t this movie production stick with the original setting and
costumes of the play? I know this is an adaptation of the play, but I think that the essence of
the play is lost in this movie trailer and it will be better appreciated if the production tries to
conserve the play’s originality. The conversation between the countess and Helen was
impressive, but I was quite disappointed with the setting and the clothes the characters wore.
Helen:

“Twere all one / That I should love a bright particular star

/ And think to wed it, he is so above me.” (1. 1. 11)
“Th’ ambition in my love thus plagues itself” (1. 1. 13)
Helen assures the Countess that the love she feels for her son is
real and honest “My friends were poor but honest; so ’s my love”
(1. 3. 39)
Helen’s demand to the king for saving his life
“Then shalt thou give me with thy kingly hand
215 What husband in thy power I will command” (1. 2. 61)

Is her love genuine or is an opportunistic love?

This makes her look opportunistic
“Exempted be from me the arrogance
To choose from forth the royal blood of France,
My low and humble name to propagate
With any branch or image of thy state” (1. 2. 61)

Speaking to the Countess about Bertram

“The Count Rossillion cannot be my brother.
I am from humble, he from honored name;
No note upon my parents, his all noble.
My master, my dear lord he is, and I
His servant live and will his vassal die” (1. 3. 35)
Portram tells her that if she is not able to give her a son and take
off his ring, then she doesn’t deserve him as husband. In the
letter that he writes her, he says
“Till I have no wife I have nothing in France.” (2. 3. 107)
Countess
Expresses that she is ok with Helen loving her son “Now I see
The mystery of your ⌜loneliness⌝ and find
Your salt tears’ head. Now to all sense ’tis gross:
You love my son” (1. 3. 37)
Does the countess truly support Helen and believes in her skills
to treat the King’s illness or does she want to take credit for
saving the King’s life, if she is to succedd in curing him? “I’ll stay
at home And pray God’s blessing into thy attempt.
Be gone tomorrow, and be sure of this:
What I can help thee to thou shalt not miss” (1. 3. 43)
She is so indignated that Potram has left Helen that she claims he
is no longer her son “He was my son,
70 But I do wash his name out of my blood” (3. 1. 107)

Her opinion of Parolle

“A very tainted fellow, and full of wickedness” (3. 1. 109)
The message he send to his son
“I will entreat you when you see my son
To tell him that his sword can never win
The honor that he loses” (same page)
Does care if Portram is his son, she wants justice for Helen’s death even if her son might be the
guilty one “Now justice on the doers!”
King of France

speaking of the contest (Bertram’s father) “Who

were below him
He used as creatures of another place
And bowed his eminent top to their low ranks,
50 Making them proud of his humility” (1. 2. 23)
believes that if doctors and physicians that has attained high educational ceritificates in the
field cant treat him, how can Helen do the impossible with her low status and poverty?
“Art
thou so confident? Within what space
Hop’st thou my cure?” (2. 1. 59)
The king shows compassion and a humble characters, he if fair in
his arguments when he rejects Helen’s proposal that if she fails to
cure him then her “life be ended”. The king response is
“Thy life is dear, for all that life can rate
200 Worth name of life in thee hath estimate:
Youth, beauty, wisdom, courage, all
That happiness and prime can happy call” (1. 2. 59). However at
the end he agrees to her request
“Sweet practicer, thy physic I will try,
That ministers thine own death if I die. (same page number)
Speaking of Helen’s presume death
“We lost a jewel of her, and our esteem
Was made much poorer” (5. 3 191)

Tells Portram to stop crying over Helen’s death because he never

loved her anyway. That there is no point of crying only when
what we have is gone “Our rash faults
70 Make trivial price of serious things we have,
Not knowing them until we know their grave” (4. 3. 197)

Accuring Portam of murdering Helen

“Thou didst hate her deadly,

And she is dead” (3. 4. 201)

steward reveals to the Countess that Helen is in love with her son. He claims Helen to have
said “Fortune,
she said, was no goddess, that
had put such difference betwixt their two estates;
Love no god, that would not extend his might only
115 where qualities were level” (2. 3. 33)
Lafew

Introduces Helen to the King as “Doctor She”and assures him that he has faith she can
cure him. He strongly believes in her skills and praises her.

Bertram

His rejection for Helen “A poor physician’s daughter my wife?” (2. 3. 75)
The kings response to his arrogance “She is young, wise, fair;
In these to nature she’s immediate heir,
And these breed honor” (same page)
The king practically forces Bertram to marry Helen
“Obey our will, which travails in thy good.
Believe not thy disdain, but presently
Do thine own fortunes that obedient right
Which both thy duty owes and our power claims,
Or I will throw thee from my care forever
175 Into the staggers and the careless lapse
Of youth and ignorance, both my revenge and hate
Loosing upon thee in the name of justice
Without all terms of pity”
After her marriage to Helen, Portram says to Parolles
“Although before the solemn priest I have sworn,
285 I will not bed her” (2. 3. 83)
He calls her “detested wife” (same)
Lies to Helen about going to Italy “Prepared
I was not
For such a business; therefore am I found
So much unsettled. This drives me to entreat you
That presently you take your way for home” (2. 4. 95)
Tells Diana when she rejects him cause he is married
“I was compelled to her, but I love thee” (4. 2. 147)
Paroles
(Lafew doesn’t like Parroles because he think he is deceitful, a
“vagabound” and an unskillful person),
Is a very deceitful character. He knows that Portram is going to Italy to war, to escape his
marriage to Helen, yet Parolles tells Helen
“Madam, my lord will go away tonight;
40 A very serious business calls on him” (2. 4. 89)
Diana

Speaks of Portram

“’Tispity he is not honest. Yond’s that same knave

That leads him to these places. Were I his lady,
100 I would poison that vile rascal” (3. 5. 123)

What is the meaning of self-fulfilling prophecy?

A self-fulfilling prophecy is an expectation or belief that can influence your behaviors,

thus causing the belief to come true. The idea behind a self-fulfilling prophecy, also
known as the Pygmalion effect, is that your belief about what will happen drives the
actions that make that outcome ultimately come to pass

Week 1

How did Shakespeare come to be one of the greatest writers and biggest contributors to the
English language despite having very limited education? Is it possible that with all the money
and power he had he bought the authorship of other people’s work?

Documentary on Shakespeare: https://www.youtube.com/watch?v=4r7hbr_ZEU8

https://www.youtube.com/watch?v=y94RsqtEADQ

google: hamlet movies and watch them all

essay

How Self-Knowledge is Demonstrated in the Plays “Othello” and “Measure for Measure” by
Shakespeare.

Self-knowledge is simply defined as “an understanding of yourself” by The Oxford Dictionary.

Self-knowledge is concerned with a character’s understanding of his emotions, mental state,
personality, actions, and intentions. Shakespeare’s plays “Othello” and “Measure for Measure”
both use the concept of Self-Knowledge in the development, evolution, and identity formation
of some of the characters in the play. Therefore, understanding the role that self-knowledge
plays for each of the characters is key to understanding the play as a whole. Undoubtedly, Self-
knowledge influences the actions and motivation of some of the characters in the plays
“Othello” and “Measure for Measure”. For instance, lack of self-knowledge leads the character
of Desdemona in “Othello” to her tragic death. Self-understanding and introspection, on the
other hand, play an important role in how the character of Isabella evolves throughout the play
“Measure for Measure” and how this helps us understand the events in the play through this
character. Self-knowledge allows us as readers, to think about what could have been another
outcome to the story if the characters of Desdemona and Isabella would have said or done
something differently based on their possession or lack of self-knowledge.

Desdemona is one of the characters in “Othello” who lacks self-understanding and fails to
perceive the intentions of Iago, which in the end turns fatal for her. She fails to recognize her
naivety which if she had been able to, she could have helped her husband, Othello, to see Iago
for the deceiving person that he really was, and by this prevent any damage to her marriage
and even her own death. Her naïve personality is demonstrated time and again throughout the
play. For instance, she justifies Othello’s verbal abuse by saying “His unkindness may defeat my
life / But never taint my love (4. 2. 30). This is how she responds to Othello’s accusation that
she has been unfaithful to him with Cassio. She demonstrates weakness and lack of character
by not standing up to herself because she knows that the accusations are false and that Othello
is being unkind and unfair.

In Act 3 scene 4, Desdemona reveals to Emilia that she doesn’t think Othello is a jealous man
by saying “I think the sun where he was born / Drew all such humors from him (3. 4. 28-29).
She cannot conceive the idea that Othello can be a jealous man exclaiming “Heaven keep that
monster from Othello’s mind! (3. 4. 161). She ridiculously romanticizes Othello, as if he could
be immune to such sentiments as if he belongs to one of a kind of superior human civilization.
The irony in it is that her husband is capable of murderous jealousy and that he is not at all
alien to this human emotion. I think that if Desdemona had a better sense of judgment and
understanding of her surroundings and other character’s intention, she could have prevented
her own death at the hands of her monstrous husband. If only she could have detected
jealousy in her husband, she would have been able to convince him that his accusations were a
product of his irrational jealousy, but she was in denial that he could be jealous at all, which
was a terrible mistake.

Another moment in the play, where Desdemona demonstrates a lack of self-knowledge is when
she learns from Ludovico that Cassio will take back his position as lieutenant, Desdemona is
glad and openly expresses her contentment, for this Othello strikes her furiously. Desdemona’s
reaction is that of a submissive woman who lacks character and courage, instead of defending
herself by expressing anger she simply says “I will not stay to offend you” (4. 1. 239), and leaves
the scene. She could have reacted differently, she could have perceived that Othello was
possibly jealous of Cassio, but she didn’t get a hint and remained confused about what could
have caused Othello to act in such a violent way. if she could have made the connection that
Othello was jealous of Cassio, she could have talked some sense into Othello’s mind and
convinced him to talk to Cassio face to face and get to the bottom of things. After being
slapped, she could have also gone back to her father’s home, accused her husband of physical
abuse, or left him for good.

Until the very end of the play, Desdemona continues to victimize herself instead of deciding to
defend her reputation and virtue as a faithful wife. When she is on the verge of death, she tells
Emilia “A guiltless death I die” (5. 2. 122). When Emilia inquires who has done this to her,
Desdemona replies “Nobody. I myself. Farewell” (5. 2. 122). Until the last moments of her
death, she keeps putting Othello on a pedestal. She doesn’t realize that by romanticizing her
death in the name of love, she is protecting Othello and letting him get away with her own
murder. When she says that she is to blame for her own death, she suggests that she is guilty of
loving Othello too much, however, it is a ridiculous stand on her part that makes her be
perceived as weak and submissive. This is a very infuriating moment in the play because
Desdemona fails to acknowledge that she is going to die as a timid, passive, weak, and
cowardly woman.

The play “Measure for Measure” also uses self-knowledge as a key element to develop a
character’s personality, emotions, thoughts, and actions. Isabella is one of the characters in the
play that demonstrates that she is fully aware not only of her role in the play but also of other
character’s roles and intentions.

Last act page 227, 230,

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week 2

How did Iago manipulate people:

Roderigo: (when persuading him to talk to father to inform him about Othello’s love for “ Call
up her father, / Rose him in the streets. / Incense her kinsmen, / And though he in a fertile
climate dwell, / Plague him with flies.” ( 1.1 98-102).

Iago urges Roderigo to “provoke” and “anger” Cassio, by challenging his authority until he loses
his temper. Only for his own benefit.

He also uses Cassio’s words against him by twisting what Cassios says to fit his words into his
dark plan. When Cassio says, “She’s a most exquisite lady.” (2. 3. 14) he doesn’t mean it in lust
way, but it is music to Iago’s ears.

Hidden intetnions: “Our general’s wife is now the general” (2. 3. 294-295).

Iago takes advantage of peoples kindness. When referring to Desdemona, Iago says “She is of
so free, so kind, so apt, so blessed a disposition, she holds it a vice in her goodness not to do
more than she is requested” (2. 3. 299-301).

Perverse behavior

I think that is pathetic when Iago says “I had rather have this tongue cut from my mouth / That
it should do offense to Michael Cassio.” (2. 3. 205-206).

Some of the central themes in the play “Othello” are deception, jealousy, persuasion, and
manipulation. Lack of . And a weak sense of judgement. Genuinity in the play is real? What
about loyalty? Iago befriends Othello and makes him believe he can trust him, but then Iago
tells Rodirgo “ I hate the moor.” (362)

Iago decides to sabotage Othello.

He could only complete his revenge by wining over Othello’s trust. Iago says that he wants the
moor “thank” him, “love” and “reward” him. So the cunning he did was purely intentional. His
final objective was to drive him “to madness”. But Othello thinks Iago is an honest man.

The deceitful way in which Iago achieves Cassio from being dismissed from his rank by Othello,
by getting him drunk and engage into a fight with Rodrigo. Iago encourages Cassio to convince
Othella to intercede for him, only to blame him of seducing Othello’s wife.

Iago describing Cassio’s lack of skills: referring to him as a “Mere prattle, without practice, / Is
all his soldiership. / But he, sir, had th’ election, / And I, of whom his eyes had seen the proof /
At Rhodes, at Cyprus, and on other grounds, (1.1 24-27).

_______________________________________________

is Iago’s demotion enough motivation for the atrocities he causes in the play? After all he
continues to cause harm, even after he has gained the titled of lieutenant, that he has
deceitfuly stolen from Cassio. His anger continued after achieving this, so what were the other
causes for his anger?

Othello to Cassio: “Cassio, I love thee, / But never more be officer of mine” (2. 3. 232-233).

Questions?

Was Desdemona’s love for Othello genuine or was it based on the pity she felt for him having
endured hardships throughout his life? In his defense, Othello explains “My story being done, /
She gave me for my pains a world of kisses.” (1.3. 58). “She loved me for the dangers I had
passed, / And I loved her that she did pity them. / This only is the witchcraft I have used.” (1.3
66-68).

What were Emilia’s true intentions in revealing the truth about Desdenella’s fidelity to Othello?
She reveals how deceitful Iago has been, did she do this on purpose, to ruin her husband, as a
vengeance act against Iago for being a disgusting human being? After all, what was it like for
her to be married to a detestable man? was it shameful? Despiteful? Was she unaware of
Iago’s behavior? did he also deceive her into loving him? Or did she genuinely mean to help
Othello or accidentally reveal the truth without meaning what it meant for Iago?

The duke seems to have sympathy for Othello. Is this sympathy genuine and disinterested? Or
is it that the duke needs to be in good terms with Othello so he can defend the country from
the approaching war? After hearing Othello’s tragic story of mistreatment and slavery, the Duke
tells Brabantio “I think this tale would win my daughter too. / Good Brabantio,” (1. 3. 71). It is
clear, whose side the Duke is on, but the question remains whether he was moved by Othello’s
story or is he just needed his military service to command his troops.

Brabantio’s warning to Othello about Desdemona’s loyalty has a deep effect on him, and
influences his thoughts about her “She has deceived her father, and may thee.” (1. 3. 289).
These lines resonate in Othello’s mind and contributes to his mistrust for his wife.

Quotations:
What is Iago so bitter about?

He tries to hide his hate towards Othello by saying: “We cannot all be masters, not all masters /
Cannot be truly followed.” (1.1 64-65).

“Now, whether he kill Cassio, / Or Cassio him, or each do kill each other, / Every way makes my
gain.” (5. 1. 11-13) what is really his gain? Killing Roderigo will free him of debt, and he is
jealous of Cassio “He hath a daily beauty in his life, / That makes me ugly” (5. 1. 19-20).

Humorous line when Desdemona asks Othelo to have mercy on her and he replies “Amen, with
all my heart” (5. 2. 34). But, he goes on and kilss her anyway.

Desdemona to Emilia “A guiltless death I die” (5. 2. 122) very moving

Emilia had no clue about Iago’s actions. When defending Desdemona from Othello’s
accusations of infidelity, Emilia assures him that she is a faithful wife and makes the remark “If
any wretch have put this in your head, / Let heaven requite it with the serpent’s curse!” (4. 2.
15-16)

Trusting the wrong person (mentioned everyone who trusted Iago.) Desdemona to Iago “What
shall I do to win my lord again? (4. 2. 149)

Regarding the handkerchief Desdemona let accidently fall, Emilia says, “My wayward husband
hath a hundred times / Wooed me to steal it” (3. 3. 292-293). And she is willing to “please his
fantasy” this proofs that Emilia was well aware abot Iago’s perverse character.

Desdemona’s insistance on Cassio to return, might have raised suspicion as well, “I prythee,
name the time, but let it not / Exceed three days.” (3. 3. 63-64)

Did Iago persuade Emilia to help Cassio get a private moment to talk to Desdemona?

She persudades Desdemona to listen to what Cassio has to tell her by pleading her “Good
madam, do. / I warrant it grieves my husband / As if the cause were his” (3. 3. 3-4). She must
have to known, ar at least suspect what Iago’s true intentions were.

Desdemona says “That’s an honest fellow” (3. 3. 5).

Desdemona’s insistence on Cassio to return, might have raised suspicion as well, “I prythee,
name the time, but let it not / Exceed three days.” (3. 3. 63-64)

Iago had no respect for Emilia, he called her a “foolish wife”

At the same time Emilia pitied Desdemona “Poor lady, she’ll run mad / When she shall lack it”
(3. 3. 317-318). She probable didn’t know exctly what is plan was with the handkershif “What
will you do with’t, that you have been so earnest” (3. 3. 312-313)

Othello “Give me a living reason she’s disloyal” (3. 3. 409)

Iago claims that Casio reveled him a dream “Cursed fate / That gave thee to the Moor!” (3. 3.
423-424)
Why did Iago wanted Othello to let Desdemona live?

Did Desdemona feel romantic affection for Cassio?

Brabantio doesn’t approve of Roderigo’s love for her daughter: “My daughter is not for thee.”
(1.1 125).

Future essays feminist conversations page 175 and 215

Blind trust and loyalty.

Iago is by far the most spiteful character in the play. Despite this, he manages to befriend many
of the characters in the story. He befriends Othello, with the only intention of destroying his
happiness. He also befriends Cassio to ruin him. Iago gains Roderigo’s trust to use and
manipulate him to do his dirty work by convincing him to get into a physical fight with Cassio,
and later on persuading him to kill Cassio. Iago even manipulates his wife, Emilia, into making
her give him Desdemona’s handkerchief to achieve his malicious goals, as it will serve him as
proof to Othello that Desdemona has been unfaithful. Iago’s only intention in the play was to
cause harm, yet, all of these characters blindly trusted him.

Why didn’t Othello use his better sense of judgment before believing in Iago? he chose to trust
him over his loving wife. He blindly trusted Iago; he often called him a good “honest man.”
However, Iago’s final objective is to drive Othello “to madness”. Yet, Othello thinks Iago is an
honest man. But Othello was not the only character that was fooled by Iago. Roderigo is
perhaps, the most naïve character because he is easily persuaded by Iago, not once, but three
or four times. In Act One Scene I, Iago persuades Roderigo to talk to Desdemona’s father to
inform him about Othello’s love for Desdemona “Call up her father, / Rose him in the streets. /
Incense her kinsmen, / And though he in a fertile climate dwell, / Plague him with flies.” (1.1
98-102). Iago did this, just to cause trouble between Othello and Brabantio, Desdemona’s
father.

Cassio is another character who is deceived by Iago. He uses Cassio’s words against him by
twisting what Cassio says to fit his words into his dark plan. When Cassio says, “She’s a most
exquisite lady.” (2. 3. 14), referring to Desdemona’s kindness, he doesn’t mean that he has a
love interest in her, but Iago can twist words around to what he wants them to sound, so
hearing this, is music to his ears. But Cassio genuinely believes that Iago is a good man. Cassio
says “I never knew a Florentine more kind and honest” (3. 1. 39-40). A comment he makes,
when Iago advises him to seek Desdemona’s help to regain his title of lieutenant.

Iago takes advantage of people’s kindness in the play. When referring to Desdemona, Iago says
“She is of so free, so kind, so apt, so blessed a disposition, she holds it a vice in her goodness
not to do more than she is requested” (2. 3. 299-301). Iago is certain that Desdemona can’t
refuse to help Cassio, she is too nice and kind, and Iago knows this. When referring to Iago,
Desdemona says “That’s an honest fellow” (3. 3. 5). She is clearly blinded by Iago’s loyalty to
her and her husband, just as all the other characters in the play are.
Iago puts everyone against everyone and everyone is blinded by Iago’s dark intentions and
calculative moves. Iago is the only character in the play, that has no loyalty for nobody; not for
Othello, Roderigo, and not even for his wife, whom he kills by the end of the play.

Why did Shakespeare give so much power to the character of Iago? Why would a strong
character such as Othello, who is so brilliant, wise, brave, and a skillful military general, fall for
false accusations towards his wife? His bravery and righteous character are evident when he
tries not to hide or run away from the father when he comes to look for him “I must be
found. / My parts, my title, and my perfect soul / Shall manifest me rightly.” (1. 2. 42-44). Yet,
he demonstrates the lack of intelligence, when it comes to trust in everything Iago says. Why
did Shakespeare portray these characters as naïve, and unsophisticated?

Week 3

Measure for measure essay:

http://www2.cedarcrest.edu/academic/eng/lfletcher/measure/jheim.htm#:~:text=The
%20title%20itself%20alludes%20to,and%20Peace%2C%20treating%20others%20as

Self-nowledge in the play: https://edubirdie.com/examples/troilus-and-cressida-self-

division-and-lack-of-self-knowledge-and-measure-for-measure/

When reading the title of Shakespeare’s play “Measure for Measure” the first thing that came
to my mind was the biblical verse found in the book of Mathew 7:2 which reads “Do not judge,
or you too will be judged. For in the same way you judge others, you will be judged, and with
the measure you use, it will be measured to you.” I wondered if anything in the play would
refer to this biblical verse, and it didn’t take long to realize how much the events in the play are
connected to this biblical verse.

The Duke has the power of knowledge because his disguised as a friar, allows him to hear the
confessions of his subjects, which give him the power to know everyone’s secrets, thoughts
and motives. No other character in the play, has access to information from every other
character as he did. This is a conversation he had with Claudio, when the Duke, disguised as a
fair, asked him to confess his sins before his death “Bound by my charity and my blest
order, / I come to visit the afflicted spirits / Here in the prison. Do me the
common right / To let me see them and to make me know / The nature of
their crimes, that I may minister / To them accordingly. (3. 1. 2200).
Duke to Provost (prison guard): “Bring me to hear them speak, where I may be
concealed.” (3. 1 (2206) the Duke says this, so he can listen to Isabella’s
conversation with Claudio. To gain knowledge.

He manipulated every character and situation in the play, as demonstrated in

the following conversations:
“This being granted in course,--and now follows
all,--we shall advise this wronged maid to stead up
your appointment, go in your place; if the encounter
acknowledge itself hereafter, it may compel him to
her recompense: and here, by this, is your brother
saved, your honour untainted, the poor Mariana
advantaged, and the corrupt deputy scaled. “ (3. 1. 2210)

Marriage is the punishment for lust and premarital sex. Many characters in the play including
Lucio, Angello and Claudio hate marriage. They view marriage as the worst punishment of all,
even death seems more merciful than marriage.

I would like to explore the concept of self-knowledge through the character of Isabella. At first
sight, it appears that Isabella lacks a good sense of judgment because, after all, she is ready to
let her brother die instead of sacrificing her chastity by accepting Angello’s indecent proposal.
However, I don’t particularly believe that Isabella lacks self-knowledge, instead, I think that her
religious values prevent and limit her from the choices she can make and de decisions she can
take concerning Claudio’s fate. Is her virginity worth the life of her brother? Why can’t she view
Angello’s proposal as a sacrifice she must make to save her brother? Does she fear divine
punishment or does she want to avoid a breach of her moral values? To be able to answer
these questions we must keep in mind, that Isabella is too near to take an oath as a nun. As
such her decisions are tied up to what the oath, she is about to take will allow her. As a nun-to-
be, chastity is an oath that she must obey, she is well aware of this and knows that if she
complies with Angello’s wishes of possessing her body, she will be breaking this sacred vow.
This is not only demoralizing, but in her mind, it means the death of her soul. This does not
necessarily mean that she is naïve or selfish, on the contrary, it demonstrates the strength of
her character and her commitment to her religious values.

Her commitment to her faith prevents her from giving in to Angello’s request. Her religious
values are very firm and her integrity is well established. She doesn’t want to condemn her
soul. Despite Angello’s manipulation, she continues to hold on to her beliefs and maintains
her integrity even when Angello insists that she must save her brother by having sexual
intimacy with him “Fit thy consent to my sharp apetite” and “redeem thy brother / By
yielding up thy body to my will; / Or else he must not only die the death, / But thy
unkindness” (3. 2. 2204). Angello is blackmailing her, trying to convince her to sleep
with him by placing her brother’s fate in her hands. Making her absolutely responsible
for his death. Yet she doesn’t think she is responsible for it and doesn’t feel guilty for
rejecting Angello’s proposition, knowing what doing this implies “Before his sister
should her body stoop / To such abhorr'd pollution. / Then, Isabel, live chaste, and,
brother, die: / More than our brother is our chastity. / I'll tell him yet of Angelo's
request, / And fit his mind to death, for his soul's rest. (3. 2. 2204). She made it clear
that for her chastity was more important than her brother’s life, and that complying with
Angello’s petition meant purgatory for her soul and she was not willing to give up her
soul to save her brother.

Isabella is not only aware of her values and character, but others around her perceive her
strength and abilities. Claudio, Lucio, Angello, and the duke consider her to be almost a saint
and she embraces this divinity. For instance, Claudio says to Lucio that Isabella is the only
person who can save him, because she will be able to change Angello’s mind with her charm
and her power of persuasion “I have great hope in that; for in her youth/There is a
prone and speechless dialect, /Such as move men; beside, she hath
prosperous art/When she will play with reason and discourse, /And well she
can persuade.” (1.1. 1288). In another scene, Lucio, in an attempt to convince
Isabella to intercede for Claudio’s life, before Angello tells her “All hope is gone/Unless
you have the grace by your fair prayer/To soften Angelo” (1. 1. 2190). Claudio
and Lucio, both believed that Isabella had a power for persuasion and a
beauty that could soften Angello’s character. Claudio’s and Lucio’s self-
knowledge is what changes the course of events in the story that ultimately
save Claudio’s life and everything else falls into the right place. If Isabella
hadn’t been approached by Lucio, Angello would have never met Isabella and
Claudio would have faced an assured death.
Isabella proofs to be a very brave woman in the way that she presents her
case before Angello, and begs him to spare his life “So you must be the first
that gives this sentence, /And he, that suffer's. /O, it is excellent
To have a giant's strength; but it is tyrannous / To use it like a giant.” (2. 2.
2198). She challenges Angello.
ISABELLA
O you beast!
O faithless coward! O dishonest wretch!
Wilt thou be made a man out of my vice?
Is't not a kind of incest, to take life
From thine own sister's shame? (3. 1. 2208)

ISABELLA
My brother did love Juliet,
And you tell me that he shall die for it.
Isabella’s integrity can be questioned when she agrees to lie and deceive
Angello in order to safe her brother and keep her chastity.

Isabella is more offended than flattered at the duke’s marriage proposal.

I would like to explore the concept of self-knowledge through the character of Isabella.
Her religious beliefs are very firm. She is devoted to her faith and service to the church
and is committed to living “forever” by not doing such acts that condemns her soul,
those acts that are particularly concerning lust. Her sense of integrity is unquestionable
and she continues to hold on to her beliefs and maintain her integrity even when
Angello tries to break it “Fit thy consent to my sharp apetite” and “redeem thy brother /
By yielding up thy body to my will; / Or else he must not only die the death, / But thy
unkindness” (3. 2. 2204). I think that is very manipulative of Angello to try to convince
Angella to sleep with him, otherwise her brother would suffer the consequences of her
“unkindness”. Even under such pressure, Isabella demonstrated strength and her
integrity remained intact by choosing to refuse Angello’s proposal “Before his sister
should her body stoop / To such abhorr'd pollution. / Then, Isabel, live chaste, and,
brother, die: / More than our brother is our chastity. / I'll tell him yet of Angelo's
request, / And fit his mind to death, for his soul's rest. (3. 2. 2204). She made it clear
that for her “chastity” was more important than her brother’s life, and that complying to
Angello’s petition meant purgatory for her soul and she was not willing to her up her
soul to save her brother.

Angello is another character in the play that seems to be struggling with the concept of
self-knowledge. Before, Isabella pays him a visit to plead for her brother’s life, Angelo
thought of himself to be a just and righteous man. However, after his meeting with
Isabella, he starts questioning his integrity. After Isabella leaves, Angello is confronted
with his own lust and desire to obtain that which is forbidden by law and by his moral
“Dost thou desire her foully for those things / That make her good? / O, let her brother
live!” “What, do I love her, / That I desire to hear her speak again, / And feast upon her
eyes? What is't I dream on? / O cunning enemy, that, to catch a saint, / With saints dost
bait thy hook! Most dangerous / Is that temptation that doth goad us on / To sin in
loving virtue: never could the strumpet, / With all her double vigour, art and nature, /
Once stir my temper; but this virtuous maid / Subdues me quite. Even till now, / When
men were fond, I smiled and wonder'd how. (2. 2. 2200). Angello seems to be
experiencing an internal conflict, he is fully aware of what’s right and wrong, but can’t
help feeling desire for Isabella, even when he knows that he is committing a similar
crime that Claudio has been accused of, for which he now is to die for it. Does Angello
feel guilty or ashamed for feeling sexually attracted to Isabella, knowing that she is to
become a nun and is sinful to think of her with lust? These questions torture him,
because he knows well that she will soon be a nun and its despiteful of him to feel the
urge to possess her body. He demonstrates self-knowledge by recognizing that his
behavior and thoughts are sinful, even when he can’t help feeling sexually aroused to
Isabella, he understands that is wrong and hypocritical of him to attain to those
feelings.

Isabella is not only aware of her values and character, but others around her perceive her
strength and abilities. Claudio, Lucio, Angello, and the duke consider her to be almost a saint
and she embraces this divinity. For instance, Claudio says to Lucio that Isabella is the only
person who can save him, because she will be able to change Angello’s mind with her charm
and her power of persuasion “I have great hope in that; for in her youth/There is a
prone and speechless dialect, /Such as move men; beside, she hath
prosperous art/When she will play with reason and discourse, /And well she
can persuade.” (1.1. 1288). In another scene, Lucio, in an attempt to convince
Isabella to intercede for Claudio’s life, before Angello tells her “All hope is gone/Unless
you have the grace by your fair prayer/To soften Angelo” (1. 1. 2190). Claudio
and Lucio, both believed that Isabella had a power for persuasion and a
beauty that could soften Angello’s character. Claudio’s and Lucio’s self-
knowledge is what changes the course of events in the story that ultimately
save Claudio’s life and everything else falls into the right place. If Isabella
hadn’t been approached by Lucio, Angello would have never met Isabella and
Claudio would have faced an assured death.
Isabella proofs to be a very brave woman in the way that she presents her
case before Angello, and begs him to spare his life “So you must be the first
that gives this sentence, /And he, that suffer's. /O, it is excellent
To have a giant's strength; but it is tyrannous / To use it like a giant.” (2. 2.
2198). She challenges Angello.
ISABELLA
O you beast!
O faithless coward! O dishonest wretch!
Wilt thou be made a man out of my vice?
Is't not a kind of incest, to take life
From thine own sister's shame? (3. 1. 2208)

ISABELLA
My brother did love Juliet,
And you tell me that he shall die for it.

Isabella’s integrity can be questioned when she agrees to lie and deceive
Angello in order to safe her brother and keep her chastity.
----------------------------------------------------
As much for my poor brother as myself:
That is, were I under the terms of death,
The impression of keen whips I'ld wear as rubies,
And strip myself to death, as to a bed
That longing have been sick for, ere I'ld yield
My body up to shame. (3. 1. 2202)
ISABELLA
O, 'tis the cunning livery of hell,
The damned'st body to invest and cover
In prenzie guards! Dost thou think, Claudio?
If I would yield him my virginity,
Thou mightst be freed.
CLAUDIO
O heavens! it cannot be. (3. 1. 2206)
________________

_____________________
ISABELLA
O you beast!
O faithless coward! O dishonest wretch!
Wilt thou be made a man out of my vice?
Is't not a kind of incest, to take life
From thine own sister's shame? (3. 1. 2208)
_____________________________________
Duke induces Isabella to lie, which proofs that he is as guilty as Claudio and
Angello for commiting a sin “DUKE VINCENTIO
That shall not be much amiss: Yet, as the matter
now stands, he will avoid your accusation; he made
trial of you only. Therefore fasten your ear on my
advisings: to the love I have in doing good a
remedy presents itself. I do make myself believe
that you may most uprighteously do a poor wronged
lady a merited benefit; redeem your brother from
the angry law; do no stain to your own gracious
person; and much please the absent duke, if
peradventure he shall ever return to have hearing of
this business.
ISABELLA
Let me hear you speak farther. I have spirit to do
anything that appears not foul in the truth of my spirit. (3. 1. 2210)

Thissss is your main argument: when Isabella refuses to accept/ comply to

Angello’s proposal “ANGELO
Were not you then as cruel as the sentence
That you have slander'd so?
ISABELLA
Ignomy in ransom and free pardon
Are of two houses: lawful mercy
Is nothing kin to foul redemption.
ANGELO
You seem'd of late to make the law a tyrant;
And rather proved the sliding of your brother
A merriment than a vice.
ISABELLA
O, pardon me, my lord; it oft falls out,
To have what we would have, we speak not what we mean:
I something do excuse the thing I hate,
For his advantage that I dearly love. (3. 1. 2203)

Angelo’s declaration of love “ANGELO

Plainly conceive, I love you.
ISABELLA
My brother did love Juliet,
And you tell me that he shall die for it.
ANGELO
He shall not, Isabel, if you give me love.
ISABELLA
I know your virtue hath a licence in't,
Which seems a little fouler than it is,
To pluck on others.
ANGELO
Believe me, on mine honour,
My words express my purpose. (3. 1. 2203)
Servant
One Isabel, a sister, desires access to you.
ANGELO
Teach her the way.

Exit Servant

O heavens!
Why does my blood thus muster to my heart,
Making both it unable for itself,
And dispossessing all my other parts
Of necessary fitness?
So play the foolish throngs with one that swoons;
Come all to help him, and so stop the air
By which he should revive: and even so
The general, subject to a well-wish'd king,
Quit their own part, and in obsequious fondness
Crowd to his presence, where their untaught love
Must needs appear offence. (3. 1. 2200)

Isabella’s integrity can be questioned when she agrees to lie and deceive
Angello in order to safe her brother and keep her chastity.

Potential speeches for an essay: measure for measure

Angello: 'Tis one thing to be tempted, / Escalus,
Another thing to fall.” (2. 1. 2190)

Lucio to Isabella: Kneel down before him, hang upon his gown:
/ You are too cold; if you should need a pin, /You could not with more tame a
tongue desire it: / To him, I say! (2. 2. 2196)

Juliet’s confession to the Duke: page 2200.

Angello’s indecent proposal to Isabella to sleep with him if he spares her
brother’s life: page 2202.
The Duke continuies to make people lie (page 2222) when he send a pirate’s
head to Angelo as proof for Claudio’s death. The Duke abuses his power from
the two most powerul institutions he is now part of, the church and the
monarchy. Page 2224 is crucial for evidence of abuse of power frm the duke.
He arranged for a man to be executed before his time was due just to use him
for his plans.

Week 5: All’s Well that ends well:

https://www.folger.edu/explore/shakespeares-works/alls-well-that-ends-
well/read/
Or this one: https://internetshakespeare.uvic.ca/doc/AWW_M/index.html