Famous Quotes and Quotations from the plays of William Shakespeare
Shakespearean quotations such as "To be, or not to be" and "O Romeo, Romeo! wherefore art thou Romeo?" form some of literature's most celebrated lines and if asked to recite one of Shakespeare's most famous quotations the majority of people would choose one of these. However, many expressions that we use every day originated in Shakespeare's plays. We use the Bard's words all of the time in everyday speech; however, we are often totally unaware that we are 'borrowing' sayings from his work! Will Shakespeare is attributed with writing 38 plays, 154 sonnets and 5 other poems and used about 21,000 different words. Shakespeare is credited by the Oxford English Dictionary with the introduction of nearly 3,000 words into the language. It's no wonder that expressions from his works are an 'anonymous' part of the English language.
William Shakespeare Quotes - Plagiarism! The words of the Bard can be found everywhere! Shakespearean quotations can be heard on the radio and television on a daily basis. The advertising media love to make use of the Bard's sayings. Famous authors have even used Shakespearean quotations as titles for their books such Aldous Huxley and 'Brave New World'. And speaking of famous authors, did you know that "What the dickens" was one of the quotes used by Shakespeare, long before Charles Dickens was born? Other famous Shakespearean quotations such as "I'll not budge an inch", "We have seen better days" ,"A dish fit for the gods" are all used frequently and, almost as a parody, the expression it's "Greek to me" is often used to describe a frustrated student's view of Shakespeare's work! Politicians dig deep into their pool of William Shakespeare quotes and quotations such as "Fair Play", "Foregone Conclusion ", "One Fell Swoop", and "Into Thin Air ". Furthermore, other Shakespearean quotes such as "to thine own self be true" have become widely spoken pearls of wisdom. So quotes from Will Shakespeare have now become household words - and just to emphasize the point "household word" is also one of the Bard's 'anonymous' quotations!
We are all unwitting Shakespeare quoters, idiot" and wish I were "dead as a door-nail", sometimes "without rhyme or reason.” If you then I would say that you possess neither a are "in a pickle" because you have been "eaten "heart of gold" nor "the milk of human out of house and home" and even your "salad kindness," especially considering that we are days" have "vanished into thin air," you are "flesh and blood." Now that we have gone quoting Shakespeare. You've been "full circle" and you are still waiting with "hoodwinked" and "more sinned against than "bated breath" since I have not been able to sinning." No wonder you're not "playing fast make you "budge an inch," it is "fair play" for and loose" and haven't "slept a wink" and are me to quit this sermon since Shakespeare probably "breathing your last." It's "cold himself taught me that "brevity is the soul of comfort" that you are quoting Shakespeare. If wit." After all, it is a "foregone conclusion" you "point your finger" at me, "bid me good that we all speak Shakespeare's language! riddance" when you "send me packing" and call me a "laughing-stock," "the devil adapted from incarnate," a "sorry sight," "eyesore," and a Take My Words: A Wordaholic's Guide to the English Language "stone-hearted," "bloody-minded" "blinking by Howard Richler Page 1 of 16 For our study of Shakespeare’s Othello, as you probably realize, there are many online sources available. As just a word of caution, it has been my observation that some students spend too much time searching for summaries and “short cuts” online; when the reality is, they could have read the actual text in far less time. When working at home, the play can be found free online at the web address below. There are of course online notes and summaries available, but they are in no way a substitute for reading the play itself.
online text available @ http://www.william-shakespeare.info/script-text-othello.htm
Things you should know about
Shakespeare!
Shakespeare became famous as a poet in London's intellectual group.
He wrote many SONNETS expressing the idea that a poet can bring
immortality to a loved one by his writings.
MOSTLY DEDICATED ALL OF HIS SONNETS TO HIS PATRON, THE EARL OF SOUTH HAMPTON.
Shakespeare also used Blank Verse (unrhymed iambic pentameter)
in his plays (u/ u/ u/ u/ u/).
Then Shakespeare's fame grew as an
Actor… for 20 years from 1585-1605 (21-41 when he died)...
Page 2 of 16 …and as a member and part owner of a repertory group called the KING'S MEN after James I became king.
Shakespeare probably made most of his money as an actor and producer,
not as a playwright.
But today Shakespeare is known as the world's greatest
Playwright.
Shakespeare wrote at least 36 plays
--all were written for his company--the King's Men, who paid him about
$40 per play.
He wrote easily---to please the audience, intuitively, creatively--his characters are
real.
18 plays were published first as pamphlets (Quartos)
He got his ideas from other plays--from the works of Seneca, Ovid, Plutrarch's Lives, Holinshed's Chronicles, Italian Plays:
RATHER THAN from personal or local London Material.
"He could take any kind of dross and turn it into gold" Chute
Some things to note about Shakespeare's Style
Use of Blank Verse--Five feet to a line---each beat consisting of an unaccented syllable followed by an accented syllable--technically
Page 3 of 16 know as iambic pentameter.
Use of Metaphors-- Comparing something in terms to something else such as "a ship lows the seas"
Use of soliloquies --Someone talking to himself...... revealing his thoughts to the audience.
Use of Asides‐‐Saying something to the audience that other players can't hear.
Use of Conceits--Whimsical, fanciful, extravagant ideas or images
Use of Puns--Humorous play on words indicating different meanings.
HE GAVE THEM WHAT THE AUDIENCE WANTED
(and got!)
--Lots of ACTION--duels, murders, headless horsemen, drinking, soldiers, clowns,
as, witches, gods and a touch of sex.
-- Lots of Puns, Wit, Asides, "Conceits"
--Sense of satisfaction -- Evil overcome, patriotism, earthly humor
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--Lots of Noise -- music, shouting, sound effects
A show lasted
about 2 1/2 hours (usually in the afternoon to use natural lighting)
--no "Acts" but frequent INTERMISSIONS
--End of scenes was indicated by "rhymed tag or a change of actors"
--No "Scenery" but elaborate props and costumes to give reality
--Many "DEVICES" such as trap doors, scaffolds, etc. to produce or make trees, gods and more disappear!
--No ACTRESSES-- men or boys took the parts of women, clowns, ghosts, witches
-- no "playbills"
(This handout was developed by Mrs. Melanie Minch-Klass --a teacher at Old Bridge High School East Campus.)
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notes
Venice, Italy --For the Elizabethans, the Italians were wicked, murderous, and of loose morals.
The women -- rumored to be very beautiful, and passionate. An Elizabethan audience -- would have been highly suspicious of Desdemona and her behavior. (Running off to get married behind your father's back was simply not done.)
Venetian men -- considered hot-tempered, aggressive, and easily jealous. As for Iago, he probably represented the kind of villain Elizabethans thought ran rampant throughout Italy!
An oligarchic (political power effectively rests with a small elite segment of society whether distinguished by wealth, family or military powers). city-state of enormous commercial wealth, -- luxury and culture and was also famous for its judicial system Its trade was partially choked off by the growing power of the Turkish empire, hence the importance of Cyprus. Venice was a Christian state; Turkey was Moslem.
Other Places:
MOOR equivalent to "African. Originally, it meant "native of Mauretania," a country in north Africa, Modern day-- Morocco. Dark, mysterious people very different from both the Italians and the English.
Page 6 of 16 CYPRUS. island, near Turkey and Syria, conquered and taken by the Turks. The Venetians want it back; wish the destruction of the Turkish fleet.
OTTOMAN, OTTOMITES. These terms (I.3.49, II.3.170) refer to the Turks.
GOVERNMENT/ MILITARY RANKING ANCIENT. -- military rank (same word as "ensign"), the man who carried the flag on the battlefield. The ensign/ancient had to be extremely courageous and loyal, maintaining his position in the face of death. Of course it is ironic that Iago, the deceiver, should have this particular rank. He is aware of this irony and enjoys it; at one point, Iago says he "must show out a flag and sign of love" to Othello, "which is indeed but [only] sign" (I.l.153-54). Although he likes the irony, Iago resents his rank, which does not require intellectual skills like that of Cassio (trained in battle strategy). Iago is third in command to Othello, behind Cassio.
LIEUTENANT. The rank which Cassio has just been given, literally meaning "place-holder." Second in command to Othello, he holds Othello's place in his absence. Ironically, Othello comes to believe that Cassio holds Othello's place in Desdemona's affections. Even more ironically, the play ends with Cassio literally put into Othello's place as governor of Cyprus.
OTHELLO'S POSITION AND STATUS. Othello is a professional soldier who, after much battlefield experience, is currently employed by Venice as general of its forces. He is called "General" or, sometimes, "Captain." He holds a high position and is greatly respected. In Act I, he is sent by the Venetian government to defend Cyprus against an impending attack by the Turks.
SOCIAL STATUS OF OTHER KEY CHARACTERS Cassio is clearly a "gentleman," a member of the gentry. He comes from Florence, a city known for its high culture. He has been educated (he is an "arithmetician" trained in the history of warfare [I.i.16-24]: a theoretical strategist). He has fine manners with ladies (II.i.l65-175).
Roderigo is also a gentleman, a member of the gentry from Venice. We know he owns land, because he says he is going to sell it all (I.iii.373). We know he is affluent, because Iago has been regularly getting money from him and expects to get more (I.i.2-3; I.iii.374). He has enough money to send gifts of rich jewels to Desdemona (IV.ii.183-85). When we first meet him, he would like to marry Desdemona; this would be an appropriate match socially for both of them.
Desdemona is a lady, a member of the gentry from Venice. Her father is a senator, which automatically means he would be of the gentry or nobility.
Iago appears to be not of the gentry class. He is sarcastic about Cassio's fine manners (II.i.165- 175) and education. He does not seem to be affluent. He has been a foot-soldier and has only now achieved promotion.
Emilia also is not a member of the gentry. Neither she nor Iago appear to see anything inappropriate or insulting in Emilia's being asked to act as Desdemona's personal attendant, so we can take it that she is (and her husband as well) below Desdemona in social position.
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Brainstorm/ Journal Name ______
Part One: Imagine you have become romantically involved with someone and are planning to make a permanent commitment. You are very happy with this person and have no reason to mistrust him or her. Then, a very close friend tells you your significant other might be “cheating” on you.
First, Brainstorm three words to describe how you might feel. • • •
Now, tell me what you might do:
Part Two: Now imagine you are the person who has been “accused.” However, your significant other has decided to remain silent about the accusation. How might he or she begin treating you?
Part Three: List three personality characteristics or skills that you like about yourself: Positive Qualities: 1. 2. 3. S (Hey! Keep going—you know you love yourself)
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The phrase “green-eyed monster” http://www.phrases.org.uk/meanings/166600.html Meaning envy/ jealousy Origin Green is a colour associated with sickness, possibly because people's skin takes on a slightly yellow/green tinge when they are seriously ill. Green is also the colour of many unripe foods that cause stomach pains.
The phrase was used by, and possibly coined by, Shakespeare to denote jealousy, in The Merchant of Venice, 1600: Portia: How all the other passions fleet to air, As doubtful thoughts, and rash-embraced despair, And shuddering fear, and green-eyed jealousy! O love, Be moderate; allay thy ecstasy, In measure rein thy joy; scant this excess. I feel too much thy blessing: make it less, For fear I surfeit.
In Othello, Shakespeare also alludes to cats as green-eyed monsters in the way that they play with mice before killing them.
Iago: O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock The meat it feeds on; that cuckold lives in bliss Who, certain of his fate, loves not his wronger; But, O, what damned minutes tells he o'er Who dotes, yet doubts, suspects, yet strongly loves!
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STUDY GUIDE Name ______Act One 1. What is Iago's complaint in Scene I?
2. Who is Brabantio, and why do Iago and Roderigo awaken him in the middle of the night?
3. Why does Iago leave Roderigo at Brabantio's house?
4. What is Roderigo’s previous relationship with Brabantio and Desdemona?
5. What is Brabantio's reaction to Othello's marriage to Desdemona?
6. Why does the Duke send for Othello?
7. What danger is Cyprus facing?
8. Brabantio complains to the Duke about Othello's marriage to Desdemona. After listening to both sides of the story, what is the Duke's reply?
9. What is Roderigo's complaint, and what is Iago's reply to it?
10. Who is Othello, and why is he so respected by the Duke?
11. What warning does Brabantio give to Othello?
Page 10 of 16 12. Othello and Desdemona have just been married. Will they stay together or separate?
13. What does Iago say must happen to Desdemona?
14. Why does Iago “hate the Moor”?
15. How would you grade Iago on racial insensitivity? .
Act Two
1. Where are we as Act 2 begins? What is the situation at sea?
2. What has happened to the Turkish fleet?
3. Which ship from Venice arrives first?
4. Which ship arrives second? Why is it surprising that it arrives before Othello’s?
5. What does the discussion between Desdemona and Emilia tell us about their relationship?
6. Who is Emilia?
7. How does Cassio greet Desdemona and Emilia?
8. Why does Iago want Roderigo to anger Cassio?
9. What is the purpose of Iago's plan? Page 11 of 16 10. What evidence is Iago using to rationalize his plan? Is his evidence solid?
11. What keeps Roderigo from seeing the truth instead of Iago’s lies?
12. What emotion seems to be governing Iago’s thoughts and actions?
13. How does Iago see Desdemona, and how does Cassio see Desdemona?
14. Why does Iago want Cassio to drink more wine?
15. What is the outcome of Cassio’s drinking?
16. What lie does Iago tell Montano about Cassio?
17. Why does Othello strip Cassio of his rank?
18. Why does Iago want Cassio to ask Desdemona for help in restoring Othello's faith in Cassio?
19. How does Iago get back in Othello’s good graces?
20. What is Roderigo’s complaint, and how does Iago answer it?
Page 12 of 16 STUDY GUIDE Name ______
Act Three
1. Why does Cassio bring musicians? What is Othello’s response to them?
2. What does Emilia tell Cassio that Desdemona is already doing for him?
3. What responses do Iago and Othello have to seeing Cassio leave Desdemona?
4. How successfully does Desdemona plead for Cassio? What is Othello's response to Desdemona as she leaves?
5. Why doesn't Iago simply tell Othello right away that Desdemona and Cassio are having an affair?
6. Othello’s love for Desdemona is solid as can be seen through line 93 of Act 3, Scene 3. ( p.5 Excellent wretch! Perdition catch my soul, /But I do love thee! and when I love thee not, /Chaos is come again.) Why does he become a man in “misery” by his next speech (3.3.190/p10). What has moved him from love to jealousy?
7. How can anyone provide proof of fidelity?
8. What thing does Emilia find and give to Iago? What does Iago intend to do with it?
9. What is Iago's reply when Othello demanded proof of his wife's disloyalty?
10. What does Othello decide and command at the end of Scene 3?
11. 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?
12. Is there any chance of his changing his mind or of Desdemona's convincing him of her innocence after this speech? Page 13 of 16 13. What is Emilia's relationship with Iago? Desdemona?
14. What, according to Othello, is the history of the handkerchief (3.4.53-73)? Is Othello telling the truth here? What else might he be doing?
15. What does the argument in 3.4.75-95 (between Othello & Desdemona) show about both Othello and Desdemona?
16. What is Emilia's view of men (3.4.99-102)? How justified is she?
17. Who is Bianca? What is her relationship to Cassio? What does he ask her to do? What is her emotional response? Sound familiar? How does Cassio get the handkerchief?
18. Who had the handkerchief at the end of Act 3? Why?
Act Four
1. After Iago lied and told Othello that Cassio confessed going to bed with Desdemona, what advice does he give the overwhelmed Othello?
2. What happens to Othello in Scene 1? How does Iago respond?
3. How does Iago trick Othello into thinking Cassio is gloating and bragging about his affair with Desdemona?
4. Why is Bianca angry with Cassio?
5. How does Bianca's return with the handkerchief help Iago?
6. Why does Othello hit Desdemona?
7. Who is Lodovico, and why has he come to Venice?
Page 14 of 16 8. What is Lodovico's reaction to Othello's behavior towards Desdemona? How does Iago later explain Othello's behavior to Lodovico?
9. Why does Othello ask Emilia about Cassio's affair with Desdemona, and what is her reply?
10. How correctly does Othello identify his weakness in Scene 2?
11. To whom does Desdemona turn for help after Othello calls her a strumpet (Act IV.ii.p5)?
12. Why does Iago tell Roderigo to kill Cassio? Why does Roderigo consent to think about it?
13. If Roderigo kills Iago, what promise has Iago taken care of?
14. Give Scene 3, between Desdemona and Emilia; is it at all possible that Desdemona could ever be unfaithful to Othello?
15. What is the effect of the “Willow Song” and the interruptions to it?
Act Five
1. How would Iago gain from Roderigo's death? Cassio's?
2. What happens when Roderigo attacks Cassio? Who actually wounds Cassio?
3. What does Othello assume has happened? Is he correct?
4. After Bianca appears, what new part of his plot does Iago begin in Scene 1, starting at line 107? (p.8)
5. Who will get the blame for the attack on Cassio if Iago has his way?
6. What justification does Othello try to give for the murder of Desdemona in Scene 2?
7. How does Othello kill Desdemona? What interruption occurs while he is doing it? Page 15 of 16 8. Whom does Desdemona blame for her death? Does Emilia believe her?
9. How is Desdemona faithful to Othello to the end?
10. What happens when Iago tells his wife not to speak and to go home, orders which good Renaissance wives should follow without question?
11. What is Emilia’s reaction when Othello tells her that Iago has revealed Desdemona's affair with Cassio to him?
12. What is Othello finally beginning to realize at 5. 2.205? What has happened to Desdemona’s father?
13. Why does Othello attack Iago?
14. What is Othello’s reaction to having his sword taken away?
15. How does Othello use the second sword his finds in the room?
16. How do Roderigo’s pockets conveniently help to clarify much of what has happened?
17. What happens to Othello, Iago and Cassio in the end?
18. Who gets Othello’s estate? Why?
? Where did these questions come from? http://www.studyguide.org/othello.htm. BUT, the answers are within the text and you! ☺
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