"I Taste a Liquor Never Brewed" Pg. 797 Question 4

As explained in Question 4, the last stanza of Emily Dickinson’s “I Taste a Liquor Never Brewed” does in fact paint the image of a stereotypical street scene in which neighbors or townspeople flock to windows to observe the comical behavior of a drunkard. Stereotypical drunkards in this situation would be likely to lean against a sturdy structure such as a lamppost or even the side of a building. However, because Dickinson’s poem presents an extended metaphor and is not literally depicting an individual who is drunk due to excessive consumption of alcohol, the drunkard in this poem does not lean on any stereotypical structure on the streets. Rather, the speaker in the poem is “drunk” as a result of feverishly drinking in the beauty of nature. Consequently, the speaker is described as leaning against the sun rather than a lamppost or building. However, the component of this final stanza of the poem which is bound to capture the attention of the reader the most is the description of the seraphs and saints. Dickinson describes these entities in the following manner: “Till seraphs swing their snowy Hats—and Saints—to the windows run—to see the little Tippler leaning against the—Sun—“ (Dickinson, 797). While one may expect neighbors and onlookers in a stereotypical situation in which a drunkard is on the streets to fly to the windows of their homes to take entertainment and delight in the drunk individual’s actions, one would not expect such holy beings as angels and saints to desire to rush to observe such shameful events. However, because the speaker in the poem is “drunk” on the beauty of nature rather than the excessive consumption of alcohol, the seraphs and saints would in fact take pleasure in observing such actions. After all, loving and admiring the magnificence of God’s creation is a pleasing act in stark contrast to the shame or immorality of drinking too much alcohol. Therefore, Dickinson’s use of imagery in including this image of holy beings such as seraphs and saints taking delight in the speaker’s “drunkenness” serves to emphasize the goodness of the speaker’s actions and enhance the contrast between the speaker’s form of intoxication with the stereotypical drunkenness of all others on normal liquor. This also ultimately reinforces the meaning of the title “I Taste a Liquor Never Brewed” in indicating that the speaker is unique in her sheer delight and inebriation caused purely by the natural elegance of the earth.

"Sorting Laundry" Symbolism

                The sorting of laundry which is performed by the speaker in Elisavietta Ritchie’s poem “Sorting Laundry” is to be interpreted both literally and figuratively. While the speaker is in fact literally sorting laundry, the articles of clothing which the speaker is handling are each representative of a component of the couple’s relationship; therefore, the poem can be characterized by the many examples of symbolism which occur throughout the entirety of the speaker’s words. In each piece of laundry that the speaker sorts, a different component of the couple’s relationship can be observed. For example, the speaker describes the pillowcases in the following manner: “Pillowcases, despite so many washings, seams still holding our dreams” (Ritchie, 841). Even within this very short statement, many insights can be made into the couple’s relationship. Because the speaker notes the fact that the pillowcases have been washed numerous times, the reader can reasonably assume that the man and woman in the poem have been in relationship for an extended period of time. Furthermore, seams are the components of a pillowcase which hold the two pieces of fabric used to make the pillowcase together. Therefore, as the speaker describes the seams of the pillow as still holding their dreams, she is not just referring to the fact that the couple’s dreams have been encouraged and preserved after all their time together. Rather, she is also referring to the fact that, just as seams keep two pieces of fabric bound to one another, the couple’s dreams do in fact keep the two individuals in the relationship bound to one another, as well. As the poem progresses, the speaker refers to other pieces of laundry to describe their life together, as well. For example, the horribly ugly patterns depicted on their towels suggest that the couple has a vibrant and lively relationship which does not demand perfection or a pristine outward appearance. Additionally, just as the speaker mentions that the couple never bleached the gaudy patterns out of the towels, she suggests that the couple would never desire to wash the colorfulness or uniqueness out of their own relationship. Moreover, even without considering specific pieces of laundry, the load of clothes as a whole is representative of the couple’s lives together. For instance, although they each have their own individual pieces of laundry, all articles of clothing are thrown into the wash together and combine into one massive pile of existence. In a similar way, just as two people in a relationship will always remain unique and distinct individuals, their lives combine in such a manner that they are, in many senses, a single unit, just as a pile of laundry composed of individual pieces of clothes can still be regarded as one unit, or load.

                Understanding the many examples of symbolism utilized by Ritchie in this poem is essential to understanding the mood shift at the end of the poem. As the poem concludes, the speaker expresses her fear at the thought of her lover one day leaving her. If the reader does not understand the symbolism presented in the other pieces of laundry, the reader will have a less clear understanding of the depth of the couple’s relationship and therefore will have less insight into the fear the speaker feels at the potential loss of this love. Therefore, the symbolism is an essential component of the poem “Sorting Laundry.”

"Batter My Heart, Three-Personed God" Paradox

The speaker in John Donne’s sonnet “Batter My Heart, Three-Personed God” essentially expresses a desire to grow closer in his relationship with God by turning away from sin and embodying goodness. While this desire may be the central theme of many religious poems, however, the speaker’s approach in asking God for guidance on his endeavors for goodness is fairly unusual. Consequently, the sonnet establishes a paradox which is developed throughout the course of the sonnet and is revealed in its entirety in the last two lines of the poem. Instead of simply asking God to purify his heart in order to make him more holy in mind and deed, the speaker requests that God batter his heart; in other words, he asks God to strike him repeatedly. Furthermore, the speaker insists, “That I may rise and stand, o’erthrow me, and bend your force to break, blow, burn, and make me new” (Donne, 840). Ultimately, the speaker is essentially asking God to beat him into submission. While the speaker may be seeking the same spiritual strength and relationship with God as many others do, the speaker separates himself from others by realizing that the only way for him to personally avoid sin is to be so broken and beaten down that God could reshape his heart and make him anew. The irony in the speaker’s request of God can further be seen in his statement that “…Dearly I love you and would be loved fain, but am betrothed unto your enemy” (Donne, 840). With the assertion, the speaker suggests that, while he truly loves God and desires to have a close relationship with him, he bitterly has to admit that he cannot escape the grasp of sin, which is in direct opposition to God. With this in mind, the paradox that is present in this poem is brought to completion with the last two lines of the poem, in which the speaker expresses that, in order to be free of evil, he wishes for God to imprison him, and in order to be made chaste, he wishes for God to “ravish” him. While it may seem like a contradiction to seek freedom through imprisonment and chastity through enthrallment, a certain amount of truth does exist in the speaker’s request. The speaker is fully aware of his own weakness and therefore understands his own limits; he knows that he will be incapable of ever being free of sin and imperfection unless the God of Goodness himself would make his heart pure by force. Therefore, Donne’s sonnet ultimately presents a paradox in the idea that, in order to be rid of evil and full of purity, the speaker desires to be broken, beaten, and imprisoned in order to be made new.

"The Convergence of the Twain" Juxtaposition and Situational Irony

                Thomas Hardy’s “The Convergence of the Twain” is divided into eleven stanzas, or subsections, which are centered around two central ideas that Hardy intends to convey through his employment of juxtaposition and situational irony. In the first five stanzas of the poem, Hardy paints a stark contrast between the lavish manner in which the Titanic was designed to exist and the displeasing reality of its true existence on the floor of the ocean. To accomplish this, Hardy juxtaposes a number of features of the boat as they were intended to exist in comparison to their tarnished state in the depths of the ocean. For example, Hardy writes, “Jewels in joy designed to ravish the sensuous mind lie lightless, all their sparkles bleared and black and blind” (Hardy, 778). In this statement, Hardy creates a juxtaposition that presents the opulence of extravagant jewels meant to dazzle even the richest of passengers in opposition to their dullness and dimness crushed under the great depths of the sea. Hardy also juxtaposes the elegant mirrors meant to reflect the beauty of the ship’s finer passengers against the status of the mirror as it rests on the ocean floor with dumb and indifferent sea-worms tarnishing its beauty. In establishing such stark contrasts, Hardy also highlights the situational irony in the fact that all the features of the Titanic which were manufactured at such great length to exemplify the extravagance of mankind met an immediate fate in the darkness of the deep sea. While one would expect such beautiful structures to please the human eye for years to come, Hardy instead illustrates the situational irony of the ship’s destruction by pointing to the fact that the ship now rested as far away from human contact as possible and could be seen only by dim “moon-eyed” fishes scavenging the ocean floor.

                The second half of the poem from stanzas six to eleven use the same techniques of juxtaposition and situational irony to illustrate another idea related to the sinking of the Titanic: the converged fates of the ship itself with the iceberg which brought about its destruction. In this piece of the poem, Hardy compares the construction of the ship to the simultaneous creation of the iceberg and then proceeds to illustrate how their existences were eventually destined to clash in an imminent yet tragic collision. Hardy best articulates this idea with this statement, “No mortal eye could see the intimate welding of their later history, or sign that they were bent by paths coincident on being anon twin halves of one august event” (Hardy, 779). Hardy therefore utilizes juxtaposition by continually throughout the six stanzas of this portion of the poem comparing the life of the Titanic to the life of the iceberg. This juxtaposition in turn points to the situational irony in the fact that, while most people entertained the misconception that the Titanic was unsinkable, fate led the mighty ship to be struck down on its maiden voyage by an iceberg which had swollen to its own grandeur at the same time that the Titanic itself was constructed. Thus, the full meaning of Hardy’s poem is revealed through juxtaposition and situational irony.

"Barbie Doll"

                In many ways I find the central essence of Marge Piercy’s “Barbie Doll” to be rooted in the idea of a stock character. The young girl in the poem is depicted as a strong, intelligent, independent woman with many unique gifts and talents to offer the world through her vibrancy and individuality. However, the girl was consistently pressured to improve herself because her “great big nose and fat legs” (Piercy, 835) prevented anyone from being able to see her genuine beauty, and the pressure and torment she experienced in the name of achieving physical perfection ultimately compelled her to take her own life. Thus, I believe that Piercy is asserting through her poem the notion that today’s culture both encourages and forces all young girls to essentially become stock characters, or Barbie dolls. Although the young woman presented in the poem possessed many beneficial and valuable qualities, all such gifts were overshadowed by the stereotype which all teenage girls are supposedly forced to comply with today. By mentioning the fact that the young girl was given dolls, fake stoves, and plastic lipstick to play with as a child, Piercy alludes to the idea that all girls today are molded to become stock characters, or stereotypical young women of today’s society, rather than embracing and developing their own individuality. Thus, in this manner, Piercy’s poem embodies a sarcastic and condemning tone as she conveys the idea that society’s obsession with creating all young girls into stereotypical Barbie dolls promotes a universal stock character which all girls must conform to.

                Furthermore, the idea of a stock character contributes greatly to the essence of this poem in the sense that the reaction of the young girl in the poem to the pressure she was receiving was also very stereotypical. Many stories have arisen in the past of young girls who were so distraught over their hopeless pursuits of physical perfection and so oppressed by the feeling of being unable to express their own individuality that they took their own lives. In trying to create an identity which the world would approve of, the teenage girl in the poem instead lost the only real identity she could ever truly possess: her very own unique and individual self. Piercy writes, “Her good nature wore out like a fan belt” (Piercy, 836). However, unfortunate as it may be, many young girls respond to today’s peer pressure in the same manner: instead of fighting for their own individuality and image, they fight endlessly to achieve perfection in the eyes of society, forsake their own identities, lose their sense of purpose and happiness, and take their own lives. Therefore, ironically, the poem “Barbie Dolls” reveals the fact that the young girl in the poem not only did everything in her power to become a “stock character,” but her reaction to her physical imperfections did, in and of itself, embody that of a stock character. In other words, the young girl in the poem acted as a stock character by placing too much emphasis in her life in trying to become a stock character. Though the sarcastic tone of the poem and the disheartening conclusion provide for the poem’s serious nature, Piercy does convey the central theme of embracing one’s own imperfection and individuality effectively via the utilization of the concept of a stock character.

"To His Coy Mistress"

               Figurative language is present in abundance throughout the poem “To His Coy Mistress” by Andrew Marvell and plays a significant role in illustrating the central themes of experiencing and enjoying love in the fleeting instance that life on earth lasts. For example, Marvell articulates the idea that life on earth is not indefinite by using a metaphor in the following passage: “But at my back I always hear time’s winged chariot hurrying near” (Marvell, 804). By comparing time to a winged chariot in this manner, the author conveys the idea that time passes rapidly and that the remainder of their lives on earth shrinks with each passing day. Furthermore, by describing time as a winged chariot approaching him from behind, he alludes to the fact that death is constantly in pursuit of man, consistently drawing closer and closer to him, yet behind his back, where he cannot see for sure when it will catch he. Therefore, in using this metaphor of a winged chariot to express the fleeting nature of time, Marvell reinforces the speaker’s sense of urgency to convince his coy mistress to cast aside her shy nature and embrace their love before they become prisoners to the effects of time and lose their lives.

                Marvell also employs figurative language in the poem by incorporating similes into his descriptions of the mistress and his love for her. For example, he describes the youthful hue of his young mistress as resting on her cheeks in the manner that morning dew rests gently upon the earth. In comparing the skin of his lady to something so gentle and beautiful in nature, he highlights the fact that his mistress is delicate and likely to be shy rather than the type of woman who would embrace every aspect of life, such as love. Furthermore, the speaker describes his own soul as firing at every pore, and this figurative comparison advances the meaning of his work by articulating his own desire for his mistress. The fact that he describes every pore of his being as being afire serves as a strong indication that the speaker has no intentions of wasting any more time than he absolutely has to; rather, he would prefer to embrace life while he still possesses his youth rather than waiting for their encasement in marble graves to love one another.

                Finally, Marvell concludes the poem with the statement, “Thus, though we cannot make our sun stand still, yet we will make him run” (Marvell, 804). I believe the sun to be symbolic of the couple’s time together and their lives at large. The speaker is intending to express the idea that they cannot prevent the time of their youth from fading away just as they cannot prevent the sun from rising and falling each day; however, they certainly can embrace every instant of their time together. All of these examples of figurative language therefore emphasize the speaker’s key purpose of convincing his mistress to forsake her coyness to as to enter into a loving relationship with him before the winged chariot of time takes either of them prisoner.

"A Jury of Her Peers" Pg. 426 Question 1

                Much irony can be found in the title of “A Jury of Her Peers” by Susan Glaspell. While the structure of the plot of the story is centered on determining who and what caused the death of Mr. Wright, the ultimate essence and theme expressed in the story were rooted in sexism. This work of Glaspell was first published in 1917, at a time in American history when women were not given the right to vote nor the right to be judged by a jury of peers, and women were often seen as having little purpose in daily life other than to fret over trifling things such as the cleanliness of dish towels in the kitchen. This view of women is conveyed by the three principle men in the story, Mr. Hale, Mr. Peters, and Mr. Henderson, the young attorney. Although the two women are brought along to the scene of the crime so that Mrs. Peters can gather a few essential items for Mrs. Wright, who is being detained under order of the law, and so that Mrs. Hale can give Mrs. Peters company, the two women are in no way expected to contribute in any way to the solving of the murder mystery. In fact, the men find a way of criticizing the women for their apparent simple-mindedness and lack of functionality in life throughout the duration of their visit to the Wright home. For example, the men act condescendingly towards the women when they discover them worrying over the state of Mrs. Wright’s canned fruit and quilt patterns. However, as the egotistical men search boldly for evidence of a murder, Mrs. Hale and Mrs. Peters alone are able to discern that Mrs. Wright was in fact Mr. Wright’s murderer, as well as what her motives were in killing her own husband.

                The considerations mentioned above are what make the title “A Jury of Her Peers” very ironic in nature. While women in that time period were not allowed to ever serve on a jury, nor would women such as Mrs. Wright be given a jury of her peers in court, it was the only two women at the scene of the crime, Mrs. Hale and Mrs. Peters, who were able to determine Mrs. Wright’s motives in killing her husband quite simply because they themselves were women, too. After discovering Mrs. Wright’s precious bird dead from a wrung neck and entombed in a very elaborate box, the women determine that Mr. Wright must have killed her bird out of maliciousness and irreverence towards his wife’s happiness. Mrs. Hale and Mrs. Peters begin to understand that Mrs. Wright may have killed her husband simply because she was driven to insanity by the solitude, loneliness, and lack of love and companionship that suffocated her in her empty abode and was perpetuated by the stoic attitude of Mr. Wright. Upon discovering the dead bird, Mrs. Hale remarks, “I wonder how it would seem… never to have any children around? …No, Wright wouldn’t like that bird… a thing that sang. She used to sing. He killed that too” (Glaspell, 423). This excerpt proves that the women understood the oppression which Mrs. Wright must have felt by her husband because their metaphorical “song” had been crushed by their own husbands and men at large, as well. There, the title “A Jury of Her Peers” is ironic because, despite the fact that women were not believed capable of great intelligence or the ability to solve a murder mystery, the women alone were the only ones able to solve the mystery because they could sympathize with the motives of a woman whose hopes, dreams, and happiness had been crushed by her inferiority and loneliness. The women’s defiance at the conclusion of the story also reinforces the notion that all women were resistance to the sexism they all endured.

"Hunters in the Snow" (Based off pg. 202 question 4)

                The element of “Hunters in the Snow” which Tobias Wolff utilizes most prominently in order to maintain the suspense of the plot is the surprising changes of character that occur in Tub, Frank, and Kenny. To begin with, Tub undergoes a dynamic transformation over the course of the story as he shifts from a sympathetic, good-natured, and victimized man to a somewhat cold-hearted individual. At the beginning of the novel, Tub is depicted as an overweight but kind man who is constantly ridiculed by his friends for his incredibly large size. For example, Frank and Kenny criticize his lack of physical agility and merely sit and watch stoically as he struggles to climb through fences rather than lend him a hand. Moreover, when he eats nothing but an egg and a stalk of celery for lunch, they rebuke his lack of success on such a pathetic diet. Consequently, the reader initially identifies Tub as a sympathetic character who is subject to the bullying of his best friends on a regular basis; however, when Tub ultimately shoots Kenny in a desperate attempt to protect himself against what he believed to be a threat to his life, the reader can begin to see that Tub is not as weak and victimized an individual as one might initially suspect. While Tub may have been acting in self defense when he shot Kenny, this act serves as the first indication that Tub may lack important rationalizing skills and have issues with self-control. These flaws in Tub’s character are further emphasized when he is convinced by Frank to eat four full plates of pancakes at the diner. Wolff highlights Tub’s lack of self-control in remarking, “Tub ate several mouthfuls, then started to wipe his lips… the syrup covered his chin; it dripped to a point like a goatee… Tub took the fork in his left hand and lowered his head and started really chowing down…Tub lifted each of the four plates and licked it clean” (Wolff, 200). However, the full extent of Tub’s dynamic transformation is best manifested in the fact that he, along with Frank, fail to make any effort to retrieve the lost directions to the hospital or generally make any effort whatsoever to ease Kenny’s pain or rush him to the hospital. Although Tub may initially be seen as a bullied yet sympathetic character at the beginning of the story, his selfish and irrational actions throughout the course of the plot prove that he is instead a selfish man lacks compassion for others and ultimately becomes a bit of a bully himself.

                Frank’s character also shows a bit of a dynamic transformation in the sense that he begins the story being best friends with Kenny and ridiculing Tub, whereas, by the conclusion, he has forsaken his loyalty to Kenny in exchange for a close bond with Tub. However, I personally do not view this as much of a dynamic change since many aspects of Frank’s personality seem to indicate that he is unfailingly fickle. The fact that Frank never seems to take any initiative of his own while hunting with Kenny and Tub but merely follows the decisions and actions of others proves that he only intends to follow others. Furthermore, his confession to Tub that he is in love with a fifteen-year-old rather than his own wife proves that he is very capricious in relationships. Therefore, while Frank does change friends during the progression of “Hunters in the Snow” I do not believe that his character in and of itself changed in any significant way; rather, I believe Frank’s tendency to be fickle was a consistent trait of his which was displayed throughout the story.

Othello Act V Theme of Trust

                In my own personal opinion, I found the issue of in whom one should place their trust to be a major theme of Shakespeare’s Othello. Othello and Roderigo prove themselves to be the two characters whose actions speak to this theme most profoundly in Act V. To begin with, Othello has been placing his trust in the wrong characters throughout the entire play, but the culmination of this blind trust does not fully reveal itself until this fifth act. Despite the fact that Iago is a treacherous and dishonest man, Othello overlooks the indications that he is an evil man and chooses to take heed to every piece of false information with he gives Othello. Rather than questioning the man who is his ensign, he instead places all his trust in the conniving Iago and instead questions his very own wife, who is loyal and honest to the moment of her death. However, in addition to the fact that Othello foolishly trusted the wrong individuals, he additionally contributed to the theme of the dangers of trust or a lack thereof by refusing to trust the words of his honest wife, Desdemona. Despite her genuine and sincere protestations that she is absolutely and entirely guiltless and has performed no act of infidelity to deserve Othello’s scorn, he stubbornly insists that she is guilty, asserting that she must, “Therefore confess thee freely of thy sin, For to deny each article with oath cannot remove nor choke the strong conception that I do groan withal. Thou are to die” (Shakespeare, V, ii, 53-56). Othello has become so hardened in heart by his belief of his wife’s affair that he has become adamant in his resolve to murder her, and no words in Act V can dissuade him of the need for Desdemona’s death. However, the entire issue could clearly have been resolved if Othello had only placed his trust in the much more honorable character of Desdemona rather than the wicked Iago.

                Roderigo’s blind trust of Iago also reinforced the necessity of placing trust in the right character. Roderigo foolishly trusted Iago for quite a length of time, handing over most of his riches to the man without demanding any immediate and concrete evidence that his personal sacrifices were even being used for the advancement of his own good. Though Roderigo does eventually see the futility of his trust in Iago and even confronts Iago about his falsehood, he makes this essential revelation a little too late and ultimately still faces a very unfortunate death at the hands of Iago. Had Roderigo placed his trust in someone more honorable than Iago, then he could not have been used as an instrument in Iago’s wicked schemes, and the entire plot of the novel may have been altered. Therefore, the events which unfold in Act V of Othello prove the  culmination of the theme of the relevance of trusting the appropriate individuals in the final act of the play.

Othello Act V Dynamic Characters

                A number of characters prove themselves to be dynamic characters in the fifth and final act of Shakespeare’s Othello, including Othello and Emilia. Othello is the first character in the act to reveal his dynamic nature by acting according to very evil impulses and murdering his wife, Desdemona. At the beginning of the novel, he is characterized as a very valiant, honorable, and respectable man who was able to remain calm and composed in stressful or treacherous situations, specifically in battle. As the play progresses, Othello exhibits these personality traits on many different occasions, including when charged by Brabantio of drugging his daughter and when handling the chaos of Cassio’s drunken rage in Act II. However, when the state of his emotions and heart were threatened by the news of Desdemona’s infidelity, he rapidly transformed into a man who did not resemble Othello in the slightest. He had angry fits of rage, threatened to murder Iago, had a couple of seizures, and resolved unabashedly to kill both Cassio and Desdemona. While Othello’s heartbreak at the thought of the infidelity of his wife is certainly understandable, the fact that he actually murders his wife with his bare hands in Act V despite her desperate and honest pleas of innocence is altogether inexcusable. At the beginning of the play, imagining the calm and collected Othello murdering the woman he was madly in love with would have been inconceivable; however, by strangling her despite her gentle protestations in Act V, Othello finally reveals that he has changed in a number of important ways as a result of the action of the play, therefore making him a dynamic character. Although his eventual shame ultimately causes him to kill himself, the fact remains that the novel’s action changed Othello in a number of significant ways.

                Despite Othello’s dramatic change of character of the course of the play, Emilia’s transformation as a dynamic character is the most potent in Act V. At the beginning of the play, Emilia was characterized as being incredibly shy and timid, and she was always accepting of her inferior role as Iago’s wife. Her unrelenting subservience to Iago was proven by the fact that she gave Iago Desdemona’s handkerchief in response to his request. However, Emilia’s entire personality changes entirely in Act V when she finally finds her voice and confronts her husband for all this evil actions. With immense bravery and boldness that would be unimaginable in the character of Emilia, she defies her husband’s orders to be quiet and states firmly that, “I will not charm my tongue, I am bound to speak” (Shakespeare, V, ii, 183) and also that “Good gentlemen, let me leave to speak. ‘Tis proper I obey him, but not now” (Shakespeare, Act V, ii, 194-195). Therefore, in this scene, Emilia proves that she is a dynamic character by changing in the sense that she found her independence and courage over the course of the play.

Othello Act IV Foreshadowing

              In Act IV, scene iii of William Shakespeare’s Othello, Shakespeare utilizes foreshadowing by indicating the imminent death of Desdemona through the song she sings about a willow. Desdemona explains that she learned the song from her mother’s maid. She remarks, “My mother had a maid called Barbary. She was in love, and he she loved proved mad and did forsake her. She a song of “willow”—and old thing ‘twas, but it expressed her fortune, and she died singing it. That song tonight will not go from my mind” (Shakespeare, Act IV, iii, 25-30). Desdemona then proceeds to sing the song, which tells of lady sitting at the foot of a willow tree, crying in misery about the fact that the man she once loved no longer returns that love to her. The reader can tell that this is clearly foreshadowing by the fact that the situation of the lady in the song very much resembles the situation which Desdemona is currently dealing with. While she knows that she is completely innocent of every crime her husband suspects her of, she also can clearly see that he has lost all love and respect for her. Since the woman in the “willow” song is miserable and lonely, the reader might also presume that this represents the lack of happiness which Desdemona will always be burdened with forevermore. Furthermore, the aspect of this song which makes it an even stronger source of foreshadowing is the fact that Desdemona’s mother’s maid was reminded of the song after experiencing a similar situation and then died singing it. Moreover, Desdemona admits to not being able to get the song out of her head that night. Therefore, when considering the fact that the “willow” song was sung by a woman Desdemona knew going through the same situation as herself at the moment she died, and that, on top of this, Desdemona cannot help but think of the song that very night, the fact that Desdemona is likely to meet her own death that very night becomes evident. Consequently, Shakespeare employed foreshadowing through the “willow” song in order to build suspense. This also contributes somewhat to dramatic irony, considering that the audience is aware of Othello’s intentions to murder Desdemona, whereas Desdemona suspects no such action of her husband whatsoever.

Othello Act IV Symbolism and Minor Characters

In Act IV of Shakespeare’s Othello, the significance of minor characters and symbolism is revealed in the discussion that is conducted between Bianca and Cassio regarding the handkerchief. The conversation begins as Bianca confronts Cassio for asking her to copy the pattern on the handkerchief he found in his room. Although Cassio promises that he has no idea who the handkerchief belongs to, but that he simply happened to find it in his room, Bianca convinces herself that it is a handkerchief given to him by another woman. Believing that her relationship with Cassio is much more serious than Cassio views it, she is greatly offended that he would ask her to copy the pattern of a handkerchief belonging to another mistress of his. However, it is during this conversation that Othello is spying on Cassio and Iago, and, when he sees Bianca wielding the handkerchief which he gave to Desdemona, he receives the “ocular proof” of Desdemona’s infidelity that he worried about for quite some time. Othello blindly accepts the lies which Iago has been feeding him when Iago declares, “Did you see the handkerchief… Yours, by his hand. And to see how he prizes the foolish woman your wife? She gave it him, and he hath given it his whore” (Shakespeare, Act IV, i, 162-165). This scene therefore reveals the importance of the symbolism of the handkerchief. Because the handkerchief was the first gift which Othello gave to Desdemona, it is representative of their binding and loyal love to one another; consequently, when Othello believes that Desdemona has betrayed him and given this precious token of love to the man with whom she had an affair, he is heartbroken. Furthermore, believing that Cassio had in turn given this gift to his mistress, Othello became all the more outraged. Had the handkerchief not symbolized his love for Desdemona, then her gift of a mere handkerchief to another man may not have been so offensive to Othello and certainly could not be considered “ocular proof” of an affair between her and another man. However, the symbolism of the handkerchief makes this misconception devastating to Othello purely because of its implications of the love shared between Othello and Desdemona. Because the handkerchief carries such significant meaning, its possession by another man also carries much more significant meaning as well.

Act IV, scene i also reveals the significance of minor characters to the advancement of the plot in Othello. Without the minor character of Bianca, Cassio may never have bothered to ask anyone to copy the pattern of the handkerchief and paid it no attention. However, by giving the handkerchief to Bianca and offending her in the process, Othello observes the passing of his handkerchief from the man he believes to be sleeping with his wife to that man’s mistress, which convinces him to murder Desdemona. Consequently, without the role of Bianca, Othello may never have received his ocular proof of her affair and may never have found the need to murder her.

Othello Acts I-III Dramatic Irony

In looking at the first three acts of William Shakespeare’s Othello in their entirety, the literary device employed by Shakespeare which catches my attention the most is dramatic irony. I would be so bold as to make the argument that dramatic irony is the very foundation of the plot of the novel, since the very cunning and ingenious nature of all of Iago’s actions are centered around the fact that he is able to “wipe his hands” of every evil action he commits. Iago is able to single-handedly remove Cassio of his position, convince Othello of his wife’s infidelity, and a number of other vicious deeds while simultaneously convincing every single character that he is not only innocent, but loyal and honest with them. Examples of this dramatic irony pervade the entire first three acts of the play but perhaps can be seen most prominently when Iago blames Cassio for the fight that breaks out during the war victory and wedding celebration. Iago intentionally gets Cassio drunk beyond his point of emotional stability and then purposely has Roderigo pick a fight with Cassio in order to rile him up. However, when Othello asks Iago to explain the situation, he acts as though he is pained to say anything poor of his dear companion Cassio. He even goes as far to declare that he will only testify against Cassio in confidence that his words will bring no harm to Cassio. He insists, “I had rather have this tongue cut from my mot than it should do offense to Michael Cassio. Yet I persuade myself to speak the truth shall nothing wrong him” (Shakespeare, II,iii,200-202). This is the height of dramatic irony since the audience knows full well that Iago had every intention of brining harm to Cassio. As the play progresses, this dramatic irony will be essential  to Iago’s success at bringing about the doom of every single character while maintaining the characters’ trust in himself, his words, and his actions.

Othello Act III

Before even beginning to read the play, we were told in class that the object of a handkerchief would be very essential in William Shakespeare’s Othello; considering that this handkerchief first appears in the duration of Act III, I could not help but immediately take notice to its role in the story and its many layers of symbolism. The handkerchief first appears when Desdemona attempts to wipe Othello’s fact in comfort when he expresses anguish. Taken aback by his unusual display of anger and rage, Desdemona distractedly drops the handkerchief, and Emilia sneakily retrieves it after Desdemona has exited. She explains in a brief soliloquy that Iago has wanted her to retrieve this handkerchief for quite some time. She declares that “I am glad I have found this napkin. This was her first remembrance from the Moor” (Shakespeare, Act III,iii, 292-293). With this massive revelation, the audience finally begins to understand the significance of the hankerchief and Iago’s desire to attain possession of it. The handkerchief is an essential symbol of the love and loyalty between Desdemona and Othello considering that it was the initial and heartfelt gift given to her. As a result, Iago wishes to obtain the handkerchief so as to place it in the possession of Cassio. This will serve as circumstantial evidence to prove to Othello that Cassio has had affair with Desdemona. The true genius behind the plan is that, while this evidence will be undeniably in favor or Desdemona’s infidelity, nobody else will understand the horrible evil which Iago has performed in framing Cassio with the handkerchief. Therefore, the handkerchief becomes not only a symbol of the love and loyalty between Othello and Desdemona, but also the trust in their relationship. As the handkerchief begins to change ownership and location, so does Othello’s trust in those characters surrounding him. As the play progresses, understanding the condition and location of the handkerchief will be critical to understanding the state of Othello and Desdemona’s love and relationship.

Othello Act II

                One of the most unique and interesting portions of Act II of William Shakespeare’s Othello was the conversation conducted between Desdemona, Iago, and Emilia about four different types of women. While I admit that I am not entirely sure what the significance of this conversation may be to the remaining action in the play, I do believe that this conversation provides important insights into Iago’s character and perception of women. To briefly summarize, Iago ultimately circumvents genuinely complimenting any type of woman by providing only left-handed compliments of woman at best. He describes beautiful and smart women as having the brains to utilize their beauty to gain a man; beautiful and dumb women as being without worry since their foolishness will make them more attractive in the eyes of men; smart and ugly women having the wit to marry an uglier man so as to make herself look even prettier; and dumb and ugly women as using the exact same tricks as beautiful and smart women. Ultimately, the message which Iago is attempting to convey is that he sees little value or significance in woman. After a long passage describing the perfectly obedient, inferior, and servile woman in Act II, i, 147-156, he finally concludes that “She was a wight, if ever such wight were… to suckle fools and chronicle small beer” (Shakespeare, Act II, i, 157-159).

                While I may be unsure as to whether or not this conversation will have any greater significance in the rest of the play, I do believe that this conversation is noteworthy simply in the fact that it shows Iago’s detestation for women. Since the reader can now plainly see that he views all women as having ulterior motives in order to find a husband and satisfy their desires, understanding his intention to bring about Othello and Cassio’s destruction by spreading lies about affairs seems much more plausible and logical. Furthermore, this conversation is important to understanding the relationship which Iago has with his wife and the way he intends to manipulate it in the future. When addressing Cassio after he kisses Emilia in greeting upon her arrival in Cyprus, Iago remarks that, “Sir, would she give you so much of her lips as of her tongue shoe oft bestows on me, you’d have enough” (Shakespeare, Act II, i, 100-102). Therefore, while Iago clearly has no respect or love for his wife, he intends to keep her as his wife for as long as she can be useful to him. As the rest of the play progresses, the reader may find that understanding the opinions and perceptions of Iago revealed in this conversation are necessary to understanding his actions and motives.