Gratiano Character Analysis

Gratiano only appears as a character in the play very late in the novel.  He is one of the minor characters that partakes in the witness of the tragedy befalling Desdemona, Emilia, and Othello.  As one of the kinsmen to Brabantio he comes, as with many of the characters in the drama, from the city of Venice, capital of the Venetian Republic.  Playing only a minor role in the last scene of the play, he seems to be merely a place holder to help tie up the loose ends of the play.  Gratiano is the one to tell of Brabantio's death, and he remarks that it is good he didn't live to witness the tragedy; Brabantio had a hard enough time allowing Desdemona's marriage to Othello.  If he found out that Othello had killed his daughter, he would go mad with sorrow.  Grantiano also might act as a reference to show how the tragedy would effect the unbiased population in Brabantio's residence, and in the Venetian political and military branches.

Othello Journal 4

In his tragedy Othello, Shakespeare uses the metaphor of animals and mythological creatures to help the characters portray their thoughts.  Iago in particular uses animals and beasts as metaphors for other things quite a lot.  One instance of this is when he describes jealousy as "the green-eyed monster, which doth mock the meat it feeds on" (123).  Using this very visual object to describe an abstract idea such as an emotion, in this case jealousy, greatly helps the reader to understand what the character is trying to convey.  I personally find it very helpful to have something physical to represent an emotion or other less palpable concept.  It also helps to adjust the mood of the passage in which the metaphor is used.  Having jealousy compared to a mythological creature makes the whole passage seem more serious, which is relevant in that particular scene, as Iago is starting to plant the first seeds of jealousy in Othello's mind.

Othello Journal 3

"Cassio  Whats the matter?
Iago  My lord is fall'n into an epilepsy.  This is his second fit.  He had one yesterday.
Cassio  Rub him about the temples
Iago  No, forbear.  The lethargy must have his quiet course.  If not, he foams at mouth, and by and by breaks out to savage madness.  Look he stirs.  Do you withdraw yourself a little while.  He will recover straight.  When he is gone, I would on great occasion speak with you."

One section of act 4, scene 1 was when Iago first mentions that Othello has epilepsy.  I was surprised that this was not revealed earlier in the story; I wonder what Shakespeare's motives were for not introducing this condition earlier in the play.  It would seem that having epilepsy would have a diverse effect on how Othello reacts to other people, and how other people react to Othello.  A symptom of Othello's epilepsy appears to be violence and madness.  I wonder if Othello will murder Cassio, Desdemona, or even Iago in a epileptic frenzy.

- I also think that Othello is very quick to take Iago's advice, even when there isn't much backing it up. Maybe he will eventually find out Iago is lying to him?

Othello Casting Journal

Othello- Tall northern African man, bold demeanour, powerful voice.  "So please Your Grace, my ancient; A man he is of honesty and trust" (47).  "Thou hadst been better have been born a dog Than answer my waked wrath!" (137)
Iago- Scarred northern Italian man, battle hardened, deviously intelligent.  "And I, of whom his eyes had seen the proof At Rhodes, at Cyprus, and on other grounds Christened and heathen, must be beleed and calmed By debitor and creditor" (7).  "Hell and night Must bring this monstrous birth to the worlds light" (55).
Desdemona- Tall, thin, white woman, regal, innocent.  "Whether a maid so tender, fair, and happy, So opposite to marriage," (25)  "Wherein I mean to touch your love indeed, it shall be full of poise an difficult weight, And fearful to be granted." (117).
Emilia- Modest white woman, obedient nature, relatively unexpressive.  "I nothing but to please his fantasy" (133).  "'Tis not a year or two shows us a man.  They are all but stomachs, and we all but food;" (155)

Othello Journal 2

It would seem that in scene one, act two of Shakespeare's Othello, Iago is starting to unveil the bulk of his plan to uproot Othello.  I might be missing part of it, but I think he plans to use Roderigo to provoke an attack from Cassio; he would then use this to put Cassio out of favor with Othello.  He then will use this rift in Othello and Cassio's relationship to make Othello think that Cassio is with Desdemona.  Meanwhile Iago himself will attempt to woo Desdemona to get back at Othello for sleeping with his wife.  Iago is shaping up to be a very interesting and manipulative antagonist.  I find his character fascinating and am looking forward to how his plan comes into reality.  Another thing I am wondering is how Roderigo will react to this.  Maybe he will find out Iago plans to court Desdemona and will turn against him.

16th Century Research Journal

During the 16th century the City of Venice, in northern Italy, was the heart of an independent republic with holdings all throughout the Mediterranean.  The Venetians maintained an uneasy state of neutrality in the 16th century, only fighting to defend it's colonial territories from the Turkish invaders.  These territories include the islands of Cyprus, below Asia Minor; and Crete, just south of the Aegean Sea.  Despite attempts to defend them, both fell to the Turkish Empire before the end of the century.  After losing it's main political and military power, Venice became a site of lavish pleasure in Europe.  It contains the first public opera house, opened in 1637.  The many canals that run through Venice, due to the fact that the bulk of the city is built over water, made it a unique visiting place for the wealthy and poor alike.

Othello Journal 1

In the beginning of act one scene one Iago is walking with Roderigo and telling him of why he hates Othello, his Moorish superior.  They arrive at Brabantio's place, Desdemona's father's house, and wake him telling him of a theft.  Iago leaves, and at first Brabantio doesn't believe Roderigo, who wants to court Desdemona, but he realizes that Desdemona has indeed left with the Moor and they go to look for, and apprehend, Desdemona and Othello.  This particular scene wasn't that hard to follow.  I don't think I understand all the literary nuances of the writing, but nevertheless I feel like I understood it well enough.  In the future I think the opposing pages with the explanations will be helpful as we move further into the play.  I'm interested to see how this folds out, as Shakespeare always seems to make things interesting.

The Piano Lesson Project Analytical Paragraph

During a passage in the drama The Piano Lesson the author uses the motif of splitting something between family members to show how determined Boy Willy is to sell the piano.  Near the beginning of the play Boy Willy arrives at Berniece's house with the intention of selling the family piano to buy himself some land.  Berniece refuses to let him, and later he says to Doaker that "if Berniece don't want to sell that piano I'm gonna cut in half and sell my half" (28).  This concept of owning half an object, like half the family piano, develops over the course of the story and comes up several times.  The inclusion of such a motif in the story emphasizes that sometimes people can get so caught up with their possessions that they forget their value to the family.  Boy Willy is so determined to own his own land, that he is willing to draw distinct lines about what belongs to him, shutting out his family history.