Othello Act 5: Silence and Claustrophobia

5.1
Act 5 opens with Iago explaining that he doesn't really care whether Iago or Roderigo lose in the fight that's coming:
Now, whether he kill Cassio,
Or Cassio him, or each do kill the other,
Every way makes my gain

It's always nice when the you win no matter what.
Shortly thereafter, Roderigo has one of my favorite quirky lines in the play:
I know his gait, 'tis he.--Villain, thou diest!

REALLY?! you know who it is you are attacking from the way he walks?! How exactly does Cassio walk that it is so distinct? Or is Roderigo just being absurd? Either way, it amuses me. I also have to keep myself from inappropriately laughing at Cassio's line:
I am maim'd for ever. 
I know it's a terrible thing. but there's something about the word maimed right next to FOR EV ER that just tickles my funny bone and I can't help it. It' something I want a pull string doll to say because I am dark and twisty that way.

Meanwhile Othello has been spying the horror and leaves thinking Cassio is taken care of and he should go take care of Desdemona the same way:
strumpet, I come.
Forth of my heart those charms, thine eyes, are blotted;
Thy bed, lust-stain'd, shall with lust's blood be spotted.
Full. on. insane mode. These are intense images and words.

Meanwhile, instead of killing Cassio, Iago kills Roderigo, continues to fool everyone else about his intensions and involvement,  and everyone is mean to bianca. Poor Bianca. Spoiler alert: at least she fares better than the other women in the play… speaking of, we have some woman on woman crime right about now:

EMILIA
Fie, fie upon thee, strumpet!
BIANCA
I am no strumpet; but of life as honest
As you that thus abuse me.
EMILIA
As I! foh! fie upon thee!
There's a whole lot of compassion missing from this play. Meanwhile, things are no longer win/win for Iago. But this is the moment that shows Iago would not have the same issues as macbeth were he in Macbeth's shoes:
This is the night
That either makes me or fordoes me quite.
Iago may be terrible and play a villain, but he owns up to the consequences at least...

5.2
Let's finish this thing… I'm not even sure if I can add fun pictures this post.. I'm too sick and this act is too depressing. We start with Othello repeating to himself and it almost seems like reconvening himself to kill his wife:
It is the cause, it is the cause, my soul,--
Let me not name it to you, you chaste stars!--
It is the cause. 

Then there's this well known line:
Put out the light, and then put out the light:

I think this scene is one of the best for teaching about the spirituality at the time of Shakespeare. You could kill someone or you could kill them with the intention of damning them. We'll come back to this when we get to Richard III, but look at how concerned with Desdemona's soul Othello is, even though he's mad enough to kill her:
OTHELLO
Have you pray'd to-night, Desdemona?
DESDEMONA
Ay, my lord.
OTHELLO
If you bethink yourself of any crime
Unreconciled as yet to heaven and grace,
Solicit for it straight.

Of course, you could also the this as him trying to get her to confess even though he's already convinced himself she's guilty, but he's clearly still having some trouble since he says this:
That death's unnatural that kills for loving.
As Paula Vogel points out in her play I mentioned in earlier acts, "THAT'S NOT LOVE."
When he tells Desdemona he's going to kill her but he's going to give her time to repent because he's merciful, she replies with this piece of common sense and honesty:
And have you mercy too! I never did
Offend you in my life; never loved Cassio
But with such general warranty of heaven
As I might love: I never gave him token.
Then there's this line that Liam Neeson wishes he got in his crazy revenge movies:
Had all his hairs been lives, my great revenge
Had stomach for them all.

Look at that, I managed a meme anyway...

Even Desdemona's crying about her innocence just makes him more angry
OTHELLO
Out, strumpet! weep'st thou for him to my face?
DESDEMONA
O, banish me, my lord, but kill me not!
It's like saying you're not a witch just making people more sure you're a witch

In this case… replace witch with strumpet...

Shortly after Othello smothers Desdemona, Emilia omes in and Othello finds out that not Cassio but Roderigo is dead. Othells is not too happy, and surprise! Desdemona is not quite dead… yet...
OTHELLO
Not Cassio kill'd! then murder's out of tune,
And sweet revenge grows harsh.
DESDEMONA
O, falsely, falsely murder'd!
EMILIA
Alas, what cry is that?

The early modern cannon likes to have fake deaths once in a while… and what kills me is once Desdemona wakes up, has her I'm not dead yet moment, etc. She uses her last breath TO LIE!
EMILIA
O, who hath done this deed?
DESDEMONA
Nobody; I myself. Farewell
Commend me to my kind lord: O, farewell!
If I ever have to play Desdemona, or direct Othello, this will be the single hardest moment for me. I cannot comprehend why she does this. 1. The stand by your man thing when your man has killed you is shenanigans. 2. Why would you damn yourself with lying and/or tarnish your honesty and reputation right before you die anyway and 3. WHY would she ever think this would work?! CLEARLY Emilia already KNOWS who has done this deed. and if it was desdemona herself we'd be finding her in a river, not smothered in bed… it's a lot harder to smother yourself than drown yourself… Anyone have some insight on this? it drives me crazy. EVERY. TIME.

Then Othello lets Emilia in on something that actually IS a surprise… unlike who killed Desdemona...
OTHELLO 
 Thy husband knew it all.
EMILIA
My husband!
OTHELLO
Thy husband.

I think that moment has the potential to be the most powerful int he whole play. Especially if Emilia and Desdemona had a friendship established earlier the kick in the gut moment of realizing she caused her good friend's death is devestating. The women are so silenced in this play and for a brief moment Emilia refuses that fate:

Thou hast not half that power to do me harm
As I have to be hurt. O gull! O dolt!
As ignorant as dirt! thou hast done a deed--
I care not for thy sword; I'll make thee known,
Though I lost twenty lives.--Help! help, ho! help!
The Moor hath kill'd my mistress! Murder! murder!

Not only does she refuse to be silenced, she refuses to be trifled with and calls Iago out on his equivocation:
IAGO
I told him what I thought, and told no more
Than what he found himself was apt and true.
EMILIA
But did you ever tell him she was false?
IAGO
I did.

This is why Emilia is an awesome character. She messes up, she owns it, and she calls out the other people around her:

Villany, villany, villany!
I think upon't, I think: I smell't: O villany!--
I thought so then:--I'll kill myself for grief:--
O villany, villany!

I love her.

Then we have Othello with what I think is the most powerful vowel in the English language

OTHELLO

O! O! O!

Also possibly the inspiration for this modern spin off...

GRATIANO

Poor Desdemona! I am glad thy father's dead:
Thy match was mortal to him, and pure grief
Shore his old thread in twain:

Really Gratiano? I'm not feeling too terrible for Desdemona's dad… or any of the men in this play…

Emilia pays the price for being a woman who speaks out:

IAGO

Come, hold your peace.
EMILIA

'Twill out, 'twill out: I peace!

No, I will speak as liberal as the north:

Let heaven and men and devils, let them all,

All, all, cry shame against me, yet I'll speak.

Iago kills his wife and she gets to die next to Desdemona… which is sad and really beautiful and the idea of a swan song is gorgeous… makes the strange singing earlier in the play worth it...

What did thy song bode, lady?
Hark, canst thou hear me? I will play the swan.
And die in music.

Singing

Willow, willow, willow,--
Moor, she was chaste; she loved thee, cruel Moor;
So come my soul to bliss, as I speak true;
So speaking as I think, I die, I die.

And in case you wanted some satisfaction and justice, sorry about your luck...

LODOVICO

Where is this rash and most unfortunate man?
OTHELLO

That's he that was Othello: here I am.
It seems like Othello is going to come forward and give himself up to justice. In the meantime, Iago resigns himself to silence which is maddening for an audience. And also genius. What makes people more crazy than the silent treatment?!

IAGO

Demand me nothing: what you know, you know:

From this time forth I never will speak word.

And then instead Othello wounds Iago and kills himself. He also asks to be remembered kindly. Leaving me with the big question of this play and my favorite questions to ask when I teach it… is this play a tragedy because Desdemona is innocent? Because that's what this final line implies:

Of one that loved not wisely but too well;
Of one not easily jealous, but being wrought
Perplex'd in the extreme; 

Of course, you all know by now that I'm a pretty big feminist and think- crazy I know- it's tragic that he kills his wife, whether or not she's been faithful.

And that's the end of that. We end in a small dark room where many, many people have been silenced. Take back your voice y'all.
Next up… when I get the time… 2 Gents. We'll get through that early play and then jump way forward to a Romance!!!! 

Othello Act 4: Emilia's badass monologue and someone needs to do a cover of the Willow song

4.1
The scene starts with more twisting of words by Iago and lots of discussion about how Cassio had the handkerchief Othello gave Desdemona. A play about a handkerchief. Iago continues to imply sexy times between Desdemona and Cassio only he's getting more bold and more graphic as he continues to  mess with Othello's head:

IAGO
'Faith, that he did--I know not what he did.
OTHELLO
What? what?
IAGO
Lie--
OTHELLO
          With her?
IAGO
                          With her, on her; what you will.

If you don't get mileage  out of the scansion in that shared line there, I'm not sure I can help you with verse work. it's so good and so cheeky and dirty and quintessential Iago. After he works up Othello, Cassio comes in and sees Othello freaking out. Which brings us to this interesting line:

My lord is fall'n into an epilepsy:
This is his second fit; he had one yesterday.
Does Othello really have epilepsy? Or is he just shaking with rage/freaking out? I have seen it played both ways and I think both are interesting choices. The key tends to also be in how Cassio reacts. Is this something he doesn't know about Othello until now? Does he believe Iago? etc.

Then Othello freaks out some more assuming his plight and the plight of all men is that all women are whores

O, 'tis the spite of hell, the fiend's arch-mock,
To lip a wanton in a secure couch,
And to suppose her chaste! 

Iago then tells Othello that he will have Cassio talk about his time with Desdemona again and othello can spy on them out of ear shot, but after Othello is further away he tells the audience he will really ask Cassio about his exploits with Bianca.

He, when he hears of her, cannot refrain
From the excess of laughter. 
Can I just say that excessive laughter is a goldmine for an actor?! (See also: the virginity test in The Changeling) I mean, laughing like crazy is a great way to get the audience to laugh too. Which, you know, is pretty needed at this point in the play… Iago continues to let us know how he's manipulating everyone:

As he shall smile, Othello shall go mad;
And his unbookish jealousy must construe
Poor Cassio's smiles, gestures and light behavior,
Quite in the wrong.

And then Cassio comes on stage and it falls out just as Iago said it would. Only at this point I feel even less sorry for Cassio since this is the reaction to Iago asking about Cassio marrying Bianca:

This is the monkey's own giving out: she is
persuaded I will marry her, out of her own love and
flattery, not out of my promise.
AHAHAHA I'm not disabusing her of this thought though because I want her to keep doing textile work for me and giving me sexual favors. AHAHAHAHAHA HILARIOUS! Keep going Cassio!

(She) So hangs, and lolls, and weeps upon me; so hales,
and pulls me: ha, ha, ha!

And almost immediately after this Bianca confronts Cassio, is pissed, and his only concern after the fact:
IAGO
After her, after her.
CASSIO
'Faith, I must; she'll rail in the street else.
IAGO
Will you sup there?
CASSIO
'Faith, I intend so.
So… I want to keep seeing you and doing you… just don't make it public because you know i'm really concerned about my reputation. And whores don't look super for one's reputation. But that doesn't mean I'll stop seeing you. it's cool. Hey Iago, in case you need to now where I am tonight, I'll be at Bianca's. Not that YOU would ever use that against me…. #idiot

OTHELLO

Ay, let her rot, and perish, and be damned to-night; for she shall not live: no, my heart is turned to stone; I strike it, and it hurts my hand. O, the world hath not a sweeter creature: she might lie by an emperor's side and command him tasks.

she will sing the savageness out of a bear

Do it not with poison, strangle her in her bed, even
the bed she hath contaminated.

DESDEMONA
Why, sweet Othello,--
OTHELLO
[Striking her] Devil!
DESDEMONA
I have not deserved this.

Goats and monkeys!

IAGO
Alas, alas!
It is not honesty in me to speak
What I have seen and known. You shall observe him,
And his own courses will denote him so
That I may save my speech: do but go after,
And mark how he continues.
LODOVICO
I am sorry that I am deceived in him.

4.2
The scene starts with Othello questioning Emilia about Cassio and Desdemona.

For, if she be not honest, chaste, and true,
There's no man happy; the purest of their wives
Is foul as slander.

She says enough; yet she's a simple bawd
That cannot say as much. This is a subtle whore,

OTHELLO
Why, what art thou?
DESDEMONA
                             Your wife, my lord; your true
And loyal wife.

If Ron Burgundy were playing Othello, now would be the time when he would shout

But instead he says:

Was this fair paper, this most goodly book,
Made to write 'whore' upon? 
So close enough…
Othello even involves Emilia in his hatred, treating her like a bawd:
We have done our course; there's money for your pains:
I pray you, turn the key and keep our counsel.
Nothing as classy as throwing money at women and assuming they are all whores… oh wait…
Desdemona has perhaps a strange reaction to all this:
Prithee, tonight
Lay on my bed my wedding sheets: 
the general consensus on this seems to be that either Desdemona knows she's going to die or this is a desperate attempt to remind Othello of their love. (I happen to think it's much more interesting if it's the latter. Who wants to watch someone resigned to death? I also think that very few Shakespearean characters go gently into that good night… I mean, aside from the ones that off themselves and even then… they seem pretty bold when they go about it…)
Then we have Emilia unknowingly curse her husband. (If you think this is interesting wait till we get to all the cursing in Richard III!!)

EMILIA
I will be hang'd, if some eternal villain,
Some busy and insinuating rogue,
Some cogging, cozening slave, to get some office,
Have not devised this slander; I'll be hang'd else.
IAGO
Fie, there is no such man; it is impossible.
DESDEMONA
If any such there be, heaven pardon him!
EMILIA
A halter pardon him! and hell gnaw his bones!
I love that this is said in front of Iago. I think in some ways that makes this better than the RIII scene. We also get a little more of a hint about the marital strife between Iago and Emilia and reminded of some of Iago's potential motivation for unleashing all this havoc:
EMILIA
O, fie upon them! Some such squire he was
That turn'd your wit the seamy side without,
And made you to suspect me with the Moor.
IAGO
You are a fool; go to.
Then Iago tries to make excuses for Othello's behavior.
IAGO
I pray you, be content; 'tis but his humor:
The business of the state does him offense,
And he does chide with you.
If your partner is stressed from work and takes it out on you? RED FLAG. Just felt I needed to reiterate that…

After the women leave, Roderigo comes to confront Iago and it seems that Iago no longer has the verbal sway he used to as Roderigo turns Iago's own language back on him:
IAGO
Well; go to; very well.
RODERIGO
Very well! go to! I cannot go to, man; nor 'tis not very well: nay, I think it is scurvy, and begin to find myself fobbed in it.
I just have to say that "find myself fobbed in it" should give us a MUCH NEEDED laugh at this point. Then Iago takes Roderigo's contributions to his plans a step further:
IAGO
 the removing of Cassio.
RODERIGO
How do you mean, removing of him?
IAGO
Why, by making him uncapable of Othello's place; knocking out his brains.
Knocking out his brains… for when subtle is no longer an option…

Moving on...

4.3
This is the scene with the willow song. It's also chilling and has one of my favorite speeches in the play. You can hear one rendition of the willow song here:

DESDEMONA

Wouldst thou do such a deed for all the world?

EMILIA

Why, would not you?

DESDEMONA

No, by this heavenly light!

EMILIA

Nor I neither by this heavenly light;

I might do't as well i' the dark.

ZING! Emilia rocks some bawdy humor. I love her. I want to play her. Just throwing that out there.

DESDEMONA

Wouldst thou do such a deed for all the world?

EMILIA

The world's a huge thing: it is a great price.

For a small vice.

Funny AND practical. Why would Iago want anyone else for a wife? Why is he so mean to her? Oh, right, misogyny

-why, who would not make her husband a cuckold to make him a monarch?
I can't do justice to Stephen Booth's amazing Blackfriars presentation on this line, so I'm just going to have to reference it and move on and maybe some of you who were there will remember it fondly and others can try and ask me in person…w here I will still fail to communicate the brilliance.

And then Emilia launches into on of my favorite monologues

But I do think it is their husbands' faults
If wives do fall: say that they slack their duties,
And pour our treasures into foreign laps,
Or else break out in peevish jealousies,
Throwing restraint upon us; or say they strike us,
It's taking all I have not to post the entire monologue so I will just skip to this:
 and though we have some grace,
Yet have we some revenge.
Vengeance. reminds me of Constance. Or Evadne. Should it trouble me that I am more drawn to the vengeful characters than the merciful ones? I guess I like them too but… the vengeful ones seem so much more interesting… I guess at least I have no interest in playing Tamara? Speaking of merciful, Desdemona ends the scene with a counterpoint to Emilia

Good night, good night: heaven me such uses send,
Not to pick bad from bad, but by bad mend!

That's act 4. (Sorry the end was a bit rushed but my allotted blogging/childfree time runs out so fast these days! Seriously though there's not much I can say about Emilia's monologue aside from saying that I could dwell on every line and break down how much I love it!!)

Othello Act 3: Twisting words, misogyny, and trifles

3.1

Act 3 starts with the clown and musicians. There are jokes about how the musicians are paid NOT to play and the obligatory fart joke. 

Cassio then pulls the same thing on the clown that the clown just pulled on the musician and pays him to please shut up. He asks the clown to go find Emilia for him but before she arrives Iago shows up.

Then Cassio gives us this lovely piece of dramatic irony with an aside to the audience about Iago:

I never knew
A Florentine more kind and honest.

That is either a your typical aside joke at the naiveté of Cassio, a joke at how terrible Florentines are that Iago is the most kind and honest you get, or both…

Emilia comes out and tells Cassio that Desdemona is pleading his case but things don't look great. Cassio asks for time with Desdemona to help her get Cassio back in Othello's good graces and Emilia agrees to help.

3.2

Ridiculously short scene. only a few lines long. It basically lets us know that Iago is supposed to deliver some messages and Othello is going out to oversee some "fortification" presumably of the docks/naval works. Basically: Othello won't be at home.

3.3

Now we get the ball rolling/into the longer scenes.
We have another fun moment for the audience regarding Iago and his motives when Emilia and Desdemona have this little exchange:

EMILIA

Good madam, do: I warrant it grieves my husband,

As if the case were his.
DESDEMONA

O, that's an honest fellow.

I'm just going to say that there are about a dozen more times in the play where Iago is called honest, etc. I won't highlight them all, but it's a running theme. I'd like to say it makes the other people in the play seem gullible, but the truth is that sometimes it feels like every other day we are shocked by the "honest" upstanding citizens/people we place our trust in that are then found to be a part of a huge cover up for scandal. more on this with Cassio at the end of the act.
Speaking of Cassio, Desdemona promises to plead his case to Othello, and maybe goes a little overboard:

If I do vow a friendship, I'll perform it
To the last article: my lord shall never rest;
I'll watch him tame and talk him out of patience;
His bed shall seem a school, his board a shrift;
I'll intermingle every thing he does
With Cassio's suit
Free relationship advice for both men and women: Your bed, especially if you are in a romantic relationship, should be a place for sleep and sex ….  No one wants to look at their bed as a place to get nagged. I mean, no one wants to be nagged in general but you do not want to take that to the bedroom. If anything, follow the HIMYM Lilly and Marshall rule of pausing arguments. But if it's not even a major argument… come on Desdemona. A little compartmentalization would be nice.
Desdemona keeps her word and when she sees Othello she immediately mentions Cassio. Othello is vague with her about what his action will be so she starts asking for specifics to make sure he will not wait to long and ends up saying this little gem which I really need to use in daily life:

I prithee, name the time, but let it not
Exceed three days: 

Yup, that's going in my honey-do vocabulary. Also probably for friends and co-workers at some point. Then we have this little exchange which, for me, has some red flags on the Desdemona/Othello relationship in general:

OTHELLO

Prithee, no more: let him come when he will;

I will deny thee nothing.
DESDEMONA

Why, this is not a boon;

'Tis as I should entreat you wear your gloves,

Or feed on nourishing dishes, or keep you warm,

Or sue to you to do a peculiar profit

To your own person: nay, when I have a suit

Wherein I mean to touch your love indeed,

It shall be full of poise and difficult weight

And fearful to be granted.
OTHELLO

I will deny thee nothing:

Whereon, I do beseech thee, grant me this,

To leave me but a little to myself.
DESDEMONA

Shall I deny you? no: farewell, my lord.

Yeah… healthy relationships are NOT built on just saying YES all the time. Not the way it works. not how anyone grows or becomes a better person. Also, if this is something as minor as Desdemona telling Othello he should wear his gloves or eat healthy, it would not be a big deal if he said no. Annoying? yes. have bad consequences? probably eventually. but NOT worth nagging about 24/7. or in bed. A relationship built on thinking you can always say yes and give your partner anything they want is doomed to either failure or serious rethinking down the line and probably sooner rather than later. I think if I ever teach Othello, my lessons will have the themes of: Reputation and Red Flags- LIFE LESSONS.

 Perdition catch my soul,
But I do love thee! and when I love thee not,
Chaos is come again.
Bring on the chaos then because things are about to get ugly. Also, for any of you who are more into musicals than Shakespeare- this is basically the early modern version of Jason Robert Brown's lyric:
Nothing about us was perfect or clear, but when paradise calls me I'd rather be here…
AKA I'll take hell over heaven as long as I have you. Again, not a super basis for a relationship…
After Desdemona and Emilia leave, Iago begins to work on Othello. He mentions Cassio, and the word honest begins to have absolutely no meaning by the end of the scene...

Men should be what they seem;
Or those that be not, would they might seem none!
should be. But even for people striving to live a truly virtuous life this is a DIFFICULT task. and they didn't even live in the age of social media where you are basically expected to market a version of yourself to the online world. Even if you aren't trying to seem one way, you may. Should your whole reputation hang on what seems? Where do facts play a role?

Anyway, Othello is not big on this beating around the bush thing and tells Iago:

give thy worst of thoughts
The worst of words.

Othello, refusing to play passive aggressive Wednesday since 1603(ish).

Who steals my purse steals trash; 'tis something, nothing;
'Twas mine, 'tis his, and has been slave to thousands:
But he that filches from me my good name
Robs me of that which not enriches him
And makes me poor indeed.
Iago continues down passive aggressive lane talking about how he doesn't want to gossip because reputations are hard to undamaged and why would he even have the motive to do that. This line struck me though because the devilish thing about Iago is that he is continually described as honest and he speaks in SO MANY truths and half truths. It's very Screwtape Letters.

But, O, what damned minutes tells he o'er
Who dotes, yet doubts, suspects, yet strongly loves!
This line is so beautiful. And also an ideal representation of chiasmus (no, seriously, it's the example that my favorite rhetoric website, linked just there, uses and it's really hard to find a more succinct, perfect example of that rhetoric.) Bonus: on top of the chiasmus there's some rocking alliteration. it's like Shakespeare was good at writing or something… and now that we've stated the obvious let's move on.

Poor and content is rich and rich enough,
But riches fineless is as poor as winter
To him that ever fears he shall be poor.
DEAR GOD I MUST add that to the list of Shakespeare store etsy quotes. how amazing would that be on a wallet? dark and twisty yet also oh so true. Also, adding the first line to my artist's journal. poor and content is rich and rich enough… is there any saying better for a young family of artists?!

For she had eyes, and chose me.
I love this. This should be really reassuring for Othello. It's a good defense against jealousy. I also like that it focuses on love being a choice. Except… turns out that Othello and Taylor Swift have something in common- they both get drunk on JEALOUSY… and before you know it Othello is on his own and asking

Why did I marry?
well THAT was a fast reversal. Dear O, have you met Leontes? You two should go to support group together. (Oh, did we not get to Winter's Tale yet? we'll revisit this…) Also yes, Othello, why DID you marry if you didn't understand your vows?:

If I do prove her haggard, ...
I'ld whistle her off and let her down the wind,
To pray at fortune.
SO MUCH FOR THAT WHOLE FOR BETTER OR WORSE THING

O curse of marriage,
That we can call these delicate creatures ours,
And not their appetites!
Oh those women… if only they weren't such whores and we could own all of them….

Speaking of the woman he wants to own, Desdemona comes in and sees that Othello is not well. She tries to wipe his brow and wrap his head with the handkerchief he gave her and then this happens:

Your napkin is too little:

[He puts the handkerchief from him; and it drops]

Let it alone. Come, I'll go in with you.

So… the implied stage direction here is that she bends down to pick it up and Othello doesn't let her. Let's remember this little moment next scene. Also, let's remember to talk about the Paula Vogel Play Desdemona, a Play about a Handkerchief  (Sorry folks, it's a long one. I've been gone for a while! Lots to catch up on!) In Vogel's feminist response play, the only characters who appear onstage are the women- Desdemona, Emilia, and Bianca. In this version of the play, Desdemona really is sleeping around and kind of a terrible person in general who treats Emilia as just a servant, and pretty poorly at that. A core message of the play though, aside from giving the women a hell of a lot more of a voice than they have in this play (we'll come back to that…), is- what if Desdemona IS guilty of adultery? Is it OK for Othello to (spoiler alert) KILL HER if that's the case?! Are the terrible things Othello and Iago say about women OK if someone has been unfaithful? Just something to think about in the next few scenes… well really for the rest of the play… and here's a bonus picture from the production I did of Desdemona…  

(Featuring Laurie Riffe, Bonnie Morrison, directed by Mary Coy and photo by Woods Pierce)

But back to Shakespeare's play… After Othello and Desdemona leave, Emilia picks up the handkerchief and tells the audience:

I'll have the work ta'en out,
And give't Iago: what he will do with it
Heaven knows, not I;
I nothing but to please his fantasy.
The production I mentioned before by the ASC that seemed to be more the tragedy of Emilia in a really beautiful way showed a woman desperate to rekindle the love between her and her husband. So much so that she will betray her friend in what she thinks is a small way. And as timing would have it, in comes Iago who is mean as usual to his wife.

EMILIA
Do not you chide; I have a thing for you.
IAGO
A thing for me? it is a common thing--
If you do not put ALL the sexual innuendo into these lines from both sides you are missing a wonderful opportunity… just saying…
Emilia almost immediately regrets her decision and tries to take it back:
If it be not for some purpose of import,
Give't me again: poor lady, she'll run mad
When she shall lack it.
but of course Iago dismisses this and now that he has the handkerchief there's no going back because he already has his plan:

Trifles light as air
Are to the jealous confirmations strong
As proofs of holy writ:
Isn't trifles a great word?! Questioning what human nature takes for proof is incredibly powerful. And I think it's particularly timely too… the surest proof dismissed and the lightest trifles given weight both in our daily lives and in our dealing with the world. Some things about human nature never change… Othello comes back in and is pissed at Iago for putting him in doubt:

If thou dost slander her and torture me,
Never pray more; abandon all remorse;
On horror's head horrors accumulate;
(the auditory proximity of "whore" and "horror" never ceases to amuse me.) Iago comes back with asking Othello what he wants for proof- does he expect to catch them in the act?  (Iago hopes not, because it's not even happening…) He points out that it's unlikely they would be so careless as to get caught while having sex even:

Were they as prime as goats, as hot as monkeys,
As salt as wolves in pride, and fools as gross
As ignorance made drunk. 
Inappropriate Etsy shop addition: a bachelor or bachelorette card saying: May you always be "prime as goats…" etc. for each other! It could go over big in some groups… (one of these days I really am going to craft these things… probably when my child is in high school… good thing Shakespeare never goes out of style.)
Anyway, Iago tries to share some proof and makes up this super strange story about Cassio:

In sleep I heard him say 'Sweet Desdemona,
Let us be wary, let us hide our loves;'
And then, sir, would he gripe and wring my hand,
Cry 'O sweet creature!' and then kiss me hard,
As if he pluck'd up kisses by the roots
That grew upon my lips: then laid his leg
Over my thigh, and sigh'd, and kiss'd; and then
Cried 'Cursed fate that gave thee to the Moor!'
How does Othello not hear this and say WTF? You let him put his leg over you and kiss you?! Do you have a thing for Cassio? Is that why you didn't wake him up and say hey… stop sleep molesting me?! I mean, I can MAYBE get over the being kissed thing b/c it was a surprise, but then why WHY why would you not either move further away or wake the dude up? Iago's story makes NO SENSE to anyone but crazed Othello.

In the due reverence of a sacred vow
I here engage my words.
Funny, for a man who is eager to break off his marriage vow he's sure quick to jump into a new sacred vow… He then tells Iago:

Now art thou my lieutenant.
So if Iago only wanted a promotion mission accomplished. But of course we know this is about more than that.

3.4
More clown bits to start off this scene. An excellent parallel here about the treachery of words. (See Feste in 12th night for more on this… ) The clown can twist words as easily as Iago, they just twist them to different ends… to sum up:
I will catechise the world for him; that is, make questions, and by them answer.

This is the scene where the handkerchief that Othello threw to the ground and would not let Desdemona pick up earlier suddenly becomes not only super important, but MAGICAL:

she told her, while she kept it,
'Twould make her amiable and subdue my father
Entirely to her love, but if she lost it
Or made gift of it, my father's eye
Should hold her loathed and his spirits should hunt
After new fancies: she, dying, gave it me;
Ah, the keys to any good relationship. a magical handkerchief and submission.

After Othello's strange behavior and exit, Emilia simply states:
Is not this man jealous?

When Desdemona tries to defend him, Emilia gives us hint into what her life experience has taught her about men and it. is. depressing:
'Tis not a year or two shows us a man:
They are all but stomachs, and we all but food;
To eat us hungerly, and when they are full,
They belch us.
She goes on to warn:
They are not ever jealous for the cause,
But jealous for they are jealous: 'tis a monster
Begot upon itself, born on itself.
Let's take a moment to talk about all the red flags.

Jealousy and isolation- signs of an abusive relationship. If you ever teach this play please please please take a moment to warn the young women and men in your class to get out of abusive relationships. That may seem hokey or like a long shot, but I have helped students get out of bad situations before they got worse through teaching plays before (though the play I taught was the Country Wife- same issues of jealousy and isolation… my student thought this was totally normal par for the course behavior. THIS is why we need the arts!)

After Desdemona and Emilia leave, Cassio comes onstage and encounters Bianca. He talks about how he probably should not be seen with her, which SERIOUSLY makes me question how much this guy really cares about his reputation. And Bianca at least calls him on his verbal shenanigans:
CASSIO
Not that I love you not.
BIANCA
But that you do not love me.
Rhetoric!
But she still agrees to copy the work on the handkerchief Cassio brought her (that he just found… not weird at all…) in spite of his vagueness and equivocation…

That's Act 3. It only gets darker from here.

Othello act 2: peer pressure, lightweights, and Tom Hiddleston...

2.1
When Professor Cohen lectured on this play, I believe he started with this scene because the theme he talked about was Othello giving him a claustrophobic feeling. You start here with a whole ocean, expansive, openness, and you start with hope and victory:
News, lads! our wars are done.
The desperate tempest hath so bang'd the Turks,
That their designment halts
and then we get to hear Cassio's thoughts on Desdemona:
CASSIO
The divine Desdemona.
MONTANO
What is she?
CASSIO
She that I spake of, our great captain's captain,
Left in the conduct of the bold Iago,
OK, so we have a few really juicy choices for the actor playing Cassio in just these few lines. First, does he mean divine Desdemona in reference to her fatihfulness/purity/etc.? or in the sense that he wants to make some music of the spheres with her? (I happen to think it's a SUPER interesting choice to have a Cassio who DOES have a thing for Desdemona but wouldn't act on it due to his respect for Othello and his own reputation… but that's just me…) of course on the other hand we have the "our great captain's captain" line which could either be a cover for his earlier line/possible feelings or is just a great little piece of misogyny about who "wears the pants" in the relationship… then we get this awkward line….
Great Jove, Othello guard,
And swell his sail with thine own powerful breath,
That he may bless this bay with his tall ship,
Make love's quick pants in Desdemona's arms,
Give renew'd fire to our extincted spirits
And bring all Cyprus comfort!
that's some detailed picturing about what othello is going to do in his marriage bed… just saying… next Cassio moves on to greet Emilia:
CASSIO
Welcome, mistress.
Let it not gall your patience, good Iago,
That I extend my manners; 'tis my breeding
That gives me this bold show of courtesy.
[Kissing her]
IAGO

Sir, would she give you so much of her lips

As of her tongue she oft bestows on me 

You'll have enough.
DESDEMONA

Alas, she has no speech.
IAGO

In faith, too much;

I find it still, when I have list to sleep:

Marry, before your ladyship, I grant,

She puts her tongue a little in her heart,

And chides with thinking.

So right off the bat we get an insight into the troubled marriage Emilia and Iago has… they certainly don't seem to be using their lips and tongues for kissing and the way. It's worth noticing how little Emilia talks in this scene because so much of this play is the silencing of women, something I think Vogel noted and why she created her response with no male voices, though the male presence is certainly felt… we get a sense of Iago's command of language and the situation he's in and there's the performance opportunity to have Emilia either shut him down with her response or to try and play along only to be shut down with Iago's next line:

IAGO
Nay, it is true, or else I am a Turk:
You rise to play and go to bed to work.
EMILIA
You shall not write my praise.
IAGO
No, let me not.
Then Othello arrives, note how soon after Desdemona lands that Othello gets there… I LOVE Othello's greeting to Desdemona:
OTHELLO
O my fair warrior!
DESDEMONA
My dear Othello!
OTHELLO
It gives me wonder great as my content
To see you here before me. O my soul's joy!
My soul's joy… there's a term of endearment! also the fact that he calls her a warrior, no diminutive or feminization, a warrior…

The end of this scene has Iago continuing to play Roderigo and telling him that as for Desdemona:
very nature will instruct her in it and compel her to some second choice.
aka it's not natural for this white lady to remain interested in this black man. more of the same racist notes as before. But Roderigo won't even believe this calling on Desdemona's purity and blessedness to which Iago replies:
Blessed fig's-end! the wine she drinks is made of grapes: if she had been blessed, she would never have loved the Moor. Blessed pudding! 
If at first our racism doesn't succeed… try, try again seem's to be Iago's motto for dealing with Roderigo… but the meat of this scene comes when we get to Iago's soliloquy where we get two possible motives for why he is going to do so much damage in this play:
Now, I do love her too;
Not out of absolute lust, though peradventure
I stand accountant for as great a sin,
But partly led to diet my revenge,
For that I do suspect the lusty Moor
Hath leap'd into my seat; 
So… he MAY have a thing for Desdemona (like everyone in this play apparently) but he also has his own jealousy issues and thinks that Othello may have slept with Emilia. Two pretty compelling motivations. Are both true? Are either true? A WORLD of possibilities for the actor playing Iago.

2.2
A baby scene of a Herald reading a proclamation:
some to dance, some to make bonfires, each man to what sport and revels his addiction leads him: for, besides these beneficial news, it is the celebration of his nuptial. 
You always know its a good time when Shakespeare talks about bonfires. Also- WEDDING FEASTS- but sorry, you just have to imagine them.

2.3
Iago starts the scene goading Cassio about how great Desdemona is and then wishing happiness to the sheets of the new couple… so much interest in their marriage bed… then Iago begins his plan to get Cassio drunk and Cassio fends him off at first saying:

I have very poor and unhappy brains for drinking: I could well wish courtesy would invent some other custom of entertainment.

But poor Cassio gets peer pressured into having a good time and drinking more than he should and since he's a lightweight, it isn't long before we hear this out of his mouth:

Do not think, gentlemen. I am drunk: this is my ancient; this is my right hand, and this is my left: I am not drunk now; I can stand well enough, and speak well enough.

The best way to tell if someone is drunk is them vehemently telling you they are not drunk… brings back memories of London…

FYI.. this was from the pre-Dan days… and my first real drunken night… where I continually denied being drunk… Poor Cassio, I know how easily it can sneak up on you!

Cassio's drunkenness leads us to this great line:
CASSIO
A knave teach me my duty!
I'll beat the knave into a twiggen bottle.
Anyone want to tell me WTF a twiggen bottle is? Or, as it was suggested in my textual culture class, is this some sort of fabulous textual anomaly we get to play with for centuries?
Anyway, of course Iago is called to testify about Cassio's actions:
I had rather have this tongue cut from my mouth
Than it should do offence to Michael Cassio;
Yet, I persuade myself, to speak the truth
Shall nothing wrong him.
And the dramatic irony continues:
I know, Iago,
Thy honesty and love doth mince this matter,
Making it light to Cassio. Cassio, I love thee
But never more be officer of mine.
Then we get Cassio's speech and one of the most famous lines in the play:
Reputation, reputation, reputation! O, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial. My reputation, Iago, my reputation!
This speech is BEAUTIFUL when sincerely meant. I have more to say about it, but in my sleep deprived state I'm pretty sure Tom Hiddleston can say it better (sorry about the weird captions, couldn't find another version…):

Then we have more thoughts on the perils of drinking:
O God, that men
should put an enemy in their mouths to steal away
their brains! that we should, with joy, pleasance
revel and applause, transform ourselves into beasts!
A good line for temperance arguments, though not as harsh as the Claudio line about lust in Measure for Measure
After Cassio dejectedly leaves the scene, we get another FABULOUS soliloquy from Iago, we start with more misogynist guess who wears the pants in this relationship rhetoric:
Our general's wife is now the general:
Then move on to some awesome rhetorical questions:
And what's he then that says I play the villain?
When this advice is free I give and honest,
Probal to thinking and indeed the course
To win the Moor again? 
But, perhaps these questions are best when they are NOT rhetorical. When Ben Curns played Iago at the ASC he genuinely asked these questions in a moment of audience contact. the effect was chilling and this is definitely a choice i would recommend exploring. Then we get more ogling over Desdemona:
she's framed as fruitful As the free elements
I'm just going to take a moment here (rather selfishly I'll admit) to advocate for casting some CURVY women in this play. No need to make Desdemona a stick figure little girl. The text suggests she has a fruitful frame and I think it's far more interesting if Desdemona is not naive and simpering.
Finally, I leave you with another great line for our theoretical easy shop of needlework and other shakespearean trinkets:
How poor are they that have not patience!

And with that, I implore your patience as I continue to have a more random update schedule with all the other things going on in life!

I have returned- newlywed or newlymom? or BOTH?

So… it has been exactly a year since I last wrote in this blog. I knew i was going on a bit of a hiatus when I last wrote because i was just starting a new job and getting ready to head on a belated honeymoon to Italy. I didn't realize at the time that I'd be even more delayed by having a crazy pregnancy full of morning iciness and other general iciness, followed by the most wonderful experience of welcoming my son into the world and the new insanity that ensues with having a newborn in your life.
Don't worry, I had plenty of Shakespeare in my life during the past year. Dan and I did our second Pandanda Players show- M is for Marriage, I directed a 70 min touring production of Julius Caesar, I was the text coach for Love's Labour's Lost, and I led several Shakespeare workshops for jr. high and high school students.
Now, I'm trying to get into a new routine, still solidifying new job possibilities, and still learning new things every day about becoming a parent. I want to come back to this blog but I've had two worries: 1. I will be sporadic/won't have time- after all, I'm looking after a 3 month old. But you know what? Most of the bloggers I know who aren't getting some form of advertising revenue don't update everyday, and better sporadic than never, right?
2. Now that I'm a new mom, can I still consider myself a newlywed? Won't the tone of my blog change? This really bothered me for a while but you know what? I say no. I mean yes, I might focus more on parent/children relationships but that's something I was interested in before. And you know what else? I'm even more madly in love with Dan seeing him as a father than I was during our first year+ of marriage when I was writing before. So on to the adventure and re-cap the first act of Othello i wrote about a year ago because it's on to the 2nd act soon.

Othello Act I: I have returned!!

Hello all,
I know a took a long break there, but I have done a lot since I last wrote- went out of town and then I've been swamped transitioning into my new job and working box office for/closing Midsummer. Oh, and writing a play that my husband and I will perform in October. Plus our car was totaled so that's been its own adventure. So the blog fell by the wayside, consider the break preparation for the 2 week break I'll be taking in September!! (which is why i figured i'd better write again now or it will just never. happen.) But aside from a lengthy intro, i will probably be brief with this opening act.
INTRO:
SO: Othello. So I knew a lot about this play in high school, the basic storyline, literary references, etc. Actually I watched the movie "O" several times with one of my dear Brophy friends who was a little obsessed with it, but I first read it in full when i was assigned a scene from it in my Period Styles class at Pepperdine. I was assigned Emilia and instantly fell in love with her. Later, I saw the brilliant Allie Glenzer perform her role at the ASC and the way she and let's just say my peers and I agreed that in that production, as strong as ALL of the performers were (It was one of my favorite shows while I was there but it was hard to watch more than a few times because it was PAINFUL to watch that much passion and suffering too often. That's how good it was.) anyway, in spite of strong performances across the board, that that production could have been titled the tragedy of Emilia. I just started loving the character more after that. And then, in a strange twist of grad school fate, thanks to a particularly controversial/ frustrating MFA show pick, two women in the year above me asked me to join them for their "rebel" MFA show- the girls had broken off of a production of Taming of the Shrew and wanted to do a different play. Well, lucky for me, my strong feelings about Shrew had kept me from auditioning for the original MFA production meaning I was free to accept a role in this "rebel" production. They wanted to do Paula Vogel's Desdemona: A Play About a Handkerchief which is a feminist response to Othello and they asked if I would come on as Bianca. We were lucky enough to have Mary Coy direct us, a designated Linklater instructor who furthered my obsession with/ love of this voice work (more about this when we get to Pericles.) but after the first read through, my friend Laurie asked if we could switch roles as she felt I was more suited to Emilia and she to Bianca. I was THRILLED.

(photo by Woods Pierce)

since again, I'M IN LOVE WITH THIS CHARACTER and even though she is DEFINITELY different in Vogel's retelling, there are root things that are the same and beautiful. All that to say, the majority of pictures in my posts about Othello will probably come from the production I did of Desdemona and expect more moments and stories to come relating the two plays. I'd love the chance to run them in rep one day!!

1.1
Right away we get to the theme of jealousy. Iago admits to Roderigo within the first minute of the play that he is jealous of Othello's rising fortunes (though we'll find out later that's not all he's jealous about) and we also find out he's been using Roderigo's purse. Side note: I think Roderigo is one of the great underrated roles. Of course, the other theme that comes up right away is racism. A central component of the show, we hear people refer to Othello as - thicklips, his Moorship, etc.
There are a plethora of incredible sayings even in just the first act:
We cannot all be masters, nor all masters
Cannot be truly follow'd. 
Or, if you want to be much more existential:
It is as sure as you are Roderigo,
Were I the Moor, I would not be Iago:
then the attention goes to waking up Brabantio- Desdemona's father. Notice the way she's listed in this series:
Look to your house, your daughter and your bags!
Thieves! thieves!
So the daughter is more or less just another possession in the list. super. now let's get to more racism:
Even now, now, very now, an old black ram
Is topping your white ewe. Arise, arise;
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you:
Oh, and with the racism, we have some special sexual innuendos too. Did you like that one? Get ready for a more famous one:
BRABANTIO
What profane wretch art thou?
IAGO
I am one, sir, that comes to tell you your daughter
and the Moor are now making the beast with two backs.
Beast with two backs. nice. Add that to our etsy shop... for bachelorette gifts and whatnot...  and now that his daughter might be sleeping with a black man, suddenly Brabantio cares:
BRABANTIO
O she deceives me
Past thought! What said she to you? Get more tapers:
Raise all my kindred. Are they married, think you?
RODERIGO

Truly, I think they are.
BRABANTIO

O heaven! How got she out? O treason of the blood!

Just note the question- how got she out. Is desdemona usually under guard? I don't understand. But I know it's a helluva way to start a play. And now that we've heard so much about Othello, let's move to a scene with him:

1.2

So Othello's view of marriage is actually fairly similar to mine:

 for know, Iago,
But that I love the gentle Desdemona,
I would not my unhoused free condition
Put into circumscription and confine
For the sea's worth.
In other words, unless you are in love like crazy, it seems really stupid to give up the single life. A messenger comes in to break up the party to tell him that the duke wants to see Othello:
And he requires your haste-post-haste appearance,
Even on the instant.
I just love that turn of phrase. Haste-post-haste. Must start using that. of course, Othello is then confronted about his choice of bride with crazy accusations:
Damn'd as thou art, thou hast enchanted her;
Because any time things don't go your way the clear answer is witchcraft. Othello has a beautiful response to his fellows drawing their swords:
Hold your hands,
Both you of my inclining, and the rest:
Were it my cue to fight, I should have known it
Without a prompter.
Do you like that meta reference to a prompter? OK, on to the next...

1.3
We find out that the Duke is concerned about war. Soldiers and plans and whatnots:
The Turkish preparation makes for Rhodes;
ah the Turks. always good to throw that conflict in.
Write from us to him; post-post-haste dispatch.
They are really into their terms for doing things fast in this play... that's all I'm saying...
BRABANTIO
My daughter! O, my daughter!
DUKE OF VENICE
Dead?
BRABANTIO
Ay, to me;
She is abused, stol'n from me, and corrupted
By spells and medicines bought of mountebanks;
I love that even supposing this crazy story about witchcraft and spells is correct, and it was by no will of her own, Brabantio is STILL considering his daughter dead to him. And by love I mean hey look, another example of how daughters are just what their fathers want them to be or else what their husbands want or else worth nothing. super. CAN WE GET TO THE ROMANCES PLEASE?!
A maiden never bold;
Of spirit so still and quiet, that her motion
Blush'd at herself; and she, in spite of nature,
Of years, of country, credit, every thing,
To fall in love with what she fear'd to look on!
I actually think there's a lot in that passage for the actress playing Des to think about- the consequences of if she was always shy and then by love made bold or if this is how she acted for her father until now or if this is just not true? And what is kind of awesome is Othello's reaction:
I do beseech you,
Send for the lady to the Sagittary,
And let her speak of me before her father:
He wants to give Desdemona a voice. Something that I wish he'd consider later... but having a voice and being silenced are HUGE themes in this play. And part of why it's so hard for me to watch and yet still so wonderfully fascinating.
When I did speak of some distressful stroke
That my youth suffer'd. My story being done,
She gave me for my pains a world of sighs:
So Othello tells us in the meantime that he bewitched her with storytelling. Desdemona then comes in and tells her father that now she has to obey her husband, not him. The Duke then talks to Othello about what he brought him there for in the first place- problems with the Turks and that he needs to leave and fight them. Desdemona insists she go with Othello and travel away from her home. quite brave really. and showing us that he is not jealous to begin with, this is what he decides to do with her:
So please your grace, my ancient;
A man he is of honest and trust:
To his conveyance I assign my wife,
With what else needful your good grace shall think
To be sent after me.
So he wants Desdemona to chill with Iago in the meantime. Not the kind of thing a jealous man would say so easily right? I just think its a far more interesting choice to see him break down than have him naturally unsure from the start. LIke the murder in Macbeth I think it's a much more terrifying story if we can see what happens to him as something that is possible to happen to us. But just to start planting the jealous seeds, we have Brabantio's parting shot:
BRABANTIO
Look to her, Moor, if thou hast eyes to see:
She has deceived her father, and may thee.
OTHELLO
My life upon her faith! 
Everyone else leaves and we close out the act the way we started it- with Iago and Roderigo
Roderigo decides he will drown himself to which Iago replies:
Come, be a man. Drown thyself! drown cats and blind puppies. 
Amazing line. and then he goes on for a long speech to Roderigo that emphasizes over and over to put money in his purse and make more money for the two of them to spend. Then the second Roderigo is gone we get:
Thus do I ever make my fool my purse:
And then he goes on to have what I think has the potential to be the most chilling and brilliant bit of audience interaction:
let me see now:
To get his place and to plume up my will
In double knavery--How, how? Let's see:--
OK, imagine all that is said to different audience members, and after the last line, whoever that was taken too Iago reacts as if it inspires his whole plan. now that audience member is in a way even more implicit in Iago's actions than the rest of the audience, and responsible for all the death that is to follow. Since they "inspired" this:
After some time, to abuse Othello's earThat he (Cassio) is too familiar with his wife.
CREEPY. FABULOUS.
and with that I leave you.

Titus Act 5: Bloody Bloody Ends...

5.1
We start act 5 with Lucius riling up the Goths and the Goths seem happy to have him.
Brave slip, sprung from the great Andronicus, Whose name was once our terror, now our comfort;
and all the goths agree (this is a scene where I feel like a huge ensemble can be so powerful instead of having 2-3 goths) because there's something amazing about hearing a true chorus of people say:
And as he saith, so say we all with him.
Then in comes another Goth who has discovered Aaron and Aaron's baby. WE find out that it is the baby who gave him away, and Aaron sticks to his earlier declarations. He won't speak until his child is threatened:
LUCIUS
Say, wall-eyed slave, whither wouldst thou convey This growing image of thy fiend-like face? Why dost not speak? what, deaf? not a word? A halter, soldiers! hang him on this tree. And by his side his fruit of bastardy. AARON 
Touch not the boy; he is of royal blood.
He is so fierce about his son. it never ceases to amaze me.
AARON 
Lucius, save the child,
And bear it from me to the empress.
If thou do this, I'll show thee wondrous things,
That highly may advantage thee to hear:
If thou wilt not, befall what may befall,
I'll speak no more but 'Vengeance rot you all!'
LUCIUS 
Say on: an if it please me which thou speak'st Thy child shall live, and I will see it nourish'd.
and what comes next is so full of the philosophical debate Shakespeare approaches with religion over and over again, what will and will not guide our choices and whether we should be grateful for or frustrated with our consciences:
LUCIUS 
Who should I swear by? thou believest no god:
That granted, how canst thou believe an oath?
AARON 
What if I do not? as, indeed, I do not; Yet, for I know thou art religious And hast a thing within thee called conscience,
Then Aaron has a long speech about all the terrible things he's done, i'll just give you a highlight of the act I find most disturbing:
Oft have I digg'd up dead men from their graves, And set them upright at their dear friends' doors, Even when their sorrows almost were forgot; And on their skins, as on the bark of trees, Have with my knife carved in Roman letters, 'Let not your sorrow die, though I am dead.' Tut, I have done a thousand dreadful things As willingly as one would kill a fly,
and Lucius decides to wait and not hang Aaron but to bring him into Rome with his Goth army and dispatch with him later.

5.2
This is the one scene where I just wonder how to reconcile act 5 Tamora with Tamora the rest of the play. It's like all the brains she used earlier just disappeared, and the plot seems stretched so thin in this scene it's painful.It makes me wonder what Shakespeare would have done with it if he'd written this play later in his career... or if he just doesn't care about this clunky bridge because 5.3 moves so fast and ruthlessly most audience members will forgive this scene in practice... but still it's ROUGH on the actress playing Tamora.
Thus, in this strange and sad habiliment,
I will encounter with Andronicus,
And say I am Revenge, sent from below
To join with him and right his heinous wrongs.
So after tamora comes up with this brilliant plan she refuses to swerve from it...
TAMORA 
If thou didst know me, thou wouldest talk with me.
TITUS ANDRONICUS 
I am not mad; I know thee well enough:
Titus is telling her the truth! and whether this is an aside or not, Tamora should really start worrying after Titus tels her this:
Do me some service, ere I come to thee. Lo, by thy side where Rape and Murder stands; Now give me some surance that thou art Revenge, Stab them, or tear them on thy chariot-wheels;
Tamora tries to justify not stabbing her poorly disguised sons by saying they are Revenge's helpers. She is just SO overly confident that Titus is totally crazy town and has not one of his wits left to him:
This closing with him fits his lunacy Whate'er I forge to feed his brain-sick fits, Do you uphold and maintain in your speeches,
And perhaps the first time she starts to sense something could go wrong is here:
TAMORA 
Now will I hence about thy business,
And take my ministers along with me.
TITUS ANDRONICUS 
Nay, nay, let Rape and Murder stay with me; Or else I'll call my brother back again, And cleave to no revenge but Lucius.
And whether it's because she buys Titus' crazy again or she knows she's being blackmailed and needs more time to scheme a way to save herself and her sons, she talks with Chiron and Demetrius about this option and they agree to stay with Titus. and then Titus has this line to the audience that just rings of lines in later palys:
I know them all, though they suppose me mad, And will o'erreach them in their own devices: A pair of cursed hell-hounds and their dam!
This just makes me think of Hal saying "I know you all" followed by Hamlet's supposed madness followed by one of my favorite lines from Macbeth, "Turn, hell hound, turn" I love the traces of language and poetry to come again. all the echoes throughout the canon.
So of course, once Tamora is gone, Titus lets loose and Chiron and Demetrius know the game is up. Titus takes great pains to tell Chiron and Demetrius what he's going to do with them:
Come, come, Lavinia; look, thy foes are bound. Sirs, stop their mouths, let them not speak to me; But let them hear what fearful words I utter.
Hark, wretches! how I mean to martyr you.
This one hand yet is left to cut your throats,
Whilst that Lavinia 'tween her stumps doth hold
The basin that receives your guilty blood.
You know your mother means to feast with me,
And calls herself Revenge, and thinks me mad:
Hark, villains! I will grind your bones to dust
And with your blood and it I'll make a paste,
And of the paste a coffin I will rear
And make two pasties of your shameful heads,
And bid that strumpet, your unhallow'd dam,
Like to the earth swallow her own increase.
So yes, long before sweeney todd, baking people into pies was a thing. and speaking of other stories who use this plot point....
Any of you who have seen the Southpark Episode Scott Tenorman Must Die probably recognized this plot point. I remember a friend of mine, David, expected me to be utterly horrified by the end of the episode and was a bit disappointed when my only reaction was yeah.... Shakespeare already did that... here's how I imagine Titus wishes he would have reacted before what goes down next with Tamora:

but let's get to that finale right now:
the scene begins with all the major players left assembling at Titus' house- including Lucius and his Goths- who hide Aaron inside the house, and Saturninus and Tamora. Next comes another goldmine of a stage direction
[Enter TITUS dressed like a Cook, LAVINIA veiled, Young LUCIUS, and others. TITUS places the dishes on the table]

How can you not start to giggle when the specific direction is that Titus has dressed up as a crazy chef to serve Tamora her sons?! SERIOUSLY!
OK, here's the bit that makes me super uncomfortable with this play/ why I wasn't sure I could like it again:
 TITUS ANDRONICUS 
An if your highness knew my heart, you were.
My lord the emperor, resolve me this:
Was it well done of rash Virginius
To slay his daughter with his own right hand,
Because she was enforced, stain'd, and deflower'd?
SATURNINUS
It was, Andronicus. TITUS ANDRONICUS 
Your reason, mighty lord?
SATURNINUS  
Because the girl should not survive her shame, And by her presence still renew his sorrows.
The attitude that we should kill all the raped girl because they should not outlive their shame (THEIR shame for an act THEY didn't do = problem #1, strike that, make KILLING THEM problem #1 and that other problem problem #2) seriously. and it's an attitude i think is still all too common in the world today and it's upsetting and depressing and all sorts of things, but maybe that's why we need to have this here, so that we can see Lavinia in an extreme situation, and still get to talk afterward about how we feel that Titus kills her, kills her in front of everyone with Saturninus' justification. When he's asked why he did this his crazy town awesome response is:
Will't please you eat? will't please your highness feed?
and then he reveals why he was obsessed with everyone eating, and after that, things happen in rapid succession
TITUS ANDRONICUS 
Why, there they are both, baked in that pie; 
Whereof their mother daintily hath fed, 
Eating the flesh that she herself hath bred. 
'Tis true, 'tis true; witness my knife's sharp point. 
[Kills TAMORA]
 SATURNINUS 
Die, frantic wretch, for this accursed deed! 
[Kills TITUS]  
LUCIUS 
Can the son's eye behold his father bleed?
There's meed for meed, death for a deadly deed!
[Kills SATURNINUS. A great tumult.]To quote anchor man:

and then we come back to the next generation, Lucius says to Young Lucius
Come hither, boy; come, come, and learn of us
yes, learn of all the vengeance and tears young one. be like the other men in this story, seeing as there are NO FEMALES LEFT in the play (we'll come to this again in Timon, shakespeare seems to paint a pretty bleak picture when we get to worlds without women...) and then we get back to Aaron's punishment since Lucius promised him a death worse than hanging:
Set him breast-deep in earth, and famish him;
There let him stand, and rave, and cry for food;
If any one relieves or pities him,
For the offence he dies. This is our doom:
Some stay to see him fasten'd in the earth.
and as for Tamora:
No funeral rite, nor man m mourning weeds, No mournful bell shall ring her burial; But throw her forth to beasts and birds of prey: Her life was beast-like, and devoid of pity; And, being so, shall have like want of pity.
then the last line of the play is this little couplet desperately trying to cling to what's left of society:
Then, afterwards, to order well the state,
That like events may ne'er it ruinate.
The big staging question in this scene (you know, aside from all that fight choreography that just happened) is what to do with Aaron's baby. THere's no specific mention other than it is referenced someone has it in their arms at some point. Do you ignore it and focus on Lucius at the end? Does young Lucius bash it's little head in to re-start the cycle of violence? Do they look like they might actually forgive and be kind to this baby? I think what you do with this baby has a huge impact on how you read the ending of this play, and i'm not the only one.

Next up: I've gone a bit out of order again and realized that the two new plays I did for my undergrad shakespeare acting class should have come before this one, but that's ok we'll do them next. So get ready for Othello! You better believe I'll have a good deal to say about Paula Vogel's Desdemona: A Play About A Handkerchief as well!!