Category 1
ACT 1, Scene 1:
Othello is called the following:
Barbary horse, Moorship’s ancient, Thick-lips, an old black ram, devil (called The Moor throughout the play by other characters)
intertextual reference to:
"Narrative of The Life of Frederick Douglass": racism (name-calling)
Desdemona calls othello ‘my lord’ throughout the play
intertextual reference to:
Hamlet or A Doll's House: Women under the ownership of male figures
Othello's character can be identified as a Tragic Hero
intertexual reference to:
"Hamlet": both are consumed by their own flaws that make them result in taking revenge, ultimately meeting their tragic end
ACT 1, Scene 3:
Brabantio: A maiden never bold, Of spirit so still and quiet that her motion blushed at herself.
intertextual reference to:
"A Doll's House" and "Chronicle of a Death Foretold": Gender roles (women)
ACT 5, Scene 2:
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.
intertextual reference to:
"A Doll's House": awakening in female characters
ACT 3, Scene 3: Othello: Haply, for I am black And have not those soft parts of conversation That chamberers have
intertextual reference to:
"Narrative of the Life of Frederick Douglass": race and social inequality
ACT 5, Scene 2:
Othello: Why, anything. An honorable murderer, if you will, For naught I did in hate, but all in honor.
intertextual reference to:
"Chronicle of a Death Foretold": Theme of honor (tying with murder)
ACT 1, Scene 2:
Brabantio: “Judge me the world if ’tis not gross in sense That thou hast practiced on her with foul charms, Abused her delicate youth with drugs or minerals That weakens motion. I’ll have ’t disputed on. 'Tis probable and palpable to thinking. I therefore apprehend and do attach thee For an abuser of the world, a practicer Of arts inhibited and out of warrant.”
intertextual reference to:
"The Crucible": Accusing those of witchcraft without evidence
ACT 1, Scene 3:
Desdemona: My noble father, I do perceive here a divided duty. To you I am bound for life and education. My life and education both do learn me how to respect you. You are the lord of duty. I am hitherto your daughter. But here’s my husband. And so much duty as my mother showed to you, preferring you before her father, so much I challenge that I may profess due to the Moor my lord.
intertextual reference to:
"A Doll's House": Women under the ownership of male figures
ACT 1, Scene 3:
Brabantino:"...I had rather to adopt a child than get it.—Come hither, Moor. I here do give thee that with all my heart Which, but thou hast already, with all my heart I would keep from thee. For your sake, jewel, I am glad at soul I have no other child. For thy escape would teach me tyranny, To hang clogs on them.— I have done, my lord."
intertextual reference to:
"Chronicle of a Death Foretold": Family Dynamics/ Mariage
ACT 5, Scene 2:
Emilia: 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, alas, I die.
intertextual reference to:
"Hamlet": woman being used as pawns, ultimately leading to their tragic ends (Emilia and Ophelia)
"Narrative of the Life of Frederick Douglass" and "Fences": The use of songs to express emotion and experience of those who are oppressed
ACT 4, Scene 3:
Desdemona: My mother had a maid called Barbary,She was in love, and he she loved proved mad and did forsake her. She had a song of “Willow,” an old thing ’twas, but it expressed her fortune and she died singing it. That song tonight will not go from my mind. I have much to do but to go hang my head all at one side and sing it like poor Barbary.
intertextual reference to:
"Narrative of the Life of Frederick Douglass" and "Fences": The use of songs to express emotion and experience of those who are oppressed