TURN.; “t. thy complexion,” change color; IV. ii. 62. UNBLEST, accursed; II. iii. 317. UNBONNETED, without taking off the cap, on equal terms; I. ii. 23. UNBOOKISH, ignorant; IV. i. 103. UNCAPABLE, incapable; IV. ii. 238. UNDERTAKER; "his u.", take charge of him, dispatch him; IV. i. 223. UNFOLD, reveal, bring to light; IV. ii. 141. UNFOLDING, communication; I. iii. 246. UNHANDSOME, unfair; III. iv. 148. UNHATCH'D, undisclosed; III. iv. 138. UNHOUSED, homeless, not tied to a household and family; I. ii. 26. UNLACE, degrade; II. iii. 197. make unprepared; UN WITTED, deprived of understanding; II. iii. 185. UPON, incited by, urged by; I. i. 100. USE, custom; IV. i. 284. USES, manners, habits; (Q. 1, "vsage"); IV. iii. 106. VANTAGE; "to the v.", over and VIRTUOUS, having efficacy, power ful; III. iv. 108. VOICES, Votes; I. iii. 262. VOUCH, assert, maintain; I. iii. 103, 106. bear witness; I. iii. 263. -, testimony; II. i. 150. WAGE, Venture, attempt; I. iii. 30. WATCH, Watchman; V. i. 37. WATCH HIM, keep him from sleeping; a term in falconry; III. iii. 23. WEARING, clothes; IV. iii. 16. WELL SAID, well done; (Qq., "well sed"); II. i. 171. WHAT, who; I. i. 18. WHEELING, errant; (Q. 2, "wheedling"); I. i. 138. WHIPSTER, one who whips out his sword; (used contemptuously); V. ii. 244. WHITE, (used with a play upon white and wight); II. i. 134. WHOLESOME, reasonable; III. i. 49. WICKER, Covered with wickerwork; (Ff. "Twiggen"); II. iii. 155. WIGHT, person; (applied to both sexes); II. i. 161. WIND; "let her down the w."; "the falconers always let the hawk fly against the wind; if she flies with the wind behind her she seldom returns. If therefore a hawk was for any reason to be dismissed, she was let down the wind, and from that time shifted for herself and preyed at fortune" (Johnson); III. iii. 262. WIND-SHAKED, wind-shaken; II. i. 13. WITH, by; II. i. 34. WITHAL, with; I. iii. 93. WITH ALL MY HEART, used both as a salutation, and also as a reply to a salutation; IV. i. 228. WITHIN DOOR; "speak w. d.", i. e. "not so loud as to be heard outside the house"; IV. ii. 144. WOMAN'D, accompanied by a woman; III. iv. 192. WORSER, worse; I. i. 95. WRENCH, wrest; (Q. 1, "Wring"); V. ii. 288. WRETCH, a term of endearment; (Theobald, "wench”); III. iii. 90. WROUGHT, worked upon; V. ii. 345. YERK'D, thrust; I. ii. 5. YET, as yet, till now; III. iii. 432. STUDY QUESTIONS By ANNE THROOP CRAIG GENERAL 1. On what was the tragedy founded? Outline the story. 2. To what period of the poet's development does the workmanship of the play point? With which of his other plays does it take its rank? 3. What are the historical facts of the situation between Venice, Cyprus, and Turkey as existent at the period of the play? 4. How could the play have been cast in four acts? Would it have lost or gained thereby? In the point of dramatic construction, in what way does the first act take the place of a prologue? ACT I 5. How does Iago show his character in the opening scene? What is the purpose of his relation with Roderigo? 6. What feeling towards Cassio and Othello does Iago betray? 7. How does Roderigo show himself? Why has he sought out Iago? 8. Why do Iago and Roderigo arouse Brabantio? 9. What impression of character does the first action and speech of Othello make upon his entrance? How does he behave towards Brabantio? 10. Why is Othello summoned by the Duke? 11. Why did Brabantio attribute his daughter's affection for Othello to witchcraft? 12. What is the character of Othello's defense before the senators? How does he explain the course of Desdemona's gradual falling in love with him? 13. How does Desdemona speak in the matter and what is the outcome of the situation? 14. Where is Othello obliged to go? What attitude towards Iago does the trust Othello places in him show? 15. What emphasis on Iago's peculiar character does the fact of his youth, place? 16. What is his advice to Roderigo? What is the gist of his final soliloquy? ACT II 17. What developments of incident and information are assisted by the introduction of the tempest? 18. What is the character of Iago's comment on his wife and on women? What does it betray of his cast of mind? 19. How are the progressions of Iago's schemes marked through this act? What does he tell Roderigo about Cassio? 20. How does he express his recognition of Othello's character? What emphasis does this put on his own villainy? 21. For what important incidents does the merrymaking proclaimed in scene ii give opportunity? 22. How does this scene serve to contrast the characters of Cassio and Iago? What does it show of Cassio? 23. How does Iago mold the incidents to his purposes? What is the outcome? What is the advice of Iago to Cassio? ACT III 24. How is Emilia made an instrument for the designs of Iago? Is she innocent of the purport of what she is asked to do? 25. How does Iago first stir Othello's suspicion? Trace the steps by which he leads Othello's suspicions. 26. What qualities of Othello are demonstrated by his openness to Iago's villainy? 27. How does Iago maintain a balance between an outward seeming of honesty, and the unceasing pursuit of his villainous ends? 28. What are the points Iago dwells upon as likely to stir up natural causes for suspicion in Othello's mind? 29. What important developments center about the incident of the handkerchief? How does Othello warn Desdemona about it? 30. How does the character of Emilia show itself? 31. What color does Othello's state of mind put upon Desdemona's act in putting him off about the handkerchief? 32. What does Emilia say of her suspicions? 33. Who is Bianca? How does she first enter into the tangle of the web Iago is weaving? ACT IV 34. Trace the method by which Iago prods Othello's suspicions to their height of agony. 35. What does he do to supply Othello with supposed proof? 36. Where does Iago bring the culmination of his evil counsel to bear upon Othello? 37. What is the first open effect of the working of Iago's machinations, expressed by Othello? What is its effect upon Lodovico? How does Iago at once take advantage of the incident? 38. How does Emilia speak of her mistress to Othello? 39. Describe the passage between Othello and Desdemona in scene ii. Why is it that he is unmoved by her innocent appeals? 40. What construction does he put upon even her words and appearance of innocence? 41. How does Iago account to Desdemona for Othello's actions? |