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spared me by the rats. As I put a portion of it within my lips, there rushed to my
mind a half formed thought of joy -- of hope. Yet what business had I with hope?
It was, as I say, a half formed thought -- man has many such which are never
completed. I felt that it was of joy -- of hope; but felt also that it had perished in its
formation. In vain I struggled to perfect -- to regain it. Long suffering had nearly
annihilated all my ordinary powers of mind. I was an imbecile -- an idiot.
The vibration of the pendulum was at right angles to my length. I saw that the
crescent was designed to cross the region of the heart. It would fray the serge of
my robe -- it would return and repeat its operations -- again -- and again.
Notwithstanding terrifically wide sweep (some thirty feet or more) and the hissing
vigor of its descent, sufficient to sunder these very walls of iron, still the fraying ofmy robe would be all that, for several minutes, it would accomplish. And at this
thought I paused. I dared not go farther than this reflection. I dwelt upon it with a
pertinacity of attention -- as if, in so dwelling, I could arrest here the descent of the
steel. I forced myself to ponder upon the sound of the crescent as it should pass
across the garment -- upon the peculiar thrilling sensation which the friction ofcloth produces on the nerves. I pondered upon all this frivolity until my teeth wereon edge.
Down -- steadily down it crept. I took a frenzied pleasure in contrasting its
downward with its lateral velocity. To the right -- to the left -- far and wide -- with
the shriek of a damned spirit; to my heart with the stealthy pace of the tiger! I
alternately laughed and howled as the one or the other idea grew predominant.
Down -- certainly, relentlessly down! It vibrated within three inches of my bosom!
I struggled violently, furiously, to free my left arm. This was free only from the
elbow to the hand. I could reach the latter, from the platter beside me, to my mouth,
with great effort, but no farther. Could I have broken the fastenings above the
elbow, I would have seized and attempted to arrest the pendulum. I might as well
have attempted to arrest an avalanche!
Down -- still unceasingly -- still inevitably down! I gasped and struggled at each
vibration. I shrunk convulsively at its every sweep. My eyes followed its outward
or upward whirls with the eagerness of the most unmeaning despair; they closed
themselves spasmodically at the descent, although death would have been a relief,
oh! how unspeakable!
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Comment [A89]: Repetition
Comment [A90]: Rhetorical Question
Comment [A91]: Expletive: showing notimportant meaning, but using commas
Comment [A92]: Repetition
Comment [A93]: Antithesis
Comment [A94]: anthropomorphism
Comment [j95]: amplification
Comment [j96]: denotation
Comment [A97]: Imagery: felt feel, touch, sense.
Comment [A98]: Repetition
Comment [j99]: Trans wds
Comment [A100]: Onomatopoeia
Comment [A101]: anthro
Comment [A102]: Conson ance: d, s, t, s
Comment [j103]: Consonance: s
Comment [j104]: hyperbaton
Comment [A105]: Asyndeton
Comment [A106]: Expletive
Comment [j107]: connotation
Comment [A108]: Diction: crescent pendulum (found th e different words)
Comment [j109]: contradiction
Comment [A110]: Imagery: senses
Comment [A111]: Ambiguous: what sensation?
Comment [j112]: hyperbole
Comment [A113]: Synecdoche: teeth represents
the body
Comment [A114]: Anaphora with the otherDowns
Comment [A115]: Suspense
Comment [j116]: oxymoron
Comment [j117]: anaphora
Comment [j118]: personification
Comment [A119]: Analogy
Comment [A120]: Antithesis
Comment [j121]: amplification
Comment [j122]: consonance: F sounds
Comment [j123]: internal rhym
Comment [A124]: Hyperbole
Comment [A125]: Analogy
Comment [A126]: Consonance: the W
Comment [A127]: Contradiction
Comment [A128]: Diction
Comment [A129]: Irony: Just let the characterdie rather than torchering
Formal Language
8/14/2019 all final prep extracts + answers.pdf
4/10
PYGMALIONGeorge Bernard Shaw (published 1912)
FLOWER GIRL. Let him say what he likes. I don't want to have no truck with him.
BYSTANDER. You take us for dirt under your feet, don't you? Catch you taking
liberties with a gentleman!SARCASTIC BYSTANDER. Yes: tell HIM where he come from if you want to
go fortune-telling.
NOTE TAKER. Cheltenham, Harrow, Cambridge, and India.
GENTLEMAN. Quite right. [Great laughter. Reaction in the note taker's favor.
Exclamations of He knows all about it. Told him proper. Hear him tell the toff
where he come from? etc.]. May I ask, s ir, do you do this for your living at a musichall?
NOTE TAKER. I've thought of that. Perhaps I shall some day. The rain has
stopped; and the persons on the outside of the crowd begin to drop off.
FLOWER GIRL. He's no gentleman, he ain't, to interfere with a poor girl.
DAUGHTER. What on earth is Freddy doing? I shall get pneumonia if I stay inthis draught any longer.
NOTE TAKER. [to himself, hastily making a note of her pronunciation of"monia"] Earlscourt.DAUGHTER [violently] Will you please keep your impertinent remarks to
yourself?
NOTE TAKER. Did I say that out loud? I didn't mean to. I beg your pardon. Your
mother's Epsom, unmistakeably.
MOTHER [advancing between her daughter and the note taker] How very curious!
I was brought up in Largelady Park, near Epsom.
NOTE TAKER [uproariously amused] Ha! ha! What a devil of a name! Excuse me.[To the daughter] You want a cab, do you?
DAUGHTER. Don't dare speak to me.
MOTHER. Oh, please, please C lara. [Her daughter repudiates her with an angryshrug and retires haughtily.] We should be so grateful to you, sir, if you found us a
cab. [The note taker produces a whistle]. Oh, thank you. [She joins her daughter].The note taker blows a piercing blast.
SARCASTIC BYSTANDER. There! I knowed he was aplain-clothes copper.
BYSTANDER. That ain't a police whistle: that's a sporting whistle.
FLOWER GIRL [still preoccupied with her wounded feelings] He's no right to
take away my character. My character is the same to me as any lady's.
NOTE TAKER. I don't know whether you've noticed it; but the rain stopped abouttwo minutes ago.
BYSTANDER. So it has. Why didn't you say so before? and us losing our time
listening to your silliness. [He walks off towards the Strand].
SARCASTIC BYSTANDER. I can tell where you come from. You come from
Anwell. Go back there.
NOTE TAKER [helpfully]Hanwell.
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Comment [A130]: Colloquial (a slang):problems o r business
Comment [A131]: Connotation: Low Class
Comment [j132]: connotation
Comment [j133]: sarcasm
Comment [A134]: Expletive: using commas
Comment [A135]: Connotation
Comment [j136]: colloquial
Comment [j137R136]:
Comment [A138]: Dennotation (word choice):
rain
Connotation: drinking alcohol
Comment [A139]: Hyperbole
Comment [A140]: Invective: because it isviolently
Comment [A141]: Rhetorical Question &Sarcasm
Comment [j142]: anaphora
Comment [A143]: Sarcasm
Comment [A144]: Hyperbacon
Comment [j145]: repetition
Comment [A146]: Understatement: waiting for ataxi
Comment [j147]: hyperbole
Comment [A148]: Disguise as a normal person:Cultural Context.
Comment [A149]: Cultural Context
Comment [A150]: Anadiplosis: last word in asentence and th e first word i n the sentence
respectively
Comment [A151]: Sarcasm
8/14/2019 all final prep extracts + answers.pdf
5/10
PYGMALIONGeorge Bernard Shaw (published 1912)
LIZA. I sold flowers. I didn't sell myself. Now you've made a lady of me I'm notfit to sell anything else. I wish you'd left me where you found me.
HIGGINS [slinging the core of the apple dec isively into the grate] Tosh, Eliza.
Don't you insult human relations by dragging all this cant aboutbuying and selling
into it. You needn't marry the fellow if you don't like him.
LIZA. What else am I to do?
HIGGINS. Oh, lots of things. What about your old idea of a florist's shop?
Pickering could set you up in one: he's lots of money. [Chuckling] He'll have topay for all those togs you have been wearing today; and that, with the hire of the
H, will make a big hole in two hundred pounds. Why, six months ago you would
have thought it the millennium to have a flower shop of your own. Come! you'll beall right. I must clear off to bed: I'm devilish sleepy. By the way, I came down for
something: I forget what it was.
LIZA. Your slippers.
HIGGINS. Oh yes, of course. You shied them at me.
LIZA. Before you go, sir--
HIGGINS [dropping the slippers in his surprise at her calling him sir] Eh?
LIZA. Do my clothes belong to me or to Colonel Pickering?
HIGGINS [coming back into the room as if her question were the very climax of
unreason] What the devil use would they be to Pickering?
LIZA. He might want them for the next girl you pick up to experiment on.
HIGGINS [shocked and hurt] Is THAT the way you feel towards us?
LIZA. I don't want to hear anything more about that. All I want to know is whether
anything belongs to me. My own clothes were burnt.
HIGGINS. But what does it matter? Why need you start bothering about that in the
middle of the night?
LIZA. I want to know what I may take away with me. I don't want to be accused ofstealing.
HIGGINS [now deeply wounded] Stealing! You shouldn't have said that, Eliza.
That shows a want of feeling.
LIZA. I'm sorry. I'm only a common ignorant girl; and in my station I have to be
careful. There can't be any feelings between the like of you and the like of me.
Please will you tell me what belongs to me and what doesn't?
HIGGINS [very sulky] You may take the whole damned houseful if you like.Except the jewels. They're hired. Will that satisfy you?
LIZA [drinking in his emotion like nectar, and nagging him to provoke a further
supply] Stop, please. [She takes off her jewels]. Will you take these to your room
and keep them safe? I don't want to run the risk of their being missing.
HIGGINS. Hand them over. [She puts them into his hands]. If these belonged to
me instead of to the jeweler, I'd ram them down your ungrateful throat.
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Comment [A152]: Setting: In the middle of thenight @ Higgins House take all the equipment
from the house.
Comment [A153]: Litotes: begins with negative
word (didnt)
Comment [j154]: anaphora
Comment [j155]: colloquial lang
Comment [A156]: Antithesis: comparisoncontrast meaning
Comment [A157]: Litotes: begins with negativeexpression or words (neednt)
Comment [j158]: Connotation, characterization
Comment [A159]: Colloquial: togs
Comment [j160]: Trans wds
Comment [A161]: Connotation : cost a lot of/ abunch of deposit
Comment [j162]: exclamation
Comment [A163]: Hyperbole: the millennium
Comment [j164]: Colloquial lang
Comment [A165]: Diction: extremely ormoderately
Comment [A166]: Sarcasm: calling a sir. Heconfused
Comment [j167]: Zeugma
Comment [j168]: Colloquial lang
Comment [A169]: Ambiguous: double
connotation can be prostitut e or biologicalexperiment
Comment [j170]: Invective/sarcasm
Comment [j171]: setting
Comment [j172]: internal rhyme
Comment [j173]: consonance: w sounds
Comment [j174]: anaphora
Comment [A175]: Expletive
Comment [A176]: Satire & Sarcasm: She nowsshe is being that.
Comment [A177]: Ambigious: confusion what isthe real feeling
Comment [A178]: Synecdoche
Comment [A179]: Invective
Comment [A180]: Hyperbole
Comment [A181]: She replies but doesnt
answer it : rhetorical question
Comment [A182]: Simile: using the word like
Comment [j183]: Hyperbaton, personification
Comment [A184]: Expletive
Comment [A185]: Anthrophormophism:
ungrateful for describing feeling. Throat would be a
SYNECDOCHE
8/14/2019 all final prep extracts + answers.pdf
6/10
PYGMALIONGeorge Bernard Shaw (published 1912)
LIZA [to Pickering, taking no apparent notice of Higgins] Will you d rop mealtogether now that the experiment is over, Colonel Pickering?
PICKERING. Oh don't. You mustn't think of it as an experiment.
LIZA. Oh, I'm only a squashed cabbage leaf.
PICKERING [impulsively] No.
LIZA. -but I owe so much to you that I should be very unhappy if you forgot me
PICKERING. It's very kind of you to say so, Miss Doolittle.
LIZA. It's not because you paid for my dresses. I know you are generous to
everybody with money. But it was from you that I learnt really nice manners;
and that is what makes one a lady, isn't it? You see it was so very difficult for
me with the example of Professor Higgins always before me. I was brought up
to be just like him, unable to control myself, and using bad language on theslightest provocation. And I should never have known that ladies and gentlemen
didn't behave like that if you hadn't been there.
HIGGINS. Well!!
PICKERING. Oh, that's only his way, you know. He doesn't mean it.
LIZA. Oh, I didn't mean it either, when I was a flower girl. It was only my way.
But you see I did it; and that's what makes the difference after all.
PICKERING.No doubt. Still, he taught you to speak and I couldn't have done that.
LIZA [trivially] Of course: that is his profession.
HIGGINS. Damnation!
LIZA. It was just like learning to dance in the fashionable way: there was
nothing more than that in it. But do you know what began my real education?
PICKERING. What?
LIZA. Your calling me Miss Doolittle that day when I first came to Wimpole
Street. That was the beginning of self-respect for me. And there were a hundred
little things you never noticed, because they came naturally to you. Things
about standing up and taking off your hat and opening doors--
PICKERING. Oh, that was nothing.
LIZA. Yes: things that showed you thought and felt about me as if I were
something better than a scullery-maid; though of course I know you would have
been just the same to a scullery-maid if she had been let in the drawing-room.
PICKERING. You mustn't mind that.
LIZA. I know. I am not blaming him. It is his way, isn't it? But it made such adifference to me that you didn't do it. You see, really and truly, apart from the
things anyone can pick up (the dress ing and the proper way of speaking, and soon), the difference between a lady and a flower girl is not how she behaves, but
how she's treated. I shall always be a flower girl to Professor Higgins, because
he always treats me as a flower girl, and always will; but I know I can be a lady
to you, because you always treat me as a lady, and always will.
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Comment [j186]: Connotation
Comment [A187]: Litotes
Comment [A188]: Bildungromans
Comment [j189]: epithet
Comment [j190]: characterization
Comment [A191]: Connotation
Comment [j192]: exclamation
Comment [A193]: Foil
Comment [A194]: Invective
Comment [j195]: setting
Comment [j196]: nostalgia
Comment [j197]: hyperbole
Comment [A198]: PolysyndentonCultural Context
Comment [A199]: Characterization
Comment [j200]: analogy
Comment [j201]: rhetorical q
Comment [A202]: Expletive and Amplification- separation with commas
Comment [A203]: Assonance
Comment [A204]: Antithesis
Comment [A205]: Parallel Syntaxwords aregiven with also a similar sentence
Comment [j206]: Repetition: always will
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[20]PYGMALIONGeorge Bernard Shaw (published 1912)
HIGGINS. As if I ever stop thinking about the girl and her confounded vowels
and consonants. I'm worn out, thinking about her, and watching her lips and her
teeth and her tongue, not to mention her soul, which is the quaintest of the lot.
MRS. HIGGINS. You certainly are a pretty pair of babies, playing with your
live doll.
HIGGINS. Playing! The hardest job I ever tackled: make no mistake about that,mother. But you have no idea how frightfully interesting it is to take a human
being and change her into a quite different human being by creating a new
speech for her. It's filling up the deepest gulf that separates c lass from class and
soul from soul.
PICKERING [drawing his chair closer to Mrs. Higgins and bending over to hereagerly] Yes: it's enormously interesting. I assure you, Mrs. Higgins, we take
Eliza very seriously. Every week-- every day almost-- there is some new change.[Closer again] We keep records of every stage--dozens of gramophone disks
and photographs--
HIGGINS [assailing her at the o ther ear] Yes, by George: it's the most
absorbing experiment I ever tackled. She regularly fills our lives up; doesn't she,
Pick?
PICKERING. We're always talking Eliza.
HIGGINS. Teaching Eliza.
PICKERING. Dressing Eliza.
MRS. HIGGINS. What!HIGGINS. Inventing new Elizas.
Higgins and Pickering, speaking together:
HIGGINS. You know, she has the most extraordinary quickness of ear:
PICKERING. I assure you, my dear Mrs. Higgins, that girl HIGGINS. just likea parrot. I've tried her with every PICKERING. is a genius. She can play the
piano quite beautifully HIGGINS. possible sort of sound that a human being can
make-- PICKERING. We have taken her to classical concerts and to music
HIGGINS. Continental dialects, African dialects, Hottentot PICKERING. halls;
and it's all the same to her: she plays everything HIGGINS. clicks, things it took
me years to get hold of; and PICKERING. she hears right off when she comeshome, whether it's HIGGINS. she picks them up like a shot, right away, as if
she had PICKERING. Beethoven and Brahms or Lehar and Lionel Morickton;HIGGINS. been at it all her life. PICKERING. though six months ago, she'd
never as much as touched a piano.
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Comment [A207]: Polysyndenton with theword and
Asyndenton - commas
Comment [j208]: metaphor
Comment [A209]: Oxymoron need a noun
Comment [j210]: exclamation
Comment [A211]: Personification
Comment [A212]: Contradiction
Comment [A213]: Parallelism
Comment [A214]: Hyperbole
Comment [j215]: Synecdoche to the wholetransforming thing
Comment [A216]: Delayed sentence
Comment [A217]: Colloquial
Comment [A218]: Expletive
Comment [A219]: Overlapping Dialogue
Comment [A220]: Simile
Comment [j221]: asyndeton
Comment [A222]: Onamatopea
Comment [A223]: Antrophormofism
Comment [A224]: Simile
Comment [A225]: MetonomyIllusion related to the classical artist
Comment [A226]: Polysyndenton with the
word And
8/14/2019 all final prep extracts + answers.pdf
8/10
OTHELLOWilliam Shakespeare (published 1565)
CASSIO. It hath the devil drunkenness pleased to give place to the devil wrath;
one unperfectness shows me another, to make me frankly despise myself.
IAGO. Come, you are too severe a moraler: as the time,
the place, and the condition of this country
stands, I could heartily wish this had not befallen;
but, since it is as it is, mend it for your own good.
CASSIO. I will ask him for my place again; he shall tell me
I am a drunkard! Had I as many mouths as Hydra,
such an answer would stop them all. To be now a
sensible man, by and by a fool, and presently a
beast! O strange! Every inordinate cup is
unblessed and the ingredient is a devil.
IAGO. Come, come, good wine is a good familiar creature,
if it be well used: exclaim no more against it.
And, good lieutenant, I think you think I love you.
CASSIO. I have well approved it, sir. I drunk!
IAGO. You or any man living may be drunk! at a time, man.
I'll tell you what you shall do. Our general's wife
is now the general: may say so in this respect, forthat he hath devoted and given up himself to the
contemplation, mark, and denotement of her parts and
graces: confess yourself freely to her; importune
her help to put you in your place again: she is of
so free, so kind, so apt, so blessed a disposition,she holds it a vice in her goodness not to do more
than she is requested: thisbroken joint between
you and her husband entreat her to sp linter; and, my
fortunes against any lay worth naming, this
crack of your love shall grow stronger than it was before.
CASSIO. You advise me well.
IAGO. I protest, in the sincerity of love and honest kindness.
CASSIO. I think it freely; and betimes in the morning I will
beseech the virtuous Desdemona to undertake for me:I am desperate of my fortunes if they cheque me here.
IAGO. You are in the right. Good night, lieutenant; I
must to the watch.
CASSIO: Good night, honest Iago.
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Comment [j227]: Consonance: the d sounds
Comment [j228]: hyperbaton
Comment [A229]: Consonnance: the S
Comment [A230]: Asyndenton
Comment [j231]: sarcasm
Comment [A232]: SimileIllusion alluding to Hydra
Comment [j233]: antithesis
Comment [A234]: Apostrophoie
Comment [A235]: Personification and Metaphor
Comment [j236]: personification
Comment [j237]: delayed sentence
Comment [j238]: PLOT
Comment [A239]: Historical Connotation
Comment [j240]: Trans wds
Comment [A241]: Anaphora
Comment [A242]: Eufony
Comment [j243]: characterization
Comment [j244]: analogy
Comment [j245]: euphemism
Comment [A246]: Irony
Comment [j247]: characterization
Comment [j248]: internal rhyme
Comment [A249]: Trafic Flaw -
8/14/2019 all final prep extracts + answers.pdf
9/10
OTHELLOWilliam Shakespeare (published 1565)
IAGO. I do beseech you--Though I perchance am vicious in my guess,
As, I confess, it is my nature's plague
To spy into abuses, and oft my jealousy
Shapes faults that are not--that your wisdom yet,
From one that so imperfectly conceits,Would take no notice, nor build yourself a trouble
Out of his scattering and unsure observance.
It were not for your quiet nor your good,
Nor for my manhood, honesty, or wisdom,
To let you know my thoughts.
OTHELLO. What dost thou mean?
IAGO. Good name in man and woman, dear my lord,
Is the immediatejewel of their souls: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.
OTHELLO. By heaven, I'll know thy thoughts.
IAGO. You cannot, if my heart were in your hand;
Nor shall not, whilst 'tis in my custody.
OTHELLO. Ha!
IAGO. O, beware, my lord, of jealousy;
It is the green-eyed monster which doth mock
The meat it feeds on; that cuckold lives in bliss
Who, certain of his fate, loves not his wronger;
But, O, what damned minutes tells he o'er
Who dotes, yet doubts, suspects, yet strongly loves!
OTHELLO. O misery!
IAGO. 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.Good heaven, the souls of all my tribe defend
From jealousy!
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Comment [PM250]: Archaic Diction
Comment [j251]: hyperbaton
Comment [PM252]: Connotation: HumanNature / Sylogism
Comment [j253]: characterization
Comment [PM254]: Characterization
Comment [j255]: anthro
Comment [PM256]: Litote
Comment [PM257]: Alliteration: Assonance
Comment [PM258]: Delayed sentence &lification
Comment [PM259]: Asyndeton
Comment [j260]: Delayed sentence
Comment [PM261]: Archaic Diction
Comment [j262]: thesis
Comment [j263]: theme: reputation
Comment [j264]: epithet
Comment [PM265]: Metaphors
Comment [PM266]: Alliteration: Consonance
Comment [j267]: expletive
Comment [PM268]: Contradiction
Comment [PM269]: Apostrophe, Colloquial
Comment [PM270]: Foreshadow
Comment [j271]: exclamation
Comment [j272]: epithet
Comment [PM273]: Analogy, connotation,allusion to 7 deadly sins
Comment [PM274]: Cacophony
Comment [PM275]: Allusion
Comment [PM276]: Contradiction
Comment [PM277]: Asyndeton
Comment [j278]: Consonance:T sounds
Comment [PM279]: Thesis
Comment [PM280]: Apostrophe
Comment [j281]: juxtapositio n
Comment [PM282]: Simile
8/14/2019 all final prep extracts + answers.pdf
10/10
OTHELLOWilliam Shakespeare (published 1565)
IAGO. And did you see the handkerchief?OTHELLO. Was that mine?
IAGO. Yours by this hand: and to see how he prizes the
Foolish woman our wife! She gave it to him, and heHath given it to his whore.
OTHELLO. I would have him nine years a-killing.
IAGO. Nay, you must forget that.
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 byan emperor's side and command him tasks.
IAGO.Nay, that's not your way.
OTHELLO. Hang her! I do but say what she is: so delicate
with her needle: an admirable musician: O! she
will sing the savageness out of a bear: of so high
and plenteous wit and invention:--
IAGO. She's the worse for all this.
OTHELLO. O, a thousand thousand times: and then, of so
gentle a condition!
IAGO. Ay, too gentle.
OTHELLO. Nay, that's certain: but yet the pity of it, Iago!
O Iago, the pity of it, Iago!
IAGO. If you are so fond over her iniquity, give herpatent to offend; for, if it touch not you, it comes
near nobody.
OTHELLO. I will chop her into messes: cuckold me!
IAGO. O, 'tis foul in her.
OTHELLO . With mine officer!
IAGO. That's fouler.
OTHELLO. Get me some poison, Iago; this night: I'll notexpostulate with her, lest her body and beauty
unprovide my mind again: this night, Iago.
IAGO. Do it not with poison, strangle her in her bed, eventhe bed she hath contaminated.
OTHELLO. Good, good: the justice of it pleases: very good.
IAGO. And for Cassio, let me be his undertaker: youshall hear more by midnight.
OTHELLO. Excellent good.
What elements of style are used to convey Othellos feelings towardDesdemona?
What does this text tell us about the relationship between Othello andIago?
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Comment [PM284]: Motif, Cultural context:courting, Symbolic: Othellos love
Comment [PM285]: Invective, Synecdoche,Social context
Comment [j286]: hyperbole
Comment [PM287]: Foreshadow!
Comment [j288]: litote
Comment [PM289]: Bibliomancy
Comment [PM290]: Hyperbole and imagery
Comment [j291]: Internal rhyme
Comment [j292]: invective
Comment [j293]: hyperbole
Comment [j294]: characterizatio
Comment [PM295]: Anadiplosis
Comment [j296]: Trans wd
Comment [j297]: Consonance: T sound
Comment [PM298]: Connotation
Comment [j299]: repetition
Comment [j300]: hyperbaton
Comment [j301]: juxtapositio n
Comment [PM302]: Cacophony
Comment [j303]: Repetition: this night iago
Comment [PM304]: Euphemism
Comment [PM305]: Repetition
Comment [j306]: anthropomorphism
Comment [PM307]: Connotation: Killer
Comment [PM308]: Periphrasis