Couple things: Elio ties the transition between immature to mature as the acceptance of a elongated, convoluted, and contradictory identity that cannot be condensed into words. Elio also displays this immaturity through one key behaviour: His "smuggling"of as much information into the fewest possible words, indicating his desire to condense his identity. Thirdly, in the next line, what that gives him in terms of appearance, he is unconfident and that juxtaposes him with Oliver

"Forced to call I want", implies societal pressure to put labels on feelings... What does Elio think of this? Assigning definitions based on symptoms. Based on others telling you -- this is the transition that Elio takes to become Oliver.

Yet again the skin motif -- his duality is what Elio had been searching for -- and it appears in a sexual manner but it really connects to the matter of Oliver's security of identity and of being a whole, even when he recognises that he cannot be one.

Oliver wrote a book on Heraclitus, the main connector between his ideology, characterization, and the theory of universal flux, that one may not necessarily be one's past temporal part -- but one who continues it, like an illusion of movement.

An assumption, like many others (such as the bathing suit situation) about Oliver's identity that is quickly refuted, because identities never make sense. A person as a whole cannot be summarized in rules or statements or if.. then.. conditions.

How does this structure, without the quotations, deviate from other dialogue. What does it imply about these listing of hobbies, or listing of identity, and what is its effect on us, reading? How does this tie into Aciman's exploration of what identity really is? How does it connect to what WORDS mean?

Does this also foreshadow or symbolize his desire for Oliver?

Motif of skin introduced in CMBYN, where Oliver's duality of skin, tanned, and pink and untouched represents the multidimensionality of identity, and the contradictions that exist within him -- which is what fascinates Elio. The coexistence of both contradictions in such a beautiful, whole, masterpiece who has affinities leaping out of him is enlightening for Elio. Elio may see Oliver as an Elio who he wishes to mature into.

Figure out the implications of this

Does this foreshadow the duality and complexity of their relationship? Because there is a period of time when Elio is in an internal conflict with his desire and lack of desire for Oliver.

Can this characterise Oliver as someone who doesn't believe in the constructed identities of individuals, seeing as he says to all, "Later!" without naming? Or characterise him as someone who has no respect for societal obligations and is simply true to himself in such way?

Billowy blue shirt will eventually develop into a symbol, and his skin will be explored as a motif

Figure out the significance of "Later!"

Ironic because they see (Desdemona) sees tragedy as his heroism and his appeal, the pity she has on him. And yet he only turns more pitiful because he passes more and more tragedies later on. Desdemona is even more of an angel then. Cradling the child of a devil

Shakespeare's belief in equality between man and woman. Both have their own convictions ("palates") and tastes.

He feels he has lost his honor because he has no more honesty. What does honesty mean in this context?

In this case, Iago is describing the effect and power he holds on others, by spreading suspicion. Could it be that he himself is entranced by the workings of suspicion, played by some external force? His power seems to work against him!

Perhaps the letting go of one's responsibilities, one's expectations and civility (as a woman) leads to her death, meaning that all life shallowly is, is the battle between ourselves and society's imposing constructs, and once this conflict is overcome, we are at peace -- we can ascend into heaven. This alignment between our inner clarity and our actions is what leads her to die "peacefully".

Iago gave him cause. (REASON)

His last rebellion, his final influence over the situation -- knowing nothing. And its ironic because he was the source of all knowledge and information that sparked all the events, and now that everything is done, he is still. There is no more movement, even if they would like there to be some. In this way he is really like Shakespeare, having the power to cause and inhibit action through knowledge -- the greed of which is Othello's fatal flaw.

What is the significance of the fact that all this takes place in Cyprus?

He wants to be described of honestly and free of malice, because for once, when he is dead, his image can finally be free of Iago's influence.

By killing himself, he is cleansing the world of his "inner darkness" being a Turk, the beastliness that ruined the superior and ordered Venetian society. It is this, himself, who he kills -- showing he is, at heart, still a Turk, and not the driving motivation that causes all these events to unfold (Iago) -- as Iago is stabbed but has not died. This signifies the curse of suspicion and reason cannot be eliminated -- reason preys on individual people and is not something one can rid. In the end, he chooses once again to rid the tumor of society (which he believes first is his wife, Desdemona, now it is him, the Turk), following honor rather than personal desire.

He is not any of these three.

Honest is such a convoluted word here -- it refers to good, but is associated with bad (Iago), and for Desdemona to lie makes her good, and yet being a liar in her marriage is terrible to Othello, and yet Othello loves her for the fact she lied to Brabantio so she could be with him. Yet Othello wants Desdemona to be honest and true, although what he sees as honest is not at all honest.

So it was simply out of again, external rules and regulation, to maintain civility is to conform to the right and wrong of the outside world.

She lied, but she is an angel. But to be honest is a devil, like Iago?

Is this Shakespeare condemning the unjust nature of women having to take the blame for all -- or an emphasis on her angelic and merciful nature, juxtaposed with Iago's devil persona?

Sacrifice of what? Does he truly believe what he is doing is right so that Desdemona does not cheat on other men? Is this really his righteousness at play?

Or is he sacrificing a part of him, his heart?

Othello doesn't want to ruin or taint her purity and innocence that she sees, but knows he has to take her light. And he acknowledges that even Prometheus cannot bring back that inner light she has. It shows that he sees through her objectification and beauty and sees her invaluable light.

• He says, it is the cause, it is the cause, signifying he is holding on to reason (which is introduced by Iago), instead of following his heart. It shows yet again that reason betrays the true nature of humanity -- and yet we are blinded thinking rejecting passion is the way to retain civility, and thus, humanity.

Very important, but still, why does he need to murder her, his one love, what is that significance WHY?!?!

Simply REASON and logic has gotten in the way and destroys all.

So avoiding men... Ok

Firstly, sort of an allusion to Adam and Eve, since Eve is built of Adam, so what Adam has is inherited or learnt by Eve. Secondly, she is one of the first characters to accept their vices, and therefore be immune or unbelieving to the devil (Iago's whispers). She sees him not as a honest man.

Does this point to personal truths and the rejection of black and white morality? Is Emilia true to herself, not trying so hard to grasp humanity through the external rules of morality?

Emilia seems to be a little looser around pride and civility -- it seems she has her own convictions. I wonder what this implies, and how her interaction with Iago might show that? What is her significance? She is the WIFE of Iago, that may say something.

Why is she refuting Emilia's answer? What does this say about her, or people in general -- that they will not listen to one another?

REASON!

Shows his role as reason, simply to show a coherency, a line of cause and effect.

If Iago is reason, and Roderigo seeks reason, and Iago is the cause of all this destruction, then it should be said that the human need for reason (which crushes emotion) is what brings downfall. Logic is what has cut off Othello's motivation (heart). Iago is the personalization of human reason

She has the most insight, the most truth to what has happened.

Maybe he is right, in the sense that he is not a man who could scheme something like this. It is simply Othello's choice to follow suspicion that led him to this. It is impossible for someone to scheme it up.

Emphasizing his monstrosity and betrayal

She can't provide answers besides her tears.

He actually admits to his pride not being something that kills him, he can put up with all but the pain of his heart, that is his true motivation. So it is Desdemona's love and adoration that focuses on him that keeps him going.

Ironic because heaven, being in Othello's eyes as truth and knowledge, should not be so sinister and cause destruction as Iago has. Hell is deception and the ignorance, but so far ignorance has maintained peace. What irony!

Misogyny, what is the significance of this ?

Clearly refers to the ghost that he had seen staring at him in the shrubs.

Funnily Iago does not incite suspicion in Lodovico, only Othello. Perhaps that emphasizes Iago is a delusional part of Othello, the inner darkness that arises, indicating Othello has a fatal flaw that differs from all other characters. Is it really because he represses something? If so what? Why is he weak in his convictions and easy to sway? What does that show? What does it say about how he sees Desdemona?

Ahh I see, the civility is based on being Iago, keeping one's passions, desires subdued -- he turns into a monster because he cannot accept his emotions and true self reflection by himself. Now that Iago has fished them out, he doesn't know how to deal with them. Like inferior function, repressing it only makes the inner darkness grow more dangerous.

Maybe this passage signifies the intertwining of politics and personal, and how they are inseperable, because human is inseperable to their emotions -- lest they be Iago?

Even the way he wants to kill her comes down to pride, justice, and his tightly held "Venetian morality" that comes from Iago's advice, all because he cannot trust his own morality and create his own convictions

Confusion and contradiction

Irony

Confirmation bias yet again, Iago has done none but plant the seeds (or rather, water the seeds of insecurity) that Othello has in him, and the rest is the human need for drama, for coherency, for understanding.

Confirmation bias! To provide an inkling of suspicion is to provide the basis of a narrative.

Advising against innocence, against not knowing, although Iago's advice that gives Othello a taste of new information is really what leads to his downfall.

Pride, again

Shows his reason being guided fully by physical emotion and anger, that even causes a seizure. He is not like Iago, as Iago has free will with the absence of emotion. Only reason, and that is why he is isolated from the rest, different. Juxtaposition between Othello (human) and Iago (reason, devil) and Desdemona (love, emotion) like tug of war

Shows that it is entirely Othello's choice to interpret Iago's words, that Iago is simply an inkling that knows none, and that it is man's tendency to suspect that causes the downfall.

Copying = Creating the semblance, but not real, love between Cassio and Desdemona?

This implies Othello himself is a beast, a monster, who was born with the jealousy and not given reason to do so.

She thinks it must be something political that is upsetting him -- perhaps it shows that relationship between personal and political conflict, the transferrable nature? Or proving Iago's point that emotion sways the most?

Shows that objectification and generalization happens both ways

Indicates his inner darkness has taken over. He is truly beastly. The imbalance in who he listens to has caused this -- his insecurities, like many others, makes him more prone to suspicion and therefore Iago's advice than his own wife's

The fact that Desdemona is sometimes represented as divinity, as a guardian angel, shows that the fact that Othello is rejecting her advocation shows he is falling into his devil, into his inner Iago -- he is losing touch with God, with righteousness (while ironically thinking he is doing the right thing by being civil)

Shows the misogyny in the society, how women are seen as resources to be eaten, consumed, to be wanted and then to be discarded.

The parallel to the current situation, how a simple object like a handkerchief can dictate the "true" love between two people, the "perfect" love, and it just is ridiculous like magic.

What is the significance of this runny nose? Superstition? Context?

he contradicts with saying that she is not following her heart?

How he is describing her as honest to her heart, but not so much civil. That she would lie to Brabantio for her passions, and would therefore lie to Othello for Cassio -- that he doesn't value honesty but values civility.

Sort of parallels to the Little Black Boy in Blake, where being close to the sun = dark skin, = the absence of experience and dark desires, closer to God.

She does not understand him vice versa.

Correlates occupation to personal life. He is speaking truth. But what is the Clown's relevance? Foreshadows that Cassio is truly honest

Iago has fully vowed himself to this plot that he has created, perhaps even if it means it will destroy him. Why? What is his motive? Does simply the creation of an entertaining story constitute the meaning of life?

He speaks as if he is demonic, possessed, as if he has dual souls living inside of him... maybe he does. And all Iago did was play with his unstable convictions until his demon shows.

You can see he is ever switching between every single new piece of "evidence" he comes across, showing his little conviction and yet his desire for absolute truth

The dirty satisfaction of knowing is what tears everything down. The desire of knowing the full truth once it has been handed a little to you -- curiosity kills the cat. In this way Iago is the fruit of TEMPTATION!

He sees himself as impure, and prone to error, and wrong. This is where it all starts, inner darkness.

Like Reza, he is easily swayed by outside whispers because he has not built his identity, his true convictions, besides the insecurity that his convictions are not real.

Ironically mocking Othello's truthful words that suspicion is a sin, knowledge is a sin, by reminding him that all he praised Iago for was his honesty.

Experience, knowing, knowledge is hell, torture, and destroys what we call happiness, because all happiness is is delusion

Connects personal to political. How is his military role related to his personal love life?

His point is that ignorance is bliss -- all is destroyed from knowing, from suspecting, from understanding. (connects to Blake)

Describing how Iago's act was very little, but turned dramatic due to to perhaps everyone's love for drama

Not "stealing" but very much still wrong

Here he brings up race and his alienation for his inability to understand. His own insecurity in being different appears in the form of Iago, suspicion for all that is actually normal.

He plays both sides, the suspicion and the "no it couldn't be", showing that it is Othello that chooses the suspicion.

Showing he lacks knowledge because he is not Venetian

The fact he goes on to talk means he has no heart.

It does not enrich Iago to steal from the names of Cassio and Othello... so why?

Central theme, all is nothing but reputation and pride. These foolish constructs!

IAGO QUITE LITERALLY IS HONEST WITH OTHELLO! He warns him that these suspicions, these inner thoughts are all a delusion, and yet Othello's insecurity and stubbornness refuses to believe it

The palace refers to the mind where suspicion creeps in, who DOESN'T have suspicion invade their minds? Certainly not Othello, and Iago is stating the same for him, because they are one and the same person? He is literally telling him the truth of the situation, that these thoughts are "vile and false" but Othello will not listen.

Iago has not elaborated or said much, it is Othello who is prying deeper and deeper into "knowing" what he should not, into peering into something that would disturb his peace. This connects to Blake's Songs of Innocence and Experience. It is then Othello's fault for looking for answers to his suspicions which he confirms with confirmation bias.

Again, Iago is but an echo and reaffirmation of what is already there: he has said very little.

He acts as an echo, and an echo is simply just a reaffirmation, a suspicion being ingrained, a hallucination

Desdemona is foreshadowing her own death

Politics vs Feeling

She is like a goddess, bringing things from destruction back into order, and having people worship her like Cassio as her "true servant"

Quite literally he was the cause.

Othello is subjective about his "universal" morals based on the ranking, standing and pride (manliness) of who Cassio hurts. If it be a beggar, it would have been no problem?

Is he doing it just for pleasure?

He is inversing all, he is twisting everything, he is finding loopholes

Again, he is like the little devil on the shoulder, a little counsel that stirs up existing insecurity

even he states, what has he seriously done, but to carry words here and there, to incite what's already there?

Blaming the outside object, in fact, Jesus's blood for his downfall. No, Iago and Jesus' blood only made him.more honest and "beast-like", living. Innocent.

Touches on innocence, free will and lack of constraint, lack of morality, lack of humanity == Blake's innocence == protection from Iago

Iago forced the drinks on him, and therefore he is the "devil" and yet, Iago has done nothing but let normal events carry out, because the devil is in Cassio himself, and in everyone. Does the wine signifying Jesus's blood mean anything for this?

Yet again stating the intentions of everyone in just wariness of their reputation and pride

He speaks his true beliefs?

Again example why he is a creator: Free will.

Cassio quite literally proclaims how his reputation and pride are the things connecting him to heaven, to divinity, to humanity, but which are void of life and actually destroy him. One without reputation and pride is nothing but a beast, what Othello fears he will be as a Moor.

To. be a man is to maintain dignity

Personal and professional mix up looked down upon

That is the problem, the fact that nobody can acknowledge their inner darkness, that is why it comes out in the most unpredictable and manipulative ways (Iago)

Iago is the answer, because the one with the most restraint ends up being undone the easiest.

Notice how words like "Gravity" and "stillness" associated with civility and virtue -- however heaviness, gravity, and stillness has a connotation of death, not life.

Is Iago somehow a villain that brings life? Not a villain, but a hero? An anti-hero?

Pride has to do with morality of the Church. What aids their downfall is morality. This has ties to Blake, how religion is a restriction of freedom and true innocence.

Othello describes this chaos as Turks, as the foreign, as the other, as the out-group. This means he prizes his in-group due to their civility and restraint -- in other words their ability to maintain composure for the sake of pride. The rejection of the inner demon only creates more destruction (Inferior Function)

Vulnerability is seen as the vice in this case. The absence of pride and ego. And yet that is what would prevent Iago's manipulative plot, the understanding and the released grip of pride and ego, and the acceptance of less noble intentions

He will eventually turn on Cassio, so he will see his evils, but he not until the end will see Iago's evils, because perhaps Iago is a part of each, and pride is what covers them from accepting and admitting their inner evils.

What is the significance of this?

Iago is directly stating, or singing, while all are under his curse, that it is pride that pulls each down -- and he is merely showing its effects. Kind of 4th wall

He speaks as if he is playing a strategic game of chess. He is the gamemaster, Shakespeare himself, the comedic clown that turns everything upside down.

They protect their honor with wariness, indicating a sense of hiding, of restraint, of self-control, and most of all, of shame. This is a string that Iago pulls, something already bound to topple, Iago is just the small push like a domino.

Iago simply uncovers their true and repressed selves, like a glass of wine does. In some way he is not a villain, he is just the ignition of an already burning flame

Demonstrating Iago's purpose: the devil's temptation

Juxtaposition as how they see women: Iago sees women as witches capable of destroying, while Cassio sees her as a lady.

Have the moor thank him for his own destruction -- because it is him who will destroy himself and simply the ignition of his motivations that drives him to do so.

He loves her for her fine placement in his chessboard, his puppeteering.

Again, as a possession -- he sees his wife as a possession and is not jealous because it is her who has been stolen away, but because Othello is looking down on Iago and his ego is hurt.

"Our prosperity signifies that he is both sidling up to his characters in his grand puppet show and actually a integral part of them literally. He has the same motivations as each of the characters, only he is helping all of them achieve their most sinister goals

Simply considering, helpless to his inner suspicions that rule him (Iago) ... It is all just our inner paranoia that causes conflict -- aka. our inner Iago

Notice Iago doesn't actually do anything terrible. He is simply the whisper in each's ear that causes the storyline to unfold in whatever manner -- he is barely a presence. In this case, he is the inner devil (on the shoulder) of each of the characters.. no?

As opposed to Jesus's blood? Does this imply she is a fake? And that she wears a facade?

He is describing Cassio as a monster or devil with a facade of human civilness, when in fact it is Iago who is the monster, but fully civil and detached from his emotions. He sees the devil in desire, lust and love, when in fact the one who ruins it all is the one who cannot accept the human subjective nature including feeling and emotion

Why is the Moor considered the devil? Because of his skin color? And what does skin color have to do with all of it again?

foreshadowing that truly the tempest will not allow his soul to see happiness like this again.

It is almost like he is welcoming the Tempest, because he feels as if nothing can ruin it now, with Desdemona -- this is a literal inviting of Iago to come ruin it. It is to show that his defencelessness and overconfidence invites the inner beast within to come rupture it.

That "perfect woman" or deserving woman will not do her job properly -- a woman must be imperfect to be a woman?

He is describing someone without extremities, in the perfect balance of all, which is not human

Generalisation about women, that all are the same, like in-group out-group, the alienisation of women as if they are another kind.

Iago's point is that a woman's main asset is her beauty -- that will get her anywhere. And that her goal is to marry and produce an heir.

Seems like Iago, a mirror of him....

WOW!!!!

Misogynistic thinking -- he does not believe that her speech is worth his listening.

A show of cause and effect of race and blood to behavior

once again, symbol

Always referred to side by side with the angels or grace of heaven

I interpreted this as Iago's footing being sly and undetected by the human mind...? Was I wrong?

Guardian angel of Othello himself

Is Desdemona somehow the only figure that can ease the storm, falter the wrath that Iago brings, Othello's source of protection and of hope? Juxtaposition between heavenly and mortal world, the opposite of evil himself, Iago

Ironic, because they are not done -- the storm has overtaken the threat of the turks.

Could this signify that something stands to comfort and protect each from the storm?

Foreshadows the incoming rift, the blinding storm that will tear Cassio and Othello apart. The word "foul and violent" describes the manner in which Iago will do this

Compared to a donkey

Showing that he believes his wills make him the God of the world, that he has ultimate power over the chessboard just through intention alone -- and that is the work of the devil, the rejection of emotion's sway on decision making, and pure reason

What does drowning oneself mean again?! Refer to the Reading Literature like a Professor book

Perhaps his belief that he is uncontrolled by emotion and unconstrainted, and therefore is superior, is what makes him so evil? The detachment of oneself to their biological and true feeling is the work of the devil: reason.

Iago's main core lies in self-control and motivation -- he believes himself to be a man of simple free will, and unlimited freedom. Unrestrained and in control of the chessboard -- he assumes both the external world and (mistakenly) his internal world are under his control, but they may not be.

Fertile or not fertile, choice of life and or death, of renewal or of idleness

He would sell his soul to the devil instead of sacrificing himself for another's love -- he does not believe in love.

Fundamental problem: Othello x Desdemona is unnatural and bending the laws of nature -- but Brabantio alienated diminishes this idea in the mind of the reader.

Exaggerated emotions in the form of water and nature -- what could this mean? ALSO, Shows the role of emotion in this political setting, which is a recurring motif of overlap in personal and political decisions that runs throughout. How do you make a good ruler, leader who does not impulsively use personal emotion to decide in political circumstances? Reminds me of Hitler

Humorous, as it shows the lack of Brabantio's care in the political field, he is incompetent -- only woke up from bed to address his daughter's married life.

If he can't do political, can he do personal? And vice versa -- alienates him from the reader -> Alienates from his racist ideas.

Important because it contrasts all the other views of Othello -- but when he is a general, he is valiant. What does this signify about roles? About our split between personal and professional/political life?

Willing to leverage, but also highlights another side to Othello -- he is a prideful man who has the need to prove things, to win in chivalry -- not so much her love, but the fact he has her love.

Is she a mirror of Brabantio's own fears, and ideals, and therefore so appeals to him -- he compliments what he sees in Desdemona that resembles him, himself.

The diction is yet again paralleled to the military aspect that he just mentioned -- he is still a soldier, still a warlord, still someone that wins battles -- not an equal in love ?

Like a puppet, he imposes his own senses, perception as her own

Also refers to the accumulation of cataclysm that builds up in Othello throughout the play from the "mourning" and discrimination of his blackness.

Shows that she is nothing as an individual but solely as an asset to both-- who she recognizes herself as is completely solely based on her roles in men's life.

Seen as a source of entertainment, of tragedy, Desdemona loves him for his suffering and tragedy -- of his foreignness and surprise? She pities him for having endured all that. As a play

Her father considers her dead because she has shown a side of her that doesn't fit in his stereotypical thinking -- she has shown dynamism, less of an object and more of a person.

Othello is seen as the witch, not desdemona, yet. Both desdemona and othello are seen as completely 2D forms of everything their stereotype says.

Belief of witchery

Desdemona represents Othello's ties to Venetian society and his Venetian identity that he is already insecure about and holding so desperately onto.

In this case, the light motif is about awareness

These are all the characteristics they value in her, like a new car.

Dehumanization and picturing the relationship as a horrid rape and beastiality between Desdemona and Othello, capturing the Social Identity Theory at its finest.

Evidence to show that, explicitly, no matter what she says or does, he has excluded her reason and fixed his mind on one solution: to kill her, to be rid of her. Shows the stubbornness of the mind and his view of her still as an object. Manhood/chivalry = Isolated and stubborn choices.

Handkerchief is a motif of Desdemona's love and affections. Of where her heart lies.

He plays the role of Justice, of Zeus, of the gods who keep up the neverending cycle of life and death. He plays the honest honor of a man, which in contrast, Iago believes he has but does not.

Allusion to Prometheus who brings life in the form of fire. Is fire/light a recurring motif in the story for life and passion?

Repetition to show rationalization, reassuring himself

associated with beauty

Oxymoron

Could this be an illusion to the birth of the Minotaur under a curse?

The comparison of Black people to beastly beings, such as horses. It nearly shows a predatory danger for Desdemona like getting eaten up by wolves. He describes a human loving relationship as an animalistic dynamic

Drunkeness indicating/foreshadowing the manipulation Roderigo and other characters will fall under from Iago's malicious plans.

Huge contrast between Brabantio and Iago's speech. Iago speaks with great rhetoric and symbolism with souls and devils, indicating his own witchery. This is contrasted with the conversational style of Brabantio.

"Poison" "Incense" "Plague" "Vexation" all signify witchery, indicating the motif of mutual witchery. What one hates in oneself will be targeted to the outside?

His duplicity is so extreme that he simply cannot define himself as he says "I am not what I am". It is ironic because his hate for Cassio is the same as what he is -- a dishonest witch who pretends to be righteous man. Does this indicate he hates himself as well?

Demonstrates yet again the objectification and erasing of dimensions of Moors.. just like women.

An ironic phrase as the diction seems passionate and self-aware

The true colors of Iago, ironically just like what he hated Cassio for, the sly and two-faced witchery

Irony established from previous chivalrous idea

A kind of juxtaposition between the "womanly" / "witch-like" Michael Cassio and the "chivalrous" and "honest" man Iago (as seen by him), showing the perception of men and women.

Demonstrates the view of women as two-dimensional tools with specific and sole uses for men, who cannot take or assume any other role that men may.