English 433
Summer 1996
Dr. Desmet
Today we are going to use the computer as a kind of "impartial witness" to help us see
how certain patterns of imagery are used in the play and how they are used by certain characters.
With the computer, we can identify where these imagery patterns appear, look at the larger
context for these references, and see how the "frequency distribution" of these images throughout
the five acts of Othello
A. Let's begin with the now familiar issues of Othello's identity as Moor and his blackness.
Choose [1] Riverside Shakespeare
Choose [3] Tragedies
Choose [g] Othello
Choose [1] word
1. Enter moor*, using the asterisk at the right hand key pad. The asterisk tells the computer that you are searching for variants on the root stem "moor." Thus you will get such references as "moorship's" in your list. If you use the asterisk, the computer will automatically enter the word on your list. Should you enter a word without an asterisk, hit the [INS] button at the lower right of your key pad to enter the word.
2. Now look at our list of references. Think about the significance of these references to Othello's identity as Moor. Are they positive or negative? Who tends to make such references? Are there adjectives applied to the noun "moor" or not?
3. If you want to see more of the text surrounding your reference, just hit [ENTER]. When you want to return to your list of references, just hit the [ESC] button at the top left of your key pad.
4. To check the frequency distribution of references, hit [F4--OPTIONS] and choose [1]. What is the significance of the fact that these references tend to cluster in certain scenes?
4. If you want to PRINT a list of your references, hit [F6.] That's the print button. The machine will ask for a "comment." Say something like "Moors in Othello." When the next question is asked, choose [HOME], since your printer is using perforated paper. You can choose to print either "references only," in which case you will have a handy, succinct list of act, scene, and line numbers. You can choose "entire line," in which case you will get about 6-8 pages of quotations. DO NOT CHOOSE "Entire act/scene," or the computer will print out the entire Riverside Shakespeare version of Othello!
5. If at any time you
lose your list by pushing ESC
too many times, for instance, just
hit
F1 to get it back.
B. Repeat the process
using black*. What can you tell about the play from the
references to
blackness? Who uses them and where in the play? What does the frequency distribution tell you?
Are the references racial, theological, or something else?
C. Now let's see what connection exists between Othello's identity as a Moor and the black color of his skin. Type in mooor*, then hit [F2] "combine with other words." Type in black* and hit [ENTER]. You have several options. Choose:
[A] both moor and black.What is your conclusion?
[B] Moor before or after black
[C] within the same line
D. In Act I, we also saw animal imagery applied to Othello. Repeat this same procedure with
goat*Who talks most about animals? Do characters repeat what others say? Where do the references appear according to the distribution frequency count?
ram*
monkey* beast*
wolv*
E. Later in the class we will discuss the process by which Desdemona, who begins by play by contracting a marriage with Othello against her father's will, gradually comes to be identified as a whore. Repeat this whole process using
whore
strumpet
F. We said in class that Othello both claims a particular connection to the supernatural and is accused of conjuration. Repeat this process with
magic
conjur*
G. Repeat the process with
monster*
monstrous*
H. When Desdemona arrives in Cyprus Cassio refers to her as the "divine Desdemona." Iago call Othello a "devil." Check theological references to
devil
vice*
Try the whole process again with
divine
angel*
I. Tomorrow we will be looking specifically at Iago, his motivation, and his soliloquies. One of the images he uses for his plot is the net/web. Repeat this process with
net
web