Never Let Me Go, Section 4: A Controlled Story

In many reviews, including that of The New York Times and Entertainment Weekly, of Kazuo Ishiguro’s novel, Never Let Me Go, the story is described as “controlled.” After thinking over this idea, there is really no better way to describe the style of the progression of the novel than controlled. Ishiguro slowly feeds the reader certain details or bits of information about the story, but at very specific times and only when he wants to. Throughout the entire book, details are revealed little by little, only granting the reader enough information to keep one curious but not enlightened. He does in fact reveal certain aspects of the students at Hailsham, such as the fact that they were clones or their unavoidable fates as donors, but these are not told immediately. The reader has to wait a while to figure out that Kathy, Tommy, and Ruth are clones, and then one has to wait even longer to understand their predetermined purpose. It seems as though Ishiguro was treating the reader as a student from Hailsham and feeding him just enough information to understand something, but not enough to understand the whole picture. The Hailsham students were slowly told information about their lives over time, but the delivery of it was planned out so that they would not fully grasp what was being told to them, creating a kind of blind acceptance. However, while Ishiguro was dragging us along the entire time, he reveals everything in the end, exactly as he wanted to. The students’ encounter with Miss Emily explains it all to them, but also to the reader. Miss Emily states, “Why should you have done, knowing what lay in store for each of you?” (Ishiguro, 268). Her simple statement proves the controlled aspect of the novel. What would the students have done if all of the information about their lives was revealed at once? What would the reader have done if the same thing happened to us?                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                               

Never Let Me Go, Section 4: The Tragedy of the Truth

Section four of Never Let Me Go, a novel by Kazuo Ishiguro, revealed an unexpected answer to a longstanding question I had. After much discussion between the characters in the novel, it is finally announced that the idea of deferrals, a few years away from carers and donations for a student couple truly in love, was non-existent and a rumor. The reason I had not expected this to be true was because, without the deferrals, there is nothing left for Kathy and Tommy to hope for. Madame states, “…I saw a little girl…holding to her breast the old kind world, one she knew in her heart could not remain, and she was holding it and pleading, never to let her go,” (Ishiguro, 272). For such a long time they still had the hope that and the attachment to the idea that they would be able to take off together for a few years, yet now there is no mystery left, nothing to wish for. Without a deferral, the only thing left for Kathy and Tommy to really do is accept their fate and just let go. They will become carers, perform donations, and then complete, just like every other student before and after them. A deferral was the only way to temporarily avoid this sequence, yet that barrier is no longer in place. I found this to be the true tragedy of the novel – the loss of hope. Up until this point in the novel, there was something to live for, but any anticipation of change or of a life together vanishes with the idea of deferrals. One conversation removes the reason to live, yet Tommy and Kathy remain behind, trapped into their fate.

Never Let Me Go, Section 4: The Return of Miss Emily

In section four of Kazuo Ishiguro’s novel, Never Let Me Go, a character from the past returns to answer some questions. Miss Emily was an old Guardian at Hailsham, sort of like a headmistress, and Tommy and Kathy finally meet her again at the house of Madame. However, when they broach the topic of deferrals, Miss Emily explains more than just that. She explains that the entire purpose of Hailsham was to prove to the world and the scientists that the clones they had created were human and did have souls. The Gallery that confused both the Hailsham students and the reader for so long is finally explained as a way to support this argument. Miss Emily states, “…we demonstrated to the world that if students were reared in humane, cultivated environments, it was possible for them to grow up to be as sensitive and intelligent as any ordinary human being,’ (Ishiguro, 261). However, Miss Emily’s delivery of this message is what threw me off. Throughout her whole explanation, she treats the situation as one of frivolity or little importance. While her answers are determining the way Kathy and Tommy’s lives will play out, she is treating it as a way to pass time until a visitor comes to move furniture for her. Furthermore, her attitude comes forth as very condescending. She treats Madame like a child, and her way of speaking to Kathy and Tommy is almost as if they are still young students. Her attitude seems to say that even though Hailsham was created to prove the humanity of the clones, it did not work, so it was over. It seems as though she really did not care that much about her cause, as she would not have dropped it so quickly if she truly did care.

Never Let Me Go, Section 4; Ruth's Conversion

After reading section four of Kazuo Ishiguro’s novel, Never Let Me Go, one event that stood out to me was the conversion of Ruth. Throughout the entire novel, Ruth would constantly antagonize Kathy and Tommy, often mocking or lying to them. However, as Ruth has now donated and Kathy is her carer, the roles reverse. It almost seemed as though Kathy finally took power in the relationship, and she turned that newfound power against Ruth to get back at her. Tommy also fed Kathy’s attitude, either agreeing with her and supporting her opinions or discrediting Ruth’s. After being manipulated and treaded upon for years, Tommy and Kathy chose to not let Ruth manipulate and control them any longer. Furthermore, the most important part of Ruth’s conversion is her request for forgiveness from Kathy. While she had lied to her, Ruth especially wanted forgiveness for keeping Kathy from Tommy for so long. This request really proves Ruth’s true desire to be forgiven. Tommy was a sort of pet to her for so long, something she would not give up, and by finally letting go, it shows how truly sorry she really is. Ruth also went through the trouble to find Madame’s address so that Tommy and Kathy could try and get a deferral. In the end, I believe that this was Ruth’s way of trying to make things right. She was obviously near death, and oftentimes people try and tie up loose ends or repair relationships before the cannot anymore. By giving her blessing to Tommy and Kathy, Ruth tried to repair their relationship.

Something so important in this novel related to Ruth’s conversion is Kathy’s reaction to it. She and Tommy eventually discover that deferrals do not exist and are unattainable, which one would imagine would bring back ugly feelings towards Ruth. However, while Kathy seems to wish that Ruth died knowing the deferrals were not real, her wish is not mean spirited. Kathy states, “When I say I wish she’d found out the whole score, it’s more because I feel sad at the idea of her finishing up different from me and Tommy,” (Ishiguro, 285). It was not the anger over the non-existence of deferrals that upset Kathy; it was the fact that Ruth lost part of her connection to Kathy and Tommy. It was always the three of them together, and in death, Ruth lost some knowledge, some information that connected her to the other two students. Because of her conversion, the relationship between Ruth, Kathy, and Tommy was healed.

Never Let Me Go, Section 2 - The Fate of the Hailsham Students

After reading section two of Kazuo Ishiguro’s novel, Never Let Me Go, the true identity of the students of Hailsham is revealed. Miss Lucy tells of how each student was cloned from another person, and their purpose in life is to donate their organs to others in a few years. After I discovered what was going on within the novel, the unethical nature of the whole plot shocked me. Children would sit around, planning their lives, future occupations, or begin to form relationships, never knowing that all of these things would never become available to them. This revelation also seems to explain Miss Lucy’s later departure and the fear Madame, a mysterious woman who often visits the school, shows towards the students. For Miss Lucy, it is very likely that she could just not deal with seeing her students have such hope for their futures that they would never be able to carry out. However, Madame’s fears are now explained. If she was aware that the student were clones and knew of their purpose, it could be a very touchy or strange idea to her, instilling her fear. However, the other part of the situation that I found confusing was that, even after Miss Lucy’s revelation, the topic of their futures does not really seem to bother the students. Kathy states after Miss Lucy’s talk, “But as I say there was surprisingly little discussion about what she’d said,” (Ishiguro, 82). One would assume that such a life changing topic of discussion would cause a riot among the students or provoke some people to try and escape, but nothing along those lines happens. It seems as though the students have come to terms with their fates, which is even harder to understand as they are teenagers with their whole lives ahead of them.

Never Let Me Go, Section 2 - The Relationship of Ruth and Tommy

Section two of Kazuo Ishiguro’s novel, Never Let Me Go, introduces the reader to a relationship between two characters, Ruth and Tommy. After getting to know both characters, it truly seems to be an odd combination of people to form a relationship. Ruth, one of Kathy’s friends, is characteristically arrogant and obnoxious. It seems as though the only thing that really matters to her is to be accepted by her peers and those around her, regardless of whether she hurts her friends or even Tommy in the process. Kathy states about Ruth, “Anyway, my point is, it wasn’t long before Ruth realized the way shed been carrying on with Timmy was all wrong…and she set about changing how they did things in front of people,” (Ishiguro, 121). Ruth needed the acceptance of the others, so she would search for ways that she could change in order to reflect what other people did. She would gather clues from the older student on “how to act,” then incorporate them into her own actions. Furthermore, Ruth is incredibly manipulative. When problems occur in their relationship, she guilt trips Kathy into fixing her and Tommy’s relationship for her. Ruth also constantly mocks Kathy or puts her down, but then expects Kathy to do whatever she asks her to. Now while all of these characteristics reflect Ruth, Tommy seems to be very different in manner. After being made fun of and mocked when he was younger, Tommy has no need to be the center of attention. He has a rather calm attitude, and gets riled up over very few things. Tommy, unlike Ruth, is not bothered by the way he appears to others, and he is kind and respectful to other people. After seeing both personas in action, one would not assume the two characters would get along well or work as a couple. However, it is possible that the only reason it works is Tommy’s calm attitude balances out Ruth’s more devious one.

Never Let Me Go, Section 2 - The Characterization of Miss Lucy

While the reader is introduced to Miss Lucy, a guardian, of students at Hailsham, a school in England, in the first few chapters of Kazuo Ishiguro’s novel Never Let Me Go, she truly begins to evolve an interesting and different character in the second section of the novel. Throughout the book, the idea of being creative and having creative talent is held in high esteem. It is expected of students to do well creatively and perform to the best of their abilities – an intriguing but confusing prospect. However, Miss Lucy tells a student named Tommy who is struggling with creativity that it is okay to not be overly creative. As Tommy and his friend Kathy, the speaker, get over the initial shock of this statement, Miss Lucy surprises them yet again in the second section. While it is hinted throughout the entire book that the students of Hailsham are different, the reader never truly figures out what is going on until Miss Lucy lays it on the table. While the topic has been kept a secret or a taboo subject by the other guardians, Miss Lucy finally tells her students that they are all copied from living people, and their purpose in life is to later donate their vital organs. Her statement makes me curious as to why Miss Lucy shared this information. It seems as though she was not supposed to talk about it, so if the risk of losing her job was a possibility, why did she tell her students of their fate? It seems as though she may have felt a sense of guilt over the unknown situation. Students would talk of their future plans to travel or begin to form relationships, all of which she knew would not be permitted to last.

Furthermore, Miss Lucy’s character further develops as, out of the blue, she retracts her previous statement to Tommy about creativity. Ishiguro writes, “Then she’s saying I should forget everything she told me before. That she’s done me a big disservice telling me not to worry about being creative,” (Ishiguro, 107). This statement makes me wonder as to whether something will happen to Tommy if he cannot contribute acceptable art, or whether Miss Lucy was told something would happen to her if she did not retract her previous statement. Perhaps her job is being threatened, which would explain the random reverse of opinion.

Lastly, the final shock over Miss Lucy occurs when the students discover she has left Hailsham. It seems as though he controversial opinions or statements finally got to her, or perhaps she could not deal with the guild over the futures of her students. Throughout section two, Miss Lucy’s true character is developed.

 

Never Let Me Go, Section 2 - The Sequence of Events

After reading farther into Never Let Me Go, a novel by Kazuo Ishiguro, one detail that becomes more and more apparent over time is the semi-confusing sequence of events within the story. The speaker often switches from one event at a certain time to an event much later very quickly, creating an interesting story to follow. It seems as though Ishiguro was almost trying to make his novel read like a collection of memories put together. People do not remember everything that has happened to them in perfect order. Rather, a person’s memories usually come in snip-its when something that occurs in the present reminds us of something that happened in our past. Ishiguro chose this style for his novel quite simply because the novel is the story of the speaker’s life. Kathy, a young woman now, is telling the story of her intriguing past, and as she speaks, certain memories trigger others. This causes both skips in the timing of events and a confusing plot line. Ishiguro writes, “And that’s how it was…I came to notice various odd little things she said or did that my friends missed altogether. There was the time, for example…,” (Ishiguro, 78). This quote shows exactly how one of the speaker’s memories within the story quickly blends into another, creating an interesting sequence of events.

"I taste a liquor never brewed" by Emily Dickinson

In her poem "I taste a liquor never brewed," Emily Dickinson makes quite an interesting and unusual comparison. Within her poem, she describes her infatuation and love for nature in relation to drinking and alcohol. While it is quite obviously stated in the title of her poem that the speaker is not referring to real alcohol, as she tastes "a liquor never brewed," she, in so many words, becomes drunk off of nature. The poem is full of alcohol and drunkenness related words, including "inebriate," "tankards," and "vats." Yet Dickinson portrays her love of nature by attaching natural plants and features to those words. Furthermore, she is so amazed by nature that she even states she will never stop drinking it all in. Dickinson writes, " When Butterflies - renounce their "drams" - I shall but drink the more!" (Dickinson, 797). Through this statement, the speaker addresses that, even if the nature around her stops drinking, she will never stop taking it all in. Furthermore, this idea of drinking in nature leads to a paradox. Dickinson mentions angels and saints being interested in her drunken behavior, which would not be expected of such holy characters. However, because she is drunk due to the nature around her, a beautiful creation of God's, they see nothing wrong with her behavior.

“Batter my heart, three-personed God” by John Donne

The speaker in John Donne’s poem, “Batter my heart, three-personed God,” greatly utilizes irony in order to portray his feelings and perception of his relationship with God within the poem. Within the poem, the speaker tells of his struggle to stay connected to God. He feels as though he is constantly tempted by the devil, and he cannot escape him. However, there is an ironic situation in the poem. Although the speaker feels imprisoned or trapped by evil and sin, he wants to be rescued from that and then jailed once again by God Himself. Donne writes, “Take me to you, imprison me,” in reference to his desire (Donne, 840). While one might find that strange, that a person’s reaction to new found freedom would be the desire to become trapped again, the speaker has a reason. He feels as though the only way to avoid the devil is to belong to God completely, which resolves the ironic statement earlier.  Furthermore, the speaker ironically states that the way he can become imprisoned in God is if God beats and batters him. While that also sounds like a strange request, the speaker believes that if God breaks him down, he will become a better follower and believer.

 

"Dover Beach" by Matthew Arnold

After reading “Dover Beach,” a poem by Matthew Arnold, the importance of imagery within the poem became very apparent. While each stanza carries imagery, it is used quite often within the first stanza. While both sound and sight imagery are used, each is used to convey a certain purpose or illustrate a different meaning. Positive descriptions, such as “glimmering,”  “vast,” and “gleaming” portray a peaceful, beautiful place where people would want to be. However, when the sound imagery is introduced, it takes on a much more negative tone. Words such as “grating roar” and “tremulous cadence” add a much more eerie and unpleasant tone to the poem. Furthermore, it is this shift in the tone of imagery that connects this first stanza to the rest. Arnold writes, “…and bring the eternal note of sadness in,” portraying the sadness associated with what he is about to mention (Arnold, 892). As the poem discusses the world’s loss of faith, the transition of imagery reflects this. The positive sight imager reflects how, in the past, everyone was faithful and happy, yet with time, the faith has slowly drained, as reflected by the negative and gloomy sound imagery.

"The Convergence of the Twain" by Thomas Hardy

While most people are aware of one of history’s most famous events, the sinking of the luxury ship the Titanic, Thomas Hardy’s poem “The Convergence of the Twain” captures the true essence of the event. The Titanic was created to be the most luxurious and glamorous ship ever built – a supposedly unsinkable vessel. It carried the hopes and dreams of many people for a new life, yet its sinking destroyed those dreams. In his poem, Hardy displays the true cause of the disaster and the lack of any good that came from it. In regard to the fate of the ship, the poem states that it lies, “In a solitude of the sea, deep from human vanity,” (Hardy, 778). This line proves how the carelessness and vanity of humans caused such a disaster. Because the ship was supposed to look elegant, life boats were removed. Because the ship was supposed to be fast, speeds were increased to dangerous levels. Hardy writes how the vanity of humans can lead to disaster when it overtakes common sense and reason. Furthermore, Hardy portrays the worthlessness of vanity. So much money was spent on making the Titanic beautiful, yet because of the lack of care of humans, the only things admiring the beauty of the ship now are the fish at the bottom of the ocean. Through his poem, Hardy not only remembers the terrible disaster of the early 1900’s but also warns humanity of the dangers of vanity.

Irony in Shakespeare's "My Mistress' Eyes"

After reading William Shakespeare’s poem, “My Mistress’ Eyes,” irony shines through once again. While reading the poem, all of the descriptions the speaker uses to describe his mistress are unbecoming or unattractive. He states a positive comparison, and then tells the reader how that description does not fit his mistress. The speaker states, “If hairs be wires, black wires grow on her head,” (Shakespeare, 885). To most people, hair the consistency of wire and dull colored cheeks and skin would not be appealing. Many people expect these characteristics to push men away or be undesirable, but the irony becomes apparent when the speaker states that he still loves his mistress and finds her rare and unique. Regardless of her looks, he still cares for her. The speaker looks past the physical characteristics of his mistress, which are not very positive, and he expresses his love for the woman because of her uniqueness and personality. Many people believe that to be desirable or wanted by others, they must be perfect in appearance and in every other way. However, in this poem, the speaker proves that sometimes the deeper parts of a person, those hidden under their appearance, are really what are important.

The Irony Behind "Barbie Doll"

After reading the poem “Barbie Doll” by Marge Piercy, the true irony of the title itself became apparent. Before reading the poem, I expected it to revolve around the perfect “Barbie Doll” image so many people strive for. However, that is where the true irony came out. Barbie Dolls are famous for their unrealistically thin bodies and perfect features, and because they are played with by young girls, that image becomes the image girls and teenagers seek out. Yet, in this poem, the girl in question does not share the Barbie Doll characteristics. While she was intelligent and ate healthily, the girl lacked the physical characteristics made popular by dolls. She had so many wonderful and beautiful characteristics and personality traits, yet all people could do was compare her to her dolls. They just “saw a fat nose on thick legs,” (Piercy, 835). This poem actually brings to attention a dilemma that has been going on for years. While many little girls grow up playing with Barbie Dolls, people have begun to wonder whether the “perfection” of the dolls encourages girls to strive for the same perfection or feel inferior towards others. Just as it negatively affected the girl in Piercy’s poem, causing her to lose faith in herself, people worry that toys that can be so much fun initially are really much more dangerous than they seem.

The "Peers" in "A Jury of Her Peers"

After reading Susan Glaspell’s “A Jury of Her Peers,” I began to consider the title and how it related to the story. Minnie Wright, the suspected murderer of the story, lived a quiet life, alone in her home with a strict husband and no children. Compared to the other women in the story, Mrs. Hale and Mrs. Peters, she seemed very different. However, after more thought, I determined that Minnie Wright was really not that different from her peers after all. The women worked as farm wives, so many of their daily duties included canning and sewing. However, this could be seen as a rather dull existence for any of the women. Even though Mrs. Hale and Mrs. Peters had more caring husbands than Minnie Wright, they still understood the loneliness of her situation, especially with no children to take care of. Furthermore, Mrs. Hale had known Minnie as a child and knew of her wonderful personality. She understood that it was taken from her, due to the silence of her home and lack of visitors. The women also could comprehend how something as simple as someone killing her bird could cause her to snap and murder her husband. Mrs. Hale states, “No, Wright [Mr.] wouldn’t like the bird…a thing that sang. She [Minnie] used to sing. He killed that too,” (Glaspell, 423). Mr. Wright broke Minnie, and then he broke her bird. While they do have caring husbands, the other women could understand the lack of respect felt by Minnie. Her husband took away her only companion, but Mrs. Hale’s and Mrs. Peters’ husbands took away their dignity by their overall perception of women. They made their wives feel inferior, which is exactly how Minnie must have felt. While seemingly lacking in similarity, Mrs. Hale and Mrs. Peters prove to be the peers of Minnie Wright more than expected.

Sympathetic Characters in "Hunters in the Snow"

“Hunters in the Snow,” a short story by Tobias Wolff, introduces the reader to three very interesting and dynamic characters. Tub, Kenny, and Frank are all quite selfish and rude to each other, and their attitudes and lack of commend sense and intelligence is what pushes along the action in the story. However, even with the distasteful personalities of the three, one still stands out as the most sympathetic character. Tub, a very obese man, is constantly made fun of and verbally abused by his “friends.” All of these actions eventually wear him down until he finally stands up for himself, but his desire to be liked by his friends still affects his decisions. He allows Frank to abuse is excessive eating habits, and honestly tries to point out to Frank how ignorant and hurtful he is towards other people. Tub states, “That’s true, Frank…You never pay attention,” (Wolff, 197). In this story, Tub is the only one to get Frank to consider the way he treats others but pointing out one of his flaws. While all the characters are greatly flawed, Tub’s attempt to fix one of them is admirable. Furthermore, I found Frank in the story to be the least sympathetic character. His attitude and actions are inconsiderate and rude for the entirety of the story, and he often is two-faced towards his friends. Whether he is leaving his wife for a fifteen year old girl, making fun of Tub’s obesity, or taking blankets from a frozen, injured Kenny, Frank does not seem to care about the happiness of anyone but himself. 

Roderigo - Othello Acts 4 and 5

While reading Othello, a play by William Shakespeare, one character in particular continued to confuse me. It seemed as though he really had no purpose except to be there, and I was confused why Shakespeare had included him in his work. However, after Acts 4 and 5, it is clear why Roderigo was created. Throughout the majority of the play, Roderigo is a standstill character who does very little to progress the story onward. However, it turns out that he is the first person to see through Iago’s deceit. While it is turned around on him, Rodergio is the first hint the reader gets that people might be catching on to Iago’s actions. Furthermore, while Roderigo is used to kill Cassio, resulting in his own death instead, he helps the others realize and confirm Iago’s madness after even after death. Roderigo had been communicating with Iago for a long time in order to try and help him win over Desdemona, and after his death, letters regarding this agreement were found within Roderigo’s pockets. One discussed how Iago had requested that Roderigo kill Cassio, removing him from the picture. The other letter, however, listed many of the complaints Roderigo had against Iago. Cassio states in regard to the letters, “And even but now he spake, after long seeming dead, Iago hurt him, Iago set him on,” (Shakespeare, 1459). Even though his interactions with Iago got him killed, Roderigo got his revenge on Iago even after death.

The Handkerchief - Othello Acts 4 and 5

William Shakespeare’s Othello proves to be a play with great depth, particularly in symbolism. While many objects and people in the story symbolize various things, one item in particular symbolizes one of the main themes in the play, deceit. All throughout the play, Iago is deceiving others with his actions and words, manipulating their feelings in order to create the conflict he desires. He, however, has the help of various items in achieving this goal. Othello’s strawberry covered handkerchief is this item that proves the most helpful to Iago. The handkerchief singlehandedly deceives multiple people, resulting in terrible actions that push forth the plotline of the play. In particular, the handkerchief symbolizes the deceit, albeit non-existent deceit, in Othello and Desdemona’s relationship. The handkerchief is a direct representation of Othello and Desdemona’s relationship because Othello gave it to her after their marriage. Because Iago has Emilia, his wife, steal the handkerchief, he is able to convince Othello that Desdemona is cheating on him by planting the item on other people, especially Cassio. While he really only discovered it because Iago had planted it on him, Iago makes it seem as though Desdemona had given Cassio Othello’s handkerchief as a sign of her affection. After Bianca brings it by, they discuss, “‘And did you see the handkerchief?’ ‘Was that mine?’ ‘Yours, by this hand,’” (Shakespeare, 1431). While all the other characters are none the wiser, the handkerchief passed around within the story effectively symbolizes Iago’s deceitfulness and the affect that has on all the characters.

Dynamic Emilia - Othello Acts 4 and 5

William Shakespeare’s play Othello is home to the development of many dynamic characters. However, one character in particular stands out when referencing great changes in personality and character. Emilia, Iago’s wife, was a quiet, reserved character for the majority of the play. Her quietness was brought forth by her husband’s treatment of her, as he called her names and disgraced her. In hopes to gain his favor, Emilia tried to be the perfect wife, a silent and simple woman, but it was not enough for Iago. However, in Acts 4 and 5 of Othello, Emilia finally has her moment to retire from being a push over and to stand up for herself and those she cares about instead. After Othello’s murder of Desdemona, Emilia is shocked that he would do such a thing. When Othello’s reasoning is explained, however, Emilia finally proves that her character was more than skin deep. Regardless of any possible consequences, Emilia’s incrimination of Iago is what finally reveals to the other characters exactly who was behind all of the madness in the play. She states, “Oh mistress, villainy hath made mocks with love! My husband say that she was false!” (Shakespeare,1454). This outburst from Emilia proves to Othello that Iago had been telling him lies about his wife, now directing the blame towards Iago. In the end, even though Iago killed her for it, Emilia died with more dignity than ever because of her final confession and realization.

The Willow Song - Othello Acts 4 and 5

After reading William Shakespeare’s Othello, there was a particular detail that I recognized to carry a great deal of importance within the last two acts. In Act 4 of Othello, Desdemona is speaking to her servant Emilia about a song she knows. However, I did not recognize that this song foreshadowed future events in the plot until I finished the play. Desdemona states that her own mother’s maid, in love with a mad man, knew this song, and “it expressed her fortune and she died singing it,” (Shakespeare, 1443). This description is interesting, because many of the statements made compare to Emilia’s situation. Like the woman in Desdemona’s story, Emilia is a servant, of Desdemona to be exact. Furthermore, she is married to Iago. While it is not common knowledge to the characters until the conclusion of the play, the reader is aware that Iago is a mad man. However, when this is finally realized, it is too late to change the outcome of Desdemona’s foreshadowing tale. Emilia’s refusal to accept her husband’s treachery results in his stabbing of her. As is discovered in Act 5, Emilia dies singing the song Desdemona had taught her about, in accordance to the story Desdemona told about her mother’s servant. Through this simple interaction between two characters, Shakespeare successfully foreshadows Emilia’s fate.