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" A fixed figure for the time of scorn To point his slow unmoving finger at... "
The Modern Philosopher, Or Terrible Tractoration: In Four Cantos, Most ... - Page 259
by Thomas Green Fessenden - 1806 - 271 pages
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Othello

William Shakespeare - Drama - 1968 - 244 pages
...utmost hopes, 50 I should have found in some place of my soul A drop of patience. But alas, to make me A fixed figure for the time of scorn To point his slow unmoving finger at ! Yet could I bear that too, well, very well : But there where I have garnered up...
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Comic Transformations in Shakespeare

Ruth Nevo - Comic, The - 2004 - 264 pages
...not. O but her eye . . .' But so far only for the audiences' delectation. He has not yet been made a fixed figure for the time of scorn to point his slow and moving finger at. This overthrow occurs during the eavesdropping scene and he brings it upon himself. Unable to resist...
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Othello As Tragedy: Some Problems of Judgement and Feeling

Jane Adamson - Drama - 1980 - 316 pages
...acknowledging what he really feels - only then to slide away towards self-pity again : But alas, to make me A fixed figure for the time of scorn To point his slow unmoving finger at! Yet could I bear that too, well, very well. (11- 52-5) It is a sense of himself...
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Shakespeare's Festive World: Elizabethan Seasonal Entertainment and the ...

Frangois Laroque - Drama - 1993 - 444 pages
...singleness and a reduction of the individual to the common lot of mankind), Othello refuses to be made 'A fixed figure, for the time of scorn / To point his slow unmoving finger at . . . ' (iv, ii, 56—7). The difference between the noble Moor and the rest is...
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The Masks of Othello: The Search for the Identity of Othello, Iago, and ...

Marvin Rosenberg - Characters and characteristics in literature - 1992 - 340 pages
...plain from the painful intensity, the personal assimilation he expressed in ... But alas! to make me A fixed figure for the time of scorn To point his slow and moving finger at — The groan which escaped from the broad chest was natural ... In place of interpreting Othello,...
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Watching Shakespeare on Television

Herbert R. Coursen - Performing Arts - 1993 - 212 pages
...Othello because he is black. He gets Othello to say so. But lago can only make an object of Othello — "A fixed figure for the time of scorn / To point his slow and moving finger at!" (IV.2. 64-65) — if Othello makes an object of Desdemona. At the end, of course, Othello kills himself....
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Shakespeare the Actor and the Purposes of Playing

Meredith Anne Skura - Drama - 1993 - 348 pages
...Renaissance Drama," English Literary History 54 (1987): 561-83, on the cuckold's fate. He is exposed as a "fixed figure, for the time of scorn / To point his slow unmoving finger at" (Oth. 4.2.54-55), as Othello feared; he hears the whole world whispering, "Sicilia...
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Dangerous Familiars: Representations of Domestic Crime in England, 1550 - 1700

Frances E. Dolan - Social Science - 1994 - 274 pages
...view, "the impediment most profitably removed" (2.1.279-80), trapped into being what he most fears, "a fixed figure for the time of scorn / To point his slow and moving finger at" (4.2.56-57). lago and Emilia offer a farcical perspective on adultery, trivializing what Othello experiences...
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Anti-Mimesis from Plato to Hitchcock

Tom Cohen - Literary Criticism - 1994 - 292 pages
...finger itself — the fetish possibility of pointing or mute indication ("make me / The fixed figure of the time of scorn / To point his slow and moving finger at" [4.2.52—4]). from life to death (and back). The hinted at necrophilia ("Be thus when thou art dead,...
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Selected Poems

William Shakespeare - Poetry - 1995 - 136 pages
...utmost hopes, I should have found in some place of my soul A drop of patience. But, alas, to make me A fixed figure for the time of scorn To point his slow unmoving finger at! Yet could I bear that too; well, very well. But there where I have garnered up...
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