OTHELLO

1. OTHELLO CRITICAL FOCUS ON ACT 2

2. AGENDA • Dramatic Effects • Recap Act One • Dramatic Structure of Act 2 • A note on Irony • Iago

3. DRAMATIC EFFECTS A few words.

4. DRAMATIC EFFECTS • Achieved through languageProvides actors with the means to create the dramatic effect of fear, joy, day, night, tempest-wracked sea, and keep the audience constantly engaged through creation of conflictThe imagination of the audience must respond to the language of the play, creating in their minds the storm for instance in Act 2, Scene 1.

5. DRAMATIC EFFECTS Use of blank verse and / or proseDiction i.e. choice of words and their effectsChoice of imagery usedChoice and structure of sentencesUse of RepetitionLength and structure of a given speechUse of soliloquyCumulative effect of dramatic ironyDramatic actions (not just words but deeds)

6. DRAMATIC EFFECTS • What intended effect does the choice and form of a word, phrase, line, sentence, speech, image, symbol have upon its actual context in a given scene within the play? What ‘expected’ effect is the performance of a given Act, Scene, or Dialogue Sequence likely to have upon a viewing audience in an actual theatre?

7. ACT ONE DO YOU REMEMBER?

8. ACT ONE • DRAMATIC FUNCTION OF ACT ONE • Primes audience by introducing main characters of text and by surfacing central themes and concerns of the text • Light & Darkness • Chromatic Tension • Alienation • Public vs Private spheres/personas • Racism • Appearance vs Reality • Conflict

9. ACT ONE • QUICK OVERVIEW • A conflict situation is created in Act One - entices theater audience

10. ? • What is the significance of the dramatic structure of this Act? • What is the dramatic purpose of this Act? • How does Act Two continue to develop ideas/concerns/ characters from Act One? • What is the significance of the shift in dramatic setting? • What are the key dramatic techniques that are employed? • What are the resultant effects- internal and external? • How does Act Two further develop the concept of the Individual against the larger fabric of Society? ACT TWO

11. DRAMATICSTRUCTURE OVERVIEW

12. STRUCTURAL OVERVIEW OF ACT TWO • SCENE ONE: Storm + Reunion of Othello & Desdemona • SCENE TWO: Herald • SCENE THREE: Drunken brawl + Dismissal of Cassio

13. DRAMATIC PURPOSE OF ACT 2 SCENE 1 • To make apparent change in scene setting • To plunge the audience into the crisis of the storm • To provide a picture of the reunion of Othello and Desdemona in Cyprus • To develop the character of Cassio • To introduce Emilia; & other minor characters • To throw further light on the characters of Othello, Desdemona, and Iago • To develop Iago’s plot

14. SIGNIFICANCE OF SETTING in ACT 2 SCENE 1 • Note the change in setting from Act 1 to Act 2. • Shift in location from Venice to Cyprus • Venice: organised, civilised, cultured (c/f Brabantio’s comment “This is Venice..”) • Cyprus: symbolises a place of danger and uncertainties • Dramatic action set against the background of a perilous storm, in which Othello and his men are said to be caught

15. SIGNIFICANCE OF SETTING in ACT 2 SCENE 1 • Consider importance of relocation to Cyprus - there is now a limited role for Othello • His insecurity (that surfaces later) is compounded by the new setting and difficulty in reconciling military and personal dimensions (the public and the private)

16. SIGNIFICANCE OF THE STORM • The storm symbolically foreshadows the disorder that is soon to stir in Othello’s mind • Ominous of evil/ unhappiness/ chaos • Storm functions to create additional suspense • Safe arrival of the main characters remains for some time in question, increasing dramatic tension

17. SIGNIFICANCE OF THE STORM • Othello’s arrival is awaited with some anxiety • This anxiety creates the effect of highlighting the general admiration for his public persona and achievements • “..the warline Moor, Othello..” 2.1.27 • Montano’s praises: • “I am glad on ‘t; ‘tis a worthy governor.” 2.1.30 • “Pray heaven he be;/ For I have served him, and the man commands/ Like a full soldier.” 2.1.35-37

18. SIGNIFICANCE OF THE STORM • Othello’s delay also allow us (the audience) to sense the depth of Desdemona’s love for her husband • Personal drama of Othello & Desdemona is set against a background of a national crisis, and a crisis at sea. • The storm symbolizes the disorder that soon will rage in the hero’s soul; (dramatic effect) • Dramatically embodies the tempestuous passions that are at the very heart of the play

19. OTHELLO & DESDEMONA REUNITE

20. REUNION OF OTHELLO & DESDEMONA • Almost immediately Othello & Desdemona had to separate after marriage and leave for Cyprus • Othello’s first words on landing are for Desdemona: “O my fair warrior!” • Her first greeting for him is full of sincere emotion: “My dear Othello!” • To see her before him again gives Othello cause to say: “O my soul’s joy!” • He is experiencing “content so absolute” that “if it were now to die // ’Twere now to be most happy” • Their reunion is so full of tenderness and love.

21. REUNION OF OTHELLO & DESDEMONA • Reunion has an undercurrent of dramatic irony • The Moor’s almost childlike joy at being once more with his wife is full of a sense of tragic impermanence • Othello’s public persona is immediately confronted by his private persona • We are made to feel (dramatic effect) that even as he speaks, the “unknown fate” to which he refers so innocently is preparing the end of his brief happiness

22. REUNION OF OTHELLO & DESDEMONA • “…for I fear / My soul hath her content so absolute / That not another comfort like to this / Succeeds in unknown fate” • His allusion to his own death falls on our ears with an ominously different sense • From that which it has for the ecstatic Othello • This is the peek of loving joy from which the Moor is to be dragged down • Their reunion defines their happiness before the process of destroying begins by Iago

23. REUNION OF OTHELLO & DESDEMONA • Last part of this scene shows again a contrast in dramatic effect • From the blank-verse dignity and joy of Othello and Desdemona • We sink to the prose, matter-of-fact conversation between Roderigo and IAGO • Iago pushes aside all poetry and beauty of love (which we have just seen / heard) • And reduces Desdemona to that cheapness which will encourage, seduce, and urge on Roderigo

24. IRONY “Knavery’s plain face is never seen till used.”

25. DRAMATIC IRONY • Theme of deceitful appearance is intimately connected with use of irony in this play • At the root of all verbal irony is a contrast between what is being said, implied, suggested on the one hand • And what is actually the case, or is meant on the other • E.g. Othello’s and Cassio’s reiterated use of ‘honest’ in relation to Iago • The great ironies of the play have their origin in Iago

26. Irony and Ironic Effects • The conscious ironist pretends to be unaware that the appearance is only an appearance • The victim of the irony remains unaware of the contrast between the reality and the appearance • In the case of Othello, the audience is in a position to experience intimately the ironist Iago’s diabolical pleasure in his dealings with his victim [Ironic effects] • Iago reveals at every turn what he intends to do with Othello, Roderigo, Brabantio, Cassio • All of whom to a large extent remain in ignorance of his plans for them

27. Situational & Verbal Irony • Commonest kind of dramatic irony involves a character undertaking a course of action which leads where he least expects it to (victim of irony of situation) • Apart from the web of verbal ironies surrounding the attribution of ‘honest’ to Iago, • Desdemona is sure that Cassio & Othello will soon be at one ‘as friendly as you were’ • Her words do come true but not in the sense she intends; they are united once more but only after her death

28. IAGO “O, you are well tuned now, But I’ll set down the pegs that make this music As honest as I am.”

29. IAGO + CASSIO • Cassio’s character is further developed with Iago as his character foil • Consider both individuals’ attitudes towards women in society and towards Othello

30. IAGO + CASSIO Their difference in language and register is also markedly different. • Iago: • Come on, come on: you are pictures out of doors, bells in your parlous, wild-cats in your kitchens, saints in your injuries, devils being offended, players in your housewifery, and housewives in your beds.” 2.1.109 • Cassio • “The divine Desdemona.” • “You men of Cyprus, let her have your knees./ Hail to thee, lady!” 2.1.85

31. IAGO as an Individual • Come on, come on: you are pictures out of doors, bells in your parlous, wild-cats in your kitchens, saints in your injuries, devils being offended, players in your housewifery, and housewives in your beds.” 2.1.109 • This cynical, generalised account of women strengthens our impression of Iago for whom scorn and content come more easily than feelings of gentler nature • Consider the overt sexual innuendos in his banter with Desdemona

32. IAGO as an Individual • In Act 2 Scene 1, Iago delivers asides and soliloquies, throwing further light on his personality and his motivations. • This, however, further puzzles the audience. • His language is rich with figurative language and different variations of imagery. • Iago also switches from verse to prose and vice versa - why? effect? function? • Dark/Light contrast is ironically loaded

33. IAGO’S PLOTTING [Aside] He takes her by the palm. Ay, well said, whisper. With as little a web as this will I ensnare as great a fly as Cassio. ... If such tricks as these strip you out of your lieutenantry, it had been better you had not kissed your three fingers so oft, which now again you are most apt to play the sir in. Very good: well kissed, an excellent courtesy! ‘Tis so indeed. Yet again your fingers to your lips? Would they were clyster-pipes for your sake!” 2.1. 164 - 172

34. Asides reveal to the audience a character’s innermost thoughts, motivations. This also creates irony. Animal imagery, image of entrapment • Intradialogic directions - reflections on dramatic action that is unfolding on stage. • Iago’s sarcasm - master manipulator or expert opportunist? Undeniable he is sn acute observer. Iago here is clearly jealous of Cassio’s promotion IAGO’S PLOTTING [Aside] He takes her by the palm. Ay, well said, whisper. With as little a web as this will I ensnare as great a fly as Cassio. ... If such tricks as these strip you out of your lieutenantry, it had been better you had not kissed your three fingers so oft, which now again you are most apt to play the sir in. Very good: well kissed, an excellent courtesy! ‘Tis so indeed. Yet again your fingers to your lips? Would they were clyster-pipes for your sake!” 2.1. 164 - 172

35. Iago’s words to Brabantio in Act 1- insinuating that their relationship is based on lust Iago’s closing soliloquy reveals that he is aware of the purer nature of their relationship IAGO’S Manipulation “..you’ll have your daughter covered with a Barbary horse/ your daughter and the Moor are making the beast with two backs” 1.1.112 “The Moor -howbeit that I endure him not- Is of a constant, loving, noble nature, And I dare think, he’ll prove to Desdemona A most dear husband.” 2.1.280-284

36. IAGO as an Individual • Critical spirit of Iago consists in large measure of a habit of abstract generalization rather than looking at the particularities of an individual character or situationIt is this that makes him speak of Othello and Desdemona as an erring barbarian and a super subtle Venetia – deliberately closing his mind to what he knows personally of the indiivduals concerned

37. IAGO as an Individual • Bantering exchange between D & I displays both his tendency to brutal reductivism and generalization and her firm confidence in a different order of valueLife hating viciousness of Iago comes out in his reference to clysterpipes

38. Manipulation • As soon as he sees Cassio take Desdemona “by the palm” we can see his mind at workThe kissing of a hand is only a small matter, an act of courtesy on part of Cassio; not with Iago. He will make use of it: “as little a web as this will ensnare as great a a fly as Cassio”

39. IAGO as an Individual • He watches the happiness of the reunion and sees them kiss; plans to destroy their happiness: “O, you are well tuned now,But I’ll set down the pegs that make this music”He will work on Othello’s mind and put the Moor “At least, into a jealousy so strong, That judgment cannot cure”

40. Cassio(not the watch) “Reputation, reputation, reputation! O, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial. My reputation, Iago, my reputation!”

41. Cassio • Ardent admirer of Desdemona: in his eyes she is “a maid / That paragons descriptions, and wild fame”She is “the divine Desdemona”“our great captain’s captain”Holds Othello in the highest regard and speaks of him as a god coming to breathe life-force into Cyprus

42. Cassio • A polished Florentine gentleman; We note his actions: kisses the hand of Emilia and extends the same courtesy to Desdemona;But this also suggests his susceptibility to the charms of pretty women (dramatic effects)Seems not to see evil in people—interprets Iago’s behaviour as that of a typical rough-hewn soldier; vulgar but with a heart of gold“you may relish him more in the soldier than in the scholar”

43. Cassio • His elaborate praise of Othello and Desdemona suggests the depth of his regard for both of themNote his diction is elegant and his manner is courtlyBut he is no paragon of virtueHis easy-going nature, his reluctance to say no is fully exploited by IagoSeldom appears in the play, but his dramatic function is no less important

44. Range of Characters in the Play (Individuals in the society) • The Moor Othello, the gentle Desdemona, the villain Iago, the good-natured Cassio, the fool RoderigoPresent a range and variety of character as striking and palpable

45. Act 2Scene 2 “Heaven bless the isle of Cyprus and our noble general Othello!”

46. The Herald It is Othello's pleasure, our noble and valiantgeneral, that, upon certain tidings now arrived,importing the mere perdition of the Turkish fleet,every man put himself into triumph; some to dance,some to make bonfires, each man to what sport andrevels his addiction leads him: for, besides thesebeneficial news, it is the celebration of hisnuptial. So much was his pleasure should beproclaimed. All offices are open, and there is fullliberty of feasting from this present hour of fivetill the bell have told eleven. Heaven bless theisle of Cyprus and our noble general Othello!

47. c/f “Excellent wretch! Perdition catch my soul/ But I do love thee! And when I love thee not,/ Chaos is come again.” 3.3.90 Herald opens announcement referring to Othello’s public persona The island is now celebrating Othello assuming a new role that demands he assumes a private self Herald closes the announcement by once again referring to Othello’s public persona Foreshadows Cassio’s impending dismissal in the next scene The Herald Throughout the play, it is always Othello’s public persona that is prefigured. It is Othello's pleasure, our noble and valiantgeneral, that, upon certain tidings now arrived,importing the mere of the Turkish fleet,every man put himself into triumph; some to dance,some to make bonfires, each man to what sport andrevels his addiction leads him: for, besides thesebeneficial news, it is the celebration of hisnuptial. So much was his pleasure should beproclaimed. All offices are open, and there is fullliberty of feasting from this present hour of fivetill the bell have told eleven. Heaven bless theisle of Cyprus and our noble general Othello! perdition Effect: Foreshadows Othello’s mental and psychological damnation as the play progresses This demands a reconciling of these two roles; what emerges instead is a mismanagement of the public and the private The repetition of “noble general” emphasises Othello’s revered place in Venetian society which makes his fall all the tragically devastating. The noun addiction here has a number of connotations: one clearly being drinking

48. Dramatic Purpose • Brief scene of Herald’s proclamation: invites citizens to celebrate victory and the general’s nuptials link the public and the domestic action of the play Herald’s proclamation: marks a change of tempo between the scenes it divides

49. Dramatic Purpose • Increasing dramatic tension: We hear the proclamation of festivitiesBut we are not allowed to forget the domestic dramaWhile the public will have every cause to celebrateOthello will soon have no cause for revelryThe public revelry will stand as a contrast to the dark tragedy that is about to follow

50. Act 2Scene 3 “Iago is most honest.”