Shakespeare’s Othello

1. Shakespeare’sOthello

2. We have looked at the following narrative aspects so far: • Narrative structure (particularly openings) • Setting • Narrators • Characterisation • Narrative Gaps • Symbols and Motifs • Dialogue You will consider each of these aspects whenever you are analysing a text. You will also consider aspects of the text in relation to genre.

3. What is ‘Tragedy’? • In your groups, discuss what you think the term ‘tragedy’ means • Think about what it could mean in terms of a dramatic text but also how we use this term in everyday life. • Have you watched a play, film or TV show recently that could be considered a tragedy?

4. What is ‘Tragedy’? • The word tragedy is in common usage in everyday life • Casual conversation/media – ranges from missed penalty/death/an ill-advised haircut • Throughout history one of the roles of tragedy has been to provide a means of understanding of our lives through fictional representation • Tragedy makes sense of suffering • For this reason some people suggest tragedy is a genre unsuited to Christian societies in which human suffering is seen in the context of God and the afterlife • The word tragedy was coined by the ancient Greeks (they put on first plays in democratic Athens, a non-Christian society)

5. What can we gain from a stage tragedy? • Literary and non-literary = sorrow and pity for those who suffer • Literary = we take pleasure in the representation of suffering • Pleasure comes from beautifully crafted works of art • Emotional solace • Greater political understanding of the world ‘Tragedy is the art form created to confront the most difficult experiences we face: death, loss, injustice, thwarted passion, despair.’ – Jennifer Wallace 2007

6. Tragedy Timeline Ibsen: Peer Gynt; A Doll’s House Aeschylus, Sophocles, Euripides, Aristotle (Ancient Greece) Chekov: The Three Sisters; The Seagull 1604 – Shakespeare: Othello Marlowe: Dr Faustus 1642 – 1682: Racine, Otway Miller; Death of a Salesman Civil War and Restoration Churchill Victorian - Edwardian Early Modern 1543 - 1630 Greek Tragedy 533 BC – AD600 Post-war Synge 21st Century Romantic 1776 - 1832 Roman 1 – 45 AD WW1 – WW2 Middle Ages 1400 - 1542 Eagleton: Sweet Violence T. Williams: A Streetcar Named Desire O’Casey Chaucer (The Monk’s Tale - 1400) Goethe: Faust Seneca: Thyestes Brecht

7. Pre-reading predictions and assumptions: Look carefully at the illustrations and front covers that follow. Consider what you can infer about the qualities of the play in terms of: • Plot, character and possible themes. • The fact that this is going to be in the tragedy genre

9. Act 1, Scene 1 Key Characters: • Iago • Roderigo • Brabantio We are introduced to Othello but he is not onstage during this scene.

10. Reading Questions: • What are your first impressions of Iago and Roderigo? • Annotate the above extract and make notes as to how the two characters are presented through Shakespeare’s use of dramatic methods. • What first impression are we given of Othello? - provide quotations to support your answer. • The play begins in medias res with Othello not appearing until Scene 2. Why do you think Shakespeare chose to structure the opening of the play in this way? How might it help establish tragic aspects?

11. Homework: Read through the information on Shakespeare and context of the play (including tragedy) in your booklet. Use the internet to find information on race and attitudes to race at this time. There is also some key information in the introduction of your text. Summarise your findings and bring in for next lesson.

12. Starter task – Batman or Shakespeare? • I'm a man of thirty—of twenty again. The rain on my chest is a baptism. I'm born again. • Weep I cannot. But my heart bleeds. • They have tied me to a stake—I cannot fly. But, bear-like, I must fight the course. • We both stared into the abyss, but when it looked back at us, you blinked. • I am a feather for each wind that blows.

13. I'm a man of thirty—of twenty again. The rain on my chest is a baptism. I'm born again. Batman (Dark Knight Returns)

14. Weep I cannot. But my heart bleeds. • Shakespeare (A Winter’s Tale)

15. They have tied me to a stake—I cannot fly. But, bear-like, I must fight the course. • Shakespeare (Macbeth)

16. We both stared into the abyss, but when it looked back at us, you blinked. • Batman (Justice League: Crisis on Two Earths)

17. I am a feather for each wind that blows. • Shakespeare (Winter's Tale)

18. Aristotle – The Poetics • Greek philosopher writing around 330 BC • The drama is usually centred upon one or more main character (theprotagonist) who acts in a way which proves disastrous • The scope of the play’s action is limited in terms of plot (which should not be too complex). The time the action takes to elapse should also be limited, as should the location of the action (theunities) • There is a calamitous outcome (the catastrophe) which causes an emotional response in the audience.

19. The classical protagonist • In the plays of Sophocles, the protagonist was a man who had a certain nobility about him, a man of high birth who was courageous and generous in character. Example: Oedipus Rex • The Greek word Aristotle used is megalopsychia, ‘greatness of soul’. The protagonist could not be a man who was totally good, or else the audience would feel only disgust at the injustice of his destruction in the play’s catastrophe. Neither could he be someone wicked, for then the audience would rejoice at his fall.

20. The classical protagonist • Hamartia – the protagonist’s fatal error of judgement • Hubris – excessive pride which brings down divine punishment upon the head of the protagonist. • Anagnorisis – protagonist’s recognition of his tragic error and judgement

21. Act 1 Scene 2 • Annotate the extract with particular focus upon Othello’s language and consider whether he possess any traits which could become a tragic flaw.

22. Dramatic techniques and use of language Do you know what the following terms mean? • Stage directions • Off-stage • Imagery • Prose • Verse / Blank verse • Iambic pentameter

23. Both written and spoken language use rhythm - a pattern of stressed and unstressed syllables. Most forms of poetry or verse take rhythm one step further and regularise the rhythm into a formal pattern of stressed and unstressed syllables. A formal pattern of rhythm is called metre. Shakespeare writes either in blank verse, in rhymed verse or in prose. Blank verse is unrhymed but uses a regular pattern of rhythm or metre. In the English language, blank verse is iambic pentameter. Pentameter means there are five poetic feet. In iambic pentameter each of these five feet is composed of two syllables: the first unstressed; the second stressed. The opening line of Twelfth Night, is a perfect iambic line : 'If music be the food of love play on‘ With its unstressed and stressed syllables marked or 'scanned', it looks like this: / ں / ں / ں / ں / ں 'If mu sic be the food of love play on‘ ں= weak / = strong The rhythm of blank verse is conversational and with its dee DUM, dee DUM, dee DUM, dee DUM, dee DUM rhythm, it imitates the heartbeat.

24. Act 1 Scene 2 – use the extract in your booklet • What is the significance of Brabantioin this scene? • Consider the importance of the scene’s dramatic setting and make notes as to how it highlights tragic aspects

25. Starter task: • Can you remember what iambic pentameter is? If not, discuss with the other people on your table • Write a few lines on what you did at the weekend using iambic pentameter. This doesn’t have to be in rhyme, but you can rhyme if you wish!

26. Character study - Brabantio • Look again at Act 1 Scene 2 • Annotate the speech from Brabantio in your booklet 3) What is the significance of Brabantio in this scene? 4) Consider the importance of the scene’s dramatic setting and make notes as to how it highlights tragic aspects.

27. Summarise key plot points from Act 1.3 • According to Othello, how did he woo Desdemona? • How did the Duke react? • Did Desdemona’s account of events fall in line with Othello’s? • Highlight/record key quotes from the scene in your text.

28. Homework - • Read to the end of Act 1 Scene 3 and summarise the conversation between Iago and Roderigo. • For tomorrow’s lesson (Thursday 5th Oct)

29. Explore how Iago is presented • How does Shakespeare develop Iago’s character in the above scene? Compare the language used when he is speaking to Roderigo to when he is alone. • Drawing upon Iago’s presentation in this scene and earlier in the play, provide evidence which supports the view of him being a tragic villain. The extract ends with Iago delivering a soliloquy to the audience where he explains his motives for wanting to destroy Othello. • Why do you think Shakespeare includes this technique? How might it affect the way the audience views him?

30. Exploring Different Readings: Act 1 Scene 1 • Included here are a range of critical responses to Othello Act 1 Scene 1, written as if by critics who are interested in looking at the scene from a particular angle, for example: There isn't a single right answer to be 'spotted'. Each of the responses offers insights into the scene. However, you might disagree with, or feel uneasy about certain aspects of each reading. For example, you might feel that while a reading is interesting, the critic has distorted the textual evidence to support the argument. • Task: Read through each piece of criticism, annotating it with your comments.

31. Assessment Objectives • AO1 – accuracy; use of terminology and concepts; structure of argument • AO2 – analysis of meaning (language and structure) • AO3 – context of reception and production (this also links to genre) • AO4 – connections across texts; possible meanings and interpretations • AO5– interpretations; debate and how well this is set up.

32. Explore the significance of this extract in relation to the tragedy of the play as a whole. Remember to include in your answer relevant analysis of Shakespeare’s dramatic methods. Points to consider: • Dramatic devices • Language devices • Aspects of tragedy • The significance of the scene to the play as a whole.

33. Exploring and Analysing Explore the significance of this extract in relation to tragic elements and Shakespeare’s dramatic techniques. This extract is particularly significant as it is… In the opening of the play, it becomes clear that…. Shakespeare presents this through his use of… I would suggest that…. Alternatively it could be viewed as…. Therefore… / In addition to this….

34. Example opening Begin by summarising the extract and explaining why it is significant in terms of the tragic plot. In this extract, Iago is performing a soliloquy to the audience, where we learn about his malevolent intentions. This section of the play is particularly significant as it allows the audience to understand the thought process behind his actions and his evil ambitions. The use of a rhetorical question in the opening ‘And what’s he then that says I play the villain…?’ reveals that Iago has a tendency to justify his own malicious acts. We therefore begin to view Iago as the tragic villain of the piece: he is plotting the downfall of noble characters whilst making excuses for his own villainy. In many ways he could be viewed as a stage Machiavel due to his deceit and treachery.

35. Example paragraph Iago’s soliloquy in Act II Scene iii reveals his malevolent intentions as he questions his own playing of ‘the villain’ with an air of self-justification. This, and also be declaring his own advice to Cassio as ‘honest’ will surely be comedic for a Shakespearean audience. Aware of the irony of the epithet‘honest’, we understand that Shakespeare is setting Iago up as the tragic villain of the play, an example of a stage Machiavel. Revealing to us his twisted nature certainly does make him ‘honest’ in one respect – at least to the audience – however towards other characters and himself he works hard to present himself in the best possible light. This deceit and treachery is why such soliloquiesare vital; the audience is invited to see how he will set the tragedy in motion.

36. Go through the extract and annotate/make notes on tragic aspects and dramatic effects

37. First Formal Assessment: 45 minutes Section A: ‘Othello’Extract Style Q Act One Scene One p.28 Explore the significance of this extract in relation to tragic elements and Shakespeare’s dramatic techniques. [25 marks]

38. Exploring and Analysing Character PEE/PEA points In Act 1 Scene 3, it becomes clear that Iago is…. We see an example of this when… It could be suggested that…. Alternatively we could view it as…. Therefore… / In addition to this….

39. Essay Feedback • Most used the term ‘significance’ in line with the task • All were able to identify dramatic techniques and use tragedy terminology • All showed a good knowledge of the plot • Most essays were well structured and focussed on the task. • Dramatic devices • Shakespeare’s intentions and how you discuss key characters • Alternative interpretations • Developing comments fully to show a full understanding/perception • Embedding quotes and developing writing style • Expression and development of vocabulary

40. Reading Act 2: • How are the conditions at sea described in the opening of the scene? Record key quotes and consider their significance. • How does Shakespeare create tension in the first few pages of the scene? • Look closely at the conversation between Desdemona and Iago (pp.58-59). What is the subject of the discussion? What do we learn about Desdemona from this? • Look closely at the conversation between Iago and Roderigo (pp.61-63). How does Iago manipulate Roderigo? Choose key quotes and consider their significance. • Annotate Iago’s soliloquy at the end of the scene. How does Shakespeare reveal his hatred for Othello? • The action now moves from Venice to Cyprus. Why do you think Shakespeare chose to do this? What is the significance of the potential war ending so suddenly? Look at Othello’s speech as he steps ashore to develop your points on this.

41. Act 2 Scene 3 Comprehension Questions • What is the subject of Iago and Cassio’s conversation on p65? What does this tell us about both characters? • Why does Cassio initially refuse to drink? How does Iago persuade him otherwise? • Which parts of the scene could be considered humorous? • How does Othello react to the news of Cassio’s assault on Montano? • How does Iago present himself in the best possible light during this scene?

42. Homework for Monday: • Read Act 3 Scene 1 and 2 (pp.75 – 77) and annotate • If you don’t have the text, access it online http://nfs.sparknotes.com/othello/ and write notes in bullet points (making reference to quotes).

43. Iago – a Machiavellian Villain AO3 – contextual point The portrayal of Iago demonstrates some of the Elizabethan’s misunderstandings of the works of the Florentine writer, Niccolo Machiavelli (1429 – 1527). Today Machiavelli is respected as a political and social theorist, but Shakespeare and his contemporaries believed that his ideas were immoral. So they created stage Machiavels who were devious and unscrupulous. In works such as The Prince, Machiavelli sought to discuss what rulers actually did when they were in government, as well as what they should do.

44. Assessment Objectives • AO1 – accuracy; use of terminology and concepts; structure of argument • AO2 – analysis of meaning (language and structure) • AO3 – context of reception and production (this also links to genre) • AO4 – connections across texts; possible meanings and interpretations • AO5– interpretations; debate and how well this is set up.

45. Scene Summary – Act 3.1 • Musicians and clown – significance? • What does Cassio ask the clown to do? • Iago – a timely entrance (‘In happy time, Iago’) • Iago to send for Emilia, then exits • Emilia tells Cassio they have discussed the case • Othello is concerned about Montano’s influence • Cassio is to wait for Desdemona

46. Plot points to remember- • Iago said in the previous scene that Emilia was to be persuaded to put Cassio’s case to Desdemona (‘I’ll set her on’ – 2.3) • However, it appears that he may not have intended to approach her directly on the matter himself • Thus, when Emilia tells Cassio that she will take him to speak personally with Desdemona, she has no idea of the part she is playing in the plot which Iago has contrived.

47. Act 3 Questions Act 3.2 Summary Iago, Othello, and a gentleman walk together at the citadel. Othello gives Iago some letters to deliver and decides to take a look at the town’s fortification. • How do scenes 1 & 2 further the plot? • Look for evidence of irony in both of these scenes.

48. Scene Summary Act 3.3 • Desdemona, Cassio, and Emilia enter mid-conversation. Desdemona has just vowed to do everything she can on Cassio’s behalf when Othello and Iago enter. Cassio quickly departs, protesting to Desdemona that he feels too uneasy to do himself any good. Othello asks whether it was Cassio he saw leaving the room, and Iago responds that surely Cassio would not behave like a guilty man at Othello’s approach. • Desdemona entreats Othello to forgive Cassio and reinstate him as lieutenant. Othello assures her that he will speak to Cassio, but he answers evasively when she tries to set a meeting time. 

49. The Handkerchief as Symbol • Look closely at p.93 of the text (lines 55 – 66) • Why is this handkerchief so important? • What could it represent? • Mind-map your ideas

50. Act 3 Scene 4 Recap • Desdemona expresses her uneasiness at losing the handkerchief • Othello tells Desdemona about the history of the handkerchief, which unsettles her even more • Othello storms off and Emilia laments the fickleness of men. She suggests Othello is jealous • Desdemona tells Cassio to wait while she finds Othello • Bianca enters and reprimands Cassio for not visiting her enough • Cassio asks her to copy the embroidery of the handkerchief