Lecture 4 Othello the Moor of Venice

1. Lecture 4 Othello the Moor of Venice Critical Focus on Act 2 Scenes 1 &2

2. A word about Dramatic Effects • Achieved through language • Provides 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 conflict • The 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.

3. Dramatic Effects created by • Use of blank verse and / or prose • Diction i.e. choice of words and their effects • Choice of imagery used • Choice and structure of sentences • Use of Repetition • Length and structure of a given speech • Use of soliloquy • Cumulative effect of dramatic irony • Dramatic actions (not just words but deeds)

4. Analysis of dramatic effects (INTERNAL & EXTERNAL) • 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?

5. Re dramatic effect of prose in Scene 3 of Act 2 • Roderigo & Iago are left together and the dialogue moves to the everyday tone of prose • Iago’s main speeches are weighty and deliberately rhetorical, especially in his second long speech to his dupe, Roderigo • With its repeated emphasis on need for money ‘put money in thy purse’

6. Iago’s cynical logic in Act 1 Scene 3 • Iago’s use of his characteristic vigorous prose creates the effect of “reality” without being realistic • The language is somewhat like common speech yet “raised” above the ordinary level • Has the effect of showing Iago’s confident egoism • And his tendency to reduce everything to the barest physical (love is merely a ‘lust of the blood’) and material terms (his solution to every problem is ‘put money in thy purse’) • Intended to convince R success with D within reach

7. 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

8. Note technique for suggesting the storm and vivid natural background using descriptive blank verse dialogue • First Gentleman talks of “a high wrought- flood…’twixt the heaven and the main” • Montano adds the idea of the wind, speaking “aloud at land”; Says that it was a “blast” that “shook our battlements” • Second Gentleman adds to the picture with “the foaming shore…the chiding billow seems to pelt the clouds…the wind-shak’d surge, with high and monstrous main”

9. Storm scene (no elaborate scenery) • Upon Cassio’s arrival, audience hears and sees the great contention of sea and skies: “Tempests…high seas…howling winds…gutter’d rocks, and congregated sands” • Dramatic effect: Makes the story of the Turkish disaster credible • Heightens our anxiety for the safety of the voyagers from Venice

10. Storm functions to create additional suspense • Safe arrival of the main characters remains for some time in question • Othello’s arrival is awaited with some anxiety • This anxiety creates the effect of highlighting the general admiration for his person and achievements • Othello’s delay also allow us (the audience) to sense the depth of Desdemona’s love for her husband

11. Critical reservations? Re- Desdemona • As Desdemona waits near the harbour for Othello’s arrival • She spends some time in trivial banter with Iago • One might have expected her to go to the harbour front to check on him • Instead of merely interrupting her talk with Iago to ask whether someone else had gone: “Come on, assay…there’s one gone to the harbour?”

12. There is the further oddity that Desdemona seems able to accommodate herself with surprising ease • To Iago’s vulgar, insinuating line of talk. • Her defense of her conduct may, however, be taken as sincere “I am not merry, but I do beguile / The thing I am by seeming otherwise”

13. Symbolical significance? • 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

14. Dramatic significance of reunion in Cyprus • 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!”

15. 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

16. 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

17. 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

18. 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

19. Every line of Othello’s first 2 speeches has a double-edged meaning and force • 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 • 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

20. Dramatic effects? • “…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

21. Reunion contrasted with closing segment of this scene? • 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

22. Developing the character of 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

23. Re 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”

24. His elaborate praise of Othello and Desdemona suggests the depth of his regard for both of them • Note his diction is elegant and his manner is courtly • But he is no paragon of virtue • His easy-going nature, his reluctance to say no is fully exploited by Iago • Seldom appears in the play, but his dramatic function is no less important

25. Hazlitt says • The Moor Othello, the gentle Desdemona, the villain Iago, the good-natured Cassio, the fool Roderigo • Present a range and variety of character as striking and palpable • As that produced by the opposition of costume in a picture

26. Development of Iago’s plotIago as SPIDERMAN? • As soon as he sees Cassio take Desdemona “by the palm” we can see his mind at work • The 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”

27. Note these actions: Cassio smiles on Desdemona and kisses his own three fingers. This is not overlooked by Iago: • “If such tricks as these strip you out of your lieutenantry” • Plans to use this observation to damage the character of Cassio to his advantage

28. 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”

29. Themes? Look for the themes of: • Love versus Hate • Good and Evil • Appearance and Reality • Theme of Revenge

30. Dramatic Purpose of Act 2 Scene 2 • To remove the tension from the citizens of Cyprus • To celebrate Othello’s nuptials • To increase the sense of the private domestic tension • To make it possible for Iago’s plot against Cassio • To add to the background of coming events

31. Increasing domestic tension • We hear the proclamation of festivities • But we are not allowed to forget the domestic drama • While the public will have every cause to celebrate • Othello will soon have no cause for revelry • The public revelry will stand as a contrast to the dark tragedy that is about to follow

32. Making possible Iago’s plot • We recall Iago’s plot against Cassio • He has employed Roderigo to engage in brawl with Cassio in order to discredit him • The relaxed atmosphere of drinking and disorder in the camp at night is just perfect for such a brawl • We recall Iago’s soliloquy at the end of Act 1: “Hell and night Must bring this monstrous birth to the world’s light”

33. Imagery & great image-patterns • Main image is of animals in action and through these the general sense of evil, pain, unpleasantness is increased and kept before the audience • Underlies theme of supernatural evil: the Imagery of Hell and Damnation which has a crucial influence on the tone and atmosphere of the play