Ideas and issues in
Othello
Contents Deceptive nature of appearance and reality .................................................................................................................... .................................................................................................................... 3 Fragility of trust ............................................................................ .................................................................................................................................................. ..................................................................................... ............... 5 Manipulation..................................................................................................................................................................... ..................................................................................................................................................................... 7 Power ....................................................... ............................................................................................................................. ......................................................................................................................... ................................................... 9 Race and racism/prejudice ...................................................................... ........................................................................................................................................... ....................................................................... .. 11 Order and chaos ................................................................ ...................................................................................................................................... .............................................................................................. ........................ 13 Jealousy has the power to destroy ................................................................................................................................. ................................................................................................................................. 15 Gender - nature of women and men ...................................................................................................... .............................................................................................................................. ........................ 17 Good and evil ..................................................................................................................................................... .................................................................................................................................................................. ............. 19
Deceptive nature of appearance and reality Reliance on what we see and what we are told Honesty and deception Believing in unfounded rumours Misrepresentation Pride and reputation Judgements based on false assumptions
Fragility of trust Betrayal Foolish loyalty Secrecy and misunderstanding Gullibility and self-awareness Insecurity
Manipulation Control Opportunism People with honest reputations manipulate
Power
The power of language to shape thoughts Power of reputation
Race and racism/prejudice Outsider/ the other The danger of isolation Hatred is often skin deep
Order and chaos Warfare
Jealousy has the power to destroy Paranoia Revenge Temptation Love and sacrifice
Gender - nature of women and men Manhood and honour Womanhood and sexuality Role of women
Good and evil Light vs dark Corruption
Deceptive nature of appearance and reality
Reliance on what we see and what we are told Honesty and deception Believing in unfounded rumours Misrepresentation Pride and reputation Judgements based on false assumptions
Content – characters, context, plot, elaboration on the issue
Dramatic techniques – Aristotelian tragedy elements, time, setting, structure, Contrast in scenes, props, soliloquys, asides, irony, stage directions
Context Michel de Montaigne – a Renaissance philosopher best known for his work on scepticism. Montaigne believed that humans would never be able to see past the verisimilitude of appearance to the realities that lay behind In Venetian society- honesty was highly valued- and hence, if someone appeared to have the qualities of honesty and loyalty they could potentially exploit this outward perception of themselves for interior motives. Iago successfully does this, sabotaging Othello and Desdemona’s relationship. Shakespeare communicates the unreliability of basing judgements on o utward appearance in the characters of Iago, who embodies the deceptive nature of outwardly appearance. Iago proves that evil intentions can be masked a facade of honesty. He adopts instant roles in the play- eg. advisor, confidante, with the appearance of an ‘honest’ man helping people. However, in reality he is only acting out of self -interest.
Language techniques
Dramatic irony is frequently employed throughout the play in order to emphasise the significance of the disparity between appearance and reality as the audience often know much more than certain characters, e.g. Othello says of Iago that he is a man of “honesty and trust” even though the audience knows that Iago seeks to destroy Othello. E.g. “Tis he. O brave Iago, honest and just, That hast such noble sense of thy friend’s wrong.” Iago: “Men should be what they seem; Or those that be not, would they might seen none!”(Act2 Scene3) The dramatic irony highlights his deceptive nature. Stage direction: IAGO from behind wounds CASSIO in the legs, exits. (Act 5 Scene 1) Shows how two-faced he is with him coming from behind. (Act 5 Sc ene Stage direction: IAGO offers to stab EMILIA. This stage direction is a key moment when Iago’s true character is revealed. (Act 5 Scene 2) Iago: “Men should be what they seem; those that be not, would they might seem none!” (Act 2 Scene 3) Dramatic technique as he is projecting a false image. Iago: (Aside) O, you are well tuned now! But I'll set down the pegs that make this music, As honest as I am. Use asides to show how like Janus, Iago is manipulative and evil (his outward appearance does not reflect his inner intentions). The very nature of the aside as a dramatic technique is reflective of Iago's duplicitous character, one hand saying one thing to people but actions go against this. Iago: “In following him, I follow but myself.” The repetition of “follow” combined with the play on words highlights the discrepancy between the way that Iago acts compared to his true intentions in following Othello Iago: “For when my outward action doth demonstrate The native act and figure of my heart In complement extern, 'tis not long after But I will wear my heart upon my sleeve For daws to peck at.” Iago: “I am not what I am.” The paradox perfectly captures Iago’s duplicitous, deceptive and sinister nature. Iago: “Though I do hate him as I do hell's pains, Yet, for necessity of present life, I must show out a flag and sign of love, Which is indeed but sign”
Critics – give a general summary of the ideas and provide pithy and concise quotes
The simile comparing Iago’s hatred of Othello to a condemnation to hell effectively illustrates how duplicitous Iago is and how it contrasts starkly to his outward appearance Brabantio: “Fathers, from hence trust not your daughters' minds/ By what you see them act” The apostrophe to all fathers highlights Brabantio’s desperation to warn other fathers of the disparity between appearance and reality when it comes to their daughters Iago: “By Janus I think no.” (Act1 Scene2) The allusion to Janus is ironical ly appropriate for Iago as he holds similar characteristics to Janus. Both Iago and Janus are two-faced in nature and action. Harold Bloom – “Iago is masterful at manipulating appearances and making what is seen appear to corroborate his own words.” Norman Sanders - “(Iago) He can, of course, do none of these things; but he has the ability to do something much worse: he can make them seem to be true. This ensign does not show the flag of his real nature is the master stage director.” Samuel Colerige- “Virtue? a fig! ’Tis in ourselves that we are thus, or thus . . . “(can't help it? Nonsense. What we are is up to us… garden scene - Act 1 Scene 3) This speech comprises the passionless character of Iago. He is (Iago) a bold partisan of a truth, but yet of a truth converted into a falsehood by the absence of all the necessary modifications caused by the frail nature of man.
Fragility of trust
Betrayal Foolish loyalty Secrecy and misunderstanding Gullibility and self-awareness Insecurity
Content – characters, context, plot, elaboration on the issue
Context: During Shakespeare’s time, questions about loyalty and national security, and the figure of the aging female monarch, were current in Elizabethan England. Blacks who were part of English society were largely exhibited as curiosities or used as slaves. Foreigners in general, and bl acks and Jews specifically, were mistrusted merely because they were perceived as a threat to the cultural homogeneity. Venetian law required them to have a general not from Venice, which is why Othello has the position Humanist movement - study and promotion of human capacities and potential Transition away from feudalist system - no real centralised state, but rather areas controlled by nobles. Nobles with enough po wer become kings
Dramatic techniques – Aristotelian tragedy elements, time, setting, structure, Contrast in scenes, props, soliloquys, asides, irony, stage directions
Iago’s second soliloquy “That Cassio loves her…” explores Iago’s own jealous inclinations as well as his lack of trust for his wife and Othello The handkerchief as a key prop is the embodiment of the fragility of trust. A normally insignificant prop has the power to condemn Desdemona and act as proof of her infidelity for Othello. The first soliloquy of Othello on one hand reveals his blind trust and on the other hand it shows the seeds of suspicion about Desdemona’s infidelity. We find how O thello becomes conscious of his advanced years, he is tempted to believe that wives of such men cannot be faithful to their husbands. Dramatic Irony is that in his first soliloquy, he clearly says “I am not what I am” which sets the tone for the rest of his role " but every other character does not know this and they only see the side of him he wants them to see, with no one ever really finding out how two-faced he is until the very end… Irony: “Thou dost conspire against thy friend, Iago” - Othello Irony: "She has deceiv'd her father, and may thee," (I.iii.293). He is suggesting that she has therefore shown a potential for disloyalty. Dramatic Irony: audience knows that Iago is a traitor and misleads Othello regarding Desdemona's fidelity. The audience reads/watches in horror as Othello trusts Iago's information and murders his wife. The result is one of the most heart wrenching scenes ever written, since we witness "the fall o f a proud, dignified man," and "the murder of a graceful, loving woman" because of Iago's treachery. Contrast between scene where Othello trusts Desdemona and her decisions but then refuses to believe her after Iago manipulates him. IRONY: Cassio, who has always given loyal and responsible service to his general Othello gets hatred and violence in return; but silly Othello rewards the terribly evil lago with love and trust in return to his betrayal. The grateful and humble gets an injury, whereas the thankful and malicious gets respect. That irony is the cause of so much tension to the audience, and is also one of the thematic issues of the play.
Language techniques
Brabantio: “O treason of the blood!” The exclaimed dialogue emphasises how betrayed Brabantio feels Oxymoron:“I think that my wife be honest, and think she is not” - Othello Motif of the Willow song:the song seems to represent a melancholy and resigned acceptance of her alienation from Othello’s affections, and singing it leads her to question Emilia about the nature and practice of infidelity.
Critics – give a general summary of the ideas and provide pithy and concise quotes
See W. H. Auden – “The Joker in the Pack” “While the Moor bears the nightly colour of suspicion and deceit only on his visage, Iago is black within. He haunts Othello like his evil genius” - August Wilhelm Schlegel Robert Watson writes that, "In suspecting that his wife has been unfaithful, Othello only demonstrates his own lack of faith. This domestic paradox carries over to the secondary, allegorical level of the play, where the marriage between Othello and Desdemona represents the passionate but troubled marriage between the sinner's soul and its Savior" (Watson).
Manipulation
Control Opportunism People with honest reputations manipulate
Content – characters, context, plot, elaboration on the issue
Dramatic techniques – Aristotelian tragedy elements, time, setting, structure, Contrast in scenes, props, soliloquys, asides, irony, stage directions Language techniques
Context: The character of the individual ends up being of great importance to Shakespeare, who manipulates how the audience will respond to each one. 1 Iago is viewed by the characters of the play as trustworthy, and dependable, however he has a hidden agenda which will affect all their lives. He achieves his goal of manipulating his victims by gaining their trust and appearing as a good person that only wants to help other people, however, each time his victim feels as though their bond has become closer, in reality, Iago is only becoming closer to achieving his goal of manipulation. Iago corrupts Othello by taking advantage of his hamartia which is jealousy.
1
Shakespeare often uses asides for Iago to reflect his conniving, scheming, manipulative and villainous ways, e.g. “[Aside] O, you are well tuned now! But / I'll set down the pegs that make this music, / As honest as I am.” Iago’s soliloquies also create a connection between him and the audience, allowing them to see into his mind, his thoughts, and how he plans to manipulate, overall a small insight into his nature and character Handkerchief prop: In the beginning o f the play the handkerchief symbolises the love that Othello has for Desdemona. Then Iago plants the handkerchief on Cassio and manipulates its meaning into that of unfaithfulness.
Iago: “You shall mark Many a duteous and knee-crooking knave, That doting on his own obsequious bondage, Wears out his time much like his master's ass For nought but provender, and when he's old, cashiered.” The simile and animal imagery highlights the way that Iago plans to manipulate and take control over Othello Iago: “In following him, I follow but myself.” The repetition of “follow” combined with the play on words is evidence of Iago’s intention to manipulate Othello Iago’s soliloquy (pg45): And will as tenderly be led by the nose As asses are. o Animal imagery combined with the simile show his view of humans as mere animals and how he plans to manipulate them as they are so brainless he can lead them by the nose Act 4 Scene 1: “Work on, My medicine, work! Thus credulous fools are caught;” Interlude when Othello falls into the trance o o Recurring motif of poison highlights the control Iago has over Othello, calling poison medicine creates irony Iago [aside]: “He takes her by the palm: ay, well said, whisper: with as lit tle a web as this will I ensnare as great a fly as Cassio” The animal imagery and metaphor of a web and a fly show how Iago plans to manipulate Cassio and the overall situation - taking advantage of the opportunity before him: Cassio’s desire for his old station back, Desdemona’s good-hearted nature Iago: “Reputation is an idle and most false imposition, oft got without merit and lost without deserving” Ironic since Iago has a reputation for being honest which he takes advantage of regularly; uses Cassio’s moment of weakness to manipulate him and offer suggestions
http://www.webpages.uidaho.edu/~sflores/345world.html
Othello: “exchange me for a goat, When I shall turn the business of my soul To such exsufflicate and blown surmises, matching thy inference.” Here we can see evidence of the effects of Iago’s manipulation of Othello’s insecurities as Othello starts to adopt some of Iago’s idiomatic language (animal imagery, etc.). Note that this is very common with Iago as he relentlessly takes advantage of other’s weaknesses and insecurities (e.g. pushing Cassio to drink) Othello: “it comes o’er my memory As doth the raven o’er the infected house Boding to all--he had my handkerchief” Simile and animal imagery adopted from Iago highlights how crucial this handkerchief is, more significance is attached to the handkerchief than it deserves - a direct result of Iago’s manipulation “Lie with her...O devil!” this break in Othello’s language as he responds in verse is also physically visible as his response is li ttered with dashes, exclamations - result of Iago’s manipulation A.C. Bradley: For his [Othello’s] opinion of Iago was the opinion of practically everyone who knew him: and that opinion was that Iago was before all things ‘honest’, his very faults being those of excess in honesty. This being so, even if Othello had not been trustful and simple, it would have been quite unnatural in him to be unmoved by the warnings of so honest a friend, warnings offered with extreme reluctance and m anifestly from a sense of friend’s duty.
Critics – give a general summary of the ideas and provide pithy and concise quotes
Power
The power of language to shape thoughts Power of reputation
Content – characters, context, plot, elaboration on the issue
Dramatic techniques – Aristotelian tragedy elements, time, setting, structure, Contrast in scenes, props, soliloquys, asides, irony, stage directions Language techniques
Context: During Shakespeare’s time Queen Elizabeth was coming to the end of her reign as queen but with no heir apparent the country was in turmoil due to the uncertainty of its future as a great empire. This is reflected in the play, with Shakespeare portraying power as tenuous and transitory, but i t is the corruption of power that Shakespeare draws on most in Othello Machiavelli’s influence on Shakespeare can be seen through the character and machinations of Iago Throughout the play, we see Othello g radually lose power (seen by captaincy position) as Iago gains it, through both language and Othello’s emotional outburst. Elizabethan society was largely 'based on birth and blood and there were limited opportunities for advancement, especially for those on a lower social scale.
Critics – give a general summary of the ideas and provide pithy and concise quotes
Props/Motif: “It was a handkerchief, an antique token my father gave my mother.”; This prop rapidly gains power throughout the play, so much so that Othello deems it worthy evidence against Desdomona, despite the extremely circumstantial evidence. The power attained by the handkerchief is able to manipulate Othello and his emotions Peripeteia: Act 3 Scene 3; Othello loses the power in the narrative, as witnessed by numerous dramatic techniques, which show Othello and Iago, for a moment become equal, before Iago gains the power in the scene through his ability to harness the power of language for his own machinations. The following depict this: Stage directions: “Othello kneels” and “Iago kneels.”; this is used to show the brief equality in terms of power between the t wo characters, before they both rise. However, Iago is “now art thou my lieutenant,” and thus gains power he had not previously had Hyperbole: “If you do find me foul in her report? The trust, the office do I hold of you, not only take away, but let your sentence Even dall upon my life” Initially Othello submits uses the power of language in order to prove in innocence before the court. This juxtaposes against the paradoxical l anguage used later Sharp and paradoxical dialogue: “By the world, I think my wife be honest and think she is not. I think that thou art just and think thou art not.” The shift in the eloquence of his speech highlights his descent in power Othello’s final Soliloquy: Anaphora: “Of one that loved not wisely, but too well/Of o ne not easily jealous but, bring wro ught”-The listing of Othello’s good qualities as an attempts to change his narrative reflects the power of reputation; even as he ready’s himself to die, his primary concern is his legacy and that of his reputation. Othello’s final Soliloquy: Paradox: “An honourable murderer, if you will”; power of reputation Animal Imagery: Iago's claim that Othello will be "Tenderly be led by the nose...as asses are," depicts Othello's vulnerability due to him extreme emotions and jealousy and highlights Iago's confidence of his power over Othello. Symbolism: “It is the green-eyed monster which doth mock”; Represents the power of emotion A.C Bradley: Believes that any man in the high position of power as Othello would have succumb to the Machiavellian traits of Iago, and be made ‘wildly jealous’ F.R Leavis: “Othello is...the victim of Iago’s intellectual superiority” J. Putnam: Othello has become mad with rage and jealousy and Iago tries to redirect these powerfully strong emotions in false im ages, which he constructs. Neil Heims: “But disappointment at the loss of the lieutenancy supplied the touch of lively resentment that was required to overcome these obstacles; and the prospect of satisfying the sense of power by mastering Othello through an intricate and hazardous
intrigue now became irresistible,” and “Iago’s longing to satisfy the sense of power is, I think, the strongest of the forces that drive him on.” Andrew Hadfield: “By virtue of his manipulative power and his superior knowledge and control over the action, which we share, we are implicated in his machinations and the cultural values they imply. Iago is a cultural hyperbole; he does not oppose cultural norms so much as hyperbolize them. ”
Race and racism/prejudice
Outsider/ the other The danger of isolation Hatred is often skin deep
Content – characters, context, plot, elaboration on the issue
Dramatic techniques – Aristotelian tragedy elements, time, setting, structure, Contrast in scenes, props, soliloquys, asides, irony, stage directions Language techniques
Context: During Elizabethan times a fear of foreigners allowed for racist views to develop. 2 Queen Elizabeth issued two edicts in 1599 ad 1601 that “the great number of Negars and Blackamoors… be discharged out o f Her Majesty’s dominions” Religious leaders such as Church fathers St Jerome and St. Agustine linked blackness to sinfulness Dark skinned people were stereotyped to be irresponsible and lustf ul According to Elizabethan traveller, John Lok “Negroes are a people f beastly living, without God, law, religion, or commonwealth”
2
Setting: There are two principal locations, Venice and Cyprus, but gradually our attention becomes fixed on a single bedroom, creating a feeling of claustrophobia that is unique in Shakespeare's tragedies. The outer world becomes insignificant as Othello becomes monomaniacal, obsessed with a single concern. This emphasises the feeling of isolation and otherness within the play. Soliloquy: Othello: “Haply, for I am black/And have not those soft parts of conversation/That chamberers have, or for I am declined/Into the vale of years—yet that’s not much—/She’s gone, I am abused.” Othello’s soliloquy in Act 3 Scene 3 highlights the drastic deterioration of character evoked by Iago’s manipulation and constant pricking at Othello’s racial insecurity. Shakespeare uses soliloquys commonly to develop his characters in dept. Roderigo: “What a full fortune does the thick-lips owe if he can carry’t thus!” The synecdoche of “thick-lips” singles out the prominent characteristic that highlights Othello’s foreignness and the racism prevalent in the context of the play. Iago: “Even now, now, very now, an old black ram/ is tupping your white ewe.” The crass and vulgar animal imagery, combined with the juxtaposition between black and white, as well as the metaphor serve to convey Iago’s immorality and the way t hat he can easily manipulate language in order to elicit a reaction from his victims. The quote is also a blatant depiction of the racism that pervaded society at the time. Iago: “Because we come to do you service and you think no we are ruffians, you'll have your daughter covered with a Barbary horse, you'll have your nephews neigh to you, you'll have coursers for cousins, and jennets for germans.” The use of prose as well as the animal imagery and metaphors comparing Othello to an African horse again portray Iago’s racism and unrefined speech Iago: “I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs.” The dysphemism in calling Othello and Desdemona’s lovemaking to a “beast with two backs” not only depict Iago’s vulgarity but also his treatment of Othello and Desdemona’s love- it is almost as if he cannot comprehend love in any sense and perverts and seeks to destroy any form of it in his life Duke: “If virtue no delighted beauty lack,/ Your son-in-law is far more fair than black .” The paradox of “fair” and “black” highlights the underlying racism in the statement. “Black” in Duke’s statement has a dual meaning of both Othello’s race and meaning “ugly.” The rhyming couplet further reinforces this notion through the words “black” and “lack”, implying that Othello’s skin is the sole cause of all his misfortune. Othello: “Her name, that was as fresh/As Dian's visage, is now begrimed and black/As mine own face.” Othello internalizes the racial ideologies of the people in Venice as well as the disparities between him and Desdemona. Through the simile of “Dian’s visage” he explicitly references Roman goddess D iane, who was seen as a symbol of
https://www.academia.edu/8235128/Othello_and_Othello-Contextual_Analysis
the pale moon and of chastity. Othello feels as if Desdemona’s once pure and ‘white’ reputation has been besmirched due to her sexual infidelity, thus comparing her now ruined name to his own black face. Critics – give a general summary of the ideas and provide pithy and concise quotes
Edward Said comments on how the West has created a dichotomy between actuality of the East and the occident’s romantic notion of the orient. He also says “even as Europe moved itself outwards, its sense of cultural sense was fortified”. W.E.B Du Boise comments on how Othello has two halves of his personality; a European and an African. “two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body” Ana Calvo describes Iago as “Fully cognizant of the disruptive potential of Othello’s two warring ideals, Iago is going to build a tragedy of Othello’s on his schizophrenic personality”
Order and chaos
Warfare
Content – characters, context, plot, elaboration on the issue
Dramatic techniques – Aristotelian tragedy elements, time, setting, structure, Contrast in scenes, props, soliloquys, asides, irony, stage directions
Context: Elizabethan belief in the great chain of being is relevant here. Any attempt to break the chain of being would upset the established order and bring about universal disorder. 3 The play depicts a Venetian state, which believes it represents Christian order against the threat of Turkish Infidels. At the same time, Brabantio believes his idea of Venetian order has been disrupted by the black man, Othello
Language techniques
3
Time moves very quickly in the play , adding to the dramatic tension and heightening the sense of chaos within the play. The illusion of time passing by quickly also adds to the sense of claustrophobia within the play and the disparity between chaos and order is magnified The stage direction in Act IV Scene I epitomises Othello’s descent into savagery due to his overwhelming feelings of jealousy: “[Falls in a trance]” The chaos that surrounds and consumes Othello reaches an apogee in the stage direction. Also in Act IV Scene II (35), Othello uses prose when in a state of mental chaos, which Shakespeare uses in a state of frenzy or mental unsoundness. The disjointed thoughts reflect his mental chaos, inability to speak as elegantly as before, change in character. The lack of connection in language parallels his descent into his mental chaos Act I Scene III where the senators are talking about the external overarching chaos in Venice at war with the Turks parallels the internal chaos of Othello and adds to the claustrophobic feel of the play. Mentions of the storm in the openings of Act II also foreshadow the chaos and disorder to eventually fall on the play.
Brabantio: “Where didst thou see her? O unhappy girl! With the Moor, say'st thou? Who would be a father? How didst thou know 'twas she? O she deceives me Past thought! What said she to you? Get more tapers, Raise all my kindred. Are they married, think you?” The series of rhetorical questions and disjointed sentences convey the disturbance caused to Brabantio upon discovering his daughter’s betrayal. Brabantio: ““Cannot but feele this wrong, as 'twere their owne: For if such Actions may haue passage free, Bond-slaues, and Pagans shall our Statesmen be.” Hyperbole where Brabantio exaggerates by saying if ‘villains’ like Othello were to go free, then Venice may as well be ruled by pagans and criminals Othello (Act III Scene III): “Pride, Pompe, and Circumstance of glorious Warre: And O you mortall Engines, whose rude throates Th' immortall Ioues dread Clamours, counterfet, Farewell: Othello's Occupation's gone” Epistrophe and repetition of ‘farewell’. Othello’s language also becomes noticeably erratic and non-poetic, showing the breakdown of his character and the peak of his internal chaos Iago: ”I know not that, but such a handkerchief--/I am sure it was your wife's--did I today/See Cassio wipe his beard with" (III.iii.496-498). At this, Othello becomes extremely enraged and promises to kill Desdemona and Cassio. This just shows to see
http://resources.mhs.vic.edu.au/macbeth/historical/elizaborder.html
how quickly and easily one can be eaten away by jealousy--and how manipulation, when played correctly, can cause Disorder in its purest form
Critics – give a general summary of the ideas and provide pithy and concise quotes
“If the balance of our lives had not one scale of reason to poise another of sensuality, the blood and baseness of our natures would conduct us to most preposterous conclusions. But we have reason to cool our raging motions” (1.3.318-21). This statement goes along with Othello’s internal conflict between order and disorder: it goes to show that Shakespeare’s presentation of order and chaos in his play is largely embodied as inner tension within his c haracters as they attempt to stifle the more savage side of human nature: while Roderigo suffers from this tension from the beginning of the play as he fights to control his lust for Desdemona, Othello later slips into the chaos of human emotion in suspicion of his wife’s adultery.
Jonathan Miller (1986) – “He creates disorder, disrupts harmony, essentially deconstructs creation and reverses its progress of evolution and enlightenment, back to hell and chaos again.” (Talking about Iago’s character) Nicholas Potter - Othello uses his authority to impose order upon chaos. F.R. Leavis - “The tragedy is inherent in the Othello-Desdemona relation, and Iago is a mechanism necessary for precipitating tragedy in a dramatic action” A bit about Iago as a catalyst for the onset of chaos and disorder although Leavis states that the union of Desdemona and Othello was bound to result in tragedy and chaos anyway. Iago speeds up the onset of the action. F.R. Leavis “It is a super coup de theatre. As with that double force, a cup de theatre is it is a peculiarly right ending to the tragedy of Othello”
Jealousy has the power to destroy
Paranoia Revenge Temptation Love and sacrifice
Content – characters, context, plot, elaboration on the issue Dramatic techniques – Aristotelian tragedy elements, time, setting, structure, Contrast in scenes, props, soliloquys, asides, irony, stage directions
Context: In Shakespeare’s time, Elizabethans viewed Moors as prone to jealousy to passion. Moors were commonly stereotyped as sexually overactive, prone to jealousy and generally wicked.[1] Jealousy is seen as Othello’s tragic flaw from which everything follows. He is consumed by jealousy to an extent that evokes evil and satanic possession. Iago’s second soliloquy “That Cassio loves her…” explores Iago’s own jealous inclinations In Iago’s second soliloquy: “Doth, like a poisonous mineral,” the simile will lead into the motif of poison that is seen throughout the play. The stage direction in Act IV epitomises Othello’s descent into savagery due to his overwhelming feelings of jealousy: “[Falls in a trance]” Iago’s soliloquy Act III Scene IV “I will in Cassio’s lodging…” explores Iago’s plan in further developing the jealousy he has already planted in Othello’s mind. Iago’s soliloquy: “But with a little act upon the blood. Burn like the mines of Sulphur. I did say so” simile highlights how Iago will be able to exploit Othello’s jealousy with the handkerchief handkerchief, develops the motif of the handkerchief as a symbol of jealousy [Striking her] The use of stage directions shows the significant tension which has come through to the climax. It is a concrete indication of Othello’s attitudes and actions to show the severity of his change, enabling him to strike her in front of officials. This significant action has been caused by Othello's uncontrollable jealousy, hence showing its power to destroy Handkerchief analysis: the prop of the handkerchief has gained so much representation and led him to kill his wife. The heightened sense of the power of a prop, demonstrate the fragility of trust for Desdemona from Othello. He is an extremely jealous character and it is his own sense of fragility is what lead him to madness. Othello: “It was a handkerchief, an antique token” ordinary props are given a sense of power, shows how jealousy again is portrayed as being fragile and can lead to destruction "They met so near with their lips that their breaths embraced together. Vill anous thoughts, Roderigo!" This hyperbole is able to plant a visual image in Roderigo's mind. The personification of breath makes Cassio and Desdemona's relationship seem more scandalous than it actually is. It can be seen that Iago is able to appeal to Roderigo's 'pathos' (emotional comments can create trouble) "My boat sails freely, both with wind and stream" Iago's third soliloquy shows how his plan of manipulation will work out perfectly in the end. Through the use of a metaphor and rhyming couplet relates to his ability to create chaos when necessary "I stand accountant for as great a sin, but partly led to diet my revenge" the personification of revenge shows that he only loves Desdemona as she is able to be used to fuel his revenge and doesn't love her sexually. Quote links to vengeance and insecurity "O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock the meat it feeds on; that cuckold..." Shakespeare introduces idea of jealousy, which is Othello’s hamartia. Finally blurts out what he has been thinking, as if it benefits Othello. Shakespeare introduces idea of jealousy, which is Othello’s hamartia. Apostrophe: reference to abstract entity of jealousy. Metaphor comparing jealousy to monster that ridicules its victims. Visual imagery as well.
Language techniques
Critics – give a general summary of the ideas and provide pithy and concise quotes
"I'll see before I doubt; when I doubt, prove; And on the proof, there is no more but this,--Away at once with love or jealousy!" Initially Othello is skeptical of Desdemona's faithfulness. He feels that Iago cannot make him jealous and still believes Desdemona is pure and loyal. Othello will only doubt Cassio when backed up by evidence and proof. His doubt to trust is an example of characterisation. He wants proof and Iago will have to deliver it. "O, blood, blood, blood!” Repetition and metonymy for revenge. “Jealousy is a tyrannical language which manipulates the world to suit its own ends, an absolutist law which bends the evidence in its own interests” – Terry Eagleton, ‘Nothing’, from William Shakespeare (Oxford: Blackwell, 1986), pp. 64 –70 “From about the middle of the play, the handkerchief comes to dominate the trajectory of Othello’s jealousy, and its symbolic status is underlined from the moment of its loss” – Thomas Rymer. “Jealousy is seen as a tragic flaw from which everything follows. Othello is seen to be possessed and transformed by jealousy in a way which evokes the idea of evil and satanic possession…” – Axel Kruse The “green-eyed monster” - “The ‘monstrous birth’ which is performed in Act 3 Scene 3 is defined precisely as that Othello is a prey to jealousy which is like a monster. The two key speeches stress the proverbial image of jealousy as a monster and elaborate it in ways which are summation of the theme of self-destructive weakness.” – Axel Kruse
Gender - nature of women and men
Manhood and honour Womanhood and sexuality Role of women
Content – characters, context, plot, elaboration on the issue
Dramatic techniques – Aristotelian tragedy elements, time, setting, structure, Contrast in scenes, props, soliloquys, asides, irony, stage directions Language techniques
Context: Shakespeare establishes ideas in relation to a women’s vir tue and purity and the subordinate position of women in Elizabethan times. Women were not allowed to be their own person and were treated as possessions of the men in their lives, with little autonomy During the time of William Shakespeare, the majority of women had very limited rights in England. Despite the fact that England was ruled by a female monarch for over four decades, most women had little power over the direction of their lives. Most writings about the life of the family during this time in history centred around the traditional patriarchal paradigm--that of "domination and submission." Just as the kingdom was ruled by a monarch, the father and head of the household ruled over his wife and children. Women were denied formal educations, the opportunity to hold office, and also guarded against speaking out too freely in fear of being labelled as a "scold." Such women were considered a threat to the public, and were corrected with such punishments as public humiliation and abuse. 4 Although women did endure such limits on their political and social rights, they did have extended to them greater economic freedom. Single women were able to "inherit land, make a will, sign a contract, and possess property . . . without a male guardian . . ."(10). Unfortunately, such rights dissolved with marriage. History shows as well that many daughters were heirs to a father's property, if there were no male heir, despite the tradition of primogeniture. Wives as well could find themselves in charge of a large estate after the death of a husband, until an eldest son was old enough to do so. 5 The willow song sung by Desdemona- reflection of her own life/situation, despite realising that Othello has changed, Desdemona still chooses to fulfill the role of a obedient wife Act 3: We see Desdemona from Othello’s perspective (imagined mistreatment) Act 4: shifts perspective, see men and their mistreatment of women through the eyes of Desdemona, Bianca, and Emilia Change in perspective: Innocent Othello victimised by cr uel Iago -> Innocent Desdemona victimised by cruel Othello Act 3: moral strength in Desdemona’s character magnifies Othello and Iago’s masculine impulses of insecurity and misogyny Emilia’s soliloquy “But I do think it is their husbands' faults If w ives do fall”
4 5
Let husbands know Their wives have sense like them: they see, and smell, And have their palates both for sweet and sour As husbands have.” - Simile, by comparing the men and women the quote expresses the feminist idea of equality between the genders “And have not we affections, Desires for sport, and frailty, as men have?” - Rhetorical question, depicts Emilia questioning the role of women in their society. By emphasising the similarities between the needs of men and women an impression of balance and equality within relationships is created. “Of one that loved not wisely, but too well; Of one not easily jealous but, being wrought, Perplexed in the extreme ; of one whose hand, Like the base Indian, threw a pearl away”- Repetition of ‘of one’, simile of ‘like that base Indian’. The repetition emphasises the importance of honour to Othello- even after murdering his wife he still speaks of honour and wishes to die with honour. Othello also compares himself to
http://www.webpages.uidaho.edu/~sflores/345world.html http://www.webpages.uidaho.edu/~sflores/345world.html
Critics – give a general summary of the ideas and provide pithy and concise quotes
Indians, this most likely refers to the Indians in the New World commonly known as savages in England. This comparison makes Othello a savage who threw Desdemona away. “Reputation, reputation, reputation!”- repetition of reputation emphasises the importance reputation, to Cassio it is his reputation which defines his manhood and honour. Characterisation of Iago - often accusing Bianca of whoring - see female sexuality as a threat Evelyn Gajowski – “Their attitudes and feelings toward the men in their lives, moreover, sharpen the focus on male treatment of women” Evelyn Gajowski – “generalised problem inherent in the female condition, a daughter’s “duty” to her father when it must, on her maturity, be “divided” with a wife’s “duty” to her husband.” Evelyn Gajowski – “Female integrity is inflected instead in the moral excellence” Evelyn Gajowski – “Women in Othello are, as the arc of the tragic act ion emphasises, what men make them.” Evelyn Gajowski - “Although Emilia voices the precise corrective to Iago’s misogyny, the attitude that has the potential to prevent catastrophe, it has no chance of reaching and affecting the deluded hero until it’s too late.”
Good and evil
Light vs dark Corruption
Content – characters, context, plot, elaboration on the issue Dramatic techniques – Aristotelian tragedy elements, time, setting, structure, Contrast in scenes, props, soliloquys, asides, irony, stage directions Language techniques
Context: Elizabethans associated “blackness” with moral corruption, citing examples from Christian theology to support the view that whiteness was the sign of purity, just as blackness indicated sin.
Critics – give a general summary of the ideas and provide pithy and concise quotes
Iago: “Make after him, poison his delight.” The antithetical notions of poison and delight highlight the susceptibility of good turning to evil in the play Iago: “I am one, sir, that comes to tell you your daughter and the Mo or are now making the beast with two backs.” The dysphemism in calling Othello and Desdemona’s lovemaking to a “beast with two backs” not only depict Iago’s vulgarity but also his treatment of Othello and Desdemona’s love - it is almost as if he cannot comprehend love in any sense and perverts and seeks to destroy any form of it in his life
