http://www.youtube.com/watch?v=cUKGesWwT6k
Othello's cause: Othello uses the word 'cause' three times in the opening three lines of scene 1. For the Elizabethans, cause could carry several meanings:
1) an action which prompts a reaction (what would this refer to?)
2) a morally justifiable end that one is pursuing
3) a legal usage, meaning an accusation brought against someone in court.
Take the phrase "it is the cause" and give three examples of how it relates to Othello's state of mind and situation at this point in the play.Present it dramatically
In partners, look at Act 5, scene 2, and act out the roles of Othello and Desdemona, lines 1-85. Be sure to use appropriate movements, actions, and gestures.
Othello descrubes himself as: "cruel and yet merciful" do you agree with his claim? Why or why not?
Desdemona: Even in her dying breath, Desdemona supports her husband. She even tells lies on her deathbed, to protect him from a murder charge. Do you admire how faithful she is, or do you find her weak and subservient? Debate in pairs
Othello's Obituary: his last major speech in the play amounts to his obituary.
It includes the following elements: line 335- his service in the Venetian colonial exploits
348-52- his past great deeds
his emotional/love life- line 340
his downfall lines 341-44
his last moments- 344-347
Do you agree with his descriptions of self? For example, with his claim that he: "loved not wisely, but too well" or that he was " not easily jealous, but being wrought, perplexed in the extreme' why or why not?
Write an alternative obituary for him that is more truthful, or accurate, or write an obituary from the point of view of an 'underground' Cypriot newspaper, critical of the occupying Venetian forces, reacting to the incident involving their recently appointed military leader.
Tuesday, November 30, 2010
Othello Act 4 scenes 1-3
In lines 64- 65, Iago compares husbands to oxen, whose job is to pull heavy loads. Make a tableau of this image, or draw it and keep it in your journal.
"The pity of it, Iago"- do you think that Iago is capable of feeling pity? Why or why not?
In line 97, Othello says that strangling a wife in bed "represents justice" How has the term 'justice' been redefined in the course of this play?
The physical blow: When Othello strikes Desdemona on stage, it's a shocking moment for the audience- or at least, it was considered shocking by 19th century theatre directors. Do you think it would be shocking today? Why or why not? Is it important to the story? Does violence ever, in your opinion, enhance art, or a story line? Give examples.
Othello's syntax: Othello's sentence structure in lines 243-54 is different to his way of speaking initially. Discuss how in groups of three (compare to act 1, scene 3, lines 127-69, for example) What does this tell you about his state of mind? Write two paragraphs about his change of language, giving as many examples as possible.
'The man whom passion could not shake" In those times, a lack of emotion was considered an asset in a man. Is that still true? Is that still a valuable quality in a leader? Why or why not?
Look at line 39. Why do you think Othello avoids answering Desdemona's direct questions?
Desdemona's response: Desdemona's response to Othello is infuriating to some in how completely submissive it seems, when judged by modern standards. However, given the social constraints of the time, her behavior was perfectly in keeping with that of a married Elizabethan woman. What is your opinion on it? Write a one page journal explaining why, and citing the text.
Desdemona and Emilia refer to Ldovico as a "proper man" what do they mean by this?
Compare Emilia and Desdemona's views on marriage and men. Is one more romanticized and one more practical? Discuss what each woman says, in detail. What difference does their social position make to their separate views.
Read scene 3, lines 82-99. Emilia, could be considered by some to be a feminist. Is this true, in your opinion? Why or why not?
"The pity of it, Iago"- do you think that Iago is capable of feeling pity? Why or why not?
In line 97, Othello says that strangling a wife in bed "represents justice" How has the term 'justice' been redefined in the course of this play?
The physical blow: When Othello strikes Desdemona on stage, it's a shocking moment for the audience- or at least, it was considered shocking by 19th century theatre directors. Do you think it would be shocking today? Why or why not? Is it important to the story? Does violence ever, in your opinion, enhance art, or a story line? Give examples.
Othello's syntax: Othello's sentence structure in lines 243-54 is different to his way of speaking initially. Discuss how in groups of three (compare to act 1, scene 3, lines 127-69, for example) What does this tell you about his state of mind? Write two paragraphs about his change of language, giving as many examples as possible.
'The man whom passion could not shake" In those times, a lack of emotion was considered an asset in a man. Is that still true? Is that still a valuable quality in a leader? Why or why not?
Look at line 39. Why do you think Othello avoids answering Desdemona's direct questions?
Desdemona's response: Desdemona's response to Othello is infuriating to some in how completely submissive it seems, when judged by modern standards. However, given the social constraints of the time, her behavior was perfectly in keeping with that of a married Elizabethan woman. What is your opinion on it? Write a one page journal explaining why, and citing the text.
Desdemona and Emilia refer to Ldovico as a "proper man" what do they mean by this?
Compare Emilia and Desdemona's views on marriage and men. Is one more romanticized and one more practical? Discuss what each woman says, in detail. What difference does their social position make to their separate views.
Read scene 3, lines 82-99. Emilia, could be considered by some to be a feminist. Is this true, in your opinion? Why or why not?
Act 4
http://www.youtube.com/watch?v=sVknfdGRS5I
http://www.youtube.com/watch?v=wHVnLyP9ZVE
Iago continues his insinuations when speaking to Othello; he provides more "proofs" that are anything but ocular, though Othello has calmed, and seems more troubled and less angry. In the last act Othello was trying to act as Desdemona's defender, and Iago was the accuser; ironically, they seem to have switched places here, and Iago seems to be defending Desdemona, all while producing more "evidence" to condemn her. The handkerchief, however, is as important a symbol as ever; "it comes o'er my memory as a raven doth over an infected house," Othello says. The metaphor highlights how crucial this object is to him, as Othello burdens that single object with more and more significance.
Note the contrast between Othello's language as he falls into a trance, and Othello's language in any previous part of the play, including Act III. He speaks in single, disconnected words‹"handkerchief‹confession‹handkerchief," or "Noses, ears, and lips"‹that completely belie his ability to speak coherently and elegantly, as Othello has shown, especially in Act I with Brabantio. The lack of connection in his language parallels his descent into emotional and logical chaos; as he becomes more upset, without a true cause, he falls farther and farther from himself, and the order which typically rules him. Again, the theme of order vs. chaos comes into play.
Othello's trance also marks his descent into the savage; ironically, he becomes the passion-stirred, wicked pagan that others had accused him of being, merely because of his skin color. Iago notes that Othello "breaks out into savage madness" in this fit; indeed, the primal seems to be taking over the more civilized aspects of Othello. Othello refers to himself as a "horned man," ashamed of this descent; yet it has settled upon him, and he will struggle in vain to regain his dignity.
"O, the world hath not a sweeter creature," Othello declares of Desdemona; yet, against his reason and better nature, he decides that she shall not live for what she has supposedly done. There is great irony in this scene, as Othello declares that Desdemona is of a soft and kind nature, yet condemns her for being lustful and immoral. Note Othello's reticent tone, even when he is condemning Desdemona to death; although chaos and jealousy have triumphed over reason, still there is a part of him that knows Desdemona is good, and does not want to condemn her.
When Othello strikes Desdemona, he shows the severity of his change. Just her mention of Cassio sends him into an unreasonable rage; every little thing he regards with suspicion, even if he has no cause. Although one of his greatest fears regarding Desdemona's alleged infidelity was that it would blacken his name and reputation, the irony is that Othello is doing that himself; in striking Othello and being unreasonably cruel, he besmirches his own good name. Savagery is taking over his civility, as he continues to become the cruel, jealous, passion-spurred "savage" that Brabantio accused him of being.
http://www.youtube.com/watch?v=wHVnLyP9ZVE
Iago continues his insinuations when speaking to Othello; he provides more "proofs" that are anything but ocular, though Othello has calmed, and seems more troubled and less angry. In the last act Othello was trying to act as Desdemona's defender, and Iago was the accuser; ironically, they seem to have switched places here, and Iago seems to be defending Desdemona, all while producing more "evidence" to condemn her. The handkerchief, however, is as important a symbol as ever; "it comes o'er my memory as a raven doth over an infected house," Othello says. The metaphor highlights how crucial this object is to him, as Othello burdens that single object with more and more significance.
Note the contrast between Othello's language as he falls into a trance, and Othello's language in any previous part of the play, including Act III. He speaks in single, disconnected words‹"handkerchief‹confession‹handkerchief," or "Noses, ears, and lips"‹that completely belie his ability to speak coherently and elegantly, as Othello has shown, especially in Act I with Brabantio. The lack of connection in his language parallels his descent into emotional and logical chaos; as he becomes more upset, without a true cause, he falls farther and farther from himself, and the order which typically rules him. Again, the theme of order vs. chaos comes into play.
Othello's trance also marks his descent into the savage; ironically, he becomes the passion-stirred, wicked pagan that others had accused him of being, merely because of his skin color. Iago notes that Othello "breaks out into savage madness" in this fit; indeed, the primal seems to be taking over the more civilized aspects of Othello. Othello refers to himself as a "horned man," ashamed of this descent; yet it has settled upon him, and he will struggle in vain to regain his dignity.
"O, the world hath not a sweeter creature," Othello declares of Desdemona; yet, against his reason and better nature, he decides that she shall not live for what she has supposedly done. There is great irony in this scene, as Othello declares that Desdemona is of a soft and kind nature, yet condemns her for being lustful and immoral. Note Othello's reticent tone, even when he is condemning Desdemona to death; although chaos and jealousy have triumphed over reason, still there is a part of him that knows Desdemona is good, and does not want to condemn her.
When Othello strikes Desdemona, he shows the severity of his change. Just her mention of Cassio sends him into an unreasonable rage; every little thing he regards with suspicion, even if he has no cause. Although one of his greatest fears regarding Desdemona's alleged infidelity was that it would blacken his name and reputation, the irony is that Othello is doing that himself; in striking Othello and being unreasonably cruel, he besmirches his own good name. Savagery is taking over his civility, as he continues to become the cruel, jealous, passion-spurred "savage" that Brabantio accused him of being.
Othello Act 3, Scenes 3 and 4
Why does Iago want the napkin?
As Emilia holds the hankerchief, she reflects that Iago "hath a hundred times wooed me to steal it" Why do you think Iago might want to steal Desdemona's hankerchief? Write your prediction in your journal.
What indications are there in the text that this seemingly insignificant object will prove to be of greater importance later on?
Lines 302-321 present an exchange between Iago and Emilia. Act it out in partners, and decide how they speak to each other. Decide also, what kind of marriage they have. Explain why, and perform it to indicate this.
In lines 323-325, Iago discusses jealousy. He says it; "trifles light as air, are to the jealous confirmations strong as proofs of holy writ" Do you agree with this based on your own experiences? Discuss in groups of three.
Proof- In pairs
Othello greets Iago's comment about the hankerchief with 'Now I do see 'tis true" Yet, Othello had asked for 'ocular truth'. Discuss how Iago managed to manipulate Othello into accepting his word.
Scene three ends with Iago saying: "I am your own forever" What does this mean, beyond a promise of loyal service (in the context of the scene) and why is it significant ?
The Myth of the Hankerchief
In scene 4, lines 51-71 could almost read like a fairy tale for young children. Rewrite it in groups of three, and read it for the class as if it is one.
What if? In different groups of three, discuss what would have occured if Desdemona had told Othello the truth at this point, that she had accidentally lost the hankerchief? Each person must act out a part (Desdemona, Emilia, Othello) and speculate how the scene might have played out.
As Emilia holds the hankerchief, she reflects that Iago "hath a hundred times wooed me to steal it" Why do you think Iago might want to steal Desdemona's hankerchief? Write your prediction in your journal.
What indications are there in the text that this seemingly insignificant object will prove to be of greater importance later on?
Lines 302-321 present an exchange between Iago and Emilia. Act it out in partners, and decide how they speak to each other. Decide also, what kind of marriage they have. Explain why, and perform it to indicate this.
In lines 323-325, Iago discusses jealousy. He says it; "trifles light as air, are to the jealous confirmations strong as proofs of holy writ" Do you agree with this based on your own experiences? Discuss in groups of three.
Proof- In pairs
Othello greets Iago's comment about the hankerchief with 'Now I do see 'tis true" Yet, Othello had asked for 'ocular truth'. Discuss how Iago managed to manipulate Othello into accepting his word.
Scene three ends with Iago saying: "I am your own forever" What does this mean, beyond a promise of loyal service (in the context of the scene) and why is it significant ?
The Myth of the Hankerchief
In scene 4, lines 51-71 could almost read like a fairy tale for young children. Rewrite it in groups of three, and read it for the class as if it is one.
What if? In different groups of three, discuss what would have occured if Desdemona had told Othello the truth at this point, that she had accidentally lost the hankerchief? Each person must act out a part (Desdemona, Emilia, Othello) and speculate how the scene might have played out.
Act 3, scene 3
Othello Act 3, Scene 3
http://www.youtube.com/watch?v=rPtT6JHCmmw
Marriage Guidance: Looking at Othello's soliloquy, lines 260-279, imagine that he is consulting with a marriage counsellor at this point in the story. One partner reads Othello's speech as it appears in the text, the other, "the counsellor" provides suitable, down to earth advice. For example:
Othello: "This fellow's of exceeding honesty."
Guidance Counsellor: Are you really sure? I mean, how do you know that he's 100 percent trustworthy?
Othello: "he knows all qualities, with a learned spirit of human beings..."
Hawking Imagery:
In Elizabethan times, trained hawks were often used to hunt prey, as a courtly pursuit.
In his soliloquy about Desdemona, Othello uses a number of hawking images. Identify these images in his soliloquy, and write a paragraph for your journals about how appropriate or inappropriate you find this image to be. Does it show character and mood? Does it reveal anything about the way Othello regards marriage?
http://www.youtube.com/watch?v=rPtT6JHCmmw
Marriage Guidance: Looking at Othello's soliloquy, lines 260-279, imagine that he is consulting with a marriage counsellor at this point in the story. One partner reads Othello's speech as it appears in the text, the other, "the counsellor" provides suitable, down to earth advice. For example:
Othello: "This fellow's of exceeding honesty."
Guidance Counsellor: Are you really sure? I mean, how do you know that he's 100 percent trustworthy?
Othello: "he knows all qualities, with a learned spirit of human beings..."
Hawking Imagery:
In Elizabethan times, trained hawks were often used to hunt prey, as a courtly pursuit.
In his soliloquy about Desdemona, Othello uses a number of hawking images. Identify these images in his soliloquy, and write a paragraph for your journals about how appropriate or inappropriate you find this image to be. Does it show character and mood? Does it reveal anything about the way Othello regards marriage?
Othello Act 3, scenes 2 and 3- Important themes
Jealousy, a major theme, especially with regards to Othello, is addressed specifically by Iago. "It is the green-eyed monster," Iago tells him, in that now-famous statement; the "green-eyed monster" becomes a symbol representing Othello's dark feelings, a specter lurking in his mind and beginning to steer his behavior. Iago's speech is also deeply ironic, since it points out Othello's flaws, and the root of his tragedy; Othello has no idea of the significance of these statements, and so neglects to take them to heart. Othello then begins to say that he believes his wife is virtuous, which means that Iago finally addresses her directly, and further misleads Othello.
Othello is deeply insecure about his personal qualities and his marriage, as insecurity becomes a theme that weakens his resolve not to doubt Desdemona. Othello uses his black skin as a symbol for how poorly spoken and unattractive he thinks he is. All of his claims are very much beside the point; his words are actually more complex and beautiful than those spoken by any other character in the play. Othello doubts that Desdemona could love him, because of his misconception of himself as being uncouth, poorly spoken, and old; and because he begins to believe that Desdemona cannot love him, he starts to believe her guilty of infidelity. The leap is great, but it is all a product of Othello's own insecurities and his incorrect conception of himself, another theme of the play. How Othello sees himself directly influences how he views Desdemona's love, though there should be a disconnection between these two things.
Othello begins to use the black/ white imagery found throughout the play, to express his grief and rage at Desdemona's alleged treachery. "My name, that was as fresh as Dian's visage, is now begrimed and black as mine own face," Othello says. Although the allegations against Desdemona are personally hurtful to him, Othello focuses more on the public ramifications, rather than the private; there is great irony in this concern, since this rumored betrayal is a private one, and also since Othello's name is highly regarded, because nothing has really happened. Iago's "proofs" also rely on the animal imagery which has run throughout the play; he makes Desdemona and Cassio seem like lustful lovers, by describing them as "prime as goats, as hot as monkeys" (400). This comparison is calculated, since Iago knows that thinking of Desdemona as lusting after another man disturbs Othello greatly.
The handkerchief, the most crucial symbol and object in the play, first appears here. The handkerchief, to Desdemona, symbolizes Othello's love, since it was his first gift to her. Othello thinks that the handkerchief, quite literally, is Desdemona's love; and when she has lost it, that must clearly mean that she does not love him any longer. The handkerchief also becomes a symbol of Desdemona's alleged betrayal; Othello takes it as the "ocular proof" of her dishonesty, which is a grave mistake.
"Proof" is a key word in this scene; Othello demands that Iago prove Desdemona unfaithful by actually seeing evidence of her guilt. But Iago, ever clever and persuasive, manages to work around this completely; he plays off of Othello's jealousy, telling him stories that damn Cassio and mention the handkerchief, which make Othello angry and distract him from the fact that he has seen no proofs at all. Othello trusts Iago's words to convey proof, and is thwarted by Iago's dishonesty; yet, Othello only realizes later that he has been tricked and has seen no proof, when it is too late for him to take his actions back.
Othello is deeply insecure about his personal qualities and his marriage, as insecurity becomes a theme that weakens his resolve not to doubt Desdemona. Othello uses his black skin as a symbol for how poorly spoken and unattractive he thinks he is. All of his claims are very much beside the point; his words are actually more complex and beautiful than those spoken by any other character in the play. Othello doubts that Desdemona could love him, because of his misconception of himself as being uncouth, poorly spoken, and old; and because he begins to believe that Desdemona cannot love him, he starts to believe her guilty of infidelity. The leap is great, but it is all a product of Othello's own insecurities and his incorrect conception of himself, another theme of the play. How Othello sees himself directly influences how he views Desdemona's love, though there should be a disconnection between these two things.
Othello begins to use the black/ white imagery found throughout the play, to express his grief and rage at Desdemona's alleged treachery. "My name, that was as fresh as Dian's visage, is now begrimed and black as mine own face," Othello says. Although the allegations against Desdemona are personally hurtful to him, Othello focuses more on the public ramifications, rather than the private; there is great irony in this concern, since this rumored betrayal is a private one, and also since Othello's name is highly regarded, because nothing has really happened. Iago's "proofs" also rely on the animal imagery which has run throughout the play; he makes Desdemona and Cassio seem like lustful lovers, by describing them as "prime as goats, as hot as monkeys" (400). This comparison is calculated, since Iago knows that thinking of Desdemona as lusting after another man disturbs Othello greatly.
The handkerchief, the most crucial symbol and object in the play, first appears here. The handkerchief, to Desdemona, symbolizes Othello's love, since it was his first gift to her. Othello thinks that the handkerchief, quite literally, is Desdemona's love; and when she has lost it, that must clearly mean that she does not love him any longer. The handkerchief also becomes a symbol of Desdemona's alleged betrayal; Othello takes it as the "ocular proof" of her dishonesty, which is a grave mistake.
"Proof" is a key word in this scene; Othello demands that Iago prove Desdemona unfaithful by actually seeing evidence of her guilt. But Iago, ever clever and persuasive, manages to work around this completely; he plays off of Othello's jealousy, telling him stories that damn Cassio and mention the handkerchief, which make Othello angry and distract him from the fact that he has seen no proofs at all. Othello trusts Iago's words to convey proof, and is thwarted by Iago's dishonesty; yet, Othello only realizes later that he has been tricked and has seen no proof, when it is too late for him to take his actions back.
Othello, Act 3 Scene I
Othello is unlike other Shakespearean dramas for two reasons; first, the scarcity of comic relief, which only appears briefly at the beginning of this short scene. Even Hamlet had Polonius and the gravedigger to lighten up certain scenes, but in Othello, there is no relief from the tragedy that is playing out. Also, there are no subplots running through Othello as there are in most Shakespearean plays as a whole. Both of these differences make Othello one of Shakespeare's most focused, intense tragedies.
The little bit of comic relief that is present here is reminiscent of Feste's wit in Twelfth Night. As in Twelfth Night, there is a man entreating a servant to fetch someone hither; but since the servant is a clown, there is a bit of frustration and word-play before anything is done. The fool-figure receives money, then goes to do his bidding; the situations are parallel, and it is a very usual set-up for comic relief. However, the clown from this play does not reappear; he has less personality than Feste, if only because he gets just a brief appearance.
Cassio seems to be one of the only "honest" ones in the play; he discloses his plans, his thoughts, and his concerns to Iago, omitting little or nothing. It is therefore ironic that he refers to Iago as "honest", since Iago is the complete opposite of everything Cassio is. By this point, the keyword "honest" has become very tainted by its over-association with Iago; it has no simple meaning anywhere in the play, and is definitely something to look out for.
The little bit of comic relief that is present here is reminiscent of Feste's wit in Twelfth Night. As in Twelfth Night, there is a man entreating a servant to fetch someone hither; but since the servant is a clown, there is a bit of frustration and word-play before anything is done. The fool-figure receives money, then goes to do his bidding; the situations are parallel, and it is a very usual set-up for comic relief. However, the clown from this play does not reappear; he has less personality than Feste, if only because he gets just a brief appearance.
Cassio seems to be one of the only "honest" ones in the play; he discloses his plans, his thoughts, and his concerns to Iago, omitting little or nothing. It is therefore ironic that he refers to Iago as "honest", since Iago is the complete opposite of everything Cassio is. By this point, the keyword "honest" has become very tainted by its over-association with Iago; it has no simple meaning anywhere in the play, and is definitely something to look out for.
Subscribe to:
Comments (Atom)