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.
Character Quiz: I am Iago
1. I am Iago; which "fool is my purse"?
Roderigo
Lodovico
Brabantio
Cassio
2. I am Iago; who do " I serve to serve myself"?
The Duke
Lodovico
Brabantio
Othello
3. I am Iago; who do I enrage by saying his daughter is in "the gross clasp of a lascivious Moor"?
Montano
Cassio
Gratiano
Brabantio
4. I am Iago; did I sail to Cyprus in the ship with Othello?
Yes
No
5. I am Iago; which man do I get drunk so as to ensure his disgrace?
Othello
Montano
Roderigo
Cassio
6. I am Iago, what 'poison' do I pour in this man's [Othello] ear?
Envy
Cowardice
Greed
Suspicion
7. I am Iago; who do I warn to "beware of jealousy, it is the green eyed monster"?
Montano
Emilia
Bianca
Othello
8. I am Iago; from whom do I snatch a handkerchief?
Emilia
Othello
Desdemona
Bianca
9. I am Iago; which man do I accuse of talking in his sleep/"dreaming"?
Ludovico
Othello
Cassio
Roderigo
10. I am Iago; do I use Bianca to fool Othello?
True
False
11. I am Iago; what promotion do I finally achieve?
Governor
General
Lieutenant
Ancient
12. I am Iago; which person do I promise to kill for Othello?
Cassio
Roderigo
Desdemona
Brabantio
13. I am Iago; what men do I stab in Cyprus?
Cassio and Othello
Othello and Lodovico
Gratiano and Roderigo
Roderigo and Cassio
14. I am Iago; do I kill my wife Emilia?
Yes
No
15. I am Iago; what was my punishment?
Hanged, drawn and quartered.
Hanged
Not known
Beheaded
http://www.funtrivia.com/playquiz/quiz2429561bd12a8.html
Othello, Act 2 scenes 2 and 3
http://www.youtube.com/watch?v=Se2nINpjyhw
http://www.youtube.com/watch?v=JCTg6xlo72w Iago's monologue
http://www.youtube.com/watch?v=JCTg6xlo72w Iago's monologue
Read through Iago’s soliloquy lines 40-55 and discuss Iago’s plan. Pick out the key words and phrases. Explain why these are essential.
On line 55, Iago uses a metaphor. He says: “My boat sails freely, both with wind and steam.” This echoes earlier imagery. What does Iago mean by this? Do you think it’s an appropriate image, why or why not?
In act three, Iago displays a sociable side to his personality. What other sides of his personality have we seen. List them, and give examples
Iago’s soliloquy lines 303-329- His plan to lie to Othello about Desdemona’s affair with Cassio. Her pleading to Othello for Cassio will only make things worse for all of them. Read in pairs and perform.
Act 2, Scene 1
Act 2 Scene 1
Creative Writing Assignment
Write a journal from Othello’s point of view, about his journey by ship to Cyprus. Include at least three of the following:
1) His thoughts on setting out
2) His plans to defend Cyprus
3) His early encounters with the Turkish ships
4) His thoughts about Desdemona
5) A description of the storm
6) His fears for Desdemona’s safety
7) His feelings on reaching the harbor safely
Iago’s Argument
According to Iago, Othello is defective in “loveliness, in favor, in sympathy in years, manners and beauties…” He assures Roderigo that Desdemona will quickly tire of her husband ‘when the blood is made dull with the act of sport…’ and that she had only been attracted to his ‘bragging’ and ‘fantastical lies’. Read lines 212-235 to each other. On what evidence is Iago basing his version of Othello and Desdemona’s relationship? How convincing a case does Iago manage to put together for Roderigo’s sake?
The Psychiatrist’s Coach:
In pairs, imagine Iago being questioned on a pyschiatrist’s couch about his obsession with Othello and Cassio. What questions would he or she ask Iago? Use the lines from Iago’s soliloquy to provide his answers. Perform when completed.
A Film Version
Othello Act 2, Scene 1
http://www.youtube.com/watch?v=sEP1hNrCpXo (Laurence Olivier version)
http://www.youtube.com/watch?v=sEP1hNrCpXo (Laurence Olivier version)
More views on Othello
Lines 1-59 refer to Othello . Collect specific lines and details, and consider what aspects of Othello the comments refer to , and they are generally in praise or critical of him. What group of people might the commentators be seen to represent?
What are your impressions of Cassio?
In groups of three spend about five minutes discussing how Cassio is emerging in this scene. Find quotations to support your opinions.
“The Riches of the Ship”
In pairs, have a look at Cassio’s description of Desdemona as she comes ashore. Do you think it’s exaggerated? Her father, in Act 1 describes her as “ a hidden treasure” What do you think she would feel about such a description? Would she be pleased by it, or annoyed by it, and why?
Epithets
An Epithet is an adjective which defines the person or thing. For example, “valiant Othello”
In lines 25-90, there are several examples of epithets being applied to various characters. Collect them in pairs, and decide whether you both think that each one truly describes the named person. Are any of them applied ironically? Sincerely? And why?
Othello Act One Review
‘Letter and affection’: In the opening lines of the play, said that the “three great ones of the city” had canvassed on his behalf for a promotion to Lieutenant. What went wrong? If Othello’s ‘ancient’ is a man of ‘honesty and trust’ why didn’t Iago get the job? Improvise the exchanges between the three Venetians and Othello. What reasons does Othello give for preferring Cassio? (Look closely at Act I, Scene I, lines 8-39)
Choose a quote, and in groups of six, improvise a scene which incorporates each person’s line (you can create a story that has nothing to do with Othello as long as you use the lines so that their meanings are correct) (Make sure that you first identify where the lines come from in the Act. )
“My life upon her faith”
“She has deceived her father and may thee”
“I am not what I am”
“I must show out a flag and sign of love”
“trust not your daughter’s minds/by what you see them act”
“I do not perceive here a divided loyalty”
Research Mini Project and 5 Minute group Presentations
Historical Context:
Research Mini Project and 5 minute Presentations: Groups
Group 1:
Venice
1) Where is it located 2) What was it like in the 16th century? 3) What was its economic status at that time? (Include pictures of it now and then) 4) What was the Venetian’s relationship with the Turks? (Bring a Map of the Mediterranean at the time and be prepared to show what territory the Venetian Republic covered.
Group 2: Cyprus
1) Where is it? 2) What was its importance in the 16th century? 3) How far is it from Venice? 4) what were the politics of the countries nearest it? (Use at least one map in your presentation)
Group 3: Moors
1) Who are they? 2) What were they doing in Europe in the 16th century? 3) Are there religious or cultural practices associated with them?
Group 4: Turks
1)What was the Elizabethan attitude towards foreigners in general and non- Christians- such as Turks – in particular? Give examples
Group 5: Actors who played the role of Othello: Ira Aldridge
1) What biographical details can you find out about the 19th century American-born black actor Ira Aldridge? 2) What about his playing of Othello? Was he well received? Why or why not?
Group 6: Paul Robeson
1) What biographical details can you find out about actor Paul Robeson? How did he play Othello in London in 1930, and in New York in 1943? Was he well received? Why or why not?
Group 7: Recent Othello Productions
1) What can you find out about productions of Othello in recent years? Has the play been performed locally, for example at the Neptune theatre, or in NS in the last few years? Why or why not? How was it received?
Group 8: Epilepsy
1) What are the symptoms of Epilepsy? How was it regarded and treated in the Renaissance? How is it treated now? Are there conditions that render an epileptic particularly vulnerable to a seizure? Othello has a seizure in 4.1. Is it epilepsy?
Othello, Act 1, Scenes 2 and 3
Act 1 Scene 2
Janus
Why is it important that Othello swears by Janus?
In partners, stand back to back, and read lines 1-53 out loud. One partner must speak in each pause, saying what they think Iago’s real thoughts are.
Brabantio’s Speech
Read lines 62-81 and pick out all the insulting terms that Brabantio uses to refer directly or indirectly to Othello. Then pick out Othello’s responses, which are opposite. Choose the most meaningful phrases, words, and lines and perform them in partners.
Act 1 Scene 3- location
This act is set in the council chamber. Why do you think this is a significant location? If you had to stage this scene, as the director of a play, how would you imagine it would look? What kind of props or music would you use? Would you keep it set in the times, or make it modern? Give reasons for your choices.
Brabantio’s Grief:
In lines 52-58, Brabantio conveys his grief by comparing it the image of a floodgate. Do you think this is an appropriate image? Why or why not? He also says that his ‘particular grief’ overcomes the ‘general care’ (meaning, matters of the state) Do you think that he’s being selfish, or that it’s understandable given the circumstances? Why or why not?
Brabantio’s description of his daughter:
Journal: Individual work:
Look at lines 94-98- he says his daughter is a perfect mix of womanly virtues. What virtues or qualities does he seem to admire in a woman? Do you agree or disagree with these qualities?
Othello’s History
Look at lines 128-144- the summary of Othello’s life.
In groups of three, work through one section each of his life- what occurred, what was important
Othello Act 1 Scene 1
Othello Act 1 Scene 1
A conversation between Roderigo and Iago
In partners: Both men are making personal complaints. Search for key phrases or sentences that summarize their grumbles. Each partner has to memorize two. Standing opposite each other, at either side of the room, each pair has to present their lines by walking towards each other shouting their lines. Each partner then has to explain the other’s complaints
Partner work part two: The play opens with an argument that is already mid-process. What do you think that Iago and Rodrigo were saying before the play begins? Write a short dialogue that ends at the first line of the play. Why do you think, as far as writing goes, it is effective to begin a piece in the middle of an argument?
Desdemona’s Flight
Read lines 119-136 about Rodrigo’s account of Desdemona’s secret departure from home. Why does Desdemona run away from home? If Brabantio had known about her marriage before it had taken place, what kind of arguments would have ensued within the family? Imagine, and in groups of three, write a short scene of the dialogue that you think would have occurred.
Connecting it to modern times:
In the same groups, pick and act out one of the following scenarios:
1) A family is at home one evening. Their teenage daughter is expected to come home from a friend’s house at any moment. Someone knocks at the door. It’s a neighbor, who says that they’ve seen the daughter with a young man, and a backpack, about to board a train to another city. The daughter apparently told them that she feels like she doesn’t have a choice. What kind of argument, or scenario happens next? Act it out.
2) A family is having dinner together. In walks the teenage son with his ‘disapproved of’ boyfriend, and he announces that they are getting married. How does the family react?
‘The Moor’
In the entire first scene, Othello is not once referred to by name.
Make a chart with the following:
Terms Used
Aspect of Othello
Spoken By
What Does It Say About the Speaker?
So for example: ‘The Moor’ (line 40)
His race
Iago
He’s trying to take away Othello’s Individuality
What was your first impression of Othello? Look at lines 17-28 carefully. Compare his speech to the impressions given of him in Scene I.
An Introduction to Othello
An Introduction to Othello:
From the book Shakespeare Set Free: Teaching Othello Edited by Peggy O’Brien (The Folger Library Edition)
Othello: An Introduction
“Who Can Control his Fate?
Play the Frente Song Bizarre Love Triangle. Have students do a five minute journal reaction to the song where they make connections between the lyrics which are handed out to any literature, tv show or pop culture example of their choice.
http://www.lyricsfreak.com/f/frente/bizarre+love+triangle_20057294.html
Role Play:
Act Out the Following Situations, improvising lines and movement.
1) Two men are talking. One is the lover, who has a girlfriend. The other, the friend, tries to plant seeds of doubt in the lover talking about the girlfriend’s loyalty.
2) Two men are talking. This time the friend tries to convince the lover that she has eyes for someone else.
3) A confrontation between the lover and his girlfriend. He believes that she is unfaithful, he is angry with her but will not tell her why. She is innocent and is confused by his anger.
Homework: Write a half page journal entry on one of the following topics:
1) What do you think are the reasons that people become jealous of each other?
2) How does one who is innocent, of anything, prove that they are innocent to someone who doesn’t trust them, or is convinced that they are not?
3) Do you think that interracial relationships are an issue in 2010? Why or why not?
4) Do you think a difference in social background between a couple is a problem? Do people need to come from similar backgrounds to be compatible? Why or why not?
Handout: the play map
Intro to the main characters: Othello, Desdemona, Iago, Emilia, Roderigo, Duke
Who was Shakespeare? What do you know about him as a person, and about Elizabethan England?
Research in the lab:
1) When was Shakespeare born?
A: April 26, 1564
2) When and how did Shakespeare die?
A: In 1616, at the age of 52. It’s a mystery, but rumor has it that he and two other writers had a meeting, and drank too much. He then developed a fever that they believe to have been Typhus, which ultimately killed him.
3) Which play did Shakespeare write first?
A: Shakespeare probably began to write for the stage in the late 1580s, and, as far as we can tell, he started with the Henry VI trilogy
4) How would you describe Shakespeare’s writing style? Give examples
Shakespeare used a metrical pattern consisting of lines of unrhymed iambic pentameter, called blank verse. His plays were composed using blank verse, although there are passages in all the plays that deviate from the norm and are composed of other forms of poetry and/or simple prose. Shakespeare's sonnets are written in iambic pentameter. Shakespeare's style of writing and metre choice were typical of the day, and other writings of the time influenced how he structured his compositions.
5) How many plays did Shakespeare write?
We are sure that Shakespeare wrote at least thirty-seven plays over a period of about twenty years, but many believe several more plays should be included in the body of his work. So why can't scholars agree?
6) What Inspired Shakespeare?
From great classical authors like Ovid and Seneca, to English historians like Holinshed, Shakespeare's greatest influences were the works of other great writers. With the exception of A Midsummer Night's Dream, Love's Labour's Lost and The Tempest, which are wholly original stories, Shakespeare borrowed his plots, down to fine detail. His biggest influences were Geoffrey Chaucer (1340-1400, who wrote the Canterbury Tales) and Plutarch (46-120 AD)
7) What was Shakespeare's religion?
Since we do not know much about the personal life of William Shakespeare, we cannot say for sure what religion he practiced in private. We do know that he was born under the rule of Elizabeth I, who was Protestant and outlawed Catholicism. Thus, Shakespeare's public faith would have been Protestant.
8) Was Shakespeare gay?
Shakespeare wrote 154 sonnets, apparently not intended for publication. The majority of these sonnets address the poet's love for a young man. There is no historical evidence to indicate Shakespeare was bisexual or homosexual; he was a married man with three children. However, the poet's intense romantic feelings for the young man in the sonnets have led some to believe Shakespeare was having a homosexual affair.
9) Was Shakespeare anti-Semitic?
The character of Shylock, the Jewish money-lender who requests a pound of flesh as collateral in The Merchant of Venice, prompts many to wonder about the perception of Jews in Elizabethan England.
10) Was Shakespeare racist?
There is evidence of racial tension in both Othello (which will study soon) and the Merchant of Venice. In Othello, for instance, there is no other physical description of the main character, other than of his skin color. However, there is an interracial relationship and marriage that occurs within the play which in some senses is very progressive. This question is one to consider as we read the play.
11) Was Shakespeare popular in his own day?
Yes, for several years his genius as dramatist and poet had been acknowledged by critics and playgoers alike, and his social and professional position had become considerable. Inside the theatre his influence was supreme
Teaching the Canon/Teaching What Doesn't Interest me
“Percy Bysshe Shelley… Vincent Van Gogh… John Keats… I don’t know who these people are, but the librarian tells me they are certified geniuses. They are in the canon, she says. I picture the geniuses fired through the air at a circus. They wear helmets of course. They land in the net and jump, and everyone claps, glad they have not broken their necks…. Mary Somerville, mathematician… I’m surprised to find a woman genius. She’s not in the canon, you know, the librarian says…women geniuses were probably not fired from cannons because in those days they all wore skirts. I see London! I see France! The men would tease when they saw her underwear.” (from Zsuzsi Gartner’s All the Anxious Girls on Earth, from the story The Tragedy of Premature Death Among Geniuses)
It is important to note the conflict of opinions of respected intellectuals when it comes to Shakespeare. (I think it can be a challenge to teach Shakespeare, and to engage students, and it’s important for students to feel that it’s not invalid to dislike the work if they can explain why. Disliking a work, and proving it through the text can be a form of engagement too)
“The remarkable thing about Shakespeare is that he is really very good- in spite of all the people who say he is very good.” – John Dryden, 1631-1700
“Shakespeare is a good raft whereon to float securely down the stream of time; fasten yourself to that and your immortality is safe” George Henry Lewes, (1817-1878)
“Shakespeare is crude, immoral, vulgar, and senseless” –Tolstoy, (1828-1910)
“Shakespeare is a drunken savage with some imagination whose plays please only in London and Canada” Voltaire (1694-1778)
Homework: What Shakespeare plays have you read in the past? What was your reaction to them? Did you like or dislike them and why? Give at least three reasons to support your position
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