Step 2: A closer look Working through the text using the AOs as a framework for detailed - PowerPoint Presentation

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Step 2: A closer look

Working through the text using the AOs as a framework for detailed analysisSlide2
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The Assessment Objectives become our framework for interrogating the text. They should equip you with a way to organise your ideas.

AO2 looking at dramatic, narrative, poetic means

Shaping of the action

Language of dialogue

Verse? Prose?

Language register, from formal to intimate

AO3 Looking at context

Issues of the time (including language - overlaps with AO2)

Reflections of the age - then

Reflections of the age - now

How the play works for modern audiences

AO4/5 Views of the action

within the text

(

characters on each other)

critics

productionsSlide4

A general note... What are these characters doing?

What ideas are embodied in their language? How do you respond to what is going on?Try to keep the idea of performance in mind: when a character says something, think about whether the language implied that a gesture or action goes with it, and try to imagine the physical bodies speaking those words or even not speaking at all. Don’t forget that characters may be on stage, even when silent, and may be making a significant non-verbal contribution to the scene.

[AO5 – consideration of interpretation through performance]

?Slide5

AO1: Who’s who?

Match up the character names and descriptions.Slide6
Slide7
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Act 1 Scene 1

AO1: What are the characters doing? Look at your notes for this scene and quickly summarise.

AO3: Setting the scene...

Why Venice?

SCENE I. Venice. A street.Slide9

Act 1 Scene 1

AO3: Setting the scene...Why Venice?

Early modern (c. 1500-1750) Venice

was

a prosperous Italian city and a symbol of law and civilization.

Elizabethan dramatists often used Italian settings for plays about intrigue, love and revenge – this is because foreign courts were stereotyped as being full of villainy and sexual perversion. Venice had a reputation as a city of wealth and sophistication but also as a place of loose morals. Venice also happened

to be renowned for its courtesans (prostitutes). When the English thought about Venice, they often imagined it to be a city chock full of promiscuous

women.

As for the number of these Venetian courtesans it is very great. For it is thought there are of them in the whole city and other adjacent places

,

at the least twenty thousand, whereof many are esteemed so loose that they are said to open their quivers to every arrow, a most ungodly thing without doubt that there should be

tolleration

of such licentious wantons in so glorious, so potent, so renowned a city."

 (

Coryat's

Crudities

, 1611)Slide10

Act 1 Scene 1

AO2: Lines 1-7: what does the language of Iago and Roderigo reveal about their mood and attitude?

How does this set the tone for the play?

What

theme does it introduce?

RODERIGOTush! never tell me; I take it much unkindlyThat thou, Iago, who hast had my purseAs if the strings were thine, shouldst know of this.IAGO

'

Sblood

, but you will not hear me:

If ever I did dream of such a matter, Abhor me.

RODERIGO

Thou

told'st

me thou didst hold him in thy hate.

IAGO

Despise me, if I do not.Slide11

AO1 - KEY THEME: CONFLICT

From the beginning of Othello the scene is set for Conflict. The topic of marriage, as discussed in the opening lines, seems of little significance however Shakespeare juxtaposes

Roderigo’s failure to marry Desdemona with Iago’s failure to fain promotion, making it clear that private, domestic issues and the public, professional world will collide in

Othello

.The scene ends with Brabantio making his daughter’s elopement a public, political affair, as he calls for his neighbours to help him hunt down Othello. The audience realises that the marriage of Othello and Desdemona is going to be at the heart of the conflict in the play.

There are also references to the Venetian conflict with the Turks over Cyprus, the setting where Othello’s marriage and mind will be destroyed.Slide12

AO3

(

ZIgZag

Education)Slide13

“I follow him to serve my turn upon

him”

Line 41:

“Preferment goes by letter and affection/

And not by the old

gradiation”

Lines 35-6:

“…not meet nor wholesome to my place

To be produced”

Lines 143-4:

“Thou art a villain!” (Brabantio)

Line 126:

Character Introduction: What do these lines tell us about Iago?

AO2Slide14

“I follow him to serve my turn upon

him”

Line 41:

“Preferment goes by letter and affection/

And not by the old

gradiation”

Lines 35-6:

“…not meet nor wholesome to my place

To be produced”

Lines 143-4:

“Thou art a villain!” (Brabantio)

Line 126:

Character Introduction: What do these lines tell us about Iago?

AO2

This is Iago’s

motive

for causing Othello harm. He feels cheated out of his rightful promotion.

This makes us doubt that we should trust Iago. His intent is to

deceive and revenge.

He is good at getting himself out of trouble. He leaves when it would be inconvenient to be discovered. This is also

irony

: nothing he has said or done in this scene has been ‘wholesome’.

Another example of irony – this time

dramatic irony

– as Brabantio is unaware of the truth of his words. Likewise, Roderigo fails to recognise he is being deceived.

“By the end of Act 1 Scene 1, Shakespeare has established Iago as a powerful, manipulative figure who instigates and stage manages chaos effectively.” (Rebecca Warren, 1998)

- Do you agree? Slide15

AO1/2 - KEY THEME: DECEIT

Deceit as a key theme is established in two ways.1. Deceptions that occurred before the play began:

Roderigo believed that he would marry Desdemona

Brabantio has been deceived by Othello and Desdemona

Iago deceived himself when he believed he would be promoted

2. The language of deceit used by Iago: He admires men who make “shows of service on their lords”

(51)

His reputation as a dutiful subordinate is deceptive; he says,

“I am not what I am”

(64)

Notice how Shakespeare

structures

the play in a way that makes the audience question the

difference between appearance and reality

from the start. Slide16

"shows

of service to their lords."

What does the word ‘shows’ suggest about appearance versus reality?

How does the use of

sibilance

reflect the tone of what Iago is saying?

How does he feel about his subordinate position?

Think about how the ‘s’ sound creates a sinister tone and reflects the resentful nature of Iago. His language is the language of deceit and he respects people who are deceptive. Think about how Shakespeare has used dramatic irony here.

Line 51Slide17

"I

must show out a flag and sign of

love."

What does the word

‘must’

suggest about Iago’s attitude?

What

is significant about the word

‘show

’? Why does Iago use it so often?

How is this word ironic?

How does this quotation show that this character manipulates people from behind the scenes?

Iago helps Roderigo to wake Brabantio, then leaves to maintain the appearance of loyalty to Othello. This suggests how he manipulates other characters in ways that are only seen to the audience. He is willing to use other people to maintain his reputation and a façade of honesty

.

line 157Slide18

“But he; as loving his own pride and purposes

Evades

them, with a bombast circumstance

Horribly stuff'd

with epithets of war; Nonsuits my mediators; for, 'Certes,' says he,

'I

have already chose my officer.'”

Lines 13-17:

“I

do know, the state,

However

this may gall him with some cheque,

Cannot

with safety cast him, for he's

embark'd

With

such loud reason to the Cyprus wars,

Which

even now stand in act, that, for their souls,

Another

of his fathom they have none,

To

lead their business”

Lines 158-164:

Character Introduction: What do these lines tell us about Othello?

AO2Slide19

“But he; as loving his own pride and purposes

Evades

them, with a bombast circumstance

Horribly stuff'd

with epithets of war; Nonsuits my mediators; for, 'Certes,' says he,

'I

have already chose my officer.'”

Lines 13-17:

“I

do know, the state,

However

this may gall him with some cheque,

Cannot

with safety cast him, for he's

embark'd

With

such loud reason to the Cyprus wars,

Which

even now stand in act, that, for their souls,

Another

of his fathom they have none,

To

lead their business”

Lines 158-164:

Character Introduction: What do these lines tell us about Othello?

AO2

He is a self-satisfied and bombastic speaker who promotes his favourites and has his own way in the Senate.

He is an effective soldier, relied upon by the Senate.

AO5:

Because we do not see him and he is not referred to by name, Othello is a mysterious figure at this stage. Shakespeare has structured the scene to draw the audience’s attention to the role

rumour

is to play in events. Everything we learn about Othello is second hand.

Would the audience dismiss it as gossip at this stage? Slide20

“Look to your house, your daughter and your bags!Thieves, thieves!”

Lines 79-80:

“A fellow almost damned in a fair wife”

Line 20:

“…treason of the blood”

Line 167:

“youth and maidenhood”

Lines 170-1:

The language men use to define women…

AO2

This casual sexism (i.e. that if Cassio’s wife is ‘fair’ she will cuckold him) helps to establish Iago’s misogyny, which he will use to infect Othello’s mind. Iago shouts to Brabantio…

This establishes the patriarchal view of women as possessions, to the point that Brabantio sees Desdemona’s choosing of her own husband as...

Unable to believe that Desdemona is a willing bride, he suggests that she is a passive victim. Her

“abused”

Iago describes Cassio as…

have been

This idea also reflects the Renaissance stereotype of the black man as cunning sexual predator.Slide21

RODERIGO What a full fortune does the thicklips owe 66

If he can carry't thus! IAGOCall

up her father,

Rouse

him: make after him, poison his delight, Proclaim him in the streets; incense her kinsmen, And

, though he in a fertile climate dwell, 70Plague him with flies: though that his joy be joy, Yet throw such changes of vexation on't,As it may lose some colour.

What does this racist name calling tell us about Iago’s influence on Roderigo?

Iago uses metaphors to describe what he wants Roderigo to do. What does his choice of language associate him with? How does this link with the rest of the play?Slide22

RODERIGO What a full fortune does the thicklips owe 66

If he can carry't thus! IAGOCall

up her father,

Rouse

him: make after him, poison his delight, Proclaim him in the streets; incense her kinsmen, And

, though he in a fertile climate dwell, 70Plague him with flies: though that his joy be joy, Yet throw such changes of vexation on't,As it may lose some colour.

Iago has prejudiced Roderigo’s view of Othello and his marriage

Iago’s use of metaphors associates him with poison, corruption and disease. Shakespeare has begun to prepare the audience for the poisoning of Othello’s mind.Slide23

AO2:

The

location

of this part of the scene is significant. It is night-time and the two levels of the

stage are used – Brabantio at the window above; Iago and Roderigo in the darkness of the street below. This signifies disruption and confusion.

BRABANTIO appears above, at a window.Slide24

BRABANTIO What is the reason of this terrible summons? 85 What is the matter there?

RODERIGO Signior, is all your family within? IAGO Are your doors lock'd?

BRABANTIO Why, wherefore ask you this

?

IAGO 'Zounds, sir, you're robb'd; for shame, put on 90 your gown; Your heart is burst, you have lost half your soul;

Even now, now, very now, an old black ram Is tupping your white ewe. Arise, arise; Awake the snorting citizens with the bell, Or else the devil will make a grandsire of you: Arise, I say. BRABANTIO What, have you lost your wits

?

RODERIGO Most reverend

signior

, do you know my voice?

BRABANTIO Not I; what are you

?

100

RODERIGO My name is Roderigo.

AO2

This choice of verb suggests an assault on Brabantio’s

property

Note how many

questions

Brabantio asks: his authority has been subverted and instead of directing his social inferiors, he must act in response to them. This shows his alarm and Iago’s control.

Iago’s use of

animalistic

imagery reinforces a racist, negative stereotype of black men.Slide25

BRABANTIO The worser welcome: I have charged thee not to haunt about my doors: In honest plainness thou hast heard me say My daughter is not for thee

; and now, in madness, Being full of supper and distempering draughts, Upon malicious bravery, dost thou come To start my quiet. RODERIGO Sir, sir, sir,--

BRABANTIO But thou must needs be sure

My spirit and my place have in them power

To make this bitter to thee. RODERIGO Patience, good sir. 110BRABANTIO What tell'st thou me of robbing? this is Venice;

My house is not a grange.RODERIGO Most grave Brabantio, In simple and pure soul I come to you. IAGO 'Zounds, sir, you are one of those that will not serve God, if the devil bid you. Because we come to do you service and you think 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

gennets

for

germans

.

BRABANTIO What

profane

wretch art thou

?

AO2

This reinforces the idea of Desdemona as property.

He dismisses Roderigo in a commanding tone, showing his usual status, which is being undermined.

Iago’s use of

animalistic

imagery reinforces a racist, negative stereotype of black men. Othello is cast as a lustful predator. It also creates the idea of an unnatural match.

He is offended.Slide26

IAGO I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs. BRABANTIO

Thou art a villain. IAGO You are--a senator. BRABANTIO This thou shalt answer; I know thee, Roderigo.

AO2

“The reduction of the Othello-Desdemona match to bestial sexuality is typical of Iago, who is associated with unpleasant animal imagery throughout the play. However, we might already feel that the imagery here tells us more about Iago’s character than it does about Othello’s because we are aware of Iago’s hatred.”

(Rebecca Warren, 1998)

Iago’s crude words are undermining Brabantio’s social standing as much as Desdemona’s actions. He chooses them deliberately, confidently forcing his own interpretation of events onto him – a pattern that will be repeated with Othello himself later in the play. It is Iago’s crude comments that really capture Brabantio’s attention here, and he gets the result he wanted: an angry father, appalled by what he hears.

You = formal

Thou = informalSlide27

RODERIGO Sir, I will answer any thing. But, I beseech you, If't be your pleasure and most wise consent,

As partly I find it is, that your fair daughter, 120 At this

odd-even and dull watch o' the night

,

Transported, with no worse nor better guard But with a knave of common hire, a gondolier, To the gross clasps of a lascivious Moor-- If this be known to you and your allowance,

We then have done you bold and saucy wrongs; But if you know not this, my manners tell me We have your wrong rebuke. Do not believe That, from the sense of all civility, I thus would play and trifle with your reverence: 130 Your daughter, if you have not given her leave, I say again, hath made a gross revolt;

Tying her duty, beauty, wit and fortunes

In an

extravagant and wheeling stranger

Of here and every where. Straight satisfy yourself:

If she be in her chamber or your house,

Let loose on me the justice of the state

For thus deluding you

.

AO2

What do the images Roderigo uses in his speech focus on? Slide28

RODERIGO Sir, I will answer any thing. But, I beseech you, If't be your pleasure and most wise consent,

As partly I find it is, that your fair daughter, 120 At this

odd-even and dull watch o' the night

,

Transported, with no worse nor better guard But with a knave of common hire, a gondolier, To the gross clasps of a lascivious Moor-- If this be known to you and your allowance,

We then have done you bold and saucy wrongs; But if you know not this, my manners tell me We have your wrong rebuke. Do not believe That, from the sense of all civility, I thus would play and trifle with your reverence: 130 Your daughter, if you have not given her leave, I say again, hath made a gross revolt; Tying her duty, beauty, wit and fortunes

In an

extravagant and wheeling stranger

Of here and every where. Straight satisfy yourself:

If she be in her chamber or your house,

Let loose on me the justice of the state

For thus deluding you

.

AO2

The unnatural quality of the match; the marriage is a subversion of the natural order

Desdemona’s disobedience

Echoes of the negative descriptions of Othello from earlier in the scene

Influenced by…?

Roderigo’s xenophobic view of Desdemona’s is one that Brabantio can understand. He views his daughter’s marriage as an incomprehensible rejection of everything she has ever known. Brabantio’s death from grief later in the play will be directly attributed to the sorrow he feels over Desdemona’s “gross revolt”.Slide29

This exchange of contrasts and discord sets the scene for the events that follow.The contrasts are reflected in the imagery and setting, establishing the themes of social disruption, class and power, delusion and knowledge, male and female sexuality, and black and white.

The chaotic feel of the scene signifies that disruption has already occurred and we know that the marriage of Desdemona and Othello is going to be the focal point for further disruption because of the language that Iago, Roderigo and Brabantio use to describe it.We are also aware of the difference between the “white ewe”, Desdemona and the “black ram”, Othello. Desdemona has been stolen, but she has also given herself away by eloping secretly. Venice has been assaulted by a “wheeling stranger”.

The audience are left wondering how the tension that has been built up in this scene will be resolved, particularly the dislike and disdain the three men feel for “the Moor”.

Why is this a significant scene? Slide30

Essay question:How effective an introduction to the play is Act 1 Scene 1?

At least 500 words. Think about:

plot

character

theme what we know what we can expect

use of language and structure to express this possibility for interpretation