1. Othello: A230 Reading and Studying Literature Arab Open University, Kuwait Branch Fall Semester, 2013 Shahd Alshammari

2. Consider the title of Shakespeare’s Tragedy. What does the term ‘Moor’ imply? The play was first performed in 1604, first published in 1622 as a QUARTO, then as a FOLIO (1623).

3. Tragedy and the Tragic Hero Tragedy: almost always involves the defeat of the hero, his annihilation. Domestic Tragedy: Private versus Public sphere The protagonist is the ‘Tragic Hero’ –someone of noble blood, greatness of character. Faced by both internal and external conflicts. What kind of perceptions did Shakespeare’s audience have regarding ‘Moors’? What were your personal expectations of Moor Othello?

4. Act 1, Scene 1: Basic Discussion: The play starts on a street in Venice. Upon being introduced to Iago and Rodergio, we are informed that Iago has been passed over for promotion. Othello has instead promoted Micheal Cassio to lieutenant. Roderigo has been suitor to Desdemona. Brabantio is awakened by Iago and Rodergio. Iaago urges Roderigo to cause commotion, a ‘dire yell’ (1.1.81) How is Iaago’s character first established in this initial scene? Why is his speech complex and baffling? Is everything as it seems?

5. Iago’s speech: Were I the Moor, I would not be Iago: In following him, I follow but myself – Heaven is my judge, not I for love and duty… But I will wear my heart upon my sleeve For daws to peck at: I am not what I am (1.1. 57-65.) How does this speech give us insight into his character? Shakespeare uses unrhymed Iambic Pentatmer or Blank Verse, which was the “favoured medium of drama of the time” (Pacheo 18). Why did Shakespeare and his contemporaries prefer Blank verse? Why is there usually variation in rhyme/rhythm?

6. Sexual Imagery and Figurative Language Upon waking Brabantio, both Iago and Roderigo use dark/animalistic sexual imagery: “an old black ram/Is tupping your white ewe” (1.1.88-9). Discuss the relevance of this description of Othello and Iago’s choice of words. He also states that Desdemona is being “covered by a Barbary horse” (1.1.111). Iago: “I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs” (1.1.115-16). What does love mean for Iago?

7. Brabantio’s Reaction “This is Venice: My house is not a grange” (1.1.105-6) “Oh heaven, how she got out?/ O treason of the blood!/ Fathers from hence trust not your daughters’ minds/By what you see them act” (1.1.168-70). Discuss the above quotations. How does Brabantio feel about his daughter, Desdemona, and what is his general attitude?

8. Act 1, Scene 2: Othello’s Entrance and Language Othello is nothing like the description Iago had given the audience. He is a calm and rational man, not easily swayed. He refuses to boast, but claims that his services “shall out-tongue his complaints” (1.2.19). What does this line mean? How does Othello refer to himself? Is he proud? Is he insecure about his ‘otherness’? When is the love theme first introduced?

9. Othello: For know, Iago, But that I love the gentle Desdemona, I would not my unhoused free condition Put into circumscription and confine For the seas’ worth (1.2.24-8). Freedom Versus Confinement of Marriage Love Versus Arranged Marriage/Marriage for a Purpose “Unhoused” refers to Othello’s otherness, outsider- status. “Free” refers to his past, that he was once a slave.

10. Act 1, Scene 3: ‘the Othello music” and Accusations Taken to the council in the Duke’s palace, Othello must defend himself. Critic G. Wilson Knight labeled Othello’s heroic speech as ‘Othello music’ (Pacheo 29). Discuss relevant passages. Othello refers to his own past, the obstacles he has faced. Discuss. How does he respond to Brabantio’s claims of bewitching Desdemona?

11. The Duke comments on Othello’s language and stories: “this tale would win my daughter too” (1.3.171). What are the implications of this statement? Othello asks for Desdemona to be sent for. Why do you think no one has requested to hear her version of the story before? Note: The Council consists of men. Othello: “I do beseech you/Send for the lady to the Sagitary/ And let her speak of me before her father” (1.3. 115-17). At this point, why do you think Desdemona fell in love with Othello?

12. Desdemona’s Defense When Desdemona’s father refers to her loyalties and duties, how does she respond? Desdemona’s speech: “I saw Othello’s visage in his mind/And to his honours and his valiant parts/Did I my soul and fortunes consecrate” (1.3.250-53). What does love mean for her? “The rites for why I love him are bereft me…Let me go with him” (1.3. 255-57).

13. What are Brabantio’s last words to Othello? Iago’s language contrasts with “Othello music.” How does Iago perceive love? Iago’s first soliloquy: He addresses the audience. Why do you think Shakespeare uses soliloquies and what is the function of this particular one? What are Iago’s reasons for his manipulation and hatred? Are they valid? Consider this at multiple levels.

14. Discuss Othello’s Flaw and Downfall:

15. Important Vocabulary: Alliterative Plot Figurative Language Iambic Pentameter/Blank Verse Exposition Chorus Idiom ‘Othello Music’ Soliloquy/Asides (early modern theatre)

16. Act 2: Themes and Major Points Move away from Venice to Cyprus. How does this alter the play? How does this affect Iago’s plan? How might have this been reflected onstage? Act 2 opening is a premonition. What happens? Iago is very significant in Act 2. Discuss What does Iago do to Cassio? How does this affect Cassio and Othello?

17. Views on Othello F.R. Leavis Anti-Othello Reads Othello as responsible for his own downfall. It is not “external evil” that is responsible. Iago is not to blame wholly. A.C. Bradley Pro-Othello He saw Othello as “open and passionate…the newness of Othello’s marriage made his jealousy credible” (Pacheo 46). Iago is the driving force.

18. Othello’s Character in Action Discuss why and how might our protagonist be insecure and confused. How does his love transform into violence and ultimately murder? “I will chop her into messes –Cuckold me?” (4.1.193). He strikes Desdemona. Consider the relevant passage (4.1.232). Othello states: “But I do love thee/and when I love thee not/Chaos is come again” (3.3.91-3).

19. Critical texts during the 1980s and 1990s. (Look at pages 52-53). In Act 4, the handkerchief is a symbol. Discuss. When does the “falling action” commence?

20. Act 4, Scene 3: the ‘willow song’ This is the first act that takes place only between women. How might this affect the mood/atmosphere? Melancholy scene. What is its function? What is the difference between the two characters’ views on love? (Emilia shares her opinion with Desdemona (4.3.64-98). Why is foreshadowing necessary?

21. Feminist Issues What is your understanding of Desdemona? How do you read her? Consider Emilia’s speech in Act 4, Scene 3. (lines 81-98). Why did Shakespeare insert this specific speech? Refer to pages 54-55 in ‘Chapter two: Othello, Honesty and Difference, Men and Women’

22. Politics of Race, Class, and Gender During the sixteenth century, England defined itself as superior to other races. Racial hierarchies synonymous to class hierarchies and gender differences. Discuss. “Normal” gender roles (Pacheo 56). Signs of stereotyping and prejudice in Othello. Nigerian writer Ben Okri describes an “emotional explosiveness” that takes places while watching the play (Pacheo 56).

23. How might we identify with the protagonist? What do we make of the problem of evil? What about the binary of Self/Other? What are some external forces Othello must battle with? What about internally? Consider the multiple deaths in the play. Roderigo, Desdemona, Emilia, and finally, Othello.

24. Act 5, Scene Two: Death and Endings Othello’s speech: It is the cause, it is the cause, my soul – Let men not name it to you, you chaste stars: It is the cause. Yet I’ll not shed her blood, Nor scar that whiter skin of hers than snow… Yet she must die (5.2.1-6) Othello addresses his cause/case, “his soul suggests he is referring his ‘case’ to a higher authority…It also implies that he sees his role in relation to his wife as that of both judge and executioner” (Pacheo 59).

25. Emilia’s reaction to the murder of Desdemona Threatened by Iago, later murdered. What happens to Othello upon learning the truth? How do we perceive his death, and not Iago’s? Mora issues, the problem of good and evil. Final thoughts.