1. Shakespeare’s Othello

2. We have looked at the following narrative aspects so far:
Narrative structure (particularly openings)
Setting
Narrators
Characterisation
Narrative Gaps
Symbols and Motifs
Dialogue
You will consider each of these aspects whenever you are analysing a text.
You will also consider aspects of the text in relation to genre.

3. What is ‘Tragedy’?
In your groups, discuss what you think the term ‘tragedy’ means
Think about what it could mean in terms of a dramatic text but also how we use this term in everyday life.
Have you watched a play, film or TV show recently that could be considered a tragedy?

4. What is ‘Tragedy’?
The word tragedy is in common usage in everyday life
Casual conversation/media – ranges from missed penalty/death/an ill- advised haircut
Throughout history one of the roles of tragedy has been to provide a means of understanding of our lives through fictional representation
Tragedy makes sense of suffering
For this reason some people suggest tragedy is a genre unsuited to Christian societies in which human suffering is seen in the context of God and the afterlife
The word tragedy was coined by the ancient Greeks (they put on first plays in democratic Athens, a non-Christian society)

5. What can we gain from a stage tragedy?
Literary and non-literary = sorrow and pity for those who suffer
Literary = we take pleasure in the representation of suffering
Pleasure comes from beautifully crafted works of art
Emotional solace
Greater political understanding of the world
‘Tragedy is the art form created to confront the most difficult experiences we face: death, loss, injustice, thwarted passion, despair.’ – Jennifer Wallace 2007

6. Tragedy Timeline Ibsen: Peer Gynt; A Doll’s House
Aeschylus, Sophocles, Euripides, Aristotle
(Ancient Greece)
1604 – Shakespeare: Othello
Chekov: The Three Sisters; The Seagull
Marlowe:
Dr Faustus
1642 – 1682:
Racine, Otway
Miller; Death of a Salesman
Civil War and Restoration
Churchill
Victorian - Edwardian
Early Modern
Greek Tragedy
533 BC – AD600
Post-war
Synge
21st Century
Roman
1 – 45 AD
Romantic
Middle Ages
WW1 – WW2
T. Williams: A Streetcar Named Desire
Eagleton:
Sweet Violence
O’Casey
Chaucer (The Monk’s Tale )
Goethe: Faust
Seneca: Thyestes
Brecht

7. Pre-reading predictions and assumptions:
Look carefully at the illustrations and front covers that follow. Consider what you can infer about the qualities of the play in terms of:
Plot, character and possible themes.
The fact that this is going to be in the tragedy genre

9. Act 1, Scene 1 Key Characters: Iago Roderigo Brabantio
We are introduced to Othello but he is not onstage during this scene.

10. Reading Questions:
What are your first impressions of Iago and Roderigo?
Annotate the above extract and make notes as to how the two characters are presented through Shakespeare’s use of dramatic methods.
What first impression are we given of Othello? - provide quotations to support your answer.
The play begins in medias res with Othello not appearing until Scene 2. Why do you think Shakespeare chose to structure the opening of the play in this way? How might it help establish tragic aspects?

11. Homework:
Read through the information on Shakespeare and context of the play (including tragedy) in your booklet. Use the internet to find information on race and attitudes to race at this time. There is also some key information in the introduction of your text. Summarise your findings and bring in for next lesson.

12. Starter task – Batman or Shakespeare?
I'm a man of thirty—of twenty again. The rain on my chest is a baptism I'm born again.
Weep I cannot. But my heart bleeds.
They have tied me to a stake—I cannot fly. But, bear-like, I must fight the course.
We both stared into the abyss, but when it looked back at us, you blinked.
I am a feather for each wind that blows.

13. Batman (Dark Knight Returns)
I'm a man of thirty—of twenty again. The rain on my chest is a baptism. I'm born again.
Batman (Dark Knight Returns)

14. Weep I cannot. But my heart bleeds.
Shakespeare (A Winter’s Tale)

15. They have tied me to a stake—I cannot fly
They have tied me to a stake—I cannot fly. But, bear-like, I must fight the course.
Shakespeare (Macbeth)

16. We both stared into the abyss, but when it looked back at us, you blinked.
Batman (Justice League: Crisis on Two Earths)

17. I am a feather for each wind that blows.
Shakespeare (Winter's Tale)

18. Aristotle – The Poetics
Greek philosopher writing around 330 BC
The drama is usually centred upon one or more main character (the protagonist) who acts in a way which proves disastrous
The scope of the play’s action is limited in terms of plot (which should not be too complex). The time the action takes to elapse should also be limited, as should the location of the action (the unities)
There is a calamitous outcome (the catastrophe) which causes an emotional response in the audience.

19. The classical protagonist
In the plays of Sophocles, the protagonist was a man who had a certain nobility about him, a man of high birth who was courageous and generous in character. Example: Oedipus Rex
The Greek word Aristotle used is megalopsychia, ‘greatness of soul’. The protagonist could not be a man who was totally good, or else the audience would feel only disgust at the injustice of his destruction in the play’s catastrophe. Neither could he be someone wicked, for then the audience would rejoice at his fall.

20. The classical protagonist
Hamartia – the protagonist’s fatal error of judgement
Hubris – excessive pride which brings down divine punishment upon the head of the protagonist.
Anagnorisis – protagonist’s recognition of his tragic error and judgement

21. Act 1 Scene 2
Annotate the extract with particular focus upon Othello’s language and consider whether he possess any traits which could become a tragic flaw.

22. Dramatic techniques and use of language
Do you know what the following terms mean?
Stage directions
Off-stage
Imagery
Prose
Verse / Blank verse
Iambic pentameter

23. The opening line of Twelfth Night, is a perfect iambic line :
Both written and spoken language use rhythm - a pattern of stressed and unstressed syllables.
Most forms of poetry or verse take rhythm one step further and regularise the rhythm into a formal pattern of stressed and unstressed syllables. A formal pattern of rhythm is called metre. Shakespeare writes either in blank verse, in rhymed verse or in prose.
Blank verse is unrhymed but uses a regular pattern of rhythm or metre. In the English language, blank verse is iambic pentameter. Pentameter means there are five poetic feet. In iambic pentameter each of these five feet is composed of two syllables: the first unstressed; the second stressed.
The opening line of Twelfth Night, is a perfect iambic line :
'If music be the food of love play on‘
With its unstressed and stressed syllables marked or 'scanned', it looks like this:
/ ں / ں / ں / ں / ں
'If mu sic be the food of love play on‘
ں = weak / = strong
The rhythm of blank verse is conversational and with its dee DUM, dee DUM, dee DUM, dee DUM, dee DUM rhythm, it imitates the heartbeat.

24. Act 1 Scene 2 – use the extract in your booklet
What is the significance of Brabantio in this scene?
Consider the importance of the scene’s dramatic setting and make notes as to how it highlights tragic aspects

25. Starter task:
Can you remember what iambic pentameter is? If not, discuss with the other people on your table
Write a few lines on what you did at the weekend using iambic pentameter. This doesn’t have to be in rhyme, but you can rhyme if you wish!

26. Character study - Brabantio
Look again at Act 1 Scene 2
Annotate the speech from Brabantio in your booklet
3) What is the significance of Brabantio in this scene?
4) Consider the importance of the scene’s dramatic setting and make notes as to how it highlights tragic aspects.

27. Summarise key plot points from Act 1.3
According to Othello, how did he woo Desdemona?
How did the Duke react?
Did Desdemona’s account of events fall in line with Othello’s?
Highlight/record key quotes from the scene in your text.

28. Homework -
Read to the end of Act 1 Scene 3 and summarise the conversation between Iago and Roderigo.
For tomorrow’s lesson (Thursday 5th Oct)

29. Explore how Iago is presented
How does Shakespeare develop Iago’s character in the above scene? Compare the language used when he is speaking to Roderigo to when he is alone.
Drawing upon Iago’s presentation in this scene and earlier in the play, provide evidence which supports the view of him being a tragic villain.
The extract ends with Iago delivering a soliloquy to the audience where he explains his motives for wanting to destroy Othello.
Why do you think Shakespeare includes this technique? How might it affect the way the audience views him?

30. Exploring Different Readings: Act 1 Scene 1
Included here are a range of critical responses to Othello Act 1 Scene 1, written as if by critics who are interested in looking at the scene from a particular angle, for example:
There isn't a single right answer to be 'spotted'. Each of the responses offers insights into the scene. However, you might disagree with, or feel uneasy about certain aspects of each reading. For example, you might feel that while a reading is interesting, the critic has distorted the textual evidence to support the argument.
Task: Read through each piece of criticism, annotating it with your comments.

31. Assessment Objectives
AO1 – accuracy; use of terminology and concepts; structure of argument
AO2 – analysis of meaning (language and structure)
AO3 – context of reception and production (this also links to genre)
AO4 – connections across texts; possible meanings and interpretations
AO5 – interpretations; debate and how well this is set up.

32. Explore the significance of this extract in relation to the tragedy of the play as a whole.
Remember to include in your answer relevant analysis of Shakespeare’s dramatic methods.
Points to consider:
Dramatic devices
Language devices
Aspects of tragedy
The significance of the scene to the play as a whole.

33. Exploring and Analysing
Explore the significance of this extract in relation to tragic elements and Shakespeare’s dramatic techniques.
This extract is particularly significant as it is… In the opening of the play, it becomes clear that…. Shakespeare presents this through his use of… I would suggest that…. Alternatively it could be viewed as…. Therefore… / In addition to this….

34. Example opening
Begin by summarising the extract and explaining why it is significant in terms of the tragic plot. In this extract, Iago is performing a soliloquy to the audience, where we learn about his malevolent intentions. This section of the play is particularly significant as it allows the audience to understand the thought process behind his actions and his evil ambitions. The use of a rhetorical question in the opening ‘And what’s he then that says I play the villain…?’ reveals that Iago has a tendency to justify his own malicious acts. We therefore begin to view Iago as the tragic villain of the piece: he is plotting the downfall of noble characters whilst making excuses for his own villainy. In many ways he could be viewed as a stage Machiavel due to his deceit and treachery.

35. Example paragraph
Iago’s soliloquy in Act II Scene iii reveals his malevolent intentions as he questions his own playing of ‘the villain’ with an air of self- justification. This, and also be declaring his own advice to Cassio as ‘honest’ will surely be comedic for a Shakespearean audience. Aware of the irony of the epithet ‘honest’, we understand that Shakespeare is setting Iago up as the tragic villain of the play, an example of a stage Machiavel. Revealing to us his twisted nature certainly does make him ‘honest’ in one respect – at least to the audience – however towards other characters and himself he works hard to present himself in the best possible light. This deceit and treachery is why such soliloquies are vital; the audience is invited to see how he will set the tragedy in motion.

36. Go through the extract and annotate/make notes on tragic aspects and dramatic effects

37. First Formal Assessment: 45 minutes
Section A: ‘Othello’Extract Style Q Act One Scene One p.28 Explore the significance of this extract in relation to tragic elements and Shakespeare’s dramatic techniques. [25 marks]

38. Exploring and Analysing Character
PEE/PEA points In Act 1 Scene 3, it becomes clear that Iago is…. We see an example of this when… It could be suggested that…. Alternatively we could view it as…. Therefore… / In addition to this….

39. Essay Feedback Most used the term ‘significance’ in line with the task
All were able to identify dramatic techniques and use tragedy terminology
All showed a good knowledge of the plot
Most essays were well structured and focussed on the task.
Dramatic devices
Shakespeare’s intentions and how you discuss key characters
Alternative interpretations
Developing comments fully to show a full understanding/perception
Embedding quotes and developing writing style
Expression and development of vocabulary

40. Reading Act 2:
How are the conditions at sea described in the opening of the scene? Record key quotes and consider their significance.
How does Shakespeare create tension in the first few pages of the scene?
Look closely at the conversation between Desdemona and Iago (pp.58-59). What is the subject of the discussion? What do we learn about Desdemona from this?
Look closely at the conversation between Iago and Roderigo (pp.61-63). How does Iago manipulate Roderigo? Choose key quotes and consider their significance.
Annotate Iago’s soliloquy at the end of the scene. How does Shakespeare reveal his hatred for Othello?
The action now moves from Venice to Cyprus. Why do you think Shakespeare chose to do this? What is the significance of the potential war ending so suddenly? Look at Othello’s speech as he steps ashore to develop your points on this.

41. Act 2 Scene 3 Comprehension Questions
What is the subject of Iago and Cassio’s conversation on p65? What does this tell us about both characters?
Why does Cassio initially refuse to drink? How does Iago persuade him otherwise?
Which parts of the scene could be considered humorous?
How does Othello react to the news of Cassio’s assault on Montano?
How does Iago present himself in the best possible light during this scene?

42. Homework for Monday:
Read Act 3 Scene 1 and 2 (pp.75 – 77) and annotate
If you don’t have the text, access it online and write notes in bullet points (making reference to quotes).

43. Iago – a Machiavellian Villain
AO3 – contextual point The portrayal of Iago demonstrates some of the Elizabethan’s misunderstandings of the works of the Florentine writer, Niccolo Machiavelli (1429 – 1527). Today Machiavelli is respected as a political and social theorist, but Shakespeare and his contemporaries believed that his ideas were immoral. So they created stage Machiavels who were devious and unscrupulous. In works such as The Prince, Machiavelli sought to discuss what rulers actually did when they were in government, as well as what they should do.

44. Assessment Objectives
AO1 – accuracy; use of terminology and concepts; structure of argument
AO2 – analysis of meaning (language and structure)
AO3 – context of reception and production (this also links to genre)
AO4 – connections across texts; possible meanings and interpretations
AO5 – interpretations; debate and how well this is set up.

45. Scene Summary – Act 3.1 Musicians and clown – significance?
What does Cassio ask the clown to do?
Iago – a timely entrance (‘In happy time, Iago’)
Iago to send for Emilia, then exits
Emilia tells Cassio they have discussed the case
Othello is concerned about Montano’s influence
Cassio is to wait for Desdemona

46. Plot points to remember-
Iago said in the previous scene that Emilia was to be persuaded to put Cassio’s case to Desdemona (‘I’ll set her on’ – 2.3)
However, it appears that he may not have intended to approach her directly on the matter himself
Thus, when Emilia tells Cassio that she will take him to speak personally with Desdemona, she has no idea of the part she is playing in the plot which Iago has contrived.

47. Act 3 Questions Act 3.2 Summary
Iago, Othello, and a gentleman walk together at the citadel. Othello gives Iago some letters to deliver and decides to take a look at the town’s fortification.
How do scenes 1 & 2 further the plot?
Look for evidence of irony in both of these scenes.

48. Scene Summary Act 3.3
Desdemona, Cassio, and Emilia enter mid-conversation. Desdemona has just vowed to do everything she can on Cassio’s behalf when Othello and Iago enter. Cassio quickly departs, protesting to Desdemona that he feels too uneasy to do himself any good. Othello asks whether it was Cassio he saw leaving the room, and Iago responds that surely Cassio would not behave like a guilty man at Othello’s approach.
Desdemona entreats Othello to forgive Cassio and reinstate him as lieutenant. Othello assures her that he will speak to Cassio, but he answers evasively when she tries to set a meeting time. 

49. The Handkerchief as Symbol
Look closely at p.93 of the text (lines 55 – 66)
Why is this handkerchief so important?
What could it represent?
Mind-map your ideas

50. Act 3 Scene 4 Recap
Desdemona expresses her uneasiness at losing the handkerchief
Othello tells Desdemona about the history of the handkerchief, which unsettles her even more
Othello storms off and Emilia laments the fickleness of men. She suggests Othello is jealous
Desdemona tells Cassio to wait while she finds Othello
Bianca enters and reprimands Cassio for not visiting her enough
Cassio asks her to copy the embroidery of the handkerchief

51. Reading Act 4
Recap –
Key plot points; significant elements – e.g. dramatic devices, language features; links to tragedy. pp

52. Debate question Lodovico: ‘Is it his use
Debate question Lodovico: ‘Is it his use? Or did the letters work upon his blood, and new-create this fault?’ ‘Othello’s sudden violence is presented as completely out of character.’ To what extent do you agree with this view?
For - Agree
Against - Disagree

53. Debate question Lodovico: ‘Is it his use
Debate question Lodovico: ‘Is it his use? Or did the letters work upon his blood, and new-create this fault?’ ‘Othello’s sudden violence is presented as completely out of character.’ To what extent do you agree with this view?
Begin by defining key terms in your own words
How would you describe Othello’s character? Consider status, position in society, wealth, employment and his romantic relationship.
Then consider how he is presented in Act 4 – has such violence always been present in his character?

54. The Presentation of Desdemona
How does Shakespeare develop Desdemona’s character in Act 4.2?
Annotate the extract with particular focus upon Desdemona’s language and consider the extent to which she may be considered a tragic victim.
What is the significance of Emilia in this scene?
Identify 3 key characteristics of Desdemona and provide quotations to support your points from across the text
To what extent can Desdemona be considered a victim of fate?

55. Homework -
To what extent should Desdemona be considered a tragic victim?
In for Wednesday’s lesson (about a page long)
Make sure you define what a ‘tragic victim’ is in the introduction
Conclude your ideas at the end.

56. Starter Task: the ‘Willow’ song
The song sung by Desdemona in Act 4.3 could be considered as a symbol in the play.
Discuss in groups the potential of this symbol – see lines

57. Sing willow”— Lay by these— Singing
Sing willow”— Lay by these— Singing. “— willow, willow”— Prithee hie thee; he’ll come anon— “Sing all a green willow must be my garland. Let nobody blame him, his scorn I approve”— Nay, that’s not next. Hark, who is’t that knocks? Emilia It’s the wind. Desdemona “I call’d my love false love; but what said he then? Sing willow, willow, willow; If I court more women, you’ll couch with more men.”— So get thee gone, good night. Mine eyes do itch; Doth that bode weeping?
Desdemona My mother had a maid call’d Barbary; She was in love, and he she lov’d prov’d mad, And did forsake her. She had a song of “Willow,” An old thing ’twas, but it express’d her fortune, And she died singing it. That song tonight Will not go from my mind; I have much to do But to go hang my head all at one side And sing it like poor Barbary. Prithee dispatch… Singing. “The poor soul sat sighing by a sycamore tree, Sing all a green willow; Her hand on her bosom, her head on her knee, Sing willow, willow, willow. The fresh streams ran by her, and murmur’d her moans, Sing willow, willow, willow; Her salt tears fell from her, and soft’ned the stones,

58. That can thy light relume. When I have plucked thy rose
It is the cause, it is the cause, my soul. Let me 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 And smooth as monumental alabaster. Yet she must die, else she’ll betray more men. Put out the light, and then put out the light. If I quench thee, thou flaming minister, I can again thy former light restore Should I repent me. But once put out thy light, Thou cunning’st pattern of excelling nature, I know not where is that Promethean heat
That can thy light relume. When I have plucked thy rose
I cannot give it vital growth again,
It must needs wither. I’ll smell thee on the tree.
Oh, balmy breath, that dost almost persuade
Justice to break her sword! One more, one more.
Be thus when thou art dead and I will kill thee
And love thee after. (kissing her) One more, and that’s the last.
So sweet was ne'er so fatal. I must weep,
But they are cruel tears. This sorrow’s heavenly,
It strikes where it doth love. She wakes.
Act 5.2: Make notes on the imagery and symbolism used here by Shakespeare to present Othello’s consideration of what he is about to do.

59. Act 5 Scene 2: A Tragic Ending?
Paired Work: 
Read the entire extract and discuss to what extent the scene can be considered a tragic ending.
You will then be assigned a specific part of the extract to focus upon.
Aim to address the following:
 Use of language
Your responses to the characters
The dramatic setting
Use of tragic frameworks as the play draws to a conclusion.
Ensure you use relevant quotations from the extract AND from the play as a whole to support your ideas.

60. Starter task: as a group, write three statements about the character you are given
Othello
Desdemona
Iago
Emilia
Cassio
Roderigo

61. 1. ‘By far the most romantic figure among Shakespeare’s heroes … he does not belong to our world, and he seems to enter it we know not whence – almost as if from wonderland.’
A. C. Bradley Shakespearean Tragedy (Palgrave Macmillan)

62. 2. ‘Othello’s nature is all of one piece
2. ‘Othello’s nature is all of one piece. His trust where he trusts is absolute. Hesitation is almost impossible to him. He is extremely self- reliant and decides and acts instantaneously. If stirred to indignation … he answers with one lightning stroke. Love, if he loves, must be to him the heaven where either he must live or bear no life. If such a passion as jealousy seizes him, it will swell into a well-nigh incontrollable flood.’
A. C. Bradley Shakespearean Tragedy (Palgrave Macmillan)

63. 3. ‘He really is, beyond any question, the nobly massive man of action, the captain of men he sees himself as being … In short a habit of self- approving self-dramatisation is an essential element in Othello’s make- up.’
 'Diabolic intellect and the noble hero' by F R Leavis in The common pursuit (Hogarth Press 1982)

64. 4. ‘Othello’s tragedy is that he lives according to a set of stories through which he interprets the world – an ideology – but it is a world that has been superseded. He cannot see that this is so, and the contradictions within his ideology destroy him. He is living the life of a chivalric warrior in a world run by money and self-interest.’
Sean McEvoy Shakespeare: The Basics (Routledge (UK)

65. Key Characters
In your groups, focus on your given character. Write notes on the following:
Their narrative trajectory (beginning, middle, end)
Relationships to other characters
Significant actions/key moments
Key quotes

66. Othello
Many contradictions in the play are embodied by the tragic hero.
Number of possible views of this character
We are required to respond to him both as a military man and as a lover-husband
Descendent of a royal line of kings

67. Desdemona
Employs contradictory positions – she is both ‘half the wooer’ (1.3. line176) and passive prey or victim
Othello shows us how a woman’s character and reputation can be manipulated and distorted by men

68. Iago A sophisticated villain
Part Machiavel, part vice (stock character from morality plays of the 1500s)
Adept at quick-witted improvisation
Personally envious of the ‘daily beauty’ of Cassio’s life (5.1. line 19)
Propelled to revenge by feelings of frustration and loathing

69. Cassio A Florentine – an outsider like Othello Appealing to women
Some unsavoury qualities are revealed through interactions with Bianca.

70. Emilia
Shares some of her mistress’s qualities – loyal wife who seeks to please her husband
Also defends herself and women
3.4 line shows us her realistic views on male-female relationships.

71. Brabantio
Do you view this character favourably? A Jacobean audience may have felt his pains more deeply.
He views Desdemona’s elopement as an assault on the patriarchy ‘hath made a gross revolt’ (1.1 line 132)

72. Roderigo
Disappointed suitor – represents the ‘curled darlings’ that Desdemona has rejected
To be compared to Othello – the successful wooer. Roderigo is not worthy of Desdemona
Extremely poor judgement
Gulled by Iago
Despicable actions
Primary role – to enable the audience to gain insight into Iago’s modus operandi
Gives racist descriptions of Othello – however – is he weak and corrupted rather than wholly bad?
Can be seen as a comic figure.

73. Bianca
Abused and used by male characters in the play, like Desdemona is
Only seen in relation to men
Always in a vulnerable position
Critics question her status as a prostitute (Cassio’s description of her as a ‘customer’ links to this line120) – perhaps a courtesan
However, she is not an ignoble or ‘low’ character
Unfounded jealousy mirrors Othello’s – the handkerchief causes her a similar anxiety
Least powerful figure in the play – ironically – the only female survivor

74. Consider where you would place yourself on the continuum – and why.
Essay debate question: ‘Shakespeare presents Desdemona as responsible for her own downfall.’ To what extent do you agree with this view?
Disagree
Agree
Consider where you would place yourself on the continuum – and why.

75. Essay debate question: ‘Shakespeare presents Desdemona as responsible for her own downfall.’ To what extent do you agree with this view?
AO1 – Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression. AO2 – Analyse ways in which meanings are shaped in literary texts. AO3 – Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received. AO4 – Explore connections across literary texts. AO5 – Explore literary texts informed by different interpretations.

76. AO2 Speech in act 1 Playful speech with Iago in Act 2
Lying to Othello about the handkerchief
Naivety about the natures of women and men ‘men are not gods’
Powerlessness in the face of Othello’s accusations

77. AO3 Women’s position at the time
Expectations of women in marriage (she initially goes against them)
Her willingness to consummate the marriage
21st century perspective on women – D seems weak and helpless

78. AO4 Tragic concepts of victimhood/villainy
Position as ‘innocent maiden’ which links to other tragedies where women could be considered as victims
Desdemona seen in an angelic way – her goodness is never (truly) corrupted – she is a heroine in every sense of the word
Her place in this romantic tragedy – her love never wavers
Catharsis – audience has pity for Desdemona

79. AO5 Feminist viewpoints on Desdemona – lack of power
Virtue and honour and how she is abused by Othello and Iago
How some may be unsympathetic to Desdemona due to her lack of forcefulness
Initial powerful womanhood brings about downfall
Iago cannot bear that Desdemona has some form of power and must destroy it.

80. How could this paragraph be improved?
Some people might think that Desdemona is responsible for her own death because she lies to Othello about the handkerchief. If she hadn’t lied, he wouldn’t have thought she was guilty. She should have just told him that she lost it and then he wouldn’t have got angry at her. If he did go mad, it would be for a real reason and not for the one that Iago made up. When Desdemona says ‘my noble Moor/Is true of mind, and made of no such baseness/As jealous creatures are, it were enough/To put him to ill thinking’ it seems like she already knew that he would think badly of her for losing it. The audience might think that she is in denial about Othello being jealous – she knows the handkerchief holds such significance.

81. Structure of paragraphs:
Mention a key aspect of the character/theme in question
Use evidence to support your point
Develop your analysis in line with the task – identify key dramatic devices
Could you interpret this in another way? If not, move on to your next point

82. Section B – Debate style question
Othello – William Shakespeare
‘Othello’s virtue and valour ultimately make him admirable.’ To what extent do you agree with this view?
Remember to include in your answer relevant comment on Shakespeare’s dramatic methods.
[25 marks]

83. Planning Tips:
Circle what you feel to be the key words in the quotation. The key words are often themes – write a brief definition in your own words.
Try to list all the examples/scenes/quotations you can think of from the play which you feel embody these terms/themes.
Look at some of the other words in the quotation. Phrases such as ‘always’, ‘ultimately’ etc. show that the quotation is an opinion rather than a fact. Decide whether or not you agree with this opinion. You might agree with some of the quotation, but not all of it. Make notes as to why.
Think about alternative interpretations. Can you think of a counter argument?
Do the key terms in the question relate to any theories of tragedy we have studied? Or views from named critics?
Does the fact that the text is a play, rather than a poem or a novel, affect the way you view the quotation?

84. Only once you have considered/made notes on the task should you start your essay.
Aim for a short intro which outlines your understanding of the key terms in the quotation, along with a statement explaining which line of argument your essay will take (i.e. do you agree, disagree or a bit of both?). Then work through all of your points using as much supporting evidence from the text as possible.
Once you have included a quotation – before moving on to a new point – ensure to discuss any dramatic techniques within the quotation. For example; use of setting, language, irony etc.
Always remember to reference the writer – they are the ones that use techniques, not ‘the text’.

85. Example opening:
Virtue and valour are terms often used to describe tragic heroes. The term ‘virtue’ in relation to character means that they might act in a morally superior way or that they are considered a morally ‘good’ character, perhaps even in their religious beliefs. ‘Valour,’ meaning ‘courage,’ for a character such as Othello, is a label we could attach to him right from the start of the play. His bravery in battle is what ‘won’ him the love of Desdemona. In addition to this, he is presented as a brave soldier throughout the play. When considering this statement, I would agree that Othello’s valour makes him admirable, however it is questionable as to whether he is a virtuous character due to his murderous actions.