2. Minds-On
I want you to read through and work on the quoting your sources worksheet.
Do you know how to quote a source that is longer than 4-lines? THIS IS VERY IMPORTANT!

3. Minds-On I want you to take the time to review your essays. Conclusion
Thesis: restate in different words
Argument 1: restate in different words
Argument 2: restate in different words
Argument 3: restate in different words
Synthesis: Explain how and why the topic sentences support your thesis
Commentary: End with an insightful, thought-provoking comment that links your thesis with a broader issue. In other words, make connections to your novel’s world and the world in which you live.

4. Does the end justifies the means?
To know how Machiavellian Iago is manipulating Othello.
To understand the importance of Iago’s actions and scheming is affecting Othello’s characterization.
To be able to analyze the symbolism, irony, characterization and language of Othello and Iago
Machiavellian; Symbolism;
Diction; Characterization; Irony

5. DURING READING (Act 4, Scene 1):
To know how Machiavellian Iago is manipulating Othello. To understand the importance of Iago’s actions and scheming is affecting Othello’s characterization.
DURING READING (Act 4, Scene 1):
What is the purpose of Lodovico in this scene?
Why does Othello lose consciousness in Act IV, 1, lines ? How does Iago explain what happened?  Why?
Explain how Iago stages the dual,  simultaneous manipulation of  Cassio and Othello in Act IV, 1, lines
Do you think Iago anticipated Bianca's appearance at line 145?  How is he able to use her arrival to further his deception?
Look at Shakespeare’s use of a) irony, and b) dramatic irony in this scene. Make sure that you are clear about the difference between these two!
Machiavellian; Symbolism;
Diction; Characterization; Irony

6. During Reading Act 4, Scene 2:
To know how Machiavellian Iago is manipulating Othello. To understand the importance of Iago’s actions and scheming is affecting Othello’s characterization.
During Reading Act 4, Scene 2:
What does Othello mean when he addresses Emilia at IV, 2, lines ?
According to Othello what's the worst part of being a cuckold?
Where in Act IV, 2, does Desdemona finally start to fight back?  Explain her physical  reaction right after Othello leaves at line 92.
Where in this scene does Emilia almost figure out what happened?  Explain her husband's reaction to her speculations.
(1.30)
Machiavellian; Symbolism;
Diction; Characterization; Irony

7. The Machiavellian checklist:
Is Iago a Machiavellian villain? We will need to look throughout Othello to find these characteristics of a typical Machiavellian villain within Iago.
1. Is Iago secretive?
2. Is Iago manipulative and cunning?
3. Does Iago show a lack of morals?
4. Is Iago obsessed with goals, convinced the ends are justified?
-Bullet points
-Reference specific parts of the play.
-Provide page numbers whenever possible.
-Paraphrase or provide SHORT direct quotations.
Theme; Irony; Imagery;
Soliloquy; Characterization; Machiavellian

8. Success Criteria Level 1 – Stating your opinion of Iago
Level 2 – Giving opinion with a reference to the text (with at least one quote – Shakespearean language only when writing about the play!)
Level 3 – As for above, but you will then explain how your quote supports your point. Eg. “This means that…” Also, using literary terms/devices.
Level 4 - Doing all above and then repeating it to make a new point about Iago
From the mark scheme “showing insight and perception”. Also, using literary terms/devices and literary theories (e.g., Aristotle, Northrope Frye, Feminist Theory)

9. 1. Is Iago secretive?
Iago is considered ‘two-faced’ – swears by Janus – significance? an ancient Roman god of doorways, of beginnings, and of the rising and setting of the sun, usually represented as having one head with two bearded faces back to back, looking in opposite directions.
Act 1 Scene 1 – “I am not what I am”
Perceived as “honest Iago” all the way through the play – who calls him this?
Iago hides behind a mask of the loyal soldier
Reveals carefully limited information to Roderigo (when it suits him) but larger parts of his “plot” only get revealed in his soliloquies to the audience.

10. 2. Is Iago manipulative and cunning?
Iago manipulates using other’s weaknesses and strengths:
Brabantio’s racism
Roderigo’s lust for Desdemona
Othello’s jealousy
Cassio’s sense of honour (and ability to get drunk quickly!)
Questions Cassio’s honesty to create doubt for Othello

11. 3. Does Iago show a lack of morals?
Immoral – corrupt, liar, vulgar language and regularly makes sexual references to wind up the other characters – in particular those images involving animals! (ie. Primal and inhuman)
Shows no remorse – at the end, refuses to speak or apologise for his actions
Takes advantage of others – leads Roderigo on thinking he has a chance with Desdemona
Lets others think he is honest and true
Murders both his wife and his ‘friend’

12. 4. Is Iago obsessed with goals, convinced the means justify the end?
Iago is obsessed with destruction and revenge
Believed all his means were justified.
Reveals himself in soliloquies
“And it is thought abroad that ‘twixt my sheets he’s done my office” – Act 1 Scene 3
“For that I do suspect the lusty Moor hath leaped into my seat” – Act 2 Scene 1

13. Othello’s language vs Iago’s
Othello is noted for the beauty of his speaking, about which he makes claims to be a modest speaker - “rude” in his speech.
The characters know his skilled speechcraft – The Duke suggests that Othello’s “tale would win” his daughter too!

14. Othello’s heroic language
Facing Brabantio and his men, Othello says “Keep up your bright swords, for the dew will rust them” (1.2.59) – With a few well-chosen words, the hero calms an angry crowd!
This means “put your swords back in their sheaths, and saying that the “dew will rust them” is a bit of gentle sarcasm to defuse the situation!
Othello is reminding the men he’s facing that their swords will be quite useless – him and his men are trained soldiers so it would be a bit of a mismatch!

15. Othello’s heroic language
Othello admits his ‘crimes’ saying he has indeed married Desdemona, when addressing the Senate in 1.3, but denies the charges of witchcraft – “The very head and front of my offending Hath this extent, no more” (1.3.81)
Ironic as Brabantio has made all kinds of accusations, but the only thing that Othello has really done is marry Desdemona!
He says he will “a round unvarnish’d tale deliver” (1.3.90) of his love. Unvarnished: Plain, straight-forward, to the point.
More irony as he says he will give an account of “what drugs, what charms, what conjuration and what mighty magic” he used to win Desdemona’s heart – this irony conveys the idea that his love is greater than any drug, charm, conjuration or magic.

16. Othello’s heroic language
As a way of making Othello jealous, Iago warns him against jealousy. Othello says he’s not the jealous type and declares “No Iago; I’ll see before I doubt” “Away at once with love or jealousy!” ( )
For Othello, there are no grey areas, but despite what he says, Othello already has strong suspicions, not from seeing anything, but just from listening to Iago.

17. Othello’s heroic language
A little later in the scene Othello says that before this he was happy – he didn’t suspect anything, he couldn’t taste Cassio’s kisses on Desdemona’s lips and everything was right in his world. In his desperation to turn back the clock, he would rather Desdemona had slept with the dirtiest, sweatiest soldiers in camp (the “pioneers”), if only he didn’t know about it!
“I had been happy, if the general camp, pioneers and all, had tasted her sweet body, so I had nothing known!” ( )
This is the moment when he is realizing his cool and calm nature has been destroyed: “Farewell the tranquil mind! Farewell content!” ( )

18. Othello’s heroic language
When Othello demands some proof of Desdemona’s adultery, Iago tells him he will never be able to catch Des and Cassio in bed together, while at the same time describing their coupling in a most lurid and bestial way: “It is impossible you should see this were, were they as prime as goats, as hot as monkeys, as salt as wolves in pride (heat)” ( )
He is wanting to get this primal, animal-like explicit image implanted firmly into Othello’s head.
This comes back in Act 4 when Desdemona thinks he has overheard Desdemona confess her love for Cassio, Othello exits with the exclamation “Goats and monkeys!” ( ) – We see how Iago’s beastly imagery has taken root in Othello’s mind.

19. Othello’s heroic language
Othello then gives up his love for Desdemona and compares the force of his hatred to the force of a huge body of water as it descends through a constantly narrowing passage
“Never Iago: Like to the Pontic sea…”
“Even so my bloody thoughts, with violent pace, shall ne’er look back, ne’er ebb to humble love” (Speech starts )

20. Othello’s heroic language
After seeing the handkerchief in Cassio’s hand, Othello says to Iago, “I would have him nine years a-killing. A fine woman! A fair woman! A sweet woman!” ( )
Othello believes that no punishment would be too cruel for Cassio, but struggles when he thinks of killing his wife – he thinks of how beautiful she is.
Trying to convince himself that his extreme hatred will overcome his extreme love, Othello says “My heart is turned to stone, I strike it and it hurts my hand” ( )
But then he backtracks, adding “O, the world hath not a sweeter creature!”

21. Othello’s heroic language
In the scene in which Othello calls Desdemona a whore, he says that he could bear the pain of being scorned as a cuckold.
“The fountain from which my currents runs / or else dries up; to be discarded thence!” (4.2.58)
Desdemona is that life-giving fountain; feeling that he has been discarded from her love makes Othello feel dead, but he can’t keep her with him. If he keeps her, she would no longer be a fountain, but a tank where ugly toads have sex: “a cistern for foul toads / To knot and gender in!” (4.2.61)
“Patience, thou young and rose-lipp’d cherubin, ay there, look grim as hell!” – Even the angel of patience would get angry at what he has seen. Animal imagery and hell imagery – Who is he sounding like??

22. Othello’s heroic language
After discovering the truth about Iago’s treachery, Othello feels that he has done a thing for which there can be no forgiveness. Looking at the body of Desdemona, Othello is so possessed by the image of his dead love he feels it would be better to be in hell:
“Whip me, ye devils, from the possession of this heavenly sight”
“O Desdemon! Desdemon! Dead!”
( )

23. The Role of Emilia- Act 4, Sc 2 & 3
What are Emilia’s different roles in these two scenes?
What does her speech in 4, 3, ln. 82, reveal about her character, especially when compared to Desdemona?
How far can she be seen as a strong woman?

24. Desdemona Look at the different ways that Desdemona is described
throughout the play and try to identify the speaker.
Then consider:
Do women describe her differently from men?
Are the men divided in the way that they describe her?
Is she seen ever seen as an individual, or a type?
Are there any patterns/groups of descriptions?
How would an Elizabethan audiences’ response be different to ours?