1. LQ: Can I understand the plot developments of Act 3?
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AS Paper 1: Othello
Lesson 10
LQ: Can I understand the plot developments of Act 3?

2. Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences B4
Outstanding Progress: you will confidently explore through detailed and sophisticated critical analysis how writers use these aspects to create meaning B3
Excellent Progress: you will explore structure, form, language, themes and contexts, commenting on specific aspects with reference to how they shape meaning B2
Good Progress: you will show awareness of structure, form, language, themes and contexts, commenting on specific aspects with reference to how they shape meaning
LQ: Can I further develop my understanding of characterisation in Act 1?

3. Starter. Class discussion
LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3?
LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3?
LQ: Can I further my understanding of the plot and begin to look closely at language?
LQ: Can I further develop my understanding of characterisation in Act 1?
LQ: Can I identify the changing traits of characters?
LQ: Can I analyse structure, form, language, themes and contexts in Othello?
Starter. Class discussion
Othello is unlike other Shakespearean dramas for two reasons:
the scarcity of comic relief, which only appears briefly at the beginning of this short scene.
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.
Ext: Whose thoughts are the audience most exposed to and how does this link with Act 3 Scene 1?
already subordinated to men socially and legally
Husband was absolute
Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

4. LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3?
LQ: Can I further my understanding of the plot and begin to look closely at language?
LQ: Can I identify the changing traits of characters?
LQ: Can I further develop my understanding of characterisation in Act 1?
LQ: Can I analyse structure, form, language, themes and contexts in Othello?
As a class, let’s read/watch Act 3 Scene 3.
As we do, try to think about the following questions:
What do you notice about the different ways that Iago and Desdemona try to persuade Othello?
What do you notice about lines 34, 36, 38–40?
How to you imagine the staging to take place in in lines 29-34?
What do you notice about lines ?
Having set the scene with generalities, how does Iago chip away further at Othello?
In what way does this allude to earlier events in the play?
Make a note of key quotations as we read
Ext: Can you link your answers to social context
Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

5. LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3?
LQ: Can I further my understanding of the plot and begin to look closely at language?
LQ: Can I further develop my understanding of characterisation in Act 1?
LQ: Can I identify the changing traits of characters?
LQ: Can I analyse structure, form, language, themes and contexts in Othello?
Act 3 Scene 3 summary:
The progress of Act III Scene 3 is painful to behold. Everything proceeds exactly as Iago wishes. The audience knows from the outset that Desdemona will doom herself with every utterance. We recognise the horrible irony of her remark that she would rather die than abandon her commitment to plead for Cassio and then wince as she carries out her promise. Cassio’s innocent uneasiness goes against him, as Desdemona’s forthright approach goes against her; all because of Iago’s deceptively short and simple opening line, 'Ha, I like not that' (line 34). Their honesty is no match for his duplicity.
Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

6. LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3?
LQ: Can I further my understanding of the plot and begin to look closely at language?
LQ: Can I analyse structure, form, language, themes and contexts in Othello?
LQ: Can I further develop my understanding of characterisation in Act 1?
LQ: Can I identify the changing traits of characters?
Act 3 Scene 3 summary:
In the first part of the scene we watch as the ensign and Desdemona try to persuade Othello to adopt their own particular view of Cassio. Their methods of persuasion could not be more different. Desdemona speaks urgently and energetically, praising Cassio and repeating her demand to know exactly when he will be reinstated. She is open and confident. It is possible to interpret her insistence as nagging, and Desdemona is perhaps foolish to keep on with her defence of Cassio when it is clear that Othello does not wish to discuss the matter. We might also accuse Desdemona of meddling in affairs that don’t concern her (earlier in the play Othello made it plain that military and domestic life were not to be confused). But why should Desdemona not speak her mind? She has every reason to feel confident of her husband’s devotion. We also recognise that her motives for speaking are generous and honest. Desdemona thinks that she is acting in her husband’s best interests; Cassio was a ‘go between’ when Othello and she were courting and he has been a reliable and loyal lieutenant and friend. And she also knows he is genuinely penitent
Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

7. LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3?
LQ: Can I further my understanding of the plot and begin to look closely at language?
LQ: Can I analyse structure, form, language, themes and contexts in Othello?
LQ: Can I further develop my understanding of characterisation in Act 1?
LQ: Can I identify the changing traits of characters?
Act 3 Scene 3 summary:
Iago’s methods are altogether more subtle. His pretended reluctance to speak (which worked so well in Act II Scene 3 ) enables him to gain ground swiftly. Unlike Desdemona, Iago needs prompting to reveal his thoughts and says very little at the start of the scene. However, the words he chooses are devastatingly effective (see lines 34, 36, 38–40). He is also wise and lucky. To a certain extent, as we have seen above, Desdemona ‘digs her own grave’ by nagging her husband about Cassio, whose exit at the start of the scene could easily be misconstrued. When Iago speaks again after Desdemona’s exit he asks a leading question and hints at his own bad thoughts. Note the way in which Iago loads the words ‘think’ and ‘honest’; Desdemona’s repeated pleas to know exactly when Cassio will be reinstated irritated Othello; a few minutes later the repetition of these two words has the same effect. The audience will be alert to the fact that these two words are the ‘key’ to Othello. Iago’s power resides in these words: he poisons thought by posing as an honest man.
Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

8. LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3?
LQ: Can I further my understanding of the plot and begin to look closely at language?
LQ: Can I analyse structure, form, language, themes and contexts in Othello?
LQ: Can I further develop my understanding of characterisation in Act 1?
LQ: Can I identify the changing traits of characters?
Act 3 Scene 3 summary:
The horrible irony of the scene continues. Othello did not want his wife to share her honest thoughts with him and asked her (albeit politely) to leave him alone; now he is impatient for Iago to reveal his (false and evil) thoughts. Iago is not only reluctant to give voice to his thoughts, he also says that he hopes his suspicions are unjustified (lines 147–57). It is interesting to note, however, that Othello makes Iago’s task easier; the Moor introduces the subject of his wife himself when he is warned in general terms about jealousy. Iago may indeed be suggesting topics for consideration, but his victim quickly catches up with him and jumps to his own false conclusions.
Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

9. LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3?
LQ: Can I further my understanding of the plot and begin to look closely at language?
LQ: Can I further develop my understanding of characterisation in Act 1?
LQ: Can I identify the changing traits of characters?
LQ: Can I analyse structure, form, language, themes and contexts in Othello?
Plenary, language analysis.
What is the relevance of these lines?
Excellent wretch! perdition catch my soul  But I do love thee! and when I love thee not  Chaos is come again. (III.3.90–2)
abstract noun
noun
a noun denoting an idea, quality, or state rather than a concrete object.
Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

10. LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3?
LQ: Can I further my understanding of the plot and begin to look closely at language?
LQ: Can I further develop my understanding of characterisation in Act 1?
LQ: Can I identify the changing traits of characters?
LQ: Can I analyse structure, form, language, themes and contexts in Othello?
Excellent wretch! perdition catch my soul  But I do love thee! and when I love thee not  Chaos is come again. (III.3.90–2)
These lines suggest that Othello will be utterly lost if his love is destroyed. Note the two negative abstract nouns that hint at the trouble to come: ‘perdition’ and ‘Chaos’. The audience will be aware of the dramatic irony of these lines. So why, if he feels so strongly attached to Desdemona, does Othello give in to feelings of doubt and jealousy so very swiftly? Some commentators see these lines above as proof that the Moor is already in the grip of emotions that he cannot handle. Others point out that in spite of his other positive qualities and calm authority as a soldier, Othello is susceptible to jealousy. He is suggestible and insecure. This is not to underplay Iago’s power in this scene. Othello has no reason to suspect his ensign of double dealing and as we have seen above, Iago has an enormous and subtle range of weapons in his armoury.
abstract noun
noun
a noun denoting an idea, quality, or state rather than a concrete object.
Ext: Can you make a link to context?
Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

11. Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences B4
Outstanding Progress: you will confidently explore through detailed and sophisticated critical analysis how writers use these aspects to create meaning B3
Excellent Progress: you will explore structure, form, language, themes and contexts, commenting on specific aspects with reference to how they shape meaning B2
Good Progress: you will show awareness of structure, form, language, themes and contexts, commenting on specific aspects with reference to how they shape meaning
LQ: Can I further develop my understanding of characterisation in Act 1?

12. Literary technique quiz
LQ: Can I further my understanding of the plot and begin to look closely at language?
Literary technique quiz
words or actions is clear to the audience or reader although unknown to the character.
figure of speech that juxtaposes elements that appear to be contradictory.
Dramatic Irony
Oxymoron
attributing of human emotion and conduct to all aspects within nature
Allusion
Hubris
Pathetic Fallacy
reference to a place, person, or something that happened
excessive pride or self-confidence
Aside
Paradox
Monologue
a statement that contradicts itself 
intended to be heard by the audience but is supposed to be unheard by the other characters in the play
A speech presented by a single character, most often to express their mental thoughts aloud,
Ext: Can you come up wit any others?
1 change/deception
2 with respect but are willing to acknowledge Brab’s accuations of witchcraft
3 agressive
Blank verse
Soliloquy
Foreshadowing
a warning or indication of (a future event)
poetry written in regular metrical but unrhymed lines, almost always iambic pentameters
a speech made to the audience in which a character reveals their inner thoughts
Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis