ADVANCED HIGHER ENGLISH LITERARY STUDY Text 1Othello by

ADVANCED HIGHER ENGLISH LITERARY STUDY Text 1“Othello” by William Shakespeare

1. Dramatic techniques We will be analysing and evaluating Shakespeare’s use of dramatic techniques, such as: Plot Setting Theme Characterisation Structure Dramatic irony Soliloquy Monologue Dialogue Stage directions Language Conflict etc…

2. Main themes We will be analysing and evaluating how Shakespeare uses the different characters to convey the main themes of the play. For example: • Jealousy • Race • Gender relationships • Deceit and manipulation

3. Literary criticism We will also be analysing and evaluating the play from a number of different critical perspectives. For example: • Feminist theory • New Historicist theory • Post-colonial theory In your critical essay, you will be referring to some of these theories.

Feminist theory and “Othello” • Feminist readings of the play explore the gender politics it presents and its masculine value system. They explore how masculine the play is and how it only offers a male viewpoint. • A feminist critic would consider the roles of male and female characters in relation to the patriarchal context of the play. • Many feminist critics have noted how female characters in Jacobean tragedies such as “Othello” are often presented as passive victims who have limited power and are punished by the patriarchy for their sexuality. They also accept their subordination to males without question.

New Historicist theory and “Othello” • New Historicist critics seek to consider the play in relation to its social and historical context. They examine the play in relation to the ideology and beliefs of Shakespeare’s society. • They are particularly interested in whether or not the play reinforces or subverts the ideology and values of Shakespeare’s society. For example, with regards to race and gender. • It has been argued by some that the play challenges the racist, sexist and colonial views of Shakespeare's society as it includes a black hero who is in a loving and sympathetic marriage to a white woman.

Post-colonial theory and “Othello” • A post-colonial reading of the play considers the way in which Othello’s race is portrayed and how he occupies an outsider status in a “white world”. • Some critics have argued that the central conflict in the play is between the racism of a white patriarchy and the threat posed to it by a black man’s marriage to a white woman. Mixed marriages were a cause of fear and anxiety in Shakespeare’s society: it was believed that the black male had the power to subjugate the woman’s whiteness. • Some critics look at the play with regards to Elizabethan stereotypes about non-white men. • Some critics point out that, in the play, non-whites exist as “the other”.

Post-colonial theory and “Othello” • Some critics suggest that Othello is an honorary white at the start of the play but becomes a total outsider again because of his interracial relationship with Desdemona. • Some critics argue that the play exposes the fear of racial difference in Renaissance culture/society. • Some critics argue that the white male characters in the play feel threatened by Othello’s race.

4. Important In the Literary Study part of the exam, you will have 90 minutes to write a detailed critical essay which compares and contrasts “Othello” with “Macbeth”. Thus, the main focus for us when studying these two plays will be building up your knowledge and understanding so that you can achieve the best possible mark for this part of the exam. However, we will also be using extracts from the plays to help us build our skills for the Textual Analysis part of the exam.

5. The enduring appeal of “Othello” One of Shakespeare’s most frequently performed plays since it was first performed in the early 1600 s. Whys has it remained popular? • Two compelling central male roles. Othello’s psychological complexity and his relationships with Desdemona and Iago exert an emotional grip on the audience. The Machiavellian Iago is also a figure of psychological complexity with critics debating his motives for centuries. • The Italianate setting of the play is also intriguing. Italy was frequently used by Jacobean dramatists who wished to explore themes relating to appearance and reality, corruption and sexual decadence. • The contrasting emotions experienced by the characters, such as passion, hatred and jealousy are compelling.

The enduring appeal of “Othello” • The play’s success also lies in its emphasis on the universal theme of love. Othello is one of the greatest lovers in dramatic literature: there is something truly grand about the passions by which he is swayed. His marriage to Desdemona is characterised by mutual commitment, desire and romance and this makes its destruction deeply tragic, exerting a strong hold on our emotions. • Othello, as the “noble Moor”, is a unique tragic hero. He is brought down by hubris, an affliction common to many Jacobean protagonists. However, what sets him apart is his race: he is the first black hero to be represented on stage. • Shakespeare’s portrayal of racism and xenophobia make the play still relevant today.

6. The genre of “Othello” (tragedy) Greek tragedy is based on conflict and depicts the downfall of high-ranking characters who make fatal errors of judgement (hamartia) because of their pride and ambition (hubris). They are swiftly destroyed by the disastrous consequences of their errors. There is a strong element of fate determining the outcome, which the tragic hero dies fighting against. His death seems inevitable. At the end, justice and order are restored and a new status quo is established. A purging of the emotions takes place (catharsis) Pity and fear is evoked in the audience (pathos)

Greek tragedy and “Othello” can be seen as a Greek tragedy in a number of ways: • Othello is a high-ranking general who is descended from a line of kings. • He suffers from hubris (i. e. is he overambitious when he marries Desdemona? Does he overreach himself by trying to combine the roles of husband soldier? Is he too proud and self-satisfied? ) • He makes fatal errors of judgement (hamartia) • The denouement evokes feelings of fear and pity in the audience (pathos)

Greek tragedy and “Othello” As well as observing some of the conventions of Greek tragedy, Shakespeare makes effective use of theatrical conventions of his own age: • Divided into five acts • A climax/turning point in Act 3 • A tragic outcome in Act 5

Greek tragedy and “Othello” is also a highly original tragedy: • Includes a non-European tragic hero • The villain is kept alive at the end of the play • The hero and villain are given equivalent stage time and are equally powerful speakers

7. The setting of the play It is important to examine the ways in which the settings used in the play contribute towards the tragedy that unfolds. The play is set in 1570/1571. There are two principal locations: Venice and Cyprus. The two locations are symbolically different in a number of ways. Venice In Act 1, the action takes place over one night in Venice. At the end of the 16 th century, dramatists began to use Italy as a suitable location for revenge tragedies. The Italians were thought to be worldly. Furthermore, foreign politics and royalty were stereotyped as being full of villainy and sexual perversion. Venice was associated with everything that was sophisticated and cultured. It was a location that suggested power, order and wealth. Venice also had a reputation as a place of liberty and loose morals.

Shakespeare is able to use Venice to establish Othello as an outsider: although he is a general and serves in the senate, he is not Italian. Nor is he European. On the other hand, Iago is a typical Italianate villain: scheming, selfish and amoral. Iago is able to use his insider knowledge of Venice and its decadent sexual stereotypes to undermine Othello and Desdemona’s marriage.

Cyprus In Act 2, the action shifts to Cyprus and remains there for the majority of the play. Cyprus was one of Venice’s colonies from 1489 to 1571. “Othello” is set in 15701571, making Othello one of the last men sent to defend the island against the invading Turks. The military events of the play are based on historical fact. Cyprus is a “warlike island” under illegal occupation by the Turks. Shakespeare’s use of a war with the Turks and the uneasy atmosphere of the garrison town in Cyprus is significant. The conflict and danger in Cyprus are mirrored by the tragic events that unfold there. Away from the civilisation of Venice, Iago’s evil schemes are able to prosper. He is able to manipulate events to further his plots. Cyprus is threatened by the Turks; Othello’s peace of mind and marriage are threatened by Iago’s manipulation. Othello is sent to Cyprus to restore peace; instead, he kills his wife and then commits suicide.

Cyprus is also a very isolated setting, which is psychologically appropriate. Othello and Desdemona are secure and happy in their marriage while in Venice, but are wrenched apart in Cyprus. The island the war isolates Desdemona from everything and everyone she knows. Likewise, Othello is more aware of his racial difference and also feels more isolated. The setting is unfamiliar to both characters and contributes towards the fear and violence they experience as passions are unleashed and order is destroyed.

8. Key context- race and xenophobia • During the Renaissance, Christians believed that Africans were descendants of Ham who, according to the Bible, was cursed by his father. Thus, it was held that they were an accursed race of people. This tradition contributes towards the racial prejudice expressed towards Othello in the play. • “Othello” is the first play to include an African character as the tragic hero. • The Moors were Islamic inhabitants of Northern Africa. They conquered Spain in the 8 th Century. Between the 11 th to 15 th centuries, Christians reconquered Spain. The Moors who remained adopted a more European culture and some converted to Christianity (like Othello).

Key context- race and xenophobia • In 1600, Venice was a major trade rival to England, but also an important trade link with North Africa and Asia. As a major trading post, Venice was a melting pot which attracted foreigners of many different races, nationalities and cultures. Thus, in such a cosmopolitan place, it would not be unusual for Venice to hire a foreigner like Othello to be a general in the army and protect the city. • Europeans during the Renaissance used the term “black” to refer to anyone of non-European background. Thus, Othello’s race and heritage would have signified his outsider status in Venice, rendering him somewhat isolated in this society.

• At this time, England was hostile to foreigners (especially non-European) and London had witnessed several major riots against foreign residents. Elizabethans were against mixed marriages and viewed non-whites with suspicion. Elizabeth I demanded their removal from England because they were considered an annoyance. Many people in England believed that non -whites were fit only to be slaves. Thus, it could be argued that Iago in the play reflects English attitudes towards non-whites. • The play’s depiction of Venice can also be said to reflect English xenophobic attitudes towards Italy at this time. Although Venice was viewed as being a place of refinement and romance, and a model of civilisation, Italy as a whole was associated with decadence, villany and vice.

9. Key context- The Renaissance began in Italy in the 14 th Century and instigated a revival of artistic and intellectual endeavour across Europe. It was a movement characterised by curiosity in thought and which challenged old assumptions and traditions. There was a new confidence in human reason and in human potential which challenged old conventions about human nature. Classical texts and the culture of ancient Greece and Rome were rediscovered and, with this, a golden age in European, especially English, literature began. Shakespeare’s plays were an important part of this golden age.

Renaissance dramatists, such as Shakespeare, were heavily influenced by Seneca, a classical Roman playwright who reworked the plays of the Ancient Athenian dramatists. Senecan tragedy is characterised by: • Long narrative accounts of events • Long reflective soliloquies • Exploration of revenge • Violence We are able to identify these features in “Othello”. Thus, we can see that the play is influenced by Greek and Senecan tragedy.

10. Key context- Female subordination During the Renaissance, women in Europe occupied subordinate roles in society and in the home, and their lives were controlled by the patriarchy. Furthermore, women expected to be ruled and dominated by men and were submissive to them. Women had few legal rights. They were entitled to inherit property. When they married, everything that they owned became the property of their husbands. Most men saw women as possessions. For example, fathers expected to choose husbands for their daughters; husbands expected their wives to obey them without question.

• Intellectually, women were thought to be inferior to men, and were seen to be incapable of rational thought. Females were usually not permitted to receive a formal education. • Assertive and argumentative women were seen as being a threat to the patriarchal social order and were severely punished for their behaviour, and treated like criminals. • Interestingly, Shakespeare included a number of strong-minded females in his plays. For example, Emilia and Desdemona in “Othello” and Lady Macbeth in “Macbeth”.

Act One

Act One- synopsis Othello, a Moor and a respected general, has secretly married Desdemona, the white daughter of a wealthy aristocrat. Her father, Brabantio is informed of this on the night of the marriage by Roderigo who had hoped to marry Desdemona himself. Brabantio goes in search of Othello and then makes his way to the Senate where he accuses Othello of bewitching his daughter. Brabantio’s accusations are proved false when Othello and Desdemona explain how they fell in love. The Duke of Venice tries to reconcile Brabantio to his daughter’s marriage but, in his anger, he disowns her. The Senate sends Othello to defend Cyprus from a Turkish invasion and Desdemona asks to accompany her husband on his mission. She is put in the care of Iago, who is Othello's ensign, while Iago’s wife Emilia is to be her lady-in-waiting.

Act One- synopsis (cont’d) We are also introduced to the character of Iago. He is an embittered man who is angry because Othello has not given him the promotion he thinks he deserves. Othello has chosen to give the role of lieutenant to Cassio, a young soldier, instead. Iago seeks revenge on both Othello and Cassio. He instigates trouble for Othello when he persuades Roderigo to inform Brabantio of Desdemona’s elopement.

Analysis and evaluation: Act One Scene One 1. 1

Things to focus on: • The deceitful and manipulative nature of Iago • The racism of Roderigo and Iago towards Othello • Iago’s hatred, jealousy, resentment and bitterness towards Othello and Cassio

Quote from the text 1 2 3 Detailed analysis and evaluation

1. The deceitful and manipulative nature of Iago

Class notes

“though he in a fertile climate dwell, plague him with flies” (69 -70) He uses others for his own ends, for example Roderigo. He uses Roderigo in an attempt to besmirch Othello and turn Brabantio against him. He is able to weaken Othello and is intelligent enough to avoid any suspicion or blame being pointed in his direction.

“I follow him to serve my turn upon him” (41) He acts like he is loyal and trustworthy to Othello, but in truth he despises him and is envious of him, and is actively attempting to destroy his life. He serves Othello to take advantage of him and for his own financial gain. He is duplicitous and is able to adopt different facades and disguises in order to hide his true motives and intentions.

Teacher’s notes

“I follow him to serve my turn upon him” (41) “I am not what I am” (64) Emphasises Iago’s selfish and self-serving nature. He admits to Roderigo that he serves and obeys Othello only so that he can use him for his own gain and take advantage of him. He goes on to admit that he pretends to be dutiful and devoted to Othello, but he is actually only doing so in order to get rich and, therefore, be able to afford to be his own master and no longer have to serve anyone. He reveals that he keeps his true self, and his true motives, thoughts and feelings, well-hidden. He is able to manipulate and deceive Othello by adopting the façade of faithful and loyal servant in order to fulfil his own ambitions.

We can see that Iago has a very duplicitous nature and is able to adopt different personas in order to advance his own interests and achieve his goals. The nature of Iago’s character means that the audience will question the difference between appearance and reality from the very start of the play and through 0 ut.

Techniques • Characterisation • Dialogue • Conflict

“though he in a fertile climate dwell, plague him with flies!” (69 -70) This emphasises Iago’s rebellious nature and how he delights in making trouble. He instigates and stage-manages a scenario where he and Roderigo pester Brabantio (Desdemona’s father) about her romance with Othello. They manipulate him into feeling concerned and alarmed about his daughter’s safety due to her relationship with Othello. As a result of Iago’s lies and manipulation, Brabantio’s opinion of Othello is irreparably damaged (which is what Iago intended).

In the scene with Brabantio, Iago betrays Othello and undermines him by using deceit and manipulation to turn Brabantio against him and thus sabotage and destroy his marriage to Desdemona before it has really begun.

Techniques • Characterisation • Dialogue • Conflict

2. The racism of Roderigo and Iago towards Othello

Class notes

“thicklips” (65) (Synecdoche) Othello is continuously referred to by his physical features rather than his name. He is never mentioned by name. He is dehumanised. He is being referred to using a degrading racial stereotype which exaggerates his facial features in an insulting way.

“an old black ram is tupping your white ewe” (88 -89) There is a stark contrast between the connotations associated with the “white ewe” and the “black ram”, which Iago deliberately exploits to emphasise the racial difference. W. E- connotations of clean, pure, innocent, female B. R- connotations of aggressive, beastly, dark, male.

“covered with a Barbary horse ” (111) Iago attaches animalistic qualities to Othello in order to make him appear uncivilised and inhuman. He highlights Othello’s North African heritage He highlights the strength and power that Othello has over Desdemona and, in doing so, implies that she is too weak and fragile to escape him.

Teacher’s notes

“the devil will make a grandsire of you” (90) Iago does everything he can to alarm Brabantio about his daughter’s relationship with Othello by playing on a variety of negative stereotypes and slurs about non-white people. Iago directly insinuates that Othello is satanic or connected to the Devil in some way, due to his race and heritage. By referring to Othello’s alleged bestiality, and supposed lustful and immoral behaviour, Iago is emphasising his lack of Christian values, principles and morals which, of course, are a result of his foreignness. Iago is also emphasising Othello’s lack of humanity and his natural inferiority as a result of being a Moor.

Techniques • Characterisation • Dialogue • Conflict

“you’ll have your daughter covered with a Barbary horse” (110) • When spreading lies and misconceptions about Othello, Iago reflects the racial stereotypes of the time. • He describes him as a cunning sexual predator and nothing more than an immoral, lustful, animalistic and inhuman beast who will defile and corrupt Desdemona’s purity and innocence. • Iago deliberately and repeatedly refers to Othello’s North African heritage to reinforce his outsider status and his “otherness”, making him a figure who should be feared and not trusted due to his race.

Techniques • Characterisation • Dialogue • Conflict • Metaphor

3. Iago’s hatred, jealousy and resentment towards Othello and Cassio

Teacher’s notes

“nor the division of a battle knows more than a spinster” (24 -25) • Iago resents Cassio being appointed as Othello’s lieutenant as he feels that Cassio is inexperienced and unknowledgeable about war and battle. He implies that all his knowledge about warfare comes from books and he has no experience on the battlefield. • Iago is certain that he is more deserving of the position as he is a veteran with plenty of experience in battle who has fought alongside Othello, his commanding officer, as his ensign. • Being overlooked for promotion provokes great anger, resentment and jealousy in Iago and provokes his quest for revenge against Cassio and Othello.

Techniques • Characterisation • Dialogue • Conflict

“Preferment goes by letter and affection, and not by old gradation” (37 -38) Iago believes that Othello promoted Cassio ahead of him because he prefers Cassio over him on a personal level and not because he is a superior and more knowledgeable soldier. He knows that Cassio and Othello are friends and that an element of nepotism has been involved in Cassio’s appointment. Iago believes that he has been treated unfairly by Othello and is more deserving of the position than Cassio who only gained the position due to favouritism. Iago feels that this is unjust and it fuels his anger, hatred, jealousy and resentment against both men. It feeds his desire for revenge.

Techniques • Characterisation • Dialogue • Conflict

Note on Iago From the beginning of Act 1, we see that Iago is clearly the antagonist of the play. The fact that he actively sets out to harm Othello and gain his revenge against him also suggests that he is capable of cruel acts and is possibly evil. This, then, also makes him the villain of the play. It can also be argued that Iago is a type of malcontent: he is clearly disaffected and dissatisfied by his life, particularly after being overlooked for promotion, and he also has a rebellious nature. It is, however, certain that Iago is a Machiavel. He is clearly a villainous and immoral character who is a skilled liar, schemer and manipulator and is able to disguise his true motives, thoughts and feelings from others to achieve his goals.

Analysis and evaluation: Act One Scene Two 1. 2

Things to focus on: • Our first impressions of Othello (as a man, soldier and husband) • The racism of Brabantio towards Othello • Iago’s deceit and duplicity

Quote from the text 1 2 Detailed analysis and evaluation

1. Our first impressions of Othello (as a man, soldier and husband)

Class notes

“But that I love the gentle Desdemona” (25) Othello proves that he truly loves D and did not merely marry her for her title. Shows his protective attitude towards D. Reflects the patriarchal view of women being weak and defenceless.

“Let him do his spite” (17) He is confident in his own innocence and self-worth. He doesn’t feel threatened by Brabantio’s accusations against him. He knows that his reputation of being a loyal servant to Venice will protect him.

NB Othello comes across as being a very calm, confident and assured man who is wellspoken and articulate. This is in stark contrast to the way in which he was portrayed by I and R as a barbaric, primitive, savage, lustful, beastly, demonic sub-human creature.

Teacher’s notes

“My parts, my title and my perfect soul Shall manifest me rightly” (32 -33) When faced with Brabantio’s accusations and attempts to have him arrested, Othello reacts in a very calm, composed and dignified manner. He knows for certain that he has done nothing wrong and is willing to face the consequences of his marriage to Desdemona. Even though his reputation is under attack and he has made a powerful enemy in Brabantio, he bravely and nobly does not think of hiding or trying to escape. He is confident and secure in his own innocence.

Techniques used • Characterisation • Dialogue

“My services which I have done the signiory Shall out-tongue his complaints” (18 -19) Othello seems unworried and untroubled by Brabantio’s accusations. This is partly because Othello is aware of his own importance in Venice as a loyal, brave, well-respected and successful general who has served his city valiantly. He knows that the city depends on him for his military knowledge and experience and that this will shield him, to some extent, from Brabantio’s attempts to have him arrested. (We can see this in lines 36 -45. The Duke sends Cassio to find Othello as his military acumen is needed regarding the Turkish invasion of Cyprus)

Techniques used • Characterisation • Dialogue

2. The racism of Brabantio towards Othello

Class notes

“bondslaves and pagans shall our statesmen be” (98) B is implying that O is subhuman. He is stereotyping O as a slave or pagan. By implying he is a pagan, B is emphasising that O is unchristian and is thus a threat to Venice’s civilised society. He is implying that O is barbaric, savage, primitive. B is asserting his supposed power and influence over O as he is white and O is foreign/black/the other.

“damned as thou art, thou hast enchanted her” (63) B accuses Othello of tricking/fooling/using foreign rituals on Desdemona. By insinuating that O has used magic, B makes a connection between O’s race and the devil, a racist stereotype of the time. B refuses to accept that his daughter could have fallen in love with a black man through her own volition. He believes that she must have been tricked in some way.

Teacher’s notes

“Damned as thou art, thou hast enchanted her!” (66) Brabantio implies that Othello has an evil nature and that he has cast a spell on Desdemona. He refuses to believe that his daughter would willingly reject all the other (white) suitors in Venice in favour of a black man. He implies that it would be impossible to love a man such as Othello and that he should be treated with fear and suspicion. The only explanation for Desdemona agreeing to marriage is that Othello must have used magic of some sort to bewitch her. He accuses Othello of drugging or tricking his daughter into falling in love with him and implies that he has kidnapped her and is holding her against her will. N. B. Brabantio accuses Othello of “stealing” his daughter away from him, thus emphasising how he sees Desdemona as being a possession that he owns.

By accusing Othello of using spells to bewitch Desdemona, Brabantio reflects English stereotypes of black people as knowing the Satanic arts of magic and, therefore, being Unchristian and less civilised.

Techniques • Characterisation • Dialogue • Conflict

3. Iago’s deceit and duplicity

Class notes

“It is Brabantio. General, be advised. He comes to bad intent” (55) Iago is warning Othello that Brabantio will not hesitate to attempt to force a divorce. Iago is able to convincingly pretend that he is concerned for Othello’s wellbeing and is protecting his marriage despite the fact that he is actively trying to destroy it without Othello’s knowledge.

“By Janus, I think no” (33) Janus is a Roman god/deity who is depicted as having two faces. Link to Seneca? Iago is the embodiment of being two-faced as he is so duplicitous, deceptive and manipulative in his dealings with others.

Teacher’s notes

“ Nine or ten times I had thought t’have yerked him here under the ribs”(5) Here, Iago continues to skilfully misrepresent himself to Othello by adopting the façade of his loyal, faithful and trustworthy friend. He claims to Othello that he could have killed Roderigo for the way in which he slandered him to Brabantio while concealing the fact that he was the one encouraging Roderigo to insult him in such a despicable and vile manner.

Techniques • Characterisation • Dialogue

“But I pray you, sir, Are you fast married”(10 -11) Here, Iago again shows himself to be a very skilled actor and is completely convincing in presenting himself as Othello’s loyal, faithful and trustworthy friend. He gives the impression that he is concerned about the welfare and security of Othello’s marriage as he knows that Brabantio, a powerful and influential man in Venice, is coming to either have the marriage annulled or else ensure that Othello is severely punished for marrying Desdemona without his consent. He successfully hides the truth from Othello: that it was he who provoked Brabantio’s anger and indignation and that he is actively trying to ruin his marriage to Desdemona before it has really begun.

Techniques • Characterisation • Dialogue