OTHELLO Some notes for MYE Part Duo OTHELLO

OTHELLO Some notes for MYE Part Duo

OTHELLO Revision of Concepts

Main concepts • Tragedy – the tragic hero and key assumptions • Virtue • The Malcontent • Pride, Envy and Jealousy • Subversion of Order • Transgression • Language – imagery • Developments to expect

Tragedy • Key elements of classic “Greek” tragedy • Hero – of noble birth and virtuous with admirable qualities • Setting – a single place and time where all action is focused • Fate – intervenes in form of unexpected events and outcomes • Flaw – usually in the heroic character, an imperfection which is identifiably human

Tragedy – how does Othello measure up? • Hero – The Moor, Othello is not of noble birth but is virtuous “Valiant Othello” [I, iii, 49]. He has great power in terms of reason and his ability to lead “I am glad on’t; ‘tis a worthy governor” [II, i, 30] • Setting – essentially the setting for 4/5 of the play is Cyprus. Essentially, the action is compressed in terms of time to stretch across a single day (in Cyprus) following Othello’s arrival

Tragedy – how does Othello measure up? • Fate – the most obvious role played by Fate is the storm that decimates the Turkish fleet. It also reappears (arguably) when Desdemona drops her handkerchief in Act III) in each case it seems that Iago is the primary beneficiary. • Flaw – all tragic heroes should have some quality that allows them to make an inappropriate judgement such as rashness, a fiery temper etc. Here we see Othello “out of his humour” from Act III onwards

Is Othello a true tragedy? • Shakespeare has gone beyond conventional limits by choosing Othello as his hero. However, his language gains him status on the stage (see Act I scene iii, 128 – 170 and Act II scene i, 178 188) • Events do not strictly fit the pattern of Time, Place and Action but there is a clear unity with no subplot to speak of. • Othello’s flaw is tragic and “human” and enables the audience to feel empathy.

The Malcontent • Iago’s villainy is based upon the concept of the malcontent. He is embittered by being passed over for promotion in Act I and then experiences further feelings of hatred beyond normal levels during the play. • Being a malcontent prevents him from seeing things at a moral level and therefore he cannot appreciate noble sentiments such as courtly love.

The Malcontent • We should bear in mind that the traditional view of the malcontent is a figure who brings about distasteful events but who eventually receives punishment. He is therefore a figure of moral interest. • The malcontent’s progress through the play mirrors the dramatic structure

Pride, Envy and Jealousy • It is important to relate these qualities to character • Othello initially associated with pride “My services which I have done the signiory, Shall out-tongue his complaints. ” [I, ii, 18 -19] • Iago is linked at first to envy “I know my price, I am worth no worse a place. ” [I, i, 11] “…he, sir, had th’ election; And I – of whom his eyes had seen the proof …must be lee’d and calmed By debitor and creditor. ” [I, I, 28 -31]

Pride, Envy and Jealousy • The emotion of jealousy first arises in a clear sense at the very end of Act II scene i with Iago’s soliloquy and then again at the end of the Act… “Myself the while to draw the Moor apart, And bring him jump when he may Cassio find Soliciting his wife. ” [II, iii, 375 -377] • It is made more explicit in Act III • Ironically, the first mention of the word comes from Iago himself “…I confess it is my nature’s plague To spy into abuses, and oft my jealousy Shapes faults that are not – that your wisdom, From one that so imperfectly conceits, Would take no notice…” [III, iii, 146 -150]

Pride, Envy and Jealousy • The primary speech associated with jealousy is… “…beware my lord of jealousy; It is the green eyed monster which doth mock The meat it feeds on. That cuckold lives in bliss who certain of his fate loves not his wronger, But O, what damned minutes tells he o’er Who dotes, yet doubts, suspects, yet fondly loves. [III, iii, 163 – 169]

Jealousy • By the close of Act III, the level of jealousy has risen to become “blind jealousy” Emilia Is not this man jealous? Des. I ne’er saw this before. Sure, there’s some wonder in this handkerchief; [III, iv, 93 -94]

Subversion of order • The Great Chain of Being • As suggested previously, this is a medieval belief in a natural hierarchy. It is NOT something created by Shakespeare nor by the characters in Othello. • The clearest example of this in Shakespeare’s language is… Alas thrice-gentle Cassio! My advocation is not now in tune; My lord is not my lord; nor should I know him [III, iv, 116 – 118]

Subversion of order • It is clear that Iago is the agent of subversion but it is important to note that he is also in a state of “blind” envy and jealousy For I do suspect the lusty Moor Hath leaped into my seat. The thought whereof Doth like a poisonous mineral gnaw my inwards; And nothing can or shall content my soul Till I am evened with him wife for wife; Or failing so, yet that I put the Moor At least into a jealousy so strong that judgment cannot cure. [II, I, 289 -296]

Subversion of order • It is important to remember that there is the dramatic subversion carried out by Iago and also there a subversion of order in character. “I am not what I am” [I, i, 65] “Virtue? A fig. ‘Tis in ourselves that we are thus or thus” [I, iii, 318319] “Reputation is an idle, and most false imposition; oft got without merit, and lost without deserving. ” [II, iii, 261 -263] “And what’s he then that says I play the villain? ” [II, iii, 326] “My lord is not my lord; nor should I know him, Were he in favour as in humour altered. ” [III, iv, 118 -119]

Transgression • Key concept – linked with natural order • To transgress is to go against the natural, moral order • Obvious – Iago transgresses his role in society as Ancient (honourable post) • Subtle – Othello trangresses the social order of Venice, disrupts the life of a senator and marries outside his race

Language and Imagery • Students must be fully aware of the images of… • Disease and sickness • Eating and consumption • Acting and role-playing • ‘Art’, charms and witchcraft • Mercantilism • In addition, you must be aware of the frequent references to honesty, virtue and reputation - the preoccupation with the place that an individual holds in society

Further Developments • Moving ahead, we should be aware in Act IV and V of developments in plot and character… • Othello’s increasing level of jealousy driving him out of his mind (see Act IV, scene i) • The dramatic conventions used to further Iago’s plot (e. g. overheard conversations etc) • The continued development of Desdemona as an “Innocent”. • The use of Roderigo and the increasing levels of violence that Iago is prepared to employ. • The development of the need for blood vengeance in Othello

Recall – Model Paragraph Introduction: • ‘This is Venice, proclaims Senator Brabantio. His words sub-textually carry the implication that he is proud to be a citizen of a civilized, wellgoverned state. Othello has entered this sophisticated European world of Venice as a relatively unsophisticated outsider. At the commencement of the play, we as an audience see him as a man valued and honoured by those who matter in Venice. He enjoys a position of rare privilege at the very centre of the ceremonial and active life of his adopted State. Yet for all that, paradoxically, Othello is perceived as an outsider, and what acceptance he has is assured only as long as he abides by its unwritten yet inflexible social conventions.

Recall – Model Paragraph The choice of imagery, clearly meant to cause deep offence, as well as the crude form it takes, likening Othello to an animal known for its primitive brain and primitive sexual instincts is clearly intended to not only dehumanize but greatly distance Othello from Venetian culture. The imagery implicitly by its pointed focus on Desdemona as a white ewe serves through the use of colour contrast to call attention to the unsuitability of any such union. However, there is the further toxic insinuation that she is corrupting and debasing herself given as Iago (for his own convenience) sees as her higher and purer humanity through entering a sexual relationship with the Moor. Linguistically, the choice of verb ‘tupping’ (given that ‘tup’ is another term for the male of sheep, reinforces the perceived animality of African sexualty, and its employed use in its present tense form ‘is tupping’ presses upon us and reinforces the prejudicial perception that engaging in the sex act is a principal preoccupation taking precedence over other more important priorities.

Your Turn • Write a short analysis on the following extract, examining the dramatic presentation of Iago as a villain. • Checklist: • Topic Sentence • Identify technique • Analyse effects • Link to point For I do suspect the lusty Moor Hath leaped into my seat. The thought whereof Doth like a poisonous mineral gnaw my inwards; And nothing can or shall content my soul Till I am evened with him wife for wife; Or failing so, yet that I put the Moor At least into a jealousy so strong that judgment cannot cure. [II, I, 289 -296]