Othello

=** OTHELLO **=



** Women in Othello **
Desdemona – Othello’s wife Emillia – Iago’s wife Bianca – Whore Only two types of women shown are a product for men to buy or as something to own (wife) Extract from //still harping on daughters// Jardine suggests drama of Shakespeare’s time is male dominated and that Desdemona is punished for independence (going against her father and what is considered the norm by marrying a black man) ultimately becoming a positive victim When disagreeing with a male character, female characters are called degrading names, often revolving around being inferior. Iago to Emillia “villainous whore, filth” The female sharp tongue both entices and threatens – shrewdness of Desdemona incompatible with her supposed innocence It is unnatural how she engages in a long piece of cheap back chat with Iago rather than going to find Othello on arriving at Cyprus, according to Mr Ridley The confident too knowing, too independent tone and way of speaking on Desdemona’s part is contradicted by passive, victim shown through actions. Desdemona’s sharp tongued involvement in an exchange about womanish wiles (the feminine mystique) sets her up as active temptress “husband beater” Iago’s own insidious tongue has only to play on these traditional fears lurking beneath female mystery to rouse Othello to full jealousy and finally murder ACT 2 SCENE 1 Iago calls Emillia a whore “Players in your housewifery”, and “housewives in your beds, bells in your parlours, wildcats in your kitchens, saints in your injuries, devils being offended” This shows the angel/whore expectation on women. Specifically the first quote. Its is an expectation to be a lovely house wife “skilful in the kitchen” but also skilful in the bed “housewives in your beds”.

** CRITICS **
FR LEWIS – 1952 Othello is totally responsible for this tragedy Iago is subordinate and overrated Othello is egotistic Iago is the mechanism necessary for precipitating tragedy in a dramatic action

AC BRADLEY – 1904 Othello is free of blame noble glamorous romantic Iago is wickedness incarnate Othello decides and acts instantaneously, can be stirred easily into an uncontrollable person

ST COLERIDGE – 1818 “The motive hunting of a motiveless malignity” Iago uncontrollable hatred, evil personified, simply evil itself in a pure form Does evil only because he is evil

W EMPSON - 1951 Fifty two times the word honesty is used Divergent uses of “honest” are found for all the main characters – clown, Bianca, Iago, Cassio, Othello The variety of use builds the irony on the word which mount up steadily, the word honest when Othello was written was in the middle of a complicated process of change from implying generous and faithful friends. Ironically again honesty is maintained in Iago his emotions are always expressed directly and it is only because they are clearly genuine that he can mislead Othello to their cause.

MARTIN WINE – 1984 Iago continues to make other people see the world through his eyes by forcing them to use his language Iago understands the ability and nature of language to be manipulated – social and cultural origin Language enables us to create our sense of reality Iago uses language to create chaos in Othello

POST COLONIAL READING OF OTHELLO
// Venice – Britain // // Cyprus // //- NZ// Importance of law, order and structured society (not necessarily hierarchical) in order to maintain social order and harmony Cyprus was at the fringe of Venetian society known for chaos and disorder (16th century) Similarly in early 19th century 182-1840 NZ war, also without social order – Russell/Kororareka was known as the hell hole of the south pacific due to lawlessness, violence, crime, prostitution Shows the impact of colonialisation on societies Although NZ is now a democratic separate country we still have colonial ties Britain our education system, our courts Although Othello and Iago break social laws they are both held to justice REASON VERSUS POISON ** The play is a story of a series of characters that all contain different levels of passion and reason Shakespeare set the course of the play to revolve around all the characters set of passion or reason Othello has too much passion Iago has too much reason Desdemona and Cassio have the right mix of both When the two opposites Othello and Iago meet there is a major conflict which causes tragedy to Othello Since Cassio is the right mix he ends fine and is promoted Desdemona has the right mix also but is unlucky and is caught in the conflict The passion refers to human emotion and compassion, while the reason refers to cold calculations. It is this balance of emotions that relates to us, to help us approach issues in our life.

INCIDENTS
All through the play we see how Iago plots because he has lost his mind from only reason Othello has a fit after getting worked up by Iago not being straight with him and hearing bad news about Desdemona Othello kill Desdemona QUOTES “Men should be what they seem” “Reputation times 3. O I have lost my reputation”

** CHARACTER OF OTHELLO **
A noble moor – reference to Muslims north – West Africa In service of Venetian state Respected by Duke of Venice Married to Desdemona Governor of Cyprus Tactful and wise when accused of bewitching daughter “My very noble and good master” (act1 scene3, line 77) Tragic figure Allowed misplaced trust in Iago and pride to destroy him Referred to by Rodrigo and Iago with racial epithets, not names Outsider – actually and racially Skill as a soldier and leader are very high Very trusted by Venetian government “sent about three, several requests” Is in full martial and political command of Cyprus Those who consider Othello equal nevertheless drawn to him because of exotic qualities (still outsider) Speeches captivate peers “I think this tale would win my daughter too” duke) Makes a point of presenting himself as an outsider – insecure’ Tension between Othello’s victimization at hands of a foreign culture and own willingness to torment himself that makes his a tragic figure rather than simple Iagos puppet Provoked to a barbaric crazed fury of physical jealousy.

TEMPTATION SCENE
Iago opens question of unfaithfulness to Othello Desdemona loses handkerchief Othello’s oath of vengeance “Now art thou my lieutenant?” May be divided into four sections

1 - Desdemona promises to assist Cassio in regaining his position A tells D&C that O&I are approaching Cassio leaves to avoid confrontation Desdemona urges Othello for reinstatement of Cassio – preoccupied, dismisses her proclaims love

2 – Iago surprised to hear Cassio know Desdemona. Cassio honest Othello – Impatient, Iago unwilling but advises Othello to watch Desdemona and Cassio. Iago rises to attention – faithfulness of Venetian wives, Desdemona deceiving father. Othello very different social background and complexion. Othello is left alone, remarks on colour, lack of country, conversation and age difference. Says Iago is honest and worldly wise

3 – Desdemona returns and Othello torn between love and mistrust as he greets Desdemona complains of heartache, Desdemona offers handkerchief. He puts it away it remains as they leave. A picks it up because Iago has asked her to steal it. Iago says he will place it in Cassio’s lodgings

4 – Othello laments last piece of mind, demands of Iago proof of desdemonas guilt. Iago says he has heard Cassio mention Desdemona in his sleep. Cassio wiping his head with a strawberry spotted handkerchief Desdemona gave him. Othello vows revenge Iago swears to save him. Othello tells I to kill Cassi

** SETTING **
City of love Floating city on water, water is seen as treacherous menace In Venice it is built on water and therefore avoids treachery and despair associated with water Othello is alienated (Black man, white city) The idea that Iago (being Venetian) is ranked below foreigners implies that the upbringing in Venetian society is faulty and shifty, like Venice the moral and values he receives from his upbringing is unstable Cassio, Desdemona and Othello represent the normality of society and humanity Masquerades – the only time during the year where they put masks on. In the ordered society of Venice, Venetians put on facades. During masquerades they put on the physical mask which they select and mirror their true intentions. In doing so they unmask their facades and it is the only time in the year that they are accepted for their true selves. Reveals the themes of appearance and reality and conformity. Venice acts as a parent to citizens and problems are take to the senate as opposed to being resolved by themselves. As a consequence when the senate is removed they do not know what to do. Venice restrains the monstourous birth of their individuality
 * Venice**

Sea
Treacherous nature Symbolises transition death (Turkish Fleet) war, despair, grief, Pathetic fallacy of storm etc shows foreshadows tragedy The transition from Venice to Cyprus over sea shows the epic change. The wildness of the sea encourages characters to break away from the conformity of Venice and reveal who they truly are (Iago) Only Venetians were affected by the transition due to their upbringing, the outsiders it is implied have already overcome their temptation to change. Water signifies passions from love to hatred