Throughout Act 3 Scene 4, Desdemona has significance in emphasising Othello’s tragedy from before his breakdown and after his rebirth. Her role is mainly to be a tool for Iago to manipulate Othello’s tragedy; however as an individual character she is a reminder for the audience of Othello as a general of Venice before his breakdown in Act 3.
As a character that seems to have little contact with Iago, she begins to use language of “jealous creatures” and “monster”, a motif of Iago’s “green-eyed monster” in describing jealousy shows that his manipulation has extended even to Desdemona to emphasise his ability to change characters’ perceptions. Also, her lying to Othello about the losing handkerchief is an illustration of the deceit and dishonesty that Iago uses for manipulation, emphasising Othello’s tragedy as Desdemona reflects his rebirth into Iago’s ideals.
However, despite a slight change in language, Desdemona’s character does not change much to what the audience see her as in Act 1. Unlike some other characters, Desdemona still appreciates her sentimental values over materialistic values. Referring to the handkerchief, “I had rather have lost my purse full of crusadoes”, contradicting Iago’s value of money and possession to remind the audience of Othello’s original ideals. Also, “my lord is not my lord” highlights that Othello is a changed man and that she does not recognise his attitudes. Therefore, Desdemona’s role in emphasising Othello’s tragedy is to contrast his character before and after his rebirth.
During Desdemona and Othello’s conversation in Act 3 Scene 4, fragmented verse is used to quicken the pace of speech. Specifically, lines 47-52 “Lend me thy handkerchief/Here my lord/ That which I gave you/ I have it not about me/ Not?/ No faith, my lord” where the two finish each other’s lines off, the speed of dialogue becomes rapid to increase tension and foreshadows an eruption of emotions after such a build-up. Therefore, Desdemona emphasises Othello’s tragedy as she highlights his loss of patience with her in comparison to their easy-flow of conversations before his breakdown.
The handkerchief is significant in this scene for its symbolism as a turning point in the play. As Desdemona loses the handkerchief, Othello is made more suspicious as she tells him “I say it is not lost”, firstly causing him to lose his patience at her rejection of bringing it to him but also, as she persistently talks of Cassio, ignorantly leads Othello to the conclusion that she has given it to Cassio (not lost). Therefore, Desdemona’s role in emphasising Othello’s tragedy in Act 3 Scene 4 is to add tension to Othello’s already-suspicious mind, building up to the doubt and loathing he develops of his wife from jealousy.
Holly and Emma
Wednesday, 30 November 2011
Iago - Act 4 Scene 1 (a)
Iago seems to be commanding Othello's imagination to conjure up images of infidelity early in this scene. "Lie with her? Lie on her? We say lie on her when they belie her. Lie with her! Zounds, that's fulsome! Handkerchief- Confessions- handkerchief!" Most of this is exclamatory, reinforcing Othello's shock and disbelief. We soon see that his sentences become incomplete and incoherent through repetition which indicates a breakdown. He is barely in control of his senses- thus, Othello has a fit. Iago enjoys his power of watching the Moor suffer. It is ironic that Iago call his poisonous influence "medicine" and it is cruel that Iago should tell Othello to "bear your fortune like a man" while torturing him with thoughts of those who make other men cuckolds every night. He intends to attack Othello's manhood.
Furthermore, we see that Othello is reduced to asking questions instead of commanding. "How shall I murder him, Iago?" He is in Iago's control despite the fact it is difficult for Othello to submit to his ensign's view. He gives in as his shocking words "I will chop her into messes! Cuckold me!" highlight egotism and savagery- Iago has turned Othello into the stereotype of a primitive black man described in Act 1 Scene 1. Othello initially intends to poison Desdemona; this proves that he has adopted Iago's characteristics. Iago then persuades him to strangle Desdemona which is much more aggressive and physical. The act of strangling someone intense and takes a lot of nerve to do it. Disturbing as it seems, Othello agrees to this. Iago is successful in his objectives throughout this scene.
When Cassio enters the scene we see that Othello uses "asides" which represents an alienation; Othello has been removed and eavesdrops on Iago and Cassio's conversations which makes him seem almost like an outsider. Iago's deliberate innuendos within this conversation agitate Othello- he is now torn between his wife's sweetness and her treachery.
By Yusuf and Joseph.
Tuesday, 22 November 2011
Othello - Act 3 Scene 3
Act 3 Scene 3 is the pivotal scene in Othello. It begins with Othello feeling in control and content with his marriage; it ends with him on his knees, believing his wife to be a whore and ready to murder the person who was previously his personal choice for second in command.
In our lessons on Act 3 Scene 3, we focussed on various elements to see how the scene functions.
1) Tipping Points - We discussed how the Scene and various aspects of the Scene can be viewed as a tipping point - the moment at which there is a change of state, at which an inbalance is caused - in a variety of ways: in Othello's own way of behaving; in how Iago's previous mindset becomes reflected (or balanced) in Othello's and then descends further; in how something insignificant can prove the final addition that makes the whole 'balance' of a conflict change; in how several key events which will help form the tragedy happen for the first time in this Scene.
2) Dialogic Form and Function - We looked at the FORM of adjacency pairs (where speech operates as turn-taking, with the previous speech makes clear the expected response from the next speaker) and non-sequiturs (breaking from the expected form by introducing something completely unexpected) as part of communication between two people. We also looked at four FUNCTIONS of speech - Declaratives (deliver information), Interrogatives (request information), Imperatives (direct to a course of action), Exclamatories (express emotion, not fully formed information). We used these to track Iago and Othello's dialogue to see how they express themselves, how it changes, and the interplay between the two characters
3) Intentioning - Acting works around objectives (what a character wants) and motivation (why they want it). Intentioning replaces the actual communication with what the character is trying to achieve through it. We used this technique to track how Iago & Othello communicate with each other.
4) Imagery - From the imagery that Iago has been using in the first half of the play, we identified the worldview that he has from the use of this imagery. As we observe Iago's manipulation of Othello to tragic effect, we noted how examples of Iago's imagery start to appear in his speech.
5) Key Words - We compared and contrasted Iago & Othello's 2 conversations in the Scene, noting the frequency of words and how they change and considering the importance of "thinking" turning into "seeing".
6) Stagecraft - We looked in particular at the 2 elements of stage direction which end Iago & Othello's conversation together, considering intepretations and how the emphasise Othello's tragic downfall.
7) Influences - To evaluate the character of Othello and consider his culpability for his own tragedy, we charted the information he is given access to (regardless of the intention behind it). From this, we discussed how and why Othello reaches the conclusions he does, and to what extent we sympathise with him.
Please feel free to make an insightful, intelligent, fully thought out comment on any of these areas, and please feel compelled to make one by the end of this week.
The following people need to do this (names removed when a suitably fantastic comment is added):
Mr. Nussbaum
In our lessons on Act 3 Scene 3, we focussed on various elements to see how the scene functions.
1) Tipping Points - We discussed how the Scene and various aspects of the Scene can be viewed as a tipping point - the moment at which there is a change of state, at which an inbalance is caused - in a variety of ways: in Othello's own way of behaving; in how Iago's previous mindset becomes reflected (or balanced) in Othello's and then descends further; in how something insignificant can prove the final addition that makes the whole 'balance' of a conflict change; in how several key events which will help form the tragedy happen for the first time in this Scene.
2) Dialogic Form and Function - We looked at the FORM of adjacency pairs (where speech operates as turn-taking, with the previous speech makes clear the expected response from the next speaker) and non-sequiturs (breaking from the expected form by introducing something completely unexpected) as part of communication between two people. We also looked at four FUNCTIONS of speech - Declaratives (deliver information), Interrogatives (request information), Imperatives (direct to a course of action), Exclamatories (express emotion, not fully formed information). We used these to track Iago and Othello's dialogue to see how they express themselves, how it changes, and the interplay between the two characters
3) Intentioning - Acting works around objectives (what a character wants) and motivation (why they want it). Intentioning replaces the actual communication with what the character is trying to achieve through it. We used this technique to track how Iago & Othello communicate with each other.
4) Imagery - From the imagery that Iago has been using in the first half of the play, we identified the worldview that he has from the use of this imagery. As we observe Iago's manipulation of Othello to tragic effect, we noted how examples of Iago's imagery start to appear in his speech.
5) Key Words - We compared and contrasted Iago & Othello's 2 conversations in the Scene, noting the frequency of words and how they change and considering the importance of "thinking" turning into "seeing".
6) Stagecraft - We looked in particular at the 2 elements of stage direction which end Iago & Othello's conversation together, considering intepretations and how the emphasise Othello's tragic downfall.
7) Influences - To evaluate the character of Othello and consider his culpability for his own tragedy, we charted the information he is given access to (regardless of the intention behind it). From this, we discussed how and why Othello reaches the conclusions he does, and to what extent we sympathise with him.
Please feel free to make an insightful, intelligent, fully thought out comment on any of these areas, and please feel compelled to make one by the end of this week.
The following people need to do this (names removed when a suitably fantastic comment is added):
Sadia |
Saher |
Latia |
Lucy |
Breshna |
Moena |
Mr. Nussbaum
Wednesday, 26 October 2011
Othello - Act 2 Scene 1
Throughout the majority this scene we come to terms with Iago's crude opinions of Women and what attitudes he displays towards them in his public persona as he is speaking to Desdemona and Emilia.
As the rest of the characters wait patiently for Othello to arrive, Iago gets an opportunity to conversate with Desdemona and the others, and proudly display this false persona which he so often uses in order to convince everybody that he is a genuine character.
Conversely, we see Cassio being a gentleman and showing nothing but respect to the other characters. Iago goes on to make jokes whilst Othello is still lost at sea, and successfully manages to sidetrack Desdemona from worrying about Othello's whereabouts - which once again shows us how manipulative he can be in even the smallest of actions.
In one of Iago's poems starting from line 145, he begins describing his ideal woman and all of the wonderful trates which she would encompass. "Had tongue at will, and yet was never loud; Never lacked fold, and yet never went gay..." Which gives off the impression that he does appreciate the trates of women and has hope that such women do exist - only to take back everything that he said when he states that they would meerly "suckle fools and chronicle small beer". This not only highlights his pessimistic view of the world, but also draws attention to how much of a blunt and deceiving character he is in that he was able to take back everything that he just said with nothing but a witty remark. Even through casual conversation we're still able to see these rays of his private persona shining through the cracks of his facade.
As Othello arrives Desdemona is overjoyed and they set off on their own way, leaving Iago to make his soliloquy. Towards the beggining of this soliloquy Iago admits that he believes Othello will "prove to Desdemona A most dear husband". Because of the fact that he has admitted this to the audience and possibly to himself so casually, we are able to catch a glimpse of how much he is hiding in his personal persona and what his real beliefs towards the world and the people around him are. However, despite his admitted almost-respect for Othello, he still plans to plot against him in order to restore his own dignity as the rumours have spread that Othello slept with Iago's wife. Regardless of how much he seems to not care about what others think and doesn't let them affect him, his true colours are slowly starting to seep through; he says it's like a "poisonous mineral" to him. Placing two opposing words together in such a way creates an affective impact as he is almost pointing out that all good things have a bad side to them, as the poison would be in the mineral, which once again emphasises his pessimistic view on the world around him.
Fatima
As the rest of the characters wait patiently for Othello to arrive, Iago gets an opportunity to conversate with Desdemona and the others, and proudly display this false persona which he so often uses in order to convince everybody that he is a genuine character.
Conversely, we see Cassio being a gentleman and showing nothing but respect to the other characters. Iago goes on to make jokes whilst Othello is still lost at sea, and successfully manages to sidetrack Desdemona from worrying about Othello's whereabouts - which once again shows us how manipulative he can be in even the smallest of actions.
In one of Iago's poems starting from line 145, he begins describing his ideal woman and all of the wonderful trates which she would encompass. "Had tongue at will, and yet was never loud; Never lacked fold, and yet never went gay..." Which gives off the impression that he does appreciate the trates of women and has hope that such women do exist - only to take back everything that he said when he states that they would meerly "suckle fools and chronicle small beer". This not only highlights his pessimistic view of the world, but also draws attention to how much of a blunt and deceiving character he is in that he was able to take back everything that he just said with nothing but a witty remark. Even through casual conversation we're still able to see these rays of his private persona shining through the cracks of his facade.
As Othello arrives Desdemona is overjoyed and they set off on their own way, leaving Iago to make his soliloquy. Towards the beggining of this soliloquy Iago admits that he believes Othello will "prove to Desdemona A most dear husband". Because of the fact that he has admitted this to the audience and possibly to himself so casually, we are able to catch a glimpse of how much he is hiding in his personal persona and what his real beliefs towards the world and the people around him are. However, despite his admitted almost-respect for Othello, he still plans to plot against him in order to restore his own dignity as the rumours have spread that Othello slept with Iago's wife. Regardless of how much he seems to not care about what others think and doesn't let them affect him, his true colours are slowly starting to seep through; he says it's like a "poisonous mineral" to him. Placing two opposing words together in such a way creates an affective impact as he is almost pointing out that all good things have a bad side to them, as the poison would be in the mineral, which once again emphasises his pessimistic view on the world around him.
Fatima
Big Picture: Scene 5
Learning Objective: To analyse the conflict between the past and the present in Scene 5.
We started the lesson by looking at two notions of tragedy (see below) and discussed how they link to Streetcar:
The quality in such plays (Modern Domestic Tragedy) that does shake us, however, derives from the underlying fear of being displaced, the disaster inherent in being torn away from our chosen image of what or who we are in this world. Among us today this fear is as strong, and
perhaps stronger, than it ever was.
Arthur Miller, ‘The Tragedy of the Common Man’
Miller suggests that in Modern Domestic tragedies, the emotions experienced by the audience is brought about through the fear of being taken out of a place we build for ourselves in
society. Our “chosen image” is usually how we see ourselves and want others to
see us by.
Tragic protagonists of the 20thC are prepared to devote themselves to some idea or notion which may range from a political or economic belief to the simple need for utter personal integrity in a world which demands compromises.
We admire their right to assert this in an unsympathetic society.
English and Media Centre, ‘Tragedy, A Student Handbook. 2009’
This second notion of tragedy explains that modern protagonists dedicate their lives to holding on to an idea from the past in order to keep a stable state of mind. Also, this idea touches on a “world that demands compromises” where characters are often forced to give up their ideologies in order to survive a harsh, unsympathetic reality. Linking to the first notion, the idea that the fear of losing this is “perhaps stronger” suggests there is more pressure to adapt to society and adopt new attitudes gives us the impression that the world is moving forward much more
quickly.
Blanche as the protagonist of A Streetcar Named Desire fits these two ideas very nicely, as she has devoted herself to her illusion of the Old South, and often lies to others to create an image of herself as being young and mannered, like a lady of the South. Her inability to adapt shows she still holds on to her past and her ‘image’, but finds it difficult to adapt as the modern world does not allow her to – often, she is disrupted from her fantasies and constantly reminded (e.g. Blue Piano)
of the new world she is forced to live in.
Going back to the Learning Objective, we then looked at Scene 5 and picked out evidence to show the conflict of the past and present.
Key:
Tension between past and present
Quotation
How Williams creates this tension
· Blanche is daydreaming about Shep, and then Steve and Eunice have a row: “teas, cocktails and luncheons –” A disturbance is heard. Williams used sound and situation to bring Blanche back into the reality she is trying to escape from (world is unsympathetic)
· Blanche trying to hold onto her “pure” image of herself: “Virgo is the virgin” “[drink spills] Right on my pretty white skirt!” Symbolism of white shows she is trying to act pure and innocent, but the stain shows otherwise.
· Hiding light to hide her age: “put a – paper lantern over the light…” Trying to hide from her new image, holding onto past.
· Blue Piano constantly reminding her of the new North: “The music is slow and blue.” Daydreams and illusions of the old Southern ways are repetitively disrupted, conflicting with the modern music.
· Romanticises relationship with Mitch: “My Rosenkavalier”. Imperatives command him and he follows with actions, Blanche wanting him to be her fantasy.
· Flirting with a younger man: “Has anyone told you that you look like a young prince?” Again, fantasising that the boy is a prince, and shows she is trying to be young again and for other people to see her as she wants them to.
Overall, the conflict between the past and the present reflects Blanche’s personal struggle of her inability to let go of her past and adapt to the demanding and unsympathetic new world.
Emma
Thursday, 13 October 2011
Finishing Act 1 - 11th October
As the play progresses, we learn more about each character. In the end of Act 1, we learn particularly more about the character of Iago. Specifically his way of thinking, his outlook on life and also his future plans (or should I say plots).
After Desdemona and Othello's exit to the scene, we are left with Roderigo and Iago alone on stage. Roderigo experiences dark thoughts, depressing and suicidal: "It is silliness to live, when to live is torment: and then we have a prescription to die, when death is our physician" - while Roderigo feels pessimistic, Iago's train of thought is the complete opposite. He mocks Roderigo. Not only does he do this, he also constructs a conceit. An extended metaphor of what Iago believes how individuals should live their lives. A garden - by using imperatives, Iago directly addresses Roderigo and tells him 'we are thus or thus'. Imagery of 'nettles or 'sow lettuce' ... 'set hyssop and weed up thyme' contrast each other so boldly, and because they are natural images, Roderigo, and the audience are able to picture this metaphor so clearly and the message gets across successfully.
To further add on to Iago's use of imagery, life is shown as a scale. On one side of the scale there is reason, and the other sensuality. As a class, we anticipated how the scales of Iago's and Othello's scale would appear. We said that for Iago, it was extremely unbalanced. The reason side, would be heavy as we witnessed, from his conceit, that Iago prefers structure, complete control as he crafts his own garden. We decided Othello's scale, from previous analysing, would be a adversely different. The Moor, a passionate lover would have a scale where sensuality outweighs reason.
In addition to Iago's serial manipulation, his tactical and extremely persuasive language extends. The phrase "put money in thy purse" - this links to the very first lines Roderigo says in the play, "who hast had my purse as if the strings were thine." As a class, we developed the idea that whatever Roderigo's purse contains, the ammount belongs to Iago as well. Therefore, we concluded that the constant imperative of 'put money in thy purse' had dual meaning. It was firstly to motivate Roderigo to escape his dark thoughts and replant his garden, but also it meant that Iago, through manipulating Roderigo and influencing him, he will recieve much of the same reward in return and control his income.
At the end of this speech, much was revealed. We gathered, through linguistic devices, that Iago's plans are sexual. The words, 'delivered' suggested a sexual act of impregnating the time of the delivery of events in the womb. The term 'delivered' also depicts inevitability. In the same way a pregnant women delivers her baby, when a plan is created, it is bound to happen, according to Iago.
The image of sexual acts is reinforced on lines 385 - 386.
"It is engendered. Hell and night must bring this monstrous birth to the world's light"
This powerful line (my favourite in the whole Scene) insinuates divine, religious and God-like imagery. The term 'engendered' depicts Iago's self belief of a craftsman. The image here is creating a human, this can be associated with God's role. Further suggesting that Iago with his plans plays the equivalent role as God. While this was an interpretation of the quote, we put together the words 'hell and night' ... 'monstrous birth' and came up with an idea which we said Iago has created a monster, and his construction is destructive and harmful - not only did this quote reveal Iago's ideas, it also foreshadowed future conflict in the play 'Othello' as the birth of this monster will bring 'light' in hell; a tragic event. In addition, the word 'must' links back to the theme 'inevitibility' and that Iago's plans will definitely happen.
To summarise the lesson, we considered the various reasons why Roderigo should be optimistic. Our conclusions were that:
- Othello's and Desdemona's love was forced: "Desdemona should long continue her love to the Moor"
- Money can make Othello change his mind: "Moors are changaable in their wills"
- I (Iago) can help you
- 'I can break up marriage, especially between these kinds of people' - IAGO
LORESA
Wednesday, 12 October 2011
Contrasting Image of Scene 4
Learning objective: understand how Williams uses contrasting imagery in Scene 4 of the play.
Descriptions for the characters:
Reason and Truth: Stanley
Illusion & Lies: Blanche
Disordered & wild: Stanley
Ordered & Civilized: Stella
Other cluster of words in relation to each other which may later be used in the book, collectively suggesting a type of emotion, behavior or situation:
Reality & harshness: dependence, poor, weak, repressed, old
Civilization: educated, logic, independence, reason, truth, mannered
Falsity: Illusion, lies, desire, passion, independent
Barbarism: wild, savage, traditions.
*please feel free to add in your own cluster of words, hence the title for them*
How does Blanche try to persuade her sister to give up Stanley? (please refer to page 54)
- Using hyperbole
- imagery of animalistic behaviour
- prehistoric man
- punctuation: dashes, long continuous uninterrupted speech
- exclamation marks: reveal her shock and horror
----------------------------------------------------------------------------------------------------------------
Together as a class, we created the first paragraph to answer:
In Blanche’s speech, how is language used to persuade her sister against Stanley? (AO2- language, form & structure)
At the end of scene four, Blanche sets about dismantling what she sees as the illusion of Stella and Stanley’s Marriage. She does this by enforcing the idea of Stanley’s disorder and animalism in contrast to what she sees as their civilised past. Initially she uses personal pronouns as a way of directly addressing her idea to her sister, ‘ you’ve given in. and that isn’t right, you’re not old!’ as a way of empowering her to break away. She continues to shatter this image by through the use of animalistic imagery, ‘he acts like an animal, has animal’s habits! Eat like one, talk like one’. Blanche here contrasted the difference between their two worlds and emphasizes Stanley’s comparative wilderness.
Kayin
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