Transcript OTHELLO - Livre Or Die

OTHELLO
CRITICAL FOCUS ON ACT 2
AGENDA
Dramatic Effects
Recap Act One
Dramatic Structure of Act 2
A note on Irony
Iago
DRAMATI
C
EFFECTS
A few words.
DRAMATI
C
EFFECTS
‣Achieved through languageProvides actors
with the means to create the dramatic effect of
fear, joy, day, night, tempest-wracked sea, and
keep the audience constantly engaged through
creation of conflictThe imagination of the
audience must respond to the language of the
play, creating in their minds the storm for
instance in Act 2, Scene 1.
DRAMATI
C
EFFECTS
Use of blank verse and / or proseDiction i.e.
choice of words and their effectsChoice of
imagery usedChoice and structure of
sentencesUse of RepetitionLength and
structure of a given speechUse of
soliloquyCumulative effect of dramatic
ironyDramatic actions (not just words but
deeds)
DRAMATI
C
EFFECTS
‣What intended effect does the choice and form
of a word, phrase, line, sentence, speech, image,
symbol have upon its actual context in a given
scene within the play?
What ‘expected’ effect is the performance of a
given Act, Scene, or Dialogue Sequence likely to
have upon a viewing audience in an actual
theatre?
ACT ONE
DO YOU REMEMBER?
ACT ONE
DRAMATIC FUNCTION OF ACT ONE
‣Primes audience by introducing main characters of text
and by surfacing central themes and concerns of the text
‣Light & Darkness
‣Chromatic Tension
‣Alienation
‣Public vs Private spheres/personas
‣Racism
‣Appearance vs Reality
‣Conflict
ACT ONE
QUICK OVERVIEW
‣A conflict situation is created in Act One entices theater audience
ACT TWO
‣What is the significance of the dramatic structure of
this Act?
‣What is the dramatic purpose of this Act?
‣How does Act Two continue to develop
ideas/concerns/ characters from Act One?
‣What is the significance of the shift in dramatic
setting?
‣What are the key dramatic techniques that are
employed?
‣What are the resultant effects- internal and external?
‣How does Act Two further develop the concept of the
Individual against the larger fabric of Society?
DRAMATIC
STRUCTUR
E
OVERVIEW
STRUCTURAL
OVERVIEW OF ACT
TWO
‣SCENE ONE: Storm + Reunion of Othello & Desdemona
‣SCENE TWO: Herald
‣SCENE THREE: Drunken brawl + Dismissal of Cassio
DRAMATIC PURPOSE
OF ACT 2 SCENE 1
To make apparent change in scene setting
‣ To plunge the audience into the crisis of the storm
‣ To provide a picture of the reunion of Othello and
Desdemona in Cyprus
‣ To develop the character of Cassio
‣ To introduce Emilia; & other minor characters
‣ To throw further light on the characters of Othello,
Desdemona, and Iago
‣ To develop Iago’s plot
SIGNIFICANCE OF
SETTING in ACT 2
SCENE 1
‣Note the change in setting from Act 1 to Act 2.
‣Shift in location from Venice to Cyprus
‣Venice: organised, civilised, cultured (c/f
Brabantio’s comment “This is Venice..”)
‣Cyprus: symbolises a place of danger and
uncertainties
‣Dramatic action set against the background of
a perilous storm, in which Othello and his men
are said to be caught
SIGNIFICANCE OF
SETTING in ACT 2
SCENE 1
‣Consider importance of
relocation to Cyprus - there is
now a limited role for Othello
‣His insecurity (that surfaces
later) is compounded by the
new setting and difficulty in
reconciling military and
personal dimensions (the public
and the private)
SIGNIFICANCE OF THE
STORM
‣The storm symbolically foreshadows the disorder
that is soon to stir in Othello’s mind
‣Ominous of evil/ unhappiness/ chaos
‣Storm functions to create additional suspense
‣Safe arrival of the main characters remains for
some time in question, increasing dramatic
tension
SIGNIFICANCE OF THE
STORM
‣Othello’s arrival is awaited with some anxiety
‣This anxiety creates the effect of highlighting the
general admiration for his public persona and
achievements
‣“..the warline Moor, Othello..” 2.1.27
‣Montano’s praises:
‣“I am glad on ‘t; ‘tis a worthy governor.” 2.1.30
‣“Pray heaven he be;/ For I have served him, and
the man commands/ Like a full soldier.” 2.1.35-37
SIGNIFICANCE OF THE
STORM
‣Othello’s delay also allow us (the audience) to
sense the depth of Desdemona’s love for her
husband
‣Personal drama of Othello & Desdemona is
set against a background of a national crisis,
and a crisis at sea.
‣The storm symbolizes the disorder that soon
will rage in the hero’s soul; (dramatic effect)
‣Dramatically embodies the tempestuous
OTHELLO &
DESDEMONA
REUNITE
REUNION OF OTHELLO
& DESDEMONA
‣Almost immediately Othello & Desdemona
had to separate after marriage and leave for
Cyprus
‣Othello’s first words on landing are for
Desdemona: “O my fair warrior!”
‣Her first greeting for him is full of sincere
emotion: “My dear Othello!”
‣To see her before him again gives Othello
cause to say: “O my soul’s joy!”
‣He is experiencing “content so absolute” that
REUNION OF OTHELLO
& DESDEMONA
‣Reunion has an undercurrent of dramatic
irony
‣The Moor’s almost childlike joy at being once
more with his wife is full of a sense of tragic
impermanence
‣Othello’s public persona is immediately
confronted by his private persona
‣We are made to feel (dramatic effect) that
even as he speaks, the “unknown fate” to
which he refers so innocently is preparing the
REUNION OF OTHELLO
& DESDEMONA
‣“…for I fear / My soul hath her content so
absolute / That not another comfort like to this /
Succeeds in unknown fate”
‣His allusion to his own death falls on our ears
with an ominously different sense
‣From that which it has for the ecstatic Othello
‣This is the peek of loving joy from which the
Moor is to be dragged down
‣Their reunion defines their happiness before
the process of destroying begins by Iago
REUNION OF OTHELLO
& DESDEMONA
‣Last part of this scene shows again a contrast
in dramatic effect
‣From the blank-verse dignity and joy of
Othello and Desdemona
‣We sink to the prose, matter-of-fact
conversation between Roderigo and IAGO
‣Iago pushes aside all poetry and beauty of
love (which we have just seen / heard)
‣And reduces Desdemona to that cheapness
which will encourage, seduce, and urge on
IRONY
“Knavery’s plain face is never seen till
used.”
DRAMATIC IRONY
‣Theme of deceitful appearance is intimately
connected with use of irony in this play
‣At the root of all verbal irony is a contrast
between what is being said, implied, suggested
on the one hand
‣And what is actually the case, or is meant on
the other
‣E.g. Othello’s and Cassio’s reiterated use of
‘honest’ in relation to Iago
‣The great ironies of the play have their origin
Irony and Ironic Effects
‣The conscious ironist pretends to be unaware
that the appearance is only an appearance
‣The victim of the irony remains unaware of
the contrast between the reality and the
appearance
‣In the case of Othello, the audience is in a
position to experience intimately the ironist
Iago’s diabolical pleasure in his dealings with
his victim [Ironic effects]
‣Iago reveals at every turn what he intends to
Situational & Verbal Irony
‣Commonest kind of dramatic irony involves a
character undertaking a course of action which
leads where he least expects it to (victim of
irony of situation)
‣Apart from the web of verbal ironies
surrounding the attribution of ‘honest’ to Iago,
‣Desdemona is sure that Cassio & Othello will
soon be at one ‘as friendly as you were’
‣Her words do come true but not in the sense
she intends; they are united once more but only
IAGO
“O, you are well tuned now,
But I’ll set down the pegs that make t
music
As honest as I am.”
IAGO + CASSIO
‣Cassio’s character is further developed with
Iago as his character foil
‣Consider both individuals’ attitudes towards
women in society and towards Othello
IAGO + CASSIO
Their difference in language and register is also
markedly different.
Iago:
Cassio
‣Come on, come on:
‣ “The divine
you are pictures out
Desdemona.”
of doors, bells in your
‣ “You men of
parlous, wild-cats in
Cyprus, let her
your kitchens, saints
have your knees./
in your injuries,
Hail to thee,
devils being
lady!” 2.1.85
offended, players in
your housewifery,
and housewives in
your beds.” 2.1.109
IAGO as an Individual
Come on, come on: you are pictures out of
doors, bells in your parlous, wild-cats in your
kitchens, saints in your injuries, devils being
offended, players in your housewifery, and
housewives in your beds.” 2.1.109
‣This cynical, generalised account of women
strengthens our impression of Iago for whom
scorn and content come more easily than
feelings of gentler nature
‣Consider the overt sexual innuendos in his
banter with Desdemona
IAGO as an Individual
‣In Act 2 Scene 1, Iago delivers asides and
soliloquies, throwing further light on his
personality and his motivations.
‣This, however, further puzzles the audience.
‣His language is rich with figurative language
and different variations of imagery.
‣Iago also switches from verse to prose and
vice versa - why? effect? function?
‣Dark/Light contrast is ironically loaded
IAGO’S PLOTTING
[Aside] He takes her by the palm. Ay, well said,
whisper. With as little a web as this will I ensnare as
great a fly as Cassio. ... If such tricks as these strip
you out of your lieutenantry, it had been better you
had not kissed your three fingers so oft, which now
again you are most apt to play the sir in. Very good:
well kissed, an excellent courtesy! ‘Tis so indeed. Yet
again your fingers to your lips? Would they were
clyster-pipes for your sake!” 2.1. 164 - 172
IAGO’S PLOTTING
Asides reveal to the audience a
character’s innermost thoughts,
motivations. This also creates irony.
Animal imagery, image
of entrapment
[Aside] He takes her by the palm. Ay, well said,
whisper. With as little a web as this will I ensnare as
great a fly as Cassio. ... If such tricks as these strip
you out of your lieutenantry, it had been better you
had not kissed your three fingers so oft, which now
again you are most apt to play the sir in. Very good:
well kissed, an excellent courtesy! ‘Tis so indeed. Yet
again your fingers to your lips? Would they were
clyster-pipes for your sake!” 2.1. 164 - 172
IAGO’S Manipulation
Iago’s words to
Brabantio in Act 1insinuating that
their relationship is
based on lust
“..you’ll have your daughter
covered with a Barbary horse/
your daughter and the Moor are
making the beast with two
backs” 1.1.112
“The Moor -howbeit that I endure him notIs of a constant, loving, noble nature,
And I dare think, he’ll prove to Desdemona
A most dear husband.” 2.1.280-284
Iago’s closing
soliloquy reveals
that he is aware
of the purer
nature of their
relationship
IAGO as an Individual
‣Critical spirit of Iago consists in large
measure of a habit of abstract generalization
rather than looking at the particularities of an
individual character or situationIt is this that
makes him speak of Othello and Desdemona
as an erring barbarian and a super subtle
Venetia – deliberately closing his mind to
what he knows personally of the indiivduals
concerned
IAGO as an Individual
‣Bantering exchange between D & I displays
both his tendency to brutal reductivism and
generalization and her firm confidence in a
different order of valueLife hating
viciousness of Iago comes out in his
reference to clysterpipes
Manipulation
‣As soon as he sees Cassio take Desdemona “by
the palm” we can see his mind at workThe kissing
of a hand is only a small matter, an act of courtesy
on part of Cassio; not with Iago. He will make use
of it: “as little a web as this will ensnare as great a
a fly as Cassio”
IAGO as an Individual
‣He watches the happiness of the reunion
and sees them kiss; plans to destroy their
happiness: “O, you are well tuned now,But
I’ll set down the pegs that make this
music”He will work on Othello’s mind and
put the Moor “At least, into a jealousy so
strong, That judgment cannot cure”
Cassio
(not the watch)
“Reputation, reputation, reputation! O, I have lost
my reputation! I have lost the immortal part of
myself, and what remains is bestial. My reputation,
Cassio
‣Ardent admirer of Desdemona: in his eyes she is
“a maid / That paragons descriptions, and wild
fame”She is “the divine Desdemona” “our great
captain’s captain”Holds Othello in the highest
regard and speaks of him as a god coming to
breathe life-force into Cyprus
Cassio
‣A polished Florentine gentleman; We note
his actions: kisses the hand of Emilia and
extends the same courtesy to
Desdemona;But this also suggests his
susceptibility to the charms of pretty women
(dramatic effects)Seems not to see evil in
people—interprets Iago’s behaviour as that
of a typical rough-hewn soldier; vulgar but
with a heart of gold“you may relish him more
in the soldier than in the scholar”
Cassio
‣His
elaborate praise of Othello
and Desdemona suggests the
depth of his regard for both of
themNote his diction is elegant
and his manner is courtlyBut he
is no paragon of virtueHis easygoing nature, his reluctance to
say no is fully exploited by
IagoSeldom appears in the play,
but his dramatic function is no
less important
Range of Characters in the
Play
(Individuals in the society)
‣The Moor Othello, the gentle Desdemona,
the villain Iago, the good-natured Cassio, the
fool RoderigoPresent a range and variety of
character as striking and palpable
Act 2
Scene 2
“Heaven bless the isle of Cyprus an
our noble general Othello!”
The Herald
It is Othello's pleasure, our noble and valiantgeneral, that, upon certain
tidings now arrived,importing the mere perdition of the Turkish fleet,every
man put himself into triumph; some to dance,some to make bonfires, each
man to what sport andrevels his addiction leads him: for, besides
thesebeneficial news, it is the celebration of hisnuptial. So much was his
pleasure should beproclaimed. All offices are open, and there is fullliberty
of feasting from this present hour of fivetill the bell have told eleven.
Heaven bless theisle of Cyprus and our noble general Othello!
Throughout the play, it
is always Othello’s
public persona that is
prefigured.
The Herald
Herald opens
announcement referring
to Othello’s public
persona
perdition
c/f “Excellent wretch!
Perdition catch my soul/ But I
do love thee! And when I
love thee not,/ Chaos is
come again.” 3.3.90
It is Othello's pleasure, our noble and valiantgeneral, that, upon certain
tidings now arrived,importing the mere
of the Turkish
fleet,every
The
island
is now
man put himself into triumph; some to dance,some to
make Foreshadows
bonfires,
each
Effect:
man to what sport andrevels his addiction leads him: for,celebrating
besides Othello
thesebeneficial news, it is the celebration of hisnuptial.
So much
was his
Othello’s
mental
and
pleasure should beproclaimed. All offices are open, and
there
is
fullliberty
assuming a new role that
of feasting from this present hour of fivetill the bellpsychological
have told eleven.
damnation
a
Heaven bless theisle of Cyprus and our noble generaldemands
Othello!he assumes
as the play
progresses
private
self
Foreshadows Cassio’s
This demands
a in
impending
dismissal
reconciling of these
the
next scene
two roles; what
Herald closes the announcement by once
again referring to Othello’s public persona
emerges instead is a
The repetition
of
“noble general”
emphasises
The noun
addiction
here
has
a number
mismanagement of the
Othello’s
revered placeone
in Venetian
society
of connotations:
clearly being
public and the private
which makes hisdrinking
fall all the tragically
devastating.
Dramatic Purpose
‣Brief scene of Herald’s proclamation: invites
citizens to celebrate victory and the
general’s nuptials link the public and the
domestic action of the play
Herald’s proclamation: marks a change of
tempo between the scenes it divides
Dramatic Purpose
‣Increasing dramatic tension:
We hear the proclamation of festivitiesBut we
are not allowed to forget the domestic
dramaWhile the public will have every cause
to celebrateOthello will soon have no cause
for revelryThe public revelry will stand as a
contrast to the dark tragedy that is about to
follow
Act 2
Scene 3
“Iago is most honest.”
Structure of A2S3
‣Unfolding of Dramatic Action:
‣Othello leaves Cassio incharge
‣Iago coaxes Cassio to drink
‣Drunken brawl ensues
‣Dismissal of Cassio & Iago counsels
Iago plots with Roderigo
Cassio + Iago
Cassio avoids Iago’s attempts to make
coarse conversation abt Os wedding
night“made wanton the night” “full of game”
stonewalled with “most exquisiste lady”
“indeed perfection”
Drinking Scene
‣Good example of the way in which iago’s
presence and our complicity with him
prevents us from taking at face value what
should be a moment of jollity and relaxation
‣Song abt drinking good humoured but
audience’s attention is focused on the effect
they have on Cassio whose drunken
utterances forebode what is to come
Iago’s technique: ascertaining a person’s
weakness and then exploiting it in the guise of
a concerned and loyal companion
IAGO in ACT 2 Scene 3
Successive deceptions of Roderigo, Cassio
and Othello mark the ascending progress of
Iago’s villainy..but these are only the climactic
moments of a general tendency to hoodwink
the whole of Venice (including his own wife)
which have earned him the universal and
wholly undeserved soubriquet of ‘honest
Iago’
Dramatic Action
‣Stage directions indicate the sounding of a
bell
Effect: Action moves switftly in a series of
rapid, broken and confused exchanges which
reach a dramatic period in the ringing of the
bell – traditional warning of fire/peril to the
community
Iago’s Advice
•
“You or any man living may be drunk at a time, man.
I’ll tell you what you shall do. Our general’s wife is
now the general. I may say so in this respect, for
that he hath devoted and given up himself to the
contemplation, mark, and denotement of her parts
and graces. Confess yourself freely to her;
importune her help to put you in your place again.
She is of so free, so kind, so apt, so blessed a
disposition, she holds it a vice in her goodness not
to do more than she is requested.” 2.3.305-314
Iago’s advice to Cassio is the unfolding
•
Cf. to Cassio’s “captain’s captain”.
Military imagery: reinforces concept of
power- wife wielding power over her
husband, influencing her husband’s
decisions. Public/Private
“You or any man living may be drunk at a time, man.
I’ll tell you what you shall do. Our general’s wife is
now the general. I may say so in this respect, for
that he hath devoted and given up himself to the
contemplation, mark, and denotement of her parts
and graces. Confess yourself freely to her;
importune her help to put you in your place again.
She is of so free, so kind, so apt, so blessed a
disposition, she holds it a vice in her goodness not
to do more than she is requested.” 2.3.305-314
‣QUESTION
Does Iago simply expose society’s prejudices,
frailties and hypocrisies and utilizes them as a
tool to pursue his own agenda?