Lecture 3 Othello the Moor of Venice

Critical Focus on Scenes 2 & 3 of Act 1

Exploration / Inquiry: Othello

Does Shakespeare present Iago more as a villain or victim in the opening of the play?

Discuss with close reference and direct quotation. Remember to present a persuasive argument.

Concerns / Issues;Sources of conflict?

Individual and Society

Gender; a woman of great beautyMoney matters; issues re material wealth;The presence of an outsider; ethnically and culturally different;We cannot all be masters

Sources of conflict (cont)

Individual and SocietyMixed marriage, and Miscegenation; Mother nature’s disproportionate distribution of Intelligence and Stupidity; of Superior and Inferior intellect; of the Strong and the WeakGrudges and Grievances Judgments and DecisionsTemptations

Desdemona’s declaration of faithful love for the Moor in Act 4, Scene 2

I know not how I lost him. Here I kneel:

If e’er my will did trespass ’gainst his love,

Either in discourse of thought or actual deed;

Or that mine eyes, mine ears, or any sense

Delighted them in any form;

Or that I do not yet, and ever did,

And ever will—though he do shake me off

To beggarly divorcement—love him dearly,

Comfort forswear me! Unkindness may do

much,

And his unkindness may defeat my life,

But never taint my love. I cannot say ‘whore’;

It does abhor me now I speak the word;

To do the act that might the addition earn

Not the world’s mass of vanity could make me.

Dramatic purposes of Act 1 Scene 2

To introduce and present the audience with a close-up picture of the Moor, Othello

To establish Othello’s position as a military leader To shed more light on the character of Iago To advance the movement of the play To arouse excitement of a possible arrest (suspense) To continue the theme of Magic—the Black Arts,

as an Otherworldly contrast to Venetian Civilization To link up with Scene 1

Close-up picture of Othello;link to Individual and Society?

Othello, a romantic figure & of royal lineage Exceptionally conscious of his worth Trusts in friendship; not given to suspicion Has respect for age: ‘command with years’ No weakling; no wimp Fearless: “Keep up your bright swords,

for the dew will rust them” 1.2.58

Othello as a military leader in this scene

Presented / portrayed to be an alert, poised leader

Proud but not vainglorious Convinced of his own integrity And trusting the integrity of others Single-minded and dedicated to duty

Note the Moor much different than Iago’s representation of him in Scene 1

His first long speech stresses that difference ‘Most potent, grave, and reverend signors’

His dignity, pride, self-confidence are shown However we also learn that the Moor became a

husband with some regret Only the strength of Desdemona’s love— strong

enough to make him want to give up his bachelor freedom for marriage

Is this a subtle hint and foreshadowing of future marital conflict?

Critical questions to ask oneself re- Othello (as a Tragic Hero)

What is your opinion of Othello at this point in the play?

What may have brought about his ultimate downfall? Is he simply a victim of the villainous schemes of

Iago? Or is there apparent some serious defect of

character that made his downfall possible? Such as being, too credulous? Should he have been more cautious, more alert?

More light on IAGO -a Supersubtle Venetian

Note Iago’s pretended restraint in his diction;

Cleverly insists on the enormity of Roderigo’s provocation: “prated, And Spoke such scurvy and provoking terms Against your honour”

Tries then another way to get Othello angry:“He [Brabantio] will divorce you,Or put upon you what restraint, and grievance The Law, with all his might to enforce it on”

Critical questions to ask re- Iago

Is his sense of unrewarded merit an important key to his attitude and action?

Is he a relatively decent man plunging for the first time into wickedness?

Or do we already see evidence of a ‘sick’, disturbed, neurotic man; a psychopath?

Sees people merely as objects to exploit? Is he Satanic-like figure seeking absolute mastery?

Contrasts in Act 1

In scene 1, Iago seemed to be interested only in his own material gain

By Scene 3, Iago seems to be fixated on one idea: to avenge himself on the Moor.

Advancing the movement of the play

In Scene 1 What dominated the dramatic action? Brabantio’s grief at the loss of his daughter

In Scene 2?Introduced is national strife and the invasion of the Venetian colony of Cyprus;So the tempo of the scene at once increases in speed.

Increase in tempo evident in;Othello’s importance emphasized

Enter Cassio and Officers with torches;The Duke of Venice requires the appearance of Othello “haste post haste” “even on the instant”News from Cyprus “is a business of some heat”“the galleys // Have sent a dozen sequent messengers // This very night, at one another’s heels.”

Othello’s Public Image

The government has been called to the Council Chamber:

Cassio to Othello: “many of the consuls, rais’d and met,

Are at the duke’s already” The request for Othello is emphasized again:“you have been hotly call’d for”“The senate sent about three several questsTo search you hot.”

Approach of mob violence;Concerns; Individual & Society?

‘Here comes another troop to seek for you.’More lights in the distanceA torchlight procession in noisy hot pursuitLed by Brabantio and RoderigoAnd note Iago again is on the alert; warning Othello:“general be advis’d // He comes to bad intent”

Action

Swords are drawnAnd the followers on both sides prepare to fight

Brabantio calls to his men to tackle the Moor“Down with him, thief”Clash of swords can be seen and heardNote Iago’s involvement in the struggle;

Othello’s reaction

Othello manages to remain calm and controlled;Stays in command of the situationWith an air of authority he orders both parties to: “keep up your bright swords”So the conflict has been avertedBut the excitement of it gives thrilling dramatic value to this scene.

Theme of Magic; of Occult powers;of Witchcraft; the Black Arts

Shakespeare’s tragedies deal with things greater than man

With otherworldly powers; with the dark abysses of suffering

First and foremost Shakespeare is a poet A gift for the imagination In his true poetic imagination—he knows how

slender a hold man has on this life

And how changeable are his quiet orderly habits and his prosaic speech

At any moment by the operation of chance or of fate

The quiet of our everyday normal lives may be disturbed

And the world is given over once more to forces beyond our control

Throughout Scenes 1 & 2 of Act 1

We get the feeling that fate, chance, charms and witchcraft are at work

Sc 1 Brabantio hears that Desdemona has eloped. His first thought—how she got out?

A horrible thought strikes him—charms, witchcraft, are at work in his own home

“is there not charms” abusing “the property of youth and maidhood”

Theme of Charms / chains of magicdeveloped in Scene 2

Brabantio accuses Othello of being “an abuser of the world, a practiser // Of arts inhibited, and out of warrant”

He cannot accept the possibility that she left home of her own free will

And because of her love for Othello This theme is weaved into the texture of the

drama almost unobtrusively

“hast practis’d on her with foul charms,

Abus’d her delicate youth, with drugs or

minerals,

That weakens motion.”

Othello LectureDramatic purposes of Scene 3

To create an atmosphere of war Make more clear the stature of Othello Introduce the character of Desdemona and

explain the nature of her relationship with Othello;

Give us further glances at the characters of Roderigo and Brabantio

To shed more light on Iago’s character through the birth of his monstrous plan

Scene 3 of Act 1 - a key scene

Venice, a bastion of European civilization Threatened by a Turkish assault on her

outpost, Cyprus; Brabantio, a very senior statesman, assumes

Othello must have used witchcraft to put an evil spell on his daughter to win her love;

Othello on trial; defends his conduct before a Senate inquiry committee;

Stature of Othello in Venice?

On stage movement; and Stage DirectionsAs Othello makes his entrance in the company of Brabantio, Cassio, Iago, Roderigo, and Officers [p25]‘Valiant Othello, we must straight away employ you / Against the enemy Ottoman’ We note the Duke makes it a point to greet Othello before welcoming Brabantio;Dramatic effect?

Dramatic implications

Reflects the uncertainty and disordered atmosphere of the situation and even of the council chamber itself

It also subtly foreshadows the Duke’s judgment in favour of Othello when Brabantio accuses him of witchcraft

Scene 3 stresses Othello’s greatness as a public figure [dramatic effects?]

His adventurous background – has stirred the whole Venetian state to admire him

But his public image of discipline and self-control –makes the most appeal

(So far in the play), shows himself as cool-headed and calmly decisive;

Note—calmly allows Brabantio to state his case without interruption; listens as Brabantio accuses him publicly of abusing, corrupting Desdemona “by spells and medicines”

Othello’s subtlety

In reply, Othello shows great diplomacy Knows that to contradict Brabantio openly

would only arouse hostility and so he offers to subtly explain the nature of this magic:

“she lov’d me for the dangers I had passed

And I loved her that she did pity them

This only is the witchcraft I have used”

Effects of Othello’s Diplomatic Speech

[Internal effects] Such diplomacy wins the sympathy of the Duke and his senators

Note: Does not degrade (Senator) Brabantio for his accusations;

Shows he recognizes the legitimate right Brabantio has as father of Desdemona

Wisely then states his own case clearly and directly

Some key points highlighted in Othello’s defense speech

Frequent and respected guest in Brabantio’s household ‘Her father loved me, oft invited me / Still questioned me the story of my life’

Describes openly and truthfully (?) the events prior to his marriage

Narrated past life and adventures; Claims only this romantic type background won

(charmed) Desdemona’s pity and love; not any form of charms / or witchcraft

Othello’s Background; A very different World 1.3.137-146

Of being taken by the insolent foe,

And sold to slavery, of my redemption thence,

And portance in my travels’ history;

Wherein of antres vast and deserts idle,

Rough quarries, rocks, and hills whose heads touch heaven,

It was my hint to speak – such was the process;

And of the Cannibals that each other eat,

The Anthropophagi, and men whose heads

Do grow beneath their shoulders.

Magical Charms / Witchcraft Othello in Act 3 Scene 4 p149

That handkerchief

Did an Egyptian to my mother give,

She was a charmer, and could almost read

The thoughts of people. She told her, while she kept it,

’Twould make her amiable, and subdue my father

Entirely to her love; but if she lost it

Or made a gift of it, my father’s eye

Should hold her loathed, and his spirits should hunt

After new fancies. She, dying gave it to me,

And bid me, when my fate would have me wive…

Language of Othello in this Scene

Language is in keeping with a man of stature It is exceptionally eloquent,

though he says he is rude of speech“Most potent, grave, and reverend signiors,My very noble and approved good masters” the language of respect; elevated; poetic And in return wins respect for his point of view

[Internal Dramatic Effects] External dramatic effects?

Syntactic Rhythms of Othello’s speechat this stage of the play

Othello speaks in continuous, articulate and reasoned structures

Very measured, steady, and controlled

As opposed to

Fragmented, loose, emotional structures

Verdict of the Duke

‘I think this tale would win my daughter too. Good Brabantio, Take up this mangled matter at the best.’

(Make the best of this confused affair)

And later in the scene, Duke to Brabantio ‘And noble signor,

If virtue no delighted beauty lack, Your son-in-law is far more fair than black.’

Digression; Othello in Act 4 Scene 1 p169

Note change in rhythmic movement of his speech:

‘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! To confess and be hanged for his

labour – first to be hanged, and then to confess, I

tremble at it.’

Dramatic Technique - the Soliloquy

[Keep in mind] All speeches reveal states of mind;Lengthy speech by a character alone on stage, addressed directly to the audience;Involves a character talking to the audience Whereby character confesses / voices own inner thoughts; (Effect?)Some sort of special relationship is thus established between character and audience

Next- Iago’s evil plot is born;More thorough revenge plan 45/47

I hate the Moor:

And it is thought abroad that ’twixt my sheets

He’s done my office.

He holds me well;

The better shall my purpose work on him.

Cassio is a proper man; let me see now;

To get his place, and to plume my will

In double knavery – How? How? Let’s see –

After some time, to abuse Othello’s ear

That he is too familiar with his wife.

Iago continues

“The Moor a free and open nature too,

That thinks men honest that seem to be so:

And will as tenderly be led by the nose…

As asses are.”

Iago convinced of his insightful and superior understanding of human nature;

Scene ending with Iago

Note use of powerful and arresting imagery:“Hell and nightMust bring this monstrous birth to the world’slight”Ends with a forecast of doom to the idealistic loversAnd the destruction of an unsuspecting couple Dramatic effects?

Do you find Iago puzzling?

Does Iago come across as an ordinary villain? Does he delight in evil because it is evil? Charles Lamb in his Elia Essays says he is

“a consummate villain entrapping a noble

nature into toils.”

And William Hazlitt says there is a lack of motive behind his dastardly behaviour.

Themes in Scenes, notably Scene 3 of Act 1?

How does language and imagery present and develop these themes throughout the play?

Civilization and Barbarism Christianity and Heathenism Heaven and Hell Order and Chaos Magic; Witchcraft Love and Lust; Love and Hate Good versus Evil Appearance and Reality