AS Paper 1: Othello Lesson 12 LQ: Can analin Act 3? Welcome...equipment out...ready to learn...Welcome...equipment out...ready to learn... AS Paper 1: Othello Lesson 12 LQ: Can analin Act 3?

Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences B4 Outstanding Progress: you will confidently explore through detailed and sophisticated critical analysis how writers use these aspects to create meaning B3 Excellent Progress: you will explore structure, form, language, themes and contexts, commenting on specific aspects with reference to how they shape meaning B2 Good Progress: you will show awareness of structure, form, language, themes and contexts, commenting on specific aspects with reference to how they shape meaning LQ: Can I develop my understanding of the events of and consider their impact on the play as a whole?

LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3? LQ: Can I develop my understanding of the events of and consider their impact on the play as a whole? LQ: Can I identify the changing traits of characters? LQ: Can I analyse structure, form, language, themes and contexts in Othello? LQ: Can I further develop my understanding of characterisation in Act 1? Recap of Act 3 scene 3. Scene 3 is mostly important for the following four reasons: Imagery ‘Proof’ Language Chaos vs. Order Make sure that you are making detailed notes as we discuss Ext: Can you begin to make links to social context Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3? LQ: Can I develop my understanding of the events of and consider their impact on the play as a whole? LQ: Can I further my understanding of the plot and begin to look closely at language? LQ: Can I further develop my understanding of characterisation in Act 1? LQ: Can I identify the changing traits of characters? LQ: Can I analyse structure, form, language, themes and contexts in Othello? Imagery Othello begins to use the black/ white imagery found throughout the play, to express his grief and rage at Desdemona's alleged treachery. "My name, that was as fresh as Dian's visage, is now begrimed and black as mine own face," Othello says. Although the allegations against Desdemona are personally hurtful to him, Othello focuses more on the public ramifications, rather than the private There is great irony in this concern, since this rumored betrayal is a private one, and also since Othello's name is highly regarded, because nothing has really happened. Iago's "proofs" also rely on the animal imagery which has run throughout the play he makes Desdemona and Cassio seem like lustful lovers, by describing them as "prime as goats, as hot as monkeys" (400). This comparison is calculated, since Iago knows that thinking of Desdemona as lusting after another man disturbs Othello greatly. Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3? LQ: Can I further my understanding of the plot and begin to look closely at language? LQ: Can I develop my understanding of the events of and consider their impact on the play as a whole? LQ: Can I further develop my understanding of characterisation in Act 1? LQ: Can I analyse structure, form, language, themes and contexts in Othello? LQ: Can I identify the changing traits of characters? ‘Proof’ ‘Proof’ is a key word in this scene Othello demands that Iago prove Desdemona unfaithful by actually seeing evidence of her guilt. Iago manages to work around this completely; he plays off of Othello's jealousy, telling him stories that damn Cassio and mention the handkerchief Othello trusts Iago's words to convey proof, and is thwarted by Iago's dishonesty Othello only realizes later that he has been tricked and has seen no proof, when it is too late for him to take his actions back. Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3? LQ: Can I further my understanding of the plot and begin to look closely at language? LQ: Can I develop my understanding of the events of and consider their impact on the play as a whole? LQ: Can I further develop my understanding of characterisation in Act 1? LQ: Can I analyse structure, form, language, themes and contexts in Othello? LQ: Can I identify the changing traits of characters? Language This act represents the beginning of Othello's giving up language From this point forward, notice how Othello's use of imagery and story become less and less frequent, and how he begins to rely upon Iago for speech and explanation. Othello is reduced by Iago and his own jealousy to single lines of speech, monosyllabic utterings of ‘O!’ and the like. And just as language is the power with which Othello was able to woo Desdemona, his loss of it is a resignation of this power which attracted her to him. Othello begins to lose his power over himself, and over others, when he loses his beautiful language This resignation marks a huge shift in the balance of power between Othello and Iago Iago becomes more dominant in the relationship, and begins to steer Othello. Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3? LQ: Can I further my understanding of the plot and begin to look closely at language? LQ: Can I develop my understanding of the events of and consider their impact on the play as a whole? LQ: Can I further develop my understanding of characterisation in Act 1? LQ: Can I analyse structure, form, language, themes and contexts in Othello? LQ: Can I identify the changing traits of characters? Chaos vs. Order In the battle between order and chaos, chaos seems to be winning out. Othello abandons his reason in judging Iago's ‘proofs,’ and his abandonment of language also marks a descent into chaos. Although it is a chaos controlled by Iago, order and reason are on the losing side Raging emotions and speculations begin to rule Othello's fate, as he comes closer and closer to his tragic end. Ext: Can you make allusions to an earlier scene? Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3? LQ: Can I develop my understanding of the events of and consider their impact on the play as a whole? LQ: Can I further my understanding of the plot and begin to look closely at language? LQ: Can I analyse structure, form, language, themes and contexts in Othello? LQ: Can I further develop my understanding of characterisation in Act 1? LQ: Can I identify the changing traits of characters? Plenary, language analysis. What is the relevance of these lines? Haply for I am black, And have not those soft parts of conversation That chamberers have; or for I am declined Into the vale of years—yet that’s not much—  She’s gone. I am abused, and my relief Must be to loathe her. O curse of marriage, That we can call these delicate creatures ours And not their appetites! I had rather be a toad And live upon the vapor of a dungeon Than keep a corner in the thing I love For others’ uses. Yet ’tis the plague of great ones; Prerogatived are they less than the base. ’Tis destiny unshunnable, like death. (III.iii.267–279) Ext: Do these lines allude to another point in the play? abstract noun noun a noun denoting an idea, quality, or state rather than a concrete object. Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

LQ: Can I analyse the effect of foreshadowing in Act 1 Scene 3? LQ: Can I further my understanding of the plot and begin to look closely at language? LQ: Can I develop my understanding of the events of and consider their impact on the play as a whole? LQ: Can I further develop my understanding of characterisation in Act 1? LQ: Can I identify the changing traits of characters? LQ: Can I analyse structure, form, language, themes and contexts in Othello? When, in Act I, scene iii, Othello says that he is “rude” in speech, he shows that he does not really believe his own claim by going on to deliver a lengthy and very convincing speech about how he won Desdemona over with his wonderful storytelling (I.iii.81). However, after Iago has raised Othello’s suspicions about his wife’s fidelity, Othello seems to have at least partly begun to believe that he is inarticulate and barbaric, lacking “those soft parts of conversation / That chamberers [those who avoid practical labor and confine their activities to the ‘chambers’ of ladies] have.” This is also the first time that Othello himself, and not Iago, calls negative attention to either his race or his age. His conclusion that Desdemona is “gone” shows how far Iago’s insinuations about Cassio and Desdemona have taken Othello: in a matter of a mere 100 lines or so, he has progressed from belief in his conjugal happiness to belief in his abandonment. Othello’s comment, “’tis the plague of great ones,” shows that the only potential comfort Othello finds in his moment of hopelessness is his success as a soldier, which proves that he is not “base.” He attempts to consider his wife’s purported infidelity as an inevitable part of his being a great man, but his comfort is half-hearted and unconvincing, and he concludes by resigning himself to cuckoldry as though it were “death.” abstract noun noun a noun denoting an idea, quality, or state rather than a concrete object. Ext: Can you make a relevant link to context Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis

Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences B4 Outstanding Progress: you will confidently explore through detailed and sophisticated critical analysis how writers use these aspects to create meaning B3 Excellent Progress: you will explore structure, form, language, themes and contexts, commenting on specific aspects with reference to how they shape meaning B2 Good Progress: you will show awareness of structure, form, language, themes and contexts, commenting on specific aspects with reference to how they shape meaning LQ: Can I further develop my understanding of characterisation in Act 1?

Literary technique quiz LQ: Can I further my understanding of the plot and begin to look closely at language? LQ: Can I develop my understanding of the events of and consider their impact on the play as a whole? Literary technique quiz words or actions is clear to the audience or reader although unknown to the character. figure of speech that juxtaposes elements that appear to be contradictory. Dramatic Irony Oxymoron attributing of human emotion and conduct to all aspects within nature Allusion Hubris Pathetic Fallacy reference to a place, person, or something that happened excessive pride or self-confidence Monologue Aside Paradox a statement that contradicts itself  intended to be heard by the audience but is supposed to be unheard by the other characters in the play A speech presented by a single character, most often to express their mental thoughts aloud, Ext: Can you come up wit any others? 1 change/deception 2 with respect but are willing to acknowledge Brab’s accuations of witchcraft 3 agressive Blank verse Soliloquy Foreshadowing a warning or indication of (a future event) poetry written in regular metrical but unrhymed lines, almost always iambic pentameters a speech made to the audience in which a character reveals their inner thoughts Key words: Play, drama, genre, contexts, historical, social, cultural, race, religion, gender, Venice, Cyprus, attitude, audiences, character analysis