Focusing on Shakespeare’s dramatic techniques Othello Act 1 Scene 3 Focusing on Shakespeare’s dramatic techniques

Match the descriptions to the 7 parts of the scene The Duke and Senators talk about the Turkish threat. Messages come through with news of Turkish fleets heading for Cyprus. Othello, Brabantio and others come in, intending to sort out their dispute over the marriage and Othello is immediately told he will be sent to fight the Turks. Othello defends himself against Brabantio’s accusations. Desdemona is called upon to speak, to see if she will justify Othello’s statements. She corroborates his version of events. Othello leaves for Cyprus, with D having been granted permission to go with him. Iago talks to Roderigo about human emotions and virtue, persuading R to keep up his campaign to win D despite the marriage. I speaks his first soliloquy (to himself and the audience) revealing much about the way his mind works and his motivation in relation to R, C and O. Taking the plot forward Introducing a new character Developing our understanding of a character we’ve already encountered Developing a key theme Developing the context Establishing a mood Creating suspense

Dramatic Technique: (1) Rhyming Couplets DUKE OF VENICE (288-289) If virtue no delighted beauty lack, Your son-in-law is far more fair than black. BRABANTIO (291-292) Look to her, Moor, if thou hast eyes to see: She has deceived her father, and may thee. What are the implications of the Duke’s and Brabantio’s rhyming couplets? How do they complement each other? ------------------------------------------------ IAGO (401-402) I have't. It is engender'd. Hell and night Must bring this monstrous birth to the world's light. What imagery prevails here and what emotions might Shakespeare intend to evoke?

Dramatic Technique: (2) Rhyming Couplets that form rhyming speeches DUKE OF VENICE   When remedies are past, the griefs are ended By seeing the worst, which late on hopes depended. To mourn a mischief that is past and gone Is the next way to draw new mischief on. What cannot be preserved when fortune takes Patience her injury a mockery makes. The robb'd that smiles steals something from the thief; He robs himself that spends a bootless grief. BRABANTIO So let the Turk of Cyprus us beguile; We lose it not, so long as we can smile. He bears the sentence well that nothing bears But the free comfort which from thence he hears, But he bears both the sentence and the sorrow That, to pay grief, must of poor patience borrow. These sentences, to sugar, or to gall, Being strong on both sides, are equivocal: But words are words; I never yet did hear That the bruised heart was pierced through the ear. I humbly beseech you, proceed to the affairs of state. Duke and Brabantio: 202 –209, 210 -219 What are the effects of the Duke’s and Brabantio’s rhyming speeches here?

Further dramatic techniques in Act 1 Scene 3: (3) Dramatic Irony in Othello’s speeches 283-287, 293-299 OTHELLO   So please your grace, my ancient; A man he is of honest and trust: To his conveyance I assign my wife, With what else needful your good grace shall think To be sent after me. My life upon her faith! Honest Iago, My Desdemona must I leave to thee: I prithee, let thy wife attend on her: And bring them after in the best advantage. Come, Desdemona: I have but an hour Of love, of worldly matters and direction, To spend with thee: we must obey the time. Exeunt OTHELLO and DESDEMONA

Chalk Talks What is the key dramatic technique Shakespeare is employing to help serve his purpose and bring the drama to life? What can you identify in the language? What suggestions and possibilities exist? What questions might you ask? See, Think, Wonder/ Connect, Extend, Challenge

(4) Shakespeare’s presentation of the love between Othello and Desdemona: Othello’s monolouge (128-170); Desdemona’s entrance (180-188); Desdemona’s request (247-258); Othello’s reaction to Desdemona’s request (259-273) (5) Poetry to prose when Iago and Roderigo enter the scene (300) Key questions for (6) and (7) (6) Iago’s manipulative speech - “…Put money in thy purse” (334-360) (7) Iago’s soliloquy (381-402)

Considerations on Iago (6) “…Put money in thy Purse” Why does Iago repeatedly encourage Roderigo to make all the money he can? How might an audience respond to Iago’s words at this stage of the play? (7) Iago’s soliloquy What do you think of Iago’s strengths as a maker of plots in the evidence of this speech? Does this offer enough justification of why Iago hates Othello so much?

A Close focus on Iago Iago appears in this first act in different contexts. In Act 1 Scene 1, talking to Roderigo. Telling Brabantio about Desdemona’s marriage. Talking to Othello. Holding forth to Roderigo, in prose, about the nature of virtue and encouraging Roderigo to continue his pursuit of Desdemona. On his own, talking loud about his attitudes and motives in his first soliloquy. How would you describe Iago at each of these moments? Choose between the statements below. Look closely at the language to justify your choice of statement. Iago is directing the action. Iago fits the stereotype of the typical stage villain. Iago’s ability to manipulate language shows just how dangerous he is. Iago is the character who makes the audience keep re-considering their assumptions. Iago changes according to who he’s talking to – this shows how untrustworthy he is. The audience doesn’t know who to trust at this stage of the play. Iago is the most interesting character in the play so far.

Work for Friday’s lesson and homework tasks Read Othello Act 2 Complete a timed essay (30 minute plan, 60 minutes writing) on the title: Othello has been described as ‘a man of mystery’, exoticism and intense feeling who inspires a passion of mingled love and pity’. (A. C. Bradley). He has also been described as ‘a hero who is too easy to pity, too hard to like.’ Discuss your first impressions of Othello, supporting your answer with reference to the text.