2. Othello ; The Moor of Venice

3. Renaissance Social Background Marriages were arranged, usually for wealth Marriages were arranged, usually for wealth Women had a lower social status than men Women had a lower social status than men Social position was a natural consequence of birth Social position was a natural consequence of birth There was a proper order within all things. People were concerned with the order of things and believed that in life there was a “great chain of being.” When everything was in its proper place, there was harmony. When the order was broken, everything was upset and everyone suffered. There was a proper order within all things. People were concerned with the order of things and believed that in life there was a “great chain of being.” When everything was in its proper place, there was harmony. When the order was broken, everything was upset and everyone suffered. The Age of Exploration exposed the relatively isolated English to races they did not know how to interact with. The Age of Exploration exposed the relatively isolated English to races they did not know how to interact with.

4. A Brief History of the Moors The word “Moor” comes from Mauri, an ancient tribe from present day Morocco. The word “Moor” comes from Mauri, an ancient tribe from present day Morocco. The descendents of the Mauri became Muslims in very early Islamic history. The descendents of the Mauri became Muslims in very early Islamic history.

5. A Brief History of the Moors, con’t In the year 711, these Islamic Moors conquered Spain and ruled lands in Northern Africa and the Iberian Peninsula for the next 700 years. In the year 711, these Islamic Moors conquered Spain and ruled lands in Northern Africa and the Iberian Peninsula for the next 700 years. In 1492, the last Muslim stronghold of Granada was lost to Christian Spain (under Isabella and Ferdinand) in an agreement called “The Capitulation of Granada.” In 1492, the last Muslim stronghold of Granada was lost to Christian Spain (under Isabella and Ferdinand) in an agreement called “The Capitulation of Granada.” By 1502, the remaining Muslims had been forced either to leave Spain or convert to Christianity. The converts were known as moriscos. By 1502, the remaining Muslims had been forced either to leave Spain or convert to Christianity. The converts were known as moriscos. Between the years 1609-1614, all remaining Moors were systematically hunted down and expelled from Spain permanently. Between the years 1609-1614, all remaining Moors were systematically hunted down and expelled from Spain permanently.

6. The Moors and England The first recorded performance of Othello was in 1604, during the time when Christian European tolerance of Muslims was greatly strained. The first recorded performance of Othello was in 1604, during the time when Christian European tolerance of Muslims was greatly strained. When Shakespeare establishes his tragic hero as a Moor, he clearly wants to situate Othello as a descendent of these Northern-African/Spanish Muslims whose not so distant ancestors were also exiled. This could explain why Othello finds himself in Venice, Italy. When Shakespeare establishes his tragic hero as a Moor, he clearly wants to situate Othello as a descendent of these Northern-African/Spanish Muslims whose not so distant ancestors were also exiled. This could explain why Othello finds himself in Venice, Italy. Moors were characterised in Elizabethan England as being alternately or simultaneously noble or monstrous, civil or savage. It was often the case (in literature) that a moor was presented as someone accepted by society to a certain point, but then rejected due to other factors. Moors were characterised in Elizabethan England as being alternately or simultaneously noble or monstrous, civil or savage. It was often the case (in literature) that a moor was presented as someone accepted by society to a certain point, but then rejected due to other factors. Othello is the tragic hero and not the villain. Othello is the tragic hero and not the villain.

7. Shakespeare’s Source The plot for Othello was developed from a story in Cinthio's collection, the Hecatommithi, which it follows closely. The plot for Othello was developed from a story in Cinthio's collection, the Hecatommithi, which it follows closely.CinthioHecatommithiCinthioHecatommithi The only named character in Cinthio's story is "Disdemona", which means "unfortunate" in Greek; the other characters are identified only as "the standard-bearer", "the captain", and "the Moor". The only named character in Cinthio's story is "Disdemona", which means "unfortunate" in Greek; the other characters are identified only as "the standard-bearer", "the captain", and "the Moor".

8. Shakespearean Tragedy Othello is a tragedy. Othello is a tragedy. According to Aristotle, the tragic hero was a man who rose to a high position and then fell---usually to utter death and desolation. According to Aristotle, the tragic hero was a man who rose to a high position and then fell---usually to utter death and desolation. Two forces seem equally powerful in classical tragedy: the tragic flaw (hamartia) and fate. Two forces seem equally powerful in classical tragedy: the tragic flaw (hamartia) and fate. By the Renaissance, people believed they were in more control of their fate. The Elizabethan tragic hero, therefore, is much more responsible for his own downfall. The “waste of human potential” seemed tragic to the audience. By the Renaissance, people believed they were in more control of their fate. The Elizabethan tragic hero, therefore, is much more responsible for his own downfall. The “waste of human potential” seemed tragic to the audience.

9. Order and Disorder in Shakespeare Many of Shakespeare’s plays revolve around one common theme: disorder. In each play, the reader must consider how disorder is represented in that play, how order is restored over the course of the events, and what effect of this new order is. Act I (the exposition) is usually used to establish that at one point in the play’s events there was a social order.

10. Order and Disorder, con’t The resolution of Shakespeare’s tragedies is different from the celebratory atmosphere that signals the end of his comedies (the marriages in A Midsummer Night’s Dream). In a tragedy, the play ends with the death of the main character, who has spent the entire play trying to gain control of the conflict that he himself has created. NOTE: The character who delivers the last line in a Shakespearean tragedy is the person who will restore the shattered order.

11. Frye’s Theory of Tragedy Encroachment Encroachment Complication Complication Reversal (Peripeteia) Reversal (Peripeteia) Catastrophe Catastrophe Recognition (Anagnorisis) Recognition (Anagnorisis)

12. Features of Shakespeare’s Language A. Blank verse Shakespeare’s essential pattern Shakespeare’s essential pattern Whenever a reader notices a change in this pattern, there is a reason for this change. Whenever a reader notices a change in this pattern, there is a reason for this change. With the change, Shakespeare is creating mood or establishing character. With the change, Shakespeare is creating mood or establishing character.

13. Shakespeare’s Language B. Figurative Language Shakespeare’s characters often speak in similes and metaphors---to expand ideas and amplify IMAGERY. Shakespeare’s characters often speak in similes and metaphors---to expand ideas and amplify IMAGERY. Be certain not to miss the “like” or “as” or the text will seem incomprehensible. Be certain not to miss the “like” or “as” or the text will seem incomprehensible.

14. For example, in Act I.i, Iago describes the relationship between Othello and Desdemona in less than polite terms. ‘Zounds, sir, you’re robb’d; for shame, put on your gown;/Your heart is burst, you have lost your soul; Even now, now, very now, an old black ram/Is topping your white ewe. Arise, arise; Awake the snorting citizens with the bell,/Or else the devil will make a grandsire of you: Arise I say. There are two metaphors in this short 8 line passage: There are two metaphors in this short 8 line passage: 1. Iago speaks about Othello and Desdemona. He highlights the color of their skin and suggests an animalistic nature of their relationship 2. Iago refers to Othello as a devil, implying that the moor is doing something evil with Desdemona.

15. Shakespeare’s Language 3. Motifs- Notice how Shakespeare repeats (or repeats and develops) certain themes or phrases: Animals Animals Jealousy Jealousy Sight and darkness Sight and darkness The handkerchief The handkerchief Magic Magic Evil and the devil Evil and the devil

16. Othello: Dramatis Personae Othello, the Moor Othello, the Moor Brabantio, father to Desdemona Brabantio, father to Desdemona Cassio, an honorable lieutenant Cassio, an honorable lieutenant Iago, a villain [‘ancient’ or standard-bearer; 3rd in command] Iago, a villain [‘ancient’ or standard-bearer; 3rd in command] Roderigo, a gulled gentlemen Roderigo, a gulled gentlemen Senators Senators Montano, Governor of Cyprus Montano, Governor of Cyprus Gentlemen of Cyprus Gentlemen of Cyprus Lodovico, Gratiano, two Venentians, [kinsmen to Brabantio] Lodovico, Gratiano, two Venentians, [kinsmen to Brabantio] Sailors Sailors Clown, in Othello’s retinue Clown, in Othello’s retinue Desdemona, wife to Othello Desdemona, wife to Othello Emilia, wife to Iago Emilia, wife to Iago Bianca, a courtesan Bianca, a courtesan Messengers, Herald, Officers, Musicians, and Attendents Messengers, Herald, Officers, Musicians, and Attendents

17. Othello A courageous Venetian soldier who is well-respected by those in Venice. A courageous Venetian soldier who is well-respected by those in Venice. His reputation as a man of honor drives him to his own ruin as he is manipulated by Iago. His reputation as a man of honor drives him to his own ruin as he is manipulated by Iago.

18. Iago Iago is one of Shakespeare’s most sinister villains, often considered so because of the unique trust Othello puts in him, which he betrays while maintaining his reputation of honesty and dedication. Iago is one of Shakespeare’s most sinister villains, often considered so because of the unique trust Othello puts in him, which he betrays while maintaining his reputation of honesty and dedication. Iago is a malcontent – he has a bitter and cyncial view of the world around him. Iago is a malcontent – he has a bitter and cyncial view of the world around him. The name Iago is a shortened version of the Spanish name “Santiago” or “St James”. The name Iago is a shortened version of the Spanish name “Santiago” or “St James”. Saint James of Spain was also known as “St James the Moor Killer” which seems appropriate within the play. Saint James of Spain was also known as “St James the Moor Killer” which seems appropriate within the play.