1. Monday, Jan. 26 Othello, Acts 2 and 3

2. Today Comments about Macbeth Comments about Macbeth Great Chain of Being in Othello Great Chain of Being in Othello Peripeteia Peripeteia Dramatic irony Dramatic ironyBreak Objective correlatives Objective correlatives Doing a close reading in pairs (Today’s Quiz) Doing a close reading in pairs (Today’s Quiz) Questions on Othello Questions on Othello Sonnet 130 Sonnet 130

3. Lines relevant to Great Chain What have YOU noticed? – just in actions. What have YOU noticed? – just in actions. Interior: 2.3.218 Interior: 2.3.218 Othello:“Now by heaven My blood begins my safer passions to rule And passion, having my best judgment collied, Assays to lead the way” Male-female-military 2.3.332-3 Iago: “Our general’s wife is now the general” Iago later 3.3.268 on

4. Peripeteia Reversal for Brabantio when he goes to the Senate Reversal for Brabantio when he goes to the Senate

5. Dramatic Irony Dramatic irony is when the words and actions of the characters of a work of literature have a different meaning for the reader than they do for the characters. This is the result of the reader having a greater knowledge than the characters themselves. Dramatic irony is when the words and actions of the characters of a work of literature have a different meaning for the reader than they do for the characters. This is the result of the reader having a greater knowledge than the characters themselves. Examples? Examples? 3.1.45 Cassio “I never knew a Florentine more kind and honest.” 3.1.45 Cassio “I never knew a Florentine more kind and honest.” Desdemona: 3.3.5: “O that’s an honest fellow” Desdemona: 3.3.5: “O that’s an honest fellow” Othello: 3.3.140+ Othello: 3.3.140+ Iago 3.3.147 “Men should be what they seem” Iago 3.3.147 “Men should be what they seem” Iago 3.3.246+ “I humbly do beseech you of your pardon; Iago 3.3.246+ “I humbly do beseech you of your pardon; For too much loving you.”

6. Objective correlatives T.S. Eliot’s idea of an “artistic mechanism whereby emotion is evoked in the audience” T.S. Eliot’s idea of an “artistic mechanism whereby emotion is evoked in the audience”

7. Questions about Othello 1. Could you interpret Othello as a feminist text? 2. What makes Othello a tragic figure? Is his tragedy self-inflicted or beyond his control? Does he have a tragic flaw? (hamartia – “notion of missing the mark, includes accident and mistake,as well as wrongdoing, error, or sin”) 3. How does Othello change in the course of the play? Can you see change in language and behavior? 4. Is Iago a credible character? Or is he so evil that he defies belief?What flaws in Roderigo, Cassio, and Othello does he use?

8. More Questions 5. How does Emelia help us to understand Othello and Desdemona? Is she a foil to Desdemona? 6. Are the minor characters (Bianca, Brabantio, etc.) keys to the story? 7. Can you see a Venice/Cyprus split in values? 8. How is Desdemona's handkerchief used dramatically and symbolically? 9. How does Iago direct scenes and direct them to be misread? 10. How would YOU direct this play in terms of costume, lighting, acting?

9. For Wednesday Try to finish Othello Try to finish Othello Take ONE of the previous questions and be prepared to answer it. Take ONE of the previous questions and be prepared to answer it. We’ll do more on close-reading and on We’ll do more on close-reading and on Tragedy Tragedy