Othello

Question 1

Characters: Who is Othello and Quotes

Answer 1

Othello is a Moor who has become a
general in the Venetian army.

My parts, my title and my perfect soul shall manifest me rightly - ACT 1 SCENE 2. iambic pentameter- calm and collected. Secure in himself. Hyperbole. Pride. He has to prove nothing to no one

I do love thee and when i love thee not chaos is come again. ACT 3 SCENE 3 - foreshadowing to later in Act 3 and later on in the play. Othello’s insecurity gets the better of him leading to the death of Desdemona.

For she has eyes and chose me (…) I’ll see before i doubt and when I doubt prove - ACT 3 SCENE 3- assurance in the love that Othello and Desdemona share. Methodical and rational.

O love thy crown and hearted throne to tyrannous hate ACT 3 SCENE 3 - pivotal change i character. Othello has decided to exchange love for hate. Juxtaposition. Not rational.

O that the slave had forty thousand lives - ACT 3 SCENE 3 - referring to Cassio and the pain and revenge that he wants to inflict on him. Reverting to stereotyped about black men being violent and uncivilised.

Get you to bed th’ instant (…) Dismiss your attendant- ACT 4 SCENE 3 - patriarchal and demanding. In the 16th century it would have been very unusual to dismiss your attendants. Audience would be shocked and scared for Desdemona.

Thy bed, lust stain’d shall with lust’s blood be spotted ACT 5 SCENE 2- Othello no longer loves Desdemona so is ready to kill her. a life for a life.

She’ll betray more men, put out the light. - ACT 5 SCENE 2- Othello is trying to justify his actions. Thinks that he is doing everyone a service. ‘Put out the light is a metaphor for killing Desdemona.

My wife, my wife. What wife? I have no wife’ - ACT 5 SCENE 2- Othello has become hysterical- he is grieving Desdemona and regretting his decision. Monosyllabic.

Of one that lov’d not wisely but too well - ACT 5 SCENE 2 - not taking accountability for his actions.

I kiss thee ere, I kill’d thee (…) killing myself to die upon a kiss - ACT 5 SCENE 2- rhyming couplets. poetic. start and beginning. Justifying his suicide even though it i still a sin.

Question 2

Characters: Who is Iago and Quotes

Answer 2

Iago is Othello’s ensign, or third in
command, and the villain of the play.

I know my price, I am worth no worse a place- ACT 1 SCENE 1- Iago feels as though he has been treated unfairly. He thinks Cassio as unworthy to have the position that he has.

Our bodies are our gardens to which our wills are gardeners- ACT 1 SCENE 1- justifying his actions. metaphor for manipulating Othello. We can be who we want to be.

Hell and night must bring this monstrous birth to the world’s light - ACT 1 SCENE 1- metaphor for the chaos he is about to cause. juxtaposition of night and light. rhyming couplets.

Make the Moor thank me, love me, reward me - ACT 2 SCENE 1- list of three. Iago wants Othello to appreciate him.

When devils will put on the blackest sins (…) with heavenly shows - ACT 2 SCENE 3- shows the extent of Iago’s manipulation.

Out of her goodness make a net that shall emesh them all- ACT 2 SCENE 3- metaphor- he is going to use the kindness of Desdemona to ruin everyone- amoral

Beware of jealousy my lord. it is the green eyed monster that doth mocks the meat it feeds on - ACT 3 SCENE 3- Iago referring to jealousy. in a way the green eyed monster is Iago as Othello spirals down Iago mocks him and makes him his fool.

Work on my medicine work (…) all guiltless meet reproach - ACT 4 SCENE 1- Medicine is meant to be used for healing, Iago is using it for evil. Even those who are innocent he will condemn.

Strangle her in her bed . Even the bed she hath contaminated- ACT 4 SCENE 1- Iago is dictating what happens. He has ultimate control.

I look down towards his feet but thats a fable, if that thou be’st the devil I cannot kill three - OTHELLO SAYS THIS- ACT 5 SCENE 2- Othello has been completely manipulated. In the 16th century they believed that the devil had hooved feet. Shakespeare showing that the devil can present themselves in many ways.

Demand me nothing, what you know you know, from this time forth I will never speak a word - ACT 5 SCENE 2- IAGO’S FINAL WORDS- his work is complete. he has achieved everything he wanted to. LEAVES NO CATHARASIS FOR THE AUDIENCE.

Question 3

Characters: Who is Desdemona and Quotes

Answer 3

Desdemona is Othello’s beautiful and
kind wife, through whom Iago plans to
ruin Othello.

I do perceive a divided duty (…) due to the Moor my Lord - ACT 1 Scene 3- Desdemona uses patriachy against her father. her duty now lies with Othello. Empowering voice. Equality between Othello and Desdemona as he lets her have a say.

My lord shall not rest (…) his bed shall seem like a school - ACT 3 SCENE 5- Naive. Her pestering Othello leads to his jealousy. ‘his bed’ made for sleep and sex not made for talking about another man.

Your wife, my lord, your true and your loyal wife - ACT 4 SCENE 2- showing her loyalty to Othello. She bleongs to him. She is his identity.

My love doth so approved him that even his stubbornness (…) have grace and favour in them - ACT 4 SCENE 3 - demonstrates Desdemona’s innocence. She loves him through thick and thin.

Kill me tomorrow! Let me live tonight - ACT 5 SCENE 2- shows the terror that Desdemona feels. as well as her innocence. Paints Othello to be the villain

Question 4

Characters: Who is Cassio and Quotes

Answer 4

Michael Cassio is Othello’s young but
devoted second in command

he hath achiev’d a maid that paragons description and wild fame - ACT 2 SCENE 1- calling Desdemona beautiful.

She is a most fresh and delicate creature - ACT 2 SCENE 3 - calling Desdemona beautiful

I have poor brains for drinking - ACT 2 SCENE 3- not manly. feminine. allows Iago to use it to his advantage

I have lost the immortal part of myself and what remains is bestial - ACT 2 SCENE 3- his reputation is gone

he was great of heart ACT 5 SCENE 2- even though Othello treated him horribly, he still has respect for him.

Question 5

Characters: Who is Roderigo and Quotes

Answer 5

Roderigo is a foolish young gentleman
who is paying Iago to help him woo
Desdemona.

what full fortune does the thick lips owe - ACT 1 SCENE 1- racist language towards Othello. Dehumanising him

that your fair daughter (…) to gross clasps of a lascivious Moor - ACT 1 SCENE 1 - presents Desdemona as being innocent and Othello as stealing her

I will incontinently drown myself - ACT 1 SCENE 3- pathetic, weakling - some sort of comic relief

O I am slain - ACT 5 SCENE 1- pathetic, weakling - some sort of comic relief

O damned Iago! o inhuman dog - ACT 5 SCENE 1 - shows the cruelty of Iago and how Roderigo is made complicit

Question 6

Characters: Who is Bianca and Quotes

Answer 6

Bianca is a Venetian courtesan who
has a special relationship with Cassio.

‘I am no strumpet: but of life as honest as you that thus abuse me’ - ACT 5 SCENE 1 - women being pitted against each other. internalised misogyny towards Bianca. Also shows class difference.

‘Let the devil and his dam haunt you!’ ACT 4 SCENE 1 - upset about the handkerchief that she found- she thinks its from another mistress.

‘Through your vile guesses in the devil’s teeth’ (Cassio to Bianca) - ACT 3 SCENE 4 - Cassio cant believe that Bianca would think this.

‘My sweet Cassio! O, Cassio, Cassio, Cassio!’ - ACT 5 SCENE 1- shows the love that Bianca has for Cassio even though he doesn’t treat her with respect.

Question 7

Characters: Who is Brabantio and Quotes

Answer 7

Brabantio is Desdemona’s volatile and
paternalistic father.

“To fall in love with what she feared to look on!”- Act 1 Scene 3- ties into the stereotype that white people had about black people

She has deceived her father, and may thee”- Act 1 Scene 3- helps with Othello’s jealousy and insecurity

“That thou hast practised on her with foul charms, “- Act 1 Scene 2 - ties into the stereotypes of black men

O, thou foul thief, where hast thou stowed my daughter”- Act 1 Scene 2 ties into the stereotypes of black men. Paternal attitude

Question 8

Characters: Who is the Duke of Venice and Quotes

Answer 8

The ruler of Venice, the Duke of Venice summons Othello for military service in Cyprus, and takes Othello’s side in the disagreement between Othello and Brabantio.

Valiant Othello we must straight employ you against the general enemy Ottoman. - ACT 1 SCENE 3

I think that this take would win my daughter too - ACT 1 SCENE 3

Your son in law is far more fair than black - ACT 1 SCENE 3

Question 9

Characters: Who is Emilia and Quotes

Answer 9

Emilia is Iago’s wife, but she is also a woman with progressive opinions about the ways men and women interact and the double standards by which they are judged.

“They are all but stomachs, and we all but food; To eat us hungerly, and when they are full, They belch us.” - ACT 3 SCENE 4 - PATRAICHY

“hath she forsook so many noble matches, her father, her country, her friends to be called a whore? - ACT 4 SCENE 2 - empowering and outspoken

“the more angel she and you the blacker devil” ACT 5 SCENE 2- imagery of light and dark

“I will speak as liberal as the north” - ACT 5 SCENE 2 - outspoken and shrew like

who would not make her husband a cuckold to make him a monarch?” - ACT 4 SCENE 3 - outspoken

But I do think it is the husbands fault if wives fall - ACT 4 SCENE 3

Question 10

The Plot Summary:

Answer 10

Desdemona elopes with Othello

Desdemona goes with Othello and his soldiers to Cyprus.

Iago plots to convince Othello that Desdemona is unfaithful.

Iago gets Cassio drunk. Cassio is demoted.

Cassio asks Desdemona to speak to Othello; she agrees.

Desdemona loses a handkerchief given to her by Othello.

Emilia finds the handkerchief and gives it to Iago.

Iago uses the handkerchief to show Desdemona’s infidelity.

Othello commits to killing Desdemona.

Othello kills Desdemona.

Emilia betrays Iago, who kills her; Othello kills himself.

Iago is arrested

Question 11

Scene Summaries: Act 1 Scene 1

Answer 11

Roderigo and Iago rouse Brabantio from his bed to tell him of Desdemona’s rebellion.

Question 12

Scene Summaries: Act 1 Scene 2

Answer 12

There is a new threat in Venice from Cyprus- but Brabantio demands Othello’s arrest for stealing away his daughter

Question 13

Scene Summaries: Act 1 Scene 3

Answer 13

Brabantio accuses Othello before the Duke, but Othello defends himself.

The Duke allows the marriage and commissions Othello with the leadership of the Venetian force against Cyrpus.

Desdemona asks permission to accompany her husband.

Question 14

Scene Summaries: Act 2 Scene 1

Answer 14

Storm at sea: The Turkish fleet is scattered, but Cassio arrives safely in Cyprus followed by Iago and Desdemona.

Othello is re-united with his wife, but Iago seems determined to wreck their happiness.

Question 15

Scene Summaries: Act 2 Scene 2

Answer 15

Othello proclaims a public holiday until evening

Question 16

Scene Summaries: Act 2 Scene 3

Answer 16

Iago encourages Cassio to drink until he gets drunk.

He is then provoked by Roderigo, and he fights with Roderigo

Othello dismisses him from his office, but Iago advises Cassio to seek Desdemona’s assistance.

Roderigo threatens to return to Venice.

Question 17

Scene Summaries: Act 3 Scene 1

Answer 17

Cassio asks Emilia to help him get access to Desdemona

Question 18

Scene Summaries: Act 3 Scene 2

Answer 18

Othello sends letters to Venice.

Question 19

Scene Summaries: Act 3 Scene 3

Answer 19

Iago sows suspicions in Othello’s mind until Othello is convinced that Desdemona has been unfaithful to him.

Emilia gives Othello’s handkerchief to her husband.

Question 20

Scene Summaries: Act 3 Scene 4

Answer 20

Desdemona persists in urging Cassio’s case to her husband, but Othello is obsessed with his handkerchief.

Iago and Cassio pass along the street and Cassio is met but his mistress Bianca, to whom he gives Othello’s handkerchief.

Question 21

Scene Summaries: Act 4 Scene 1

Answer 21

Iago continues to provoke Othello’s jealousy.

Lodovico is horrified when he sees Othello hit Desdemona.

Question 22

Scene Summaries: Act 4 Scene 2

Answer 22

Othello questions Emilia, but refuses to believe what he is told and confronts Desdemona with his suspicions.

Desdemona turns to Iago for reassurance and Roderigo returns to reproach Iago for unfair dealing.

Iago promises them both all will be well.

Question 23

Scene Summaries: Act 4 Scene 3

Answer 23

Desdemona prepares for bed singing an old song from her youth.

Question 24

Scene Summaries: Act 5 Scene 1

Answer 24

Roderigo and Iago lie in wait for Cassio, there is a struggle in which both Roderigo and Cassio are injured

Iago kills Roderigo.

Question 25

Scene Summaries: Act 5 Scene 2

Answer 25

Othello is strongly affected at the sight of sleeping Desdemona but he kills her.

Emilia discovers the murder and proclaims that Desdemona was innocent

Iago kills Emilia before she confesses what has happened.

Othello apologises to the wounded Cassio and is arrested by Lodovico.

Iago is wounded and arrested, but he remains silent.

Question 26

Symbols: The Handkerchief and Quotes

Answer 26

Desdemona’s handkerchief, given to her as a gift from Othello, is a symbol of love and trust. It had been Othello’s mother’s, and his gift of it to Desdemona shows his love for and trust in her.

Because Othello sees great symbolic importance in the
handkerchief, Iago has good reason to use it for his own
nefarious purposes. When Desdemona accidentally loses it, and Emilia gives it to Iago, Iago controls the symbolism of the handkerchief. He makes this symbol of love and trust into one of unfaithfulness and betrayal.

Othello is completely undone by the loss of the handkerchief, because it represents the loss of Desdemona and is overwhelmed by Iago’s lies.

Quotes:
Handkerchief (…) the one the Moor gave to Desdemona (…) oft bid me to steal - Emilia - Act 3 Scene 3

to lose’t it or give’t away were such perdition as nothing else could match. - Othello - Act 3 scene 4

Fetch me my handkerchief my mind misgives - Othello - Act 3 scene 4

Question 27

Symbols: The Willow tree and Quotes

Answer 27

the willow tree becomes a symbol of Desdemona’s sadness and emotion over her lost love, foreshadowing the impending death of this love as well as Desdemona’s own physical death increasingly abandoned by Othello’s trust, Desdemona sings,

Desdemona, though innocent, will try to accept the blame for her own death: In addition, the topic of infidelity provides Desdemona a chance to express her belief that nothing, even Othello’s betrayal, could make her unfaithful to Othello, and provides Emilia with a chance to state the opposite.

Quotes:
Her salt tears fell from her - Desdemona - Act 4 Scene 3

Let nobody blame him , his scorn I approve - Desdemona - Act 4 scene 3

Le women do abuse their husbands in such gross kind - Act 4 Scene 3

Question 28

Symbols: Love and Quotes

Answer 28

Love is a powerful force in the lives of Desdemona and Othello, whose secret marriage is the spark that ignites the plot

Desdemona is utterly devoted to Othello, even to
the point of wanting to take the blame when he murders her.

Yet Othello’s love for Desdemona proves to be his undoing, as it causes him to be easily manipulated by Iago,

The two couples—Othello and Desdemona, Iago and
Emilia—have very different relationships. Othello and
Desdemona have a romantic relationship that is, perhaps, too good to last. In contrast, Iago and Emilia’s relationship is plagued by mistrust and misogyny

Quotes:

When i love thee not chaos is come again - Othello- Act 3 Scene 3

His stubborness (…) his frowns (…) have grace and favour in them. - Desdemona - Act 4 Scene 3

She loved me for the dangers I had passed, And I loved her that she did pity them. - Act 1 Scene 3

Players in your housewifery, and housewives in your beds” - Iago- Act 2 Scene 1

Think of me of one that lov’d not wisely but too well- Othello- Act 5 Scene 2- does he have a moment of anagnorsis.

Question 29

Symbols: The Colour Green and Quotes

Answer 29

Iago tells Othello to beware of jealousy as it is destructive.

Green symbolizes the jealousy that will ultimately undo
Othello’s marriage, sanity, and life.

green-eyed monster which doth mock/The meat it feeds on.”- Iago- Act 3 Scene 3

Our bodies are our gardens, to which our wills are gardeners. Iago- Act 1 Scene 3

The poor soul sat sighing by a sycamore tree- Desdemona- Act 4 Scene 3 - symbolism of green could show how Othello’s jealousy has ruined their love. Sycamore’s symbolise strength, protection, love and fertility

Question 30

Symbols: Betrayal and Quotes

Answer 30

Trust and betrayal are features of nearly every relationship in Othello. Iago is a trusted officer and his position of trust allows him the opportunity to manipulate others such as Othello, Roderigo, Desdemona, Cassio, and never questions his intent

Trust between Othello and Desdemona is also an important
feature of the play. As the play begins, Othello accepts Desdemona’s love and fidelity and she trusts him utterly.

Yet due to Iago’s manipulations, Othello loses trust in Desdemona. And ultimately, Othello betrays Desdemona’s
trust by murdering her.

Quotes:
(He strikes her) I have not deserved this- Act 4 Scene 1 - Othello hits Desdemona

I look towards his feet but even that is a fable- Act 5 Scene 2- Othello saying that to Iago, he acts so much like a devil but isnt actually one.

I took you as that cunning whore of Venice that married Othello- Act 4 Scene 2- Othello talking in the third person.

O’ damn’d Iago! O inhuman dog- Act 5 Scene 1- Iago has killed Roderigo- throughout the play, Roderigo has been continously manipulated and used throughout the play. There is no justice for hhim. Pathos.

Question 31

Themes: Honour and Quotes

Answer 31

Honor is a driving force in the lives of the men of Othello.

Iago appeals to Brabantio’s sense of being dishonored by his daughter’s elopement.

Cassio, after getting into a drunken brawl, bemoans the loss of his reputation more so than the loss of his rank.

Othello’s honor is wounded by the idea that Desdemona might be unfaithful, leading him to murder.

Quotes:
She has decieved her father and may thee- Brabantio- Act 1 Scene 3

I have lost an immortal part of myself and what remains is bestial- Cassio- Act 2 Scene 3

She’ll betray more men, put out the light- Othello- Act 5 Scene 2- ‘light’ is a metaphor for Desdemona’s life.

My parts, my title, my perfect soul shall mainfest me rightly- Othello- Act 1 Scene 2- assured in himself. Sense of justice.

Question 32

Themes: Animal and Demons and Quotes

Answer 32

Iago (as the devil figure in the play) frequently uses beast and demon imagery to extend the negative associations with
blackness he uses to manipulate the racial tensions in the play.

Quotes:

An old black ram is tupping your white ewe- Act 1 scene 1- Iago

O’ the more angel she and you the blacker devil - Act 5 Scene 2 - Emilia

You and you daughter and making the beast with two backs- Act 1 Scene 1- Iago

a horned man, a monster and a beast- Othello- Act 4 Scene 1- Othello describing how he has been cuckholded.

Question 33

Themes: Womanhood and Sexuality and Quotes

Answer 33

contrasting images of womanhood dominate Othello

Desdemona and Emilia and Bianca.

Quotes:

they eat us hungerly and when they are full they belch us- Emilia- Act 3 scene 4 describing marriage- outspoken for her time.

your wife, my lord your true and loyal wife- Desdemona- Act 4 scene 2- highlights her innocence.

i am no strumpet (…) thus abuse me- Act 5 Scene 1- Emilia called Bianca a whore- women pitted against each other.

I will speak as liberal as the north- Act 5 Scene 2- highlights patriarchy. Emilia standing against social norms.

Question 34

Themes: Predjudice and Quotes

Answer 34

can be seen through both racism and misogyny

Quotes:

the sooty bosom of such a thing as thou”- Act 1 Scene 1- Brabantio

To fall in love with what she fear’d to look on! - Act 1 scene 2 - Brabantio

he tonight hath boarded a land carrack. if proved lawful, he is made forever. - Iago- Act 1 Scene 2

the cunning whore of Venice- Act 4 scene 2 - Othello

Question 35

Theme: Appearance vs Reality and Quotes

Answer 35

The tragic plot of Othello hinges on the ability of the villain, Iago, to mislead other characters

Quotes:

tenderly be led by th’ nose as asses are”- Iago- Act 2 Scene 1

the blackest sins (…) put on heavenly shows- Iago- Act Scene 3

The Moor already changes with my poison- Iago- Act 3 Scene 3

I must show a flag and sign of love- Iago- Act 1 scene 1

Question 36

Theme: Jealousy and Quotes

Answer 36

Jealousy ruins othello and the relationships that he has with people.

Quotes:

Beware of the green eyed monster jealousy that mocks the meat it feeds on- Iago- Act 3 Scene 3

for she had eyes and chose me.- Othello- Act 3 Scene 3

jealous souls (…) tis a monster begot itself, born onto itself- Act 3 Scene 4- Emilia- Worldly wisdom

I know my price, I am worth no less a place- Iago- Act 1 scene 1

Question 37

Motif: Light and Darkness

Answer 37

Often Othello’s and Desdemona’s skin colours are juxtaposed with eachother. Innocence vs evil.

Quotes:

A white ram tupping your white ewe- Iago- Act 1 Scene 1

the more angel she and you the blacker devil- Emilia- Act 5 Scene 2

your son in law is more fair than black- The Duke- Act 1 Scene 3

blackest sins (…) put on heavenly shows- Iago- Act 2 Scene 3

Question 38

Context: England in 1604

Answer 38

When Shakespeare was writing Othello, many people believed that the Sun went around the earth.

They were taught this was the way God had ordered things and that in England - God had founded the church and appointed a monarchy so that the land and people could be well governed.

Question 39

Context: Government

Answer 39

For most of Shakespeare’s life the reigning monarch of England was Queen Elizabeth I.

With her counsellors and ministers, she governed the nation from London.

In the rest of the country law and order were maintained by the land-owners and enforced by their deputies.

The average man had no vote and women had no rights at all.

Question 40

Context: Religion:

Answer 40

At this time England was a Christian country.

All children were baptised after they were born and they were taught essentials of the Christian faith and instructed in their duty to God and to human kind.

Marriages and funerals were conducted only by the licensed clergy and according to the Church’s rites and ceremonies.

Attending divine service was compulsory; absences (without a good medical reason) could be punished by fines.

Question 41

Context: Background

Answer 41

Elizabeth I’s father, Henry VIII broken away from the Church of Rome, and from that time a people in England were able to hear the church services in their own language rather than in Latin.

The Book of Common Prayer was used in every church, and an English translation of the Bible was read aloud in public. The Christian religion had never been so well taught before!

Question 42

Context: Education

Answer 42

School education reinforced the Church’s teaching. From the age of four, boys might attend the ‘petty school’ to learn reading and writing along with a few prayers; some schools also included work with numbers.

Grammar schools taught Latin grammar, translation work and the study of Roman authors, paying attention as much to style as to content.

The art of fine writing was therefore important from early youth. A very few students went on to university; these were either clever boys who won scholarships, or else the sons of rich noblemen.

Girls stayed at home, and learned domestic and social skills - cooking, sewing, perhaps even music. The lucky ones might learn to read and write.

Question 43

Context: Drama

Answer 43

The Elizabethans inherited a tradition of play-acting from the Middle Ages, and they reinforced this by reading and translating the Roman playwrights.

At the beginning of the sixteenth century plays were performed by groups of actors. These were all-male companies (boys acted the female roles) who travelled from town to town, setting up their stages in open places (such as inn-yards) or, with the permission of the owner, in the haul of some noble house.

There were people who disapproved as theatres, brought large crowds together and could encourage the spread of disease - and dangerous ideas.

The Puritans, a religious and political faction who wanted to impose strict rules of behaviour, tried to close down the theatres.

However, partly because the royal family favoured drama, and partly because the buildings were outside the city limits, they did not succeed until 1642.

Question 44

Context: The Moors

Answer 44

‘Moor’ now refers to the Islamic Arabic inhabitants of North Africa who conquered Spain in the eighth century.

The term was used rather broadly in the Elizabethan period and was sometimes applied to both lighter and darker-skinned Africans from other regions, as well as Indians.

The English developed good trading relationship with North African Moors, as they had Spain as a mutual enemy.

Blacks were not typically associated with slavery at that time, since the slave trade would not be fully established until the late 17th century.

Instead, the Elizabethan portrait of the dark-skinned “other” clearly established him as a bestial force, dangerous because of his sexuality, temper and magical powers.

Question 45

Context: Historical

Answer 45

Othello was first performed by the King’s Men at the court of King James I on November 1, 1604.

Othello is set against the backdrop of the wars between Venice and Turkey that raged in the latter part of the sixteenth century. Cyprus, which is the setting for most of the action, was a Venetian outpost attacked by the Turks in 1570 and conquered the following year.

Question 46

Context: Light and Dark imagery

Answer 46

The public associated “blackness” with moral corruption, citing examples from Christian theology (religious teachings) to support the view that whiteness was the sign of purity, just as blackness indicated sin

Shakespeare’s Othello is set during the late 16th century, a time period which held many customs and beliefs different from those we follow today.

Question 47

Context: Cultural Context

Answer 47

The majority of the play takes place on the small island of Cyprus, just south of Greece. This island was annexed by Venice (Italy) in 1489 but conquered by the Turks in 1571

The play presents the wish-fulfillment of western Europeans that a Venetian fleet had destroyed the Turks which actually did not occur in history.

At the time of the play it was its own oligarchic city-state whose enormous wealth many came through trade predominately with the Turks (hence the importance of Cyprus). As a result people during Shakespeare’s time viewed Venice as a place of luxury and culture.

During the 16th century European countries were beginning to expand their trade routes thus coming into contact with new cultures.

One new culture was Mauretania, found in Northern Africa. As a result Europeans during Shakespeare’s time referred to people from this area as Moors. Othello, the play’s protagonist, is referred to as “the Moor” on a few occasions in the play suggesting where he can trace his lineage to. This term is not meant to be negative or derogatory.

lago, a central character in the play, is a Spanish name. During Shakespeare’s time Spain was England’s greatest enemy as they were their biggest competition in colonization. As a result it also shows how Iago could be perceived as being the malcontent.

Question 48

Context: Social Context

Answer 48

During the 16th century a person’s job was a reflection of their character and reputation. As a result, being in the army was one of the more prestigious jobs. Depending on the rank one had in the army certain qualities and characteristics were associated with them.

General - Othello is the General of the Venetian army. Only those thought to be logical, loyal, brave, trustworthy and courageous were promoted to this position.

Lieutenant - Cassio is promoted to this rank by Othello. It’s title literally means “place-holder” which means the lieutenant is second in command to the general and holds this place in the general’s absence. As a result the lieutenant was thought to have the same qualities as the general.

Ancient - Also known as the ensign, this man was responsible for carrying the flag on the battlefield. Since the flag identified the locations of the army in battle, it was crucial to allowing the soldiers to find their position. The ancient/ensign had to be extremely courageous and loyal
maintaining his position even in the face of death. The ancient/ensign is third in command, under the lieutenant and general.

During the 16th century England was a patriarchal society. This meant that men made all of the decisions for the family members in their household. Women were expected to be subservient. As a result fathers would often choose who and when their daughters would marry. Suitable partners were selected from men of common or higher social and economic rank.

Instead, marriages were often treated as a business transaction, as a means for improving a family’s status. Once a woman was married she was expected to obey her husband’s choices and decisions. Thus, when Desdemona weds Othello without her father’s knowledge or permission she breaks several social codes.

Question 49

Dramatic methods: dramatic structure

Answer 49

how playwrights add to the significance of certain events by the position of those events in the play’s narrative; what characters know and don’t know at specific times.

conventions of structure in both traditional and modern drama e.g. a classic five-act Shakespearian play includes: introduction, exposition, complication, crisis, resolution and denouement; a classic three-act well-made play’ can be in real time

the division of the play into acts and scenes

the use of features such as sub-plot, frame,

linearity, chronological events, flashbacks, climax, anti-climax, cyclical effect, repetition

how the drama is set up and resolved in the opening and ending of the play

conflict and change

naturalistic, non-naturalistic dramatic effect

choice of setting

use of an allegory

inclusion of protagonist, antagonist and catalyst.

Question 50

Dramatic methods: Stagecraft

Answer 50

Students should consider the text as incomplete in written form, a blueprint for performance that needs the directors’ and actors’ input and interpretation, and should note how little or how much direction and specific detail playwrights give about aspects of stagecraft such as:

stage directions

set

disguise

status

contrast

act opening/ending

scene opening/ending

entrance/exit with opening and closing lines

dramatic irony

расе

tension/suspense/surprise

twist

comic relief.

Question 51

Dramatic methods: dramatic characterisation

Answer 51

Students should consider the range of strategies used by playwrights to create and develop characters such as:

how characters are established

how characters are presented: physical appearance or suggestions about this; actions and motives for them; what they say and think; how they interact with others; what others say and think about them

how far the characters conform to or subvert stereotypes

the function of minor characters

relationships between characters.

Question 52

Dramatic methods: dramatic speech and language

Answer 52

dialogue

use of monologues

soliloquy

functional and literal

metaphorical, poetic, symbolic

Shakespearian conventions of Verse and prose

the use of character to act as a mouthpiece for the playwright - authorial intrusion

a character’s personal vocabulary and syntactic patterns that project a certain way of seeing the world, which fits with/subverts stereotypes.