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Name:
Unit Guide Lisa Joye
IHS Literature and the Arts 2017
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Table of Contents
Resources and Materials for William Shakespeare’s Othello, the Merchant of Venice
Why are we reading Othello?
What is the Difference between Classical Greek Tragedy and Shakespearean Tragedy? Shakespeare Common Tongue The History of Shakespeare (Notes) What is this Iambic Pentameter I keep hearing about?
Othello Study Guide Final Othello Project Letter Three Self-Reflection and Parent Feedback
Grading 10 points for The History of Shakespeare (Notes) 30 points for Analysis of 3 given Study Guide Questions 150 points Othello Study Guide 50 points for Final Othello Project 50 points for Othello Test 50 points for Othello Essay 10 points for Letter Three 10 points for Self-Reflection and Parent Feedback
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Why are we studying Othel lo by Shakespeare?
Because it has a tragic, twisting plot! WILLIAM SHAKESPEARE'S OTHELLO is a timeless story about race, love, jealousy and betrayal. It was a tragedy written in 1603, (four hundred and fifteen years ago). Othello is set in 16th-century Venice, Italy. Othello, is a black Moor and highly esteemed general. Iago is Othello's ambitious friend. Othello promotes another, Michael Cassio to the position of personal lieutenant and Iago is deadly jealous. Iago begins an evil and malicious campaign against the hero. Meanwhile Othello has secretly married a beautiful white woman called Desdemona, the daughter of a prominent senator, Brabantio. Even after 400 years, Shakespeare is still beloved. The plays written by English poet, playwright, and actor William Shakespeare (1564 – 1616) have the reputation of being among the greatest in the English language and in Western literature. Traditionally, the plays are divided into the genres of tragedy, history, and comedy; they have been translated into every major living language, in addition to being continually performed all around the world. Shakespeare wrote 37 plays and various sonnets during the course of his life. Shakespeare’s plays are favored by many People still talk about Shakespeare and study his plays because
• he wrote plays that are enormously rewarding to act and direct • his characters are endlessly interesting and impossible to reduce to a simple formula • his language, though now difficult, is subtle, richly varied, and eloquent • the plots of his plays still speak to the experiences of a modern world (think of the
recent teen movies Ten Things I Hate About You from The Taming of the Shrew and Get Over It from A Midsummer Night's Dream)
• his plays survive translation, and are performed around the world • Shakespeare wrote some of his plays in iambic pentameter, a form that suggested only
10 syllables per line of text (very rhythmic)
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Why are we reading this play again?
• to study the natural progression from the Greek tragedy to the Shakespearean tragedy
(what is the same, what is different / how do they both address the tragic hero)
• Grappling with a complicated text and the helpful strategies for maneuvering through
a difficult text
• Discuss insecurities of self and who to trust
• Look at the Shakespeare’s use of race as a tool to promote anxiety
• Character motivation, esp. with the character of Iago
• Themes of light and darkness, honesty and deceit, the poison of jealousy, revenge and
manipulation, manhood and honor, women and sexuality, marriage
A competent and self-confident person is incapable of jealousy in anything. Jealousy is invariably a symptom of neurotic insecurity. ----Robert A. Heinlein
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What is the difference between Classical Greek Tragedy and Shakespearean Tragedy?
The essence of tragedy, be it Greek or Shakespearean is the rendering of human suffering and a contemplation of the nature of man’s destiny in relation to the universe. It is here that all tragedy is one. But classical Greek drama has some differences with the tragedy as practiced in the Elizabethan times, especially by Shakespeare.
• Greek tragedy represents the philosophy of men’s insignificance in the face of a colossal divine power that controls and mostly destroys human life. The emphasis here is laid upon the inscrutable power of Fate or Destiny, capable of bringing about havoc and ruin to human life.
• The utter helplessness of men in his struggle against such a malevolent and uncontrollable divine power is the substance of classical Greek tragedy.
• The most obvious example is that of Oedipus in Oedipus the King who commits a sin in such ignorance that the impression of an overwhelming sinister destiny that rules and destroys his life is paramount.
The most striking contrast in this fatalistic world view of the Greeks’ is found in Shakespearean tragedy where the entire emphasis is laid upon the responsibility of the individual in bringing about his ruin. Though Aristotle has pointed out that the Greek tragedies also portrayed the mistaken actions of the hero and therefore the Greek tragedies also showed an element of awareness of tragedy resulting from human flaws, the error of judgment of the hero or his hamartia is always conditioned by Destiny. That is, however much the hero makes mistakes, the overall impression is that he is led to committing those errors under the snares and pitfalls of Destiny. In Shakespearean tragedy the emphasis, however, is upon human action independent of Destiny where, however, the impression of fate working upon man is also not totally negated.
• Othello’s tragic destiny is brought about entirely by his misjudgments resulting in his overwhelming Jealousy, but there is also the impression that Othello is so pitted against certain evil forces over which he has no control.
• Actually, the Greeks had a theocentric vision while the Elizabethans, motivated by the Renaissance, laid stress on the vision of an anthropocentric universe. Hence crux of tragic action lay with a divine power in Greek tragedies while the individual hero and his actions were of prime importance in a Shakespearean tragedy.
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In matters of structure, the Greeks were much more fastidious about the unity of action.
• The unity of action implies that the action represented in a play should be just one single whole without any digressions what so ever.
• The unity of time implied that the time represented in the play should be limited to the two or three hours it takes to act the play or at most to a single day of either twelve or twenty four hours.
• The unity of place implied that the tragic action portrayed in the play should be limited to a single location. These three unities were observed for the achievement of an illusion of reality in the audience.
Shakespearean tragedy completely dispenses of these three unities. A Shakespearean tragedy takes place often in two or three places, and the time taken is much more than twenty-four hours, often spurning a month or even more. The Greeks employed the chorus as a dramatic device. The chorus, as stated by Aristotle, was often a group of characters who remained aloof from the action and commented upon it by singing or chanting verses and performing dance like maneuvers on the stage. They represented traditional, moral, religious and social attitudes and often took part in the action. In Shakespearean tragedy there is a complete absence of the chorus. Shakespeare needs no chorus for commentary while the action is what constitutes the play. But whereas in Greek drama the chorus offered time gaps between two sets of tragic actions; in a Shakespeare play this is achieved by comic relief. Finally, the introduction of ghost, witches, strange visions and fearful phenomena that is the deus ex machina or the supernatural apparatus, which is so rampant in Shakespeare, is never made use of in Greek tragedies. The witches in Macbeth or Banquo’s Ghost in the same play, or the Ghost of Hamlet’s father in Hamlet or Caesar’s spirit in Julius Caesar are all instruments of horror which the Greeks avoided. It should, however, be kept in mind that these differences in convention and style should never blind us from the truth that both Shakespeare and Greek tragedies fulfill the same purpose of presenting before us the enormous vision of human grandeur that issues from the struggle of man with in transient forces either at work within him or outside and that both these two types of tragedies show that heroism lies not in victory or defeat but in courageous endurance of pain and hostility.
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Shakespeare’s Common Tongue
alack — expression of dismay or shock
anon —soon right away
aught — nothing
avaunt — go away
ere — before
hath — has
hence — away (from here)
henceforth — from now on
hither — here
lest — or else
naught — nothing
oft — often
perchance — by chance, perhaps, maybe
sirrah — [pronounced.SEER-uh] “hey you” as to someone of lower status
thee — you
thence — away over there
thine —yours
thither — there
thou —you
thy — your
whence — where
wherefore — why [literally :“where is the ‘for’ or ‘reason?”].
whither —where
-adapted from The Shakespeare Theater of New Jersey Othello Study Guide
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Literature and the Arts The History of Shakespeare
Name: Section: Write down 10 new facts that you learned during the History of Shakespeare presentation: 1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
What was the most interesting piece of information that you learned today?
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What is this Iambic Pentameter I keep hearing about? First we will watch the video: https://www.youtube.com/watch?v=I5lsuyUNu_4 Rhythm is the pattern of stresses in a line of verse. When you speak, you stress some syllables and leave others unstressed. When you string a lot of words together, you start seeing patterns. Rhythm is a natural thing. It’s in everything you say and write, even if you don’t intend for it to be. Traditional forms of verse use established rhythmic patterns called meters (meter means “measure” in Greek), and that’s what meters are — premeasured patterns of stressed and unstressed syllables. Much of English poetry is written in lines that string together one or more feet (individual rhythmical units). Feet are the individual building blocks of meter. Here are the most common feet, the rhythms they represent, and an example of that rhythm.
Anapest: duh-duh-DUH, as in but of course!
Dactyl: DUH-duh-duh, as in honestly
Iamb: duh-DUH, as in collapse
Trochee: DUH-duh, as in pizza To build a line of verse, poets can string together repetitions of one of these feet. Such repetitions are named as follows:
• 1 foot: monometer • 2 feet: dimeter • 3 feet: trimeter • 4 feet: tetrameter • 5 feet: pentameter • 6 feet: hexameter
So the famous iambic pentameter is a string of five iambs-- For example: as in Christopher Marlowe’s line from Dr. Faustus: “was this the face that launched a thousand ships?” Duh-DUH-duh-DUH-duh-DUH-duh-DUH-duh-DUH Here you’ll notice that there are five unstressed syllables alternating with five stressed — in other words, five duh-DUHs. Another example: Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, (Shakespeare, Romeo and Juliet)
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IHS Global Literature and the Arts Othello Study Guide 2017-2018
Directions: As you read the play for homework, you will be looking at your study guide questions as you go. Once you return to class we will discuss the reading as a class. Each student will be responsible for presenting the answer to 3 questions in class. While in class you will write in complete sentences, and provide detailed analysis to each of the study guide questions. Your goal is to express “more” in a small space. Have something to say, think carefully about your diction choice, and be specific! DAY ONE (pgs 3-14) Act 1 Scene 1 ‘swounds — “God’s wounds”; an exclamation tupping — a derogatory colloquial reference to sexual intercourse “making the beast with two backs” — a derogatory colloquial reference to sexual intercourse ancient — standard bearer or ensign; not “old” in this context kindred — family Moor — a member of a Muslim people of North Africa pray — please “deserve your pains” — repay you for your trouble 1) Roderigo says to Iago, “thou…hast had my purse/As if the strings were thine.” What does this
statement mean? 2) Why is Roderigo upset/angry in scene 1? 3) Why is Iago upset in regards to Cassio? 4) Brabantio (Desdemona’s father) has met Roderigo before. What does Brabantio think of him?
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5) Why does Iago leave the scene before Brabantio comes down to the street? DAY TWO (pgs 15-45) Act 1 Scene 2 and 3 galleys—ships mountebanks-‐-‐-‐quacks, crazy doctors, witch doctors foul proceeding-‐-‐bad situation beguiled—tricked mandate—a command from an authority figure vouch—promise wrought—changed or shaped overt—public (not secret) sagitary—the inn in which Desdemona and Othella have been staying ensign—an officer ranking under lieutenant vices—faults, failings bade—past tense of bid; asked to spake—spoke fortitude—phyical or structural strength “th’affair cries haste”—the issue needs to be dealt with quickly “I prithee”-‐I beg of you incontinently—immediately engendered—conceived; “the idea has been formed” 6) Although Othello and Iago are awaiting the arrival of the angry Brabantio, Cassio arrives first
instead. Why is Cassio there? 7) What does Branbantio believe about the relationship between Othello and Desdemona? Cite
appropriate lines in your answer.
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8) According to Othello, how did his relationship with Desdemona develop? 9) Desdemona wants to go to Cyprus with her new husband. How does Othello convince the men
there that his wife should be allowed to go with him? 10) What does Roderigo say he wants to do now that his “love” has married another? What does
Iago advice him to do instead? Be detailed in your explanation. 11) What are some important facts revealed to us during Iago’s soliloquy at the end of this scene? DAY THREE (pgs 49-68) Act 2 Scenes 1 and 2 descry— to catch sight of from a distance shot of courtesy — a cannon shot in friendly salute to arriving guests; a common naval salute
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paragons description— is even better than people can describe contention— competition citadel— a fortress commanding a city chides—scolds “disembark my coffers”— unload my belongings from the ship “list me”— listen to me echery— extreme and inappropriate desire for sexual activity choler—hot tempered state of mind; angry displanting— removing by and by—in a little while
ACT II Scene 1 12) Who is Montano? 13) What is the news regarding the Turkish fleet? 14) What does Iago say about his own wife in this scene? 15) So far, how do you suppose Shakespeare wants us to feel about Iago? Explain your opinion of
him. 16) How does Iago attempt to convince Roderigo that Desdemona is in love with Cassio? Explain
his “evidence.” Does Roderigo believe Iago’s theory?
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17) Why does Iago tell Roderigo to start a fight with Cassio? How will this fight supposedly benefit
Roderigo? How might it benefit Iago? 18) What does Iago’s soliloquy at the end of this scene reveal to us? Scene 2 19) What does the Herald in this short scene proclaim? DAY FOUR (pgs 69-89) Act 2 Scenes 3 wanton— unchaste, a willful headstrong creature gallants—followers, men of pleasure “very poor and unhappy brains for drinking”— liquor goes right to my head; not much of a drinker cannikin— a small drinking can mince—cut into small pieces sweeting—a term of endearment bestial— animal like uncivilized speak parrot— babble senselessly hydra— a mythological dragon with five heads “subdue in any honest suit”—win or convince if the cause, seems noble
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enmesh— to trap or snar as in a net or web Scene 3 20) Why does Cassio initially refuse to drink with Iago? 21) How can we tell when Cassio is drunk? 22) Take a look at Iago and Montano’s conversation. What is it about? 23) What does Othello immediately do when he finds out Cassio instigated the brawl? 24) Iago and Cassio stay to converse at the end of this scene. What is Iago’s advice to Cassio? 25) Roderigo wants to go home to Venice. How does Iago convince him to stay? How has
Roderigo’s presence been beneficial for Iago already?
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26) Look at Iago’s final short soliloquy. He reveals that he will use his wife Emilia for what
purpose? What is his plan that will make the Moor “jump”? DAY FIVE (pgs 93-129) Act 3 Scenes 1-3 errs in ignorance— mistakes, not with intent but by accident Not a jot— not a bit haply—perhaps, because chamberers—noble lords and ladies who spend most of their time indoors entertained by witty and sophisticated conversation filch—to steal wayward—self-‐willed; wrong-‐headed; perverse ocular— visual on the rack—angered, emotionally tortured gape—stare lewd minx— worthless, unchaste woman; a whore Scene 1 27) How does Iago plan to “help” Cassio in regards to the meeting with Desdemona? 28) What do Emilia and Cassio talk about in this scene?
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Scene 3 29) Cite at least one line, which shows Desdemona’s determination in helping Cassio be reinstated. 30) Why does Iago say he would rather not share his thoughts with Othello? 31) Look at Othello’s soliloquy, which starts with “This fellow’s of exceeding honesty.” What
reasons (insecurities in himself) does he begin to acknowledge may cause Desdemona to be unfaithful?
32) Does Emilia know what Iago plans to do with the handkerchief? Why does she give it to him? 33) While talking to Iago, Othello says “Farewell” to several things. To what is he saying farewell,
and what does he mean by this?
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34) Othello threatens to kill Iago. Why? 35) Iago offers “proof” of Cassio and Desdemona’s affair. Describe what Iago says he has heard
and witnessed. 36) Which line shows Othello’s anger in reaction to Iago’s story? 37) What does Iago offer as his second point of proof? 38) Why does Iago kneel down with Othello? What promise is made? 39) What does Othello command Iago to do at the end of this scene?
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DAY SIX (pgs 129-141) Handkerchief Lesson Act 3 Scene 4 crusadoes— Portuguese coins bearing figures of the cross; also a crusader castigation— corrective discipline heraldry—practice of granting notice chuck—a term of endearment rheum—a head cold; sinus pressure and drainage that offends amiable—pleadings for a cause advocation— visual conception—mere fancy credulous—inclined to believe especially on slight evidence reproach— disgrace epilepsy— know in Shakespeare’s day as “The Falling” lethargy—morbid drowsiness encave—concel construe— interpret caitiff— wretch hobby-horse—a loose woman prostitute iniquity—wickedness cuckold— a man whose wife is unfaithful breach— disagreement quarrel “by my troth”—“by my word”; a mild exclamation censure—opinion, criticism Scene 4 40) Does Desdemona think of her husband as a jealous man? (Cite the appropriate line as support) 41) What does Othello say is so special about the missing handkerchief? Explain in detail. 42) How does Desdemona attempt to change the subject from that of the handkerchief?
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43) Desdemona says, “Heaven keep that monster from Othello’s mind.” What monster is she
referring to? 44) Describe Cassio’s conversation with Bianca. Use detail in your description. DAY SEVEN (pgs 145-176) Act 4 Scenes 1 and 2 durst— dare procreants— procreators; people engaging in sexual intercourse halter—the hangman’s noose abode—location where one resides or stays
Scene 1
45) What does Iago say he has heard Cassio talk about?
46) Iago says “My medicine work! Thus credulous fools are caught.” This line points to one of Othello’s TRAGIC FLAWS. List at least 3 tragic flaws Othello seems to have.
a) b)
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c)
47) What is Iago’s perception of all married men?
48) How does Cassio feel about Bianca?
49) Describe the conversation between Iago and Cassio that Othello overhears.
50) Why is Bianca angry when she enters? How does her presence in this scene help seal Iago’s plan?
51) What are the murder plans?
52) Who is Lodovico? What news does he bring from Venice?
53) Why is Lodovico shocked at the end of this scene? Scene 2
54) What does Emilia say about Desdemona as a wife?
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55) Describe the conversation between Othello and Desdemona.
56) What does Desdemona ask of Iago?
57) The last time we saw Roderigo, Iago convinced him to stay in Cyprus. Why is he angry with Iago now? Be specific.
58) How does Iago use flattery with Roderigo?
59) According to Iago, how will killing Cassio benefit Roderigo? DAY EIGHT (pgs 177-219) Act 4 Scene 3 incontinent—at once; wanting in self-‐restraint (reference to sexual appetite) forsake—renounce or turn away from “pour our treasures into foreign laps”— to cheat on; specifically “give (sexual) love meant for a spouse to another scant—skimp, to cut short in amount galls—resentment Scene 3
60) Explain what Emilia says about women who commit adultery.
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61) What is Desdemona’s response throughout the conversation? Act 5 Scene 1 miscarry— to be unsuccessful gait— manner of moving on feet Scene 1
62) Describe what happens when Roderigo attacks Cassio. Act 5 Scene 2 Monumental alabaster—a white stone (such as marble or granite) often used for funeral monuments Promethean—two myths of Prometheus; 1) he stole fire from the Gods and gave it to human-‐kind; and 2) he is the creator of human-‐kind forfend— forbid perjury— lying under oath banish—send or drive away iterance—repetition pernicious— destructive, evil disprove— prove to be false apt—likely odious—hateful ensnared— captured malice—desire to cause injury or distress to another malignant—tending to produce death, deterioration or destruction traduced— to lower the reputation of; to slander smote— killed by striking as with a sword
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marred—detracted from wholeness or perfection Spartan dog—a kind of bloodhound; envy was sometimes represented as a snarling dog Scene 2
63) As Othello approaches Desdemona in her bed, he talks a lot about LIGHT. What, in plain modern English, is Othello saying? Explain clearly.
64) Why does Othello ask Desdemona if she has prayed tonight?
65) Cite at least 3 lines in which Othello clearly states his intent to kill Desdemona. Why do you suppose she stays despite these warnings?
66) What are Desdemona’s final words? What do these words possibly indicate about her character?
67) Cite the lines that show that Emilia thinks Iago is incapable of such evil.
68) What new information do we learn about Brabantio? Explain.
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69) What specifically does Emilia reveal which angers Iago to the point of killing her?
70) When Iago is captured and brought back in, what does Othello say and do?
71) What are Iago’s final words in this play?
72) What are the letters found on Roderigo about? a) b)
73) Othello tells Lodovico that when they write the report of “these unlucky deeds,” he would like to be described a certain way. Explain what Othello says.
74) One of the requirements of a TRAGEDY is that the audience is left with a sense of loss at the end. Choose two characters that you feel the most sympathy for at the end. Explain why.
a)
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b)
75) Another obvious aspect of a TRAGEDY is death. List 5 dead characters, and explain how each dies.
1) 2) 3) 4) 5) DAY NINE “It’s a Man’s World” (Lesson) DAY TEN Language, Race and Culture in the Play (Lesson) DAY ELEVEN Othello TEST DAY TWELVE and DAY THIRTEEN Othello Presentations DAY FOURTEEN, FIFTEEN and SIXTEEN Othello Essay Writing
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Othello Final Project
You will choose between 3 options for your Final Othello Project.
FOR THE ARTISTS: A Director Prepares (presentation optional) Othello has long captured the imaginations of directors and designers for stage and screen. Individually or in small groups, (3 or less), come up with your own scenic and costume designs for the play. You will use drawings as well as writing to explain and justify your design to the class. Have students design, either by hand or on the computer, costumes for each of the main characters (Othello, Desdemona, Iago, Rodrigo, Emilia, and Cassio). The costumes should reveal knowledge of the historical period and analysis of the personality of the character. These ‘sketches’ will be presented to the class. In writing, describe as concisely as possible the world of this production. Where has the artistic team set the play? Are the actors wearing classic Elizabethan clothing? Or has it been set in a blasted-‐out urban wasteland? Would you consider the world dark and jagged or sophisticated and bright? Be specific. Include details about the costumes and scenic elements, including colors, textures, and shapes. Why has your artistic team decided to set the play in this world? What does this say about your interpretation of the play?
FOR THE ACTORS: Speak the Speech…. (presentation required)
In small groups, work to present a scene from the play to the class. Each group should come up with its own unique presentation: different rhythms, echoing or underscoring key words or phrases, props, costumes, movement, etc. You must choose one decade to have the play take place in. The costumes, and adding of phrases, etc. must coincide with the chosen decade. For example, if you are choosing to have your scene take place in the roaring twenties, then the costumes must match and there must be some 1920’s phrases and mannerisms added in (“I think Desdomina gave Cassio a smooch!”).
Through each character’s speech and actions, we learn about the character’s desires, intentions, motivations, and dreams. Each member of the group will select one major character that appears frequently in that act. In writing, you will then analyze the speech and actions of the character and present to the class what that speech and/or action tells us about the character’s motivation and desires.
WORK ALONE ACTORS
Choose a monologue from the play. You must still follow the decade requirement of the above group assignment, but in addition you will analyze what does the monologue reveal about the character you chose?
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For example, Othello’s final speech is an important index of his character. It is an address to the political leaders who commissioned him, rather than a diatribe against Iago—a public speech, rather than an anguished private monologue. It tells us about who he was and who he has become through his unchecked passion. It reveals what he feels in the aftermath of slaying Desdemona. Iago’s speeches, on the other hand, are most often in the form of monologues; he talks to himself about his plans and his evaluation of the other characters. This tendency to talk to himself may be an indication of both his madness and his malevolence. Explain to the class:
• What is the major event that occurs in this act? • What information is provided in this act? • What does the character’s monologues/speech tell us about him/her? • What does the manner in which they speak and to whom tell us? • What seems to be the focus and major function of the monologue? ���
FOR THE POETS, MUSIC LOVERS, and INTELLECTUALS…. . (presentation optional) Your goal will be to create a portfolio of poetry and song lyrics that will explore four prominent themes in Othello (jealousy, love, revenge, and trust). You must select one decade and all of the poems and songs must have been written in that particular decade. You must have three poems/lyrics for each theme for a total of 12. You will create a formal portfolio to display and articulate your thematic connections. The portfolio will include:
• A one page written commentary about the decade that you chose, why you chose that decade and what style of poetry and music was being written in that decade
• Then break up your portfolio into four sections. In each section you must have a paragraph for how the particular theme is demonstrated in Othello,
• type out the 3 poems and/or lyrics that correspond to the theme (including title, poet, approximate date of publication and any other relevant information), and
• write a paragraph per selection that explains how the poem or song emulates the theme as it is used in Othello
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