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Lesson outline. Summary of last two lessons on character. Othello/ Iago debate. Rhetorical skills. Essay on Iago’s motives.

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Page 1: Summary of last two lessons on character.  Othello/ Iago debate.  Rhetorical skills.  Essay on Iago’s motives

Lesson outline.

Summary of last two lessons on character.

Othello/ Iago debate. Rhetorical skills. Essay on Iago’s motives.

Page 2: Summary of last two lessons on character.  Othello/ Iago debate.  Rhetorical skills.  Essay on Iago’s motives

Take notes of the main points supporting both sides of each argument. Think about which side you agree with and why in your own time.

Write down any key quotes.

Page 3: Summary of last two lessons on character.  Othello/ Iago debate.  Rhetorical skills.  Essay on Iago’s motives

Iago’s rhetorical skills.

Rhetoric is the study of effective speaking and writing. And the art of persuasion

Repetition is a major rhetorical strategy for producing emphasis, clarity, amplification, or emotional effect.

Rhetorical appeals- refers to a question asked for a purpose other than the information the question asked.

Appeals to reason, emotion and character. connotative language is a rhetorical device that author uses

to evoke specific kind of emotion or attitude towards the subject matter.

Hesitation- the silence that spurs his listeners on to imagining the worst or to realizing the worst about themselves.

Page 4: Summary of last two lessons on character.  Othello/ Iago debate.  Rhetorical skills.  Essay on Iago’s motives

Take note of the number of times Iago uses repetition, leading questions, hesitation, intimation, and rhetorical appeals to unsettle Othello's mind in 3.3.93-280.

For each device, note the effect it is having on Othello's state of mind.

Page 5: Summary of last two lessons on character.  Othello/ Iago debate.  Rhetorical skills.  Essay on Iago’s motives

Essay question

Use the following extracts as a starting point to discuss the possible motives of Iago.

Your discussion should involve comparison of the passages AND some consideration of the play as a whole.

ACT ONE, SCENE ONE, lines 35–57ACT TWO, SCENE ONE, lines 270–end