Shakespearean Drama UnitYear 13 Unit

Achievement Standard 3.1

Contents

1. Achievement Standard for 3.1 (NZQA)

2. Unit Cover Page (LOs, AOs and KCs)

3. Unit Outline (justifications, activities & methodologies)

4. Assessment Guidelines Booklet (student resource)

5. Resource Folder of daily activities, including:a. Annotated Text Example: Othello defends himself to senateb. Resource Sheet (Assignment #2)c. Assessment Schedule (Assignment #2, Section B)

6. Teaching Notes

Unit Outline – Justifications

Why Othello?

Othello is a a drama of great literary worth that speaks and appeals to a broad audience, is open to multiple readings, is able to sustain a deep, critical analysis and is extremely relevant to young readers today. A rich and complex ‘domestic’ tragedy, Othello offers a social commentary of the horror of racial prejudice and mysogyny – a commentary which stands the test of time and is as relevant today as it was 400 years ago. It is a story of petty external conflict made real by deep internal conflict of self-doubt and disempowerment, questions around identity and belonging that are convincing, gripping and that many can relate to. Above all, a reservoir of secondary readings are available to support and evelop individual critical thinking.

Othello is an ideal text for the Year 13s to have under wing as they charge electric into their 3.1 examination!

3.1 Critical Response

There are an infinite number of ways a Year 13 student could respond critically to this text. The aim of this unit is to introduce students to the text in its entirety and to encourage deep thinking (critical and creative) in response to the characters, conflict, action, language, structure and ideas explored within. Later on, during the Topic of Inquiry stage of the unit, students are encouraged to focus their critical response on one specific area of study – and to develop and concentrate their thinking into a well researched, clear, coherent argument.

No Fear Shakespeare

It is essential that any notion of Shakespeare being boring or too difficult to study is eliminated and that the pleasure of learning, thinking and coming to understand this great piece of work within a literary and sociopolitical context is nurtured and supported. For this reason, students will be encouraged to utilise the many translations and synsopses available online, including the likes of No Fear Shakespeare.com, a highly regarded site by students and educators alike.

Unit of Study

Throughout the unit, care has also been taken to ensure that the key values and principles of the New Zealand curriculum are embedded within learning / teaching. In particular, the unit allows for high expectations of all students, a focus on cultural diversity and inclusion (driven by content of drama and relevance to our society today), learning to learn (supported through reviews of learning process during the unit) and future focus (driven by discussions around citizenship in New Zealand and our shared vision for society, as well as around future learning goals.)

Care has been taken to ensure that motivated, engaged learning is possible for all students to maximise their learning success. Lessons tend to work along Gagne’s principles of instruction, which has proven to be extremely succesful for overall class engagement and motivation. At the very minimum, this includes:

-varying activity types from day to day to ensure that lessons remain stimulating and diverse.

-encouraging student participation and ako by regularly activating prior knowledge and fostering a ‘knowledge share’ environment

-scaffolding students in areas that may seem out of reach or cause anxiety (in particular, breaking down negative attitudes towards Shakespeare; making the language of Shakespeare accessible; and guiding students in the journey from basic levels of inquiry to advanced, deep, critical thinking expected at a Year 13 level)

-addressing the needs of differentiated learners (in particular, offering a range of tasks and exercises from performance-based group activities to independent, silent work; allowing freedom of choice around note taking options and critical response activities for additional credits – including oral presentations, creating a visual image series, and / or creative / formal writing responses)

Self-management is at the heart of the unit. Students are encouraged to participate, contribute, relate to others and manage selves throughout the unit (in particular, in group discussions, performance activities, independent work and group work.)

Likewise, learning management is encouraged through regular ‘how are we learning?’ sessions – informal (within lessons) and formal (summative at the end of the unit).

Taking Notes – Online Webpage & Blog Posts

Students are encouraged to make notes in the medium that best suits them individiually. Most notes are taken by pen and paper at the time of class, and are then inputted into an online webpage at the end of the lesson. Students are able to set up their webpages to their own preferred layout / structure. Pages allow for note taking (to reference later during revision) while the blog posts allow a more unstructured, freer, reflective and often more creative response to the ideas being explored. Online notes and posts allow easy knowledge sharing to take place between the class as well as instant feedback by peers and teacher.

Topics of Inquiry

The final stage of the unit revolves around topics of inquiry. At this stage, the students choose which area of study they are individually most interested in. They are given three lessons dedicated to thinking about ideas and researching those that resonate most with them and developing a clear argument for further study. They present back to their groups and peer-review their topics on inquiry. At this point we move into our next unit – which is an internal assessment of their choice (oral presentation, visual image series or piece of writing) in which to further develop and present their findings around their topic of inquiry.

Revision / Examination

Work that will be done on essay stategies is NOT included in this unit. That will be provided during revision time, closer to the examination period.

Unit Outline – Activities & Methodology

Resources for activities listed below can be found in the resource folder.

Lesson 1: Introducing Othelloa. Why Othello? (Brief introduction to play and relevance - literary qualities of this play,

rich text for external exmaination, Shakespeare as drama, overarching themes of the play; the social, political and historical context of the play, relevance today in modern society on the other side of the world

b. Introduction Main Ideas & Themes in Othello - Pre-Reading Thematic Discussion Group work and class share: in-depth pre-reading discussion topics re main ideas and their significance. In groups of 3-4, students read through a selection of discussion topics (topics include a brief plot summary and character description, thereby introducing students to character and plot alongside themes). Students choose 2x topics to discuss in their group and are given 10 minutes to discuss each topic. Class then spends 20 minutes sharing ideas. Focus on relevance today.

b. Blog / Reflections:Students are given 15 minutes at the end of class to set up their websites and and note their reflections for the day on their new blog page on their site.

c. Homework: visit No Fear Shakespeare and read up on the settings & characters.Lesson 2: Introduction to Othello

a. Understanding the Setting of Othello – Do Now: Venice, 1500s. Students work independently and complete a “text’s context” Do Now (on PP). Key information about context (including diversity of traders vs ‘white’ power, Venetian law requiring military leader to be a foreigner, Cyprus as the island of ‘love’, Venice and its renown for high-end prostitution) with probing questions up on board for independent consideration / notes.

b. Introduction to Key Characters & their role in Plot – Character Sheet Presentation of key characters from Othello – with images from film to assist with visualisation – and their role in dramatic plot. Students fill in basic description info of the characters Othello, Iago, Rodrigo and Brabantio into their character sheet. (Students will return to this character sheet during the unit and fill in further info as play progresses.)

c. Approaches to the Play – Key ElementsWe reinforce key ideas introduced in L1 by running through a set of rich, challenging ‘focus questions’ that we will guide our critical reponse to the play. Students will be encouraged to return to these focus questions and to attempt to ‘answer’ them during the course of the unit.

d. Blog / Reflections / Notes:Students are given 10 minutes at the end of class to note their reflections for the day and to upload character notes and ‘focus’ questions into webpage.

e. homework: Read ahead (No Fear Shakespeare), – Act 1, Scene 1 (full synopsis)Lesson 3: Introduction to Shakespeare as Drama

a: “O illiterate loiterer!” A bit of Shakespearan fun - We start the lesson with a Shakespearean warm-up – by insulting each other in Shakespearean English. Insults provided on cards. Students pick up a selection of cards and insult each other.

b: Understanding Othello as a Shakespearean play

Brief introduction to main concepts / context of Othello as a play written for and performed on stage, including staging; audience; context, blocking, devices such as soliloquy, an aside, the significance of props (e.g. the handkerchief and bedroom settings).

2x glossary hand outs (common Shakespearean language features & staging features)c. Play in action – getting used to “reading” Shakespeare.

We read / “perform” Act 1, Scence 1 of the play – to get ourselves into it. Only students who genuinely would like to perform will be asked to. We perform it first in the original Shakespeare and then in the modern English form. This highlights that everyone will be able to understand what’s going on and that it can be fun. Important discussion points during reading: -use of language, symbolism and imagery in Iago’s speech to Brabantio about Othello and Brabantio’s daughter, Desdemona (bestial metaphors).

d. Class discussion – whiteboard game.We discuss the key elements of the scene, including how Othello is set up – how he is described by Shakespeare (language and action) versus how he is described by Iago (bestial metaphors) and Rodrigo (ethnic prejudice). The whiteboard is marked up with two columns – Shakespeare’s description vs Iago & Rodrigo descriptions. Students mark up as many quotes as they can in each. Photos taken and shared in Google classroom.

e. Homework: Add notes to website, Read ahead Act 1, sc 2 & 3 (full scenes or synopsis)Lesson 4: Act 1

a. Review Questions – Othello’s Set Up in Act 1, Scene 1Students work independently to complete a basic set of review questions Do Now (on PP) – focussing on the character of Iago and what motivates his hostility towards Othello.

b. Reading Othello – Act 1, Sc 2 & 3Important Discussion points during reading: -Reading from description of ‘Africans’ – highlighting that a common prejudice against Moors at the time of writing the play was that they were innocencts, foolish and gullible -Iago’s first soliloquy (Act 1, Scene 3 L 374-395) – work off Key Questions (hostility towards Iago, positive traits become negative, language features)

c. Blog / Reflections / Notes:Students are given 10 min at the end of class to record their reflections and notes from today.Lesson 5: Close Reading

a. Close Reading Activity - Othello’s Speech Act1, Sc1 (defending himself to duke).Model close reading annotation process - Class works together on a close reading of speech.

b. Close reading Write Up: Students work independently to formally write up two paragraphs from close reading analysis.

b. Blog / Reflections / Notes of Close Reading – Group Share Class runs through ideas from close reading activity together and note ideas in webpages.Lesson 6: Act 1 in Summary

a. View Act 1 of 1995 film adaptation (Laurence Fishburne & Kenneth Branagh) (0-33min)b. Summary of Act 1 –

Working independently or in groups (student choice), students update their webpages:- Plot summary (set up page and basic plot summary of Act 1, Sc 1 , 2 &3)- Character descriptions (fill in character sheets to this point)

Lesson 7: Important Quotes from Act 1a. “Who is Othello?” Key Quotes Task Sheet – source important quotes from Act 1 to

support key ideas in play about the character Othello and conflicting opinions of him. This is an open-book, informal assessment and is to be handed in.

b. Blog / Reflections / Notes: students update webpages with notes from the day.c. Homework: Read ahead Act 2 (full act synopsis)

Lesson 8: Act 2a. Introduction to Cyprus – brief presentation on the island, symbolism (love, war) b. Act 2: View film (33min – 47min) & Discuss Action (focus is on Iago’s Motivation /

Planning – and the ‘weaknessess’ he is exploiting in others).c. Act 2: close read Iago’s Soliloquy Act 2, Sc 1 Lines 284-299 (not in film) – model ‘close

reading’ process with students – class activityd. in Groups – Complete Response to ‘How a Spider’s Spins Its Web’ Group Task (focus on

scheming, preying on weakness of different characters, the use of soliloquy to share thoughts and plans, who else is ‘spinning’ a web?)

e. Blog / Reflections / Notes: students update webpages with notes on Act 2.Lesson 9: Act 3

a. Review Questions from Act 2: (focus on ‘honesty’ – esp. Othello’s belief in Iago’s honesty in drunken Cassio scene)

b. Act 3 Sc 1 & 2: Summarise (Skip Reading)Important Discussion Points:Comic Relief; women as ‘property’, midpoint “all is well with the war” letter to Venice set up for disaster, Iago’s success depends on Othello’s perception that he is honest.

c. Quick Skimming Quote Finding Activity: Students find as many references to “Honesty” (in Act Three Sc 1 & 2)

d. Act 3 Sc 3: Introduction to the scene – most imporant scene in play “enter the women” and “suspicion sets in” and “the unravelling” of Othello

e. Read / Perform up to the end of Othello’s soliloquy (line 281)Important Discussion Points: Honesty vs Deception, Appearance vs Reality, Certainty vs Insecurity, Othello’s insecurity and uncertainty (the beginning of the end)

f. Blog Reflections / Notes: students update webpages with notes for the day Lesson 10: Act 3a. Review Questions of Act 3 so far – The Seed of Doubtb. Read Act 3 to the end (re-read Othello’s soliloquy)Important Discussion points:Othello’s growing suspicions, the role of women, a new kind of outsider, power struggle, c. Symbol Hunt & Discussion: Find as many examples as possible of symbolism associated with women in the play – what does this tell us about society’s associations with ‘women’?d. Blog / Reflections / Notes: update webpages with notes from the daye. re-read and build understanding of Othello’s Soliloquy (Act 3, Sc3 L262-281)Lesson 11: Close Reading – Othello’s Soliloquya. Close Reading Assignment: Othello’s Soliloquy (Act 3, Scene 3, Lines 262 – 281)Students work independently on their close reading assignments. Assignments are handed in.b. Class discusses questions together at the end of the lesson.

Lesson 12: Act 3 – to the end a. Review Questions: Attitudes Towards Women (focus questions about the associations

with women, their role, power and position, values, Shakespeare vs Iago)b. View Act 3 of film (47min – 70min)c. Summary of Act 3 – Working independently or in groups (student choice), students update their webpages:

- Plot summary (set up page and basic plot summary of Act 3, Sc1-4)- Character descriptions (fill in character sheets to this point)

d. homework: pre-read Act 4 (full synopsis)

Lesson 13: Act 4, Scene 1a. Pre-reading focus questions for Act 4, Scene 1 1 (focus on Othello’s change in speech

and demeanour, cause and effect)a. Read / Perform Act 4, Scene 1 (with particular focus on blocking out the scene, with

an aside – Othello not being able to hear what they talking about but seeing action and ocular proof of the handkerchief.)

b. Blog / Reflections / Notes: students add notes from day into webpages.

Lesson 14: Act 4, Scene 2b. Review Questions for Act 4 Scene 2 (focus: role of handkerchief and speech patterns)c. Read Act 4, Scene 2Important Discussion points –

contradictory beliefs, hope vs dread, Emilia’s awakening conscience, conflict resulting in changes within

d. Discussion Topics Act 4, Scene 2 (students choose either: symbolism – the significance and role of the handkerchief or language: the effect of Othello now speaking in prose)

e. Blog / Reflections / Notes: students add notes from day into webpages.

Lesson 15: Act 4, Scene 3a. Focus Question for Act 4, Scene 3 (How do Emilia and Desdemona’s opinions on

adultery differ – and what is the significance of this?)b. Read Act 4, Scene 3 – to the endImportant Discussion points –Women in the play, changing characters (especially Othello), role of subsidiary characters in plot and conflict c. View film to the end of Act 4 (70min – 100min)d. Blog / Reflections / Notes: students add notes from day into webpages.

Lesson 16: Women in the Playa. Women in the Play – Group Inquiry (each group is given one woman to speed

research & discuss – presenting back findings to the class “in a nutshell” – e.g. “Bianca In a Nutshell”.)

b. Class Discussion – we plot the differences between the women, their role in plot and their role in Shakespeare’s social commentary; how do women differ from men?

c. Blog / Reflections / Notes: students add notes from the day into webpagesd. homework – pre-read Act 5 (full synopsis)

Lesson 17: Act 4 – summarya. students build a comprehensive ‘plot’ sheet on wall with focus on everything that has

happened up to the end of Act 4:-character sheets-plot-themes & symbolism

b. we plot out what we think is going to happen in Act 5 – Happy ending? Tragedy? c. students write / drawn their own endings to the play.d. Blog / Reflections / Notes: students add notes from day into webpages

Lesson 18: Act 5 Scene 1 a. summarise Act 5, Sc1 (skip reading)b. read very start of Sc 2 - Othello’s ‘pre-murder’ soliloquy (Act 5, Sc 2, L1-22)c. Othello’s Soliloquy: close reading activity

Students work independently to complete the close reading assignment. This is handed in and assessed with feedback.

Lesson 19: Act 5 – murder and executiona. Class discussion of ideas / findings during close analysisb. Class predictions – what is about to happen?c. read Act 5, Sc 2 to the end of the playimportant discussion points:“murder!” , murder vs execution, who is responsible for the killings? (relevance today with ‘instigators’ going to jail for persuading others to consider murder)d. Blog / Reflections / Notes: students add notes from day into webpages

Lesson 20: Act 5 in Summarya. Lecture: symbolism in play.b. View final Act of film (100 min to end)c. Lecture: the 5-Act Structure – did we see it here?d. a day to complete the plot chart on the wall, to fill in final comments / quotes on

character sheet and to fully develop symbolism page.

Lesson 22-24: Topics of InquiryStudents are given 3x lesson to thoroughly research and develop their topic of inquiry. Idea sharing, group work, peer review, teacher feedback, independent research and scaffolded inquiry are encouraged. Topics include (but are not limited to) position and power, the status of the outsider, racism, attitudes towards women, symbolism, love and war, reason and emotion and the power of rhetoric.

Lesson 24: Final Review of Unit & Looking Aheada. Looking Ahead:

Next unit is Topics of Inquiry investigation based on drafted ideas during this unit (oral presentations, written work or visual text series). Essay practice for the external examination will take place during revision prior to the examination. 6x lessons have been set aside for this.

b. Class discussion / reflection on our learning process. How did we do? What went well? What didn’t go well? What can we do better next time? Is Shakespeare worth studying? Is Shakespeare fun to study? Do you feel ready to do the external at the end of the year? Why / why not? What do we need to do prepare ourselves for the external? If yes - What do you think will be the focus of your critical response? Write a letter to future Year 12s on why Othello is (or is not) a worthwhile study.

EXTERNAL Assessment English 3.1

The Outsider’s Struggle: Power & Position in Shakespeare’s Othello

Standard title: Respond critically to a Written TextAchievement standard: 91472 Reference: English 3.1Credits: 4 Level: 3

Assessment Standard Schedule

Achievement Achievement with Merit Achievement with Excellence

Respond critically to specified aspect(s) of studied written text(s), supported by evidence.

Respond critically and convincingly to specified aspect(s) of studied written text(s), supported by evidence.

Respond critically and perceptively to specified aspect(s) of studied written text(s), supported by evidence.

External Achievement Standard

This external achievement standard requires you to respond critically to a written text, using evidence from the text to support your thinking. Your critical response will need to be communicated clearly and coherently in essay form, using quotes and examples from the text to act as evidence to support your ideas. Your analysis can be specific, but your ideas must be complex and your argument must be well developed.

IntroductionThis external achievement standard involves reading, studying and analysing a text rich in ideas and language features.

We will be studying the text Othello, a Shakespearean drama. Othello is one of Shakespeare’s most well-known tragedies and offers a rich array of themes and language features for study. This will allow you to develop a complex, in-depth critical response to the text.

As a renowned literary text, there is a wide range of critical responses to Othello available to support the research and development of your ideas.

This achievement standard is assessed during an external examination.

Othello – A brief introduction

Set in the late 1500s in the prosperous, cosmopolitcan Italian city of Venice, Othello is the story of a powerful black military general who secretly marries the white daugher of a highly esteemed political leader – and follows the steady decline of their union because of unchecked prejudice and corruption of power. Jealousy, racism, sexism, prejudice, manipulation and self-doubt are at play throughout the drama. Characters betray one other, and ultimately betray themselves to a tragic end.

How do we respond to constant defamation and derogatory slurs? Can anyone remain ‘good’ in a world that calls them ‘evil’? If someone holds power over you, how does that make you feel and behave? Are we in control of our own lives, or do others control us, our beliefs and our behaviour?

These are some of the questions explored in Othello – questions that deal with the complexity and fragility human relationships and agency. They are as relevant today as they were in Shakespeare’s time and we will look at what they mean to us, here, now – over 400 years later.

Othello - Original & Adaptations

Shakespeare’s Othello is based on Un Capitano Moro, a short story first published in the mid-1500s. Therefore, those who went to see the play Othello when it was first performed in the early 1600s would have been familiar with the characters, plot and themes. We, too, will familiarise ourselves with the play before we embark on “reading” it. This will make it easier to understand and more enoyable for us all.

No Fear Shakespeare

There is no need to be anxious about reading Shakespeare. To make sure we all have a solid understanding of the characters, plot and themes, we will take our time moving through Othello. We will read it scene by scene in class and at the end of each act, we will watch the play ‘in performance’ via Parker’s 1995 film adapation (starring Laurence Fishburne). We will regularly stop to review key scenes, character developments, plot point and themes. You will be given many opportunities to close read and analyse key passages in each act to further develop your critical responses to the text.

Most importantly, we will be working very closely alongside the website No Fear Shakespeare – a site that provides a direct translation of Shakespeare’s langauge into everyday English on the same page as the original text. This allows us to read Othello in both Shakespeare’s original language and in our own everyday English at the same time – making the process easy and fun.

Taking Notes: Blog It

We will each create our own website in which to record our reflections and critical thinking. You will be given time at the end of every lesson to write up your notes for the day. These posts will allow you to develop your ideas and to record supporting evidence from the text. This site will be an invaluable resource to you when you revise for the external at the end of the year.

Guidelines

Recommendations You are encouraged to read scenes prior to our readings in class. This will allow you the chance to develop a reasonable understanding of what is happening in the play and to prepare questions / ideas to share in class time. (Use No Fear Shakespeare online for translations to modern English.)

We will “act out” some scenes of the play – but only those of you who would genuinely like to perform will be asked to do so. This will allows us the opportunity to better our understanding of the play in action. (Often ‘blocking out’ scenes is vital for us to make any sense of the play at all.)

All writing you complete (your daily reflections, close readings and essay practices) are important pieces of work and should be included in your writing portfolio.

Recommendations regarding the examination process and essay writing will be provided during revision at the end of the year.

Conditions of AssessmentThis unit is in preparation for an external assessment during examinations at the end of the year.

Students will write a critical response to the text Othello in essay form during an external examination under supervision. Students will be given three hours to complete their essay.

Students must select a statement from a selection of statements in the examination paper and argue to what extent they agree / disagree with the statement.

Time will be allocated at the end of the year to work on essay writing and external examination skills and techniques.

Unit Outline

We have 24x lessons of in-class time to read, study, analyse Othello and develop our ideas.

Lesson 1-3: Why Othello? Introducing the dark world of Shakespearean tragedy Lesson 4-7: Act 1: Othello: The Moor of VeniceLesson 8: Act 2: Iago: How the Spider Spins Its WebLesson 9-12: Act 3: Deception & UncertaintyLesson 13-16: Act 4: Women & MadnessLesson 18-19: Act 5: Murder & Execution Lessons 20-23: Self-Directed Topics of InquiryLesson 24: Learning Review / Looking Ahead

NB: We will also set aside 4x lessons of in-class time closer to the examination period to practice the essay-writing process for the external examination.

Teacher Notes

What follows are topics and contexts I have focused on for the purposes of this Year 13 unit. Areas of study are noted, with primary resources for each noted below.

Shakespeare- Elizabethan theatre conventions

- key conventions of a Shakespearean tragedy

- Shakespearean language

- 5 Act Narrative Structure

http://www.thedramateacher.com/elizabethan-theatre-conventions/

http://highered.mheducation.com/sites/0072405228/student_view0/drama_glossary.html

Othello, academic writingIntroduction to The Arden Shakespeare Othello, Edited by E.A.J. Honigmann

Introduction to The Macmillan Shakespeare Othello, Edited by Celia Hilton and R.T. Jones

Oxford School Shakespeare Othello Study Guides & Notes

Cambridge School Shakespeare Othello Study Guides & Notes

Online Translations, Summaries, Analysis & Study Guideshttp://nfs.sparknotes.com/othello/

http://www.cliffsnotes.com/literature/o/othello/play-summary

Context of Othello-setting: Venice 1500

-views of ‘Africans’ circa 1500s (Leo Africanus)

-setting: Cyprus (love, war, Venus)

-political / social ideology of the time

excerpts from The History and Descriptions of Africa (1526)

http://moodle.wpcp.org/pluginfile.php/30191/mod_resource/content/0/Leo%20Africanus.pdf

Othello -the complex nature of our hero – the “Moor of Venice”

-sense of identity and his relationship with the people of Venice

-rich aesthetic, intellectual, spiritual and emotional representation

-‘set up’ > undoing

-seed of doubt

-a man caught in unjust prejudice: black (skin) and fair (virtue)

-eloquence, rhetoric and use of language

-reasoning, sense of justice, wisdom

-trust / belief in ‘honesty’

-romantic, idyllic notion of ‘love’

-strategy, military might, authority

-insecurity and self-doubt

-forever the outsider

Iago-spidery nature of our villain

-cunning, treachery, “pitch” nature

-turns others’ positives into weaknesses / preys on weaknesses

-powerful use of imagery and language to persuade and corrupt

-corrupt reasoning, mysogyny, racial slurs, prejudice

- pessimistic, negative notion of ‘love’ and ‘women’

-motivation (jealousy? boredom?)

-impotence (love and war)

-forever the outsider (?)

Desdemona-romantic notions of love

-idealist to the end

-virtuous

-doomed (?)

Emilia-the ‘good’ wife

-impotent

-agency of change

-a “foil” to Desdemona

Bianca-use of language – rational, reasoned, honest

-prostitute with morals

-true to self

Rodrigo

-Comedic relief

-pawn in strategic game

-no integrity / moral

Cassio-loyalty and betrayal

-patriotism

-ready to ‘fight’ – but what is he fighting for?

-integrity to the end – and is awarded final word / power

Brabantio-rights of father / husband

-ownership of women as property

-racism / prejudice

Themes-monstrous birth

-outsider status

-prejudice

-attitudes towards women

-jealousy

-honesty

-deception

-ocular proof vs pre-conceived beliefs

-what is real vs what appears to be real

Imagery & Symbolism Black / Fair

Handkerchief / blood-stained sheets

Spider

Resource Folder

This folder includes daily activities, tasks and resources for the Othello Yr 13 unit. All resources are ordered by lesson according to the unit outline.

Please note, the first 3x resources are not in order. They are the requirements for the EDCURSEC658 assignment, as follows:

-annotated text example (Othello defends himself to the senate, Act 1)

-one complete resource sheet (Discussion Topics: Themes in Othello)

-an assessment schedule for a formative assignment & NZQA achievement standard (Assignment 2 Section B: Write an Essay)

Othello: Key Speeches – Othello defends himself to the senate

Act One, Scene 3, lines 127-169 :

OTHELLO Her father loved me; oft invited me; Still question'd me the story of my life, From year to year, the battles, sieges, fortunes, That I have passed. I ran it through, even from my boyish days, To the very moment that he bade me tell it; Wherein I spake of most disastrous chances, Of moving accidents by flood and field Of hair-breadth scapes i' the imminent deadly breach, Of being taken by the insolent foe And sold to slavery, of my redemption thence And portance in my travels' history: Wherein of antres vast and deserts idle, Rough quarries, rocks and hills whose heads touch heaven It was my hint to speak,--such was the process; And of the Cannibals that each other eat, The Anthropophagi and men whose heads Do grow beneath their shoulders. This to hear Would Desdemona seriously incline: But still the house-affairs would draw her thence: Which ever as she could with haste dispatch, She'd come again, and with a greedy ear Devour up my discourse: which I observing, Took once a pliant hour, and found good means To draw from her a prayer of earnest heart That I would all my pilgrimage dilate, Whereof by parcels she had something heard, But not intentively: I did consent, And often did beguile her of her tears, When I did speak of some distressful stroke That my youth suffer'd. My story being done, She gave me for my pains a world of sighs: She swore, in faith, twas strange, 'twas passing strange, 'Twas pitiful, 'twas wondrous pitiful: She wish'd she had not heard it, yet she wish'd That heaven had made her such a man: she thank'd me, And bade me, if I had a friend that loved her, I should but teach him how to tell my story. And that would woo her. Upon this hint I spake: She loved me for the dangers I had pass'd, And I loved her that she did pity them. This only is the witchcraft I have used: Here comes the lady; let her witness it.

[Enter DESDEMONA, IAGO, and Attendants]

Discussion Topics: Page 1Themes in Othello

Shakespeare’s Othello is a commentary on the social and political life of contemporary Europe in the 1600s. The themes that weave through the play are deeply connected to the values and motivation of the central characters. Key themes include: jealousy, love, deception, prejudice, the struggle for power, racism, the position of women in society and the place of the outsider.

Here are some pre-reading discussion topics to get us thinking about these ideas and their significance in the play. These questions are focused on two main themes: ‘the struggle for power and position’; and ‘the place of the outsider’.

#1 Othello: The Outsider

Othello is an outsider in Venice. He looks different to the others (he is black) and he is not from Italy (his background is exotic). Iago, the play’s jealous villain, uses the fact that Othello is black against Othello to taint him in the minds of others until they begin to see him as a wicked man using black magic on them. This direclty results in Othello being shunned by Venitian society.

Questions to discuss: What is it like to be an outsider? Have you ever felt like an outsider? How do people respond to you when you are not like them? How do you respond to people who are not like you? Do you think being an outsider in society affects the way one thinks about oneself; the way one acts? If so, in what ways? Are people judged differently depending on where they come from?

#2 Symbolism & Imagery: Black and White

Othello is rich in symbolic imagery. In particular, the contrast between black and white dominates the play. Every time Othello looks at his young wife, Desdemona, he sees her ‘whiteness’ as a symbol of purity. This certainty in his wife will eventually eventuate in a deep sense of self-doubt for Othello, as his high esteem of ‘purity’ and ‘whiteness’ will lead him to accept the associated belief that ‘blackness’ is associated with evil and black magic.

Questions to discuss: What kinds of things do we associate with the colours black and white? Is one considered to be more positive than the other? Think about how the colours are used in the media, what they mean symbolically. How are different races represented in the media, movies, stories, politics, schools, prisons? What effect does this have on people of different races?

#3 Reason

After killing Desdemona, Othello realises she was innocent all along and that his action was based on falsehood. Othello is so overcome by what he has done that he takes his own life. But before this, he rationalises his action. He speaks calmly as he takes on the role of judges – and condemns himself to death.

Questions to discuss: When somebody gets angry or emotional, they are often told to, “Be reasonable.” Do you think it is possible to overcome your emotions with rational thinking? To what extent can you be considered responsible for your actions in these situations? Is there a difference between how we treat matters of strategy (for example, planning our life goals or, say, going to war) and matters of the heart (for example, “falling” in love)? Why / why not is there a difference? Should they be dealt with in the same way?

Discussion Topics: Page 2Themes in Othello continued

#4 Othello & Desdemona: An Unlikely Union

Othello secretly marries Desdemona, the white daughter of an influencial politician. Although at first Othello’s power with words allows him to argue the worth of his love is true, this idea of their love is eroded by the work of Iago, whose own clever way with words turns their love into something associated with the ‘black’ magic – bestial and of witchcraft. The poisonous lies of Iago are so effective they even destroy Othello’s faith in his wife’s fidelity – leading him to kill Desdemona on their marriage bed.

Questions to discuss: Are there some relationships between people from different backgrounds that are frowned upon in today’s world, in our society? Can you think of any examples? What other stories can you think of that deal with this idea of two people in love who, for some reason, are not “allowed” to be together? Are we allowed to marry anyone we choose? Until recently, was this always the case? Who should be allowed to say who we can and can’t marry? Who gets to decide?

#5 Othello: Trickery & Imaginings

Iago tricks Othello by telling him false stores about Desdemona having an affair with another man, Cassio. Although untrue, the images are vivid and Othello cannot get them out of his mind. They haunt him. His attitudes towards her whiteness / purity – his very belief system – becomes confused. He begins to doubt himself and ultimately loses control of his mind and everything he ever believed in. This growing jealousy makes him mad. Although once a man of reason and common sense with a deep respect for justice, Othello’s jealousy turns him into a man without reason, without sense, without any sense of justice. In a rage, Othello kills his innocent wife, Desdemona.

Questions to discuss: Does the idea of a man killing his wife because he believes she has been unfaithful shock you? If not, why not? Where have you heard of this happening before? Does it matter whether she had been unfaithful or not? If Desdemona had been unfaithful to Othello, did she deserve to die? Does it make a difference that she is a woman? Had the roles been reversed, would a man have died at the hand of his wife for being unfaithfhul? Why is that Othello can kill Desdemona? Is this relevant today? (Note: In New Zealand, one in three women experience phsyical and / or sexual violence from a partner in their lifetime.)

The Setting of Othello – Venice in the 1500s

DO NOW

The setting of Venice plays a vital role in fueling character conflict and the themes of the play.

1. In the 1500s, Venice was a large city-state in Italy (and was the same size as London at the time.) It was a trading port. Although citizens of Venice often traded with foreigners, those in power were ‘white’. Othello is a black man from Africa. What kind of power / authority would he have as a black, foreign citizen of Venice?

2. In Othello, the citizens of Venice need protection from an ongoing war with the Turks. For this, they have built up a large navy. According to Venitian Law, the Army general must be a foreigner. For this reason, Othello (a foreigner) is their military leader. He is a noble authority in military circles. How do you think this might make others feel, locals who can never have hold the position as leader? Could this position of power be attractive to others?

3. Othello is sent to Cyprus to fight in a major military battle. Cyprus is known as the island of love as it is a dearly loved island of Venus (the goddess of love). Desdemona and Othello begin in Cyprus as lovers, but their relationship ends in death. Why has Shakespeare chosen to set this doomed love affair in Cyprus amongst a war? Could this setting be symbolic?

4. At the time, Venice was known for its high-end prostitutes, known as courtesans. Throughout the play, Iago lies to Othello and tells him that his wife, Desdemona, is having an affair. As a foreigner, is it possible that Othello associates Desdemona with her city of birth, Venice, and everything that implies? What could this lead Othello to associate with Desdemona?

Approaches to Reading OthelloFocus Questions

As we read Othello, here are some questions to help us focus our attention on the themes of ‘the place of the outsider’ and ‘the struggle for power’. Keep these questions in mind, and do your best to answer them as we move through the play. Your answers may change and develop. Adapt your responses as you go.

Outsiders:

1. How is Othello presented as an outsider?

2. How does he change, and why?

3. How do others treat Othello? Does their treatment of him change? Do some people treat him differently from others, why?

4. How do Othello’s words and actions help us understand his position and how that position is changing?

5. How does Othello’s being an outsider / foreigner affect the way he acts and the way others view him?

6. Are there others in the play who are white and from Venice, but who could still be considered ‘outsiders’. Who are they and why are they outsiders?

Struggle for Power:

1. Who holds the power in this play? Is this constant? Does it change? If so, why / how?

2. How is power wielded, gained and lost?

3. How do women feature in this struggle for power?

4. Is power ever associated with wit, honesty, justness, reason, rhetoric emotion, gender, race?

Language & Imagery:

1. At the heart of the play is the idea of the power of language. Look closely at the words and actions of the characters in the play. Often what someone says is NOT what they think or do. How does that affect the audience and impact the drama?

2. How do ideas of black and white come up in the language and imagery of the play?

3. Many scenes are set in the bedroom. What do we associate with bedrooms? How does this impact on the mood of the scenes and the overall play?

4. The Strawberry Handkerchief is an essential prop in the play. It is used to as a plot device to trick characters into believing Iago’s web of lies. It is also used as symbolically. What are some of the ideas represented by the handkerchief?

Review Questions from Act One, Scene 1

DO NOW: Recap

1. In his conversation with Roderigo, Iago says “I am not what I am.” What does this paradoxical statement tell us about his character?

2. What reason does Iago give to Roderigo for hating Othello? Find a quote from the play and explain what it means.

3. Iago says “In following him [Othello] I follow but myself.” What does he mean by this?

Quote Finder:

Othello’s Character at the start of the play

Find a quote that shows that he is a respected and talented general.

Find a quote that shows that Othello is confident of his position in Venetian society.

Find a quote that shows that he is eloquent, confident and rational in his dealings with others.

Find a quote that shows that he is confident of Desdemona’s love for him

Find a quote that shows that he is conscious of being an outsider.

Iago’s First Soliloquy: Act 1, Sc 3 Lines 374-395

Key Questions

1. Iago’s persuasive way with words:

List the ways that this passage shows that Iago tends to use things that are usually viewed as positive qualities of people against them.

Do you think these qualities are negative?

2. Iago’s motive for hating Othello

In the opening of the play, what reason did Iago give in this speech for hating Othello?

What new reason does he give now?

3. Iago’s Character:

How would you describe a person who feels this way about someone else?

4. Language features:

a. Find two language features that Iago uses that help add meaning to this soliloquy.

(There are examples of metaphor, extended metaphor, metonymy, simile, short sentences, imagery of light and darkness, questions addressed to himself.

b. Name each of your chosen features, quote the example, and explain how they add meaning to his speech.

Assignment #1: Othello’s Setup

In Act One, we are given a picture of Othello from multiple perspectives – from the point of view of Shakespeare, the point of the view Iago and the point of view of the people of Venice.

Answer the questions below about the differing opinions of Othello. Find quotes from the text to support your answers.

How does Shakespeare present Othello?

1. What are our first impressions of this “Moor of Venice”? Provide a full description of his character at the start of the play. Use evidence (including direct quotes) from the text to support your ideas.

How does Iago view Othello?

2. Although Iago hates Othello for making Cassio his lieutenant instead of him, he pretends that he loves Othello for his own purposes. How does he do this? Use evidence (including direct quotes) from the text to support your ideas.

3. How does Iago use the the fact that Othello is black against him when goading Brabantio? Use evidence from the text to support your ideas.

4. Does Iago thinks that Othello trusts him or not? Use evidence (including direct quotes) from the text to support your ideas.

5. Iago seems to hate Othello. One of the reasons for this is because he has a suspicion that Othello has slept with his wife. Use evidence (including direct quotes) from the text to support your ideas.

How does Rodrigo view Othello?

6. Prejudice against the dark-skinned outsider can be seen in Roderigo’s language. What are some examples of this? Use evidence from the text (including direct quotes) to support your ideas.

How does the Duke view Othello?

7. What is the Duke’s view of Othello at the start of the play? Use evidence from the text (including direct quotes) to support your ideas.

Brabantio’s mixed views of Othello.

8. Brabantio is fascinated by Othello’s strange, exotic character. How do we know this? Use evidence from the text (including direct quotes) to support your ideas.

9. Brabantio is also outraged that his daughter has married Othello and thinks that the only way that Othello could have won his daughter is by casting a spell on her. What are some examples of this from the text?

How does Desdemona view Othello?

10. Desdemona is in love with Othello. How did she fall in love with him? Use evidence from the text (including direct quotes) to support your ideas.

In Summary: Othello in Act 1:

We are presented with two very different versions of this Moor of Venice.

11. Which view of Othello are we to believe is his true self?

12. How is his character being set up for the action to come?

Assignment #1: Othello’s Setup ANSWER SHEET

(teacher document – suggestions in grey)

How does Shakespeare present Othello?

1. What are our first impressions of this “Moor of Venice”? Provide a full description of his character at the start of the play.

Confident in position:

Shakespeare presents Othello as a noble, powerful man of reason, common sense and a strong belief in justice.

He is confident that he is respected amongst the nobles of Venice (even though he is an outsider):

“My services which I have done the signiory / Shall out-tongue his [Brabantio’s] complaints.” 1.2.18-19

“My parts, my title, and my perfect soul / Shall manifest me rightly.” 1.2.31-2

He is cool and collected, reasonable when threatened by Brabantio and his men:

“Keep up your bright swords, for the dew will rust them.” 1.2.59

“Good signior, you shall more command with years than with your weapons.” 1.2.60-61

“Were it my cue to fight, I should have known it / Without a prompter.” 1.2.83-84

Eloquent and rational.

He claims to speak plainly, honestly, openly (unlike the nobles of Venice? Unlike Iago!):

“Rude am I in my speech” “little blessed with the soft phrase of peace” “I will a round

unvarnish’d tale deliver”

Confident of Desdemona’s love for him

He has absolute faith that Desdemona will not deceive him. When Brabantio warns of her

deceptive nature, he stakes his life on the fact that she will not deceive him:

How does Iago view Othello?

2. Although Iago hates Othello for making Cassio his lieutenant instead of him, he pretends that he loves Othello for his own purposes. How does he do this?

#1 When speaking to Roderigo, he calls him “His Moorship.” 1.1.33 (coined word – combining lordship and moor)

#2 “In following him, I follow but myself.” 1.1.59

#3 “Though I do hate him as I do hell’s pains, / Yet, for necessity of present life, / I must show out a flag and sign of love.” 1.1.154-156 (military metaphor)

3. How does Iago use the the fact that Othello is black against him when goading Brabantio?

With grotesque, bestial, evil metaphors

#1 “...an old black ram / Is tupping your white ewe.” (metaphor comparing O to animal)

#2 “The devil will make a grandsire of you.” (comparing O to devil)

#3 “You’ll have your daughter covered with a Barbary horse.” (comparing O to a horse)

#4 “your daughter and / The Moor are now making the beast with two backs.” (comparing O and D to mating beasts)

4. Does Iago thinks that Othello is trusts him or not?

“He is of a free and open nature, / That thinks men honest that but seem to be so, / And will

as tenderly be led by the nose / As asses are.”

5. Iago seems to hate Othello. One of the reasons for this is because he has a suspicion that Othello has slept with his wife.

“...it is thought abroad that ‘twixt my sheets / He has done my office.” (1.3.378-379)

How does Rodrigo view Othello?

6. Prejudice against the dark-skinned outsider can be seen in Roderigo’s language. What are some examples of this?

#1 Roderigo, speaking to Iago, calls Othello “thick-lips” 1.1.67

#2 Speaking to Brabantio, he calls Othello “lascivious Moor”

1.1.126

#3 He calls Othello “an extravagant and wheeling stranger / of here and everywhere” 1.1.136-7

Brabantio’s mixed views of Othello.

7. Brabantio is fascinated by Othello’s strange, exotic character. How do we know this?

We find this out in Othello’s speech where he says that Brabantio, “lov’d me, oft invited me,

/ Still question’d me the story of my life.” (1.3.127-128)

8. Brabantio is also outraged that his daughter has married Othello and thinks that the only way that Othello could have won his daughter is by casting a spell on her. What are some examples of this from the text?

#1 “thou hast enchanted her” 1.2.63

#2 “The wealthy curled darlings of our nation, / Would ever have, t’incur a general mock, / Run from her guardage to the sooty bosom, / Of such a thing as thou—to fear not to delight” 1.2.68-

#3 He claims his daughter would never have fallen “in love with what she feared to look on”

#4 He claims their relationship is “against all rules of nature.” 1.3.94-106

How does Desdemona view Othello?

9. Desdemona is in love with Othello. How did she fall in love with him?

Desdemona fell in love with Othello when she heard the amazing stories of his past adventures and achievements.

#1 “I saw Othello’s visage in his mind” 1.3.249

#2 “And to his honours and his valiant parts / Did I my soul and fortunes consecrate.” 1.3.250-251

#3 “She lov’d me for the dangers I had pass’d

And I lov’d her that she did pity them.” 1.3.166-167

How does the Duke view Othello?

The Duke admires Othello for his good deeds and strong morals.

“If virtue no delighted beauty lack, / Your son in law is far more fair than black.” 1.3.286-7

Othello: Act Two Starter Questions

The Nature of “A Spider”?

Othello is about the laying down and executing of cunning plans – treachery that is bound up in the character of Iago, the villain of the play. Throughout Othello, Shakespeare describes Iago as something of a ‘spidery’ character who lays down plans much like ‘webs’ with the aim to ‘ensnare’ his victims.

1. Find two references from the play so far of Iago taking on the character of a spider.

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2. We understand that it is in a spider’s nature to trap its prey for food and survival. Does Iago’s survival also depend on trapping his victims? If so, to what end? If not, why does he do it?

3. In real life, spiders are not reasoned, and nore do they have a voice. Iago, being human, has both reason and voice. What theatrical device does Shakespeare use to allow us to hear his thoughts?

Act Two: How the Spider Spins Its Web

Group Questions

1. Why do you think Shakespeare wants the audience to know all the plans Iago lays out in his Soliloquies?

2. How does it affect how we view the action of the play?

3. What are Iago’s plans so far?

4. Much like the spider, Iago is good at finding people’s weaknesses and exploiting them – what weakness of Cassio does he exploit in Act 2 Scene 3?

5. What weakness of Othello does he plan to exploit? Do you think he will succeed?

6. Is Iago the only spider spinning a web in this play? Who else could be said to be ensnaring others in their trap?

“Honesty” in Othello

Review Questions: Act Two

In his speech in Act 2 Sc 3 Lines 205-230, how does Iago claim to feel about Cassio? Are his claims truthful? Why / why not?

When Iago gives his report of Cassio’s drunken behaviour, Othello replies with “Thy honesty and love (for Cassio) doth mince this matter / Making it light to Cassio.” How does Othello’s opinion of Iago differ from the audience’s? How does Iago’s deceit make us feel about Othello?

Review Questions: Othello Act 3 Sc 3

The Seed of Doubt

DO NOW

At one point, Iago says to Othello, “My lord, you know I love you,” (Act 3, Sc 3 L119). Othello replies, “I think thou dost; / And for I know thou’rt full of love and honesty,”

What does this interchange tell us about the characters of Othello and Iago?

Review Questions: Othello Act 3, Scene 3

The Seed of Doubt

Discussion Topics

1. What action does Iago take to first plant the seed of doubt in Othello’s mind?

2. What part of Othello’s character allows the seed to take hold?

3. Iago, talking about Cassio, says “Men should be what they seem; / Or those that be not, would they might seem none.” What do you think he means by this exactly? And what is the significance of these words within the overall play?

5. Othello says to Iago, “I’ll see before I doubt; when I doubt, prove; / And on the proof, there is no more but this: / Away at once with love or jealousy.” What does this say about Othello’s character? What is his belief system?

6. Iago tells Othello about Venetian women: “In Venice they do let God see the pranks / They dare not show their husbands.” What does he mean by this? How does his way with words create meaning?

Assignment #2:

Close reading

Act Three Scene 3 - Lines 262 – 281

OTHELLO’S SOLILOQUY

This fellow's of exceeding honesty,

And knows all qualities, with a learned spirit,

Of human dealings. If I do prove her haggard,

Though that her jesses were my dear heartstrings,

I'd whistle her off and let her down the wind,

To pray at fortune. Haply, for I am black

And have not those soft parts of conversation

That chamberers have, or for I am declined

Into the vale of years,--yet that's not much--

She's gone. I am abused; and my relief

Must be to loathe her. O curse of marriage,

That we can call these delicate creatures ours,

And not their appetites! I had rather be a toad,

And live upon the vapour of a dungeon,

Than keep a corner in the thing I love

For others' uses. Yet, 'tis the plague of great ones;

Prerogatived are they less than the base;

'Tis destiny unshunnable, like death:

Even then this forked plague is fated to us

When we do quicken. Desdemona comes:

Re-enter DESDEMONA and EMILIA

If she be false, O, then heaven mocks itself!

I'll not believe't.

SECTION A: CLOSE READING

Dramatic Irony

1. Explain the dramatic irony in the first line of this speech.

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2. What key difference between Othello and Iago is highlighted in the second and third lines?

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3. Why do you think Othello trusts Iago in the matter of his wife’s faithfulness?

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Metaphor – The Hunt

Othello uses an extended metaphor of ‘falconry’ (using birds of prey to hunt animals) to describe his relationship with Desdemona:

...If I do prove her haggard,

Though that her jesses were my dear heartstrings,

I’ld whistle her off and let her down the wind,

To pray at fortune.

4. Explain what this extended metaphor means (what is being compared to what)?

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5. What does this metaphor suggest about Othello’s view of marriage and relationships (and the role of the man and the woman in a relationship)?

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6. What does this metaphor say he will do if Desdemona has been untrue?

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Othello’s attitude towards marriage and relationships:

...O curse of marriage,

That we can call these delicate creatures ours,

And not their appetites!

7. Upper class English wives were considered the property of their husbands and addressed them as “My lord” (even nowadays, in traditional Christian wedding ceremonies, we still see this to an extent – the father “gives” the bride to the groom). What is Othello complaining about here? What do you think this complaint says about Othello’s attitude towards marriage and relationships?

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The Value of Reason & Rhetoric

...Haply, for I am black

And have not those soft parts of conversation

That chamberers have, or for I am declined

Into the vale of years

8. What three flaws in himself does Othello suggest might have made Desdemona be untrue to him?

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9. What weaknesses or insecurities does Othello reveal in this soliloquy? Can you link any of them to the idea of his being an outsider amongst the Venetian nobles?

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10. How do these reasons contradict his earlier statements about Desdemona (“She loved me for the dangers I had passed” (1.3) “My life upon her faith” (1.3) “She had eyes and chose me” (3.3)

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OTHELLO’S SOLILOQUY:

Act Three Scene 3 - Lines 262 – 281

SECTION B: CRITICAL RESPONSE

Respond critically to one of the following statements. Your response must be in essay form.

1. This passage reveals a shift Othello’s feelings towards Desdemona.

To what extent do you agree with this statement? Provide evidence from the text to support your answer.

2. This passage reveals Othello’s attitude towards the relationship between husband and wife.

To what extent do you agree with this statement? Provide evidence from the text to support your answer.

3. This passage reveals a shift in Othello attitude towards himself.

To what extent do you agree with this statement? Provide evidence from the text to support your answer.

Essay Writing Checklist

Select your statement carefully.

Annotate the statement you have selected with ideas, links and questions.

Take time to plan your response.

Write your essay following follow the standard PEEL structure. Your essay should include an introductory paragraph, 1-2 point paragraphs (with links) and a conclusion.

Concentrate on crafting clear, logical, coherent paragraphs.

Each paragraph must have a clear topic sentence that notes the specific aspect you are discussing and states your argument, evidence in the form of relevant quotes from the text, and a link to the main idea.

If you identify a language technique in a quote you are using, mention how this technique contributes to the idea being explored.

If you are discussing ‘change’, it is recommended that you include a quote from earlier in the text to support your point.

Make sure you review your work before turning it in.

Note re External Assessment - Achivement Standard 3.1

The statements above are based on the format of the external examination paper.

Your essay will be assessed against the 3.1 critera (see below).

Othello: Act 3

Attidudes towards Women

The portrayal of women in Othello is highly charged.

1. List as many different symbols, props, settings, values and actions that are usually associated with women and that return again and again in the play. For example, “blood stained sheets” and “witchcraft”.

2. Find quotes that refer to women in derogatory ways – and note beside the quote exactly what is meant by the insult. (Iago offers us plenty!)

3. Find quotes that refer to women in positive ways. What values of positively associated with women? Do these values empower women?

4. How does Emilia’s view of men (3.4.97) differ from Desdemona’s?

5. “Thieves! Thieves! Look to your house, your daughter and your bags!” When Iago is shouting this up to Brabantio’s bedroom window at night, he is warning him that he his possessions have been robbed – his possessions being his home, his belongings and his daughter. It is implied that Desdemona (Brabantio’s daughter) is his property. Where else in the play are we reminded that women are property of the men? Note as many examples as you can, with quotes from the text to support your answer. (Note – sometimes it is in the women’s behaviour that their position in society is made apparent.)

6. Iago has a way with words. When it comes to describing women, his descriptions are derogatory and demeaning. He puts down his wife. He makes the assumption that Desdemona will most likely cheat on Othello one day. Do you think Shakespeare shares Iago’s feelings towards women? Why / why not? Show evidence of this in from the text.

Othello: Act 3

State of Mind

Recap Questions

By the end of Act 3, it could be argued that a once reasonable man is at the very least becoming irrational and, at the very worst, beginning to lose his mind.

1. What ideas have planted in Othello’s mind to make him confused about what is real and what is not?

2. Othello descends into brutal, emotional impulses and shouts “I’ll tear her to pieces…” What is happening here?

3. Othello says that he would have been happy even if she had slept with the whole army, if only he “had nothing known.” What effect is Iago’s suggestion having on Othello?

4. Othello says “I think my wife be honest, and think she is not; / I think thou art just, and think thou art not; / I’ll have some proof.” What do these contradictory statements say about Othello’s state of mind?

5. “Haply, for I am black” – What does this line of tell us about what Othello thinks of himself now? How does this differ from how he thought of himself at the beginning of the play?

6. Othello is not the only one acting strangely. Why do you think Emilia gives the napkin (handkerchief) to Iago (her husband)? Do you think she knows that he has bad intentions?

Othello: Act 4, Scene 1

Pre–Reading Questions

When reading Act 4, focus your attention on the changes taking place in Othello – in particular, the way he speaks, what he speaks about and his general demeanour.

Something Iago says in Act 4, Scene 1 makes Othello lose his composure. What is it?

What is odd about the way that Othello speaks in lines 35-43? How is it different from

the way he usually speaks (in, for example, Act 1)?

Othello: Act 4, Scene 1

Review Questions

1. The handkerchief is a rich symbol in this play. Identify the ideas and values it has been linked to so far in the play. How has its meaning changed by the time Othello sees Cassio give it to the prostitute Bianca?

2. How characters speak is significant in Shakespeare’s plays. Why do you think Othello speaks in prose, not verse in parts of act 4, scene 1?

Othello: Act 4, Scene 2

Discussion Topics

1. Why do you think Othello believes Iago’s lies over Desdemona’s pleas of innocence?

2. After Othello leaves, Emilia, Iago and Desdemona speak. Why does Iago repeatedly

tell Emilia to be quiet? (What does Emilia seem to be insinuating?)

Othello: Act 4, Scene 3

Review Questions

1. To comfort Desdemona, Emilia says that she wishes Desdemona had never met Othello, to which Desdemona replies, “So would not I: my love doth so approve him.”

What does this say about her character?

2. How do Emilia and Desdemona’s opinions on adultery differ?

3. Emilia’s speech at the end of the scene says that it is no less common or natural for women to cheat than it is for men to. Do you think that cheating is viewed differently in our society when men do it than when women do?

Othello’s Soliloquy Act 5

Close Reading Activity

Complete a close reading and detailed analysis of Othello’s famous soliloquy in Act 5, Scene 2.

Response Technique

- “Talk to the text” – annotate, brainstorm, make links, decipher meaning.

- Respond critically in complete paragraphs – with a clear point / argument, evidence from text and link to themes / ideas.

- consider the relevance of this story to us today

Questions to consider in your analysis:

- What is the tone of this speech?

- Is imagery at work in his speech? What does Othello compare himself to?

- Is Othello carrying out an honourable sacrifice, or a revenge murder? Are his motives pure?

-Does he know why he is killing Desdemona?

Final Review of OthelloTopics of Inquiry

Below are several topics of inquiry to help you develop a specific, considered and well-researched critical response to Shakespeare’s Othello. You are free to use the questions provided as a starting point if you wish.

You may respond to these inquiries in any form you choose. Make sure your have a rich and complex understanding of the topic and that your response is researched, well developed, clear and coherent.

For additional credits, you may choose to present your response as follows:

- as an oral presentation (presentation or seminar min 6minutes duration) (3 credits)- as a visual series (a series that develops and sustains a complex idea) (3 credits)- as a piece of writing – creatively or as a critical response (min 800 words) (3 credits)

1. Attitudes towards women

Does the play support Iago’s opinion of women, or refute it?

2. Attitudes towards people of colour

Does the play support the often heard metaphor spoken by the people of Venice that fair (white) is good and black is evil?

3. Significance of Setting

Othello has been termed a “domestic drama” – with dominating ‘bedroom’ settings creating a claustrophic world in which the action unfolds. Explore the effect and significance of these stage directions. (Suggestions: for an exciting visual inquiry, block out - on the page - the setting for each scene and mark up positioning of key character and their action, with notes attached / presentation for a detailed critical response.)

4. Love and Marriage

What do you make of the relationship between Othello and Desdemona? And / or

What do you make of the relationship between Emilia and Iago?

5. Jealousy

One of the most oft-quoted lines from Shakespeare comes from Othello: ‘O, beware, my lord, of jealousy / It is the green-ey’d monster, which doth mock / The meat it feeds on.’

Jealousy plays a primary role in dramatic conflict and character action. If Jealousy were a ghost able to enter characters within the play – who has jealousy entered and what affect does jealousy have on the being it manifests?

References

excerpts from The History and Descriptions of Africa (1526)

Found online

http://moodle.wpcp.org/pluginfile.php/30191/mod_resource/content/0/Leo%20Africanus.pdf

1. Character Sheet: OthelloDescription Relationships Key Props Action Quotes Change

Othello

Desdemona

Iago

Emilia

Character Sheet: Othello

Brabantio

Cassio

Bianca

Rodrigo

ASSESSMENT SCHEDULE English 91472 (3.1): Respond critically to specified aspect(s) of studied written text(s), supported by evidenceAssessment Criteria

Achievement Achievement with Merit Achievement with Excellence

Respond critically to specified aspects of studied written text(s), with supporting evidence.

To achieve, your essay must:

- be a critical response in which the focus and scope of argument is developed when discussing specified aspects of the text(s)

- integrate a range of relevant points supported by evidence.

- use evidence that is relevant and accurate

- an a clear coherent argument

- use language that is formal, academic and follows the conventions of an essay format

- use writing structure that follows the conventions of an essay format

Respond critically and convincingly to specified aspect(s) of studied written text(s), with supporting evidence

To achieve with merit, your essay must:

- be a discerning, informed and critical response in which the focus and scope of argument is developed when discussing specified aspects of the text(s)

- integrate a range of relevant points supported by evidence.

- use evidence that is relevant and accurate

- an a clear coherent argument

- use language that is formal, academic and follows the conventions of an essay format

- use writing structure that follows the conventions of an essay format

-be convincing

Respond critically and perceptively to specified aspect(s) of studied written text(s), with supporting evidence

To achieve with excellence, your essay must be:

- be a sophisticated, insightful, original and critical response in which the focus and scope of argument is developed when discussing specified aspects of the text(s)

- integrate a range of relevant points supported by evidence.

- use evidence that is relevant and accurate

- an a clear coherent argument

- use language that is formal, academic and follows the conventions of an essay format

- use writing structure that follows the conventions of an essay format

-be perceptive – and may include links between significant aspects of the text(s) and communicate ideas within contexts to ideas outside of the text, such as human experience, society and the wider world.