Step 2: A closer
look
Working through
the text using the
AOs as a
framework for
detailed analysis
The Assessment Objectives become our framework for
interrogating the text. They should equip you with a way to
organise your ideas.
AO2 looking at dramatic, narrative, poetic means
• Shaping of the action
• Language of dialogue
• Verse? Prose?
• Language register, from formal to intimate
AO3 Looking at context
• Issues of the time (including language - overlaps with AO2)
• Reflections of the age - then
• Reflections of the age - now
• How the play works for modern audiences
AO4/5 Views of the action
• within the text (characters on each other)
• critics
• productions
A general note...
• What are these characters doing?
• What ideas are embodied in their language?
• How do you respond to what is going on?
Try to keep the idea of performance in mind: when a
character says something, think about whether the
language implied that a gesture or action goes with
it, and try to imagine the physical bodies speaking
those words or even not speaking at all. Don’t forget
that characters may be on stage, even when silent,
and may be making a significant non-verbal
contribution to the scene.
[AO5 – consideration of interpretation through
performance]
?
AO1: Who’s
who?
Match up the
character names
and descriptions.
Act 1 Scene 1
SCENE I. Venice.
A street.
AO1: What
are the
characters
doing? Look
at your
notes for
this scene
and quickly
summarise.
AO3: Setting the scene...
Why Venice?
Act 1 Scene 1
AO3: Setting the scene...
Why Venice?
Early modern (c. 1500-1750) Venice was a prosperous Italian city and a
symbol of law and civilization. Elizabethan dramatists often used Italian
settings for plays about intrigue, love and revenge – this is because foreign
courts were stereotyped as being full of villainy and sexual perversion.
Venice had a reputation as a city of wealth and sophistication but also as a
place of loose morals.
Venice also happened to be renowned for its courtesans (prostitutes). When
the English thought about Venice, they often imagined it to be a city chock
full of promiscuous women.
As for the number of these Venetian courtesans it is very great. For it is thought
there are of them in the whole city and other adjacent places, at the least twenty
thousand, whereof many are esteemed so loose that they are said to open their
quivers to every arrow, a most ungodly thing without doubt that there should be
tolleration of such licentious wantons in so glorious, so potent, so renowned a
city." (Coryat's Crudities, 1611)
Act 1 Scene 1
AO2:
Lines 1-7: what does the language of
Iago and Roderigo reveal about their
mood and attitude?
How does this set the tone for the play?
What theme does it introduce?
RODERIGO
Tush! never tell me; I take it much unkindly
That thou, Iago, who hast had my purse
As if the strings were thine, shouldst know of this.
IAGO
'Sblood, but you will not hear me:
If ever I did dream of such a matter, Abhor me.
RODERIGO
Thou told'st me thou didst hold him in thy hate.
IAGO
Despise me, if I do not.
AO1 - KEY THEME: CONFLICT
From the beginning of Othello the scene is set for Conflict. The topic
of marriage, as discussed in the opening lines, seems of little
significance however Shakespeare juxtaposes Roderigo’s failure to
marry Desdemona with Iago’s failure to fain promotion, making it
clear that private, domestic issues and the public, professional world
will collide in Othello.
The scene ends with Brabantio making his daughter’s elopement a
public, political affair, as he calls for his neighbours to help him
hunt down Othello. The audience realises that the marriage of
Othello and Desdemona is going to be at the heart of the conflict in
the play.
There are also references to the Venetian conflict with the Turks over
Cyprus, the setting where Othello’s marriage and mind will be
destroyed.
AO3
(ZIgZag Education)
Character Introduction: What do these lines tell us about Iago?
Lines 35-6:
“Preferment goes by letter and affection/
And not by the old gradiation”
Line 41:
“I follow him to serve my turn upon him”
Lines 143-4:
“…not meet nor wholesome to my place
To be produced”
Line 126:
“Thou art a villain!” (Brabantio)
AO2
Character Introduction: What do these lines tell us about Iago?
Lines 35-6:
“Preferment goes by letter and affection/
And not by the old gradiation”
AO2
This is Iago’s motive for causing Othello harm. He feels cheated out of his rightful
promotion.
Line 41:
“I follow him to serve my turn upon him”
This makes us doubt that we should trust Iago. His intent is to deceive and
“By
the end of Act 1 Scene 1, Shakespeare has established Iago as a
revenge.
powerful, manipulative
figure
instigatestoand
manages
“…not meet
norwho
wholesome
mystage
place
Lines 143-4:
chaos effectively.”
Warren, 1998)
To be(Rebecca
produced”
- Do you agree?
He is good at getting himself out of trouble. He leaves when it would be
inconvenient to be discovered. This is also irony: nothing he has said or done in
this scene has been ‘wholesome’.
Line 126:
“Thou art a villain!” (Brabantio)
Another example of irony – this time dramatic irony – as Brabantio is unaware of
the truth of his words. Likewise, Roderigo fails to recognise he is being deceived.
AO1/2 - KEY THEME: DECEIT
Deceit as a key theme is established in two ways.
1. Deceptions that occurred before the play began:
• Roderigo believed that he would marry Desdemona
• Brabantio has been deceived by Othello and Desdemona
• Iago deceived himself when he believed he would be
promoted
2. The language of deceit used by Iago:
• He admires men who make “shows of service on their lords”
(51)
• His reputation as a dutiful subordinate is deceptive; he says, “I
am not what I am” (64)
Notice how Shakespeare structures the play in a way that makes the
audience question the difference between appearance and reality
from the start.
What does the
word ‘shows’
suggest about
appearance versus
reality?
How does the use of sibilance reflect the tone of
what Iago is saying?
Line 51
"shows of service to their lords."
How does he feel about his
Think about how the ‘s’ sound creates a sinister
tone
subordinate position?
and reflects the resentful nature of Iago. His language
is the language of deceit and he respects people who
are deceptive. Think about how Shakespeare has used
dramatic irony here.
What does the
word ‘must’
suggest about
Iago’s attitude?
What is significant about the word ‘show’? Why does Iago use
it so often?
line 157
"I must show out a flag and sign of love."
Iago helps Roderigo to wake Brabantio,
leaves to
How is this then
word ironic?
maintain the appearance of loyalty to Othello. This
suggests how he manipulates other characters in ways
that are only seen to the audience. He is willing to use
How does this quotation show that this
other people to maintain his reputation and a façade of
character manipulates people from
honesty.
behind the scenes?
Character Introduction: What do these lines tell us about Othello?
AO2
Lines 13-17: “But he; as loving his own pride and purposes
Evades them, with a bombast circumstance
Horribly stuff'd with epithets of war;
Nonsuits my mediators; for, 'Certes,' says he,
'I have already chose my officer.'”
Lines 158-164:
“I do know, the state,
However this may gall him with some cheque,
Cannot with safety cast him, for he's embark'd
With such loud reason to the Cyprus wars,
Which even now stand in act, that, for their souls,
Another of his fathom they have none,
To lead their business”
Character Introduction: What do these lines tell us about Othello?
Lines 13-17: “But he; as loving his own pride and purposes
AO2
Evades them, with a bombast circumstance
Horribly stuff'd with epithets of war;
Nonsuits my mediators; for, 'Certes,' says he,
'I have already chose my officer.'”
AO5: Because we do not see him and he is not referred to by name,
He is a self-satisfied and bombastic speaker who promotes his favourites and has
Othello
a mysterious
figure at this stage. Shakespeare has
his own
way inisthe
Senate.
structured the scene to draw the audience’s attention to the role
Lines 158-164:
rumour
is to
play in
events.
“I do
know,
the
state,Everything we learn about Othello is
second However
hand. Would
audience
dismiss
it as gossip
at this stage?
thisthe
may
gall him
with some
cheque,
Cannot with safety cast him, for he's embark'd
With such loud reason to the Cyprus wars,
Which even now stand in act, that, for their souls,
Another of his
fathom
theysoldier,
haverelied
none,
He is
an effective
upon by the Senate.
To lead their business”
The language men use to define women…
Line 20:
Iago describes Cassio as…
AO2
“A fellow almost damned in a fair wife”
This casual sexism (i.e. that if Cassio’s wife is ‘fair’ she will cuckold him) helps to
establish Iago’s misogyny, which he will use to infect Othello’s mind. Iago shouts to
Brabantio…
Lines 79-80: “Look to your house, your daughter and your bags!
Thieves, thieves!”
This establishes the patriarchal view of women as possessions, to the point that
Brabantio sees Desdemona’s choosing of her own husband as...
Line 167: “…treason of the blood”
Unable to believe that Desdemona is a willing bride, he suggests that she is a passive
victim. Her
Lines 170-1: “youth and maidenhood” have been “abused”
This idea also reflects the Renaissance stereotype of the black man as cunning sexual
predator.
RODERIGO
What a full fortune does the thicklips owe
If he can carry't thus!
IAGO
Call up her father,
Rouse him: make after him, poison his delight,
Proclaim him in the streets; incense her kinsmen,
And, though he in a fertile climate dwell,
Plague him with flies: though that his joy be joy,
Yet throw such changes of vexation on't,
As it may lose some colour.
66
70
What does this racist
name calling tell us
about Iago’s
influence on
Roderigo?
Iago uses
metaphors to
describe what he
wants Roderigo
to do. What does
his choice of
language
associate him
with? How does
this link with the
rest of the play?
RODERIGO
What a full fortune does the thicklips owe
If he can carry't thus!
IAGO
Call up her father,
Rouse him: make after him, poison his delight,
Proclaim him in the streets; incense her kinsmen,
And, though he in a fertile climate dwell,
Plague him with flies: though that his joy be joy,
Yet throw such changes of vexation on't,
As it may lose some colour.
66
70
Iago has prejudiced
Roderigo’s view of
Othello and his
marriage
Iago’s use of
metaphors
associates him
with poison,
corruption and
disease.
Shakespeare has
begun to prepare
the audience for
the poisoning of
Othello’s mind.
BRABANTIO
appears
above, at a
window.
AO2: The location of this part of
the scene is significant. It is nighttime and the two levels of the
stage are used – Brabantio at the
window above; Iago and Roderigo
in the darkness of the street below.
This signifies disruption and
confusion.
AO2
BRABANTIO
What is the reason of this terrible summons?
What is the matter there?
RODERIGO
Signior, is all your family within?
IAGO
Are your doors lock'd?
BRABANTIO
Why, wherefore ask you this?
IAGO
'Zounds, sir, you're robb'd; for shame, put on
your gown;
Your heart is burst, you have lost half your soul;
Even now, now, very now, an old black ram
Is tupping your white ewe. Arise, arise;
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you:
Arise, I say.
BRABANTIO
What, have you lost your wits?
RODERIGO
Most reverend signior, do you know my voice?
BRABANTIO
Not I; what are you?
RODERIGO
My name is Roderigo.
85
90
This choice of
verb suggests
an assault on
Brabantio’s
property
Iago’s use of
animalistic imagery
reinforces a racist,
negative stereotype
of black men.
100
Note how many questions Brabantio asks: his authority has been subverted and instead of
directing his social inferiors, he must act in response to them. This shows his alarm and
Iago’s control.
AO2
BRABANTIO
The worser welcome:
I have charged thee not to haunt about my doors:
This reinforces the idea
In honest plainness thou hast heard me say
of Desdemona as
My daughter is not for thee; and now, in madness,
property.
Being full of supper and distempering draughts,
Upon malicious bravery, dost thou come
He dismisses Roderigo in
To start my quiet.
a commanding tone,
RODERIGO
Sir, sir, sir,-showing his usual status,
BRABANTIO
But thou must needs be sure
which is being
My spirit and my place have in them power
undermined.
To make this bitter to thee.
RODERIGO
Patience, good sir.
110
BRABANTIO
What tell'st thou me of robbing? this is Venice;
My house is not a grange.
Iago’s use of
RODERIGO
Most grave Brabantio,
animalistic imagery
In simple and pure soul I come to you.
reinforces a racist,
IAGO
'Zounds, sir, you are one of those that will not
negative stereotype
serve God, if the devil bid you. Because we come to
of black men. Othello
do you service and you think we are ruffians, you'll
is cast as a lustful
have your daughter covered with a Barbary horse;
predator. It also
you'll have your nephews neigh to you; you'll have
creates the idea of an
coursers for cousins and gennets for germans.
unnatural match.
BRABANTIO
What profane wretch art thou?
He is offended.
IAGO
I am one, sir, that comes to tell you your daughter
and the Moor are now making the beast with two backs.
BRABANTIO
Thou art a villain.
IAGO You are--a senator.
BRABANTIO
This thou shalt answer; I know thee, Roderigo.
You = formal
Thou = informal
AO2
Iago’s crude words are undermining Brabantio’s social standing
as much as Desdemona’s actions. He chooses them deliberately,
confidently forcing his own interpretation of events onto him – a
pattern that will be repeated with Othello himself later in the
play. It is Iago’s crude comments that really capture Brabantio’s
attention here, and he gets the result he wanted: an angry
father, appalled by what he hears.
“The reduction of the Othello-Desdemona match to bestial
sexuality is typical of Iago, who is associated with unpleasant
animal imagery throughout the play. However, we might already
feel that the imagery here tells us more about Iago’s character
than it does about Othello’s because we are aware of Iago’s
hatred.” (Rebecca Warren, 1998)
RODERIGO
Sir, I will answer any thing. But, I beseech you,
If't be your pleasure and most wise consent,
As partly I find it is, that your fair daughter,
120
At this odd-even and dull watch o' the night,
Transported, with no worse nor better guard
But with a knave of common hire, a gondolier,
To the gross clasps of a lascivious Moor-If this be known to you and your allowance,
We then have done you bold and saucy wrongs;
But if you know not this, my manners tell me
We have your wrong rebuke. Do not believe
That, from the sense of all civility,
I thus would play and trifle with your reverence: 130
Your daughter, if you have not given her leave,
I say again, hath made a gross revolt;
Tying her duty, beauty, wit and fortunes
In an extravagant and wheeling stranger
Of here and every where. Straight satisfy yourself:
If she be in her chamber or your house,
Let loose on me the justice of the state
For thus deluding you.
AO2
What do the
images Roderigo
uses in his
speech focus on?
RODERIGO
Sir, I will answer any thing. But, I beseech you,
• The unnatural
If't be your pleasure and most wise consent,
quality of the
As partly I find it is, that your fair daughter,
120
match; the
At this odd-even and dull watch o' the night,
Transported, with no worse nor better guard
marriage is a
But with a knave of common hire, a gondolier,
subversion of
To the gross clasps of a lascivious Moor-the natural
If this be known to you and your allowance,
We then have done you bold and saucy wrongs;
order
But if you know not this, my manners tell me
• Desdemona’s
We havexenophobic
your wrong rebuke.
believe
Roderigo’s
viewDoofnotDesdemona’s
is one that Brabantio
disobedience
That, from the sense of all civility,
can understand. He views his daughter’s marriage as an
I thus would play and trifle with your reverence: 130
• Echoes of the
incomprehensible
of her
everything
she has ever known.
Your daughter, if yourejection
have not given
leave,
negative
I
say
again,
hath
made
a
gross
revolt;
Brabantio’s death from grief later in the play will be directly
descriptions of
Tying her duty, beauty, wit and fortunes
attributed to the sorrow he feels over Desdemona’s “gross revolt”.
In an extravagant and wheeling stranger
Othello from
Of here and every where. Straight satisfy yourself:
earlier in the
If she be in her chamber or your house,
scene
Let loose on me the justice of the state
For thus deluding you.
• Influenced
AO2
by…?
Why is this a significant scene?
This exchange of contrasts and discord sets the scene for the events that follow.
The contrasts are reflected in the imagery and setting, establishing the themes of
social disruption, class and power, delusion and knowledge, male and female
sexuality, and black and white.
The chaotic feel of the scene signifies that disruption has already occurred and we
know that the marriage of Desdemona and Othello is going to be the focal point for
further disruption because of the language that Iago, Roderigo and Brabantio use
to describe it.
We are also aware of the difference between the “white ewe”, Desdemona and the
“black ram”, Othello. Desdemona has been stolen, but she has also given herself
away by eloping secretly. Venice has been assaulted by a “wheeling stranger”.
The audience are left wondering how the tension that has been built up in this
scene will be resolved, particularly the dislike and disdain the three men feel for
“the Moor”.
Essay question:
How effective an introduction to the play is
Act 1 Scene 1?
At least 500 words.
Think about:
• plot
• character
• theme
• what we know
• what we can expect
• use of language and structure to express this
• possibility for interpretation