Manic Minds:
Jealousy, Self-Deprecation, and Psychosis in William
Shakespeare’s Othello
Jessica Hopkins
SCED 419
Table of Contents
Introduction -------------------------------------------------------------------------------- 2
Integrating Songs -------------------------------------------------------------------------- 4
Integrating Movies ------------------------------------------------------------------------- 7
Integrating Young Adult Novels --------------------------------------------------------- 9
Additional Resources (websites and articles) ----------------------------------------- 14
Suggested Student Activities ------------------------------------------------------------ 19
Conclusion --------------------------------------------------------------------------------- 22
Bibliography ------------------------------------------------------------------------------- 23
Hopkins
Introduction
For centuries, authors, playwrights, and poets alike have sought to depict the
human experience, to provide a window into humankind’s desires, fears, and psychoses.
In literature we find reflections of ourselves –universal ideas and beliefs that span across
societies, continents, and times. In the comforting, stable arms of fiction, it is safe to
explore the multi-faceted dimensions of human nature. It is in this context that
humankind is able to indulge fantasy, explore deviance, and expose flaws. Abstract ideas
of love and hate, good, evil, jealousy, desire, compassion, and greed are explored,
illustrated, and made almost tangible by virtue of dark ink on a pale, white page. But of
the vast array of literature that has been created over the years, few authors have captured
the timeless, universal qualities of humankind as perceptively as William Shakespeare.
Shakespeare’s insightful explorations of human nature have been regarded for
centuries as magnificent examples of literary brilliance, and moral, social, and
educational value. As part of the western canon, the works of William Shakespeare have
been included in American secondary school language arts curricula for generations; the
average high school student is familiar with the love story of Romeo and Juliet, and the
tragedy of Hamlet. Through these plays, educators across the country explore the
workings of the human mind with their students, delving into the complex and fascinating
realities of human nature. But these conversations are often weighted in the favor of
human virtues – discussing love, honor, compassion, and nobility. Less often are there
opportunities to discuss the darker sides of human nature with students – ideas of
insanity, jealousy, self-deprecation, violence, discrimination, and rage. Yet these
concepts are an inevitable part of the human experience. As educators, it is important to
2
Hopkins
expose students to these realities. To teach them to identify, assess, and critically analyze
all elements of human nature – both in literature and in life.
Shakespeare effectively depicts a variety of these darker sides of the human
psyche in his tragedy, Othello, the Moor of Venice. The characters in Othello range in
psychosis from the deceitful, psychopathic antagonist Iago, to the self-deprecating
protagonist Othello. Issues of morbid jealousy and discrimination induce insanity,
outright violence (both homicide and suicide), and the degradation of love. In this play,
Shakespeare reveals how the human mind can be twisted by both external and internal
influences to produce horrifying results. In order to teach this complex work of literature,
the teacher must go beyond the basic elements of the narrative story and discuss
psychology, social interaction and impact, and the impulses, desires, and needs of the
human mind. Many students will have difficulty grasping the complicated concepts and
themes imbedded within the play if they are not provided with additional references,
resources, and mediums to explore these key ideas.
There are many young adult novels that deal with some of the same psychoses
present in Othello. Jealousy, amongst many others, is a particularly popular theme in
modern young adult novels due to its prevalence in the social interaction of all
individuals, especially young adults. But issues of self-deprecation (particularly in
discussions of self-esteem), deceit, and even psychopathy are relatively prevalent in the
lives of young adults and so are also present in the modern works of fiction that are
targeted towards them. By offering students alternative examples of these major
psychoses in Othello, the teacher provides them the opportunity to think critically and
compare multiple perspectives. Song lyrics, movies, and websites can all serve as
3
Hopkins
supplementary material to the understanding of this play, both as a way of relating the
themes to student’s lives and of explaining and reinforcing complicated, psychological
concepts.
The teaching of Othello in the secondary school classroom offers an opportunity
to expand student knowledge about literature, society, and their own lives. Lessons
constructed around the various mental disorders and aberrations in this novel are full of
the potential to touch multiple aspects of student understanding. In this single tragedy,
Shakespeare presents an opportunity for students to evaluate literary merit, explore
human nature, and reach their own conclusions about what is “normal” and what is the
working of a manic mind.
Integrating Songs
Sometimes students need to be exposed to mediums beyond those in the literary
field to truly understand a theme, concept, or idea. The use of music in the English/
Language Arts classroom is a valuable tool for all educators to explore. Music can be
used in a variety of manners within the classroom – to introduce a foreign culture, to set a
mood, develop a theme, create personal a connection, or establish reliability and
relevance. Song lyrics can provide a valuable alternative to traditional texts, especially
when instructors are able to identify modern, popular, or relatable lyrics that depict the
same themes, concepts, or narrative elements of the core text. Fortunately for the
educator seeking to extrapolate on the major themes of Othello, particularly those dealing
with human nature and psychological/sociological interaction, such themes are quite
prevalent in a variety of songs.
4
Hopkins
“Behind Blue Eyes,” by The Who
“No one knows what it's like
To be the bad man
To be the sad man
Behind blue eyes
No one knows what it's like
To be hated
To be fated
To telling only lies
But my dreams
They aren't as empty
As my conscience seems to be
I have hours, only lonely
My love is vengeance
That's never free”
…
It is often difficult for students to understand the actions of a character with no
apparent motivation or morality. Most antagonists are imbued with a reason for their
villainy – an external or internal justification that students can analyze for validity and
motive. Iago, in contrast, offers a variety of motives (jealousy, racism, betrayal, pure
spite), but never maintains a particular stance long enough for it to be supported as his
primary or driving motivation. Thus the idea of the psychopath, coupled with the
medieval idea of the vice character, is vital in student understanding of the character of
Iago and his purpose in the play.
Sometimes it is easiest to initially introduce a complex concept or characterization
in a simple, easily understood form before asking students to critically analyze and
interpret the focal text. The song “Behind Blue Eyes” by The Who offers a succinct
depiction of a man who exhibits many of the same characteristics of Iago and thus the
profile of the psychopath. The opening lines of the song depict a man who has
5
Hopkins
effectively hidden his true nature from society. He has hidden his own evil, (“the bad
man”) and his feelings of hurt, betrayal, or discomfort, (“the sad man”) “behind blue
eyes.”
The loneliness, empty conscience, and vengeful desires of the speaker in this song
closely parallel the actions and emotions of Iago within the play. It is important for
students to understand that Iago, and characters like him, are capable of feeling emotion
themselves, despite their inability to empathize with others. Both men express feelings of
anger, pain, and woe and blame these unhappy emotions on others (“I blame you”) – a
purely egotistical view of the world. By comparing the speaker in “Behind Blue Eyes” to
the character of Iago, students are given the opportunity to think critically and to explore
the possible psychology of one of Shakespeare’s most fascinating villains.
“Absolutely Cuckoo” by The Magnetic Fields
“Don't fall in love with me yet,
we only recently met.
True I'm in love with you but
you might decide I'm a nut.
Give me a week or two to,
go absolutely cuckoo,
and when you see your error,
then you can flee in terror,
like everybody else does.
I only tell you this 'cause
I'm easy to get rid of
but not if you fall in love.”
…
This song by the Magnetic Fields offers an interesting parallel to the relationship
between Desdemona and Othello in the play. The lyrics of this song seem as if they could
be a speech made by Othello to Desdemona were he to have acknowledged his own
personal issues (low self-esteem, potential for insanity, and vindictive acquaintances) and
the potential flaws in the relationship at the beginning of the play.
6
Hopkins
The first line of the song, “don’t fall in love with me yet, we’ve only recently
met,” speaks to the hasty, infatuatory nature of Othello and Desdemona’s relationship.
Like the couple in the song, Desdemona and Othello are only married for a short span of
time before Othello goes “absolutely cuckoo.” Unlike the speaker in the song, Othello
does not warn Desdemona that she “might decide I’m a nut…. [and] flee in terror” from
the relationship. Instead, Othello’s love of Desdemona is so mutated by his own self-hate
and jealousy that he takes both his own life and hers to preserve it. Before the two
married, and Othello’s mind began to be twisted by Iago, it would, perhaps, have been
easy for Desdemona to “get rid of” him. But after she allows herself to fall in love, like
the beloved in the song, the relationship becomes complicated and tragedy ensues.
Integrating Film
Just as music allows students the opportunity to explore the concepts in Othello in
a different and relatable medium, the integration of film into the teaching of Othello has a
variety of benefits. Shakespeare’s plays were meant to be seen and heard, not read, and
students often have difficulty understanding the subtleties of Shakespearean English
without the aide of oral and visual cues. Many educators have used film representations
of the play to aide in student comprehension of the basic narrative elements of Othello,
such as plot, character, setting, conflict, and resolution. The Oliver Parker adaptation of
Othello, starring Lawrence Fishburn as Othello and Kenneth Branagh as Iago, is a fairly
loyal film version of the play. Of the popular film adaptations that have been produced,
Parker’s is one of the most authentic to the original dialogue, setting, and plot of the play.
7
Hopkins
Thus its usage in the classroom as a supplement to the basic understanding of the text
would be very appropriate.
Mean Girls
But film has potential for use in the teaching of Othello beyond the simple usage
of adaptations to explain story elements. The film “Mean Girls,” directed by Mark
Waters, depicts the psychological warfare that rages within a group of high school girls.
Though comedic in tone, the film addresses the same issues of jealousy, rage, revenge,
and even elements of sociopathy, which run throughout Othello. Put in a modern,
relatable context, “Mean Girls” explores the effects of psychology on social and personal
relationships. It delves into the consequences of indulging in harmful emotions, such as
jealousy and rage, and offers students a point of contrast by which they can judge what is
basic human nature and what falls into the realm of psychosis.
Psychopaths in Film
There are also a variety of films that offer insight into the mind of the psychopath
and thus another comparison against which students may analyze the actions,
motivations, and psyche of the character Iago. The hypnotic, captivating evil of Hannibal
Lector in “Silence of the Lambs” is one of the most well known examples of psychopathy
in modern cinema. Anthony Hopkins (Lector) exudes an aura of charm and intelligence,
despite the audience’s understanding that he is, in fact, a cannibalistic serial killer. The
brazen contrast between the character’s polite, fastidious exterior and internal disorder
creates a fascinating dissonance in the mind of the audience. Clips of Lector talking to the
8
Hopkins
lead character, Clarice, as he describes both his own acts and the acts of Buffalo Bill
(another serial killer), would offer students a fascinating glimpse into the mind of the
psychopath. Just as Iago captivates the minds of Cassio and Othello in his cunning web,
Lector manipulates the impressions of both his guards and the FBI agent Clarice.
The movie “Die Hard,” starring Bruce Willis and Alan Rickman, depicts the acts
of a mostly non-violent psychopathic killer. Unlike Lector, whose violent crimes are
exceedingly personal (cannibalization) and are both eluded to and actually shown
throughout the film, Hans Gruber, the villain in “Die Hard” is a much less physical
villain. As with Iago, Gruber rarely engages in the crimes that he is responsible for. After
being expelled from a German terrorist group, Gruber enlists a group of twelve men (of
which he is the leader) and infiltrates Nakatomi Tower in Los Angeles, taking everyone
inside the building hostage. A calculating, persuasive man, Gruber deals calmly with the
negotiations of John McKlane (Willis), and instructs his men to carry out his wishes.
These demands are carried out without question, and clearly illustrate the manipulative
power Gruber has over the group.
It must be mentioned that most of these films have received R ratings, and would
require special consent by the administrator of the school and the parent’s of the students
to be shown (even in the form of brief clips) to a secondary school class.
Integrating Young Adult Novels
While music and film are both viable, valuable resources to the English teacher,
sometimes the best supplementary material comes in the form of traditional novels,
particularly those geared towards young adults. Young Adult Literature is an important,
9
Hopkins
ever-expanding genre of literature that provides teachers of canonical texts a vast array of
material with which to support, expand, and develop the major themes of their lessons.
As with the other mediums discussed in this chapter, there is an enormous amount of
young adult literature that touches on the themes of jealousy, induced insanity, and
psychopathy present in Shakespeare’s Othello.
Playing it Cool
The novel Playing it Cool, by Joaquin Dorfman, is centered on the life of high
school senior Sebastian Montero, known to his friends as Bastian, or Baz. Everyone turns
to Sebastian for help – adults and peers alike – and it seems as if the young man’s life is
completely centered on the urgent messages that crowd his answering machine. Sebastian
is charming, calm, and extremely organized. A master of “playing it cool,” Sebastian is
confident in his abilities to manipulate the world, and the people, around him to produce
the best results. But when he travels to Wilmington with his best friend, Jeremy, to meet
Jeremy’s biological father for the first time, the life Sebastian has so carefully constructed
begins to unravel. At home, his friend Sara is being accosted by Olaf – a man who has
found out not only that Sara has had an abortion, but that Sebastian’s mother forged the
papers allowing it to happen. In Wilmington, Sebastian is confronted by unfamiliar
feelings of uncertainty and jealousy as he pretends to be Jeremy and begins to bond with
Dormio (Jeremy’s biological father). Life, it seems, is not as susceptible to being
controlled as Sebastian had thought, and he his left to deal with unfamiliar emotions in
uncharted territory.
10
Hopkins
Written in the first person, Playing it Cool is a captivating, insightful work of
young adult fiction appropriate (both in readability and suitability) to an eleventh or
twelfth-grade audience. The text is grammatically accurate, uses vocabulary appropriate
to a high school audience, and follows a fluid, understandable story line. At first glance,
Sebastian seems to fit many of the base characteristics of a psycho or sociopath. He is
incredibly charming and obviously intelligent, traits which he uses to his advantage in his
manipulations of those around him. He prides himself in the fact that “nobody’s going to
know what’s true and what’s a lie” in his life. Hyper organized, he lines his locker with
rows of post-it notes and meticulously checks the messages on his answering machine.
Though Sebastian is well loved by those around him, appreciated for his kindness and
admired for his control, he seems initially incapable of expressing true empathy for those
he aides. Early on in the novel, he apologizes for ignoring the needs of his closest friend
Jeremy. Aside from Sebastian’s mother, Jeremy is arguably the individual Sebastian
holds the most dear. Yet, when he reassures Jeremy that “I mean it” (the apology), his
inner dialogue reveals that he is only “pretty sure I did.”
Yet despite these characteristics, which would parallel Sebastian to Iago in
Othello, Sebastian is obviously not the antagonist of the story. Sebastian uses his abilities
to isolate himself from the surrounding environment in order to help those around him,
not hurt them, and as the story develops, so do Sebastian’s motives (which Iago’s do not).
By pairing Playing it Cool with Othello, teachers offer students an opportunity to
critically compare Sebastian and Iago, to discuss what makes these two individuals
similar, and what has caused them to act in such contrasting manners. Aside from this
protagonist twist on the subtleties of psychopathy, issues of jealousy (between the two
11
Hopkins
boys over the role of Dormio as a father-figure), self-doubt, and suicide also wind
throughout the plot of Playing it Cool. This novel provides students a modern context and
relatable characters within which to explore the complicated, yet universal ideas that are
so integral to the plot of Othello.
Jealous?
The third book in the Ashleys series by Melissa De La Cruz, Jealous? is set
amidst the dangerous drama of middle school popularity. The Ashley’s have controlled
Miss Gamble’s School for Girls for as long as most of the students can remember. But at
the beginning of a new school year, the sudden rise in popularity of Lauren Page and the
appearance of a new website, www.ashleyrank.com, threaten to disrupt the social
hierarchy. Through bitter disputes, childish pranks, and the painful psychological ploys
that teenage girls so masterfully engage in, the lives (and popularity) of each of the girls
begin to make dangerous shifts. By the end of the novel, the queen of the group, Ashley
Spencer has plummeted to the bottom of the rankings, while the meek and friendly
Ashley “Lili” Li has risen to the top.
The novel is written in a variety of formats, composed of third person narration,
first-person journal entries, and graphic “screen-shots” of the web page,
www.ashleyrank.com, which causes the central conflict of the novel. This varied and
format, combined with the readability of the text and the age of the characters, makes this
novel most appropriate for a middle school audience (likely sixth to seventh-grade).
Jealousy pervades the events of the novel, and students can easily draw cause and effect
12
Hopkins
relationships between the various degrees of jealousy and the intensity of the reaction that
each degree provokes.
Since the setting and situation of the novel is easily relatable to most teenagers
(especially middle school girls) it can be used to elicit personal connections and student
interest. Excerpts from Jealous? could be used in class either as an introduction to the
topic of jealousy, or to the overarching themes of the novel itself. It is also important for
teachers to encourage reading for pleasure outside of the class, and this novel would be a
good recommendation for many students especially considering that it is part of a series
which the reader can pick up if they enjoy Jealous?.
Not Like I’m Jealous or Anything
Not Like I’m Jealous or Anything is a wonderful collection of young adult short
stories, essays, and poems, collected by Marissa Walsh, which deal with the concept of
jealousy. The pieces in the collection range in subject from the simple childhood
jealousy of a more affluent friend’s birthday party, to the complicated, emotional
connection between jealousy and death. Each piece addresses the theme of jealousy in a
different manner – from first person to third, poetry to prose, comedy to tragedy, petty
childhood instances and lifelong ruminations. Yet though each piece is distinct from the
others in character, setting, conflict, and resolution, the overarching theme of jealousy is
the same. This is an emotion that we have all felt, Walsh claims in her introduction, and
this collection is an attempt to prove that, despite our claims, “we’re all green about
something.”
13
Hopkins
Due to the range of material in this collection, it contains pieces that would be
appropriate for students ranging from sixth to twelfth-grade. Each piece uses appropriate
grammar, vocabulary, and story structure – remaining true to the genre and audience that
it addresses. Individual stories, essays, or poems could be removed from the overall
collection and presented to students as individual works in order to explore the concept of
jealousy, relate it to Othello, tap background of experience, or elicit student interest or
personal connection in the work. The varying formats, as well as the varying levels of
readability, allow teachers to adapt instruction for students of different ages, interests,
grades, and/or reading levels. As a collection, Not Like I’m Jealous or Anything could be
used to discuss the various degrees and causes of the jealous emotion. As with the
characters in Othello, jealousy can have different implications for different individuals. In
some, it evokes feelings of rage and retribution; in others, jealousy incites depression and
doubt. This collection is a valuable resource to any teacher seeking to introduce or
reinforce the universal human quality of jealousy in the classroom.
Additional Resources (websites and articles)
Discussion of the core mental aberrations that plague the minds of the characters
in Othello requires a substantial amount of outside research on the part of the teacher.
Most English teachers are not familiar with the precise, psychological details of
sociopathy, morbid jealousy, or insanity/violence induced by discrimination and low selfesteem. The following resources will help to provide educators with the background
needed to explain these complex concepts to students.
14
Hopkins
The Sociopath
The character of Iago is perhaps one of Shakespeare’s purest, and thereby most
fascinating, villains. A character without definite motive or morality, many critics have
likened Iago to the traditional vice character present in medieval morality plays. Modern
psychologists would likely have identified Iago, however, not as a physical manifestation
of evil, but as man suffering from antisocial personality disorder, or psychopathy.
The term psychopath is often used synonymously with the term sociopath – the
key difference, some psychologists claim, being the organized nature of the psychopath.
Psychopaths are generally cunning, manipulative, and are often described as charming
and organized by those with whom they interact. The most notable characteristic of the
psychopath, however, is the inability to empathize. Psychopaths experience neither guilt
nor compassion and so act out of personal needs or desires. As with the character of Iago,
psychopaths may present a variety of reasons for any given action, many of which are
either fictional (for the sake of producing a result, as with Iago’s façade of racism only
being presented towards the racist characters he seeks to manipulate) or liable to change.
Bullyonline.org provides a series of psychological profiles associated with
bullying, one of which is the sociopath (or psychopath). The enumerated list of
characteristics on this page can aide both teachers and students in creating a profile of
how the psychopath acts; what are common motivations, social interactions, personal
traits, etc. Since this site presents the profile of the psychopath in the context of bullying,
the material is suitable and easily relatable for most students. The website also simplifies
the scientific or psychological terms often used to describe this mental disorder, and
because of this, could be used in the class as a student resource.
15
Hopkins
Austin Peay State University has also created a webpage that discusses the
characteristics of an individual diagnosed with anti-social personality disorder. The page,
entitled “Antisocial Personality, Sociopathy, and Psychopathy,” addresses the similarities
and differences between these three, sometimes interchanged, profiles. It gives more
detail on the specifics of this category of mental disorder – offering both clinical and
personality traits, a detailed analysis of each profile, and the various “types” of
psychopaths that are commonly recognized.
Morbid Jealousy
Just as it is important for both students and teachers to have a base of knowledge
in the psychology of the sociopath, it is important to understand the various levels of
jealousy that are present in modern-day society. In the context of Othello, jealousy
becomes a virulent, infective personality trait that induces violence and disorder in the
minds and actions of the characters. It is important for students to understand that there
are various types of jealousy and that not all jealous inclinations indicate insanity or
homicidal tendencies. The following article and website discuss the differences between
natural or normal jealousy (which the student may experience) and morbid or obsessional
jealousy (which is what Othello succumbs to).
The web-based article “How Jealousy Works” from howstuffworks.com offers
students a succinct, readable summary of the various aspects of the jealous emotion.
Amongst many other things, students can read about the various types of jealousy, how to
cope with feelings of jealousy, why jealousy is present in relationships, and how it differs
amongst genders and age groups. This brief overview gives students a base line against
16
Hopkins
which they can judge the feelings and actions of Othello. It also gives students an
opportunity to explore their own emotions and make evaluative decisions about their own
selves.
For teachers, an article in European Psychiatry entitled, “Normal and Obsessional
Jealousy: A Study of a Population of Young Adults” is also a valuable resource on this
topic. This case study reveals the results of a clinical test that attempted to define the
boundary between obsessional and normal jealousy. The article provides details of the
differences between pathological forms of jealousy and normal jealousy, the conduct of
the trial, and the results and conclusions thereof. While the actual text of this case study is
likely too dense for most students, the results of the testing would be an interesting link
between modern society and the play that teachers could share with students. The
information contained within the article itself would also provide a knowledge base for
teachers facilitating discussions around the topic of jealousy and its link to insanity
and/or violence in Othello.
The Link between Self-esteem, Violence, and Discrimination
In any thorough examination of Othello, the concepts of race and racism will
inevitably arise. So how does the teacher appropriately connect the topic of racism to the
various issues of mental disorder present throughout the play? A substantial amount of
research has formed over the pass several decades to suggest that there is a strong
correlation between living in a racist society and low self-esteem coupled with acts of
violence. It is important for teachers to be fluent in the discourse of this research in order
17
Hopkins
to properly guide students through the complex issues of racism and its effects on human
psychology.
The American Educational Research Journal published an article in 2004 that
discusses the connection between race and violence in schools. The author’s argue in this
article that violence in school cannot necessarily be blamed on, or addressed toward, the
individual student. Violence is instead the result of “the structural violence of oppressive
social conditions” that instills feelings of anger, vulnerability, and resistance in students
who are members of the oppressed group (especially low income, male African American
and Latino students). Many scholars have argued that the environment of racism that
Othello has lived, worked, and loved in his entire life largely influences actions. Othello’s
own self-deprecating nature is likely a result of racism; he has internalized the hate of
others and has begun to accept their discriminatory assumptions about his nature as fact.
This internalized form of self-hate, or personal racism, is arguably a factor in Othello’s
decision to give into his “natural” (stereotypical) instincts and commit both homicide and
suicide.
Though this link between violence and discriminatory environments in the school
setting is a relatively modern idea, the idea of a connection between racial oppression and
violence has been explored for several decades. Richard Wright’s novel Native Son
explores this connection in powerful, personal terms through the life and trial of Bigger
Thomas – a young, black man who accidentally murders a young white woman. Many
other works of fiction, non-fiction, poetry, film, and music have also addressed this issue
and professional journals are no exception.
18
Hopkins
The article “Beware of the Frustrated: The Fantasy and Reality of African
American Revolt” by Don C. Worgs discusses the implications of “fantasized” violent
revolt in fiction, music, and film. Worgs suggests that fantasizing about violence is
cathartic – releasing the tension built by oppression in a safe, non-confrontational
medium. But the inclination for violent revolt, Worgs argued, is so engrained into African
American society due to years of oppression and discrimination that it has become almost
acceptable. In recent history, violence has been recognized as a necessary defense
mechanism as well as a vital political tactic. The idea of exerting violence to gain control
over a situation, or merely to defend ones own self, is interesting when discussed in the
context of Othello’s actions. Society has taught him that violence is a natural inclination
of his race, while his poor self-esteem and dysfunctional relationships have left him
feeling betrayed and out of control. His acts of violence, then, have multiple potential
sources – an oppressive environment, societal expectation, or mental disorder – all of
which can be linked together through the research provided in these articles.
Student Activities
With the variety of alternative mediums, supplementary readings, and additional
information available to support the teaching of Othello, the possibility for small or large
group activities and independent assignments is endless.
Group Activities:
19
Hopkins
This activity asks students to creatively and critically analyze the songs “Absolutely
Cuckoo,” by the Magentic Fields,” and “Behind Blue Eyes,” by the Who, in regards to
possible parallels to Othello.
“Imagine the lyrics of these songs are actually lines which were edited
from the original manuscript of Othello. In your small groups, answer the
following prompts to develop an understanding of each song’s connection
to the play. At the end of discussion, each group will present its
discoveries to the class.”
Which character in Othello would most likely say these words?
What evidence is there that connects the lyrics to the character you
selected?
Who would the audience of the song be? (Whom would the speaker be
addressing?)
Or would this be a soliloquy (internal thought spoken aloud)? Why?
When would be the most appropriate moment in the play for the speaker
to deliver these lines?
Would adding these lines to the script of the play change the plot? How?
The following assignment is a summative assessment in the form of a long-term group
activity. For a shorter, in class activity, have students read-aloud scenes from the play (a
form of mini-“student theater”) and discuss each scene as a class.
20
Hopkins
Divide students into several small groups and assign each group a scene
from the play that demonstrates one of the types of psychosis discussed in
class. Within each group, students must assign actors for each role, a
director, and a costume/prop designer. Over the course of several classes,
allow students time to analyze, discuss, develop, and memorize their
scenes as a group. At the end of the allotted period, students will present
their scenes to the class. The group must also turn in a brief essay
discussing the decisions they made about their interpretation of the scene
(character emotions/motivations, costume and directing decisions, and the
type of psychosis, or psychoses, represented) and an analysis of peer
participation.
Independent Assignments:
This activity asks students to apply the knowledge they have acquired about the concept
of jealousy and synthesize it with their own personal experiences. It also requires students
to think creatively and offers an opportunity for self-expression and development of
writing skills.
“Write a short story that would fit in the collection Not Like I’m Jealous or
Anything. This story should reflect your understanding of the emotion of
jealousy from both personal experience and the information you have
gathered in class. Your story can be purely fictional, based on an
experience in your own life, or a retelling of a scene in Othello from the
21
Hopkins
perspective of one of the characters. Remember to use proper grammar,
punctuation, and story structure (exposition, rising action, climax,
dénouement, and resolution). ”
This assignment asks student to explore the concept of characterization as it applies to the
characters in Othello.
“Create a collage which represents one of the characters in Othello. This
visual characterization can address many aspects of your chosen character,
including personality traits, beliefs, relationships, fears, desires, actions,
and motivations. You can use pictures, colors, text, and quotations to
create your collage – try to be as creative as possible!
After you have finished composing the collage, write a brief
paragraph explaining the images you selected and how they relate to your
chosen character. Be sure to use justification from the text along with
knowledge regarding character psychology.”
Conclusion
For years, teachers and students alike have greeted the works of William
Shakespeare with dread, frustration, and fear. The redeeming traits of these magnificent
works of poetry and prose are lost within the chaos of archaic language and the confusion
of complex characterization and foreign settings. But plays like Othello need not be
shrouded in the mystery of Elizabethan language and setting. Music, film, young adult
22
Hopkins
literature, websites, and articles all provide valuable aides to the teaching of these
canonical texts. Through these supplementary mediums, teachers can help students
explore the overarching themes and universal values, motifs, and emotions that made the
original, canonical text so respected in the first place. Just as no two individuals have the
same experiences, backgrounds, and beliefs, no two students will learn in the same way.
These materials allow each student the opportunity to connect to Othello in his or her
own, individual way.
23
Hopkins
Bibliography
Abelli, M., Baroni, S., Di Nassa, E., Marazziti, D., Masala, I., Mengali, F., Mungai, F. &
Rucci, P. (2003, May). European Psychiatry, 18(3), 106-111. Retrieved from
JSTOR
Barron, D. (Producer) & Parker, O. (Director). (1995) Othello [Motion Picture]. United
States: Columbia Pictures
Bozman, R., Saxon, E. & Utt, K. (Producers) & Demme, J. (Director). (1991). The
silence of the lambs [Motion Pictures]. United States: Orion Pictures
Bullyonline.org. (n.d.) The serial bully. Retrieved from
http://www.bullyonline.org/workbully/serial.htm#Sociopath
De La Cruz, M. (2008). Jealous? New York, NY: Simon & Schuster Children’s
Publishing Division
Dorfman, J. (2006) Playing it cool. New York, NY: Random House
Ervelles, N. & Watts, I.E. (2004). These deadly times: Reconceptualizing school violence
by using critical race theory and disability studies. American Educational
Research Journal, 41(2), 271-299. Retrieved from JSTOR
24
Hopkins
Gordan, L. & Silver, J. (Producers) & McTiernan, J. (Director). (1988) Die hard [Motion
Picture]. United States: Twentieth Century Fox
Hoyt, A. (2008, June) How jealousy works. Retrieved from
http://health.howstuffworks.com/human-nature/emotions/other/jealousy.htm
Merritt, S. (1999). Absolutely cuckoo [Recorded by The Magnetic Fields]. On 69 Love
Songs [CD]. Durham, NC: Merge Records
Michaels, L. (Producer) & Waters, M. (Director). (2004) Mean girls [Motion Picture].
United States: Paramount Pictures.
O'Connor, T. (2009, June). Antisocial personality, sociopathy, and psychopathy.
Retrieved from http://www.apsu.edu/oconnort/crim/crimtheory08.htm
Townshed, P. (1971). Behind blue eyes [Recorded by The Who]. On Who’s Next [CD].
New York, NY: MCA Records
Walsh, M. (2006). Not like I’m jealous or anything. New York, NY: Random House
Worgs, D.C. (2006, September). The fantasy and reality of the African American violent
revolt. Journal of Black Studies, 37(1), 20-45. Retrieved from JSTOR
25