Othello Act 1 s. ii

• Engels
• Upper Secondary (Key Stage 4)
• GCSE

Lesson objectives 

Complete your Cornell notes 

Review of Act 1 scene 1

Consideration of Iago's language 

Consideration of the motif of black and white 

www.rsc.org.uk

Iago lying to Othello 

Look at 1.2.1-8

Iago is telling Othello of his converstation with Rodrigo. 

What lies does he tell? Write them in your exercise book. 

Iago lying to Othello 

Iago sates that he wanted to stab Rodrigo because he spoke in such 'scurvy and provoking terms' about Othello. Iago presents himself  as the model of goodness who is determined to defend Othello. 

He states that he was so angry at Rodrigo's slurs that he 'nine or ten times' felt like stabbing him and it took all his self-control to 'forbear him'. He also states that he is unable to commit premeditated murder and can only kill in battle as a soldier. He has already shown himself to be premeditated in his schemes. 

Dramatic irony: Such statements are enjoyable for an audience – they remind us what a devious character we are watching. He might be a villain, but that does not mean he cannot be entertaining. 

We meet our tragic hero for the first time

Write your answers in your exercise book. 

1. What should we be expecting, based on Iago’s comments? 
   
2.  What do we actually get? Give some quotes. 
   
3. How old do you think Othello should be?
   
4. How should he dress?
   
5. What accent should he have? Should he sound ‘foreign’?
   
6. How attractive should he be?
   

There is no right or wrong answer: it simply depends on the kind of Othello you think would be best in production

Othello is calm and rational 

            'Let him do his spite; 

My services which I have done the signatory 

Shall out-tongue his complaints.' 1.2.17

             'I fetch my life and being

From men of royal siege, and my demerits

May speak unbonneted to as proud a fortune 

As this that I have reached.' 1.2.21-24

              'Not I; I must be found. 

My parts my title, and my perfect soul 

Shall manifest me rightly. Is it they?' 1.2.30-32

Othello is calm and rational 

•  Othello responds with dignity to Brabantio's anger, even rebuking him for resorting to shouting and threats, 'Good signior, you shall more command with years than with your weapons'1.2.60-61
  
• Brabantio’s language is insulting, and plays on Renaissance stereotypes of black people being associated with witchcraft, 'she in chains of magic[…]thou hast practiced on her with foul charms' 2.1.65-73
  
• Othello’s respect toward Brabantio and acknowledgment of his status goes a long way to establish Othello’s superior nature

Shakespeare establishes that Othello is combatting the negative image of him outlined in 1.1 and is presenting himself as civilized and refined rather than a marginalised outsider . 

The tragic hero - Aristotle 

In order for the tragic hero to arouse pity and fear in the audience, he cannot be either all good or all evil but must be someone with whom the audience can identify.

If he is superior in some way(s), the tragic pleasure is intensified.

His disastrous end comes from a mistaken action (hamartia), which in turn arises from a terrible error in judgment.

The tragic hero is often guilty of hubris, an excessive pride that causes the hero to ignore a divine warning or to break a moral law.

It has been suggested that because the tragic hero's suffering is greater than his offence, the audience feels pity because the audience perceive that they could behave similarly

Nobody knows what is going on

Othello has been with Desdemona during the one evening that his services are really needed by the Venetian council. He has been focusing on personal matters rather than state issues, and is taken off guard by the news that the council is looking for him.

Similarly, Brabantio has been so busy looking for the “thief” who stole his goods that he, too, is oblivious to the fact that the council has been deliberating without him.

Interestingly, Iago is the character who seems best informed of the circumstances at hand, political and domestic. Note his ability to remain in Othello’s good graces (until Othello’s back is turned, anyway).

Cassio, on the other hand, has been focusing on the impending war, and although he is Othello’s lieutenant, he had no idea about the General’s impending marriage.

Quick questions - answer in your exercise book 

1. Look closely as Othello's speeches to Iago. What is his response to Brabantio's complaint? 

2. What do you learn about Desdemona's history from Brabantio's speech from line 62? 

3. What are Brabantio's main objections to the marriage of Desdemona and Othello? Give quotes and explanations. 

4. Who prevents Othello's arrest at the end of the scene? 

How has Othello looked over the years 

The current trend seems to be young and handsome. Although, there are some clues in the text that he is much older than Desdemona. 

Adrian Lester

2013

André Holland 

2018

David Oyelowo

2016

How has Othello looked over the years 

In the past, he was often portrayed as much older (and by a white actor) 

Laurence Olivier 1965

John Gielgud 

1961

Konstantin Stanislavski 

1896

Orson Welles

1951 

Lesson objectives 

Consider how Othello is presented 

The personal and the national concerns 

The position of women in Jacobean England 

Desdemona defends herself and Iago lays out his plan 

What could this shift from old to young suggest? 

Answer these questions in your exercise book: 

1. What do directors (and actors) wish to emphasise or play down about the character through these casting choices?
   
2. How might it change our reaction to the character?
   
3. How might we feel about his elopement with a young woman?
   

Consider our perceptions of older men who marry younger women.

How would your Othello look? Would you make him seem an outsider? 

Make an outline like this on your paper to create your Othello. Consider use of:

Props

Costume

Body language of the actor

Facial expression

Voice

Draw on, annotate and label your outline