Homework (set Tuesday 16th November)

Look at the extract (lines 48 – 92)

1) Look closely at the changing language and imagery of Othello throughout this extract – how does it signify his changing mind?
2) Look closely at Desdomona’s responses in this extract – how does she act / behave? How does it relate to concepts of femininity as discussed earlier?

Due: Thursday 18th November

Homework (set Monday 8th November)

Write a full commentary on one of the extracts studied so far in Act 3 Scene 3.

Be sure to focus on key aspects / skills:
- Introduction – purpose / intentions; context; brief summary
- Body – clear points (topic sentences); relevant quotations; DETAILED analysis of literary features and effect on the audience
- Conclusion – personal opinion / engagement; evaluate Shakespeare’s purposes

Due: Monday 15th November

Othello, Act 2, Scene 3, Vincent Deprat

· The word ‘honest’ is used 4 times in this passage. Comment on who uses it each time and what meaning Shakespeare conveys.

The repetition of the word “honest” in this extract is used by Shakespeare to create a sense of irony, as they were all use to describe Iago, who, from the audience’s point of view, is anything but honest. The term honest has its Latin root from the word “honestus”, meaning “with honour” and might be used in that context from Middle English. This sense of irony is therefore strong in the audience’s eyes as they know Iago’s true intentions. However, the characters in the play do not know what the audience knows, therefore we can see that Cassio using the phrase “honest Iago” in this extract to emphasize how he sees Iago as honourable might cause the audience to feel dislike towards Iago as they clearly see how he is manipulating Cassio while the latter speaks so highly of Iago.

The use of the word “honest” by Iago to describe himself also shows how he wants others to see him. The repetition of this word to some extent creates an exaggeration which could be used by Shakespeare to create a dislike of Iago within the audience as they know that Iago isn’t an honest character. This use also emphasizes the way in which Iago wants to manipulate other characters into thinking of him as an honest character, acting like a form of subliminal message as if saying it over and over again might trick them into thinking of him as honest.

· ‘How am I then a villain/to counsel Cassio to this parallel course/directly to his good?’
- What does Iago mean by this line?
- Do you think that Iago really believes this?

This line means that Iago is saying that he is not a villain for telling Cassio to go talk to Desdemona because it would be a good thing for Cassio.

I do not think that Iago really believes this, because of two reasons. Firstly, it is clearly shown throughout the play that Iago has been manipulating and planning Cassio’s and Othello’s downfall from the start and it would be impossible for Iago to really believe that he isn’t the villain. To a certain extent, Iago is doing good for Cassio in telling him to go talk to Desdemona, but if Iago hadn’t manipulated Cassio into fighting Roderigo and Montano, Cassio wouldn’t have gotten into trouble with Othello in the first place. Secondly, by telling Cassio to talk to Desdemona, Iago did not intend for it to do Cassio good at all, but to create jealousy in Othello who will think that Desdemona is having an affair with Cassio. In my opinion, Iago might be saying this to justify his actions, as a way to make what he is doing seem less evil.

· Comment on the effect of lines 348—357 on the audience (with close reference to language features and how they reveal/further develop aspects of character).

In this extract, several literary features were used to further portray Iago’s calculative, manipulative and malicious character in the play.

One example of this is through Shakespeare’s use of metaphor on line 351 to emphasize Iago’s malicious and villainous nature. On this line, Iago talks about his plan to “pour” “pestilence into his [Othello’s] ear”. The harsh “p” sounds created in this line highlights to the audience Iago’s malicious and villainous nature because the “p” sounds do not create a very pleasant tone, which suggest to the audience Iago’s unpleasant character. Also, this metaphor creates a very unpleasant image of Iago’s intentions as he describes how he wants to pour pestilence into Othello’s ear, creating a representation of Iago as a villain because it sounds like Othello would be the victim of this deed.

Also, Shakespeare intentionally creates a long sentence from line 348 to 354 to depict to the audience Iago’s calculative and manipulative nature. In this extract, Iago describes how he wants to tell lies to Othello about Cassio and Desdemona’s supposed affair. The use of a long sentence with a coma at the end of every line shows to the audience Iago’s train of thought, highlighting his intelligent as calculative character as he plans everything and anticipates its outcome.

· Lines 308—330 are written in prose (continuous speech) but the soliloquy (lines 331—357) is written as verse.
- How does this affect the sound of these two speeches delivered by Iago?
- Why would Shakespeare choose to alternate between the two?

The extract written in prose is the conversation between Iago and Cassio and the one in soliloquy is of Iago talking to himself. In the extract written in prose, Iago’s speech sounds much more persuasive as he is trying to persuade Cassio to go to Desdemona for help by praising Desdemona by saying how “she is of so free, so kind, so apt, so blessed a disposition”. This makes Iago’s speech very pleasant to listen to as he tries to persuade Cassio. On the other hand, Iago’s soliloquy is presented very differently to the audience. In his soliloquy, Iago’s speech is very poetic as it is written in verse, but at the same time contains very unpleasant language because he is talking to himself with no one else listening and is really saying what’s on his mind. Therefore, this speech contains unpleasant things such as “I’ll pour pestilence into his ear”.

Shakespeare might choose to alternate between the two extract in this way in order to show to the audience Iago’s two sided nature and how manipulative he could be.

Homework: Act 2 Scene 3

Close Analysis:

- The word ‘honest’ is used 4 times in this passage. Comment on who uses it each time and what meaning Shakespeare conveys.
‘How am I then a villain/to counsel Cassio to this parallel course/directly to his good?’
- What does Iago mean by this line?
- Do you think that Iago really believes this?
- Comment on the effect of lines 348—357 on the audience (with close reference to language features and how they reveal/further develop aspects of character).

Poetry and Prose

Lines 308—330 are written in prose (continuous speech) but the soliloquy (lines 331—357) is written as verse.

- How does this affect the sound of these two speeches delivered by Iago?
- Why would Shakespeare choose to alternate between the two?

Due Date: Monday 1st November

Act 2 Scene 1: Daniel Lee

In these two extracts, jealousy is presented as both the cause and result of Iago’s plans against Othello. In the first extract, in Othello’s second dialogue, Shakespeare uses hyperbolic language to show the audience the exaggerated and overwhelming nature of Othello’s love for Desdemona. This is shown in

‘Olympus-high and duck again as low
As hell’s from heaven!’

Shakespeare also uses literary features personification and metaphor to display the nature of Othello’s love for Desdemona. This is shown in ‘labouring bark’, which is the personification and ‘hills of seas’, which is the metaphor. This clearly shows that the nature of Othello’s love for Desdemona is absolute and overwhelming. This is again shown in

‘My soul hath her content so absolute’,

which puts emphasis on the absoluteness of the love between Othello and Desdemona, and gives the audience undoubting knowledge on their love. At the end of the play, it becomes clear that Shakespeare’s purpose of doing so here is to show how Othello’s overwhelming love leads to overwhelming jealousy.

Further on in the extract, in Iago’s first dialogue in the extract, it is shown that he speaks ‘aside’, indicating to the audience the beginning of Iago’s plot against Othello.

‘I’ll set down the pegs that make this music,
As honest as I am.’

This reflects Iago’s secretive and malicious nature. Also, by showing this while the reunion between Othello and Desdemona is being shown, Shakespeare, by keeping the audience aware of Iago’s plans, keeps the audience from sharing the happiness of Othello and Desdemona which then leads to heighten the dramatic irony and the tension on the stage.

In the second extract, which is Iago’s soliloquy, it is shown that jealousy is the cause of Iago plotting against Othello, Desdemona and Cassio. In this extract, Shakespeare uses language through Iago to show his jealousy towards Othello which is shown in

‘The Moor …
Is of a constant, loving, noble nature’

Shakespeare uses the list of three in this case to show that even Iago acknowledges Othello and this shows Iago’s jealousy of Othello. Further on in the extract, it is clear that this jealousy had led to his suspicion that Othello slept with his wife, shown in

‘For that I do suspect the lusty Moor
Hath leap’d into my seat; the thought …
Doth, like a poisonous mineral, gnaw my inwards’

Here a very emotive simile is used to describe Iago’s jealousy, describing his jealousy to be ‘poisonous’. This jealousy is also expressed against Cassio in

‘For I fear Cassio with my night – cap too- -’

Towards the end of the extract, Shakespeare again uses the list of three to show to the audience Iago’s skilful positioning of himself, shown in

‘Make the Moor thank me, love me and reward me.’

This again heightens the tension amongst the audience and the dramatic irony.

Act 2, Scene 1, Deprat Vincent

How does Shakespeare explore the theme of jealousy in these extracts?

In Act 2 scene 1, the playwright depicts Iago’s jealousy in several different ways, including his jealousy towards Othello for his perfect relationship with Desdemona and towards Cassio for his way with women and for the promotion that Iago desired to get.
One way in which this jealousy is shown in the extracts is through his jealousy in Othello and Desdemona’s love affair, portrayed to the audience in Iago’s aside when Desdemona and Othello kiss after the latter had arrived to the scene and declared his love to Desdemona, Iago states that he will “set down the pegs that make this music”, which shows his jealousy as he is plotting to manipulate the “music” that Othello and Desdemona had created. The atmosphere in this extract is one of love and joy as it was right after the storm which wiped out the Persian navy. This further emphasizes to the audience Iago’s troublesome and manipulative nature in the play as he is still plotting against them when everybody is celebrating. The fact that he is saying this during Othello and Desdemona’s love declaration to each other further emphasizes how he might feel jealous towards their love.
Another way in which Iago’s jealousy is shown is through his jealousy towards Cassio, portrayed to the audience in his soliloquy. In this extract, it is clearly shown to the audience that he is perhaps envies Cassio for his way with women, as it is said that he fears Cassio “with his night-cap too”, which suggests that Iago might believe that Cassio is one to be involved in affairs with other women, possibly also Iago’s wife, as suggested earlier in the play when Iago accused Emilia of having cheated on him. Further evidence to show this is when Iago says he wants to get “even’d with him (Othello), wife for wife” which makes his intentions a bit clearer as the audience knows his suspicions of his wife having an affair. The fact that he wants to get “even” shows the extent of the bitterness and jealousy felt towards Othello, perhaps because of his decision to give the promotion to Cassio instead of Iago, which also explains his hatred of Cassio and how he wants to have “Michael Cassio on the hip”.

How would an audience react to Iago’s plotting against Othello, Desdemona and Cassio?

In the extract, all the characters aside from Iago are presented in a happy and loving atmosphere because it was right after the storm. The fact that through all this joy, Iago still plots to destroy Othello and Desdemona’s love affair generates a certain amount of distrust and perhaps disgust from the audience for his manipulative and dishonest nature even amidst the celebration. The fact that the audience knows Iago’s intentions when the characters do not also generates a certain uneasiness and tension within the audience due to the dramatic irony created. Iago’s obsession on revenge also forces the audience to sympathize and worry about the outcome for the characters of Desdemona, Othello and Cassio.

1) How does Shakespeare explore the theme of jealousy in these extracts?
Shakespeare deliberately uses structure and dramatic devices to portray the theme of jealousy, in the extract from lines 82 to 178 and lines 284 to 310 Act 2 Scene 1. Othello and Desdemona are reuniting after a terrible storm that destroyed the Turkish fleet, while Iago schemes a plan to undermine their marriage.
Shakespeare intelligently sets the setting in Cyprus after the Turkish fleet has been destroyed by the storm. Creating this setting allows the audience to sense the isolation on the characters from expect moral standards. In Venice, we are shown that characters such as the Duke and Brabantio is capable of influencing the marriage between Othello and Desdemona, however, now that they are on a different island the audience are then automatically set to view how the characters in the island is able to influence the marriage between Othello and Desdemona. Furthermore, since Iago are amongst the characters on the island, and as shown from Act 1, the audience is then therefore focused on the actions that Iago schemes maliciously to undermine the marriage. Shakespeare uses this setting so that the audience focuses on Iago’s action which allows Shakespeare to display the jealousy from Iago and his skills of exposing jealousy from other characters.
Iago’s jealousy of Othello is first explored when Shakespeare uses his dialogues to unjustly accuse Othello of having slept with Emily. This is shown in Iago’s Soliloquy when Iago says “wife for wife”. He wants to make Othello feel as jealous as he feels by making him think that Desdemona slept with Cassio, because he is jealous as he thinks that Emily has slept with Othello. Furthermore, Shakespeare uses this Solilquy to show the extent of his jealousy towards Othello’s marriage. This is shown in “poisonous mineral, gnaw my inwards”. This gruesome imagery of immense pain is used to describe is jealousy for Othello and thus shows how clouded and overwhelmed Iago is by his jealousy. On top of that Shakespeare personifies his jealousy by saying “diet my revenge” as though his revenge needs to be fed thus showing the magnitude in his determination to achieve his revenge which then heightens the jealousy that drives him to “diet” his revenge.
Shakespeare also explores the theme of jealousy as Iago exposes jealousy from other characters. He does this to Roderigo. He makes Roderigo jealous of Cassio because he states that “Desdemona is directly in love with him”. He uses this jealous feeling to manipulate him.
2) How would an audience react to Iago’s plotting against Othello, Desdemona and Cassio?
Shakespeare deliberately makes Iago’s plotting and scheming “Aside” and within a “Soliloquy”. These dramatic devices do not only heightens the tension but also does not allow the audience to enjoy or relax from the happy union of Desdemona and Othello. Furthermore these dramatic devices strengthen the magnitude and power of the scheme that it makes the audience feels as though helpless and empathetic for the characters whom are victims of his scheme. For the Soliloquy, the use of punctuation shows the intelligence behind Iago’s improvised scheme and thus makes the audience believe that the scheme is capable of tackling its victims. Furthermore the description of his need to “revenge” Othello heightens the determination from Iago on his scheme, which then increases the potential threat of the scheme. For the dialogue “Aside”, Shakespeare has set this up so that on one end of the stage the audience can see the happy reunion of the couple, while on the other end of the stage the audience can see the malicious and evil scheme of Iago’s. This therefore does not allow the audience to enjoy or relax from the fact that the couples are happy, because his scheme foreshadows that they will be successfully made, victims to his plots.

Act 2 Scene 1- Annika

1) How does Shakespeare explore the theme of jealousy in these extracts?

In these extracts the theme of jealousy is explored by Shakespeare, predominantly through the use of the character Iago and his bitter resentment towards both Othello and Cassio. It is established in the first Act that Iago is particularly jealous of the fact that Cassio was promoted second lieutenant instead of himself, which is the root cause of his envious and resentful nature towards both characters. Therefore, through the beginning of the first extract, Shakespeare conveys very effectively with the use of hyperbolic language and constant references to heavenly imagery; “Olympus-high”, the overwhelming love and affection between Othello and Desdemona to the audience. Whilst demonstrating the characters love for one another, Shakespeare intentionally and cleverly places Iago in the midst of their passion, and while the lover share a passionate kiss, Iago mutters as an aside about his plan to destroy their relationship and take down Othello, obtaining revenge. Not only does this enhance the dramatic irony, but also Iago’s jealousy as Othello’s love for Desdemona seems to be one of the few things he holds dear to him, thus Iago out of jealousy and spite, recognizes ruining and destroying their love as the only method of attaining revenge on Othello. The more overpowering the love is depicted as, the greater the jealousy ensued by Iago is.

It also appears that Iago is perhaps jealous of the fruitful relationship that Othello and Desdemona seems to share, while in comparison, Iago and Emilia seem to be on shaky ground, with Iago accusing his wife of infidelity- “would she give you so much of her lips”. It is clear that Iago does not regard his wife with much importance and the similar could be said for women in general, therefore it’s possible that Iago is more likely jealous of what Othello possesses in character rather than his relationship. The second extract demonstrates the aforementioned as Iago not only praises Othello as being “of a constant, loving, noble nature”, admitting that he would prove to be a “most dear husband”, however he cannot “endure” the Moor, thus effectively reinforcing his jealousy towards Othello. His soliloquy is overflowing with long winded sentences and similes that distastefully criticizing Othello’s character, attacking both his colour and background, reducing him to merely “trash”. Through these techniques, Shakespeare noticeably portrays Iago’s jealousy towards Othello for both his high-ranking position, but also for his relationship with a “fair” and “witty” woman where as it is suggested that Emilia is “fair and foolish”.

Iago is evidently also jealous of Cassio, depicted in the second extract when Iago hastily states that he fears Cassio was with his “night-cap too”, suggesting Iago believes that he too slept with his wife. Furthermore Iago mutters to himself in an aside that “with a little a web as this I will ensnare as great a fly as Cassio” which is suggestive of his evil plot to ruin Cassio’s reputation by means of ascertaining revenge. Iago is clearly jealous of Cassio for both his position as well as his ability to charm women.

2) How would an audience react to Iago’s plotting against Othello, Desdemona and Cassio?

Shakespeare very deliberately closes many of the scenes with Iago plotting and scheming to overthrow Othello, Desdemona and Cassio which forces the audience to be constantly reminded and aware of Iago’s malevolent intentions in regards to obtaining revenge. This leaves the audience feeling uneasy and perturbed as they are completely aware of Iago’s plot. The use of dramatic irony further intensifies these notions of anxiety as the conniving is revealed to the audience yet the characters remain blissfully unaware, leaving the audience wondering and questioning the outcomes for the characters. Moreover, the intentional placing of Iago’s aside during the kiss prevents the audience from engaging first hand in the passionate reunion between the two lovers as they are forced to witness Iago’s devilish plot to thwart Othello and Cassio. Consequently, in this extract, the audience is encourage to disparage and despise Iago as a character for his villainous plots to overthrow Othello, and are encouraged to sympathize with Othello, Desdemona and Cassio as they are the victims of the wicked plot.

Othello Act 2 Scene 1

How does Shakespeare explore the theme of jealousy in these extracts?

Shakespeare articulates a deeper explanation of the theme of jealousy through the bitter character of Iago. In his soliloquy, Iago suspects the Moor to have “hath leap’d into [his] seat” which means that he suspects him to have slept with his wife, Emilia. The simile “the thought whereof doth, like a poisonous mineral, gnaw my inwards”, shows how the simple suspicion of Othello being with his wife is driving him mad, consuming him slowly. This excessive jealousy will transform into an overwhelming need for revenge. The audience is encouraged to dislike Iago even more for he wants his sufferings to diffuse to others; this jealousy is ‘poisoning’ him and yet, he will instil the same sense of jealousy into Othello. As he said, “I put the Moor at least into a jealousy so strong that judgement cannot cure”

Iago despises Othello for his perfect virtues, and perfect marriage; essentially he is jealous for the qualities of others. He loathes Othello for his “constant, loving, noble nature” and for being “a most dear husband”; Iago fails to even come close to embody those qualities and is jealous of Othello for his excellence and admirable superiority.

In this extract Iago also shows that he is bitterly envious of women, it is shown through how he talks about them in a completely derogative view. This machist devaluing of women is a façade to hide his envy for their exclusion from the harsh realities of the world and their lack of responsibility. He says they “rise to play and go to bed at work”, essentially he is saying they only get up for sexual acts and they become lazy when they have to do their domestic duties; he envies the lack of worries in this lifestyle.

How would an audience react to Iago’s plotting against Othello, Desdemona and Cassio?

In these extracts, Shakespeare repeatedly and constantly exposes the audience to Iago’s malicious manoeuvrings and scheming against Othello, Desdemona and Cassio. Through dramatic irony Shakespeare creates an awkward and perturbed atmosphere for the audience because of the ambiguity of the scene.

The use of an aside for Iago where he plots for the downfall of Othello who is also on stage, revelling as he is reunited with his beloved, Desdemona. Before the aside, the audience sees Othello, a military general, unfolding all of his love and giving a genuine display of love. His hyperbolic and poetic language and constant referrals to Desdemona as a goddess makes the audience sympathise for the beauty of this passionate love. Dramatic irony is heightened because as Othello and Desdemona are kissing, Iago is plotting against them. The audience will feel tense as they cannot simply admire the display of love but they are constantly confronted with Iago’s despising scheming.

Furthermore, the scene, once again, ends with Iago and his scheming. Shakespeare purposely ended all these scenes with Iago so that the audience is constantly reminded of the plotting which builds up tension and anticipation towards the realisation of this plan.

Othello: Act 2 Scene 1. Tu Minh

1) How does Shakespeare explore the theme of jealousy in these extracts?

The theme of jealousy is focus on the character Iago. In this extract, Shakespeare explores the theme of jealousy through the contrast image between the joyful and exquisite poetic description of the reunite of the couple, Othello and Desdemona, and the malicious and deceptive Iago plotting his plan. Through the use of dramatic device to create tension for the audience in the contrast, Shakespeare shows the overwhelming jealousy from Iago toward Othello. As well as Iago’s soliloquy at the end of Act 2 Scene 1 shows the audience the plotting and the reason for his jealousy and resentment toward both Othello and Cassio.

The contrast of the mood from the way Shakespeare uses Othello’s poetic speeches to represent his joy to be reunited with his beloved Desdemona and the contrast malicious“[Aside]” from Iago’s speeches to represent his jealousy and plotting against Othello. This creates the dramatic irony in the audience perspective to see this contrast between Iago and Othello which creates tension for the audience. Through this Shakespeare is able to highlight Iago’s deceptive nature, his malicious and intellectual mind and his two-face personality in response to his jealousy toward Othello.

The theme of jealousy is further explored in Iago’s soliloquy at the end of Act 2 Scene 1, through the use of vivid imagery and harsh and resentful language use by Iago to emphasize his jealousy and his plan to bring down Othello and Cassio. This linked back to the start of Act 2 Scene where the audience can see the bitterness and sarcasm in Iago’s speech when he talks about women and their virtue. In this soliloquy it shows that Iago’s view on women and his bitterness toward Othello and Cassio is from his suspicion that both Othello and Cassio had an affair with his wife, which shows through “the lusty Moor – Hath leaped into my seat” and “For I fear Cassio with my night-cap too –“the women are represent in the phrases, “my seat” and “my night-cap” emphasize Iago’s view on women as nothing more than properties that he owns. From the beginning of the play, the audience is only guessing Iago’s bitterness towards Othello through the way he uses animal imagery and harsh language that he uses to describe Othello. In this extract the audience is able to see the reason, as Iago admits the point of Othello that he jealous about “that I endure him not, - Is of a constant, loving, noble nature”. This shows that Iago is jealous of Othello’s good qualities. Also with the help of the contrast in mood between Othello and Iago speeches added on to Iago’s jeaslousy of Othello’s good qualities foreshadows the plotting of Iago’s plan to use these “noble” qualities to go against Othello, which leads to his downfall.

2) How would an audience react to Iago’s plotting against Othello, Desdemona and Cassio?

Shakespeare is skillful in create tension within the audience through the way Shakespeare always mentioning Iago’s deceptive nature and the plotting of his plan as Shakespeare always end the scene with Iago’s soliloquy. This makes the audience to fell constant threat from Iago which makes the audience to feel uneasy even in the scene of the emotional reuniting of the couple. The dramatic irony heightens the tension from the audience as it is absolute that at this point the audience will know how Iago will carries out his plan against Othello, Desdemona and Cassio, but to see these characters walk into Iago’s plan creates tension and sadness in the audience as they can sympathies to Othello and Desdemona’s love and felt sorry for Cassio as Shakespeare also represent him as a very courteous and noble.

Othello: Act 2 Plenary Questions - Amber

1) How does Shakespeare explore the theme of jealousy in these extracts?

The theme of jealousy is explored by Shakespeare through literary devices including: imagery and stylistic structure. The stylistic structure used to convey such emotion is the reunion between Othello and his love Desdemona; by having the poetic and in love couple kissing on one side of the stage while captivating the audience’s attention on Iago’s ‘aside’ scheming; heightens the sense of Iago’s envy for the lovers. It is made more significant when Othello, whom Iago has been (from the beginning of the play) been characterised to be incredibly jealous of, has come back a hero and is greeted by a beautiful sought-aftered wife. This idea of jealousy leads on to the literary device of imagery that is used in Act 2. After the Turkish fleet has been cast aside by the storm; Act 2 begins with Iago openly abusing women for their qualities, reducing them to nothing by prostitutes and inanimate objects. Outwardly this response can viewed as hostile, rude and unappreciative, but like Iago’s characterisation (a complex and unpredictable piece of artistry by Shakespeare with ambivalent qualities) his badmouthing can also very well be his hidden envy for women, how they are shielded, by domesticity, from the animosity and harsh and barren realities of society. Thus the negative imagery along with contextual structure linking Iago’s ‘aside’ during Othello’s and Desdemona’s kiss and ‘chastising’ of women has worked well together in presenting the development in the theme of jealousy.

2) How would an audience react to Iago’s plotting against Othello, Desdemona and Cassio?
Personally I find Iago the ultimate villain in which from the very beginning of Act 1 scene i the audience have been encouraged to dislike through Shakespeare’s presentation of this character being very deceitful, manipulative and cunning yet appear harmless and honest through his silver tongue. Therefore the audience’s reaction towards Iago’s plotting would inevitably be dislike, negative and wariness, for straight away Shakespeare has managed to illustrate a very dangerous character. The sense of tension in the audience is heightened through Shakespeare’s artistry of creating dramatic irony throughout the play; this is an effective dramatic/literary device which emphasises the audience’s wary perceptions towards Iago and feel more sympathetic for the other characters (Desdemona, Othello and Cassio) in the play. Furthermore, the contemporary audience of ‘Othello’ would feel very strong scepticism towards Iago’s plotting as adultery during the respected time period is a great offence and for Iago to use this as his plot: making the people/characters around him jealous and misinterpret each other which leads to their downfall; again, makes the audience greatly dislike Iago as well as think of him as a low life that is both dangerous and sly. This feeling is brought about most prominently in the audience as Shakespeare has made us very familiar and attracted to the idea of these victorious, wilful and dedicated characters of Othello, Desdemona and Cassio. The idea of them coming to harm is very unattractive thus heighten the audience’s strong reaction towards Iago.

Act 2 Scene 1 - Adam

QUESTION 1
Shakespeare effectively explores the theme of jealousy in act 2 scene 1. Jealousy mainly revolves around the character of Iago. In the beginning of the scene, after the audience is informed the Turkish fleet has drowned, Iago openly and verbally abuses women, especially his wife – Emilia. Iago defines women to be useless, lazy, annoying and no better than prostitutes. “As of her tongue she oft bestows on me/ You’d have enough” (2.1.101-102) à Iago describing women as annoying. “You rise to play and go to bed to work.” (2.1.115) à Iago reducing women to prostitutes; describing them as lazy and useless. From Iago’s verbal assault on women, it seems that the underlying emotion is envy. Iago may be jealous of the luxuries women are entitled to as opposed to the responsibilities of men.
Continuing on with the scene, Shakespeare successfully manifests the theme of jealousy through Iago’s perception of all that hold a higher position than he (Othello and Cassio). Iago’s resentment for Cassio is identified as Iago speaks aside, dehumanising Cassio to a fly. “With as little a web as this will I ensnare as great a fly to Cassio.” (2.1.169) It is clear to visualise the distaste Iago has for Cassio, contributing to the fact that Cassio was promoted over him. This is further elongated with “which now again you are most apt to play the sir in.” (2.1.173-174). The use of “play” reveals Iago’s belief in the illegitimacy of Cassio’ s position as lieutenant, and “sir” represents the upper-class gentleman Iago will now never be due to his failure in the promotion. Iago attacks Othello in his soliloquy after Roderigo’s departure, projecting his thoughts about the general after assuming he has slept with Iago’s wife. “For that I do suspect the lusty Moor/ Hath leapt into my seat, the thought whereof/ Doth like a poisonous mineral gnaw my inwards.” Describing Othello as “lusty” annotates Iago’s resentment for Othello, falsely masking Othello’s noble character with negative connotations. Iago further links Othello to, possibly, an ulcer that is damaging and impairing his mental and physical state.
QUESTION 2
Throughout this scene, the audience suspects Iago’s plotting as Othello and Desdemona reunite and expose their love. Although it is inevitable to deny that Iago will succeed in his plan, the audience retains a sense of hope for Othello and Desdemona, after being introduced to their overwhelming love for one another.
Through this scene, the audience witnesses Iago’s ingenuity to break apart Cassio, Othello and Desdemona as the events unfold. This is achieved as Shakespeare brings Iago ‘aside’ to directly speak to the audience about his plan. Such dramatic features are identified in lines 166 and 197, in which Iago details his plan and true thoughts.

Othello: Act 2 Scene 1 - Katherine May Dinh

OTHELLO

ACT 1 SCENE 2

How does Shakespeare explore the theme of jealousy in these extracts?

Shakespeare explores the theme of jealousy through the dramatic device in the first extract of the couple reuniting on one side of the stage and the deliberate contrast of a malicious conniving Iago plotting on the other side. The theme of jealousy is implemented as the audience feels the dramatic tension of Iago's motive to undermine Desdemona and Othello's marriage whilst we are witnessing the touching joyous reunion of the couple. The blatant contrast between character's auras of happiness and bitterness (scheming, plotting) is used by Shakespeare to portray that inevitable overwhelming jealousy that Iago feels towards Othello.

As all exit at the end of the extract, Iago is left alone on the stage where he quickly starts plotting his revenge. It is obvious to the audience that he does this out of jealousy of Othello and perhaps of Othello and Desdemona's happy marriage shown through their joyous reunion. However the theme of jealousy is emphasised as Iago includes Cassio within his plotting. The audience is aware that Iago is also somewhat jealous of Cassio as he got appointed Othello's right hand lieutenant however at the end, Iago says that he will tell that Desdemona is in love with Cassio, showing his plan to get revenge to satisfy his jealousy. Iago's clever plot to 'kill two birds with one stone' is to gain revenge on Othello and Cassio shows the extent of his jealousy, driving him to plot and scheme.

In the second extract Iago's soliloquy further highlights Shakespeare's theme of jealousy as he says he is not able to 'endure him [Othello]' due to his admirable qualities which Iago states as 'constant, love, noble nature'. This resentment Iago has for Othello's qualities or successes shows Iago as a character prone to jealousy and with his quick and arguably passionate plotting, the audience then develops an understanding that Iago's jealous nature is easy to accelerate to malicious and deceitful means.

In Iago's soliloquy, Iago reveals that he is not only jealous because of his resentment for Othello's status but also because he 'suspects' that Othello 'hath leap'd into my seat', meaning Othello had had an affair with his wife, Emilia. Without having proof for this accusation, the audience is then able to portray Iago as a character who is possessed by his jealousy that his judgement of reality is clouded. Even though he is not sure whether Othello had slept with Emilia or not, his jealousy consumes him, overwhelmingly pushing him to plot. This shows Iago's twisted jealous character who, with the overwhelming jealousy, is driven to extreme extents.

Shakespeare develops the theme of jealousy however with Iago's dark and deceptive scheming, Shakespeare highlights the danger of jealousy.

How would an audience react to Iago’s plotting against Othello, Desdemona and Cassio?

Shakespeare very skillfully creates great dramatic tension within the audience with the dramatic irony in Iago's deceitful conniving plotting. The device of dramatic irony, meaning that the audience knows about Iago's plotting however the characters are not aware, creates more anticipation for the climax of Iago's plots and also creates dramatic tension as the characters within the play are completely unaware. For example with Othello's trust in Iago when Iago is the last person Othello should trust, creates a sense of anticipation from the audience for Othello to discover or be affected by his obliviousness.

The audience may feel great discomfort and increasingly feel great dislike towards Iago, not only is he an extremely malicious character but the fact that the other characters have no idea creates even greater dislike for Iago as he is highly deceptive. In having sympathy for the other characters, the audience are forced to feel even more dislike for Iago as he is plotting against them. Shakespeare portrays Iago as a 'villain' in the play of Othello and with the devices of his 'asides' and 'soliloquy', this secretive malicious nature forces the audience to feel tense as they are to witness his schemes when the other characters are not even aware.

Othello: Act 2 Scene 1 - Arusha Mehta

OTHELLO
ACT 2 SCENE 1
How does Shakespeare explore the theme of jealousy in these extracts?
The theme of jealousy is explored through the character of Iago in several forms as his bitterness and jealousy is directed towards Othello, Othello’s faithful marriage, Cassio’s promotion and Emilia supposedly sleeping with Othello/Cassio.
The theme of jealousy is exacerbated and developed through Iago initially through his bitterness towards Othello and his faithful marriage with Desdemona. During a heated challenging discussion with Desdemona, Desdemona reveals that she has no intentions of indulging in infidelity, something Iago claims Emilia has previously done, “would she give you so much of her lips” (Line 100). His jealousy towards their perfectly content and faithful marriage is revealed through his derogatory, disdainful declaration of his view on women and how they are but “wild cats” and “devils” (Line 110-111).
Additionally, Iago’s jealousy and bitterness is further heightened through the contrast between Iago and Emilia’s short, indifferent interaction and Othello and Desdemona’s affectionate, poignant reunion. As Shakespeare intensifies the theme of love, he also intentionally intensifies the theme of jealousy. Structurally, he places Iago within the scene where Othello and Desdemona reciprocate undivided, everlasting love to each other to intentionally depict Iago as undermining their love. While Othello and Desdemona kiss, Iago declares in an aside his intentions of plotting against them, therefore this mitigates the poignant, gratifying effect of their love by allowing Iago to undermine it, simply because he is jealous of Othello, and his marriage.
Iago’s jealousy is further intensified through his derogatory, distasteful explanation as to why Othello and Desdemona’s marriage will fail, for not only does he render Desdemona lustful, impulsive and incapable of fidelity, but he claims Desdemona will lose interest in him because her “eye must be fed” (line 223), and thus declaring that Othello is horrendous for he is not pleasing to the eye, and this has clear undertones of racism. His insults are spoken with such conviction that he seems to be enforcing these views upon himself to despise Othello for he is exceptionally jealous of him, hence he claims the Moor is “defective” (Line 228).
However, in addition to Iago, Roderigo is clearly jealous of not only Othello but Cassio as he is apprised by Iago that Desdemona is in love with him. The theme of jealousy is developed to such a degree that Iago has already implemented his plotting in order to combat his jealousy by instigating the demise of those that his jealousy is directed at, he proceeds to tell Cassio that Desdemona paddled “with the palm of [Cassio’s] hand” (Line 251). Roderigo’s extreme jealousy and disappointment at not being Desdemona’s lover leads to him easily being convinced to take part in Iago’s plots.
To later confirm the audience’s suspicions, Iago’s soliloquy develops the plot of jealousy and deceit as Iago openly declares and state’s Othello’s good character, nature and his capability to evoke admiration, but it is Othello’s perfection that instigates Iago to not be able to “endure him” (Line 286). Othello’s brilliance, “constant, loving, noble nature” (Line 287) leads to Iago’s jealousy but since Iago has no basis for his revenge that he so greatly desires to “content [his] soul” (Line 296), he unreasonably and falsely justifies his intentions, claiming Othello slept with Emilia and therefore he is jealous and must sabotage his marriage to Desdemona.

How would an audience react to Iago’s plotting against Othello, Desdemona and Cassio?
The audience is made uncomfortable by the heavy dramatic irony, as Shakespeare keeps reminding the audience of Iago’s plots and intentions during his asides and soliloquy’s and not allowing the audience to revel in the joy of the other characters and their love such as Desdemona and Othello. Now that the tragedy and conflict has been directed strictly to domestic life, the audience is even more intrigued, yet they cannot share in Desdemona’s and Othello’s love, nor Cassio’s promotion because they are constantly being reminding of and witnessing Iago’s plotting which further intensifies dramatic irony as they are kept abreast of the on goings but it also encourages the audience to be more alert yet susceptible to despise Iago for they are helpless and must continue to witness Iago’s brutal, vile and unreasonable train of thought and evil machinations. Therefore, through the naivety of the other characters, through Iago’s intelligent and skillful manipulation and machinations that they are directly apprised of, the audience are encouraged to not sympathize with Iago but more so with the other characters, they are obviously encouraged to react with disdain and contempt towards Iago for plotting such things against certain characters immediately after the joy of the other characters has been shared with the audience.

Homework - Act 2 Scene 1:

Write at least 500 words in response to the following questions, based on the two Extracts from Act 2 Scene 1:

1) How does Shakespeare explore the theme of jealousy in these extracts?
2) How would an audience react to Iago’s plotting against Othello, Desdemona and Cassio?

DUE: Thursday 28th October

World Literature Essay 2 – due Thursday

Must follow formal format:

1) Cover sheet with:
- Name;
- Candidate Number;
- 'World Literature Assignment 2a/2b/2c – Formal Essay';
- Topic / Essay Title;
- Full title of the play and the author (eg Antigone by Sophocles;)
- Word Count
2) Passage / Extract included (fully typed and referenced, eg: Act I, Lines 43-100)
3) Essay – double-spaced lines, footnotes, page numbers, title of play in italics or underlined
4) Bibliography

Finally, please remember that your essay needs to be submitted to me electronically (USB is ok, but email is better).

If you do not meet the deadline, you do not get a grade for this part of the World Literature Assignments.

Monday 4th October Homework:

Read the handout on the custom of ‘Charivari’

1) How is this custom relevant to Act I Scene i of Othello?

2) How is it significant that this particular example is set in the middle of the night, and only involves two people giving a ‘noisy, discordant mock serenade’?

Homework - 13th September 2010

Key Questions for extract (103-104)

1) How is language and dialogue used by Fitzgerald to heighten tension in this extract?

2) How is the character of Tom used by Fitzgerald to present ideas about appearance, reality and the pursuit of success in America during the 1920s?

Homework - 31st August 2010

As a follow-up to our lesson on Tuesday, you should compile some key notes on Chapter 3 - In this chapter we are presented with a particularly clever depiction of a grand party straight out of 1920s America. Many themes are raised through the course of the chapter. What ideas are presented to the reader by Fitzgerald about the following themes:

-‘Conspicuous Consumption’
-American Ideals / The American Dream
-Vision, Insight and Perspective
-Purpose and Purposelessness

Also, you should create a bullet-point plan of a commentary on Extract 3, using the following guide questions to assist you:

1) How is the ‘middle-aged man’ representative of people in 1920s America?
2) How does the structure of the passage provide ridicule and mockery?

Bullet-Point Commentary - due Monday, 6th September.

Hope you're all enjoying your day off school.

Strange Meeting homework

3) Much of the poem is taken up by the response of the ‘strange friend,’ in the third stanza. How does he express / depict:
a) The individual loss of the two soldiers?
b) The harmful effect of war on civilisation itself (universally)?
c) The brutal, continual slaughter that will occur throughout the future because nations continue to wage war relentlessly

4) Why does Owen suggest that real beauty (and pity) lies in poetry rather than girls with ‘braided hair’?

5) At the beginning of the final stanza, the dead enemy soldier repeats the polite salutation with ‘I am the enemy you killed, my friend.’ Why does Owen have the enemy soldiers refer to each other in this way?

DUE: Thursday 27th May

Homework (Due Thursday 25th)

Stichomythia refers to a feature of Greek Tragedy where the rhythm of the dialogue is changed into a series of one-line exchanges between two characters. Look closely to the examples of this on pages 39 - 43

1) Why is this such an effective structural / dramatic element?
2) How does this section help to set up ideas about gender politics?
3) Whose arguments are more convincing? Why?

Homework:

Please complete the following before Monday's lesson:

1) Read and make notes on the definition of Tragedy (blue sheets provided)

2) Read the 'parados' (first speech from the chorus) and:
a) What type of language is being used?
b) What effect would this create for the audience?

Have fun - enjoy the extra day away from school!

Act 3, scene 2

1) Where are Gerardo and Paulina at the beginning of this scene? What importance does this have?

Gerardo and Paulina are in the “concert hall… they sit down facing the mirror, their backs to the spectators, perhaps in two chairs or in two of the seats in the audience itself”. This is a representation that Gerardo and Paulina are in the audience, that they could be anyone in the audience. This is effective in creating a close link between them and the audience, it breaches the gap between the actor and spectator which makes the audience see a part of themselves in Gerardo or/and Paulina.
Dorfman uses this positioning of the characters and the mirror to make these characters a representation of the wider population, he wants everyone to relate to this play. The purpose of his play was to talk openly about the atrocities caused by the Junta and the lasting effects that they caused; this is meant to give the Chilean people some form of closure and peace of mind.

2) “It was the first time anyone had ever asked her to sit down” – Gerardo tells this anecdote as though it is proof of success. Do you agree that, if this is what the Commission achieves, it has been a success?

The Truth Commission is to bring peace of mind to the people by judging the torturers and anyone who caused harm. What is happening here is the women feels human again, she is treated with the common respect that should be awarded to people, yet, she is surprised by such a simple gesture. This shows that the Truth Commission here is fixing people however, not through the ways of bringing the human rights violators to justice. It is a form of success, making people feel respected again and treated right, however, this is not the aim of the Truth Commission so it is also a failure.

3) How do you think the audience would understand Roberto entering lighted by a “phantasmagoric” light?

Roberto enters “under a light which has a faint phantasmagoric moonlight quality”. The stage lighting is used here to raise questions in the audience. Is Roberto really here? Is it Paulina’s imagination? Dorfman leaves this very open-ended for the people in the audience to have a very personal interpretation. This will help them relate to the play even further. They could think that Roberto is haunting Paulina, she could regret having or not having killed him. He could be really there, “watching” her to make her feel guilty about keeping him captive. It is up to the audience to make their own scenario.

4) The play ends with Roberto “always looking at Paulina” whereas Paulina turns slowly, looks at him and then, after their eyes “interlock”, turns away. What do you feel this implies?

Roberto always looking at Paulina implies he wants to make her feel guilty for what she did to him. It could be Paulina’s subconscious haunting her for what she has done or it could be Roberto that is really there. Paulina “interlocks” her eyes with Roberto showing she isn’t afraid to face what she has done, she ready to take on the consequences.

Act 3 Scene 2 - Katherine Dinh

1) Where are Gerardo and Paulina at the beginning of this scene? What importance does this have?

At the end of Act 3 Scene 1, a mirror is dropped down in front of the audience and at the beginning of Act 3 Scene 2 when Gerardo and Paulina are there the audience. This creates the effect of the audience thinking that the story of Gerardo and Paulina is not just a play that they have watched but it refers to the audience as well. When Gerardo and Paulina appear and seem like they are part of the audience it shows that the feelings and emotions of Gerardo and Paulina can apply to the audience to. The importance of this is that it makes the audience reflect and think if they are similar or different with the thoughts and feelings of Gerardo and Paulina. In this case, Paulina has been fighting for justice and lived under fear of not knowing who her tormentor was since she was blindfolded. So going about her life, she has the fear that anyone around her could possibly be her tormentor, this gives the moral that not everyone can be trusted. That even though all these people are around us, we don't know the stories that go on behind everything. Not only that but with Paulina and Gerardo, Paulina cannot even trust her loved one as he cheated on her. The significance of how traumatic his infidelity is, is due to the fact that his infidelity was during the time she was raped. This cases her more pain and suffering from his infidelity. So with Gerardo and Paulina appearing in the audience with the audience, the members of the audience are then able to think that they can relate and reflect on what they've just watched but in their own lives.

2) “It was the first time anyone had ever asked her to sit down” – Gerardo tells this anecdote as though it is proof of success. Do you agree that, if this is what the Commission achieves, it has been a success?

Gerardo speaks of it as if it is a proof of success as it shows this woman who has suffered so much and spent many years petitioning and waiting, feeling grateful for being treated with decency. It is a very emotional anecdote that shows that this woman has suffered so much. And Gerardo's motive is to express that now these people who have suffered can finally relax and settle down thanks to the Commission.
In my own opinion, I don't believe it is a success as people being able to feel safe and in calm is only a bit of the release of suffering. The bigger picture is for the pain to be released, only in doing this will it be a success in my eyes. This can be acheived by personal vendettas, although wrong or it could be acheived from the Commission avenging for the people that have suffered. This means having the truth out from the sufferers and punishing the tormentors. This anecdote does not reflect any of this therefore in my opinion this is not a proof of success.

3) How do you think the audience would understand Roberto entering lighted by a “phantasmagoric” light?

Phantasmagoric implying that the light seems like some sort of illusion/optical illusion would make it seem to the audience that Roberto is just a figment of Paulina's imagination. This would then push the audience to be more curious to whether Roberto is dead or alive. In the sense that Roberto is dead, this is a ghost in Paulina's mind as the phantasmagoric light would make it seem like Roberto is not real and is an illusion. This could mean that Paulina is still traumatised by what Roberto had done or by her personal vendetta of killing Roberto. However even if Roberto is actually alive, and Paulina actually didn't shoot him this means that Paulina is almost haunted by Roberto and what he has done to her. Either way, the audience is encouraged to question what had actually happened to Roberto and what Paulina feels. In Death and the Maiden, the use of light is also used to represent truth and with this 'faint phantasmagoric moonlight quality', this can be viewed as a faint truth and more like an illusion than a real truth of Roberto's presence.

4) The play ends with Roberto “always looking at Paulina” whereas Paulina turns slowly, looks at him and then, after their eyes “interlock”, turns away. What do you feel this implies?

I feel that this implies that Roberto is haunting Paulina in her mind, he is a figment of her imagination that follows her wherever she goes. And with Paulina turning slowly to look at him, I believe this implies that she is still afraid of him or afraid of what he has done or what she had done to him. Roberto's eyes being fixed on Paulina makes it seem as if he is only relevant to her, as in she is the only one he can see which implies that he is part of her imagination. And when their eyes 'interlock', it gives the scene a mysterious and eerie atmosphere. The audience will find this scene particularly intense and be pressingly curious as to whether Roberto is actually there or not. However in my opinion, with their eyes interlocking, it gives the sense that whether Paulina goes this fear in Roberto will always follow her.

Act 3 Scene 2

1. Gerardo and Paulina are in front of the mirror with their backs faced to the audience and they are acting as though they are in a concert hall and the music they are listening to is about to end. This place and positioning is significant because it is required to convey the message for the use of a mirror in the end of scene 1.
Unlike typical positioning on the stage in drama, Gerardo and Paulina has their back faced to the audience and they face the mirror. This does not focus attention on the two characters, but rather position them in the same way the audience is positioned. This links the audience and the two characters together so that the message that Gerardo and Paulina are like any other humans amongst the audience, is conveyed.
The use of an “invisible public” includes a further sense that Gerardo and Paulina is part of the audience. The two characters are acting as audiences to a concert and the “invisible public” applauding is meant to be part of the audience in the concert in the play but because of the claps that can only be heard, it also as though the audience of Death and the Maiden is within the play.
The fact that Gerardo interacts with the audience by beginning a “talk [with] a member of the audience, as though they were at the concert”, also adds on to the effect that Gerardo and Paulina is part of the audience.
In doing this, the audience is given the message that characters such as Paulina and Gerardo is like any other human being and can be found amongst anyone, even the audience. In addition with the mirror they are obliged to reflect about themselves.

2. The truth commission’s aim was to investigate and exploit the human rights violations under Pinochet’s regime. The old woman represents those who are in the hands of the truth commission after a long distressing era of Pinochet. An old woman in a democratic society will be embraced with hospitality but the old woman here has not been shown any hospitality or care that she notices simple polite gestures such as being “asked to sit down”.
The old woman portrays the contrast between the uncivilized society under Pinochet’s regime and the re-established society under the truth commission. This therefore exploits the difference in the society and thus the effects of human rights violations o the society.

3. Roberto is presented to the audience in a “faint phantasmagoric moonlight quality”. This suggests that Roberto is not actually there but part of an illusion. One way to interpret this appearance of Roberto is assuming that Paulina has killed Roberto and he is a stalking phantasmal figure.
Paulina “does not see him yet” and Roberto continues to be in a “distance” “watching” them. This implies a haunting intent from Roberto, and the fact that he is a “faint” light hint that he cannot be clearly seen. The audience is therefore influenced to think that if Paulina had killed Roberto than she has a guilty conscience to live with.
However, on the other hand, the fact that the image was from “moonlight” links to how previous Paulina was presented under moonlight and she was suggested to be disturbed or lunatic. This therefore tells the audience that Paulina could just be disturbed and mentally unstable and thus creating an image or illusion in her mind. This makes the audience think that Paulina has not resolved her vengeance against Roberto because her mind still looks back and even creating images of Roberto.

4. This act of Paulina “turning slowly and looking at Roberto” and having “their eyes interlock” suggests the obsession Paulina still has with the issue involving Roberto. The audience clearly knows that Roberto represent the rapist when she was tortured in Paulina’s view. She is still “interlocked” with Roberto in a way that she is unable to overcome her vengeance. The “interlock” suggests that she is attached to her past forever and that she will never be free from her past.

Act 3 Scene 2: The Ending

1) Where are Gerardo and Paulina at the beginning of this scene? What importance does this have?

They are in the concert hall, [they sit down facing the mirror, their backs to the spectators, perhaps in two chairs or in two of the seats in the audience itself.] the effect that Dorfman wants to highlight here is that Paulina and Gerardo are not only the fictional characters in his play, but they are a part of the audience. Dorfman wants the audience to understand that anyone in the spectator seat can have the same experiences as Paulina and Gerardo. The additional effect of having a “mirror” facing the audience, which suggests that Dorfman wants the audience to reflect on what is happened and also put the audience in the characters place and questioning themselves what will they do in the situation they see. Also the “mirror” also suggests the audience to look at the other people watching the play, and aware of the fact that this situation of the play can be apply for anyone.

However, at this stage Dorfman still left the audience in question of what happened after the last scene. There are some suggestion make by Dorfman in this stage direction of what the audience can judged from. Such as the different reaction from Gerardo and Paulina to the concert, Gerardo “begins to applaud” and Paulina “does not applaud” this suggest to the audience, relating to the previous scene, that he is free from Paulina’s judgement as the evidence has proof her case. Opposite to Gerardo, it suggests that she stills not satisfactory of what happen and still not as happy as Gerardo. However, the evidences to support this in the start of the scene are too loose therefore the audience stills cannot figure out what have happened to Roberto.
2) “It was the first time anyone had ever asked her to sit down” – Gerardo tells this anecdote as though it is proof of success. Do you agree that, if this is what the Commission achieves, it has been a success?

As the woman was the first of those who came to testify the missing people. The audience can say that this woman is the first experience of what the truth commission could be and will they will be more helpful than those from the Pinochet’s regime or not. For asking a woman “to sit down” is like a polite and usual thing in a normal society would have done, for the absent of politeness in the Pinochet’s regime shows the audience how degraded the society had been. For the truth commission to be the first to restore the society through these words helps the society as well as the people such as this woman to see hope and have faith in what the commission can do.
3) How do you think the audience would understand Roberto entering lighted by a “phantasmagoric” light?

At first, the audience will feel like Roberto is a ghost, a phantom that haunted Paulina. Therefore the audience would conclude that Paulina had taken her revenge on Roberto and now she is haunted by him. However, it will be more reasonable to think that Roberto is a part of her imagination. The fact that Roberto is surrounded by “moonlight” suggests that he is a part of Paulina’s imagination because “moonlight” throughout the play is always associated with Paulina and a part of her madness. Therefore there are many ways to interpret this.

It could be that Paulina had killed Roberto, and now she is haunted by the fact that she killed someone. Or it could be that Paulina haven’t kill Roberto, but she is still haunted by the image of the man who torture her. Both of this suggestion can fit in to this situation. But there are more, Paulina maybe traumatise about a different part of the play. At the start of the play, during the conversation between Roberto and Gerardo, the audience is hinted that Roberto is traumatised about torturing people. And now as Paulina adapted the role from Roberto, as she was torturing him. This shows that Paulina is now having another trauma about hurting other people like Roberto used to.
4) The play ends with Roberto “always looking at Paulina” whereas Paulina turns slowly, looks at him and then, after their eyes “interlock”, turns away. What do you feel this implies?

Roberto “always looking at Paulina” suggests that he is trying to remind Paulina about him that he will be a part of her for the rest of her life and will “always looking” at her. For the audience this would be quite a disturbing image to watch. However, Paulina “looks at Roberto” and “interlock” their eyes shows the audience Paulina’s fighting spirit that she knows that he will always be there as a part of her. Then she turns away shows that her acceptance that Roberto will be a part of her nightmare forever, but she doesn’t care anymore and wanting to put him and his tortures as a part of her past.

Act 3, Scene 2 -- Jessica

1. 1. Where are Gerardo and Paulina at the beginning of this scene? What importance does this have?

Gerardo and Paulina are in a concert hall in the beginning of this scene. I personally thing that it is important to acknowledge that Paulina and Gerardo may be sitting “in two of the seats in the audience”, through this the audience is made to reflect on the play in a more personal light, it makes them think about how Paulina and Gerardo are just like anyone else in the audience which then forces them to think about themselves. They are then forced to look at themselves in a mirror and so Paulina and Gerardo’s presence in the audience suggests that they’re just like everyone else, thus helping the audience to reflect on themselves and their actions and to think back on the play and think about what they would do if they were in Paulina’s position. Another way this is important is not only for the audience to look at themselves as individuals but also to think about those around them. The audience is aware of Paulina and Gerardo's situation (they've just been watching them and judging what they did) but when they join the audience, the audience no longer focuses on Paulina and Gerardo as characters. They see them more as figures through which REAL situations and emotions have been fed through. Then makes them think about the people around them, what have each of them suffered? Has anyone gone through the same struggles and suffering as the characters. Also, this can show that there is regularity back in Paulina’s life. The fact that Dorfman has decided to have “Death and the Maiden” playing in the background suggests that Paulina has accepted her past and gotten over (lessened) her suffering from the rape and torture.

2. 2. “It was the first time anyone had ever asked her to sit down” – Gerardo tells this anecdote as though it is proof of success. Do you agree that, if this is what the Commission achieves, it has been a success?

In my opinion, the whole idea of the truth commission was to bring justice to those who had suffered and continue to suffer since the change in government. If this is the case then the truth commission being the people who were the first to have asked a lady to sit down since the disappearance of her husband, then they have not achieved what they had set out to do. However, if the aim of the truth commission is to make those that suffered during Pinochet’s presidency feel as though they have some form of worth once again, then I believe that they have done so successfully.

3. 3. How do you think the audience would understand Roberto entering lighted by a “phantasmagoric” light?
The fact that Roberto enters “under a light which has a faint phantasmagoric moonlight quality” suggests to the audience that he is a fragment of Paulina (and their own) imagination. This also suggests that had Paulina followed through with her threats about killing him as a “faint” light surrounding a figure suggests the death of the given figure, as angels are usually surrounded by a faint, pearly light. This would then suggest that either Roberto had been released of all his sins by confessing to Paulina or that he was never guilty to begin with.

Also, the “moonlight quality” links back to all throughout the play, as the moon is one of the main features used by Dorfman to create an eerie and tense atmosphere, and links directly back to when Paulina was “drinking in the light of the moon” in the opening scene of “Death and the Maiden.”

4. 4. The play ends with Roberto “always looking at Paulina” whereas Paulina turns slowly, looks at him and then, after their eyes “interlock”, turns away. What do you feel this implies?

The fact that Roberto is “always looking at Paulina” suggests to the audience that he’s trying to make her feel guilt of some kind (whether he is really there or just a fragment of her imagination is beside the point) however the fact that she looks at him for a short period of time and then looks away, suggests that his ‘presence’ there is unimportant to her, that she has gotten over her fears and that she is no longer bound down by her thoughts of her torturer and has successfully moved on in her life.

Homework:

Please complete the homework on the blog

Homework (Due Thursday 11th):

1) Where are Gerardo and Paulina at the beginning of this scene? What importance does this have?
2) “It was the first time anyone had ever asked her to sit down” – Gerardo tells this anecdote as though it is proof of success. Do you agree that, if this is what the Commission achieves, it has been a success?
3) How do you think the audience would understand Roberto entering lighted by a “phantasmagoric” light?
4) The play ends with Roberto “always looking at Paulina” whereas Paulina turns slowly, looks at him and then, after their eyes “interlock”, turns away. What do you feel this implies?

Work for Monday 8th March:

1) Compile notes (mind-map) for a character comparison between both:

a) Hedda and Paulina
b) Tesman and Gerardo

If you need A3 paper, you can find it in my room

2) Re-read and annotate Act 3

Have fun - see you on Tuesday

Mr Ballantine

Cover Lesson - Monday 1st March (Library)

You are booked into the Library for the duration of the double lesson (I will return in the last 10 minutes to check your progress). During this time, you should complete the following tasks - some of which should have been completed for homework:

A) Read to the end of Act 1, Scene 1, annotating the play thoroughly and adding to your mindmaps of Paulina and Gerardo

B) Research a Truth Commission

C) Re-read Act 1 Scene 2 and answer the following questions:

1. “We still haven’t got used to it” – why does being woken in the night seem disturbing?
2. Look at the style of the conversation between Gerardo and Roberto on p.12/13. In what ways does this exchange seem realistic to you?
3. What would the audience’s initial impression of Roberto be from this scene?
4. What information regarding the commission’s work is revealed in this scene?
5. What importance do the stage directions at the end of this scene have?

Homework (Thursday 4th Feb)

What is your response to this critic’s view of Thea:

‘Beneath that fragile blond exterior lies a manipulative, iron will and a definite agenda that will let nothing stand in its way, not even Hedda; this is shown brilliantly in her winning-over of Tesman in the end, driving the last nail into Hedda’s coffin.’
(Kirsten Shepherd-Barr)

Research the key features of a Tragedy (and a tragic hero)

Due: Monday 8th Feb

Pre-reading for Lesson (Thursday 28th Jan)

To make sure you will be able to follow the lesson on Thursday, please read (or in some cases re-read) the following:

1) Victorian Ideals of Womanhood on the BBC website (link below)

http://www.bbc.co.uk/history/trail/victorian_britain/women_home/ideals_womanhood_01.shtml

2) 'The New Woman' page of your Study Pack (8 pages from the back)

3) The 'Socio-historic Considerations' section of your Study Pack (last 3.5 pages)

It would be even more helpful if you made notes and/or annotations on these sections

Happy Reading! Hope you've all recovered from your trips / rash and are back in the swing of things...

Mr Ballantine

PS: Calvin, if you're out there: I miss you too - teaching about L'Omosessuale just hasn't been the same without you!

Homework (25th Jan 2010)

Essay:
‘Compare the ways in which Ibsen presents the characters of (Tesman and Lovborg OR Hedda and Mrs Elvsted) in Act 1 of Hedda Gabler’

Remember: that a comparison can include both similarities and differences; and to make direct reference to dramatic features to support your ideas

Due: Thursday 28th Jan 2010