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Othello - Coggle Diagram
Othello
AO2 + AO4:
Tragedy:
Othello is an atypical tragedy in that it is based on domestic events between Othello and Desdemona rather than the fall of kings or ‘great men and nations’.
Othello is influenced by Revenge Tragedy, although the evil revenger, Iago, does not die, as would be expected.
Othello is influenced by the conventions of Greek tragedy: for example, the play is based on conflict and the protagonist’s errors of judgement.
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Structure:
The structure of the play includes important examples of repetition: for example, Iago repeatedly poisons Othello’s mind in long exchanges.
The structure of the play relies on mirroring for its dramatic impact: for example, Bianca’s sexual jealousy mirrors Othello’s.
Venice frames the action in Cyprus; the play opens and closes with the Venetian state exercising its power and defining Othello’s character.
The play is structured so that Iago seems to be stage managing events; his soliloquies give us insight into how he directs what happens.
Imagery:
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The imagery used to describe Desdemona often objectifies her as a precious, beautiful possession.
The images of animals used throughout the play chart the progress of Iago’s evil and Othello’s downfall.
Othello's speech style:
‘Valiant’ Othello’s poetic speech style is rhythmic and controlled - contrasts monosyllabic derogatory labels used against him
Othello uses military imagery when he talks about losing his love, for example ‘Othello’s occupation’s gone’ (III.3.360).
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Othello’s speech is full of violent and bloody imagery when he seeks revenge on Desdemona and Cassio.
Iago's speech style:
Iago speaks over one third of the lines in the play, showing how dominant he is as the villain.
Iago adapts his style to suit his purposes: for example, insults to cast suspicion on Bianca, a parody of the language of love to hoodwink Othello.
Iago’s soliloquies are characterised by images of evil, poison and infection.
Iago’s vulgar and racist use of language to describe Othello in Act I Scene 1 reflects his true character.
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Key points:
Race:
Usually in Renaissance drama black men and Moors were portrayed negatively; Othello is the first black hero.
Othello only behaves as the stereotype of the lustful, murderous black man when he is corrupted by Iago.
Othello is a racial ‘outsider’ in Venice but Shakespeare stresses his noble origins and his power and status as a mercenary general.
During the Renaissance many believed black people were fit only to be slaves. Shakespeare subverts this view in his depiction of his noble Moor.
Religion:
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Desdemona is linked to good through the use of references to heaven. Iago is linked to evil through references to hell and the devil.
Othello has converted to Christianity and subscribes to Christian values. He knows he is damned in the final moments of the play.
Iago has atheistic attitudes. He says men are in control of their own fates, ‘'tis in ourselves that we are thus or thus’ (I.3.320).
Patriarchy:
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Legally, women were the possessions of men, so Renaissance fathers and husbands often treated their daughters and wives as objects to be used as they saw fit.
Assertive women were considered a threat to the social order. Desdemona asserts her right to live with Othello, but never challenges his authority over her.
Shakespeare’s positive portrayal of Emilia suggests assertiveness in a woman is not always a threat to patriarchy.
Setting:
Venice was associated with power, romance and high culture, an appropriate setting for the Othello–Desdemona love match.
The isolation of and threats to the Cyprus setting symbolise the isolation of and threats to Desdemona and Othello.
The use of a military setting for a play about marriage underlines the conflict Othello faces when trying to combine love and work.
Politically controversial and dangerous, challenging 17th century European cultural norms of what it means to be noble and moral.
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Themes:
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Jealousy:
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The sexual jealousy we see is unfounded but plausible; both Othello and Bianca are deceived by the false proof of the handkerchief.
Othello does not give in to jealousy too easily, as some critics have suggested. He takes a lot of convincing that Desdemona is false.
Revenge:
The male characters – fathers, husbands, lovers – all expect their women to submit to their authority.
Initially Desdemona and Othello share a more equal relationship than the other couples; each was ‘half the [wooer’.]
The female characters are objectified by the men, prized for their beauty or derided as whores.
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Obsession:
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Cassio’s obsession with his reputation leads him to act dishonourably when he asks Desdemona to plead his cause.
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AO3:
Cuckold - Ultimate shame for males in the Jacobean society: 17th century audience may sympathise with Othello's anger
Masculinity - male power valued over women's (wife = control and status) Iago plays on Othello's hamartia
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