OthelloOthello;;The Moor of VeniceThe Moor of Venice

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Renaissance Social Renaissance Social BackgroundBackground

Marriages were arranged, usually for wealthMarriages were arranged, usually for wealth Women had a lower social status than menWomen had a lower social status than men Social position was a natural consequence of Social position was a natural consequence of

birthbirth There was a proper order within all things. There was a proper order within all things.

People were concerned with the order of things People were concerned with the order of things and believed that in life there was a “great and believed that in life there was a “great chain of being.” When everything was in its chain of being.” When everything was in its proper place, there was harmony. When the proper place, there was harmony. When the order was broken, everything was upset and order was broken, everything was upset and everyone suffered.everyone suffered.

The Age of Exploration exposed the relatively The Age of Exploration exposed the relatively isolated English to races they did not know how isolated English to races they did not know how to interact with.to interact with.

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A Brief History of the A Brief History of the MoorsMoors

The word “Moor” The word “Moor” comes from comes from MauriMauri, , an ancient tribe an ancient tribe from present day from present day Morocco.Morocco.

The descendents of The descendents of the the MauriMauri became became Muslims in very Muslims in very early Islamic early Islamic history.history.

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A Brief History of the Moors, A Brief History of the Moors, con’tcon’t

In the year 711, these Islamic Moors conquered In the year 711, these Islamic Moors conquered Spain and ruled lands in Northern Africa and the Spain and ruled lands in Northern Africa and the Iberian Peninsula for the next 700 years.Iberian Peninsula for the next 700 years.

In 1492, the last Muslim stronghold of Granada In 1492, the last Muslim stronghold of Granada was lost to Christian Spain (under Isabella and was lost to Christian Spain (under Isabella and Ferdinand) in an agreement called “The Ferdinand) in an agreement called “The Capitulation of Granada.”Capitulation of Granada.”

By 1502, the remaining Muslims had been forced By 1502, the remaining Muslims had been forced either to leave Spain or convert to Christianity. either to leave Spain or convert to Christianity. The converts were known as The converts were known as moriscos.moriscos.

Between the years 1609-1614, all remaining Moors Between the years 1609-1614, all remaining Moors were systematically hunted down and expelled were systematically hunted down and expelled from Spain permanently.from Spain permanently.

The Moors and EnglandThe Moors and England The first recorded performance of The first recorded performance of OthelloOthello was in 1604, was in 1604,

during the time when Christian European tolerance of during the time when Christian European tolerance of Muslims was greatly strained.Muslims was greatly strained.

When Shakespeare establishes his tragic hero as a When Shakespeare establishes his tragic hero as a Moor, he clearly wants to situate Othello as a Moor, he clearly wants to situate Othello as a descendent of these Northern-African/Spanish Muslims descendent of these Northern-African/Spanish Muslims whose not so distant ancestors were also exiled. This whose not so distant ancestors were also exiled. This couldcould explain why Othello finds himself in Venice, Italy. explain why Othello finds himself in Venice, Italy.

Moors were characterised in Elizabethan England as Moors were characterised in Elizabethan England as being alternately or simultaneously noble or being alternately or simultaneously noble or monstrous, civil or savage. It was often the case (in monstrous, civil or savage. It was often the case (in literature) that a moor was presented as someone literature) that a moor was presented as someone accepted by society to a certain point, but then accepted by society to a certain point, but then rejected due to other factors.rejected due to other factors.

Othello is the tragic hero and Othello is the tragic hero and notnot the villain. the villain.

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Shakespeare’s SourceShakespeare’s Source The plot for The plot for OthelloOthello was was

developed from a story developed from a story in in CinthioCinthio's collection, 's collection, the the HecatommithiHecatommithi, , which it follows closely. which it follows closely.

The only named The only named character in Cinthio's character in Cinthio's story is "Disdemona", story is "Disdemona", which means which means "unfortunate" in Greek; "unfortunate" in Greek; the other characters the other characters are identified only as are identified only as "the standard-bearer", "the standard-bearer", "the captain", and "the "the captain", and "the Moor".Moor".

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Shakespearean TragedyShakespearean Tragedy OthelloOthello is a tragedy. is a tragedy. According to Aristotle, the tragic According to Aristotle, the tragic

hero was a man who rose to a high hero was a man who rose to a high position and then fell---usually to position and then fell---usually to utter death and desolation.utter death and desolation.

Two forces seem equally powerful Two forces seem equally powerful in classical tragedy: the tragic flaw in classical tragedy: the tragic flaw (hamartia) and fate.(hamartia) and fate.

By the Renaissance, people By the Renaissance, people believed they were in more control believed they were in more control of their fate. The Elizabethan tragic of their fate. The Elizabethan tragic hero, therefore, is much more hero, therefore, is much more responsible for his own downfall. responsible for his own downfall. The “waste of human potential” The “waste of human potential” seemed tragic to the audience.seemed tragic to the audience.

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Order and Disorder in Order and Disorder in ShakespeareShakespeare

Many of Shakespeare’s plays revolve around one common theme: disorder.

In each play, the reader must consider how disorder is represented in that play, how order is restored over the course of the events, and what effect of this new order is.

Act I (the exposition) is usually used to establish that at one point in the play’s events there was a social order.

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Order and Disorder, Order and Disorder, con’tcon’t

The resolution of Shakespeare’s tragedies is different from the celebratory atmosphere that signals the end of his comedies (the marriages in A Midsummer Night’s Dream).

In a tragedy, the play ends with the death of the main character, who has spent the entire play trying to gain control of the conflict that he himself has created.

NOTE: The character who delivers the last line in a Shakespearean tragedy is the person who will restore the shattered order.

Frye’s Theory of Frye’s Theory of TragedyTragedy

EncroachmentEncroachmentComplicationComplicationReversal Reversal

(Peripeteia)(Peripeteia)CatastropheCatastropheRecognition Recognition

(Anagnorisis)(Anagnorisis)

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Features of Shakespeare’s Features of Shakespeare’s LanguageLanguage

A. Blank verseA. Blank verse Shakespeare’s essential patternShakespeare’s essential patternWhenever a reader notices a change in Whenever a reader notices a change in

this pattern, there is a reason for this this pattern, there is a reason for this change.change.

With the change, Shakespeare is With the change, Shakespeare is creating mood or establishing character.creating mood or establishing character.

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Shakespeare’s LanguageShakespeare’s LanguageB. B. Figurative LanguageFigurative LanguageShakespeare’s characters often Shakespeare’s characters often

speak in similes and metaphors---to speak in similes and metaphors---to expand ideas and amplify IMAGERY.expand ideas and amplify IMAGERY.

Be certain not to miss the “like” or Be certain not to miss the “like” or “as” or the text will seem “as” or the text will seem incomprehensible.incomprehensible. QuickTime™ and a

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For example, in Act I.i, Iago For example, in Act I.i, Iago describes the relationship between describes the relationship between Othello and Desdemona in less than Othello and Desdemona in less than polite terms.polite terms.‘‘Zounds, sir, you’re Zounds, sir, you’re robb’d; for shame, put robb’d; for shame, put on your gown;/Your on your gown;/Your heart is burst, you have heart is burst, you have lost your soul; Even now, lost your soul; Even now, now, very now, now, very now, an old an old black ram/Is topping black ram/Is topping your white eweyour white ewe. Arise, . Arise, arise; Awake the arise; Awake the snorting citizens with the snorting citizens with the bell,/bell,/Or else the devil will Or else the devil will make a grandsire of youmake a grandsire of you: : Arise I say.Arise I say.

There are two There are two metaphors in this short metaphors in this short 8 line passage:8 line passage:

1.1. Iago speaks about Iago speaks about Othello and Othello and Desdemona. He Desdemona. He highlights the color of highlights the color of their skin and suggests their skin and suggests an animalistic nature an animalistic nature of their relationshipof their relationship

2.2. Iago refers to Othello Iago refers to Othello as a devil, implying as a devil, implying that the moor is doing that the moor is doing something evil with something evil with Desdemona.Desdemona.

Shakespeare’s LanguageShakespeare’s Language

3. 3. Motifs-Motifs- Notice how Shakespeare Notice how Shakespeare repeats (or repeats and develops) repeats (or repeats and develops) certain themes or phrases:certain themes or phrases: AnimalsAnimalsJealousyJealousySight and darknessSight and darknessThe handkerchiefThe handkerchiefMagicMagicEvil and the devilEvil and the devil

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Othello: Othello: Dramatis Dramatis PersonaePersonae

Othello, Othello, the Moorthe Moor Brabantio, Brabantio, father to father to

DesdemonaDesdemona Cassio, Cassio, an honorable an honorable

lieutenantlieutenant Iago, Iago, a villain [‘ancient’ a villain [‘ancient’

or standard-bearer; 3rd or standard-bearer; 3rd in command]in command]

Roderigo, Roderigo, a gulled a gulled gentlemengentlemen

SenatorsSenators Montano, Montano, Governor of Governor of

CyprusCyprus

Gentlemen of CyprusGentlemen of Cyprus Lodovico, Gratiano, Lodovico, Gratiano, two two

Venentians, [kinsmen to Venentians, [kinsmen to Brabantio]Brabantio]

SailorsSailors Clown, Clown, in Othello’s retinuein Othello’s retinue Desdemona, Desdemona, wife to wife to

OthelloOthello Emilia, Emilia, wife to Iagowife to Iago Bianca, Bianca, a courtesana courtesan Messengers, Herald, Messengers, Herald,

Officers, Musicians, and Officers, Musicians, and AttendentsAttendents

OthelloOthello A courageous A courageous

Venetian soldier Venetian soldier who is well-who is well-respected by those respected by those in Venice. in Venice.

His reputation as a His reputation as a man of honor drives man of honor drives him to his own ruin him to his own ruin as he is as he is manipulated by manipulated by Iago.Iago.

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IagoIago Iago is one of Shakespeare’s most Iago is one of Shakespeare’s most

sinister villains, often considered so sinister villains, often considered so because of the unique trust Othello because of the unique trust Othello puts in him, which he betrays while puts in him, which he betrays while maintaining his reputation of honesty maintaining his reputation of honesty and dedication.and dedication.

Iago is a Iago is a malcontentmalcontent – he has a bitter – he has a bitter and cyncial view of the world around and cyncial view of the world around him.him.

The name Iago is a shortened version The name Iago is a shortened version of the Spanish name “Santiago” or “St of the Spanish name “Santiago” or “St James”. James”.

Saint James of Spain was also known as Saint James of Spain was also known as “St James the Moor Killer” which seems “St James the Moor Killer” which seems appropriate within the play.appropriate within the play.

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