ON THE USE OF THE "DOUBLE CLOCK"
Shakespeare... is not essentially concerned with time and the calendar at all. These, as with the actor and his behavior... must be given plausibility. But the play's essential action lies in the processes of thought and feeling by which the characters are moved and the story is forwarded. And the deeper the springs of these the less do time, place and circumstance affect them. His imagination is now concerned with fundamental passions, and its swift working demands unencumbered expression. He may falsify the calendar for his convenience, but we shall find neither trickery nor anomaly in the fighting of the intellectual battle for Othello's soul. And in the light of the truth of this the rest will pass unnoticed. Harley Granville-Barker, Prefaces to Shakespeare, 1946
ON IAGO
Iago stands supreme among Shakespeare's evil characters because the greatest intensity and subtlety of imagination have gone to his making, and because he illustrates in the most perfect combination the two facts concerning evil which seem to have impressed Shakespeare most. The first of these is the fact that perfectly sane people exist in whom fellow-feeling of any kind is so weak that an almost absolute egoism becomes possible to them, and with it those hard vices-such as ingratitude and cruelty-which to Shakespeare were far the worst. The second is that such evil is compatible, and even appears to ally itself easily, with exceptional powers of will and intellect.
A STEP BEYOND TESTS AND ANSWERS TEST 1
_____ 1. In addition to the fact that Cassio had the job Iago wanted, Iago hated him because
A. He believed that Cassio had been intimate with Emilia
B. Cassio was prejudiced against Iago
C. Cassio had helped Othello to win Desdemona's hand
_____ 2. Othello was upset over Cassio's drunkenness because
A. he had previously warned him about drinking
B. Iago had predicted it
C. it tared the Venetians' reputations
_____ 3. According to Othello, Desdemona fell in love with him because of
I. the exciting stories he had told her
II. his dashing appearance and maturity
III. the sufferings he had endured
A. I and II
B. I and III
C. II and III
_____ 4. Iago's speeches on "reputation" were delivered to
A. Roderigo and Othello
B. Cassio and Othello
C. Cassio and Roderigo
_____ 5. The advice which Brabantio gave to Othello was
A. "Look to her, Moor, if thou hast eyes to see"
B. "The robb'd that smiles steals something from the thief;"
C. "Take up this mangled matter at the best."
_____ 6. Iago's explanation of Othello's public display of bad behavior toward Desdemona was that
A. the loss of the handkerchief had enraged him
B. she had lied to him about Cassio
C. he was concerned over affairs of state
_____ 7. The best evidence of Desdemona's love for Othello is
I. she refused to implicate him in her death
II. she had rejected many eligible suitors to select him
III. she was willing to incur estrangement from her father
A. I and II
B. II and III
C. I, II, and III
_____ 8. "You must awhile be patient. What I can do I will; and more I will Than for myself I dare." These lines were said by
A. Iago to Roderigo
B. Desdemona to Cassio
C. Iago to Othello
_____ 9. The handkerchief was precious to Othello because
I. it had been his first gift to Desdemona
II. it foreshadowed faithlessness
III. his mother had given it to him
A. I and II
B. I and III
C. II and III
_____ 10. In calling Cassio a "great arithmetician," Iago was
A. showing the contempt of a veteran soldier for a rookie
B. trying to convince Roderigo of his rival's inadequacy
C. attempting to ingratiate himself with the new lieutenant
11. Discuss the function of the handkerchief in the plot of Othello.
12. Othello and Iago hold very different opinions on human nature. Compare their views.
13. Discuss the use of darkness as a motif in Othello.
14. Discuss the reasons Othello is vulnerable to Iago's persuasive tactics.
15. Othello has been called Shakespeare's most exciting play. Discuss five ways that Shakespeare creates excitement in the play.
TESTS AND ANSWERS TEST 2
_____ 1. "Thou art a villain. "You are-a senator." This exchange took place between
A. Brabantio and Iago
B. Montano and Iago
C. Brabantio and Roderigo
_____ 2. An example of Brabantio's extra-sensory perception is seen in the line
A. "It is too true an evil. Gone she is."
B. "I had rather to adopt a child than get it."
C. "This accident is not unlike my dream"
_____ 3. The Duke had called a midnight conference
A. to resolve the controversy over the alleged kidnapping of Desdemona
B. to cope with a possible attack by the Turks on Rhodes
C. to authorize Othello to prepare for an invasion of Venice
_____ 4. The repeated use of "honest" as a description of Iago is an example of
A. a pathetic fallacy
B. irony
C. poetic license
_____ 5. Iago predicted to Roderigo that Desdemona would leave Othello because
I. Venetian women could not be trusted
II. she would want a younger man
III. of pressure from her father
A. I and II
B. II and III
C. I, II, and III
_____ 6. In his soliloquies, Iago stated that his wife, Emilia, had committed adultery with
A. Cassio
B. Othello
C. both Cassio and Othello
_____ 7. The Iago motif of villainy is seen in the following line:
A. "In following him, I follow but myself."
B. "Traitors ensteep'd to clog the guiltless keel."
C. "Knavery's plain face is never seen till us'd"
_____ 8. The proclamation calling for a celebration after the defeat of the Turks (Act II, S. 2) is important because
A. it sets the stage for Cassio's drunkenness
B. it gives Iago the opportunity to tell Othello about his dream
C. it introduces the relationship between Bianca and Cassio
_____ 9. "The forked plague" is a reference to
A. Iago's paranoia
B. cuckoldry
C. Othello's gullibility
_____ 10. Roderigo signed his own death warrant when he said,
A. "I will not make myself known to Desdemona."
B. "I do not find that that deal'st justly with me."
C. "I will incontinently drown myself."
11. Despite his cleverness and luck, Iago's downfall eventually takes place. Discuss three reasons why Iago meets his doom.
12. Othello is often seen as a play that represents a struggle between good and evil. Explain.
13. The subject of loyalty plays an important part in Othello. Discuss in terms of at least three of the characters.
14. Discuss how irony operates in Othello. Give three examples.
15. Discuss Othello as a tragic figure and the reasons for his fall.
11. The handkerchief belongs to Desdemona. It was Othello's first gift to her. She drops it accidentally and Emilia picks it up to give it to Iago, who has made several urgent requests that she steal it for him. Iago plans to use it as proof of Desdemona's adultery with Cassio. He plants it in Cassio's room, where Cassio finds it and gives it to Bianca to copy for him. Iago tells Othello that he has seen Cassio with the handkerchief. Othello quizzes Desdemona about it, but she lies, unaware of its importance and says she still has it, but can't produce it. Othello sees her lie as proof that she's unfaithful, and when he later sees Bianca return it to Cassio, the handkerchief serves as the "visible proof" he's been looking for. Othello then vows Desdemona must die.
12. Othello is open, honest, and trusting. He believes in the basic goodness of man and has no reason to suspect anyone of deceiving him or plotting behind his back. His faith in human nature is complete to the point of naivete. Iago, on the other hand, holds his fellow man in contempt. He feels that men are basically untrustworthy and is suspicious of all of their motives. (He even suspects two of the honest men of the play, Othello and Cassio, of sleeping with his wife.) He feels such things as reputation, love, loyalty, and fidelity are meaningless, since they are directed toward other people. As a supreme egotist, Iago feels it is important to trust and survive only for himself. Seeing virtue in others merely makes him unhappy.
13. Darkness is used in several ways. As a sign of disorder and chaos, the play's turbulent scenes are set at night: the first act, where Othello and Desdemona have eloped in secret; Act II, Scene iii, where Cassio is disgraced; Act V, where Iago's plan reaches its height and Desdemona is murdered. Darkness also represents Othello's complexion, which sets him apart from the Venetians and makes him an object of suspicion. In Act V, it represents death, when Othello compares Desdemona's life to a lighted candle, so easily snuffed out but impossible to re-light. Finally, darkness (or blackness) stands for the gradual corruption of Othello's soul as Iago tempts him into evil thoughts. When Emilia learns of Desdemona's death, she cries, "O the more angel she, / And you the blacker devil!"
14. For all of his experience as a soldier, Othello has not been around many women. He feels shy and uneasy around them, and he's easily convinced that their behavior could fool him. As a newcomer to Venice, he also believes that Venetian women are particularly likely to be unfaithful. Also, Othello is older than his wife, and of a different race, so he is sensitive to Iago's suggestion that Desdemona will soon be looking for someone younger and more attractive. Finally, Othello and Desdemona have not been married very long; he doesn't know her well enough to know that infidelity would never cross her mind. By being aware of all of these weaknesses, Iago knows exactly how to go about manipulating his victim.
15. You could answer this question in a number of ways. You might take a structural approach and discuss how the events of the play build to create tension and suspense. You might discuss the characters (particularly Othello and Iago) and how their personalities create excitement. Another way might be to discuss the incidents of luck and coincidence that contribute to Iago's success and Othello's downfall. Or you might discuss the use of action-fights, storms, deaths, etc.- that Shakespeare uses to keep the play lively and fast-paced.
11. One of the reasons Iago is brought down is purely accidental. When he stabs Roderigo after the aborted attempt on Cassio's life, he believes that Roderigo is dead; but the man lives to provide evidence against Iago. Another reason is Iago's underestimating Emilia. Iago assumes that, as his wife, she would never betray him. He never counts on Emilia's love for and loyalty to Desdemona. His cynicism never allows him to consider such devotion exists. Finally, fate itself brings about Iago's downfall. As the representative of evil, Iago had to fall to bring order to the world. In Shakespeare's plays, justice is served to those who do evil to others, and Iago is no exception.
12. The struggle between good and evil takes on dramatic form primarily in Act III, Scene iii, often called the "temptation scene" because Othello must decide between the forces of good (represented by Desdemona) and the forces of evil (represented by Iago). References to Hell, and Satan, and the demonic throughout the play allign Iago with evil-figuratively, if not literally. And Desdemona's innocence and purity stand for all that is good. Othello is torn because he can't figure out which is the real good, and which is evil masking as good: Is Iago a villain pretending to be honest, or is Desdemona a faithless wife wearing the face of purity? For a time, evil has all the advantages on its side: Iago knows how to infect Othello with suspicions that enrage him, while the forces of good (Desdemona) don't know that the struggle is going on. In the end, however, after Othello sacrifices himself to the powers of evil by killing Desdemona, he is redeemed by his recognition of his flaws and his dignified acceptance of his pument.
13. Three of the ways loyalty is explored in Othello are 1) loyalty to friends 2) loyalty to spouse and 3) loyalty to duty. The first is represented negatively by Iago; despite a show of devotion to Othello, he is loyal only to himself. On the positive side, Desdemona demonstrates her loyalty to Cassio by pledging her support to him, and Emilia her loyalty to Desdemona by sacrificing her life. Loyalty to spouse is shown by Desdemona's heartfelt defense of Othello, no matter how he treats her. Its opposite is shown by Emilia, who admits that there is a price that she would accept for giving up her loyalty to her husband. Loyalty to duty is embodied both by Othello, who is quick to give up his honeymoon to serve the state of Venice, and by Cassio, who allows drunkenness to make him momentarily disloyal, but who fights mightily to regain his reputation as Othello's trustworthy lieutenant.
14. Here are some of the approaches you might take to answering this question:
• Look at the instances in which appearance and reality clash-for example, Iago, Desdemona (as Othello sees her after Act III), Emilia.
• Discuss Iago's downfall at the hands of Emilia, the last person he would suspect.
• Discuss the disintegration of the powerful Othello at the hands of his ensign, Iago.
• Look at the way Desdemona's "white lie" about her handkerchief contributes to her death.
• Discuss the way that certain acts, done out of kindness, result in misfortune. For example, Cassio's kindness in having a drink with the Cypriots leads to his being fired; Desdemona's generosity to Cassio in pleading with Othello for Cassio's job results in Othello's suspicions.
15. A tragic figure, according to the classic definition, is a person of noble birth whose character is flawed by a weakness that causes his downfall. Othello, while not a prince or king, is descended from royalty, and proves himself worthy as a powerful soldier and a gentle, poetic man. Some think that his flaw is his jealous nature, others feel Othello proves that he is not prone to jealousy. Perhaps Othello's flaw is a passion he cannot control; he is slow to anger, but once he is angered, his passion overwhelms his good sense. Once Iago persuades him that Desdemona is unfaithful, Othello is on a collision course to his doom; he is so overcome with jealous rage that he allows nothing to stand in his way to revenge. He kills his wife as a result of his passion, and eventually himself. The waste of his life, full of promise and noble intentions, represents the tragedy of the play.
TERM PAPER IDEAS CHARACTERS
• Discuss Iago's motive for planning Othello's ruin.
• Compare Desdemona and Emilia as wives to their respective husbands.
• Analyze Desdemona's character from two points of view: the world of the play and the world of today.
• How does Othello's race affect the outcome of the play? (You might want to do some research to find out the Elizabethan view of Moors.)
• What is Roderigo's function in the play?
• Discuss the techniques Iago uses to manipulate others.
• In what ways can Iago be seen as the perfect actor?
• How does Cassio and his personality affect the outcome of the play?
• Discuss the pros and cons of Brabantio's behavior.
• What role does Bianca play in the drama on Cyprus?
• Discuss Iago's view of human nature.
• How does Othello regain his nobility in Act V after the earlier disintegration of his character?
• Is Iago a tragic figure?
• What do Iago's soliloquies tell us about him?
• In what ways do Desdemona's mistakes contribute to her death?
• Discuss the ways in which Othello shows he was born a pagan. Then discuss the evidence that shows he is now a Christian.
• Analyze Othello's statement that he was a man who "loved not wisely but too well."
• Describe Othello and Desdemona's courtship.
• Point out the ways that Iago makes mistakes in Act V.
• Chart the movement of Othello's emotions from Act III, Scene iii, line 38 to the end of the scene.
THEMES
• Discuss the uses of appearance vs. reality as they affect the play. • How is jealousy used as a theme throughout the play?
• Discuss the different ways the term loyalty can be applied to Desdemona, Emilia, Cassio, and Iago.
• How does friendship-both false and true-operate as a theme?
• Discuss the difference between professional jealousy and ***ual jealousy as they affect the characters.
• What are the views on adultery of Othello, Iago, Emilia, and Desdemona?
• In what ways does the innocence of Desdemona and Othello affect the play's outcome?
• How is hate shown to be a destructive emotion?
• Compare the way society might treat Othello today as compared to the way he is treated in the play.
• In what ways does pride affect Othello, Iago, and Cassio?
• Discuss the use of humor in alleviating the dramatic tension of the play.
• Discuss vanity as it affects Othello and Iago.
• Describe the ways in which *** is important as a thematic device.
• Compare the theme of jealousy in Othello with the same theme in A Winter's Tale
. • Compare the depiction of evil in Othello with that in Macbeth or King Lear.
• IMAGERY AND LANGUAGE
• Compare Othello's language in Act I with his language in Act III and Act IV. How does it show his moral disintegration?
• Analyze the use of demonic imagery.
• How is animal imagery used to show Othello's infection by Iago's spirit?
• Discuss the use of black/white and darkness/light motifs throughout the play.
• Discuss the use of ***ual imagery as it's used by Iago, Othello, and Emilia.
• Analyze the images used in one of Othello's speeches in Act V: the speech before he kills Desdemona or the speech before he commits suicide.
• Analyze Iago's language. What does it tell you about his character?
• MISCELLANEOUS
• Describe the advantages and disadvantages of the "double clock."
• Discuss the use of music and songs in the play.
• Read a copy (or detailed synopsis) of Shakespeare's source for Othello. Discuss the changes Shakespeare made in adapting the story.
• Show how Elizabethan stage conventions affected Shakespeare's writing of Othello.
• Analyze the structure of Othello, identifying the exposition, rising action, crisis, climax, and falling action. See Dramatic Construction by Edward Mabley (New York, 1972).
• Read various critical interpretations of the play (see Samuel Johnson, William Hazlitt, Samuel Taylor Coleridge, E.E. Stoll, H.B. Charlton, Lily B. Campbell, etc.). Compare and contrast two of these views.
• Research Elizabethan social customs and behavior. Describe how their views on marriage, adultery, military discipline, etc. affected the writing of Othello. See, for example, Middle-Class Culture in Elizabethan England by Louis B. Wright (Chapel Hill, N.C., 1935).
• Research various historical productions of Othello from its original production to Laurence Olivier's famous stage and screen portrayals. Choose two or three to compare and contrast. See Theatre for Shakespeare by Alfred Harbage (Toronto, 1955) or Shakespeare and the Actors: The Stage Business in His Plays (1660-1905) by Arthur Colby Sprague (Cambridge, Mass., 1945).
روش خرید: برای خرید پس از کلیک روی
دکمه زیر و تکمیل فرم سفارش، ابتدا محصول مورد نظر را درب منزل یا
محل کار تحویل بگیرید، سپس وجه کالا و هزینه ارسال را به مامور پست
بپردازید. جهت مشاهده فرم خرید، روی دکمه زیر کلیک کنید.
دانلود تولبار جی تاک
ed the Venetians' reputations
