Friday, 1 April 2011

More Goblin Market

Exploding with luscious imagery, Christina Rossetti's "Goblin Market" basically contains both passages that convey narrative details — but nonetheless include visual information — and passages that vividly create the mood of a scene almost entirely by means of rich visual descriptions. The latter passages represent distinct pauses in the progression of the poem, allowing the reader to rest in a moment and absorb the details that the author describes. These portions provide appealing imagery presented in language that heightens its effect. Thus, as descriptions of objects tempt the mind's eye, similarly alluring language draws the reader in, increasing the momentum of the poem even as the narrative action has halted. After succumbing to the goblin brothers' fruit, Laura describes the pleasures of the forbidden delicacies to her sister Lizzie, who has resisted the temptation:

"Have done with sorrow;
I'll bring you plums to-morrow
Fresh on their mother twigs,
Cherries worth getting;
You cannot think what figs
My teeth have met in,
What melons icy-cold
Piled on a dish of gold
Too huge for me to hold,
What peaches with a velvet nap,
Pellucid grapes without one seed:
Odorous indeed must be the mead
Whereon they grow, and pure the wave they drink
With lilies at the brink,
And sugar-sweet their sap."

Long sentences with an almost staccato rhythm characterize this and other instances of Rossetti's intensely visual passages (for example, lines 5-31). This passage listing enticing fruits gains momentum in several ways. By dividing a single thought between two lines, Rossetti forces the reader to hurry voraciously to the next line. After the words "You cannot think what figs", which build suspense, excitement, and a sense of anticipation, Rossetti waits until the next line to provide the highly physical and literal satisfaction: "My teeth have met in." She employs this same method in lines 180-181. In addition, rhymes provide aural pleasure, entreating the reader to luxuriate in the rhythm and sounds of the poem. Furthermore, Rossetti's this passage and the other visual rest passages rely heavily on an appeal to the senses, containing captivating descriptions of colors, textures, aromas and tastes.


Interestingly, Dante Gabriel Rossetti's illustrations of his sister's poem do not highlight the lush images of fruit that would seem likely choices for representation. Although he gives the goblin's golden plate of fruit a prominent location in one of his illustrations, the fruit is only vaguely depicted, and the focus is instead on Laura's mournful action of sacrifice and submission to temptation set against a backdrop of goblins-animals with human limbs. His portrayal of the girls — clearly his main interest in the illustrations — departs slightly from how his sister describes them as well as from many of his other depictions of women. Christina Rossetti's language at the beginning of the poem evokes delicate, virginal young women: she describes them as maids and writes that when the girls walked near the goblins, "Laura bowed her head to hear, / Lizzie veiled her blushes" (lines 34-5). Later on in the poem, they together engage in domestic activities, including making "Cakes for dainty mouths to eat" (line 206). In both of Dante Gabriel Rossetti's illustrations, massive, muscular arms and broad shoulders take central positions in the composition. In the illustration accompanying lines 123-27, Laura has rolled up her sleeves before cutting her hair and kneels in a position emphasizing the thickness of her arms, the weight of her body, and the broadness of her shoulders. In the illustration to the title page, Lizzie holds Laura in a protective, comforting embrace, her left arm forming a massive barrier at the forefront of the image between the viewer and Laura. By contrast, many of Dante Gabriel Rossetti's female figures have slender arms (such as the Virgin in Ecce Ancilla Domini (1849-50)) and narrow shoulders (such as in Beatrice, a Portrait of Jane Morris (1879) and Lady Lilith).

Cousin Kate notes


A first-person narrative
The poem is told from the viewpoint of an unnamed narrator: it is a first-person narrative. This poem’s ‘story’ is that the pretty blonde narrator, who is from a humble working family (‘cottage-maiden’) is seduced by a ‘great lord’. When he tires of her he abandons her ‘like a glove’, partly because he has spotted another attractive girl of ‘mean estate’, the narrator’s cousin, Kate.

Because Kate remains ‘good and pure’, and doesn’t allow herself to be seduced, the lord marries her. The bitter (jealous?) narrator, ‘an outcast thing’ in her community, believes (or pretends?), that she has the greater happiness because she has the lord’s child whereas Kate is childless.

The moral tone
The moral tone of this poem is strange. Is Rossetti really suggesting, against the grain of conventional Victorian thinking and the belief of her own church, that the narrator is better off than Kate? Marriage was supposed to be at the heart of Victorian life and what every girl wanted. Think carefully about this and look closely at the poem for evidence.

Because there is considerable moral ambivalence in this poem Rossetti gives the narrator several oxymorons (two apparently contradictory words used together) Consider the effect of:

‘shameless shameful’     and         ‘my shame, my pride’

Consider the sexual significance of:

‘He wore me like a golden knot’
‘He changed me like a glove.’

Rossetti was quite unable to be sexually explicit, but does she make her meaning clear? If so how? Do you find it repugnant? Are you meant to?

Notice Rossetti’s use of strong verbs in ‘Cousin Kate’. Most are single-syllable words derived from Old English rather than from Latin or French, such as ‘lured’ ‘chose’, ‘cast’ and ‘howled.’ Do you think such lexical choices contribute to the poem’s bitter tone because they are direct and unequivocal?

Rhyme and rhythm
Study Rossetti’s rhyme and rhythm and work out why ‘Cousin Kate’ is effective as poetry. She could – in theory have used the same subject matter as the basis of a short story.

What do you think about the six-verse/eight-line structure and the fluid rhyme pattern which become more fixed as the poem progresses and the narrator becomes more assertive? You will definitely need to comment on this in an examination essay


Questions to get you thinking:

1     What is the symbolic significance of the word ‘dove’?
(Remember: a symbol is something standing for something else such as the Union flag representing Britain or a wedding ring as a sign of marriage)

2     What do you notice about the sound pattern in ‘So now I moan like an unclean thing’? Look at the vowel sounds. Make sure you know what onomatopoeia is (and that you can spell it!) and what assonance is. What effect do they have here? How do they influence the way you think the voice is saying the line?

3     Whom does the narrator blame for her predicament? How does Rossetti convey this?

4     Victorian poets often resorted to archaic language and word forms. Are there any examples here and if so why are they used and to what effect?

5     The narrator is unnamed. What is the effect of this and how does it affect the reader’s response to her? By contrast Kate is named three times in the poem and once in the title.


Goblin Market notes


Plot and Major Characters
The story narrated in "Goblin Market" is often described as simple. Two sisters, Laura and Lizzie, who apparently live together without parents, are taunted by goblin merchant men to buy luscious and tantalizing fruits. Lizzie is able to resist their coaxing and runs home, but Laura succumbs. She pays for the wares with a lock of her hair and gorges herself on the exotic fare, but her desire increases rather than being satisfied. She returns home and informs Lizzie that she will venture back into the glen and seek the goblins again. But Laura can no longer hear the call of the goblins and grows increasingly apathetic. She refuses to eat and begins to age prematurely. Fearing for her sister's life, Lizzie decides to seek out the goblins in order to purchase an "antidote" for her sister. When the goblins learn that Lizzie does not intend to eat the fruit herself, they throw her money back at her and verbally and physically abuse her, pinching and kicking, tearing at her clothing, and smearing the juice and pulp of their fruit on her. Lizzie refuses to open her mouth and returns home with the penny in her purse. She invites her sister to suck the juices from her body, which Laura does. The juice of the goblin fruit now tastes bitter to Laura, and she writhes in pain from having consumed it. But the antidote works. Laura returns to her former self, and the epilogue of the poem describes Laura and Lizzie as wives and mothers. Laura now tells the story to their children, reminding them that "there is no friend like a sister."
Major Themes
Critics look to the language and structure of "Goblin Market" to identify the poem's themes. The argument for the poem's erotic and sexual nature is supported by the language of the poem. The nature of the goblins' fruit is extensively detailed and described as luscious and succulent. Laura consumes the fruit ravenously ("She sucked until her lips were sore" [1. 136]) and physically pays for it with a lock of her hair. Once Lizzie decides to seek the goblin men, their taunts carry heavy sexual overtones as well. First they "Squeezed and caressed her" (1. 349) and then invite her to "Bob at our cherries / Bite at our peaches" (11. 354-55), and to "Pluck them and suck them" (1. 361). When she refuses to eat, they "Held her hands and squeezed their fruits / Against her mouth to make her eat" (11. 406-07). Finally, when Lizzie returns home, battered and bruised, she invites her sister's embrace: "Come and kiss me. / Never mind my bruises, / Hug me, kiss me, suck my juices / . . . Eat me, drink me, love me; / Laura, make much of me" (11. 466-68; 471-72). This erotic language has been used to support readings of the poem as a sexual fantasy and an examination of the sexuality and cruelty of children. Some critics focus primarily on Lizzie's suffering and subsequent offering of herself to her sister, reading this not as a sexual advance but as a sacrifice similar to Christ's redemption of humanity's sins or as exemplifying the power of sisterhood in a secular or feminist sense.
The language of the poem is also filled with terms of commerce, economics, and exchange. The goblins sell exotic fruits to Laura, who pays for them with a lock of her hair. Lizzie attempts to pay for the fruit with money, which is refused. Such elements of the poem have been examined as statements about capitalism and the Victorian economy, as an exploration of the role of women within the economy and society, and, more specifically, as a discussion of the place of female literature within the economy. Some critics take this one step further and maintain that the poem represents Rossetti's own aesthetic theory. The theme of renunciation in the poem, demonstrated primarily through Lizzie's actions, is sometimes used to prove that Rossetti believed in the necessity of renouncing pleasure or art's gratification in order for poetry to have purpose or significance. On a more religious level, renunciation of pleasure is read as a means of achieving spiritual redemption.
The basic structure of the poem lends itself to a reading of "Goblin Market" as a Christian allegory of temptation, fall, and redemption, and some critics have contended that this is the main purpose of the tale. In this reading, Laura represents the biblical Eve who yields to temptation, and Lizzie is the Christ figure who sacrifices herself to save her sister. Yet other scholars have maintained that the sexual language of the poem compromises its reading as a moral tale. Additionally, some aspects of the poem fail to coincide with the allegory. For example, as several critics have noted, Laura's desire itself is never criticized by either the poem's narrator or by Lizzie, and Lizzie's act is not one of overcoming temptation or desire, for she never longs for goblin fruit herself. This, some critics argue, undercuts Lizzie's standing as a Christ figure.

Critical Reception

Twentieth-century criticism of "Goblin Market" is remarkably similar to its contemporary commentary. In an early review (1863), Caroline Norton wrote that the poem "is one of the works which are said to 'defy criticism.' Is it a fable—or a mere fairy story—or an allegory against the pleasures of sinful love—or what is it?" These comments reflect modern criticism, as "Goblin Market" still perplexes and inspires scholars. Perhaps the most common means of investigating the poem is based in biography. Most modern analyses of "Goblin Market" refer in some way to aspects of Rossetti's life. Some critics, such as Lona Mosk Packer (1958), suggest ways in which Rossetti's romantic relationships influenced the poem. Packer describes Rossetti's "intimate friendship" with William Bell Scott, and Scott's subsequent, perhaps romantic, friendship with another woman. By Packer's account, Rossetti's sister Maria may have informed Christina of Scott's new interest and "saved" her sister from misplaced desire in much the same way that Lizzie saves Laura.
Another biographical angle from which the poem is approached is that of Rossetti's work as a "sister" within the Anglican Sisterhoods of the Oxford Movement during the 1850s and 1860s. The work of the sisterhoods involved the reform of prostitutes and the reintroduction of reformed women into mainstream society. Critics such as Mary Wilson Carpenter (1991) argue that interaction with these women accounts for both the feminism and homoeroticism of "Goblin Market." Other critics suggest that the poem was meant as a means of cautioning these women about returning to their former ways. Additionally, critics such as Janet Galligani Casey (1991) suggest a more secular interpretation of "sisterhood." Casey points to the work of Florence Nightingale, and Rossetti's interest in this work, arguing that Nightingale popularized the notion of "sisters" as nurses. Casey goes on to suggest that, having been familiar with this concept and the fact that Nightingale attempted to elevate the role of nurturer (a traditionally female role) to that of the nurtured (a traditionally male role), Rossetti perhaps intended to emphasize that Lizzie heals or nurtures Laura and that the idea of "sisterhood" is really genderless.
One other way in which critics have used Rossetti's life as a key to interpreting the poem centers on Rossetti's involvement with the Pre-Raphaelite brotherhood, in which Rossetti's brother Dante played a prominent role. The Pre-Raphaelite movement was primarily Christian in emphasis and was a reaction against both Victorian materialism and artistic neoclassicism. At the time of its publication, "Goblin Market" was considered to be the first major literary achievement of the movement. Dorothy Mermin (1983) described "Goblin Market" as a "vision of a Pre-Raphaelite world from a woman's point of view." Furthermore, Mermin supports a biographical reading of the poem in which Rossetti imagines a Pre-Raphaelite sisterhood which she did not feel existed in reality.
Finally, some critics have sought to synthesize various biographical aspects in interpreting "Goblin Market." Sean C. Grass (1996) attempts to account for the "commingling" of the influences of Rossetti's love affairs, her work in the sisterhoods of the Oxford Movement, and her association with the Pre-Raphaelites, through her writing of "Goblin Market." Grass emphasizes the importance of letting the poem point to the most "fruitful" ways of approaching it and identifies the use of lists within the poem as the "interpretive key." In his analysis, Grass finds that Rossetti experienced a conflict between her love of nature's variety and her belief that reveling in nature would cloud moral judgement; this conflict, concludes Grass, is the focus of "Goblin Market."

Wednesday, 12 January 2011

Poetry task

In your group, you are going to teach your poem to the class.
You can do this however you wish, as long as you provide lots of detail and analysis so others can annotate their copies. You could:
  • assign one person (or more) to present some thoughts to the class
  • create a powerpoint presentation
  • create resources such as worksheets or information sheets
  • set the class tasks to do while you teach them
The rest of the class is relying on you!

Wednesday, 5 January 2011

Victorian context sheets

Victoria's empire
 In 1882 Britain was in the later stages of acquiring the largest empire the world had ever seen. By the end of Victoria's reign, the British empire extended over about one-fifth of the earth's surface and almost a quarter of the world's population at least theoretically owed allegiance to the 'queen empress'.
These acquisitions were not uncontested. A number of colonial wars were fought and insurgencies put down as bloodily as the colonisers considered necessary.
It would be a gross exaggeration to claim, as many contemporaries did, that those living in a British colony felt privileged to be ruled by a people anxious to spread the virtues of an ordered, advanced and politically sophisticated Christian nation to those 'lesser breeds' previously 'without the law'.
That said, there is no gainsaying the fact that both many colonial administrators and Christian missionaries took on their colonial duties with a fierce determination to do good.
Britain's status as the financial capital of the world also secured investment inflows which preserved its immense prosperity.
One has only to walk along Liverpool's waterfront and view the exceptional 'Three Graces', (the Mersey Docks and Harbour Board, Royal Liver and Cunard buildings) planned and erected in the decade or so after Victoria's death, to understand the centrality of commerce and overseas trade in making Britain the world's greatest power during the 19th century.
Liverpool's status as a World Heritage City is fitting testament to a period when Britain did indeed 'rule the waves'.



Industrial Revolution
Victoria came to the throne during the early, frenetic phase of the world's first industrial revolution. Industrialisation brought with it new markets, a consumer boom and greater prosperity for most of the propertied classes.
It also brought rapid, and sometimes chaotic change as towns and cities expanded at a pace which precluded orderly growth.
Desperately poor housing conditions, long working hours, the ravages of infectious disease and premature death were the inevitable consequence.
The Victorians wrestled with this schizoid legacy of industrialism. The Victorian town symbolised Britain's progress and world pre-eminence, but it also witnessed some of the most deprived people, and depraved habits, in the civilised world.
Taming, and then improving, Britain's teeming cities presented a huge challenge. Mortality data revealed that, in the poorer quarters of Britain's larger cities, almost one child in five born alive in the 1830s and 1840s had died by the age of five. Polluted water and damp housing were the main causes.
Death rates in Britain as a whole remained obstinately above 20 per thousand until the 1880s and only dropped to 17 by the end of Victoria's reign.
Life expectancy at birth, in the high 30s in 1837, had crept up to 48 by 1901. One of the great scourges of the age - tuberculosis - remained unconquered, claiming between 60,000 and 70,000 lives in each decade of Victoria's reign.



Civic engagement
Despite substantial medical advances and well-informed campaigns, progress in public health was desperately slow in Victoria's reign.
This had much to do with healthy scepticism about the opinions of experts, particularly when those experts advocated greater centralised state interference in what they considered to be the proper sphere of local authorities and agencies.
Furthermore, state involvement meant higher taxes and higher taxes were said to hamper both business and job creation. Localism undoubtedly stymied many public health initiatives at least until the last two decades of the reign.
The Victorian era saw considerable expenditure on monuments to civic pride. The competitive ethic which drove so much business enterprise was channelled by local worthies into spending on opulent town halls and other civic buildings.
By no means all of these were intended for the use of a propertied elite. Libraries, wash-houses and swimming baths were all funded as part of a determination to provide working people with the means to improve themselves.
Civic identity and civic engagement were more powerful forces in Victorian than in early 20th-century Britain.
Nor were the Victorian middle and upper classes parsimonious over charitable giving. The 1860s alone saw the formation of the Society for the Relief of Distress, the Peabody Trust, Barnardo's Homes and the Charity Organisation Society.
These national organisations were multiplied several-fold by local charities. Christian gentlemen considered it a duty to make legacies to worthy causes.
True, much of this giving came with strings. Most Victorian charities were aimed at those sections of the working classes disposed towards helping themselves. Its overall impact, however, should not be underestimated.



Politics
What of the Victorian political structure? It is easy to see that it was far from democratic.
At the beginning of Victoria's reign, about a fifth of adult males were entitled to vote. That proportion increased, through parliamentary reform acts passed in 1867 and 1884, to one-third and two-thirds respectively.
No women could legally vote in parliamentary elections until almost 18 years after Victoria's death - and the queen herself was no suffragist. Women did, however, play an increasingly influential role both in locally-elected school and poor law boards and in local government from the 1870s onwards.
If not democratic, the political system was becoming increasingly representative. By 1901, few argued - as had frequently been asserted against the Chartists in the 1830s and 1840s - that to allow working men to vote would be to cede power to an ignorant, insensate and unworthy majority.
Victorian politicians increasingly learned how to 'trust the people'. They also noted how many among 'lower orders' could help themselves economically while improving themselves educationally.
The working-class Victorian autodidact was an increasingly significant figure. His modest successes enabled his 'betters' to claim that Britain was a specially advanced, perhaps even a divinely favoured, nation.
Britain managed to modernize its political system without succumbing to the political revolutions that afflicted virtually all of its European competitors.
The quality of political debate in Victorian Britain, in newspapers and in both houses of parliament, was also very high. The struggle for political supremacy between William Gladstone and Benjamin Disraeli in the late 1860s and 1870s represents perhaps the most sophisticated political duel in the nation's history.
During the Victorian era, then, the United Kingdom could plausibly be considered as the world's superpower. However, Germany and the United States had already begun to surpass its industrial capacity and Germany's naval build-up would shortly present a powerful challenge to long-held British supremacy.
On the home front, the nation was only beginning to get to grips with widespread poverty while considerably more than half the adult population remained without a vote. Victorian supremacy by 1901 was only skin deep.



Families and households
Because of high birth rates and improving life expectancy, Victorian families were generally large. The growth of residential domestic service, even low down the social scale, and the prevalence of lodgers, especially in towns, meant that many households were further swollen in size and complex in formation. Although households consisting of more than two generations or containing more than one husband/wife partnership had never been common in Britain, there was a tendency, especially in textile districts, for grandparents to live in households containing young children, particularly where mothers were working outside the home.
Many young people, especially young women, migrated to towns and cities in search of work as the possibilities of agricultural employment declined. Migration was facilitated by family and other connections: communities were recreated in towns and cities through local concentrations of settlement of particular ethnic, religious, regional or familial groups and by the possibility of finding accommodation through lodging or domestic service in the homes of contacts of this kind.
Most households necessarily drew income from a number of sources, with many women and juveniles adding to wage earning even if their employment was usually more intermittent and low-paid than that of adult males. Although the male breadwinner wage was increasingly regarded as the ideal and even the norm, in practice many households were dependent upon female earnings, especially those households run by widows.
As the mid-Victorian boom got underway the demand for female and juvenile labour expanded, particularly where new technologies or patterns of work were resented by skilled men. Cheap female and immigrant labour was often used to undercut male workers. Urbanisation created manifold opportunities for female employment despite the regulation of hours and conditions of work for women and juveniles in certain sectors, and the coming of compulsory education after 1871. Thus most women in Victorian society, in the two thirds of the population below the upper and middle classes, worked for wages. But in what occupations and how much?



Victoria as female icon
During the reign of Queen Victoria, a woman's place was in the home, as domesticity and motherhood were considered by society at large to be a sufficient emotional fulfilment for females. These constructs kept women far away from the public sphere in most ways, but during the 19th century charitable missions did begin to extend the female role of service, and Victorian feminism emerged as a potent political force.
The transformation of Britain into an industrial nation had profound consequences for the ways in which women were to be idealised in Victorian times. New kinds of work and new kinds of urban living prompted a change in the ways in which appropriate male and female roles were perceived. In particular, the notion of separate spheres - woman in the private sphere of the home and hearth, man in the public sphere of business, politics and sociability - came to influence the choices and experiences of all women, at home, at work, in the streets.
' ... Victoria became an icon of late-19th-century middle-class femininity and domesticity. '
The Victorian era, 1837-1901, is characterised as the domestic age par excellence, epitomised by Queen Victoria, who came to represent a kind of femininity which was centred on the family, motherhood and respectability. Accompanied by her beloved husband Albert, and surrounded by her many children in the sumptuous but homely surroundings of Balmoral Castle, Victoria became an icon of late-19th-century middle-class femininity and domesticity.
Indeed, Victoria came to be seen as the very model of marital stability and domestic virtue. Her marriage to Albert represented the ideal of marital harmony. She was described as 'the mother of the nation', and she came to embody the idea of home as a cosy, domestic space. When Albert died in 1861 she retreated to her home and family in preference to public political engagements.

Friday, 19 November 2010

Pupil notes from critic session

QUOTATION A
Ay, let her rot, and perish, and be damned to-night;
for she shall not live: no, my heart is turned to
stone; I strike it, and it hurts my hand.
- OTHELLO, ACT IV. SCENE I.
Critic 1:
Gender theorist: not very nice to women, angry, headstrong, violent, thinks of women as goods.
Critic 2:
Reader response: harsh tone, shocking.
Critic 3:
Formalist: use of metaphors, first line: rule of 3 things he wants, monosyllables ‘for she shall not live’
Critic 4:
Marxist: his high position in society will force him to keep his honour by losing his love for a woman who is disgraced; albeit as a high general informed him.
Critic 5:
Psychoanalytic: his state of mind is unstable, he is distressed and angry that Desdemona has cheated on him.



QUOTATION B


O curse of marriage,
That we can call these delicate creatures ours,
And not their appetites! I had rather be a toad,
And live upon the vapour of a dungeon,
Than keep a corner in the thing I love
For others' uses.
- OTHELLO, ACT III. SCENE III
Critic 1:
Formalist: toad metaphor.
Critic 2:
Marxist: due to their conflict of social class, marriage would never have succeeded, and love could never prosper.
Critic 3:
Psychoanalytic: he is questioning his marriage. The idea that she is cheating on him is tormenting him.
Critic 4:
Gender theorist: not a great believer in marriage, exerting his power over women, reference to ‘delicate creatures’, compliment but an insult, animalistic, demeaning women.
Critic 5:
Reader response: contrast of ‘curse’ and ‘delicate’


QUOTATION C

 
An honourable murderer, if you will;
For nought I did in hate, but all in honour.
Othello, Act V Scene II
Critic 1:
Reader response: Othello should redeem himself. Shocking. Feels regretful not honourable.
Critic2:
Formalist: repetition of honour to emphasise.
Critic 3:
Marxist: due to his high position in society his honour will ultimately outweigh his affection for Desdemona by keeping his honour with her demise.
Critic 4:
Psychoanalytic: he is now trying to justify his behaviour.
Critic 5:
Gender theorist: he’s exerting power, doing it on behalf of all men (“else she’ll betray more men”) underlying misogyny, repeating honour to prove he is doing it for men. He loves her though.


QUOTATION D
O ill-starred wench!
Pale as thy smock! when we shall meet at compt,
This look of thine will hurl my soul from heaven,
And fiends will snatch at it.
Othello, Act V scene II
Critic 1:
Marxist: class system. ‘hurl my soul from heaven’ – Othello being repressed by religion.
Critic 2:
Psychoanalytic: feels guilty for killing Desdemona. Obsession with the devil suggest he’s in a bad mental state and past is affecting him.
Critic 3:
Gender theorist: ‘pale’, contrasts her/him. ‘wench’ – misogynist, angry.
Critic 4:
Reader response: shocking
Critic 5:
Formalist: simile, descriptive language, monosyllables.


QUOTATION E
Yet I'll not shed her blood;
Nor scar that whiter skin of hers than snow,
And smooth as monumental alabaster.
Yet she must die, else she'll betray more men.
Put out the light, and then put out the light.
Othello Act V scene II
Critic 1:
Psychoanalytical: Othello is mentally unstable as he does not want to ‘shed her blood’ but is still insistent that ‘she must die’. This ties in with his emerged possessive nature that was brought out by Iago.
Critic 2:
Gender theorist: he’s asserting his authority, because in his view he thinks that women cannot be trusted, showing his male superiority.
Critic 3:
Reader response: shocking, writer intended to show Othello’s emotion in order.
Critic 4:
Formalist: repetition in last line mirrors putting out the light which is her life. The use of colour to convey contrast in the ‘snow’ white skin of Desdemona, red of her ‘blood’. Last line is monosyllabic – showing controlled anger.
Critic 5:
Marxist: ‘else she’ll betray more men’ – related to honour in Venetian society.

Example paragraphs

Example 1
Throughout the play Desdemona always talks about her husband with respect and absolute loyalty. Not once does she falter, even when she knows she is dying because of him. She forgives him. “Nobody: I myself, Farewell: Commend me to my kind Lord: oh farewell!” (5.2.124-5) the adjective ‘kind’ is generous and reflects her love right to the end and even though there is no doubt that it was Othello who killed her she doesn’t blame him. She alone can see the whole truth behind his eyes, and in her final moments she could have been the only person who really knew what had happened. She is allowed because even if he truly hated her to the core, Othello would always know that she belongs in heaven. This is another reason why he doesn’t pray when it is his turn because he feels he doesn’t deserve to be in her presence even in heaven, even though she has forgiven him. Desdemona forgives him because she understands why he had to do it. She knows and loves him, she knows how he thinks and she knows that ultimately he is a soldier this was the only way he could think to deal with the situation, it was wrong but he could see no other solution. She understands that it is because he loves her so much, he can’t think of her being with anyone else, can’t stand the thought of anyone else touching her. Her attitude only emphasises how painfully pure Desdemona really and truly is, make this death at Othello’s hands the only one that ever mattered in his whole career of death. This affects our sense of redemption as we are reminded that he has killed many times before, however the pure remorse and even hatred of himself towards the end rekindles our faith in the tragic hero that he is not wholly bad.


Example 2
…Iago gives no detail of what he would do with the handkerchief, as he knows Emilia is close friends with Desdemona. He knows that if he told Emilia what he would do with the handkerchief, Emilia would tell Desdemona, and Iago would be exposed. The language in the conversation between Iago and Emilia is used in a number of ways. Emilia’s reference to the handkerchief as “a thing” relates to her reluctance to betray her friend, possibly by trying to make the item sound important, and of no value to Desdemona, though Iago knows that the handkerchief is like an important bond between Othello and Desdemona, as it was a gift from Othello to his wife. The terms “foolish wife” and “good wench” Iago uses to address his wife emphasises his ability to manipulate people around him. It is arguable that these terms also relate to a running theme in the play, that women are mere objects for sex, and that they are also disposable. The two contrasting adjectives “foolish” and “good” could also emphasise Iago’s decision to keep his wife at arm’s length, which could also be applicable to the way he refuses to tell Emilia about the things he is doing  - he does not like people getting involved in his business. This act that Iago commits infuriates Othello, and this brings forth strong urges and desires to kills Cassio and Desdemona. Othello claims he will “tear her (Desdemona) all apart”.

In this sense, it is possible for the audience to sympathise with Othello. Othello, as well as most of the other characters, are oblivious to the things Iago is doing. Othello allows Iago’s lies to influence his way of thinking. It is not entirely his fault, he has not behaved like this on purpose.