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.

Level descriptors

Band 1 (0-5 marks)

•  AO1 quality of writing hinders meaning

•  AO1 unclear line of argument/not always relevant

•  AO2 very limited discussion of how form and structure shape meanings

•  AO2 very limited discussion of how aspects of language shape meanings

•  AO3 little sense of connections between texts through concept of tragedy

•  AO3 little understanding of different interpretations of texts

•  AO4 very limited understanding of ways of contextualising ‘tragedy’

•  AO4 very limited awareness of other contextual factors

Band 2 (6-10)

•  AO1 some use of critical vocabulary despite technical weakness

•  AO1 simple attempt at structuring argument/usually relevant with some focus on task

•  AO2 some awareness of how form and structure shape meanings

•  AO2 some awareness of how aspects of language shape meanings

•  AO3 some connections made between texts through concept of tragedy

•  AO3 some reference to different interpretations of texts/ some textual support

•  AO4 some consideration of ways of contextualising ‘tragedy’

•  AO4 some consideration of other relevant contextual factors

Band 3 (11-15)

•  AO1 use of some critical vocabulary and generally clear expression

•  AO1 some structured argument though not sustained/ relevant with focus on task

•  AO2 consideration of some features of form and structure and how these features shape meanings

•  AO2 consideration of some aspects of language and how these aspects shape meanings

•  AO3 consideration of connections between texts through concept of tragedy

•  AO3 consideration of different interpretations of texts, with general textual support

•  AO4 consideration of ways of contextualising ‘tragedy’ as a dramatic genre

•  AO4 consideration of a range of other contextual factors with specific links between context/texts/tasks

Band 4 (16-20)

•  AO1 use of accurate critical vocabulary and clear argument expressed accurately

•  AO1 relevant with clear focus on task / informed knowledge and understanding of texts

•  AO2 consideration of how specific features of form and structure shape meanings

•  AO2 consideration of how specific aspects of language shape meanings

•  AO3 detailed consideration of connections between texts through concept of tragedy

•  AO3 clear consideration of different interpretations of texts with apt supportive references

•  AO4 examination of ways of contextualising ‘tragedy’ as a dramatic genre

•  AO4 examination of a range of other contextual factors with specific, detailed links between context /texts/task

Band 5 (21-25)

•  AO1 use of appropriate critical vocabulary and well structured argument expressed accurately

•  AO1 relevant with sharp focus on task/ detailed knowledge and understanding of texts

•  AO2 exploration of several features of form and structure with evaluation of how they shape meanings

•  AO2 exploration of several aspects of language with evaluation of how they shape meanings

•  AO3 detailed and evaluative discussion of connections between texts through concept of tragedy

•  AO3 clear consideration of different interpretations of texts with evaluation of their strengths and weaknesses and with significant supportive references

•  AO4 detailed exploration of ways of contextualising ‘tragedy’ as a dramatic genre

•  AO4 detailed exploration of a range of other contextual factors with specific, detailed links between context/texts/task

Band 6 (26-30)

•  AO1 use of appropriate critical vocabulary and technically fluent style/ well structured and coherent argument

•  AO1 always relevant with very sharp focus on task and confidently ranging around texts

•  AO2 exploration and analysis of key features of form and structure with perceptive evaluation of how they shape meanings

•  AO2 exploration and analysis of key aspects of language with perceptive evaluation of how they shape meanings

•  AO3 detailed and perceptive understanding of issues raised in connecting texts through concept of tragedy

•  AO3 perceptive consideration of different interpretations of texts with sharp evaluation of their strengths and weaknesses and with excellent selection of supportive references

•  AO4 excellent understanding of ways of contextualising ‘tragedy’ as a dramatic genre

•  AO4 excellent understanding of a range of other contextual factors with specific, detailed links between context/texts/task

Critical approaches sheet

Critical Approaches

This refers to two different techniques:

1. Being able to take the views of others who have written or directed the text you are looking at and being able to make use of their opinions analytically.

Working example:

            When John Drakakis analysed the language of Brabantio as it descends from order to disorder he claims the ‘metre and rhythm collide as Brabantio wrestles for control.’ It is easy to agree with this statement when you consider the text:

            ‘How didst thou know ‘twas she? (O thou deceivest me

            Past thought!) What said she to you? Get more tapers,

            Raise all my kindred, are they married, think you?’

The regular rhythm is gone, as Drakakis observes. The phrases are short, and run into one another.  But Shakespeare also includes many questions and exclamation marks to show his desperation and confusion. It is not merely Brabantio trying to hold on to control. It is in fact the panic of an old man who has lost his precious daughter and his control almost completely. Brabantio’s reaction is matched by Othello later in the play. He too loses control and this common reaction might make us sympathise more with Othello.  

N.B.

Being able to take someone else’s idea, build on it or identify and develop its weaknesses is a key skill that hopefully we will develop over the next few weeks.

2. Approaching text from a particular academic point of view

Examples of critical positions that have been adopted by critics in the past:

ü  Structuralist/Post-structuralist

ü  Psychoanalytic

ü  Feminist

ü  Marxist

ü  Race/Post-colonial

ü  Cultural materialist/new historicist

ü  Genre Theory

ü  Moral

ü  Great authors

A critic adopting a feminist approach for example believes that ‘feminine’ and ‘masculine’ are ideas constructed by our culture, and it is important to be aware of this when reading texts from periods and cultures different from out own. Feminists interested in how women are represented in texts written by men, and how these texts display the power relations between the sexes.

So when reading Othello from a feminist perspective you might pay much more attention to Desdemona and her treatment at the hands of men.

Year 12 homework

Due for Wednesday 10th November.

How much is Othello (the character) redeemed by his suicide?

We are going to have a discussion on this topic on Wednesday. You need to:

• decide if you think he is redeemed or not
• make some notes based on the help sheet to back up your opinions
• identify evidence (incidents or quotations) from Act 5
• find some critical ideas to support what you are saying - if you can!

Come prepared with your notes to Wednesday's lesson.

Google Scholar will help you find more academic material than just a normal Google search, so try using keywords and see if you can get some useful information from there.

Essay help sheet for Year 12

To what extent does Othello offer a sense of redemption at the end?

redemption  noun

1. improving of something: the act of saving something or somebody from a declined, dilapidated, or corrupted state and restoring it, him, or her to a better condition

2. redeemed state: the improved state of somebody or something saved from apparently irreversible decline

3. atonement for human sin: deliverance from the sins of humanity by the death of Jesus Christ on the Cross

These questions might help you to explore the ideas in the title

1.     What kind of character is Othello?

2.     What kind of relationship does he have with Desdemona?

3.     Is anyone else to blame for his actions?

4.     How does he try to pay for what he has done? Is it enough?

5.     Is he a tragic hero? How is the play tragic?

6.     How are the audience meant to react to him throughout, but especially at the end?

7.     How does it compare to Shakespeare’s other tragedies and tragedies in general?

8.     What elements are redemptive?