Thursday, January 26, 2012
Othello Act III
I can't say that I know everything about what is going to happen in this play, but I can assume a few things. Iago is probably going to successfully screw things up. He might even screw them up in the way he desires, but somehow Othello will continue with his life and success because he is the protagonist. Iago will probably end up losing his wife because let's face it, they aren't really in love. Any man that can look at his wife and say things like, "Nay, it is true, or else I am a Turk. / You rise to play, and go to bed work." (II.i.114-115) to his wife is not capable of sustaining a relationship. He outright told his wife she was a (I'll use the word that hopefully won't get me a detention) harlot! That's completely rude and disrespectful. Iago is going to suffer for his horrible, devious actions. And I think his suffering is partially going to be a result of the loss of his wife and his friends.
Othello Act II
Responding to Question #4:
How is dramatic suspense created? Contrast the amount of information possessed by the audience as the play proceeds with the knowledge that various individual characters have: what is the effect of such a contrast?
I've learned to realize that whenever Iago is left alone on the stage, I am about to learn some other deep insight into his evil plan. And I get excited for it. His tone changes, and he becomes more like the evil character he is as opposed to the gentleman he pretends to be. Even in the clip we watched on Wednesday, we saw a shift in the character portrayed by the actor. Iago's voice changed slightly, and he looked directly into the camera. Suspense is created through the expectancy of information whenever Iago begins a soliloquy.
Audience members know as much as Iago knows because he tells them. He clearly explains his feelings and decisions to those watching him in the audience. However, his fellow characters are not this privileged. Othello says this about Iago, "This fellow's of exceeding honesty, / And knows all qualities, with a learned spirit, / Of human dealings." (III.iii.259-261) Othello and the other characters think they know Iago as a gentleman and loyal companion when he is, in fact, just the opposite. He is loyal to no one but himself. The effect of this is that Iago is loved by the characters (except maybe not by his wife), but he is despised by the audience members. This literary tactic evokes sympathy from the audience as we watch/read as the characters walk blindly into Iago's traps.
How is dramatic suspense created? Contrast the amount of information possessed by the audience as the play proceeds with the knowledge that various individual characters have: what is the effect of such a contrast?
I've learned to realize that whenever Iago is left alone on the stage, I am about to learn some other deep insight into his evil plan. And I get excited for it. His tone changes, and he becomes more like the evil character he is as opposed to the gentleman he pretends to be. Even in the clip we watched on Wednesday, we saw a shift in the character portrayed by the actor. Iago's voice changed slightly, and he looked directly into the camera. Suspense is created through the expectancy of information whenever Iago begins a soliloquy.
Audience members know as much as Iago knows because he tells them. He clearly explains his feelings and decisions to those watching him in the audience. However, his fellow characters are not this privileged. Othello says this about Iago, "This fellow's of exceeding honesty, / And knows all qualities, with a learned spirit, / Of human dealings." (III.iii.259-261) Othello and the other characters think they know Iago as a gentleman and loyal companion when he is, in fact, just the opposite. He is loyal to no one but himself. The effect of this is that Iago is loved by the characters (except maybe not by his wife), but he is despised by the audience members. This literary tactic evokes sympathy from the audience as we watch/read as the characters walk blindly into Iago's traps.
Othello Act I
Responding to Question #2:
Is the play a tragedy or comedy, a melodrama or a farce? If a comedy, is it primarily romantic or satiric? Does it mingle aspects of these types of drama? How important to experiencing the drama is the audience's awareness of the classification of the play?
I have never read "Othello" before, but from what I have gathered so far, it is going to turn out to be a tragedy. It does contain some comedic value that lies just below the surface, but it is mainly (so far) the tale of a man who is not content with his position in life. Iago is jealous of Cassio, and he doesn't seem to be able to just be happy. He is extremely talented at manipulating the characters around him, and he likes to be one step ahead of everything. He is a bit melodramatic about some of his complaints in his soliloquies such as the one found on page 1382 of our text stating, "I hate the Moor, / And it is thought abroad that "twixt my sheets / He's done my office. I know not if't be true, / But I for mere suspicion in that kind / Will do as if for surety." (I.i.366-370)
Iago has issues with the Moor because Othello did not appoint him to Cassio's position and Iago is trying to devise a plan of destruction for Othello as revenge. During this soliloquy, he brainstorms ways to hate Othello, and his hatred of the Moor is partially based on the rumor that Othello slept with Iago's wife. Which is a bit ridiculous because Iago also blatantly admits that he has no proof of an affair. He simply needs a reason to hate Othello, and Iago will do whatever it takes to reprimand Othello even though the rumors about Emilia and Othello are most likely not true. Iago is crazy.
To someone not analyzing the classification of the play, it might seem a bit comedic because of Iago's hilariously ridiculous plans and schemes, but it is important to understand that this is indeed a tragedy.
Is the play a tragedy or comedy, a melodrama or a farce? If a comedy, is it primarily romantic or satiric? Does it mingle aspects of these types of drama? How important to experiencing the drama is the audience's awareness of the classification of the play?
I have never read "Othello" before, but from what I have gathered so far, it is going to turn out to be a tragedy. It does contain some comedic value that lies just below the surface, but it is mainly (so far) the tale of a man who is not content with his position in life. Iago is jealous of Cassio, and he doesn't seem to be able to just be happy. He is extremely talented at manipulating the characters around him, and he likes to be one step ahead of everything. He is a bit melodramatic about some of his complaints in his soliloquies such as the one found on page 1382 of our text stating, "I hate the Moor, / And it is thought abroad that "twixt my sheets / He's done my office. I know not if't be true, / But I for mere suspicion in that kind / Will do as if for surety." (I.i.366-370)
Iago has issues with the Moor because Othello did not appoint him to Cassio's position and Iago is trying to devise a plan of destruction for Othello as revenge. During this soliloquy, he brainstorms ways to hate Othello, and his hatred of the Moor is partially based on the rumor that Othello slept with Iago's wife. Which is a bit ridiculous because Iago also blatantly admits that he has no proof of an affair. He simply needs a reason to hate Othello, and Iago will do whatever it takes to reprimand Othello even though the rumors about Emilia and Othello are most likely not true. Iago is crazy.
To someone not analyzing the classification of the play, it might seem a bit comedic because of Iago's hilariously ridiculous plans and schemes, but it is important to understand that this is indeed a tragedy.
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