Essay Topics on OTHELLO

NOTE: Since I was late getting the topics posted, you may turn your papers in a week from this Monday, on April 29th, which is the last "regular" class day. 

Select one of the following for an essay on Othello. Like previous papers, this one should be at least 3 pages. Make sure the evidence for this essay is traced from the first act through the last of the drama. Quotes are strongly encouraged for this paper, as it counts 20% of your final grade. When quoting from drama refer to the third example on the following website:  
Citing Lines from Shakespeare

JEALOUSY:  Jealousy, the “green eye’d monster,”  its causes and consequences is at the heart of Shakespeare’s Othello. Not only is the “valiant Moor” stricken with the malady that ruins his life, but so are other major--and minor--characters in the play, specifically Iago, Roderigo, and Bianca. Discuss the insecurity within each of these characters that leads to his/her jealousy, the actions each character takes because of the jealousy and the ultimate consequence that his/her action engenders.

DESDEMONA‘S CHARMS:  “A guiltless death I die,” swears Desdemona, and, indeed, the audience knows she has never been “false” to her husband or had an immoral relationship with Cassio. Nevertheless, what actions, beginning in the first act and carried throughout the drama, does Desdemona commit that help to seal her fate? Why does her feminine appeal at first charm her husband, then contribute to her undoing?

IN DEFENSE OF IAGO: Iago is the mastermind of Shakespeare’s drama, the puppet master who manipulates willing victims with his eloquence and articulation. There is no doubt of his evil, of his schemes, of his wicked intentions from Act I. Shortly after Othello has murdered the fair Desdemona, Iago is exposed by his wife, who is immediately dispatched [killed] by her husband, who then has no more words for the Moor, the men of Cyprus, or the audience. At some point Iago would be brought to a court and no doubt there would be someone to plead the case for “honest Iago.” Assume the role of Iago’s defender and--excluding a plea for insanity--provide an explanation for Iago’s actions and an argument to defend his actions.

ET TU, AUDIENCE:  Many of the most enjoyed dramas  are those in which the audience is in some way involved, in which they feel connected to the action of the characters on stage. In some ways, Shakespeare uses Iago to manipulate the audience, as well as the characters on stage, through Iago’s soliloquies and asides throughout the plays. Trace Iago’s speeches to the audience from Act I through Act V. How does Iago create interest and suspense in  the audience, as well as dramatic irony?  Why are his speeches both enlightening and horrifying to the audience?  Why does the audience follow Iago’s actions and words more closely than any other character in the drama?

An Introduction to Poetry

Is poetry really that “hard” or are we just “lazy”?  Why?

We like our language clear and straight to the point. We like our stories and plays to be entertaining and to be easily understood. We expect to put in time to be able to understand symbolism and irony in either fiction or drama—why don’t we expect a poem to take an equal amount of time?  We associate “short” with easy. Why?

Consider the following short, humorous poem; is there a serious statement underlying the wit of the couplet?  Yes. What else is the speaker saying?

Fleas
Adam
Had 'em.

Poetry is often short, but it is far from easy. Take the following poem by Emily Dickinson: Much Madness is divinest Sense - (620)Much Madness is divinest Sense - (620)

Much Madness is divinest Sense

Much Madness is divinest Sense -
To a discerning Eye -
Much Sense - the starkest Madness -
`Tis the Majority
In this, as All, prevail -

Assent - and you are sane -
Demur - you`re straightaway dangerous -
And handled with a Chain –

Understanding  the vocabulary in a poem is critically important. If there are ANY words you don’t know or understand, get thee to a dictionary!  And don’t just hope to find one definition, find ALL the definitions. Poets love wordplay, puns, double meaning. Poets find it clever; we find it difficult.  Yet poets have a way of phrasing that often reveals truth, as in Dickinson’s poem.

The following poem by Stephen Crane is short, but easy:

What is the poet doing in this short, short poem? Is he being funny? Is he being cold? Is he attempting to reveal something to the reader? Is the universe meant to be “God” as conceived by most people—or is the “universe” something else in this poem?

A man said to the universe:

A man said to the universe:
"Sir I exist!"
"However," replied the universe,
"The fact has not created in me
A sense of obligation."

NEXT:

Textbook: page 11

Obviously, poetry [as we conceive it] no longer must have formal rhyme or even formal rhythm as in the time of ancient Greece or Rome or even “modern” Shakespeare. In fact, there is something very modern called the “prose poem,” which often looks much like a short paragraph. So what DOES poetry have to have to be considered poetry?

Exact word choice – page 12          “Music” – page 15

Figurative language – page 13        ***Questions to ask – page 17

Lines, Notes, Questions AND an IMPORTANT Revelation

Othello

It's important to realize that it is NOT simply adequate to understand the plot, but to be able to consider deeper questions, once you"get" what's going on in the drama. 
For example:
What insecurities trigger Othello's jealousy?
What do the words and actions of the women in the play reveal about the role of women, in general, at this time?
How would the action in the play be different if there were no Rodrigo and Cassio?
What prompts Iago's jealousy? What prompts his misogyny?
How do Iago's soliloquies, as well as remarks by other characters to him and the audience, create dramatic irony in the drama?
How does dramatic irony create interaction between the players and the audience?

Act I: characters are introduced, defined, background/groundwork laid for the action that is to come; if a play  were a painting, this would be the initial sketch, with the focal point identified, but little else

Act I, sc. i

Lines: 7-23; 35-36; 41-64; 95-99; 111-114; 150-153;

Act I, sc. ii

Lines: 3-4;62-79;

Act I, sc. iii

Lines: 48-52; 128-170; 180-188; 287-299;309-381;

Act II: “the plot thickens,” the initial conflict is established, with the antagonist divulging his scheme to the audience, but to no one else; in doing so, he demonstrates his ability to manipulate other characters and fully establishes his role; in this act, the dark and light values and the underpainting is created—the “painting” is become clear, but not fully whole yet.

Act II, sc. i

Cassio’s concern for Othello, his respect for Desdemona, his manners toward Emilia: 1-100; examples of Iago’s  misogyny: 110-158; importance of Iago’s asides: 164-171; 194-196 (again, dramatic irony in the term honest Iago); Iago again uses Roderigo; Iago’s soliloquy: 259-285

Act II, sc. ii

Othello’s trust: 6-10; Iago’s continued scheme, involving Cassio: 35-52—note what happens and how this involves Roderigo; 152-162; dramatic irony in Iago’s lines: 196-200+; Cassio’s punishment leads to his reaction, followed by Iago’s advice; Iago’s soliloquy: 290-315

Act III: THE TURNING POINT; after this act, the “dye is cast;” not only does Iago involve Roderigo in his machinations, but his unsuspecting wife, Emilia, as well; more importantly, Othello succumbs to the scheme laid by “honest Iago” and to his own insecure, jealous nature; the painting Shakespeare began in Act I now has greater development, the mid-values, greater definition in the focal point and clarity

Act III, sc. I; sc. ii

Note what Cassio thinks of Iago: 36-38; Iago begins to suggest Cassio’s involvement with Desdemona, 35-40;

Act III, sc. iii

93- 275; note that Desdemona unwittingly falls directly into Iago’s plan; note the cause of Othello’s headache and of Desdemona’s “napkin” that she drops; Iago’s plan: 320-329; Othello’s internal conflict: 335-363;384-390; note what Othello DEMANDS of Iago: 399; note the dramatic irony that Act III, sc. iii ends with

Act III, sc. iv

Explain the argument between Othello and Desdemona that opens this scene and that between Bianca and Cassio; obviously, note the role the handkerchief plays between both couples

Not that you're lazy, but . . .

It's not a difficult summary to read, but, when all else fails, watch the cartoon:
Othello: the cartoon (Lawsy, lawsy, lawsy!!)

(Sorry--couldn't get the video to post on this one)

Please know that this does not excuse you from READING

OTHELLO - VIDEOS

Othello: in three minutes or less (actually, it is the trailer for the movie). I do suggest you watch the film; the language is difficult for you, but, like any foreign-sounding language, the more you listen, the more understand. The first time you watch it, you won't "get it," but you will, if you listen well and make a concerted effort.

Don't hesitate to use YouTube to find more videos of the play.

Iago's Monologue -- in which he explains how he plans to "ensnare" them all in his "web"

OTHELLO - STUDY NOTES AND QUESTIONS

Beginning study of Othello, Moor of Venice

For more pictures and explanation refer to: Study Aid, with Visuals

For an interesting blog try this: OTHELLO, et. al.

You cannot discuss the characters, much less the plot, if you don't know what's going on. It is YOUR responsibility to find find a summary (for lack of a better word) of the play as a whole, and of each act. I will use the text of Shakespeare's play in class, with the focus on characters. You need to make sure you know WHO is WHO!! 

NOTE:  Classes are not "in sync." Be sure to read the post title.

Take what you already know about Shakespearean drama and add:

  The AUDIENCE- composed of:

groundlings or penny-stinkers

Important [in large part for the same reason audiences are important today] because:
To the playwright:

On stage, two conventions developed:

An Aside

A Soliloquy

While the sets and special effects were limited, great concern was placed on costumes because

Language because

On Shakespeare's tragic heroes:

“Like Greek tragic heroes, Shakespeare’s protagonists are exceptional human beings whose stature makes their misfortune all the more dramatic. These characters pay a high price for their actions. . . . all lead to irreversible results. . . . Tragic heroes confront devastation; they command our respect and compassion, because they act in spite of terrifying risks. Their triumph is not measured by the attainment of what they seek but by the wisdom that defeat imposes on them.” ~ Michael Meyer

* Practical help in reading Shakespeare:
1. Do not rely solely on Spark Notes or No Fear Shakespeare; use them as they were intended, but remember, in class, in your essay, you will not be using either study aid.
2. Refer frequently to the list of characters called the dramatis personae listed and briefly described at the beginning of the play; in Othello, there are several significant characters, as well as minor characters; be sure you are familiar with:
Othello Roderigo Bianca
Desdemona Cassio
Iago Emilia
3. Pay attention to footnotes or allusions in the drama; if you do not understand a reference AFTER reading BOTH the play and your choice of study aid, ASK, but make a genuine effort to figure it out first
4. Don’t just rely on written study aids; try finding an audio file  or recording of the play; hearing professional actors can enrich your understanding
5. AFTER reading the play, view a film of the performance. Try to resist the urge to watch a movie until after you have read the play; by then, perhaps, you will have formed your own ideas about the characters.
(NOTE: It is interesting to watch and listen to different actors to interpret the various roles--some may or may not fit a mental image you have of a particular character.)

Questions (from Michael Meyer, The Compact Bedford Introduction to Literature, 9th ed.):

1. Explain how Iago presents himself to the world. What is beneath the surface of his public identity? Why does he hate Othello so passionately? What makes Iago so effective at manipulating people? What do other characters, besides Othello, think of him?

2. Explain whether you think Othello could have protected himself from Iago’s schemes. What could Othello have done differently to avoid the suffering that ends the play? Is Iago to be blamed for everything, or must Othello shoulder some of the blame?

3. Explain why you think Othello’s racial background does or does not affect the events in the play.

4.  Describe how the two settings, Venice and Cyprus, reflect different social and psychological environments as well as different behavior among the characters.

5.  How does Othello change during the course of the play? Do you feel the same about him from beginning to end? Trace your response to his character as it develops, paying particular attention to Othello’s final speech.

6. Consider how women--Desdemona, Emilia, and  Bianca--are presented in the play. What characteristics do they have in common? How do they relate to the men in their lives?

7. Despite its grinding emotional impact and bleak ending, Othello does have its humorous moments. Locate a scene that includes humor and describe its tone and function in the play.

Oedipus - Questions, Quotes, and Spark Notes (Gasp!)

Before trying to understand either the Spark Notes or the play, it is ESSENTIAL that you understand the story of Oedipus, FIRST, even if the understanding comes from (gag!) wikipedia:

The Story of Oedipus.  Ideally, you can find a copy of Edith Hamilton's Mythology and read her account of the story. Though it is still the same story, Hamilton is the recognized authority on Greek and Roman myths.

What  Spark Notes says about the first 337 lines of Oedipus:

Sophocles’ audience knew the ancient story of Oedipus well, and would therefore interpret the greatness Oedipus exudes in the first scene as a tragic harbinger of his fall. Sophocles seizes every opportunity to exploit this dramatic irony. Oedipus frequently alludes to sight and blindness, creating many moments of dramatic irony, since the audience knows that it is Oedipus’s metaphorical blindness to the relationship between his past and his present situation that brings about his ruin. For example, when the old priest tells Oedipus that the people of Thebes are dying of the plague, Oedipus says that he could not fail to see this (68–72). Oedipus eagerly attempts to uncover the truth, acting decisively and scrupulously refusing to shield himself from the truth. Although we are able to see him as a mere puppet of fate, at some points, the irony is so magnified that it seems almost as if Oedipus brings catastrophe upon himself willingly. One such instance of this irony is when Oedipus proclaims proudly—but, for the audience, painfully—that he possesses the bed of the former king, and that marriage might have even created “blood-bonds” between him and Laius had Laius not been murdered (294–300).

Although the Chorus’s first ode (168–244) piously calls to the gods to save Thebes from the plague, the answer they get to their prayer arrives in human form. Immediately following the ode, Oedipus enters and says that he will answer the Chorus’s prayers. For a moment, Oedipus takes upon himself the role of a god—a role the Chorus has been both reluctant and eager to allow him (see 39–43). Oedipus is so competent in the affairs of men that he comes close to dismissing the gods, although he does not actually blaspheme, as Creon does in Antigone. At this early moment, we see Oedipus’s dangerous pride, which explains his willful blindness and, to a certain extent, justifies his downfall.

The only problem with the notes is that there are no specific lines or examples from the play itself. This analysis is limited in what it can provide, because the online analysis reflects the drama as a whole; it does not take into account the individual translation which is in a given text. Not all translations are the same.

Identify the speaker and the significance in the following lines from the Prologue:

 . . . I have come myself to hear you—

I, Oedipus, who bear the famous name.

 . . . Your own eyes

Must tell you: Thebes is in her extremity

And can not lift her head from the surge of death. . . .

You are not one of the immortal gods, we know,

Yet we have come to you to make our prayer

As to the man of all men best in adversity . . .

 . . . I have sent Creon . . .

To  Delphi, Apollo’s place of revelation.

Then once more I must bring what is dark to light. . . .

Whoever killed King Laios might—who knows?—

Decide at any moment to kill me as well.

By avenging the murdered king I protect myself.

What is the Parodos?  How does it differ from the Prologue?

Quotes and questions  from the Scene I:

Is this your prayer? It may be answered. Come.

Listen to me, act as the crisis demands,

And yo shall have relief from all these evils.

Until now I was a stranger to this tale,

As I had been a stranger to the crime.

What does Oedipus decree as the punishment for concealing the murderer?

Thus I associate myself with the oracle

And take the side of the murdered king

As for the criminal . . .

I pray that that man’s life be consumed in evil and wretchedness . . .

Identify at least 3 examples of dramatic irony between lines 40 – 60.

What evidence is there in this scene, between lines 60-70, that Oedipus is still loyal to the gods?

Explain the significance and irony of Teiresias being a blind seer.

In what way does Teiresias speak in riddles? (lines 100-105;109-110; 125-127)

Explain the sight imagery in these lines:

I say you live in hideous shame with those

Most dear to you.  You can not see the evil.

Explain the sight imagery and dramatic irony  in these lines:

You child of endless night! You can not hurt me

Or any other man who sees the sun.

Who does Oedipus accuse of betraying him and Thebes by murdering Laios?

Identify and explain the sight imagery and dramatic irony in Teiresias’s speech at the bottom of page 171.

What is Teiresias’ final prophecy?

What is an ode? Summarize in your own words Ode I, page 173.

Choose 3 of the following questions to answer in discussion format. Each answer should be written in no more than 1-2 paragraphs, with an opening, body, and conclusion. Do not concern yourself with a lengthy introduction, but a spot-on topic sentence that goes to the heart of the answer, which you will then support and explain.

Questions for Essay Test Spring 2013

1. What is the point of the speech by the Choragos at the very end of the drama? In what way is Oedipus a cautionary tale?
2. Compare and contrast the response of the Chorus to Tieresias with that of Oedipus’ response.
3. Every literary work is, in some way, a product of its time and culture. What is revealed in this drama about Greek religion and its support of “moderation in all things”?
4. Although he never makes an appearance in this play, which god is most prominent in this drama? Who are his “servants” in the drama, and how do they contribute to the discovery Oedipus makes of his own identity?
5. Does Oedipus deserves the punishment he inflicts upon himself, or has he allowed his excessive nature and arrogance to again rule his rationality?
6. At what point in the drama does Oedipus “cross the line” of propriety and allow his pride to become extreme, to exceed the limits of temperance?
7. Which characters try to save Oedipus from himself? Why does he persist in his effort to find the truth? Is he acting on behalf of Thebes or is he completely self-centered in this?
8. Choose a significant quote from the drama that contains both sight imagery and dramatic irony. Identify the speaker, the context of the quote, the sight imagery and dramatic irony within the quote, and explain why this quote is of such importance to the drama as a whole.