TMA01 Reading and Writing Literature PDF

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TMA01 submission for which I passed. Includes commentary and bibliography as well as tutor comments....

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Name: Tian Gasby Personal Identifier: E4245628 Page 1 Written in approximately 1603, Othello: The Moor of Venice is a tragedy by William Shakespeare. One of the main themes of Othello is race. While the play is also written about the love shared between Othello and Desdemona, it also presents odious feelings from characters, reflected from real-life people who surrounded Shakespeare at the time. Othello is a character who has struggled to prove himself and has settled into his identity comfortably in the knowledge that he is different from others, evidenced with the clothes he wears and the way he speaks. He is, however, made complete by his relationship with Desdemona. Shakespeare's characters power the play, and with every choice made within the script, something is determined about the person, whether it be a word or action portrayed. Although many aspects of people's lives have changed since Shakespear wrote Othello, the issues raised are relevant today, as people are still able to relate to them; they captivate the audience as they explore historical topics in modern society. Shakespeare used his environment to conjure desired emotions from the audience, for example, people's hatred towards the Ottoman Empire, something that an English audience, at the time of the original performances would have been angry over. The hatred felt would have played into the sense of urgency when the Venetian government come into conflict over Cyprus, and audience members may have cried out in fear. Shakespeare memorialises these events with his plays, and by doing so provides an analysis on English history still examined today. The use of distinctive language in Shakespeare plays has been analysed for hundreds of years; Shakespeare captivated his audiences by building anticipation. The language used manipulated and concealed the identities of characters; this is especially true as the passage from Othello 'Act 1 Scene 3' begins when Brabantio enters the Duke's council chamber. Once he enters, Othello's significance becomes apparent; a metaphorical spotlight hits him. While Brabantio's name is announced, the Duke addresses Othello first, accentuating the need for Othello's help, as he says, "Valiant Othello, we must straight employ you" (1.3.49). The Duke's confidence is evident, drawing audiences in with his dominance. Only then is Brabantio brought to the Duke's attention, as he says, "I did not see you: welcome, gentle signor" (1.3.51). At this point, the audience may get a sense of character significance and their state of power. Here the Duke may speak in a deep tone, with concern for Brabantio's priorities and with his hands behind his back to exert authority. Brandiano however, demands the attention of the senators, at a time when critical decisions are being made about the future of the city, and although Brabantio apologises, "pardon me" (1.3.53), he explains that he has not come from a concern about the war, "Neither my place nor aught I heard of business / Hath raised me from my bed" (1.3.54-55), but because of his torment, "Is of so flood-gate and o' erbearing nature" (1.3.56). At this point, an audience may feel one of two ways, either sympathy for Brabantio in his plea, or anger at his behaviour. The Duke responds, "Why, what's the matter?" (1.3.60), and Brabantio cries out, "Dead? My daughter; O, my daughter!" (1.3.60), leading the senators to question his outcry, "Dead?" (1.3.60). The use of dramatised language may see Brabantio shouting and throwing his arms around in disbelief. On a dimly lit stage, a spotlight may be pointing towards Brabantio. Brabantio then begins to make accusations against Othello, stating that his daughter, Desdemona, has been "abused, stolen / and corrupted / By spells and medicines bought of mountebanks" (1.3.61-62). The male characters have an overwhelming sense of power, given

Name: Tian Gasby Personal Identifier: E4245628 Page 1 that Desdemona so far only exists in conversation. Mountebanks' were also, according to the Oxford English Dictionary definition (2003), "itinerant charlatan[s] who sold supposed medicines and remedies, frequently using various entertainments to attract a crowd of potential customers". Brabantio believes that Desdemona's love is unnatural and not without witchcraft. In Brabantio's words: "For nature so preposterously to err - / Being not deficient, blind, or lame of sense - / Sans witchcraft could not" (1.3.63-65). The use of simile, repeating the 's' and 'p' sounds emphasises his disgust. An audience may see an actor spitting his words in anger. The Duke assures Brabantio that whoever is accountable will be punished, and chooses to let Brabantio decide the punishment. The Duke is passionate about holding the perpetrator accountable, "Whoe'er he be that in this foul proceeding / the bloody book of law / You shall yourself read in the bitter letter" (1.3.66-69), as he would even punish his child, "though our proper son / Stood in your action" (1.3.70-71). However, when Brabantio thanks the Duke and explains that Othello has committed the crime, "Humbly, I thank your grace. Here is the man: this Moor" (1.3.71-72), it is clear that the senators are shocked, "We are very sorry for't" (1.3.74), as it is not something they expected from Othello. The tone is softer here as they whisper their words. It is clear that the Duke will be deprived of Othello's services, as Brabantio is aware, "Your special mandate for the state affairs / hath hither brought" (1.3.7374). The actors performing these scenes may express regret for Othello's actions. At the same time, Brabantio's tone may be angrier and more self-assured. The Duke allows Othello to speak, "What, in your own part, can you say to this?" (1.3.75), given that Othello has remained silent. Brabantio, however, is quick to speak, "Nothing, but this is so" (1.3.75), dismissing anything which Othello is about to say. Unlike Brabantio however, Othello remains undisturbed and respectfully addresses all who are present in the room, "Most potent, grave, and reverend signiors, / My very noble and approved good masters" (1.3.77-78). Then Othello distinguishes truth from fiction, "That I have ta'en away this old man's daughter, / It is most true; true, I have married her" (1.3.79-82). The irony here is that Brabantio has made many accusations, and the worst that Othello has done is marry Desdemona, as he says, "head and front of my offending" (1.3.81). Othello expects the worst to be said about him, leaving the audience to feel sympathy. An actor playing Othello may present this scene with confidence, looking directly at the other actors, addressing them calmly and perhaps even bowing. Othello continues to explain that he cannot give a good speech, "Rude am I in my speech" (1.3.82). He remains honourable and respectful of his peers and explains to them all that he has faced in the war with great sadness sensed in his tone, "Till now some nine moons wasted" (1.3.85). A modern-day audience may side with Othello as he holds out his hands as if to present the horrors he has faced. After possible feelings of anger, Othello remains calm, which may be viewed differently by critics. It goes on further, as he confesses his undying love for Desdemona and wants to tell the story of how they fell in love, naturally and without misleading, "Yet, by your gracious patience, / I will a round, unvarnished tale deliver" (1.3.90-91). Ironically, however, Othello continues to explain the temptations he used to win Desdemona's heart, "Of my whole course of love: what drugs, what charms, / What conjuration, and what mighty magic" (1.3.92-93). An actor playing Othello may present him as angrier than before and moving his arms to accentuate his words. Othello continues, "I won his daughter" (1.3.94), carrying the idea that his love for Desdemona is more significant than any proposed enchantment. Of course, critics may perceive this performance differently, as there are several alternatives. Othello can be seen as arrogant, but also as innocent.

Name: Tian Gasby Personal Identifier: E4245628 Page 1 Brabantio understands Othello's irony here as he says, Desdemona, "A maiden never bold" (1.3.95). As any loving father would, Brabantio is protecting his daughter. However, his cruel nature becomes apparent as he continues, "and she - in spite of nature, / To fall in love with what she feared to look on?" (1.3.97-99). Brabantio shows prejudice towards Othello, continuing to imply that Othello is the devil, "To find out practices of cunning hell" (1.3.103). An actor may play Brabantio here shouting his words. Brabantio's belief that Othello has pushed "Against all rules of nature" (1.3.102), determines that such love is unnatural and impossible without distortion. Although the Duke has promised that the offender will be punished, he is cynical of the claims, "To vouch this is no proof" (1.3.107). The Duke is aware that there is no evidence to support the accusations, as the only affirmation is "modern seeming" (1.3.110) - presumptions and prejudices. The Duke believes it possible that Desdemona could have fallen in love with a black man and holds no bias, presenting confidently. The First Senator has a crucial question for Othello, "Did you / Subdue and poison this young maid's affections?" (1.3.112). At this point, there are two possibilities. The first is that Brabantio is honest and Othello has poisoned Desdemona's heart with deception. The second is that Othello and Desdemona's love is real. The First Senator defines true love as something that is obtained by "request" (1.3.114). Othello then explains his actions. However, before this, he requests Desdemona, "I do beseech you, / Send for the lady" (1.3.115-116), so that she may reveal the truth of how this love began, "let her speak of me before her father" (1.3.117). Othello is confident and is prepared to surrender both his position as general and his life with Desdemona, "The trust, the office I do hold of you " (1.3.119). The Duke summons Desdemona, "Fetch Desdemona hither" (1.3.122), as the attendants proceed to find her, Othello says, "Ensign, conduct them" (1.3.123). At this point, an audience may witness tension from the actors, anticipating what is to come. Word count: 1,633 words

Bibliography Mountebank (2003) Oxford English Dictionary. Available at https://www-oedcom.libezproxy.open.ac.uk/view/Entry/122915?rskey=iTBQQL&result=1#footerWrapper (A ccessed: 3 November 2020) Shakespeare, W. (2008 [1622]) Othello (ed. M. Neill), Oxford World's Classics, Oxford, Oxford University Press....