Othello Notes
Othello Notes:
Assessment Objectives:
AO1: A consistently fluent, precise writing, using critical terminology to present a coherent and detailed argument in which the question is well understood and answered.
AO2: Well developed, analytical and consistently detailed discussion of effects of language, form and structure and ways in which it affects the audience.
AO3: Well informed and detailed discussion of different readings of the text by various audiences, as well as different critical approaches.
AO4: Well detailed and consistently developed understanding of the significance of context of the text.
Critical Approaches:
A C Bradley (1904):
Othello’s nature is all of one piece. His trust where he trust is absolute. If such passion as jealous seizes him, it will swell into a well night incontrollable flood.
F R Leavis (1952):
Othello has a propensity to jealousy and possess a weak character.
William Hazlitt (1827):
Iago is an example of the typical stage Machiavel who is an amoral artist who seeks to fashion the world in his own interest.
Kenneth Burke:
Desdemona is the an object of possession, while the possessor is himself possessed by his very engrossment
Thorell Tsomondo:
Othello’s initial introduction to the audience takes place in his absence and in the form of gossip. This gossip may be linked to the third person narrative point of view which creates the character it describes.
Kenneth Tyan:
The minute he suspects, or thinks he has the smallest grounds for suspecting, Desdemona, he wishes to think her guilty.
Judgement on the pay as a whole:
Dr Johnson (1765):
The gradual progress which Iago makes in the Moor’s conviction, and the circumstance which he employs to inflame him, are so artfully natural, that we cannot but pity him when at last we find him perplexed in the extreme.
WIlson Knight (1930):
Othello’s poetry hold a rich music of its own, and possesses a unique solidity and precision of
Assessment Objectives:
AO1: A consistently fluent, precise writing, using critical terminology to present a coherent and detailed argument in which the question is well understood and answered.
AO2: Well developed, analytical and consistently detailed discussion of effects of language, form and structure and ways in which it affects the audience.
AO3: Well informed and detailed discussion of different readings of the text by various audiences, as well as different critical approaches.
AO4: Well detailed and consistently developed understanding of the significance of context of the text.
Critical Approaches:
A C Bradley (1904):
Othello’s nature is all of one piece. His trust where he trust is absolute. If such passion as jealous seizes him, it will swell into a well night incontrollable flood.
F R Leavis (1952):
Othello has a propensity to jealousy and possess a weak character.
William Hazlitt (1827):
Iago is an example of the typical stage Machiavel who is an amoral artist who seeks to fashion the world in his own interest.
Kenneth Burke:
Desdemona is the an object of possession, while the possessor is himself possessed by his very engrossment
Thorell Tsomondo:
Othello’s initial introduction to the audience takes place in his absence and in the form of gossip. This gossip may be linked to the third person narrative point of view which creates the character it describes.
Kenneth Tyan:
The minute he suspects, or thinks he has the smallest grounds for suspecting, Desdemona, he wishes to think her guilty.
Judgement on the pay as a whole:
Dr Johnson (1765):
The gradual progress which Iago makes in the Moor’s conviction, and the circumstance which he employs to inflame him, are so artfully natural, that we cannot but pity him when at last we find him perplexed in the extreme.
WIlson Knight (1930):
Othello’s poetry hold a rich music of its own, and possesses a unique solidity and precision of