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Transcript of Othello Tragedy
The words of others Other Features 1. Fill in the table, matching the key words to their definitions.
2. What is tragedy? Write a brief answer. The protagonist’s life is influenced by fate but he is also able to act of free will
Tragedies feature dramatic irony: when the audience knows something that one of the characters does not Complication Climax Catastrophe Reversal Exposition Establishing the conflict Our hero experiences a life-changing event that sets him on his mission A big event that provides a turning point from hope to assured tragedy. Provides the decline of the hero. Events spiral towards inevitable tragedy. Final blow to our hero. Either Death or Ruination.
Catharsis for the audience - Releasing of painful emotions Write the following:
For each one, write down the corresponding event in Romeo & Juliet. A Great Man Fatal Flaw Somebody who is important in society.
Somebody who is good, but not perfect. He has a fatal flaw in his character that will eventually lead to his downfall. He will make a fatal mistake because of this flaw. Death The hero will realise he has made a terrible mistake and will face death with honour. What is Romeo's Fatal Flaw?
What is his big mistake? On your tables... Iago ehyeh ašer ehyeh God: "I am that I am" (Exodus,iii,14) Iago: "I am not what I am" (I.1, 65) For each piece of evidence, write down what you learn about...
a. Attitudes towards 'Moors' (North Africans) in Elizabethan times.
b. Attitudes of other characters towards Othello. Iago (to Brabantio, Othello's father-in-law): ‘Even now, now, now, very now, an old black ram is tupping your white ewe [ . . . ] the devil will make a grandsire of you.’ (1.1.87-90) Exhibit A: Roderigo: ‘An extravagant and wheeling stranger of here and everywhere.’ (1.1.134-135) Exhibit B: Iago: ‘You’ll have your daughter covered with a Barbary horse; you’ll have your nephews neigh to you [ . . . ] and jennets for germans.’ (1.1.109-112) Exhibit C: Roderigo: ‘What a full fortune does the thick-lips owe, if he can carry’t thus!’ (1.1.65-66) Exhibit D: Iago: ‘Your daughter and the Moor are now making the beast with two backs.’ (1.1.114-115)
Roderigo: ‘Your fair daughter [ . . . ] transported [ . . . ] to the gross clasps of a lascivious Moor.’ (1.1.120-124) Exhibit E: Brabantio: ‘Is there not charms by which the property of youth and maidhood may be abused?’ (1.1.169-171) Exhibit F: H/W
Research Elizabethan perceptions of 'Moors'
1 side A4.