English Literature: BIG question

Reflect on Act 3 scene 3 so far. Do you think Iago is an opportunist or a strategist? You must give reasons for your response, with quotations from the play to support your opinion. 


I believe that Iago is an opportunist, as Emilia provides him with a small item that can make such a big difference in Iago's hands. the handkerchief she gives him allows Iago to provide 'proof' for Othello that his wife is cheating on him. When Iago and Othello talk, Iago plants seeds in his head when Cassio and Desdemona are talking he says ' ha, I like not that' he gives Othello the impression that something is going on and there is reason to be suspicious. When Othello asks him about it, Iago replies with 'Nothing' this is a crude reference as back in the Shakespearean times it meant that they were having sexual relations. After this conversation of Othello denying that she would cheat as he says 'she had eyes and chose me. No Iago, I'll see before I doubt, when I doubt, prove.' this gives Iago's next plan as Othello has told Iago what he must do to make him believe. this links back to the fact Emilia gives Iago the handkerchief thinking she will receive affection and sexual gratification in return, but she has just aided to Iago's evil plan to destroy Othello.

English Literature: Othello Act 3 Scene 3 questions.

Scene 3:

For what two reasons does Desdemona agree to plead Cassio's case?

She wants to get them back to being best friends and she believes he is good at his job so that’s why she will try to persuade Othello to give Cassio his job back.

What is Iago referring to when he says, "Ha! I like not that."

Iago gives the impression that he should not being saying something and he is holding back important information.

After Othello repeatedly urges Iago to tell him what's on his mind, Iago says "O, beware, my lord, of jealousy;/It is the green eyed monster, which doth mock / The meat it feeds on." What is Othello's response? What does he want from Iago?

Othello wants to know what Iago is holding back and why he keeps inferring that his wife is a cheat and this just winds up Othello more as it just makes Iago appear innocent and Desdemona even more guilty.

What does Iago say about the women of Venice?

Iago says that women of Venice only go for men who are of their own ‘clime, complexion and degree’ this is Iago saying how not in any way is Othello suited to her because he is not of the same age, skin colour or social class as Desdemona.

What contextual evidence do we have to support Iago's views of Venetian women?

Venetian women were seen to be prostitutes and even married women are said to sleep around with any man that they can get their hands on.

Why might this cause Othello to believe this or, at least, not dismiss it immediately?

Othello has always worried that their age gap may affect things, but I believe that he just doesn’t want to believe that his wife would even cheat on him, let alone before he knows the reasons behind it.

Who echoes Brabantio's earlier warning to Othello?

Iago warned Othello that just like back in Venice, Desdemona had deceived her father with Othello, so there’s reason she may do it to Othello with another man. 

Desdemona's handkerchief becomes an important piece of stage business. Why did Desdemona produce it? What happens to it? What might this symbolise? What happens to it? What does Emilia plan to do with it?

Desdemona produces the handkerchief as Othello gets a headache and she want to make him feel better, as they believed that helped headaches. When Othello says it’s too small, inferring that her love is not enough, she drops it and doesn’t realise. This could symbolise their loss of love. Emilia finds it and picks it up as she knows Iago wants it, she doesn’t know what he plans  do with it, but she thinks she may receive sexual gratification in return.

What does Iago plan to do with the handkerchief?

Iago wishes to plant it in Cassio’s bedroom so that Othello can see him with it and start to believe that his wife is cheating on him with his second man.

When Othello returns to the scene upset, what warning does he give Iago?

He indicates to Iago that he is angry and believes that what Iago has told him is false information. He takes it out on Iago because he is confused and doesn’t know what to believe as he trusts Iago but prays that his wife hasn’t cheated on him either.

What 'proof' of Desdemona's disloyalty does Iago give Othello?

Iago’s ‘proof’ is that when they were asleep together, Iago couldn’t sleep and heard Cassio talking in his sleep saying to Desdemona that they must hide their love, as Cassio started kissing Iago’s hand and humping his leg as if it was Desdemona. 

What is Iago's final 'proof'?

Cassio wiping his beard on the strawberry handkerchief as it was an ordinary napkin and worthless.

What is noticeable about Othello's language in this scene? 

It becomes mono-syllabic when talking with Iago, until he produces a massive speech on how he now believes that Desdemona has cheated on him and he is heartbroken and insults her.

English Literature: Act 1 Othello Questions.

Act 1

1.	How does Shakespeare present the world of Venice in the first act, and how does he construct the interactions of his central characters (Iago, Othello, and Desdemona) with that Venetian world and with each other. How are these interactions complicated by the fact that Othello is a Moor and that Desdemona is a young women? Venice is shown to be a bastion of civilization, and is relatively a quiet place. Iago is very cunning and wants to destroy Othello. However, surrounded by his men Othello is very well protected and of high authority, his presence is strong and Iago is jealous of that, because a 'Moor' is higher status to him. Othello and Desdemona's love is very strong and the passion is shown in the first act as they are newly together. But even when Desdemona's father questions and disapproves of Othello she has his back but of their society's attitudes, his love even called him a 'Moor' which is offensive. So that shows how respected and how it complicates them later on in the acts. She is a young woman, and he is older therefore and from the previous lack of being offensive, it could mean that gullible Othello is easier to persuade.
2.	What sort of person is Iago, as he appears in act 1? Are you satisfied by the reasons he gives for hating Othello? What is Iago's relationship with Roderigo?I believe that Iago is a jealous, malicious psychopath. from the values and attitudes made by society against culturally different people, Iago cannot bare the fact that a 'Moor' is of higher status to him. Iago, clearly has psychological issues, as no one else in the play has issues with Othello being in authority. Iago is very psychological manipulative and persuading, as just by his  words he can very quickly influence Roderigo. Roderigo is very foolish and jealous of Othello and Desdemona's marriage so he is very easily persuaded into ruining their relationship in order to be with Desdemona, but that isn't Iago's plan.
3.	What sort of language does Iago use? What sort of language does Othello use? What might be the significance of this difference? Iago uses rhetoric language, as he is very persuasive in order top exploit Roderigo, and in the end get he wants, but by manipulation no evidence will be upon him after it, because he has got Roderigo, the exploited participant to do his work. However, Othello uses restricted code, because he is not as well elaborative. This results in it being inconsistent, throughout the play his language continues to change and vary the more Iago get into his head. Iago is intelligent than Othello, and he puts his trust in Iago by calling him 'honest Iago', this is what allows Iago to have more significance in manipulating Othello to his wife's infidelity. the opposites in their language suggest that Othello will be the weaker character, as he does not have the power with words, where as Iago having rhetoric means that it is very easy to persuade people to do or think  what he wants.

English Literature: Othello Questions.

Why do Iago and Roderigo wake Brabantio?
Iago and Roderigo wake Brabantio as they need to tell him that his daughter has married a man, without him knowing, and that he is black.


How does Brabantio believe Othello ‘won’ his daughter, Desdemona?
Brabantio believed that Othello enchanted her with his 'chains of magic'.


How does Othello believe he ‘won’ Desdemona?
Othello on the other hand believes that he just wooed her .


What two reasons are there for Othello appearing before the senate?
Othello appears before the senate to explain of the Turkish invasion of Cyprus. Then Brabantio accuses Othello of spells so he has to explain his relationship and speak for himself before the Duke.
What do we learn about Othello’s past?
We learn that Othello was a slave in the past and he managed to escape but his marks show the memories.


What terms are used to describe Othello whilst in front of the senate?
A term used is a ' black ram' and is used to say when he is having intercourse with Desdemona.
Also, the 'moor' which is even used by his wife, which is a racist term.




What is significant about Brabantio’s rhyming couplet “Look to her, Moor, if thou hast eyes to
see. She has deceived her father, and may thee.”?
The rhyming couplet shows that if she can deceive once, she will do it again. And when Iago makes a rumour, it is easier for Othello to believe it as she has done it once to his father. This foreshadows the future events.


Can you find an example of dramatic irony in Othello’s retort?
Iago calls himself honest to Othello, when it will be him who deceives him as he makes a rumour up. Also, the audience know this so it creates dramatic irony.


What does Iago persuade Roderigo to do?
Iago contradicts him “Put but money in thy purse,” Iago tells this to Roderigo repeatedly, and urging him to Cyprus. Iago promises to work everything out from there.


What do we learn from Iago’s soliloquy?
Iago is jealous and psychotic as he is jealous of the others in the army and Othello, therefore he goes out to only serve himself and ruin Othello's relationship, as he doesn't care about Roderigo either.

English Literature: Marxist Lens Analysis questions.

• Is there an outright rejection of socialism in the work?

I don’t believe that there is an outright rejection of socialism in The Lady house of love or The Erl-king, but there is subtilizes in both stories where the aristocracy should be overthrown or overcome. To show the communism and socialism, in both stories, they died from a pure character whom is a virgin and they are the results of the deaths.

• Does the text raise fundamental criticism about the emptiness of life in bourgeoisie society?

In The Lady house of love, the countess is isolated from herself, she is the only vampire left and she keeps herself hidden away, as her family before then surfed out the peasants. The only company she has is her servants that work for her. She has no real meaning to her life as she hates the ways she lives by the many ‘shadows’ that are present within the story. In The Erl-king the only companionship that he had was nature and he lures women in by playing the pipe, and then cages them up so they can’t leave. He objectifies the free souls of the women or proletariats as he is lonely and that is all he knows in his emptiness of life.

• In portraying society, what approximation of totality does the author achieve? What is emphasized, what is ignored? Why?

The author manages to take some aspects of the approximation of totality in society, as she explores the inequalities that were faced in the late 1970’s. Class inequalities were only the increase as the proletariats were penurious and the bourgeoisie were just getting more and more wealthy. Carter tries to emphasis on the binary opposites, as she wants to challenge to stereotypes and assumptions, but still keep it as classic fairy tale qualities as she always has the heroine, or the insubstantial character beat and overcome the villain. The Lady house of love and The Erl-king both support this idea, as in the end they both die as the Lady dies by a solider and the Erl, by a strong female.

• How well is the fate of the individual linked organically to the nature of societal forces?

The fate of the characters aren’t decided by the nature of the society, as in these circumstances the two weaker characters should have died as they are the symbols of the proletariats, whereas in the end of the story, both of the ‘stronger’ characters die as the proletariats manage a way to kill them, as they triumph over the bourgeoisie.

• At what points are actions or solutions to problems forced or unreal?

As Angela Carter’s stories are fairy tales, many elements of the story are unreal and hard to achieve, as vampires in The Lady House of Love aren’t real, and she dies as a result of exposing herself to the light because of a solider. Then in The Erl-king he dies as a result of the girl killing him with his own hair, which is unreal.

• Are the characters from all social levels equally well sketched?

In Angela Carter’s stories she well represents the social class of each character, even though the bourgeoisie have the economic power and cultural capital, she creates binary opposites for the characters and makes the weaker characters come out on top and have the power.

• What are the values of each class in the work?

The social class of the characters are important as they show how powerful that character is whether they like it or not.

• What is valued most? Sacrifice? Assent? Resistance? Individuality?

In The Lady House of Love the most powerful value is sacrifice as she kills herself over the purity and innocence of the solider. Whereas in The Erl-King the value is individuality as he is distinct from the rest of them as he is the nature.

• How clearly do narratives of disillusionment and defeat indicate that bourgeoisie values—competition, acquisitiveness, chauvinism—are incompatible with human happiness?

In The Lady House of Love the narrative shows that she is a countess and she isn’t happy with her position whether that is because she is a vampire or if she is a bourgeoisie. This then results in her unhappiness as she doesn’t like what she is and wishes she didn’t have to do what she does. The narrator in The Erl-King suggests that she was seduced by him, and she was happy until she found out what the king was planning to do to her then it all changed.

• Does the protagonist defend or defect from the dominant values of society? Are those values in ascendancy or decay?
In The Erl-King the protagonist defeats the dominant values as she kills him with his own resources. Killing the king empowers the girl making her ascendancy. And in The Lady House of Love she defeats herself as she kills herself in order to be free and away from the dominance, which is decay.

English Literature: Research and Planning

 From H. Bertens' Literary theory:The basics he mentions 'capitalism alienates them[bourgeoisie] from themselves'
using ideas from the critical anthology to inform your argument, to what extent do you agree with this view?

The Lady house of love and The Erl-king.

War had broken out in Europe and she was evacuated as a child to Yorkshire to live with her maternal grandmother, a working-class, matriarchal, domineering, feminist bread granny of the north of England. Carter's first years were later to have so much of an influence on her writing. Her mother was a great literary influence on her, as she devoured book after book and author after author. Her upbringing was very much based on the works of Shakespeare and great names of English literature. There are references to Chaucer, Shakespeare, Lawrence, Wordsworth, Blake, Coleridge, Mansfield, Woolf, Dickens, Keats, Stoker, Carroll and on and on the list will go on...she was not just confined to English literature either. She spoke French and German and was interested in the philosophy of De Sade and Bataille regarding sexuality, Irigaray and De Beauvoir for feminist theory, and Genette and Barthes for ideas concerning intertextuality and analysis of texts. She was also greatly influenced by her short two-year stay in Japan, after having won the Somerset Maugham prize for Literature - she always said that Maugham would have been pleased to know that she used the five hundred pounds - which apparently went further back then - to run away from her husband and British culture.
http://www.sjsu.edu/faculty/harris/StudentProjects/Student_FairyTales/WebProject/Bios/Angela%20Carter.htm



The Bloody Chamber was written in 1979, which was a very unequal society and in 1979, a large proportion of the nation’s income and wealth went the top ruling class (the Bourgeoisie) and in particular the very wealthy top social group, than in the time before 1979. As a result of this there was the highest levels of poverty because the rich were getting richer and the working class were working and working and earning the bare minimum. The sharpest rises in inequality and poverty occurred from 1979 to 1990.
http://www.poverty.ac.uk/editorial/more-unequal-country


The text was written for the society in the time to address issues in a fantasy way. Angela didn't expect the reaction she got for her book as it had twisted elements that the society di not approve of.


Angela Carter's books were described as gynotexts and feministic as well as having some elements to inequality in social classes, as she liked to make binary opposites to clear  the stereotypes, which she wanted to remove in order to create a different side to the story.

The Bloody Chamber is a modernist text which has a blurring of genres in which it is the blurring of gothic and fairy tales. It changes the traditional roles and represents them differently, which Carter does as she uses binary opposites in many of her short stories.

Fairy tales are often viewed as harmless stories that people read to their children at bedtime every night. Gothic novels in the context of the many timeless fairy tales in literary history, that gothic novels are the grown up version of the fairy tale? Gothic novels are not exactly bedtime reading material.  But if one looks closely at fairy tales throughout the centuries, one can find that the two genres are really quite like one another in a number of ways. The fairy tales of the Grimm Brothers are ironic fairy tales in that they are actually quite grim and violent.  Although they include the obvious fairy tale elements of vengeance for the wronged, true love, and of course, the underlying lesson always reminiscent of Aesop, they are gory, dark and just plain scary at times.  They read like horror stories with happy endings.  And a horror story is exactly what many gothic novels are – grim and violent.

http://www.sarahghoshal.com/writing-pubs/academicpapers/thegothicandthefairytale

English Literature: Exam Questions.

Prose: The Lady House of Love



*1) From H. Bertens' Literary theory: The basics he says 'capitalism alienates them from themselves'

Using ideas from the critical anthology to inform your argument, to what extent do you agree with this view?

2) 'we tend to assume that our thinking is free, unaffected by material circumstances. In our minds we can always be free. Wrong, says Marxism, minds aren't free at all, they only think they are.'

Using the ideas from critical anthology and wider knowledge, to what extent do you agree with this statement?

3) 'It is not the consciousness of men that determines their existence, but their social existence that determines their consciousness'.

Applying your knowledge and using ideas from the critical anthology, to what extent do you agree with this view?

* Preferred question