Love

Love, Historical Context and Historicism

It is impossible for a writer to disconnect him or herself from the society in which they are operating in. This is why historicist criticism is important.

Context

It is impossible for a writer to disconnect him or herself from the society in which they are operating in.
Some writers may seek isolation from society in order to create a masterpiece but in the end, the society of which they are a part of will seep through into the text.

Historicist criticism

It does not matter if a play is written in 1604 and is about 1425 or 2025, the context of creation will still shine though.
This is why historicist criticism is important and why there is a need in literary studies to understand the historical context of a piece of writing.

‘Ideology of the text’

Some critics call this the ‘ideology of the text’ and when we watch a play like Othello, all the time we are aware of the ideological world in which the text is created.
In essence then, you will be considering how the ideology of love is presented in this text.

Setting

Othello is clearly set a slightly earlier age, in the exotic and distant location of the Mediterranean.
This distances the audience from contemporary London, even though many of the issues in the play are about the world there.

Identity

The play has a background of war and conflict, but also examines issues of identity.
Although black / Moorish people were seen in Renaissance London (people travelled much further than we often conceive of them doing in this period) they were not common and so were still sometimes considered ‘barbarous’ and uncivilised.

Love, Historical Context and Historicism

Love is the strand that binds all of these issues together. It will need to be considered in the light of its historical context, and the values associated with it when the play was first written and performed.

Tradition

The Renaissance was a period of great change, when many established (and often medieval) rules were upturned.
Desdemona and Othello’s union is part of this breaking of tradition.

Iago

The play also shows the rise of individuals trying to break the established order.
This is seen specifically in Iago, who perhaps is over-ambitious in what he wishes to gain.
Characters like Emilia also demonstrate that women were trying to gain more power.

Love

Love is the strand that binds all of these issues together.
It will need to be considered in the light of its historical context, and the values associated with it when the play was first written and performed.

Texts in history

If you chose Specification A in your studies, then what you are specifically interested in is the implication of texts in history.
By this, we mean studying the connections and significances of this play with the society around its time of production and publication.

Historical context

This form of criticism also seeks to destroy the notion that literary texts have a level of ‘genius’ that transcends time.
Instead, we will consider how history interacts with a text and the theme of love.
Although we may not be discussing it always through the lens of tragedy, we do know that tragedy will intersect with the historical context, and vice-versa.

1Context

1.1Introduction

1.1.1Specifications

1.2Background

1.2.1Shakespeare

1.2.2Love

1.2.3Tragedy

1.2.4Historical Context

1.3Othello

1.3.1Setting

1.3.2Social Issues

2Act One: Summaries & Themes

2.1Act and Scene Summaries

2.1.1Structure

2.1.2The Exam

2.2Scene One

2.2.1Key Events

2.2.2Key Themes

2.2.3Key Ideas

2.3Scene Two

2.3.1Key Events

2.3.2Key Themes

2.3.3Key Ideas

2.4Scene Three

2.4.1Key Events

2.4.2Key Events 2

2.4.3Key Themes

2.4.4Key Ideas

3Act Two: Summaries & Themes

3.1Scene One & Two

3.1.1Scene One: Events

3.1.2Key Events 2

3.1.3Key Ideas: Love & Tragedy

3.1.4Scene Two: Events

3.2Scene Three

3.2.1Key Events

3.2.2Key Ideas

4Act Three: Summaries & Themes

4.1Key Events

4.1.1Scene One & Two

4.1.2Scene Three

4.1.3Scene Three: Key Ideas

4.1.4Scene Four

5Act Four

5.1Scene One

5.1.1Key Events

5.1.2Key Ideas

5.2Scene Two

5.2.1Key Events

5.2.2Key Ideas

5.3Scene Three

5.3.1Key Events

5.3.2Key Ideas

6Act Five

6.1Scene One

6.1.1Key Events

6.1.2Key Ideas

6.2Scene Two

6.2.1Key Events

6.2.2Key Ideas

7Character Profiles

7.1Major Characters

7.1.1Othello

7.1.2Iago

7.1.3Desdemona

7.1.4Emilia

7.1.5Cassio

7.2Minor Characters

7.2.1Roderigo & Brabantio

7.2.2Other Characters

8Key Themes

8.1Love & Tragedy

8.1.1Love

8.1.2Love 2

8.1.3Tragedy

8.1.4Tragedy 2

8.2Other Key Themes

8.2.1Public versus Private

8.2.2Appearance & Reality

9Writing Techniques

9.1Writing Techniques

9.1.1Structure

9.1.2Genre

9.1.3Form & Language

9.1.4Language & Imagery

10Critical Debates

10.1Criticism & Performance

10.1.1Shakespeare's Legacy

10.1.2Traditional

10.1.3Modern & Contemporary

10.2Approaches

10.2.1Feminist Approach

10.2.2Psychoanalytic Approach

10.2.3Marxist Approach

11Approaching AQA English Literature

11.1Specification A

11.1.1Specification A

11.1.2Love Through the Ages

11.2Specification B

11.2.1Specification B

11.2.2Aspects of Tragedy

12Issues of Assessment

12.1The Exams

12.1.1AOs

12.1.2Mark Scheme

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