Tragedy 2

Tragedy and Society

Although the focus is on the home life of Othello and Desdemona, their suffering spreads out into wider society in Venice and on the island of Cyprus.  

Venetian ambition

Although the Venetians do well when the storm abates the Turkish attack, there is still a wider sense of unease in this society.  
In another play, Macbeth, Shakespeare looks at the over-ambition of the titular character.  Maybe Venice too, is presented as being over-ambitious in its claim on Cyprus and its wish to dominate the economy of the Mediterranean Sea.

Foreignness

Its employment of Othello as effectively a mercenary from overseas also reflects this shift in the natural order of things.
However Venetian society deals with Othello - and it is true that most of the society seems to value and appreciate him - he is still an outsider.  - He is still a Moor operating in a white European society.

Religion

Religion is not much mentioned in the text, but Othello is probably a Muslim, having to operate within a Christian world.  
It is not fully clear but Shakespeare may be suggesting that this collision also partly prompts the tragedy.
At the same time, Shakespeare seems aware of the shifts taking place in society and that the movement of people is natural and expected.

‘Domestic’ tragedy

Having read the text it is should be easy for you to see that the play is a ‘domestic’ tragedy and has a very modern feel.
Partly this may be down to the relatively small number of characters that the play focuses upon and because of the intensity of the action.

Love and tragedy

The tragedy of the play clearly engages with the way in which love and marriage are conceived of during the Renaissance.
Love is bound up by a particular set of conventions and maybe here, Othello and Desdemona’s breaking of those conventions prompts the tragedy to happen.  
On the other hand maybe it is less what they have done, but more the people around them (like Iago) who do not approve of what they have done that initiates the tragedy and that they themselves are innocent.

Tragedy and Gender

The tragedy of Othello may actually be seen more as a tragedy of women than of men.

Women in Othello

The three central women in the play: Desdemona, Emilia and Bianca all suffer at the hands of a patriarchal society.
They are often disrespected and in the gender politics of the Renaissance have little voice or say.

Desdemona

Desdemona could be argued to effectively have moved from one man’s control (her father) to another (her husband) but this is perhaps no different than many other women of this period.

Emilia

Emilia is at first complicit with the order, but as the play progresses, appears to challenge it.  
Seemingly, she is punished and killed for doing so.

Bianca

Bianca seems a strong individual in some ways, but is reliant on a man (Cassio) for happiness.

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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