IB A1 literature Paper 2 Points of Comparisson

Points of comparison:
Othello, Dr. Faustus, A Streetcar Named Desire,
Glengarry Glen Ross
Carlos Cardini May

1 2 3 4 5 6 7
SL 0 - 4 5 - 8 9 - 10 11 - 13 14 - 17 18 - 20 21 - 25
HL 0 - 3 4 - 7 8 - 10 11 - 13 14 - 16 17 - 19 20 - 25

1 2 3 4 5 6 7
S
L
0 -
4
5 -
8
9 -
10
11
-
13
14
-
17
18
-
20
21
-
25
H
L
0 -
3
4 -
7
8 -
10
11
-
13
14
-
16
17
-
19
20
-
25

 Othello:
https://www.sparknotes.com/shakespeare/othell
o/summary.html
 Dr. Faustus:
http://www.sparknotes.com/lit/doctorfaustus/su
mmary.html
 A Streetcar Named Desire:
https://www.sparknotes.com/lit/streetcar/summ
ary.html
 Glengarry Glen Ross:
http://www.sparknotes.com/drama/glengarry/su
mmary.html

 Tragedy and the Heroic concept
 Characters
◦ Protagonists
◦ Antagonists
◦ Secondary and functional characters
 Structure
◦ Layout
◦ Setting
 Mayor themes of comparison:
1. Power and knowledge
2. Identity -> otherness, prejudice and stereotypes
3. Reputation and pride
4. Insecurities
5. Honesty vs. deceit
6. Duplicity and corruption
*Note: Next to each characteristic there will be a number, this
number refers to a major theme (i.e. 6 refers to duplicity)*

Renaissance Tragedy (Othello and
Dr. Faustus)
Modern Tragedy (Streetcar and Glengarry)
• Self-made men, men of position.
• Humanism.
• Questions the unquestioned of
human nature.
• Focus on human behaviour and
emotions.
• Elements of the metaphysical –
the soul.
• Questions the rightness of laws,
morals, conventions of society,
gender, marriage, religion, down
to the very basic of good vs. evil.
• Common man – in Modern society, the
fear of being torn away from our
chosen image of what or who we are in
this world.
• Tragic hero is willing to lay down his
life to preserve his personal dignity.
• Questions and criticises our society,
with focus on the individual psyche.
• Inspires awareness in audience, not
necessarily lessons/morals.
• “Tragedy, then, is the consequence of a
man’s total compulsion to evaluate
himself justly.” –Miller.

Renaissance Modern
Moral superiority Common man
Complex characterisation
(philosophical) –> deep truths,
virtues and imperfections.
(psychological) -> paradoxes and
everyday dilemmas.
Religious influence (virtues and
sins).
Social influence (social Darwinism,
gender roles, cultural norms, etc).
Humanism Individualism
Somewhat realistic (switching
between moral and flawed) ->
human dynamic nature. But
compares humans to higher
powers
Realistic -> portrays human
binarism and compare humans
with society only.
Supernatural events Events are social consequences

Protagonist Moral
superiority
Philosophical
focus
Religious
influence
Humanist Realistic
(dynamic
human
nature)
Supernatural
events
Othello 
General
 reflects
over life and
death, truth,
beauty,
innocence
etc.
× 
Centred on
humans, no
heavenly
purpose

Eloquence ->
insecure.
Bold ->
Fearful
Cruel ->
Merciful
± Storm
Faustus 
Doctor

reflection
over life and
death,
heaven and
hell, truth,
knowledge,
etc

Angles,
Pope,
Devils,
symbols
of Christ
and 7
deadly
sins
 Acts
against
religious
values in
order to
peruse
knowledge,
power and
his ideals
 Moral
authority ->
dark Magician
Eloquence ->
Insecure
Decisive ->
Repentant
Powerful ->
Clown
 Angels,
devils, black
magic, etc.

Protagonist Common
man
Psychological
focus
Social
influence
Individualist Realistic
(binarism)
Events are
social
consequences
Blanche  Rich
from Old
South
(not as
common)
 Psyche
death, lies,
desire, lust,
repression,
social
concern,
depression
 woman
from Old
South ->
not
accepted,
alone,
 Social
focus.
Common
problems
Individual
problems
 Lies,
truths,
reality vs.
illusion,
repression.
Common
dilemmas
 Stuck due
to gender role
and
promiscuity,
needs
affection. ->
Contrasts New
South
Levene 
Salesman

Manipulation,
desire, moral
relativism,
money, death
of American
dream
 80’s,
men strive
to live ->
board
competition
, capitalism
 MONEY,
MONEY,
MONEY.
Social
status,
leads,
egoism.
 Levene
wants
money and
prestige yet
loves his
daughter
above all
else.
Common
 Death of
American
Dream, ->
egoism, moral
relativism,
manipulation
-> Levene’s
character

Major positive characteristics:
Characteristic Dramatic Technique and quote
Intelligence and
Eloquence 1, 2
*SIMILAR DR F,
BLANCE &
LEVENE*
Speaks in verse (iambic pentameter), fancy tone and diction: demonstrates
his intelligence. OTH: “My services which I have done to the signiory/ Shall
out-tongue his complaints. ‘Tis yet to know, -”
Confidence, pride
and self-worth 3
*SIMILAR LEVENE*
Allusions, tone and diction: Othello tells the Duke that he would not give
Desdemona up "for the seas' worth,”. OTH: “Good signior, you shall more
command with years/ Than with your weapons”. “what drugs, what
charms,/ What conjuration and what mighty magic,/ For such proceeding I
am/ charged withal,/ I won his daughter”
Light /white soul Irony: DUKE: “if virtue no delighted beauty lack/ your son-in-law is far
more fair than black."
Humble 3
*CONTRAST WITH
DR F and Iago*
Tone and diction: OTH: “Rude am I in my speech, / And little blessed with
the soft phrase of peace”. He is never rude, this adds to his eloquence
Respected and
high positioned
(General) 3
*SIMILAR DR F*
Senator and Duke describe him as “valiant”. Montano describes him as
“brave”. The herald proclaims him to be “our noble and valiant general”
Believes in
honesty of men 5
*CONTRAST IAGO*
Tragic irony because he is talking with Iago: “Certain, men should be what
they seem”, ““A man he is of honesty and trust”

Outsider/
Otherness 2
*SIMILAR TO DR F,
BLANCHE & LEVENE*
Animalistic imagery used by Iago and Rod (Racism):
“the thick lips”, “Barbary horse”, “now making the beast with two backs”.
Barbantio finds Desdemona’s love for Othello unnatural “To fall in love with what she
fear’d to look on!”
Insecurities
(Contrast with
confidence) 4
*SIMILAR TO
BLANCHE* & LEVENE*
Symbols and lexis choice of Iago expose Oth’s insecurities: race, age, lack of
confidence in Desd’s affection (he believes it is infatuation), otherness, symbolism of
handkerchief, etc. OTHELLO: “My name, that was as fresh as Dian's visage, is now
begrimed and black as mine own face” Oth uses black and white imagery. IAGO: “Ha! I
like not that.”
Jealousy and
emotional
breakdown) ->
Irrational, corruption
of ideals 4 *SIMILAR
TO BLANCHE &
LEVENE*
Loss of eloquence, diction and tone, (iambic pentameter breaks) many juxtapositions
(desperation), Oth stops using verse by the end of Act 3.3 and speaks in short
sentences. “The handkerchief!” “I think my wife be honest and think she is not;” “Death
and damnation! O!”. IAGO: “It is the green-eyed monster!”
Self deceiving (blind
by insecurities) 5
*COMPARE DR F*
*SIMILAR TO
BLANCHE*
“I had been happy, if the general camp,/ Pioners and all, had/ tasted her sweet body,/
So I had nothing known”.
Temperamental/
emotionally unstable.
corruption of ideals 4
-> 2 *SIMILAR TO
BLANCHE & LEVENE*
Dramatic tension and dramatic irony: when he slaps Desd, loss of eloquence, obsession
(i.e. For handkerchief), “O, blood, blood, blood!” “To furnish me with some swift means
of death/ For the fair devil. Now art thou my lieutenant.”
Major negative characteristics:

Characteristic Dramatic technique and quotation
“Friendship” – duplicity
and corruption 6
*SIMILAR MEPHIST &
MOSS*
Tragic irony: IAGO to Rod: “In following him, I follow but myself”. “I will wear
my heart upon my sleeve”. “I am not what I am”. It is also ironic that Rod does
not expect a double crossing.
Jealousy, hatred and
misogyny 4
*CONTRAST WITH
CASSIO*
*SIMILAR STANLEY*
Animalistic imagery of Othello: IAGO: “the thick lips”, “Barbary horse”, “now
making the beast with two backs” “an old black ram is tupping your white
ewe”. “[about Cassio] He hath a daily beauty in his life/ That makes me ugly;”
Intelligence 1
*SIMILAR OTHELLO
*SIMILIAR MEPHIST,
STANLEY & moss*
Speaks in verse (iambic pentameter) with a fancy tone and diction in his first
soliloquy ; this way Shakespeare indicates that Iago is smart and dangerous
(foreshadows Oth’s and Rod’s fall) -> IAGO: “If I would time expend with such
a snipe./ But for my sport and profit. I hate the Moor: […] He holds me well;/
The better shall my purpose work on him.”
Honesty and dishonesty
– duplicity 5
*CONTRAST WITH
OTHELLO*
*SIMILAR TO MEPHIST &
MOSS*
Tragic irony and dramatic tension. Iago abuses of Oth’s trusting nature: IAGO:
“He holds me well;/ The better shall my purpose work on him. […] “The Moor
is of a free and open nature,/ That thinks men honest that but seem to be
so,/ And will as tenderly be led by the nose/ As asses are”
Iago abuses of Cassio’s flaws (drinking) “He'll be as full of quarrel and offense
as my young mistress' dog”
IAGO: “By Janus°, I think no.” °Janus = doubled faced God (symbolism)°
Arrogance 3 *CONTRAST
WITH OTHELLO*
*SIMILAR TO STANLEY,
MEPHIST & MOSS*
Speaks in verse and uses elevated tone and diction. (All of his soliloquies and
conversations with Rod -> he is in control).
False reputation and
pride 3 *CONTRAST
Dramatic tension. Iago is really careful with his betrayal because he does not
want to ruin his reputation.

Innocent, pure,
noble, and of
liberal heart.
Tone and diction. “Be thou assured, good Cassio, I/
will do/ All my abilities in thy behalf.” -> Dramatic
tension, the audience knows of Iago’s plans.
Moral 6
*CONTRAST
WITH EMILIA*
When asked if she would cheat Othello “for all the
world” she answers “No, by this heavenly light!”.
Tragic irony -> The audience knows how Iago has
turned Othello against her. We feel pity and fear for
both Othello and Desdemona and therefore
emphasise the catharsis.

Lacks high moral
standards 6
*CONTRAST
WITH
DESDEMONA*
Speaks in prose, has common tone and diction.
Duologue with Desdemona “but for the whole world,
- why, who would not make her husband a cuckold
to make him a monarch? I should venture purgatory
for’t.”
Emilia’s low moral standards foil Desdemona: they emphasise her noble
nature.

Gullible, honest
and innocent
->ideal for Iago’s
mischief's.
Tone and diction. CASSIO: “My hopes do shape him
for the governor.”
Gentleman 3
*CONTRAST WITH
IAGO*
Tone and diction. CASSIO: “The divine Desdemona”
“Ye men of Cyprus, let her have your knees./ Hail to
thee, lady! and the grace of heaven,/ Before, behind
thee, and on every hand,” “’tis my breeding/ That
gives me this bold show of courtesy. [kissing her.]”

Racist 2
*SIMILAR TO
ROD*
Judges Othello based on stereotypes rather than
analysing his positive characteristics. BRAB: “She is
abused, stol’n from me, and corrupted/ By spells and
medicines bought of mountebanks;”
“That with some mixtures powerful o’er the blood,/
Or with some dram conjured to this effect,/ He
wrought upon her.”
Vengeful 2
*SIMILAR TO
ROD*
Foreshadowing and causing conflict: BAR: “Look to
her, Moor, if thou hast eyes to see:/ She has
deceived her father, and may thee.”¨(couplet =
emphasis)
“engluts and swallows other sorrows, and is still
itself,”

Racist 2
*SIMILAR TO
BRABANTIO*
Judges Othello based on stereotypes rather than
analysing his positive characteristics. ROD: “The
thick lips” Emphasises otherness of Othello. ->
Ignorant.

Funny? *SIMILAR
TO CLOWNS IN
DR: FAUSTUS*
Comic relief: CLOWN: “He’s a soldier, and for one to
say a soldier lies,/is stabbing.”
Remember that most of Renaissance plays had clowns as a means of comic
relief.

 The perfect tragedy happens in 1 day and five
acts, Othello occurs in a few days and five
acts; however, it fits into the Freytag triangle
structure.

Storm
Act 1
Act 2 – 3.2
Act 3.3
Act 3.2 – Act 5.1
Act 5.2

 Symbolises unrest and foreshadows downfall
of the tragic hero.
 The peaceful part of the play stops.
 Pathetic fallacy

 In Venice, Othello was respected by all men and
had the support of the Duke; but in Cyprus the
microcosmic setting exacerbates the
importance and role of honour and reputation
(Othello could not allow supposed cuckold to
stain his prestige).
 And Iago takes advantage of this.
 Venice = civilization
 Cyprus is away from order and culture.
 LODOVICO: “My lord, this would not be
believed in Venice”

Major positive characteristics:
Intelligence and
eloquence 1, 2
*SIMILAR OTHELLO,
BLANCHE & LEVENE
*SIMILAR TO MEPHIST*
Speaks in verse (unrhymed iambic pentameter), soliloquies, fancy
tone and diction, speaks in Latin, Italian and Greek to demonstrate his
intelligence: F: “The reward of sin is death? That’s hard. Si peccasse
negamus, fallimur, et nulla est in nobis veritas./If we say that we have
no sin, /We deceive ourselves, and there’s no truth in us./ Why then
belike we must sin, /And so consequently die.”
Humanist Faustus decides to follow knowledge (in the form of magic) rather
than pursue divine studies -> F: “What will be, shall be!/ Divinity,
adieu!/ These metaphysics of magicians,/ And necromantic books are
heavenly!” Faustus also rejects the idea of Heaven and hell as a
physical place and therefore finds logical to seek earthly knowledge
and pleasures (typical for renaissance man)
Reputation (Doctor) 3
*SIMILAR OTHELLO*
Chorus: “So much he profits in divinity,/ That shortly he was grac’d
with doctor’s name,/ Excelling all,”
Curious (Renaissance
value) 2
Ironic: he does not believe in God but does believe that a higher
power created the universe: “F: Now tell me who made the world? […]
Think Faustus, upon God that made the world”.
Rational, proud. 3
*SIMILAR OTHELLO*
Tragic irony: F: “I think hell’s a fable.”

Major negative characteristics:
Arrogance 3
*CONTRAST WITH
OTHELLO*
Tone and diction: through logical fallacies, Faustus becomes fatalistic:
“everyone sins, and sin leads to death” he neglects to read the next the
next line “If we confess our sins, [God] is faithful and just to forgive out
sins”. Arrogance leads Faustus to his downfall -> Fatal flaw
Over-reaching
ambition 6
*SIMILAR
OTHELLO, BLANCE
& LEVENE*
Allusion and foreshadowing: “His waxen wings did mount above his reach,
And, melting, heavens conspir’d his overthrow;”
Symbols, tone and diction: “I’ll join the hills that bind the Afric shore,/ And
make that country continent to Spain,/ And both contributary to my
crown:”
Outsider/
Otherness 2
*SIMILAR TO
OTHELLO, LEVENE
& BLANCHE*
Tone and diction: Faustus pays de price of being a renaissance man in a
medieval world. -> His motives seem egoist.
Blind by his desire
for knowledge and
power. *COMPARE
WITH OTHELLO ->
BOTH ACT
IRRATIONALLY*
Tragic irony:“F: [Stabbing his arm] Lo, Mephistophilis, for love
of thee,/ Faustus hath cut his arm, and with his proper blood/ Assures his
soul to be great Lucifer’s”

Duplicitous nature 6
*SIMILAR IAGO &
MOSS*
Tragic irony and asides: MEPHIST: “What will not I do to obtain his soul?
[Aside.]” MEPHIST: “I’ll fetch him somewhat to delight his mind.
[Aside, and then exit.]”
Corruption, and deceits
5, 6 *SIMILAR IAGO ,
STANLEY & MOSS*
Symbolism: F: “Ay, so I do. But, Mephistophilis,/ My blood congeals, and
I can write no more.”/ MEPHIST. “I’ll fetch thee fire to dissolve it
straight.”
Tragic irony: MEPHIST: “I do confess it, Faustus, and rejoice:/ ’Twas I
that, when thou wert i’the way to heaven,/ Damm’d up thy passage”
Tragic irony: MEPHIST: “What will not I do to obtain his soul? [Aside.]”
-> abuses of Faustus insecurities (desire for knowledge)
Philosophical figure 1,2
*SIMILAR DR F*
Foreshadowing and ironic. As he explains that Lucifer was “most dearly
lov’d of God” but “by aspiring pride and innsolence;/ For which God
threw him from the face of heaven.” Foreshadows Faustus downfall for
perusing knowledge... °God punishes ambition (even for knowledge)->
is religion a limitant for knowledge? The renaissance man would agree
with Faustus.°
Psychological/ metaphysical state of hell -> “Hell hath no limits, nor is
circumscrib’d/ In one self-place; but where we are is hell,/ And where
hell is, there must we ever be:”
Power, knowledge and
control 1 *SIMILAR DR
F*
*SIMILAR TO IAGO,
STANLEY & MOSS*
Eloquent, various languages, fancy tone and diction, dramatic tension
and tragic irony. Summons Lucifer and Belzebub. Threats him and
inspires fear - F: “O Faustus, they are come to fetch thy soul!”. MEPHIST:
“Per inoequalem motum respectu totius”. “MEPHIST. Thou traitor,
Faustus, I arrest thy soul […] Revolt, or I’ll in piece-meal tear thy flesh.

Reason Verse, tone and diction, tragic flaw, foreshadow:
CHORUS: “His waxen wings did mount above his
reach,/ And, melting, heavens conspir’d his
overthrow;”
Remember that the Chorus represent the voice of reason in a
play; it is used by the playwright to communicate with the
audience and intensify the catharsis.

Good vs. Evil.
God vs.
humanism?
Tone and diction: Good angel speaks truth while Bad
angel elaborates on deceits and lust for knowledge
and power. Good Angel represses desires of Bad
angel just as God limits the pursuit of knowledge in
the Renaissance context -> Faustus always listens to
the Bad Angel (humanism and freedom). The angels
foreshadow Faustus downfall and intensify the
feelings of pity and fear for the protagonist;
therefore emphasis on the catharsis.

Childish/ funny/
immature
*SIMILAR TO
CLOWNS IN
OTHELLO*
*CONTRAST DR.
F*
Comic relief: ROBIN: “A per se, a; t, h, e, the; o per
se, o; Demy orgon gorgon.—
Keep further from me, O thou illiterate and
unlearned hostler!”
Subplots.

Hypocrite
6*CONTRAST
WITH DR F*
Comic relief when Faustus strikes the Pope and
snatches his food. Act 3.2
Subplots.
Symbolism: Pope represents 7 deadly sins (pride,
covetousness, envy, wrath, gluttony, sloth, and
lechery) while he is supposed to be a moral and
religious authority *Huge contrast with Faustus* ->
ironic.
The appearance of the Pope portrays Faustus wrong
use and disappointment of his knowledge and
power.

 Dr Faustus occurs in a 24 years and five acts;
however, it fits into the Freytag triangle
structure.

Act 1.5
Act 1 -1.4
Act 2
Act 3.1
Act 3.2 – Act 5.1
Act 5.2
Act 5.3 Epilogue

 Protestant University
 Cultured, civilised, humanistic -> essence of
humanism.

 Symbolic -> Catholic, Kingdom of God,
hypocrite, Faustus defies religious authority
(humanism vs. heaven/God).

 Blanche is different
from Othello and Dr
Faustus in the sense
that she lacks a
moral superiority,
respect and
reputation; she is
simply a woman. ->
Representative of the
American Old South
Ideals.
Modern
Common man
(psychological) -> paradoxes and
everyday dilemmas.
Social influence (social Darwinism,
gender roles, cultural norms, etc).
Individualism
Realistic -> portrays human
binarism and compare humans
with society only.
Events are social consequences

 Through his staging and other theatrical effects,
Williams created a ‘theatre of gauze’ which
makes the audience more self conscious of the
play going experience, and thus gives ‘truth in
the pleasant disguise of illusion’. This allows the
audience deeper into the experience using
projection, lighting, music, colour and sound to
appeal to the senses.
 “Expressionism and all other unconventional
techniques in drama have only one valid aim,
and that is a closer approach to truth.” -
Williams

Outsider/
Otherness 2
*SIMILAR TO
OTHELLO, DR F &
LEVENE*
*CONTRAST
STANTLY*
Staging and props: The New Orleans setting creates a clear contrast with
Blanche “Her appearance is incongruous to this setting. She is saintly
dressed in a white suit with a fluffy bodice, necklace and earrings of pearl,
white gloves and hat, looking as if she were arriving at a summer tea or
cocktail party in the garden district.”
Tone and diction: that's from my favourite sonnet by Mrs. Browning!”
Gesture: “with faintly hysterical humour”
Stage directions: “Her expression is one of shocked disbelief.” “. There is
something about her uncertain manner, as well as her white clothes, that
suggests a moth”
Insecurities 4
*SIMILAR TO
OTHELLO & DR F
& LEVENE*
*CONTRAST
STANLEY*
Stage directions: “Her delicate beauty must avoid a strong light.”
Symbols and motifs: BLANCHE: “I take hot baths for my nerves. Hydro-
therapy, they call it.” “I can't stand a naked light bulb”
-> Blanche is clearly obsessed with her physical beauty- link to illusion vs.
reality.
Need for attention: “How do I look?” “I was fishing for a compliment,
Stanley.”
Illusion vs. reality
5 *SIMILARITY TO
LEVENE*
Dialogue: BLANCHE: “Yes, Stella is my precious little sister. I call her little
in spite of the fact she's somewhat older than I.”
Symbols: use of white and flowery cloths “Blanche's dress, a flowered
print”= virginal connotations. -> this is also ironic.
More symbols: “Turn that off! I won't be looked at in this merciless glare!”
“I don't want realism. I want magic!” “Virgo is the Virgin.”
Characterisation

Dishonesty and
“reputation” 5
*CONTRAST
STANTLY*
*SIMILAR LEVENE*
-This antiheroic
trait emphasises
the identity of the
modern hero:
binarism
Tragic irony and dramatic tension: “I received a telegram from an old
admirer of mine.”
Dialogue: “I teach high school. In Laurel” “The Hotel Flamingo is not the
sort of establishment I would dare to be seen in!” -> Ironically she states
she went to the “Tarantula” and took her “victims” there.
Symbols: drinking: “[She drinks quickly]
Oh, this buzzes right through me and feels so good!” contrasts with “No, I-
-rarely touch it.”
Intelligence 1, 2
*SIMILAR TO
OTHELLO, DR F &
LEVENE*
Dialogue & Symbols: Blanche is cultured, eloquent and appreciates the
arts: “that's from my favourite sonnet by Mrs. Browning!”
Tone and gesture: Speaks in a fancy manner compared to Stanley, Steve
and Pablo who constantly mix the conjugation of words “we was” instead
of “were”
Temperamental/
emotional (psyche
deterioration) 4 -
> 2
*SIMILAR
OTHELLO, DR F &
LEVENE
Dramatic tension and tragic irony: Stanley is listening: “this party
of apes! Somebody growls […] Don't--don't hang back with the brutes!”
Short sentences: “Let me see, now... I must run through my repertoire! Oh.
yes--I love parrot stories! Do you all like parrot stories?” -> Desperate
Stage directions: “[She stares fearfully at Stella, who pretends to be busy at
the table. The distant piano goes into a hectic breakdown.]” -> Symbolism
Gender and class
conflict
*COMPARE WITH
STANLEY*
Conflict between Old and New South (Stanley and Blanche)
“lurid”. Contrasts with Blanche’s pastel colours and white

Masculinity and misogyny
4 *SIMILAR TO IAGO*
Stage directions and symbolism: “gaudy seed-bearer”. “Napoleonic code” “butcher’s
package”
Tone and diction: “Every Man us a King! And I am the king around her, so don’t
forget it!” “Catch [...] Meat! [Be heaves the package at her.”
Gestures: “[He hurls a cup and saucer to the floor]” “Stanley jumps up and, crossing
to the radio, turns it off. […] he tosses the instrument out the window”
Arrogance *SIMILAR TO
IAGO, MEPHIST & MOSS*
Tone, diction and gestures: “Them dam mechanics at Fritz's don't know their ass
fr'm”. “[grins]”
Intelligence 1
*SIMILIAR MEPHIST, MOSS
& IAGO*
Tragic irony: Stanley hears Blanche’s description of him as an ape but instead of
confronting her he decides to attain enough information to destroy her. Stanley is
familiar with legal terms such as the “Napoleonic code”, has contacts around USA
and shows promise in his work (as described by Stella).
Honesty and dishonesty –
duplicity 5
*CONTRAST WITH IAGO,
MEPHIST & MOSS*
Tragic irony: Stanley proved to be more honest than dishonest; there are 2 main
exceptions: when he hears Blanche criticising his primitive manners and when he
denies raping her. In the first case, Stanley does not tell Blanche he heard her calling
him an ape right away he does not deny it either. In the second he does lie and that
leads Blanche to her inevitable downfall -> dramatic tension.
Corruption 6 *SIMILAR TO
IAGO, MEPHIST & MOSS*
Tragic irony, dramatic tension, conflict and symbolism: When Stanley rapes Blanche,
he betrays both his ideals and corrupts her.
Reputation and pride 3
*SIMILAR TO IAGO,
MEPHIST & MOSS*
Stanely has the reputation of a masculine, strong, intelligent man and is proud of it.
Blanche threatens this view so this creates conflict and dramatic tension.

Passive and
submissive
*CONTRAST
WITH BLANCHE*
Stage directions: “[Stella laughs and complies]”. After
Stanley beats her, she immediately returns: . [Stella
slips down the rickety stairs in her robe. […] Then
they come together with low, animal moans”
Tone and diction. STELLA: “You haven't given me a
chance to, honey!”
Moral 6
*Contrast with
Emilia*
When asked if she would cheat Othello “for all the
world” she answers “No, by this heavenly light!”.
Tragic irony -> The audience knows how Iago has
turned Othello against her. We feel pity and fear for
both Othello and Desdemona and therefore
emphasise the catharsis.

 A Streetcar Named Desire occurs in a few
months (Spring – September) and eleven
scenes; however, it fits into the Freytag
triangle structure.

Scene 1
Scene 2 - 6
Scene 7
Scene 8 - 9
Scene 10
Scene 11

 New Orleans – the French quarter. Very
multicultural and cosmopolitan. Home of Jazz,
oddly tolerant city.
 Powerful contrasts: old French architecture and
the new jazz; Old World refinement mixed with
the grit of poverty and modern life; decay and
corruption alongside the regenerative powers
of desire and procreation.
 This is the changing face of the new America,
clearly represented by the character of Stanley

 Elysian Fields is the name of the rundown
street. The irony is obvious as in classical
mythology Elysian Fields are the equivalent
of paradise or the home of the blessed dead
 The irony is continued in the fact that
Stanley is clearly at home in Elysian Fields,
but the Kowalskis’ home and
neighbourhood are certainly not Blanche’s
idea of heaven

 Blue piano – symbolic, emphasises tension and
emotional breakdown.
 Varsouviana music – Insight into Blanche’s
mind -> dramatic tension.
 Jungle like sounds -> Mental distress, psyche
deterioration.
 Symbolism of Streetcar named Desire. 2 main
interpretations: 1) Loneliness + Desire took
Blanche to self-destruction -> Elysian Fields
 2) Her Desire to live as she ought to, led her to
New Orleans and a possibility - Mitch.

 Theatre of the Absurd- reflects the
meaningless of existence.
 However, much of the structure of Mamet’s
work utilises many of the features of a well-
made-play.
 This means that he has kept the sparseness
and
abruptness of the language, but comments
on themes relating to a loss of spirituality
rather than the concerns of Existentialism.

 Even though the play centres on four
characters, the main tragic focus is drawn to
Levene as he presents the modern hero
characterisation.

Outsider/
Otherness 2 *SIMILAR
TO OTHELLO, DR F &
BLANCHE*
Tone, diction and gesture: It is clear that Levene is different to the other characters; he
is the only character with a dependant family who he is fighting for. LEV: “John: my
daughter...”-> However this could only be a manipulation technique. Levene’s
desperation in act 1.1 emphasise his otherness in comparison to the other characters.
Insecurities 4
*SIMILAR TO
OTHELLO & DR F &
BLANCHE*
*CONTRAST ROMA*
Tone and diction: short sentences, ellipses and his dynamic characterisation in act 1.1
(bragging, threatening, desperation and bribery) emphasise his insecurities. LEV: “all
I’m saying is put a closer one the job…put a proven man out.” “What the fuck talk is
that? Where did you learn that? In school…?” “look at the sheets… […] Fuck him. Fuck
Murray. John? You know?” […] “….Alright, twenty percent, and fifty bucks a lead.”
Illusion vs. reality 5
*SIMILAR TO
BLANCHE*
Allusions to previous years when he sold a lot emphasise his difficulty to cope with
reality : “Bullshit. John. Bullshit. April, September 1981. It's me. It isn't fucking Moss.”
“Lately kiss my ass lately.” “It wasn't luck. It was skill.”
Duplicity 6** This
antiheroic trait
emphasises the
identity of the
modern hero:
binarism
Dramatic irony and duologues. First Levene begs Williamson for help (when he has no
power), but as soon as he sells and earns reputation and power he insults him and
attempts to ridicule him. “Just give me two of the premium leads. As a "test," alright? As
a "test" and I promise you...” compared with “you don't belong in this business. […]
you're scum, you're fucking white- bread. You be as cold as you want. A child would
know it, he's right.”
Care for reputation 3
*SIMILAR TO
OTHELLO, DR F &
BLANCHE*
*SIMILAR TO ROMA &
MOSS*
Repetition of pronoun “I” -> Attempting to get credit?
Tone and diction: Levene is really proud of his accomplishments and shares them with
Roma (sense of admiration towards Roma because he is leading the board). “They
signed, Ricky. It was great. It was fucking great. It was like they wilted all at once.”
Characterisation

Dishonesty 5 *SIMILAR
TO BLANCHE*
-This antiheroic trait
emphasises the identity
of the modern hero:
binarism
Irony: Salesman HAVE to be dishonest to do their job.
Out-of-stage action: Levene stole the leads
Dialogue: When Levene helps Roma with Lingk he is being dishonest
to help Roma close the deal (dishonest nature of salesman)
Intelligence 1, 2
*SIMILAR TO OTHELLO,
DR F & BLANCHE*
*SIMILAR TO MOSS
AND ROMA*
Dialogue: Levene manages to close deals and negotiate the premium
leads from Williamson. “Alright, twenty percent, and fifty bucks a lead.
That's fine. For now. That's fine. A month or two we'll talk.”
Tone and gesture: Once Levene manages to sell, he grows confidence
and his tone and gesture change. -> Compare act 1.1 with act 2
(before Williamson catches him).
Temperamental/
emotional (psyche
deterioration) 4 -> 2
*SIMILAR OTHELLO, DR
F & BLANCHE*
Dramatic tension and tragic irony: Levene is temperamental as he
wants to return to his previous winning streak but he cannot ->
desperate “Fuck him. Fuck Murray. John? You know? You tell him I said
so.” “You are a shithead, Williamson...”
Short sentences emphasise the dramatic tension.
Masculinity 2 The masculine ego is exposed through all the characters. In Levene
we see how he strives to gain power and reputation to feed his ego.
When he makes a sale, his masculinity is exacerbated: he is confident
and arrogant. “A man’s his job,”

 In this play, the Antagonist is not completely
clear; however, Moss seems to act as the
antagonist because through manipulation,
duplicity and other villainous characteristics
he becomes partially responsible of Levene’s
downfall.
 (Moss told Levene the same thing he told
Aaranow -> however Levene agreed to steal
the leads and Aaranow didn’t)

Masculinity 2 *SIMILAR
TO LEVENE & ROMA*
*SIMILAR TO STANLEY*
Tone and diction: Moss is in control of the situation (with Levene and
Aaranow (lower in board and lower in hierarchy symbolic) but in his
conversation with Roma there is conflict. “Who's my pal...? And what are
you, Ricky, huh, what are you, Bishop Sheean? Who the fuck are you, Mr.
Slick...? What are you, friend to the workingman? Big deal. Fuck you”
Arrogance *SIMILAR TO
IAGO, MEPHIST &
STANLEY*
*SIMILAR TO ROMA*
Moss believes he will not be caught as he has an alibi; he believes he can
use others to his pleasure.
Intelligence 1
*SIMILIAR MEPHIST,
STANLEY & IAGO*
Tone and diction (inclusion and exclusion): Moss’ ´constant use of the
pronouns “we” and “them” makes Aaranow fall into his manipulation.
Moss manipulates the weaker characters through their insecurities to be
safe. MOSS: “My end is my business. Your end's twenty-five. In or out.
You tell me, you're out you take the consequences.” (His manipulation
over Aaranow foreshadow his manipulation over Levene)
Honesty and
dishonesty – duplicity 5
*CONTRAST WITH IAGO
AND MEPHIST*
Tragic irony Moss tells Aaranow his plans and lies to him about the
repartition of the money (“I lied”) and then lies to Baylen. MOOS:“Cop
couldn't find his dick two hands and a map. Anyone talks to this guy's
an asshole...” -> dramatic tension.
Corruption 6 *SIMILAR
TO IAGO & MEPHIST*
Tragic irony, dramatic tension, conflict and symbolism: Moss criticise
the capitalist system and talks about the individual, but then steals the
leads and cause more damage to the individual.
Reputation and pride 3
*SIMILAR TO IAGO &
MEPHIST*
Moss cannot ruin his reputation by being fired (if he is not at the top of
the board) so he decides to steal the leads, but if he is caught his
reputation would be ruined so he manipulates Levene into it.

Masculinity 1,2
*SIMILAR TO MOSS &
LEVENE*
Tone and diction: ROMA: “I've...look. (generally) Will someone
get this guy off my back.” [… “I'm doing business. I'll be with
you in a while. You got it...?”
Temperamental 2
*SIMILAR TO LEVENE*
Tone, diction, gesture and stage directions. ROMA: “Oh, fuck.
Fuck. (he starts kicking the desk) FUCK FUCK FUCK!
WILLIAMSON!!! WILLIAMSON!!!” “You stupid fucking cunt. You,
Williamson...I'm talking to you, shithead...You just cost me six
thousand dollars. (pause) Six thousand dollars. And one
Cadillac. That's right. What are you going to do about it? What
are you goin to do about it, asshole. You fucking shit. Where
did you learn your trade. You stupid fucking cunt. You idiot.
Whoever told you you could work with men?”
Confident 1, 2, 3
*CONTRASTS INITIAL
LEVENE, SIMILAR TO
LEVENE IN ACT 2*
Duologue with Lingk in act 1.3
Duplicitous 5, 6
*SIMILAR TO MOSS*
Tragic irony. He tries to manipulate Levene into working with
him to take him money. “ROMA: Do you understand? My stuff
is mine, his stuff is ours. I'm taking half of his commissions--
now, you work it out.”

Resigned
acceptance 2, 3
*CONTRAST WITH
LEVENE, MOSS &
ROMA*
Tone, diction, gestures and stage directions.
Aaranow is frustrated with his inability to close sales
but he accepts it. AARANOW: “(settling into a desk
chair) Oh, God, I hate this job.” “I'm no fucking
good.”
Weak masculinity
2
*CONTRAST WITH
LEVENE, MOSS &
ROMA*
Tone and diction: Aaranow is manipulated by Moss,
he is passive and submissive. He is disregarded by
the other characters. AARONOW: “I didn't...why
should I..."Where were you last..." Is anybody
listening to me...? Where's Moss...? Where...?”
Aaranow’s nice attitude and attempt to form a
friendship is what leads him to be manipulated by
Moss. -> Ironic. Virtues such as honesty are the
causes of Aaranow’s poor sales and victimization.

Represents the
capitalist system
– Rigid and
corrupt 1, 2, 6
Tone, diction and gesture: “WILLIAMSON: I can't do
it, Shelly.” “You start closing again, you'll be on the
board.” compared with “WILLIAMSON: Twenty
percent. […] And fifty bucks a lead.” °
°Ironic: the system is rigged to ensure the hierarchies stay in place, that
leads Levene to bribe Williamson.

No masculinity 2
*CONTRAST WITH
LEVENE, MOSS &
ROMA*
Tone and diction: Constantly interrupted by Roma,
he is submissive. “LINGK I can't regotiate. ROMA
What does that mean? LINGK: That... ROMA: ...what,
what, say it. Say it to me... LINGK I... ROMA: What...?
LINGK: I... ROMA: What...? Say the words. LINGK: I
don't have the power.”
Allusion to his wife as the one in control: “LINGK: My
wife said I have to cancel the deal.” “It's not me, it's
my wife.”
Foreshadowing: Lingk tries to dissolve his contract, this foreshadows that
Levene’s clients will cancel as well.

 Glengarry Glen Ross occurs in two acts and
two days; however, it fits into the Freytag
triangle structure.

Act 1.1
Act 1.3
Act 2
(beginning)
Act 2 (Lingk’s
arrival)
Scene 10
Act 2 (Levene
is discovered)Act 1.2

 Both acts occur in the characters workpalce
-either the restaurant where they have sits
with clients or the office.
 This is symbolic of gender role identity –
masculine ego- their life is their work.

Characteristic Othello Dr. Faustus Blanche Levene
Intelligence &
eloquence
   
Respected
  × ×
Care for
Reputation
   
Otherness
   
Insecurities
   
Irrational
   
Temperamental
   

Characteristic Iago Mephistophilis Stanley Moss
Duplicity
  × 
Jealousy and
misogyny
 ×  ×
Intelligence
   
Corruption
   
Dishonesty
  ± 
Pride and
Arrogance
   

 The success of any drama depends on the credibility of the protagonists. Referring closely to at
least two of the plays you have studied, explore to what extent and in what ways they illustrate the
truth of this statement.
 “To succeed in creating a convincing character, the dramatist needs to give the audience a sense
that characters have inner thoughts and feelings.” To what extent, and in what ways, does this
statement apply to two or three plays you have studied?
 Referring closely to at least two of the works in your study show to what extent and in what ways
dramatists use the irrational behaviour of their characters to further the action of their plays.
 Special abilities, particular strengths, or even superhuman powers can help an individual overcome
obstacles. In what ways have the particular abilities or powers of characters been revealed and to
what effect in at least two works you have studied?
 In everyday usage the word “theatrical” often means extravagant or is used to describe behavior
that exhibits exaggerated emotions. To what extent, and in what ways, do at least two of the plays
you have studied exemplify this definition of “theatrical”?
 “Drama is created by placing ordinary people in situations of crisis.” Explore some of the methods
used to create drama in this way in at least two of the plays you have studied.
 “Comedy exposes human weakness; tragedy reveals human strength.” How and to what extent
does this claim apply to at least two of the plays you have studied?
 A change in status of the characters in a play (a success, for example, a loss or exposure) helps to
convey the ideas and/or values of the dramatist. How and to what extent has change in status
contributed in this way to at least two of the plays you have studied?

 In at least two works you have studied,
discuss the use of minor characters in either
supporting or undermining what appear to be
the goals of the protagonist

 With reference to at least two plays you have studied,
discuss the significance of dialogue in the playwright’s
presentation and construction of character.
 In at least two works you have studied, explore specific
techniques by which dramatists shape and pattern the
speech in their plays and with what significant effect.
 Explore the ways in which dramatists have made use of
monologues and/or soliloquies in at least two plays you
have studied.
 “It is through speech primarily that a dramatist reveals
who his characters are.” Using at least two works you have
studied, show how far you can agree that this is a valid
statement about the writing of plays.

 Plays employ various kinds of structural divisions
such as prologues and epilogues, act and scene
divisions, even carefully placed intermissions. Discuss
the dramatic uses made of these divisions in at least
two plays you have studied.
 Consider the ways in which scene changes may
highlight the development of the characters and their
relationships in two or three plays you have studied.
 With reference to two or three plays you have studied,
examine the dramatic significance of failures in
communication.
 Consider the means by which shifts in tempo are
created, and the consequent dramatic impact of these
shifts, in at least two of the plays you have studied.

 Is action that happens off-stage as important as
that which happens on the stage? Refer closely to
at least two of the works you have studied.
 Looking closely at one or more of the following
elements: lighting, sound and music, discuss the
ways in which they can affect the presentation of
ideas in at least two of the plays you have
studied.
 “The key to the dramatic life of any play is the
fact that action takes place in particular, limited
spaces.” How important is the sense of spatial
confinement to the drama of at least two of the
plays you have studied?

 A dramatist often creates a gap between what the
audience knows and what the characters know. With
reference to at least two plays, discuss how and to what
effect dramatists have used this technique.
 One can read a play or watch it. Which experience is best,
and why? Or are both rewarding in different ways? Discuss
with reference to at least two plays you have studied.
 The audience’s expectation and the fulfillment or reversal
of expectation are both used by playwrights. How have at
least two of the plays you have studied satisfied or
disappointed expectation, and with what effect?
 “A play should make you laugh or should make you cry.”
With reference to at least two plays you have studied,
discuss the methods playwrights use to generate
emotional response in their audiences.

 Comedy exposes human weakness; tragedy reveals human
strength.” How and to what extent does this claim apply to
at least two of the plays you have studied?
 “No matter whether it looms large or is only alluded to,
death makes its presence felt in every piece of theatre.”
Using at least two plays you have studied, say how far you
find such a view to be valid.
 Family relationships are commonly featured in drama. To
what extent, and in what ways, have these relationships
been presented in at least two plays you have studied?
 How do guilt and/or blame contribute to conflict and the
overall effect in at least two of the plays you have studied?
 Referring to at least two plays you have studied, consider
the presentation of jealousy and/or envy, and the ways in
which such presentation is used to further the action in
the plays.

IB A1 literature Paper 2 Points of Comparisson

IB A1 literature Paper 2 Points of Comparisson

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IB A1 literature Paper 2 Points of Comparisson