Goodnight Desdemona Analysis: Alchemy, Characters, and Themes

This essay provides a detailed analysis of Ann-Marie MacDonald's play, 'Goodnight Desdemona (Good Morning Juliet)'. The essay dissects the dramatic purposes of Iago's actions, particularly the use of buckets of filth, and their thematic significance. It explores how these devices contribute to th...Read More

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PART A
Question
In Act II, scene ii, MacDonald’s Iago enters carrying two buckets of filth. Discuss the
dramatic and thematic purposes of this device
Response
The carrying of buckets of filth by Iago plays several literal functions in the play. The
dramatic purpose by this action is revealed through the wishes of conspiring and building havoc
between the characters involved, the original target in Shakespeare’s drama is a character known
as Othello, but in Constance’s reconsideration, is Desdemona (Fox 21). The similarity in both
situations, the buckets of filth is a clear representation of his hostility. The bucket also represents
inclination for tragedy, which represents a universal tendency. Doom for disaster in Macdonald’s
graft is inclined to persons who fail to recognize the compactness and complexity of human

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affiliation. This responsibility is embedded in characters like Constance who convinces women
like Desdemona and Juliet not to fall in traps laid by male writers (Freebury 12). Personal
destruction is demonstrated by the use of bucket of filth, where uncertainty prevails through
tragedies. The bucket of filth can also represent sexism endured by the women. The endurance
faced by the women is revealed in both real world and dramatic one. Women are perceived to act
as sex objects who cannot make their own decision and also face fierce opposition from their
counterpart (men) (Gale 40). Women also play roles of disunity and mistrust among members of
the society. Disunity as a symbolism is through their loose connection and the tendency to avoid
helping one another. Endurance is the epitome expectation from the “bucket of filth” as brought
about by Desdemona who exhibits survival in catastrophic situations and also in the academic
world as a silent victim. Sexism is a clear meaning in that women have personal responsibility
for handling difficult situation wisely to find their own “wise fool.”
PART B
Question
How does Constance use Desdemona and Juliet for the alchemical process of turning
“base metals into gold”? Discuss with specific references to the play.
Response
Alchemy is a conception used to denote the theoretical practice of turning base metal into
gold. This phrase is metaphorically used in Goodnight Desdemona. This notion of turning metal
into gold can also be used to refer to human life where perfections are desired (Chute 132). This
desire is attained after an individual become divine and flawless. Attainments can be achieved in
human life through reciprocation of weakness through a given process. Constance Ledbelly, who

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is the dominant personality in the play, does not trust the notion of perfectness and absence in her
confidence on the academic facts that the innovative author of his work was Shakespeare.
As a substitute for this, she reflects that Rome, Juliet, and Othello were all initially
written by an unidentified playwright. This claim is reinforced through a document inscribed by
a personality recognized as Gustav.
The tragedy by Shakespeare depicts Desdemona as a target of darling and faith. Her
character is seen in her devotion towards her husband through obedience to his commands. On
the other hand, Constance depicts this woman as a strong-headed woman; “gullible and violent”
(McDonald 23). Desdemona finds no bases in the assertions made in the academia that she is a
hopeless target. In response to these claims, she calls it “bullshit!” (Fox 21). Constance has high
respect on Desdemona’s honesty and showers her as “magnificent” and having the ability to
achieve magnificent outcomes referred to as “capable of greatness”
Constance finds a lousy characteristic in Desdemona through her continued inclination
towards tragedy, and this is through periodical involvement in illegal activities which lowers
personal dignity and also exposes her to unprecedented danger (Hwang 514). Constance also
finds another wired characteristic in Desdemona, which is natural exposure to exploitation due to
her angry outlook and jealous nature. Desdemona promises to amend her ways and to start a new
life with limited exposure to dangers exposed previously. This change inspires Constance to find
her strength and confidence during adverse circumstances. Through a dreamlike turn, Constance
finds herself confronting Desdemona, Iago, and Othello (Hochhauser 16). The stories are
tragedies at their core, and she must devise ways to keep track of the story comically.

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Constance is the base metal that turned into gold “led” belly. She starts unremarkably
with little worth to herself and others. At the culmination of the drama, she is perceived as a
confident and a person of excellent value. Her remarkable ending is emphasized through her
receivership of a golden pen (Murray 46). The golden pen is used to represent her ability as an
influential writer in seizing agency for herself, Desdemona and Juliet
At the end of the play, when she returns to her office, her transformation is that of a
whole woman. At this position, she at a point to make significant moves to stand up to her
unconcerned superior and students.

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Work cited
Chute, Hillary L. Disaster drawn: Visual witness, comics, and documentary form. Harvard
University Press, 2016: 132
Fox, Robin. Participant Observer: A Memoir of a Transatlantic Life. Routledge, 2017:pp.21
Freebury-Jones, Darren. Kyd and Shakespeare: authorship, influence, and collaboration. Diss.
Cardiff University, 2016: 12
Gale, Cengage Learning. A Study Guide for Ann-Marie MacDonald's" Goodnight Desdemona
(Good Morning Juliet)". Gale, Cengage Learning, 2016: 34-67
Hochhauser, Sharon. "Take Me Down to the Parodies City: How Heavy Metal Swings." Journal
of Popular Music Studies 30.1-2 (2018): 1-18.
Hwang, Hye-Won. "Creating twenty-first century Korean bodies: public movement education
practice, cultural policy and therapeutic ethos." International Journal of Cultural Policy
24.4 (2018): 504-519.
McDonald, Russ, ed. Shakespeare reread: the texts in new contexts. Cornell University Press,
2018: 23
Murray, Michael D. "Mise en Scène and the Decisive Moment of Visual Legal Rhetoric."
Available at SSRN 3325423 (2019): 46