Othello as an Aristotelian Tradegy - Research Paper Example

?“Othello” as an Aristotelian Tragedy 0 Introduction William Shakespeare wrote, “The Tragedy of Othello, the Moor of Venice” around 1603. The play chronicles the life of Othello, Desdemona, Iago, and Cassio. It highlights Othello’s change of fate from happiness to misery upon allowing Iago to poison his mind with jealousy. The play explored varied themes such as love, jealousy, loyalty, racism, and betrayal (as cited in Shakespeare, 1962). The play became widely known during 17th and 18th century. It was even regarded by some critics as one of the greatest English tragedy. “The tragedy of Othello, The Moor of Venice” remains highly acclaimed and prominent in the present century (Shakespeare, 1976, p. 5). This paper aims to determine if the play conforms to the criteria entrenched by Aristotle for tragedy. It presents the characteristics that define the Aristotelian tragedy. In addition, this paper discusses Othello as a tragic hero and play as an Aristotelian tragedy. 2.0 Aristotelian Tragedy Aristotle (as cited in McManus, 1999) reiterated that drama serves as a medium for tragedy. Tragedy demonstrates or shows rather than merely “tells.” Aristotle considers tragedy as more philosophical compared to history as the former delves into what may happen while the latter merely tackles on what has happened (as cited in McManus, 1999). Tragedy has its foundation in the cause-and-effect chain. It engenders fear and pity among audience or readers (as cited in McManus, 1999). Plot is considered as one of the most essential features of tragedy. Aristotle defined plot as arrangement of the incidents. Tragedies that rely on a well-structured cause-and-effect chain are regarded as superior compared to those that depend on personality and character of the protagonist (as cited McManus, 1999). The plot must constitute a beginning, middle, and an end. Aristotle reiterated that the beginning must establish the cause-and-effect chain. The climax or middle must present the effect of previous incidents and consequently lead to future incidents (as cited in McManus, 1999). Lastly, the resolution or end must be caused by previous incidents but not lead to future incidents. In addition, Aristotle stressed that the plot needs to be structurally self-contained through incidents which are tied together by internal necessity wherein each action inevitably leads to the next (as cited in McManus, 1999). Aristotle asserted that the characters support the plot in well-structured tragedies. The personal motivations of the characters are regarded as intricately connected with the cause-and-effect chain which elicits fear and pity among the audience (as cited in McManus, 1999). It is necessary for a protagonist to be prominent and affluent, so his/her fate can be transformed from good to unpleasant. This change of fortune must be engendered by a frailty in character (as cited in McManus, 1999). Aristotle also puts emphasis into how speeches reveal character. In addition, he considers diction, song or melody and spectacle as essential in tragedy (as cited in McManus, 1999). The end of the play must evoke fear and pity among the audience. Aristotle asserted that a tragedy must engender the emotions of fear and pity in order to decrease passion into balanced proportion. Aristotle further talks about the aesthetic pleasure derived by the audience from contemplating the fear and pity that are evoked by a well-constructed work of art (as cited in McManus, 1999). 3.0 Othello as a “Tragic Hero” According to experts, the protagonist in “Tragedy of Othello, the Moor of Venice” exemplified a tragic hero (Oz, 1998). The play at the beginning depicts Othello as a brave general with self-control (Misra, 1992, p. 233). However, his vulnerability to intellectual error became apparent when Iago began to plant the seeds of jealousy into his mind. Iago casts suspicion upon the relationship between Desdemona and Cassio. Othello was impelled by Iago’s innuendo to a warning that he will destroy the cause of his jealousy (Golden, 1984, p. 150). The promise of retribution is what Iago has desired to elicit from Othello. Now that Iago successfully propagated the seeds of jealousy into Othello’s mind, he openly accuses Cassio and Desdemona of adultery (Golden, 1984, p. 150). Unfortunately, Othello was incapable of discerning the true intention of Iago who sought death, destruction and chaos. Othello bid farewell to things he treasure in his life when he finally drowned into extreme jealousy (Misra, 1992, p. 233). Finally, he smothered Desdemona, but also took his own life when he learned from Emilia that his wife is not guilty. Othello asked Lodovico to remember him as the “one that lov’d not wisely, but too well” just seconds before his death (Misra, 1992, p. 233). The sympathy of the audience was elicited on account of Othello’s inherent goodness and his gullibility to the scheming and conniving Iago (Misra, 1992, p. 233). Early on, Othello had a choice either to listen to Iago or trust his wife. Bhattacharyya (2006) noted that a broad-minded man will never listen to a villainous tempter, but Othello became easily deceived. His nature made him gullible to deception and jealousy. He pursued an improper course of action with no delay but with minimal reflection (p. 123). Emotion dulls and confuses his intellect. Shakespeare’s tragic hero commonly lacks a quality necessary for overcoming a special problem (Bhattacharya, 2006, p. 123). Bhattacharyya (2006) noted that Othello fulfills the requirements and conditions of a tragic hero. Othello is widely known as the General of Venice. He is a person with high status in the society (p. 123). Bhattacharyya (2006) further reiterated that Othello possessed a tragic trait that makes him susceptible to Iago’s influence (p. 123). Othello, as a tragic hero, demonstrated the sweetness and grandeur of his nature upon finally succumbing to death (Bhattacharyya, 2006, p. 123). 4.0 The Play as an Aristotelian Tragedy “The Tragedy of Othello, the Moor of Venice” is regarded as a play with superior and commendable dramatic structure based on the criteria entrenched by Hegel and Aristotle for tragedy. The play manifested Othello’s change of fate from happiness to misery. Othello is a son of a king who soared from impediments and found happiness despite being captured far from the land he was born (Oz, 1998, p. 209). He became the commander in chief in Venice’s army. His success reached a peak when he married Desdemona, a daughter of a member in the Senate of the city. Othello’s error lies in his intense love and unbounded jealousy. It marked Othello’s change of fate from happiness to misery (Oz, 1998, p. 209). Jealousy is considered as the primary interest and subject in Othello, as well as the driving force for the play’s plot. It is Othello’s intense love for Desdemona that has driven him into self-hatred and misery (McEachern, 2002, p. 62). However, experts reiterated that it is unimportant whether the jealousy of Othello originates from his intense love for Desdemona or stemmed from his self-love. His blind trust for Iago and readiness in suspecting Desdemona of adultery even without any adequate evidence is regarded as his tragic error (Oz, 1998, p. 209). Several experts suggest that Othello’s trust and innocence are beyond the scope of error or guilt. However, allowing himself to be deceived by Iago is considered as an Aristotelian tragic error (Oz, 1998, p. 209). Othello discovered the cruel intentions of Iago, his own folly and Desdemona's devotion upon Emily’s testimony, Rodrigo’s letters, and Cassio’s disclosure. The discovery is driven by Desdemona’s death, which impelled Othello to confess his suspicions and present evidence of the betrayal of his wife (Oz, 1998, p. 209). Emilia then began to expose Iago’s wicked plans and Othello’s foolishness. Othello admitted his mistakes and took his life for senselessly smothering Desdemona (Oz, 1998, p. 209). These developments elicited fear and pity among the audience (Baum, 2009, p. 28). Aristotle (as cited in Oz, 1998) noted that these tragic emotions serve as the object of tragedy (p. 209). Oz (1998) asserted that the play conforms to the criteria entrenched by Aristotle in defining a tragedy (p. 209). Oz (1998) stressed that a different, tragic arrangement may also correspond to Aristotle’s criteria of tragedy. The play begins with the secret marriage between Othello and Desdemona (p. 209). This union deviates societal norms as it undermines paternal authority (Oz, 1998, p. 209). Brabantio, the father of Desdemona, arduously objects to their marriage. It can be assumed that the secret marriage between Desdemona and Othello is a tragic error. It took place before the play begins and serves as antecedent to the incidents that occurred at the middle and end of the play. It can be regarded as an error that launches the tragedy (Oz, 1998, p. 209). 6.0 Conclusion Othello is considered as a tragic hero as he experienced a change of fate from happiness to misery. Othello was regarded as a prominent General in Venice; however, his life crumbled upon allowing Iago to plant seeds of jealousy into his mind. He has fallen victim to Iago’s influence and smothered his wife. However, he took his own life upon knowing that his wife is not guilty. Othello’s change of fate characterized the Aristotelian tragedy. The consequences of the tragic error committed by Othello evoked fear and pity among the audience. Aristotle considers these emotions as objects of tragedy. Lastly, the play portrays a cause-and-effect chain that serves as a foundation for Aristotelian tragedy. References Baum, O. (2009). Lago’s iniquitous cajolery of the suspicious Othello: An investigation of jealousy and revenge in William Shakespeare’s “Othello” within the context of Elizabethan tragedy and theater. UK: GRIN Verlag. Bhattacharyya, J. (2006). William Shakespeare’s Othello. India: Atlantic. Golden, L. (1984). Othello, Hamlet, and Aristotelian tragedy. Shakespeare Quarterly, 35 (2): 145-156. McEachern, C. (2002). The Cambridge companion to Shakespearean tragedy. UK: Cambridge University Press. McManus, B. (1999). Outline of Aristotle’s theory of tragedy in the Poetics. Retrieved from http://www2.cnr.edu/home/bmcmanus/poetics.html Misra, K. S. (1992). The tragic hero through ages. New Delhi: Northern Book Center. Oz, A. (Ed.). (1998). Strands afar remote: Israeli perspective on Shakespeare. UK: University of Delaware Press. Shakespeare, W. (1962). Othello, the moor of Venice. USA: Forgotten Books. Shakespeare, W. (1976). The tragedy of Othello, the moor of Venice. UK: Heinemann. Read More