Whether Othello Fits Aristotles Explanation of Attributes of Drama - Essay Example

Drama: analytic thinking Aristotle detailed four characteristics necessary to the ideal character in a tragic: goodness,propriety, true to life, and consistency. Explain how the character of Othello, Blanche, or Stanley fits—or perhaps does not entirely fit—Aristotle’s definition of character. Tragedy dramas always recount a conflict between the superior force such as destiny and a protagonist. They are dramas based on human suffering that invokes in its audience a complementary pleasure in the viewing (Sifakis, 24). Aristotle was one of the respected and greatest Ancient Greek philosophers who impacted on drama specifically the idea behind tragedy in drama. His analysis and views of the form of tragic plays provided a standard for later playwrights in Western civilization. For a century, playwrights have tried to imitate Aristotle ideal of tragedy for instance William Shakespeare. In the analysis of Aristotle, it is evident that in an ideal tragedy, character will back the plot. For example, personal impetuses will be intricately connected section of the cause-and-impact chain of deeds producing fear and pity in the audience. In critically analyzing what he meant, it can be drawn that the protagonist should be prosperous and renowned so that his change of destiny can be from good to worse. This sudden change “should be as an outcome, not of vise, but of certain great blunder or frailty in a character.” With that plot, there is the likelihood of creating fear and pity in the audience. Aristotle uses the term, hamartia, usually translated “tragic flaw,” and for decades has been the subject of great debate (Sifakis, 114). The description of the Greek word is closer to “error” than to “flaw,” and I suppose it is best analyzed in the context of what he said about plot and “the rule or likelihood or necessity.” Aristotle stated that in the ideal drama tragedy, the protagonist will erroneously bring about his personal downfall—not because he is morally weak and sinful, but since he does not know enough. Characters in tragedy according to Aristotle should have the following qualities: one he or she should be “good or fine.” Aristotle linked this characteristic to moral duty and said it is relative to the class. He pointed out “Even a lady may be perfect, and also a slave, though the lady may be said to be an inferior person and the slave quite valueless.” The second attribute of characters in the tragedy is “fitness of character” or what is referred to as true to type; for example, heroism is proper for a warrior but not for a lady. The other attribute that he gave was “true to life” or what can be analyzed as realistic “consistency” or true to themselves is another characteristic that Aristotle pointed out. Critically thinking, once a characters nature and motivations are recognized; these should continue throughout the play. Furthermore, characters must be logically developed matching “the law of likelihood or necessity” that controls the actions of the play. Finally, he highlighted the attribute of “true to life and yet more beautiful” to imply idealized or ennobled (Sifakis, 256). The question on whether Othello fits Aristotle’s explanation of attributes of drama is rather contentious one but through detailed analysis it may be confirmed that he did fit Aristotle’s opinion. Othello fits Aristotle’s first guideline, since he is a man of great honor, bravery and pride. In my view, Othello has overpowered many, but not all, of the racist views of Venice and through this has made a great success of himself. In the play, Brabant never considered him to be ‘good enough’ to marry his daughter, but I believe we, as an audience, feel an instant companion with Othello. Despite his lack of class and unenviable role of being a Moor in racist region of Venice, as the audience we do respect and admire him. The second qualification of Othello as a character in tragedy drama is his jealous nature. Othello’s jealousy leads him to kill Desdemona, the only lady he has ever loved. Despite being a “good guy”, Othello never exercised self- control. Othello allowed Lago plant in him the seed of jealousy that led to his downfall. When the play ends, several people have died including him. In my view, Othello has everything going for him and his way yet the story ends tragically; since the hero of the story ends up dead in a disgraceful way. Next, Aristotle highlighted that the tragic must always have a flaw that brings about his downfall. Othello has a personality flaws and enemies exploit this to bring about their downfall. He is portrayed as extremely insecure. Othello has risen from slavery to the mighty position he now holds but despite this he still feels substandard to those around him. Othello himself insinuated that he was lesser when he said, "Rude am I in my expression and less lucky with the soft phrase of peace." He further reinforces that view when he says, "Glad for I am black, And have lacked those soft sections of the conversation." (Shakespeare, 78) In my critical analysis of the play, the character of Othello qualifies him as a tragic hero as per Aristotle views. Likewise, Blanche imitates a tragic heroine in “A Streetcar Names Desire”. Blanche is capable of great accomplishments but the audience observes as she fails. In my view based on facts from the play, unanticipated circumstances, her personal fatal flaws, and a series of poor choices accelerated her downfall. I hold the view that the initial occurrence that marks the start of her downfall is when her husband commits suicide. Blanche‘s husband being gay, and his act of committing suicide set up a podium for Blanche’s downfall. Blanches largest flaw in the play appeared to be her desire. From this case Blanche routines sex with younger men to not only recollects her youth, but also the love she had with her man. This results to several bad decisions that sully her status and also herself. In my critical thinking, her own flaw is this attribute of promiscuity, and it is what later becomes part and parcel of who she is. Blanche then begins to be unsuccessful in her family life. She begins by losing Belle Revue and later loses her sister. We can reason that this is not entirely her mistake, but she failed to say the truth to some extent, which spoiled all of her relationships. Blanche’s chain of poor choices is what results to her ultimate downfall. Though it starts far before she comes to a stop over at Stella, her lying, drinking, promiscuity, and other choices resulted to the loss of all that mattered to her in life. Blanche lost her husband, her reputation, her home, her family and finally her sanity. In my critical view, this is through the music that Blanche hears the lies that she tells and the shadows on the wall. Blanche’s distance from reality equals her downfall and eventual unsuccessful life. Blanche is locked in an insane asylum and has touched her point of failure portraying her as a tragic heroine in the play. Stanley may not qualify or fit Aristotle’s guideline on tragedy drama by majority of his attributes. Despite Aristotle’s view that in the ideal drama tragedy, the protagonist will erroneously bring about his personal downfall—not because he is morally weak and sinful, but since he does not know enough am not convinced to label him hero. Stanleys biggest flaw is his character, and it is not caused by some supernatural blunders of fate but his will. Stanley is a possessive and domineering husband who has profusion of pride. "Remember what Huey Long said-Every Man is a King! And I am the king here, so never forget it!” When he joins Blanche, she comes into his life with her beliefs and views, and criticizes Stanley private lifestyle of gay (Williams, 194). In my critical analysis, Aristotle’s expected a hero who not only the audience could pity, but a role model they identify with. In my critical view, Stanleys character didn’t qualify as his blunders evidently led to the suffering of the innocent woman Blanche. In contrast to Stanley, there is "pity and fear" for Blanche, she is a woman who has "always dangled on the kindness of strangers" and a woman who speaks of the need to avoid "cautious cruelty." There is always little chance that the audience does not feel pity and fear for Blanche (Williams, 92). Blanches presence in the world is imprinted out of pity and fear and is portrayed to the audience, and an emotional catharsis is clear in the audiences reaction to her. Finally, there is the importance to underscore the important role played by Aristotle’s views in shaping the modern plays and poetics. Critically thinking, the tragic hero or heroine should be either better or worse morally than normal individuals, to allow the audience of the play to identify with them. For this also introduces pity, which is critical in tragedy, as if the hero or heroine was perfect we would be angered with their fate or not be bothered especially due to their ideological superiority. This has been the case with Othello and Blanche and to an extent negated Stanley (Williams, 66). On the other hand should the hero be evil or imperfect, and then the views would feel that he got what he deserved. In my analysis, it is always important to strike a balance in the heros character. Work cited Shakespeare, William. Othello: The Moor of Venice. Charleston, SC: BiblioBazaar, 2007. Print. Williams, Tennessee. A Streetcar Named Desire. New York: New Directions, 2004. Print. Sifakis, G. M. Aristotle on the Function of Tragic Poetry. Herakleion: Crete UP, 2001. Print. Read More