Othello: An Aristotelian Tragedy and a Tragic Hero - Coursework Example

Othello: An Aristotelian Tragedy and a Tragic Hero Gil Vargas Liberty 9 November Outline Thesis ment: Othello as an AristotelianTragedy provides an interesting insight of human reaction to love, jealousy and hatred and asserts that man holds the power of destroying not only himself bit also people around him when driven by passion; love, lust, anger or hatred. I. Definiton of Tragedy A. Aristotle’s definition B. It helps in explaining the concept of tragedy II. Othello as an Aristotelian Tragedy A. Characteristics of a tragedy and a tragic hero B. Provides an in depth analysis of the play “Othello” C. A wonderful experience of understanding the concepts of both Shakespearian and Aristotelian Tragedy. III. Characteristics of a tragic hero A. Hamartia and arête B. Similarities between a tragic hero and Othello C. It provides an insight in the mind sets of Shakespeare who was inspired by Aristotle’s poetics to write his tragedies. Abstract Shakespeare’s play “Othello” is inspired by Aristotle’s concept of Tragedy and Tragic Hero because the former incorporates all the characteristics of a tragedy explained by Aristotle. Such a comparison between Shakespeare’s Othello and Aristotle’s theory provides the readers with an interesting experience of getting to know the characters of the play more closely. The various elements incorporated by Shakespeare include, the role of a tragic hero, hamartia and arête. Introduction Aristotle’s definition of a Tragedy has acted as the foundation for the creation of Tragic plays in Classical Literature. Consequently in “Othello” which is a tragic love story it is observed that Shakespeare incorporates almost all the elements of tragedy identified by Aristotle. Hence, “Othello’s” analysis as an Aristotelian Tragedy provides an interesting insight of human reaction to love, jealousy and hatred and asserts that man holds the power of destroying not only himself bit also people around him when driven by passion; love, lust, anger or hatred. Definition of a Tragedy In order to explain the structure of drama Aristotle introduced the first literary theory in the form of “Aristotle’s Poetics” explaining his understanding of tragedy and comedy and their various elements. Gould explains that in poetics, “he (Aristotle) analyzes the structure of tragedy, the nature of the tragic hero, and finally the paradox of tragedy itself” (2003, p.56). So according to Aristotle a tragedy is, “an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions (1961, p.16). Othello as an Aristotelian Tragedy In section 2 of “Poetics” it is mentioned that, “Every tragedy falls into two parts, the complication and the unraveling or the denouement. Incidents extraneous to the action are frequently combined with a portion of the action proper, to form the complication; the rest is the unraveling” (1961, p.58). These notions of ‘complication and unraveling’ are important in the analysis of “Othello” because this also reiterates the authenticity of this play being an Aristotelian Tragedy. Iago’s character acts as a catalyst which results in the complications or misunderstandings that arise in Othello’s and Desdemona’s married life as it mentioned in Act 3 Scene 3, “O beware, my lord, of Jealousy! It is the green-eyed monster which doth mock The meat it feeds on.  That cuckold lives in bliss Who, certain of his fate, loves not his wronger; But O, what damned minutes tells he oer Who dotes, yet doubts; suspects, yet strongly loves!” (1996, p.836). These lines can be interpreted as the beginning of the ‘complications’ in Othello’s married life because from here onwards Iago constantly plays on Othello’s fears and stoke flames of jealousy in him. While the point of ‘unraveling’ can be where Othello laments himself for killing Desdemona as he says, “O cursed, cursed slave! Whip me, ye devils, from the possession of the heavenly sight! Blow me about the winds! roast me in sulphur! ...O Desdemona, Desdemona Dead! O! O! O” because at this point the process of unveiling is complete as Othello now knows the extent of disaster he had caused because of his jealousy. Through out the “Poetics” Aristotle stresses upon the importance of a ‘Tragic Hero’ and it is observed that Shakespeare’s Othello bears a lot of resemblance with Aristotle’s tragic hero. Since Aristotle believed that, “the objects of imitation are men in action, it follows that within each tragedy must be a tragic hero” (1961, p.30). Moreover one of the aspects explicated of a ‘Tragic Hero’ by Aristotle is that, “If you string together a set of speeches expressive of character, and well finished in point of diction and thought, you will not produce the essential tragic effect nearly so well as with a play which, however deficient in these respects, yet has a plot and artistically constructed incidents. Now character determines men’s qualities, but it is by their actions that they are happy or the reverse” (1961. p.31). By this Aristotle means that the essence of tragedy does not lies in the characterization but the actions of the character i.e. the Tragic Hero. As it is also apparent in “Othello” that the audience reacts towards Othello with anger, sympathy and fear through out the course of the play. Another characteristic of a ‘Tragic Hero’ that Aristotle discusses in “Poetics” is the ‘Hamartia’. According to various critics of previous centuries ‘hamartia’ to mean that the hero must have a ‘tragic flaw’ a moral weakness in character which inevitably led to disaster. Although defining ‘Hamartia’ as a moral character flaw may be an apt elucidation because it is the flaw in a character’s nature that leads him to commit certain actions which leads to tragedy. In “Othello’s” case Shakespeare uses Iago as a tool in order to bring forth and highlight Othello’s tragic flaw i.e. his jealousy for Desdemona’s supposed unfaithfulness. The commencement of this particular strategy can be observed in Act 2 Scene 2 where he creates an illusion of being reluctant to talk against his friend Cassio although all along it was him who had plotted the whole brawl scene. As it is stated in the play, “Touch me not so near I had rather have this tongue cut from my mouth than it should do offense to Michael Cassio; Yet I persuade myself to speak the truth Shall nothing wrong him” (1996, p.830). Hence, this simple but clever ploy elevates his credibility and fools the mighty Othello as well as Roderigo and Montano. Oz also states, “…believing in Iago and allowing himself to be trapped in the villain’s intrigue may indeed be considered an Aristotelian tragic error” (1998, p.209). In Act 4 Scene 1 Othello’s epilepsy attack can also be interpreted as a figurative illustration of ‘unraveling’ of the fact that Othello has totally drowned in the sea of jealousy and misery because of Iago as it is mentioned in the play as well, “Lie on her? ...Zounds! ...Noses, ears, and lips? Is’t possible? -Confess? -Handkerchief-O devil!” (1996, p.840). The lethargy which is uncharacteristic of otherwise level-headed and placid Othello followed by his physical collapse reiterates his final capture by Iago and from this point onwards the tragic hero becomes irreversibly cast into a tumult of sin. ‘Arete’ which means goodness or virtue is another important term used by Aristotle in order to describe a ‘Tragic Hero’. Othello appears to be the embodiment of this particular characteristic to the fullest as he is noble, confident, proud and generally well-respected, especially considering that he was a Moor in an important role as a general in Venecian army in a time when racism was most likely prevalent. Moreover later his action of punishing himself is a proof of his inherent goodness as Golden also says, “The decision ... of Othello to cure the agony of his psychic pain (however flawed his understanding of its real cause is) and then to pass the severest judgment on himself, are all actions expressive of mature arête” (1984, p.143). Aristotle states that the function of tragedy is to arouse the emotions of pity and fear, and to affect the Katharsis of these emotions although he uses the word ‘Katharsis’ only once but critics interpret it in terms of purgation, clarification and purification which is again interlinked with ‘unraveling’ in a play. As Schement also states, “The word catharsis comes from the Greek word katharsis, which literally translated means "a cleansing or purging." The first recorded mention of catharsis occurred more than one thousand years ago, in the work Poetics by Aristotle” (2002, p.112). Hence in Othello’s case it appears that he finds catharsis by committing suicide. However regardless of his actions audience is unable to hate him and they find solace in the fact that the protagonist does conquer the part or his flaw that brought about the tragedy though it was very late to make any amends. In his last speech it seems as if Othello steps out of the part of himself containing the flaw which was responsible for his deeds and he is able to kill it. As he says, “Set you down this. And say besides that in Aleppo once, where a malignant and turbaned Turk beat a Venetian and traduced the state, I took by th’ throat the circumcised dog and smote him - thus” (1996, p.843) the audience is particularly moved in Othello’s ironic speech when he discloses before he commits suicide, “Speak of one that loved not wisely, but too well, of one not easily jealous but, being wrought, perplexed in an extreme....” (1996, p.844). It is at this point that Othello comes to terms with his tragic flaw, of his naiveté and lack of wisdom that had led him to destruction. As Mishra also states, Othello’s realization of Desdemona’s innocence from Emilia’s revelation reverses the course of action…this redeeming feature or event raises Othello to the stature of a tragic hero. The tragic hero is an embodiment of those qualities which command respect and admiration of humanity (1992, p.102). Conclusion Aristotle’s “Poetics” actually provides the readers with a guide book to analyze the play “Othello” and draw individual conclusion about the play being a tragedy or not. As Meyers also says about “Poetics”, “A generalization which is supported by all the known facts or instances is incontestable, and may properly be regarded as scientific description.” (2010, p.116). Hence “Othello” appears to be an Aristotelian tragedy and Othello fulfills the definition of Aristotle’s Tragic Hero. References: Butcher, H. S. (1961). Aristotle’s poetics. New York: Hill and Wang. Gould, J. A., & Mulvaney, R. J. (2003). Classical philosophical questions. New Jersey: Pearson/Prentice Hall. Mishra, K. S. (1992). The tragic hero through ages. New Delhi: Northern Book Centre. Myers, H. A. (2010). Aristotles Study of Tragedy. Educational Theatre Journal. Retrieved from http://www.jstor.org/stable/3203554. Oz, A. (1998). Strands afar remote: Israeli perspectives on Shakespeare. Delaware: University of Delaware Press. Schement, J. R. (2002). Encyclopedia of communication and interpretation. California: University of California Press. Shakespeare, W. (1996). The complete works of William Shakespeare. Hertfordshire: Wordsworth Editions. Read More