In Othello, it is the force of Iago's manipulation and accusations against Desdemona and Cassio which bring Othello's gullibility to the surface. In Hamlet, it is his indecision which comes to the surface as a result of his mother's 'o'er hasty' remarriage. Thirdly, the tragic hero comes up against a force or events which serve to bring this fatal flaw to the surface. With Othello this is his naivete and capacity to trust too much, especially the wrong person, in this case Iago. Secondly, the hero usually has some kind of tragic or fatal flaw - a character defect or weakness which leads to his/her downfall. You might be reminded of other tragic heroes such as Hamlet, or Romeo and Juliet. Think of how Othello fulfills these criteria. They are often described as having a noble character, are praised by the great or mighty (kings, dukes etc) and occupy a position of trust. In this respect, it is difficult to compare the nobility of the black Othello to that of white Hamlet.Some points to consider: A tragic hero in the likes of Shakespeare's and other writers' plays, generally begins as a person of great respect and standing in his or her society. These connotations suggest that Othello, whilst respected, is unable to surpass the racism of Venice and become a true nobleman: one could go as far to say that he is merely a gimmick for the white nation of Venice to use and manipulate. This feeds into the stigma (both within Shakespeare’s constructed world and within his contemporary audiences) that “moors” are barbaric, animalistic, and prone to violence. Othello’s role as general of Venice does not fit into these parameters: for his title is not one of nobility, but “warlike”. This can also be seen in his class ranking: Aristotle mentions that a tragic hero must begin in a place of high nobility, such as a king or a prince. Therefore, contradictory to Aristotle’s Poetics, Othello’s high nobility in the first act of the play can be viewed as a falsehood. Brabantio was only willing to accept Othello, despite his status as a Moor, for his exotic “stories” and his talent as a general – not as an equal to him or his white daughter. Despite a casual relationship between himself and the Senator Brabantio depicted before the events of the play, this friendship is ruined with the reveal of Othello’s and Desdemona’s elopement. Othello’s status as a “Moor” ensures his status as an outsider in the society of Venice. However, there are notable aspects of Othello’s character in particular that are distinguished from the likes of Hamlet or King Lear: the most obvious being his race. Othello’s death is poignant, but not undeserved: the audience feels a sense of sombre peace knowing that order has finally been restored to the narrative. If the tragic hero does not die, the play is not a tragedy: his death is undeniable, but brings to the audience a sense of catharsis, culminating the tragic elements of the play. This is the point of peripeteia – Othello is no longer in control of his fate, and death is the only solution not just morally, but thematically. However, Othello’s final hamartia of the play, as he “put out the light” of Desdemona in Act Five, is considered unforgivable by the moral logistics of Shakespeare. Aristotle believed that to evoke pity from the audience, the tragic hero must undergo unfair tribulation. He is a plaything of the gods: this coincides further with Aristotle’s view of the tragic hero. This suggests that fate, “the wheel of fortune”, has some part to play in Othello’s demise, that his tragic path was pre-destined. Furthermore, Cyprus’ ironic title of the “island of love” creates a sense of impending doom for the overly-optimistic Othello and Desdemona. This move is considered a matter of war, and could not have been preconceived, even by Iago, who is firmly established to be a villain of circumstance. In addition, despite the machinations of Iago, the move of setting from Venice to Cyprus is crucial in Shakespeare’s construction of chaos that builds throughout the play before its culmination in Act Five. This scene finely demonstrates the rising action of the play, fitting Freytag’s Triangle. This fatal flaw is harnessed for such a purpose in the pivotal scene of 3:3, wherein Othello’s jealousy (which is popularly assumed to be the flaw), is exacerbated by Iago in their “perverse marriage”. Aristotle defined the archetype of the tragic hero as needing some type of “fatal flaw” in order to be defined as such: this reminds the audience of the humanity of the character, and acts as a device for catastrophe. The first act of the play sees Othello in a high-ranking social sphere, a well-respected man who is, for the most part, good, but not without his flaws. On the whole, Othello’s character and his tragic development are consistent with the Greek notions of the tragic hero.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |