‘OTHELLO’ AS A TRAGEDY

SUMMARY (IN-CLASS)

“Othello” can be considered a tragedy because Shakespeare utilises the Aristotle-inspired trope of a tragic hero who falls from grace, evoking a cathartic sense of pathos within the audience as they share the hero’s downfall and loss of potential greatness

PITY

  • We may feel pity for Othello as he falls victim to Iago’s machinations, who “abuse(s) his ear” from a position of trust - Othello has little reason to doubt “honest Iago”, who has fought alongside him and is thus in a position of trust as a military comrade. The audience also witnesses the duplicitous nature of Iago (even he swears “by Janus” - the god with two faces) and the convincing nature of the “pestilence” of poisoned words/lies he uses to affect Othello’s perception “even to madness”. Seeing Othello’s descent into a “savage madness” as a result of the doubt’s Iago “engenders” in his mind about Desdemona’s faith and fidelity may also evoke pity in the audience, as its clear that he is suffering. The audience are forced to bear witness to a shocking change in Othello - he goes from eloquently professing his love for the “gentle Desdemona” to striking, and eventually plotting to “tear her all to pieces”

FEAR

  • Othello’s fall from grace may also evoke a sense of fear in the audience, as Shakespeare reveals the power of word to influence and corrupt as man as great as Othello - we are told in 1.1 that “another of his fathom they have none” but by the end of the play even he admits that he was “perplexed in th’ extreme” by Iago’s manipulation.

JEALOUSY

  • The play also highlights the fearful potency of jealousy, as an emotion which taints perception (referred to by the metaphor of the “green-eyed monster”). Arguably, jealousy in therefore Othello’s hamartia - the fatal flaw which causes his downfall, poignantly seen when in 3.3 Othello begins to associate anything and everything with the perceived guilt of Desdemona - even accusing Cassio of dreaming of her - causing him to lose the eloquence and confidence he once held earlier on.

TRAGIC HERO

  • Within an Aristotelian tragedy, one would expect the tragic hero to undergo a moment or experience of anagnorisis, in which they realise the impact of their hamartia in causing their downfall. This could be observed in the play when Othello welcomes the punishment he feels he deserves in hell as a result of his sin - he invites the suffering and torment “roast me in sulfur”. He in ensures (in a Jacobean context) that he will meet this punishment, by damning himself through his suicide, however he also frames his suicide as an act of military justice. In his final speech he aligns himself with the “turbaned Turk” - the enemy who “traduced the state” and in killing himself acts out his own execution as the enemy within, suggesting his realisation of the gravity of his crimes. However, his death could be argued to be a self-aggrandising attempt to regain some of his lost honour - in effect he seeks to write his own epitaph (“set you down this”). He notes that he was “not one easily jealous” which certainly contrasts with the audiences appreciation of his descent into jealousy, suggesting he does not fully experience anagnorisis, and in fact seems to see himself as the victim of “unlucky deeds” (fate) and Iago’s ability to perplex him

CRITICS on Othello as a Tragedy

Kastan “Shakespeare’s tragedies explore age-old questions about whether the causes of suffering lie in human weakness, divine retribution, or arbitrary fate - it doesn’t necessarily conclude with clear answers to these”

Nuttall “Contemporary reviewers more commonly praise the playwright’s ability to disturb the emotions of the audience and render them uncomfortable”

DESDEMONA

  1. Is she partly responsible for the tragedy?

    • To an extent -

  2. Why has Shakespeare chosen to make her so virtuous?

    • She becomes an idealised woman

OTHELLO

  1. Evidence that he is more adept at war than love and relationships:

  2. To what extent do you agree that his trusting nature is his hamartia? Is this a more sympathetic interpretation of the character

  3. Evidence that he transformed his love for Desdemona to a love for Iago?

    • “I am bound to thee forever”

    • “This fellow’s of exceeding honesty”

IAGO

  1. Is he an inherently evil character? Or is he arguably as tragic as Othello?

    • I believe

  2. Evidence to suggest Iago is crude, unable to understand love/loving relationships?

    • “It is a common thing… to have a foolish wife”

  3. Does his villainy increase as the play progresses? How/why

    • yes - he has many opportunities to turn back, however he just becomes more evil (using the handkerchief, poisoning Othello etc)

TO WHAT EXTENT DOES SHAKESPEARE PRESENT OTHELLO AND DESDEMONA’S MARRIAGE AS DOOMED TO FAIL?

Act 1, Scene 3: L127-169

  • nobody believes Othello’s word that he didn’t force of do witchcraft on Desdemona for the marriage - “fetch Desdemona hither”

  • “Her father loved me” - Brabantio’s hypocrisy - “she is abused, stol’n from me, and corrupted”

  • Taboo of interracial marriages/always an element of distrust

Act 2, Scene 1: L176 - 206

  • It is almost too good to be true - their purity and joy in the expression of their love

  • Iago outwardly establishes himself as villain “with as little web as this will I ensnare as great a fly as Cassio” - presents himself as powerful, highlights his belief in his ability to succeed in his scheme.

Act 4, Scene 1: