The modern definition of a tragedy is any serious accident, crime, disaster, or great misfortune (“tragedy, 2009). However in order to classify a play as a tragedy, the more formal definition constructed by Aristotle in the 4th century B. C. must be used. Aristotle defined a tragedy as “an imitation of an action of high importance, complete and of some amplitude; in language enhanced by distinct and varying beauties; acted not narrated; by means of pity and fear effecting its purgation of these emotions” (Kennedy & Gioia, 2013). Shakespeare’s Othello, the Moor of Venice is set in Venice and Cyprus during the
Renaissance. The play recounts the story of Othello, a Moorish general in the Venetian army, and his new bride Desdemona, the daughter of a Venetian nobleman. Othello’s ancient, lago, manipulates circumstances to convince a very trusting Othello that Desdemona has been unfaithful. Othello, unconvinced by Desdemona’s claims of innocence, smothers her in an act of revenge. After discovering that he has been fooled by lago, Othello, overcome with grief and shame commits suicide. In order for a protagonist to be declared a tragic hero according to Aristotle specific requirements must be met.
He must be a erson of esteem, be fallible, and be defeated in the end. While the play does take on the unfortunate story of a love ending in a murder-suicide, the question of whether it provides proof of being a truly Aristotelian tragedy with Othello as a tragic hero must be determined. Othello, being of high estate, having the tragic flaws of jealously and naivete, and falling from grace is by definition a tragic hero, therefore Shakespeare’s Othello, the Moor of Venice is an Aristotelian tragedy. The first characteristic of a tragic hero, as defined by Aristotle, is that of being in high esteem.
So, although Othello is foreign orn and not a member of a royal family, his position cannot be in doubt. Othello meets this requirement by having risen to hold the rank of a general in the Venetian army and by having married Desdemona, the daughter of a Venetian nobleman, Brabantio, a senator. It is made clear that Othello is held in high regard by the senate when he is announced as “the valiant Moor” (1. 2. 49). In addition Othello is asked to lead the army in the battle against the Turkish army’s invasion of Cypress. Even lago, who despises Othello has believes he will be a good husband to Desdemona. 2. 1. 261-64).
Othello, being a well- espected member of society, does very well seem to meet the first characteristic of Aristotle’s definition of a tragic hero. Although Othello does possess the first characteristic of a tragic hero, he also possess the second characteristic, a tragic flaw. In Othello’s case, this undesirable trait manifests itself as gullibility combined with a jealous nature and violent temper. Many critics place emphasis on the manipulation of Othello by lago as the source of Othello’s downfall. However as Alexander W.
Crawford states in his article Hamlet, an ideal prince and other essays in Shakespearean interpretation: Hamlet; Merchant of Venice; Othello; King Lear, “In the matter of Othello and lago, it cannot fairly be maintained that lago was the sole cause of the calamities that befell Othello. In general it must be said that there is no Shakespearean tragedy in which the responsibility for the deed of the hero and the subsequent tragedy can be shifted from him to another person of the play. ” (Crawford, 2009). Othello’s tragic flaw is clearly illustrated by lago, while detailing intentions in his speech to Roderigo.
IAGO. Thus I ever do make my fool my purse; For mine own gained knowledge should profane If I would time expend with such a snipe But for my sport and profit. I hate the Moor; And it is my thought abroad that twixt my sheets He’s done my office, I know not if’t be true; But I, for mere suspicion in that kind, Will do as if for surety. He holds me well; The better shall my purpose work on him. Cassio’s a proper man. Let me see now: To get his place and to plume up my will In double knavery-How, how? -let’s see: After some time, to abuse Othello’s ear That he too is familiar with his wife.
He hath a person and smooth dispose To be suspected, framed to make women false. The Moor is of a free and open nature, That thinks men honest that but seem to be so, And will tenderly be led by the nose As asses are. I have’t. It is endangered. Hell and night Must bring this monstrous birth to the world’s light. (1. 3. 360-381). Although lago manipulated circumstances and emotions, Othello must still be held accountable for his actions. If the blame is to be placed solely or even partially on lago, Othello becomes nothing more than a mere puppet and lago the puppet master.
In other words, in the case of Othello, as well as all the other tragedies, it comes down to the passion of the hero that is the main cause of all the action of the play that finally and certainly destroys the hero (Crawford, 2009). Othello, by murdering Desdemona, caused his fall from grace. However, some critics offer a different opinion. Marcia Macaulay wrote that Othello is more of a co narrator with lago, in the sense that Othello does not take responsibility for any of his actions. In Act 1, he claims his heart has been ensnared by Desdemona, and again in Act 5 that his mind was ensnared by lago (Macaulay, 2005).
However, in the end, Othello, overcome by grief and shame of what he has done and commits suicide. While Othello meets the second condition for the definition of a tragic hero, does he meet the final criteria? Aristotle’s definition includes the need for the feeling of pity for the tragic hero. The character of Othello strikes this chord in numerous ways. Desdemona’s reasons for falling for Othello despite the things that would have kept them apart, and again lago’s assertion that Othello was too trusting and believed all men to be morally good.
This puts Othello in a place to be pitied when he falls from grace (Golden, 1984 p. 144). In a way, Othello believes he is doing the right thing in the taking of Desdemona’s life. OTHELLO. O perjured woman! Thou dost stone my heart, And makes me call what I intend to do A murder, which I though a sacrifice. (5. 2. 66-68). He is acting out of his love for her and believes by taking her life, he will prevent her from hurting anyone else as he has been hurt. “It is in the word “sacrifice” that we see the true nature of Othello’s love.
For in taking Desdemona’s life he does not act to destroy but to preserve the profound beauty and purity of the relationship” (Golden, 1984 p. 144). The punishment Othello receives is not necessarily his death by suicide, or just the loss of his wife, it is the loss of his reputation and command that seem to be a bigger punishment for his actions (Jeffery & Grant, 1970). By committing the murder, Othello has fallen from grace and lost everything he holds dear.
Othello himself meets all the qualifications of Aristotle’s definition of a tragic hero, but does the play Othello, the Moor of Venice meet the qualifications of an Aristotelian tragedy? The play exemplifies the idyllic Aristotelian configuration of the plunge from bliss to despair, caused by a grave error on the part of a hero who is worthy of admiration and whose destiny subsequently conjures pity and fear as apt audience reactions. (Golden, 1984). Shakespeare wrote the play to be acted out not arrated, which is another requirement of Aristotle’s in regards to the definition of a tragedy.
All in all, Othello, the Moor of Venice meets the definition of an Aristotelian tragedy and the main character of Othello meets the definition of a tragic hero. Some critics argue that due to lago, Othello cannot possibly be considered a tragic hero, as he was essentially controlled by lago. The opposite is in fact true, manipulation of Othello by lago only manipulated circumstances and emotions. Othello acted on his jealousy and mistrust of Desdemona. lago did not commit the murder nor did he force Othello to do so.
In the end, hile Othello is concerned about how his reputation will hold up in Venice, and it would seem that the main theme of the play is good and bad eminence, it is a defective notion. It is only an initial faulty notion of fame by lago that causes him to plot to destroy his commander (Jeffery & Grant, 1970). The true theme of the play is seen in the love between Othello and Desdemona and the jealousy of lago and Cassio toward Othello and Desdemona. As well as the foreboding dream that Brabantio had before being informed of Desdemona and Othello’s elopement. All of which foreshadow the coming tragedy and resulting tragic hero.
