Othello – Critical Study
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Critical Study : Othello
Introduction –
What could possibly bring one of the most powerful, successful men down on his knees? Jealousy? Mistrust? Deceit? William Shakespeares Othello tells a tragic story of how jealousy and mistrust can rob a powerful man of his power. Due to the ever changing context of society throughout history, many more critical interpretations of the play Othello have been formed since the Elizabethan times. Throughout this book, you will find many differing interpretations of Othello. Two interesting interpretations to compare include : the ancient Aristotelian interpretation and the fairly recent feminist interpretation. The Aristotelian interpretation of the play is concerned with whether or not the play is labelled a true “tragedy”. Three factors which determine whether or not Othello fits under the criteria for a true, Aristotelian tragedy include : the plot, main characters and the cause of the “tragic” ending. On the other hand, the more recent, feminist view of Othello is concerned with the social status of women at the time, and the way in which women are portrayed in Othello.
Aristotle, a Greek philosopher defined tragedy as ” … the imitation in dramatic form of an action that is serious and complete, with incidents arousing pity and fear wherewith it effects a catharsis of such emotions …” (Poetics 14). Shakespeares Othello is indeed a story of tragedy. Iagos evil schemes throughout the play cause much grief and pity on the side of Othello. Iago manipulates Othellos innocence, naivety and trust to cause Othello to become jealous over the thought of his newly wedded wife cheating on him. Othellos fall from grace leads him to eventually murder his own wife, and once Iagos plan has been exposed by Emilia, Iago murders his own wife and Othello commits suicide. It is the deaths of the innocent, bold, daring women – Emilia and Desdemona, along with our beloved tragic hero, Othello which causes a “catharsis of emotions” because of our first impressions of these characters as “pure and good”.
The most interesting features of an Aristotelian, tragic plot is the idea of a “complex plot”. Aristotle defines a “complex plot” as a plot which has “both a recognition (anagnorisis) and a reversal of intention (perpeteia)…”. The “recognition” can be seen through Othellos changing trust in Iago at the end of the play. In the beginning of the play, Othello places a lot of trust in Iago – “O brave Iago, honest and just, Thou hast such noble sense” (Act Five, Scene One, Lines 33-34). Yet towards the end, once Emilia has exposed Iagos evil deeds, his trust in Iago diminishes instantly “I look down towards his feet;–but thats a fable…If that thou best a devil, I cannot kill thee. Are there not stones in heaven…But what serve for thunder? – Precious villain…!”. (Act Five, Scene One, Lines 329-30, 275-276)
The “reversal of intention” is most evident in the final scene where Othello murders his wife. Prior to the murder of Desdemona, Othellos “apparent” love and trust in Desdemona is demonstrated in Act two, Scene Two at the Cyprus seaport, “It gives me wonder great as my content…To see you here before me. O my souls joy!…As hells from heaven! If it were now to die, …Twere now to be most happy…” (Act Two, Scene One, Lines 193-196. Yet as we move further along the play to where Iago begins to manipulate his mind, his trust in Desdemona vanishes, “Yet she must die, else shell betray more men…Put out the light…If I quench thee, thou flaming minister…I can again thy former light restore…” (Act Five, Scene Two, Lines 7-10. Later on in the final scene, once Iago has been exposed Othello feels grief and sorrow over the murder of his pure, innocent and honest wife. Othello, thus commits suicide due to guilt / a “reversal of intention” – “O cursed, cursed slave!–Whip me, ye devils… From the possession of this heavenly sight! Blow me about in winds! roast me in sulphur! Wash me in steep-down gulfs of liquid fire!– O dead Desdemona…!” (Act Five, Scene Two, Lines 321-325)
In terms of characters, the Aristotelian interpretation of tragedy states that : “in a perfect tragedy, the characters will support the plot… The protagonist should be renowned and prosperous, so his change of fortune can be from good to bad…”. Othello, the protagonist of the play successfully fits the criteria of the tragic protagonist. Despite his black skin colour, Othello is however, a “renowned and prosperous” man who is of noble birth and admirable leadership skills. His success as a powerful Venetian commander is shown through the amount of respect given by both the Venetian senators, and Desdemonas love. In the council chambers (Act 1, Scene 1) the Duke acknowledges Othellos presence through the name “Valiant Othello”, yet merely greets Branbantio (a higher classed senator) through the name, “Gentle signior”. In addition, the Duke regards Othello as a powerful commander by instantly saying “we must straight employ you against the general enemy Ottoman…”. (Act One, Scene Three, Lines 53-54)
Aristotles protagonist must also “mistakenly bring about his own downfall … not because he Is sinful or morally weak, but because he does not know enough… the role of the tragic flaw (hamartia) in tragedy comes not from his moral status but from the inevitability of its consequences…”. Othellos downfall from grace is indeed due to “not knowing enough”. In the beginning of the play, Othello promoted Cassio as lieutenant, a position which Iago (the antagonist) most willingly wanted (Act One, scene One, Lines 7-32). Iagos jealousy of Cassio was the cause of Othellos downfall and mistrust of Desdemona, planting Othellos symbol of love – his handkerchief over to Cassio and through a misinterpretation on Othellos side, Othello thus accused Desdemona of cheating on him when she clearly did not. Othellos “lack of knowledge” in terms of his relationship with Iago was the main cause for Othellos murder of his beloved, Desdemona. Othello labels Iago, “Honest Iago” several times throughout the play – “O brave Iago, honest and just. Thou hast such noble sense…” (Act Five, Scene One, Lines 31-32). Clearly iago is not an honest man, as admitted by himself – “But I will wear my heart upon my sleeve For daws to peck at; I am not