Essays+on+Othello

=Othello as a tragic hero= =I have taken this from the web= =Written by: [b1e9x8y9|b1e9x8y9]= To what extent does Othello represent the idea of the tragic hero?The ‘Poetics’ of Aristotle are extremely significant when distinguishing the characteristics of tragedy, and particularly important when analysing the character of Othello as a tragic hero. Aristotle writes that there are certain qualities which define a tragic hero: peripeteia, the undergoing of a downfall; hamartia, evidence of a fatal flaw; anagnorisis, recognition of these flaws; and catharsis, the purging of emotions from the audience.There has been much debate over the subject of Othello as a tragic hero, and over the last century the views of two critics have been particularly influential. A. C. Bradley# states that Othello is Shakespeare’s most romantic character, whose nature remains noble throughout, whereas F. R. Leavis# disagrees, arguing that Othello was never noble to begin with, and gives in too easy to the manipulations of Iago. When considering Othello as a tragic hero, there has been a lot of discussion over whether his character undergoes peripeteia. A. C. Bradley believes that Othello “has played the hero and borne a charmed life” and describes him as “a great man… conscious of his own worth”. For me, Othello’s nobility is unmistakable from the constant references made to him as “Valiant Othello” (I.iii.49) by the majority of the other characters. He is evidently well respected and looked up to, and therefore must possess an element of decency. This heroic and noble understanding of Othello is reinforced when Shakespeare compares him with Christ when “Brabantio, Roderigo, with Officers and torches and weapons” (I.ii.54) enter the second scene of Act 1. This action vividly echoes the Gospel when Christ and his followers are met by officers carrying swords and torches. This same comparison can be made when Othello avoids any physical attack telling the opposition to “Keep up [their] bright swords, for the dew will rust / them” (I.ii.59), perhaps mirroring Christ’s words, ‘Put up thy sword into the sheath’ from the Gospel. Shakespeare therefore perhaps makes this connection between an idolised figure and Othello, emphasising these positive qualities about him and adding credibility to Bradley’s views. F. R. Leavis considers Othello much more negatively; he believes that he gives in too easily to Iago’s manipulations. Bradley’s argument is that “it was no sign of stupidity in Othello” to place his trust in Iago, and “it would have been quite unnatural in him to be unmoved by the warnings of so honest a friend”, claiming that everyone trusted Iago and so it is unfair to blame Othello wholly for his actions. This is recognisable from the Play: Roderigo, Cassio and Emilia are prime examples of characters also under Iago’s selfish manipulation, and the words “honest Iago” are uttered continuously by the majority of the characters throughout the play, not just by Othello, emphasising this point. Othello himself notices his nobility, apparent when he says, “My parts, my title and my perfect soul / Shall manifest me rightly” (I.ii.31). This supports the proud and strong nature Bradley perceives in him. In contrast, F. R. Leavis believes that this conveys an arrogant and sacrilegious quality, however for me, this negative characteristic is dominated by Othello’s dignity. Leavis also comments on his “noble egotism”, believing that Othello has a negative element of “self- approving self-dramatization” throughout the play, suggesting that he does not undergo a downfall as he didn’t possess heroic qualities to begin with. A. C. Bradley claims that at the end of the play “the Othello of the Council-chamber and the quay of Cyprus has returned, or a greater and nobler Othello still” conveying a belief, like F. R. Leavis, that Othello does not undergo a downfall, however in contrast, he suggests that Othello remains noble throughout and is perhaps even more so by the end of the play. To a certain extent, this statement is understandable, as the other characters do not blame Othello in the end for his actions taken against Desdemona, and refer to him passionately as a man who was “great of heart” (V.ii.358), still believing entirely in his nobility. However, for me, this is exaggerated, as although Othello was clearly manipulated by Iago and therefore not necessarily to blame, for a man of such calmness at the beginning of the play, his actions in Act 5 demonstrate a definite downfall in his persona; the contrast between the Othello we meet in the first act, and the Othello in the fifth is almost disturbing. His relaxed and sensible character is demonstrated on our first meeting with Othello, when he calmly tells Brabantio and his followers to “Hold [their] hands” and claims that “Were it [his] cue to fight, [he] should have known it / Without any prompter” (I.ii.83-84) keeping a difficult situation under control with dignity. Later in the fifth act, Othello harshly addresses Desdemona as a “minion” closely followed by a “strumpet” (V.i.33-34), both of which suggest him to be intensely angry, not to mention his murderous proceedings, and even after this he threatens Emilia with the words “Peace, you were best!” (V.ii.157) dramatically contrasting with earlier in the play. This anger is repeatedly evident throughout the fourth and fifth acts. Although Bradley also believes that Othello is in his fall in these later acts, he argues that “his fall is never complete.” Whilst A. C. Bradley views him as “by far the most romantic figure among Shakespeare’s heroes”, he does admit to flawed qualities in Othello’s character: Othello’s mind, for all its poetry, is very simple… Emotion excites his imagination, but confuses and dulls his intellect. For me, this is a reasonable comment to make, as Othello appears to be quite single- minded when he exclaims to Iago that “to be once in doubt / Is once to be resolved” (III.iii.182-183), suggesting that one moment of suspicion enforces an eternal doubt. This is also supported by Othello’s fixed trust for Iago until the final moments of the play, and by his certainty that Desdemona is untrustworthy, provoked only by suspicion and paranoia. However it is perhaps evident from Othello’s words “I’ll have some proof” (III.iii.389) that he is not as susceptible as Bradley proposes, as he demands for “Ocular proof” to provide evidence for Desdemona’s disloyalty. F. R. Leavis considers a different theory; in opposition to Bradley’s insistence that Othello was “not easily jealous”, he argues that jealousy is the basis of the problem, suggesting evidence in Othello’s words: Haply for I am black / And have not those soft parts of conversation / That Clamberers have, or for I am declined / Into the vale of years (III.iii.267-270) Leavis believes that this is a “fully explicit expression of something he had already, pages back.” For me, it does become apparent earlier that jealousy is present in Othello’s mind when he says, “And yet how nature, erring from itself…”, (III.iii.231) admitting suspicion about Desdemona and Cassio. However, for A.C. Bradley and I alike, this increasing emotion is through little fault of his own. Manipulative Iago is unquestionably responsible for Othello‘s jealousy, evident from his scheming use of repetition and questioning when selfishly provoking him to suspect Desdemona and Cassio: Othello asks, “Is he not honest?” receiving Iago’s reply, “Honest, my lord?” (III.iii.103-104) who is deliberately avoiding the point and slyly prompting an increase of suspicion in Othello. For me, it is not jealousy, but Othello’s susceptible mind that is his fatal flaw and his lack of self-awareness in this regard, as Iago cunningly uses it against him throughout the play to provoke and intensify natural emotions. Whether Othello eventually comes to recognise this fault is debatable; he undoubtedly realises his lack of judgement after discovering the truth about Iago, however it is questionable whether he truly understands his mistake. A.C. Bradley considers Othello’s murderous actions as necessary and even noble: The deed he is bound to do is no murder, but a sacrifice. He is to save Desdemona from herself, not in hate but in honour; in honour and also in love. This idea is evident from the play when Othello claims before murdering Desdemona that “she must die, else she’ll betray more men” (V.ii.6), as from this he appears to be acting out of obligation rather than out of choice. This is supported by when “He [smells, then] kisses her”, conveying himself to be in genuine anguish. However, this is perhaps contradicted not long after as Othello claims that “Had all his hairs been lives / My great revenge had stomach for them all” (V.ii.73-74), portraying a passionate anger that conflicts greatly with Bradley’s view that it was an honourable murder. F. R. Leavis believes that Othello “has discovered his mistake, but there is no tragic self-discovery”, which for me, is a rational statement to make, as Othello appears to be more concerned with his status and the amount of attention he is receiving, than truly recognising what he has done. This is clear from Act 5, in particular when Othello aggressively cries “Behold, I have a weapon” (V.ii.258) at an extremely inappropriate moment as though desperate to divert all the attention to himself. These words then advance into a speech in which Leavis’s idea that Othello has an element of “self- dramatization” becomes increasingly obvious: O cursed, cursed slave! / Whip me, ye devils, / From the possession of this heavenly sight! (V.ii.274-276) For me, Othello demonstrates from these lines an over-exaggerated performance in order to provoke pity from the other characters to divert any initial disgust. However, it is perhaps reasonable to suggest that this dramatized speech is just a convention of the theatre rather than a true reflection of Othello himself. Later, Othello compares his actions to be “Like the base Indian, [who] threw a pearl away” (V.ii.345). Shakespeare could here be making reference to the ignorance of the Indians who were unaware of the value of their gold, therefore suggesting that Othello is aware of his wrongdoings. However, there has been much debate over whether Shakespeare meant ‘Indian’ or ‘Iudean’ here; the folio version states Iudean, which is perhaps significant as it could refer to Judas, Jesus’s disciple. Judas betrayed Jesus, similar to Othello’s betrayal to Desdemona, and threw away ‘a precious pearl’. In a way, this supports that Othello does recognise his flaws, however for me, it strengthens Leavis’s view that Othello is dramatizing the situation, and contradicts Bradley’s insistence that “his grandeur remains almost undiminished” as either way he is admitting to treachery. Although Othello is perhaps disliked by the audience at this point, for me, he undoubtedly stirs pity in the audience on numerous occasions throughout the play. When Othello first demonstrates his suspicions and jealousy in Act 3, Scene 3, it is conceivable that he begins to provoke a pitiful response from the audience. This is suggested from his words proceeding from “Haply for I am black…” (III.iii.267), as he is evidently worrying about aspects of his character because of a false suspicion that Iago has manipulatively introduced to his mind, therefore the audience would most likely sympathize with him. A. C. Bradley agrees that “our sympathy with him is hardly touched by any feeling of humiliation.” For me, Iago’s scheming attitude against Othello almost certainly triggers an emotional response. However, it can be argued that any audience would be disgraced by Othello’s vulnerability at this point, rather than pity his situation. Later, just before the death of Desdemona, Othello expresses that he “must weep, / But they are cruel tears” (V.ii.20-21). F.R. Leavis would argue that here Othello is perhaps acting and has a “preoccupation with his emotions rather than with Desdemona in her own right”, however for me, he appears genuinely distressed, and certainly would cause the audience to express pity at this point. Overall, for me, Othello undoubtedly demonstrates the main qualities which define a tragic hero: his downfall is undeniable from the dramatic contrast in his character between the beginning and end of the play; he conveys a flaw of vulnerability and in addition to this, eventually expresses a recognition of his lack of judgement, unquestionably provoking an emotional response from the audience on numerous occasions. Therefore, for me, Othello represents the idea of a tragic hero to a great extent.

A piece of an essay discussing Brabantio's racist feelings about Othello. Love his status as a General but not his colour for his daughter.

In I,i, when Roderigo and the carefully concealed Iago begin to provoke Brabantio about Desdemona having run off with Othello, Brabantio attacks Roderigo for his mere presence at Brabantio's house:

Roderigo. //My name is Roderigo//.

Brabantio. //The worser welcome; I have charg'd thee not to haunt about my doors://

//In honest plainness thou hast heard me say my daughter is not for thee//. By the end of the scene Brabantio tells Roderigo, "O, would you had had her!" What has provoked the change in Brabantio's attitude toward Roderigo is neither an Elizabethan father's concern that his daughter obey //his// will in marriage as in all other things (i.e., Desdemona has //eloped// with Othello). Nor is it what Fredrickson calls the seventeenth century's "traditional repugnance to the marriage of people of different social status or condition." It is, rather, Othello's blackness which appalls Brabantio when he thinks of Othello as the //husband// of his daughter. What brings Brabantio to dismay and to a new-found affection for Roderigo is Iago's repeated vulgar reference to the black-white sexual act between Othello and Desdemona:

//Even now, now, very now, an old black ram// //Is tupping your white ewe.//

//You'll have your daughter covered with a Barbary horse//.

//Your daughter and the Moor are now making the beast with two backs//. Roderigo finally joins Iago in his taunts: Desdemona has run off "To the gross clasps of a lascivious Moor." It is precisely this crudely presented picture of "miscegenation" which so appalls Brabantio that he would rather Roderigo had married Desdemona than Othello. Socially, of course, it is Othello who has much to offer Brabantio as a prospective son-in-law. He is, after all, //the// commanding general of the Venetian armies; he is highly respected and widely admired by the members of the Duke's court; he enjoys the full confidence of the Duke himself. What better match for the daughter of a Senator! But Roderigo has one thing to offer which Othello lacks—white skin. And to Brabantio this quality far outweighs the social, political, and military attributes of Othello. Indeed, Brabantio charges Othello with witchcraft before the Duke's court. The black-white marriage is so unnatural to Brabantio that he cannot conceive of Desdemona marrying Othello of her own free will:

//For nature so preposterously to err,// //Being not deficient, blind, or lame of sense,// //Sans witchcraft could not.//

//and she, in spite of nature,// //of years, of country, credit, every- thing,// //To fall in love with what she fear'd to look on!// //It is a judgment maim'd and most imperfect// //That will confess perfection so could err// //Against all rules of nature, and must be driven// //To find out practices of cunning hell,// //why this should be.//

Brabantio's revulsion and his charges against Othello cause the first crack in the wall of Othello's security in Venice. Up to this point his acceptance was, so far as he could tell, complete. Othello's opening remarks in self-defense attest both to his acceptance and to the line Brabantio had drawn in his attitude toward Othello:

//Her father lov'd me; oft invited me;// //Still question'd me the story of my life.//

It is clear here that Brabantio was willing (and perhaps even eager) to have a man of Othello's stature and influence as a guest in his house. It is equally clear from Brabantio's revulsion and charges that Brabantio was //not// willing to have a man of Othello's //color// as the husband of his daughter. Cassio's comment after Othello's suicide that "he was great of heart" is probably Shakespeare's last word on the Moor's character and shows him as a genuine hero of tragedy who exhibits universal human qualities in heightened form rather than the special traits of any race or nation. Othello's "fatal flaw" was perhaps not even an excess of jealous passion ill-befitting an otherwise reasonable man. As Coleridge wrote, "Othello's //belief// [in Desdemona's infidelity] is not caused by jealousy, it is forced on him by Iago and is such as any man would and must feel who had believed in Iago as Othello did." According to this interpretation, Othello's flaw was not the demented jealousy of a "hot-blooded" Moor but rather the generous fault of placing too much trust in undeserving men. In short, I think that Shakespeare conceived Othello not as the carrier of certain racial traits, but as a universal figure, a basically noble character who suffered an extreme misfortune that was only in part his own fault. I also think that he expected his audiences to accept this perspective and to sympathize with the agony of a black hero.