| From by Alexander W. Crawford. Boston R.G. Badger, 1916. In the matter of Othello and Iago, it cannot fairly be maintained that Iago 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. Shakespeare no doubt did not have the conception of the influence of social forces that some modern dramatists display, for that is a conception belonging to the nineteenth century. Professor Stoll may be correct when he says that "In no case does Shakespeare represent men as overwhelmed by anything so vague and neutral as social forces," but he is surely incorrect when he adds, "or as devoured by their own passions alone." It is this very conception of the consuming and destructive power of passion that marks the superiority of Shakespeare's conceptions over that of his contemporaries. This "fatalism of overmastering passion," as it has been called by Professor Corson, is the distinguishing feature of Shakespeare's conception of man's relation to the world, and marks the culmination of the Elizabethan drama, and its superiority to the classical drama where men are overcome by external fate. In the case of , as ,of all the other tragedies, it is the passion of the hero that is the mainspring of all the action of the play that finally and certainly destroys the hero. There are two or three types of such passion in Shakespeare, according to their moral character, but all alike give rise to the action of the play and lead the hero to his fate. Beginning, then, with this passion, it is the art of Shakespeare to place his characters under those conditions that will show the true nature of their passion and develop it to its fullness and to its fated end. It is one of Shakespeare's supreme excellences that he realized that "every man is tempted when he is drawn away of his own lusts and enticed," and that every man's condemnation comes from the development of his own passions. It was under the sway of this conception that Shakespeare brought Othello into his fatal conflict with Iago, for this drew from him all the hidden passion of his nature. To make Iago the sole cause of the tragedy that befell Othello is to seek outside the human heart for the causes of human failure. The wonder is that Coleridge, philosopher and genius that he was, could content himself with an explanation that does such violence to a true moral psychology. But Coleridge may have had a personal interest in laying the blame outside the soul of the one who is overcome by weakness or by fate. , like all of Shakespeare's plays, is a drama of character, not a drama of intrigue. But only a very careful study of the leading topics of the play will make this clear. The attempt to solve the moral difficulties of has never been given up entirely, though quite recently two distinguished critics have taken "the moralists" to task, and have appeared to think that the chief excellence of the drama is in its "moral enigma." Professor (Sir) Walter Raleigh has made a vigorous attack, and says that "The moralists have been eager to lay the blame of these events on Othello, or Desdemona, or both; but the whole meaning of the play would vanish if they were successful." Professor Bradley, in a somewhat similar strain, rejects all the more obvious interpretations of the play, because, as he says, they "reduce Shakespeare to common-place." Both alike refuse to give credence to any view that does not make Shakespeare subtle and far-fetched and mystical. They seem ready to reject alike what is common-place and common-sense. The names of these two eminent critics have carried more weight in some quarters than their theories have deserved, and some students have been too willing to give up the search for a true moral interpretation of the plays. Others, however, dissatisfied with this complete moral scepticism of Shakespeare, and with this substitution of the critic's fancy for the poet's vision, have made attempts to find a larger moral meaning for the plays, and have tried to assign some kind of large spiritual principles in place of the plain moral principles it was thought necessary to abandon. The suggestion has been made that in cases like that of Desdemona there is only an apparent defeat and nemesis, but that in reality there is a much higher spiritual vindication, and that the close of the play marks a complete spiritual triumph in which the human spirit remains "essentially unconquered." Professor Alden, as the latest spokesman of this view, says, "If the love of Desdemona had perished in the face of injustice and falsehood, then we should have had indeed a chaos of spiritual wreckage, a poetical injustice for which no mere beauty of form could easily atone. But on the contrary there remains in each case, amid the very crash and vanishing of all earthly hope, a spirit that transcends common humanity as far as its suffering has transcended common experience, proving anew through poetry that the world of the senses is 'inferior to the soul.'" This, as criticism, seems somewhat better, for it grants our inexorable conviction that Shakespeare is after all a moral dramatist, and tries to square himself with our moral principles. But, unfortunately, this kind of criticism makes a demand of us that no generation of theatre-goers or readers has ever been able to meet. To picture Othello and Desdemona as in the end not failing but actually triumphing, as Professor Alden finds himself obliged to maintain, is to think of them as in the same class as the suffering Job, and as Romeo and Juliet. He says, "If the individual experience often seems to be at odds with everything but itself; if Job suffer for no reason such as can be stated in general terms; if Juliet and Romeo are the victims of the animosities of their parents ... ; if Desdemona dies because her pitiful life has found a number of malignantly potent trifles looming so big for the moment as to shut from view any source of active justice . . ." This, however, it is impossible to admit. The writer of "Job" explicitly declares that Job was a righteous man, and that his misfortunes were entirely due to the malignity of the evil one. Neither were his misfortunes of the nature of moral catastrophes, as were those of Othello and Desdemona. In Shakespeare, as in the Bible, the misfortunes that are objective in their source are never moral in character. Romeo and Juliet were undoubtedly "the victims of the animosities of their parents," or in other words were the victims of social conditions for which they were personally in no way responsible. About their misfortunes, however, there is not the slightest suggestion of retribution, and as Carlyle long ago observed, their apparent defeat is really a moral victory. But it is very different with Othello and Desdemona, for there is an element of retribution in their misfortunes. The play explicitly depicts them as the authors of all the elements of their social conditions that give rise to their conflicts and subsequent misfortunes. It should be remembered that Othello was not a son of Venice, but a foreigner, and moreover a foreigner of a different race and color, with all that means of divergence of mind and character. Moreover, there was no conflict between Romeo and Juliet, for their love was perfect, but the conflict was between their united and unwavering love and the hostility of their families. In the case of Othello and Desdemona |he conflict becomes acute and finally fatal between husband and wife, and from this the play takes its character of a hapless mismarriage. All these unsuccessful attempts to understand the drama come from long-continued but erroneous habits of interpretation. The plays have been treated as if they were historical documents and not works of poetic imagination. Historical documents have to be evaluated by the student, and often parts are judged to be unauthentic and hence of little or no value. But literary products cannot be treated in this manner, for every word of a great poet has been elaborated with turious care and is of value to the whole, and cannot be ignored. Some critics who regret that we have no external comments of Shakespeare upon his plays persistently ignore the numerous comments the dramatist has made within the plays. It must be claimed that Shakespeare's dramatic methods are not subtle and elusive, but pre-eminently artistic and open. They are indeed so artistic that they have concealed his art, and unfortunately have also concealed his mind from us. We have steadfastly overlooked even his most obvious attempts to make his meaning clear, and have missed all his own comments, which are the best keys to his plays. We have, moreover, explained away his own very plain words, we have ignored his conduct of the plot of the dramas, and have refused to accept as part of his plan the very issues of the plays themselves that he has elaborated with such unequalled skill. No wonder if we have begun to think perhaps after all the plays have no meaning to be discovered. Let us begin, then, our study of this play by observing very carefully whatever comment Shakespeare has made upon it. In the very title, , we have the dramatist's comment that the play is to be the story of a certain Moor, Othello, who had abandoned his native land and had taken up his residence and life in the Italian city of Venice. In doing this Othello had left his native Africa, or Spain, and undertook to live his life in Venice. The change took Othello among another race of another color, one that Shakespeare and most of his countrymen of whatever time considered a much superior race. Now if Shakespeare had any aptness in giving titles to his plays, and did not add mere idle words, the play must be considered "primarily a study of a noble barbarian who had become a Christian . . . but who retains beneath the surface the savage passions of his Moorish blood . . . and that the last three Acts depict the outburst of these original feelings through the thin crust of Venetian culture." This is Professor Bradley's statement of the view which has been held, but which he scouts as impossible. His chief argument against it, however, is that it is not like Shakespeare, adding that "To me it appears hopelessly un-Shakespearean." Ever since Schlegel's time, however, this has been the generally accepted interpretation of the play, though of course there has been disagreement about details. But this recent imaginative criticism has given us a new Othello, a new Hamlet, and verily a new Shakespeare; and instead of the vision and the faculty divine of the great dramatist we have the fancies of the critics. This criticism has succeeded in little, however, but in convincing itself that Shakespeare is mystical and modern, that he wrote with a very vague notion of what he was doing, and that frequently in his haphazard manner he misnamed his plays. It is now time for criticism to reach the conviction that Shakespeare wrote with a very clear notion of what he was aiming at, and not by mere intuition or chance. Only if we take this attitude is it possible at this day to discern the true thought and intent of his dramas. The entire drama is Othello's story, though from the outset Iago takes the initiative, and seems to be the protagonist. The situation, however, has been created by Othello in every particular, and from this springs all the action or rather the reaction of Iago. By his action, previous to the opening of the play, Othello furnished the motive for lago, from which springs all his intrigue. It is only under the clever manipulation of Iago that Othello is put on the defence, from which he does not escape until near the close of the play. The real conflict of the play, then, is between Othello, with whom is joined Desdemona, on the one hand, and Iago, his ancient, on the other. From the outset, Othello is struggling with a situation which he inaugurated before the opening, of the play, and which grows more complex as the movement develops. _____ Cf. by E. E. Stoll, in Modern Philology, Vol. X, p. 59. Of. Corson, , Preface. Alden, op. tit., Atlantic Monthly, February, 1910, p. 267. "Shakespeare, in IV. ii. 257, seems to point to Mauritania as the native country of Othello, who is hence to be regarded as a Moor in the proper sense of the word, a native of the northern coast of Africa, toward the west. . . . Moor, however, it may be observed, was used by English writers very extensively, and all the dark races seem, by some writers, to be regarded as comprehended under it." Hunter, , II, p. 280. Quoted by Furness, the , p. 390. In all probability Shakespeare thought of Othello as from Spain, which for long had been inhabited by and under the domination of the Moors. After his sword had been taken from him in the last act, Othello says: In Shakespeare makes the king speak "of many a knight: from tawny Spain" (I. i. 184-5). Here he is evidently thinking of the '"tawny Moor." Of. Coleridge, (Bohn's Library), pp. 477 and 529. Hunter's remarks about Venice in his comments upon apply equally well to this play: "In perusing this play we should keep constantly in mind the ideas which prevailed in England in the time of Shakespeare of the magnificence of Venice. Now, the name calls up ideas only of glory departed 'Her long life hath reached its final day;' but in the age of the poet Venice was gazed on with admiration by the people of every country, and by none with more devotion than those of England." Quoted by Furness in the , p. 3. , p.p. 186-7. Crawford, Alexander W. . Boston R.G. Badger, 1916. . 20 Aug. 2009. (date when you accessed the information) _________
: Play Construction and the Suffering and Murder of Desdemona
: Othello's Jealousy
: Plot Summary
: Q & A
: Essay Topics
| | Home — Essay Samples — Literature — Othello — Othello As A Clear Example Of Tragic Hero  Othello as a Clear Example of Tragic Hero- Categories: Othello Tragic Hero William Shakespeare
About this sample  Words: 1528 | Published: Feb 8, 2022 Words: 1528 | Pages: 3 | 8 min read Works Cited- Bradley, A. C. (1904). Shakespearean Tragedy: Lectures on Hamlet, Othello , King Lear, Macbeth. Macmillan and Co.
- Cavell, S. (1987). Disowning Knowledge in Seven Plays of Shakespeare. Cambridge University Press.
- Foakes, R. A. (Ed.). (2005). Othello. Cambridge University Press.
- Greenblatt, S. (Ed.). (2008). Othello: The Moor of Venice. Norton Critical Edition.
- Neely, C. T. (Ed.). (2002). The Cambridge Companion to Shakespearean Tragedy. Cambridge University Press.
- Neely, C. T. (2008). Othello: A Norton Critical Edition. W. W. Norton & Company.
- Shakespeare, W. (2004). Othello. Washington Square Press.
- Vanita, R. (1994). Love's Rite: Same-Sex Marriage in India and the West. Palgrave Macmillan.
- West, R. (1996). Othello: An Authoritative Text, Sources and Contexts, Criticism. W. W. Norton & Company.
- Wilson, P. (2010). The Theatre of Shakespeare's Plays. Cambridge University Press.
 Cite this EssayLet us write you an essay from scratch - 450+ experts on 30 subjects ready to help
- Custom essay delivered in as few as 3 hours
Get high-quality help  Prof Ernest (PhD) Verified writer  + 120 experts online By clicking “Check Writers’ Offers”, you agree to our terms of service and privacy policy . We’ll occasionally send you promo and account related email No need to pay just yet! Related Essays3 pages / 1405 words 2 pages / 838 words 1 pages / 512 words 5 pages / 2287 words Remember! This is just a sample. You can get your custom paper by one of our expert writers. 121 writers online Still can’t find what you need?Browse our vast selection of original essay samples, each expertly formatted and styled Related Essays on OthelloOne of the aspects of the play that has been the focus of much debate is the theme of homosexuality. Many scholars have argued that there are homoerotic undertones in the relationships between the male characters in the play. [...] William Shakespeare’s play Othello explores the theme of false friendship through the character of Iago, who acts as Othello’s false friend. Throughout the play, Iago deceives Othello, his trusted companion, causing Othello to [...] Deception is a prominent theme in William Shakespeare's tragedy Othello. The play revolves around the manipulation and deceit of the characters, ultimately leading to tragic consequences. Through the use of deception, [...] Shakespeare, William. Othello. Edited by Barbara A. Mowat and Paul Werstine, Simon & Schuster Paperbacks, 2015.Dollimore, Jonathan. Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and His [...] The power of persuasion is a dominant and influential tool that can easily be misused for personal benefit. Lies and deceits are becoming more common in society, with individuals masking their true intentions. In William [...] Characters in Shakespeare’s Othello and The Tempest use stories to explain personal history or change the course of events. These are no simple tales; rather, they are complex and thought-provoking means of enriching each play [...] Related TopicsBy clicking “Send”, you agree to our Terms of service and Privacy statement . We will occasionally send you account related emails. Where do you want us to send this sample? By clicking “Continue”, you agree to our terms of service and privacy policy. Be careful. This essay is not unique This essay was donated by a student and is likely to have been used and submitted before Download this Sample Free samples may contain mistakes and not unique parts Sorry, we could not paraphrase this essay. Our professional writers can rewrite it and get you a unique paper. Please check your inbox. We can write you a custom essay that will follow your exact instructions and meet the deadlines. Let's fix your grades together! Get Your Personalized Essay in 3 Hours or Less!We use cookies to personalyze your web-site experience. By continuing we’ll assume you board with our cookie policy . - Instructions Followed To The Letter
- Deadlines Met At Every Stage
- Unique And Plagiarism Free
 Othello as a tragic heroI can explore the ways in which Othello is a tragic hero. Lesson detailsKey learning points. - Othello may be considered a tragic hero as he recognises the root of his downfall.
- Othello's hamartia might be his jealousy or his naive trust of Iago.
- Othello’s hubris may be shown when he won’t consider Desdemona’s viewpoint or when he views himself as a godly figure.
- Othello's demise is also triggered by his stubbornness.
Common misconceptionOthello's jealousy is the only thing that causes him to be considered a tragic hero. Othello also has hubris, stubbornness and anagnorisis that can add to his status as tragic hero. Tragic Hero - a central character that experiences a tragic downfall Hamartia - a tragic hero’s fatal fault or mistake that leads to their catastrophic end Hubris - excessive pride or self-confidence Anagnorisis - a moment of insight where the tragic hero understands their fate Content guidance- Depiction or discussion of sensitive content
- Depiction or discussion of upsetting content
- Depiction or discussion of serious crime
SupervisionAdult supervision required This content is © Oak National Academy Limited ( 2024 ), licensed on Open Government Licence version 3.0 except where otherwise stated. See Oak's terms & conditions (Collection 2). Starter quiz6 questions.  Othello as a Tragic HeroIn this activity, activity overview, template and class instructions, more storyboard that activities, this activity is part of many teacher guides, use this lesson plan with your class.  Othello is full of important literary elements for students to explore. One of these elements is the tragic hero, a protagonist who seems to be ill-fated, and destined for doom. In this play, Othello is the tragic hero who leads himself and many others to their deaths. The Greek philosopher, Aristotle, was the articulated the specific attributes or principles of a tragic hero. For the storyboard above, students can use a template to storyboard the qualities that make Othello, a tragic hero. The finished product outlines each of Aristotle's principles with a detailed explanation of the specific attributes. Othello - Tragic Hero | ATTRIBUTE | DESCRIPTION | Example from |
|---|
| Hamartia | Hero's Flaw that Causes Downfall | Othello’s jealousy becomes his downfall when he listens to Iago. He "lov'd not wisely but too well". |
|---|
| Hubris | Excessive Pride | Othello's hubris allows Iago to manipulate him. Through the seed of suspicion, Iago can convince Othello, without any proof, that Desdemona is cheating on him. |
|---|
| Peripeteia | Reversal of Fortune | Othello kills Desdemona after he believes that Cassio has slept with her. |
|---|
| Anagnorisis | Moment of Critical Discovery | Emilia exposes Iago’s plan. |
|---|
| Nemesis | Fate that Cannot be Avoided | Desdemona has been smothered, Othello kills himself from grief. Iago is sent away to be tortured. |
|---|
| Catharsis | Audience's Feeling of Pity or Fear After the Hero's Fall | The audience is left remorseful for the couple who was thwarted by jealousy and revenge. |
|---|
(These instructions are completely customizable. After clicking "Copy Activity", update the instructions on the Edit Tab of the assignment.) Student Instructions Create a storyboard that shows how Othello can be considered a tragic hero. - Identify events of the play or characteristics of Othello that fit into Aristotelian attributes of a tragic hero.
- Illustrate examples for Hamartia, Hubris, Peripeteia, Anagnorisis, Nemesis, and Catharsis .
- Write a short description below each cell that specifically relates Othello as a tragic hero.
 Lesson Plan ReferenceGrade Level 9-12 Difficulty Level 3 (Developing to Mastery) Type of Assignment Individual or Partner Type of Activity: Tragic Hero (You can also create your own on Quick Rubric .) | | Proficient | Emerging | Beginning | Needs Improvement | | | | | | | | | | | | | | | | | | | How To Compare Othello With Other Tragic HeroesPick another tragic hero, describe othello's traits, contrast tragic flaws, investigate the social and cultural context, discuss and practice, frequently asked questions about othello as a tragic hero, what in the play makes othello a tragic hero, what tragic flaw does othello have, does othello's ethnicity have anything to do with his tragic hero's end, how does othello's demise develop during the play, tragedy of othello, the moor of venice, the.  Pricing for Schools & DistrictsLimited Time - 10 Teachers for One Year
- 2 Hours of Virtual PD
30 Day Money Back Guarantee • New Customers Only • Full Price After Introductory Offer • Access is for 1 Calendar Year  - Thousands of images
- Custom layouts, scenes, characters
- And so much more!!
Create a Storyboard Limited Time. New Customers Only  Back to school special!Purchase orders must be received by 9/6/24. 30 Day Money Back Guarantee. New Customers Only. Full Price After Introductory Offer. Access is for 1 Calendar Year Generating a QuoteThis is usually pretty quick :) Quote Sent!Email Sent to At the beginning of the play Othello appears unshakeable. He has risen within the military to become an accomplished general. This process filled him with pride in his achievements.  Othello's confidence- Brabantio accuses Othello of witchcraft, charms and spells but Othello soon shakes this off, not by saying this is false but by the fact that he has a ‘perfect soul’.
- This confidence is what has made him attractive to Desdemona, even though he is a good deal older than she is.
 Othello's language- Desdemona also falls in love with him because he has been a good storyteller, and it is true that in the opening part of the play Othello’s language is very measured and beautifully poetic.
- Even racial slurs cannot put a dent in his armour.
 - The only person who can initially put a dent in Othello however, is Desdemona.
- ‘It gives me wonder great as my content / To see you here before me’.
 Othello and love- It is almost as if Othello is not used to married life, and that negotiating a committed relationship may be even more difficult than winning a military campaign.
- When he rages against Cassio and Montano for their brawl together, this is the first indication that not all is well.
 - Othello is motivated also by his own monolithic view of his own integrity.
- Those who have integrity in his life are always deemed honest and filled with dignity.
- However, his views of this are sometimes misplaced; something which Iago picks up.
Othello and IagoOthello is motivated also by his own monolithic view of his own integrity. Those who have integrity in his life are always deemed honest and filled with dignity. However, these views are sometimes misplaced; which Iago picks up.  Othello’s flaws- His arrogance and pride.
- His notion that evil does not exist in others.
- His possessive love for Desdemona.
 Othello and Desdemona- When contemplating love Othello falls into a swoon thanks to Iago’s manipulation because he is unused to such emotions.
- Although both are adults, Othello and Desdemona have childish tendencies.
 Othello's suspicion- Once Iago has lit the fire of suspicion in his Othello’s brain, he will leave the fire to burn on Othello’s personality traits.
- Thus, it is not Iago, but Othello himself who ranges between love and hate for his wife, and who becomes so obsessive over her supposed love for Cassio.
- When Othello suffocates her, he is almost trying to cure his own warring mind rather than any punishment for her.
Othello's SuicideAfter Othello has suffocated Desdemona he becomes filled with self-hate and disgust, but at the same time, he seems to regain some of his earlier dignity, knowing which way he now must go.  Othello's suicide- The moral code Othello applied on everyone else must now be applied on himself, and this is why he chooses suicide.
- The outside world has seemingly attacked him enough, and he must now escape it.
- At the end of the play, Othello is back to being an outsider or ‘other’ again.
 Othello's flaws- It appears that Othello cannot cope with true love—or more accurately, realistic love.
- He can cope with idealised and romantic love, but because of his own flaws he is unable to weather the storm of an assault upon him and his wife.
- He is too quick to believe rumour and gossip, and has been too easy to manipulate.
 Tragic hero- When Shakespeare constructed Othello he created a new kind of tragic hero.
- However, Othello is now one of the models for how a tragic hero operates.
- In believing Iago’s lies, and in choosing to extinguish Desdemona’s life, he opens himself up to tragic forces and chaos.
1.1 Introduction 1.1.1 Specifications 1.2 Background 1.2.1 Shakespeare 1.2.3 Tragedy 1.2.4 Historical Context 1.3 Othello 1.3.1 Setting 1.3.2 Social Issues 2 Act One: Summaries & Themes 2.1 Act and Scene Summaries 2.1.1 Structure 2.1.2 The Exam 2.2 Scene One 2.2.1 Key Events 2.2.2 Key Themes 2.2.3 Key Ideas 2.3 Scene Two 2.3.1 Key Events 2.3.2 Key Themes 2.3.3 Key Ideas 2.4 Scene Three 2.4.1 Key Events 2.4.2 Key Events 2 2.4.3 Key Themes 2.4.4 Key Ideas 3 Act Two: Summaries & Themes 3.1 Scene One & Two 3.1.1 Scene One: Events 3.1.2 Key Events 2 3.1.3 Key Ideas: Love & Tragedy 3.1.4 Scene Two: Events 3.2 Scene Three 3.2.1 Key Events 3.2.2 Key Ideas 4 Act Three: Summaries & Themes 4.1 Key Events 4.1.1 Scene One & Two 4.1.2 Scene Three 4.1.3 Scene Three: Key Ideas 4.1.4 Scene Four 5.1 Scene One 5.1.1 Key Events 5.1.2 Key Ideas 5.2 Scene Two 5.2.1 Key Events 5.2.2 Key Ideas 5.3 Scene Three 5.3.1 Key Events 5.3.2 Key Ideas 6.1 Scene One 6.1.1 Key Events 6.1.2 Key Ideas 6.2 Scene Two 6.2.1 Key Events 6.2.2 Key Ideas 7 Character Profiles 7.1 Major Characters 7.1.1 Othello 7.1.3 Desdemona 7.1.4 Emilia 7.1.5 Cassio 7.2 Minor Characters 7.2.1 Roderigo & Brabantio 7.2.2 Other Characters 8 Key Themes 8.1 Love & Tragedy 8.1.2 Love 2 8.1.3 Tragedy 8.1.4 Tragedy 2 8.2 Other Key Themes 8.2.1 Public versus Private 8.2.2 Appearance & Reality 9 Writing Techniques 9.1 Writing Techniques 9.1.1 Structure 9.1.2 Genre 9.1.3 Form & Language 9.1.4 Language & Imagery 10 Critical Debates 10.1 Criticism & Performance 10.1.1 Shakespeare's Legacy 10.1.2 Traditional 10.1.3 Modern & Contemporary 10.2 Approaches 10.2.1 Feminist Approach 10.2.2 Psychoanalytic Approach 10.2.3 Marxist Approach 11 Approaching AQA English Literature 11.1 Specification A 11.1.1 Specification A 11.1.2 Love Through the Ages 11.2 Specification B 11.2.1 Specification B 11.2.2 Aspects of Tragedy 12 Issues of Assessment 12.1 The Exams 12.1.2 Mark Scheme Jump to other topics  Unlock your full potential with GoStudent tutoringAffordable 1:1 tutoring from the comfort of your home Tutors are matched to your specific learning needs 30+ school subjects covered Academia.edu no longer supports Internet Explorer. To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser . Enter the email address you signed up with and we'll email you a reset link.  Othello as Tragic Hero Related PapersFernando Cioni Theatre, at a dialogical level, presents encounters and clashes of different perspectives, world-views, styles, languages, ideologies. In Shakespearean theatre the word, from a rhetorical point of view, becomes someone else word to be disputed. The rhetorical aim of this dispute is to attain pathos through ethos. The actor, like a skillful orator, arouses passions in the mind and in the soul of his audience. In Shakespeare's theatre, passions are a real poetic practice, in particular in the great tragedies and in the romances. The paper will investigate different, and opposite, ways of the theatricalizing passions in Antony and Cleopatra and The Winter's Tale.  Petar Penda SP Publications International Journal Of English and Studies (IJOES) Intakhab A Khan Shakespeare has been studied by philosophers, sociologists, anthropologists, psychoanalysts and many other specialists ............................................................................................................................... IJASS JOURNAL This research explores the elements of tragedy in selected Shakespearean dramas. The Greek philosopher Aristotle investigated and defined tragedy's nature, while the dramatists of ancient Greece cemented its characteristics and qualities. Shakespeare defied the established conventions by classics to get closer to reality. The theories presented by Irving Ribner and A. C. Bradley support this study. Three key points of view that define Shakespeare as a dramatist show his concept of tragedy: the tragic hero, the tragic action (or plot), and catharsis, which this essay tries to explain. This research shows the characteristics of Shakespearean tragedies by comparing them with Greek tragedies. A Shakespearean tragedy has many qualities, as it shows inconsistencies of the Renaissance era, foreshadows romanticism and realism, and shows the human psyche. Shakespeare's humanism best demonstrates by the fact that he has such a deep appreciation for the suffering of the human spirit. American Journal of Humanities and Social Sciences Research (AJHSSR) Md. Ziaul Haque This article concentrates on the character, Othello, who is driven mad in William Shakespeare's Othello, and endeavours to reveal the ins and outs behind his destruction by Iago. He becomes successful in making Othello doubt and murder his chaste wife Desdemona. Hence, Iago tries to poison Othello's mind by providing false information about Desdemona. For instance, the plot of the handkerchief and his reference about Cassio that he dreamt where he had talked about his emotions for Desdemona. Unfortunately, Othello somewhat believes Iago's words. Nonetheless, it must also be stated that Iago is the one who is entirely responsible for igniting the spark of jealousy in Othello's mind. The Moor would not lose his sanity and murder Desdemona and take his own life away if Iago did not deceive him so cunningly. As Iago is the main cause of Othello's downfall, he can also be regarded as a 'killer' because Iago himself leads Othello and Desdemona towards the path of devastation. Indrajit Patra In this paper we shall try to analyze some of the most powerful psychological factors which drive the action in these plays to a great extent and which lie hidden to the readers after a general, ordinary reading. Realizing these underlying aspects will definitely help us to discover new motives and dimensions to the actions of the characters. Social Science Research Network Chatta Bala Swamy AMERICAN JOURNAL OF SOCIAL AND HUMANITARIAN RESEARCH Haleshappa V V I will highlight the guiding ideas of "Shakespeare: Hamlet's depression", connecting them with the rest of his production, especially around melancholy. But Tellenbach did not like that his ideas were simply accepted. He lived on questioning dialogue. Hence, I will oppose some doubts and comments to his effort from our study on the enigmatic prince of Denmark. It is not an easy task for him and for us, because, as Goethe used to say, "nothing definitive can be said about Shakespeare, everything is insufficient" Bernhard Klein Loading Preview Sorry, preview is currently unavailable. You can download the paper by clicking the button above. RELATED PAPERSBalıkesir Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Selen Tekalp Zenodo (CERN European Organization for Nuclear Research) Cynic J. Tenedero International Journal of Language and Literature Studies in English Language and Literature 21 David Hurley Dilemas contemporáneos: Educación, Política y Valores Zhandos Boldykov DISCRIMINATION IS EVIL: Essays on Literary Masterpieces Cansu Ecem KESGİN Abdullah Al Abied Adel Fartakh Affonso kristeva Jesus Lopez-Pelaez Casellas Othello: The State of Play, ed. Lena Orlin Lynn Enterline GARRET RAJA Iman Bassir IOSR Journal Of Humanities And Social Science Dr. Sapna Tiwari Belgrade English Language and Literature Studies vesna lopicic Unhae Langis Charles Nicolas Independent Charles N . Owen Advances in Language and Literary Studies Aslam Sipra Crossing the Border: International Journal of Interdisciplinary Studies Ram Prasad Rai Patrick Gray Acta Scientiarum. Language and Culture Adriana Da Costa Teles English Language and Literature Studies marwan alqaryouti RELATED TOPICS- We're Hiring!
- Help Center
- Find new research papers in:
- Health Sciences
- Earth Sciences
- Cognitive Science
- Mathematics
- Computer Science
- Academia ©2024
Othello: A Tragic Hero Through the Prism of Aristotle’s Definition Essay- To find inspiration for your paper and overcome writer’s block
- As a source of information (ensure proper referencing)
- As a template for you assignment
As the name suggests, the tragedy of Othello has been a point of discussion by most literature scholars. The point of contention is on whether the piece of Shakespeare’s artistic work meets the basic requirements to be classified as a tragedy. In my essay, I present the argument as to why Othello is a perfect example of a tragedy. Tragedies are characterized by the presence of a tragic hero. The hero bears a serious a flaw that contributes immensely to his or her downfall. In most cases, such kind of a flaw referred to as a tragic flaw. The flaw is inherent to the person and can be used to give information about his or her background. According to Aristotle, a tragic flaw characterizes a tragic hero and the flaw is manifested throughout the play. In the tragedy of Othello , Othello portrays a perfect example of a tragic hero basing on Aristotle’s definition. This character exhibits two major flaws in his character, which include gullibility and jealousy. His eventual downfall bears a direct linkage to the previously mentioned flaws. Basing on Aristotle’s definition of tragedy, there are a number of factors that have to be taken into consideration before classifying a play as a tragedy or not. According to him, the prerequisite of a tragedy revolves around the plot of the play. Events are best portrayed as tragic if they happen unexpectedly, and occasioned with the occurrence of one another. Furthermore, Aristotle asserts that for the essence of tragedy to be effective, the hero must be faced with an option that is unavoidable. The presence of a tragic hero is an indispensable factor in so far as classifying a play as tragedy or not is concerned. The main character must bear the qualities of nobility, or rather high stature than other members in that particular setting. Despite this, the main character must portray elements of flaws in his or her character, which will eventually lead to his or her downfall. It is worth noting that the main character ends up destroying himself in most tragedies. This cannot be blamed on others, bad luck, or depravity. In reference to Aristotelian criterion discussed above, Othello meets the definition to be regarded as a tragedy. Othello, who is the main character, is a perfect example of a tragic hero. Having been a soldier in most part of his life, he commanded the respect and honor from the society. This is the reason as to why he was referred to as governor-general. He is confident even as he defends his marriage to Desdemona, a daughter of Venetian senator. He possesses a soldiery outlook and commands much respect from people of Venice. As already stated earlier, Othello is a tragic hero who exhibits two serious tragic flaws. These are gullibility and jealousy. He trusts Iago so much simply because he is a military man who they have served together for long time. His gullibility makes him to fail to trust Desdemona who spoke the truth throughout the play. Later on, Othello finds himself torn between his character and the love of his heart. A tragic catastrophe happens when he destroys Desdemona at the expense of misleading information he receives from Iado. This action brings him to his ultimate tragic fall. Therefore, in conclusion, Othello stands out to be a tragedy. - Middle Eastern Through Film “Ajami” by Copti
- The King's Speech: Prevailing Through Weakness
- William Shakespeare's Othello
- Othello and Desdemona in "Othello" by Shakespeare
- The Tragedy of Othello: Critical Analysis — Othello Critical Essay
- "Amistad" Film Directed by Steven Spielberg
- A Samurai's Life in "The Twilight Samurai" Film
- Chris Mac and Sam Patch in "Into the Wild" Movie
- "Kingdom of Heaven" Film Analysis
- Paisà (1946) by Roberto Rossellini: Style, Theme, and Cultural Value
- Chicago (A-D)
- Chicago (N-B)
IvyPanda. (2022, January 23). Othello: A Tragic Hero Through the Prism of Aristotle’s Definition. https://ivypanda.com/essays/othello-a-tragic-hero-through-the-prism-of-aristotles-definition/ "Othello: A Tragic Hero Through the Prism of Aristotle’s Definition." IvyPanda , 23 Jan. 2022, ivypanda.com/essays/othello-a-tragic-hero-through-the-prism-of-aristotles-definition/. IvyPanda . (2022) 'Othello: A Tragic Hero Through the Prism of Aristotle’s Definition'. 23 January. IvyPanda . 2022. "Othello: A Tragic Hero Through the Prism of Aristotle’s Definition." January 23, 2022. https://ivypanda.com/essays/othello-a-tragic-hero-through-the-prism-of-aristotles-definition/. 1. IvyPanda . "Othello: A Tragic Hero Through the Prism of Aristotle’s Definition." January 23, 2022. https://ivypanda.com/essays/othello-a-tragic-hero-through-the-prism-of-aristotles-definition/. Bibliography IvyPanda . "Othello: A Tragic Hero Through the Prism of Aristotle’s Definition." January 23, 2022. https://ivypanda.com/essays/othello-a-tragic-hero-through-the-prism-of-aristotles-definition/. 24/7 writing help on your phone To install StudyMoose App tap and then “Add to Home Screen” Othello: A Tragic Hero's DownfallSave to my list Remove from my list The Tragic Hero and Aristotle's Criteria Othello's Responsibility for His DownfallLiterary merit and purposeful storytelling. Othello: A Tragic Hero's Downfall. (2016, May 10). Retrieved from https://studymoose.com/othello-a-tragic-hero-essay "Othello: A Tragic Hero's Downfall." StudyMoose , 10 May 2016, https://studymoose.com/othello-a-tragic-hero-essay StudyMoose. (2016). Othello: A Tragic Hero's Downfall . [Online]. Available at: https://studymoose.com/othello-a-tragic-hero-essay [Accessed: 28 Aug. 2024] "Othello: A Tragic Hero's Downfall." StudyMoose, May 10, 2016. Accessed August 28, 2024. https://studymoose.com/othello-a-tragic-hero-essay "Othello: A Tragic Hero's Downfall," StudyMoose , 10-May-2016. [Online]. Available: https://studymoose.com/othello-a-tragic-hero-essay. [Accessed: 28-Aug-2024] StudyMoose. (2016). Othello: A Tragic Hero's Downfall . [Online]. Available at: https://studymoose.com/othello-a-tragic-hero-essay [Accessed: 28-Aug-2024] - Othello's downfall: a fatal flaw in the tragic hero Pages: 8 (2203 words)
- John Proctor Tragic Hero Analysis; The Parameters Of The Tragic Hero Pages: 6 (1758 words)
- Macbeth: Tragic Hero's Downfall Pages: 3 (652 words)
- Hamlet's Tragic Flaw: The Downfall of a Shakespearean Hero Pages: 4 (924 words)
- Unpacking the Tragic Hero in Shakespeares Othello Pages: 6 (1625 words)
- Rank and Race in Othello: Shakespeare's Tragic Hero Pages: 5 (1491 words)
- The Tragic Hero in Othello and The Godfather Pages: 2 (565 words)
- Frankenstein's Tragic Flaw: Downfall Caused by Literary Component Pages: 9 (2461 words)
- Gender, Power, and Downfall: The Tragic Arc of Lady Macbeth Pages: 6 (1619 words)
- The Tragic Downfall of American Dream Seekers Pages: 5 (1248 words)
 👋 Hi! I’m your smart assistant Amy! Don’t know where to start? Type your requirements and I’ll connect you to an academic expert within 3 minutes. Home / Essay Samples / Literature / Othello / Othello – A Tragic Hero Othello – A Tragic Hero- Category: Philosophy , Literature
- Topic: Aristotle , Othello , Tragic Hero
Pages: 1 (598 words) Views: 1753 --> ⚠️ Remember: This essay was written and uploaded by an--> click here. Found a great essay sample but want a unique one? are ready to help you with your essay You won’t be charged yet! Metamorphosis Essays A Rose For Emily Essays A Modest Proposal Essays Antigone Essays Their Eyes Were Watching God Essays Related EssaysWe are glad that you like it, but you cannot copy from our website. Just insert your email and this sample will be sent to you. By clicking “Send”, you agree to our Terms of service and Privacy statement . We will occasionally send you account related emails. Your essay sample has been sent. In fact, there is a way to get an original essay! Turn to our writers and order a plagiarism-free paper. samplius.com uses cookies to offer you the best service possible.By continuing we’ll assume you board with our cookie policy .--> -->
|
