Othello as a perfect Aristotelian tragedy

¶ … searching for an example that follows Aristotle's principles for creating the perfect tragedy, we need look no further than William Shakespeare's play, Othello. According to Aristotle, a tragedy must possess certain characteristics. These include a plot that is easily remembered and structured to arouse pity and fear within the audience. Additionally, Aristotle writes, "Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follows as cause and effect" (Aristotle VIIII). A great deal of importance is also placed on the action of the plot. According to Aristotle, "A Complex action is one in which the change is accompanied by such Reversal, or by Recognition, or by both" (Aristotle X). These events must "turn upon surprises" (Aristotle XI) in order to fulfill the requirements of a tragedy. Suffering is also essential for a tragic hero to emerge.

In addition to a powerful plot, the character of the play must meet certain requirements to be considered a tragic hero. Aristotle believed that this type of character should exist between two extremes. In other words, he is not completely good or evil, yet his "misfortune is brought about not by vice or depravity, but by some error or frailty" (Aristotle XIII). This is commonly referred to as the characters "tragic flaw."

The character must also be associated with valor, nobility, and greatness. Additionally, the character must be true to life and consistent (Aristotle XV), even if this results in being consistently inconsistent. (Aristotle XV) With these definitions in mind, this paper will explore how Othello measure up to Aristotle's definition.

Shakespeare's Othello meets all of these requirements. When we are introduced to Othello, we become aware that he is a man of greatness and nobility. For example, he commands Brabanzio and his men to "Keep up your bright swords, for the dew will rust them/Good signor, you shall command more with years/Than with your weapons" (Shakespeare I.ii.59-61). He addresses the enemy with his authority. In addition, Iago admits to Brabantio that "Another of his fathom they have none/To lead their business" (I.i.153-4). We also know that Othello is a great warrior from his great tales. For instance, he says:

fetch my life and being

From men of royal siege, and my demerits

May speak, unbonneted, to as proud a fortune

As this that I have reached. (21-4).

Furthermore, we hear more of the warrior's tales of victory when Othello is telling the Duke of how Desdemona fell in love with him. Othello tells him, "She loved me for the dangers I had passed,/And I loved her, that she did pity them" (I.iii.166-7).

Desdemona reinforces how she fell in love with Othello by telling her father:

My heart's subdued

Even to the very quality of my lord saw Othello's visage in my mind

And to his honors and his valiant part

Did I my soul and fortunes consecrate. (I.iii.247-51)

Paul Cantor, critic for the Southwest Review, supports with this idea, commenting that "Othello has the dignity and self-possession of Aristotle's great-soured man. Secure in his heroic virtue, he is unshakable, fully in control of himself and of any situation" (Cantor).

However, Othello is not perfect. Shakespeare uses Iago to point out Othello's tragic flaw, which Iago reveals when he tells Roderigo:

The Moor is of a free and open nature,

That thinks men honest that but seem to be so,

And will as tenderly be led by th' nose

When Cassio left my wife. What didst not like? (III.iii.I05-9)

This is all the extra ammunition Iago needs to know his scheme is working. Cantor claims that by "eliciting this speech from Othello, Iago has already won half his battle" (Cantor). In this way, Othello's tragic flaw can be seen and felt in a huge way.

Shakespeare does not stop there. To fully maximize Othello's flaw, he develops a greater sense of our mistrust in Othello's character through Iago. For example, Iago convinces Othello that he loves him and follows that up with a warning:

O, beware, my lord of jealousy!

It is the green-eyed monster, which doth mock

The meat it feeds on. That cuckold lives in bliss

Who certain of his fate loves the wronger,

But, O, what damned minutes tells he o'ver,

Who dotes yet doubts, suspects, yet fondly loves. (Shakespeare III.iii.166-71) this scene almost makes us wonder how Othello can be so gullible. Because Iago has discovered Othello's weakness, it is easy for him to build upon it. His plan is only strengthened by Othello's gullibility. Once suspicion is planted in Othello's mind, Iago know just what to do to confirm those suspicions. He tells Othello to "Look to your wife; observe her will with Cassio./Wear your eye thus: not jealous, nor secure" (III.iii.195-6). Because Othello is the one who becomes suspicious, Iago has removed himself from any blame. Kenneth Muir makes an astute observation when he says that Iago "exploits the "virtues as well as the weaknesses of Othello and of Desdemona, weaknesses both of character and situation" (Muir 35). Iago's actions are so cunning, they surprise us. The element of surprise helps the play to fit Aristotle's requirements for a tragedy.

An example of Iago's outrageous behavior can be seen when he tells Othello that he witnesses Cassio using Desdemona's handkerchief to wipe his beard. We realize Othello's vengeance when he exclaims "O, blood, blood, blood!" (Shakespeare III.iii.449). From this reaction, we see many sides of Othello's flaw. He is jealous, he is prone to gullibility, and he is also quick-tempered. His anger turns to rage, just as Iago desires. Again, we witness the evil nature of Iago, who simply compounds Othello's anger. He pleads for Desdemona's life, which enrages Othello even more. Othello declares, "Damn her, lewd minx! O, damn her, damn her!" (III.iii.473). Iago swears his loyalty to Othello by telling him, "I am your own forever" (III.iii.477). Part of what makes Iago such an interesting character is the fact that his behavior is shocking.

It should also be noted how much Iago and Othello have in common. Hermann Ulrici notes:

All that has been falsely said of Othello, applies only to his manifest opposite, Iago. He is the whitewashed, hypocritical power of evil -- his is a selfish, half-animal nature, which is unable to control its desires and passions simply because it has never made the attempt. The mere semblance of virtue easily deceives the open unsuspecting Othello. He, indeed, is the prey of a vulgar jealousy. (Ulrici)

When we consider this perspective, we can see how Shakespeare worked with the personalities of Othello and Iago in combination to create a deeper level of complexity to the play.

Within a very short time frame, Iago has successfully managed to turn Othello into a monster, while keeping himself free from any blame. Omer observes that the conversations between Iago and Othello "may rank among the greatest displays of persuasive skills ever penned" (Omer). Indeed, Othello trusts Iago over Desdemona. Interestingly, Othello illustrates his nature through his reactions. Simply put, where her trusts, he trusts completely; where his distrusts, he distrusts completely. Hesitation is almost impossible to him. Bradley adds that Othello "is extremely self-reliant, and decides and acts instantaneously" (Bradley). This aspect of Othello's character allows us to see Othello's consistency. This aspect also meets the requirement of Aristotle's definition of tragedy.

Othello compounds the situation by doubting his self-worth. For example, he says:

Haply for I am black

And have not those soft parts of conversation

That chambers have... I am abused, my relief

Must be to loathe her (Shakespeare III.iii.260-5).

Through Othello, we witness the genius of Shakespeare. Othello has changed from a loving husband and great warrior to jealous, murdering husband. We love him; we hate him; we feel sorry for him. Ulrici says of this sad state of affairs:

Othello has always appeared to me the most fearful of all Shakespeare's tragedies.... My sympathies are as much repelled as attracted by it. The emotions it excites resemble those with which we regard the men who, while they irresistibly attract us by the powers and splendour of their genius, alienate us no less forcibly by their character and disposition. (Ulrici)

Finally, Shakespeare has presented Othello as a tragic hero by having Othello finally realize his own flaw in addition to Iago's true character. Because he does realize what he has done, he partially redeems himself. He tells Lodovico that the one who killed Desdemona "was Othello; Here I am" (Shakespeare V.ii.281). Additionally, he asks how Iago could trap his soul and body. (V.ii.299). Of course, it is too late to do anything, but Othello does see the light.

He admits that he "loved not wisely, but too well" (V.ii.240). Othello recognizes the terrible thing he has done, but he is not a terrible person. This prompts pity from the audience. Similarly, Iago has completely destroyed Othello's life, which instills fear within the audience that such an evil person could ever exist. These qualities fulfill the Aristotelian requirements of a tragedy.

In conclusion, Shakespeare paints a tragic portrait when he presents Othello to us. The play follows Aristotle's requirements for a tragedy and Othello's character follows the requirements for a tragic hero. Othello is a strong, noble warrior in the beginning of the play. He is confident and worthy of our appreciation. His tragic flaw of gullibility and jealousy made him human. In other words, he is not too good or too bad. Iago, a character that adds complexity to the play, seizes upon his humanity. Othello realizes his weaknesses and mistakes and feels the worst remorse and regret. These elements work together to create the pity and the fear that Aristotle felt were necessary to complete the perfect tragedy.