Shakespeare's Othello as Aristotelian Tragedy: An Analysis
This paper examines whether Shakespeare's Othello qualifies as a tragedy according to Aristotle's definition in the Poetics. It begins by outlining Aristotle's key criteria for tragedy — including catharsis, peripety, hamartia, character construction, and plot unity — drawing primarily on Oedipus as the classical example. The paper then applies these criteria systematically to Othello, assessing the play's plot structure, hero, and emotional impact. It finds that while Othello largely satisfies Aristotle's conditions for character and emotional effect, its complex, multi-stranded plot falls short of the taut, unified cause-and-effect structure Aristotle prescribed. The paper concludes that Othello succeeds as a tragedy in the modern sense and comes very close to fulfilling the Aristotelian definition.
- Aristotle's Definition of Tragedy: Aristotle's criteria for tragedy and catharsis
- The Role of Peripety and Plot Structure: Peripety, plot unity, and cause-and-effect
- Character, Catharsis, and Emotional Identification: Hero construction and audience identification
- Applying Aristotle's Criteria to Othello: Othello's plot and hero measured against Aristotle
- Conclusion: Othello nearly fulfills the Aristotelian tragic definition
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What makes this paper effective
- The paper grounds its argument in direct quotation from Aristotle's Poetics, giving its claims a solid textual foundation before applying them to Shakespeare.
- It maintains an honest, balanced assessment — acknowledging where Othello meets Aristotelian criteria and clearly identifying where it falls short, particularly regarding plot complexity.
- The parallel drawn between Oedipus and Othello is well-handled, using the classical example as a measuring stick throughout rather than only in the introduction.
Key academic technique demonstrated
The paper demonstrates comparative textual analysis: it extracts a theoretical framework from a primary source (Aristotle's Poetics), enumerates its criteria systematically, and then applies each criterion as a lens to evaluate a second primary text (Shakespeare's Othello). This structure — theory first, application second — is a reliable model for literary analysis essays at the undergraduate level.
Structure breakdown
The paper is organized into two major analytical blocks followed by a conclusion. The first block (roughly half the paper) establishes Aristotle's theory, covering definition, catharsis, peripety, character requirements, and plot conditions. The second block applies each element to Othello in sequence, following the same order in which criteria were introduced. The conclusion synthesizes the findings into a qualified verdict. This mirrored structure makes the argument easy to follow and the evaluation criteria transparent.
Aristotle's Definition of Tragedy
Aristotle defines tragedy as the imitation of an action that is serious and possesses a certain dramatic and complete magnitude. In his own words, tragedy is:
"A form of drama exciting the emotions of pity and fear. Its action should be single and complete, presenting a reversal of fortune, involving persons renowned and of superior attainments, and it should be written in poetry embellished with every kind of artistic expression." (Poetics, Part IX)
Aristotle saw tragedy as a simulation of an event that aroused pity and fear in the individual and, by doing so, served as a form of catharsis through which the individual could identify with the plot and feel a certain purging or relief (VI.2).
It is this sense of purging that most distinguishes tragedy from comedy or the epic, in that tragedy alone possesses the emotions of fear and pity and therefore has the power to rid the reader or audience of corresponding tension (Gellrich, 1988).
References
Aristotle. (1970). Poetics. University of Michigan Press.
Gellrich, M. (1988). Tragedy and theory: The problem of conflict since Aristotle. Princeton University Press.
Shakespeare, W. (2008). The Norton Shakespeare. W. W. Norton.
Shakespeare, W. (1988). Othello. Bantam.
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