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 that's a fableIf that thou be'st 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 soul's joy!...As hell's 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 she'll 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 what I am.(Act One, Scene One, Lines64-65)
Two Aristotelian terms hubris and hamartia are elements which describe the downfall of a tragic protagonist. Despite Othellos greatness, he is in no way a perfect man. The term hubris refers to excessive pride or arrogance, and it is very evident throughout the beginning of the play at Othellos height of power and greatness - I prattle out of fashion, and I dote...In mine own comforts.I pry'thee, good Iago...Go to the bay and disembark my coffers...Bring thou the master to the citadel...He is a good one, and his worthiness ...Does challenge much respect (Act Two, Scene One, Lines 221-225). Yet as the play goes on, and Iagos evil overwhelms not only the protagonist but other innocents as well, Othellos hamartia (weakness / tragic flaw) is clearly expressed. Whilst Iago manipulates Othellos thoughts of Cassio being with Desdemona, Othello becomes so overwhelmed in jealousy and loses his intellect Excellent wretch! Perdition catch my soul ...But I do love thee! and when I love thee not, Chaos is come again. His excessive, and only trust in the supposedly honest Iago is the main example of Othellos tragic flaws (hamartia) naivety and trust in the wrong people.
An Aristotelian reading of Othello is mainly concerned with the element of a tragic flaw in the protagonist, and the complex plot whereby a recognition and reversal of intention occurs. I believe Othello does indeed fit the criteria of both the complex plot and tragic flaw in the protagonist. This reading however does not in any way relate to the social status of characters, and thus places limitations on socially constructed interpretations such as the Marxist or feminist view. The feminist or Marxist view is a far more complex, modern interpretation which can show the way in which society was portrayed back then, and leads us to know more about what it was like during Shakespeares time. Aristotles view simply puts arguments for or against a play being labelled a tragedy, and thus is not as powerful as it merely looks at the story plot and protagonist.
The feminist interpretation is an example of an interpretation which has been formulated due to a change in context throughout history the feminist movement throughout early 1900s, concerning the status of women. Thus the feminist reading of Othello involves analysing the way women are portrayed in the play. Seeing as though the play is set around the Elizabethan times it is to no surprise that women are portrayed as having a lower status than men, it is the stereotypical view of women which has existed for so many years. Obviously, during these times, men had the dominant role in society, as reflected through each and every one of the male characters existing in the play The male duke, the male senator Brabantio, the lieutenant Cassio and the male commander Othello. The reason for this lies within the belief that women were thought to be only capable of making rash decisions, and lacked any signs of intellect or leadership skills. The feminist interpretation of Othello is observed through analysing the three female characters within the play Bianca (the courtesan), and more importantly, Emilia (the typical woman servant) and Desdemona (the typical housewife). Through comparing the jobs of the men and women in this play, you can see the women of Shakespeares time lead much less respectable careers.
The first instance where we are given an insight into the way women are portrayed in the Elizabethan society is evident in Act one, Scene three, where Brabantio speaks out against the marriage between Othello and Desdemona. Brabantio feels that the marriage between Othello and Desdemona is outrageous, because he feels that being the father, he should have the right to break up their marriage as she is bound to him for life and education. He is the lord of duty. Brabantio sees his daughter as more like property than his own child, he feels he has the right to own her until he proposes a dowry to perhaps, a successful, white noble. His stereotypical, 16th century view of women shows us an example where women are portrayed as being incapable of making their own decisions.
Brabantio: Where most do you owe obedience?
Desdemona: I do perceive here a divided duty
(Act One, Scene Two, Lines 197-198)
Yet if we analyse this scene through looking at the character of Desdemona, it is evident that Desdemona is in fact a pure hearted, free thinker who is not afraid to speak out. She in fact, opposes her father and freely admits her love with Othello, assuring him he did not use any magic or witchcraft to gain her love My noble father, you are the lord of duty, I am hitherto your daughter: but here's my husbandI challenge that I may profess Due to the Moor, my lord.. Desdemona however has one attribute, which is perhaps her downfall fear and weakness. Whilst Othello is about to murder her and accuses her of adultery, Desdemonas fear of Othellos poisoned mind expresses the typical weak attribute of women at the time. She pleads for her innocence, appealing to his sense of pity and this scene reflects the dominance of males and their control over women at the time:
Othello: ...thou art to die
Desdemona: Then Lord have mercy on me!
(Act Five, Scene Two, Lines 67-68)
Looking at Emilia, the wife of Iago and the attendant to Desdemona, we see a totally different character: One that speaks out against injustice an attitude that feminists during the early 20th century expressed against the rest of society (males). Emilias cynical attitude which speaks out against the treatment of women goes against the proper etiquette or traditional behaviour of women, seeing as though women had no voice during these Elizabethan times. Emilias cynical voice is expressed most evidently towards the end of the play during the climax.
Desdemona: Beshrew me, if I would do such a wrong for the whole world.
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