Comparative essay - Othello/Macbeth tragic heroes
Coursework
Unit 1: ‘Many critics have argued that Othello is not a true Shakespearean tragic hero. Explore the idea that Shakespeare intended to make Othello fit the criteria of his tragic hero with comparison to Macbeth.’
By Marina Georgallides
A tragic hero, determined by Aristotle, must show a nobility and virtue of a certain magnitude however, their path to happiness should be ceased by their destructive vice (Harmartia- the flaw that eventually leads to their downfall). Peripeteia, the point where the character’s fortune changes, must evoke a state of pity and fear amongst the audience, and give above all, a didactic message. The outcome of this characteristic should result in a complex but sole instigation of both the hero’s Catharsis (a cleansing of emotion which is described by Aristotle as an effect of tragic drama on its audience) and Anagnoris when they reach their moment of realisation. It can be argued that Shakespeare fully abided by these rules in order to make a distinction between his characters’ prosperity and misfortune. Fintan O’Toole (post modernist critic) argues that Othello “is not tragic, merely pathetic”. However, Othello will be identified as a far greater tragic hero than Macbeth, illustrating how Shakespeare fully intended on creating a tragically heroic character such as Othello. As the play progresses, Othello’s monumental Harmartia is gradually revealed; his sense of inherent jealousy is implemented by Iago, the Machiavellian villain, and his gullibility makes him susceptible to it. Once he becomes convinced that his wife Desdemona is unfaithful, his jealousy does indeed feed itself just as Iago ironically warns, “the green eyed monster, which doth mock the meat it feeds on” (Iago- Act 3 Scene 1), leading to the hero’s monstrous behaviour. The apparent alliteration, “death and damnation” (Act 3 Scene 3) and “waked wrath” (Act 3 Scene 3), reveals the great influence that Iago has upon Othello as his linguistic eloquence and his
Unit 1: ‘Many critics have argued that Othello is not a true Shakespearean tragic hero. Explore the idea that Shakespeare intended to make Othello fit the criteria of his tragic hero with comparison to Macbeth.’
By Marina Georgallides
A tragic hero, determined by Aristotle, must show a nobility and virtue of a certain magnitude however, their path to happiness should be ceased by their destructive vice (Harmartia- the flaw that eventually leads to their downfall). Peripeteia, the point where the character’s fortune changes, must evoke a state of pity and fear amongst the audience, and give above all, a didactic message. The outcome of this characteristic should result in a complex but sole instigation of both the hero’s Catharsis (a cleansing of emotion which is described by Aristotle as an effect of tragic drama on its audience) and Anagnoris when they reach their moment of realisation. It can be argued that Shakespeare fully abided by these rules in order to make a distinction between his characters’ prosperity and misfortune. Fintan O’Toole (post modernist critic) argues that Othello “is not tragic, merely pathetic”. However, Othello will be identified as a far greater tragic hero than Macbeth, illustrating how Shakespeare fully intended on creating a tragically heroic character such as Othello. As the play progresses, Othello’s monumental Harmartia is gradually revealed; his sense of inherent jealousy is implemented by Iago, the Machiavellian villain, and his gullibility makes him susceptible to it. Once he becomes convinced that his wife Desdemona is unfaithful, his jealousy does indeed feed itself just as Iago ironically warns, “the green eyed monster, which doth mock the meat it feeds on” (Iago- Act 3 Scene 1), leading to the hero’s monstrous behaviour. The apparent alliteration, “death and damnation” (Act 3 Scene 3) and “waked wrath” (Act 3 Scene 3), reveals the great influence that Iago has upon Othello as his linguistic eloquence and his
Bibliography: Critics 1.) Fintan O’Toole (2002)- ‘Shakespeare is Hard but so is Life’ 2.) Helen Gardner (Mid 20th century)- ‘The comedy of Errors’ 3.) Dr Johnson (1765)- Othello York Notes Advanced 4.) Arthur Kirsch (1984)- Macbeth (Vol.44) Introduction 5.) J.A Bryant (1961)- Shakespeare and the uses of comedy 6.) Tasha Kelley (2010)- The Great Tragedy 7.) Susan Snyder (1994)- Othello: critical essays 8.) Marilyn French (1982)- Shakespeare’s Division of Experience, Abacus