The Manipulation Of Othello Essays - Othello, English-language Films

The Manipulation Of Othello The Manipulation of Othello William Shakespeare's Othello presents all of the elements of a great tragedy, according to Aristotle's definition: A tragedy is 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) He also adds, The language used is pleasurable and throughout, appropriate to the situation in which it is used. The central features of the Aristotelian archetype are manifested in General Othello's character. Although Othello is great, he is not perfect. He has a tragic flaw, hubris (excessive pride and passion), and hamartia (some error), which lead to his downfall. However, Othello's misfortune is not wholly deserved. His punishment exceeds the crime, keeping him admirable in the theatergoer's eyes. Before Othello's tragic flaw results in his unfortunate death, he has increased awareness and gained self-knowledge or, as Aristotle describes it has experienced a discovery. (Poetics 1 5) All of this produces a catharsis or emotional release at the end of the play. A tragedy, when well performed, does not leave an audience in a state of depression but creates a shared, common experience. What causes Othello's downfall? Some critics claim that Othello's tragic flaw is his jealousy while others insist that jealousy is not part of his character, that the emotion takes over only when Iago pushes him to the brink of insanity. Evidence in the play supports the notion of insanity. Othello doesn't show himself to be jealous early in the play. It is not until Othello is manipulated by Iago's skillful lies that he is forced to confront his jealousy and mistrust. His love and trust of Iago serve to prove his gullibility, Jealousy and self-doubt poison his sensibilities and innocence, and the realization of his blind trust leads to his sorrowful end. As with most of Shakespeare's tragic heroes, Othello possesses all the virtues prescribed for the character type. He is of noble birth; he is self-controlled; he is religious; he has the respect of his men; and he demonstrates excellent leadership. His magnetism is what draws Venetian senators and soldiers alike and what captivates Desdemona. All of this supports the idea that he is not (at the play's opening) a jealous, enraged, or mad man. He has convincing self-esteem which he later loses to the deception of Iago's evil ploy. It can be noted that Othello's character flaw is his blind trust and naivet?. These character traits contribute to his misled downfall. It would be neglectful, if not irresponsible, to overlook Iago's role in the play. His hate for Othello and Cassio drives his evil motive through a string of lies affecting the entire cast. From the first act, the antagonist is troubled: I know my price, I am worth no worse a place. But he (as loving his own pride and purposes) Evades them with a bumbast circumstance Horribly stuff'd epithites of war, [And in conclusion,] Nonsuits my mediators; for, Certes, says he, I have already chose my officer. And what was he? Forsooth, a great arithmetician, One Michael Cassio, a Florentine (A fellow almost damn'd in a fair wife), That never set a squadron in the field, Nor the division of a battle knows (Othello. I.i.11-23) Iago never reveals his dissatisfaction with the military arrangement to Othello. Instead, he makes use of Othello's innocence and trust to satisfy his wicked end. He constantly boasts of his love for Othello and patronizes him regularly throughout the play. At Iago's first attempt to instill jealousy in the trusting Othello, he is successful. Othello's concern at Iago's implications entices him to learn more. Iago plays a verbal game with Othello to arouse suspicion. This piques Othello's interest and starts his mind to wonder. Iago is successful at the point he proclaims, O, beware, my lord, of jealousy! It is the green-ey'd monster which doth mock The meat it feeds on. That cuckold lives in bliss Who, certain of his fate, loves not his wronger; But O, what damned minutes tells he o'er Who dotes, yet doubts; suspects, yet [strongly] loves! (Othello. III.iii.163-168) One of the major qualities that comes to mind when assessing Othello is his trustfulness. He claims that Iago is a man of honesty and trust; To his conveyance I assign my wife (I.iii.286). Othello has no reason to