Comparative Essay – Othello/Macbeth Tragic Heroes

Unit 1 Many critics have argued that Othello is non a true Shakespe arean tragicalal star. Explore the idea that Shakespeare mean to make Othello fit the criteria of his tragic adept with comparison to Macbeth. By Marina Georgallides A tragic triggerman, determined by Aristotle, must show a splendour and virtue of a certain magnitude however, their path to happiness should be ceased by their destructive vice (Harmartia- the flaw that eventually runnings to their laying waste).Peripeteia, the point where the reference works fortune changes, must evoke a state of forgiveness and fear amongst the reference, and give above all, a didactic message. The outcome of this character should result in a complex but sole instigation of both the heros Catharsis (a cleansing of emotion which is exposit by Aristotle as an effect of tragic drama on its listening) and Anagnoris when they cave in their mo custodyt of squareisation. It coffin nail be argued that Shakespeare fully ab ided by these rules in browse to make a greenback between his characters prosperity and misfortune.Fintan OToole (post in advance(p)ist critic) argues that Othello is not tragic, merely pathetic. However, Othello go out be identified as a far neater tragic hero than Macbeth, illustrating how Shakespeare fully intended on creating a tragically heroic character such as Othello. As the play progresses, Othellos 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 confident(p) 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- deed of conveyance 3 Scene 1), leading to the heros monstrous behaviour. The apparent alliteration, ending and damnation ( crook 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 mental state apace collapse, resulting in both his practice session of evil tomography in speech and in action, the murder of Desdemona.The hubris, argued by Helen Gardner (in 20th century) is heroic beca economic consumption Othello acts from inner fatality, appearing to show Othellos desire to remake the world into a better place, an act that is heroic in its arrogantness. This admission of h angiotensin-converting enzymest duty perhaps may have encouraged a newfangled earreach to pity Othello as his act, although terrible in itself, is nevertheless extraordinary in its let small-armner of righteousness. Othello on that pointfore appears to be more honour qualified since his wrong doing was out of love and not of hatred, something for which Gardener seems to forgive Othello.A ultramodern-day audience would argue that gender also plays an important role in Othello as men were regarded as stronger and wi ser, making it more forgivable of Othello. However, a 21st century audience would view women as equally as important as men, showing that Desdemonas murder was underserved and unforgivable of Othello. Dr Johnson (1765) stated that Othello was a very(prenominal) useful moral, as the title-holder shows how ane can be stifled by naivet the repetition of honest Iago, the outdoor(a) forces of evil, combine to cause Othellos tragic manifestation and thus, his downfall.Macbeths tragic flaw is his lust for originator that eventually and unsurprisingly leads into his downfall. Arthur Kirsch (1984) highlights Macbeths emptiness of his desires and the insatiability of his aspirations. Macbeth becomes infatuated with the witches presage as he soon discovers how real it is, allowing him to be somewhat fixated on the idea of murdering the King and soon after, Banquo. Macbeth does murder sleep- the use of tertiary person indicates the exponential deterioration of his mental state after si desplitting an innocent King, as a result of his unquenchable thirst for power essentially in itself more than one of the seven vices.Both Iago and Macbeth in this case, are the embodiment of the vices, both jealousy and greed, as opposed to Othello, who is only influenced by the vice itself. J. A Bryant (1961) argues that, Macbeth is a wholly negative character who possesses the efficiency for good but chooses to broadcast evil instead, illustrating that his ulterior theme wasnt for the good or righteous, as opposed to Othello, but for the stingy rise to power, evidently making him less of a tragic hero he merely chooses evil because it works to his own advantage earlier than making the world into a better place.Both a Shakespearean and a modern audience would believe that Macbeth, resembling the Devil, has go forthed himself into a desperate rate whereby he is captive of nothing except the providence he chose to ignore. In situation, a further aspect of his Hamartia is a rguably his supposed leave out of masculinity that he is constantly belittled and ridiculed for by Lady Macbeth. The use of a rhetorical question in Are you a man? indicates her ability to manipulate him into believing that he is not strong plenteous to murder.This also, plays an important but yet, not as dominant, role in Macbeths downfall. The second element combined to create a tragic hero is Peripeteia where the downfall from a virtuous status to a blasting one is evident. Regardless of however many times Othello is referred to as the truss by Iago, a derogatory term used to highlight his race, a Shakespearean audience will still be amazed by his aristocratic virtue as he possesses the verbal eloquence to roam to the signiors in the rule of three adjectives as potent, grave and reverend.In Act 3 Scene 3 however, Othello makes more references to the devil a reproval of Iagos evil nature beingness imparted upon him, as goats and monkeys are images that incriminate the dev il. His eloquence of poetry in Act 1 is in ascetic contrast to his or else barbaric and politically incorrect behaviour in Act 3, particularly to a 21st century audience as his act of striking her (Desdemona) across the face is an incredulous act that is all in all unacceptable to feminists now but may have been deemed as putting green or even deserved to a contemporary audience of the sixteenth century.His affection dramatically changes towards Desdemona and it can be argued that Othello allows manipulation and jealousy to lead to his self-destruction- Tasha Kelley (2010) Othello simply cannot help the jealousy that he rules within him, no matter how lots of an influence Iago is upon him. At this point, Othello is entirely convinced and absolute in the stamp outing of his wife the use of hyperbolic language in Ill tear her all to pieces emphasises his continent mercilessness since all of Desdemona will be killed.Unlike Othello, Macbeth changes rather early on in the play, and the only real evidence that the audience sees of his nobility is what others say about him. In Act 1 Scene 2 Duncan pull upes, O valiant cousin, worthy humankind the use of positive adjectives to describe Macbeth would give both a Shakespearean and modern audience a good impression of Macbeth even onwards he is revealed in the play.On the other hand, current and contemporary audiences would also expose that the other characters in Macbeth are the ones who prove Macbeths honorary class, and not he for himself. After one consecutive scene, Macbeths Peripeteia is super abrupt that it can be portrayed as almost non-existent. If regain will have me King, Why Chance may crown me, Without my perk up- immediately one gains the impression of his violent underlying tone that is implied by the use of the word stir, revealing to a contemporary audience that his destructive intentions are intrinsic.According to Aristotle, there must be a idle distinction between the characters prosperit y and misfortune Macbeth, as a tragic hero, does not condition himself to these rules religiously enough and it therefore, can be argued that his downfall is far too early on in the play for an audience to fully grasp his nobility. Whereas, Othellos greatness is explored exhaustively for two whole Acts, allowing an audience of any time period, to understand that his stately qualities are innate.A contemporary audience, for example, would understand the reason for Othellos downfall ofttimes better than they would with that of Macbeths as the play enables him to develop as a character and thus, show his true intentions, which are in this case, to love and nurse Desdemona. Alas, an alternative interpretation of Macbeth of a Shakespearean audience would be that he is an incessantly complacent man who, by all means, allows arrogance to featherbed his mind even in the first scene of the play.The most illustrious of quotes where Macbeth visualises a dagger, represents his wavering re solve and lust for power that slowly descends into his madness. Is this a dagger, which I see before meAct 1 Scene 7, the use of a rhetorical question illustrates Macbeths hallucination of seeing an endeavor that is clearly not there, which in comparison is a major downfall for someone who was deemed to be valiant at the start of the play.Susan Snyder (1994) states that the play provides no answers to the questions it raises about the relative culpability of the witches equivocal predictions and Macbeths potential to commit murder. Evidently, there is no real justification or distinction in Macbeths downfall other than his sick ambitious urgency for power. The third criterion that qualifies a tragic hero is Anagnorisis, where the protagonist acknowledges his/her own flaw that has led them to their downfall.After all the accusations and trauma that Desdemona has been through, her last and most angelical words being, Commend me to my kind lord- O, farewell This suggests that she i s a saint for benevolent all that Othello has done to her and shows just how much she loved Othello a contemporary audience would eventually feel pity for her as she is not the one to blame. However, a different view of Desdemona and what she represents has emerged over recent years amongst modern audiences feminist and new historic critics haveexamined her character in comparison to the society she moves in.Marilyn French (1982), explores the masculine and misogynistic value system within Othello, and contempt Desdemonas assertiveness in choosing her own husband, French emphasises that Desdemona must be obedient to males and is self-denying in the extreme thus when she dies she is a emboss of female passivity. Once killing Desdemona, Othello begins to express his sincere remorse for his actus reus through the repetition of alliteration.The use of alliteration in Cursed, cursed and icy, cold, Act 5 Scene 2, reveals how ashamed he is with himself for committing such a crime as he is emphasising it through the repetition of consonance honorable c, and above all, goes closer to prove his tragic hero status. through with(predicate) his two speeches, Othello is able to elaborate on the fact that he is captive with guilt the rhyming couplet of I kissed thee ere I killed thee no manner by this, Killing myself, to die upon a kiss. epitomises his Anagnoris as he realises his sheer love for Desdemona with what remains within him, a flare of eloquence.In stark contrast, there is no real evidence of Macbeths Anagnoris, and in fact, he behaves rather arrogantly about the witches predictions because he believes that no real harm will happen to him. In Act 5 Scene 3, Macbeth expresses a very short speech in which no lamenting or melancholy is apparent I have lived long enough my way of aliveness Is falln into the sear is but a mere quotation of his circumstances rather than realisation of his tragic flaw. A Shakespearean audience would notice that perhaps Macb eth has not fully repented for his mistake and is therefore, in monetary value of Aristotle, not a true, classified tragic hero.Macbeth is determined to continue fleck for his life whereas traditionally a tragic hero, such as Othello, should ultimately understand their downfall in exchange for their life. In Act 5 Scene 5, Macbeth does in fact have the verbal eloquence to express himself even in a state of supposed despair. The use of avatar in Lifes but a walking backside reinforces the state of his ignorance to register his own wrong doing and therefore, both a modern and contemporary audience can advocate that they do not feel the same sympathy as they do for Othello.Finally, the last criterion of a tragic hero is Catharsis the point at which the tragic hero cleanses his heart and the audiences too. Othello, despite all that he has been through, returns to the enjoin and passionate man, and for that, an audience can feel as though the anterior trauma of Desdemonas death com bined with his own wicked imagery is obliterated and washed from them. And very sea-mark of my utmost sail is an example of how Othello is able to speak in iambic pentameter even in such a horrific mental state, reinforcing an audiences perception of how truly grand and titled he is.Most honourably, he is not afraid of killing himself in the name of love he simply kisses Desdemona, and dies, making him appear as more of a tragic hero than Macbeth, who fights to live on. He leaves the audience feeling bereaved and pitiful because, despite his jealousy, he loved Desdemona too well, a crime that was surely too harshly punished. Although, Macbeths death is rather less tragic and more heroic in the sense that he refused to kill himself by falling on my brand name an audience would regard him as more honourable towards himself.Before Malcolm kills him, he part recognises his wrong doing in the little speech that he gives Of all men else I have avoided thee But get thee back, my soul is too much chargd With blood of thine already. Irrespective of the fact that Macbeth didnt kill himself as he should have done, the imagery of blood reveals the extent of which Macbeth fights like a true soldier till the end. Unfortunately, as a modern audience, we cannot feel the same sympathy as we do for Othello as he neither recognises his flaw nor kills himself because of it an despotic required for a true tragic hero.Macbeth is a rapid play that does not allow the main protagonist to develop as a character and for that reasoning Macbeth lacks many of the imperative qualities needed within a tragic hero such as Peripeteia and Anagnorisis. Without a single doubt, Othello is one of Shakespeares greatest tragic heroes as fought for by Helen Gardner and Dr Johnson, regardless of Fintan OTooles perception of Othello being merely pathetic. We can advocate otherwise that in fact Othello fulfils all four criterias of Aristotles definition of a tragic hero.