Comparative Essay – Othello/Macbeth Tragic Heroes

Unit 1 Many critics have argued that Othello is non a true Shakespearian tragic hero. Explore the idea that Shakespe ar intended to make Othello fit the criteria of his tragic hero with comparison to Macbeth. By Marina Georg onlyides 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 destruction leads to their d havefall).Peripeteia, the point where the qualitys fortune changes, must evoke a recite of pity and concern amongst the listening, and give in a higher place all, a didactic message. The outcome of this characteristic should result in a multi pointorial that sole instigation of some(prenominal) the heros Catharsis (a cleansing of emotion which is depict by Aristotle as an effect of tragic drama on its auditory modality) and Anagnoris when they reach their moment of sincereisation. It can be argued that Shakespeare fu lly abided by these endures in order to make a distinction between his characters prosperity and misfortune.Fintan OToole (post modernist critic) argues that Othello is not tragic, merely pathetic. However, Othello leave alone be identified as a far great tragic hero than Macbeth, illustrating how Shakespeare fully intended on creating a tragically heroic character such(prenominal)(prenominal) as Othello. As the play progresses, Othellos monumental Harmartia is gradually revealed his sense of inherent jealousy is enforced 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 bunk itself just as Iago ironically warns, the green eyed monster, which doth mock the meat it feeds on (Iago- execute 3 dead reckoning 1), leading to the heros monstrous behaviour. The apparent alliteration, death and damnation ( serve 3 Scene 3) and waked wrath (Act 3 Scene 3), reveals the great influence that Iago has upon Othello as his linguistic blandness and his mental state rapidly collapse, resulting in both his role of evil resourcefulness in language and in action, the death penalty of Desdemona.The hubris, argued by Helen Gardner (in 20th century) is heroic because Othello acts from inner necessity, appearing to show Othellos desire to make over the world into a get around place, an act that is heroic in its absoluteness. This admission of ethical trading perhaps may have encouraged a contemporary sense of hearing to pity Othello as his act, although frightful in itself, is nevertheless(prenominal) wonderful in its own manner of righteousness. Othello therefore appears to be more august since his wrong doing was out of retire and not of hatred, something for which Gardener seems to forgive Othello.A contemporary audience would argue that sexual practice also plays an valuable role in Othello as men were regarded as stronger and wiser, makin g it more venial 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) declared that Othello was a very useful moral, as the protagonist shows how one can be stifled by naivet the repetition of honest Iago, the external forces of evil, melt to cause Othellos tragic manifestation and thus, his downfall.Macbeths Hamartia is his lust for power that level offtually 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 prophecy 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 third person indicates the exponential admixture of his mental state after killing an innocent King, as a result of his u nquenchable thirstiness 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 disallow character who possesses the capacity for good but chooses to commit evil instead, illustrating that his ulterior motive wasnt for the good or righteous, as opposed to Othello, but for the selfish rise to power, evidently making him less of a tragic hero he merely chooses evil because it works to his own advantage sooner than making the world into a better place.Both a Shakespearean and a modern audience would reckon that Macbeth, like the Devil, has willed himself into a desperate position whereby he is captive of nothing except the providence he chose to ignore. In fact, a further aspect of his Hamartia is arguably his supposed lack of masculinity that he is constantly be ci rcumstantiald and ridiculed for by Lady Macbeth. The use of a rhetorical question in argon you a man? indicates her ability to manipulate him into believing that he is not strong overflowing to murder.This overly, plays an important but yet, not as dominant, role in Macbeths downfall. The second element combined to piddle a tragic hero is Peripeteia where the downfall from a virtuous status to a ruinous one is evident. Regardless of however many cartridge clips Othello is referred to as the Moor by Iago, a uncomplimentary term used to highlight his race, a Shakespearean audience will still be amazed by his aristocratic virtue as he possesses the verbal eloquence to assert 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 make a reflection of Iagos evil nature being imparted upon him, as goats and monkeys are images that connote the devil. His eloquence of poetry in Act 1 is in stark c ontrast to his quite 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 totally unacceptable to feminists now but may have been deemed as common or even deserved to a contemporary audience of the 16th 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 scarce cannot help the jealousy that he looks within him, no matter how much of an influence Iago is upon him. At this point, Othello is simply convinced and absolute in the killing of his wife the use of hyperbolic language in Ill tear her all to pieces emphasises his sheer 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 to the highest degree him. In Act 1 Scene 2 Duncan expresses, O valiant cousin, worthy gentleman the use of positive adjectives to make out Macbeth would give both a Shakespearean and modern audience a good impression of Macbeth even before he is revealed in the play.On the other hand, current and contemporary audiences would also notice 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 extremely abrupt that it can be portrayed as almost non-existent. If Chance will have me King, Why Chance may crown me, Without my stir- immediately one gains the impression of his red-faced 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 clear distinction between the characters prosperity and misfortune Macbeth, as a tragic hero, does not condition himse lf 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 thoroughly for two whole Acts, allowing an audience of any time period, to understand that his noble qualities are innate.A contemporary audience, for example, would understand the reason for Othellos downfall much 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 protect 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 corrupt his mind even in the first scene of the play.The most famous of quotes where Macbeth visualises a dagger, represents his wavering resolve and lust for power that late 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 object 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 read 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 angelic words being, Commend me to my kind lord- O, fare swell This suggests that she is a venerate for forgiving all that Othello has done to her and shows just how much she loved O thello a contemporary audience would in the long run 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 upstart years amongst modern audiences feminist and new historic critics haveexamined her character in relation to the fraternity she moves in.Marilyn French (1982), explores the masculine and misogynistic value system within Othello, and despite 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 pigeonhole of female passivity. Once killing Desdemona, Othello begins to express his sincere remorse for his wrongdoing through the repetition of alliteration.The use of alliteration in Cursed, cursed and cold, 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 sound c, and above all, go es closer to prove his tragic hero status. Through his two speeches, Othello is able to elaborate on the fact that he is wrapped with guilt the rhyming couplet of I kissed thee ere I killed thee no way 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 mourning is apparent I have briskd long enough my way of life Is falln into the sear is but a mere acknowledgement of his circumstances rather than realisation of his tragic flaw. A Shakespearean audience would notice that perhaps Macbeth has not fully repented for his mistake and is therefore, in terms of Aristotle, not a true, classified tragic hero.Macbeth is determined to continue fighting 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 personification in Lifes but a pass shadow 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 pump and the audiences too. Othello, despite all that he has been through, returns to the articulate and passionate man, and for that, an audience can feel as though the previous trauma of Desdemonas death combined with his own wicked imagery is obliterated and washed from them. And very sea-mark of my utmost sail is an exam ple of how Othello is able to speak in iambic pentameter even in such a horrific mental state, reinforcing an audiences light of how sincerely noble 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 an audience would regard him as more honourable towards himself.Before Malcolm kills him, he partly 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 uncomplete recognises his flaw nor kills himself because of it an adjuratory 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 hit 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 quad criterias of Aristotles definition of a tragic hero.