Aristotelian Interpretation Of Othello

What could possibly bring one of the most powerful, successful men down on his knees? Jealousy? Mistrust? Deceit? … William Shakespeare's 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).
Shakespeare's Othello is indeed a story of tragedy. Iago's evil schemes throughout the play cause much grief and pity on the side of Othello. Iago manipulates Othello's innocence, naivety and trust to cause Othello to become jealous over the thought of his newly wedded wife cheating on him. Othello's fall from grace leads him to eventually murder his own wife, and once Iago's 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 Othello's 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 Iago's evil deeds, his trust in Iago diminishes instantly "I look down towards his feet;—but that's a fable…If 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, Othello's "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)