To a certain extent, I agree with Albert Gerard`s interpretation of the character of Othello. Othello is presented as “credulous” in Act 3 scene 3. Othello and Iago see Cassio parting from Desdemona and not to the audiences surprise Iago says “ha, I like not that”. This is probably one of the most significant lines in the scene because it grabs Othello`s attention. Othello is easily hooked and almost begging to hear more about the alleged adulterous relationship between Cassio and Desdemona, “I prithee speak to me”, this undoubtedly portraits Othello as a gullible individual, unable to let the “ruminate” of Iago run past him letting jealousy get the better of him and quite quickly takes Iago`s plan. Once Othello is hooked, he begins to lose his charming way of speech and starts speaking with hints of hemi-stichomythia, “very obedient.-Proceed you in your tears.-“, this shows how emotionally rickety Othello can be. Previously in the play, Othello had used highly dignified language especially when he makes his moving speeches confessing his love for Desdemona but this changes and he begins to speak in small speeches showing how he is beginning to lose control. However, although I agree that Othello is “credulous”, I think Shakespeare did this deliberately since this is a Shakespearean tragedy that is based on Aristotle’s theory of tragedy, which states that the protagonist should have a tragic flaw otherwise known as harmatia, which dramatises empathy and fear within the audience and as a result this is what will eventually lead on to his downfall.
Get Help With Your Essay
If you need assistance with writing your essay, our professional essay writing service is here to help!
Interestingly, in Act 3 scene 3 Gerard’s arguments is well justified, Othello begins to lose his “nobility” just as Gerard argues. Earlier in the play he was presented as possessing all the virtues of a military leader that he is. As the audience, we start witnessing a respected and “noble” character of Othello and end with a traumatised and vengeful Venetian moor. Act 3 scene 3 is the turning point for Othello in this Shakespearean tragedy. Act 3 scenes 3, begins with Iago starting to put his plan (the manipulation of Othello) to work. Iago`s plan is what in turn destroys Othello’s reputation and respect to the point which even Lodovico (Desdemona`s cousin) begins to wonder if he “deceived” himself thinking Othello was a “noble Moor” full of “solid virtue” and emotionally unscathed. This undeniably supports Albert Gerard`s argument of Othello lacking in “nobility” because even other characters around have noticed. However, Othello shows nobility in Cyprus. This is the place where Othello has all the power and command and unsurprisingly proves his reliability also he proves that he is well stationed for the post of military leader by leading his fleet to victory over the Turks. Shakespeare successfully applies Aristotle’s theory of tragedy into the character of Othello. In my opinion, I particularly like the way Shakespeare has set up the play, where the audience are always a step ahead of the characters and in greater knowledge. Shakespeare did this by using soliloquies. This means we can sympathise with the characters because we know they were unaware of the dangers when they took action. The dramatic effect this creates is that the audience now have a great anticipation of how Othello is going to react to Desdemona. In the same way, this foreboding technique can also be shown in Trevor Nunn’s film version of “Othello the moor of Venice”, when a character talks directly to the audience away and undetected from the rest of that cast in order to put across his view or plan. In this case, it was Othello who spoke secretly to the audience undetected by Desdemona, whilst he was watching her sleep in Act 5 scene 2. This technique that Shakespeare uses increases the tension in the audience especially when Desdemona seems to have no clue of what Othello is angry about further in the play when she wonders “How am I false?” makes us begin to lose our faith in Othello as we know she has done nothing wrong. This also links in to Aristotle’s theory of tragedy. Aristotle argues that a tragedy must consist of certain required elements which make it inevitable. Looking at it from Trevor Nunn’s version of Othello, it shows inevitability as the audience had known of Iago`s malicious plan but there was nothing they could do to warn Othello. Othello’s emotions also influence the loss of his nobility; this is also evident in “The Arden Shakespeare” version of Othello by E.A.J Honingmann. Worthy of note, looking at the character of Othello contextually, when this play was written, men were generally expected to make sure that their wives were well mannered and behaved, this is strange because Othello doesn’t appear to have any control upon Desdemona, this would have been extremely peculiar to a Shakespearean audience nevertheless, it portrays Othello as an insignificant character rather than make him appear noble. However, nowadays this is not the case, so the audience would not see this as a decline in Othello`s authority. All in all, I would have to agree with Albert Gerard on Othello losing his nobility because all the above show Othello losing his heroic figure and becoming a “credulous fool”.
Albert Gerard argues that Othello lacks “intellect” compared with other Shakespearean tragic heroes. I agree and disagree with Gerard’s argument. I disagree that Othello is an intellectual tragic hero because I think Othello is an intellectual man to a certain extent. Othello every now and then speaks in iambic pentameters for instance in Act 2 scene 1. This is a technique that Shakespeare often uses to signal when a character is either saying something important but it also shows intellect, power and nobility, because the audience get a sense of rhythm and fluency within Othello’s speech. It can be used to distinguish between classes or positions in hierarchy. For example, when Othello speaks of his love for Desdemona, he speaks in iambic verse. This is evident in Act 2 scene 1:”Olympus-high, and duck again as low” whereas, when he speaks to Cassio and Roderigo post their fight, he speaks in prose since he is aggravated that they would do such a thing. Similarly, iambic pentameter is also evident in Act 3 scene 3; when Othello got hooked to Iago`s conversation but spoke of giving words “breath” teaching Iago to think and prove his argument before he speaks, besides, it also shows Othello living to his military mind by showing morality. Furthermore, even the people around Othello realise that he speaks so eloquently. The duke earnestly admits Othello is brave and bold considering what he has been through and just like he won Desdemona’s heart his “tale would win” his “daughters heart too”. Likewise, how Othello acts with style and grace under fire, when he is accused of witch craft for being able to woo Desdemona’s heart. He elegantly neither screams nor yells, but explains in a manner that captivates not only the audience but even the Duke and Brabantio, and draws them in to listen to his magnificent speech. Contextually, the fact that Othello appears to be in some way or another intelligent would have been out of the ordinary to a Shakespearean audience because he was a Moor. However, nowadays this is ordinary because there is no longer so much discrimination because of the colour of ones skin, if any at all. But, this can be argued looking at the BBC`s 1981 television version of Othello by Jonathan Miller, where Welsh actor Antony Hopkins, a white man played Othello, this is strange because Othello as we know was a Moor, this may have been done to avoid disputes since there would have been endless synecdoche and referral to ones skin colour. On the contrary, I agree that Othello lacks “intellect”, because although he is the protagonist, he is easily lured into Iago`s plan showing him as an easy to fleece character rather than intelligent. Othello, most of the time is unaware of Iago`s manipulation, Shakespeare does this deliberately both to lengthen the play and also add to the tragic flaw which will later destroy him. Charney agrees in that Othello is easily led and doesn’t notice Iago`s malicious plans: “Othello shares with all of Shakespeare’s tragic protagonist’s straightforwardness and a lack of suspicion that make him easily duped”. As the audience, our opinion of Othello being intelligent begins to deteriorate. This is mostly because of soliloquies that Shakespeare uses so we begin to wonder why he is not noticing, but we do not take into consideration that he is unaware of Iago`s plan although it is obvious to us.
Othello is presented as not having any mixed emotions. Throughout the play he is either really happy to the point of love or really sad to the point of feeling vengeful; he never appears to have mixed emotions. This supports Albert Gerard’s argument on Othello being an “erring barbarian” because when he is sad he is full of fire and merciless. This is shown when he is driven to the complete madness by the alleged affair between Cassio and Desdemona and he asks Iago “how shall I murder him”. Othello`s emotions are also conveyed through imagery in his speech. Mostly the imagery portrayed to the audience is heaven and hell. Othello`s speech is mostly polarised between heaven and hell once he is in enraged, “heaven weep”. This very effective language makes the audience gnash their teeth in terror. When Othello becomes angry; the imagery received by the audience is the contrast between heaven and hell on a biblical scope. Othello oath`s and swears on elements of the earth, “marble heaven” and once infuriated he loses control of his speech which then becomes filled with invocation “arise, black vengeance” which makes him appear hysterical to the audience. The structure is important in changing the audience`s view of Othello. In Act 3 scene 3, there are plenty of exits and entries to the stage. The fact that Cassio leaves as he soon as he spots Othello and Iago walk in and vice-versa, adds to the success of Iago`s manipulation, this is because Othello becomes convinced that Cassio walked away in some guilt as if he had done something wrong. As the audience we are sure this is not true and see Othello as foolish for believing Iago`s malicious rumour. This all proves how much Othello`s jealous emotions undermine him as a tragic hero but strengthen Albert Gerard`s argument that he was an “erring barbarian”.
Find Out How UKEssays.com Can Help You!
Our academic experts are ready and waiting to assist with any writing project you may have. From simple essay plans, through to full dissertations, you can guarantee we have a service perfectly matched to your needs.
View our academic writing services
Although Othello has an epileptic fit, I believe Othello is very fit to be a perfect tragic hero based on Aristotle’s theory of tragedy. Aristotle argues that a tragic hero have these characteristics: (1) be a nobleman, prince, or person of high estate; (2) have a tragic flaw, and a weakness in judgment; and (3) fall from high to low estate. I think Othello is the perfect tragic hero because being a military leader gives him high status. He has a tragic flaw also known as harmatia that triggers the catastrophe. In terms of Othello, his tragic flaw is his jealousy which in turn catalyses Iago`s manipulation as well as falling from a high military leader to an unrecognised status. In agreement, A. C. Bradley believes that Othello is, “a nearly faultless hero whose strength and virtue are turned against him”. However there are some critics such as Albert Gerard that disagree with Charney and Bradley. But all in all, I think there are things that make Othello a “credulous fool” and on the other hand, a “tragic hero”, this is why I do not agree with Albert Gerard because Othello is not a one-sided character, he has his good points and bad points. In my opinion, Othello is the most exciting and suspense filled out of all four of Shakespeare’s great tragedies.
Cite This Work
To export a reference to this article please select a referencing style below:
