The Identity of Othello in William Shakespeare's Drama

The Moor of Venice by Shakespeare is considered a tragic hero since he fits in much of the concepts of the Aristotelian tragedy. Othello experiences downfall as a highly respected general of Venice. He is also, throughout the play, acting for the public good and in the name of justice. Moreover, the cause of his downfall comes from the flaws of his personality. He eventually goes through anagnorisis and realizes his wrongdoings, which also occurs at the same time as the catharsis.

The Aristotelian tragedy commands that for a character to be called a tragic hero, they need to be in possession of a noble reputation and occupy a high status in society: ‘’ He or she must be of noble blood. This provides the story with dignity’’ (Bergbusch 2). The identity of Othello is known as early as in the beginning of the play, in Act 1, Scene 2, when he receives complaints from Brabantio about him marrying Desdemona (Shakespeare, Oth, 1.2.62).

Othello is quick to remind everyone that his value to the state is more important than Brabantio’s threats and that marrying Desdemona was the right choice for them: ‘’ I shall promulgate.

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I fetch my life and being/From men of royal siege, and my demerits/May speak unbonneted to as proud a fortune’’ (1.2.21-23). Othello recognizes his place and knows that he is of noble blood, which is one of the concepts Aristotle explores through the Aristotelian tragedy. Othello is subject to a downfall later in the play and that is a tragedy because of the rank he maintains, therefore he qualifies as a tragic hero.

Following Iago’s evil plan, Othello quickly becomes indoctrinated by Iago’s words, which results in Othello becoming abnormally jealous, and that changes the Moor’s ways of looking at Desdemona. In the first half of the play, Othello is seen as a man who treats his spouse with respect and dignity:’’ How I did thrive in this fair lady’s love, /And she in mine.’’ (1.3.127-128).

As Iago whispers awful words about Desdemona to Othello (3.3.193-204), the Moor develops doubts about his wife, where he starts to lose trust in her and believes that ‘’[s]he’s like a liar gone to burning hell!’’ (5.2.132). He becomes so obsessed with this idea of Desdemona cheating that he goes as far as physically hurting her (4.1.227) and eventually concludes that he must kill her:’’ Yet she must die, else she’ll betray more men’’(5.2.6). Rather than examining the issue further, Othello carelessly bounces to the most noticeably terrible decisions about his better half and accepts each untruth that Iago murmurs into his ear.

Although the reprobate Iago is unquestionably to fault for achieving Desdemona's homicide and Othello's suicide, Shakespeare makes it very clear all through the play that Othello's rash conduct and silly innocence are the main reasons of his hopeless end: ‘’ Of one that loved not wisely, but too well;/ Of one not easily jealous, but, being wrought,’’ (5.2.340-341). This behavior is a result of the uncontrollable jealousy Othello develops afterward, which is the flaw that takes him to his tragic downfall:’’ The tragic hero meets his fate because of a 'tragic flaw'’’ (Bergbusch 2).

In addition to this, the Aristotelian Tragedy actively brings out this aspect of public good and acting in the name of justice, which is exactly what makes Othello a tragic hero. Before the unfortunate murder of Desdemona, the Moor rapidly implies to his wife that his actions are never of bad intentions and are always intended for the common good: ‘’ O perjured woman, thou dost stone my heart,/ And makes me call what I intend to do/ A murder, which I though a sacrifice.’’ (5.2.63-65). This demonstrates Othello’s need to persuade himself regarding the justness of his intentions and that he is constantly reminding himself that justice is what makes him strive when it comes to action.

Be that as it may, Othello's responsibility to law and reason additionally comes into direct clash with his passionate and unreasonable reaction to Iago's gossip, and that makes him even more certain that what the actions he is taking against his wife are exclusively in the name of justice. The fact that the Moor believes in altruism and common good shows that he is qualified to be considered a tragic hero. Furthermore, later in the play, Othello finally recognizes the true intentions of Iago, after Emilia denounces her husband and gets killed for it by him: ‘’ She give it Cassio? No, alas, I found it,/And I did give ’t my husband.’’(5.2.228-229).

This leads Othello to put all the pieces together and realize the horrible mistake he committed. This whole process is called anagnorisis, which is when the protagonist discovers ‘’someone else’s identity or true nature’’ (Bergbusch 1) and understands that the decisions they took are actually against them. Othello discovers Iago’s true goals and vows to make him pay for them:’’ Are there no stones in heaven/But what serves for the thunder?—Precious villain!’’(5.2.281-282).The Moor understands Iago's untruths and cries before taking his life since he can't excuse himself for the wrongdoing he has done. Uncovering the personality of characters, which were of bad nature, is additionally a significant component of anagnorisis as characterized by Aristotle.

The tragic protagonist in Othello encounters this toward the ending of the play by knowing the genuine character of his significant other, Desdemona, and Iago, yet it is past the point of no return. This is when catharsis takes place. Catharsis is when the audience feels ‘’pity’’ and ‘’fear’’ from the tragic fate of the hero (Bergbusch 2). In this play’s case, his catharsis comes as suicide and he kills himself after his last few lines: ‘’ I kissed thee ere I killed thee – no way but this,/ Killing myself, to die upon a kiss.’’ (5.2.356).

The catharsis for the spectators comes in the dread of being sold out by a companion, feeling that serious regret for Othello's benefit, and seeing his passing, with a vow to never be so taken in themselves by a companion's words and stories. By viewing the catastrophe and resenting the fascinating feelings of dread and pity on behalf of the characters in front of the audience, the viewer encounters a sort of acknowledgement. A catharsis from watching disasters like Othello’s gives the observers a mutual encounter that bounds them closer together. The Moor is then considered a tragic hero since going through such recognition stage is a major aspect in the Aristotelian tragedy.

Othello is, to conclude, a tragic hero since many criteria set by the Aristotelian tragedy are found in his character throughout the play. Othello is, first of all, a highly respected figure in Venice and his actions are altruistic. Additionally, his flaws are the reason he experiences a tragic downfall. Othello is also seen, at the very end of the play, to go through anagnorisis, which brings another phenomenon, called catharsis, into the play.