Othello A Tragedy Without Meaning Essay Example For Students

Othello A Tragedy Without Meaning? Essay A tragedy without meaning Othello is not, as the very genre of tragedy seeks to imitate action and life, both of which have an inherit meaning. In some ways, Shakespeares work can be considered didactic as in the case in classical tragedy, the heros falls arises as fault of a hamartia on his part, a fault which plagues humanity. In fact, throughout the work, Othello is revealed to have many more faults and weaknesses than a man of his stature should posses, providing a reason for his downfall. The works main protagonist, the scheming Iago, ultimately has his own reasons for his actions; actions which on surface value might appear to be inherently evil and motiveless. A third variable here, the role of the setting, and its part in the tragedy also helps to explain the reasons for it. Through Iagos motives, and Othellos inherit weaknesses, the tragedy of the play is meaningful for the audience. By examining Iagos actions and his soliloquies the audience is able to discern that Iago does indeed have motives for his actions, however weak they may be. Despite Iago recognising that indeed the moor is of a free and open nature Oth Act 1 Sc. 3 ll. 381, he still does despise him. Iago has to be examined closer to discover his motives: of course, he is jealous of Cassios appointment as Othellos lieutenant and this is an ultimate irony in itself as he later mocks Othello for his own jealousy, having succumbed to the green-eyed monster. There is also of course Iagos blatant racial slurs and hatred towards Othello, and his paranoia regarding the supposed infidelity of his wife, And it is thought abroad that twixt my sheets hes done my office Oth Act 1 Sc. 3 ll. 369-370. However, the latter excuse may seem less reasonable, considering that Iago also utters later that he believes that Cassio has also slept with his wife. Iagos attitude to the subject, contrasting with Othellos view of sex as a unifying force, is that it is something inherently dirty and revolting, increasing his paranoia . Iagos main vice however is his lust for power. Ultimately, his aim is not to rise to the rank of lieutenant, but to go as far as he is able to. This point is justified by his plotting not only against Cassio, the man who holds his coveted position, but Othello, the general of the Venetian army himself. Ultimately, Iago is surprised by how easy it becomes to manipulate Othello and by the end of the play is even a little sorry for the ease at which his plan has come to fruition. No man without a clear motive, as has been often suggested for Iago, could have devised such a plan, that struck the victim blow by blow, with no time to recover to rational thought in between. Iagos main motive then becomes a classic case of tall-poppy syndrome as he seeks not only to dethrone the god of war and the goddess of love, but to also make them suffer. The setting in the play also plays a significant role in the explanation for the reasons for the tragedy. The play opens in Venice, the epitome of western civilization and culture in Shakespeares time. Under the influence of Venices culture, there does exist imaginary bonds of control and order , which keep characters emotions in check. In Act 2, following the move to Cyprus, these bonds are gradually released, freeing the way for chaos to rule over order in a way not possible in the first Act. The characters have now reached the frontier . Evidence of this is found with reference to the poor weather encircling Cyprus at the time. In this case there is both a literal and metaphorical storm brewing, as Iagos plot begins to shape in his mind. The chidden billow seems to pelt the clouds; The wind-shaked charge, with high and monstrous mane, Seems to cast water on the burning Bear And quench the guards of thever-fixed Pole. Oth Act 2 Sc. 1 ll. 12-15 The fact that Othello fails to note the power of the brewing storm condemns him to his fate. It must be noted that Othello is a soldier, a general, by profession. Hitler and His Downfall EssayThis point is proof that eventually Othello is not able to cope with playing more than one role at the same time: in Cyprus he is forced to play both the passionate lover, and governor at various times, whilst his wifes personality proves much more flexible. At various times Desdemona plays the role of the seductress, loving daughter, the sexually aware woman, and the caring wife. All along there are signs appearing that Othello can anticipate his fall, and Iago will have his way. Othellos gullibility also proves a reason for his downfall. He places absolute trust in Iago, believing in his past virtues and his supposed devotion to his wife Emilia. This all-or-nothing approach ultimately transpires to accentuate his jealous rage. He is not prone to introspection, to examining himself from within, but instead is lent to blindly believe the foibles of others, especially Iago. His gullibility enables his self-control, once so evident, to unravel, and be placed in the hands of others . For example, Lodovico cannot believe the changes in his character: Is this the noble Moor whom our full Senate Call all in all sufficient? Is this the nature Whom passion could not shake? Whose solid virtue The shot of accident nor dart of chance Could neither graze nor pierce? Oth Act 4 Sc. 1 ll. 255-258 The fact is that although Othellos passionate emotion helps to fire his imagination; it ultimately leads to blind all reason and rational thinking take 1:3:128-169 as Othello recounts the stories of his adventurous past in order to win Brabantios daughter from him. Ultimately the reason behind all the madness is demonstrated in the last scene of the play. What Othello plans to commit is not a murder, but instead a sacrifice . He does this through love for Desdemona, to save her from herself, and for his own honour. This act helps establish a new Othello, an Othello even nobler and braver than the Othello of Act 1, an Othello that arrests his previous decline. O balmy breath, that dost almost persuade Justice to break her sword! One more, one more! Be thus when thou art dead, and I will kill thee And love thee after. One more, and this the last. Oth Act 5 Sc. 2 ll. 16-19 The audience is left not with a feeling of rage for a senseless, meaningless tragedy, but a knowledge that this has taken place for a reason, for a hamartia on the part of the lead character. As Othello dies upon a kiss, briefly we are left with no pain, but with only a feeling of redemption . The reasons for the tragedy are all too plain to see. Iago has his own motives for bringing down Othello and Desdemona, and ultimately he is surprised by how easily he is able to prise apart two people so completely in love with each other. The role of the setting contributes towards the lead characters downfall as the bonds of continuity are broken with the shift to Cyprus. Othellos own imperfections are evident from early on in the play, from his gullibility, to his jealousy, to his limited communication skills. It is here where, as in all tragedy, the play contains a certain didactic element as the author seeks to explain the reasons that a great man such as Othello can fall. As Iago ultimately recoils with the ease at which he attains his foul ends, there comes a warning for us all: for if Othello was the greatest the world had to offer, then what hope do we all have?