This following term paper deals with generic definitions as well as with comic aspects in Othello, how they are entangled in the tragic action and how they serve to shape the tragedy. Firstly, I shall try to assign Othello to a specific category, namely tragedy. Therefore, Tragedy and Comedy will be clearly defined. In chapter 3, the play will be analysed in terms of its comic aspects. The focus is primarily put on the subject of love in Othello and secondly on the multi-layered character Iago. The aim of this chapter, as it is of the whole term paper, is to illustrate that the tragedy Othello contains comic features.
Table of Contents
1. Introduction
2. The Tragedy Othello
2.1 Definition of Tragedy
2.2 Othello is a Classical Tragedy
3. Comic Aspects in Othello
3.1 Definition of Comedy
3.2 Love in Othello
3.3 The Comic Nature of Iago
4. Conclusion
5. Bibliography
Objectives and Topics
This paper examines the generic classification of William Shakespeare's Othello by analyzing the interplay between its traditional tragic structure and underlying comic elements. The research question explores how specific comic features, particularly the representation of love and the role of the manipulative antagonist, function within the framework of a tragedy.
- Generic definitions of tragedy and comedy based on Aristotelian theory.
- Classification of Othello as a classical tragedy.
- Analysis of love as a thematic element derived from romantic comedy conventions.
- Examination of Iago's role as a manipulative, comic-derived controlling figure.
Excerpt from the Book
3.3 The Comic Nature of Iago
Iago is undoubtedly the controlling figure in Othello. Douglas Bruster suggests in his essay “Comedy and Control” that this controlling character brings on the play’s happy end by the control of information through disguise or deceit (cf. Bruster 217). Likewise, Snyder argues that comedy is a love story in which magicians and disguised heroes manipulate events to produce happy endings (cf. Snyder 19, 21). Thus, Iago can be seen as such a controlling, manipulative figure of comedy, however, in his case a rather perverted version of it (cf. Snyder 76). He is controlling the characters through manipulative speech and actions.
Already in the first scene Iago tells us that he is not what he seems. In fact, he even tells us that he is not only disloyal to Othello but only serves himself and his “peculiar end”. He pretends to be nice and benevolent, when in fact he is only interested in his own happy end – Othello’s downfall –regardless of the damage this might cause for others. He induces Othello’s downfall by deceiving the other characters, especially Othello himself, of his seemingly favourable nature. Doing so, he “gathers information and temporarily supervises and manipulates” (cf. Bruster 226) other characters through the right timing of revealing this gathered information.
Chapter Summaries
1. Introduction: This chapter outlines the scope of the paper, establishing the research intent to analyze comic features within Shakespeare's Othello despite its traditional classification as a tragedy.
2. The Tragedy Othello: This section defines the requirements for classical tragedy using Aristotelian theory and confirms that Othello meets these criteria through the protagonist's tragic flaw and final catharsis.
3. Comic Aspects in Othello: This chapter explores how elements typically found in comedy, specifically romantic love and the role of the manipulator, are integrated into the play.
4. Conclusion: The concluding section synthesizes the findings, noting that while Othello is fundamentally a tragedy, its complex dynamics are enriched by persistent comic ambiguities.
5. Bibliography: This section lists the primary and secondary sources used for the analysis of the play and the theoretical framework.
Keywords
William Shakespeare, Othello, Tragedy, Comedy, Genre, Aristotelian Theory, Catharsis, Tragic Hero, Romantic Comedy, Iago, Manipulation, Desdemona, Love, Literary Analysis, Dramatic Theory
Frequently Asked Questions
What is the primary focus of this paper?
The paper focuses on identifying and analyzing comic elements present within the tragedy of Othello, demonstrating that genre classifications in Shakespearean drama are rarely exclusive.
Which theoretical framework does the author apply?
The author primarily utilizes Aristotle's "Poetics" to define the core characteristics of tragedy, alongside contemporary literary criticism by scholars such as Danson, Bruster, and Snyder.
What is the central research question?
The research explores how comic aspects, specifically regarding love and the character of Iago, function and shape the tragic action within Othello.
How is the play defined in the context of the work?
The paper concludes that Othello satisfies the criteria for a classical tragedy, yet contains significant comic patterns that complicate its generic identity.
What role does the character Iago play in the analysis?
Iago is analyzed as a "comic manipulator," a archetype from comedy that is subverted to serve the tragic downfall of the protagonist.
How does the author define the comic nature of love in the play?
The author discusses the love between Othello and Desdemona as a "lover’s tragedy" that follows the romantic comedy convention of two lovers overcoming external hindrances.
Why is the concept of a "tragic hero" central to the argument?
It is central because Othello possesses the specific characteristics—high social rank, a tragic flaw (jealousy), and a susceptibility to misjudgment—that lead to the required tragic catastrophe.
In what way does the author suggest Iago acts as a "parody" of a comedy character?
The author suggests that while Iago employs the information control and manipulative traits of a comedic hero, he uses them for destruction rather than a happy ending, creating a sinister parody.
- Citation du texte
- Annika Klement (Auteur), 2016, Mixing of Genres. Comic Aspects in William Shakespeare's Tragedy "Othello", Munich, GRIN Verlag, https://www.grin.com/document/440900
