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Essay / Research Paper Abstract
This 3 page paper discusses how the concepts of nobility, tragic flaw, fortune, epiphany, reversal, and catharsis apply to Othello, the character and the play. Bibliography lists 1 source.
Page Count:
3 pages (~225 words per page)
File: D0_HVothhro.rtf
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Unformatted sample text from the term paper:
character of great nobility who suffers a reversal of fortune and a great downfall. The idea of a tragic hero comes to us from the ancient Greeks as does theater
itself, and well use their idea of what tragedy is to discuss Othello. Specifically, we will briefly explore how the concepts of nobility, tragic flaw, fortune, epiphany, reversal, and catharsis
apply to Othello, the character and the play. Discussion Part of the attraction of "Othello" is in its language, but its characters draw an audience even more strongly: "the noble
Othello; his gentle and na?ve Venetian wife, Desdemona; the brilliant, charismatic and enigmatic Iago; his crude and manipulated wife, Emilia. The plays central concerns-love and trust, good and evil, nobility
and debasement-are also universal" (DiYanni 1012). Nobility: Nobility can refer to an actual titled member of the nobility (king, earl, duke and so on) or it can mean someone whose
character can be described as noble. That would certainly fit Othello; in fact DiYanni uses the word to describe him. He is courageous, generous, great-hearted, truthful and a statesman. It
can be argued that tragedy befalls everyone-people lose loved ones, or they cant find work, and so on-but the difference is that when a noble falls, he takes a lot
of people with him. Thats true here, where Othellos suspicion results in his destruction, as well as that of his wife and Cassio, both of whom are entirely innocent. Tragedy,
the tragic flaw and Fortune: In his discussion of tragedy, DiYanni quotes Aristotles Poetics, in which the philosopher said that a tragedy is "an imitation of an action that
is serious, complete in itself, and of a certain magnitude" (916). Tragedies then are "solemn plays concerned with grave human actions and their consequences" (DiYanni 916). Tragedies are complete in
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