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Can we start to link Othello's performed blackness to his role as a tragic hero?

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Can we start to link Othello's performed blackness to his role as a tragic hero?

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Aristotelian tragedy must have a beginning, middle and end. Also, it must not be so long that the spectator becomes uninterested. There must be a constant theme.

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Aristotelian tragedy must have a beginning, middle and end. Also, it must not be so long that the spectator becomes uninterested. There must be a constant theme.

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A tragedy usually focuses on cosmic changes, rather than an individual, with the protagonist simply being a victim of the changes that take place.

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A tragedy usually focuses on cosmic changes, rather than an individual, with the protagonist simply being a victim of the changes that take place.

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Tragedy is a type of imitation that evokes feelings such as pity and fear from the audience. Furthermore, tragedy has a serious purpose. Tragedy is an imitation not of men, but of action and life, of happiness and misery.The aim is to bring about catharsis for the spectators.

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Tragedy is a type of imitation that evokes feelings such as pity and fear from the audience. Furthermore, tragedy has a serious purpose. Tragedy is an imitation not of men, but of action and life, of happiness and misery.The aim is to bring about catharsis for the spectators.

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The audience is made to pity and fear for the protagonist, typically due to their hamartia.

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The audience is made to pity and fear for the protagonist, typically due to their hamartia.

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Poetics - tragedy defined as the imitation of an action that is serious and also as having magnitude. There is a concept of drawing catharsis from the audience.

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Poetics - tragedy defined as the imitation of an action that is serious and also as having magnitude. There is a concept of drawing catharsis from the audience.

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Diction is a key part of tragedies and is defined as the style of speaking or the choice of words, so this includes accents and dialects

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Diction is a key part of tragedies and is defined as the style of speaking or the choice of words, so this includes accents and dialects

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Edoardo: The major debate of tragedy is whether the catharsis should be:

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Edoardo: The major debate of tragedy is whether the catharsis should be:

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-  an emotional purging or an intellectual clarification
- awaken your emotions or trigger deep rational thoughts

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Edoardo: The hero's error of frailty (hamartia) is often misleadingly explained as his 'tragic flaw', in the sense of that personal quality which inevitably causes his downfall or subjects him to retribution. It gives more attention to personality than the dramatist intended and ignores the broader philosophical implications of the typical plot's denoument.

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Edoardo: The hero's error of frailty (hamartia) is often misleadingly explained as his 'tragic flaw', in the sense of that personal quality which inevitably causes his downfall or subjects him to retribution. It gives more attention to personality than the dramatist intended and ignores the broader philosophical implications of the typical plot's denoument.

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Tragedy is a ‘goal-directed system,’ the purpose being the audience reaching catharsis. However, Aristotle’s definition does not directly reference the idea of catharsis via the audience. Perhaps tragedy is purification for the author instead?

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For Aristotle, the point of tragedy is catharsis, or the lifting and purging of the emotions of the audience.

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Aristotle finds tragedy in six parts: plot, character, diction, thought, spectacle and song

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The hamartia is the factor that delimits the protagonist's imperfection and makes it possible for the audience to sympathise with him. This amplifies the catharsis

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Catharsis is a key aspect which essentially means causing the audience to feel pity or fear, and then relieving them of these emotions. This leaves the audience feeling cleansed, with a greater understanding if the world and the ways of men. This is essential for a successful tragedy.

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Its action should be single and complete with wide reaching consequences (usually why it involves “persons of renowned and superior attainments”). A direct contrast to comedy where the actions carried out by characters are largely trivial and inconsequential

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The aim of tragedy is to bring around a “catharsis” of the spectators - to arouse them in sensations of pity and fear, and to purge them of these emotions so that they leave the theatre feeling cleansed and uplifted, with a heightened understanding of the ways of gods and men.

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Tragedy can enlarge a community's visions of its own identity and the realities of its own citizens, including vulnerable citizens. Possesses not only an aesthetic but also a political and philosophical function.

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“The imitation of an action that is serious and also as having magnitude, complete in itself”
Serious: heroes are in a position of power, e.g. Hamlet is a prince
Magnitude: the actions have a substantial effect on the characters, e.g. by the end of Hamlet most of the court is dead and Denmark is taken by Normandy
Complete in itself: one main storyline, often obeying the classical unities of action, time and place

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Tragedy is something that brings about a catharsis (a release of emotion tension after an overwhelming vicarious experience), the key emotions that are intended to be expressed are pity for the protagonist and fear, these emotions should then be purged by the catharsis. The tragedy must have 6 elements including the most important being the plot and then the character second. The tragedy must be complete and the protagonist relatable.

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In Aristotle’s view, tragedy is the superior form of mimesis (the imitative representation of the real world in art and literature).

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The protagonist must begin as someone of importance or fortune but cursed by an ultimately fatal flaw in their character. Aristotle usually made this flaw hubris. This flaw usually culminates in the death, humiliation or defeat of the protagonist. This flaw should also allow the reader to develop a deeper connection with the protagonist and therefore aid them in developing ideas about how the text may end. The play must then end in a catharsis with the audience being brought to the end of their emotional journey creating a sense of completion about the text.

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It is a kind of immitation (mimesis), but has a seeious purpose. Using direct action . Diction is a main element which builds and emphasises the tension present, enabling catharsis to occur which evokes feelings of pity and fear within the audience.