Early indications.

William Shakespeare’s “Othello” and Arthur Miller’s “The Death of a Salesman” are two plays that are presented among the genre of tragedy. Tragedy is a very popular device for entertainment, for it’s a drama that evokes human suffering to the protagonist. Tragedy is known to convey a strong element of catharsis towards the audience, for the audience can feel a sense of pity or emotion. Tragedy was originated by the Greek’s and has been powerfully interpreted by many individuals. Aristotle, a Greek philosopher, believed that tragedy is a representation of a serious, complete action which has magnitude, in embellished speech. Of which in a way both Shakespeare and Miller integrate to their plays.

Miller himself, the writer of “The Death of a Salesman", has his own views on tragedy. This view is a view that opposes against what Aristotle depicts. Aristotle’s theory of tragedy is made up of six different elements. One of the most important elements would be the characterisation element. Aristotle believed that it is much better if a tragic accident happens to a hero because of a mistake he makes, rather than something that would happen anyway-referred to as hamartia. This is argued against by Arthur Miller of whom believed “that the common man was not apt a subject for tragedy”.  Miller seems to believe in no flaw of the character and that the character has “inherent unwillingness to remain passive in the face of what he conceives to be a challenge to his dignity”.  Miller depicts the protagonist’s situation as a “challenge to his dignity” which could associate to the idea of pride as the reason for this. In this instance there would be a strong association to Aristotle’s view of a character’s flaw.

In Act 1 of “Othello” Shakespeare conveys Othello as brave, pretentious and honorable: “My parts, my title and my perfect soul”. This allows the audience to gather an immediate response to Othello’s success regardless of his background.  Immediately at the beginning of the play Iago refers to Othello as “Moorship’s ancient”.  Shakespeare’s pun repositioning war ship to "moorship" alone is incredibly racist as it is an attack against religion. However being referred to as a "valiant moor" and individual characters such as Iago declaring how he is "affined to love the moor" shows the audience that regardless of personal beliefs, color and race Othello has managed to gain honor and pride from the Venetians. This in itself is a representation of a tragic hero for he has outstanding quality and greatness. Aristotle explored what exactly is a tragic hero; "A man doesn't become a hero until he can see the root of his own downfall". Also a man should have nobility from birth, as Aristotle says, yet Othello slowly climbed the ladder of hierarchy enabling him to stable that status as the Venetian moor, yet sets himself as a tragic hero as he isn't going to be accepted into society due to his color. Throughout Act one Othello is referred to "the moor" rather than "Othello", as though the audience should never forget it. This shows that to a certain extent Othello's color is his conceit, showing an anticlimax, foreshadowing the downfall of his status, to make the whatever event less tragic.

However it can be easily argued that Othello isn't a tragic hero. Othello's success is parallel to the fact that Othello essentially is doomed from the start of the play. In act one, Brabantio finds a hatred against Othello for marrying his daughter: "Is of so flood - gate and o'erbearing nature/ That it engluts and swallows other sorrows". Othello was previously respected and admired highly by Brabantio: "Her father loved me; oft invited me". This just goes to show that what Othello means to other people can change as quick as traffic lights. This can imply that Shakespeare intended for Othello to be doomed from the start, therefore abolishing any idea, of what Aristotle recalled, hamartia.  Othello may have never had any fatal flaw, for his race can cause others to wait on his downfall. Race is not acquired, for it a quality of which each individual is born with. Miller's protagonist in "The death of a Salesman" is similarly presented from the beginning of the play where Willy's wife, Linda, depicts how Willy is working too hard for nothing: "Your mind is overactive, and the mind is what counts, dear". Work life for a man during this time contributes to the majority of thoughts and cognitive thinking, to start the play on a note that Willy's work life is deteriorating is a hint to the audience that this character essentially is doomed already.

Arthur Miller's view of a tragic hero is so different to the view presented by Aristotle.  Miller perceived a tragic hero as someone who "reveals what has been called his tragic flaw". And to his play he incorporated to the presentation of Willy Loman. From act one we see different moods of Willy's character, of which all branch out from paranoia and worry. Willy tells his wife "Well, dear life is casting off. It's always that way". This initial introduction to one of Willy's insecurities to how his life will end or where he'll be in the years to come shows his anxiety. This can be Miller's use of foreshadowing to what extent Willy's character goes through these emotions as the play progresses. There is a theme of escapism which branches off from Willy's disregard for living. The theme links to the background of Willy's mistress: "the woman". This woman seems to give Willy everything he needs: an alternative world and an ego boost helping him to continue living. Miller makes sure we are able to understand these reasons for why Willy has an affair. Miller previously stated: " the tragic feeling is evoked in us when we are in the presence of a character who is ready to lay down his life". Willy is so ready to give himself up which could be perceived as the fatal flaw to which Willy posses which links back to Willy's paranoia and fear. This is so different to Shakespeare's "Othello" of which the play starts with the protagonist, Othello, presented as a confident and strong individual: "That I have ta'en away this old man's daughter,/It is most true; true I have married her". Most individuals would fear to speak of what they had done, when knowing it is frowned upon in society. Confidence is what sets both Othello and Willy Loman apart in character.

However the character of Willy Loman could also be perceived as just a regular character for some would argue that the character does not meet the correct criteria to be a tragic hero. Miller exclaimed that "Tragedy, then, is the consequence of a man's total compulsion to evaluate himself justly" however Willy's presentation in act one shows otherwise. Willy seems to be an insecure man, for instance as he speaks to his wife he sorrows: "I'm fat, I'm very foolish to look at, Linda". This being only one of many other insecurities. Willy is seen to be living in his world of delusion as he lies not only his family but to himself. Although Miller presents Willy as a hugely successful businessman, the character disguises the profound anxiety and self doubt with extreme arrogance. Part of Willy's insecurities lies within the reason to why Willy has such a great desire to escape. In act one, Willy is shown to experience many flashbacks. Willy begins to lose grip with reality and on time. To him, his life seems to be miserable, yet inevitable "He's been trying to kill himself". Willy escapes into the past and also conveniently gives the audience the background information to why he is so corrupted. Of which shows the different situations that has caused Willy to act the way that he does. Shakespeare, however, doesn't present Othello this way. The only insight we get is of Othello moor background. Shakespeare does this to shock the reader for when Othello's flaw becomes evident.

Both Shakespeare and Miller introduce their plays similarly in the sense that the protagonists are presented to be flawed, causing them to be destined to tragedy. A.C. Bradley stated that "the suffering and calamity are exceptional. They befall a conspicuous person. They are themselves of some striking kind. They are also, as a rule, unexpected, and contrasted with previous happiness or glory". Both Othello and Willy have been acquired great status for themselves, however both use their successes to hide the eliminating factors which meddles with their insecurities. It seems that the flaws  versus fate debate is non-existent as both playwrights seem to exclaim how they work hand in hand. Fate always ends in tragedy, as the flaws each protagonist possesses are abominable.

Thanks for reading, 

Lorr

xoxo