According to ‘A Book of literary terms’, there are different levels of recognition in tragedy. In the play Othello, the protagonist gains awareness of what he has done and lost, but lacks insight into himself. This quote supports my thesis on the topic of recognition, or anagnorisis.
Aristotle defines anagnorisis as a shift from ignorance to knowledge. I agree with this statement because in Othello, the main character goes through this transformation to some extent, but falls short of truly understanding himself enough to achieve redemption.
Although Othello experiences minimal recognition, he never fully comprehends his own actions and true nature. In Act V scene II, Othello’s final speeches exhibit dignity but lack a clear purpose, indicating his lack of complete understanding. He uses his initial speech to condemn himself and acknowledge his dreadful deed.
While Othello genuinely feels remorse and blames himself, he fails to fully recognize that it was his own doing that led to Desdemona’s untimely death.
Othello’s character reveals that he acknowledges his mistake, as he refers to himself as “not valiant neither” (V. II. 241), contrasting his previous designation as “the valiant Moor” throughout the play. The name “Valiant Othello” brought him pride and a sense of identity. His admission of being “not valiant neither,” with the use of a double negative that emphasizes the power and conviction of his words, suggests that he understands the gravity of his wrongdoing but is unsure of his culpability. Why was the word “Valiant” employed?
The term itself comes from the French word “Vallant,” derived from the verb “Valoir” which means to have worth. We still ponder whether he was deserving of Desdemona and if he was ready to truly love someone. Othello begins to talk about himself in the third person, saying “Man but a rush against Othello’s breast and he retires where should Othello go?” (V. II. 268-269). This could suggest the first signs of self-awareness in his character. He experiences a feeling of detachment and is able to observe himself and evaluate his actions as others would. He proceeds to describe Desdemona as “ill-starred,” meaning destined for misfortune.
This brings him back to square one in my eyes, indicating that he still believes that her fate was predetermined and therefore nothing could have been done. He attributes responsibility to fate, referring to Desdemona as an “ill-starred wench.” This is not a noble approach. It is intriguing that he subsequently begs to be “washed in steep-down gulfs of liquid fire” (V. II. 278). Describing punishment as “washing” is an unusual choice, as it typically signifies purification and cleansing.
In this passage, the speaker expresses his desire to be cleansed by “liquid fire.” However, the speaker recognizes that fire is typically associated with burning, destruction, and more significantly, hell. He acknowledges that he will be condemned to hell for his actions, as indicated by the mention of “fiends” dragging him away from heaven. Initially, the speaker experiences genuine anguish and remorse upon realizing Desdemona’s innocence. Through the use of imagery, he describes how her mere gaze will cast his soul out of heaven and how devils (referred to as “fiends”) will attempt to seize it. Thus, the speaker presents his perspective of hell and its inhabitants.
Clearly, he is suffering because of her death, but is it because he realizes that he is the one who caused it? Othello is far from acknowledging this fact. His references to roses (”pluck thy rose” V. II. 13) and lights (”put out the light, and then put out the light” V. II. 7) can be interpreted as mere euphemisms to protect himself. These metaphors provide him with stability and reassure him of his initial beliefs, although we as the audience perceive them as fragile.
Othello’s mention of Prometheus expresses his desire to extinguish Desdemona’s light in order to restore her innocence. At the time of her murder, Othello seems determined to use beautiful imagery and poetic metaphors to conceal the immorality of his actions. He continues doing this even after her death, concealing his guilt by using metaphors like “this look of thine will hurl me from heaven,” once again shifting the blame onto her. He contrasts heaven and hell, mentioning the “winds” and the “sulphur,” and the idea of being roasted in “liquid fire” (V).
II 277-278) – Othello’s despair stems from Desdemona’s “whiter skin than snow” (V. II. 4) and his recognition of her virtue. While noble in speech and purpose, Othello’s two final speeches lack understanding. In the first, he condemns himself for his terrible actions with eloquence and anguish. In his last speech, as a leader, he instructs the remaining men on how to handle the situation and assures them that he has rid himself of evil, urging them to remember him as he truly is (V.
II. 338). Othello expresses self-condemnation for the sin he commits (“of one whose hand [… ] threw a pearl away”). (V. II. 342) This notion that his body is somehow taken over by evil, once again portraying a sense of separation not caused by his own actions, is further reinforced in his final words: “And say besides, that in Aleppo once, where a malignant and a turbaned Turk beat a Venetian and slandered the state, I seized the circumcised dog by the throat and struck him, like this.” (V. II. 348-352).
The character recites a quote that is reminiscent of his war stories, which used to captivate the listener. Othello genuinely believes that a sinister Turk has possessed him and corrupted his virtuous Venetian nature. He remains blind to the manipulation of his flaws by Iago. Even though he dies with dignity, Othello attributes his actions to an unseen malevolent force, rather than taking full responsibility. Tragically, he never fully comprehends the depth of his tragic circumstances.
In his concluding address, Othello engages in introspection. He employs the third person narrative technique, a method he has utilized previously. Othello exhibits contemplation and frequently employs striking and lovely imagery to articulate his thoughts. Nevertheless, it is crucial to recognize that Othello’s self-awareness should not exonerate him from accountability, or at least complicity, in the transgressions committed as a result of his reliance on Iago and distrust towards Cassio and Desdemona.
Despite its noble ending, the speech is not without flaws. Othello, as portrayed in the play, considers himself an “honourable murderer” (V. II. 291). However, his desire to kill Iago stems from anger and his intention to kill Desdemona arises from jealousy and wounded pride. Although Iago may have instigated Desdemona’s death and incited Othello’s bouts of jealousy, these feelings were already present within Othello. Until he acknowledges his role in the murder, complete redemption or forgiveness cannot be attained.
Othello’s final words show that despite his eloquent speaking style, he lacks self-understanding and is confused about his actions. He intends to inform the messengers from Venice about what has happened, but he does so poorly due to his lack of insight. Othello confesses that he “loved not wisely, but too well” (V. 2. 404), but it is unclear what loving “too well” means. While it is true that he did not love wisely, I don’t think he loved excessively either. His marriage is based on Desdemona admiring his stories and feeling sorry for him.
It could be argued whether Othello is “easily jealous” or simply gullible, but he unquestioningly believes Iago’s deceitful tale. This is based solely on Iago’s manipulation of a treasured handkerchief that Othello “so loved and gave [her]” (V. II. 46) and the villain’s manipulative words. In a tragedy, the protagonist reaches a tragic realization (anagnorisis) and must make a choice in order to seek redemption. Othello’s final words before his death are “I kissed thee ere I killed thee: no way but this, killing myself, to die upon a kiss” (V. II. 354-355). Even in these words, Othello shows signs of absolving himself of blame.
Upon killing Desdemona, Othello kisses her, as indicated in the stage direction V. II. 16. This kiss almost brings him back to reality and makes him recognize her innocence. By comparing his death to hers, he is once again asserting his innocence. Othello can be seen as a confused character, but in his final two speeches, there is little evidence of recognition, particularly in Act V scene II.
