This superb lecture by Dr. White opens with a discussion of the definition and nature of tragedy and what precisely separates it from comedy. The fact is emphasized that the destruction taking place in tragedy must not be meaningless, but must serve a purpose. Dr. White discusses King Lear’s tragic flaw, the prominent theme of fallen man, and the unusual format Shakespeare chose, giving the play five acts of falling action instead of having the climax near the end of the play, as is customary. Also covered is the double plot of King Lear, the play’s presentation of the destruction of language by overuse and twisting of meanings, and the parallel between the situation in King Lear and the situation in the Church today: in both conditions, those who are disobedient (Kent and Cordelia in the play) are the ones who are truly caring and trying to preserve what is good.
Act One of Othello shows the whole world in disorder, and it all begins with a single decision. Desdemona, the beautiful daughter of Brabantio, falls in love with the black Moor Othello. They elope and marry. They do not seek the permission of the father, knowing that he will not allow it. This is the first critical mistake. This decision disrupts a household. This disruption spills onto the streets with near bloodshed, to the senate where the Duke is in need of the services of the mercenary Othello, and thus refuses to admit much less help solve the problem, and the disorder moves to the outside world. The second critical mistake of Othello and Desdemona is their denial of their physical bond to one another and thus deny the fact that they have now become one flesh. This is the very heart of this tragedy. This is a story of fragmentation, of not being whole, and the destruction it causes on individuals and the world. While the love of Othello and Desdemona is pure, it is flawed because of their decisions. Brabantio warns Othello that if his daughter can deceive her own father, she can certainly deceive her husband.
This final act sees action. It opens with the gravediggers talking about Ophelia and if she deserves a Christian burial due to the suspicion surrounding her death. Hamlet enters the graveyard and muses that all intelligence, wit, and action all comes to death, all comes to nothing. The universe is an accident. Life has no meaning. So why do anything in life if it all ends in the nothingness of death? Hamlet is exposing the nihilism of the modern age. Hamlet has sunk to his lowest. A funeral procession enters the graveyard. Hamlet learns that Ophelia has died. He is moved. Something stirs in him. He begins to come to his senses. He loved her. Remember too that Ophelia is the barometer of the mental state of Hamlet. Her innocence speaks to him even from the grave. Hamlet now has full charge of his senses; he knows what he must do. He must clean up the corruption in the court of Denmark. He must kill King Claudius who has killed his father, made a whore of his mother and taken his rightful crown from him. Hamlet is about to become a man of action. His life now has meaning.
The Tragedy of Othello, the Moor of Venice is the second of the four great tragedies of Shakespeare (Hamlet, Othello, King Lear and Macbeth.) These are the first great tragedies since the Greeks. Only a man faced with conflict and doubt with the skill to write could write them. Shakespeare was in his dark and troubled time of life when he wrote these plays. Tragedy is a drama in which the principle conflict is between the hero and the metaphysical powers, the universe itself. The metaphysical forces win. The hero is broken, crushed, destroyed, through his own doing. The fall of the hero is not just a personal loss: when the hero falls, many fall with him. The tragedy of the individual becomes large. The warnings are these: if a great man can fall, so can we. We can also be crushed by someone else’s bad choice. Othello is a love tragedy. It is a story about disorder destroying order, about abject evil and its ravages in the world, the misuse of free will. Othello is the hero and Iago the villain. Both are destroyed. The essential thing to understand the play: a man and women in marriage become one flesh.
The link between Hamlet and Ophelia is central to understanding the play. Beginning, with his letters to her while studying at Wittenberg University, everything revolves around her. As he slowly looses his mind, Ophelia is the barometer of Hamlet’s mental health. At the end of his soliloquy in Act Four, Hamlet is training all his thoughts on blood to act blood. In the very next scene, Ophelia has gone mad, just as Hamlet has gone mad. Her innocence is affected by those around her, and she in turn, affects them. Even through Ophelia’s madness Gertrude confesses her own guilt. Hamlet is the one play where Shakespeare is in danger of loosing his balance. He has so much uncertainty he himself could have toppled. If he had not written anything past Hamlet, that would be it. What saved Shakespeare (and Hamlet) from loosing it completely? Shakespeare can still comprehend the balance of innocence, virtuousness, something slightly sacrificial that restores a glimmer of the good in Denmark. It is the creation of Ophelia that saves him, the innocent heroine. In Othello, the innocent heroine takes a more active role in the form of Desdemona. Shakespeare further explores this saving grace in his next play.
The Wife of Bath’s Tale is complicated even though tale is shorter than the prologue. Before getting to her tale, she tells a great deal about herself. Loves to talk. She is a willful woman. She is a woman of size, volume and attitude, and like the other pilgrims and their tales, her tale too matches her personality. She has a fair face, a bold face, a red face. She has a gap between her front teeth, which in medieval times was considered sensuous. She has outlived five husbands and is on this pilgrimage to find her sixth. Her first three husbands were old and rich. They let her run the marriage and they are happy. The fourth husband has another woman on the side. She is losing her beauty. Her fifth husband was younger and she was passionate about him. She married a real man. She is a troubled soul, and Chaucer takes pity on her. She too has a soul to save. She admits to loneliness, a heart that is softening. She is open to spiritual guidance and can now use the help of a good priest. Her tale comes just before the Parson’s Tale, a good priest.
