Romeo and Juliet is a calamity motivated by the forces of faith, accident, and character, and the designer the puzzle out is a tragedy is that these motivations are all bound with the overrule force of fate. The motivations operate on the human level, but on a higher level the characters are doomed from the commencement because of forces greater than themselves. These forces include the long-running feud between the Montagues and the Capulets. The inevitable surr cobbler's laster of the hero in a tragedy derives as a rule from some character flaw over which the singular has no control. For Romeo and Juliet, the "flaw" is their wonder for one another, a love which is not allowed given the antagonisms that exist between their families. Their choices have been control for them by their parents and their parents' parents. They have inherited a family situation and a social and political structure that does not allow them to pay back choices that are completely free.
The sense of this story being dogged by fate is made manifest in the beginning lines of the play, a Prologue spoken by a Chorus. The Chorus organises up the situation of the two opposing households in Verona, "From ancient score break to new mutiny,/ Where civil blood makes civil workforce unclean" (4-5). The Chorus sta
Nor set down aught in malice. Then must you speak
certainly the fact that the king is dressed in rags by the end of the play would be noted as a affliction of the formal auberge. In addition, the fact that the king has broken the order of succession is reflected in the heavens as a storm rages, because according to the Great Chain of Being all such actions are related.
Othello presents the title character as a tragic hero in a different way, pointing to the definition of the tragic hero by Aristotle. F.L. Lucas writes about the characters of tragedy as Aristotle has delineate them and notes that they must be " bang-up" but not perfect, captivate or true to type, and consistent or true to themselves.
Lucas says that "good" in the context in which Aristotle uses it means noble or fine, and thus the characters appropriate to tragedy are elevated characters, because "tragedy in Aristotle's theory represented men as finer than they are" (Lucas 125). Lucas notes that Aristotle also demanded that the characters of tragedy not be alike good (Lucas 128). Othello is a character both elevated and in so far not too good. In his introduction to an edition of the play, Kenneth Muir notes the grandeur in Othello's character, evidence that this character is good, and cites a number of references in the text to prove his point: "The testimony of all the main characters in the play is decisive" (Muir 29). Muir notes that Brabantio loves Othello, Lodovico speaks of him as "the noble Moor," and Cassio (who has reason to hate him) delivers his epitaph in the words, "he was great of heart." Muir also notes that the intimately significant testimony to Othello's character comes from his enemy Iago, who sees the nobility in the other man--indeed, it is this nobility which Iago seeks to destroy:
Nowhere was this principle clearer than in the rigid clothing laws, which detailed who could wear what. The idea that the unequal and merchant classes might be able to dress as extravagantly as th
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