Beat a Venetian and tradud the state, Their discourse is conducted in poetic language; that is, their notions of soul-making come from the Romantics, especially William Blake and John Keats. ukraine russia border live camera /; June 24, 2022 He turns to Iago, who has been brought before him to know the reason for his actions. The play moves relentlessly from here to catastrophe as Othello delivers justice to those he is convinced have wronged him. Posted on . Dramatically, Shakespeare turns the focus of the play from the shocking crime to its causes and psychic significance, trans-forming Cinthios intrigue story of vile murder into one of the greatest dramatic meditations on the nature of love and its destruction. Archetypal criticism is a product of both cultural anthropology and psychoanalysis which are academic fields that might seem to be far from the concept of archetypal criticism. By trying to hide the fact that Othello had murdered her, Desdemona has chosen to put the honor of their love above honesty. And will upon the instant put thee tot. However, these fields of study contributed a lot to the development of archetypal criticism through the characters of Sir James Frazer and Carl Jung. Uncover new sources by reviewing other students' references and bibliographies, Inspire new perspectives and arguments (or counterarguments) to address in your own essay. Placing responsibility in the stars - he calls Desdemona an "ill-starred wench" - is hardly a gallant course of action. In a mess of questions of good and evil, right and wrong, critical supporters of Iago (T.S. Othello was crafted at the dawn of the 17th century, shaped by complex social and geopolitical issues that new historicist critics, who seek to place literary works within a historical framework, have recently sought to unravel. Sign up Jungs Psychology of the Unconscious (1916, B. M. Hinkles translation of the 1911-12 Wandlungen und Symbole der Libido) appeared in English one year after publication of the concluding volume with bibliography of the third edition of J. G. Frazers The Golden Bough: A Study in Magic and Religion (2 vols., 1890,3d ed., 12 vols., 1911-15). R. F. C. Hull, 2 vois., 1973-75). - Alfredo Alvarez, student @ Miami University, We use cookies to provide the best possible experience on our site. No more of that. Bettina Knapps 1984 effort at an authoritative demonstration of archetypal literary criticism exemplified this pattern. The story opens on Briony Tallis, a 13-year-old growing up in the upper-middle class in England in 1953 with . After Othello returns from war at sea with the Turks, his fortune begins a downward spiral. From the moment when the temptation of the hero begins, the readers heart and mind are held in a vice, experiencing the extremes of pity and fear, sympathy and repulsion, sickening hope and dreadful expectation. When citing an essay from our library, you can use "Kibin" as the author. With some of its advocates supported through early publication of their work in the journal Spring, feminist archetypal theory and criticism of literature and the arts emerged fullblown in three texts: Annis Pratts Archetypal Patterns in Womens Fiction (1981), which self-consciously evoked and critiqued Maud Bodkins 1934 text; Estella Lauters Women as Mythmakers: Poetry and Visual Art by Twentieth Century Women (1984); and Estella Lauter and Carol Schreier Rupprechts Feminist Archetypal Theory: Interdisciplinary Re-Visions of Jungian Thought (1985). . Peopleshow more content An outburst that othello has in a crowd of his peers causes people to start to question their noble leader. Othello is decisive, confident, and secure in his identity, duty, and place in the world. The character of Iago is so conducted, that he is from the first scene to the last hated and despised. His demise was of his own doing. Furthermore, they must also have a fatal flaw, that eventually leads to their downfall. Moreover, Shakespeare, by deliberately clouding the issue of Iagos motive, finds ever more sinister threats in such a characters apparently bottomless and unmerited hatred and capacity for evil. In the essay Frye critically analyses literature against the backdrop of rituals and myths. When you shall these unlucky deeds relate, The Moor is eventually captured, tortured, and slain by Disdemonas relatives, while the ensign dies during torture for another crime. Seeing her dying, Emilia asks who would do this. Aristotle believed that the plot is the most important element in a play and that plot also clearly points out the problem of any characters to be solved. Innocent characters also suffer, like Desdemona. Othello is now reduced to questioning his wife's maid, Emilia, looking for evidence of Desdemona's infidelity. Archetypal Criticism of Othello Othello, one of Shakespeare's most popular tragedies, is full of symbols, motifs, and themes that make it relatable to people all over the world. Cultural criticism is exploring or examining the relationship of dominant role based on ethnicity, and sexual identity of person, also a great understanding of yourself. She stayed loyal to her lover throughout the entire play and in the end it did her no good. Bibliography BASIC PREMISES OF ARCHETYPAL THEORY: 1. Examples of Archetype in Shakespearean Works. That Cassios not alive. Farewell / Commend me to my kind lord. In Re-Visioning Psychology, the published text of his 1972 Yale Terry Lectures (the same lecture series Jung gave in 1937), Hillman locates the archetypal neither in the physiology of the brain, the structure of language, the organization of society, nor the analysis of behavior, but in the processes of imagination (xi). Othellos motivation in the play appears to be his love and concern for his wife Desdemona, which ironically, ends up being his downfall in the end. Indeed, myth criticism seems singularly unaffected by any of the archetypal theorists who have remained faithful to the origins and traditions of depth, especially analytical, psychologyJames Hillman, Henri Corbin, Gilbert Durand, Rafael Lopez-Pedraza, Evangelos Christou. They also attest to his self-confessed lack of interest in literature: I feel not naturally drawn to what one calls literature, but I am strangely attracted by genuine fiction, i.e., fantastical invention (Letters 1:509). This last text explicitly named the movement and demonstrated its appropriation of archetypal theory for feminist ends in aesthetics, analysis, art, and religion, as well as in literature. Issues of genre, period, and language were ignored or subjected to gross generalization as Jung searched for universals in texts as disparate as the fourth-century Shepherd of Hermas, the Divine Comedy, Francesco Colonnas Hypnerotomachia Poliphili (1499), E. T. A. Hoffmans tales, Pierre Benoits LAtlantide (1919-20), and Henry Wadsworth Longfellows Hiawatha, as well as works by Carl Spitteler and William Blake. It is in Act 3 Scene 3 where Othello takes on a new persona, where his confidence and happiness is tragically replaced with jealousy and rage. He is the general of the Venetian army and a well respected man by the towns noble men. Aristotles second requirement for a tragedy is that the tragic hero must have a reversal of fortune. Archetypal criticism ensures the efforts of all these concerned faculties to analyse of a text hence archetypal criticism is of immense significance. Jung and the Humanities: Toward a Hermeneutics of Culture. He has already judged and condemned her, but he is still hunting evidence, seeking to justify to himself the stand he has already taken. Egypt) and titles (e.g. He is a character of high stature that is destroyed by his surroundings, his own actions, and his fate. The three women are Desdemona, Emilia, and Bianca. Of one not easily jealous but, being wrought, That not another comfort like to this 1. The moment he showed violence towards Desdemona, the audience lost interest in comforting Othello. Unlike the other Shakespeare tragedies, which follow the common ideas for Shakespearean tragedy, Othello includes some of the ideas from classical tragedies. http://www.kibin.com/essay-examples/an-archetype-criticism-of-othello-a-play-by-william-shakespeare-yJF4zltX Be sure to capitalize proper nouns (e.g. The first systematic application of Jungs ideas to literature was made in 1934 by Maud Bodkin in Archetypal Patterns in Poetry: An attempt is here made to bring psychological analysis and reflection to bear upon the imaginative experience communicated by great poetry, and to examine those forms or patterns in which the universal forces of our nature there find objectification (vii). The romantic climax comes in the trial scene of act 1, in which Othello success-fully defends himself before the Venetian senate against Brabantios charge that Othello has beguiled his daughter, stoln from me, and corrupted / By spells and medicines bought of mountebanks. Calmly and courteously Othello recounts how, despite the differences of age, race, and background, he won Desdemonas heart by recounting the stories of his exotic life and adventures: She loved me for the dangers I had passed, / And I loved her that she did pity them. Wonder at Othellos heroic adventures and compassion for her sympathy have brought the two opposites togetherthe young, inexperienced Venetian woman and the brave, experienced outsider. He had even gone as far as hitting her (4.1 134). 2. Macbeth) in the essay title portion of your citation. "In Sidney's view, tragedy provokes "the affects of admiration and commiseration" and so demonstrates "the uncertainty of this world". The fulfillment of the wedding night that should come at the climax of the comedy is relocated to act 2, with the aftermath of the courtship and the wedding now taking center stage. Othello decides the only way to right his wrong is to take his own life. OTHELLO: My name, that was as fresh. In Cinthios story, Alfiero, the scheming ensign, lusts after the Moors wife, named Disdemona, and after she spurns his advances, Alfiero seeks vengeance by accusing her of adultery with Cassio, the Moors lieutenant. A general in the army, Othello holds a distinguished place in the Duke's court due to his victories in battle, but not an equal one. To learn more, read our. In the beginning of the play, Othello is seen as content with his new bride: For know, Iago, But that I love the gentle Desdemona (1.2.24-25). You elements that clip us round about, The tragedy of Othello is not a fault of a single person, but is rather the consequence of a wide range of feelings, judgments, misjudgments, and attempts for personal justification revealed by the characters. Iago replies: Demand me nothing; what you know, you know: / From this time forth I never will speak word. By Iagos exiting the stage, closing access to his motives, the focus remains firmly on Othello, not as Iagos victim, but as his own. . Cinthios version of Iago is conventionally driven by jealousy of a superior and lust for his wife. Archetypal criticism is a literary approach that analyzes works of literature based on the idea that there are universal, timeless patterns and themes that recur across all cultures and throughout history. Othello, though, decides to kill her. If it were now to die Despite naively playing into Iago's hands earlier by giving him the handkerchief, Emilia shows her earnest loyalty to Desdemona. In Shakespeare's Othello, Iago is one of the most compelling villains in English literature. For Jung, archetype is an explanatory paraphrase of the Platonic eidos (9, pt. Nor set down aught in malice. The approaches of semiologists, structuralists and deconstructivists . A tragic hero has many characteristics, 3 of them being that they must have an error in judgement, they must have a reversal of fortune, and they must recognize that the reversal of fortune was brought about by their own actions. must concern itself with the archetypal, the universal, with that which is necessarily larger, more extreme than in life. For the onlookers on stage, the final tableau of the dead Desdemona and Othello poisons sight and provokes the command to Let it be hid. The witnesses on stage cannot compute rationally what has occurred nor why, but the audience has been given a privileged view of the battle between good and evil worked out in the private recesses of a bedroom and a human soul. Mythological Criticism and Archetypes BY: TO: AYTEKIN ALIYEVA Prof. SHAHIN KHALILLI. His final speech mixes together the acknowledgment of what he was and what he has become, who he is and how he would like to be remembered: I have done the state some service, and they knowt. Vindicated by the duke of Venice and the senate, Othello, accompanied by Desdemona, takes up his military duties in the face of a threatened Turkish invasion, and the lovers are given a triumphal wedding-like procession and marriage ceremony when they disembark on Cyprus. These archetypalists, focusing on the imaginaland making central the concept that in English they call soul, assert their kinship with Semiotics and Structuralism but maintain an insistent focus on psychoid phenomena, which they characterize as meaningful. Categories: Archetypal Criticism, Literary Criticism, Literary Theory, Myth Criticism, Psychoanalysis, Tags: Achetypes, Alchemy of Discourse: An Archetypal Approach to Language, Anatomy of Criticism, Archetypal Criticism, Archetypal feminist criticism, Archetypal Patterns in Poetry, Archetypal Psychology, Archetypal Theory, Archetypal Theory and Criticism, Archetypal Theory Criticism, Claude Levi-Strauss, Ernst Cassirer, Evangelos Christou, Francis Fergusson, Frazer, Gilbert Durand, Henri Corbin, Hermes and His Children, Hillman, Imagining: A Phenomenological Study, J. G. Frazer, J. G. Frazer The Golden Bough, James Hillman, Jessie Weston, Joseph Campbell, Jung and the Humanities: Toward a Hermeneutics of Culture., Jung's Psychology of the Unconscious, Jungian Approach to Literature, Leslie Fiedler, Literary Criticism, Literary Theory, Logos of the Soul, Maud Bodkin, Myth, Myth theory and crticism, New Polytheism, Northrop Frye, Philip Wheelwright, Psychoanalysis, Rafael Lopez-Pedraza, Richard Chase, Spring Journal, Spring: A Journal of Archetype and Culture, Spring: An Annual of Archetypal Psychology and Jungian Thought, The Golden Bough, The Golden Bough: A Study in Magic and Religion, Alchemy of Discourse: An Archetypal Approach to Language. An archetype criticism of othello, a play by william shakespeare. I know not ift be true; But I, for mere suspicion in that kind, Will do as if for surety (2.1. he asks, which gives pause to a theory of pure nobility. An equal case can be made that Iago here completes his role as Vice, borrowed from the medieval morality plays, sealing the Faustian bargain for Othellos soul in this mock or black marriage scene. This preview is partially blurred. Archetypal criticism proceeds from the initial assumption that every work of literature can be categorized and fitted into a large framework that encompasses all literature. What is striking about Shakespeares alteration of Cinthios grisly tale of murder and villainy is the shift of emphasis to the provocation for the murder, the ennobling of Othello as a figure of great stature and dignity to underscore his self-destruction, and the complication of motive for the ensigns actions. Frazers and Jungs texts formed the basis of two allied but ultimately different courses of influence on literary history. As the play progresses, and Iagos plan culminates, Othellos good fortune begins to turn. Kibin, 2023. http://www.kibin.com/essay-examples/an-archetype-criticism-of-othello-a-play-by-william-shakespeare-yJF4zltX. According to Hillman, that discourse was anticipated by Evangelos Christous Logos of the Soul (1963) and extended in religion (David L. Millers New Polytheism, 1974), philosophy (Edward Caseys Imagining: A Phenomenological Study, 1976), mythology (Rafael Lopez-Pedrazas Hermes and His Children, 1977), psycholinguistics (Paul Kuglers Alchemy of Discourse: An Archetypal Approach to Language, 1982), and the theory of analysis (Patricia Berrys Echos Subtle Body, 1982). I do perceive here a divided duty: He is an individual of high stature who is destroyed by his surroundings, his own actions, and his fate. Ignoring her appeals for mercy and avowals of innocence, Othello smothers her moments before Emilia arrives with the proof of Desdemonas innocence and Iagos villainy. Othello relies easily on Iago to believe without being thought deeply. Literary Archetypes The Legend of Sleepy Hollow The Loved One The Magus The Making of Americans The Man in the High Castle The Mayor of Casterbridge The Member of the Wedding The Metamorphosis The Natural The Plague The Plot Against America The Portrait of a Lady The Power of Sympathy The Red Badge of Courage The Road The Road from Coorain Consider the implications of this idea. The term archetype can be traced to Plato (arche, original; typos, form), but the concept gained currency in twentieth-century literary theory and criticism through the work of the Swiss founder of analytical psychology, C. G. Jung (1875-1961). An archetypal critic would also say that the recurring patterns in literature prove that there are universal 2. His expression of his jealousy quickly devolves from the conventional"Farewell the tranquil mind"to the absurd: Farewell the plum'd troops and the big wars. From the theorists, dissertations, articles, and books, often traditionally academic in orientation, appeared; the productions of the practitioners are chronicled and critiqued in van Meurss bibliography. In his major work, The Anatomy of Criticism, he states: 'I mean by an archetype a symbol which connects one poem with another and thereby helps to unify and integrate our . (2023). Two publishing events at the beginning of the 1990s in the United States may signal the coming of age of this kind of archetypal criticism through its convergence with postmodern critical thought, along with a commensurate insistence on its roots in the depth psychology of Jung: the reissue of Morris Philipsons 1963 Outline of a Jungian Aesthetic and the appearance of Karin Barnaby and Pellegrino DAcerinos multidisciplinary, multicultural collection of essays, C. G. Jung and the Humanities: Toward a Hermeneutics of Culture. The dynamic of Othellos character significantly changes throughout the play. Emilia comes into the couples bedroom after Othello smothers Desdemona, but hears Desdemona cry out. Within these three days let me hear thee say He offers throughout the play multiple justifi cations for his intrigue: He has been passed over in favor of Cassio; he suspects the Moor and Cassio with his wife, Emilia; he is envious of Cassios open nature; and he is desirous of Desdemona himself. "Now will I question assio of ianca, As he shall smile, Othello shall go mad; . The tragic protagonist must make a fall from a high state of being to a low state or death. Between William Shakespeares most expansive and philosophical tragediesHamlet and King Learis Othello, his most constricted and heart-breaking play. According to Aristotle, a tragic protagonist is a nobleman or person from high status, who contributes to his own demise and illustrates a flaw or weakness in judgment. My life and education both do learn me Act 3, one of the wonders of the stage, anatomizes Othellos psychic descent from perfect contentment in his new wife to complete loathing, from a worldview in which everything is as it appears to one in which nothing is as it seems. Other forms previously labeled Jungian are here subsumed under the term archetypal because whatever their immediate specific focus, these forms operate on a set of assumptions derived from Jung and accept the depth-psychological structure posited by Jung. Jung was also more preoccupied with dreams and fantasies, because he saw them as exclusively (purely) products of the unconscious, in contrast to literature, which he oddly believed, citing Joyces Ulysses as an example, was created in the full light of consciousness (15:123). The next significant development in archetypal theory that affected literary studies grew out of the effort made by U.S.-born, Zurich-trained analyst James Hillman (b. Toril Moi, trans. The tragedy of Othello, written by William Shakespeare, presents the main character Othello, as a respectable, honorable, and dignified man, but because of his insecurities and good nature, he is easily taken advantage of and manipulated by his peers and alleged friends.
