![]() ![]() ![]() According to Aristotle, a tragedy often surrounds a protagonist of high birth who has a fatal flaw, or hamartia. His intimacy with the audience is necessary for the tragedy’s success and critical in Othello’s downfall.Īristotle’s Poetics analyzes and pinpoints the components of Greek tragedy. Iago drives this struggle, manipulating all around him. The catharsis is a complicated achievement, especially in Othello, in which the true struggle surrounds love, will, and loyalty. Tragedies, as examined by Aristotle, end in a moment of catharsis for the audience. The fight for power here is about the domestic, emotional, and personal. Don John is elusive because the true protagonists are Beatrice and Benedick, followed by Claudio and Hero. Richard III is transparent because the play is his story. Each villain is shaped by the genre of their play and the necessities of that particular plot. His inner monologue and manipulations are fully available and he is driven by ambition and politics. Richard is both the protagonist and a malicious villain. This differs from Richard III, a historical play. While he propels the conflict, little more is known of Don John and his state of mind. He is motivated by a jealousy and anger toward his brother that causes him to poison the relationship between Claudio and Hero. He is the illegitimate brother of Don Pedro. In Shakespeare’s comedy Much Ado About Nothing, Don John is an elusive villain. They make way for the protagonists to succeed or fail. This is especially true for the plays of William Shakespeare. A villain, or at the very least an antagonist, is integral to most narratives. ![]()
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