FREE ESSAY ON OTHELLO - A TRAGIC HERO

OTHELLO - A TRAGIC HERO

Othello as a Tragic Hero 
William Shakespeare's famous tragedy Othello, the Moor of Venice (c.1604, as reprinted in
Laurence Perrine and Thomas R. Arp, Literature: Structure Sound and Sense, 6th ed. [Fort
Worth: Harcourt, 1993]1060-1148) is arguably one of the finest, if not the finest,
tragedies in the literary history of Western civilization. This paper discusses Othello
as a tragic hero and compares him to the great Aristotle's concept of what a tragic hero
actually is. First, we need to understand the characteristics of a so-called tragic hero
as defined by the Greek critic, Aristotle. He indicates that a tragic hero must have
these characteristics: (1) Be a nobleman, prince, or person of high estate; (2) Have a
tragic flaw, and a weakness in judgment; and (3) Fall from high to low estate. (Hubele).
Using the Aristotle criteria, we can easily classify Othello, the Moor, as a tragic hero.
At the time, it was common practice for the Italian city-states to have a foreigner, with
proven military capabilities, serving as the head of their Army. Othello, an African Moor
of noble birth, is just such a character and held the highest ranking military position
as Governor-General of Cyprus. The city of Cyprus was a city-state in the great state of
Venice. His title alone, Governor-General, exudes an air of nobility, confidence, and
strength. It defines someone who is held in tremendously high esteem by the people of
Venice. During Act 1, Scene 3, the Duke and a few Senators are discussing issues around a
table when Othello enters the room. It's clear that Othello is held in high esteem when,
as he enters, one of the senators states "Here comes Barbantio and the valiant Moor"(47).

Othello's confidence in himself, another of his positive attributes, is clearly portrayed
as he defends himself and his recent marriage to Desdemona, the daughter of the Venetian
Senator Barbantio. In his defense, he associates himself with one of the "great ones" of
the 
world. He also demonstrates confidence in himself and his actions when Barbantio,
Desdemona's outraged father, accuses the Moor of witchcraft. His stature, that of a tall,
dark, African Moor, combined with his personal magnetism, assist him in gaining the
respect and allegiance of the Venetian people and its senators. The respect of the people
is brought forth in Act 1, Scene 2, when Montano, the Governor of Cyprus, is awaiting the
arrival of Othello's ship, following a strong storm at sea, and remarks he has served
him' and the man [Othello] commands/ Like a full soldier (35-36). He also refers to him
as the brave Othello (38).
Othello is also held in awe by his men, the soldiers, and throughout the play is referred
to as a captain, a term carried over from Roman times which depicts a commander of a
company of men, or a so called soldiers' soldier. He is a proven leader of men and known
for his military knowledge and skills. His soldierly ways are a result of serving in some
form of military capacity since the early age of seven.
Dignity, courage, a strong belief in religion, self control and sound jud~ment are a few
of
Othello's other positive attributes portrayed in the play. The writer, A.C. Bradley
characterizes him as a truly admirable character, of heroic stature, exemplary self
control, and wonderfiil imagination... (Mehl, Dieter, Shakespeare's Tragedies: An
Introduction, [New York, Cambridge University Press, 1986] page 66).
His confidence in himself and his courage are clearly evident when Othello makes a stand
before Barbantio, Roderigo and Iago, when following the drawing of their swords, Othello,
as opposed to withdrawing in the face of danger taunts Keep up your bright swords, for
the dew will rust them (59-60). Shakespeare continues to portray Othello as a 
well respected nobleman throughout his play, from beginning to end.
Shakespeare also shows a soft side when he displays Othello's love and confidence in his
wife Desdemona. In Act 1 Scene 3, Othello entrusts his wife to the care of another
gentleman and his wife as he must go off to war in Cyprus. The entrusted man and his wife
happen to be his good friend lago and his wife Emila. Othello displays his trust and
confidence in both his wife and his ensign [Iago] when he remarks to Iago to his [Iago]
conveyance I assign my wife (286).
As you move through the play, Shakespeare intriguingly begins to show Othello's faults
and negative character traits, which eventually lead to his destruction. His position as
Governor-General, the allegiance from both the people of Venice and his soldiers and his
confidence in himself can all be considered major contributors to his overall negative
character flaws. In other words his positive aspects are responsible for bringing out his
negative side, his flaws in character.
His flaws include his all too trusting nature and his eventual insecurities in himself
that arise in the form of jealousy for his wife Desdemonia. These flaws begin to surface
following his decision to select Cassio, as opposed to Iago, as his lieutenant, his
second in command. He did so because he felt Cassio was well versed in the military
sciences and Iago had merely proven himself on the battlefield as a warrior, not
necessarily a leader. Surprising, Othello later releases Cassio from his position as
lieutenant following his [Cassio] fight with Roderigo in which Montago is wounded after
trying to stop the fight. All of this serves as merely one of the results of Iago's
revenge and his ploy to destroy Othello and all those associated with him. Iago is
actually consumed with the anger, vengeance and 
will to destroy Othello. On a good note Cassio is again placed in the graces of good and
is appointed as the honorable Governor of Cyprus.
Othello's decision to choose Cassio fosters a deep resentment in the eyes of Iago, his
one time good friend and confidant. Iago convinces Roderigo, a well respected Venetian
who is infatuated with Brabantio's daughter Desdemona, that if paid enough he will
eventually topple the new husband Othello, and in turn make Desdemona available to the
love of Roderigo. Both of these character flaws eventually lead to the downfall of
Othello, this outwardly noble, confident and strong hero.
It's in Act 3, Scene 3, the temptation scene, that the turning point in this romantic
tragedy appears. It is actually on the beach, following the storm at sea, while all are
awaiting the great Othello's return by ship, Iago notices a strong relationship between
Cassio and Desdemona as they are holding a conversation. Iago's plot to destroy Othello
unfolds and he plans to portray Desdemona as an unfaithful wife, a wife having an affair
with Cassio. Iago's plan evolves further and he gets his first opening following the part
when Desdemona pleads for Cassio's return to the position of lieutenant in Othello's
Army. Iago implants the seed about Cassio's and Desdemona's relationship. Othello demands
proof of the supposed torrid affair out of his tremendous love for his wife Iago lies and
schemes his way out the conversation and continues on his ploy of destruction.
Othello's trusting nature, his greatest character fault, appears throughout the play but
nowhere is it more evident than in the temptation scene, Act 3 Scene 3, when addressing
Iago he states I know thou'rt full of love and honesty, and weigh'st thy words before
thou giv'st them breath .. (118-119). His faith in Iago is again ironically depicted in
Act 5, Scene 
1 when he [Othello] states O brave Iago, honest and just, that hast such noble sense of
thy friend's wrong [Cassio's alleged seduction of Desdemona)! Thou teachest me (31-33).
This statement follows Othello's murder of this wife Desdemona, and goes to show that
Othello had faith in the cynical Iago even after lago's plan had been successfully
executed by the unknowingly naive Othello.
Othello's second most noticeable character flaw is that of jealousy. His jealousy evolves
from Iago's deceitful plans. One reason why some readers think Othello is easily jealous
is that they completely misinterpret him in the early part of this scene [Act 3, Scene
3]. They fancy that he is alarmed and suspicious the moment he hears Iago mutter Ha! I
like not that, as he sees Cassio leaving with Desdemona (35). But, in fact, it takes a
long time for Iago to excite surprise, curiosity, and them grave concern - by no means
yet jealous - even about Cassio, and it is still longer before Othello understands that
Iago is suggesting doubts about Desdemona too. (Wronged in 143 certainly does not refer
to her, as 154 and 162 show)" Bradley, A.C., Shakespearean Tragedy, 3rd edition, New
York, St. Martin Press, 1992], page 397).
It's plain to see his love for Desdemona is very strong and he doesn't lose faith in
himself and his love so easily. However, later so strong becomes his jealousy that it
leads him astray from his previous positive traits of confidence in himself, calm
demeanor in stressfbl times and his abilities to make sound judgements. In one of his
last speeches to Desdemona in Act 3, Scene 3, Othello chides himself for becoming angry
with his wife and following her departure remarks to himself Excellent wretch! Perdition
catch my soul / but I do love thee! And whom I love thee not, / Chaos is come again
(90-91). His statement proves Iago's plan 
is working and Othello's' trust in him [Iago] will not falter. Othello is clearly
emanating pangs of jealousy here, he is hurt and his suffering is evident. He once held
himself among the great ones (273) yet now his love is destroyed and is cursed by a
destiny unshunnable (275). The turning point in the play is here and the end will proceed
swiftly from this point.
The end nears as Othello's portrait of himself is weakened. ...the final Othello is not a
pretty sight to watch... Consider his whimpering, his refusal to be himself, his
uncontrolled screaming. (Kirschbaum, Leo, The Modern Othello, (reprinted in English
Literary History II, ([Dec 1994] pages 283-296). He now sees himself as a man deceived,
by both Desdemona and Cassio, a man full of jealousy, and a man whose honor is now in
question. Even as the final climatic murder takes place Othello deceives himself by
telling himself it is his duty to kill her, it is not an act of revenge. His mythology in
killing her is ...she must die, else she'll betray more men (Act 5, Scene 2, line 6). The
murder of Desdemona acts out the final destruction in Othello himself of all the ordering
powers of love, of trust, of the bond between human beings. (Bloom, Harold, Modern
Critical Views, William Shakespeare The Tragedies, New York, Chelsea House Publishers,
c1985], page 85).
Obviously Othello portrays the characteristics of a "hero" as defined by Aristotle. He
clearly was a man of nobility, of noble character and held in a very high estate. He
began in this illustrious play by displaying all those positive traits which man
continues to search for in order to fulfill a long and happy life. They included the
ability to sincerely love and trust his fellow man/woman, his innocence, his religious
background, his self control, sound judgment and confidence in his inner self as a human
being. All these traits quickly came 
crashing down because of character flaws in other people such as deceit, fraud,
seffishness, hatred and a deep desire for revenge.
Following Othello's trust for his good friend Iago he clearly demonstrated flaws in the
forms of bad judgments, jealousy, loss of self control and his lack of self confidence in
himself All this eventually led to the murder of the wife he continued to love through
the end and his own eventual self inflicted death. His fllll from high to low estate is
clearly visible. Shakespeare depicted all these events in a rather short, deep, highly
emotional, passionate, intense play. Sheakspeare's ability to develop such deep emotional
characterizations remains unparalleled in modern world.
Bibliography
Shakespeare, William, Othello, the Moor of Venice (reprinted in Lawrence Perrine and
Thomas R. Arp, Literature: Structure Sound and Sense, 6th edition Fort Worth: Harcourt,
1993].
Hubele, Donald, M.A., (c1989, revised 1992). Student Videotape Course Worktext for
Composition and Literature. School of Lifelong Learning, Liberty University, Publications
Division.
Mehl, Dieter, Shakespeare's Tragedies: An Introduction, New York, Cambridge University
Press, 1986
Bradley, A.C., Shakespearean Tragedy, 3rd edition, ([New York, St. Martin Press, 1992],
page 397).
Kirschbaum, Leo, "The Modern Othello", (reprinted in English Literary History II, ([Dec
1994] pages 283-296)
Bradley, A.C., Shakespearean Tragedy, 3rd edition, New York, St. Martin Press, 1992.