Othello as a Tragic Hero William Shakespeare's famous tragedy Othello, the
Moor of 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 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.
Using Aristotle’s 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 judgment 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 wonderful 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 .. (118119). 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 then 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 stressful 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 unavoidable (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 283296).
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 climactic 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, selfishness, 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. Shakespeare’s ability to develop such deep emotional characterizations
remains unparalleled in modern world.