THE BRITISH SCHOOL OF COSTA RICA
INTERNATIONAL BACCALEAUREATE
EXTENDED ESSAY
ENGLISH A1
Tragic Hero: a Helpful Label?
How useful is the concept of the tragic hero in
understanding Shakespeare’s characters Othello
and Hamlet?
Word Count: 3738
SEBASTIAN JOHN STEFFEN FEENY
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November 2012
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How useful is the concept of the Tragic Hero in understanding Shakespeare’s characters Othello and Hamlet?
Abstract:
This essay attempts to find out to what extent the concept of the tragic hero is useful in gaining a full
understanding of Shakespeare’s characters of Othello and Hamlet. The essay begins with a brief
summary of different views on the elements that define the tragic hero, with a main emphasis placed on
Aristotle’s original definition. The definition at which the essay arrives is a combination of the different
viewpoints. Both characters are then compared to each aspect of the tragic hero through an analysis of
their dialogue and actions in an effort to establish how far the concept fits the different traits of the
characters. Next, different characteristics of both Othello and Hamlet are mentioned as examples of
aspects which do not disagree with, but lie entirely outside of those considered by the definition of the
tragic hero. The essay then reaches the conclusion that the concept of the tragic hero is extremely
useful in gaining a basic understanding of the two characters, as many of its key aspects are present in
the characters. Nevertheless, it is certainly not the only way to understanding them, and should not
become a limiting factor in the analysis of the characters, given that both Hamlet and Othello transcend
the definition of the tragic hero.
Word count: 212
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How useful is the concept of the Tragic Hero in understanding Shakespeare’s characters Othello and Hamlet?
Table of contents
Introduction…………………………………………………………………………………………………………………………………………….3
Body of Paper…...........................................................................................................................................4
Conclusion……………………………………………………………………………………………………………………………………………….9
Works Cited…………………………………………………………………………………………………………………………………………..11
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How useful is the concept of the Tragic Hero in understanding Shakespeare’s characters Othello and Hamlet?
There are many aspects that make up the definition of the literary tragic hero. The first of these
is that the hero must be “a person of noble birth with heroic or potentially heroic qualities.” (Santora)
“The character must occupy a “high status position but must ALSO embody nobility and virtue as part of
his/her innate character.”(Aristotle. Defining Tragedy) In other words, the tragic hero has many great
qualities, and could be considered an outstanding individual. The hero would be worthy of admiration
and respect. In Poetics, Aristotle states that when creating a character, the author should “make a
likeness which is true to life and yet more beautiful”(Aristotle XV). This point made by Aristotle brings us
to the next element of the tragic hero, which is that the character is not perfect, allowing the audience
to relate to the character and also making the character more realistic.
Another -and perhaps the most important aspect of the tragic hero- is the tragic flaw which
serves not only to make the character seem more human but is also largely the trigger of the hero’s
downfall or tragedy. The flaw varies from character to character, but in essence is the reason for which
the hero makes certain choices which, in the context of the plot, lead to his downfall. There are many
different views on what exactly causes the hero’s catastrophe. Aristotle believed that it resulted directly
from the “flaw in the character of the hero.” A second view is that the flaw “results from fate or
coincidence, from circumstances beyond the hero’s control.” The third view is that “tragedy results from
an error of judgment committed by the hero”(Di Yanni 30). It is possible to find middle ground between
these views, and reach the conclusion that the hero’s catastrophe originates from a combination of a
character flaw and the circumstances he is in which lead the hero to either make the wrong decisions or
an incorrect judgment.
An “essential element of the tragic hero’s experience is a recognition of what has happened to
him.”(Di Yanni 31) Along with this recognition often comes the hero’s realisation of his own flaws or his
lack of judgment, and an increased awareness of his own character. Aristotle believed that the hero’s
expectations are reversed. At the end of the catastrophe, the hero is often “at peace intellectually”
(Santora). Also, the hero’s catastrophe is not exclusively personal, as many others suffer from his
downfall, either directly or indirectly.
The title characters from Shakespeare’s tragedies Othello and Hamlet are often mentioned as
examples of tragic heroes. But what does this really mean? And how does labelling them as such help
the reader when trying to gain a full understanding of these characters? In this essay the two characters
will be analysed and compared to these definitions of the concept of the tragic hero in order to
determine the usefulness of this concept in developing an understanding of the characters.
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How useful is the concept of the Tragic Hero in understanding Shakespeare’s characters Othello and Hamlet?
Both characters seem to fit the first aspect of the tragic hero. Hamlet is a prince of Denmark,
and heir to the throne. He is an intellectual and a scholar who has studied at Wittenberg, and his
intellect and knowledge are reflected in his many lines of dialogue. His understanding of different
natural processes is evident in his first soliloquy when he says "O that this too too sullied flesh would
melt,/Thaw and resolve itself into a dew" (I.ii.129-130). This reflects his level of education, as he is using
these images in his own mind without trying to show anyone how much he knows. It is also clear from
other characters' opinions about Hamlet that he is an outstanding individual. When he acts as though he
has gone mad Ophelia says "O, what a noble mind is here o'erthrown!" (III.i.150) and she then refers to
him as "Th'expectancy and rose of the fair state" (III.i.152) suggesting that Hamlet has many of the
qualities that would make him an excellent king. Another example of other characters recognising
Hamlet's nobility is when Fortinbras arrives after Hamlet's death, and says if he had been king he would
"have prov'd most royal" (V.ii.391). Another very noble quality of Hamlet is his refusal to act without
sufficient knowledge or evidence, for example, in his reluctance to take revenge until he has found out
that his father's ghost is truthful. This is summed up when he says "I'll have grounds/ More relative than
this" (II.ii.590-591), showing he wants to have substantial information before he takes action in order to
avoid damnation.
Othello, for his part, is a talented military leader who has done great service to Venice. When he
is told that Brabantio is coming to confront him because of his relationship with Desdemona, Othello
reacts very calmly and with great confidence, knowing that if the matter is taken to the Duke of Venice
he will be listened to and will be able to continue his relationship. He says "My services which I have
done the signiory/ Shall out-tongue his complaints." (I.ii.18-19) Othello’s great military skill is implied by
the way in which the Duke welcomes him after hearing of the Turkish fleet heading towards Cyprus,
saying “Valiant Othello, we must straight employ you/ Against the general enemy Ottoman.”(I.iii.48-49)
His embodiment of nobility is made apparent by his absolute faith that justice will be done, and that
there is no corruption in society. Much of Othello's nobility of character comes from a sense of
innocence that lifts him above the corruption of society, in such a way that he does not appear to notice
it. This is very clear when Iago tells him to run away from Brabantio to which Othello replies "Not I; I
must be found./ My parts, my title, and my perfect soul,/ Shall manifest me rightly." (lines 31-33) The
previous piece of dialogue reveals that Othello is convinced that he has done nothing wrong, and is
confident of the righteousness of his own personal conduct and honour. Othello also shows a high
degree of intelligence when dealing with problems. When Brabantio comes to confront him, instead of
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fighting, Othello gets Brabantio to take the matter to the Duke, aware that he will be able to make his
case and win.
Another aspect of the tragic hero that fits both characters very well is their lack of perfection,
which makes them seem believable and allows the audience to identify with them more easily. Part of
what makes Othello noble -his innocence- is also one of the characteristics that make him imperfect. On
the one hand it prevents him from seeing the corruption in society at large, and on the other, it makes
him blind to many of the things that go on immediately around him. Innocence is what prevents him
from realising that Iago, to whom he refers as "honest Iago" on several occasions, is manipulating him in
order to lead him to his downfall. There is a general sense that Othello is naïve when it comes to matters
other than war.
Hamlet's main imperfection is his indecisiveness, which prevents him from actively pursuing his
goal of taking revenge against Claudius. His indecision seems to come from an excessive pondering of
the different implications of his actions, leading him to a point where he cannot actually perform them.
An example of this occurs in Act III, Scene iii, when Hamlet comes across Claudius alone in his room, and
is about to kill him, but decides against doing so after considering that because he seems to be praying,
killing him would send him to heaven. This shows how Hamlet, when about to accomplish his goal of
revenge, begins thinking about what he is doing and stops himself from acting. It is interesting to note
that Claudius was in fact unable to pray, and that if Hamlet had killed him his revenge would have been
almost perfect. Hamlet himself makes reference to this quality several times in the play. One of the
clearest examples of this is found in the famous ‘To be or not to be’ soliloquy when he says "And thus
the native hue of resolution/ Is sicklied o'er with the pale cast of thought" (III.i.84-85). This can also be
seen when he states "A thought which, quarter'd, hath but one part wisdom/ And ever three parts
coward" (IV.iv.42-43).
One of the most important features of the tragic hero, the tragic flaw, is arguably the aspect
that is most weakly expressed in Othello and Hamlet. It is very hard to attribute Hamlet's tragic flaw to a
single element of his personality, as his downfall results from the combination of different aspects of his
personality with the events in the play and the actions of other characters. The most evident personality
flaw responsible for his downfall is his indecisiveness, which prevents him from bringing himself to kill
Claudius until the very last moment, at which point he realises he is about to die after Laertes poisons
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him in Act V. Although part of his hesitation could be explained by his refusal to act without just cause,
Hamlet becomes convinced of Claudius' guilt during Act III and yet does not kill him until the end of Act
V. Even after Hamlet says "My thoughts be bloody or be nothing worth." (IV.v.66) he continues to dither
and to postpone killing Claudius. This is clearly seen in the way in which he is distracted by the
gravedigger and sits down to talk to him instead of hurrying back to Elsinore to kill Claudius. His
hesitation at this point seems even stranger as Hamlet is well aware that Claudius has tried to kill him
because he has already experienced the events which he relates to Horatio in Act V, Scene ii.
Another element of Hamlet's personality that leads to his downfall is his conviction that his act
of revenge is perfectly justified and that whatever damage he may cause in the process is
inconsequential. This can be clearly seen in his total lack of remorse after slaying Polonius. After
stabbing him, Hamlet almost completely ignores him while he continues arguing with Gertrude about
Claudius having killed Hamlet's father and about her marrying her first husband's brother. Hamlet
appears unconcerned about having killed Polonius when he says "Thou wretched, rash, intruding fool,
farewell./ I took the for thy better." (III.iv.31-32) By killing Polonius, Hamlet gives Claudius an excuse to
get rid of him and also makes Laertes seek out revenge. It seems that because Hamlet does not consider
that he has done anything wrong, he is unable to think that Laertes might want revenge against him.
This leads him to agree to participate in the fencing match in which he is ultimately killed. An example of
how Hamlet ignores the possibility that Laertes might want to kill him is when he tells Horatio "But I am
very sorry…/That to Laertes I forgot myself" (V.ii.75-76) referring to what happened in Ophelia's tomb,
but making no apology for killing his father. Furthermore, Hamlet seems to ignore the consequences of
having committed murder, and instead of hastening to kill Claudius and take his revenge he appears to
continue living as though nothing had happened.
In Hamlet's case the concept of the tragic flaw seems to be a very imperfect match. Here there
are at least two separate elements that could be considered a flaw, both of which stem from a
combination of different aspects of his character and the particular events surrounding him. Hamlet's
downfall occurs through the convergence of many factors, including his excessive thinking and lack of
action, his absolute conviction that his cause is just, the error in judgement when he believes that
Claudius is praying and his killing of Polonius.
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In Othello's case it is easier to narrow down the cause of his catastrophe to a tragic flaw.
Othello’s sense of honour and goodness makes it extremely easy for Iago to put himself in a position
where he can manipulate him. An example of this occurs when Othello discovers that Cassio has been
involved in a fight and is trying to find out who is at fault, and Iago tells him: "I had rather have this
tongue cut from my mouth/ Than it should do offence to Michael Cassio; / Yet, I persuade myself, to
speak the truth"(II.iii.217-219). This plays straight to Othello's ideas of honour, and he finds it impossible
to disbelieve a man who is compelled to speak against someone he likes because he feels obliged to tell
the truth. Othello's answer to Iago's explanation of the events includes the words "I know, Iago,/ Thy
honesty and love doth mince this matter,/ Making it light to Cassio" (II.iii.243-245), which illustrate
Othello's thoughts about the situation. Later on in the play, after Othello has seen Cassio talking to
Desdemona, Iago tells him "Men should be what they seem" (III.iii.129) which again directly appeals to
Othello's sense of morality and honour. Thus Othello, who already has a high opinion of Iago, is assured
that Iago is indeed what he seems, i.e. honest. Othello's response to Iago: "Certain, men should be what
they seem"(III.iii.131) further emphasises this.
Another flaw in Othello's character is that he appears to be easily fooled by flattery. Iago often
tells Othello of the "love" he has for him, and a clear example of how Othello is manipulated by Iago is
when Cassio and Montano are fighting and Iago says, as Othello intervenes, "Have you forgot all sense
of place and duty?/ The general speaks to you; hold, hold, for shame!" (II.iii.164-165) One could
speculate that the psychological reason why this type of manipulation works on Othello is that he is a
Moor, and is therefore an outsider in the society in which he lives and wishes to fit in. It makes sense
that Othello would be susceptible to flattery as he would need to feel a sense of belonging and
acceptance. This notion of wanting to find a place in society without being thought of as a foreigner
could also be the reason for his jealous attitude towards Desdemona. By marrying a Venetian woman
from an important political family he would be cementing his social position. The thought of her leaving
him for another man could potentially not only injure his feelings but could also threaten the status that
he feels he has worked so hard to achieve in Venetian society. Consequently, it is clear that part of the
reason for Othello’s downfall is linked to the circumstances in which he finds himself, and is not purely
based on his own failings or on the actions of others.
Othello's main flaw, the one that leads him to catastrophe, is his serious misjudgement of Iago.
Fate cannot be said to play the main part in the tragedy as there is nothing to indicate that the world is
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set up for Othello’s downfall. Throughout the play Iago's schemes and lies put Othello in a position
where he is no longer in full control of his own actions, thoughts or feelings. This does not seem to fit
the traditional idea of the tragic flaw, since the cause of Othello's downfall is the way in which Iago is
able to play on his insecurities, leading him into a mad jealousy which results in the murder of
Desdemona.
With regard to the next aspect of the tragic hero, i.e. the recognition of his downfall and his
coming to terms with his own catastrophe, it is not particularly clear whether or not this applies to
Hamlet or Othello. In Hamlet’s case, after discovering that he has been poisoned, that Claudius is
responsible and that he has also killed Gertrude, he finally takes his revenge and kills Claudius with his
own poison. At this point, Hamlet has finally completed what he set out to do near the beginning of the
play and seems to be at peace with the turn of events. When Laertes asks for forgiveness Hamlet tells
him "Heaven make thee free of it. I follow thee."(V.ii.325), which shows not only that Hamlet bears no
resentment or anger but that he is coming to terms with his own inevitable death, as he very calmly says
he will follow Laertes. In fact he is so calm, that he tells Horatio "Thou livest. Report me and my cause
aright/ To the unsatisfied." (V.ii.332-333), showing that he wants people to know what has happened
and suggesting that he is satisfied.
While Hamlet certainly seems to be at peace intellectually at the time of his death, he does not
acknowledge the reasons for his downfall at this point. It is interesting to note however that Hamlet
does make reference to the different causes of his downfall, specifically his inaction earlier in the play,
as previously mentioned.
Once Emilia manages to convince Othello that Desdemona was never unfaithful to him, and that
he was tricked by Iago, he immediately tries to attack him. After this he calms down and begins to think
about what has happened. He says he was "An honourable murderer" (V.ii.297) and says "For nought
did I in hate, but all in honour" (V.ii.298). This suggests that Othello’s sense of honour is precisely one of
the reasons for his downfall, and that he may be aware that his virtue has turned into a flaw under those
particular circumstances. He understands that he treated Cassio unfairly, and tells him "I ask your
pardon" (V.ii.302). Furthermore, he tries to uncover Iago's reasons for bringing about his catastrophe by
saying "I pray, demand that demi-devil/why he hath thus ensnared my soul and body" (V.ii.303-304).
This reveals that Othello is trying to fully come to terms and understand what has happened to him.
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Othello is then overcome by guilt and remorse, and cries out "Whip me, ye devils" (V.ii.280) and "Blow
me about in winds! roast me in sulphur!" (V.ii.282) In his last speech before stabbing himself, Othello
recognises his lack of judgement with the simile "Like the base Indian, threw a pearl away/ Richer than
all his tribe" (V.ii.349-350). It does not seem altogether plausible to say that Othello is at peace in his
realisation of his downfall, since he commits suicide, giving the impression that he is so overcome by his
feelings that he cannot bear to continue living. However, his suicide could be regarded as the outcome
of his coming to terms with events, and as a kind of recognition that his death is necessary for order to
be restored. This second interpretation of his suicide is reflected in the calm tone of Othello's speech,
particularly when he says "I pray you, in your letters… Speak of me as I am" (V.ii.342-344). By reminding
those who surround him of his services to Venice it is also clear that he is carefully ensuring that his
successes are not forgotten or overshadowed by his crimes.
It is much clearer in Hamlet's case than in Othello's that the tragedy is not exclusively personal,
as many either completely or partially innocent characters die, including: Ophelia, Rosencrantz,
Guildenstern, Polonius and Laertes. The latter could be considered innocent since he was equally
justified in killing Hamlet as Hamlet was in killing Claudius. But the tragedy extends even beyond this,
given that it was repeatedly said in the play that Hamlet would have made an excellent king had he lived
long enough to inherit the throne.
In Othello’s case, although fewer deaths immediately result from his downfall, it is likely that
there are grave consequences for Venice, since Othello is regarded as one of the city’s greatest generals,
and without him its armies might be unable to repel foreign invaders such as the Turks. Moreover, it is
clear that Desdemona's death is a direct result of his catastrophe.
The concept of the tragic hero is an excellent frame of reference and starting point for
understanding both characters. It provides an outline of who they are and what happens to them. Many
aspects of the tragic hero fit the two characters very well, particularly those concerning their place in
society, their embodiment of nobility and their heroic or potentially heroic qualities. The description of
the characters’ flaws and imperfections is also consistent with the concept of the tragic hero. Both
characters can be related to, and both would certainly be considered as great individuals, worthy of
admiration.
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There are, however, certain elements of the definition of a tragic hero which do not fit Othello
or Hamlet. In both cases the idea of a tragic flaw, despite being a helpful tool to gain an insight into the
reasons for their downfall, is an excessively simplistic way of considering what happens to them. For one
thing, it ignores the complexity of the characters with their various flaws and how these weaknesses
influence their reactions to different events. It also ignores the part played by other characters in their
downfall. Furthermore, even if it is assumed that there is a single tragic flaw in each character, taking it
at face value would mean ignoring the different psychological reasons for the existence of this flaw and
how exactly it affects the characters’ actions.
It is important to understand that the two characters transcend the concept of the tragic hero:
both are too complex to be encased or defined by a simple formula. In Othello and Hamlet the title
characters explore a number of important themes and ideas. Hamlet, for example, introduces the
question of whether or not it is better to die than to continue an unwanted existence, while Othello
represents the contrast between an apparently civilised but corrupt society and what would be
considered as a barbaric and uncivilised outsider who nevertheless embodies nobility. In both plays the
main characters also transmit different ideas to the audience, such as the notion of being an outsider in
a situation full of corruption. This is shown in Othello by the character of Iago who seeks the destruction
of Othello for no apparent reason and in Hamlet by the emphasis given to the marriage between
Gertrude and Claudius and by how Hamlet mocks the Danish court, especially in his conversation with
Osric.
In this way Hamlet is more than just a Danish prince who sets out on revenge but ends up dying
because he, as described by Laurence Olivier in his screen version of Hamlet, “could not make up his
mind”(Hamlet, 1948). Similarly, Othello is more than simply a General of Venice who kills his wife
because of his jealousy. Therefore, while the concept of the tragic hero is very useful in understanding
Othello and Hamlet it is equally important to realise that both are highly complex characters who
transcend this concept.
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Works Cited
"Aristotle." Defining Tragedy. Ed. Eric Hibbison. Virginia Community College System.
vccslitonline.cc.va.us 15 Feb. 2012. Web.
Aristotle. Poetics. Trans. S. H. Butcher. The Project Gutenberg EBook of Poetics, by Aristotle. Project
Gutenberg, 3 Nov. 2008. 17 Feb. 2012. Web.
Di Yanni, Robert. “Elements of Greek and Shakespearean Tragedy” (1986). In Readings on the Tragedies
of William Shakespeare. Ed. Clarice Swisher. Greenhaven Press, 1996. Print
Hamlet. Directed, produced and screenplay written by Laurence Olivier. Two Cities Films, 1948.
Santora, Ronald. "Tragic Hero Classical Definition." Tragedy. California State University Sacramento.
www.csus.edu 15 Feb. 2012. Web.
Shakespeare, William. Hamlet. Oxford: Oxford UP, 2002. Oxford School Shakespeare. Print
---. Othello. Hertfordshire: Wordsworth Editions Limited, 1992. Print
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