The theme of the tragic hero runs through much of classic literature, from the ancient Greeks to Shakespeare and beyond.
In understanding the concept of the tragic hero, it is important to understand the criteria as set forth by Aristotle (“Aristotle”, 1998). According to that illustrious philosopher, there are six major elements required to make up a tragic hero. To begin with, these heroes (or heroines) must have three character traits including a noble stature, excessive pride, and a tragic flaw. These three character traits combined must then lead our character to his or her downfall, from which they make an admission of their guilt and are then redeemed in the end.
In his final words, Othello confesses that he has “loved not wisely, but too well” (V, ii, 353). This insight goes a long way toward explaining Othello’s character. It is because of where he’s placed his love that he behaves the way he does. He is a tragic hero because of how he fits the mold, with the single difference that instead of pride, Othello is unwise in his placement of loyalties.
Generally, heroism refers to a character that embodies our concepts of what is good and noble in the human race (Vest, 2002). Othello is a good example of this as he has risen, through his hard effort, from the pits of slavery to the General of the Venetian ships. “I fetch my life and being / From men of the royal siege [rank], and my demerits [deserts] / May speak unbonneted to as proud a fortune / As this that I have reached [are equal to]” (21-23). In addition, the Duke himself calls upon Othello at times of great need as in “Valiant Othello, we must straight employ you / Against the general enemy Ottoman” (48-49).
However, Othello’s nobility lies not just on the surface level of his position in society, but in his moral judgment as to when he is faced with an angry father and his warlike supporters: “Keep up your bright swords, for the dew will rust them / Good signior, you shall more command with years / Than with your weapons” (59-61). In this scene, his nobility shines through as he defends his wife’s honor, acknowledges the respect owed to his elders, and refuses to cross swords with them. All classic heroes also have an element of excessive pride, which contributes to their downfall as they become unable to discern truth from reality (McAlindon, 2002).
Although it is harder to see in Othello because he is working to keep his speech humble, this same pride is evident as one of his foundational characteristics, but perhaps somewhat justly earned. However, his greatest pride is placed in his power to love – his loyalty – of which he is perhaps also justified.
A more classical definition of the heroic figure would indicate that this character’s tragic flaw is the very trait that leads to their downfall. In the simple statement made at the end of his life, Othello recognizes his tragic flaw. His greatest pride, his steadfast loyalty for those he loves, manifests itself as his tragic flaw as it becomes obvious that he is incapable of judging which of his contemporaries he should trust with it. Although Cassio is Othello’s favorite officer as he promoted Cassio over Iago when Othello finds Cassio brawling in the streets with gentlemen and drunk, he immediately demotes him by saying “Cassio, I love thee; But never more be an officer of mine” (II, ii, 239-240).
Othello can no longer respect Cassio and his confidence in his judgment is thrown into doubt. For Othello, the doubt and suspicion growing in his mind regarding a possible relationship between Cassio and Desdemona were started with Desdemona’s father at the beginning of the play. Othello is warned, “Look to her, Moor, if thou hast eyes to see: / She has deceived her father and may thee” (292-93). Iago uses this doubt and suspicion, as well as Othello’s love for others, to Othello’s destruction. Once Othello decides to love and trust Iago, he finds it impossible to doubt him, even when it is Iago who is telling him he should doubt.
Othello has determined that only Iago has known him long enough and repaid him faithfully enough to deserve Othello’s love and loyalty. His great mistake lies in believing that because he has granted this tremendous boon (his love) to Iago, Iago must necessarily return the sentiment. It is only at the end that he finally realizes he has abandoned his earlier noble nature as a result of Iago’s manipulations.
As Othello confronts the results of his actions, he understands that his choice on whose love to have faith in was unwisely made.
Through his demonstration of a noble nature in his previous deeds, his current position, and his ability to deal well with others even in a tense situation, Othello is quickly established at the outset of the play as a nobleman precisely established to become a tragic hero. As the story progresses, it becomes more and more apparent that the aspect he takes the greatest pride in remains his ability to love others and to both give and receive respect and loyalty, setting him up for a perfect rendition of the tragic flaw scenario brought forward by Aristotle.
True to form, Othello’s love becomes twisted and manipulated, due in large part to the fact that he chooses to place his love and trust in one long-term underlying, Iago, over another, Cassio, as well as over the words and actions of his wife. This decision, as Othello himself said, led to his downfall and places him firmly within the canon of the tragic hero.
Works Cited
“Aristotle.” Critica Links. The University of Hawaii, (1998). Web.
McAlindon, Tom. “What is a Shakespearean Tragedy?” The Cambridge Companion to Shakespearean Tragedy. Ed. Clare McEachern. Cambridge: Cambridge University Press, (2002), pp. 1-22.
Shakespeare, William. “The Tragedy of Othello: The Moor of Venice.” The Complete Pelican Shakespeare. New York: Penguin Books, 1969. pp. 1018-1060.
Vest, Rob. “Shakespearean Tragedy in Othello: The Moor of Venice.” Late Plays of Shakespeare. (2002). Web.