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. According to that illustrious philosopher, there are six major elements required to construct a tragedy. To begin with, these heroes (or heroines) must have a noble stature, excessive pride, and 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 analyzing the play Othello, we find such a tragic hero in the title character. 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 hero because of his ability to act according to what love dictates and is brought to his ruin because of where that love had been placed.
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 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). It is thus in his love for Desdemona that his nobility shines through. In this statement, 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. In relating the history of his love affair with Desdemona, he tells the men he was asked by Desdemona’s father to relate his personal history: “I ran it through, even from my boyish days / To th’ very moment that he bade me tell it. / Wherein I spoke of most disastrous chances, / Of moving accidents by flood and field; / Of hairbreadth scapes i’ th’ imminent deadly breach; / Of being taken by the insolent foe / And sold to slavery; of my redemption thence / And portance in my travels’ history;” (132-39). However, his greatest pride is placed in his power to love – his loyalty.
Characters must be re-established in the eyes of the community to be considered true tragic heroes. Othello, having finally understood the chain of events that led to his wrongful killing of Desdemona and completely accepted the responsibility for having doubted her faithfulness, requests those who know of him to “speak / Of one that loved not wisely, but too well; / Of one not easily jealous, but, being wrought / Perplexed in the extreme; of one whose hand; / Like the base Judean, threw a pearl away” (343-47). These are nearly the last words he utters before falling on his knife, itself an act of redemption in the eyes of those who know him. Cassio, knowing the nobility of the man, says, “This did I fear, but thought he had no weapon; / For he was great of heart” (359-60) upon Othello’s death, allowing the viewer to know that Othello is no longer deemed unworthy even though his crimes were great.
A more classical definition of the tragic hero figure would indicate that this character should have some kind of tragic flaw that leads to their downfall. These kinds of characters are plentiful in Shakespeare’s works, including the character of Othello. In the simple statement made at the end of his life, Othello is pointing out for us what his tragic flaw was as well as the source of his heroism. 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. This is demonstrated first through his relationship with Cassio. Cassio is Othello’s favorite officer as he promoted Cassio over Iago.
While there may have been other qualifications involved in the decision, there also was the reason for Iago to believe he should have been promoted over Cassio. However, when Othello finds Cassio brawling in the streets with gentlemen and drunk, he immediately doubts his wisdom in placing his affections with this man. Though he still has affection for the man, “Cassio, I love thee; But never more be officer of mine” (II, ii, 239-240), he cannot respect him and his confidence in his judgment is thrown into doubt. Cassio’s time with Desdemona further introduces doubt and suspicion into Othello’s mind.
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). For characters to maintain the figure of the tragic hero, they must also contain some tragic flaw that leads to their destruction. For Othello, his greatest weakness is his innocent belief in the words of others. Desdemona’s father plants the seeds of Othello’s undoing with the simple injunction to “Look to her, Moor, if thou hast eyes to see: / She has deceived her father, and may thee” (292-93).
Othello’s flaw is hidden within the ideals of nobility. Iago, having been witness to this and knowledgeable of Othello’s “free and open nature / That thinks men honest that but seem to be so; / And will as tenderly be led by th’ nose / As asses are” (393-96), uses this doubt and suspicion, as well as Othello’s love for others, to Othello’s destruction. Desdemona’s continued appeals to her husband to forgive Cassio, while remaining unaware of the insinuations being levied against her by Iago, only serve to increase the suspicion and further call into question where his loyalties should lie.
Finally, Othello’s foolishness in placing his love in Iago proves to be his final undoing. Just as in everything else, once he decides to love 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, when he finally realizes that he has allowed his affection for Iago to abuse his love for Desdemona, twisting it to the point where it became murderous rage rather than compassionate nobility, seeking to discern the truth of a situation as was demonstrated at the opening of the play. In this realization, he also discerns that his treatment of Cassio has been equally manipulated thanks to his misplacement of loyalty and trust. It is only as he confronts the results of his action that he understands that his choice on whose love to have faith in was unwisely made. With these character faults in mind, it is easy to see how Othello is caught in his destruction.
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
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.