othello a tragic hero essay

• Science & Math
• Sociology & Philosophy
• Law & Politics

Shakespeare’s Othello as a Tragic Hero

• Shakespeare’s Othello as a Tragic…

Part 1: Othello IS a “Perfect” Tragic Hero

In life, heroes will arise whenever they are called for. It may be the everyday heroes that are seen rescuing a cat from a tree or helping an old lady cross the street. It may also be the heroes that are seen in movies and books rescuing the princess from the dragon or leading their country in battle. Perhaps the rarest hero is the tragic one.

William Shakespeare has artfully crafted some of the most prominent tragic heroes of all time. With one of the greatest being Othello. Othello is a tragic hero because of his noble traits, his tragic flaws, and his tragic downfall.

For someone to be a tragic hero, they must first be a noble character. Othello can be considered a noble character because he is one of high social ranking and he has a genuine heart. Othello, despite coming from a rough past, is an honorable war hero and the general of the Venetian army.

Along with his social stature, Othello also has a noble heart. Although he is sometimes portrayed as violent, Othello’s loving nature can be seen in instances such as when he speaks about Desdemona.

These traits are greatly admired among characters of Othello including Iago who admits that Othello is “of a constant loving, noble nature [and] will prove to Desdemona A most dear husband” (2.1.290-292). Othello’s nobility is quite evident, however, he does have traits that can be viewed as tragic flaws.

Othello is a tragic hero because of his tragic flaw. There are many undesirable traits in Othello, like his jealousy and gullibility. However, the core of these problems and his main tragic flaw is his insecurities. Othello is the only black character and an outsider in Venice brings upon many insecurities.

His vulnerability makes him an easy target for Iago to manipulate his mind; he begins to believe that he isn’t good enough for Desdemona: “She’s gone, I am abused, and my relief Must be to loathe her.

Oh, curse of marriage That we can call these delicate creatures ours And not their appetites!” (3.3.283-286). Iago was easily able to convince Othello that Desdemona has been unfaithful. However, Othello doesn’t realize his insecurities have taken over his life until it is too late and his tragic downfall has already hit rock bottom.

What makes Othello a tragic hero is he experiences a tragic downfall. Othello’s downfall is set into motion when the jealous Iago begins planting seeds of doubt into Othello’s already insecure mind. Iago’s manipulative words convince Othello that his wife is unfaithful; from then on he begins to lose his noble traits.

He treats his wife with little to no respect and eventually smothers her to death. When Iago’s plot is finally unveiled and Othello realizes his terrible mistake, it is evident he has reached his emotional limit: “Whip me, ye devils, From the possession of this heavenly sight! Blow me about in winds, roast me in sulfur, Wash me in steep-down gulfs of liquid fire!—Oh, Desdemona! Desdemona! dead! Oh! Oh!” (5.2.286-290).

In his distraught state of mind and with his broken heart, Othello decides to kill himself. With one fatal stab, this hero’s tale comes to a tragic end.

Othello is a tragic hero because he is noble, he suffers from a fatal tragic flaw and he goes through a tragic downfall. All these traits that Othello exhibits lead him to be known as one of the most well-known tragic heroes in all of literature.

Part 2: Othello is NOT a “Perfect” Tragic Hero

A tragic hero is the noble, virtuous protagonist in a tragedy who has a single fatal flaw that ultimately leads to their downfall. If we separate this definition into a list of characteristics and plot requirements typically seen in tragic heroes and their stories, we can determine the answer to the titular question.

To help us determine how the character is feeling and acting, with minimal stage directions, we can use the patterns in dialogue that Shakespeare uses at different points to convey a character’s mental state. These literary techniques allow us to determine which character has Othello’s trust or love at any given point in the play, and therefore, we can track his journey to destruction, and determine to what extent Othello can be considered the perfect tragic hero.

The language and dialogue in Othello show us the characteristics of the characters and the relationships between them. Othello’s speeches when talking about Desdemona, or his military career, are very poetic, showing what his two priorities are at the moment.

The idiom Othello uses is dignified, measured blank verse, matching the dignified and peaceful character that he starts off as. Desdemona also uses that idiom, emphasizing their love at the beginning of the play. Othello speaks clearly and purposefully and we’re made aware that he’s an impressive and powerful character.

The imagery Othello uses also showcases his character: “Keep up your bright swords, for the dew will rust them,” conveys the peaceful, yet military nature that is characteristic of him in the opening few acts.

The first characteristic typically seen in tragic heroes is that they begin their story as respected, noble people. In the first few acts of the play, we see Othello as someone who possesses extraordinary talents, intellect, and attributes. He has a loving wife, wealth and social connections, and celebrated military accomplishments, which have gotten him to the highest rank in the army.

Whilst certain characters in the play resort to racial slurs, most people we meet respect him. The first act of the play sees Othello in a high-ranking social sphere, a well-respected man who is, for the most part, good. At this point, we can see that Othello begins as a noble character, thereby meeting the first requirement to qualify as a tragic hero.

Iago is an eloquent speaker who uses words to subtly manipulate many characters throughout the play. When Iago manipulates Othello , he uses his judge of character to take advantage of him: Iago uses Othello’s belief that all men are good and honest until proven otherwise (“[Othello] thinks men honest that but seem to be so,” – Iago), by becoming Othello’s most trusted friend.

He then uses this trust to unearth Othello’s insecurity, by twisting the intentions of various conversations and making Othello think something was going on between Cassio and Desdemona. Iago then takes advantage of Othello’s newfound insecurity and his passion for Desdemona, by providing visual “evidence” in the form of the handkerchief, further convincing Othello of Desdemona’s infidelity.

Finally, Iago uses this jealousy, and Othello’s passion for Desdemona, by suggesting that he kills her, which he eventually does. After doing so, Othello’s guilt, combined with his passion for Desdemona, and his low self-esteem, causes him to take his own life.

Iago’s use of language is complicated. He slips between prose and verse, adapting his style to suit his different audiences and purposes. In his soliloquies, we see that Iago’s natural way of talking is blunt and persuasive, which is how he speaks to Roderigo, as in Act 1 Scene 1: “Despise me if I do not. Three great ones of the city in personal suit to make me his lieutenant … but he, as loving his own pride and purposes, Evades them with a bombast circumstance.”

“When talking to Othello, however, Iago uses a posher, more respectful style, as in Act III Scene 3: “Good my lord, pardon me, though I am bound to every act of duty, I am not bound to that all slaves are free to. Utter my thoughts? Why, say they are vile and false…”

Iago’s heavy use of asides and soliloquies also shows his cunning, destructive power; Iago is always lying when he’s talking to other characters, but his soliloquies give the audience a look into his real intentions. They are also a source of dramatic irony and tension.

Othello’s soliloquies occur towards the end of the play , showing that he has now become cunning and destructive, and is lying to the other characters. We can see that he’s no longer confident: in Act 3 he lists reasons Desdemona may have left him:

“Haply, for I am black and have not those soft parts of the conversation that chamberers have, or for I am declined into the vale of years, –yet that’s not much– She’s gone”. He also begins to use Iago’s base idiom, instead of the idiom he and Desdemona shared.

This shows his lack of judgment , Iago’s increasing authority over him, and the loss of harmony between Othello and Desdemona. In Act 4 Scene 1, just before he has a fit, Othello starts using a far less structured style: “Lie with her, lie on her? We say lie on her, when they belie her! Lie with her, zounds!, that’s fulsome … It is not words that shakes me thus. Pish! Noses, ears, and lips. Is’t possible? Confess? handkerchief! O devil!”

Othello’s use of questions shows his new insecurity, whilst his structured style has stopped, in favor of unstructured, messy lines match his mentality: reason has given way to passion. Right at the end of this speech, Othello’s words don’t make any sense, suggesting the hero’s degradation and degeneration. At the end of Act V, Othello returns to his original idiom, showing that he is no longer jealous to the point of madness.

At the end of Othello , Iago has convinced Othello that Desdemona is having an affair with Cassio, even though this is complete fiction. Othello smothers Desdemona, killing her. He then realizes what Iago has done and kills himself.

This is his fall from grace and marks the end of his character arch, from being a noble, revered, kind general, to being manipulated into jealousy and murder, to finally being distraught with guilt, and killing himself.

This type of ending meets the typical requirement of a tragic hero. Othello, therefore, meets the first two characteristics of a tragic hero – beginning in glory, and ending in destruction; and the play is clearly a tragedy, as most of the characters die.

But what is the fatal flaw?

Othello is manipulated by Iago, through various faults: his belief that all men who seem honest are, his insecurities, his passion for Desdemona, and his jealousy.

He then kills himself out of guilt, bringing our total of reasons for his downfall, to five. This is not typical of a tragic hero, who usually only has one fatal flaw, however, it may not be possible to highlight only one reason for Othello’s eventual death, and therefore, whether or not Othello meets possibly the most obvious character trait of a tragic hero, is dubious.

In conclusion, Othello is definitely a tragic hero, however, to say that he is “the perfect tragic hero” is, by definition, not the case. Othello is the noble, virtuous protagonist in a tragedy, however, he has no one fatal flaw that led to his downfall, instead of having many that were responsible.

Having said that, it is up to the reader’s interpretation whether or not they believe there was one overriding flaw that caused the tragedies of the play to take place, and therefore, whether a single fatal flaw is identifiable for Othello, making him the ‘perfect tragic hero’.

Related Posts

• Macbeth: The Tragic Hero
• Jealousy in Shakespeare’s Othello
• Mood in Shakespeare’s Othello
• Shakespeare’s Othello Act 5: Analysis
• Shakespeare’s Macbeth: Tragic Hero

Author:  William Anderson (Schoolworkhelper Editorial Team)

Tutor and Freelance Writer. Science Teacher and Lover of Essays. Article last reviewed: 2022 | St. Rosemary Institution © 2010-2024 | Creative Commons 4.0

Well organised. Thanks a million.

Thanks!! Great analysis!

Thanks for this post!

Super and thank you

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

Post comment

A Summary and Analysis of William Shakespeare’s Othello

By Dr Oliver Tearle (Loughborough University)

Othello is one of Shakespeare’s five best-known and widely studied tragedies, along with Hamlet , Macbeth , King Lear , and Romeo and Juliet . But as is so often with a well-known text, we don’t know this one nearly as well as we think we do: Othello has more in it than jealousy, the ‘green-eyed monster’, and (implied) racial hatred.

These themes are central to the play’s power, but one of the triumphs of Othello , as the analysis below attempts to demonstrate, is how well Shakespeare weaves different themes and elements together at once. Before we analyse some of these themes, it might be worth recapping the plot of this great tragedy which has inspired everything from opera (Verdi’s Otello ) to a rock musical ( Catch My Soul , from the 1960s).

Othello : plot summary

The main action of the play takes place in Venice, as the play’s subtitle, The Moor of Venice , makes clear. Iago is ensign or flag-bearer to the great military general, Othello, who is a Moor (i.e. a north African Muslim). Iago expects to be promoted to the rank of lieutenant, but instead Othello passes him over in favour of Cassio. For this reason (at least he claims), Iago declares that he hates Othello and will wreak vengeance on both Othello and Cassio.

His first plot is to try to prevent Othello’s marriage to Desdemona, the beautiful daughter of Brabantio, by telling Brabantio that Othello and Desdemona have already slept together even though they are not married. Brabantio summons Othello before the court, but Othello convinces him that he and Desdemona have not yet lain together, and the two of them are married.

Next, in Cyprus on a military campaign, Iago gets Cassio drunk and arranges a brawl, which he makes sure Othello witnesses; Othello has to strip the recently promoted Cassio of his commission. Iago then sets about convincing Othello that Cassio is having an affair with Desdemona; he tells Cassio to ask Desdemona to put in a good word for him with Othello so he might get his commission back (but with the result that Othello questions why his wife would want to plead for Cassio).

Iago, having got hold of a handkerchief of Desdemona’s, which she’d lost (a gift from Othello), hatches a plan to make Othello think his wife has been sleeping with Cassio. He hides the handkerchief in Cassio’s bedchamber and then tells Othello that Cassio has it.

When Othello asks Desdemona where her handkerchief is, she confesses that she has lost it; meanwhile, Cassio gives it to Bianca, his mistress, little realising that the handkerchief is part of Iago’s grand plan to implicate him in an imaginary affair.

Iago’s plan works, and Othello is convinced that there is something going on between Cassio and Desdemona. He tells Iago to kill Cassio, and he publicly strikes Desdemona, accusing her in front of everyone. Iago then tells Roderigo to kill Cassio, but Roderigo fails, so Iago kills him so nobody will find out about the plan.

Othello, consumed with jealousy, smothers Desdemona to death with a pillow, Emilia (Iago’s wife and Desdemona’s maid) tells Othello that she was the one who found the handkerchief and gave it to her husband; Iago kills her for revealing this, and Othello wounds Iago. Realising he has thrown away the life of an innocent woman he loved dearly, Othello kills himself publicly, Cassio is made governor of Cyprus, and Iago is taken off for punishment.

Othello : analysis

Othello is a play about sexual jealousy, and how one man can convince another man, who loves his wife dearly, that she has been unfaithful to him when she hasn’t. But Shakespeare does several very interesting, and artistically quite bold, things with this basic plot, and the characters he uses to tell the story.

First, he makes his hero noble, but unusually flawed. All heroes have a tragic flaw, of course: Macbeth’s is his ‘vaulting ambition’ , Hamlet’s is his habit of delaying or over-analysing (although the extent to which he actually delays can be questioned ), and so on. But Othello’s tragic flaw, his pride, is not simply noble or military pride concerned with doing the right thing (as a great military man might be expected to have), but a rather self-serving and self-regarding kind – indeed, self-regarding to the point of being self-destructive.

He is willing to believe his innocent wife has been unfaithful to him even though he is, to all intents and purposes, devoted to her. This makes him a more interesting tragic hero, in some ways, because he isn’t a spotless hero with one major blind spot: his blind spot is, in a sense, everyone else but himself.

Second, Shakespeare doesn’t make Iago, the villain, someone whose motives we can understand. Indeed, he goes out of his way to make Iago as inscrutable as possible. If the first rule of creative writing class is ‘show don’t tell’, the second or third rule may well be ‘make your characters’ motivations clear’.

Yet Shakespeare puts into Iago’s mouth several plausible ‘motives’ for wreaking the confusion and chaos that causes Othello’s downfall and Desdemona’s death, and in providing multiple motives, Iago emerges as ‘motiveless’, to use Coleridge’s famous description (Coleridge described Iago as being possessed of ‘ motiveless malignity ’). We cannot be sure why he is doing what he is doing.

But this does not mean that he is not being driven by anything. In Shakespeare’s source material for the play, a novella by the Italian author Cinthio, Iago is straightforwardly evil and devilish, intent on destroying Othello’s life, and with a clear motive. But Shakespeare’s Iago is more dangerous still: a human, with clearly human attributes and intellect, who nevertheless derives great pleasure from causing harm to others purely because … well, because it gives him pleasure.

Part of the genius of Shakespeare’s characterisation of Iago is that he makes him a convincing ensign to Othello, a loyal servant to the Moorish warrior, even while he is plotting Othello’s downfall. He is a villain, but a charming two-faced one. In Harold Goddard’s fine phrase, he is ‘a moral pyromaniac setting fire to all of reality’ (this phrase is quoted enthusiastically by Harold Bloom in his Shakespeare: The Invention Of The Human ).

Othello is also unlike many of Shakespeare’s other great tragedies, with the possible exception of Romeo and Juliet , in that its plot could easily have been co-opted for a comedy rather than a tragedy, where the confusion created by Iago’s plotting is resolved, the villain is punished, and the hero and heroine are reconciled to live happily ever after.

Compare, in this connection, Iago’s role in Othello with that of the villainous Don John in the earlier comedy, Much Ado about Nothing (a play we have analysed here ). Like Iago, Don John wants to wreck the (upcoming) marriage between Claudio and Hero, and sets about convincing Claudio that his bride-to-be cannot be trusted.

But in Much Ado , Hero’s fidelity is proved and Don John’s villainy is exposed, and we have a comedy. Much of Othello proceeds like a comedy that takes a very dark turn at the end, when it becomes apparent that Othello will not be reconciled with Desdemona, and that the sexual jealousy and suspicion he has been made to feel are too deep-rooted to be wiped out.

The whole thing is really, of course, Iago’s play, as many critics have observed: if Othello is the tragic lead in the drama, Iago is the stage-manager, director, and dramatist all wrapped up in one. Writers from Dickens to George R. R. Martin have often sorrowfully or gleefully talked of ‘killing off’ their own characters for the amusement of others; Iago wishes to ruin Othello’s marriage for his own amusement or, in Hazlitt’s phrase, ‘stabs men in the dark to prevent ennui ’.

2 thoughts on “A Summary and Analysis of William Shakespeare’s Othello”

The racial issue is of paramount importance in this play. The only characters whose view of Othello is not distorted by racial stereotyping are Desdemona and Cassio. Desdemona’s dying words are an attempt to exculpate her husband, and Cassio’s first reaction on learning that he has been crippled thanks to Othello’s jealous suspicions is to exclaim “Dear General, I never gave you cause!” I find no evidence that Othello is a Muslim. We’re told that he was sold into slavery in his childhood; presumably he was raised as a Christian. The “Colour” issue would have been evident in the original performances, since the Moor would certainly have been played in blackface.

I had the great good fortune to see the 2007 production of Othello put on at the Donmar Warehouse with Chiwetel Ejiofor in the title role. It was a wonderful experience…

Comments are closed.

Discover more from Interesting Literature

Subscribe now to keep reading and get access to the full archive.

Continue reading

Home — Essay Samples — Literature — Tragic Hero — The Analysis Of Othello As Tragic Hero

The Analysis of Othello as Tragic Hero

• Categories: Tragic Hero William Shakespeare

About this sample

Words: 1044 |

Published: Apr 29, 2022

Words: 1044 | Pages: 2 | 6 min read

Cite this Essay

Let us write you an essay from scratch

• 450+ experts on 30 subjects ready to help
• Custom essay delivered in as few as 3 hours

Get high-quality help

Prof. Kifaru

Verified writer

• Expert in: Literature

+ 120 experts online

By clicking “Check Writers’ Offers”, you agree to our terms of service and privacy policy . We’ll occasionally send you promo and account related email

No need to pay just yet!

Related Essays

2 pages / 1105 words

2 pages / 1071 words

1 pages / 578 words

4 pages / 1709 words

Remember! This is just a sample.

You can get your custom paper by one of our expert writers.

121 writers online

Still can’t find what you need?

Browse our vast selection of original essay samples, each expertly formatted and styled

Related Essays on Tragic Hero

Sophocles' tragedy, Antigone, is a timeless piece of literature that delves into the complexities of human nature, morality, and pride. At the heart of the play is the character of Creon, the newly crowned king of Thebes, whose [...]

Romeo and Juliet is a timeless classic that explores the complexities of young love, family honor, and societal pressure. The play's protagonist, Juliet, is a young woman who faces multiple challenges throughout the story. While [...]

Hamlet, is one of the most celebrated works in English literature, and the character of Hamlet himself is often considered one of the most complex and enigmatic figures in all of drama. The play revolves around the central [...]

Hamlet is a timeless and renowned tragedy that continues to captivate audiences and scholars alike. The play’s complexity and depth have led to numerous interpretations and analyses, with one of the central themes being the [...]

In the realm of dramatic art, cultural influences often shape the narrative, giving birth to captivating tragedies that resonate with audiences. Wole Soyinka's masterpiece, "Death and the King’s Horseman," is no exception, as it [...]

John Proctor is a complex character in Arthur Miller’s play, “The Crucible.” Throughout the play, Proctor exhibits a variety of character traits that make him a fascinating and multi-dimensional figure. In this essay, I will [...]

Related Topics

By clicking “Send”, you agree to our Terms of service and Privacy statement . We will occasionally send you account related emails.

Where do you want us to send this sample?

By clicking “Continue”, you agree to our terms of service and privacy policy.

Be careful. This essay is not unique

This essay was donated by a student and is likely to have been used and submitted before

Download this Sample

Free samples may contain mistakes and not unique parts

Sorry, we could not paraphrase this essay. Our professional writers can rewrite it and get you a unique paper.

Please check your inbox.

We can write you a custom essay that will follow your exact instructions and meet the deadlines. Let's fix your grades together!

Get Your Personalized Essay in 3 Hours or Less!

We use cookies to personalyze your web-site experience. By continuing we’ll assume you board with our cookie policy .

• Instructions Followed To The Letter
• Deadlines Met At Every Stage
• Unique And Plagiarism Free

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

Othello as Tragic Hero

Related Papers

Jashim Uddin , Md. Habeeb Faruk Khan

The elucidation of philosophy of life varies from person to person and society to society. To unearth the real facts of social values, customs, norms and rituals, the writers go into the internal world of human heart to show the hidden psychology of the social characters. William Shakespeare's attempts on revealing the viewpoints of the characters of 'Hamlet' and 'Othello' based on contemporary society are very vivid in the context of Elizabethan Age. This paper concentrates on the Shakespearean way of observing life portrayed in the tragedies 'Hamlet' and 'Othello'.

David Malik

Borrowers and Lenders: The Journal of Shakespeare and Appropriation

Sujata Iyengar

This paper argues that a viewer watching Othello in an unfamiliar language, without subtitles, can more narrowly focus upon the life of things in the play and in adaptations or appropriations of it. Jane Bennett argues in Vibrant Matter for a renewed vital materialism — an emphasis on objects in the world and on attributing agency or actantial ability to them. In Shakespeare's Othello two objects dominate the play: most obviously, the handkerchief; less obviously, because it is sometimes part of the stage, the bed in which Desdemona is smothered. I consider the ways in which a South Indian, a North Indian "Bollywood" and an Italian teen movie adaptation of Othello permit these objects to act expressively. These adaptations (Kaliyattam; Omkara; Iago) indigenize and transform both the handkerchief and the "tragic loading" of the bed, in the last case turning (or returning) the Shakespearean source from tragedy to comedy. http://www.borrowers.uga.edu/783651/show

BALANCA : Jurnal Ekonomi dan Bisnis Islam

Pelaksanaan murabahah sistem murabahah pada BNI Syariah KCP Pangkep diwujudkan melalui pembiayaan Mikro IB Hasanah adalah pembiayaan untuk kebutuhan modal kerja, investasi produktif dan kebutuhan konsumtif lainnya dengan memberikan jaminan berupa sertifikat rumah, surat tanah maupun BPKP mobil. Pembiayaan yang dapat diajukan oleh debitur mulai dari Rp 5 juta hingga Rp 60 juta. Jangka waktu pembiayaannya mulai dari 6 bulan hingga 60 bulan. Adapun persyaratan yang berlaku adalah nasabah harus menyertakan fotocopy KTP, KK, Surat Keterangan Usaha, Bukti Kepemilikan Jaminan. Persepsi nasabah terhadap sistem murabahah pada BNI Syariah KCP Pangkep yaitu kebanyakan nasabah hanya mengetahui bahwa murabahah merupakan produk pinjaman modal yang memiliki akad atau transaksi yang jelas (transparan).

Educação em Perspectiva

Simone Zogaib

O texto apresenta relação entre estágio, pesquisa e geometria na educação infantil. Resulta de pesquisa qualitativa sobre (de)composição de figuras geométricas com turma de educação infantil em semi-internato, durante estágio de um curso de pedagogia de universidade pública sergipana. Como suporte teórico temos: Clements e Sarama (2011), Lorenzato (2010), Mendes e Delgado (2008), Pimenta e Lima (2012), Horn (2016), Smole (2014) e Vygotsky (2001). Ressaltamos que crianças possuem conhecimentos de figuras geométricas, ainda que restritos aos protótipos visuais vivenciados. Tais conhecimentos podem ser problematizados com atividades de (de)composição de figuras para desenvolvimento de habilidades espaciais, mas há necessidade de aprofundamento de conhecimento docente de geometria. Concluímos que a articulação estágio/pesquisa/geometria contribui para formação inicial de professores de educação infantil ao possibilitar conhecimentos teóricos e práticos no campo da geometria para crianças.

Pablo Pessolani

Biomedical Reports

Thelma Skare

Nature Communications

Jan Audun Rasmussen

The early Eocene (c. 56 - 48 million years ago) experienced some of the highest global temperatures in Earth’s history since the Mesozoic, with no polar ice. Reports of contradictory ice-rafted erratics and cold water glendonites in the higher latitudes have been largely dismissed due to ambiguity of the significance of these purported cold-climate indicators. Here we apply clumped isotope paleothermometry to a traditionally qualitative abiotic proxy, glendonite calcite, to generate quantitative temperature estimates for northern mid-latitude bottom waters. Our data show that the glendonites of the Danish Basin formed in waters below 5 °C, at water depths of <300 m. Such near-freezing temperatures have not previously been reconstructed from proxy data for anywhere on the early Eocene Earth, and these data therefore suggest that regionalised cool episodes punctuated the background warmth of the early Eocene, likely linked to eruptive phases of the North Atlantic Igneous Province.

sara torkamaneh

RELATED PAPERS

Analytical chemistry

maiko kusano

Experimental Cell Research

Patricia Garrido Elizalde

International Journal of Technology Transfer and Commercialisation

marco pironti

Occupational Diseases and Environmental Medicine

Raymond Harbison

Clinica Chimica Acta

Kanjaksha Ghosh

John Billiu Chol Deng

wempi eka rusmana

Consilia : Jurnal Ilmiah Bimbingan dan Konseling

I Wayan Dharmayana FKIP UNIB

Asep Saepudin

Journal of the American Planning Association

Eoin O'Neill

Journal of Personalized Medicine

yu-bai Chou

International Journal of Software Engineering and Its Applications

Indira Bidari

First Language

Sandra Gillam

Journal of Management Development

Kathy Matilla

florencia lajoinie

International Journal of Modern Physics C

Sakir Erkoc

South African journal of higher education

Dorothee Holscher

Journal of the American Medical Directors Association

Henk Schers

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

Othello: A Tragic Hero Through the Prism of Aristotle’s Definition Essay

As the name suggests, the tragedy of Othello has been a point of discussion by most literature scholars. The point of contention is on whether the piece of Shakespeare’s artistic work meets the basic requirements to be classified as a tragedy. In my essay, I present the argument as to why Othello is a perfect example of a tragedy.

Tragedies are characterized by the presence of a tragic hero. The hero bears a serious a flaw that contributes immensely to his or her downfall. In most cases, such kind of a flaw referred to as a tragic flaw. The flaw is inherent to the person and can be used to give information about his or her background. According to Aristotle, a tragic flaw characterizes a tragic hero and the flaw is manifested throughout the play. In the tragedy of Othello , Othello portrays a perfect example of a tragic hero basing on Aristotle’s definition. This character exhibits two major flaws in his character, which include gullibility and jealousy. His eventual downfall bears a direct linkage to the previously mentioned flaws.

Basing on Aristotle’s definition of tragedy, there are a number of factors that have to be taken into consideration before classifying a play as a tragedy or not. According to him, the prerequisite of a tragedy revolves around the plot of the play. Events are best portrayed as tragic if they happen unexpectedly, and occasioned with the occurrence of one another. Furthermore, Aristotle asserts that for the essence of tragedy to be effective, the hero must be faced with an option that is unavoidable. The presence of a tragic hero is an indispensable factor in so far as classifying a play as tragedy or not is concerned. The main character must bear the qualities of nobility, or rather high stature than other members in that particular setting. Despite this, the main character must portray elements of flaws in his or her character, which will eventually lead to his or her downfall. It is worth noting that the main character ends up destroying himself in most tragedies. This cannot be blamed on others, bad luck, or depravity.

In reference to Aristotelian criterion discussed above, Othello meets the definition to be regarded as a tragedy. Othello, who is the main character, is a perfect example of a tragic hero. Having been a soldier in most part of his life, he commanded the respect and honor from the society. This is the reason as to why he was referred to as governor-general. He is confident even as he defends his marriage to Desdemona, a daughter of Venetian senator. He possesses a soldiery outlook and commands much respect from people of Venice.

As already stated earlier, Othello is a tragic hero who exhibits two serious tragic flaws. These are gullibility and jealousy. He trusts Iago so much simply because he is a military man who they have served together for long time. His gullibility makes him to fail to trust Desdemona who spoke the truth throughout the play. Later on, Othello finds himself torn between his character and the love of his heart. A tragic catastrophe happens when he destroys Desdemona at the expense of misleading information he receives from Iado. This action brings him to his ultimate tragic fall. Therefore, in conclusion, Othello stands out to be a tragedy.

• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2023, November 1). Othello: A Tragic Hero Through the Prism of Aristotle’s Definition. https://ivypanda.com/essays/othello-a-tragic-hero-through-the-prism-of-aristotles-definition/

"Othello: A Tragic Hero Through the Prism of Aristotle’s Definition." IvyPanda , 1 Nov. 2023, ivypanda.com/essays/othello-a-tragic-hero-through-the-prism-of-aristotles-definition/.

IvyPanda . (2023) 'Othello: A Tragic Hero Through the Prism of Aristotle’s Definition'. 1 November.

IvyPanda . 2023. "Othello: A Tragic Hero Through the Prism of Aristotle’s Definition." November 1, 2023. https://ivypanda.com/essays/othello-a-tragic-hero-through-the-prism-of-aristotles-definition/.

1. IvyPanda . "Othello: A Tragic Hero Through the Prism of Aristotle’s Definition." November 1, 2023. https://ivypanda.com/essays/othello-a-tragic-hero-through-the-prism-of-aristotles-definition/.

Bibliography

IvyPanda . "Othello: A Tragic Hero Through the Prism of Aristotle’s Definition." November 1, 2023. https://ivypanda.com/essays/othello-a-tragic-hero-through-the-prism-of-aristotles-definition/.

• The Character of Iago in Shakespeare’s Othello
• Religious Gullibility in Molière’s Tartuffe
• The Tragedy of Othello
• Shakespeare’s Othello, the Moor of Venice
• Iago and Othello Relationships
• The Downfall of Othello
• Othello and Desdemona in "Othello" by Shakespeare
• Compare and Contrast the Political Culture of Australia and Saudi Arabia
• Shakespearean Othello as a Tragic Figure
• Iago’s Quest to Destroy Desdemona
• "Amistad" Film Directed by Steven Spielberg
• A Samurai's Life in "The Twilight Samurai" Film
• Chris Mac and Sam Patch in "Into the Wild" Movie
• "Kingdom of Heaven" Film Analysis
• Paisà (1946) by Roberto Rossellini: Style, Theme, and Cultural Value

Unveiling Desdemona: a Complex Portrait of Shakespeare’s Tragic Heroine

Beyond the conventional image of a virtuous wife, Desdemona emerges as a symbol of autonomy and defiance against societal norms. Her tragic fate serves as a poignant commentary on the consequences of unchecked jealousy and prejudice. The essay delves into Desdemona’s nuanced portrayal, challenging traditional gender roles and showcasing the complexities of love and loyalty. Shakespeare’s creation becomes a timeless exploration of the human condition, inviting readers to reflect on themes that transcend the confines of the Elizabethan era. Desdemona’s enduring significance as a literary figure is celebrated, making this essay a journey into the heart of one of Shakespeare’s most captivating characters. Additionally, PapersOwl presents more free essays samples linked to Tragic Hero.

How it works

Desdemona, the iconic character from William Shakespeare’s play “Othello,” continues to captivate audiences with her intricate portrayal and tragic fate. As the wife of the Moorish general Othello, Desdemona navigates a tumultuous world fraught with jealousy, betrayal, and societal expectations. While often overshadowed by the larger-than-life figures of Othello and Iago, Desdemona’s character offers a profound exploration of love, loyalty, and the consequences of unchecked prejudice.

At first glance, Desdemona appears as the epitome of purity and innocence, embodying the idealized image of a virtuous wife.

Her unwavering love and devotion to Othello are evident throughout the play, even in the face of baseless accusations and slander. However, beneath this facade of stoic grace lies a complex and multi-dimensional character grappling with her own desires, fears, and vulnerabilities.

Desdemona’s character defies simplistic categorization, challenging traditional gender norms and societal expectations. Despite her noble birth and privileged upbringing, she exhibits a remarkable sense of agency and autonomy, defying her father’s wishes to marry Othello and asserting her own choice in matters of the heart. Her willingness to challenge societal conventions and pursue her own happiness serves as a subtle critique of the patriarchal structures that govern her world.

Moreover, Desdemona’s tragic fate serves as a stark reminder of the destructive power of jealousy and prejudice. Despite her innocence and loyalty, she falls victim to the manipulations of those around her, ultimately meeting a heartbreaking demise at the hands of her own husband. Her death highlights the tragic consequences of unchecked jealousy and the devastating impact of societal biases based on race and gender.

In conclusion, Desdemona emerges as a complex and nuanced character in Shakespeare’s “Othello,” offering a profound exploration of love, loyalty, and the human condition. Her portrayal challenges traditional gender roles and societal expectations, while her tragic fate serves as a cautionary tale against the destructive forces of jealousy and prejudice. Through Desdemona’s character, Shakespeare invites audiences to reflect on timeless themes of love, betrayal, and the complexities of human nature, ensuring her place as one of the most enduring figures in literary history.

Cite this page

Unveiling Desdemona: A Complex Portrait of Shakespeare's Tragic Heroine. (2024, Feb 01). Retrieved from https://papersowl.com/examples/unveiling-desdemona-a-complex-portrait-of-shakespeares-tragic-heroine/

"Unveiling Desdemona: A Complex Portrait of Shakespeare's Tragic Heroine." PapersOwl.com , 1 Feb 2024, https://papersowl.com/examples/unveiling-desdemona-a-complex-portrait-of-shakespeares-tragic-heroine/

PapersOwl.com. (2024). Unveiling Desdemona: A Complex Portrait of Shakespeare's Tragic Heroine . [Online]. Available at: https://papersowl.com/examples/unveiling-desdemona-a-complex-portrait-of-shakespeares-tragic-heroine/ [Accessed: 11 Apr. 2024]

"Unveiling Desdemona: A Complex Portrait of Shakespeare's Tragic Heroine." PapersOwl.com, Feb 01, 2024. Accessed April 11, 2024. https://papersowl.com/examples/unveiling-desdemona-a-complex-portrait-of-shakespeares-tragic-heroine/

"Unveiling Desdemona: A Complex Portrait of Shakespeare's Tragic Heroine," PapersOwl.com , 01-Feb-2024. [Online]. Available: https://papersowl.com/examples/unveiling-desdemona-a-complex-portrait-of-shakespeares-tragic-heroine/. [Accessed: 11-Apr-2024]

PapersOwl.com. (2024). Unveiling Desdemona: A Complex Portrait of Shakespeare's Tragic Heroine . [Online]. Available at: https://papersowl.com/examples/unveiling-desdemona-a-complex-portrait-of-shakespeares-tragic-heroine/ [Accessed: 11-Apr-2024]

Don't let plagiarism ruin your grade

Hire a writer to get a unique paper crafted to your needs.

Our writers will help you fix any mistakes and get an A+!

Please check your inbox.

You can order an original essay written according to your instructions.

Trusted by over 1 million students worldwide

1. Tell Us Your Requirements

2. Pick your perfect writer

3. Get Your Paper and Pay

Hi! I'm Amy, your personal assistant!

Don't know where to start? Give me your paper requirements and I connect you to an academic expert.

short deadlines

100% Plagiarism-Free

Certified writers