William Shakespeares Othello as a Tragic Hero

Table of Contents

Introduction
Aristotelian Understanding of the Tragic Hero
Criteria for a Tragic Hero
Othello as a Tragic Hero
Conclusion
Work Cited

Introduction

Aristotelian tragedy and Shakespearean tragedy are the two most important forms of tragedy in the study of the evolution of this genre. Although Shakespearean conceptions of tragedy influenced Aristotelian views, some differences can be seen between them. The main peculiar feature between Aristotle and Shakespearean tragedy is the unity of the plot. An Aristotelian tragedy consists of a single central plot, while a Shakespearean tragedy consists of several intertwined stories. However, Shakespeares tragic hero was often shaped by the influence of Greek traditions. In the wake of Aristotle, Shakespeare shows a famous or successful hero who experiences a reversal of fate due to a tragic flaw. Macbeth, King Lear, Hamlet, Othello, Antony, and Cleopatra follow Aristotles development of the tragic hero. The most exemplary Shakespearian tragic hero whose image was affected by Aristotelian traditions is Othello.

Aristotelian Understanding of the Tragic Hero

In Othello, Shakespeare discovered the protagonists fall due to the fact that he discovers the inner conflicts and the weakness of the hero resulting in the doom of the character. Aristotle raises the question of the tragic heros character: compassion arises for the innocently unfortunate, and fear arises before the misfortune of our kind. The tragic hero is not distinguished by special virtue and justice. The hero falls into misfortune not because of his worthlessness and depravity but because of some mistake, while before, he was in great honor and happiness.

Criteria for a Tragic Hero

The Greek philosopher Aristotle established four main criteria for evaluating a hero as tragic. First, the hero must be a good person from the very beginning of the play (Aristotles Views on Ideal Tragic Hero). Secondly, the character must have the qualities of a hero while maintaining a higher status. Thirdly, the character must be truthful having rationale in actions. The final criterion is that the characters traits must be somewhat consistent in his actions throughout the play, evoking a sense of completeness. Finally, while remaining believable, the character must be larger than life itself, which adds to its overall appeal to the audience. Another less discussed aspect of Aristotles definition of the tragic hero is the idea of catharsis (Aristotles Views on Ideal Tragic Hero). Catharsis is the mixture of fear and pity in the reader, so these two opposing emotions cancel each other out, leaving the reader or observer with a sense of wholeness. Without a doubt, Othello meets all of Aristotles major and minor criteria.

Othello as a Tragic Hero

Othello undoubtedly meets the first criteria of a good man. When Desdemonas father, Brabantio, sends a squad of armed guards to attack Othello after he learns from Iago that Othello has married his daughter, Othello does not get angry and treats both the soldiers and Brabantio with respect. Othello believes that he did nothing wrong, and his reputation proves his thoughts. Othello also fits Aristotles second criterion of a tragic hero. He occupied a worthy position in the army of his country. Othello was a highly respected general, serving in the Venetian army. Othello was a man of great power and influence, respected by his peers and subjects alike, making him a suitable tragic hero.

The third characteristic, as Aristotle argued, is fidelity to life. Othello is authentic, showing emotions that most people would experience in real life. Like any man, he feels jealousy, love, anger, guilt, and hatred. Othello taking Iagos words as fact without checking their authenticity is a folly committed by all people at some point in their lives, especially when their spouses fidelity is questioned. The fourth and final criterion for deciding who the tragic hero is is the sequence of the persons actions. Othello is unfailingly in love with his wife Desdemona until jealousy fuels him. Othello is invariably shown as a brave man, and he is also very sorry that the Ottoman forces retreated, as he wanted to show Desdemona his bravery. Othello consistently calls Iago honest and gives him many chances to prove Desdemonas wrong character. He also stays true to his good character when he realizes the terrible crime committed by not trusting his wife; as a result, he punishes himself and commits suicide.

Catharsis is definitely achieved in Othello, culminating in the fact that, at the end of the play, Othello realizes that he mistakenly distrusted Desdemona, his wife, for being unfaithful to him; in fact, he almost choked her to death! Therefore, he feels immense guilt for his actions, causing the audience to feel pity for having been mistakenly fooled by Iago. He kills himself, simultaneously causing the audience to feel fear and empathy.

Conclusion

Based on the conducted analysis, it can be concluded that Othello meets all the criteria for a tragic hero offered by Aristotle. Greek literary traditions influenced Shakespeares image of the tragic hero. Othello is an excellent example of the traditional Aristotelian tragic hero as far as his destiny and inner suffering directly reflect the patterns explained by Aristotle. The emotional conflict and the personal fall under the impact of the external circumstances and internal characteristics result in Othellos doom.