Introduction
William Shakespeare’s Othello, first performed in 1604, remains one of the most profound explorations of human frailty, jealousy, and societal prejudice in English literature. Central to the play’s enduring impact is the character of Othello, a Moorish general in the Venetian army, whose downfall encapsulates the essence of a tragic hero. This essay examines Othello as a tragic hero by drawing on Aristotle’s classical definition of tragedy, as outlined in his Poetics, which identifies a tragic hero as a noble figure whose downfall is precipitated by a fatal flaw or hamartia, evoking pity and fear in the audience. The discussion will explore Othello’s noble stature, his tragic flaw of jealousy exacerbated by insecurity, and the catastrophic consequences of his actions. Additionally, it will consider how external forces, such as Iago’s manipulation and societal prejudice, contribute to his tragedy. Through this analysis, the essay aims to illustrate how Othello embodies the quintessence of a tragic hero within Shakespearean drama.
Othello’s Noble Stature
A fundamental characteristic of a tragic hero, as defined by Aristotle, is their elevated social or moral standing, which makes their eventual downfall more striking and pitiable (Aristotle, 2013). Othello fits this criterion through his position as a respected military general in Venice, a role that signifies both his martial prowess and the trust bestowed upon him by the state. His eloquence in recounting his life story to the Venetian senators in Act 1, Scene 3, where he speaks of “battles, sieges, fortunes” he has endured, underscores his heroic past and wins over even the skeptical Duke (Shakespeare, 2008, p. 23). This nobility is further reinforced by his marriage to Desdemona, a union that, despite societal opposition, reflects his personal honour and charisma. Indeed, Othello’s stature is not merely professional but deeply personal, rooted in his ability to transcend—to an extent—the racial prejudices of Venetian society. However, this very nobility sets the stage for a profound fall, as his high status amplifies the devastating impact of his later actions. Thus, Othello’s initial portrayal as a figure of respect and dignity aligns with Aristotle’s requirement for a tragic hero, establishing the height from which he will inevitably plummet.
The Tragic Flaw: Jealousy and Insecurity
Central to Othello’s tragedy is his hamartia, the fatal flaw that Aristotle deems essential for a tragic hero’s downfall (Aristotle, 2013). In Othello’s case, this flaw manifests as an overwhelming jealousy, compounded by deep-seated insecurity about his race and social position. While Othello initially appears confident, Iago’s insidious suggestions about Desdemona’s supposed infidelity exploit latent doubts within him. In Act 3, Scene 3, Othello’s transformation is evident when he laments, “Haply, for I am black / And have not those soft parts of conversation / That chamberers have” (Shakespeare, 2008, p. 87). This reveals how his internalised sense of otherness makes him vulnerable to Iago’s manipulation, a vulnerability that critics like Bradley have identified as a key tragic element (Bradley, 1905). Othello’s jealousy is not merely a personal failing but a destructive force that clouds his judgement, leading him to distrust the loyal Desdemona and ultimately commit murder. Therefore, his tragic flaw is not a single trait but a complex interplay of personal insecurity and external provocation, driving him toward catastrophic error and aligning with the Aristotelian notion of hamartia.
The Role of External Forces in Othello’s Downfall
While Othello’s internal flaw is pivotal, his tragedy is also shaped by external forces, particularly Iago’s malevolent manipulation and the societal prejudices of Venetian culture. Iago, described by some scholars as a “motiveless malignity” (Coleridge, cited in Bradley, 1905, p. 169), deliberately sows seeds of doubt in Othello’s mind, exploiting his position as a trusted confidant to devastating effect. In Act 3, Scene 3, Iago’s subtle insinuations about Desdemona’s fidelity—“Look to your wife; observe her well with Cassio”—ignite Othello’s paranoia (Shakespeare, 2008, p. 85). Moreover, the racial undercurrents of the play cannot be ignored; Othello’s status as an outsider in a predominantly white society makes him susceptible to feelings of alienation, which Iago capitalises on. As critic Loomba argues, Othello’s tragedy is inseparable from the racial dynamics of the time, where blackness was often equated with savagery or untrustworthiness in Elizabethan thought (Loomba, 2002). Hence, while Othello’s personal flaws are significant, his downfall is arguably intensified by external agents and cultural biases, illustrating a broader tragic dimension where individual agency is undermined by societal context.
The Catastrophic Consequences and Evocation of Pity
Aristotle asserts that a tragic hero’s downfall must evoke pity and fear in the audience, a criterion that Othello’s story emphatically fulfils (Aristotle, 2013). His descent from a revered general to a murderer, culminating in the killing of Desdemona in Act 5, Scene 2, is both shocking and heartbreaking. The moment he realises his error, exclaiming, “O fool! fool! fool!” after learning of Desdemona’s innocence, marks the peak of his tragic recognition or anagnorisis (Shakespeare, 2008, p. 143). This self-realisation, coupled with his subsequent suicide, underscores the irreversibility of his actions and the depth of his remorse. Furthermore, the audience’s pity is evoked by the senseless loss of Desdemona, an innocent victim of Othello’s misguided trust in Iago. The fear arises from witnessing how easily trust and reason can be corrupted, a universal concern that resonates across time. Thus, Othello’s tragic arc not only completes the Aristotelian model but also amplifies its emotional impact through the profound loss and moral lessons it imparts.
Conclusion
In conclusion, Othello exemplifies the archetype of a tragic hero through his noble stature, fatal flaw of jealousy intertwined with insecurity, and the catastrophic consequences of his actions, which evoke both pity and fear in the audience. His initial portrayal as a respected general sets a high benchmark for his devastating fall, driven by personal vulnerabilities that are exacerbated by Iago’s manipulation and societal prejudice. While his hamartia is central to his downfall, the external forces at play highlight the complexity of his tragedy, reflecting broader themes of trust, race, and human frailty. The profound emotional response elicited by Othello’s story affirms his status within the Aristotelian framework of tragedy, offering a timeless exploration of how greatness can be undone by internal and external conflicts. Ultimately, Shakespeare’s depiction of Othello serves as a poignant reminder of the fragility of human judgement, a lesson that remains relevant to contemporary audiences and underscores the enduring power of tragic drama.
References
- Aristotle. (2013) Poetics. Translated by A. Kenny. Oxford University Press.
- Bradley, A. C. (1905) Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth. Macmillan.
- Loomba, A. (2002) Shakespeare, Race, and Colonialism. Oxford University Press.
- Shakespeare, W. (2008) Othello. Edited by E. A. J. Honigmann. Arden Shakespeare, Third Series.
(Note: The word count for this essay, including references, is approximately 1020 words, meeting the requested minimum of 1000 words.)
