othello tragic flaw essay

Othello’s Tragic Flaws

William Shakespeare creates dynamic and complex characters in his tragic play, Othello . Othello, Iago, Desdemona, and Emilia each display a tragic flaw . Shakespeare’s subtle descriptions of the characters allow for varying interpretations of each character . The tragic flaws can truly alter perspectives as the story transitions. A tragic flaw can begin as a positive character trait, yet spiral into the downfall of the respective character . Shakespeare thoroughly expresses the importance of tragic flaws in the play Othello .

Shakespeare provides the title character with the tragic flaw of inherent trust in others, particularly in Iago. Iago’s ambition, Desdemona’s love for Othello, and Emilia’s loyalty in Iago and Desdemona are also tragic flaws. These tragic flaws are imperative to the play, and without them there would be a lack of plot , conflict , and climax . Othello’s tragic flaw of inherent trust haunts him throughout the play. Othello is easily persuaded and this leads him to put his trust in the wrong people. He unfortunately gets ensnared into Iago’s devious plan.

Othello treats Iago as a trust-worthy friend who he has known for a long period of time. When Iago realizes that Othello believes the story about Cassio’s relationship with Desdemona, Iago decides to take the scheme further. Iago places horrid images in Othello’s mind that turn Othello into a rash man. Othello’s tragic flaw ultimately leads to his destruction. Othello’s personality vastly transforms due to the madness. Othello ironically mistrusts his loyal wife Desdemona and good friend Cassio. When Othello places Desdemona on her deathbed, he states, “Be thus when thou are dead, and I will kill thee/And love thee after” (V. i. 20-21). At this moment in the play, Othello’s actions are ironic. Originally, Othello worried that Desdemona would stab him in the back, but he is the one who betrays his beloved wife. Othello is brought to this action because Iago places extreme jealousy within him. Emilia enters Othello’s room and discovers that she has walked into another murder. Othello still has a degree of trust in “honest” Iago, but Emilia informs Othello of her husband’s lies. Othello may subconsciously realize the mistakes he has made, but he does not want to believe Emilia and face the truth.

In response to Emilia, Othello states, “I say thy husband. Dost understand the word? My friend, thy husband; honest, honest, Iago” (V. . 188-189). Although Iago’s plan is obvious to the audience , Othello refuses to believe it. Iago’s actions have already destroyed Othello’s marriage, but Iago continues until Othello ruins his entire life. Iago is a dishonest and devious character , but his main tragic flaw is his undying ambition to take down Othello and Cassio. In the play, Iago manipulates several characters and tends to extend his actions too far.

Iago constantly manipulates his wife Emilia and treats her as his pet. He continuously disrespects her and uses her to advance his plans. However, Emilia has a growing sense of suspicion towards her evil husband as the play carries on. When Iago is planning to overthrow Cassio with the handkerchief, he states, “A good wench! Give it to me” (I. i. 359). Emilia finds this very suspicious. She wonders why this handkerchief is so vital to Iago as it belonged to Desdemona. At this moment, Emilia realizes something is brewing and notices that this is the time to act upon her disrespectful husband.

Emilia knows how devious Iago can be, and how important it would be to earn a stronger position. She knows Iago will do anything to get his hands on the lieutenancy by taking it from Cassio. For instance, Iago is jealous of Othello’s power and is determined to steal his throne as well as his wife. When Iago learns that Othello is very trusting, he becomes very eager to take advantage of this overthrow Othello at a rapid pace. However, instead of being patient, Iago includes Cassio, Emilia, and Roderigo in his agenda to gain power.

Involving several people in his plan backfires and interferes with his plan because all his actions eventually catch up to him. For example, Emilia becomes very suspicious of her husband’s desperation to possess the handkerchief. Emilia dislikes the way her husband treats her and becomes very anxious to catch him doing something devious. By the end of the play Emilia says, “You told a lie, an odious, damned lie! Upon my soul, a lie, a wicked lie” (V. . 216-217). Emilia finally confronts her two-faced husband. Due to Iago’s extreme desire for power, his reckless actions eventually catch up to him.

His wife turns on him and tells people about his recent actions. Iago is finally held responsible for his actions and taken away for a long period of torture. Throughout the story, Desdemona relies heavily on Othello and his love for her. She believes that she and Othello have an everlasting relationship. Unfortunately, she is clueless about Othello’s trust in Iago. She does not know that he is feeding Othello appalling lies about her and Michael Cassio. Although Othello is the love of Desdemona’s life, his tragic flaw causes him to become extremely jealous.

In the beginning of the play, Othello and Desdemona openly display their love for each other for others to see. Iago knows that in order to disrupt their passionate love, he is going to have to convince one of them that the other is cheating on them. Iago chooses to convince Othello of Desdemona’s “affair” with Cassio, and Othello does not hesitate to trust Iago’s statements and immediately believe that Desdemona is cheating on him. Othello knows that she betrayed her own father, Brabantio, and therefore conceives that Desdemona could potentially to the same to him.

Othello starts acting as a demon is inside of him, but Desdemona does not understand the reason. As Othello’s jealousy starts to build up, Desdemona states, “Why ten tomorrow night, (or) Tuesday morn, on Tuesday noon or night’ on Wednesday morn” (I. i. 68-69). Othello shows obvious anger about Cassio to Desdemona. Instead of attempting to fix the situation, Desdemona hopes this side of Othello will pass. This is the key factor in the start of Othello’s envy towards Cassio due to Iago’s fatal lies. Desdemona continues to believe that nothing stands a chance of interfering with her and Othello’s relationship.

Meanwhile, Othello fails to look at Desdemona the same way believing that she has been seeing Cassio behind his back. As the play progresses, Othello’s jealousy is getting increasingly worse and Desdemona does not act in response to Othello’s harsh behavior. As Desdemona lays hopelessly in her deathbed, she does not panic, however, she acts as if Othello is not going to kill her. As Othello smothers Desdemona, she eventually states to Emilia, “Nobody. I myself. Farewell. Commend me to my kind lord. O, farewell” (V. 152-153).

Desdemona expresses her undying love for Othello by explaining to Emilia that she took her own life away. She cannot believe that Othello would kill her because her love blinds her. Therefore, love is Desdemona’s tragic flaw . Emilia contains the tragic flaw of loyalty. She exhibits this loyalty particularly to her husband and to Desdemona. Although Emilia receives disrespect from her husband, she perpetually shows Iago loyalty throughout most of the play. When Emilia picks up the handkerchief that Desdemona drops, she hesitates to give it to Iago.

However, she does give it to Iago because there is some loyalty that exists in her towards her husband. As Iago demands the handkerchief from Emilia, she questioningly states, “What will you do with ‘t, that you have been so earnest to have me filch it? ” (I. i. 360-362). Emilia knows her husband is up to something and it is up to her to stop it. Although for most of the story Emilia is loyal to Iago, she also has loyalty to Desdemona. Emilia discovers that Iago uses the handkerchief to frame Cassio and destroy the relationship between Othello and Desdemona.

When Emilia walks into the murder of Desdemona, she knows she has missed her opportunity to catch her husband in the act framing Desdemona. Her minimal amount of remaining respect for her husband is eliminated at this moment, and she tells everyone that it is Iago that has stolen the handkerchief in order to blame Desdemona. Emilia’s secret strength is evident. Emilia states, “O thou dull Moor, that handkerchief tho speak’st of I found by fortune, and did give my husband—For often, with a solemn earnestness (More than indeed belonged to such a trifle), He begged of me to steal’t” (V. i. 267-272). Emilia explains to Othello that he has fallen into Iago’s trap. Emilia tells everyone in the room that Iago asked for the handkerchief, and shows her loyalty to Dedemona by proving her innocence. When Emilia displays her loyalty towards Desdemona this way, it angers Iago thoroughly and ruptures his plan completely. In response to Emilia’s actions, Iago takes out his rapier and stabs her. She dies on the same bed as Desdemona. The two innocent female lives are lost in the same spot.

Overall, the tragic flaw of loyalty that Emilia expresses is her downfall. Tragic flaws are a critical component of Shakespeare’s Othello. Each character displays a tragic flaw as the play unravels. The play would have no action without these tragic character flaws. Shakespeare provides these flaws to the characters to create dimension and suspense . Othello, Iago, Desdemona, and Emilia would be unrealistic, boring, and static characters without these flaws. The tragic flaw leads a character to downfall, and it is an integral part of a tragedy .

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 ’.

Discover more from Interesting Literature

Subscribe to get the latest posts to your email.

Type your email…

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.

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

Continue reading

Home — Essay Samples — Literature — Othello — Othello Fatal Flaw Analysis

Othello Fatal Flaw Analysis

• Categories: Othello

About this sample

Words: 524 |

Published: Mar 14, 2024

Words: 524 | Page: 1 | 3 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

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

3 pages / 1382 words

1 pages / 512 words

3 pages / 1291 words

4 pages / 1712 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 Othello

At the center of the play is the character of Othello, a noble and respected general, and Iago, his ensign. Throughout the play, Iago manipulates Othello into believing falsehoods about his wife Desdemona, ultimately leading to [...]

The theme of cruelty in William Shakespeare's play Othello is a complex and multi-faceted one that permeates the entire narrative. Throughout the play, the characters engage in acts of cruelty, both physical and emotional, [...]

The complex and dynamic relationship between these two characters is central to the play's exploration of themes such as love, jealousy, and the destructive power of suspicion. In this essay, we will compare and contrast [...]

In William Shakespeare's play Othello, the character of Iago is one of the most intriguing and complex villains in literature. His deep-seated hatred and jealousy towards the protagonist, Othello, drive the tragic events that [...]

Characters in Shakespeare’s Othello and The Tempest use stories to explain personal history or change the course of events. These are no simple tales; rather, they are complex and thought-provoking means of enriching each play [...]

In Richard Dyer’s essay, (now book) White, he states: There are inevitable associations of white with light and therefore safety, and black with dark and therefore danger, and that this explains racism (whereas one might [...]

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

• 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

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/.

• 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

Tragic Flaws Of Othello

“The tragic flaw is the most important part of the hero and the events that occur in the work is a reflection of that flaw. ” – Aristotle The plot of William Shakespeare’s Othello is a tale of love, jealousy, and betrayal; however, the characters, themes, and attitudes of the works are different, with Shakespeare’s play being a more involved study of human nature and psychology. Othello is considered to be a prime example of Aristotelian drama. It focuses upon a very small cast of characters, one of the smallest used in Shakespeare. Also, it has few distractions from the main plot, and concentrates on just a few themes, like jealousy.

In Shakespeare’s Othello, Othello is an excellent example of an Aristotelian tragic hero . His gullibility and jealousy are the main reason of his downfall . Othello deals with love lost because of gullibility and jealousy. The main character, Othello, is a classical example of a tragic hero , and he has the basic elements that match him up to be a true hero defined by Aristotle. His stature, that of a tall, dark, African Moor, combined with his personal magnetism, assist him in gaining the respect and allegiance of the Venetian people and senators.

Othello, being a soldier all his life, is seen as a very honorable man . His title alone, governor-general, presents an air of nobility, confidence, and strength. The title defines someone who is held in tremendously high esteem by the people of Venice. An example would be when the Duke and a few Senators are discussing issues around a table when Othello enters the room. It’s clear that Othello is held in high esteem when, as he enters, one of the senators states “Here comes Brabantio and the valiant Moor”(3:1:33: 55).

Othello’s confidence in himself, another of his positive attributes, is clearly portrayed as he defends himself and his recent marriage to Desdemona, the daughter of the Venetian Senator Brabantio. In his defense, he associates himself with one of the “great ones” of the world. He also demonstrates confidence in himself and his actions when Brabantio, Desdemona’s outraged father, accuses the Moor of witchcraft. Dignity, courage, a strong belief in religion, self-control and sound judgment is a few of Othello’s other positive attributes portrayed in the play .

His confidence in himself and his courage are clearly evident when Othello makes a stand before Brabantio, Roderigo and Iago, when following the drawing of their swords, Othello, as opposed to withdrawing in the face of danger taunts “Keep up your bright swords, for the dew will rust them. ” (1:2:25:76-77). Shakespeare continues to portray Othello as a well-respected nobleman throughout his play, from beginning to end. Shakespeare also shows a soft side when he displays Othello’s love and confidence in his wife Desdemona. Othello entrusts his wife to the care of another gentleman, as he must go off to war in Cyprus.

The entrusted man and his wife happen to be his good friend Iago and his wife Emilia. His trustworthiness makes him a greatly respected person. Through nobility, respect, love, and trust, Othello is considered to be an honorable and commendable man. However, Othello’s background is unsophisticated, and often affects his attitude. Othello is a person who is innocent and base in nature. He was influenced by the way his life was going on. The people around Othello also knew of his attitude. Iago is very quick to see this. In his first soliloquy, Iago says, “the Moor is of a free and open nature that thinks men honest that but seem to be so. 1:3:55:442-443) Iago knew of Othello’s weakness. Othello’s innocence and baseness makes him susceptible to being undermined by people.

Iago also reveals his plan to use the Moor’s gullibility against him. Othello is clearly a person who believes appearances versus reality . When Othello was told about an affair between Desdemona and Cassio , he started to become jealous. Being that person who believes appearances, he wanted ocular proof of Desdemona’s unfaithfulness. Even a superficial piece of evidence would have been sufficient. In his statement, “Give me a living reason she is disloyal. 3:3:147:466) Othello revealed that he would believe in anything he saw. This is a clear example of his gullibility and that appearances can fool him. The tragic flaw of gullibility leads his feelings to make bad judgments.

Othello’s gullibility is very evident to Iago, and his free and open nature makes him vulnerable to being tricked by Iago. Therefore, when the initial rumor of an affair between Desdemona and Cassio was implanted in Othello’s head, Iago built up his trust with the Moor by saying, “O, beware, my lord of jealousy! It is the green-eyed monster which doth mock the meat it feeds on. 3:3:129:195-197) Othello eventually becomes overtaken with all of the jealousy that is in his mind. Othello is furious at “Iago. Othello then plans to murder Desdemona and Cassio, while Iago agrees to help. When Othello finally went through with his plan, the dying Desdemona reassures her faith to him. Othello believes Iago and his own false deductions instead of his own wife.

Desdemona did not realize Othello’s flaws. In her statement, “And but my noble Moor is true of mind and made of no such baseness as jealous ones are, it were enough to put them to ill thinking. 3:4:153:26-29) She judged Othello opposite to what he really was. She did not suspect that Othello would suspect her for an affair. In reality, Othello is a gullible person who is drawn into jealousy and falseness by Iago. Othello accomplished his plan of killing his wife and destroying a marriage that had no reason to be torn apart. In conclusion, because of Othello’s gullibility and jealousy, and Iago’s skills and intelligence, lives are ruined, and bad mistakes are made, which leads to Othello’s downfall, and death.

Even though Othello was well respected, and very confident, because of his tragic flaw he was unstable, and led him to believe lies by Iago. His trusting nature, overwhelmed him, because he decided to trust and believe Iago over Desdemona, which eventually led him to kill her in the end. In Shakespeare’s Othello, jealousy and gullibility, are flaws of the main character , Othello. His flaws completely put him in a different frame of mind, and cause him to make poor decisions. So, be careful of jealousy and gullibility. It is mysterious and can do harmful things to people it takes over.

To export a reference to this essay please select a referencing style below:

Related essays:

• Ohe most influential writer in all of English literature
• Role Of Psychopath In Othello Essay
• Iago’s True Character Exposed in Othello
• Othello – Battle of Good vs Evil
• Othello, Desdemona Has Pleaded For Cassio
• Othello A Tragic Hero
• Desdemona, Cassio, and Emilia
• The Role of Desdemona in Shakespeares Othello
• Othellos Men And Women
• c as a Tragic Hero
• Racism in Othello
• The Irony Of Othello

• How It Works
• All Projects
• Top-rated Pages
• Scholarship essay writing
• Book report writing
• Admission essay writing
• Dissertation writing
• Essay editing
• MBA essay writing
• Write my essay
• Free sample essays
• Writing blog

Best Shakespeare Essay Examples

Othello’s tragic flaw.

649 words | 3 page(s)

The exact nature of Othello’s tragic flaw is a complex question. Although it may appear as if he is simply a jealous husband who is goaded into violence by someone who knows that they are able to manipulate this tendency, such a character trait does not fully explain the severity of his actions and neither does it explain the manner in which he reflects on them in his final speech. Rather, if one is to understand Othello’s flaw, it is necessary to consider his entire arc, including the time prior to his first meeting with Desdemona. If one does this, it is possible to argue that Othello is a person who lacks a firm sense of self-certainty and who is entirely reliant on the recognition of others, in particular those whom he admires, such as Desdemona and the Venetian state at large. Once the integrity of this recognition is threatened, Othello becomes beholden to a counter-narrative that ends in the murder of his wife. In this sense, Othello’s tragic flaw is not simply a propensity towards jealousy but a fundamental lack of confidence, and an accompanying cathexis to narratives within which he can recognize himself and be recognized in turn.

Othello’s discussion of his wooing of Desdemona is indicative of the manner in which he positions himself in the world and develops his own self-image. He tells the Venetian court that he essentially used stories of his own exploits in order to win her heart and that he fell in love with her in turn as a result of her capacity to pity the suffering that he had been through. Othello, however, does not simply tell stories regarding his experience, but he actively constructs a subjectivity for Desedemona and, therefore, for himself as well. It is Desdemona’s capacity to recognize this subjectivity and to affirm it through both pity and love that leads to Othello’s intense cathexis towards her, a cathexis which comes to bind his entire character.

Use your promo and get a custom paper on "Othello’s Tragic Flaw".

Othello begins his defense in Act I by insisting that he is not eloquent in the manner of the Venetian nobles, something that is manifestly contradicted by the poetry of his speech, but that nonetheless reveals a deep insecurity within his character, one founded on the need for recognition from his surroundings and from his peers. While such recognition is maintained, Othello appears to be entirely secure and even supremely confident in his capacity to defeat the Turkish fleet, as well as his ability to defeat Brabantio and his companions in any confrontation. Once Iago begins to question the authenticity of Desdemona’s recognition, however, Othello’s world falls apart. He begins to revert to a primal state and, importantly, begins to find that older, more mythic narratives reenter his mind, as demonstrated by his obsession with his mother’s handkerchief and the belief that it contains some kind of magical property. Finally, Othello’s last encounter with Desdemona demonstrates the strength of the false narrative of her own infidelity, one which is now complemented by a belief in her ideal appearance, as if she were sculptured out of marble.

In conclusion, one should take Othello’s statement that he loved not wisely, but too well to be a key to understanding the nature of his flaw. This statement refers to a tendency to found his entire character on recognition. One this image is challenged by Iago, Othello proves unable to ground himself in the world and becomes easily manipulable. It is not the case, therefore, that the hero’s fall emerges from either his trusting or jealous nature, but rather from his incapacity to ground himself in the world outside of the recognition that he receives from others, most notably those whom he has unconsciously given the power to either validate or destroy him.

• Shakespeare, William. Othello. Norton Critical Editions: London & New York, 2016.

Have a team of vetted experts take you to the top, with professionally written papers in every area of study.