How Is Othello A Tragic Hero

Iago’s self-doubt and jealousy is a natural result of being human, regardless of the way he decides to deal with these emotions, he manages them more honestly and manly than anyone throughout the play. Iago is well aware of the emotions he has and though he does not admit to anyone he is feeling this way, he knows it personally. It is quite apparent to the audience, that Iago has once before felt jealous; “Oh, beware, my lord, of jealousy!/It is the green-eyed monster which doth mock/The meat it feeds on” (III.iii.165-167). Iago’s previous jealousy does not show that he is evil or weak but rather that Iago is the only man throughout Othello to reveal his truly humanistic emotions. Iago knows about the `green-eyed monster of jealous` and does not freat to speak of it knowing it is human to be jealous and that is exactly what he is. By studying Shakespeare`s depiction of Iago, it can be concluded that if Iago felt as if being jealous was not human, he would not warn others of it and rather let them deal with it themselves. The way Iago thinks, provides proof to the audience that Iago neither is villainous or evil but just a human living in a society where being powerful is important, thus, bringing

Shakespeare's play, “Othello, the Moor of Venice,” is a powerful example of a tragedy and it’s main character, Othello, is an excellent illustration of what Aristotle constitutes as a tragic hero. The play imitates life through basic human emotions such as jealousy and rage. In addition, Othello is far from being a perfect character - another quality that meets Aristotle's requirements. Othello also matches Aristotle's ideas of tragic hero because our Othello realizes the error of his ways, causing us to feel sympathy for him. If we carefully examine the third scene in the third act, we can see how Othello fits into Aristotle's definition of tragic hero. This passage reveals how much Othello has deteriorated as far as his ability to reason

Once a seed of suspicion or doubt is planted in a person’s mind, the noxious effect of jealousy is soon to ensue. Jealousy and suspicion are Othello’s flaws hubris throughout the play and foreshadow to the audience his imminent downfall. He believes what Iago tells him so strongly that he compromises his close relationship with his best friend and his love for his wife. Iago manipulates Othello through the use of extortion, literary techniques, and his keen judge of character. His syntax and diction are so simple yet so powerful because he uses the correct rhetorical questions and addresses Othello with respectful terms such as “my lord.” He allows Othello do most of the talking

Iago often refers to Othello as the "Moor" and when Emilia realises how Othello has treated his wife, she calls him "the blacker devil". As Iago's plan unfolds, Othello's suspicions and jealousy come to the fore. Iago's blasphemous expressions gradually infiltrate Othello's vocabulary as Othello becomes more and more convinced that Desdemona is being unfaithful. Initially he claims that while the marriage is expected to bring him some physical satisfaction, he and his wife value their mental attraction just as highly. However, as he becomes ensnared in Iago's trap, Othello reveals a more detailed acknowledgement of Desdemona's sexual appeal. As he discusses her death with Iago, he says he will not argue with Desdemona"lest her body and beauty unprovide my mind again".

In Othello, the Moor of Venice, the titular character, Othello, is the protagonist and subject to scrutiny as to whether or not he is a tragic hero in the conventional Aristotelian definition of the term. Aristotle believed a tragedy served to exercise "the mature citizen's moral sensibilities" (Ferrari, 1999, p. 181). There are several different components of Aristotle's definition of a tragic hero, which essentially serve as a set of criteria to determine whether or not Othello truly is a tragic hero and, by extension, determine whether or not this play is a conventional Aristotelian tragedy. A thorough analysis of Aristotle's definition of the term when applied to Othello, however, reveals that his characterization is not congruent with that of a tragic hero since he displays a number of characteristics that are ill befitting of such figures which means this play is not an Aristotelian tragedy.

Aristotle was born 384 BCE in Stagira, Ancient Greece to Nicomachus, his father, and Phaestis, his mother. His father worked as a court physician for Amyntas III, while much is unknown about his mother. Both died while Aristotle was a young child, so he spent most of his early childhood being raised by Proxenus, who was married to Aristotle’s older sister Arimneste.

Despite the accusations being made toward Othello, he still remains even-tempered. Iago does not possess the same respect for Othello that Desdemona does. Iago appeals to Othello’s insecurities by instilling the idea of Desdemona’s infidelity. Iago tells Othello, “...as (to be bold with you0 [n]ot to affect many proposed matches [o]f her own clime, complexion, and degree, [w]hereto we see in all things nature tends...” (III. iii. 228-231).

In Shakespeare's Othello, Othello can be considered a tragic hero because he follows Aristotle's six elements of a tragedy. Another tragic hero who follows the same six elements of a tragedy is Oedipus from Oedipus the King. Based on Aristotle's six elements of a tragedy, position, flaw, prophecy, recognition, catastrophe, and reversal, the character Othello from Shakespeare's Othello can be considered a tragic hero.

Both Othello and Oedipus are stories that revolve around the concept of tragedy. The two characters have different stories, yet appear to also have similar characteristics. Oedipus is the story of a young man who becomes a fearless warrior and king (Nassaar 147). However, he realizes that he has been cursed and has to ban himself from his kingdom in order to save it from a looming doom. On the other hand, Othello is the story of an army man who falls in love only to realize that his love is doomed (Hedrick 641).

to do stupid things. William Shakespeare portrayed this flaw extremly well in the play Othello. IN

. . until the tragic end" (Bell 43). His mindset is purely based jealousy that Desdemona may be cheating on him followed by the fear that he will lose her. Ironically, Othello will lose Desdemona anyways. Iago is able to use imagery to further manipulate Othello. Othello would never suspect Iago to lie to him. He mentions Desdemona being "naked with her friend in bed," causing Othello to picture the scene in his mind's eye (IV.1.2414). With the nickname of "Honest Iago," he is capable of lying without spreading suspicion. He is able to steer Othello into " an intolerable position between hope and despair" (Nordlund). Because this is a Shakespearian tragedy, the audience knows that this plot will not have a happy ending. Othello's sexual jealousy is the main flaw that results in his downfall. It is the driving force that motivates several of the characters actions. Iago is jealous of Cassio's position so he uses it to destroy Othello. Roderigo helps Iago because he is jealous of Othello being with Desdemona. Most importantly, Othello is jealous because of his false belief that his wife is cheating on him. It can be argued that Iago is envies Othello's and

But up to this point, where Iago is dismissed (III,iii,238) Othello, I must maintain, does not show jealousy. His confidence is shaken, he is confused and deeply troubled, he feels even horror; but he is not yet jealous in the proper sense of the word.

1. Thesis Statement: William Shakespeare’s Othello, the Moor of Venice is a tragedy and Othello is considered a tragic hero by the definition of Aristotle's work in "Poetics". Othello’s fatal flaw leads to his uncontrollable jealousy. His high-ranking position and stature in the royal family leaves him feeling suspicious and betrayed and seeks the ultimate revenge.

My personal interpretation of the play draws from the concepts of the traditional Aristotelian views of a tragedy. An Aristotelian interpretation concerns itself with whether Othello can be considered a true tragedy. The two main principles which determine whether a text can be labelled as a true tragedy include the plot and the characters.

Aristotle clearly defines a tragedy as “an imitation of an action that is complete, and whole, and of a certain magnitude, which excite pity and fear.” He claims that pity evokes “unmerited misfortune, fear by the misfortune of a man.” He also defines a tragic hero as one who is highly famous, financially successful, “not eminently good and just, yet whose misfortune is brought about not by vice or depravity, but by some error or frailty” (Aristotle: Poetics, n.d.). William Shakespeare’s Othello, The Moor of Venice should be labeled as an Aristotelian tragedy due to his portrayal of Othello as a tragic hero. Shakespeare organizes Othello in such a way that it first, centers around a serious topic which shows imitation of action, second, deals with conflict of great magnitude which is completed or solved, third, uses the appropriate language of drama, and finally, builds to a catharsis of emotion, arousing pity towards the tragic hero, all