Tragic Flaws In Othello

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

While he is flawed by his paranoia and pride, Othello is only unstable and destructive after intricate deception. Indeed, he seems maddeningly perfect to his adversaries. Even Othello's greatest enemy,

"Othello is essentially an noble character, flawed by insecurity and a nature that is naive and unsophisticated". Looking at William Shakespeare's Othello The Moor Of Venice, the central character, Othello is revered as the tragic hero. He is a character of high stature that is destroyed by his surroundings, his own actions, and his fate. His destruction is essentially precipitated by his own actions, as well as by the actions of the characters surrounding him. The tragedy of Othello is not a fault of a single villain, but is rather a consequence of a wide range of feelings, judgments and misjudgments, and attempts for personal justification exhibited by all of the participants. Othello is first shown as a hero of war and a man of

Shakespeare’s Othello is a play consistently based on jealously and the way it can destroy lives. One is quick to think this jealously is based on Othello’s lack of belief in Desdemona’s faithfulness to him or his suspensions over Desdemona’s affair with Cassio, Othello’s honorable lieutenant. Upon closer inspection of the jealously that exists throughout the play it becomes clear that his jealously is not the sole start and reason for all of the destruction that occurs. Iago, a good friend of Othello, is not who he appears to be. Iago’s own jealously of those around him pushes him over the edge. He begins to deceive all those who believe he is a true, honorable, and faithful man. Throughout Othello, Iago incites his own jealously in

All humans are united in their imperfection. Everyone is inevitably flawed; this is human nature. How one rectifies their mistakes truly shapes who they are. Shakespeare’s Othello exemplifies the imperfection of human nature, focusing on what happens when each character’s fatal flaw takes control over their decisions, and eventually distorts their individual perspectives. Their actions consequently erupt in chaos by the end of the play. This play ultimately serves as a reminder of human nature. Though infinitely diverse and complex, humans are creatures of habit who ultimately share the same villainous tendencies. The evil in the world will always prevail through the manipulation of one’s imperfections, leading to the downfall of the

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

    Tragedy is an intrinsically human concept; tragic heroes are damned by what they themselves do. Othello is not so much felled by the actions of Iago, but by a quality all people possess-- human frailty. Accordingly, Othello is not a victim of consequences, but an active participant in his downfall. He is not merely a vehicle for the machinations of Iago; he had free agency. Othello's deficiencies are: an insecure grasp of Venetian social values; lack of critical intelligence, self-knowledge, and faith in his wife; and finally, insecurity-- these are the qualities that lead to his own downfall.

lip’, ‘Old black ram’. At the start of the play when he is seen heroic

Shakespeare has been known to create terrific tales of love and tragedy. Even James Van Der Beek, a well known actor from Dawson's Creek, once commented that, “like all great romantics, Shakespeare realized love was a lot more likely to end with a bunch of dead Danish people than with a kiss”("Americans on the Bard"). This emphasizes how easily people can relate Shakespeare to tragic love. Although he did write many poems and plays with happy endings, his tragedies stand out the most. In these tragedies, people are often led through use of misconception, trickery, or both. An example of misconception can be shown by another of Shakespeare's plays, “Antony and Cleopatra,” as he wrote for Antony's part, “this foul Egyptian hath betrayed

Othello’s tragic flaws instantly lead to dramatic downfall. In this essay I am going to discuss how that happened. Throughout the time Othello knew Desdemona, Othello was out of his element trying to capture Desdemona cheating on him. Was he successful? Well, no he was not.

In Shakespeare?s play Othello, Othello himself is the tragic hero. He is an individual of high stature who is destroyed by his surroundings, his own actions, and his fate. His destruction is essentially precipitated by his own actions, as well as by the actions of the characters surrounding him. The tragedy of Othello is not a fault of a single person, but is rather the consequence of a wide range of feelings, judgments, misjudgments, and attempts for personal justification revealed by the characters.

The tragedy of Othello is not just a story of jealousy but rather a clash of two worlds. In Shakespearean plays we many times see the protagonist fall due to deceit, human flaws, and corruption of their society. We specifically see the hero fall in Shakespeare's Othello as a man trying to be himself with a corrupt friendship in Iago. Othello is seen to be the noble moor of Venice. He is respected by society for his many actions of nobility and bravery. Iago on the other hand is the villain plotting around Othello and others in his society he lives in. The noble moor of Venice Othello is shown to be very brave and courageous of all of the city and the army he leads. Their inconsistent characteristics is what separate the two from each

In the beginning of the play, Shakespeare illustrates Othello as a benevolent military noble who shares an intellectual love with his young wife, Desdemona, that is of utmost purity and innocence. At once the evil character of Iago is introduced and uncovers the hero's tragic flaw; ultimately that of naiveté. Although Othello is usually a very even-tempered man, as can be seen when he refuses to let Iago persuade him to get angry at Roderigo, (I, ii, 6), an exteriour opposing force characterized by Iago, perpetuates the tragedy of the play by provoking the interiour opposing force, or the hamartia of the protagonist. Near the beginning of the play, Shakespeare's clever demonstration of dramatic irony allows the reader to realize Othello's tragic flaw in the fact that he hands his full trust over to a man who is "Janus-faced" and dishonest. "...my ancient; a man he is of honesty and trust. To this conveyance I assign my wife". The irony from this line lies in Othello's misconception of his ensign, Iago, who is already plotting against him for his own means. After witnessing Iago's conspiracy with Roderigo at the ruination of Othello in the previous act, the reader immediately sees Iago's villainess, however in innocence, Othello is blinded to it and by it. From this we see, as in many tragedies, the tragic hero's flaw is not actually a defect in itself, but rather an excess of a virtue. In the case of Othello, this perilous virtue

Andrea Robards Dr. Harper ENC 1102 23/10/2017 The Downfall of Othello Othello responded very irrationally when it came to him acting on Iago’s claims of Desdemona’s supposed unfaithfulness with Cassio. Othello’s grave mistake was not communicating and listening to his wife. When “Iago suggests that Cassio and Desdemona are involved in an affair” (SparkNotes Editors), Othello becomes jealous. When Desdemona tries to reason with Othello to reinstate Cassio as his lieutenant, Othello is then quickly suspicious of Desdemona’s infidelity. Instead of believing Desdemona’s reasoning to redeem his former lieutenant, Othello tells her to let Cassio come to him, and once she leaves, he shouts with pity and Iago slithers back to Othello and strikes again

As the reader reaches the end of this play, we see that Othello trades in his faults for his heroism, and loving status. As Othello kills himself by his own terms and under the veil of honour, we see a true hero become enshrined. The ultimate deed of sacrificing one’s life to show their love and honour is truly the greatest form of respect he could have shown to Desdemona and the most un-cowardly, and selfless thing he could have done for his men, as he admitted his faults and paid with the most valuable price. This memento is perfectly described by another critic with the same view, “beginning, then, with this passion, it is the art of Shakespeare to place his characters under those conditions that will show the true nature of their passion and develop it to its fullness and to its fated end. It is one of Shakespeare's supreme excellences that he realized that "every man is tempted when he is drawn away of his own lusts and enticed," and that every man's condemnation comes from the development of his own passions” (Crawford, Tragic Hero). As this critic alludes, when a man is tempted by love, there is no just cause for action, it is a raw and extremely powerful emotional experience.