Othello as an Aristotelian Tragic Hero in Shakespeare
This essay examines Shakespeare's Othello as an Aristotelian tragic hero, analyzing how the protagonist's downfall aligns with classical definitions of tragedy. Drawing on Aristotle's concept of hamartia, the paper argues that Othello's fatal flaws — his blind trust, emotional rather than rational reasoning, and possessive love for Desdemona — make him vulnerable to Iago's manipulation. The essay traces the deterioration of Othello's judgment and relationships, culminating in Desdemona's murder and Othello's suicide. It also considers how the play achieves catharsis and delivers justice, while acknowledging the social and racial pressures that compound Othello's tragic circumstances.
- Introduction: Othello and Aristotelian Tragedy: Othello introduced as Aristotelian tragic hero
- Defining the Tragic Hero: Hamartia and the Fall: Aristotle's tragic hero framework applied to Othello
- Iago's Manipulation and Othello's Blind Trust: Iago exploits Othello's trusting nature
- Possessiveness, Jealousy, and the Collapse of Reason: Othello's possessiveness as emotional tragic flaw
- The Deterioration of Communication and Desdemona's Fate: Failed communication leads to Desdemona's death
- Anagnorisis, Catharsis, and the Restoration of Justice: Recognition, catharsis, and justice through Iago's punishment
- Conclusion: Racial and Social Dimensions of Othello's Tragedy: Race and society compound Othello's tragic circumstances
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What makes this paper effective
- The essay grounds its literary analysis in a clearly articulated theoretical framework — Aristotle's definition of the tragic hero — and consistently returns to that framework throughout, giving the argument coherent shape.
- It integrates both primary text quotations (from Shakespeare) and secondary scholarly sources (Arthos, Boas, Golden) to support claims, demonstrating engagement with academic criticism.
- The paper moves logically from defining the tragic hero, to identifying Othello's specific flaws, to tracing the consequences of those flaws — creating a well-paced analytical progression.
Key academic technique demonstrated
The paper demonstrates close reading combined with theoretical application. Rather than summarizing the plot, it selects specific moments — Othello dismissing Desdemona's napkin, his slapping her without provocation, his final speech — and interprets them through Aristotle's framework of hamartia, free choice, and catharsis. This technique of anchoring broad claims in textual evidence is central to literary analysis at the undergraduate level.
Structure breakdown
The essay opens with a plot overview and introduces the Aristotelian framework. It then defines the tragic hero and applies that definition to Othello's character. Subsequent sections examine specific flaws (blind trust, possessiveness) and trace their consequences through Iago's manipulation and the collapse of Othello's marriage. The essay concludes by addressing catharsis, justice, and the racial/social dimensions of the tragedy — broadening the argument beyond individual psychology to structural context.
Introduction: Othello and Aristotelian Tragedy
Othello, the Moor of Venice is a Shakespearean tragedy that focuses on the great war hero Othello and the lengths to which Iago goes in order to strip Othello of his power. Iago's thirst for power begins when he is passed over for promotion and Michael Cassio is instead awarded the position of lieutenant. Although it would appear more logical for Iago to target Cassio, he instead targets his superior, Othello — not only because he hates him, but also because he knows he can easily manipulate Othello and lead him to self-destruct. Othello is categorized as a tragedy among Shakespeare's works and may further be classified as an Aristotelian tragedy, as Othello appears to embody several characteristics attributed to the tragic hero.
Defining the Tragic Hero: Hamartia and the Fall
Greek philosopher Aristotle defines a tragic hero as "a [virtuous or noble] person who is neither perfect in virtue and justice, nor one who falls into misfortune through vice and depravity, but rather, one who succumbs through some miscalculation" (Brown). Additionally, the tragic hero's fall is "a result of free choice, not of accident or villainy or some overriding, malignant fate" ("Aristotle"). In some cases, a tragic hero's fall is due to a tragic flaw — hamartia — whereas in other cases, divine interference plays a role. "An Aristotelian tragedy has as its essential aim a significant illumination of the pitiable and fearful dimensions of human existence" (Golden 144).
In the play, Othello's hamartia includes his blind trust and his inability to analyze a situation logically, relying instead on his emotions and passions to guide him. Furthermore, a tragic hero's fall is not wholly deserved, and the punishment often exceeds the crime committed. The tragic hero's fall is not without purpose: it serves to enlighten the hero of his or her flaw. The final key element of the tragic hero's fall is its capacity to incite catharsis, ensuring that the audience is not left in despair at the play's end ("Aristotle").
Othello, although a foreigner to Venice, has grown to become a highly respected citizen through his military exploits and triumphs. He has earned a position of command within the army and is frequently relied upon for his military expertise, particularly against the Turks and Ottomites. As defined by Aristotle, Othello's downfall is not attributed to personal vice or depravity, but rather to his hamartia. John Arthos argues that "the faults of honor are, of course, the faults of pride in part" — that is to say, Othello cannot look upon his comrades dishonorably because of his pride (p. 98).
Iago's Manipulation and Othello's Blind Trust
Othello falls victim to Iago's manipulations because he is unwilling to see — or even consider — that the men around him could ever be untruthful. Iago notes: "The Moor is of a free and open nature, / That thinks men honest that but seem to be so, / And will as tenderly be led by the nose / As asses are" (Shakespeare 1.3.756–59). It is this virtuous weakness that Iago exploits once his initial plan — having Brabantio confront Othello over allegedly bewitching his daughter, Desdemona — backfires. Seeing how committed Desdemona and Othello are to each other, Iago chooses to use their love as a tool of manipulation.
Othello's hamartia is his inability to distinguish between those who are honest and those who are dishonest — in this case, Desdemona and Iago, respectively. At the beginning of the play, Othello has no reason to distrust either of the two people closest to him. He considers Iago a close ally, having fought side by side with him in combat against the Turkish enemy. Desdemona, meanwhile, has proven that she truly cares for Othello, having loved him "for the dangers [he] had pass'd, / And [he] loved her that she did pity them" (1.3.512–13). However, Othello also proves to be possessive of his wife — constantly presenting her as though she were a prized object, and even putting her life at risk by bringing her to the battlefield.
Possessiveness, Jealousy, and the Collapse of Reason
Because Iago is able to manipulate Othello through his extreme love for his wife, Othello's possessiveness can also be considered a tragic flaw — not an intellectual one, but an emotional one. Iago persuades Othello that Desdemona has been unfaithful and has been conducting an adulterous affair with Cassio, whom Iago is equally determined to destroy. Othello's perception of Desdemona is visibly altered after Iago's interference. For instance, Othello dismisses his wife's attempt to soothe his headache, telling her, "Your napkin is too little: Let it alone," causing her to drop her handkerchief in shock — only for him to then demand she produce it (3.3.1952; 3.3.1954). He also attempts to manipulate her, claiming the handkerchief possesses magical powers of faithfulness and that it serves as proof she has not deceived him.
It can be argued that Othello's abuse of his wife could have been avoided had he not been so dependent on the supposed "loyalty" of Iago — someone he had known longer and endured more hardships with. Othello made a choice to trust Iago over his wife. Had he relied on himself and recognized that he alone could be wholly trusted, he might have addressed his concerns about Desdemona's alleged adultery differently. Through open and honest communication, Desdemona could have been given the opportunity to explain and defend herself, and her death might have been avoided. Ultimately, Othello's downfall is the result of a series of bad choices made willingly, despite external pressures. While Iago planted the seed of discord in Othello's mind, he did not force his target's hand. As scholars of the play have noted, the interplay between external villainy and internal weakness is central to understanding the tragedy.
Conclusion: Racial and Social Dimensions of Othello's Tragedy
Othello is rife with oppositions that the titular character must navigate every day. While Othello attempts to overcome obstacles of racial discrimination, he remains a target due to his Moorish background. Additionally, despite his many heroic feats, it is unlikely that he will ever be regarded as equal to others who have achieved comparable triumphs. So many forces work against Othello throughout the play that it is difficult to see how he could ever prevail — particularly with Iago poisoning his mind. As such, the tragic dimensions of the play infiltrate every aspect of it, extending beyond individual characters to encompass society and social constructs as a whole.
Works Cited
"Aristotle." Virginia Community College System. Web. 4 July 2012.
Arthos, John. "The Fall of Othello." Shakespeare Quarterly. Vol. 9, No. 2 (Spring 1958), pp. 93–104. JSTOR. Web. 4 July 2012.
Boas, George. "The Evolution of the Tragic Hero." The Carleton Drama Review, Vol. 1, No. 1, Greek Tragedy (1955–1956), pp. 5–21. JSTOR. Web. 4 July 2012.
Brown, Larry A. "Aristotle on Greek Tragedy." January 2005. Web. 4 July 2012.
Golden, Leon. "Othello, Hamlet, and Aristotelian Tragedy." Shakespeare Quarterly. Vol. 35, No. 2 (Summer 1984), pp. 142–156. JSTOR. Web. 4 July 2012.
Shakespeare, William. Othello, the Moor of Venice. Open Source Shakespeare. Web. 4 July 2012.
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