Othello as a Tragic Hero Essay

Does the audience respond to Othello with enough admiration and awe at his downfall for him to attain the status of a tragic hero?

From the beginning of the play, the audience is impressed with Othello. They see a man who has risen through the ranks, against racism and tribulations, to attain his current rank and status within society. One of Othello's first lines, Let him do his spite; my services which I have done the signiory shall out-tongue his complaints. is massively influential for the audience's first impressions of the General. Depending on the individual viewing the play, it could be seen as the posturing of a boastful, proud man, or a statement of confidence coming from a self assured General that isn't afraid of any man. Out-tongue in particular connotes intelligence, wordplay and wit- all the qualities of a good leader, and this lends itself to the argument that Othello is indeed a tragic hero, since he shows himself as 'a good man'.

For us to consider Othello a tragic hero, we must consider our definition of a tragedy. Aristotle's guidelines of incorporating anagnorisis, hamartia and peripeteia- that is, a 'critical discovery', a hero's mistake or flaw, and a sudden change of circumstance- can all be applied to Othello's story. The crucial aspect of Aristotle's view, though, is whether or not his story causes catharsis within the audience- whether or not the audience feels emotionally cleansed. To Aristotle, this is the determining factor in a tragic play, and if there is no catharsis, it isn't a tragedy. However, there are several aspects of the Aristotelian view of a tragedy that we don't agree with now- the notion of the three unities, for example- so we cannot rely solely on these guidelines to answer the question.

To the audience, then. Would the audience watching the play consider Othello a tragic hero by the end? Since this is the most interrupted play ever known, we can be sure that emotions run high in the stalls. Focusing on Othello, we see a man that, on the surface, is massively confident and assured in his strength, wit and position in society. He tells us that My parts, my title, and my perfect soul shall manifest me rightly. leaving us in no doubt that he considers himself worthy of his rank. The repetition of my is important here- Othello is making it clear that he is important, he is the one to pay attention to. This is seen again in his statement Not I; I must be found. where the repetition clearly shows us a man that holds himself in high regard.

The audience is quickly exposed to 'The Othello Music' when he delivers one of his first speeches; talking of moving accidents of flood and field, of hair-breadth scapes i'th'imminent deadly breach, of being taken by the insolent foe These rolling, powerful statements leaves nobody in doubt over Othello's strength as a person and as a General. The audience learns more of his experience in life when he easily diffuses a fight by saying Were it my cue to fight, I should have known it without a prompter. this laconic statement exudes solidarity and assuredness- recurring attributes for Othello.

He derives some solidarity, at least in the beginning of the play, from his love, Desdemona. Indeed, in the third scene of act one, he places his life in her hands by saying If you do find me foul in her report, the trust, the office I do hold of you, not only take away, but let your sentence even fall upon my life. This massive leap of faith by Othello is carried off in complete calmness; he is completely sure of his wife's love for him, and so he knows his life- as well as his rank and status- is secure.

To start with, Othello and Desdemona are completely solid in their love for each other. Othello even says, when Brabantio suggests she may deceive him, says My life upon her faith! which is clearly a statement of complete trust. It is interesting, then, to see that Othello's lack of faith in Desdemona costs her her life in the end. We see the connection between the two throughout the play, and this severance near the end certainly adds to the tragic potential of the play. When Othello sarcastically mentions conjuration and mighty magic he may be suggesting Desdemona is under his spell- symbolic of his control over all aspects of his life- or it could be a suggestion of illusion and deception, the likes of which Brabantio warns Othello about.

Later, in the second act, we see more of Othello's flamboyant, confident side when speaking to Desdemona about his happiness and love for her; it gives me wonder great as my content to see you here before me. He goes on to say that if every storm has such a beautiful calm at it's end, he wouldn't mind being in a ship sailing through heaven-high waves. His skill in speaking, coupled with his love and affection for Desdemona now, paint a picture of security and joy that many in the audience would find pleasing and 'right'; that is to say, they would be happy for Othello. This feeling is crucial, since there has to be 'a good man' for there to be a tragedy. Also, the happy marriage is an idea that some in the audience may be able to relate to, making the potential for catharsis all the greater. Othello's power and strength is indisputable; the fact he shares human characteristics with those watching makes his downfall easier to relate to, and therefore more cathartic.

There is imperfection in Othello's love, however. Being a thorough military man, he sees the world as black or white, enemy or ally. In his talks with Desdemona and others we see he treats his allies well, trusting them and relying on them. We also see how he deals with enemies, sparing them no mercy- as he would spare none on the battlefield. Othello also makes clear that ally can turn to enemy, and he lets it be known that he deals with all enemies alike, Zounds, if I stir, or do but lift this arm, the best of you shall sink in my rebuke. in this statement he shows the audience he will not hesitate in administering his punishment, even to the best of his friends. Proof of this is seen when he dismisses Cassio, Cassio, I love thee, but never more be officer of mine. In this instant dismissal we have confirmation that Othello is a man of action, even if that action is against an ally. We see this side of Othello much more frequently in the latter stages of the play, and his temperament changes to match this darker side of his personality. When Iago starts to hint over Cassio's untrustworthiness, he shows signs of impatience, giving rise to anger when he cannot discern Iago's meaning; ...these stops of thine fright me the more; for such things in a false disloyal knave are tricks of custom the use of fright give us a clear notion of Othello's fear of being out of control, or unable to control those around him. Indeed, the above quotation could be read as an indication of Othello's paranoia when it comes to issues that question his power; he virtually accuses Iago, whom he described twice as honest, of being a false disloyal knave solely because he cannot understand the situation fully. Othello then says By heaven, I'll know thy thoughts which implies force and the use of power to gain what he wants- certainly the behaviour of a military man.

Othello's increase in anxiety and anger also heralds a decrease in the Othello music; it may be that Othello is a Dr Jekyll, Mr Hyde character, where one side of his personality is reason and wit, and the other is force and anger. The breakdown in Othello's speech is definitely an indication of his losing control; O misery!, O monstrous, monstrous!, O, blood, blood, blood! Othello's downfall has begun at this point, and his misplaced trust in Iago, coupled with his military-minded view of allies and enemies- his hamartia- has sealed his fate.

As Iago poisons Othello's mind against Desdemona, we see his mind move her swiftly and without hesitation into the enemy camp, making her deserved of punishment. He tells Iago ...damn her! Come, go with me apart. I will withdraw to furnish me with some swift means of death for the fair devil. The fact he still sees his wife as fair may suggest his love has yet to die, though it may be just the Othello music stirring again, using the juxtaposition of fair and devil to make his point more powerful.

At the climax of the play, when Othello is resolved in killing his wife, he tries to justify the crime by saying yet she must die, else she'll betray more men. this preparatory soliloquy serves more as a confirmation of the change in Othello from confident General to desperate man, intent on preventing any damage to his reputation. His peripeteia is a violent one, and one of his own doing.

It could be argued that Othello's potential to be a tragic hero is almost completely dependant on whether or not the audience believes in Othello's regret and remorse over the death of his wife. If they do not, they will see him as a paranoid, violent husband who thought his power in the battlefield could be transferred to his marriage. If the do, they will see him as a flawed but essentially good man who was deceived by someone close to him and who loved not wisely, but too well which led him to mistrust and violence. Audiences' opinions will always vary, and the level of sympathy for Othello will be affected by cultural, as well as individual differences.