Example research essay topic: Othello As A Tragic Hero - 1,050 words

NOTE: Free essay sample provided on this page should be used for references or sample purposes only. The sample essay is available to anyone, so any direct quoting without mentioning the source will be considered plagiarism by schools, colleges and universities that use plagiarism detection software. To get a completely brand-new, plagiarism-free essay, please use our essay writing service.
One click instant price quote

To what extent does Othello represent the idea of the tragic hero? The Poetics of Aristotle are extremely significant when distinguishing the characteristics of tragedy, and particularly important when analysing the character of Othello as a tragic hero. Aristotle writes that there are certain qualities which define a tragic hero: peripeteia, the undergoing of a downfall; hamartia, evidence of a fatal flaw; anagnorisis, recognition of these flaws; and catharsis, the purging of emotions from the audience. There has been much debate over the subject of Othello as a tragic hero, and over the last century the views of two critics have been particularly influential. A.

C. Bradley# states that Othello is Shakespeare's most romantic character, whose nature remains noble throughout, whereas F. R. Leavis# disagrees, arguing that Othello was never noble to begin with, and gives in too easy to the manipulations of Iago. When considering Othello as a tragic hero, there has been a lot of discussion over whether his character undergoes peripeteia. A.

C. Bradley believes that Othello has played the hero and borne a charmed life and describes him as a great man conscious of his own worth. For me, Othello's nobility is unmistakable from the constant references made to him as Valiant Othello (I. iii. 49) by the majority of the other characters. He is evidently well respected and looked up to, and therefore must possess an element of decency.

This heroic and noble understanding of Othello is reinforced when Shakespeare compares him with Christ when Brabantio, Roderigo, with Officers and torches and weapons (I. ii. 54) enter the second scene of Act 1. This action vividly echoes the Gospel when Christ and his followers are met by officers carrying swords and torches. This same comparison can be made when Othello avoids any physical attack telling the opposition to Keep up [their] bright swords, for the dew will rust / them (I. ii. 59), perhaps mirroring Christs words, Put up thy sword into the sheath from the Gospel.

Shakespeare therefore perhaps makes this connection between an idolized figure and Othello, emphasising these positive qualities about him and adding credibility to Bradley's views. F. R. Leavis considers Othello much more negatively; he believes that he gives in too easily to Iago's manipulations. Bradley's argument is that it was no sign of stupidity in Othello to place his trust in Iago, and it would have been quite unnatural in him to be unmoved by the warnings of so honest a friend, claiming that everyone trusted Iago and so it is unfair to blame Othello wholly for his actions. This is recognisable from the Play: Roderigo, Casino and Emilia are prime examples of characters also under Iago's selfish manipulation, and the words honest Iago are uttered continuously by the majority of the characters throughout the play, not just by Othello, emphasising this point.

Othello himself notices his nobility, apparent when he says, My parts, my title and my perfect soul / Shall manifest me rightly (I. ii. 31). This supports the proud and strong nature Bradley perceives in him. In contrast, F. R. Leavis believes that this conveys an arrogant and sacrilegious quality, however for me, this negative characteristic is dominated by Othello's dignity.

Leavis also comments on his noble egotism, believing that Othello has a negative element of self- approving self-dramatization throughout the play, suggesting that he does not undergo a downfall as he didnt possess heroic qualities to begin with. A. C. Bradley claims that at the end of the play the Othello of the Council-chamber and the quay of Cyprus has returned, or a greater and nobler Othello still conveying a belief, like F.

R. Leavis, that Othello does not undergo a downfall, however in contrast, he suggests that Othello remains noble throughout and is perhaps even more so by the end of the play. To a certain extent, this statement is understandable, as the other characters do not blame Othello in the end for his actions taken against Desdemona, and refer to him passionately as a man who was great of heart (V. ii. 358), still believing entirely in his nobility.

However, for me, this is exaggerated, as although Othello was clearly manipulated by Iago and therefore not necessarily to blame, for a man of such calmness at the beginning of the play, his actions in Act 5 demonstrate a definite downfall in his persona; the contrast between the Othello we meet in the first act, and the Othello in the fifth is almost disturbing. His relaxed and sensible character is demonstrated on our first meeting with Othello, when he calmly tells Brabantio and his followers to Hold [their] hands and claims that Were it [his] cue to fight, [he] should have known it / Without any prompter (I. ii. 83 - 84) keeping a difficult situation under control with dignity. Later in the fifth act, Othello harshly addresses Desdemona as a minion closely followed by a strumpet (V. i. 33 - 34), both of which suggest him to be intensely angry, not to mention his murderous proceedings, and even after this he threatens Emilia with the words Peace, you were best! (V. ii. 157) dramatically contrasting with earlier in the play.

This anger is repeatedly evident throughout the fourth and fifth acts. Although Bradley also believes that Othello is in his fall in these later acts, he argues that his fall is never complete. Whilst A. C.

Bradley views him as by far the most romantic figure among Shakespeare's heroes, he does admit to flawed qualities in Othello's character: Othello's mind, for all its poetry, is very simple Emotion excites his imagination, but confuses and dulls his intellect. For me, this is a reasonable comment to make, as Othello appears to be quite single- minded when he exclaims to Iago that to be once in doubt / Is once to be resolved (III. iii. 182 - 183), suggesting that one moment of suspicion enforces an eternal doubt. This is also supported by Othello's fixed trust for Iago until the final moments of the play, and by his certainty that Desdemona is untrustworthy, provoked only by suspicion and paranoia. However it is perhaps evident from Othello's words Ill have some proof (III.

iii. 389) that he is not as susceptible as Bradley proposes, as h...

Research essay sample on Othello As A Tragic Hero