Analyzes the character of Othello from Shakespeare's play of the same name to determine if he fits the classical definition of a tragic hero. Concludes that Othello falls short of the definition.
1,125 words (approx. 4.5 pages), 1 source, 2001, $ 39.95
From the Paper "Othello has often been termed a "tragic hero," however, that definition might not be the most accurate or useful one to fully understand the implications of this complex Shakespearean hero. Standard dramatic criticism argues that a "tragic hero," is "a good and noble man brought to a bad end because of some flaw in his character that leads him to the wrong course of action." Implied in that definition are four concepts, or templates, against which Othello can be measured: a) good and noble man; b) tragic flaw; c) wrong course of action; and d) bad end..."
Abstract This paper compares at length the tragic qualities of Shakespeare's Hamlet and Sophocles' Oedipus. It defines the three characteristics of a tragic hero with their exceptional ethics and tragic flaw, and shows how Hamlet and Oedipus fit each definition. The paper analyzes the personalities of both characters and supports its analysis with quotes from the plays.
From the Paper "The first requirement of the tragic hero is that he is basically a good person. Hamlet meets this criteria by displaying many good traits including intelligence, sensitivity, and humility. However, the greatest evidence of Hamlet's goodness is his unwillingness to commit murder, even when asked to take revenge for his father's murder. This illustrates that Hamlet is not just a basically good man, but an exceptionally good man.
Aristotle describes the characteristics of the tragic hero in his classic work ?Poetics.? Aristotle's model of a tragic hero involves an individual who is basically good, but has one tragic flaw in their nature that results in their undoing. The tragic hero's journey from prosperity to misfortune is not caused either by circumstance or by them being evil, but rather by a mistake their one flaw causes them to make. In creating this definition of a tragic hero Aristotle was attempting to explain why audiences are so interested in watching the tragic hero. Aristotle attributed the interest in the tragic character to three things. Firstly, the audience likes the hero. Secondly, the audience fears what will happen to the hero. Finally, the audience pities the hero. Importantly, for this pity to occur the hero must still remain liked even when he is doing wrong. This is why it is important that the character is not evil. Rather than evil, he is fallible, though at the same time, his own nature causes his downfall in some way. Overall then, there are three characteristics of the tragic hero: the character must be basically good but have one tragic flaw; the character must bring about their own downfall; and the character must engage the audience, with the downfall causing the audience to pity the character and his demise. Two characters that fit this definition of the classic hero are Hamlet from Shakespeare's Hamlet, Prince of Denmark and Oedipus from Sophocles? ?Oedipus the King.?
Abstract The paper begins by looking at the differences between the classical tragic hero and the tragic hero of Shakespearian times. It then moves on to a closer examination of the characteristics of the tragic hero, as illustrated in is Sophocles? "Oedipus Rex". A brief outline of the plot is given and the paper explains how this work fits into the category of the mythological tale. The character flaws responsible for the tragic fall in the play are also discussed. Next the paper moves on to Shakespeare's tragedy, "Hamlet", comparing it with the former tragedy in terms of evidence or lack of "otherworldly forces" to spur on the tragedy and in terms of each plays philosophy concerning fate and free will. The paper concludes by explaining how both of these characters fit the mould of tragic hero.
From the Paper "Understanding the Tragic Hero begins with an examination of Oedipus Rex. But, while he is the archetype of this particular literary character, Hamlet is, perhaps, the most well developed and psychologically complex of tragic heroes. For the Greeks, all things in life are preordained, which is what makes for the tragedy of Oedipus ? his attempt to make his own destiny. Over the course of time, however, while the form of the tragic hero did not change, the reason for his being tragic did. The social world of the Renaissance had shifted from a philosophy of determinism to one of individualism ? that we all have the choice to accept or deny our relationship with God. This makes Hamlet a tragic hero who is punished not for a flaunting of destiny, but because he is mad. It is the purpose of this paper to examine both Oedipus Rex and Hamlet as tragic heroes who, because of their different social contexts, made for very different men."
Abstract A Midsummer Night's Dream, is a play which revolves around the idea of love as an opportunity for foolishness. Puck takes great delight in manipulating the loves of the humans who have unwittingly stumbled into his kingdom. Lovers, particularly those in this play, expose themselves to danger as a result of love from the very beginning. Love simply makes us more so. This play demonstrates that only through humor can we survive the changes in love and life that we experience.
Abstract The many examples of Hamlet's sense of insanity will be presented here to better magnify the evidence that suggests that he is, beyond a doubt, a madman. The abilities of his metal behavior will be discussed, as well as the nature of his thought that contributes to the insanity. By revealing these motifs within the text of Shakespeare's writing, we can understand the events that places hamlet into madness throughout the play.
Abstract This paper relates that Shakespeare's primary intent in "Othello" was to develop the villainous character of Iago, whose motives are represented as being highly complex and ambiguous, but villainous in the extreme. The author points out that Richard is shown to be a villain of the highest caliber, whose power-mad lust for the crown compels him to confirm his claim that, "I am determined to prove a villain". The paper concludes that Shakespeare portrays Iago and Richard in much the same light, as sociopaths who view others as merely objects representing obstacles in their path to fame and glory, which makes them villains by any definition.
From the Paper "However, much like Richard, Iago's ambition is the source of his villainy rather than his resentment at being overlooked for promotion, sexual jealousy or the racial prejudice he had consistently faced; rather: ?A man motivated by simple jealously and hatred would have no such need. He is not inspired by pure evil and desire to torment Othello either. In reality, Iago's main motivation, born out of an inferiority complex, is a desire to heighten his sense of superiority and power.? According to Agrawal, Samuel Coleridge's phrase, ?. . . motive hunting of motiveless malignity,? may best describe Iago's strange actions and behavior. "Motive hunting" exactly describes Iago's soliloquies. He continuously ponders over and tries to understand his emotions. It is clear that he wants to torment and destroy Othello. However, he is not sure of the motivations underlying that desire.? "
Abstract This paper provides three main characteristics of a tragic hero: the person must be basically good or admirable in some way; the person has a fatal flaw that leads to their demise; and the person must be responsible for the tragic ending that occurs. The paper then examines Othello's character in light of these qualities.
From the Paper "The first quality is that the person is basically good or admirable in some way. This is true of Othello. Othello perhaps describes why he is admirable when he says, "My parts, my title and my perfect soul Shall manifest me rightly" (I,ii). It is also seen that other characters in the play have great respect for Othello. At one point the Duke of Venice says that he will take action against whoever has stolen his daughter. In an angry and determined reaction he says, "Whoe"er he be that in this foul proceeding hath thus beguil"d your daughter of herself and you of her, the bloody book of law you shall yourself read in the bitter letter" (I,iii). However, as soon as he hears that it is Othello, his attitude changes and he becomes more forgiving and understanding. This is a sign of how great his respect for Othello."
Abstract This paper analyzes the emotions of love and hate as they apply to the tragic downfall of Othello in Shakespeare's tragedy "Othello." The paper explains the sources of the hatred.
From the Paper "In the preface to his edition of Shakespeare's plays, Samuel Johnson maintains that Shakespeare's plays are neither comedy nor tragedy, but compositions of a distinct kind exhibiting the real state of good and evil, joy and sorrow mingled with endless variety of proportion and innumerable modes of combination. Love and hate are two among many of the human emotions and motivations Shakespeare employs in a variety of his works."
Abstract At first, the role of foppish characters in Shakespeare's "Hamlet" appears to be a trivial one. However, an examination of the human need for laughter sheds light on the importance of these clownish personalities.
From the Paper "Romeo and Juliet and Dr. Faustus, both from the height of the English renaissance, rebel against the traditional morality play previously seen on the English stage for centuries and instead have a tragic design driven by a violent passion for human desires. These human needs of love and knowledge connect each member of the audience to the characters in the plays. The audience at once admires and despises the lead characters for their daring transgressions and bold decisions. In response to the birthing of the renaissance, the characters Romeo, Juliet and Faustus challenge the nature of their respective societies to attain the love and knowledge that they would be denied."
Abstract This paper looks at the elaborate disguises that are used in "The Taming of the Shrew" as well as the double meaning and puns that Shakespeare uses to portray the theme of matrimonial relationships, and the idea that people are not always as they appear.
From the Paper "Shakespeare illustrates his theme by painting a perfect picture of the time in which he wrote. Arranged marriages were common, and many fathers of this period gave their daughters' hand to the man who could best provide for her, as does Baptista with Bianca (Leggatt 47). It was also customary in Elizabethan England for a father to give a dowry to the bridegroom of his daughter, so that she would be financially secure in the event of her husband's death. Hortensio acknowledges this tradition, when he tells Gremio that Petruchio will marry Kate "if her dowry should prove satisfactory" (Leggatt 47). The actual ceremonies of matrimony are also correctly depicted, as are the traditions. When Kate shouts to her father that she will have to dance at her sister's wedding barefoot, her fears are valid. In Elizabethan times when a younger sister married before the elder, the latter was to perform this act to avoid becoming a spinster (Leggatt 48). These minute details transport the reader back to the time in which the play was created."
Tags: mask, comedy, Kate, marriage, double, meaning, pun
Abstract This paper examines and compares the plays "Hamlet" by Shakespeare and "Night Mother" by Marsha Norman. The paper shows how the main characters of the plays share common characteristics such as their arguments for suicide, the loss of their fathers, and their similar wishes to die.
From the Paper "Although Hamlet by William Shakespeare and Night, Mother by Marsha Norman were written about four hundred years apart, they are similar because they both tell tragic stories of people who are tortured by hopelessness, depression and painful circumstances in their lives. "
Abstract In this essay, the character of Claudius from Hamlet is shown as a quintessential Machiavellian character. Niccolo Machiavelli wrote the book entitled The Prince, and is known by some for making the guidelines on how to become the best prince through lies, corruption, evil, and murder. This essay examines how Claudius, the King of Denmark fulfills these guidelines. Claudius' Machavellian character is shown through the way he deceives others about his virtue, his development of schemes, and his belief that rules can easily be broken.
From the Paper " A Machiavellian character is not hard to come by, and ample exist around us today. A person of this characteristic will break rules, pretend to be virtuous, plan schemes, and do anything they must, in order to receive what they strive for. In Hamlet, by William Shakespeare, a perfect example of such a character is displayed in Claudius, the New King of Denmark. Claudius performs many deceptive, and horrifying acts, which make him the quintessential Machiavellian character. Developing schemes, pretending to be virtuous, and proving his belief, through his actions, that rules may be broken, are the deeds he executes, which prove his true character."
Abstract This paper is an analysis of "King Lear" centering on Shakespeare's thematic use of various conceptions of nature as structured by definitions of the word found in the Oxford English Dictionary. This study shows how exploring word meanings aids in understanding the theme.
From the Paper "A consideration of NATURE in its many definitions as revealed in the OED and as applied to the use of the word NATURE as utilized by Shakespeare in King Lear proves vast and revealing. Shakespeare's characters use this word in its many meanings to suit their own needs. Observing Shakespeare's varied uses of this word through King Lear aids in understanding the tragic complexity of the play and its title character. What Lear has always believed about NATURE gets turned upside down in the course of the action of this drama. Characters like Kent and Edgar must disguise themselves to hide their true identities and honest NATUREs. Others like Goneril, Regan, Cornwall and Edmund turn what appear to be their true NATUREs inside out into falseness. As readers and audience consider this word NATURE in its many implications we begin to realize the immensity of meaning available for our contemplation."
Tags: dictionary, english, nature, oxford, shakespeare, study, thematic, word
Abstract The author of this paper traces the subject of love through many Shakespeare works. Sonnets and plays are examined. The author then puts an emphasis on Othello and includes lavish quotes from the play in an attempt to describe love's role in the action and characters.
From the Paper "Other than in Romeo and Juliet, which is a romantic tragedy, love plays a part in Othello more than in any of Shakespeare's other tragedies. Othello and Desdemona are presumed to be in love. Roderigo chases after the love of Desdemona. Iago is jealous of the love between Othello and Desdemona and Iago's plots are all based on proving to Othello that Desdemona and Cassio are in love. Although love clearly plays a large role in the play, it is debatable whether this love is true love. This is especially true for the love between Othello and Desdemona. In order to determine what Shakespeare intended their love to be perceived as, it is possible to look at how Shakespeare has defined true love in other works. According to his definition, clearly Othello's love for Desdemona is not true love, however; Desdemona's love for Othello, is indeed true love that remains unbroken throughout the play."
