Othello's Tragic Flaw

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Othello's Tragic Flaw


"Othello," Shakespeare's tragedy, has enjoyed popularity since the time of the author to the present. Has remained a living drama through the centuries because of human emotions is universal and persistent in human nature.

His characters do not exist on a plane away from ordinary life we are not asked to witness the conflict of kings and conspirators beyond the experience of people every day are not involved in the consequences of disasters on a cosmic scale; what we are witnessing is a struggle between good and evil, demonstration of love, tenderness, jealousy, and hatred in terms that are humanly plausible.


Othello is a drama of pathos (pathos) and pity rather than a tragedy of characters in a tragic flaw that precipitated the fate of the hero. The latter concept was the Greek ideal of pure tragedy. Othello does not fit the classic definition of tragedy, which had as protagonists some hero noble birth, a king or a prince, in a contest with gods or supermen.

Although Shakespeare is enough tradition to make the hero and heroine are people of prominence, are human rather than superhuman, and their reactions are reactions understood by any viewer. The concentration on basic emotions at the poignant and poetic language has given to Othello's great popularity, both as a work to be seen and the book to be read, for four centuries.

Othello has been described as the perfect play of Shakespeare. Critics have praised the dramatic structure for your attention to the main topic without irrelevant distractions. Elizabethan plays were many subplots and too much detail inappropriate to amuse the more mundane. The play avoids all irrelevancies and action moves swiftly from the first scene to the ending. Never get lost in a multitude of incidents or a multitude of characters. Our attention remains focused on the arch of Iago and his plan to plant in Othello's mind the corrosive belief in his wife's infidelity.

In developing this plan, the author keeps the suspense until the end. The characters are clearly drawn and the contrasts are clear and vivid. No darkness in language, characterization or presentation confuses the viewer or reader. In Othello, Shakespeare displayed the skill of a genius in the construction of a play, a skill that he did not always bother to exercise. Therefore, there is no surprise that the work is so popular (Berry, 315-33).

In Elizabethan playwrights liked to portray characters of consummate evil, and if you could locate the scenes in Italy, the better, because literature and legends of the time were filled with stories of the wickedness of Italy. Malicious interpretations of Machiavelli were cited as evidence of relentless cynicism. Alexander VI Borgia, Lucrezia Borgia and many others were widely used by authors fascinated by sensational iniquity. For the English, Italy Renaissance had a hypnotic fascination. Venice had a glamour and interest beyond normal, as was the case with the beauty and pleasure of Venetian women, and passion, jealousy and anger of men quick Venetians, ...
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