Because of the way the term "tragic hero" has been treated by AC Bradley and those who followed him, it has almost become a term of art, with an arcane meaning quite divorced from the actual way that Shakespeare's tragedies work. But really a tragic hero is the main character in a play which ends with the destruction of that main character, which usually means his death. If the play is well-written, we feel a sense of regret and sadness that someone for whom we had some sympathy has come to a sticky end. This is certainly the case with Othello.
romeo is a tragic hero cos he da business
Othello
In the beginning of the play Macbeth, Macbeth could be considered the hero. However, by the end, he has become the villain and Macduff has become the hero.
There are three Shakespearean characters who are African and are called Moors. Some if not all of them were intended to be North African types, not sub-saharan. They are: Aaron in Titus Andronicus who is a villain of the melodrama type, The Prince of Morocco in The Merchant of Venice who is somewhat comic, and Othello in Othello who is a tragic hero.
The term "hero" is much abused in criticism of Shakespeare's works, and has generated, especially when qualified as a "tragic hero" some pretty strange criteria. But basically, it is like this: there are two main characters in this play, Othello and Iago. At the end of the day, does anyone feel even slightly sorry for Iago? He is a villain and no hero. That leaves only Othello. If tragedy is a sadness for the loss of what might have been, it is Othello's and Desdemona's tragedy--we feel sorry for them because they have lost their love, their marriage, their hopes and their lives. What has Iago lost that is comparable? Nothing. The only people who doubt that Othello can be the hero of this play, if anyone is, are racists and feminists, the former because they refuse to accept a hero who is black and the latter because they refuse to accept a hero who treats his wife like that. For them, I guess the play has no hero.
What a laugh. In that body of criticism which cares about "tragic heroes" and whether particular characters fall into the definition of that term, everyone is always looking for the "tragic flaw" without which, we are told, someone cannot be a tragic hero. Therefore Macbeth is ambitious and Hamlet is "the man who cannot make up his mind". The characters are reduced to this one characteristic, and considered as one-dimensional as possible so they can fit the definition. Basically, "tragic hero" equals "one-dimensional." But anyway, Othello is not as one-dimensional as all that. Yes, as the play unfolds he becomes more and more obsessed with the issue of whether his wife has been unfaithful to him. That's called character development. But right up until the end (well, Desdemona's end) he is struggling with his doubts (which he tells himself are proven) and with the genuine love he so obviously feels for his wife. I'd say that Othello may be not one-dimensional enough to be a tragic hero. If you want a really one-dimensional Shakespearean character, check out Aaron in Titus Andronicus.
Othello
Othello is one of Shakespeare's tragic heros.
In the beginning of the play Macbeth, Macbeth could be considered the hero. However, by the end, he has become the villain and Macduff has become the hero.
Tragic hero: A character with a fatal flaw who is brought down from status as a result of fate or their own insecurity. They normally suffer more than they deserve but by the end of the play the audience will their demise.Desdemona could be argued to be a tragic heroine, Othello is the main tragic character but Desdemona is brought down from her status and eventually killed because of Othello's jealousy and Iago's interference. She has flaws: you could say she is too good, she trusts too much and her promise to help Cassio leads her to her death. She also continues to love and stand by Othello even when she knows he will kill her. She has a tragic downfall which parellels Othello's, Shakespeare built up their romance to a high point at the beginning of act 2, and from then on Iago's plan comes into action and ruins everyting.
There are three Shakespearean characters who are African and are called Moors. Some if not all of them were intended to be North African types, not sub-saharan. They are: Aaron in Titus Andronicus who is a villain of the melodrama type, The Prince of Morocco in The Merchant of Venice who is somewhat comic, and Othello in Othello who is a tragic hero.
The term "hero" is much abused in criticism of Shakespeare's works, and has generated, especially when qualified as a "tragic hero" some pretty strange criteria. But basically, it is like this: there are two main characters in this play, Othello and Iago. At the end of the day, does anyone feel even slightly sorry for Iago? He is a villain and no hero. That leaves only Othello. If tragedy is a sadness for the loss of what might have been, it is Othello's and Desdemona's tragedy--we feel sorry for them because they have lost their love, their marriage, their hopes and their lives. What has Iago lost that is comparable? Nothing. The only people who doubt that Othello can be the hero of this play, if anyone is, are racists and feminists, the former because they refuse to accept a hero who is black and the latter because they refuse to accept a hero who treats his wife like that. For them, I guess the play has no hero.
The tragic hero of the story turned out to be a secondary character whose importance was unrecognized.After losing his wife, the young father became the tragic hero in his town. Numerous obstacles turned the teenager into a tragic hero.
Tragic Hero Records was created in 2005.
romeo is a tragic hero cos he da business
a noble act by the tragic hero
a tragic hero is some one who is brought down by a single weakness. So yes zues is a tragic hero since his only weakness is fate
What a laugh. In that body of criticism which cares about "tragic heroes" and whether particular characters fall into the definition of that term, everyone is always looking for the "tragic flaw" without which, we are told, someone cannot be a tragic hero. Therefore Macbeth is ambitious and Hamlet is "the man who cannot make up his mind". The characters are reduced to this one characteristic, and considered as one-dimensional as possible so they can fit the definition. Basically, "tragic hero" equals "one-dimensional." But anyway, Othello is not as one-dimensional as all that. Yes, as the play unfolds he becomes more and more obsessed with the issue of whether his wife has been unfaithful to him. That's called character development. But right up until the end (well, Desdemona's end) he is struggling with his doubts (which he tells himself are proven) and with the genuine love he so obviously feels for his wife. I'd say that Othello may be not one-dimensional enough to be a tragic hero. If you want a really one-dimensional Shakespearean character, check out Aaron in Titus Andronicus.