Tragic Flaws in Othello, The Moor of Venice
Created | Updated Jan 28, 2002
In Othello, the Moor of Venice, trust is arguably the most important theme of the novel. The play describes an instance where trust is used against the people who practice it. The work revolves around Othello, the protagonist who has misplaced his trust in an evil assistant named Iago. A tragic flaw is defined as some trait (not necessarily bad) that causes the eventual downfall of a protagonist. By this definition, Othello's trust in Iago can accurately described as a tragic flaw.
At the beginning of the play, Othello remains remote from the action, which centers about Roderigo and Iago, and he is referred to in only general terms like "he" or "him." As the scene progresses, it becomes apparent that the pair have some grievance with Othello, as they refer to him in such derogatory terms as "old black ram," (Act 1, Scene 1, Line 88) "thick lips," (Act 1 Scene 1 Line 66) and a "Barbary Horse." (Act 1 Scene 1 Line 113.)
During the second and third scenes, Othello himself enters, and it becomes quickly apparent that his initial trust in Iago is misplaced. Othello is deceived by Iago's act, falling prey to treacherous compliments like "… your Honor." (Act 1 Scene 2 Line 10) More becomes apparent about the initial existence of trust.
The revelation in this section is that Othello is highly trusted by the ruling authorities for his skills in warfare, and this fact negates his ethnic status as an outsider. They even commission him to go to Cyprus to destroy an encroaching fleet, saying "Valiant Othello, we must straight employ you Against the general enemy Ottoman." (Act 1 Scene 3 Line 56) In short, he trusted them and they trusted him. From this it can be inferred that trust was something Othello was accustomed to, and it may even be said that he took it for granted.
The role of trust between Iago and Othello becomes increasingly important with the progression of the second act, and reaches its greatest importance after the drunken fight between Cassio, Montano, and Roderigo. When Othello investigates the uproar, he asks of Iago: "'Tis monstrous. Who began 't?" (Act 2 Scene 3 Line 231) Iago takes advantage of the situation and makes it appear that he is the only one of spotless repute and indirectly insinuates that he is the sole person worthy of advising Othello.
From this point Iago's devious web begins to draw around his prey. He uses an innocuous visit by Cassio to Desdemona to hint at adultery. This places a measure of distrust in Othello's head toward his wife, and he inadvertently turns to Iago. Iago seizes this foothold in Othello's mind and sets two horrible traps in motion.
At this point Othello is on edge as to who to believe, and he expresses his feelings to Iago (Act 3 Scene 3 Line 438):
I think my wife to be honest and think she is not.
I think thou art just and think thou art not.
I'll have some proof! Her name, that was fresh
As mine own face. If there be cords, or knives,
Poison, or fire, or suffocating streams,
I'll not endure it. Would I were satisfied!
Soon after this, Othello falls into the first of Iago's traps, set when he stole a handkerchief that Othello had given to Desdemona and planted it in Cassio's chamber. In an evil twist, Cassio passed the kerchief on to a prostitute, and somehow Othello sees it. This erases almost all doubt of Iago's words. Knowing this, Iago acts to drive the blow home, and he quickly arranges for Cassio to come. Iago hides Othello and tells him that he will make Cassio confess to being with Desdemona. When Cassio arrives, Iago quietly cracks a joke about a prostitute that they both know. Othello misses the first part, but hears every profane jest Cassio makes in response.
The belief that his wife had betrayed him overwhelmed Othello, and from this point he trusted Iago implicitly. Othello then spent much of the play moving in and out of varying states of sanity. Othello's flaw of trust is ultimately fulfilled when he kills his wife believing that he is purging her of sin.
By the end of the play it is quite clear that this tragic flaw has implications for the work as a whole. In this instance, trust is the source of evil irony. This tragic flaw is the basis for the tragic part of Tragedy, and is most clearly shown in the many instances when Othello sincerely refers to his tormentor as "good Iago," "kind Iago," and "honest Iago."
At the beginning of the play, Othello remains remote from the action, which centers about Roderigo and Iago, and he is referred to in only general terms like "he" or "him." As the scene progresses, it becomes apparent that the pair have some grievance with Othello, as they refer to him in such derogatory terms as "old black ram," (Act 1, Scene 1, Line 88) "thick lips," (Act 1 Scene 1 Line 66) and a "Barbary Horse." (Act 1 Scene 1 Line 113.)
During the second and third scenes, Othello himself enters, and it becomes quickly apparent that his initial trust in Iago is misplaced. Othello is deceived by Iago's act, falling prey to treacherous compliments like "… your Honor." (Act 1 Scene 2 Line 10) More becomes apparent about the initial existence of trust.
The revelation in this section is that Othello is highly trusted by the ruling authorities for his skills in warfare, and this fact negates his ethnic status as an outsider. They even commission him to go to Cyprus to destroy an encroaching fleet, saying "Valiant Othello, we must straight employ you Against the general enemy Ottoman." (Act 1 Scene 3 Line 56) In short, he trusted them and they trusted him. From this it can be inferred that trust was something Othello was accustomed to, and it may even be said that he took it for granted.
The role of trust between Iago and Othello becomes increasingly important with the progression of the second act, and reaches its greatest importance after the drunken fight between Cassio, Montano, and Roderigo. When Othello investigates the uproar, he asks of Iago: "'Tis monstrous. Who began 't?" (Act 2 Scene 3 Line 231) Iago takes advantage of the situation and makes it appear that he is the only one of spotless repute and indirectly insinuates that he is the sole person worthy of advising Othello.
From this point Iago's devious web begins to draw around his prey. He uses an innocuous visit by Cassio to Desdemona to hint at adultery. This places a measure of distrust in Othello's head toward his wife, and he inadvertently turns to Iago. Iago seizes this foothold in Othello's mind and sets two horrible traps in motion.
At this point Othello is on edge as to who to believe, and he expresses his feelings to Iago (Act 3 Scene 3 Line 438):
I think my wife to be honest and think she is not.
I think thou art just and think thou art not.
I'll have some proof! Her name, that was fresh
As mine own face. If there be cords, or knives,
Poison, or fire, or suffocating streams,
I'll not endure it. Would I were satisfied!
Soon after this, Othello falls into the first of Iago's traps, set when he stole a handkerchief that Othello had given to Desdemona and planted it in Cassio's chamber. In an evil twist, Cassio passed the kerchief on to a prostitute, and somehow Othello sees it. This erases almost all doubt of Iago's words. Knowing this, Iago acts to drive the blow home, and he quickly arranges for Cassio to come. Iago hides Othello and tells him that he will make Cassio confess to being with Desdemona. When Cassio arrives, Iago quietly cracks a joke about a prostitute that they both know. Othello misses the first part, but hears every profane jest Cassio makes in response.
The belief that his wife had betrayed him overwhelmed Othello, and from this point he trusted Iago implicitly. Othello then spent much of the play moving in and out of varying states of sanity. Othello's flaw of trust is ultimately fulfilled when he kills his wife believing that he is purging her of sin.
By the end of the play it is quite clear that this tragic flaw has implications for the work as a whole. In this instance, trust is the source of evil irony. This tragic flaw is the basis for the tragic part of Tragedy, and is most clearly shown in the many instances when Othello sincerely refers to his tormentor as "good Iago," "kind Iago," and "honest Iago."
