The Truth is Heroic
A hero of any story is defined by their good character. For example, Robinhood is known for his commitment to justice by robbing from the rich and giving to the poor; Odysseus puts on a show of bravery battling monsters and gods on a journey home after the Trojan War; Atticus Finch in Harper Lee’s “To Kill a Mockingbird” demonstrates exceptional integrity, wisdom, and courage in defending a black man in a time of prejudice and injustice. Many presume that Othello is the hero in Shakespeare’s eponymous play. A loving husband, a righteous person, and a brave general of the Venetian Army, Othello is depicted as a model of goodness who, under the machinations of those around him, falls into a deep jealousy that ultimately drives him to murder his wife. However tragic Othello’s story may be, he demonstrates none of the qualities seen in a classic hero. Instead, his violence, susceptibility to manipulations, and lack of a moral compass strip him of that title. Emilia, on the other hand, emerges as the real hero of the story. While it is true that her confession of Iago’s scheme leads to more deaths and the truth is revealed regardless by Lodovico, she serves as a voice of reason and morality in a story that is marked by immorality, lies, and excessive and unfounded jealousy. In the end, Emilia breaks her silence to sacrifice herself for the truth, demonstrating her courage and moral integrity which is characteristic of a true hero.
Despite being the tragic protagonist of the play, Othello is not the hero because the goodness of his character is hollow. Without a moral compass, Othello easily falls for Iago’s lies, revealing that he has no sense of commitment, truth, or justice at all for the things he values. We see this manifest over the course of just one scene. For instance, at the beginning of Scene 3 of Act 3, Othello is confident in his love for Desdemona, calling her an “excellent wretch” and that “Chaos is come again” when he stops loving her (Act 3, Scene 3, Line 90). Yet when Iago later presents Othello with false evidence of Cassio using Desdemona’s handkerchief and having a dream about sleeping with her, he quickly changes his mind and swears to “tear [Desdemona] to pieces” (Act 3, Scene 3, Lines 420–451). By observing Othello’s rapid change of heart, we can see that he does not have a sense of commitment. While Othello loves Desdemona, it is to the extent that she is free of rumors. When she is all pure and innocent, he professes a deep affection for her, commenting on her beauty and the immense weight she carries in his life (that the world would fall apart if they stopped loving each other). But as soon as the tiniest doubt enters his mind, that “love” disappears into thin air, so much so that he murders her. Thus, he is not committed to loving Desdemona because his devotion to her is contingent on external factors.
By believing in Iago’s lies, Othello shows that he is not wholeheartedly devoted to truth, despite what he professes. When Iago first brings up the possibility of Desdemona cheating, Othello shows some degree of integrity in finding proof before suspecting her. For instance, he denies Iago’s claims because he knows Desdemona’s love for him is true. He tells Iago that he would rather be a goat if he ever let himself become obsessed with rumors (Act 3, Scene 3, Line 181–188). And he needs to see proof of her infidelity (Act 3, Scene 3, 194–197). Yet, at Iago’s exit, Othello somehow chooses jealousy over love, putting more trust in Iago’s lies than in his wife’s affection. Without having seen the handkerchief in Cassio’s hands or heard from Cassio about his dream, all of Othello’s “fond love” vanishes, and he vows to kill Cassio and Desdemona(452–460). When he does wish to have proof and promises to get it, his assertive tone and certitude make it seem that his doubt has been cemented as truth, and his search for proof disregards the possibility that Desdemona may still be faithful to him (Act 3, Scene 3, Line 403). Similar to his commitment to love, Othello values truth to the extent that it supports his doubts. And the fact that he decides to kill his trusted lieutenant and loving wife over mere rumors shows a fault in his morality. Nowhere throughout the scene does he try to seek the truth for himself or confront Desdemona about Iago’s claims. Therefore, Othello does not truly know what truth is nor is he fully devoted to it.
Although Emilia is a relatively minor character in the play, her bravery and honesty, despite the risks to her own safety, can be seen as truly heroic. In a play marked by trickery and dishonesty, Emilia emerges as a voice of truth and a model of justice that is admirable in stark contrast to Othello. In Scene 2 of Act 5, Emilia transcends from the role of an acquiescent wife and servant into a champion of truth and justice. For instance, she is unafraid to speak the truth when both Othello and Iago draw their sword at her. Even if Othello kills her “twenty times”, she will not withhold the truth (Act 5, Scene 2, Lines 176–178). She disobeys her husband in a society where it is highly inappropriate to do so and is not afraid to leave him for the truth (Act 5, Scene 2, Lines 207–209). Even if men and the gods all end up hating her, she will speak the truth (Act 5, Scene 2, Lines 231–234). And in truth, she dies. Even in the final moments of her life, she wishes to be laid next to Desdemona, revealing her desire to be aligned with goodness and truth in death (Act 5, Scene 2, Line 251). Through Emilia’s actions, we see that she is sincere in her integrity to truth and justice. Without a moral compass, or being able to distinguish right from wrong, she may not reveal the truth so she can be promoted along with Iago to have a higher status in society, which is a goal we know she desires (Act 4, Scene 3). However, there is not a trace of her self-interest in this last scene; Emilia espouses justice and truth in the purest sense and devotes herself to them until death. This is what makes her the true hero.
An objection could be made to argue that Emilia’s “heroic act” does not make much of a difference in the play since the truth comes out regardless in Roderigo’s letters. However, proponents of this position miss the emotional catharsis and moral integrity that Emilia brings that the letters cannot. An ending without Emilia seems trivial and much less satisfying. After the murders of Desdemona and Rodrigo, Othello and Iago would be captured after the letters are discovered, and Iago would be sentenced to torture and condemnation and Othello would fall into grave sadness — the end. Nowhere in this version does Desdemona gets justice for her meaningless death, and Othello and Iago feel the emotional pain that comes with losing their loved ones, their reputation, and the deaths of innocent souls. In other words, there is no impact or complexity in the truth revealed through the letters; it simply uncovers what happened. The consequences of jealousy, betrayal, and power that are so central to the play are subdued without a voice of truth like Emilia. For instance, Emilia helps Othello realize the fault is his own for believing Iago and letting jealousy control his actions, prompting him to want to be blown on hot winds, roasted in lava, and drown in liquid fire (Act 5, Scene 2, Lines 293–294). Emilia helps Iago realize the horrific consequence of his trickery, as he stays silent when Lodovico questions him (Act 5, Scene 2, Line 317). Both characters come to the realization that the consequences of trickery and jealousy are far worse than simply sticking to the truth. And for one of the few characters in the play who speaks the truth, Desdemona receives justice rather than guilt and shame when the truth emerges. Ultimately, Emilia’s confession allows the audience to witness the power of truth as it clashes with jealousy, betrayal, and trickery exhibited through Othello and Iago’s reactions.
In conclusion, although Emilia plays a minor role in the play, she proves to be the real hero of the story because of her courage and commitment to the truth. Her confession adds complexity and depth to the themes of jealousy, trickery, and betrayal by allowing them to be confronted with the truth through Iago and Othello. While his story is certainly tragic, Othello is not the hero of the story because his commitment to love, truth, and morality falls short. His love for Desdemona seems true and profound in the beginning, but it vanishes into thin air when the smallest rumor appears. He claims to be a truthful person and is devoted to finding proof, but is easily convinced by Iago with unchecked evidence. As his doubts cement into truth, he loses himself in jealousy and is prepared to kill both his lieutenant and wife on grounds of gossip. It is clear that Othello lacks internal reason or a moral compass that helps him commit to what is important to him. In the end, Shakespeare’s Othello teaches us that being good is heroic, and that truth must be used towards good rather than evil. Or a tragedy ensues.
