Charles Van Doren: The Tragic Hero

For many centuries the tragedy holds to continue to be perceived as the most ardently gratifying arrangement of drama because it encompasses the capability of transporting the spectator into the drama as well as allowing them to empathize with the characters, particularly the tragic hero. The study noted above regarding tragedy was shaped by the Greek philosopher, Aristotle. Aristotle also noted that the tragic flaw is imperative in the characteristic of the protagonist and the proceedings that transpire in the piece are a manifestation of that flaw (“The Poetics by Aristotle: XIII.”). This philosophy of the tragic hero can be located in both Charles Van Doren in Quiz Show and Shakespeare’s character, Othello, in his play Othello. It is the
When the ability to become a possible contender on Twenty-One displays itself, Van Doren observes it as a chance for him to finally receive recognition in his family; this opportunity puts him into a situation where he is forced to evaluate his ethics. Enright and Freedman shatter Van Doren’s moral standards by stating that they should place him in the show and provide him with the questions that he previously knows. Van Doren mechanically recognizes that this suggestion is immoral: that it is ultimately dishonourable. A significant defining moment of the film is when Van Doren encounters a crisis; whether to state the answer to a question he was arranged to be asked or to answer the question inaccurately and preserve his veracity. Though Van Doren clearly faces a struggle within himself, he ultimately chooses the recognition and fortune that will derive from his victory on the show. The awareness he acquires from his presence on the Today Show causes it to become effortless for him to validate his verdict. The fall of Van Doren becomes apparent when Congressional investigator, Dick Goodwin, comes to New
Othello’s prestige (that of a dark, tall, African Moor), joined with his particular charisma, aids him in achieving the admiration and loyalty of the Venetian people and senators. Othello, subsisting as a soldier for a large interval of his life, is viewed as an exceptionally honourable gentleman. His status as a governor-general itself displays an aura of aristocracy, poise, and potency. The identity portrays someone who is sustained in tremendously high reverence by the people of Venice. In addition to him exhibiting pronounced characteristics and courage, Othello also exhibits pride. He retains his composure during the initial confrontation with the senators when he is accused of witchcraft when Desdemona's father faces Othello about his courting his daughter: “Most potent, grave, and reverend signiors,/ My very noble and approved good masters,/ That I have ta'en away this old man’s daughter,/ It is most true. True, I have married her./ The very head and front of my offending/ Hath this extent, no more,” ( I.iii.76-81). Though Iago is the venomous serpent of the play, it is Othello’s tragic faults of gullibility and jealously that convert him from an aristocrat into a venomous creature himself, which inescapably carriages him to his demise. Although Iago fuels the fire that is Othello’s jealously through his tactics of