It is our final week of Tragic Flaw September, delving into character shortcomings in modern literature and media. As previously, this post will observe one that is not often considered a weakness, but nevertheless leads to downfall.

And, as usual: I will speak about tragic flaws in stories that are neither Classical works, Shakespearean theatre, nor epics before the 1900s. All examples will come from more contemporary authors and playwrights.

This week, I will discuss the tragic flaw of love.

One of the most powerful emotions ever, developing from our need to belong and reproduce, it becomes many people’s reason for existing. Whereas community is centered on reliance towards a group, this post will instead focus on feelings for an individual.

Common archetypes are the Star-crossed Lovers, the Self-Sacrificer, and the Protective S.O.

However, the sheer intensity that love affects people can have disastrous consequences on their psyche when things go wrong. Obsession, self-destruction, and controlling abound, fueled from the deep passion.

Enough to destroy the person, and/or the subject of their affection.

F. Scott Fitzgerald exemplifies this with The Great Gatsby. The eponymous figure goes to great lengths to win over his former sweetheart, a form of Star-crossed Lovers divided by years apart and one them being married. Consumed with the delusion that things can be like they were, Gatsby’s wooing fails at the expense of himself.

Hundreds of guests as his parties, but a sparse crowd at his funeral, from keeping shallow interactions with others. Trying to charm Daisy with fine clothes and luxury boats, yet hiding the true self that impressed her all those years prior. Appeasing her will, even when it puts her in the driver’s seat on the fateful night that changes everything.

Rather than letting go or being the man she had loved, he stays obsessed with her and the past, and lies bereft of a future.

🎵A little party left some cold dead bodies…🎶

While Gatsby withers away from indirectly neglecting himself, the Self-Sacrificer actively chooses to lose parts of oneself for another (especially a loved one), demonstrated through Davy Jones from Jerry Bruckheimer’s Pirates of the Caribbean films. I mean, he literally cut out his own heart and stuck an octopus to his face to show his dedication to Calypso.

Binding himself to eternal servitude in a depressing environment, Cthulhu Jr. provides a more gritty idea of a common theme. Of people devoted to another, continuously giving up parts of themselves and warping into a wicked version of themselves. As Jones spends years chauffeuring the dead across the sea, he and his crew become monstrous, showing the humanity they lose.

Soon, he becomes greedy for souls, dragging others into the same service he despises, reflecting the lack of love he ultimately started out with.

The Protective S.O. (significant other) is a different case, defending the one they love from the outside. The negative form of this achetype comes in the form of Anakin Skywalker from George Lucas’s Star Wars prequels. Assuming they know what is best for the other’s safety, a character with this flaw makes decisions for them, even if they go against their best interest.

And what better demonstrates this, than Anakin betraying what he stands for, destroying democracy, and even harming his wife in the process? His love and anxiety about losing it leaves the young Jedi wide open to manipulation. So dedicated to preventing the prophecy of losing his family, that he destroys them, as tragic flaws lead people to betray their purpose.

All of this, to accomplish goals that Padme would have avoided at all costs, and at the expense of the entire galaxy. Driven to desparation, the vulnerable Anakin acts on what he believes to be right for the affection he ultimately destroys.

Often considered the noblest reason for characters to fall to villainy, love can produce the best and worst in others. And the raw emotional ardor it leaves people with only serves to amplify the horror when it goes bad.

Few shortcomings can cap off Tragic Flaw September so fittingly.

What are some of your favorite uses of the themes and archetypes listed here?

Note: all works and characters are the property of their respective owners. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, research, commentary, and or parody. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.