Tragedy is perhaps one of the oldest and most captivating forms of literature. Although each is unique, almost all tragedies have some traditional similarities in content and structure. One of the most defining similarities is the presence of a "tragic hero", always accompanied by some form of "tragic flaw", which ultimately leads to their downfall. In Edmond Rostand's Cyrano de Bergerac, the eponymous protagonist identifies in many ways with the traditional tragic hero, notably through the presence of his own tragic flaw. Cyrano's insecurity about his physical appearance – his nose in particular – constitutes the tragic flaw that pushes him further and further towards his own downfall. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essay From Cyrano's first appearance in Act I, his insecurity about his nose quickly becomes apparent. Cyrano instantly behaves with great bravado, then begins to cause a bit of public disorder, starting various arguments with those who try to challenge him. In the middle of one of these arguments, Cyrano somewhat gratuitously accuses his opponent of “…looking at [his] nose” (18). Cyrano raises this accusation seemingly only in order to then have reason to defend it, which he does by asserting: "I am proudly married to this nose of mine." A big nose is the sign of a good, courteous, intelligent, benevolent, liberal and courageous man” (19). By making these broad and sweeping claims that clearly can have no logical basis, Cyrano is visibly overcompensating for his lack of confidence. He then vehemently attacks his opponent, saying: “That inglorious face on the top of your neck / … is as utterly devoid / Of aspiration, of lyricism, of pride… / Like these other cheeks, which will now feel my boot! (19). By needlessly jumping to the defense of his own appearance and attacking that of his opponent, Cyrano does little to distract from his insecurity. Rather, he simply manages to make his own vulnerability and obsession with physical appearance evident. With the introduction of Cyrano's love interest – Roxane – Cyrano's insecurity causes a deeper conflict within the play. It initially appears, however, that the tragic flaw that separates Cyrano from the object of his affections is his nose itself, as Roxane clearly exhibits a distinct obsession with physical beauty. She shows this repeatedly throughout the play, such as in Act II, when – confronted with the proposition that the object of her own affections, Christian, may be unintelligent – ​​she refuses to consider this possibility on the grounds that “he could not” t. His hair is as golden as Apollo” (47). Cyrano recognizes this and laments that because of Roxane's preoccupation with physical appearance, he can never truly win her love, grieving: "What hope can I ever have / With this protuberance that points to my fall ? (28). Here, Cyrano himself expresses the belief that his nose is, if not a “tragic flaw,” at least the source of his struggles. As the plot continues to develop, it eventually becomes clear that Cyrano's tragic flaw is not his nose in it and himself, but rather Cyrano's own insecurities regarding this feature. After Roxane falls in love with Christian – based on what are truly Cyrano's words and personality – she is able to declare, in Act IV, that she "would love him even...ugly" (123 ). This statement supports the idea that, despite his ill appearance, Cyrano would still have had.