Se, por qualquer motivo, o antagonista não pode colocar-se numa luta prolongada, então você pode procurar por outro personagem que o faça.
Othello é o antagonista.
Permitam-me repetir novamente: o antagonista deve ser tão forte como o protagonista. As vontades das personalidades conflitantes devem chocar-se.
Anyone who opposes a pivotal character necessarily becomes the opponent or antagonist. The antagonist is the one who holds back the ruthlessly onrushing protagonist. He is the one against whom the ruthless character exerts all his strength, all his cunning, all the resources of his inventive power.
If for any reason the antagonist cannot put up a protracted fight, you might as well look for another character who will.
The antagonist in any play is necessarily as strong and, in time, as ruthless as the pivotal character. A fight is interesting only if the fighters are evenly matched. Helmer, in Doll’s House, is the antagonist against Krogstad. The protagonist and the antagonist must be dangerous foes to each other. Both of them are ruthless. The mother in The Silver’s Cord finds a worthy opponent in the women her sons brought home. Iago in Othello, is the ruthless, conniving protagonist. Othello is the antagonist. Othello’s authority and power are so great that Iago cannot show his hand openly – but he courts great danger anyway, nay, his very life is in danger. Othello, then, is a worthy antagonist. The same is the case in Hamlet.
Let me now repeat it again: the antagonist must be as strong as the protagonist. The wills of conflicting personalities must clash.
If a big brute brutalize a little man, we’ll turn against him, but this will not mean that we shall wait with bated breath to see the outcome of this uneven encounter. We know it beforehand.
A novel, play, or any type of writing, really is a crisis from beginning to end growing to its necessary conclusion.