Invite a literary student to name the most morally reprehensible character they know and almost without success, Iago's name comes from William Shakespeare's game, Othello, from Venice's Mora. In fact, most would agree that Iago is undoubtedly a rogue of the dramatic tragedy; but really? The purity of the mind and the willingness to go beyond normal reasoning is necessary to discover the real villain in this memorable tragedy. Most readers superficially evaluate the two central characters: Iago and Othello. By nature, the analysis requires a simple and convenient rejection. In fact, Iago is an evil man, and the tragedy is a vital part of this game, but he is not the real bad guy. Deeper consideration, coupled with an open mind, shows truth, Othello is the real villain. While thought is malicious, it allows you to reach the killer's status because it is thoughtful, jealous and emotionally unfair. Even when the scenes unfold, it becomes more and more obvious that Othello's powerful ego leads to a reduction in dynamic proportions. First of all, he is aware that he is a high-level warrior who is able to hold a sword in order to fight, and at the same time skillful for organizing teams and drawing lines of combat. These qualities have flown to the top of the military defense of the city of Venice and the light of the social elite. It was a military skill that gave him a high-ranking status, and it was the same courage that gave him the idea. As Iago informed Brabantio of the threat, he says, "Let me do his intent: My services that I have done must stop the oral speech" (1509). He trusts that he was stunned by arrogance and declared that his reputation could resist anyone's accusation. He also demonstrates his lofty self-confidence when he says, "I ask for my life and my life from royal siege men" (1509). The importance and condition of the natural men was on his head. He starts thinking as a tall, infallible and infallible man, giving the enemy a decisive insight into what to do to make Othello a noble nobleman, "the Moor is changing my poison: there are dangerous ideas in their nature poisonous …" (1555) .

As the details of Iago are revealed, we find another foam held by jealous Othello. It's important to understand your jealous mind. In Action 3, Scene 3 is heard to say, "I am black, and I do not speak so much of the conversation that the chambers have because they come to the valley of the years" (1553). This shows that color, age and education are uncertain. Iago senses what Desdemona does not know; Othello's threefold uncertainty feeds on invisible jealousy. He says, "As he (Cassio) smiles, Othello will be mad, and his ruthless jealousy must be mistaken for gloomy gestures and gestures of miserable Cassio (1569). He rightly justifies "making him so strong jealous that the judgment cannot be cured" (1532). Iago simply sets up the scene, and Othello's jealousy remains.

Finally, we examine emotional unfairness. From the moment of Iago, Othello's mind quickly grows with a weed and contempt weed. He expresses love for Desdemona in an oral sense, but Iago manipulates easily because he doesn't feel like he feels. Consider this, in Scene 3, Scenario 3, "If it is false, then Heav & # 39; s itself will refuse: I will not believe" (1554), the right answer for a really passionate person. Shortly thereafter, he was crazy and rejected Emilia as a "simple spell" (1557) because he suggested that Desdemona be loyal to her. Why change? Because his love is no more than an illusion, nothing more than an obsession, and when the spoon is fed by Iago, he is willing to upset them. His emotional insecurity is boundlessly intertwined with his other films. He feeds on mental incubations and creates a living monster from a one-time wonderful man.

Although Othello has some virtuous qualities, there is no doubt that his unbelief, jealousy, and emotional unfairness add up to the evil of this timeless Shakespearian. Ultimately this is Iago's involuntary prophecy, which is true to the end, "Oh, sir, jealousy; this green-eyed monster that suppresses the flesh he feeds; who says, who guesses, but has doubts, suspects, still loves it! " gives, the memorabilia of Othello, the proud, suspicious, Venetian moor.

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