The Role Of Iago In Othello's Evil

He is making a commitment to himself that Fortunato will get what he deserving, if it’s the last thing he does. For whatever reason Montresor sees his friend, Fortunato, as a vexation and wants to dispose of him. With this drive and motivation Montresor is capable of anything. If not for his determination Montresor may not have been able to murder

Clearly, obsession can really make one think so irrationally that they forget the basic principles of humanity and they end up doing ridiculous things without usually realizing until after they have taken the wrong action. The lead character in “The Tell-Tale Heart”, had gone so crazy because of his obsession over his eyes, that he decided to take the old man’s life in a very cruel way. The old man had never harmed, insulted, or wronged him in any way, and rather they both cared about each other but “it wasn’t the man who vexed me [him], but the evil eye” [175]. Gradually, he made up his mind to take the life of the old

On the day that followed the party, Tybalt sends Romeo a letter, challenging him to a duel. Mercutio launches into an extended description of Tybalt, expressing his fear and respect for him: “More than prince of cats. O, he’s the courageous / captain of compliments. He fights as you sing / prick-song, keeps time, distance, and proportion. … the very butcher of a silk button” (2.4.20-24).

The cruelty Iago is able to incite in Othello and Roderigo reveals their deep passions and overwhelmingly trusting natures. The fact that Othello is so vulnerable and susceptible to Iago’s poisoning sheds light on his lurking insecurities about age, race and appearance, which Othello is ultimately unable to ignore. Likewise, Roderigo’s willingness to sacrifice all money and morals by Iago’s bidding reflects his naive passions and an overall lack of personal strength. In stark contrast with Othello and Roderigo, Desdemona, the primary victim of Iago’s cruelty and yet the only one who dies completely unaware of it, turns out, somewhat ironically, to be the only one whose inner self is completely unaffected by Iago. On the eve of her death, even after being horribly mistreated by Othello, she firmly upholds her values of loyalty and obedience, and her belief that no woman would ever wrong her husband.

Conversely, Lucas’ views on morality are ruined through his stealing and mugging. In the end, the characters are both destructed by their dreams, but contrast because as their personalities are being transformed Gatsby is destroyed emotionally, while Lucas’ persona is

A Questionable Flaw In a fight between good versus evil, good is the recurring victor. However, when the good and evil are fighting within oneself, the outcome is not as desired as we wish it would be. Abraham Lincoln once said, “I would rather be a little nobody than an evil somebody.” Although good should definitely triumph evil, most people struggle between the two and it is a recurrent flaw.

The two characters are meant to balance each other out, but Iago gets too deep in Othello’s head, leaving him susceptible to lash out. Shakespeare wants to bring attention to the fact that no matter how hard one tries, the darkness creeps on eventually and wins. By this point in the play, all the character’s true colors have been shown. “Othello is forced to recognize that he lives in a tragic world, and he pays the price” which causes him to have his tragic downfall(Harbage). Othello saw the good in people, until his peers lied to him and betrayed him.

Frank Prentice Rand explains and gives reasons for Iago’s behavior and how he is the villain of the play. Rand’s claims that Iago shows his true face and tells his entire plan only to the readers while everyone else in the play sees him as a trustworthy and clever man the readers already know his evil side. Iago’s primary motive to become evil and seek revenge is jealousy because he suspects that Emilia cheated on him with Othello leading him to seek justice and make Othello believe that Desdemona betrayed him, thorough Iago’s talkativeness to himself the readers are aware of the real Iago while the characters in the play know the real Iago until the end.

In Macaulay’s (2005) critical perspective provides a longstanding question about the true nature of Othello’s mind, as he is continually manipulated through the clever treachery of Iago. In this context, Iago certainly manipulates the naivety of Othello, but it not Othello’s lack of mental or cognitive stability that allows him to drive him into “madness.” Therefore, Othello is not entirely to blame for his madness, just as Hamlet is not to be blamed for “madness” in his plot to get revenge against

Macbeth, the character, provides a perfect example of how even an honorable person can become corrupt when this desire is not regulated. While Macbeth is loyal and compassionate at the beginning of the play, he turns into a crazed lunatic by the end, simply because he chose to pursue power the wrong

The plot is thoroughly integrated with the characterization of Oedipus, for it is he who impels the action forward in his concern for Thebes, his personal rashness, and his ignorance of his past. His flaws are a hot temper and impulsiveness, but without those traits his heroic course of self-discovery would never occur. Fate for Sophocles is not something essentially external to human beings but