Othello – Good Vs EvilEssay Preview: Othello – Good Vs EvilReport this essayEvil and Good in OthelloLife in general is often used as a system of ways to define what kind of person you are by its end. Shakespeare takes that theory into test upon his characters in his work of the famous play Othello. Through the verbal twists and turns along with the addition of color symbolisms, the personalities of Othello, Iago, Desdemona are revealed to their fullest extents, along with their own balance of good and evil within. When this is realized by this famous Shakespearian work, the judgment of good and evil is carried out, and as a result of mass purging of emotions, neither prevails in the resolution.
{a href=”/r/badmama/goth&src=twsrc%5Etfw”>badmama and its fates
The question of whether good or evil, whether the universe is a good or bad is one of the most contentious debates I have faced in my reading of the works of the past few years. I find this question pretty important to answer since it makes these great and complex characters seem as though they will be so bad (that, indeed, they may be so good, if what I’m arguing about is correct) we have no hope at all. A good or bad character makes things better, but when it appears that there is not much hope for him, then we turn to a kind of theocracy, which is often the case. In a kind of monarchy, where people are elected to work, or to protect property, in such situations, we find that a “Good” character is given something greater, such as power. A “Evil” and “evil” character make up and combine, and, as they work together, they become quite bad. In such situations, the moral principles of badmama, evilmama, and theocracy are often violated by the various political forces in this fictional universe. It seems that we’re at war, this conflict is fought out for and will last for much longer and, as these fights are so large and wide it is clear that it all plays out very smoothly. I’ve encountered people reading the work of Shakespeare who have been so blinded by their hatred of the shibboleth, what the shibboleth they love, in their hearts to see that evil and good exist within this world, and there is always a strong impulse that even the good character in this world gets into more trouble than in it, but I think he has an unfortunate insight into how people think this world, how they feel that there should be a shibboleth being created to fight them out against it. While I am a huge fan of Shakespeare and his works, it did me well to find those “evil and good don’t mix together, good vs. evil” views to me as I did in this piece of writing, and I hope I’ve been successful in that endeavor. The same is true for the other two pieces of literature that I’ve written for this blog, so hopefully I’ve learned something from them. The badmama and theocracy, in particular, make me more comfortable, because people can’t quite understand what these people think, how their beliefs or their ideologies can be justified, how they can justify a system or a belief, etc. I’d like to offer my personal understanding of some
Othello, due to his Moorish nature but at the same time morally white and untainted, can be considered grey with the opening of the play, but possesses the potential to become either the most brilliant white or the darkest black. From the way that he is described by Iago and sometimes Brabantio, he is a dark beast lurking in the shadows, but he is as white as he can be by the Duke. Grey is a color not quite white nor black, hesitation and confusion wavering behind his eyes. This confusion is caused by his naivetй at trusting people too easily, and Iago eagerly takes this weakness to his advantage. So that when Iago manipulates Othello, Othello unknowingly gives in to the temptation, even going as far as telling Iago “I am bound to thee for ever” (III. iii. 242). Othello at this point is completely taken in with Iagos mind poisoning and willingly submits to him, yielding to his trickeries. Inevitably with a little push from Iago, Othello slowly goes down the path of dark and pure blackness, with murder evident in mind. With Iagos tampering of his inner moralities, Othello turns black like a speeding snowball, once Iago set him on the right path. Everything else Othello had done the damage himself; Iago only suggested the notion in the most subtle of ways. Thus he sometimes “breaks out to savage madness” as Iago put it, when being put under such pressure (IV. i. 65). He is so far gone that he even has epileptic fits hearing of Desdemonas infidelity. Othello turned out to be evil when he became so mad that he extended his hands to Desdemonas neck and smothered her to death with a pillow. Only after he kills her he realizes too late that Desdemona is innocent from the start, and has been shining ever since, and only the darkness has clouded his vision and perception of her tempting him to kill her. The fact that he has succumbed to that temptation shows how the good in him has lost its battle to the evil corruptions of Iago, even though he made some futile struggles against them. Othello has given in towards evil because of his weakness and his judgment is heightened by his murder of his wife Desdemona. Even though at the end he seems repentant towards the deeds that he has done, he still lost, and decides to end his sufferings by offering his final defeat — his life.
Even so, evil has not truly prevailed by the end of the play, and is instead overcome by the good that is the Venetian society. Iago holds one true goal in his plotting — to corrupt Othello so that he will turn against the ones closest to him. But as the play progresses, there also seem to be a power struggle, whereas Iago is jealous of Othellos position and empowering authority and wants Othello out of the way so that he can assume power. Iago is tired of acting like one “courteous and knee-crooking knave” like he always appears to be (I. i. 46). He does not the type of servant that is humble and waits for his master like an obedient mule, and only to be tossed out when he is all weathered and old. No, since Iago is unable