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Iago committed a crime that is malum in se. (He intentionally deceived…

- - - - The paper properly describes Coleridge analyzation of Iago. "He doesn't mean that Iago is a supernatural being. He means that Shakespeare has presented us with a human being so far removed from the concerns that usually have some hold over the rest of us. This is especially ironic as Iago considers himself to be very like us."
        
        As we can see, Shakespeare presents Iago as a character who isn't morally obligated in any sense, and one who is blinded by the desire for revenge.
  - - - (3.3.466-72) The atmosphere evoked is given in the word 'reverence': this is a solemn, almost a ceremonial moment in which something irrevocable is enacted. The scene ends with a horrible parody of the promotion Iago wanted: (3.3.481-82)
        
        Iago ultimately gains the promotion he initially sought. Providing him with the power he needs to carry out his plan.
  - - - Iago purposely deceives Othello by playing his jealousy to his own favor. We can later see that he achieves his initial goal through doing.
- - - - The first articulation begins
        
        with Iago, Othello’s malignant ‘ancient’ ensign. He voices his thoughts with the following
        
        verses: “Now, sir, be judge yourself/Whether I in any just term am affined/To love the Moor.”
        
        (I.i.37-39). His utterances continue until the end of the play. Likewise, the other characters
        
        give voice to the otherness of Othello: Desdemona’s father Brabantio, Roderigo- a Venetian
        
        gentleman, Duke of Venice, Gratiano- Desdemona’s uncle, Lodovico- Desdemona’s cousin,
        
        Cassio, Emilia and finally Montano- the governer of Cyprus. Except for “Moor” and “Black”
        
        there are other attributions like “an old black ram” (I.i.87); “ … the sooty bosom of such a
        
        thing as thou – to fear, not to delight” (I.ii.70); “… what delight shall she have to look on the
        
        devil” (II.i.220-221); “O murderous coxcomb”(V.ii.234). Adler (1974: 250- 251) asserts that
        
        the devil’s blackness and Othello’s blackness, the abnormal integration of ‘evil with good and
        
        of African with European’ are equated with each other through the replacement: “Or else the
        
        devil will make a grandsire of you” (I. i. 91). She explains, “When the audience meets the
        
        noble Moor, his blackness has been verbally linked with ugliness, the strange and unnatural,
        
        gross animal sensuality, and the evil of the devil himself (1974: 251).