Life 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.
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 naiveté 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 Iago's 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 Iago's 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... [continues]
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