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Honour, loyalty, reverence, and fidelity - the highest and the holiest virtues of humanity - are but base commodities to be bought and sold. Iago is "an unbeliever in, and denier of, all things spiritual, who only acknowledges God, like Satan, to defy him" (William Robertson Turnbull, , 269). Iago has no conscience, no ability to perform good deeds. Iago is a psychopath, and is not capable of forming affectionate relationships or feeling guilt and concern over his behaviour. Unlike Othello, Iago does not have the free will to refrain from wickedness. His nature does not enable him to see the goodness in any one or anything; he is driven by a lust for evil beyond his control.
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Nevertheless, some scholars argue that Othello does not kill Desdemona out of jealousy alone, but also in a conviction forced upon him by the more or less superhuman art of the scoundrel Iago. Such a conviction, considering Othello believed Iago’s honesty all along, would have been entertained by any man. We, the audience, discern Iago as a villain from the start; however, considering the essence of the Shakespearian Othello, we ought to place ourselves perseveringly under his circumstances and situation. It is only then that we shall directly feel the fundamental difference between the solemn anguish of the noble Moor, the melancholic suspiciousness of Leonatus, who is, in other aspects, a fine character, and the desolate fishing jealousies of Leontes. Othello has no other life literally but in his wife, Desdemona. The thought that she, his angel, had betrayed their love and, her native innocence, made his heart distraught. She, like him, is almost sanctified in front of the audience by her utter auspiciousness, and holy entireness of her love. As the curtain finally drops, whom do the audience pity most? (Steve, 2003).