Is he doing it just for pleasure?

He is inversing all, he is twisting everything, he is finding loopholes

Again, he is like the little devil on the shoulder, a little counsel that stirs up existing insecurity

even he states, what has he seriously done, but to carry words here and there, to incite what's already there?

Blaming the outside object, in fact, Jesus's blood for his downfall. No, Iago and Jesus' blood only made him.more honest and "beast-like", living. Innocent.

Touches on innocence, free will and lack of constraint, lack of morality, lack of humanity == Blake's innocence == protection from Iago

Iago forced the drinks on him, and therefore he is the "devil" and yet, Iago has done nothing but let normal events carry out, because the devil is in Cassio himself, and in everyone. Does the wine signifying Jesus's blood mean anything for this?

Yet again stating the intentions of everyone in just wariness of their reputation and pride

He speaks his true beliefs?

Again example why he is a creator: Free will.

Cassio quite literally proclaims how his reputation and pride are the things connecting him to heaven, to divinity, to humanity, but which are void of life and actually destroy him. One without reputation and pride is nothing but a beast, what Othello fears he will be as a Moor.

To. be a man is to maintain dignity

Personal and professional mix up looked down upon

That is the problem, the fact that nobody can acknowledge their inner darkness, that is why it comes out in the most unpredictable and manipulative ways (Iago)

Iago is the answer, because the one with the most restraint ends up being undone the easiest.

Notice how words like "Gravity" and "stillness" associated with civility and virtue -- however heaviness, gravity, and stillness has a connotation of death, not life.

Is Iago somehow a villain that brings life? Not a villain, but a hero? An anti-hero?

Pride has to do with morality of the Church. What aids their downfall is morality. This has ties to Blake, how religion is a restriction of freedom and true innocence.

Othello describes this chaos as Turks, as the foreign, as the other, as the out-group. This means he prizes his in-group due to their civility and restraint -- in other words their ability to maintain composure for the sake of pride. The rejection of the inner demon only creates more destruction (Inferior Function)

Vulnerability is seen as the vice in this case. The absence of pride and ego. And yet that is what would prevent Iago's manipulative plot, the understanding and the released grip of pride and ego, and the acceptance of less noble intentions

He will eventually turn on Cassio, so he will see his evils, but he not until the end will see Iago's evils, because perhaps Iago is a part of each, and pride is what covers them from accepting and admitting their inner evils.

What is the significance of this?

Iago is directly stating, or singing, while all are under his curse, that it is pride that pulls each down -- and he is merely showing its effects. Kind of 4th wall

He speaks as if he is playing a strategic game of chess. He is the gamemaster, Shakespeare himself, the comedic clown that turns everything upside down.

They protect their honor with wariness, indicating a sense of hiding, of restraint, of self-control, and most of all, of shame. This is a string that Iago pulls, something already bound to topple, Iago is just the small push like a domino.

Iago simply uncovers their true and repressed selves, like a glass of wine does. In some way he is not a villain, he is just the ignition of an already burning flame

Demonstrating Iago's purpose: the devil's temptation

Juxtaposition as how they see women: Iago sees women as witches capable of destroying, while Cassio sees her as a lady.

Have the moor thank him for his own destruction -- because it is him who will destroy himself and simply the ignition of his motivations that drives him to do so.

He loves her for her fine placement in his chessboard, his puppeteering.

Again, as a possession -- he sees his wife as a possession and is not jealous because it is her who has been stolen away, but because Othello is looking down on Iago and his ego is hurt.

"Our prosperity signifies that he is both sidling up to his characters in his grand puppet show and actually a integral part of them literally. He has the same motivations as each of the characters, only he is helping all of them achieve their most sinister goals

Simply considering, helpless to his inner suspicions that rule him (Iago) ... It is all just our inner paranoia that causes conflict -- aka. our inner Iago

Notice Iago doesn't actually do anything terrible. He is simply the whisper in each's ear that causes the storyline to unfold in whatever manner -- he is barely a presence. In this case, he is the inner devil (on the shoulder) of each of the characters.. no?

As opposed to Jesus's blood? Does this imply she is a fake? And that she wears a facade?

He is describing Cassio as a monster or devil with a facade of human civilness, when in fact it is Iago who is the monster, but fully civil and detached from his emotions. He sees the devil in desire, lust and love, when in fact the one who ruins it all is the one who cannot accept the human subjective nature including feeling and emotion

Why is the Moor considered the devil? Because of his skin color? And what does skin color have to do with all of it again?

foreshadowing that truly the tempest will not allow his soul to see happiness like this again.

It is almost like he is welcoming the Tempest, because he feels as if nothing can ruin it now, with Desdemona -- this is a literal inviting of Iago to come ruin it. It is to show that his defencelessness and overconfidence invites the inner beast within to come rupture it.

That "perfect woman" or deserving woman will not do her job properly -- a woman must be imperfect to be a woman?

He is describing someone without extremities, in the perfect balance of all, which is not human

Generalisation about women, that all are the same, like in-group out-group, the alienisation of women as if they are another kind.

Iago's point is that a woman's main asset is her beauty -- that will get her anywhere. And that her goal is to marry and produce an heir.

Seems like Iago, a mirror of him....

WOW!!!!

Misogynistic thinking -- he does not believe that her speech is worth his listening.

A show of cause and effect of race and blood to behavior

once again, symbol

Always referred to side by side with the angels or grace of heaven

I interpreted this as Iago's footing being sly and undetected by the human mind...? Was I wrong?

Guardian angel of Othello himself

Is Desdemona somehow the only figure that can ease the storm, falter the wrath that Iago brings, Othello's source of protection and of hope? Juxtaposition between heavenly and mortal world, the opposite of evil himself, Iago

Ironic, because they are not done -- the storm has overtaken the threat of the turks.

Could this signify that something stands to comfort and protect each from the storm?

Foreshadows the incoming rift, the blinding storm that will tear Cassio and Othello apart. The word "foul and violent" describes the manner in which Iago will do this

Compared to a donkey

Showing that he believes his wills make him the God of the world, that he has ultimate power over the chessboard just through intention alone -- and that is the work of the devil, the rejection of emotion's sway on decision making, and pure reason

What does drowning oneself mean again?! Refer to the Reading Literature like a Professor book

Perhaps his belief that he is uncontrolled by emotion and unconstrainted, and therefore is superior, is what makes him so evil? The detachment of oneself to their biological and true feeling is the work of the devil: reason.

Iago's main core lies in self-control and motivation -- he believes himself to be a man of simple free will, and unlimited freedom. Unrestrained and in control of the chessboard -- he assumes both the external world and (mistakenly) his internal world are under his control, but they may not be.

Fertile or not fertile, choice of life and or death, of renewal or of idleness

He would sell his soul to the devil instead of sacrificing himself for another's love -- he does not believe in love.

Fundamental problem: Othello x Desdemona is unnatural and bending the laws of nature -- but Brabantio alienated diminishes this idea in the mind of the reader.

Exaggerated emotions in the form of water and nature -- what could this mean? ALSO, Shows the role of emotion in this political setting, which is a recurring motif of overlap in personal and political decisions that runs throughout. How do you make a good ruler, leader who does not impulsively use personal emotion to decide in political circumstances? Reminds me of Hitler

Humorous, as it shows the lack of Brabantio's care in the political field, he is incompetent -- only woke up from bed to address his daughter's married life.

If he can't do political, can he do personal? And vice versa -- alienates him from the reader -> Alienates from his racist ideas.

Important because it contrasts all the other views of Othello -- but when he is a general, he is valiant. What does this signify about roles? About our split between personal and professional/political life?

Willing to leverage, but also highlights another side to Othello -- he is a prideful man who has the need to prove things, to win in chivalry -- not so much her love, but the fact he has her love.

Is she a mirror of Brabantio's own fears, and ideals, and therefore so appeals to him -- he compliments what he sees in Desdemona that resembles him, himself.

The diction is yet again paralleled to the military aspect that he just mentioned -- he is still a soldier, still a warlord, still someone that wins battles -- not an equal in love ?

Like a puppet, he imposes his own senses, perception as her own

Also refers to the accumulation of cataclysm that builds up in Othello throughout the play from the "mourning" and discrimination of his blackness.

Shows that she is nothing as an individual but solely as an asset to both-- who she recognizes herself as is completely solely based on her roles in men's life.

Seen as a source of entertainment, of tragedy, Desdemona loves him for his suffering and tragedy -- of his foreignness and surprise? She pities him for having endured all that. As a play

Her father considers her dead because she has shown a side of her that doesn't fit in his stereotypical thinking -- she has shown dynamism, less of an object and more of a person.

Othello is seen as the witch, not desdemona, yet. Both desdemona and othello are seen as completely 2D forms of everything their stereotype says.

Belief of witchery

Desdemona represents Othello's ties to Venetian society and his Venetian identity that he is already insecure about and holding so desperately onto.

In this case, the light motif is about awareness

These are all the characteristics they value in her, like a new car.

Dehumanization and picturing the relationship as a horrid rape and beastiality between Desdemona and Othello, capturing the Social Identity Theory at its finest.

Evidence to show that, explicitly, no matter what she says or does, he has excluded her reason and fixed his mind on one solution: to kill her, to be rid of her. Shows the stubbornness of the mind and his view of her still as an object. Manhood/chivalry = Isolated and stubborn choices.

Handkerchief is a motif of Desdemona's love and affections. Of where her heart lies.

He plays the role of Justice, of Zeus, of the gods who keep up the neverending cycle of life and death. He plays the honest honor of a man, which in contrast, Iago believes he has but does not.

Allusion to Prometheus who brings life in the form of fire. Is fire/light a recurring motif in the story for life and passion?

Repetition to show rationalization, reassuring himself

associated with beauty

Oxymoron

Could this be an illusion to the birth of the Minotaur under a curse?

The comparison of Black people to beastly beings, such as horses. It nearly shows a predatory danger for Desdemona like getting eaten up by wolves. He describes a human loving relationship as an animalistic dynamic

Drunkeness indicating/foreshadowing the manipulation Roderigo and other characters will fall under from Iago's malicious plans.

Huge contrast between Brabantio and Iago's speech. Iago speaks with great rhetoric and symbolism with souls and devils, indicating his own witchery. This is contrasted with the conversational style of Brabantio.

"Poison" "Incense" "Plague" "Vexation" all signify witchery, indicating the motif of mutual witchery. What one hates in oneself will be targeted to the outside?

His duplicity is so extreme that he simply cannot define himself as he says "I am not what I am". It is ironic because his hate for Cassio is the same as what he is -- a dishonest witch who pretends to be righteous man. Does this indicate he hates himself as well?

Demonstrates yet again the objectification and erasing of dimensions of Moors.. just like women.

An ironic phrase as the diction seems passionate and self-aware

The true colors of Iago, ironically just like what he hated Cassio for, the sly and two-faced witchery

Irony established from previous chivalrous idea

A kind of juxtaposition between the "womanly" / "witch-like" Michael Cassio and the "chivalrous" and "honest" man Iago (as seen by him), showing the perception of men and women.

Demonstrates the view of women as two-dimensional tools with specific and sole uses for men, who cannot take or assume any other role that men may.

Would this always cause a sticky end that can cause aggregations of proteins? Would it always be problematic?

That's why secondary structure is not dependent on R-groups polarity. A polar or charged R-group and a nonpolar R group do not determine the polarity of the backbone -- it is always polar, and can always participate in secondary structure.