The Disturbing Evil in OthelloIn William Shakespeare's tragic drama Othello, the presence of disquieting evil is present in the play, from the opening scene to the closing scene. Let's discuss this concept of evil as it manifests in the drama. HS Wilson, in his book of literary criticism, On the Design of Shakespearean Tragedy, discusses the character of the former general: In such a man everything is food for his wickedness. There is no way to appease him. His ego feeds on the misfortunes he creates for others, and what he feeds on only makes him hungrier. He is proof against pity and remorse, as his final interview with Desdemona and his sullen defiance of his captors at the end show us all too painfully. In short, he is the half-devil that Othello ends up calling him, half-devil and half-man; However, the smallness of each of its components is formidable, similar to that of a spider and, moreover, frighteningly human. (54) In the essay “Wit and Witchcraft: an Approach to Othello,” Robert B. Heilman reveals the evil that awaits the reader in Othello: Reason as the ally of evil is a subject to which Shakespeare keeps returning , as if fascinated, but in different thematic forms as it explores different opposing forces. ]. . .] Even though Iago, as we have seen, does not take the ennobling power of love seriously, he does not fail to let us know what he takes seriously. When, in his false oath of loyalty to "the wronged Othello," he swears "the execution of his mind, his hands, and his heart" (III.3.466), Iago's words provide a clue to his truth: his heart is his wickedness, his hands literally wound Cassio and kill Roderigo, and his mind is the genius that creates the entire strategy. (338) Through an extraordinary composition of characters, Shakespeare made Iago participate, literally or symbolically, in all these modes of evil. And in Iago he dramatized Dante's summary analysis: "For where the instrument of the mind is connected with evil will and power, men cannot defend themselves against it. » But he also dramatized the hidden springs of perverse action, its urgency, its passion and its immediacy. He also contemplates the "power" of the evildoer and the impotence of man: but he interprets them tragically by making them, not absolute, but partly dependent on the faults or desire of the victims themselves. (343)First of all, Iago's own words describe him as he is.