高人请帮我翻译这段话 谢谢啦 不要直接把网上那种生硬的在线翻译结果直接复制过来，尽量通顺些。

Question

When we come to Othello we find ourselves dealing with characters whose tragic fate derives clearly enough from their own deliberate choices, not from any pressure in their envitonment. Othello and Desdemona, whatever their difference in age, are alike in their calm and clear-eyed acceptance of themselves as responsible moral agents.
Desdemona is aware of the extraordinary figure she must be cutting in ehis scene and of the misinterpretation that will naturally attach to what she has done, bue she is neither strident in self-justification nor hesitant and tentative. If her choice probes tragic this is not because of any weakness in the capacity to choose. Othello is indeed a tragic choice, but he is not a wrong choice, for he totally fulfils the deepest inpulses in her entirely admirable nature. Desdemona chooses the best of men, but even the best of men, the play insists, is subjuct to corruption. Cassius's words to Brutus in Fulius Caesar:
The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings.
have a resonance for Shakespearian tragedy larger than the particular case of Brutus would indicate. Cassius seeks to 'whet' Brutus to political action against the dominance of Caesar. But Othello is probably Shakespeare's least political tragedy. Othello is an underling not because he fails to be a 'master of his fate' but because he is human. Faced by the intensitu of total commitment, absolute love, men must be underlings because they are not gods, because they are vulnerable, they mistake, rage, fall down, become comic grotesques, as Othello does when he tries to listen in on Cassio and Iago talking about Biana. Under such circumstances love for the best of men can be no more than a commitment to the fallible. However heroic the commitment, however true the perception of an ineffaceable goodness, the rot cannot be stopped nor the wrong step redirected. For the quality of faith in another, which is the highest expression of love, is necessarily tragic when the faith is fastened to a frail and changeable object, alias a human being.
我是刚刚注册的只有20分~~~帮帮忙吧 呵呵

Answer 1

当我们到了奥赛罗我们处理角色的悲惨命运从中非常清楚自己的审慎的选择，不受任何压力。《奥赛罗》中，苔丝狄蒙娜envitonment，无论他们的差别，都是相似的平静和接受他们的目光锐利
人，那错不在命运，但在我们自己，我们是有分离的共振，underlings。莎士比亚的悲剧较特别的人要寻求指示。卡修斯的人，是“政治行动在恺撒的。但是，《奥赛罗》是prob莎士比亚是最重要的政治的悲剧。《奥赛罗》原是一个不是因为他不是一个“自己命运的主人的，而是因为他是人类的。通过intensitu的承诺，是绝对的爱，男人必须自己，因为他们不是神，因为他们很脆弱，他们错了，愤怒，下，奥赛罗》的漫画grotesques，并当他设法偷听凯西奥，伊阿古谈论biana。在这种情况下，爱情最好的人不多，这会犯错误的。然而，然而真正的承诺的一个从事善了不能停下来，也不是错误的步骤。对于重定向的质量，是信仰的最高表现爱情，是悲剧性的信是用一个脆弱和易变的对象，一个人。本回答被网友采纳

Answer 2

当我们来到奥赛罗我们发现自己与人物的悲惨命运源自自己深思熟虑的选择不够清楚，不处理任何在其环境t压力。奥赛罗与苔丝狄蒙娜，不论其年龄的差异，在他们的冷静和清醒的眼睛接受自己作为负责任的道德代理人一样。

   苔丝狄蒙娜是非凡的人物，她必须削减排放历史信息系统现场和误解，将自然重视做了什么，她知道，她既不是布埃在自我辩护，也不犹豫和暂定刺耳。如果她选择的探针悲剧，这是不是因为任何选择的能力薄弱。奥赛罗是一个悲剧性的选择，但他不是一个错误的选择，因为他完全符合她的令人钦佩的性质完全最深inpulses。苔丝狄蒙娜选择最优秀的人，但即使是最优秀的人，坚持的发挥，是subjuct腐败。卡西斯的话布鲁特斯在Fulius凯撒：

        故障，亲爱的布鲁特斯，是不是在我们的明星

Answer 3

我靠 这么多你欺负人那 还不让去网上翻译 才给20分。。。