essay on imagery in othello

by William Shakespeare

Othello imagery.

The play revolves heavily around color imagery. Red, which signifies both love and bloodshed, figures heavily into the development of the plot, while green appears frequently as a marker for jealousy. Similarly, Othello himself enhances the play's reliance on color and color difference, as his moorish background would make him darker skinned than all the other characters in the play, specifically Desdemona who is often described as having alabaster (white) skin. The imagery of a dark-skinned body on stage surrounded by white bodies underscores the isolation and prejudice Othello experiences while foreshadowing his demise at the hands of whiteness.

Iago frequently uses animal imagery to describe Othello and Othello's behavior. He uses these images to stoke other people's mistrust of Othello and to single Othello out further for his existence as a moor. In Act One, Iago calls Othello both a "barbary horse" and an "old black ram," emphasizing Othello's darkness in order to make Brabantio disapprove of Othello's marriage to Desdemona (1.1). Iago's use of animal imagery also underscores his perception of Othello as "wild" and dangerous, a perspective that reveals Iago's own racial bias and inherent envy of Othello's reputation.

Red and White

As mentioned, color plays a central role in the development of the play. One of the color combinations frequently alluded to is red and white. In early modern English poetry, red and white were often paired together in praise of women's complexions – the red signifying their blushing against white skin. In Othello , however, red and white become foreboding elements of the plot: the red and white handkerchief that Othello gives Desdemona is symbolically transformed into the red blood on Desdemona's white sheets after losing her virginity, and later into the red blood against Desdemona's white skin after Othello murders her. The juxtaposition of red and white throughout the play underscores the fine line that exists between Othello's love for Desdemona and his uncontrollable jealousy.

Throughout the play, multiple characters make references to monsters or monstrous creatures, usually in a figurative sense. Othello perceives his vision of Desdemona's infidelity as "monstrous! Monstrous!" and Iago cautions Othello about the "green-eyed monster" that is jealousy (3.3). The recurring images of monsters adds a bleak and paranoid tone to the play, mirroring Othello's own descent into madness as he believes his loved ones are turning on him. This imagery also once again underscores the racial biases at work in the play, as Othello himself is perceived as beastly or monstrous because of his moorish ethnicity.

Othello Questions and Answers

The Question and Answer section for Othello is a great resource to ask questions, find answers, and discuss the novel.

what attributers of the green eyed monster jealousy are made painful apparent as the scene progresses

Jealousy is the green-eyed monster in this scene. In Act 3 scene 3 Othello pretty much displays his jealousy,

desdemonas speech here confirms the masterly nature of iagos plot with what words does she assure cassio that she will do her best to get him reinstated

What is your question here?

why does othello ignore the cries for help?

Othello is hurdling towards self-destruction: sadly, by the deaths of people closest to him. Like tragic heroes such as Macbeth, Othello's senses are dull to tragedy and screams of terror. Roderigo and Cassio fight, and both are injured; Othello...

Study Guide for Othello

Othello study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Othello
• Othello Summary
• Othello Video
• Character List

Essays for Othello

Othello essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Othello by William Shakespeare.

• Iago and Edmund: The Silence and Complexity of Evil
• Unity in Shakespeare's Tragedies
• Inevitability and the Nature of Shakespeare's Tragedies
• Witchy Women: Female Magic and Otherness in Western Literature
• Racism in Othello

Lesson Plan for Othello

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Othello
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Othello Bibliography

E-Text of Othello

Othello e-text contains the full text of Othello by William Shakespeare.

• List of Characters

Wikipedia Entries for Othello

• Introduction
• Date and sources
• Themes and critical approaches

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Interrogate.

To help you look at any scene in Othello and interrogate it, it’s important to ask questions about how it's written and why.

Shakespeare’s plays are driven by their characters and every choice that’s made about words, structure and rhythm tells you something about the person, their relationships or their mood in that moment. You should always try and ask yourself, like actors do, why is the character saying what they are saying or doing what they are doing? What is their motive?

Just like detectives, we need to look for clues to help us answer those questions each time, and here you can find some interrogation techniques we use to analyse text, introduced by the actors that use them. 

Analysing Othello’s Language

The play is about Othello’s downfall from a highly respected army general to a man driven mad by jealousy because of the words and actions of Iago. Othello has several monologues in the play that help us to understand more about his emotional journey.

In this video, Hugh Quarshie explains who he thinks Othello is and why he is so affected by the thought of Desdemona betraying him.

In the next video, Mark Quartley shares some of the things he looks for to help him understand how a character is feeling in a monologue. The example he is using is from The Tempest, but you can look for the same clues in Othello.

What can you find by looking at the same things in Othello's speeches?

When a character is delivering a soliloquy, they are usually open and honest in what they say. When a character has a monologue where other characters are on stage, they may have reasons not to be completely open in what they say.

Read Othello’s speech from the beginning of Act 5 Scene 2. In this speech, Othello is talking to the audience but also to Desdemona who is asleep. See if you can notice the things Mark tells us to look out for:

• Word choice

Questions to consider

• What are the key images that stand out for you in this speech? What visual pictures do they suggest in your mind and how does that help you imagine the mood of this moment in the play?
• How regular is the rhythm in this speech? Can you find lines in the speech where the normal rhythm is disturbed? What might those disturbances suggest about how Othello feels?
• What do you notice about the verbs that Othello uses in this speech?
• Can you find examples of alliteration and how do you think that alliteration affects the mood of the speech?

Using Mark’s strategies, we’ve started to look at what Othello's language in this monologue tells us about him at this moment in Act 5 Scene 2. See if you can complete the grid and finish four points which explain what this speech reveals about the character at this point in the play.

Explanation

Evidence Select an option

Explanation Click text to edit

Evidence Click text to edit

Point Click text to edit

What else can I do to explore Othello’s language?

• How do the different sentence lengths affect the metre or rhythm? How does this suggest the character is feeling?
• Are there sounds in the speech that give you a sense of Othello's state of mind? Why do you think he repeats phrases like ‘it is the cause’, ‘put out the light’, ‘one more’?
• What do you notice if you emphasise the last word of each line? What do you notice if you read just the first word of each line?
• Try applying these same strategies to the other monologues and soliloquies Othello has in the play. Consider how Othello’s language changes in different moments in the play and what this might reflect about how he feels in those moments.
• Take a look at the scene that follows on from this soliloquy. You can find this in the Language Investigate section for Desdemona's death where there is also the option to watch the scene being performed.

Analysing the Imagery

As with all of Shakespeare’s plays, there are lots of types of imagery used in Othello. It’s a great idea to keep a list of the key quotes and imagery used in each act.

Here are three types of imagery that come up a lot in Othello:

Animal Imagery

• Iago uses a lot of animal imagery to describe Othello. In Act 1 Scene 1, he calls him a ‘Barbary horse’ and an ‘old black ram’, using these images to make Desdemona’s father angry and telling him that Othello and Desdemona ‘are making the beast with two backs’. This continues in Iago’s soliloquies. In Act 1 Scene 3, for example, he says Othello will be easily led ‘as asses are’.
• How many examples of animal imagery can you find in the play and what do they reveal about the character who uses them?

Magical Imagery

• ‘Witchcraft’ is referred to first in Act 1, when Brabantio accuses Othello of bewitching Desdemona. Later in the play, Othello himself uses similar language to describe the effect Desdemona has on him. In Act 3 Scene 3, when Othello talks about the handkerchief he gave to Desdemona, he says a ‘charmer’ gave it to his mother and ‘she told her, while she kept it / ‘Twould make her amiable and subdue my father’.
• How many examples of magical imagery can you find in the play and what do they reveal about the character who uses them?

Religious Imagery

• The ideas of sin and forgiveness are really important in Othello and this language is tied into images of light and dark, and white and black. Desdemona, for example, is described as ‘fair’ and ‘heavenly’ with Emilia telling Othello ‘O, the more angel she, and you the blacker devil!’, when he admits to killing his wife.
• Take a closer look at the extract from Act 5 Scene 2 and explore how religious language is used in Desdemona’s final moments in the play. Why do you think Shakespeare uses these references so much in the last scene? Why is the light and dark imagery so important in the rest of the play?

Thinking about Act 5 Scene 2, we’ve started to look at what the religious imagery and word choices in the scene tells us about Othello and Desdemona. This scene uses religious language rather than images. See if you can complete the grid and finish four points which explain what this language shows about their relationship at this point in the play.

Analysing the Themes

As with all of Shakespeare’s plays, there are lots of themes that appear in Othello. It’s a great idea to keep a list of key quotes and themes in each act.

Here are three themes that can be seen in Othello and are useful to look out for:

Theme of outsiders

• Lots of characters in Othello can be considered ‘outsiders’. Othello is a ‘Moor’ and is different to other characters; Desdemona is also an outsider in the military world of Cyprus; Roderigo has followed the army and is not meant to be there; and Bianca can also be considered an outsider when compared to the conventional behaviour of the other women in the play.
• See how many references you can find to Othello’s background and comments that point out he is a ‘Moor’ or different. Can these be split into positive and negative comments? In which situations is Othello’s nature as an ‘outsider’ seen as a positive and by whom? When is it negative?

Theme of jealousy

• Jealousy drives both Iago and Othello throughout the play. Iago wants revenge on Othello because he is jealous of Cassio’s promotion and jealous of Othello’s suspected relationship with his wife. He then fuels Othello’s own jealousy by leading him to believe that Desdemona and Cassio are in a relationship. Bianca is also driven to jealousy when she believes Cassio has given her a handkerchief from another woman.
• See how many references to jealousy you can find in the play. Look particularly at Act 3 Scene 3, where Iago warns Othello to ‘beware, my Lord, of jealousy; It is the green-eyed monster which doth mock the meat it feeds on’. Why does Iago personify jealousy as a monster? What other images are used and how does Iago succeed in making Othello so jealous that he is willing to kill his own wife?

Theme of betrayal

• Several characters are betrayed by those they trust. Othello is betrayed by ‘honest’ Iago, Desdemona by her husband, Emilia by Iago, Roderigo by Iago and Cassio by Iago.
• Which scenes are most significant for each of these characters and the betrayals they suffer? Can you identify the moments in which each character realises they have been betrayed and how they each react differently? What allows the characters that betray them to do so?

Analysing Iago’s Language

Iago has 31% of the lines in Othello: he has the biggest part, and also drives the plot forward. He has several soliloquies and each of them tells you a lot about his character. In this video, RSC actor Paapa Essiedu shares what he looks for in a soliloquy, that helps him understand how a character is feeling. The example he is using is from Hamlet, but you can look for the same clues in Iago and Othello’s soliloquies.

What can you find by looking at the same things in Othello?

Shakespeare gives characters soliloquies for lots of different reasons. Primarily, soliloquies allow characters to be open and honest with the audience. Take a look at Lucian Msamati performing Iago’s Act 1 Scene 3 soliloquy in the 2015 production. As you watch, see if you can notice the things Paapa tells us to look out for:

• Punctuation
• Line Endings

What can we learn about Iago from this soliloquy? Ask yourself:

• Do the sounds give you a sense of his emotion or lack of it?
• Which ones stand out?
• Are there lines or parts of the speech that stand out because of how they sound?

If you are able to read along you will also notice the punctuation and where each line ends. This soliloquy is written in verse, like a poem. Ask yourself:

• Does the punctuation in the text match with Lucian’s choices? Think about where the character is breathing and pausing; how does this make him come across?
• Does Lucian emphasise the last word of each line in his performance?
• If you wrote down all those line-ending words, what would you think the soliloquy was about? Does that feel right?

Using Paapa’s strategies, we’ve started to look at what Iago's language tells us about him in this Act 1 Scene 3 soliloquy. See if you can complete the grid and finish four points which explain what this speech reveals about the character at this point in the play.

What else can I do to explore Iago’s language?

• Try applying these same strategies to all of Iago’s soliloquies to reveal any changes in his language and behaviour. A soliloquy shows you a character’s true thoughts and a lot can be learnt about Iago from looking at these moments of truth. How much of his plot against Othello is in place from the start and how much does he make up as he goes along? What does this show you?
• Take a look at the things he says immediately before and after his soliloquies. Shakespeare often creates comparisons to show you something.
• Keep a record of the images Iago uses in his language. Iago uses animal imagery a lot. Why might this be? Notice at what points Othello also starts to use the animal imagery. Find out more by looking at the Analysing the Imagery section.

Teacher Notes

The following activity focuses on Othello’s speeches from the beginning and end of the play, allowing students the opportunity to explore changes in his character and language.

Othello’s Speeches (2015)

The activity can be found on pages 6 and 7 and takes approximately 20 minutes.

You can also print the PEE grids from each of the sections on this page to help students explore the language of central characters and some of the imagery used in more detail.

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Symbols in Othello: Literary Analysis & Imagery

William Shakespeare tends to incorporate numerous symbols in his plays, along with foreshadowing, allusions, and imagery. In this article, our experts explored different aspects of Othello, starting with symbolism.

✨ Othello Symbols

• 🐑 Imagery in Othello
• ✝️ Biblical Allusions
• 👥 Foreshadowing & Irony
• 🗺️ Navigation

🎓 References

There are a lot of secondary symbols in Othello . It is crucial to analyze them as well to get a full understanding of the play.

Handkerchief in Othello

In Othello , the handkerchief, which Othello presents to Desdemona, serves as a significant symbol. It bears a lot of importance due to its origin and the meaning that Othello attaches to it.

Othello gives the handkerchief as “a token of love,” therefore, for him, it serves as proof of mutual belonging to one another. However, at some point in the play, the symbol of love becomes proof of Desdemona’s infidelity. It becomes the essence of the Shakespearean tragedy. Some critics even say that the handkerchief in Othello is the most dominant symbol in the entire play.

For the first time, this object appears in the play when Desdemona offers it to Othello, and he rejects it. Instead, he says that her “napkin is too little.” It can refer to three things. First, it can mean that Othello’s trust in Desdemona is already depleting. Also, by calling it “a napkin” instead of “a handkerchief,” Othello is belittling its importance. Third, it can mean that Othello’s fixation over the handkerchief starts with Iago turning it into proof of infidelity.

At first, the handkerchief does not seem that crucial. Its importance becomes more and more evident from the moment when Desdemona drops it. The object turns into a tool in the execution of Iago’s plan and, ultimately, into an “ocular proof” of Desdemona’s affair. The audience will see how Iago uses the handkerchief to condemn Desdemona.

After Othello’s wife drops the handkerchief, it is being passed through the hands of every central character in the play. For each person, Desdemona’s handkerchief means something:

• For Othello, the handkerchief symbolizes their marriage bond, love, and Desdemona’s purity. Later on, though, it becomes a symbol of infidelity and cuckoldry.
• For Iago, it is a symbol of the power and control he has over Desdemona and Othello.
• For Desdemona, it is a symbol of Othello’s love.
• For Bianca, it symbolizes jealousy and passion.
• For Emilia, her desire for a happy marriage and subjection to her husband.

In a way, the handkerchief becomes a shared property in the play.

When Desdemona drops the object, Emilia picks it up and gives it to Iago. She does not know why Iago wants it so much. As she says later, he asked her to steal the handkerchief at least a hundred times before.

Iago is opportunistic and changes his plan immediately after Emilia hands it to him. It shows that Iago is always one step ahead of everyone. The audience sees what Iago does with the handkerchief later on.

When Othello demands the “ocular proof,” Iago tells him that he has one. Iago mentions to Othello that he saw Cassio wiping his beard with the strawberry handkerchief without being conspicuous. For Othello, it can mean only one thing. If his wife offered their “token of love” to Cassio, she probably offered her body to him as well. At that moment, Othello calls for blood and revenge.

The audience understands that for Othello, the handkerchief means more than it means for Desdemona. Her primary focus is Othello, and she does not need any external affirmation of their love for one another.

At the same time, Othello misplaces his love for Desdemona, and the object that supposes to represent their love becomes the proof of love itself in Othello’s mind. The strawberries that used to symbolize Desdemona’s virginity now serve as a symbol of her whoredom.

Two Stories of One Handkerchief

Othello gives two different stories about the origin of the handkerchief. He claims that an Egyptian gave it to his mother. He states:

“She told her, while she kept it ‘Twould make her amiable and subdue my father Entirely to her love, but if she lost it Or made gift of it, my father’s eye Should hold her loathèd and his spirits should hunt.”

He believes that his mother used the handkerchief to control her husband, Othello’s father. She may have been so afraid to lose it because it would mean an end to their marriage.

Othello most probably made up this version of the origin of the handkerchief to test Desdemona. He wants his wife to tell him the truth about the whereabouts of the personal object. Desdemona is bothered by the story and lies to Othello for the first time. She says that the handkerchief is still with her.

In European Medieval Literature, a handkerchief is a symbol of female favor. For Desdemona, it serves as a symbol of Othello’s love for her. However, usually, it would be a female who would give a handkerchief to the man she loves.

The audience gets two versions of what, according to Othello, is the history of the handkerchief. In Othello’s second story of how he got it, he says that his father had given it to his mother to prove his love. While earlier, he was telling that an Egyptian charmer had presented it to his mother.

After that, the couple never talks about the handkerchief until the deathbed scene. Being confronted by Othello, Desdemona explains that Cassio:

“Found it, then. I never gave it to him.”

She did not lose the handkerchief, nor she gave it away.

Obviously, both stories cannot be accurate. Most probably, the second story is true. However, Othello’s attitude towards the handkerchief changed. He started believing that it has some magic powers.

In the beginning, when Desdemona offers the handkerchief to Othello, he rejects it. It shows that he does not think it has any magic powers. Later on, he believes that it is a charm against adultery. The transformation of the symbolic meaning of the handkerchief causes the shift of the story behind it.

Handkerchief as an Ocular Proof

As the handkerchief passes from person to person, Othello’s suspicions grow. Ultimately, for Othello, it served as proof of Desdemona’s purity. Therefore, every time he sees it in someone else’s hands, her innocence becomes compromised.

The path of the handkerchief in Othello starts before the audience sees Othello and Desdemona. It is a part of their “backstory.” It turns into a visual representation of their love, then into ocular proof of Desdemona’s infidelity, and in the end, it becomes the evidence of Iago’s manipulation.

When Bianca finds the handkerchief, Cassio asks her to make a copy of its embroidery. Shakespeare uses irony in this scene to show that it, in fact, does not mean anything.

When Othello sees the handkerchief in Bianca’s hands later on in the play, it means only one thing for him. He believes Iago wholeheartedly. Thus, the ocular proof is found.

The Willow Song in Othello

The Willow Song is one of the essential symbols in Othello . It’s a song that Desdemona recalls in Act 4 Scene 3. It was originally sung by her mother’s servant, Barbara.

Just a few moments before Desdemona dies, while she prepares to go to sleep, she mentions The Willow Song to Emilia. She tells the story behind it and sings it. Desdemona states that this song was on her mind all night long. However, she feels free to say this only in private.

Desdemona talks to Emilia about the significance of The Willow Song while they are changing the bedsheets. Desdemona asks her servant to put her wedding sheets on, then suddenly she adds that she wants to be buried covered in her wedding sheets.

Many critics were wondering what the effect of The Willow Song and the interruptions to it is. With its constant interruptions and pauses, it sounds more like a cry of Desdemona about her lost love. The constant inclusion of the line, “sing willow, willow, willow,” gives an idea of how fragmented Desdemona’s memories and thinking are at night before her death.

Barbara, her mother’s servant, was also left by her lover, as he went mad and abandoned her. She says:

“she was in love, and he she lov’d prov’d mad, And did forsake her: she had a song of ‘willow,’ An old thing ’twas, but it express’d her fortune, And she died singing it.”

As a result of this betrayal, Barbara died heartbroken while singing The Willow Song .

Just like “poor Barbary,” Desdemona sings the song about her sad destiny, which she chooses to accept but hopes to change. That is why she requests the bedding to be changed.

In Othello , The Willow Song becomes a swansong for Desdemona and Emilia since both will sing it just before dying. It ties all three females together: Barbary, the servant, Desdemona, and Emilia, another servant. The song goes,

“The poor soul sat sighing by a sycamore tree Sing all a green willow. Her hand on her bosom, her head on her knee Sing willow, willow, willow. The fresh streams ran by her, and murmer’d her moans Sing willow, willow, willow; Her salt tears fell from her and soft’ned the stones. Sing willow, willow, willow. Sing all a green willow must be my garland. Let nobody blame him, his scorn I approve He was born to be fair, I to die for his love, I call’d my love false love but what said he then? Sing willow, willow, willow. If I court more women, you’ll couch with more men”

The Willow Song in Othello represents many things. It symbolizes the tragic destiny of a woman that has to live in a male-dominated society. It reveals her loneliness and acceptance of her fate, betrayal and hurt.

The earliest known version of this song dates to the end of the 15th century. However, traditionally it is very different from the one Shakespeare incorporated into Othello .

The major transformation of the song is connected with gender. In the original version, the song is about a man who is betrayed by his lover. Shakespeare adjusted the verses to fit Desdemona’s gender and tragic circumstances.

In Desdemona’s song, Shakespeare also alters the words and includes lines. For instance, Desdemona misremembers the line:

“Let nobody blame him; his scorn I approve.”

This phrase later parallels Desdemona’s final words:

“Nobody, I myself. Farewell. Commend me to my kind lord. O, farewell”

By asking nobody to blame Othello, she defends his abuse and forgives him freely. She chooses to remain faithful to Othello despite all the pain he causes her.

This line is the only phrase that is coming directly from Desdemona herself. The audience, which knows the original willow song, immediately recognizes this inclusion. She looks back at the scene in which Othello physically abused her and asks not to be harsh to him.

At the same time, Desdemona foreshadows that something more tragic is about to happen to her. The name “Barbara” correlates with Othello’s nickname “the barbary horse,” exposing the inner connection between these two females and their tragic lives.

The Willow Song foreshadows Emilia’s death as well. Like Barbara, Emilia is a servant, she is married to a madman, and she dies because of him.

After being stabbed by Iago, Emilia sings The Willow Song . First, as a way to remember her mistress, but also as a way to accept her female destiny. She cries out:

“Willow, willow, willow. Moor, she was chaste. She loved thee, cruel Moor.”

At the end of the play, via Desdemona’s song, Emilia obtains her voice and speaks up. Her words become a continuation of The Willow Song .

The willow scene in Othello is one of the most intimate dialogues between women in Shakespeare. The friendship that two women share in the play stands in opposition to the male friendship between Iago and Othello, Othello and Cassio, Iago and Roderigo.

This scene allows both characters to express themselves freely. The fact that it is done through the song and not through a soliloquy shows that two women are still learning how to be free in a world dominated by men.

Candle as a Symbol

The candle that Othello blows out before he kills Desdemona symbolizes her life. Seconds before he smothers her, he says, “put out the light, and then put out the light.” By saying that, Othello means that he can blow the light of a candle and lit it up again. However, he cannot kill Desdemona twice: her life is too fragile and gentle.

Othello concludes:

“If I quench thee, thou flaming minister, I can again thy former light restore, Should I repent me: but once put out thy light, Thou cunning’st pattern of excelling nature.”

One of the symbols and motifs connected with the candle’s image in Othello is the symbolism of light and darkness. Shakespeare does not talk about the physical absence of light. In Othello, darkness reflects the internal qualities of the characters. No wonder Iago’s opening scene starts in darkness because it mirrors his personality.

Shakespeare created a play with a circle composition that starts and ends with the scenes in complete darkness. Othello kills Desdemona in total darkness as well. It symbolizes a shift in Othello’s personality.

Moon as Symbol

Traditionally in literary works, the moon symbolizes purity and romance. However, in Othello, the moon refers to something completely different: it brings tragedy and death.

Seconds after Othello murders Desdemona, he blames the moon for it. He says:

“It is the very error of the moon; She comes more nearer earth than she is wont And makes men mad.”

Othello connects his madness with planetary proximity to the earth and its effect on him.

Some critics believe that Othello meant it in a figurative way. In fact, he was talking about the changeability and fickleness of women that drive men crazy and make them act stupid.

Wedding Sheets

The symbolism of the wedding sheets in Othello is another crucial aspect of the play. It represents Desdemona’s purity and virginity. The first wedding night between Othello and Desdemona never happened because it was constantly interrupted.

When Desdemona does not possess her handkerchief anymore, she tries to replace it with the wedding sheets to prove to Othello that she is innocent. This moment of changing the sheets in Act 4 Scene 3 resembles some sort of ritual in which sacrifice has to be made.

Othello, who is blinded and overwhelmed with anger and jealousy, does not notice her wedding sheets when he comes to kill her. Desdemona tries to present “an ocular proof” of her loyalty. However, it is too late.

Usually, wedding sheets symbolize the bride’s virginity and love between the newly-wed couple. However, in Othello, it transforms into a symbol of marriage destroyed by jealousy. These mutually exclusive symbols and meanings create an atmosphere of ambiguity in the play.

🐑 Literary Analysis: Imagery in Othello

William Shakespeare tends to incorporate meaningful imagery in his plays to describe the hidden flaws in the characters’ personalities. For example, in Othello , animal imagery is used to demonstrate the darkest aspects of human nature. This device helps the audience to fully grasp the meaning of the play and what the author tries to say.

In this section, we’ll explore some of the most crucial examples of imagery in Othello.

Animal Imagery in Othello

At the time Othello was written, the universe was seen as the Chain of Being. In this hierarchy, humans were considered superior to animals. So, when Iago uses animal imagery to refer to others, he is implying their innate inferiority. It becomes undeniable when Iago describes Othello’s personality.

In the play, there are forty-five mentions of animals or beast creatures. The first one to use animal imagery to describe others is Iago. In the very first act of Othello , Iago is using it in his conversation with Brabantio in an attempt to dehumanize Othello and convince Desdemona’s father to act out of anger. He says:

“Even now, now, very now, an old black ram Is tupping your white ewe.”

This repetition of “now” creates a sense of urgency. Brabantio feels that he has to act.

Iago also compares “an old black ram” with Othello and “white ewe” with Desdemona. Then, he continues:

“you’ll have your daughter covered with Barbary horse.”

Together with racial commentaries, these metaphors illustrate a strong despise that Iago has towards Othello’s ethnicity and Othello’s personality.

Iago tries to scare Brabantio by making an analogy about Desdemona and Othello’s sexual intercourse. He compares the couple as if they are “making the beast with two backs.” Here Iago implies that making love to Othello makes Desdemona beastlike as well. This vulgar and rude image makes Brabantio’s anger grow.

Throughout the play, Iago shows a lack of consideration for animal life. He tells Roderigo:

“Come, be a man. Drown thyself? Drown cats and blind puppies.”

By comparing Othello with an animal, Iago implies that Othello does not deserve to live or that his life has less value.

Flawed Characters as Animals

Additionally, Shakespeare uses animals in Othello as a way to reveal flawed characters in the play. For instance, by comparing Desdemona with “a white ewe,” he emphasizes Desdemona’s naivete. By constantly invoking beastlike imagery when talking about Othello, Shakespeare creates an atmosphere of growing tension and prepares the audience for what is yet to come.

Multiple times Iago compares Othello with “an ass,” probably meaning that Othello is very stubborn and not that intelligent. Iago says:

“The Moor is of a free and open nature and will as tenderly be led by the’ nose as asses are.”

In the next scene, he reinforces this image by saying:

“make the Moor thank me, love me, and reward me for making him egregiously an ass.”

In the Elizabethan era, there was a common belief that African descendants were less intelligent than Europeans. This attitude towards people of a different race was called scientific racism. Iago has the same attitude towards Othello. He does not refer to him besides “the Moor” or without using animal imagery.

Another excellent example of how animal imagery exposes the flaws of the characters is Roderigo. Iago uses bird imagery to show Roderigo’s limited intellectual ability. He says:

“For I mine own gain’d knowledge should profane, If I would time expend with such a snipe. But for my sport and profit.”

Othello’s Use of Animal Imagery

In the second part of the play, Othello adapts animal imagery as well. As his suspicions grow, his speech becomes more and more derogatory towards Desdemona. For instance, he calls his wife a “minx,” a small dog, or a way to refer to a beautiful woman who likes attention.

Later in Act 4, Othello says that Desdemona can “sing the savageness out of a bear” and that she has “crocodile tears.” These animal symbols essentially become jealousy symbols that show Othello’s lack of trust towards Desdemona and his changing attitude towards her.

If at the beginning of the play, Desdemona symbolized purity and cleanliness for Othello. Later he starts using animal metaphors while talking about her. When Othello becomes completely poisoned with jealousy, he compares Desdemona with

“A cistern for foul toads To knot and gender in!”

This comparison shows how low she fell in Othello’s eyes.

Animal Imagery and the Rules of Nature

Animal references also convey the idea that the characters act based on the rules of nature. In Othello , most characters in the play act based on their primary instincts rather than moral norms.

As Othello himself turns into “a beast,” it is easier for him to believe that Desdemona and Cassio behave like horny animals as if:

“Were they as prime as goats, as hot as monkeys as salt as wolves in pride and fools as gross as ignorance made drunk.”

Later in the play, Othello refers to Cassio and Desdemona as “goats and monkeys.” It is a sign that Othello’s reasonable mind is breaking down.

In Act 4 Scene 1, the audience witnesses Othello falling into a trance. At this moment, Othello is unable to talk and cannot control his own body, just like a beast.

The epilepsy episode symbolizes Othello’s complete estrangement from who he used to be at the beginning of the play. When Othello comes back to his senses, he calls himself:

“A hornèd man’s a monster and a beast.”

A peak of Othello’s animalistic behavior happens in the bed-chamber scene when Othello smothers Desdemona. At that crucial moment, he shows a lack of human emotions. He behaves like a predator.

Iago’s desire for blood and violence makes him look more like a dog than a human. Roderigo calls him “an inhuman dog,” and when Iago’s manipulations are exposed, Lodovico calls Iago “O, Spartan dog.”

Spartan dogs were trained to hunt and kill, so this metaphor connotes Iago’s inhumanity. The fact that Iago stops talking after his deeds are exposed reinforces this image. Throughout the play, it is Iago who looks at others as animals. However, in the end, everyone sees that it is Iago who is inhumane.

Nature Imagery

In Othello , nature serves as an example of meaningful imagery as well. In many ways, it represents the power of human thoughts and emotions and the natural order of things.

When Iago compares himself with “a gardener,” he puts himself above nature and above others. He is convinced that he has power over everyone else. In a way, he believes himself to be God-like.

Iago talks a lot about poisonous plants. For instance, he says:

“The Moor already changes with my poison. Dangerous conceits are in their natures poisons.”

He then continues:

“Not poppy nor mandragora nor all the drowsy syrups of the world shall ever medicine thee to that sweet sleep.”

He is obsessed with the poisonous plant because the kind of ideas and feelings he exposes through his manipulations will eventually bring pain and death.

Othello uses plant metaphors as well. He compares Desdemona to a weed that at first looked like a flower. Later in the play, when Iago’s plan is revealed, Othello compares Desdemona’s life to one of a rose.

Black and White Imagery

On a more profound level, the opposition of light and dark symbols in Othello can also symbolize racism. Desdemona’s whiteness is constantly juxtaposed with Othello’s blackness. Also, nearly all commentaries that Iago makes about Othello are charged with racial connotations and references to Othello’s complexion.

Throughout the play, Othello is referred to not by his name but labeled as “The Moor,” “old black ram,” “black devil.” Almost every character in the play insults Othello because of his ethnicity and color of skin.

✝️ Literary Analysis: Biblical Allusions in Othello

This famous line uttered by Iago, “I am not what I am,” most probably was considered blasphemy by the Elizabethan audience. Here, Iago alludes to a famous scripture said by Yahweh in the Old Testament. This phrase shows the nature of God, who is self-sufficient and constant. The thematic significance of Iago’s statement “I am not what I am” reveals Iago’s changing and, in a way, diabolic nature that is in direct opposition to God’s goodness and stability.

The plot of Othello itself reminds readers of The Garden of Eden. Iago is like the serpent who feeds lies to the first couple – Adam and Eve. Just like the devil, Iago uses his own deceitfulness to corrupt the characters. He exposes inner fears and causes his victims to harm themselves and others.

Iago states about Othello:

“The Moor is of a free and open nature That thinks men honest that but seem to be so; and will as tenderly be led by th’ nose As asses are.”

He knows that Othello easily trusts people, and it will be possible to implant these doubts into his mind.

Iago also knows that Othello loves Desdemona dearly. Iago says:

“His soul is so enfettered to her love That she may make, unmake, do what she list, Even as her appetite shall play the god With his weak function.”

Othello is like Adam, who allows his wife to become more crucial than his love for God, and, ultimately, it kills him.

For Iago, Othello’s open nature is a weak point that can be exploited. Just like the devil, who turned into the serpent and used Eve’s curiosity to make her eat the forbidden fruit, Iago turns into Othello’s loyal friend to make Othello’s passionate nature work against him.

👥 Literary Analysis: Foreshadowing & Irony

In his works, Shakespeare used a lot of literary devices to add more interest to the stories. One of such devices is foreshadowing. In Othello , Iago directly tells the audience about his plans. However, there are also less obvious examples in the play. In one of the scenes, Othello describes his behavior and attitude towards Desdemona: either he loves her or falls into an emotional “chaos.”

There is a moment that foreshadows Desdemona’s death. She sings The Willow Song that talks about a lover who went mad. Her mother’s maid died while singing it. Desdemona changes the words, indicating that she takes the blame for her own death.

Another literary device used in many of Shakespeare’s plays is irony. In Othello , verbal irony is evident when a character says something that contrasts their actual intentions. An example of it would be Iago: there were several instances when he said something different from his intentions. Other types of irony used in the play are dramatic and situational.

Thanks for reading our analysis of symbols and literary devices in Othello! For more information about the play, check the links below.

• Othello Themes and Motifs: The Handkerchief — Philip Weller, Shakespeare Navigator
• Othello by William Shakespeare: Entire Play — The Complete Works of William Shakespeare, Created by Jeremy Hylton
• Poetic Justice: The Moral Enigma of Shakespeare’s Othello — Alexander W. Crawford, from Hamlet, an ideal prince, and other essays in Shakespearean interpretation: Hamlet; Merchant of Venice; Othello; King Lear , Shakespeare Online.com
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There are many references to animals in Othello and they are almost exclusively crude or derogatory. In the first scene Iago intentionally plays upon Brabantio’s prejudice against Othello when he calls him a “barbary horse” and conjures up the graphic image of an “old black ram” “tupping” Brabantio’s “white ewe.” Throughout the play Iago uses animal imagery to emphasise the lack of regard he has for one person or another, particularly with regard to women. He refers to Desdemona as a “guinea hen” and says that if he were to ever feel anything as deeply for her as Roderigo does he would “change my humanity with a baboon” (Act 1, Scene 3). Here he shamelessly insults both Roderigo and Desdemona straight to Roderigo’s face. It is clear that for Iago animals are lowly, unsophisticated, stupid creatures and not deserving of even the slightest respect. Insulting those around him through comparison to the base desires and behaviour of animals is part of an attempt by Iago to find any way to elevate his status or assert some dominance over the other characters in the play.

Iago has a particularly graphic turn of phrase, and at times it is blatantly violent. The way he talks about things that are ordinarily associated with softness or innocence gives a great insight into his character. When he suggests that rather than wallow in self pity Roderigo should “drown cats and blind puppies” it is obviously an intentionally subversive image that often elicits a kind of shocked laugh from audiences, gobsmacked at the inhumanity of what they are hearing.

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• Shakespeare’s Othello: Animal Imagery Essay

Comparison of humans to animals has been an interesting and powerful tool that has been effectively used by many authors and playwriters. Shakespeare used it in many of his plays, and it is still used today.

It is ever so influential and is very easily understood. In Shakespeare’s play Othello , beast imagery is used throughout the entire play. Animal imagery helps show who the characters truly were. It also makes everything said a lot more dramatic.

Vivid images are placed in the reader’s head, which makes the play a lot easier to understand. Animal imagery also helps show a contrast between things; especially characters.

In Shakespeare’s tragic play, Othello , animal imagery is a convincing device used throughout the play to further develop the devastating tale.

• The use of animal imagery in Othello helps differentiate the characters from one another ,

This is illustrated at the very beginning through the character Iago. Iago is evil and manipulative. He decides to tell Brabantio about his daughter, Desdemona, leaving him to marry the Moor, who is Othello. Iago says to him, “…You’ll have your daughter / covered with a Barbary horse.” (I, i, 112-3) Iago obviously wants Othello to seem eviler and wants Brabantio to take action against him. His evilness is evident throughout the entire play. His devilish ways are particularly illustrated by his use of beast imagery.

At the beginning of the play, Othello was seen to be a lot different from Iago.  Othello was a noble gentleman and was known for his greatness. He never compared people to animals or used animal imagery in his everyday language. This changed once Iago began to manipulate and lie to him. As Othello’s character changes from good to evil, he too starts using animal imagery.

After Iago planted more lies about Desdemona and her relationship with Cassio, Othello’s lieutenant, Othello said to himself, “O curse of marriage, that we can call these delicate creatures ours / and not their appetites! I had rather be a toad / and live upon the vapor of the dungeon / than keep a corner in the thing I love / for others’ uses.” (III, iii, 270-5) In this quote, Othello is talking very negatively about his wife Desdemona. He says to himself that he would rather be a toad, than stay in a relationship with her.

Othello is tricked into believing that she is cheating on him, and is disgusted by it. This is why he would rather be so many other things than stay with her. He is also insinuating that being a toad, or living upon the dungeons air would be preferable to his current situation. Dungeons were often the sewers of the castle which proves how desperate and hurt Othello felt. This quote is only the beginning of his evilness, and it worsens from there.

Desdemona, on the other hand, is a very different character from Othello and Iago. Her purity and goodness are apparent in the beginning and continue to shine through the entire play. She never truly changes, even after all the hardships she faced throughout. Her final words illustrate how powerful and loyal she was. She says to Emilia, “Nobody; I myself. Farewell. Commend me to my kind lord. O farewell.” (V, ii, 125-6) Before these words, Othello strangled and tried to kill Desdemona.

He thought that she was dead, but just as Emilia came in, Desdemona said her last few words. What Emilia asked her was what had happened and who had done this to her. In response, Desdemona uttered the quote above. Although Othello was the one who killed her, she did not want to expose her husband. She remained loyal to him even after terrible things that he had done to her.

Desdemona never said anything negative about Othello throughout the play and did not use animal imagery once. Although not every character was evil, the ones who used animal imagery were truly differentiated from those who never used it.

• As said above, the use of animal imagery in Othello made everything said a lot more powerful and dramatic.

When Iago informs Brabantio of Desdemona leaving with Othello, he puts explicit images into her father’s mind. Iago says to him, “I am one, sir, that comes to tell you your daughter and / the Moor and now making the beast with two backs.” (I, i, 116-7) – where “making the beast with two backs” is a euphemism for sexual intercourse. Iago wants Brabantio to get extremely angry with his daughter and especially with Othello and knows that telling him that they are having sex, and comparing them to beasts, would make Brabantio or any other father furious.

Another instance where using animal imagery made the statement more effective was when Roderigo was stabbed by Iago. Roderigo was played by Iago throughout the story, and in the end, Iago killed him. After Iago stabbed him, Roderigo said, “O damn’d Iago! O inhuman dog!” (V, i, 62) He calls him an inhuman dog because of all the people that Iago betrayed. Roderigo thinks that no human could ever do things Iago had done. Calling him a dog was the worst thing that Roderigo could have called him, and he knew how powerful it would be.

After Othello finds out about the terrible things Iago had done to him, Othello talks to some of the soldiers and says to them, “I look down towards his feet; but that’s a fable. If thou be’st a devil, I cannot kill thee. ” (V, ii, 283-4) In this quote, Othello is referring to Iago as the devil.

The devil is known for having cloven feet, and when Othello looked down at Iago’s feet he was surprised and disappointed to see that he didn’t have them. Othello was so angry that he stabbed Iago after saying this. This is a very strong quote that exemplifies animal imagery perfectly. Although some references to animals can seem immature, in this play, they serve a great purpose and are very powerful.

• Animal imagery is a powerful tool in Othello because it helps make certain points in the play, and shows contrast.

At the beginning of the play, when Iago is telling Brabantio about Desdemona and Othello, Iago says to him, “Even now, now very now, an old black ram / is tupping your white ewe.” (I, i, 89-90)

This quote illustrates the major difference between Desdemona and Othello. He refers to her as a white ewe, meaning pure and young. And to Othello Iago refers to as an old black ram. The act of them running off together seems a lot worse when Iago uses animal imagery – the difference between them is much more obvious.

A contrast is similarly shown when Iago talks about Cassio, Othello’s lieutenant. Iago begins all his scheming when he notices the close friendship between Desdemona and Cassio. As Iago sees them greet each other, he says to himself, “He takes her by the palm. Ay, well said; whisper. With as little a web as this will in ensnare as great a fly as Cassio.” (II, i, 163-5) Iago calls Cassio a great fly because of how noble Cassio is.

The web he is referring to is all the lies that Iago will cast around Cassio. This quote helps contrast the evilness of Iago with the greatness of Cassio.

Later in the play, when Othello and Desdemona were fighting, Othello hits her in the heat of an argument. As they continue to argue, Othello says to her, “If that the earth could teem with woman’s tears, each drop she falls would prove a crocodile.” (IV, i, 142-3) Desdemona is referred to as a crocodile because of her tears.

Crocodiles use fake tears to deceive their prey, and by Othello saying this, he is implying that Desdemona’s tears were fake. She is very pure and noble, and should never have been compared to a crocodile. In this part of the play, Othello begins to lose his sanity. By showing the contrast between characters, through beast imagery, the play further develops and becomes more powerful.

The play Othello , written by William Shakespeare, has a major theme of animal imagery, which is used throughout the play to intensify and deepen the underlying meanings. Animal imagery helps further develop the play by showing who the characters truly were, makes everything said a lot more dramatic and the points a lot clearer.

Lastly, it shows the contrast between the characters. Shakespeare uses animal imagery very powerfully and intelligently. Although the play is in Shakespearian language, it is easily understood through animal references.

By comparing people to beasts, their true evilness or goodness is nicely illustrated. A common person, as well as a well-educated one, would be able to understand that comparison. It is present in many intelligent pieces and is continually used. What other device is as powerful as that?! Could animal imagery be one of the strongest tools in literature?

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“Imagery” on Othello

In William Shakespeare’s Othello, the use of imagery and metaphors is significant in conveying meaning as it helps to establish the dramatic atmosphere of the play and reinforce the main themes. Through this, the audience is able to grasp a better understanding of the play. Throughout Othello, images relating to poison frequently occur. These references are predominantly made by Iago. This seems appropriate for Iago who exhibits the characteristics of poison; they being fatal and deadly.

There are several possible explanations to what motivates Iago: being overlooked for being the lieutenant, the belief that Othello and Cassio had committed adultery with his wife, though this is never really proved; class differences present in the society that made him feel inferior and racial differences. This desire for revenge is so great it “doth, like a poisonous mineral, gnaw [his] inwards. ” Iago’s use of language is a primary weapon in manipulating Othello. By “pour[ing] this pestilence into his ear”, Iago contaminates his thoughts.

Once Othello starts to doubt Desdemona’s fidelity, he is so incredibly driven by ealousy that it leads him to murder her, ironically with poison. Many references are made to animals in the play. Iago uses beast imagery to express his contempt and to downgrade those he despises. Early in Act 1, he stirs Brabantio’s anger by using crude images of animals fornicating to inform him that his “daughter and the Moor are now making the beast with two backs. ” Such a metaphor is designed to evoke a strong emotional response. In a soliloquy at the conclusion of Act One, Iago says “It is engendered.

Hell and night / Must bring this monstrous birth to the world’s light. ” Shakespeare uses the image of a monster being born as a metaphor for the start of Iago’s evil scheming. It also becomes evident that Othello’s mind has been corrupted by Iago’s evil handiwork when he too starts to use the same sort of animal imagery in his speech. In one scene, convinced of his wife’s infidelity, Othello loses all self-control crying out “goats and monkeys,” animals traditionally considered lascivious. There is also a wealth of heaven and hell imagery in Othello.

Iago, who is Machiavellian in nature and revels in tormenting others, can be perceived as the devil personified. Even he himself acknowledges this when he says “devils will the blackest sins put on… suggest at first with heavenly shows / As I do now. ” Iago’s manipulation of Othello causes him to see Desdemona as ‘devilish’; therefore she must be brought to ‘justice’. Desdemona, though, is associated with images of light, heaven and purity, thus suggesting her innocence. Even in the last scene as Othello prepares to kill her, he uses a rose as a metaphor for Desdemona.

This indicates that her beauty still has an influence over him as well as his ever present feelings of affection for her. When at last Iago is exposed as the true villain and just before committing suicide, Othello, using another metaphor, compares Desdemona to a pearl that he has thrown away. This is one of many times where she is referred to as a priceless jewel. Throughout the play, the contrast between black and white is also used as a metaphor for the difference between Othello and the Venetian society.

Several references to Othello as “an old black ram” and “far more air than black” indicate that even though he holds the distinguished position of a general, the fact that he is black still makes him the ‘outsider’. Through the use of imagery and metaphors, Shakespeare is able to generate a considerable impact on the audience positioning them to recognize the full extent of the tragic outcome as a result of Iago’s treachery. The use of these images and comparisons effectively defines the nature of each character and explores central themes such as deception, race and jealousy.

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Imagery and Language in Othello.

Imagery and Language in Othello

In Othello, the use of imagery and language is significant in conveying meaning as it helps to establish the dramatic atmosphere of the play and reinforce the main themes.  The imagery and language conveyed include animal imagery; heaven and hell imagery; images of light, heaven and purity; images of poison; and black and white imagery.

Many references are made to animals in the play. Iago uses beast imagery to express his contempt and to degrade those he despises. Early in Act 1, he rouses Brabantio's anger by using crude images of animals fornicating to inform him that his "daughter and the Moor are now making the beast with two backs." (1.1.115). Such a metaphor is designed to evoke a strong emotional response. In a soliloquy at the conclusion of Act 1, Iago says "I have’t: it is engend’red. Hell and night / Must bring this monstrous birth to the world's light." (1.3.404-405) Shakespeare uses the image of a monster being born as a metaphor for the start of Iago's evil scheming. It also becomes evident that Othello's mind has been corrupted by Iago's evil work when he too starts to use the same sort of animal imagery in his speech. “Were they as prime as goats, as hot as monkeys,/ As salt as wolves in pride, and fools as gross/ As ignorance made drunk. (3.3.404-406). These references to animals convey a sense that the laws of nature, rather than those of society, are the primary forces governing the characters in this play. When animal references are used with regard to Othello, as they frequently are, they reflect the racism both of characters in the. In this particular statement Iago is talking about Cassio and Desdemona.  He refers to them as goats, monkeys and wolves as these animals were thought to be lustful creatures. Iago is doing this to push Othello past the point of sanity so that Othello is about to go mad and cannot forget the thought of killing Desdemona.  

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There is also a wealth of heaven and hell imagery in Othello, which reflects the religious and Christian values. Iago, who is Machiavellian in nature and revels in tormenting others, can be perceived as the devil personified. “Even now, now, very now, an old back ram/ Is tupping your white ewe” (1.1.87-88).  This statement made by Iago is both racist and degrading towards Othello.  Desdemona didn’t tell Brabantio that she was married to Othello, so Brabantio thought that Othello and Desdemona were having an affair.  This goes against Christian values as it was frowned upon as it was ‘unchristian’ and also because it was something that was not acceptable in Shakespeare’s time as it was very uncommon.  Also, during Shakespearean time, Othello would have been associated with demons because he had dark skin.  This imagery  of hell and damnation reoccurs throughout Othello, especially toward the end of the play, when Othello becomes preoccupied with the religious and moral judgment of Desdemona and himself. After he has learned the truth about Iago, Othello calls Iago a devil and a demon which refers to his earlier illusion of "some monster in thought" which ironically refers to Iago.   Iago also acknowledges himself as the devil personified when he says "devils will the blackest sins put on...suggest at first with heavenly shows / As I do now." Iago's manipulation of Othello causes him to see Desdemona as 'devilish', therefore she must be brought to 'justice'. After realizing what Iago has done in manipulating Othello, Othello says, “I look down towards his feet, but that’s a fable./ If that thou be’st a devil, I cannot ill thee.” (5.2.291-292) Othello says that he looks down to see if Iago’s feet are cloven like the devils, but realises that, that’s just a story with a moral.  Then says that if Iago is not the devil then he cannot kill him and stabs Iago with his knife.  This statement refers to Christian values as Othello is speaking of the devil.  In addition to referring to Iago as the devil, Othello also adds that if Iago is the devil then he would have cloven feet, but realising that that was just a story, Othello tries another way of proving Iago’s the devil, and stabs him.  

Desdemona, though, is associated with images of light, heaven and purity, thus suggesting her innocence. Even in the last scene as Othello prepares to kill her, he says “I know not where is that Promethean heat/ That can thy light relume.  When I have plucked thy rose,/ I cannot give it vital growth again,/ It’s needs must wither.  I’ll smell thee on the tree.” (5.2.12-15). Othello uses a rose as a metaphor for Desdemona. This indicates that her beauty still has an influence over him as well as his ever present feelings of affection for her. When at last Iago is exposed as the true villain and just before committing suicide, Othello says “Perplexed in the extreme: of one whose hand/ (Like the base Judean) threw a pearl away/ Richer than all his tribe” (5.2.351-353).  Here Othello uses another metaphor as he compares Desdemona to a pearl that he has thrown away. He indicates that he is greatly confused that, he could dispose of such a person, who meant the world to him.  This is one of many times where Desdemona is referred to as a priceless jewel.  Cassio calls Desdemona “a most exquisite lady…a most fresh and delicate creature…she is indeed perfection” (2.3.18-228)  This shows that Othello’s image of Desdemona is not a figment of his imagination but rather, Desdemona is in fact a pure and innocent, heavenly being.  

Throughout Othello, images relating to poison frequently occur. These references are predominantly made by Iago. This seems appropriate for Iago who exhibits the characteristics of poison, as he is also fatal and deadly. There are several possible explanations to what motivates Iago, such as being overlooked for the lieutenancy, class differences present in the society that made him feel inferior, and racial differences.  Iago's use of language is a primary weapon in manipulating Othello. Through subtle hints and persuasive language, Iago contaminates and slowly poisons Othello’s attitude toward his wife, by making Othello subconsciously contemplate the idea of his wife being unfaithful. With no basis whatsoever and solely through insinuations, Iago manages to convince Othello that his true and innocent wife has been unfaithful. Once Othello starts to doubt Desdemona's fidelity, he is so incredibly driven by jealousy that it leads him to murder her.  As Desdemona is unaware of the accusations against her, when she tries to convince Othello to reinstate Cassio, she aggravates Othello’s jealousy by just mentioning his name.  It is this poison that has been carefully infused in Othello, which makes him react in such a way.  “I tremble at it. Nature/ would not invest herself in such shadowing passion/ without some instruction.” (4.1.39-41). This poison that now runs through Othello’s blood is what reduces him.  It starts when Othello begins to doubt himself and his judgment.  Othello’s jealousy overpowers him, as he trembles, at the idea of Desdemona and Cassio together. His statement about nature means that he believes he would not feel such a powerful emotion; his mind would not be filled with images of them together if it were not really happening.  Othello takes the intensity of his own emotional jealousy to the claim of Desdemona being unfaithful.  

Throughout the play, the contrast between black and white is also used as a metaphor for the difference between Othello and the Venetian society. Several references to Othello are made which indicate that even though he holds the distinguished position of a general, the fact that he is black still makes him the 'outsider'. “Even now, now, very now, an old back ram/ Is tupping your white ewe” (1.1.87-88). "an old black ram" and "far more fair than black"

A considerable impact is generated on the audience, positioning them to recognise the full extent of the tragic outcome as a result of Iago's treachery. The use of these vivid images and comparisons effectively, defines the nature of the characters, establishes the dramatic atmosphere of the play and reinforces the central themes.

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• Subject English

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Othello Imagery Essay

Othello is a play written by William Shakespeare that was first performed in 1604. Othello tells the story of a Moorish general named Othello, and his tragic downfall at the hands of his wife Desdemona and her secret lover, Iago. Othello is a powerful play freighted with rich imagery, which Shakespeare uses to great effect to create an intense and suspenseful atmosphere.

One of the most striking aspects of Othello’s imagery is its dark and ominous tone. The opening scene is set in a moonlit Cyprus, which creates a feeling of unease and dread. This mood is reinforced by the use of disturbing images throughout the play, such as Othello’s description of his wife as a “devil”, Iago’s talk of Othello being “in the dark night of his complexion”, and the witches’ chant in Act 4:

Double, double toil and trouble;

Fire burn, and cauldron bubble.

These images all create a feeling of unease and suspense, and help to set the scene for Othello’s tragic downfall.

Another key feature of Othello’s imagery is its use of light and darkness. Shakespeare uses light and dark to symbolize good and evil, innocence and corruption, happiness and despair. In Othello, light often represents virtue and good, while darkness represents evil and corruption.

For example, Othello often speaks of Desdemona in terms of light, describing her as “an angel” and “a divine creature”. By contrast, Iago is associated with darkness and evil, and is described as a “thief” and a “devil”. This use of light and dark creates a strong visual contrast, which helps to convey the drama and intensity of the story.

Finally, Othello’s imagery also includes many powerful images of nature. These images help to create a sense of realism and provide a backdrop against which the characters’ emotions are played out. For example, Othello often speaks of the sea in terms of its tempestuousness and violence, which reflects his own inner turmoil. Similarly, the stormy weather in Cyprus mirrors the chaos and confusion of Othello’s mind, as he is torn between love and jealousy.

Shakespeare’s use of imagery in Othello is masterful and effective. It creates a dark, suspenseful atmosphere, and helps to convey the intensity of the story. It also provides a strong visual contrast between good and evil, innocence and corruption. Finally, it brings the play to life with its powerful images of nature. All of these elements combine to create a truly memorable piece of theatre.

The usage of images and metaphors in William Shakespeare’s Othello is important in establishing the play’s dramatic atmosphere and emphasizing key themes. As a result, the audience may better comprehend the play. Images relating to poison are frequently used throughout Othello. These allusions are mostly made by Iago. This seems to be correct for Iago, who displays poisonous attributes; he is deadly and fatal.

Othello on the other hand is associated with fire. Othello is a moor, and thus his skin color is darker than that of most of the other characters in the play. The image of Othello as fire could be interpreted to suggest his passion and rage. It could also be seen to foreshadow Othello’s eventual descent into madness.

The first mention of poison in Othello comes from Iago in act one scene three. Here, Iago is speaking to Othello about Desdemona’s father, Brabantio. He says:

“…An old black ram / Is tupping your white ewe…Your daughter and the Moor are making the beast with two backs.” (1.3.379-381)

In this quote, Iago is making a crude sexual reference to Othello and Desdemona’s relationship. He uses the image of a black ram tupping a white ewe to suggest that Othello is having sex with Desdemona against her will. This is significant as it reinforces one of Iago’s main motives for ruining Othello’s life; his envy of Othello’s sexual relationship with Desdemona.

There are several possible explanations to what motivates Iago: being overlooked for being the lieutenant, the belief that Othello and Cassio had committed adultery with his wife, though this is never really proved; class differences present in the society that made him feel inferior and racial differences. This desire for revenge is so great it “doth, like a poisonous mineral, gnaw [his] inwards. ” Iago’s use of language is a primary weapon in manipulating Othello. By “pour[ing] this pestilence into his ear”, Iago contaminates his thoughts.

Othello begins to question his own judgment, and seeing the evidence of Iago’s words as actual reality. Othello says, “I am declined into the vale of years” which suggests that he is no longer capable of making sound decisions, that he is growing old. In Othello, Shakespeare uses imagery to create a psychological portrait of jealousy and betrayal.

Othello’s innermost thoughts are revealed through his language and actions, making the play an intense and powerful study of human emotions. Othello is one of Shakespeare’s most psychologically complex characters, and his deterioration is a result of the destructive power of jealousy.

The tragedy of Othello lies in the fact that Othello himself is his own undoing. Othello trusts Iago blindly, and falls victim to the overwhelming power of jealousy. Othello’s fatal flaw is his insecurity, which is intensified by Iago’s lies. Othello allows himself to be consumed by his passion, and this ultimately destroys him. The play is a cautionary tale about the dangers of jealousy and the destructive force of passion. Othello is one of Shakespeare’s most masterful tragedies, and its themes still resonate with audiences today.

Iago, who is Machiavellian in disposition and enjoys tormenting others, may be interpreted as the devil personified. Even he himself recognizes it when he mumbles “devils will wear blacker sins… suggest at first with heavenly shows / As I do now.” Iago’s manipulation of Othello results in him seeing Desdemona as diabolic; therefore she must be brought to ‘justice.’ Desdemona is connected to images of light, heaven, and purity, thus implying her innocence. Despite all the attacks on her life throughout the play, Desdemona is associated with rose imagery.

This image stands in stark contrast to Othello’s view of her at that moment, as a whore deserving of death. Shakespeare uses light and dark imagery throughout Othello to give the audience clues about the characters’ true nature, and also to create a specific mood. When Iago starts to poison Othello’s mind against Desdemona, he compares her to a “cunning whore” who has deceived her husband. The light/dark contrast is significant here because it suggests that Othello is seeing his wife through Iago’s perverse, jaundiced eyes.

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