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Symbolism and dramatic devices in othello
Symbolism and dramatic devices in othello
Animals and bestial imagery in othello analytical paragraph
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Animal Imagery in Othello
In the book Othello, Shakespeare used animal imagery to illustrate Iago’s manipulation and his control over the other characters in the book. There are three specific examples that support my argument. Firstly, Iago refers to Othello as a “black ram”. Secondly, Iago refers to Othello as a “Barbary horse” and lastly, Iago’s usage of animal imagery transmits to the other characters as they develop and being to use animal imagery in a derogatory manner. In the beginning of the book you notice Iago uses animal imagery to belittle the other characters and later on in the book it is apparent that the other characters have developed this calculating behaviour.
Firstly, in Act 1 Scene 1, Iago says to Brabantio “even now, now, very now, an old black ram is tupping your white ewe” in the attempt to provoke Brabantio’s anger towards Othello. Shakespeare used the terms “black ram” and “white ewe” to represent a black man
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This supports the idea that Iago manipulated Othello so much that the other characters learned the same behaviour. In Act 3 Scene 3, Othello says “I had rather be a road, and live upon the vapour of a dungeon, than keep a corned in the thing I love for other’s use.” Othello says this to express he would rather be a toad in a dungeon than to have only a part of someone he loves, sharing the rest of her with others, which represents Othello’s belief of Desdemona’s infidelity. This illustrates how the characters have developed throughout the book as now Othello uses animal imagery in an offensive way just as Iago has throughout the book. Therefore, this supports my argument that Iago was so successful in manipulating the characters by using animal imagery that it transformed Othello into someone else. It is due to Iago’s manipulation that Othello believes his loving wife was unfaithful and ultimately murders
In a passage from William Shakespeare’s Othello, Iago dramatizes a subsequent conflict between Othello and Desdemona when he warns the former of a green-eyed monster, the manifestation of jealousy. As the play progresses, Othello becomes more like this beast that Iago told him about. Instead of being the honorable and respectable character he was, Othello now displays a more questionable personality, one that causes him to doubt his wife of infidelity. Even though Iago does play a role, it is mostly due to Othello’s insecurity that transforms him into a monstrous person.
For Shakespeare’s Iago, humans are affected by their emotions - these can be empowering or debilitating. Literature naturally mirrors this and within Othello Iago is empowered by Roderigo’s infatuated debilitation. In Act I Scene III, Roderigo is brought into a deep despair due to his inability to court Desdemona. He proclaims, “I will incontinently drown myself”; the hyperbole represents how much he craves for Desdemona. However, Roderigo is not the focal point; it is in fact Iago who feeds off his vulnerability by manipulating him into fighting with Cassio. This represents Iago’s Machiavellian nature in that he is able to make Roderigo give him money as well as bringing Cassio into a state of fury; this is so he is stripped of his Lieutenant rank and in turn promoting Iago to Lieutenant. This parallels what Iago’s monologue at the very end of Act I Scene III is trying to establish; the foreshadowing of the events that will occur. In a way this does allow for the concept that through Iago’s seeming adversity, he has strengthened his motives. On the other hand, Rodrigo’s adversities have led him down a path of turbulence making
	The first scene of Act I illustrates Iago's use of manipulation. Iago knows that Roderigo is upset about losing Desdemona to Othello. Iago himself is angry at Othello for being passed over for promotion to lieutenant for Michael Cassio. Realizing that by playing on Roderigo's jealousy he can gain an ally to work against Othello. Iago does this in a subtle manner. He explains to Roderigo that he was passed up for promotion by Othello. While doing this he makes Othello look inferior by reinforcing the fact that he is a Moor. By pointing out that Othello is a Moor Iago causes Roderigo to become even more jealous, because of the fact that he lost Desdemona to someone who he feels is of a lesser race. It even seems that Iago is toying with Roderigo when he reveals that he is a fraud when he says, "I am not what I am." (I.i.62) By using these tactics, Iago has almost gained total control of Roderigo.
In Othello, The Great Chain of being is seen through the antagonist Iago who extensively uses racial prejudice and animalistic language to dehumanise Othello as an animal or beast, purely because of his complexion. In the beginning of the play, Machiavellian Iago pursues to report and persuade Brabantio of Desdemona and Othello’s secret elopement in the middle of the night. Iago abruptly bellowed, “an old black ram….is tupping your ewe” (I.I.85-86). Metaphor has been used to add more offence to Iago’s directive insult of Othello by metaphorically, comparing him to a sexually, aggressive animal in a malevont phrase. The infusion of strong animalistic descriptive language and animal imagery is used to illustrate the hostility towards Othello’s ethnicity and both Desdemona’s and Othello’s interracial marriage to which causes the audience to instinctively analyse for the character’s weaknesses. Furthermore, Iago’s incorporation of animalistic terms allowed him to control his victims, to be more susceptible to his manipulation. In the later scenes, Iago’s manipulative character is further shown when he witnessed Cassio leaving Desdemona’s room without the acknowledgement of Othello, so he used this as an opportunity to report back to Othello by manipulating Desdemona having an affair with
With Roderigo, someone he commands control over, Iago employs pathos, allowing his plan to appeal to Roderigo’s sensitive emotions about Othello. Roderigo and Iago discuss about how each of them despise Othello when Iago says, “If ever I did dream of such a matter, / Abhor me” using pathos to confirm his hatred towards the General (1.2. 5-6). The play commences with Iago employing direct rhetoric and partnering up with Roderigo to enhance a sense of comradery. Harsh language such as “Abhor me”, exemplifies the hateful emotions Iago feels toward Othello as well as enhances the emotions Iago wants to appeal to in Roderigo (1.2. 6). Affecting Roderigo more influentially, Iago uses deeper, more personal pathos, by highlighting the seemingly good qualities in Roderigo. Iago contrasts Roderigo to Othello pointing out, “Let not they discreet heart think it…manners and beauties: all which the/ Moor is defective in” (2.1. 215, 219-220). Firstly, Iago weighs Roderigo’s positive qualities against Othello’s negatives ones, convincing Roderigo to feel more confident with Iago and following along with his scheme. Secondly, Iago alters this rhetoric to include Roderigo’s love interest, Desdemona. By exemplifying a more personal and sensitive side when talking about “manners and beauties”, Iago can create a bigger impact in
The character of Iago uses racial stereotypes both to disparage Othello and to plant the seeds of jealousy in him. Iago calls to Brabantio "an old black ram / is tupping your white ewe." (I,i,96-7) He uses this image to enrage the old man and to denigrate Othello. Later in the scene, Iago refers to Othello as a "Barbary horse," indicating his North African heritage and at the same time conveying a sense of inferiority. (I,i,124) He continues this insulting metaphor by referring to Othello and Desdemona’s future progeny as "gennets," a term for Spanish horses. (I,i,126) This opening scene sets the stage for not only Iago’s hatred of Othello, but for his prejudice against him. In his consolation of Roderigo, Iago calls Othello "an / erring barbarian" whom Desdemona will leave when she is tired of him. (I,iii,377-8) Again to Roderigo, Iago queries "what delight shall" Desdemona "have to look upon the devil?" (II,i,258) While drinking with the men of the watch in Cyprus, Iago raises a toast "to the health of black Othello." (II,iii,30) These remarks eventually are turned on Othello himself as Iago suggests that Desdemona would not love a Moor. Iago claims that all Venetian women are prone to infidelity in his speech:
This contrasts with the innocent "white ewe" description that is often ascribed to Desdemona. These animal references continue in Iago's second soliloquy: "Make the Moor thank me, love me, and reward me/ For making him egregiously an ass" (2.1.330-331). First, Iago calls Othello "the Moor", a racist reference to Othello's African background. Next, Iago announces his plan to make Othello thank him, not knowing that Iago is the cause of destruction. The word "ass" continues to reference Othello's allegedly animal-like nature. Iago uses these racist, connotative words to undermine Othello as justification of his barbaric
Othello was a noble gentleman and was known for his greatness. He never compared people to animals or used animals in his everyday language. This changed once Iago began to manipulate and lie to him. As Othello’s character changed from good to evil, he started to use animal imagery. After Iago planted more lies about Desdemona and her relationships 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 vapour 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 Desdemona. This show’s how his love for Desdemona slowly
Caius Martius Coriolanus, the protagonist in Shakespeare's play that bears his name, undergoes a circular transformation. He changes from the hero of Rome to an outcast and then back to a hero. As he undergoes this transformation he is likened to a dog, a sheep, a wolf, and an osprey. The invocation of animals to describe Coriolanus is ?perhaps based in the very animal like nature of Coriolanus himself?(Barton 68). His actions like those of an animal are not based on rational thought, instead they are based on instinct. Like an animal he is lacking in speech and can only perform the role that he has been given.
Even now, now, very now, and old. black ram is tupping your white ewe” (p. 13). In that statement Iago was comparing Othello to an old black. ram by comparing Othello’s skin color to that of the black ram’s, and the white ewe, a young female sheep.
First, Iago’s evil is shown through his choice of words that demonstrate his vulgarity and his sinister intentions. Iago’s language is extremely base and forward; he does show any remorse or sympathy in any situation. For example, Desdemona has recently married Othello; when Desdemona’s father, Brabantio, hears the news he becomes enraged. To make the situation much worse, Iago says to Brabantio, “An old black ram is tupping your white ewe.” (Act 1,sc.i, lines 89-90). Clearly, Iago shows absolutely no remorse. He describes the beauty of love between two human beings and compares it to two animals. He gives Brabantio the impression that Othello is devouring Desdemona; this is seen when Iago describes Othello as an old black ram and Desdemona as a white ewe, black being evil and white being of purity and innocence. Another example of Iago’s vulgarity is when he once again describes (to Brabantio), the relationship between Desdemona and Othello as, “Making the beast with two backs.” (Act 1, sc.i, line 117). His base language is shown once again. In this quote he describes making love, as a beast with two backs; this is a description that is poisonous to the human mind. He is cruel by telling Brabantio that his daughter is making a beast with Othello in bed; when he speaks of it, it is like his heart is made of stone. His vulgarity expresses his evil nature.
The audience at this point know nothing of Othello that is gained by their own opinion, instead we are lead to believe from Iago’s race related description that Othello is a threatening and evil moor, whose beastial sexual appetite, conveyed by Iago’s cries to Brabantio, telling him that ‘an old black ram is tupping’ his ‘white ewe’ (1.1.89), is something of a rapist. Iago’s coarse animal related language conveys Iago’s feelings against Othello’s marriage in a much more pronounced way. The image of an ‘old black ram’ gives the audience nothing but negative images of Othello, especially when this ‘old black ram’ is being associated with the innocence of a ‘white ewe’. Iago then associates Othello with the image of ‘the devil’ (1.1.92) because of Othello’s colour, Iago warns Brabantio that he has ‘lost half [his] soul’ now that Desdemona is married to Othello. Iago here emphasises the biracial nature of the marriage, already showing his ability to manipulate people, in this case he is manipulating Brabantio, to believe in Iago’s own opinions and in theory to eliminate all thoughts that Brabantio might of had of his own about the marriage.
	Throughout the first act of the play, Othello is shown as many different characters depending on who is speaking. Iago complains of Othello's pride and "bombast circumstance" and is angered by the appointment of Cassio, an educated military theoretician of Florence to lieutenant, instead of himself. As Iago speaks to Brabantio about Othello, he uses the term "white ewe" to represent Desdemona, and "black ram" when referring to Othello. By using these terms, it shows that he is trying to give a bad impression of Othello when he is speaking to the royal family in Venice, because Othello is a Moor, or a Negro. Iago shows his black hatred for the Moor and his jealousy of Cassio in his first soliloquy and also reveals his evil intentions.
The function of imagery in the mid-sixteenth century play Othello by William Shakespeare is to add characterization and eventually define meaning in the play. The antagonist Iago is defined through various images, some being the use of poison and sleeping aids, to show his true evil nature. Othello’s character is also shaped by imagery such as the black and white, animalistic, and horse images, which indicate his lust and sexual nature. Characterization of women is heavily dictated by imagery in the play used to show the parental gender system of the time. Examples of this imagery are that of hobbyhorses and the alike, showing that Desdemona and Emelia, were nothing better than present day whores.
William Shakespeare’s Othello follows the downfall of the Moor Othello and those associated with him. Othello’s ensign, Iago, causes the demise of Othello as payback for not being chosen as Othello’s lieutenant. Shakespeare makes Iago a puppeteer in a sense so that he may control those around him without getting caught, up until his own demise. Through the manipulation of the people around him, and Othello’s emotions and insecurities, Iago manages to completely destroy the lives of Othello, Desdemona, Roderigo, Emilia, and everyone affected by the innocent deaths. Shakespeare uses imagery, diction, and the antagonist to reveal the effects of manipulation and jealousy on love, as well as the importance of distinguishing appearance versus reality.