Imagery


Othello


final scene, when Othello learns that Iago has not murdered Cassio, he uses a musical metaphor to express the disorder in his revenge plans: ‘Not Cassio killed! Then murder’s out of tune, / And sweet revenge grows harsh.’


Imagery of disorder allows Shakespeare to highlight the unravelling of Othello’s happiness and the growing disharmony of his marriage to Desdemona.


Animals Othello is rich in animal imagery. Iago employs animal imagery to debase Othello and reveal a cynical view of human love. In Act 1 Scene 1, Iago makes use of vulgar, animal imagery to disgust Brabantio and incense him. He tells Brabantio that ‘an old black ram / Is tuppingyour white ewe’. He warns Brabantio that: ‘you’ll


have your daughter covered with a Barbary horse; you’ll have your nephews neigh to you; you’ll have coursers for cousins and jennets for germans.’


This gross type of imagery hatefully depicts Othello as subhuman and helps Iago to scandalise Desdemona’s father.


Iago uses a similar strategy as he attempts to enrage Othello at the thought of Desdemona and


Cassio having an affair. He tells Othello that: ‘It is impossible you should see this, / Were they as prime as goats, as hot as monkeys, / As salt as wolves in pride’ (Act 3, Sc 3). Although there is no substance to Iago’s claim, the powerful and repulsive image provokes Othello’s jealousy and helps to further infuriate him. As the play progresses, Othello becomes increasingly corrupted by Iago and this is reflected


in his language. His use of animal imagery echoes Iago’s as he becomes further convinced of Desdemona’s infidelity and disillusioned with love. Othello declares that he would: ‘rather be a toad,


And live upon the vapour of a dungeon, Than keep a corner in the thing I love For others’ uses.’ (Act 3, Sc 3)


Othello goes so far as to directly parrot Iago when he dismisses Cyprus as a place for lecherous behaviour: ‘You are welcome, sir, to Cyprus. Goats and monkeys!’ (Act 4, Sc 1). Othello’s language continues in this vein as he portrays Desdemona as ruined by her supposed affair with Cassio: ‘The fountain from the which my current runs, / …keep it as a cistern for foul toads / To knot and gender in!’ (Act 4, Sc 2). Othello’s use of bestial imagery illustrates how his once noble mind has become poisoned by corrupt thoughts.


Entrapment Iago makes frequent use of entrapment metaphors. This illustrates the devious manner in which Iago ruins Othello’s life. Iago exploits his victims’ innate goodness and uses it to set traps into which they are bound to fall. Iago seizes upon Cassio’s natural courtesy and amiable manner as a means of framing him and encouraging Othello’s suspicions: ‘With as little a web as this will I ensnare as great a fly as Cassio. Ay, smile upon her, do! I will gyve thee in thine own courtesies’


(Act 2, Sc 1). The image of a fly


being caught in a web of deceit typifies Iago’s strategies throughout Othello. Similarly, Iago understands that Desdemona’s compassionate nature means that she will petition Othello to show mercy on Cassio for being drunk. He sees this as a way of trapping Desdemona in


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