Professor Dowden has observed that "In the love of each there was a romantic element; and romance is not the highest form of the service which imagination renders to love.
The original battle between good and evil repeats itself within the play. The image that leads to the demise of Desdemona is that of the strawberry embroidered handkerchief given, by Othello, to Desdemona.
Even his royalty is not to Portia a sufficient compensation. He has also stolen away Desdemona from her father, and secretly married her, making an enemy of Brabantio, who had been one of his greatest admirers among the Senate. Marriage makes a demand for absolute equality between the parties, and is likely to prove fatal in those cases where apologies and excuses are necessary.
Desdemona likewise offers her plea and says she has found the necessary compensation in his "mind" and in his "valiant parts. The marriage of black and white seems always to have been repulsive to an Elizabethan, and dramatists before Shakespeare had always presumed that to be the case.
While the Duke and Senators dine with Othello, seek his advice, and invite him to various social events, they do not embrace him, show an interest in his culture, or want him marrying their daughters.
It seems likely that this was also the opinion of the dramatist, for there is abundant evidence that it was always so regarded on the Elizabethan stage.
Yet in the end it is proved that Iago is the actual "Demi-devil" V ii whereas through the whole play Othello is made out to be a devil because of his skin colour and from this we can se how racial prejudices existed strongly in the mid sixteenth century.
His color, they say, is an entirely indifferent matter in the play, and can be all but ignored in the interpretation.
When Othello leaves "the tented fields" for the streets and homes of a refined city he utterly goes to pieces, and whatever sense of honor he may have had speedily gives place to a dangerous caprice.
The handkerchief, green-eyed monster and cuckolding imagery are prominent in defining this theme. Professor Bradley speaks of Desdemona's choice of Othello as rising "too far above our common level," and adds: In both cases there is evidence of his callousness and dullness of mind.
She says she understands fully what she is doing, recognizes Othello as a Moor, but that she accepts him as he is, or, as her words imply, she finds compensation for his color in the quality of his mind, in his honors, and in his courage: Two deeds upon the part of Othello have now brought him into active collision with other persons, and the two are related to each other.
This continues throughout the play with lines such as "The Moor already changes with my poison" III iii and "Not poppy nor mandragora, Nor all the drowsy syrups of the world shall medicine thee to that sweet sleep Which thou did owdest yesterday" III iii An unsuspected weakness, or deficiency, in his character is thus laid bare, upon which the whole tragedy will later be seen to turn.
Desdemona, Emelia and Bianca are all termed some of these names throughout the length of the play. The sudden danger from the Turks at Cyprus has made great dispatch necessary, and the Duke has ordered Othello before him "even on the instant.
The Venetians, though quite forward-thinking folks for their time period--tend to view Othello as evil or "black at heart".
The Moor now finds that his old friend, the Signior Brabantio, formerly his admirer, has unexpectedly become his accuser before the Senate. Even though Iago humiliates Emilia in public, she still feels an obligation to her husband to obey his "orders" to obtain Desdemona's handkerchief.
Throughout the play Othello is constantly referred to as a devil; "Thou art a devil" V ii says Emelia of Othello. The proper understanding of the relations of Othello and Desdemona is equally important with the question of the relations of lago and Othello.
When Desdemona is brought into court to speak for herself in the matter of the marriage, she declares that she freely and lovingly takes Othello for her husband, and intimates that she is willing to take all the consequences of that act.
The cool words of Othello prevent a clash between the two: Some of this imagery is that of hobbyhorses and the like showing that they, Desdemona and Emelia, were nothing better than common whores.Othello’s Diversity of Imagery Essay Words | 12 Pages Othello’s Diversity of Imagery The diverse imagery found in Shakespeare’s drama Othello represents a world all.
Imagery in Othello Essays - Imagery in Othello The vast array of natural imagery in Shakespeare’s tragic drama Othello dazzles the audience’s minds. Let us survey in this essay the varieties of imagery referred to by the playwright.
The vulgar imagery of Othello’s ancient dominates the opening of the play. Shakespeare and Race: Othello's Relationship with Desdemona. From Hamlet, an ideal prince, and other essays in Shakesperean interpretation: Hamlet; Merchant of Venice; Othello; King Lear by Alexander W.
Crawford. Boston R.G. Badger, It is at this point that. Othello: Imagery Essay 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.
Othello’s Diversity of Imagery Essay - Othello’s Diversity of Imagery The diverse imagery found in Shakespeare’s drama Othello represents a world all by itself.
And this world of imagery contributes to the prevailing sentiment of pain and suffering and unpleasantness. In this essay I shall attempt to explore the complexities contained within the character of Iago.
One of the most interesting questions that crops up is the one concerning Iago’s motives. What are his reasons to kill every major Venetian in Cyprus.Download