The Imagery of Othello Talks
In the tragedy Othello Shakespeare uses imagery to talk between the lines, to set moods, to create a more dramatic impact on the mind of the audience, and for other reasons. Let’s consider the types and impact of imagery.
A surprising, zoo-like variety of animal imagery occurs throughout the play. Kenneth Muir, in the Introduction to William Shakespeare: Othello, explains the conversion of Othello’s diction:
Those who have written on the imagery of the play have shown how the hold Iago has over Othello is illustrated by the language Shakespeare puts into their mouths. Both characters use a great deal of animal imagery, and it is interesting to note its distribution. Iago’s occurs mostly in the first three Acts of the play: he mentions, for example, ass, daws, flies, ram, jennet, guinea-hen, baboon, wild-cat, snipe, goats, monkeys, monster and wolves. Othello, on the other hand, who makes no use of animal imagery in the first two Acts of the play, catches the trick from Iago in Acts III and IV. The fondness of both characters for mentioning repulsive animals and insects is one way by which Shakespeare shows the corruption of the Moor’s mind by his subordinate. (21-22)
H. S. Wilson in his book of literary criticism, On the Design of Shakespearean Tragedy, discusses the influence of the imagery of the play:
It has indeed been suggested that the logic of events in the play and of Othello’s relation to them implies Othello’s damnation, and that the implication is pressed home with particular power in the imagery. This last amounts to interpreting the suggestions of the imagery as a means of comment by the author – the analogy would be the choruses of Gre...
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...enhaven Press, 1996. Reprint from Shakespeare: The Pattern in His Carpet. N.p.: n.p., 1970.
Heilman, Robert B. “Wit and Witchcraft: an Approach to Othello.” Shakespeare: Modern Essays in Criticism. Ed. Leonard F. Dean. Rev. Ed. Rpt. from The Sewanee Review, LXIV, 1 (Winter 1956), 1-4, 8-10; and Arizona Quarterly (Spring 1956), pp.5-16.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Muir, Kenneth. Introduction. William Shakespeare: Othello. New York: Penguin Books, 1968.
Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos.
Wilson, H. S. On the Design of Shakespearean Tragedy. Canada: University of Toronto Press, 1957.
The United States was not capable of winning the War because they realized too late that the real war in Vietnam was not a military one but a political one. Beginning with Eisenhower, They were fully aware that the only way South Vietnam would win is with the support of the United States troops. Kennedy restricted the U.
Wilson, H. S. On the Design of Shakespearean Tragedy. Toronto, Canada: University of Toronto Press, 1957.
The relationship between Salamano and his dog is utterly absurd. They’ve done the same routine day in and day out for eight long years, yet neither one will ever change or learn from their mistakes. Salamano won’t learn to let the dog finish peeing so that it won’t go in the house and the dog won’t learn not to pull the leash. They are both resistant to change, probably because they don’t know anything else, except how to be miserable together.
H. S. Wilson in his book of literary criticism, On the Design of Shakespearean Tragedy, discusses the influence of the imagery:
In the Shakespearean tragedy Othello the number and description of themes is open to discussion. With the help of literary critics, we can analyze this subject in detail.
Built on a broad base of multiple themes, Othello is one of William Shakespeare’s most popular tragedies. Let’s sift through the themes and try to rank them in significance.
As the term “rape culture” grows in popularity, it is imperative to break it down to understand what it actually means. According to a report by the Marshall University Women’s Center, “Rape Culture is an environment in which rape is prevalent and in which sexual violence against women is normalized and excused in the media and popular culture”. Rape culture is supplemented by the objectification of women’s bodies, glamorization of sexual violence, as well as many other saddening realities in society. A sad outcome of rape culture in todays society is that women are often seen as the one at fault in rape. Commonly excuses are immediately made for them men, such as blaming the girl for being too intoxicated, blaming the girl for the way she was dressed, or even blaming the girl for speaking out about it at all. A perfect example of rape culture in the media took place in Steubenville, Ohio. A 16-year-old girl, incapacitated by alcohol, was gang raped by two high school football players who then shared photos of the assault on their social networking sites and with their friends. Immediately, mainstream news and media began to blame the victim saying she should not have chosen to get so intoxicated in the first place. The two boys were given the minimum allowed sentence of 1 and 2 years. This court case caused an uproar and a
To most Americans Rape has a tendency to be one of the cruelest forms of criminal violence. The victim can suffer from incredible injuries, and substantial amounts of embarrassment. Rendered powerless by physical force, threats, or fear, after which being forced to submit to sexual acts, including vaginal penetration, oral copulation, sodomy, and penetration opening with a foreign object, the victim is left virtually alone. Rape is an intrusion into the most private and intimate parts of the body, as well as an assault on the core of the self. Whether or not the victim acquires any physical injuries, the psychological impact of a sexual assault is severe. Additionally, the painful, post-trauma symptoms that usually always accompany rape are long-lasting. Even the victims who seem to have been able to move on with their life often find that an extreme feeling of powerlessness and vulnerability remains close and can easily, and unexpectedly, be re-experienced. A most important aspect in the long-term impact of rape is that the assault negatively changes the victim...
In the written text, Shakespeare emphasis's the hidden reality through the use of dramatic techniques of imagery and symbolism. There is a constant use of light and dark imagery which is used by the protagonist , MAC...
Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994.
...ide of the Moor: A View of Othello's Mind." Shakespeare Survey: An Animal Survey of Shakespearean Study and Production. Vol 10. 1957. 98-106. Novels for Students. 20 November 2004. http://www.enotes.com/othello/17321/print
Gardner, Helen. “Othello: A Tragedy of Beauty and Fortune.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from “The Noble Moor.” British Academy Lectures, no. 9, 1955.
The Development of the Character of Othello as Shown by his Use of Language and Imagery in William Shakespeare's Play
...room for improvement. The second perspective that also influences the development of rape culture are myths and societal conceptions of sexual assault, rape, and victims. Kahlor and Morrison, authors of TV Rape Myth, suggest that two of the main myths are the notion that victims “asked for it”, whether by dressing a certain way or behaving flirtatiously, and that some women lie and “claim rape” after regretting consensual sex.
Rape and rape culture have been a longstanding issue in American society. Looking at modern influences such as the media, our nation’s history, and the way our Consider the following: How has rape culture evolved through our history? What role does the media play in rape culture? And most importantly, how has rape become institutionalized in American society?