Color Imagery in Othello Essay

Imagery, as defined by Websters Dictionary, is the phthisis of vivid synecdochical language to range objects, actions, or ideas. In Othello, Shakespeargon chance upons use of comments to represent ideas or to set the mood for the scenes taking place. The use of such color imagery enhances the looseness, ca exploitation the reader to look past the mere talking to and search for the deeper meaning behind the scenes. The predominant colors that Shakespeare makes use of are black and snow-clad-hot however, some symbolism is portrayed through with(predicate) the use of verdure and red also.Throughout history, the color black has always been utilize to set the mood for evil and deceit. In Othello, Iago, the antagonist, construes most of his evil plans in the dark of night. The encounter pointtide opens at night as Iago begins his repellent scheming (1.1). The play also ends at night as Othello smothers his loose wife and, later, bolt downs himself. In a soliloquy, Iago de clares When devils will the blackest sins put on,/They do intimate at first with heavenly shows,/As I do like a shot (2.3.315-317) and finishes with So will I turn her Desdemona virtue into pitch (2.3.324) This speech, using the symbolism implied by the color black, allows Iago to make k todayn his malicious intents. Convinced, through Iagos scheming, of Desdemonas impurity, Othello proclaims that her name, that was as fresh/As Dians visage, is now begrimd and black/As mine own face (3.3.387-389).Shakespeares main character is the black Moor Othello. Here, black is not employ to imply a sense of evil. In angiotensin converting enzyme aspect, it reflects the racism during the quantify of Shakespeare. Using a black character allows Shakespeare to put racial tensions into his play, placing an even greater weightiness upon the rifts that are created among the other characters. Throughout the play, several racial slurs are made against Othellos race, especially Iagos railings again st him to Desdemonas scram Brabantio Because we come to do you service and you think we are ruffians, youll capture your young woman covered with a Barbary horse (1.1.109-111) and I am one, sir, that comes to tell you your little girl and the Moor are now making the beast with two backs (1.1.114-115). Othellos black skin also isolates him from the othercharacters, allowing Iago to work his evil plant without worship of Othello discovering them.The color green is used more often than not in destination to plants. Plants, in Othello, resemble characters in the play being products of certain required natural forces which, if left unchecked, will grow wild. Iago, who considers himself a good gardener of himself and others (1.3.319-322), cultivates his conceits that they may grow into poisonous weeds.Shakespeare also makes use of the color green to present the jealousy that grows in Othello as Iagos schemes unfold. Iago, pretending to be an honest and good friend, warns Othello of jealousy It is the green-eyd monster which doth mock the mall it feeds on (3.3.167-168). It is among the greenery of the garden that Othellos jealousy is first spurred when he sees Cassio with Desdemona (3.3.36).In Othello, the color white is used most extensively to symbolize the virtuosity and innocence of Desdemona, the beautiful wife of Othello and the falsely-accused victim of Iagos malicious lies. more references are made to Desdemonas fair skin, always a stabbing contrast to her husbands black skin (1.1.120 1.2.66 3.3.480). Towards the conclusion of the play, Desdemona asks her maid and companion Emilia to make her bed with the white wedding sheets (4.2.105) and even requests of Emilia, If I do die before thee, prithee, shroud me/In one of those same sheets (4.3.223-224). It is upon these very sheets that Othello smothers Desdemona, not wanting to shed her subscriber line for fear of scarring that whiter skin of hers than snow,/And smooth as monumental alabaster (5.2 .4-5).Shakespeare evidently wished to stress Desdemonas innocence and purity by using the color white as much as possible. The use of so much white to depict the purity of Desdemona adds a terrific weight to the tragedy of the play for, the earreach, having been subjected to so much symbolism of Desdemonas virtuosity, cannot help but be moved to tears at her unfortunate death at the men of her own husband for crimes she had not committed.Shakespeare does not make a tremendous use of the color red. It is mostly symbolized in the mention of blood. As with to the highest degree all literary writings, the use of blood is meant to speak of life and death, mostly of the latter. As Othello passes by after Iago has stabbed Cassio, he hears Cassio cry out and assumes that he is dying. Satisfied that Iago has served justice upon Cassio, he sets his mind to killing Desdemona declaring, Minion, your dear lies dead,/And your unblest slew hies strumpet, I come./Forth of my heart those charm s, thine eyes, are blotted/They, bed, lust-staind, shall with lusts blood be spotted (5.1.33-36). Although he truly does not plan on shedding her blood, the reference to it allows the audience to fully realize his determination to kill her.In regards to using the color red to indicate life, Shakespeare uses the symbol of a rose. As Othello enters into the room in the last act of the play and makes his big speech before killing his falsely-accused wife he remarks, When I have pluckd the rose,/I cannot give it vital growth again,/It postulate must wither (5.2.13-15).Color imagery in Shakespeares Othello adds weight and meaning to the play. Many can read or view the play and simply enjoy it for its words and literary importance. Other readers or members in the audience enjoy searching deeper into the imagery, whether it be plant, animal, or color, to discover the conceal morals or meanings of the play. Not only do the colors make the play more visually exciting, but they allow the s earching audience to add a deeper meaning, perhaps even a personal meaning, to the play. consummation CitedShakespeare, William. Othello. Literature and the Writing Process. Elizabeth McMahan, Susan X Day, and Robert Funk. 6th ed. Upper Saddle River, NJ Prentice, 2002. 830-915.