Nature Imagery in Shakespeare’s Othello

Nature Imagery in Shakespeare’s Othello

Natural Powers Nature is typically overlooked as a concept without significance or value in our lives. Nevertheless in the words of Henry Ward Beecher, “Nature would be rarely worth a puff of the empty wind if it were not that all Nature is but a temple”. Beecher discusses with the proverb how this temple of nature serves as a sanctuary which can parallel our lives. This interesting concept is greatly checked out in William Shakespeare’s Othello, where the as soon as joyous Othello is manipulated by his “friend” Iago to the point where he murders his precious partner Desdemona, and benches his loyal lieutenant Cassio.

Throughout the play, crucial recommendations to nature help highlight Othello as a story of satisfaction changed into hardship. Shakespeare’s use of nature images is most functional in setting up this preliminary enjoyment, and then destroying it to difficulty. Prior to Shakespeare has the ability to ravage these primary characters, he first positions them in high spirits with strong use of nature imagery. When Desdemona and Othello are at sea, Cassio informs Montano, the guv of Cyprus, about how blessed Othello is. He utilizes some strong nature imagery to discuss how, “He’s had most beneficial and delighted speed. Tempests themselves, high seas, and wailing winds,/ The guttered rocks and congregated sands,/ Traitors ensteeped to enclog the righteous keel,/ As having sense of charm, do omit Their mortal natures, letting go safely by/The magnificent Desdemona” (2. 1. 74-80). Seemingly, the nature images has the ability to effectively highlight the “magnificent Desdemona”. Shakespeare describes how “tempests … high seas, and growling winds” are subject to Desdemona to the point where they value her existence. This puts Desdemona in a place of satisfaction and affection.

The lots of barriers that would affect the normal male are devoid to Desdemona. Shakespeare includes this nature imagery to establish the audience’s affection towards her. He has the ability to extend this adulation to Desdemona and Othello’s relationship when they reunite after nearly being shipwrecked. When Othello sees her he exclaims,/ It provides me question terrific as my content/To see you here prior to me. O my soul’s delight!/ If after every tempest come such calms,/ May the winds blow till they have actually waken ‘d death!/ And let the labouring bark climb hills of seas” (2. 199-203). Othello is thrilled from seeing Desdemona again, and the imagery has the ability to parallel this. He utilizes the storm as an analogy to reveal that he would choose that “the winds blow till they have actually waken ‘d death” if he can see his Desdemona. This underlines the strong bond that they share with a special natural metaphor. By establishing this merry environment Shakespeare has the ability to get ready for their death. The characters’ joy is quickly undermined when numerous struggles come their method, all tagged with nature imagery.

Shakespeare hands Iago the function of changing this happiness when Iago states, “And, though he (Othello) in a fertile environment dwell,/ Pester him with flies:/ though that his delight be joy,/ Yet toss such changes of vexation on’t,/ As it may lose some colour” (1. 1. 77-80). Iago exposes that he will mess up Othello’s “fertile environment dwell”. Iago recommendations this fertile environment in order to assert how Othello’s scenario is yielding fantastic satisfaction. He then reveals that he will, “Plague him with flies/ though that his delight be pleasure”.

Shakespeare introduces another efficient nature-based analogy to call attention to Iago’s plot to ruin him. The example is then enhanced when Iago reveals his strategy into wiping out Othello and Desdemona. He discusses how, “Our bodies are our gardens, to the which our wills are garden enthusiasts: so that if we will plant nettles, or sow lettuce, set hyssop and weed up thyme, supply it with one gender of herbs, or distract it with numerous, either to have it sterilized with idleness, or manured with market, why, the power and corrigible authority of this lies in our wills” (1. 3. 362-368).

Shakespeare’s use of this amazing metaphor is vital in explaining Iago’s approach of manipulation. He underscores how “our bodies are gardens”, providing the audience insight into his innovative manipulation techniques. Iago prepares to “plant” these wills into his subjects, eventually leading to their death. This metaphor is able to interact the entirety of what Iago is able to do throughout the play. The results become obvious of this planting when Othello starts to reprimand Desdemona using nature images by saying that, “summer season flies are in the shambles,/ That accelerates even with blowing.

O thou weed,/ Who art so charming fair and smell’st so sweet/That the sense aches at thee, would thou hadst ne’er been born” (4. 2. 76-80)! He uses this example of the “summertime flies in the disarray” to illustrate her as faithful as a fly in meat. He continues by calling her a “weed” to suggest that is who she really is, not a flower. He chastises her to the point where that when caring bond in between them shatters entirely. Lastly he reluctantly tells her, “I have pluck ‘d the rose, I can not give it important development once again. It should requires wither: I’ll smell it on the tree.” (5. 2. 13-16). Othello is required to let his once precious “increased” “wither”.

This is the last sabotage that Shakespeare expresses, which ultimately leads into the death of Desdemona and the suicide of Othello. Shakespeare uses nature images to transform the preliminary happiness into difficulty. He highlights this throughout their struggle and ends it with their deaths. Nature images is functional in communicating these enormous feelings of polar ends. The metaphors and examples are amazingly precise and reliable in the ways that they are used. Nature has the ability to come to life, and interact that which is otherwise inexpressible. This capability lies only with nature, a functional element that absolutely nothing else can produce.