There is also a wealth of heaven and hell imagery in Othello, which reflects the religious and Christian values. Iago, who is Machiavellian in nature and revels in tormenting others, can be perceived as the devil personified. “Even now, now, very now, an old back ram/ Is tupping your white ewe” (1.1.87-88). This statement made by Iago is both racist and degrading towards Othello. Desdemona didn’t tell Brabantio that she was married to Othello, so Brabantio thought that Othello and Desdemona were having an affair. This goes against Christian values as it was frowned upon as it was ‘unchristian’ and also because it was something that was not acceptable in Shakespeare’s time as it was very uncommon. Also, during Shakespearean time, Othello would have been associated with demons because he had dark skin. This imagery of hell and damnation reoccurs throughout Othello, especially toward the end of the play, when Othello becomes preoccupied with the religious and moral judgment of Desdemona and himself. After he has learned the truth about Iago, Othello calls Iago a devil and a demon which refers to his earlier illusion of "some monster in thought" which ironically refers to Iago. Iago also acknowledges himself as the devil personified when he says "devils will the blackest sins put on...suggest at first with heavenly shows / As I do now." Iago's manipulation of Othello causes him to see Desdemona as 'devilish', therefore she must be brought to 'justice'. After realizing what Iago has done in manipulating Othello, Othello says, “I look down towards his feet, but that’s a fable./ If that thou be’st a devil, I cannot ill thee.” (5.2.291-292) Othello says that he looks down to see if Iago’s feet are cloven like the devils, but realises that, that’s just a story with a moral. Then says that if Iago is not the devil then he cannot kill him and stabs Iago with his knife. This statement refers to Christian values as Othello is speaking of the devil. In addition to referring to Iago as the devil, Othello also adds that if Iago is the devil then he would have cloven feet, but realising that that was just a story, Othello tries another way of proving Iago’s the devil, and stabs him.
Desdemona, though, is associated with images of light, heaven and purity, thus suggesting her innocence. Even in the last scene as Othello prepares to kill her, he says “I know not where is that Promethean heat/ That can thy light relume. When I have plucked thy rose,/ I cannot give it vital growth again,/ It’s needs must wither. I’ll smell thee on the tree.” (5.2.12-15). Othello uses a rose as a metaphor for Desdemona. This indicates that her beauty still has an influence over him as well as his ever present feelings of affection for her. When at last Iago is exposed as the true villain and just before committing suicide, Othello says “Perplexed in the extreme: of one whose hand/ (Like the base Judean) threw a pearl away/ Richer than all his tribe” (5.2.351-353). Here Othello uses another metaphor as he compares Desdemona to a pearl that he has thrown away. He indicates that he is greatly confused that, he could dispose of such a person, who meant the world to him. This is one of many times where Desdemona is referred to as a priceless jewel. Cassio calls Desdemona “a most exquisite lady…a most fresh and delicate creature…she is indeed perfection” (2.3.18-228) This shows that Othello’s image of Desdemona is not a figment of his imagination but rather, Desdemona is in fact a pure and innocent, heavenly being.
Throughout Othello, images relating to poison frequently occur. These references are predominantly made by Iago. This seems appropriate for Iago who exhibits the characteristics of poison, as he is also fatal and deadly. There are several possible explanations to what motivates Iago, such as being overlooked for the lieutenancy, class differences present in the society that made him feel inferior, and racial differences. Iago's use of language is a primary weapon in manipulating Othello. Through subtle hints and persuasive language, Iago contaminates and slowly poisons Othello’s attitude toward his wife, by making Othello subconsciously contemplate the idea of his wife being unfaithful. With no basis whatsoever and solely through insinuations, Iago manages to convince Othello that his true and innocent wife has been unfaithful. Once Othello starts to doubt Desdemona's fidelity, he is so incredibly driven by jealousy that it leads him to murder her. As Desdemona is unaware of the accusations against her, when she tries to convince Othello to reinstate Cassio, she aggravates Othello’s jealousy by just mentioning his name. It is this poison that has been carefully infused in Othello, which makes him react in such a way. “I tremble at it. Nature/ would not invest herself in such shadowing passion/ without some instruction.” (4.1.39-41). This poison that now runs through Othello’s blood is what reduces him. It starts when Othello begins to doubt himself and his judgment. Othello’s jealousy overpowers him, as he trembles, at the idea of Desdemona and Cassio together. His statement about nature means that he believes he would not feel such a powerful emotion; his mind would not be filled with images of them together if it were not really happening. Othello takes the intensity of his own emotional jealousy to the claim of Desdemona being unfaithful.
Throughout the play, the contrast between black and white is also used as a metaphor for the difference between Othello and the Venetian society. Several references to Othello are made which indicate that even though he holds the distinguished position of a general, the fact that he is black still makes him the 'outsider'. “Even now, now, very now, an old back ram/ Is tupping your white ewe” (1.1.87-88).
"an old black ram" and "far more fair than black"
A considerable impact is generated on the audience, positioning them to recognise the full extent of the tragic outcome as a result of Iago's treachery. The use of these vivid images and comparisons effectively, defines the nature of the characters, establishes the dramatic atmosphere of the play and reinforces the central themes.
