What are examples of animal imagery in Othello and their purpose?

In August of 1600, an Ambassador from the court of Barbary, Abd el-Ouahed ben Messaoud, arrived at the court of Queen Elizabeth I. He stayed in London for six months, during which time he met with the Queen on more than one occasion and was, according to contemporary accounts, the talk of London.

Three plays were performed at court by Shakespeare's company, the Lord Chamberlain's Men, during the time Abd el-Ouahed was in London. Shakespeare's company was occasionally called to court to perform for visiting dignitaries. The acting company performed at King James I's court for the Spanish ambassador in 1604, for example (at which time Othello and Measure for Measure were performed), so it's possible that the ambassador from the court of Barbary would have attended one or more performance by Shakespeare's company during his own visit. If so, Shakespeare might have met, or at the very least seen him there.

Othello was written in 1603 or 1604. There's very little doubt that Shakespeare modeled Othello after Abd el-Ouahed, who was described as highly personable, well-educated, and an imposing figure in his robes and turban—with his bejeweled scimitar at his belt.

Othello comes from the same world as Abd el-Ouahed, a world that was totally foreign to Shakespeare's audience not only in terms of geography but also in terms of the culture and the Islamic religion that Othello and Abd el-Ouahed share.

Othello also shares the same prejudices against him as did Abd el-Ouahed ben Messaoud. In Shakespeare's time, as reflected in Othello, men like Othello and Abd el-Ouahed were called "Moors," "Turks," and "Barbarians"—euphemistic terms that slurred their race and culture as well as their religion.

For racist, Islamophobic Iago who asserts early in the play, "I hate the Moor" (1.3.379), it's entirely within his nature to denigrate and degrade Othello and his relationship with Desdemona at every possible opportunity.

Iago derogatorily hurls "the Moor" at Othello throughout the play. Iago refers to Othello as "the Barbary horse," and as "an old black ram...topping your white ewe [Desdemona]" (1.1.94-95), and he also says of Othello and Desdemona that they were "making the beast with two backs" (1.1.127), disparaging both Othello and Desdemona.

Shakespeare uses animal imagery to define prejudices, the mindset of individual characters, and the nature of their interrelationships. The animal imagery also heightens the dramatic effect of any lines in which the imagery occurs. Shakespeare paints powerful pictures for the audience of the "Barbary horse" and the "black ram," for example, that remain in the audience's mind throughout the play.

Animal imagery in Othello is most often associated with Iago. It is unpleasant imagery which is meant to characterize Iago as a person who sees other human beings in animalistic terms. It especially expresses Iago's unhealthy view of human sexuality. He does not view sexual coupling as an expression of love and caring. To him, it is dirty and animalistic, a shameful drive to fulfill a purely physical need. This view of humans and human sexuality tells us much more about Iago than it does about the people he finds disgusting.

Iago also uses this kind of imagery to incite violence. For example, when he hears of Othello and Desdemona eloping, he runs to Brabantio with the news. Iago, however, announces it in a way that reduces a love relationship to a carnal, animalistic mating, saying that a "barbary horse" and Desdemona are now making "the beast with two backs." This is about as inflammatory a way of describing an elopement as might be found and has the desired effect of upsetting Brabantio.

Othello for at time resists Iago's attempts to incite his own emotions against Cassio and Desdemona by saying:

"Exchange me for a goat

When I shall turn the business of my soul

To such exsufflicate and blowed surmises,

Matching thy inference"

What role does animal imagery play in key speeches in Othello, and how do they reflect themes of trust, jealousy, appearance, and reality?

Animal imagery appears frequently throughout William Shakespeare’s Othello. More often than not, this language is used to incite rage, express negative emotions, or insult someone. The use of animal imagery also reflects the character of the speaker.

Some of the most well-known examples of animal imagery appear early in the play and are spoken by Iago.

In an attempt to enrage and manipulate Brabantio, Iago tells him that “an old black ram / is tupping [his] white ewe” (1.1.89-90). Instead of simply saying that Othello and Desdemona are engaging in sexual relations, Iago uses explicit imagery that emphasizes the age and race differences of the pair to infuriate Brabantio. It should also be noted that comparing Black men like Othello to animals is a common feature in racist discourse.

Iago employs this tactic again, telling Brabantio that Othello and Desdemona are “making the beast with two backs” (1.1.116-7). By using animal imagery, Iago attempts to incite Brabantio’s rage on a primal level by dehumanizing Othello and Desdemona. Iago’s language detracts from the emotional connection shared by the couple and portrays them as merely two animals having sex. Iago then refers to Othello as a “Barbary horse,” once again emphasizing his African heritage and equating him to an animal to upset Brabantio (1.1.112-3).

In all three cases, as well as throughout the poem, use of animal imagery reflects the character of the speaker. Iago is a vile person, and this is evident in his use of vile language to manipulate and anger Brabantio.

It is interesting to note that animal imagery is only used to convey negative thoughts and emotions. Initially, Othello does not use animal imagery, but as he devolves and succumbs to Iago’s manipulation, his speech becomes similar to that of his deceptive friend. Desdemona, who is arguably the purest character in the play, never uses animal imagery. Those who use animal imagery are primitive in their own behavior. With that said, it makes perfect sense that Iago makes the most frequent use of animal imagery because he is the play’s most savage, inhuman character.