The Relation of Ethics and Metaphor in Shakespeare’s Othello
ABSTRACT:
In play titled “The Tragedy of Othello” by Shakespeare, the character Othello is useful in demonstrating various human ideologies and perceptions for the entire audience to rationalize and reflect. Ideally, Shakespeare manages to utilize imagery effectively, for instance, metaphor to emphasize and add more focus on the thematic character traits and the themes of (1) betrayal, (2) love, and (3) honor, which cumulatively reinforce the central message of the play. “The Tragedy Othello,” the use of metaphors as forms of imagery is very significant in igniting the inner feelings and passions of other characters and depicting or conveying the desired meaning. Shakespeare creatively used the metaphors to establish the appropriate dramatic environment and atmosphere in the play. Moreover, Shakespeare also utilized metaphors to reinforce the main themes in the play, for instance: betrayal, love, and honor. Additionally, Shakespeare used metaphors to help all of the audience to understand the play effectively.
BACKGROUND OF THE STUDY
It is essential to begin this study with the understanding of ethical awareness as an essential concept that refers to the innate ability and willingness of the author towards identifying ethical and moral dilemmas and contexts and providing a critical evaluation or examination on how individuals could effectively change their own moral and ethical values in impacting positive behavior. Ideally, all of the moral and ethical decisions in this life use some form of metaphor to justify and explain the concepts and decisions. Therefore, metaphors are ethical and moral concepts that make sense or guide on what is happening in the society or how to respond to issues and events within the society by influencing the human perception and behaviors towards ethical and moral decisions. According to the authors Manhas and Oberle (2015), “metaphor” is a term or phrase that is perfectly coined to define the artistic ability of an author to map the structures from the source domain to the target domain. Don't use plagiarised sources.Get your custom essay just from $11/page
Ideally, metaphors are forms of comparison that do not utilize words like “as” or “like.” Additionally, consciousness is a critical cognitive activity that reliably elicits rational and emotional associations by basing on the moral philosophy of value systems or individuals. Ideally, conscience is effectively defined as the process that eventually leads to the remorse feelings when an individual commits a vice or an act that reliably conflicts with the moral and ethical values enshrined within the community. Shakespeare effectively used imagery, for instance, “metaphors” among other rhetorical devices in his play “The Tragedy of Othello” where the characters, for instance, Iago, Othello, Desdemona, Cassio, and Rodrigo primarily displayed and utilized metaphors to ignite the passions and inner feelings of other characters.
Research Objective/Thesis Statement
This research will provide a comprehensive and candid evaluation of “The Tragedy of Othello” by Shakespeare. To achieve this goal, this research will identify the metaphors used in the play and in interpreting or comprehending the use of figurative languages. This research will also be very effective in using the metaphors identified in the reliable playmaking decisions and in understanding the main themes presented in the research, for instance, love, betrayal, and honor.
Moreover, this research will also focus on evaluating the underlying diction of the metaphors and in making reliable conclusions on Shakespeare’s ethical and moral intentions from the deduced intentions. Ideally, this research will also focus on evaluating the metaphors based on the characters used to enforce the ability to comprehend the hypothesis or assumptions identified by the metaphors on the resultant future outcomes (Barnat, 1977).
Therefore, the objective of this research is to provide an eloquent, elaborate, and definite ethical analysis for the animalistic metaphors used by Iago, who is one of the protagonists in “The Tragedy of Othello.” This research will analyze animalistic metaphors used by Iago with the help of CMT (Conceptual Metaphor Theory) by George Lakoff through effectively introducing the metaphorical quotes, stating them, and explaining the quotes from the play. Moreover, this research will also conduct a comprehensive descriptive research data analysis that will review what other authors inform on the metaphors used in “The Tragedy of Othello” by Shakespeare.
Significance of Research
According to Lakoff (1993), the Contemporary Theory of Metaphors is a vital framework or evaluation tool that is widely utilized to identify and reveal meaning from the metaphors used. The main reason for this is that metaphors are used poetically and literary, to adequately comprehend the meaning behind the metaphors used by the authors, researchers may reliably utilize the Contemporary Theory of Metaphors. Burkley (2017) defined metaphors are a figure of speech that rhetorically refers to one thing by mentioning another. Moreover, Lakoff (1993) also defined metaphors as a “matter of language and not thought,” and that metaphors contain underlying mappings where the language is secondary while the mappings are primary.
Ideally, Burkley (2017) believes that metaphors are powerful and significant tools that may be effectively used in driving and cementing the audience through the comparison and unification of two different objects that are unrelated. Shakespeare actively used metaphors areas the primary figurative tool in all of his plays. The main reason for this is that metaphors are a critical part of communication and language tools that help the audience to understand the world effectively. Additionally, Burkley (2017) informed that the common term “time is money” is an example of a metaphor that is used to inform on the importance of saving time, spending it wisely, and encouraging others not to waste time. Therefore, metaphors are vital in providing a comprehensive comparison between two unrelated concepts in influencing the audience to adopt desirable ethical or moral traits. Moreover, metaphors are also vital tools in enabling the authors to inform on situations or ideas that are unfamiliar to the audience in unique and creative ways that they may easily comprehend (Burkley, 2017).
Burkley (2017), also indicated that metaphors are essential tools that may be applied by creative authors in creating scenes that inform or are very familiar to the overall audience. Metaphors are also useful in comparing two different common things. Due to the critical benefits or advantages of metaphors, Shakespeare managed to creatively and uniquely used metaphors in “The Tragedy of Othello” to reinforce and inform on ethical and moral issues (Weimann, 1974). Ideally, Shakespeare in Othello’s play actively used metaphors in conveying the complex state of emotions demonstrated by different characters in the play. For instance, Brabantio actively used the “jewel metaphor” in describing Desdemona’s role in his life as a “form of possession and a daughter.” Moreover, Shakespeare also used metaphors in the play to characterize the role of Othello as Desdemona’s falcon, for instance: when he says that “Othello wishes to let Desdemona fly freely, but she is tied to his heart.”
Theoretical Frameworks/Model
Johnson and Lakoff’s CMT (Conceptual Metaphor Theory)
According to (Lakoff 1993), in 1980, Johnson and Lakoff proposed the “Conceptual Metaphor Theory” that provides a comprehensive framework or model for the evaluation of the metaphors used in literary works beyond their frames of linguistic. Both Johnson and Lakoff also provided a critical analysis of the previous traditional perspectives of the metaphors used as a matter of words and characteristics of language as opposed to actions or thoughts (Keller, 2010). Both Johnson and Lakoff indicate that the metaphors are linguistic devices and expressions that are made precisely possible there exist other metaphors that are designed using an individual perspective.
Additionally, cognition and metaphors are uniquely connected and that every metaphor used in Othello has a cognitive and conceptualization basis (Lakoff, 1993). Moreover, Johnson and Lakoff informed that the metaphors used in any literature piece have a stable relationship with the literature piece. Therefore, this research will use the theory of Conceptual Metaphors in evaluating and comprehending how Shakespeare used metaphors in “The Tragedy of Othello.”
Advantages and Disadvantages of the Theory of Conceptual Metaphors
The critics of the Theory of Conceptual Metaphors (CMT) by Johnson and Lakoff mainly focus on arguing that this theory is not practical since it mainly ignores studying metaphors in their various forms in which the expressions occur. In contrast to these critics, the Conceptual Metaphor Theorists strongly believe that the main and essential role of the metaphors is to deliver on the coherence of the text in the literary works. Additionally, the conceptual metaphors are useful in informing what an individual rationalizes about a specific topic (Lakoff, 1993). Lammers (2017) reveals that the approach of “cognitive-linguistic” is useful in distinguishing the three primary levels of metaphors. According to Lammers (2017), the type of data and research methodological procedure is effective in comprehending and analyzing meaning from the metaphors. Additionally, the author (Lammers, 2017), strongly agree that that the metaphors may be evaluated and analyzed from a “bottom-up” or “top-down” strategic approach.
Lammers (2017), also reveals that the conceptual metaphor theories focus on evaluating and rationalizing the metaphors. Moreover, there is an increased tendency among the Conceptual Metaphor theorists to evaluate the existing metaphors in natural languages. Ideally, metaphors should be carefully evaluated using various forms of language. Moreover, the main concept to be evaluated whenever it comes to evaluating and rationalizing meaning from metaphors is the target and source domain. Ideally, Lammers (2017), reveals that the source domain in the metaphors includes: darkness, light, cold, heat, sports, games, machines, buildings, plants, animals, body, and human beings, among others. Moreover, the main target domain may be effectively categorized in issues such as; death, life, time, human relationships, economics, morality, emotions, and many others. Finally, the target domain of the conceptual metaphor theorists is directly experienced and is metaphorical (Lakoff, 1993).
Aristotle’s “Art of Rhetoric” or (RAT) Rhetorical Analysis Theory:
According to (Manhas & Oberle, 2015), the “art of rhetoric” is a framework that was described by Aristotle as the precise model that may be used by various researchers in comprehending the rhetoric or persuasion used by authors in their literary works. Ideally, the main goal and objective of the rhetoric analysis are to focus on comprehending Shakespeare’s mind and in understanding the actual meaning of metaphors used in Othello in persuading the readers and general audience to rationalize, feel, think or finally act in a particular direction or manner. To further elaborate on the concept of “rhetoric analysis,” the authors (Manhas & Oberle, 2015), point out how rhetoric was a useful tool in modifying or altering human perceptions and reality through creating a discourse that changes the human reality through the intervention of actions and thoughts. Additionally, the six main traits of rhetoric that will be effective in comprehending the meaning of the metaphors used by Iago in Othello include: (1) rhetoric is more concerned with the issues that are contingent, (2) forms of rhetoric also seek to persuade the audience, (3) rhetoric are meant to respond to particular situations in the human life, (4) they are also shaped by the motives of humans, (5) the rhetoric are adapted to suit the needs of the audience and (6) finally, the forms of rhetoric are effectively planned in advance (Manhas & Oberle, 2015). Additionally, the authors (Manhas & Oberle, 2015), indicate that rhetoric has the innate ability to effectively manipulate all of the audience through appealing to their emotions and mind frames. To effectively comprehend the actual meaning of the metaphors presented by Iago in Othello, this research will use the “art” of rhetoric in understanding Iago’s materialistic perspective of the various issues and aspects in the world (Manhas & Oberle, 2015).
REVIEW OF LITERATURE
Introduction:
This section of this research will focus on providing a thorough review and evaluation of what the existing researchers inform about Shakespeare’s “Tragedy of Othello.” This section will also evaluate the theoretical frameworks that will be used in understanding and comprehending the animal metaphors used by Iain the play.
Themes present in the play
In the play titled “The Tragedy of Othello” by Shakespeare, the character Othello is useful in demonstrating various human ideologies and perceptions for the entire audience to rationalize and reflect. Shakespeare manages to achieve all of this through the strategic use of different types of imagery, including metaphors, to demonstrate the ethical perceptions and issues affecting humanity. Ideally, Shakespeare manages to effectively utilize imagery to emphasize and add more focus on the thematic character traits and the themes of (1) betrayal, (2) love, and (3) honor, which cumulatively reinforce the central message of the play (Manhas & Oberle, 2015).
In Shakespeare’s “The Tragedy of Othello,” the protagonist, Othello, is a wealthy individual who is generally from a darker descent. However, Othello lacks in popularity, and he compensates this by being generous to the poor. According to Koller (2010), during the onset of the tragedy, the character of Othello is transformed from the common hero to a killer or a murderer after being manipulated and convinced by Iago, who is generally a conniving character. In “The Tragedy of Othello,” the story of Othello is of jealousy, war, and riches, but war and jealousy eventually contributed to his downfall. Moreover, Shakespeare carefully utilizes metaphors and other literary devices like selection and diction to assist Iago in twisting and convincing Othello about Desdemona’s unfaithfulness (Koller, 2010).
Therefore, through the application and use of different styles of imagery like metaphors in the play, Shakespeare was creative in enforcing the thematic topics and characterization of the personas. Ideally, Manhas and Oberle (2015) believed that Shakespeare managed to manipulate the metaphors into a deeply hidden language that reveals the actions of Othello. Metaphors in “The Tragedy of Othello” by Shakespeare are useful in informing on the ethical consciousness of Othello’s actions, which is heavily supported by the mere presence of Iago and Desdemona in the play (too general and abstract, need more detailed analysis to support). Both Iago and Desdemona act as the voice of Shakespeare through the keen use of metaphors since they are the primary or main characters who support the main themes of the play: betrayal, love and honor and in reinforcing the concepts of gender roles, appearance versus reality and racism that are prevalent in the play (Shakespeare, 2009).
Limitations/Shortcomings of existing literature
This existing literature review has mainly focused on evaluating the findings presented by Manhas and Oberle (2015), Koller (2010), Lakoff (1993), and Shakespeare (2009). According to Manhas and Oberle (2015), the main themes presented in the play and used to reinforce the central message include (1) betrayal, (2) love, and (3) honor. Moreover, Koller (2010), contributed to the research by stating that Shakespeare carefully utilized metaphors and other literary devices like selection and diction to assist Iago in twisting and convincing Othello about Desdemona’s unfaithfulness. Additionally, Manhas and Oberle (2015) also believed that Shakespeare used metaphors to provide a deep and hidden meaning that effectively reveals the actions of Othello. Despite the existing literature studies informing on the importance of the metaphors used in Othello, the authors failed to inform on the individual metaphors and their ethical meaning. Therefore, to shed light on the weaknesses of these studies, this research will focus on outlining the metaphors and using the conceptual metaphor theory to understand their ethical meaning.
OUTLINE OF THE STUDY
Introduction
To answer the outlined study objectives, this research will utilize both qualitative and quantitative research methods in gathering data, information, or intelligence. Ideally, this research will utilize content analysis as the best qualitative research method in evaluating archives and published peer-reviewed journal articles on the “Tragedy of Othello” by Shakespeare. Additionally, the research will also sample a group of representative respondents who will participate in a questionnaire and provide reliable findings on the research questions and in achieving the research objectives (Rouhi & Mahand, 2011).
The literature review has focused on exploring and providing comprehensive answers to the research questions outlined by this research (Strickler, 2005). Additionally, the Theory of Conceptual Metaphors, also known by the initials CMT, is one of the reliable and informative frameworks and models in evaluating, comprehending, and evaluating the metaphors identified and presented in Othello. The Theory of Conceptual Metaphors is essential in comprehending the use of language and the metaphors identified and presented in Othello. Moreover, the Theory of Conceptual Framework is also useful in understanding the animalistic metaphors identified and used in Othello. However, the particular choice of the precise theory to be used is ascertained from the research design and the right procedures in place to evaluate the research data (Lakoff, 1993).
According to (Lakoff 1993), the Theory of Conceptual Metaphors is instrumental in identifying and comprehending the meaning of the metaphors identified in Othello. Additionally, the author (Lammers, 2017), firmly believes that the metaphors can create the desired richness and creativity in any literature work. Lakoff (1993), informed that the metaphors are the most actively used devices or tools in numerous literary conversations and genres. This is mainly because the metaphors are uniquely embedded in the human past experiences and in their thoughts (Shakespeare, 2009).
Research Design: Descriptive Research
This research focused on utilizing a descriptive research approach in providing a thorough and comprehensive evaluation of Othello by Shakespeare. Ideally, this research will focus on revealing and identifying the animalistic metaphors presented in Othello. The effective use of the animalistic metaphors in Shakespeare’s Othello may be effectively linked and categorized using CMT, also Conceptual Metaphor Theory, in understanding how the characters in Othello think and act. Moreover, the metaphors are useful in understanding the behaviors of Cassio, Desdemona, Othello, and Iago. Finally, the rhetoric evaluation theory is very useful in understanding and comprehending meaning from the metaphors in Othello how metaphors are effective in achieving the desired goals and objectives.
Textual Analysis: Act 1, Act 2 and Act 3
Act One:
The play opens on the street in Venice. Roderigo, who has been courting Desdemona, is talking to Iago, who has been taking his money and promising to help him win her over. Iago has just informed him that Othello, his commanding officer, has just eloped with Desdemona. Roderigo is outraged, and Iago confides in him that he hates the Moor for promoting Michael Cassio to lieutenant ahead of him. We find out that it is late at night and they are in front of Desdemona’s house. Iago reassures Roderigo that they will work together to get back at Othello. Together they shout at Brabantio, Desdemona’s father, using sexually suggestive, racist language to warn him that his daughter has run away. Brabantio comes to the window and is outraged at such wild accusations until he checks and finds her gone. Iago leaves before his identity is revealed so that he can stay in Othello’s good graces. Brabantio raises a search party and Roderigo goes along.
Act Two:
The play’s setting moves from Venice to Cyprus, where Cassio has arrived first. A storm has caused the delay, and there is a concern for the safety of Othello and the others. Next to land is Desdemona, who has sailed with Iago and his wife, Emilia. While they wait for Othello, they banter about women’s desire, which gives us a clearer idea of Iago’s underlying hostility toward women, whose nature he believes to be fundamentally deceptive. When Iago notices that Cassio and Desdemona are friendly and that they look like a “natural” couple, he hatches his plan to use jealousy to enact his revenge. Then Othello arrives, greets Desdemona, and announces that the storm has destroyed the Turkish fleet.
Act Three:
Cassio has hired a group of musicians to play outside Othello and Desdemona’s room, presumably in order to cheer up his former superior. Othello, angry at being woken up, sends a clownish servant to pay them to stop. Once the musicians have departed, Cassio pays the servant to take a message to Emilia, Iago’s wife, who is also Desdemona’s waiting-woman. Iago enters and wonders whether Cassio has made any progress in getting Desdemona’s help. When he learns Cassio needs to speak to Emilia, he goes to get her, also promising to lure Othello away so Cassio can ask for Desdemona’s help. Cassio tries to return to Othello’s good graces by arranging music for the newly wedded couple on their first real night together, but it does not work. Iago’s plan takes another step forward, as Cassio is making progress in gaining an interview with Desdemona. Iago is careful here to use intermediaries in order to hide his connection to the plot. A significant gap is beginning to open here: the audience knows Iago to be a scheming threat to Othello and Desdemona, but the characters in the play grow more confident that he is not only honest but is actively helping them in their time of need.
Act Four:
As jealousy takes hold of Othello, Iago escalates the situation, manufacturing evidence of an affair. He builds a false case against Desdemona bit by bit, and now he plays his final card: He gives Othello the “ocular proof” Othello has demanded. The ocular, or visible, the proof is the handkerchief Cassio has given to Bianca, his lover. This comes after the scene’s opening conversation between Iago and Othello in which Iago aggressively plants animated images of sexual congress between Cassio and Desdemona. While the audience can see the absurdity of these moments, Othello is drawn into them by Iago’s skill in enlisting Othello’s imagination.
It is clear from the intensity of Iago’s language here and elsewhere that the goals of his revenge are not just to get something he has lost but the destruction of a marriage, madness, and the death of Othello and Desdemona. By the time Lodovico asks, “Is this the noble Moor, whom our full senate/Call all in all-sufficient? Is this nature/Whom passion could not shake, whose solid virtue/The shot of accident nor dart of chance/Could neither graze nor pierce?” Iago can reply, “He is much changed,” and in this understatement lies the full force of his cold vengeance.
At the end of the scene, with Othello at his most vulnerable, Iago suggests the most intimate method of murdering Desdemona: “Do it not with poison. Strangle her in her bed, even the bed she hath contaminated.
Act Five:
This scene takes place at night, which is essential because, in the dark, Iago can control the assassination attempt without his participation being known. In confusion, Iago can direct the fight, cleaning up the loose end of Roderigo, who has suddenly become an unnecessary complication.
It is interesting that until this fight, Iago’s plans have gone off entirely. He has controlled every detail. However, Roderigo’s incompetence at killing Cassio forces Iago to think quickly of another way to achieve his ends and still keep his true nature concealed. After all, he has a reputation as an honest man, and he does not want to lose that. So Iago wounds Cassio then kills Roderigo so he cannot give away Iago’s role in the plot.
Metaphor Evaluation in “The Tragedy of Othello” by Shakespeare
Metaphors are the tools we use to express abstract thoughts. The more abstract our thoughts, conversation, and writing, the more we use metaphors (Richards 92). Consequently, in order for our students to comprehend and digest sophisticated literature, they must have the capacity to interpret metaphors reasonably well. A metaphor illustrates through comparison. This is the simplest definition of a metaphor, but a metaphor is not so simple. A metaphor is composed of two components, a vehicle, the word or phrase that describes, and the tenor, the object being described
The Cuckold or “Horned Devil”: A cuckold is a man whose wife has been unfaithful. In Shakespeare’s day, cuckolded men were thought to grow horns when their wives cheated on them. Othello believes that he is a Cuckold, and becomes like a devil in personality, even though his wife has been faithful. Animal metaphors: many animal metaphors are used in Othello. “Tupping,” for one, is the population of sheep, and Iago uses that metaphor when talking to Brabantio about Othello and when talking to Othello about Cassio and Desdemona.
Along with the line “making the beast with two backs,” these metaphors are designed to dehumanize and to elicit an emotional response. Also, the common phrase “Crocodile Tears” comes originally from Othello. Its original meaning was “tears not cried in honesty,” or “tears cried for deception.” Othello’s Headaches: Othello begins to have painful headaches when he starts to believe that Desdemona has been unfaithful to him. These headaches represent his inner pain with his feelings for Desdemona, which are of deep love, and his belief that she has been untrue. Fair Desdemona: Desdemona is always characterized as “fair,” meaning “light-skinned.” The light skin of Desdemona represents a pure body, mind, and soul, as well as great beauty. Even when Othello kills her, he cannot bear to destroy her beautiful skin, and so he suffocates her instead.
In Act III, scene III, Iago he stated: ‘Oh, beware, my lord, of jealousy. It is the green-eyed monster which doth mock the meat it feeds on.’ In this passage, Iago compares jealousy to the green-eyed monster that is self-consuming. He is warning Othello that jealousy only causes a person to go mad, never leading to virtue. However, Iago’s warning is somewhat devious. By instructing Othello not to be jealous, he suggests that Othello becomes jealous. Iago’s words cause Othello to become enraged about the prospect of his lover, Desdemona, with another man.
References:
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Keller, S.D., 2010. Combining rhetoric and pragmatics with reading Othello. English Studies, 91(4), pp.398-411.
Lawrence, S., 2016. The Two Faces of Othello. In Shakespeare and the Power of the Face (pp. 75-88). Routledge.
Manhas, K.P., and Oberle, K., 2015. The ethics of metaphor as a research tool. Research Ethics, 11(1), pp.42-51.
OMAR, L., 2012. A cognitive approach to the translation of creative metaphor in Othello and Macbeth from English into Arabic (Doctoral dissertation, Durham University).
Weimann, R. 1974. Shakespeare and the Study of Metaphor. New Literary History, 6(1), 149-167. doi:10.2307/468346
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Strickler, B., 2005. Sex in the city: an ecocritical perspective on the place of gender and race in Othello. Interdisciplinary Studies in Literature and Environment, pp.119-137.
Shakespeare, W. (2009). Othello. Wilson, J.D (Ed). UK. Cambridge University Press.