Nature Imagery in Shakespeare's Othello

Natural Powers
Nature is often overlooked as a concept without significance or value in our lives. However in the words of Henry Ward Beecher, “Nature would be scarcely worth a puff of the empty wind if it were not that all Nature is but a temple”. Beecher explains with the proverb how this temple of nature serves as a haven which can parallel our lives. This fascinating idea is heavily explored in William Shakespeare’s Othello, where the once joyous Othello is manipulated by his “friend” Iago to the point where he murders his beloved wife Desdemona, and demotes his loyal lieutenant Cassio. Throughout the play, important references to nature help underscore Othello as a story of pleasure transformed into hardship. Shakespeare’s usage of nature imagery is most operational in setting up this initial pleasure, and then destroying it to hardship.
Before Shakespeare is able to devastate these main characters, he first places them in high spirits with strong usage of nature imagery. When Desdemona and Othello are at sea, Cassio tells Montano, the governor of Cyprus, about how blessed Othello is. He uses some strong nature imagery to explain how, “He’s had most favorable and happy speed. /Tempests themselves, high seas, and howling winds, /The guttered rocks and congregated sands, /Traitors ensteeped to enclog the guiltless keel, /As having sense of beauty, do omit Their mortal natures, letting go safely by/The divine Desdemona” (2.1.74-80). Evidently, the nature imagery is able to effectively highlight the “divine Desdemona”. Shakespeare explains how “tempests…high seas, and howling winds” are subject to Desdemona to the point where they appreciate her presence. This puts Desdemona in a place of pleasure and admiration. The many obstacles that would affect the normal man are devoid to Desdemona. Shakespeare adds this nature imagery to establish the audience’s affection towards her. He is able to extend this adulation to Desdemona and Othello’s relationship when they reunite after nearly being shipwrecked. When Othello sees her he exclaims, /It gives me wonder great as my content/To see you here before me. O my soul's joy! /If after every tempest come such calms, /May the winds blow till they have waken'd death! /And let the labouring bark climb hills of seas” (2.1.199-203). Othello is overjoyed from seeing Desdemona again, and the imagery is able to parallel this. He uses the storm as an analogy to express that he would prefer that “the winds blow till they have waken’d death” if he can see his Desdemona. This underlines the strong bond that they share with a unique natural metaphor. By establishing this merry atmosphere Shakespeare is able to prepare for their demise.
The characters’ happiness is soon sabotaged when numerous struggles come their way, all tagged with nature imagery. Shakespeare hands Iago the role of transforming this happiness when Iago states, “And, though he (Othello) in a fertile climate dwell,/Plague him with flies:/though that his joy be joy,/Yet throw such changes of vexation on't,/As it may lose some colour” (1.1.77-80). Iago exposes that he will ruin Othello’s “fertile climate dwell”. Iago references this fertile climate in order to assert how Othello’s situation is yielding great pleasures. He then expresses that he will, “Plague him with flies/ though that his joy be joy”. Shakespeare introduces another effective nature-based analogy to call attention to Iago’s plot to destroy him. The analogy is then furthered when Iago reveals his technique into annihilating Othello and Desdemona. He explains how, “Our bodies are our gardens, to the which our wills are gardeners: 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 many, either to have it sterile with idleness, or manured with industry, why, the power and corrigible authority of this lies in our wills” (1.3.362-368). Shakespeare’s usage of this incredible metaphor is essential in explaining Iago’s method of manipulation. He underscores how “our bodies are gardens”, giving the audience insight into his ingenious manipulation tactics. Iago plans to “plant” these wills into his subjects, eventually leading to their death. This metaphor is able to communicate the entirety of what Iago is able to do throughout the play. The results become evident of this planting when Othello begins to reprimand Desdemona using nature imagery by saying that, “summer flies are in the shambles,/That quicken even with blowing. O thou weed, /Who art so lovely 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 “summer flies in the shambles” to depict her as faithful as a fly in meat. He continues by calling her a “weed” to indicate that is who she truly is, not a flower. He chastises her to the point where that once loving bond between them shatters completely. Finally he unwillingly tells her, “I have pluck'd the rose, I cannot give it vital growth again. It must needs wither: I'll smell it on the tree.” (5.2.13-16). Othello is forced to let his once beloved “rose” “wither”. This is the final sabotage that Shakespeare expresses, which ultimately leads into the death of Desdemona and the suicide of Othello.
Shakespeare uses nature imagery to transform the initial happiness into hardship. He highlights this throughout their struggle and ends it with their deaths. Nature imagery is operational in conveying these immense feelings of polar ends. The metaphors and analogies are unbelievably accurate and effective in the ways that they are used. Nature is able to come to life, and communicate that which is otherwise ineffable. This ability lies only with nature, an operational element that nothing else can produce.