Animality and darkness in OthelloA first reading of Othello would suggest that animality and darkness are actually in opposition to beauty and light. This view is stated by looking at Iago's language and actions, "Though I hate him as I do the pains of hell" in contrast to Desdemona, (or even the first Othello), "Not to know evil from evil, but for bad reparation.'Animality and darkness can be clearly seen in the character and more specifically in Iago's language From the beginning of the play, curses and language intoning hatred easily fall from his lips. His enigmatic declaration that "not I am what I am" is preceded by the disturbing image that when he is sincere "I will wear my heart on my sleeve / for my children to peck at." His descriptions of the relationship between Othello and Desdemona are also animalistic: "Your daughter and the Moor they are creating the beast with two backs". The linguistic identity that Shakespeare attributes to this character is then adopted by Othello; essentially it can be seen that it permeates the play with a certain baseness that stands in contrast to the character of Desdemona, not only in its language and actions but in the way it is constructed by others. A very clear example of this can be found in Act V, Scene ii and in the imagery used to describe Desdemona, "that skin of hers whiter than snow / and smooth as monumental alabaster", and in the recurring references to light, " thou flaming minister", "thy ancient light"'. Furthermore, if in this context one considers beauty and light to be celestial, then one can see that animality and darkness correspond to that which is secular, a notion that Othello communicates in the opening speech of the final scene, contrasting the notions lands of justice. ..... middle of sheet ...... scene and Iago's misogynistic views, 'As if she were black and witty'' with the next scene in Act IV Scene iii and Desdemona's refusal to say the word' whore', 'I can't say whore/She hates me', then the dark vileness of the male world is seen in opposition and dark contrast with the innocence and naivety of Desdemona. Through such passages of Othello it is therefore possible to see that "animality and darkness are in opposition to beauty and light", in many different ways, dramatic, linguistic, thematic and conceptual and it is a conflict that can be said not has ever been resolved. Othello's suicide ends the personal conflict, but the decision for the audience lies in their response to what is dark or beautiful. It is possible to see the 'tragic load of the bed' as both the triumph of animality and the return of Venice as good and light.