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Examples Of Poetic Devices In Othello

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Throughout Othello Shakespeare makes uses many different poetic devices to help create pictures with his words and bring life to his play. Several passages within the piece contain examples of different poetic devices. There are multiple passages within this piece that can give examples to viewing this work as the poetry it is. In act 5, scene 2 though, Othello gives a speech that shows numerous examples of poetic devices and can be viewed as a poem itself. Shakespeare uses iambic pentameter and blank verse throughout this piece of work. By using these forms in the writing of the play, it gives it a rhythmic flow to follow, making it almost seem like one is reading a lengthy poem. One place you can see the flow is in the lines “It is the cause, it is the cause, my soul. Let me not name it to you, you chaste stars” (5.2.1-2). There is no rhyme within these two lines, but by adding stress to some of the syllables you are able to find a rhythm in the passage. …show more content…

The use of metaphors in the lines “whiter skin of hers than snow” (5.2.4) and “when I have plucked the rose” (5.2.13) in this passage help paint a picture. The paleness of the skin is easy to see by comparing it to the whiteness of the snow. By including the comparison to the rose, which is normally viewed as a beautiful object, helps to paint an image of beauty with just the words. There is also the simile “smooth as monumental alabaster” (5.2.5) that is used with describing the skin, giving an almost concrete feel to the words that are lying flat on the page. The use of metaphors and similes together help to create imagery within this piece of

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Line one [again] rhymes with line three [plain], and line two [be] with line four [free]. This scheme continues for the second and third stanza. Furthermore an internal rhyme is used in line one of the first [be-dream-be] and second stanza [dream-dreamers-dreamed]. According to Meyers a rhyme is the identity of the last stressed vowel and its subsequent letters in two or more words, in its diverse forms and variations, such as internal rhyme or alliteration (Michael Meyer, p50). To create internal rhyming, assonances are used in line 8 [where – never], line 16 [across – stars], line 40 [still – kings] and many more throughout the poem.

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