Othello – Key Quotations

Act, Scene Quotation Significance

Act 1, Scene 1 Venice, a street at night The play opens in darkness and in media res with Roderigo and
Roderigo: Tush never tell me, I Iago in the middle of a fight – this foreshadows the disorder and
take it most unkindly malcontent which will define the play as a whole
I follow him to serve my turn Iago immediately makes clear his grudge against Othello as a
against him result of Othello picking Cassio to be his lieutenant over him. This
overt grudge stated at the opening of the pay immediately
presents Iago as manipulative and deceitful – a stereotypical
antagonist
But I will wear my heart upon Iago emphasises his duplicitous nature to Roderigo and the
my sleeve for daws to peck at. I audience. He is an unambiguous tragic villain. Roderigo’s pathetic
am not what I am nature is highlighted through the fact that despite Iago making all
these assertions, he fails to see that he too is being manipulated.
Even now, now, very now, an The repetition of now here mimics the sexual act that Othello is
old black ram is tupping your referring too. His language here is base and coarse – crude sexual
white ewe imagery is often a feature of a tragic villain’s language. This
statement also reveals the racist beliefs that are a cause of
Othello’s tragic isolation and downfall.
Act 1, Scene 2 For know Iago that I love the The romantic and tender language acts as a contrast to Iago and
gentle Desdemona Roderigo’s base and crude depiction of their relationship. The
simplicity of the statement also counteracts the lewd accusations
of curses
Keep up your bright swords for Othello’s peaceful and civilised actions again contrast with the
the dew will rust them. Good barbaric depiction of him in S1. Stage craft here will be helpful,
signor you shall more command Othello is unarmed and peaceful in the face of many raised
with years than with weapons swords.
Thou hast practised on her with Brabantio’s speech reveals the racist and xenophobic attitudes of
foul charms, abused her the time, a belief that Iago exploits and a cause of Othello’s
delicate youth with drugs downfall. Here, however, the audience recognises the lack of
judgement from Brabantio and sees Othello as the tragic hero.
Act 1, Scene 3 Senator: Here comes Brabantio The repetition of valiant here serves to emphasise Othello’s
and the valiant Moor elevated positon and value. Respected characters refer to his
Duke: Valiant Othello, we must positive and civilised characteristics, affirming the audiences
straight employ you belief in this side of his character.
Most potent, grave and Othello’s speech is dignified, cultured, ordered and formal this
reverend seigniors, my very will later contrast to his furious and impassioned ramblings
noble and approved good
masters
Send for the lady and let her Othello allows Desdemona autonomy, revealing his trust in her
speak of me before her father. and presenting her as an active female character whose voice is
head and respected.
She’d come again, and with a Desdemona is presented as forward and an active figure through
greedy ear devour up my the sexual imagery here. She is not a typical tragic victim.
discourse
Put money in thy purse. This is repeated 7 times during this section to highlight the
mercenary nature of Iago.
And it is thought abroad that Iago’s first soliloquy – here he reveals that gossip about Othello
twixt my sheets he’s done my and his wife has bred jealousy in him.
office.
The moor is of a free and open Iago shares his plans with the audience, allowing for dramatic
nature, (…) and will as tenderly irony later on meaning the audience can see how effective his
be led by the nose as asses are. plans are. Iago revels in his cruelty, enjoying his own malevolence
and showboating his villany. Meanwhile Othello is presented as
trusting and honest allowing the audience to feel empathy for
 him and to give him aspects of the tragic victim.
Act 2, Scene 1 He hath achieved a maid that Cassio’s hyperbolic description of Desdemona (tragic victim)
paragons description and wild develops her positive qualities and reputation. The verb choice
fame. ‘achieved’ is interesting here meaning ‘wooed and won’ but also
implies that she is of higher status and virtue than Othello. Thus
echoing Iago’s provocative comments in the opening scene to
Brabantio.
She that was ever fair and never Shakespeare furthers Iago’s characterisation as villainous through
proud, had tongue at will and his misogynistic attitude towards women. Although presented in
yet was never loud. ‘jest’ he sets up a series of contradictory statements that show
his lack of respect for women through crude language and
sexualised imagery. Concluding that their role is only domestic
and focused on motherhood (‘suckle fools and chronicle small
beer’). In turn this highlights how easily he can manipulate both
Desdemona and Othello due to their weakened positions
(woman/other)
With as little web as this will I Shakespeare use of aside reveals Iago’s plotting to the audience
ensnare as great a fly as Cassio. so we are implicated. His manipulation of a courteous interaction
highlights his ruthless nature as antagonist. The metaphor of
trapping a spider in its own web is interesting as it suggests the
disruption of domestic harmony which foreshadows
Desdemona’s death in her own marital bed.
Her delicate tenderness will find Iago’s manipulation of Roderigo (sub-plot) is based on the
itself abused, begin to heave principle that Desdemona and Othello’s union is unnatural and
the gorge, disrelish and abhor therefore cannot continue. This highlights Iago’s loathing of
the Moor. Othello and his presentation of Desdemona as a sexually
voracious woman would have shocked a contemporary audience.
Roderigo’s dramatic functions in the play are to give the audience
an insight into Iago’s motivations and set him up as another
tragic victim.
The Moor, howbeit that I Iago reveals here that he actually believes that Othello would
endure him not is of a constant, make a ‘dear husband’. This creates sympathy and fear for our
loving, noble nature. hero as Othello’s positive traits make him vulnerable (hamartia-is
his trust in Iago) to Iago’s continued plot against him.
Act 2, Scene 3 And, I’ll warrant her, full of Shakespeare develops the theme of female virginity and
game. reputation here. Iago once again uses crude language to imply
that Desdemona has a sexual appetite which questions her
virtue; setting the seeds of doubt for both Cassio and, then later,
Othello.
He that stirs next to carve for Othello is presented as decisive and powerful, in place of a war
his own rage holds his soul light; he can be seen to deal with the fight well. He uses religious
he dies upon his motion. reference to authorise his actions which further contrasts him to
Iago.
I know, Iago, thy honesty and Shakespeare shows the influence of Iago over Othello as he
love doth mince this matter… immediately dismisses Cassio from his position on his word
Cassio, I love thee; but alone-highlighting his hamartia/blindness. It also shows his own
nevermore be officer of mine. misjudgement as he defers to Iago’s statement/opinion rather
than his own feelings. This serves to isolate Othello from
someone who respects and gives Iago more power and control.
She shall undo her credit with Iago’s plotting quickly develops to focus on Desdemona his next
the Moor. So shall I turn her tragic victim. Once again, his plotting is revealed so the audience
virtue into pitch. are implicated in his villainy increasing sympathy for both the
unwitting and helpless Desdemona and Othello. There is a
juxtaposition between innocence and evil presented here which
contrasts and develops his reference to the ‘black ram’ and
‘white ewe’ in the opening scene.
Act 3, Scene 1 I never knew a Florentine more The hyperbolic reference develops the theme of
kind and more honest. blindness/misjudgement regarding Iago the antagonist which
serves to speed up the plot and build dramatic irony.
Act 3, Scene 3 No, sure I cannot think it that he The use of negative language ‘no’ and ‘cannot’ serve to
would steal away so guilty-like. emphasise Iago’s supposed doubt/shock at Cassio’s behaviour.
He further ‘villainises’ him by using the negative terms ‘steal’ and
‘guilt’ playing on Cassio’s shame/loss of reputation.
If I have any grace or power to The theme of natural disorder/reversal of gender roles is
move you. developed here as Desdemona is strong-willed and insistent with
Othello. This foreshadows the frighteningly quick breakdown in
their communication and relationship.
I will deny thee nothing. Grant Othello’s repetition of ‘deny thee nothing’ suggests his response
me this, to leave me but a little is dutiful rather than genuine-suggesting that the reversal of
to myself. roles/power combined with Iago’s manipulation is already
impacting on his mental state and marriage. The tragedy is
heightened through his desire for isolation/escape.
Be as your fancies teach you: Shakespeare furthers Desdemona’s characterisation as a victim
whate’er you be I am obedient. here. In spite of her earlier assertion of will/power now we see
her obedience to Othello. The use of ‘fancies’ means his desires
but could also perhaps link to his changeable/inconstant will
which will contribute to their shared downfall and deaths.
Certain, men should be what Othello echoes Iago’s words to show the power shift between
they seem. antagonist and tragic hero. The use of the generalised term ‘men’
allows Iago to set seeds of doubt about Cassio’s behaviour and
sets him up as wise/knowledgeable. This also adds to the theme
of blindness and sight as the term ‘seem’ not only refers to Cassio
but also Iago’s own performance of ‘heavenly shows’.
No, to be once in doubt is once Shakespeare further characterises our tragic hero as flawed due
to be resolved. to his rash/impetuous behaviour-already seen in his dismissal of
Cassio. This also adds to his pride and certainty that he would act
immediately if he has proof of Desdemona’s infidelity.
I am bound to thee for ever. Othello’s isolation and downfall continues here with the shift of
power from hero to antagonist. His poetic and hyperbolic
language is reminiscent of marriage vows and sets up the
subversion of his own marriage which leads to the ceremony
later in the scene. There is also an inevitable and melancholic
tone as Othello unwittingly predicts his own fate.
She’s gone, I am abused and my Language choices contrast extremely with his previous choices
relief must be to loathe her. for Desdemona and are emphatic. Othello is past the point of
redemption now.
If she be false, O then heaven Religious reference is hyperbolic and is more typical of Othello’s
mocks itself. speech which once again focuses on the innocence of
Desdemona. This reminds the audience of their genuine love for
one another and creates sympathy for both characters. However,
unwittingly he echoes Iago’s soliloquy where he contrasted
‘heavenly shows’ with the ‘divinity of hell’.
I’ll tear her all to pieces! Shakespeare’s use of exclamation here shows Othello’s loss of
control and violent tendencies. The verb ‘tear’ is graphically
vicious and serves to dehumanise him-almost conforming to
Iago’s negative characterisation of him in the opening act.
Arise, black vengeance, from Othello’s descent into a violent madness is furthered here as he
they hollow cell! Yield up, O appears to repeat a black magic incantation or spell. The speech
love, thy crown and hearted explores the extremes of turning love into hatred. The absolute
throne to tyrannous hate! nature of his language here creates fear and sympathy for
Desdemona as she will be the victim of his ‘tyrannical violence’.
Act 4, Scene 1 Pish! Noses, ears and lips. Is’t Marks Othello’s extreme physical and mental downfall. It is at
possible. Confess? this point that his language and his physicality deteriorate to such
Handkerchief? Oh devil! He falls a point that he collapse on the stage after muttering a series of
into a trance. fragmented exclamations and questions. His mental suffering is
emphasised through the brief shift to prose.
And many worthy and chaste Pins down women as tragic victims at the mercy of men.
dames even thus, all guiltless Highlights Desdemona’s innocence and Iago’s knowledge of her
meet reproach. lack of guilt explicitly.
I will chop her into messes. Presents Othello as savage and barbaric and reveals the extent of
Cuckold me! his change. His behaviour mimicking the behaviour predicted of
him by Brabantio and Iago increases the sense of inevitability.
Is this the noble moor whom This comment from Lodovico (a representative of Venice and
our full senate call all-in-all therefore of civilisation) emphasises Othello’s extreme reversal
sufficient? of fortune. Lodovico’s condemnation of his behaviour towards
Desdemona serves to increase the sense of shock and pity that
the audience feel in response to Othello’s on stage act of
violence.
Act 4, Scene 2 I durst, my lord, to wager she is This is a pivotal moment. Othello could choose to believe Emilia’s
honest, lay down my soul at emphatic vow here instead of continuing on his destructive
stake. course.
Alas the heavy day! Why do you This gentle act of concern serves to emphasise both
weep? Am I the motive of these Desdemona’s innate goodness, further presenting her as a
tears, my lord? traditional victim and to act as indirect stage directions which
remind the audience that Othello too is suffering and is to be
pitied too.
Was this fair paper, this most Othello continues to repeat the word whore as well as giving her
goodly book, made to write money, implying she is a prostitute. The escalation and repetition
whore upon? of this coarse and misogynistic language here shows how under
Iago’s influence Othello is. This also highlights his tragic flaw and
personal weakness
The moor is abused by some Emilia’s repetition of knave reveals her overpowering fury. She us
most villainous knave, some also presented as perceptive; she understands some of what has
base notorious knave, some gone on here. These also act as good descriptions of Iago as
scurvy fellow. antagonist. . It is also interesting to remember that while Emila is
describing the villain with such hatred and disgust, Iago himself is
on stage listening.
Roderigo: How do you mean Important moment in the plot – Iago dictates Roderigo’s
‘removing of him’? Iago: Why by unsuccessful murder of Cassio.
making him incapable of
Othello’s place- knocking out his
brains.
Desdemona: He hath Creates foreboding, fear and dread. The dramatic irony serves to
commanded me to go to bed intensify the inevitability which is mirrored in Emilia’s own fear,
and bade me dismiss you. expressed through the repetition of Desdemona’s words in the
Emilia: Dismiss me? form of a question.

Act 5, Scene 1 Two or three groan. It is a heavy The escalating murder suggests the growing chaos and disorder
night. leading towards Desdemona’s climactic murder. Iago’s victims
are growing in number.
Act 5, Scene 2 Yet I’ll not shed her blood, nor Othello’s obsession with Desdemona’s ‘whiteness’ – given to him
scar that whiter skin of hers by Iago’s manipulations – is emphasised here, as is his warped
than snow. love for her. Shakespeare emphasises his personal weaknesses
right before the climax.
I would not kill thy unprepared Othello claims Christian sensitivities as a way of offering
spirit. I would not kill thy soul. Desdemona ‘mercy’. This attempt at hanging onto his sensibilities
even at the point of violence allows Shakespeare to present his
suffering and confusion.
Why I should fear I know not, The repetition of ‘fear’ here creates feelings of fear and pity for
since guiltiness I know not but Desdemona and allows Shakespeare to build tension and
yet I feel fear. foreboding. Again, Desdemona’s innocence as a tragic victim is
emphasised.
Alas, why gnaw you so your Indirect stage directions emphasise Othello’s transformation into
nether lip? Some bloody madness. His weakness or flaw (his extreme passion) is presented
passion shakes your very frame. as dangerous rather than romantic through the adjective choice
and he is presented again as savage and animalistic.
Thou art to die. This simple declaration is emphatic and chilling. The use of the
future tense increases the horror and inevitability.
O, the more angel she and you The use of contrast here emphasises the horror of Desdemona’s
the blacker devil! innocent death and presents the dichotomy of the roles of tragic
villain and victim.
Emilia: My husband? The repetition of ‘thy husband’ throughout this section
Othello: Thy husband. emphasises Emilia’s disbelief and growing understanding of her
husband’s role in the tragedy. The denouement is approaching.
You told a lie, an odious The extreme repetition emphasises Emilia’s outrage and
damned lie: upon my soul a lie, verbalises Iago’s great sin for the first time on stage.
a wicked lie.
I will not charm my tongue; I am The irony that Iago’s wife is the first person on stage who is not
bound to speak. ‘charmed by him’ is emphasised here by her furious declaration.
She is presented in complete contrast to Desdemona who dies
passive and forgiving. Here Emilia is active and literally refuses to
be silenced.
O thou dull moor, that Emilia’s insult here emphasises Othello’s stupidity and
handkerchief thou speakest of I overreaction. His flaw in believing in Iago over his wife is
found by fortune and did give highlighted.
my husband.
Othello runs at Iago; Montano Stage directions emphasise the chaos and the typical ending to a
disarms him; Iago stabs Emilia Shakespearian tragedy which involves mass deaths. Iago’s
from behind and exits. stabbing Emilia ‘from behind’ is a physical representation of his
treachery.
Blow me about in the winds! The series of hyperbolic exclamations emphasises Othello’s
Roast me in Sulphur! Wash me suffering and the horror of his moment of realisation or
in steep down gulfs of liquid anagnorisis.
fire!
Will you I pray, demand that Here it is Iago who is presented as colluding in black magic – the
demi devil why he hath thus crime initially associated with Othello has been used to destroy
ensnare my soul and body. him.

From this time forth I never will Iago’s final revenge is his silence. This is what Coleridge refers to
speak a word. as his motiveless malignancy and what others have described as
his psychopathic behaviour.
Then must you speak of one Othello’s fatal flaw and also a statement which some have
that loved not wisely but too described as self aggrandizing and reflective of his arrogance
well. rather than true repentance. It is still his reputation (the reason
he murdered Desdemona) that he is most concerned with.