English - Prelim Quotes

Othello

RACISM RODERGIO — “What a full fortune does the thick-lips owe..”

This line is spoken by Roderigo in Act 1, Scene 1, and it is a racist and derogatory remark about Othello. The term “thick-lips” highlights Roderigo’s prejudice, reducing Othello to his physical features rather than acknowledging his character or achievements. By saying “what a full fortune does…owe,” Roderigo begrudgingly admits that Desdemona’s love benefits Othello, but he frames it with resentment and scorn. The line reflects the racial tension in the play, showing how Othello’s race makes him a target of envy, ridicule, and social prejudice, even as he attains respect and success.

RACISM IAGO — “An old black ram is tupping your white ewe”

This line is spoken by Iago in Act 1, Scene 1 as he crudely informs Brabantio of Othello and Desdemona’s secret marriage. The animal imagery—“old black ram” and “white ewe”—is sexualized and racialized, emphasizing Othello’s age, race, and outsider status while portraying the relationship as unnatural and predatory. Iago’s crude metaphor is designed to provoke disgust and outrage, playing on Brabantio’s prejudices and setting the stage for Othello’s challenges as an outsider in Venetian society. It also establishes Iago’s manipulative nature, as he uses language to incite conflict for his own gain.

LOVE OTHELLO — “...let your sentence even fall upon my life.”

demonstrates Othello's profound trust in Desdemona's honesty and his unwavering confidence in their love, even in the face of her father's accusations.

RACISM DUKE — “Your son is far more fair than black.”

This line, spoken by the Duke in Act 1, Scene 3, is an attempt to reassure Brabantio about Othello’s marriage to Desdemona. By saying “far more fair than black,” the Duke emphasizes Othello’s virtue, honor, and noble character over his racial identity, suggesting that his qualities outweigh societal prejudices. The line reflects the tension between appearance and reality, as it contrasts Othello’s worth with superficial judgments based on race. It also highlights the theme of outsider status, showing how Othello must constantly be measured by his deeds rather than accepted simply for who he is.

DECEPTION BRABANTIO — “Look to her, Moor, if thou hast eyes to see: She has deceived her father and may thee.”

This line, spoken by Brabantio in Act 1, Scene 3, is a warning to Othello about Desdemona’s perceived untrustworthiness. By saying “if thou hast eyes to see”, Brabantio questions Othello’s judgment, suggesting he is blind to the truth. The reminder that she “has deceived her father” implies that her secret marriage may indicate a propensity for further deception, now potentially toward Othello himself. This plants the first seed of doubt and insecurity in Othello’s mind, foreshadowing how societal prejudice and mistrust will make him vulnerable to Iago’s manipulations, ultimately contributing to the tragedy.

APPEARANCE VS REALITY IAGO — “If I would time expend with such a snipe but for my sport and profit”

This line, spoken by Iago in Act 1, Scene 3, reveals his contempt and opportunism toward Roderigo. By calling him a “snipe” (a foolish, insignificant person) and saying he would only spend time with him “for my sport and profit,” Iago exposes his manipulative and selfish nature—he uses Roderigo’s infatuation with Desdemona to serve his own schemes. The line highlights Iago’s cruelty and cunning: he treats others as tools for amusement and gain, foreshadowing the way he will exploit multiple characters throughout the play to achieve his revenge.

JEALOUSY IAGO — “He’s done my office. I know not if’t be true”

in Act 1, Scene 3 to express his suspicion that Othello has slept with his wife, Emilia. He calls Emilia "my office," a term reflecting his sense of possession and lack of affection, and states that even a mere suspicion of Othello's infidelity will be enough to justify his revenge, which he claims to do "for surety". This quote reveals Iago's manipulative nature as he uses a mere rumor as a motive to cause chaos.

MISOGYNY / GENDER IAGO — “Her eye must be fed. And what delight shall she have to look on the devil?”

This line, spoken by Iago in Act 3, Scene 3, reflects his cynical and misogynistic view of women and desire. By saying “Her eye must be fed,” he suggests that women are driven by visual or superficial pleasures, implying that Desdemona’s attention and affection require constant stimulation. The rhetorical question “what delight shall she have to look on the devil?” mocks the idea that she could be satisfied with something unattractive or unworthy, framing jealousy as natural and inevitable. Iago uses this reasoning to manipulate Othello, twisting ordinary human desire into “proof” of Desdemona’s supposed infidelity. The line underscores Iago’s skill at exploiting societal stereotypes and Othello’s insecurities to orchestrate tragedy.

APPEARANCE VS REALITY IAGO — “...what’s he then that says I play the villain, When this advice is free I give, and honest, probal to thinking, and indeed the course to win the Moor again?”

Iago’s soliloquy

LOYALTY DESDEMONA — “I will intermingle with everything he does with Cassio’s suit” 

This line, spoken by Desdemona in Act 3, Scene 3, shows her determination to help Cassio regain his position after being demoted by Othello. The word “intermingle” suggests she will actively involve herself in supporting Cassio, blending her efforts with Othello’s affairs to influence his decisions. Her actions are motivated by loyalty and compassion, not romantic interest, but Iago exploits her well-meaning intervention to fuel Othello’s jealousy. This line highlights themes of innocence and manipulation, as Desdemona’s virtuous intentions are twisted into “evidence” of infidelity, driving the tragic chain of misunderstandings in the play.

LOYALTY OTHELLO — “No Iago, I’ll see before I doubt” 

This line, spoken by Othello in Act 3, Scene 3, reveals his initial resolve to trust Desdemona and not be swayed by suspicion alone. By saying “I’ll see before I doubt,” Othello insists on requiring proof before believing in her infidelity, reflecting his rational, disciplined nature as a general. However, the dramatic irony lies in how quickly this resolve crumbles under Iago’s manipulation—Othello soon abandons reason for jealousy. The line underscores his tragic vulnerability: though he aspires to be measured and just, his insecurities and trust in Iago ultimately override his commitment to evidence, leading to his downfall.

MANIPULATION IAGO — “She did decieve her father, marrying you”

This line is spoken by Iago in Act 3, Scene 3 as he fuels Othello’s suspicion of Desdemona. By reminding Othello that she “did deceive her father” when she secretly married him, Iago implies that deception is part of her nature and that she may just as easily betray Othello. The manipulation here lies in twisting a moment of love and courage into evidence of dishonesty. It plays directly on Othello’s insecurities about trust, race, and belonging, planting the idea that if Desdemona could deceive her father, she might also deceive her husband. This line is pivotal in Iago’s scheme, as it subtly corrodes Othello’s faith in Desdemona and sets the stage for his jealousy to consume him.

APPEARANCE VS REALITY OTHELLO — “This honest creature doubtless sees and knows more, much more, than he unfolds.”

This line, spoken by Othello in Act 3, Scene 3, shows the depth of his misplaced trust in Iago. By calling him an “honest creature,” Othello reinforces the tragic irony, since the audience knows Iago is deceitful and manipulative. The idea that Iago “sees and knows more… than he unfolds” reveals Othello’s belief that Iago is withholding the truth out of integrity, when in reality he is deliberately feeding Othello’s jealousy. This moment highlights Othello’s tragic flaw—his inability to see through appearances—and foreshadows his downfall, as his confidence in Iago blinds him to Desdemona’s innocence.

APPEARANCE VS REALITY OTHELLO —“This fellow’s of exceeding honesty.”

This line, spoken by Othello in Act 3, Scene 3, is deeply ironic, as he describes Iago—the play’s manipulative villain—as “of exceeding honesty.” Othello’s misplaced trust highlights his tragic flaw: he judges character based on outward appearances and reputation rather than truth. The dramatic irony is powerful here, since the audience knows Iago is anything but honest, which intensifies the tragedy as Othello falls deeper under his deception. This moment underscores themes of appearance versus reality and shows how Othello’s faith in Iago ultimately seals his downfall.

RACISM / IDENTITY OTHELLO — “Haply for I am black”

In Act 3, Scene 3, Othello says “Haply for I am black” as he begins to doubt his worthiness of Desdemona. Here, he internalises the racist attitudes of Venetian society, suggesting that his race makes him less attractive or less deserving of her love. The word “haply” (perhaps) conveys his insecurity and uncertainty, as he struggles to understand why Desdemona might betray him. This moment reveals how Othello’s identity and status as an outsider feed his jealousy and vulnerability to Iago’s manipulation, showing how prejudice and self-doubt contribute to his tragic downfall.

INNOCENCE EMILIA — “What he will do with it, heaven knows, not I: I nothing but to please his fantasy”

This line, spoken by Emilia in Act 3, Scene 3, refers to her giving Iago Desdemona’s handkerchief, even though she does not know what he plans to do with it. The phrase “heaven knows, not I” shows her ignorance of his scheme, while “I nothing but to please his fantasy” highlights both her loyalty and her subjugation as a wife, obeying Iago’s wishes without question. The word “fantasy” suggests something irrational or trivial, emphasising how Emilia underestimates the handkerchief’s significance. This moment is crucial, as her small act of compliance enables Iago’s plot to succeed, reflecting themes of loyalty, gender inequality, and the tragic consequences of blind obedience.

JEALOUSY OTHELLO — “Arise, black vengenace, from thy hollow cell!”

Othello calls upon “black vengeance” to rise from its “hollow cell,” vividly personifying vengeance as a dark, buried force within him that is now being unleashed. The adjective “black” carries a double meaning: it emphasizes the destructive, hellish nature of vengeance, but it also reflects Othello’s own racial identity, suggesting that he now associates his blackness with rage and violence rather than love and honour. The phrase “hollow cell” evokes imagery of imprisonment, as though vengeance has long been caged inside him, waiting for release. This moment marks Othello’s transformation from a noble, rational general into an agent of passion and wrath, foreshadowing the tragic violence to come. Ultimately, the line dramatizes how jealousy corrupts his sense of self, allowing vengeance to consume and define him.

GENDER EMILIA — “They are all but stomachs, and we all but food; they eat us hungerly, and when they are full, they belch us.”

In this quote, Emilia uses a crude metaphor to expose the selfishness of men in relationships, saying men are “stomachs” and women merely “food,” consumed with hunger and discarded once satisfied. The vulgar image of men “belching” after use highlights how women are objectified and valued only for their ability to serve men’s desires, reflecting the wider misogyny of Shakespeare’s society. Emilia’s bitterness contrasts with Desdemona’s innocence, offering a cynical yet realistic view of gender dynamics that foreshadows how Othello will idealize, then reject and destroy, Desdemona once he believes she has lost her “use” to him.

GENDER DESDEMONA — “I will not stay to offend you.”

This statement showcases her innocence, desire to de-escalate the situation, and the growing, unexplainable rift between her and Othello, who is being manipulated by Iago into a jealous rage. Her exit highlights her complete misunderstanding of the gravity of Othello's accusations, reinforcing her plight as a victim caught in Iago's malicious scheme

LOVE DESDEMONA — “Unkindness may do much, and his unkindness may defeat my life, but never taint my love!”

highlights her enduring love despite Othello's cruelty and accusations. The "unkindness" is Othello's abusive treatment and false accusations, which Desdemona recognizes could lead to her death. However, her love for him remains pure and untainted, demonstrating unwavering loyalty even as Othello's actions destroy their relationship and her life. 

GENDER EMILIA — “But I do think it is their husband’s faults if wives do fall…Let husbands know their wives have sense like them….”

4.3: Emilia, to Desdemona, claims that women are in many ways the same as men -- and that, when wives stray, it is their husbands' fault for not knowing this

("Their ills instruct us") (again, women as objects, as not-quite-human)

MANIPULATION IAGO — “Look you pale, mistress?...Do you see gentlemen? Nay guiltiness”

• Iago, having engineered the attack, quickly tries to turn the situation to his advantage. He uses the opportunity to get the other characters, like Gratiano and Lodovico, to focus their attention on Bianca.

• Iago's primary goal is to deflect suspicion from himself by framing Bianca for involvement in the attack. 

GENDER BIANCA — “I am no strumpet, but of life as honest as you thus abuse me”

• Indicates Emilia’s quick to reply with words indicating her willingness to confidently defend herself despite, the male dominance that she is confronted with. Her ability to assertively respond to male authority would not be typical of a lower class woman in the 16th century, and accordingly, her strength of character is evidenced within her actions throughout the play, especially in her dealings with those who look down upon her simply for the fact that she is a woman on the lowest rung of the social hierarchy living in a patriarchal society.

JEALOUSY OTHELLO — “Yet she must die, else she’ll betray more men”

• Says this as he contemplates killing Desdemona, revealing his belief that he is performing a necessary act of justice by eliminating her supposed infidelity to save other men from a similar fate

• This statement is a product of Iago's manipulation, as it highlights Othello's conflicting emotions of love and his misguided sense of duty, framing his act as a heroic sacrifice rather than a tragic murder

MISOGYNY IAGO — “Go to, charm your tongue.”
“What, are you mad? I charge you get you home.”

uses these lines to silence his wife Emilia as she tries to reveal the truth about Desdemona's murder and his own villainy. He attempts to assert authority and prevent her from speaking, but Emilia defies him by revealing his treachery to the other characters. 

GENDER EMILIA — “Good gentlemen, let me have leave to speak.”

a pivotal moment where she rejects patriarchal control and prioritizes truth and justice over wifely obedience to Iago. Acknowledging the societal expectation to obey her husband, Emilia declares her duty to speak out against Iago's villainy, becoming a martyr for Desdemona's innocence and a powerful voice against injustice for women.

JEALOUSY DESDEMONA — “…my noble Moor is true of mind and made of no such baseness as jealous creatures.”

Desdemona claims that Othello is not a jealous man in his nature, she is lucky as if he was a jealous man the loss of the handkerchief would enrage him. HUGE dramatic irony here, Othello is jealous and is enraged by the loss of the handkerchief, this circumstantial evidence is enough to prove Desdemona as a disloyal wife and results in Othello planning to kill her.

JEALOUSY OTHELLO — “I would rather be a toad/ and live upon the vapour of a dungeon/ than keep a corner in the thing I love/ for other’s uses”

• "I had rather be a toad / And live upon the vapor of a dungeon":

  Othello uses imagery of a toad to represent himself, a creature known for being miserable, lowly, and living in foul conditions. A dungeon's "vapor" signifies a life of filth and decay, a stark contrast to his former glory. This desire shows how completely corrupted he feels by the idea of his wife's infidelity, making him willing to embrace a disgusting existence rather than endure the pain of being cuckolded. 

• "Than keep a corner in the thing I love / For others' uses":

  This signifies his unwillingness to allow any part of Desdemona to be used or shared by another man. The "thing I love" is Desdemona, and to "keep a corner" in it means to allow a part of her, and thus his love, to be shared. He would rather his love be wholly tainted and useless to him than be partially shared. 

JEALOUSY SOLILOQUY IAGO — “And nothing can or shall content my soul. Till I am evened with him, wife for wife.”

This line is spoken by Iago in Act 2, Scene 1, revealing the depth of his malicious intent. By saying “nothing can or shall content my soul”, Iago expresses that he will not feel satisfied until he has exacted revenge. The phrase “evened with him, wife for wife” shows that he plans to exploit Othello’s marriage and Desdemona’s fidelity to achieve personal vengeance, equating emotional and social retribution with tit-for-tat morality. This line highlights Iago’s manipulative and vengeful nature, setting in motion the deceit and tragedy that drive the play, while underscoring themes of jealousy, revenge, and the corrupting power of obsession.

JEALOUSY SOLILOQUY IAGO — “I put the Moor at least into a jealousy so strong that judgement cannot cure.”

signifies the core of his malicious plan: to inflict such powerful and irrational jealousy on Othello (the "Moor") that it overrides his rational mind, leading to his complete destruction. Iago's goal is a comprehensive revenge, aiming to sow a seed of doubt so deep that Othello will be consumed by it, losing his ability to think clearly and acting against his own noble character. 

MANIPULATION — IAGO “The Moor already changes with my poison.”

The metaphor of his ‘poison’ implies jealousy as a disease that is fated to spread and worsen until eventually leading to total infection- death.

RACISM / IDENTITY — OTHELLO "Haply, for I am black”

This is a key quote showing Othello's deep-seated insecurity about his racial and social standing in Venice. He believes his "blackness" and lack of eloquent social skills make him an inadequate match for Desdemona. This insecurity is a primary source of his later jealousy. 

IDENTITY OTHELLO — “I am declined / into the vale of years”

Othello also doubts his age and masculinity in comparison to the younger Cassio, adding another layer to his identity crisis. He feels he is too old and worn out for Desdemona and his social role, which feeds the suspicion that she would seek a more vibrant partner.

GENDER DESDEMONA — “And so much duty as my mother showed to you, preferring you before her father, so much I challenge that I may profess due to the Moor, my lord.”

In asserting, “And so much duty as my mother showed to you…so much I challenge that I may profess due to the Moor, my lord,” Desdemona demonstrates her independence and moral courage. She draws a parallel between herself and her mother to justify prioritising love over filial duty, framing her loyalty to Othello as both natural and righteous. The use of “challenge” signals her assertiveness, while “profess due” presents love as a moral obligation, highlighting her unwavering devotion. This moment foregrounds key themes of love versus duty and female agency, showing Desdemona’s ability to assert personal choice despite societal and familial expectations.

LOYALTY DESDEMONA — “Doest thou in good conscience think…that there be women do abuse their husbands in such gross kind?”

Desdemona’s disbelief of the fact that women would truly be unfaithful to their husbands reveals her overwhelming sense of duty and loyalty to Othello, as she has not even considered the possibility of being disloyal to him in this way.

GENDER / LOYALTY EMILIA — '“No, I will speak as liberal as the north. Let heaven and men and devils; let them all, all cry shame against me, yet I’ll speak.”

Emilia speaks out against her husband against his wishes, as while Iago attempts to use his authority to silence her, she perseveres and brings to light Iago’s role in Desdemona’s death. Despite the terrible consequence which eventually befalls her, namely her murder by her own husband, she is unwavering in her determination, and, like Desdemona, she possesses a particular strength of character in her inherent courage, which allows her to defy her husband’s authority and achieve justice for the death of her mistress. I

MANIPULATION IAGO — “I know our country disposition well: In Venice they do let God see the pranks they dare not show their husbands.”

• In this line, Iago emphasizes Othello’s outsider status by referencing “our country disposition,” implying that Othello, as a Moor, is naive about Venetian women and their supposed deceit. The quote suggests that Othello cannot fully understand or belong to Venetian society, heightening his sense of racial and cultural otherness. By framing women’s behavior as something he, as an outsider, might be blind to, Iago exploits Othello’s insecurities about race and belonging, making him more susceptible to jealousy and manipulation.

• In this line, Iago exploits Othello’s insecurities by appealing to his distrust of women, claiming he understands “our country disposition” and suggesting that Venetian women secretly deceive their husbands. The word “pranks” implies immoral or cunning behavior, painting women as inherently untrustworthy. By framing it as common knowledge, Iago manipulates Othello into doubting Desdemona’s fidelity, subtly planting the seeds of jealousy that will grow into tragic consequences.