Othello quotes

“You shall not write my praise”

“You shall not write my praise”

Emilia A2S1. At this point, in public, she is an obedient housewife, acting exactly as Iago wants her to. Her statement in reply to his sexist remarks appears meek and timid, a stark contrast to her bold attitude later in the play. It is clear what a difference being in public/ private makes to her. The pressure put on a Venetian woman to be ‘perfect’.

“I nothing, but to please his fantasy”

Emilia A3S3. After finding Desdemona’s handkerchief, she reflects on what her purpose is in relation to her husband. The word fantasy has certain sexual connotations but in Emilia’s sense it is far more about fulfilling Iago’s dreams of revenge than it is about sex.

“The ills we do, their ills instruct us so.”

Emilia A4S3. In what has prompted many to regard Emilia as a ‘protofeminist’ as she sees men and women as equal, even in their flaws. She seems to blame men for women’s negative traits, something that does seem to be true when applied to Emilia and Iago’s relationship.

“I care not for thy sword - I’ll make thee known.”

Emilia A5S2. Shockingly bold contextually. Also a huge contrast to Desdemona who even after Othello has killed her, still blames herself. Emilia will make Iago’s crimes known, even if it kills her. She is the only character in the play who truly challenges Iago. Even when Othello knows the truth, he focuses more on hating himself than Iago, the true villain of the play. In this sense, Emilia is inspirational and brave.

“All, all cry shame against me, yet I’ll speak.”

Emilia, A5S2. A tragic commentary on the treatment of women, she believes she will be shamed for speaking out against her influential husband. Continually very brave, her character progression is strong and linear, she continues to become more brave as the play goes on.

“Our great Captains Captain.”

Cassio, A2S1. Cassio idolises Desdemona, putting her above Othello in rank. Goes as far as making it a military rank despite Desdemona having no military ranking. Continues to put Desdemona on a pedestal for the entirety of the play.

“Reputation, reputation, reputation!. […] I have lost the last immortal part of myself, what is left is bestial.”

Cassio, A2S3. After killing Montano and being demoted Cassio mourns his reputation. The tricolon puts heavy emphasis on the importance of reputation in venetian society. He also suggests that anyone without a reputable standing in society is nothing more than an animal, a reference made many times throughout the play. Most frequently by Iago’s use of animalistic language, often to describe Othello in racists terms.

“I marry her! What! A customer!”

Cassio, A4S1. Despite respecting Desdemona, he is cruel and mean about Bianca, who is of a lower class. Suggests Cassio’s attitude towards women depends on their class and how attractive he finds them. Audience perception of him changes dramatically after Shakespeare highlights his attitude towards Bianca.

“I do perceive here a divided duty.”

Desdemona, A1S3. Bold and unexpected of her to speak against her father, especially as Brabantio is a character with a lot of power who hates Othello. Here she is still courteous and polite, explaining her reasoning calmly. Sets up her ‘perfect’ image.

“O heavy ignorance!”

Desdemona, A2S1. Despite being polite and at times, timid, she still speaks out against Iago, potentially suggesting a disliking of him from the start? Her and Emilia are almost in perfect contrast about when they speak out. Emilia does when in private and at the end of the play. Desdemona does in public and at the beginning, only diminishing in herself as the play progresses.

“Unkindness may defeat my life but never taint my love.”

Desdemona, A4S2. She already knows she will die, there is a tragic sense of knowing, for both the audience and Desdemona. Even more tragically, when being accused of disloyalty by Othello, Desdemona is more loyal than ever, still loving Othello deeply.

“O these men, these men!”

Desdemona A4S3. A rare insight into Desdemona’s real emotions, only shown to Emilia, another woman. She finally seems frustrated and upset, natural emotions in this scenario, it makes her more relatable.

“Why should I fear I know not, since guiltiness I know yet, but yet I feel fear”

Desdemona, A5S2. She speaks truthfully and honestly. Although she becomes less likely to speak up against Othello, she does become more honest in how she truly feels, tragically too late.

“Nobody, I myself, farewell.”

Desdemona, A5S2. Even when Othello has literally murdered her, she still won’t let him take the fall. She is a truly faithful wife and this makes her death even more tragic.

“Keep your bright swords, for the dew will rust them”.

Othello A1S2. An early indication of Othello’s virtue. This makes his change in character in A3S3 even more tragic and shocking.

“She loved me of the dangers I had passed them and I loved her that she did pity them.”

Othello. A1S3. A suggestion that their love is equal and based on respect. However, it does also imply a sense of Othello’s arrogance and need to feel respected - perhaps because of the lack of respect he received as a black man.

“I am bound to thee forever.”

Othello, A3S3. Perhaps the ultimate turning point in the play. Like the [kneeling] stage direction (one of the rare few from Shakespeare), it symbolises somewhat of a marriage between Iago and Othello, and thus, the destruction of the marriage between Othello and Desdemona.

“Why did I marry?”

Othello, A3S3. After previously seeming so sure of himself, bordering on arrogant, Othello questions one of his main judgements: marrying Desdemona, proving the extent of Iago’s control over him.

“I’ll tear her to pieces.”

Othello, A3S3. He becomes shockingly violent in his description of what he will do to Desdemona - beginning to match the animalistic language Iago uses to refer to him.

“Arise, black vengeance.”

Othello, A3S3. Othello seems to call to the “black” side of him, the one that has been associated with evil and hell by Venetian officials. When changing to wanting to murder Desdemona he seems to change his view on his race as well.

“Yet, she must die else she’ll betray more men.”

Othello, A5S2. He speaks as if murdering Desdemona is ‘for the greater good’, to justify his actions. He cannot bear being morally incorrect, even when it’s clear to everyone, including the audience, that he is.

“I will kill thee and love thee after.”

Othello, A5S2. Almost seems upset that he has to kill Desdemona, saying he still loves her, but his arrogance and certainty that he is always right (an absolute mind), means he believes he has to do it.

“One that loved not wisely, but too well.”

Othello, A5S2. After knowing the truth of Iago’s manipulation and that Desdemona was truly innocent, he doesn’t mourn her, is just concerned about his reputation after his death. He remains arrogant and becomes more and more like Iago as the play progresses.

“O cursed, cursed slave!”

Othello, A5S2. Once again referencing his past as a slave, he almost seems to blame his actions on his race, separating it from himself. He seems to treat his race as something different from himself.

“I follow him to serve my turn upon him”.

Iago, A1S1. Iago immediately makes his intentions towards Othello clear to the audience (via Roderigo who acts as a connection between Iago and the audience).

“I am not what I am.”

Iago A1S1. This is a twist on the words of God in Exodus, ‘I am what I am’, and proves there is absolutely no doubt in Iago’s perception of himself and his ability to manipulate. Also creates a complicated relationship between Iago and the audience, not knowing at what points he is telling the truth. Connects the ambiguity of his motives.

“These Moors are changeable in their wills.”

Iago A1S3. Proves Iago’s racist undertones, although the use of the word Moor is common in the play and doesn’t necessarily come from a place of racism in context, from Iago it is rooted in racial prejudice. And his belief in his ability to manipulate racial minorities.

“I’ll set down the pegs that make this music as honest as I am.”

Iago A2S1. He knows he’s dishonest and is proud of it. In many aside comments and soliloquies, Iago makes his intentions clear to the audience, making him even more of a successful villain, by the end it is clear his plan has gone perfectly, even though he ends up arrested.

“Out of her own goodness make the net that shall enmesh them all.”

Iago A2S3. A key tool in his plan is Desdemona and her ‘perfectness’ that he can use to manipulate others, including the men who seemed to be enchanted by her.

“My lord, you know I love you.”

Iago A3S3. Iago makes few references to love, and this is one of the only times he does. He uses the idea of love to lure Othello further into his manipulation. He also plays to Othello’s arrogance by saying “you know”.

“[he kneels] do not rise yet [he kneels]”

Iago A3S3. Arguably, the turning point in the play, this symbolises a marriage between Iago and Othello. It is clear that the power is held by Iago by his assertive comment.

“I am your own forever.”

Iago A3S3. A further implication of a marriage between Othello and Iago and Iago’s false promise to Othello.

“From this time fourth I never will speak word.”

Iago A5S2. Although he has technically been caught, Iago’s plan worked and he is clearly pleased with this. He is the ultimate successful villain. His actions mean the play lacks catharsis, a typical tragic element, in some ways Shakespeare’s invention of a character as cunning as Iago changes the standard of tragedy all together.