Othello Quotes

quotes, analysis and context

‘But I pray you sir, are you fast married?’

Act 1, Scene 2 - Relationships

Coming from Iago, under the guise of friendship, questioning whether or not Othello and Desdemona have consumated their marriage - making them actually married, otherwise its possible for them to be divorced.

Contextually, this is important as within chrisitanity consummation was seen as cementing the marriage and bond of the couple; also links with ‘the magnifico is much beloved’ in reference to Brabantio's influence within the senate and his potential power to destroy Othello's reputation

‘Whip me’

‘honest knaves'

Act 1, Scene 1 - Race

Derogatory references to Othello being a black man, possibly a slave - creating an innacurate early perception of Othello towards the audience

‘But that I love the gentle Desdemona, I would not my unhoused free condition put into circumscription and confine for the sea's worth’

Act 1, Scene 2 - Love & Masculinity

Othello’s love for Desdemona is so great that he’s willing to give up his freedom and adventurous life, 'unhoused free condition' for their 'circumscription and confine', as to him its worth 'the sea's worth'.

This reveals the depth of his love for her, as he values their relationship more than his independence and the opportunities that come with it. Its significant due to the fact that Othello has only known Desdemona for a short period of time - suggesting his lust & possible need for a partner takes presidence over any actual emotion

‘The goodness of the night upon you, friends’

Act 1, Scene 2 - Love

‘goodness of the night' refers to the positivity from his marriage with Desdemona and ‘friends’ presents Othello as having a polite, amicable manner which contrasts depictions of him within Act 1, Scene 1 by Iago and Brabantio

‘Faith, he tonight hath boarded a land carrack. If it prove lawful prize, he’s made for ever.’

Act 1, Scene 2 - Relationships & Sexuality

Iago crudely implies Othello's marriage to Ddesdemona is purely to gain social standing and money, not due to true love; referring to Desdemona as a ‘land carrack’ objectifies her and presents her as being akin to a treasure chest, with ‘lawful prize’ referring to their marriage as being confirmation of their winnings

‘I do beseech you, send for the lady to the Sagittary, and let her speak of me before her father’

Act 1, Scene 3 - Love and Relationships, Femininity

Othello requesting Desdemona’s presence, so she can speak for herself in front of the senate, highlights his respect for Desdemona and how he views her as his equal & his desire to assure their marriage as being legitimate.

Othello’s certainty in Desdemona, presents his control over the situation and how she will dispel the accusations against him.

‘How I did thrive in this fair lady's love, and she in mine’

Act 1, Scene 3 - Love & Relationships

Othello reflects on the mutual and reciprocal nature of his love with Desdemona. The use of 'thrive' suggests that their love is not superficial, and is based on genuine love and care for one another.

‘This to hear would Desdemona seriously incline; but still the house affairs would draw her thence, which ever as she could with haste dispatch, she'd come again’

Act 1, Scene 3 - Relationship (Parental & Marital)

provides insights into Desdemona's character & her relationship w/ Othello, hinting at delicate balance between personal desires and familial duties.

Desdemona being eager to listen to Othello's stories, indicating her genuine interest and affection for him & his past experiences; displaying her attentiveness, respect, and a desire to learn about and understand her husband's life.

However, ‘but still the house affairs would draw her thence’ shows Desdemona's adherence to her responsibilities and obligations - out of respect for her father. In Jacobean society, women were expected to manage the household and fulfill domestic duties; suggesting she is conflicted between her duty to her father and her love for Othello.

‘with a greedy ear devour up my discourse’

Act 1, Scene 3 - Love

Alliteration of ‘Devour' and ‘Discourse' connotates animalistic desires & the opposition of the chastity linked with Desdemona's character

‘She lov'd me for the dangers I had pass'd,And I lov'd her that she did pity them.’

Act 1, Scene 3 - Love

Othello's recount of his courtship w/ Desdemona, attributes their love to the allure of his adventurous past and Desdemona's empathetic nature, suggesting their connection was forged through her admiration for his courageous exploits and his reciprocated affection for her compassion.

Othello believed she wished to marry and fall in love with him, in spite of his race; suggesting the honesty and purity of her love for him, despite knowing they wouldn’t be socially accepted together. This is essential to his story as the only insight Brabantio has into Desdemona's love AND foreshadows potential issues arising from their relationship being founded on pity/admiration vs deep understanding and compatibility.

‘She is a most exquisite lady’

Act 2, Scene 3 - Love

Cassio's simple yet profound description of Desdemona; emphasising her having exceptional qualities.

'Exquisite' implies not only physical beauty but also refinement, grace, and moral excellence, further suggesting Cassio's deep respect and admiration for Desdemona. It also hints that she is a paragon of virtue and beauty in Cassio's eyes.

‘In following him, I follow but myself.’

Act 1, Scene 1 - Betrayal

Iago presents himself as being akin to a double agent, with the initial signs of betrayal esatblishing him as the villain of the play

‘Your daughter, if you have not given her leave, I say again, hath made a gross revolt’

Act 1, Scene 1 - Betrayal & Loyalty

Roderigo creates instability by presenting to Brabantio, that Desdemona isn't a faithful, truthful or honest daughter

‘It seems not meet, not wholesome to my place, to be produces - as if I stay, I shall -against the Moor.’

Act 1, Scene 1

Iago's initialted his aid in betraying Othello, but doesn't yet want to be caught - suggesting there's much more to his plans

‘Gone she is, And what's to come of my despised time Is naught but bitterness’

Act 1, Scene 1 - Betrayal

Due to Desdemona leaving Brabantio, he sees the rest of his elderly life as being bitter, due to how painful he believes this betrayal to be

‘O, she decieves me past thought’

‘O treason of the blood!’

Act 1, Scene 1 - Betrayal

As a result of this betrayal, Brabantio no longer has trust in Desdemona being truthful with him & even sees the betrayal as being more painful because she's his only daughter

‘I lack iniquity'

Act 1, Scene 2 - Loyalty

Iago's use of dramatic irony, presents his motivation to do whatever is necessary to achieve his goals

‘Nay but he prated and spoke such scurvy and provoking terms against your honour, that with the little godliness I have I did full hard forbear him.’

Act 1, Scene 2 - Loyalty and Betrayal

Iago's use of ‘prated’, ‘scurvy’, and ‘provoking’ which are slanderous words which subtly foreshadows his intentions. This is an example of Iago's manipulative nature and foreshadows his broader scheme to incite jealousy and conflict. The phrase 'little godliness I have' is dramatic irony, given his intentions in leading Othello to his demise

‘My services which I have done the signory, shall out-tongue his complaints. ’Tis yet to know - which, when I knw that boasting is an honour, I shal promulgate - I fetch my life and being from men of royal siege; and my demerits may speak unbonneted to as proud a fortune as this that I have reached’

Act 1, Scene 2 - Loyalty

Othello believes his loyalty & accomplishments for the senate will prove as character refernce for him w/ his marriage to Desdemona. ‘yet to know’ refers to how Othello doesn’t want to share his happy news until its certain that the news can be shared happily, while ‘as proud a fortune as this that I have reached’ - refers to Othello's noble lineage, prior to slavery, proving him a worthy suitor for Desdemona

‘It is Brabantio. General, be advised; He comes to bad intent'

Act 1, Scene 2 - Loyalty and Betrayal

‘For I'll refer me to all things of sense’

Act 1, Scene 2 - Betrayal

‘What if I do obey?’

Act 1, Scene 2 - Loyalty

‘The Duke himself, or any of mt brothers of the state, cannot but feel this wrong as ’twere their own

For if such actions may have passages free, bondslaves and pagans shall our statesmen be.’

Act 1, Scene 2 - Loyalty and Betrayal

‘I do not so secure me in the error, but the main article I do approve in fearful sense'

Act 1, Scene 3 - Control and Manipulation

‘I did not see you; welcome gentle signor, we lacked your counsel and help tonight.’

Act 1, Scene 3 - Loyalty

‘the Moor'

Act 1, Scene 1 - Race

derogatory & prejudical term, referring to a black African man - speaking of Othello, not by his name disregarding his humanity & objectifying him

‘thick-lips'

Act 1, Scene 1 - Race

an abusive description of a Black man, seen as socially acceptable - made by Roderigo, showing that racial prejudice was common across all social classes; these comments also escalate the issue of internalised racism which contributes towards Othello's self-esteem throughout the play

‘an old black ram is tupping your white ewe’

Act 1, Scene 1 - Race

Iago is actively trying to insite anger and hatred within Brabantio against Othello, by using Zoomorphic imagery when referring to Desdemona's new husband and his family, by comparing them with different types of horses - an animal with connotations of Evil, sexuality and virility amongst others- all of which went strongly against the values of Jacobean society

‘a knave of common hire’

Act 1, Scene 1 - Race

Iago is actively trying to insite anger and hatred within Brabantio against Othello, by using Zoomorphic imagery when referring to Desdemona's new husband and his family, by comparing them with different types of horses - an animal with connotations of Evil, sexuality and virility amongst others- all of which went strongly against the values of Jacobean society

This implies Roderigo believes Othello is a devious liar and that he used his temporary high status to seduce women

‘you'll have your daughter covered with a Barbary horse; you'll have your nephews neigh to you; you'll have coursers for cousins, and jennets for germans’

Act 1, Scene 1 - Race

Iago, attempting to insite anger against Othello within Brabantio, by suggesting that Desdemona's honour is being disgraced

Shakespeare’s use of animalistic language within the extended metaphor, restates Iago’s hatred of Othello, as it connotates him with having beastial qualities

‘a lascivious Moor'

Act 1, Scene 1 - Race

Suggests that all African men are the same, they only want staus & Lust and would do most anything to be able to have that - and that Othello is no different

‘Tying her duty, beauty, wit, and fortunes in an extravagant and wheeling stranger of here and everywhere’

Act 1, Scene 1 - Race

This quote by Roderigo is a blatant insult at Othello and an attempt at sullying his reputation, by suggesting the Othello has no honor because he's an opportunist who strikes and does as he wishes whenever he sees fit.

‘With the Moor, say'st thou? Who would be a father!’

Act 1, Scene 1 - Race

Brabantio is explicitly higlighting contemporary racial prejudice, by stating that anything else would be preferrable to being a parent, at knowing his daughter is with Othello, due to him being a black man.

This is increased by his knowing that Desdemona is engaged in sexual relation with him and could potentially even be in a relationship with him

‘O would you had had her!’

Act 1, Scene 1 - Race

Brabantio explicitly is stating he wishes that Roderigo had married Desdemona, simply because of the racial prejudices he has against Othello and less prominently, in spite of his bias against people of lower status - as at least she would still be married to a man of the same race; which disregards Othello's high status due to military status

‘a knave of common hire, a gondolier’

Act 1, Scene 1 - Race

‘knave’ refers to Othello being a liar and devious, and ‘gondolier’ links with beliefs of him potentially having used his status as a means for seduction

‘lascivious Moor'

Act 1, Scene 1 - Race

Implies Othello is lustful, only after sex; due to the stereotype of African Men being overly sexual and lust driven creatures, reinforces racial prejudices against him. ‘Lascivious’ suggests Othello is predatory towards Desdemona, which reduces him to being a purely sexual creature - disregarding his noble qualities or achievements and depicts him as being the antithesis of a Jacon

‘Tying her duty, beauty, wit, and fortunes/ In an extravagant and wheeling stranger/ Of here and everywhere’

Act 1, Scene 1 - Race

Use of internal rhyme scheme, ultimately suggests that Desdemona has made a mistake, b/c Othello has no honour - due to him being seemingly unreliable figure, ‘extravagant and wheeling stranger’ indicates he's viewed as a wanderer with no purpose & reinforces prejudices against interracial union within the Jacobean era

‘With the Moor, say'st thou? - Who would be a father!’

Act 1, Scene 1 - Race

Brabantio saying this is poignant, as being Desdemona's father - it highlights the intense racial prejudice against Black people within the Jacobean era, told via derogatory reference to Othello as ‘the Moor’.

‘Who would be a father!’ - implies that he would prefer any other suitor over the Moor, revealing his racial bias; presumably because Othello's race was seen as shameful, corrupting their connotations of status & reputation

‘O would you had had her!’

Act 1, Scene 1 - Race

Brabantio distressed over Desdemona's marriage with Othello - linked to racial prejudice, presenting disdain for his daughter choosing to marry a black man.

Brabantio underscores his belief that any suitor, incl. of a lower societal standing than Othello, would be preferable due to Othello’s race; revealing Brabantio's personal biases & highlights societal norms of the Jacobean era, where interracial marriages were contempt. Brabantio’s desire for Roderigo to marry Desdemona indicates desire for control over her choices and attempts to cling to honor and reputation, further complicating the societal expectations in the play.

‘Down with him, thief!’

Act 1, Scene 2 - Race

From Brabantio to his men, targeted at Othello; ‘theif’ implying that Brabantio believes that Othello is stealing from his upper classman in the senate and society. The line illustrates Brabantio's perception of Othello as a deceptive outsider who has taken away his daughter; objectifying Desdemona as being incapable of making her own romantic choices, reinforcing the play's themes of racial tension and societal disapproval of interracial relationships.

‘O thou foul thief (…)

Damned as thou art, thou hast enchanted her’

Act 1, Scene 2 - Race

Brabantio accusing Othello of deception, reflecting his perception of him as an undeserving outsider who stole Desdemona - emphasizes racial prejudice of the era, portraying Othello as a 'foul' character unworthy of Desdemona's love due to his race, further suggesting Othello's blackness equates moral corruption/betrayal, reinforcing contemporary beliefs in racial inferiority.

ALSO conflates his blackness as being synonymous with witchcraft, implying that Othello used dark magic to win her affection - as though she would never have chosen him.

‘t'incur a general mock - Run from her guardage to the sooty bosom of such a thing as thou; to fear, not to delight'

Act 1, Scene 2 - Race

Brabantio expresses disdain for Desdemona's choice in Othello, equating her decision with shame, showcases his deeply rooted racism and inability to see past it and his assumptions that Desdemona also hold these views; viewing Othello's blackness as a debasement, with ‘sooty bosom’ being a racial insult, suggesting Desdemona should be ashamed of her attraction to someone like him

‘I therefore apprehend, and do attach thee for an abuser of the world’

Act 1, Scene 2 - Race

Shakespeare presents how highly reliant Brabantio is on is status as a Senator, to assert his power over Othello - suggesting his authority is ONLY from social standing. Reflecting the play's exploration of the intersections of race and class, highlighting Brabantio's belief that he has the moral high ground over Othello.

‘the valiant Moor' ‘Valiant Othello'

Act 1, Scene 3 - Race

Repetition of ‘Valiant’ reflects how Othello is perceived as a noble and courageous figure despite his race, highlighting the contrast between his valor and respectability as a general & the prejudice he faces from others, emphasizing that his worth is not defined by his ethnicity.

‘this Moor, whom now it seems your special mandate for the state affairs hath hither brought’

Act 1, Scene 3 - Race

Brabantio's accusation is directed at the Duke, due to him being the reason for Othello’s presence in Venice, implying Othello's status and involvement in matters of state are illegitimate or unnecessary. Reflecting Brabantio's deep-seated prejudice, suggesting that a black man cannot hold such a position without being a threat to societal norms.

‘Rude am I in my speech’

Act 1, Scene 3 - Race

Implies Othello as being uneducated and his self-doubt, acknowledges his outsider status and the stereotypes associated with his race and highlights his awareness of prejudice and the struggle to assert his identity within predominantly white Venetian society.

‘And little of this great world can I speak'

Act 1, Scene 3 - Race

Othello remarks on his limited experience and self-perceived inadequacy in eloquence, reinforcing the stereotype of the 'uncivilized' outsider; due to him having fought battles instead of learning to be literate - this also makes him easier for Iago to manipulate, due to his lack of worldly knowledge

‘and she, in spite of nature, Of yeards of country, credit, everything, to fall in love with what she feared to look on. It is a Judgement maimed and most imperfect that will confess perfection so could err against all rules of nature'

Act 1, Scene 3 - Race

Brabantio is implying that Othello should be looked down upon, because of his class, upbringing, skin, etc.

‘against all rules of nature’ - brings back the negative perception of interracial relationships with the Jacobean era audiences; reflects Brabantio's belief that Desdemona's love for Othello defies societal and natural expectations, underscoring the racism and prejudices of the era against interracial relationships. It highlights how deeply ingrained notions of race and class are influencing perceptions of legitimacy and morality in love.

‘Without more wider and more overt test Than these thin habits and poor likelihoods of modern seeming do prefer against him’

Act 1, Scene 3 - Race

The duke is challenging social norm of prejudice against people of colour and foreigners,

‘Did you by indirect and forced courses Subdue and poison this young maid's affections?’

Or came it by request, and such fair question, as soul to soul affordeth?’

Act 1, Scene 3 - Supernatural and Race

The senator's accusations of whether Othello and Desdemona's courtship was due to supernatural and artificial infatuation, or an honest match of true and natural love

‘Still questioned me the story of my life From year to year - the battles, sieges, fortunes, That I have passed.’

Act 1, Scene 3 - Race

Othello makes Brabantio complicit in bringing Othello and Desdemona together, but brings up the question of whether their romance was love or intrigue of a person, highly unlike him & Desdemona's desire to try and understand him

‘And sold to slavery; of my redemption thence, And portance in my travels’ history; Wherein of antres vast and deserts idle, Rough quarries, rocks, and hills whose heads touch heaven. It was my hint to speak - such was the process; And of the Cannibals that each other eat’

Act 1, Scene 3 - Race and Religion

Othello's back story, shows off the tragic and traumatising events he'd had to witness as a result of slavery; gaining sympathy of Jacobean audiences.

‘hills whose heads touch heaven' - is a metaphor for religious imagery

‘She wished she had not heard it, yet she wished That heaven had made her such a man’

Act 1, Scene 3 - Race, Love + Relationships

Within Othello's story of how he and Dessemona fell in love, he believed she wished she was was able to marry and fall in love with him, in spite of his race. This suggests how honest and pure her love for him is, despite knowing that they would not be socially accepted if they were together.

‘When remedies are past, the griefs are ended By seeing the worst, which late on hopes depended. To mourn a mischief that is past and gone Is the next way draw new mischief on.’

Act 1, Scene 3 - Race

Through this quote, the Duke is slightly giving into societal stereotypes, but diffuses the situation, by reminding Brabanti

‘To put my father in impatient thoughts By being in his eye.’

Act 1, Scene 3 - Race

Desdemona acknowledges Brabatio’s unhappiness with her marriage to Othello, and her desire not to anger him further, due to their close relationship. Describing his thoughts as ‘impatient’ suggests the belief that Brabantio is judging him prematurely, due to societal stereotypes

‘his honours and his valiant parts’

Act 1, Scene 3 - Race

By emphasizing Othello's 'honours' and 'valiant parts,' Desdemona actively counters the bigoted views held by others, judging Othello based on his race. This highlights Desdemona's admiration for Othello's noble qualities and suggests her defiance of societal expectations, reinforcing her independent spirit and genuine love for Othello beyond racial boundaries; underlining the clash between personal values and societal prejudices in the play.

‘If virtue no delighted beauty lack, Your son-in-law is far more fair than black.’

Act 1, Scene 3 - Race

The Duke’s rhyming of ‘lack’ and ‘black’ suggests that Othello may have black skin but behaves more like a white person. The Duke clearly favours Othello, and as such wishes Brabantio could see him as being ‘fairer’ and more intelligent than initially suspected.

‘Ere I would say, I would drown myself for the love of a guinea-hen, I would change my humanity with a baboon’

Act 1, Scene 3 - Race

Iago’s use of metaphors suggests Othello's mentality being due to his race, with similes to animals like a ‘guinea-hen’ and ‘baboon’, presenting his hatred as being disdain towars those who are his superiors

‘These Moors are changeable in their wills’

Act 1, Scene 3 - Race

Iago is equating Othello with having been a slave when he initially came to Italy, and as such believes Othello will be flimsy and impulsive in his behaviours

‘If sanctimony and a frail vow betwixt an erring barbarian and a supersubtle Venetian be not too hard for my wits and all the tribe of hell, thou shalt enjoy her’

Act 1, Scene 3 - Race

Iago's use of juxtaposition and epithets ‘erring barbarian’ and ‘supersubtle Venetian’, suggests his belief that he believes Othello and Desdemona don't belong together, because Othello doesn't match w/ normal Venetian social standards; reflecting the attitudes towards interracial relationships.

Additionally the use of the epithet ‘supersubtle venetian’ to describe Desdemona, as it refers to how she's still a typical Venetian woman, despite straying from stereotypes in certain aspects; through this he aligns himself with hell, likening himself to the devil

‘I re-tell thee again and again, I hate the Moor’

‘I hate the Moor’

Act 1, Scene 3 - Race

Repetition of ‘hate’ presents wrath 1/7th of the deadly sins, with eternal damnation and reinforcement of Iago's evil/ ‘janus-faced' character

‘The Moor is of a free and open nature, That thinks men honest that but seem to be so, And will as tenderly be led by th'nose As asses are’

Act 1, Scene 3 - Control, Manipulation & Race

Iago actively plans to use Othello's nature against him, with the animalistic imagery of cows and donkeys, notes where Iago believes Othello's place is amongst social hierarchy and ‘led by th'nose as asses are' refering to how Iago plans to lead Othello to his downfall

‘And what was he? […] a great arithmatician […] a Florentine’

Act 1, Scene 1 - Jealousy, Context