EXPANDED OTHELLO QUOTES
DESDEMONA
MY NOBLE FATHER, I DO PERCIEVE HERE A DIVIDED DUTY
Opens with her father, closes with her through the use of the personal pronoun of ‘I”, verb choice of ‘percieve’ highlights a level of percieved intelligence, not just the naive Desdemona we are led to believe simply exists. Alliteration of ‘divided duty’ highlights the gravity of the situation with the harsh repitition of the plosive ‘d’ sound. Still maintains the personal pronoun of ‘my’ highlights perhaps her youth and her closeness to her father.
SING WILLOW, WILLOW,WILLOW
Repitition of Willow, Intetextuality reference with ophelia’s death. The motif of the willow would be recognisable to a Shakespearen audience, the song itself is a mournful folk ballad, ‘The Willow song’ was originally in a book of lute music from 1583. there were 8 verses, but Desdemona only has ime to sing 2 verses (cut off - mimics ending of her life) originally about a man who dies due to his love cruelty and betrayal, but Shakespeare gender swaps it to fit Desdemona
-TELL ME, EMILIA - THAT THERE BE WOMEN WHO DO ABUSE THEIR HUSBANDS IN SUCH GROSS KIND
The very dislocated language used highlights her shock and perhaps naivety. Perhaps also she indirectly considers the impact of women on their husbands, interesting that she consults Emilia, a lower class older woman who dies at the hand of her husband.
HEAVEN DOTH TRULY KNOW IT
Again the religious imagery that surrounds Desdemona and that she constantly employs, could be seen as the way she was raised, or perhaps it is simply a means of defense that a woman employs in a mans world (similiar to Elizabeth I).
ALAS WHAT IGNORANT SIN HAVE I COMMITTED
Again the religious imagery that surrounds Desdemona and that she constantly employs, could be seen as the way she was raised, or perhaps it is simply a means of defense that a woman employs in a mans world (similiar to Elizabeth I).
NO AS I AM CHRISTIAN
Showcases the importance of religion, short sentence and the use of the personal pronoun highlights the importance of religion within life, as she places so much importance and power on her religion and religiosity.
O HEAVEN FORGIVE US!
I CANNOT SAY ‘WHORE’ IT DOES ABHORE ME NOW I SPEAK THE WORD
COUSIN THERES FALLEN BETWEEN HIM AND MY LORD AN UNKIND BREACH
starts with ‘cousin’ the use of the familiar language is attemping to evoke a connection and an impact but also reminds the audience of Desdemona’s status which has been lost slightly and ignored within Cyprus. Yet this is juxtaposed with Othellos title of ‘my lord’.
I WILL NOT STAY TO OFFEND YOU
Use of the imperative verb implies a sense of power and sureness, which is juxtaposed by the events and that she is actually being a submissive wife.
I SAY IT IS NOT LOST
short sentence, could be interpreted as a desperate attempt to maintain favour, or is a naive attempt to stay in favour. Or perhaps she simply doesn’t understand the gravity of the situation, perhaps as Othello ahs blown this far out of proportion. Or perhaps Desdemona does understand and wishes to preserve her image as a woman.
MY LORD IS NOT MY LORD
Personal pronoun of ‘my’ juxtaposes the overall tone of the statement, again says it to Cassio say may imply a closeness that isn’t supposed to be there. Reference to Iago’s ‘I am not what I am’ which is a biblical reference to Exodus 3:14 and God tells Moses ‘I am that I am’ (which is a decleration of faithfulness, self-existence and eternal nature)
GOOD CASSIO
section begins in media res (ambiguous as to what the events are, can AO5 analyse this), but use of ‘Cassio’ and not ‘Michael’ does imply some level of distance and properiety, but this is juxtaposed by Cassio’s use of ‘Desdemon’ so more ambiguity there, which is only compounded by the short statement. Again the adjective of ‘Good’ may imply a closeness or just simply a naivety.
HIS BED SHALL SEEM A SCHOOL, HIS BED A SCHRIFT
declarative statement, implies that Othello still wields some control with the personal pronoun choice of ‘his’ bed, which is repeated twice. however, the metaphors that Desdemona employs highlights her control of the situation, or what she percieves to be control of the situation.
O FALSELY, FALSELY MURDERED
monosyllable which creates a SPONDAIC RHYTHM, highlights stress and gravity of the situation. Repitition of ‘falsely’ is compounded by the noun choice of murdered. Yet is contrasted by later lines that tonally shift and imply Desdemona is to blame for her own death.
A GUILTLESS DEATH I DIE
Another look to Desdmona’s death, sh appears to take some level of agency with the personal pronoun choice of ‘I’ and the adjective choice of ‘guitless’, perhaps a slight glance at Othello, but in am implicit way. Or, it may just be a continuation of Desdemona’s naivety.
PRITHEE SHROUD ME IN ONE OF THE SHEETS
reference to the wedding sheets, importance for virginity, female experience. Yet the exclamation of ‘prithee’ serves to humble her, never becomes over-mighty and the verb choice of ‘shrouf’ does have connotations of death which contrasts the imagery of marriage which holds ideas of fertility, new life and youth.
I UNDERSTAND THE FURY IN YOUR WORDS BUT NOT THE WORDS
Connotes ‘fury’ and Othello which is something we have seen from other characters in a racist sense but this is a new idea from Desdemona. However, we only see it in consideration of his words, not his actions or characters that other characters have considered.
O LORD, LORD,LORD
Monosyllable which creates a SPONDAIC RHYTHM (2 stressed syllables next to each other) which again highlights the stress and emotion of the situation. Also interesting that the word ‘lord’ is used as it has religious connotations but is also the term that Desdemona uses to refer to Othello.
COMMEND ME TO MY KIND LORD, O FAREWELL
Contrast tonally to the other lines that seem to blame Othello for her death. The noun of ‘Lord’ is somewhat ambiguous as its both a reference to God and to Othello. The monosyalble again creates a spondaic rhythm, here in the middle of the sentence which is somewhat unusual, again highlighting the stress of the situation. Still maintains the use of the personal pronoun of ‘my’ which highlights the personal and emotive nature of the situation, which is compounded by the adjective of ‘kind’. The verb choice of ‘commend’ which may highlight the gender imbalance or the religious one.
RODERIGO
I WILL INCONTINENTLY DROWN MYSELF
repetition of personal pronouns ‘I’ and ‘myself’, continually makes it all about himself, very melodramatic and over the top response. The imagery of killing himself (drown) definetly reflects some of the traditional courtly love ideas, part of the ‘courtly game’ that was common throughout the renaissance. Also indirectly highlights the power of women over men, perhaps flipping the final tableau of the dead wife and live husband?
I CANNOT BELIEVE THAT IN HER; SHE’S FULL OF MOST BLEST CONDITION
‘cannot’ the negative modal verb highlights the extent of emotion that Roderigo feels, and here its not about lust and love but rather about properiety and what is expected of a woman. The verb choice of ‘believe’ also seems to hold almost religious connotations which are exceptionally linked to the character of Desdemona.
IF SHE WILL RETURN ME MY JEWELS, I WILL GIVE OVER MY SUIT AND REPENT MY UNLAWFUL SOLICITITATIONS
Despite the seemingly selfless action here the idea is hinged on ‘jewels’ which highlights the mercantile society of venice and highlights the role of women within society.
THE DUKE
WHAT WOULD YOU, DESDEMONA
immediately asks the opinion of a woman! Short statement and straight to the point, doesn’t make it seem like asking a woman is anything unusual or out of the ordinary. Also uses her first name, so there is a certain level of closeness implied, which maybe highlights to the audience the sheer status of brabantio and Desdemona.
I THINK THIS TALE WOULD WIN MY DAUGHTER TOO
‘think’ the use of the language of possibility, implies a level of fairness and thought. Also the first character we see not to be outright racist to the idea of Othello, a level of perhaps trust from a modern audience, but quite unusual to a contemporary audience.
VALIANT OTHELLO WE MUST STRAIGHT EMPLOY YOU
‘valiant’ emotive adjective choice, huge tonal shift from other references to othello, important as the Duke is the highest authority figure in all of Venice.
BIANCA
THIS IS SOME MINX’S TOKEN AND I MUST TAKE OUT THE WORK?
Again the transactional and sexual nature of women’s relationship with men and how this can inspire conflict.
THERE, GIVE IT TO YOUR HOBBY HORSE
Personal pronoun choice highlights the personal nature of the events, the noun choice of ‘hobby horse’ hihglights the fractured relationship that women have and the innately sexual, transactional nature of women’s relationship with men.
LET THE DEVIL AND HIS DAM HAUNT YOU
again associating women with religion, but here it juxtaposes Desdemona as it is used more aggressively and a more obvious means of defense. Also, there is a more agressive tone and semantic field with the ‘devil’ rather than refences to god/christianity
O MY DEAR CASIO, MY SWEET CASSSIO! O, CASSIO, CASSIO, CASSIO!
monosyllable which creates spondaic rhythm, also an incredible amount of repetition, and of the first name, which is reinforced by ther personal pronoun of ‘my’ as well as the fragmented language and the adjective choice of ‘sweet’. May highlight the depth of emotion, or if she is a prostitute it may highlight the female reliance on men and the mercantile society that Venice is, which may have influenced cypriot society and individuals too.
EMILIA
YOU SHALL NOT WRITE MY PRAISE
use of the imperative verb in conjunction with the powerful adverb choice of ‘not’ and the personal pronoun choice of ‘my’ dictates a level of power that Emilia (as a woman) wields. However this juxtaposes the conversation itself and it could be interpreted as a desperate bid for power, and a losing battle by her agressive, short sentences that she uses.
BUT I DO THINK IT IS THEIR HUSBANDS FAULT IF WIVES DO FALL
Interesting personal pronoun choice of ‘their’, implies that women hold the superior position within marriage, but this is juxtaposed by the language of possibilty used, eg ‘think’ implies some level of difference and ambiguity within marriage.
WITH THE SERPENTS CURSE! THERE’S NO MAN HAPPY
Biblical reference, which is similar to Iago’s continous biblical references, but swapped and in a more focused female-centred views. Very dislocated and fragemented languages. Also very decisive language, eg ‘no’
THEY ARE ALL BUT STOMACHS AND WE ARE ALL BUT FOOD
Contrasts the running theme of comparing Desdemona to edible items (eg my sweet) another very harsh metaphor, which juxtaposes Desdemona’s way of speaking and conducting herself .
AY AY, O LAY ME BY MISTRESSES SIDE
A Tableau of female solidarity, with her final words being a reference to a woman, and also an upper class of women so their may have been a sense of duty present. Lots of dislocated language present, and the personal pronoun again highlights the close link between the women.
LODOVICO
AND TO THE STATE THIS HEAVY ACT WITH HEAVY HEART RELATE
The last line in the play, highlights the extremness of the events and the knock on effect it is going to have on Venice, repetition of the word ‘heavy’ reinforces this and the alliteration of ‘h’ reinforces the sadness felt and the almost weighty acceptance of the events.
ARE HIS WITS SAFE? NOT LIGHT OF BRAIN?
short sentences used in conjunction with the rhetorical questions, highlights just how out of character this is for Othello, especially as this has been evoked from such a high status character as Lodovico (highest class character in Cyprus)
TRULY, AN OBEDIENT LADY I DO BESEECH YOUR LORDSHIP CALL HER BACK.
Highlights the power of Desdemona and of her status, reminds the audience that Othello does not wield all the power here as powerful characters such as Lodovico ‘beseech’ on behalf of Desdemona
MY LORD THIS WOULD NOT BELIEVED IN VENICE… MAKE HER AMENDS SHE WEEPS
Highlights the power of Desdemona and of her status, reminds the audience that Othello does not wield all the power here as powerful characters such as Lodovico ‘beseech’ on behalf of Desdemona
BRABANTIO
O UNHAPPY GIRL, WITH THE MOOR SAY’ST THOU
Monosyllable, which creates Spondaic rhythm, highlighting the emotion that Brabantio is feeling which contrasts the use of the title of ‘Moor’ which contradicts the strong emotion, but also reinforces and builds up the anger that he feels over his loss.
I AM GLAD AT SOUL I HAVE NO OTHER CHILD
Religious connotations and the deeply personal nature of the ‘soul’ highlights the gravity of the situation, and with the adverb ‘no’ this only reinforces this idea.
TO FIND OUT PRACTICES OF CUNNING HELL
Will later reflect Othello’s line about the ‘cunning whore of venice’, and again reinforces the racism that constantly surrounds Othello, and this is highlighted through the offset and through powerful characters by using Brabantio to highlight this.
THAT WITH SOME MIXTURES POWERFUL O’ER THE BLOOD
OF YEARS OF COUNTRY, OF CREDIT, EVERYTHING
Another polysyndetic list, huge amounts of emotion
SHE IS ABUS’D, STOL’N FROM ME AND CORRUPTED
Asyndetic list, the huge amount of emotion that he feels towards his daughter (unclear whether this was genuine or regarding the mercantile society that they live in) also hugely racist undertones and highlights female passivity.
MY DAUGHTER, O MY DAUGHTER
Use of the monosyllable (in the middle which is unusual) which creates a spondaic rhythm, repition of ‘my’ and ‘daughter’ reinforces how close the pair are, and the owbership that Brabantio perhaps feels over Desdemona.
IF SHE IN CHAINS OF MAGIC WERE NOT BOUND
Again ideas of racism consistently surrounding Othello, which is from the offset and from a high class background, interesting idea of mariage and ‘chains’ to a modern audience and the idea of the role of women in marriage.
CASSIO
FOR I HAVE LOST HIM ON A DANGEROUS SEA
Immediately highlights the close bonds within the army (links to context) also brings in the clear deus ex machina and the sea motif that continues throughout.
INDEED SHE IS A MOST FRESH AND DELICATE CREATURE
Only says this when essentially bullied into it, but even then there is nothing sexual about her, a compltetely appropiate comment. However to a modern audience the choice of ‘creature’ is interesting and appears to dehumanise Desdemona to quite a large extent, but perhaps not considered this way at the time.
REPUTATION, REPUTATION, REPUTATION, O I HAVE LOST MY REPUTATION
repetition of ‘reputation’ hihghlights the emotion felt, firstly through the power of three and again in the last ‘reputation’, the monosyllable also adds to this and creates a spondaic rhythm.
WITH DESDEMON ALONE
Sentence appears in media res so some ambiguity in the situation, which is only compounded by the colloquialism in the nickname ‘desdemon’ maybe highlights the improperity that brought them into this situation in the first place, again compounded by the noun of ‘alone’
I NEVER KNEW A FLORENTINE MORE KIND AND HONEST
juxtaposition between this quote and Iago, but the choice to compare him to a ‘florentine’ highlights Cassio’s own distance within society and subconciously aligned himself with Othello, despite the growing split between the two.
HOW NOW MY SWEET BIANCA? HOW NOW, HOW NOW
Actual response to Bianca, repitition may showcase the strength of emotion that he feels towards Bianca and completely juxtaposes his reaction towards her when he is surrounded by men (perhaps evidence she is a prostitute)
AND THITHER COMES THIS BAUBLE
Appears to juxtapose how he acts towards Bianca in person, perhaps considering masculine ideals around women, with the adjective of ‘bauble’ dehumanising her and adding to the mercantile nature of society.
I HAVE LOST THE IMMORTAL PART OF MYSELF AND WHAT REMAINS IS BESTIAL
second half of the reputation quote, an immediate contrast between the ‘immortal’ and ‘bestial’ sides of her, a focus on himslef with the constant use of personal pronouns such as ‘I’ and ‘myself’
IAGO
I AM NOT WHAT I AM
a direct, inverted biblical allusion to Exodus 3:14 where God defines himself to Moses by stating, "I am that I am". This inversion characterizes Iago as a diabolical, anti-God figure who masks his true malicious nature, establishing him as a master of deception.
AWAKE! WHAT HO BRABANTIO, THIEVES THIEVES
lots of dislocated language used, highlights the strength of opinion and the gravity of the situation. Harsh repitition of the word ‘thieves’ also adds a certain harshness and abruptness to the situation.
AN OLD BLACK RAM IS TUPPING YOUR WHITE EWE
compounds both ‘old’ and ‘black’ evidently juxtaposing the adjective of ‘white’ which obviously has connotations of purity and youth. The metaphor of the sheep also compounds this as it considers the dehumanisation and domestication of both.
YOUR DAUGHTER AND THE MOOR ARE MAKING THE BEAST WITH TWO BACKS
shocking to a Jacobean audience as its a pretty explicit sexual reference, also incredibly dehumanising with the reference to ‘beasts’ which between that and ‘Moor’ completely juxtaposes the pure ‘daughter’ image which is presented
YOU’LL HAVE YOUR DAUGHTER COVERED WITH A BARBARY HORSE
repitition of the personal pronoun choice of ‘you’ highlights to Brabantio the sheer scale of the situation and the idea of Desdemona being ‘covered’ really highlights the completness and the intesnity of the situation. The ‘barbary horse’ which is an African horse, again highlighting Othello’s otherness.
IT IS MERELY A LUST OF THE BLOOD AND PERMISSION OF WILLS
good evidence to show that Iago perhaps doesn’t understand love as he reduces it to something base, eg through his discussion of ‘blood’ and the adverb of ‘merely’ serves to compound this.
WHEN SHE IS SATED WITH HIS BODY SHE WILL FIND THE ERROR OF HER CHOICE
Implies albeit implicitly that women do wield a degree of power within a relationship, implied with the question of ‘when she’ and the modal verb of ‘will’ yet this choice appears to be dictated by a man, and reduces her to a purely sexual being.
WILD CATS IN YOUR KITCHENS, SAINTS IN YOUR INJURIES, DEVILS BEING OFFENDED
use of repitition as well as a list which highlights the strength of emotion, but also perhaps the righteous nature that Iago feels, the ‘wild cats’ are a traditionally female image but obviously wild which contrasts the domestic setting of ‘the kitchen’ were women are confined to, with this only being reinfored by the idea that women are ‘devils’ which juxtaposes Desdemona’s sematic field of religion.
HER EYE MUST BE FED
indirectly recognises the power that women hold over men, although he limits it a simply sexual one (should consider modern feminist opinions) the imperative very of ‘must’ really adds to this situation, and the fact that it is ashort, abrupt sentence.
HE HATH NOT YET MADE WANTON THE NIGHT WITH HER, AND SHE IS SPORT FOR JOVE
similar ideas to sex as outlined previously
OUR GENERALS WIFE IS NOW THE GENERAL
a relatively direct reference to female power over men, only heightened by the personal pronoun and ‘general’ which is so stereotypically masculine and important in all societies, but the woman is still there.
EVEN AS HER APPEITITE SHALL PLAY GOD
flips the religious imagery that consistently surrounds Desdemona, the personal pronoun of ‘her’ which seemingly dehumanises her and is quite reductionist, also the ‘appetitite’ appears to be referened later by Emilia but in the more masculine sense (stomachs)
MEN SHOULD BE WHAT THEY SEE
another reference to Iago’s I am not what I am (which is in turn a reference a reference to exodus 3:4), highlighting the importance of Iago as an instrument within the play, and his lingering effect on Othello, but the knowledge that the audience are aware of Iago’s actions.
SPOTTED WITH STRAWBERRIES IN YOUR WIFE’S HAND
ideas of virginity, purity, sweetness and innocence, the contrast of the red vs white could be the opposing views of Othello and his wife or the blood spotted on the marriage sheets
OTHELLO
NO SCAR THAT WHITER SKIN OF HERS THAN SNOW AND SMOOTH AS MONUMENTAL ALABESTER
Juxtaposition in tone, as he still finds her beautiful and loves her but feels he still must kill her, with reference to ‘snow’ and ‘white’ which only adds to the idea of purity that surrounds Desdemona, but not usually in the eyes of Othello. However, whilst the idea of ‘alabester’ continues this idea, but with the dual idea of death and monuments.
KEEP UP YOUR SWORDS FOR THE DEW WILL RUST THEM
First introduction to Othello, showcases his immediately peaceful nature and status which sets up the Aristotlian tragedy perfectly as it gives Othello a huge height to fall from.
MOST HUMBLY, THEREFORE, BENDING TO YOUR STATE, I CRAVE FIT DISPOSITION OF MY WIFE
Othello knows how to play the political game, dispels this illusion of the ‘barabric black man’ that we have been presented to before this point. The personal pronoun choice of ‘I’ showcases how important this is for Othello, highlighting how simply in love he is with Desdemona, perhaps also highlighting how reliant men are on women.
O MY FAIR WARRIOR
monosyllable, which creates a spondaic rhythm, which is compounded by the personal pronoun of ‘my’ and the attempt to make Desdemona a part of his world with the idea of making her a ‘warrior’ also indirectly highlights how little she fits in with Cypriot society.
HONEY YOU SHALL BE WELL DESIR’D IN CYPRUS
An example of the repeated imagery of consumption that Othello uses in regards to Desdemona, perhaps a reference to the mercantile nature of society and also the status of women within this mercantile venetian society.
GOOD MICHAEL
Incredibly collioquial through the use of the adjective of ‘good’ as well as the use of the first name, which uses a sort of mini aristotlian tragedy as it sets up the hero (cassio) with his height to fall from.
THE PURCHASE MADE, THE FRUITS TO ENSUE;
Othello reduces his marriage down to a ‘purchase’ and his relationship with Desdemona to ‘fruits'. Seems counterintuitive to the marriage, but fits in with the traditional idea of marriage, before even the influence of Iago ha fully set in.
AH DESDEMON, AWAY, AWAY, AWAY
A very late quote within the play, the influence of Iago has deintely set in but the internal battle remains, the repetition of ‘away’ highlights the strength of emotion and the gravity of the situation. This is inly compounded by the colloquialism of ‘Desdemon’ and the monosyllable which creates the spondaic rhythm.
WILL YOU WALK SIR? OH DESDEMON
juxtaposition of mentioning Desdemona second and after the afterthought of ‘Oh’, after a man whom he respects enough to call ‘sir’ when compared to the colloquial ‘Desdemon’ which perhaps highlights the lingering emotion left in the relationship.
I TOOK YOU FOR THAT CUNNING WHORE OF VENICE
SHE IS PROTECTERESS OF HER HONOUR TOO
LIE WITH HER? LIE ON HER? WE SAY LIE ON HER WHEN THEY BELIER HER?
Lie here appears to have dual meaning, as in that Desdemona is not telling the truth, but also that she is having sex with another man. The ambiguity here (to the audience) appears to mimic the confusing situation that the characters in the play find themselves in.
EXCELLENT WRETCH
juxtaposition of ‘excellent’ and ‘wretch’ highlights the conflicting emotion that Othello feels, at war with himself
O BLOOD, BLOOD, BLOOD
monosyllable, which creates a spondaic rhythm and is also compounded with the repition of ‘blood’ highlights the percieved ‘barbaric nature’ of Othello (perhaps informed by racism) and reflects the eventual end of desdmona, on her wedding sheets (which should have been her virginal blood)
(HE KNEELS) (THEY RISE)
idea of equal power that they really shouldn’t have (both class, racism and general), but the idea of a united front and brotherhood, twisted religious imagery, simplicity and power dynamic is visible on the stage, religious imagery with the idea kneeling for prayer (but onerse of christian values)
HER NAME THAT WAS AS FRESH AS DIAN’S OWN VISAGE IS NOW AS BLACK AND BEGRIM’D AS MINE OWN FACE
Dian is obviosuly a very stereotypically feminine diety (eg the moon, childbirth) which completely contrasts the idea of ‘black’. Moreover, the idea that Othello vies himself as ‘begrim’d’ perhaps explain a lot of his actions, and the roots of his own insecurities.
IF SHE BE FALSE O THEN HEAVEN MOCKS ITSELF
Again religious imagery regarding Desdemona, even in the depths of his emotion (monosyllable, spondaic rhythm)
A HORNED' MAN’S A MONSTER AND A BEAST
Reference to cuckolding, this animilastic imagery is back again, but this time wielded by Othello (unusual) and moreover its not a reference to race, but rather to cuckolding which is a more universalistic experience.
I WILL CHOP HER INTO MESSES. CUCKOLD ME?
Harsh language, dislocated language, rhetorical questions, Desdemona simply becomes ‘her’, loses all sense of identity.