| O, beware, my lord, of jealousy!It is the green-eyed monster which doth mockThe meat it feeds on. | (3.3.189-91), Iago |
| I will wear my heart upon my sleeve. | (1.1.66), Iago |
| ‘Tis neither here nor there. | (4.3.62), Emilia |
| A foregone conclusion. | (3.3.474), Othello |
| One that loved not wisely but too well. | (5.2.390), Othello |
| We cannot all be masters, nor all mastersCannot be truly follow’d. | (1.1.44), Iago |
| Pomp and circumstance. | (3.3.394), Othello |
| Put out the light, and then put out the light:If I quench thee, thou flaming minister. | (5.2.9-10), Othello |
| It makes us or it mars us. | (5.1.5), Iago |
| Reputation, reputation, reputation! Oh, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial. | (2.3.265), Cassio |
| “I will wear my heart upon my sleeve for daws to peck at; I am not what I am.” (Act I, Scene I, lines 64-65) | What does it mean? In this opening scene, we see Roderigo and Iago talking about Desdemona and Othello. The ever cunning Iago is revealing an important fact about himself; he will manipulate and act deceptively if it suits his motives. The audience should understand that Iago is not to be trusted. This scene also shows how naive Roderigo can be. Roderigo doesn’t take Iago’s words to heart. Roderigo dies later in the play because of Iago. |
| “To mourn a mischief that is past and gone is the next way to draw new mischief on.” (Act I, Scene III, lines 204-205) | What does it mean? The Duke is talking to Brabantio, Desdemona, and Othello. The Duke is trying to smooth things out between Brabantio and the young couple after Brabantio publically disowned Desdemona. The Duke is saying that it’s useless to hold onto a grudge, and if something happened in the past, then leave it in the past and move on. |
| “T’is neither here nor there.” (Act IV, Scene III, line 58) | What does it mean? In this short, but pivotal, scene Emilia and Desdemona discuss marriage, husbands, and fidelity. After her Willow Song, Desdemona asks if Emilia minds Desdemona’s crying. Emilia’s response means that it doesn’t matter to her. |
| “[w]ho would not make her husband a cuckold to make him a monarch?” (Act IV, Scene III, lines 74-75) | What does it mean? Emilia and Desdemona are discussing marriage in this scene. Emilia is really saying that she would cheat on her husband if they had something to gain from it. Desdemona can’t understand this reasoning; she’s forever devoted to her husband. This exchange highlights the differences in moral codes between the two women. Throughout the play, Desdemona is presented as virtuous and innocent. The scene adds to the image of Desdemona being innocent and makes her death even more tragic. |
| “I kissed thee ere I killed thee, no way but this, Killing myself, to die upon a kiss.” (Act V, Scene II, lines 359-360) | What does it mean? In his last words, Othello speaks to his murdered wife. Because he kissed her before he smothered her, he kisses her once more before he takes his own life. Othello is speaking poetically about his relationship with Desdemona. His love, and eventual jealousy, killed Desdemona. If he had never loved or kissed her, she never would have died. So, Othello kisses her again and kills himself, as his personal repentance. |
| “For she had eyes and chose me.” | Othello |
| Were I the Moor I would not be Iago.In following him I follow but myself;Heaven is my judge, not I for love and duty,But seeming so for my peculiar end.For when my outward action doth demonstrateThe native act and figure of my heartIn compliment extern, ’tis not long afterBut I will wear my heart upon my sleeveFor daws to peck at. I am not what I am. (I.i.57-65) | Iago to Roderigo- tactics |
| My noble father,I do perceive here a divided duty.To you I am bound for life and education.My life and education both do learn meHow to respect you. You are the lord of my duty,I am hitherto your daughter. But here’s my husband,And so much duty as my mother showedTo you, preferring you before her father,So much I challenge that I may professDue to the Moor my lord. (I.iii.179-188) | Desdemona to her Father in front of the entire council |
| Haply for I am black,And have not those soft parts of conversationThat chamberers have; or for I am declinedInto the vale of years—yet that’s not much— She’s gone. I am abused, and my reliefMust be to loathe her. O curse of marriage,That we can call these delicate creatures oursAnd not their appetites! I had rather be a toadAnd live upon the vapor of a dungeonThan keep a corner in the thing I loveFor others’ uses. Yet ’tis the plague of great ones;Prerogatived are they less than the base.’Tis destiny unshunnable, like death. (III.iii.267-279) | Othello |
| I am glad I have found this napkin.This was her first remembrance from the Moor,My wayward husband hath a hundred timesWooed me to steal it, but she so loves the token— For he conjured her she should ever keep it— That she reserves it evermore about herTo kiss and talk to. I’ll ha’ the work ta’en out,And give’t Iago. What he will do with it,Heaven knows, not I.I nothing, but to please his fantasy. (III.iii.294-303) | Emilia’s plot with the handkerchief |
| Then must you speakOf one that loved not wisely but too well,Of one not easily jealous but, being wrought,Perplexed in the extreme; of one whose hand,Like the base Indian, threw a pearl awayRicher than all his tribe; of one whose subdued eyes,Albeit unused to the melting mood,Drop tears as fast as the Arabian treesTheir medicinable gum. Set you down this,And say besides that in Aleppo once,Where a malignant and a turbaned TurkBeat a Venetian and traduced the state,I took by th’ throat the circumcised dogAnd smote him thus. (V.ii.341-354) | Othello on stabbing himself |
| Even now, now, very now, an old black ramIs tupping your white ewe. Arise, arise!Awake the snorting citizens with the bell,Or else the devil will make a grandsire of you.[…]you’ll have your daughter covered with a Barbary horse,you’ll have your nephews neigh to you, (1.1.97-100; 124-126) | Iago-In order to manipulate Brabantio’s fears of miscegenation, Iago uses animal metaphors to suggest that Desdemona is being defiled by Othello. |
| Faith, he tonight hath boarded a land carrack.If it prove lawful prize, he’s made for ever.CASSIOI do not understand.IAGOHe’s married. (1.2.60-63) | Iago-Iago describes marriage as the violent takeover of an enemy’s prize ship. This brings us back to the theory that love is a war in Othello, and Iago is trying to play maestro – or more likely, general. |
| Come, My dear love,The purchase made, the fruits are to ensue;The profit’s yet to come ‘tween me and you.— Goodnight. (2.3.9-13) | Othello-At this point in the play, Othello talks about sex in positive terms – as a fruit to enjoy, something that “profits” both man and woman. On the other hand, we could say that Othello’s tendency to use financial metaphors – “purchase” and “profit” – make us a little uncomfortable. If marriage is something akin to a “purchase,” that leaves the door wide open for viewing one’s spouse as a possession.It’s also important to note that it’s pretty clear that Desdemona and Othello haven’t yet consummated their marriage, since Othello says good times in the sack are “yet to come.” When Othello says good night to his attendants here, it’s obvious that he and Desdemona are running off to have sex, finally. But, shortly thereafter, Othello and Desdemona’s evening of fun is interrupted when Cassio gets drunk and gets into a brawl, which Othello is called upon to mediate.So, we’re not sure if Othello and Desdemona ever get a chance to do the deed. Why does this matter? Well, some critics argue that the couple never has sex. Other critics argue that they do hook up, which may leave Othello feeling as though he has “contaminated” his wife’s sexual and racial purity. After Othello sleeps with his wife, she suddenly becomes a “*****” in his mind. This, according to some, explains why Othello is quick to believe that Desdemona’s got something going on the side with Cassio. |
| OTHELLO What dost thou say, Iago?IAGO Did Michael Cassio, When you woo’d my lady, know of your love?OTHELLO He did, from first to last: why dost thou ask?IAGO But for a satisfaction of my thought,No further harm.OTHELLO Why of thy thought, Iago?IAGO I did not think he had been acquainted with her.OTHELLO O yes, and went between us very oft.IAGO Indeed?OTHELLO Indeed? Ay, indeed! Discern’st thou aught in that?Is he not honest? (3.3.104-115) | Iago to Othello-This is where Iago plants the seeds of doubt in Othello’s mind. Iago suggests that Cassio, who often acted as a go-between when Othello was wooing Desdemona, “went between” Othello and his girl in more ways than one, wink, wink. Iago doesn’t come right out and say that Cassio and Desdemona have been sneaking around – he implies that something’s up, and Othello takes the bait. |
| DESDEMONA Why do you speak so faintly? Are you not well?OTHELLO I have a pain upon my forehead, here. (3.3.325-326) | Desdemona to Othello-After Iago plants the seeds of jealousy in Othello’s mind, Othello complains of having a headache, which is a big, big clue that Othello thinks Desdemona’s been unfaithful. In sixteenth century literature (Shakespeare’s especially), any time a man has a headache or there’s some kind of reference to a man having horns growing out of his head, we can be pretty certain there’s a reference being made to cuckoldry. A “cuckold” is a man who has been cheated on by his wife, and “cuckolds” are frequently portrayed as having horns. This is why Othello says that married men are “fated” to suffer the “forked plague” (3.3.273) just a few lines earlier. |
| OTHELLOHer name, that was as freshAs Dian’s visage, is now begrimed and blackAs mine own face. (3.3.441-443) | Othello-When Othello suspects that Desdemona is cheating on him with Cassio, he suggests that his “name,” or his reputation, is now soiled and “begrimed” because of his wife’s supposed infidelity. This idea, that a wife’s fidelity to her husband can make or break a man’s good reputation, is pretty common in Shakespeare’s plays. |
| OTHELLO Give me a living reason she’s disloyal.IAGO I do not like the office,But sith I am entered in this cause so far,Pricked to ‘t by foolish honesty and love,I will go on. I lay with Cassio lately,And, being troubled with a raging toothI could not sleep. There are a kind of men So loose of soul, that in their sleeps will mutter their affairs. One of this kind is Cassio.In sleep I heard him say ‘Sweet Desdemona,Let us be wary, let us hide our loves.’And then, sir, would he gripe and wring my hand,Cry ‘O sweet creature!’ then kiss me hard,As if he pluck’d up kisses by the rootsThat grew upon my lips; then laid his legOver my thigh, and sighed, and kissed; and thenCried ‘Cursed fate that gave thee to the Moor!’ OTHELLO O monstrous! Monstrous!(3.3.467-483) | Othello and Iago-When Othello asks for “living reason” (proof) that Desdemona’s been “disloyal,” Iago tells him about a sexy dream that Cassio supposedly had one night while he was lying in bed next to Iago (presumably, at an army camp). According to Iago, Cassio talked in his sleep while having a naughty dream about Desdemona. Not only that, but Cassio also grabbed Iago, wrapped his leg over his thigh, and made out with him (all while dreaming about Desdemona). What’s going on here? First, it’s important to note that Iago is framing Cassio to make it look like he’s sleeping with Desdemona. Second, Othello seems willing to accept this story as “proof” that Desdemona’s cheating. Third, Iago is describing a blatantly homoerotic moment he has allegedly shared with Cassio, which raises the following question: Is Othello upset/jealous that Cassio (allegedly) had a dream about his wife, or that Cassio was lying in bed and groping Iago? Literary critics have argued both ways, so take your pick and keep reading… |
| EMILIABut I do think it is their husbands’ faultsIf wives do fall. Say that they slack their duties,And pour our treasures into foreign laps;Or else break out in peevish jealousies,Throwing restraint upon us. Or say they strike us,Or scant our former having in despite,Why, we have galls, and though we have some grace,Yet have we some revenge. Let husbands knowTheir wives have sense like them. They see and smell,And have their palates both for sweet and sour,As husbands have. What is it that they doWhen they change us for others? Is it sport?I think it is. And doth affection breed it?I think it doth. Is ‘t frailty that thus errs?It is so too. And have not we affections,Desires for sport, and frailty, as men have?Then let them use us well. Else let them know,The ills we do, their ills instruct us so. (4.3.97-115) | Emilia-According to Emilia, husbands cheat on their wives and often physically abuse them, prompting women to stray. What’s more, women have sexual desires, just like men, and women are also “frail” and imperfect, just like some husbands. In other words, Emilia recognizes there’s a double standard when it comes to gender and fidelity and she heartily objects. |
| OTHELLOBehold, I have a weapon.A better never did itself sustainUpon a soldier’s thigh. (5.2.310-312) | Othello-After Othello strangles Desdemona (for her alleged adultery) on the bed the couple shares, Othello’s reference to his “weapon,” which rests upon his “soldier’s thigh,” seems blatantly phallic, don’t you think? Othello’s words forge a disturbing relationship between sex and death. |
| BRABANTIOO, thou foul thief, where hast thou stowed my daughter? (1.2.80-81) | Brabantio- When Brabantio confronts Othello for eloping with Desdemona (without his permission), he accuses his new son-in-law of being a “foul thief,” as if Desdemona is piece of property that has been unlawfully taken away from him. We see this same attitude earlier in the play when Iago awakens Brabantio in the middle of the night proclaiming loudly “Awake! what, ho, Brabantio! thieves! thieves! thieves! / Look to your house, your daughter and your bags! / Thieves! thieves!” (1.1.80-82). What’s up with that? |
| BRABANTIODamned as thou art, thou hast enchanted her!For I’ll refer me to all things of sense,If she in chains of magic were not bound,Whether a maid so tender, fair, and happy,So opposite to marriage that she shunnedThe wealthy curlèd darlings of our nation,Would ever have, to incur a general mock,Run from her guardage to the sooty bosomOf such a thing as thou—to fear, not to delight!Judge me the world, if ’tis not gross in senseThat thou hast practiced on her with foul charms,Abused her delicate youth with drugs or mineralsThat weaken motion. (1.2.82-94) | Brabantio-Brabantio insists that Othello must have “enchanted” Desdemona – why else, asks Brabantio, would she run away from all the (white) eligible bachelors in Venice into the “sooty bosom” of the “Moor”? (Pretty obnoxious, wouldn’t you say?) Brabantio’s objection to his daughter’s marriage to a black man gives voice to fears of miscegenation (when interracial couples marry/have sex, etc., resulting in “mixed race” children). |
| IAGO I hate the Moor:And it is thought abroad, that ‘twixt my sheets’Has done my office. I know not if’t be true,But I, for mere suspicion in that kind,Will do as if for surety. (1.3.429-433) | Iago- Here, Iago suggests that his wife, Emilia, has cheated on him with Othello. Now, we know this is completely untrue. What we don’t know is whether or not Iago actually believes that Othello has slept with Emilia. As we know, Iago lists multiple (and incompatible) motives for seeking to destroy Othello (elsewhere, he says he hates Othello because he was passed up for a promotion), so it’s entirely possible that Iago’s the one who makes up the rumor about Othello and Emilia. On the other hand, most men in the play assume that all women are promiscuous and unfaithful in general, so it’s not so surprising that Iago would believe Emilia has been untrue. |
| IAGONow, I do love her too,Not out of absolute lust (though peradventureI stand accountant for as great a sin)But partly led to diet my revenge,For that I do suspect the lusty MoorHath leaped into my seat—the thought whereofDoth, like a poisonous mineral, gnaw my inwards,And nothing can or shall content my soulTill I am even’d with him, wife for wife,Or failing so, yet that I put the MoorAt least into a jealousy so strongThat judgment cannot cure. Which thing to do,If this poor trash of Venice, whom I traceFor his quick hunting, stand the putting on,I’ll have our Michael Cassio on the hip,Abuse him to the Moor in the rank garbFor I fear Cassio with my nightcap too, (2.1.313-329) | Iago-Iago is completely obsessed with infidelity. Earlier, we heard him say that he suspects Othello has slept with Emilia (a sentiment he repeats in this passage). Not only that, he also says he “fear[s]” that even Cassio is sleeping with his wife. What’s Iago going to do about it? Why, he’s going to try to sleep with Desdemona, which will allow him to get even with the “lusty Moor.” If he can’t do that, he wants to make Othello believe that Desdemona is screwing around with Cassio. |
| IAGOShe did deceive her father, marrying you,[…]OTHELLOAnd so she did. (3.3.238, 241) | Iago to Othello-When Iago wants to make Othello suspect Desdemona’s been unfaithful, he suggests a woman who disobeys and “deceive[s] her father is likely to screw around on her husband. Othello’s response implies that he feels the same way. Instead of seeing Desdemona’s decision to elope with Othello (despite her father’s disapproval) as a sign of his wife’s loyalty to him, Othello sees Desdemona’s willingness to elope as a prelude to her infidelity. It seems that Othello’s sexist assumptions leave him pretty vulnerable to Iago’s plotting. |
| OTHELLOO curse of marriage,That we can call these delicate creatures oursAnd not their appetites! I had rather be a toadAnd live upon the vapor of a dungeon Than keep a corner in the thing I loveFor others’ uses. Yet ’tis the plague of great ones;Prerogatived are they less than the base.’Tis destiny unshunnable, like death.Even then this forked plague is fated to usWhen we do quicken. (3.3.309-318) | Othello-Get your highlighter out because this is important. When Othello is convinced (by Iago) that Desdemona has cheated on him, he reveals something pretty interesting about himself. It seems that Othello believes all men, both “great” and “base,” are “destin[ed]” to be cuckolds. FYI: A “cuckold” is a man whose been cheated on by his wife – cuckolds are commonly associated with horns, which is why Othello refers to cuckoldry as a “forked plague” that men suffer from.So, if Othello believes that all men are destined, from the moment of their birth, to be cheated on by their wives, then this helps to explain why Othello is so easily convinced that Desdemona has been unfaithful, despite the fact that Iago never actually shows Othello any real evidence. |
| OTHELLOWhat sense had I of her stol’n hours of lust?I saw ‘t not, thought it not; it harmed not me.I slept the next night well, fed well, was free and merry.I found not Cassio’s kisses on her lips.He that is robbed, not wanting what is stol’n,Let him not know ‘t, and he’s not robbed at all. (3.3.389-395) | Othello-In this passage, Othello tries to come to terms with Desdemona’s alleged affair with Cassio. In doing so, he voices a pretty common desire among victims of infidelity – he says he’d be much better off if he just didn’t know about it.What’s most interesting to us about this passage, however, is the way Othello uses the language of theft to describe Desdemona’s supposed betrayal. When Othello laments the affair, he suggests that he’s been “robb’d” by Cassio. Hmm. This sounds a whole lot like Brabantio’s reaction to the news that Desdemona eloped with Othello (see 1.2.2 above), don’t you think? When Othello (and Brabantio) say that Desdemona is something that has been “robb’d” or “stol’n” from them, they talk about her as if she’s a piece of property that passes from one man to the next. |
| OTHELLOMinion, your dear lies dead,And your unblest fate hies. Strumpet, I come.Forth of my heart those charms, thine eyes, are blotted.Thy bed, lust-stained, shall with lust’s blood be spotted. (5.1.36-41) | Othello-Because Othello believes Desdemona has been cheating on him, he rationalizes (in the most irrational and disturbing way) that it’s fitting for him to kill his wife on the bed they share as a married couple. |
| EMILIA O, who hath done this deed?DESDEMONA Nobody. I myself. Farewell.Commend me to my kind lord. O, farewell. (5.2.151-153) | Desdemona to Emilia-When Emilia asks Desdemona who has harmed her, Desdemona blames herself instead of holding Othello accountable. As we know, this isn’t the first time Desdemona has been abused by her husband, who accuses her of cheating on him, slaps her in public, and calls her a “*****” – actions that culminate in Othello murdering Desdemona. We can’t help but notice that Desdemona exhibits a classic symptom of “battered woman syndrome” – instead of telling Emilia the truth about Othello strangling her, she blames herself (and not her attacker) for the abuse she endures. |
Major Quotes in Othello
July 14, 2019