Othello quotes

• Act 1 Scene 1 Iago "I am not what i am"


  Interpretation: Iago informs Roderigo that he adopts a facade, hiding his true self and pretending loyalty to Othello. Shakespeare clearly reveals Iago's deceptive nature

  Anaylysis

  *The biblical allusion in which God reveals his eternal, unchanging goodness in the statement "I am who i am". Shakespeare's inversion of this phrase indicates Iago's devilish and Janus-faced nature

  *The present tense hints that, Paradoxically, Iago's protean nature is unchanging
• Act 1 scene 1 Iago "even now very now an old black ram is tupping your white ewe"


  Interpretation: Iago's racism reveals engrained prejudices, and Shakespeare uses this to highlight the external pressures society places upon the tragic hero

  Analysis:

  • The repetition and present tense create a sense of urgency, demonstrating Iago's manipulative skill as he rouses Brabantio to immediate action
  • The animal imagery exemplifies the racist stereotypes that surround Othello, presenting him as debased, sexualised and uncivilised.
• Act 1 scene 2 Othello:”My services which I have done the signory/ shall out Tongue his complaints


  Interpretatio: in contrast to the debased descriptions of Othello in Act 1 scene one, here Shakespeare presents him as a rational, calm and noble. however Arguably Othello self confidence suggests a misunderstanding of his role within Venetian society

  Analysis

  • The modal verb ”shall” clearly conveys Othello‘s confident r that he will prevail.
  • througout the play the motif of storytelling suggests that the individual who controls the narrative can wield power
• Act 1 scene 3 Brabantio: “Look to her my lord if thou hast eyes to see/ she has deceived her father and may the”

  interpretatio: Whilst it is Iago who stokes the fires of Othello’s jealousy, it is actually Brabantio who originally mentions betrayal.

  analysis

  • imagery of sight is a motif throughout the play, and here Shakespeare emphasises the characters dependence on visible evidence
  • the rhyming couplet indicates the finality and almost prophetic quality of Brabantios words, it is important to note that Iago is present on stage as a silent spectator
• Act 1 Scene 3 Iago: "Virtue? A fig, Tis in ourselves that we are thus or thus. Our bodies are our gardens, to which our souls are gardeners"

  Interpretation: In contrast to the nobility and honesty demonstrated by the new couple earlier in the scene, here Shakespeare emphasizes Iago's debasement.

  Analysis

  • The use of Prose creates a sense of chaos, contrasting sharply with the preceding conversation between Othello and Desdemona
  • The pronoun "our" includes Roderigo, but it also stretches out to include the audience, developing complicity with the tragic villain.
• Act 2 scene 2 Cassio: "Our Great Captain's captain"


  Interpretation: As Cassio waits for the arrival of the new couple on Cyprus, he celebrates Desdemona's elegance, grace and intelligence.

  Analysis

  • Shakespeare uses the adjective "Great" to communicate Cassio's admiration for Othello. cementing his role as a celebrated military leader. This counterpoints the racism which rusn through the play, and reinforces Cassio's nobility
  • The military imagery used to describe Desdemona indicates her determination, courage, and strength of character.
• Act 2 scene 2 Iago: "For that I do suspect the lusty Moor/ Hath leap'd into my seat, the though whereof"


  Interpretation: While Iago's character may be used for comic effect in Act one, here his villainy is foregrounded; Shakespeare emphasises his vengeful attitude, suggesting that one of his motivations is sexual jealousy- a wepon which Iago will turn against Othello

  Analysis

  • The euphemism "leap'd into my seat" suggest that Iago believes Othello has had an affair with Emila, Shakespeare indicates iago's misogynistic desire to control his wifes body.
• Act 2 scene 3 Othello: "All's well now sweeting; come away to bed"


  Interpretation: As well as marking a turning point in Othello's leadership, Act 2 scene 3 marks a shift in his marriage; ostensible equality gives way to Othello's overt dominance, and Desdemona becomes increasingly consigned to the domestic sphere.

  Analyis:

  • Shakespeare uses the diminutive term "sweeting" to contrast with the earlier "my fair warrior", revealing how patriarchal-which were implicit within the marriage in Act 1
  • By using the imperative verb "come", Shakespeare cements Othello's control in the marriage
• Act 2 scene 3 Iago: "So I will turn her virtue into pitch/ and out of her own goodness make the net/ that shall enmesh them all"


  Interpreation: Shakespeare continues to emphasise Iago's vengeful villisny and his manipulative character, as he seeks to pervert all that is good in his quest for control

  Analysis:

  • Unusally, Shakespeare gives the tragic, villian more soliloquies than the hero, building the audience's sense of complicity with iago rather than with Othello
  • The modal verb "Will" not ony articulates Iago's determination, but also his hubristic certainty that he will prevail
• Act 3 scene 3 Othello: "I do love thee; and when i love thee not/ Chaos is come again"

  Interpretation: Shakespeare presents Othello's oscillating between love and hatred for Dedemona.

  Analysis

  • These lines echo Othello's passionate statement of love earlier in the play "I love thee gentle Desdemona". Yet here, the profession of love is coupled not just with doubt, but also with the certainty that there will be occasions of indifference
  • Shakespeare connects a lack of love with the image of chaos, which is both physiological and public.
• Act 3 scene 3 Othello “think my Lord, by heaven he echoes me/ as if there were some monster in his thought/ too hideous to be shown”


  Interpretatio: Shakespeare demonstrates the methodology of an experienced manipulator , as Iagonolants the seeds of doubt and jelousy in Othello’s mind.

  Analysis

  • the rapid repetition of “think” in this scene- which culminates in this statement by Othello- reveals how Iago plays on Othello’s vulnerable mind and allows Shakespeare to create an urgent pace as the play accelerated towards its inevitable conclusion
• Act 3 scene 3 Othello “Damn her, lewd minx! O damn her, damn her”

  interpretation: Shakespeare presents Othello’s continued decline into violence and debasement.

  Analysis:

  • A process of linguistic convergence had led Othello to adopt the profanities which were previously common in Iago’s speech. This emphasises the change from Othello’s eloquent, restrained speeches in act 1
  • Animal imagery applied to Othello act 1 he had joe applies it to Des which is reinforced through the adjective “lewd“
  • Shakespeware is now indicating That Othello has become debased by poisonous sexual jealousy
• Scene 3 scene 4 Emilia: “They are all but stomach and we all but food/ they eat us hungrily and when they are ful they belch us”

  Interpretatio: As Shakespeare present la Desdemona’s descent from outspoken to passjve So too does he dramatize Emilia’s increasing confidence. She becomes a proto Feminist voice arguing against the exploitation of women

  analysis

  • whilst Emilias use of food imager echoes Iagonshe uses it to express her frust at the sexual exploitation of women
  • the use of the dissolve pronouns “they“ and ”we” indicated an almost insuperable separation between the genders
• Act 4 scene 1 Othelo: "is't possible?-confess? Handkercheif? O devil!" (He falls into a trance)


  Interpretation: Shakespeare dramatizes the continued disintegration of Othello's mind, until the noble hero is seen lying in a fit at the feet of the tragic villian

  Analysis:

  • Othello's psychological collapse is reflected in the disintegration of his language
  • The repetition of "handkerchief" throughout Act 3 indictaed Othello's obsession with this peice of "ocular proof"-whilst the handkerchief certainly symbolises Des body, it may also signify her chastity, her marriage vows and betrayal
• Act 4 scene 1 Lodovico: "Is this the noble Moor whim our full senate/ Call all-in-all sufficient? is this nature/ Whom passion could not shake"?


  Interpretation: Shakespeare uses Lodovico as a commentator on the action. Absent for the Whole of Act 2, he arrives after Othello's mind dtarts to disintegrate, and can thefore draw the audience attention to the differences he sees in the General

  Analysis:

  • The motif of passion recurs here, as he believs Othello has declined from noble to irrstional
  • Adjective "noble and "sufficent" indicate the high status Othello has previously
• Act 4 scene 2 Othelo: "I took you for that cunning whore of venice/ That married with Othello"


  Interpretation: "Othello refers to English stereotypes of Venetian women, judging Des by thr licentious culture related wirh her city

  Analysis

  • Shakespeare's use of sexually debased language reveals the transformation of Othello from a noble, chivalorous hysband to obsessed with sexual transgression. Othello's readiness to judge Desdemona based on sterotypes is uneasy
  • Third person indicates a recurrence of the storytelling motif; Otello narrates his life-suggesting his detachment from Des
• Act 5 scene 2: Desdemona: "Some bloody passion shakes your very frame"


  Interpretation: Shakespeare frames the murder of Desdemona in terms of the recurring dichotomy of passion and reason. At this intensely emotional moment, Desdemona recognises that her husband is consumed by irrational violence

  Analysis

  -The word "blood" is used throughout to signify both violent acts and a loss of control

  -Many scenes have occured in public and political spaces, this final scene is staged in their private bed. It is iroic that in this intimate setting, the tragic hero's "passion" propels him to muder
• Act 5 scene 2 Desdemona: "Nobody; i myself. Farewell./ comened me to my kind lord"


  Analysis

  • The submissive language, unfailing reverence for the murderous Othello, and the calm accepting tone highlight Desemona continuing love
  • The passive pronoun "my"- love which believes binds her to her husband
• Act 5 scene 2: Emilia "I will speak as liberal as the north"


  Analysis:

  • This scene parallels Act 1 Scene 3, as here we see a woman speaking her mind in front of a group of political leaders. However, when Desdemona was invited to speak, Emilia finds her voice despite the threat of violence here. This context emphasizes Emillia's newfound determination and strength"
  • The modal verb "will" communicates Emilia's resolve.
  • The "north" refers to the bitterly cold north wind, a natural image which may indicate the correctness of Emillia's actions
• Act 5 Scene 2 Iago: "Demand me nothing, what you know, you know./ From this time forth I never will speak a word"


  • Analysis: Shakespeare continues to highlight Iago's control through the use of the imperative verb; he retains power even as he is led off to be tortured.
  • The Modal verb "will" indicates Iago's certainty
  • Throughout the play, the character who controls the narrative and speaks most persuasively has gained ascendency. However, here power lies in the refusal to speak
• Act 5 scene 2 Othello "Tehn must yo speak?of one that lov'd not wisely, but too well; of one not easily jealous but, being wrought, perplex'd in the extreme"


  Analysis

  • The use of the third person indicates that Othello is stepping outside himself to weave his own history; does this indicate an avoidance of responsibility?
  • The word "wisely" means moderately, suggesting that Othello believes he loved Desdemona too passionately
  • Othello's claim that the he is "not easily jealous" is highly doubtful, as he believed in Desdemona's guilt after only a few hints from iago
• Act 3 scene 3 “ good love call him back”


  • Desdemona appeals to Othello’a senses of love
  • empathetic language appeals to Othello’s emotions to persuade him to forgive Cassio