OTHELLO BY WILLIAM SHAKESPEARE

THE CHARACTERS: HOW they are presented initially and WHY.

OTHELLO: A noble Moor in the service of Venice. He was initially a mercenary, climbing the
ranks in the army because of his brilliance on the battlefield. He is calm and totally in
control of his emotions and situation. He is also brave. He is derived from Moorish
nobility and is able to demand and command respect. He has gained the respect of
the Venetian senate despite the fact that he is a Moor. Note that he is also a devout
Christian.

IAGO: (ANTAGONIST / VILLAIN) Othello’s ancient and standard bearer : the man who carried the
flag on the battlefield. Because the flag identified the location of the army in battle, it was crucial to
allowing the soldiers to find their position. The ensign/ancient had to be extremely courageous and
loyal, maintaining his position in the face of death. Iago resents his rank, which does not require
intellectual skills like that of Cassio (trained in battle strategy). Iago is third in command to Othello,
behind Cassio. He is immediately churlish and bitter and wants revenge without any real reason or
plan. He displays no loyalty towards his General (Othello) ; he is formidable, deceitful, manipulative,
brutal, selfish and Machiavellian ( Describes a person's tendency to be unemotional, and therefore able to
detach him or herself from conventional morality and hence to deceive and manipulate others.)
N.B. Niccolò di Bernardo dei Machiavelli was an Italian historian, politician, diplomat,
philosopher, humanist and writer based in Florence during the Renaissance
DESDEMONA: Othello’s wife; daughter to Brabantio a Venetian senator. She is immediately
presented as STRONG and LOVING. She is a wealthy, virtuous, principled and
highly respected heiress. She is prepared to defy society and her father to stay with
her ‘unsuitable’ husband.

BRABANTIO: Senator of Venice. Highly esteemed and has powerful ‘connections’ in Venetian
society. Confused and acts hastily – he is very concerned about his daughter’s (only
child) elopement to Othello. Extremely racist and derogatory towards Othello.

EMILIA: Iago’s wife and Desdemona’s attendant. She appears confident and feisty, witty and
pragmatic (sensible). She lacks the social graces of Desdemona but is also
intelligent. She is desperate to gain her husband’s approval and steals Desdemona’s
handkerchief to appease him.’

CASSIO: Othello’s lieutenant. He is respectful, charming and sociable; he comes from Florence
a city know for its high culture; he is also educated (an ‘arithmetician’) and has fine
manners. He is very popular with both genders and is seen as a ladies’ man.

RODERIGO: Venetian gentleman. He owns land and is quite affluent (wealthy). Desperately in love
with Desdemona, Iago exploits this knowledge in order to extract money from him by
promising that he will ensure that Desdemona will look favourably on Roderigo. Very
naïve, gullible and foolish. Gives Iago jewels to pass on to Desdemona in the hope of
wooing her. Iago pockets these for his own gains.

MONTANO: Othello’s predecessor in the Cyprus Government. He does not mind Othello taking
over his post as governor: he has great faith in Othello’s leadership ability. He also
greatly admires Othello for his calm demeanour and skill as a soldier.

IMPORTANT SCENES
TEMPTATION SCENE HANDKERCHIEF SCENE
BROTHEL SCENE DEATH SCENE
IMPORTANT CONCEPTS TO UNDERSTAND:
The difference between betrayal and deception is that betrayal is an act of dishonesty or breaking of trust;
deception is the act of misleading someone or to make someone believe something which is actually false or
not fully true.

Note: Othello is a tragic hero. It refers to someone of high position; in this time period, that meant royalty. He
is 'universal,' meaning that everyone everywhere can relate to the kinds of problems or sufferings or emotions
that the hero experiences. He has a 'tragic flaw' - this could be a personality trait (like greed, lust, ambition,
jealousy, etc.) OR an error in judgement (a bad decision). This 'tragic flaw' leads to his downfall - usually ruins
his career, reputation, power, etc. He is enlightened at the end of the story, meaning he realizes where he
went wrong, he is humble, and he accepts the consequences.

THEMES:
Love
In Othello, love is a force that overcomes large obstacles and is tripped up by small ones. It provides Othello
with intensity but not direction and gives Desdemona access to his heart but not his mind.
Iago often falsely professes love in friendship for Roderigo and Cassio and betrays them both. For Iago, love is
leverage. Desdemona's love in friendship for Cassio is real but is misinterpreted by the jealous Othello as
adulterous love.

Appearance and Reality OR Deception

Iago is deceptive by nature and he puts on an ‘honest’ face with the intention to deceive characters into
trusting him implicitly and then he uses this information to betray them.

Jealousy
Jealousy is what appears to destroy Othello. Iago has noticed Othello's tendency to insecurity and
overreaction. Jealousy contaminates Othello’s mind completely. The idea that Desdemona has betrayed him
with Cassio, unhinges Othello whose very existence seems to be linked to his love for his wife. His jealousy
eclipses Othello's reason, common sense and respect for justice.
Prejudice
Iago's scheme would not have worked without the underlying atmosphere of racial prejudice in Venetian
society, a prejudice of which both Desdemona and Othello are very aware. Brabantio, Iago and Roderigo all
display racist attitudes to Othello.

Betrayal
Othello is deceived and betrayed by Iago who lies to him about Desdemona’s affair with Iago. Brabantio is
betrayed by his daughter who elopes with the Moor; Othello betrays Desdemona by listening to and allowing
Iago to manipulate him; Roderigo is betrayed by Iago who promises him that he will get Desdemona to love /
marry Roderigo if the latter pays him for this service. Iago betrays Cassio by making him drunk and instructing
Roderigo to start a fight with him, knowing that the ensuing melee will infuriate Othello and lead to Cassio’s
demotion; Emilia betrays Desdemona by giving the handkerchief to her ‘wayward husband’ – which ends up
being the ‘ocular proof’ Othello needs to prove his wife’s infidelity; Emilia betrays her husband when she
realises his role in the scheme; Iago betrays Emilia by killing her in the end – stabbing her from behind.
ACT 1

SCENE 1 Iago uses others (Roderigo), makes lewd

(vulgar) suggestions but keeps his
Iago persuades Roderigo to wake Brabantio and tell him distance!
Othello has eloped with his daughter and is now virtually
raping his daughter! Shows his resentment
‘…an old black ram / Is tupping your white ewe…(Act 1, “Follow him to serve my turn upon him”
Sc.1). ‘the devil will make a grandsire of you.’ “In following him I follow but myself’
“I am not what I am”
Iago shows his true colours IMMEDIATELY! “I must show out a flag and sign of love”

Brabantio is frantic – looks for Othello at the same as the Othello is very calm; it is not his first
duke’s men. Othello has been summoned to the senate, choice; refuses to fight Brabantio.
to lead a fleet to defend Cyprus against the Turks
(Ottoman threat).
SCENE 2
Brabantio accuses Othello of Witchcraft: a serious ‘For nature so preposterously to err/
allegation! He cannot believe that his daughter would fall Being not deficient, blind or lame,/ Sans
in love with Othello out of her own free will. witchcraft could not.’
SCENE 3 He was welcomed into Brabantio’s home;
spent time with the family engaging them
Othello defends himself eloquently and with much dignity with tales of his life’s adventures.
against this lethal accusation. His stories impressed Desdemona.
‘She loved me for the dangers that had
passed and I loved her that she did pity
He impresses the senate with his sincerity and calm
them.’
demeanour.

Desdemona defends her choice publically: very unusual Proclaims her duty and loyalty towards
for a woman of her time. her husband. She is confident and brave.
She defies societal conventions by
marrying a black man, albeit a general.
Brabantio is bitter and devastated. He also realises that Warns Othello of her duplicity towards
the senate has been partial to Othello because of his skill her father.
on the battlefield. ‘Look to her Moor if thou hast eyes to see
She has deceived her father and may
Note: this is the last time that father and daughter will see thee’
each other. Othello will remember these words later
in the play!

Desdemona requests to accompany her husband to

Cyprus.

Iago persuades Roderigo to go too. ‘Put but money in thy purse.’ (said 8
times)
‘Twixt my sheets he’s done me office’
Iago’s intentions become clear but his motives remain (Vague rumour of Othello and Emilia
cloudy. having an affair: allegation never referred
to again in play.
Iago uses Othello’s virtues against him. ‘He holds me will – the better shall my
Shows that he knows Othello very well. purpose work on him.’

‘Hell and night must bring this monstrous

birth to the world’s light’(Truly evil)
Iago is BRILLIANT but EVIL, MALICIOUS, PREMEDITATED, SADISTIC and PERVERTED. Will stop
at nothing to achieve his goals. Enjoys watching others’ pain and agony; enjoys destroying unwitting
souls. Like a chess master, Othello, Roderigo, Cassio, et al are merely his PAWNS.

They do not know what he plans BUT WE KNOW! (Dramatic irony)

ACT 2: Note the STORM at beginning of the play foreshadows ‘stormy’ events which occur later in
this act and in the play viz. Othello waging war against himself, Cassio and Desdemona. The storm
also heralds the unleashing of Iago’s evil plans.
N.B. The setting moves from sophisticated Venice to barbaric and chaotic Cyprus.

SCENE 1: Cassio arrives first on the island; he Very loyal and respectful;
has been separated from Othello and is Will be DEVASTATED when demoted later.
concerned about him.
Desdemona, Emilia, Roderigo and ‘honest’ Iago Iago is ironically placed in charge of
arrive. Desdemona’s safety.

Cassio is extremely attentive, polite and Iago sees this minor act as an opportunity to ‘give
courteous towards Desdemona and kisses her birth’ to his ‘monstrous’ plan viz. If he can arouse
hand in greeting. Othello’s jealousy, he can take revenge on both
Othello and Cassio.

Finally Othello arrives Makes a GRAND entrance. Receives a hero’s

welcome; saviour to restore peace and order on
island.

WAR OVER: Cassio placed in charge of island ‘Iago is most honest,’ says Othello.
while inhabitants rejoice.
“If it were now to die, / Twere now to be most
Othello and Desdemona retire: not to be happy, for I fear / My soul hath her content so
disturbed. They are after all, on honeymoon! absolute.” Foreshadows his torment.
Words ring very true: becomes tortured soul
when he thinks Desdemona is unfaithful.
SCENE 3: Iago makes Cassio drunk: knows ‘I have very poor and
imbibing alcohol transforms him into an unhappy brains for drinking’
aggressive, violent, abusive drunkard.
Iago suggests to Montano that Cassio is an
alcoholic. “I do know Cassio well and would do / Much to
Roderigo provokes Cassio to start a fight. cure him of this evil.”
Montano intervenes; Cassio attacks him.
Iago shouts loudly to rouse Othello and create
more chaos.
Pretends he does not know cause of the incident. “Thy honesty and love doth mince this matter
(Dramatic Irony) making It light to Cassio” believes Othello.
Othello admires Iago for ‘defending’ Cassio.
Othello is disgusted and demotes Cassio. “Reputation, reputation, reputation- O I have lost
Cassio is devastated. My reputation, I ha’ lost the immortal part of
myself, / and what remains is bestial”
Iago has just the SOLUTION: Ask Desdemona to ‘..the general’s wife is now the general..’
plead Cassio’s case with Othello
Cassio thanks Iago for his ‘advice’. “Good night honest Iago,” Cassio naively says.
Iago becomes MEANER. “Divinity of Hell, when devils will their blackest
sins put on They do suggest at first with heavenly
shows.”
He has no compunctions about destroying
Desdemona by using her virtues to serve his “I will turn her virtue into pitch”
knavish purposes viz. her generosity and loyalty. “I will pour pestilence into his ear.”
“She repeals him for her body’s lust.”
He will tell Othello that Desdemona is appealing “...by how much she strives to do him good/ she
Cassio’s suit because they are having an affair. shall undo her credit with the Moor.”
Iago will ask Emilia to set up a meeting with
Desdemona and organise an occasion for Othello “Myself a while to draw the Moor apart, /Bring him
to witness their assignation.
jump when he may Cassio find / Soliciting his
wife.”

ACT 3

SCENE 3

Cassio is brought before Desdemona and she “I’ll intermingle everything he does with Cassio’s
promises to do everything in her power to plead suit.’
his case. Emilia is present at the meeting. Iago keeps characters apart.

Desdemona encourages Cassio to speak to

“I’ll at ease / Unfit for mine own purpose”
Othello; he is too embarrassed and slinks away.
A grave mistake: it seems as if he is hiding a
secret affair.
Iago sees Cassio leaving Desdemona’s rooms; “ha! I like not that!” Perfect innuendo.
suggests Cassio’s behaviour is suspicious. “I cannot think why he would steal away so guilty-
like.” Note Iago’s word choice.
Her playful manner and persistence is
Desdemona plies Othello for Cassio’s MISINTERPRETED. His jealousy, fears and
reinstatement. She is extremely persistent and insecurities are highlighted.
unwittingly plays into Iago’s hands. ‘he (Cassio)hath left part of his grief with me’

TEMPTATION SCENE “Did Cassio know of your love/” Suggestive

Suggests that Cassio had used his position as “Indeed!”
intermediary between Othello and Desdemona, “Honest? For aught I know.”
to woo her for himself. “O,beware my lord of jealousy./ It is the green-
eyed monster which doth mock / The meet it feeds
on.”

Othello plays into Iago’s hands and shows him “No, to be once in doubts to be resolved.”
the way of his mind. “I’ll see before I doubt; when I doubt, prove:
And on the proof, there is no more than this.
He will act decisively because Away at once with love or jealousy!”
‘JUSTICE’ must be done!

Othello’s words resonate well with Iago who uses his guile to torture Othello. Plays on his insecurities!
‘Look to your wife. Observe her well with Cassio.”

He makes Othello feel non-Venetian “I do know our country disposition well. / In Venice
they do let God see their pranks/ They dare not
show their husbands.

Reminds him of her father’s remarks: “She did deceive her father, marrying you.”
This increases Othello’s suspicion.

Othello is ensnared! “I am bound to thee forever” sounds menacing.

TORN between his LOVE for Desdemona; “Why did I marry? This honest creature
Belief in HONEST Iago his ensign. /doubtless/Sees and knows more, than he unfolds”
Irony and Dramatic Irony: The audience is aware
of the truth in Othello’s comments.
“If she be false, O then heaven mocks itself! I’ll not
 believe’t.”

Othello has internalised his own insecurities: “Haply, for I am black

And have not those soft parts of conversation
That chamberers have, or for I am declined
Into the vale of years”

EMILIA picks up Desdemona’s handkerchief “I am glad I have found this napkin. / This was her
and gives it to Iago: unaware of his nefarious first remembrance from the Moor. / My wayward
intentions. She seems desperate to please him husband hath a hundred times / Wooed me to
and win over his affections. steal it.”
“I nothing, but to please his fantasy.”
Iago has PLANS for this precious gift. “I will in Cassio’s lodging lose this napkin / and will
let him find it./ Trifles light as air / Are to the
jealous confirmations strong/ As proofs of holy
writ.”
Othello wants OCULAR proof of his wife’s affair. “Villain, be sure thou prove my love a whore. / Be
Grabs Iago by the throat. sure of it./ give me the ocular proof”

Othello changes with Iago’s poison Note how his language and imagery is similar to
Iago’s.

“Farewell the tranquil mind, farewell content”

Iago inflames Othello’s suspicions with an “O that the slave had forty thousand lives! / One is
invented story of Cassio’s ‘dream’ too poor, too weak for my revenge. “
Claims he saw Cassio with Desdemona’s “Arise black vengeance, from thy hollow cell./
handkerchief. Yield up, O love, thy crown and hearted crown / To
tyrannous hate! Swell, bosom, swell, with thy
fraught, / For ‘tis of aspics’ tongues.”
Othello instructs Iago to kill Cassio “My friend is dead./
‘Tis done at your request; but let her live’
Notice how Iago cleverly spurs Othello on to killing
Desdemona.
‘Damn her, lewd minx! O, damn her, damn her!”
Othello promotes Iago to the position of “I am your own forever”
lieutenant. Iago pledges allegiance to his
general.
Desdemona does not tell Othello handkerchief is Othello warnes: To lose't or give't away were
lost; she rather begs him to reinstate Cassio. such perdition /’As nothing else could match.’
Infuriates Othello ‘proving’ her infidelity
(imagined) once again when she once again
pleads Cassio’s suit. Storms off!
Desdemona cannot understand Othello’s
changed demeanour: assumes it is matters of
state which have unsettled him.
“But jealous souls will not be answered so. / they
Emilia mentions prospect of jealousy. are not ever jealous for the cause, / But jealous for
they’re jealous. It is a monster. / Begot upon itself,
Is Othello’s jealousy innate or has it been bred born on itself”
and nurtured by Iago?
Cassio once again importunes her to fight for his “If I do find him fit, I’ll move your suit /
cause; and she promises to do her best. Asks And seek to effect it to my utmost”
Cassio to be patient: her husband “is in humour
altered”.

Note: the audience is aware that her pleas will

further enrage her husband and hasten her
impending death.
‘O Cassio, whence came this?
Bianca accuses Cassio of neglect; he gives her
the handkerchief that he found in his chamber. This is some token from a newer friend’
ACT 4

SCENE 1
Iago works Othello until he has an epileptic fit. He
bombards him with images of Desdemona and
Lie with her! lie on her! We say lie on her,
Cassio lying naked in bed. Notice the pun on ‘lie’ when /they belie her. Lie with her! that's
– how Othello’s mind runs rampant! fulsome.

He tells Othello to listen in on a conversation Iago speaks to Cassio of Bianca.

between Cassio and himself. He tells Othello Note: the idea of the WHORE is introduces.
that he will ask Cassio questions about his affair ‘As he shall smile, Othello shall go mad with his
with Desdemona: when, where, how often and unbookish (unsophisticated) jealousy.’
when they will have sexual relations again. Othello sees Desdemona in the same light as
Othello misinterprets Cassio’s responses, Bianca: a woman who easily dispenses of her
thinking that he is making fun of Desdemona. virtue.
Iago taunts Othello with Cassio’s having the ‘She gave it to him and he hath given it to his
handkerchief. whore.’
Reminds him of Cassio’s ‘dream’ – which he had ‘Let her rot and perish and be damned tonight, for
made up. she shall not live!’
Bianca arrives with the handkerchief – for Iago: ‘Strangle her in her bed, even the bed she
Othello, the handkerchief is a symbol of hath contaminated.’
Desdemona’s virtue and her body which she has ‘And for Cassio, let me be his undertaker.’
cheaply given away.
Lodovico arrives with news: Othello has been
recalled to Venice. ‘You are welcome, sir, to Cyprus.--Goats and
Desdemona is still trying to pursue Cassio’s suite;
this irritates and gnaws at Othello.
monkeys!’ Othello sees Cyprus as a place of
In anger he slaps her; humiliating her publicly. moral declined and sexual depravity.

Montana is shocked to see the radical change in ‘Is this the noble Moor whom our full senate
Othello’s personality and demeanour and Call all in all sufficient? Is this the nature
comments on it to Iago.
Whom passion could not shake?’

Iago implies that Othello has become unhinged ‘It is not honesty in me to speak
and is out of control. What I have seen and known. You shall
observe him,
And his own courses will denote him so’
SCENE 2: BROTHEL SCENE
Described by critics as ‘Cruel, nightmarish scene,
more painful than a murder scene.’
‘But then I saw no harm, and then I heard
He is cold, ruthless and vengeful. Each syllable that breath made up between
Othello interrogates Emilia about Desdemona’s
whereabouts and meetings with Cassio. She
them.’
reassures him of Desdemona’s faithfulness: no ‘This is a subtle whore / a closet lock and key of
evidence of infidelity. villainous secrets.’
He treats Desdemona as if she is a prostitute and ‘I took you for that cunning whore of Venice
debases her in the presence of Emilia. That married with Othello.’
Desdemona confides in Iago and asks him to find ‘The Moor's abused by some most villanous
out what ails Othello.
knave,/ Some base notorious knave, some
Emilia suggests that he has been influenced by scurvy fellow.’
an unscrupulous person.
Roderigo persuaded that the only way to keep Othello in Cyprus is to kill Cassio IF he still wants
Desdemona
ACT 5
SCENE 1 Roderigo realises Iago’s deceit:
Iago’s plan comes to fruition. Roderigo makes a ‘O damn'd Iago! O inhuman dog!’
sword pass at Cassio. Cassio wounds Roderigo.
Iago wounds Cassio from behind and he falls. ‘..live Roderigo,
Roderigo calls for help and is silenced by Iago.
He calls me to a restitution large
Iago orders that Cassio’s wounds be tended to.
He instructs Emilia to tell Othello of these events. Of gold and jewels that I bobb'd from him,
As gifts to Desdemona.’

Iago is aware that he is close to success. "This is the night

That either makes me or fordoes me quite."
SCENE 2
Othello justifies the act of murder. Desdemona ‘Yet she must die, else she'll betray more men /
pleads her innocence; tells Othello not to do Put out the light, and then put out the light’
anything he will regret. Othello is deaf to her
pleas of innocence. Refuses to stop.
Othello tells Desdemona that Cassio is dead and
she weeps. He takes it as a sign of guilt and ‘Out, strumpet! weep'st thou for him to my face?’
smothers her with the pillow: he cannot look in
her face lest his resolve crumbles.
While Desdemona is in the throes of death,
Emilia rushes in to inform Othello of Cassio’s
injury and Roderigo’s death.
Before Desdemona dies she says that she has
not been murdered but has killed herself.
Othello tells Emilia that why he killed Desdemona She's, like a liar, gone to burning hell:
and tells her that Iago ‘knew it all’. 'Twas I that kill'd her.
Emilia is devastated and furious. She calls O, the more angel she,
Othello ‘a devil’ and ‘as rash as fire’.
And you the blacker devil!
She realises Iago’s role in events and questions
him when he enters. Othello is still ignorant. ‘My friend, thy husband, honest, honest Iago.’
Montano, Gratiano, Iago and others come in; ‘You have done well / That men must lay their
Emilia pounces on Iago demanding the truth. murders on your neck.’
Iago tries to silence Emilia ‘What, are you mad? … get you home.’
‘Be wise, and get you home.’
She tells Othello that she had found the ‘ocular
proof’ the handkerchief and given it to Iago. Calls ‘What should such a fool do/ With so good a
Othello a ‘murderous fool’. woman.’
Othello realises what Iago has done and tries to
stab him but is stopped. Montano disarms Othello
but Othello has a hidden dagger.
Iago stabs Emilia from behind and she dies a Moor, she was chaste; she loved thee, cruel Moor; /So
heroin. He runs off. come my soul to bliss, as I speak true;/So speaking as
I think, I die, I die.’

Iago (prisoner) and an injured Cassio is brought ‘Demand that demi-devil why he hath thus
in. Othello is bewildered and wants answers. ensnared my soul and body’’
Iago refuses and painfully there is no closure for ‘Demand me nothing. What you know, you know.
Othello. From this time forth I will never speak a word.’
Othello asks to be remembered as one who
‘loved not too wisely but too well.’
Othello stabs himself with the hidden dagger. Cassio says, ‘he (Othello) was great of heart.’
Realises that he has nowhere to go except to die:
when he had killed Desdemona, he had also
‘killed’ himself. Tries to redeem himself with this
final act of bravery.
RODERIGO
O damn'd Iago! O inhuman dog!
IMPORTANT QUOTES TO REMEMBER:

"We cannot all be masters, nor all masters

Cannot be truly followed." —Iago, 1.1.42-3

“ I am not what I am." —Iago, 1.1.60-4

"Damned 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 shunned
The wealthy curled darlings of our nation,
Would ever have, t'incur a general mock,
Run from her guardage to the sooty bosom
Of such a thing as thou—to fear, not to delight." —Brabantio, 1.2.62-71

"Rude am I in my speech,
And little bless'd with the soft phrase of peace:
For since these arms of mine had seven years' pith,
Till now some nine moons wasted, they have used
Their dearest action in the tented field,
And little of this great world can I speak,
More than pertains to feats of broil and battle,
And therefore little shall I grace my cause
In speaking for myself. Yet, by your gracious patience,
I will a round unvarnish'd tale deliver
Of my whole course of love." —Othello, 1.3.81-91

"I do perceive here a divided duty." —Desdemona, 1.3.181

"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." —Iago, 1.3.391-4
Act 2 Quotes

"If I were now to die,

Twere now to be most happy, for I fear
My soul hath her content so absolute
That not another comfort like to this
Succeeds in unknown fate." —Othello, 2.1.188–91

"I'll [...] make the Moor thank me, love me, and reward me
For making him egregiously an ass." —Iago, 2.1.302-6

"Reputation, reputation, reputation! O, I have lost my reputation! I have lost the immortal
part of myself, and what remains is bestial." —Cassio, 2.3.251-3

"How poor are they that have not patience!

Act 3 Quotes

"Excellent wretch! Perdition catch my soul

But I do love thee! And when I love thee not,
Chaos is come again." —Othello, 3.3.90-2

"By heaven, thou echo'st me

As if there were some monster in thy thought
Too hideous to be shown." —Othello, 3.3.106-8

"Good name in man and woman, dear my lord,

Is the immediate jewel of their souls.
Who steals my purse steals trash; tis something, nothing;
Twas mine, tis his, and has been slave to thousands.
But he that filches from me my good name
Robs me of that which not enriches him
And makes me poor indeed" —Iago, 3.3.155–61

"O, beware, my lord, of jealousy!

It is the green-eyed monster, which doth mock
The meat it feeds on." —Iago, 3.3.165-7

"This honest creature doubtless

Sees and knows more, much more, than he unfolds."
—Othello, 3.3.242-3

"This fellow's of exceeding honesty,

And knows all qualities, with a learned spirit
Of human dealings." —Othello, 3.3.258–60
"Haply, for I am black
And have not those soft parts of conversation
That chamberers have, or for I am declined
Into the vale of years – yet that's not much –
She's gone." —Othello, 3.3.263-7

"Be sure of it; give me the ocular proof." —Othello, 3.3.360

"On horror's head horrors accumulate." —Othello, 3.3.370

"I am your own forever." —Iago, 3.3.480

Act 4 Quotes

"Upon my knee, what doth your speech import?

I understand a fury in your words
But not the words." —Desdemona, 4.2.31-3

Act 5 Quotes

"This is the night

That either makes me or fordoes me quite." —Iago, 5.1.129–30

"Put out the light, and then put out the light.
If I quench thee, thou flaming minister,
I can again thy former light restore,
Should I repent me;—Othello, 5.2.7-15

"Had she been true,

If heaven would make me such another world
Of one entire and perfect chrysolite
I'd not have sold her for it." —Othello, 5.2.144-7

""Demand me nothing. What you know, you know.

From this time forth I never will speak word." —Iago, 5.2.303-4

"When you shall these unlucky deeds relate,

Speak of me as I am... Then must you speak
Of 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 Judean, threw a pearl away
Richer than all his tribe —Othello, 5.2.341–56