Othello

Theme Quote Act, Explanation

Scene
Prejudice Barbantio: Act 1, Uses racist language to describe
“Whether a Scene 2 Othello, calling him a "thing" with a
In nearly every maid, so "sooty bosom," and saying that it
case, the characters tender, fair, would make more sense to fear
use terms that and him as opposed to love him.
describe Othello as happy /…
an animal or beast. run… to the Desdemona is presented as de-
Tuse racist language sooty sexualized, an innocent child,
to try to define bosom / Of whereas Othello is suggested to
Othello not only as such a thing have sinister sexual powers akin to
an outsider to white as thou- “ magical enchantment. As well as
Venetian society, indicting Othello, this idea robs
but as being less Desdemona of agency.
human and Iago: "The Act 1, Othello is compared to an animal.
therefore less Moor is of a Scene 3 Iago's reference to an ass (donkey)
deserving of free and in particular highlights that the
respect. open nature/ racist view of Moors as animalistic
That thinks is closely entwined with the idea
men honest that Moors are naturally
that but subservient and unintelligent.
seem to be Iago's observation that Othello is
so; / And will overly trusting is correct. Indeed,
as tenderly Othello's readiness to believe in
be led by thy appearances is the fatal flaw that––
nose / As as Iago predicts––ultimately leads
asses are." to his downfall.
Iago: "I'll... Act 2, This is a reminder of Iago's
make the Scene 1 scheming nature––he wants to
Moor thank destroy Othello not only for the
me, love me, pleasure of vengeance, but also for
and reward the "reward" of advancing his own
me / For career. It also reveals the truly
making him perverse, sadistic extent of his
egregiously desire for revenge. It is not enough
an ass." for Iago to ruin Othello; he wants
Othello to "thank" and "love" him
for it.
Jealousy Iago: "O, Act 3, Iago warns Othello to beware of
beware, my Scene 3 jealousy, famously likening it to a
Iago refers to lord, of "green-eyed monster" that mocks
jealousy as the jealousy! the jealous person. Iago knows
"green-eyed It is the that telling Othello not to be
monster." At one green-eyed jealous will only increase his
point Othello monster, suspicions. The "green-eyed
demands that Iago which doth monster" he describes in fact
provide "ocular mock / The reflects Iago's own role as an
proof" of meat it feeds envious, parasitic influence who
Desdemona's on." mocks Othello even as he ruins
infidelity, but Iago him.
instead provides the Othello: "Be Iago takes the handkerchief with
circumstantial sure of it; the plan of leaving it in Cassio's
evidence of the give me the room, when Othello suddenly
handkerchief, which ocular proof." enters in a frantic, enraged state,
Othello accepts as a and demands that Iago show him
substitute for "ocular proof" of Desdemona's
"ocular proof." infidelity. The fact that Othello
Othello's jealousy behaves aggressively and
impedes his ability threateningly to Iago––whom he
to distinguish has multiple times praised as
between reality and honest and righteous––shows that
appearance. Othello has already been driven
wild by jealousy and is no longer
capable of making rational
assessments of the situation. Iago
is carrying the handkerchief and
reminds the audience that
appearances can be just as
misleading as rumours. It is easy
for Iago to manipulate visual
evidence to support his false claim.
Othello's trust in visual
appearances reflects his mistaken
trust of Iago––and both will soon
bring about his downfall.
Manhood and Othello: "If it Act 2, Othello declares that he could not
Honour were now to Scene 1 be any happier and thus wouldn't
die, / Twere mind if he died then and there.
Various male figures now to be Othello's innocent joy in this scene
seek to assert and most happy, could be said to tempt fate.
protect their for I fear / My Indeed, without realizing it, in this
manhood and their soul hath her speech Othello accurately
honour. The primary content so foreshadows that he will never be
means by which absolute / this happy again--and that he will
men define their That not soon die as well. The added
honour is their another tragedy underlying this statement
ability to command comfort like is that Othello's wish to die happy
the faithfulness of to this / will go unfulfilled; both his marital
their women. In 1.1, Succeeds in bliss and good reputation will be
Iago and Roderigo unknown ruined before he dies.
call Brabantio's fate."
honour into Cassio: Act 2, When Othello says he will have to
question because "Reputation, Scene 3 dismiss Cassio, he mourns the loss
he hasn't been able reputation, of his position and reputation.
to control the reputation! Cassio refers to his reputation as
romantic or sexual O, I have lost "the immortal part of myself," and
impulses of his my says that without it he is no better
daughter, reputation! I than a beast.
Desdemona. Later, have lost the
Iago drives Othello immortal part Cassio's statement confirms the
to question his own of myself, huge value placed on reputation at
manhood—indeed, and what the time; the immediacy with
his very humanity— remains is which he is ruined despite his
by making him bestial." otherwise flawless record
doubt whether he highlights the danger of mistaken
has power over his appearances and foreshadows
wife. In despair over Othello's fall from grace later in the
his suspicions about play. His comment that "what
his wife's remains is bestial" emphasizes the
faithfulness, Othello importance of honor as the
laments of himself: characteristic that distinguishes
"A horned man's a men from animals, again
monster and a connecting Cassio's predicament
beast" that is, in his to the racist distrust of Othello as
view, to lose control animalistic.
of the woman in his
life is to lose
everything that
makes him human.
Womanhood and Desdemona: Act 1, When Brabantio asks her who she
Sexuality "I do Scene 3 obeys, she responds that she feels
perceive here she has a "divided duty," although
Two contrasting a divided after this quote she admits that,
images of duty." because he is now her husband,
womanhood her primary allegiance is to
dominate Othello: Othello. The behavior of
the virtuous and Desdemona and Othello in this
loyal woman, scene proves that they are both
embodied by honorable, truthful people who are
Desdemona; and honest about their allegiances––a
the whore, characteristic that puts them in
embodied, to a direct contrast with Iago.
certain extent by
Bianca. Yet over the The fact that Desdemona is
course of the play, questioned about her "duty"
it becomes clear reveals that, in the world of the
that these two play, women are not considered
different ways of people in their own right, but only
describing women ever exist in relation to men––first
don't apply to real their fathers and brothers, and
women. Instead, then their husbands. Indeed, one
they are male reason why Desdemona and
fantasies imposed Othello's marriage is considered so
on women—ideals scandalous is because Desdemona
that men want has willingly chosen to marry a
woman to fulfil, and man her father did not select for
roles that women her. Aside from this one act of
therefore rebellion, however, Desdemona
purposefully play unfailingly performs the
for men. submissive, dutiful role expected of
women, as is evidenced in this
For instance, quote. When asked about her
Desdemona often marriage to Othello, Desdemona
describes her speaks of a "divided duty" between
devotion to Othello her husband and father, ignoring
in front of other her own feelings altogether.
people, Desdemona: Act 2, Iago has entertained Desdemona
underscoring that, "Oh heavy scene 1 by telling riddles about "foul and
even though she ignorance! foolish" women; Desdemona
does love him very Thou praisest laughingly accuses him of "heavy
deeply, she is to a the worst ignorance" for praising such
certain extent best." qualities. To some extent, their
playing the role of exchange confirms Desdemona's
the virtuous wife. sweet and earnest nature, as she
Iago forces Othello rebukes Iago for praising negative
to realize that there characteristics. On the other hand,
is no way for a man the decidedly flirtatious element of
to tell the difference their conversations suggests that
between a truly Desdemona is perhaps not entirely
virtuous wife and morally innocent. At the same
one who is just time, she might also simply be
playing the role of fulfilling the expectation that
virtuous wife. women should always behave in a
pleasant, agreeable manner,
rather than expressing strong
opinions. The fact that Desdemona
is at least mildly flirting with Iago
lends a hint of plausibility to
Othello's paranoia about her
possible infidelity. A further layer of
tension emerges from
Desdemona's accusation that Iago
"praisest the worst best." Although
Desdemona is referring to Iago's
humorous banter, she has
unwittingly made an accurate
judgment of Iago's fundamental
personality.
Iago: "Her Act 4, Iago has told Othello that he knows
honor is an scene 1 Cassio and Desdemona slept
essence "naked in bed" together, but
that's not pretends to still want to give them
seen; / They the benefit of the doubt. Iago has
have it very repeatedly referenced the
oft that have handkerchief, saying that it
it not." belongs to Desdemona and that
she could therefore give it to
whomever she wants; Othello asks
if she could likewise give away her
honor, and Iago replies that her
honor is intangible, and that many
seem honorable when they are
actually not.

Iago's statement "they have it very

oft that have it not"––meaning
many people appear to be
honorable but aren't––does not
actually apply to Desdemona, but
does accurately describe Iago
himself. Indeed, the phrasing is
reminiscent of Iago's statement
earlier in the play, "I am not what I
am."