Othello Quotes

Hell and night
Must bring this monstrous birth to the world’s light.

– William Shakespeare

Othello, Act 1, Scene 3. In the final lines of Iago’s soliloquy that ends Act 1, he revels in his evil plan to betray and destroy Othello. His sinister rhyming couplet uses metaphorical imagery of hell and monster, night and day, and childbirth, to describe bringing to life his nefarious plot. The passage is also an example of the animal imagery – "monstrous birth" – Shakespeare employs throughout the play.

Methinks the wind hath spoke aloud at land;
A fuller blast ne’er shook our battlements:
If it hath ruffian’d so upon the sea,
What ribs of oak, when mountains melt on them,
Can hold the mortise?

– William Shakespeare

Othello, Act 2, Scene 1. This act opens at a sea port in Cyprus, where Montano, the island’s Governor, is watching a fierce storm raging across the sea. He uses personification to describe how the wind "spoke aloud." In a metaphor, he compares the huge waves to "mountains" that "melt" and threaten the enemy Turkish ships, putting paid to their invasion plans. Montano’s description builds up a sense of pathetic fallacy, suggesting the chaos and conflict in the characters’ lives. Othello and Desdemona’s ships are still at sea. While they survive this storm, foreshadowed here is the fierce domestic storm that awaits them in Cyprus.

The chidden billow seems to pelt the clouds;
The wind-shaked surge, with high and monstrous mane,
Seems to cast water on the burning bear,
And quench the guards of the ever-fixed pole:
I never did like molestation view
On the enchafed flood.

– William Shakespeare

Othello, Act 2, Scene 1. A huge sea storm off the shores of Cyprus that scatters the invading Turkish fleet prompts this metaphor from the Second Gentleman. He compares the tempest to an attack by the sea on the sky, with waves rising up to quench the constellation Ursa Minor ("burning bear") and North Star ("ever-fixed pole"). This is a good example of pathetic fallacy, the tempest symbolizing and foreshadowing the coming domestic storm in Othello and Desdemona’s lives.

He hath achieved a maid
That paragons description and wild fame;
One that excels the quirks of blazoning pens,
And in the essential vesture of creation
Does tire the ingener.

– William Shakespeare

Othello, Act 2, Scene 1. Cassio shows himself to be quite the romantic as he describes Othello’s wife to Montano and waxes lyrical about her. He says that Desdemona has been perfectly made by God, suggesting that the words of poets are not adequate to describe her level of perfection. The way Othello is said to have "achieved" such a maid objectifies Desdemona as a kind of trophy wife, which speaks to the theme of gender and male attitudes towards women. Cassio obviously likes and admires Desdemona very much, something Iago will use against him. Foreshadowed here is Cassio being falsely put in the frame for having an affair with Desdemona.

Tempests themselves, high seas, and howling winds,
The gutter’d rocks and congregated sands –
Traitors ensteep’d to clog the guiltless keel, –
As having sense of beauty, do omit
Their mortal natures, letting go safely by
The divine Desdemona.

– William Shakespeare

Othello, Act 2, Scene 1. Cassio’s respect for Desdemona stands in sharp contrast to the derogatory way Iago speaks about women. He sees her as a goddess. Her inherent beauty and goodness are so great that nature and the rocks and sands hold back in awe and allows her ship to pass safely through the storm. Cassio personifies nature, the rocks and sands in this hyperbolic speech, which he makes to Governor Montano and Gentlemen. His language in praise of Desdemona is excessive and extravagent, foreshadowing that Iago will later use their friendship to falsely allege a love affairs between the two.

O, behold,
The riches of the ship is come on shore!
Ye men of Cyprus, let her have your knees.
Hail to thee, lady! and the grace of heaven,
Before, behind thee, and on every hand,
Enwheel thee round!

– William Shakespeare

Othello, Act 2, Scene 1. Does Cassio unintentionally help set himself up for Iago’s plot against him with claims that he is having a love affair with Desdemona? Cassio’s very public and effusive praise for Othello’s wife certainly provides ammunition for that. His gallantry and courtesy are open to misinterpretation and make him vulnerable to accusations of flirtation and worse. Announcing Desdemona’s arrival in Cyprus, Cassio kneels to greet her and demands that the men of Cyprus do the same. In a metaphor he compares her to "the riches of the ship." He seems to worship her as a Virgin Mary-like figure in his use of heavenly imagery – "grace of heaven" – in his welcome speech. Future events are foreshadowed by Cassio’s words.

‘Tis my breeding
That gives me this bold show of courtesy.

– William Shakespeare

Othello, Act 2, Scene 1. The courteous and mannerly Cassio makes this comment to Iago after he greets Iago’s wife Emilia with a kiss. The likable and friendly Florentine establishes his credentials as a charmer with the ladies. But his "show of courtesy" to them can be open to misrepresentation as flirtation. This is an important quote, because the perhaps too gallant Cassio’s behavior towards women is used later by Iago to suggest an improper relationship with Desdemona.

You are pictures out of doors,
Bells in your parlors, wild-cats in your kitchens,
Saints in your injuries, devils being offended,
Players in your housewifery, and housewives’ in your beds.

– William Shakespeare

Othello, Act 2, Scene 1. Here we have one of the many examples of Iago’s misogyny, as he expresses his cynical view of all women. In public they act like perfect people, but behind closed doors they are anything but perfect, he claims. Using metaphorical language, he compares them to pictures, noisy bells, animals, saints and devils. He criticizes their performance both as housewives and in the bedroom.

She that was ever fair and never proud,
Had tongue at will and yet was never loud,
Never lack’d gold and yet went never gay,
Fled from her wish and yet said "Now I may,"
She that being anger’d, her revenge being nigh,
Bade her wrong stay and her displeasure fly.

– William Shakespeare

Othello, Act 2, Scene 1. Iago has quite a lot to say about women, much of it uncomplimentary and chauvinistic. Here he presents his idea of the perfect woman to Desdemona. She is beautiful but not proud. Quiet and modest. Doesn’t lack gold but is not extravagant in dress. Supresses her desires even when she can have them. When angry and can get revenge, she just puts up with and suffers her misfortune. Iago has unrealistic expectations of women and this is probably the reason why he is not loved.

He takes her by the palm: ay, well said, whisper: with as little a web as this will I ensnare as great a fly as Cassio. Ay, smile upon her, do; I will gyve thee in thine own courtship.

– William Shakespeare

Othello, Act 2, Scene 1. Iago in an aside reveals that he will use Cassio’s reputation for gallantry with women to suggest he is having an affair with Desdemona. He plans to use Cassio’s good manners in kissing Desdemona’s hand to compromise him. In a metaphor he compares himself to a spider and Cassio the fly that will be trapped in his web. This is one of the many examples of animal imagery in the play.

If after every tempest come such calms,
May the winds blow till they have waken’d death!
And let the labouring bark climb hills of seas
Olympus-high and duck again as low
As hell’s from heaven!

– William Shakespeare

Othello, Act 2, Scene 1. After passing through a violent storm Othello lands in the port of Cyprus for a joyful reunion with with beloved Desdemona. He uses metaphorical imagery to convey the great happiness she brings to him. She is his calm after the storm. This is the high point of their love and happiness.

If it 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.

– William Shakespeare

Othello, Act 2, Scene 1. An overjoyed Othello meets up with Desdemona after surviving the sea storm off Cyprus. He describes it as the happiest he has ever been and will ever be. If he were to die now, it would be at the most joyful moment of his life, he says. This shows the intensity of the love between the two. But there is tragic irony in Othello’s words, for they never will be this happy again as that love comes under strain. Foreshadowed is how their love will be tested to breaking point by Othello’s jealousy and Iago’s manipulations, leading to a horrific fate for both.

The heavens forbid
But that our loves and comforts should increase,
Even as our days do grow!

– William Shakespeare

Othello, Act 2, Scene 1. In this moment of dramatic irony, Desdemona calls to the heavens to continue to increase the love and comfort she and Othello enjoy as they grow older. The audience is aware of Iago’s plot to spoil Desdemona’s dream, so that increase in love is unlikely to happen. At the end of Act 1 Iago revealed his plan to drop hints to Othello that Desdemona is cheating on him with Cassio.

Mark me with what violence she first loved the Moor, but for bragging and telling her fantastical lies: and will she love him still for prating? let not thy discreet heart think it.

– William Shakespeare

Othello, Act 2, Scene 1. There is an irony in an inveterate liar like Iago accusing Othello of telling "fantastical lies" and making up stories in order to win Desdemona’s love. He is trying to convince Roderigo that Desdemona fell in love with Othello too quickly and will soon grow tired of him.

Her eye must be fed. And what delight shall she have to look on the devil? When the blood is made dull with the act of sport, there should be, again to inflame it and to give satiety a fresh appetite, loveliness in favor, sympathy in years, manners, and beauties, all which the Moor is defective in.

– William Shakespeare

Othello, Act 2, Scene 1. Iago’s undisguised racism and hatred for Othello emerge once more, as he tries to convince Roderigo that Desdemona will soon tire of her black devil husband. When she has her sexual fill of Othello, he predicts that she will seek another sexual partner. Iago’s crude use of a food and appetite metaphor equates human love with pure animal lust and gratification. But love is something Iago doesn’t believe in.

Who stands so eminent in the degree of this fortune as Cassio does? a knave very voluble; no further conscionable than in putting on the mere form of civil and humane seeming, for the better compassing of his salt and most hidden loose affection? why, none.

– William Shakespeare

Othello, Act 2, Scene 1. Iago paints an ironic picture of Cassio as the ideal "knave" to turn Desdemona’s head and win her heart. He is loquacious and a smooth talker, hiding his lustful desires behind fine manners, and Desdemona will choose no one else but him, Iago assures Roderigo. Iago’s description more matches himself than Cassio.
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