Julia's Favourite Quote From Othello

" 'Twill out, 'twill out: I peace!
No, I will speak as liberal as the north:
Let heaven and men and devils, let them all,
All, all, cry shame against me, yet I'll speak. "

This is my favourite quote in Shakespeare's Othello because Emilia has finally pushed to expose the truth instead of making conclusions in her own head, like Othello, or fabricating evidence, like Iago. Emilia, the character Shakespeare protrayed throughout the play previously to be so quiet and compliant, is now shown to have snapped, as if the truth is a force that cannot be contained forever.

favourite quote from Shakespeare's Othello

Act I, Sc. I
I am not what I am. (line 65) - Iago

This quote highlights the very nature of Iago; a manipulative and deceptive character. this quotation is important because Iago himself admits this, foreboding the events that are about to unfold.

'A liberal hand!'

In Act 3 Scene 4, Othello’s speech about Desdemona’s hand is extremely important because it shows his shift from the ‘noble’ man he has always been described as, to a more primitive, barbaric character. Through the vulgar imagery that Shakespeare uses, Othello conveys his self-loathing and also insinuates Desdemona’s lack of loyalty. An example of this is when he describes himself as a ‘young and sweating devil’, the vulgar imagery conveying that he believes himself to be consumed by sexual feelings and seems to hint at Desdemona’s sexuality as well. The reference to the devil connotes evil, suggesting that Othello cannot see any goodness within himself anymore.
Othello describes Desdemona’s hand as ‘moist’, ‘liberal’ and ‘frank’, showing his suspicions of her betrayal and his base feelings about her, as if she is now merely a sexual toy now that she has no virtue in his eyes. There is a strong dramatic irony in his speech because Desdemona is completely innocent and ignorant of the hinted accusations that Othello is making, while Othello believes she is aware and so becomes more incensed by her apparent dishonesty throughout the scene.
Through Othello’s phrase ‘The hearts of old gave hands; but our new heraldry is hands, not hearts’, the audience can see that he has lost his faith in the honour of love, since Desdemona gave her hand in marriage but perhaps not her heart. He is also implying that he can discern her disloyalty through the use of the word ‘heraldry’, as if Desdemona’s hands confess her betrayal because of their ‘moist’ quality.
This speech shows that Othello has begun to speak like Iago because of its continual sexual references, showing the audience his descent from the nobility and honour he began with. The speech also shows that he is overcome with anger and so will use any evidence, even the quality of Desdemona’s hand to accuse her of her disloyalty because he already believes he has been betrayed.

The Significance of Act 3, Scene 4 In The Context Of The Whole Play

Act 3 Scene 4 is significant in the context of the whole play because it contains the turning point of Desdemona and Othello's relationship and also highlights Desdemona's tragic flaw of being too naive.

From the moment it is introduced into the plot, the handkerchief given to Desdemona by Othello becomes the play's most important symbol. Act 3, Scene 4 assumes the bizarre shape of a perverted trial. From the moment Othello enters, he plays the role of a prosecutor, demanding that Desdemona produce the handkerchief and accusing her of being a whore. Shakespeare's integration of the significance of the handkerchief only in this scene helps to contribute to the dramatic ironies in the play, as Othello did not tell Desdemona the meaning of the handkerchief when he gave it to her in the first place, but only in such a circumstance that he believes she has lost it. Instead of defending herself against her husband's accusations, Desdemona's response by advocating Cassio’s case. The result is a shouting match, wherein husband and wife completely fail to communicate, Othello repeatedly screaming “The handkerchief!” while Desdemona enumerates Cassio’s noble qualities, all of which Othello takes as testimony against her. Shakespeare's chosen diction "zounds" as Othello's final word before his exit highlights Iago's absolute influence upon Othello, as Iago is the only character in the play who uses this strong swearing word. In addition, the fact that he swears directly to his wife and then exits conveys the poor state of their relationship.

Throughout the play, Desdemona is presented by Shakespeare as a naive character who has a pure heart, Act 3 Scene 4 exemplifies this characteristic of hers as being a major tragic flaw. In this scene, she tells the clown to deliver a message to Cassio without hesitating if the content of message would be twisted. Then, when Othello accuses her of infidelity, she does not pick up the clues in his lines and indeed, goes on to plead for Cassio. Later on in the scene, when she talks to Iago - she eventually persists him to find out what "hath puddled his clear spirit" as she believes it is concerning state affairs, not aware of the fact that Iago could further inject poison in Othello's ears of her unfaithfulness. In Shakespeare's construction of Desdemona's statement towards Iago, "men's nature wrangle with inferior things", he has emphasized the dramatic irony as we, the audience, know that Othello is wrestling an inferior thing, his own emotions; yet, Desdemona only believes Othello's "great ones" are to do with the states and does not realise that his emotion for her is an "inferior thing".

By the end of this scene, the plot unfolds without any further assistance from Iago, although he is still involved in manipulating it in some way. He has thus far been so careful to inform the audience of his every plan that it seems like he must have anticipated every turn in the road. As with the characters onstage, Iago’s power with the audience lies in his ability to make them believe he knows more than he does.

Iago’s and Cassio’s contrasting view toward women

Posted by Brian

Cassio regards women as figures of perfection1. When Desdemonda enters the ship, he acts as a humble man introducing a great goddess, shown through his use of language. By continuously mentioning the ideas of “hailing” 2 and “heaven” 2 he elevates her to divine beauty. He compares her to a flourish white swam3, which gives an imagery of purity and splendor. One of the most defining characteristics that Shakespeare gives Cassio is his incredible humbleness towards women. And eventhough he is second in command, he uses proper courtesy of asking a for a lady’s hand from Iago 4 . Shakespeare’s decision to include Cassio’s humble courtesy towards the women, in contrast with Iago’s, could have been done to show how it is one of Cassio’s weakness and how Iago uses this to his advantage.

On the other hand, Iago attitude toward’s Desdemona and Emilia shows that he has no respect or value for women. Iago’s character is naturally dishonest, he creates a mask which he hides behind when he talks to Othello. Yet in this scene, you can see Iago’s clearly criticizing Desdemona and Emilia without hesitation, this shows how little little respect he has towards women. Iago goes as far as mentioning that women are of no use other than in bed5.

Unlike Cassio, rather than praising his own wife, he chooses to criticize her. He depicts her as “bothersome” 9, and “noisy” through the use of imagery, such as “Bells in your parlor” 6 and “wild-cats in your kitchen”6.The comparison he used on his wife, clearly shows that he no concern or care for her. Shakespeare might have added this aspect to show that Iago’s character has been foul and vile long before Othello’s decision to not promote him. The fact that Iago cannot be courteous to his wife in front of others shows how stubborn he truly is.

His descriptions of dark brunettes and fair ladies, further emphasizes his inconsideration of female emotions and his ignorant ideas that women are objects for men, with only the use of child bearing8 and for interactions7.

The main function that this scene creates, is to emphasize Iago’s inconsideration of people, to introduce how sensitive and courteous Cassio’s character is, As such that it could potentially be manipulated by the stubborn Iago. This contrast not only creates tension between these characters but also potentially heighten’s the audience’s hate for Iago now that they have learned he views women as a nuissance.


1: “That paragons description and wild fame”

2: “Ye men of Cyprus, let her have your knees Hail to thee, lady! and the grace of heaven,"

3: “One that excels the quirks of blazoning pens”

4: “Let it not gall your patience, good Iago That I extend my manners; 'tis my breeding That gives me this bold show of courtesy.”


6: “Bells in your parlors, wild-cats in your kitchens”

5: “You rise to play and go to bed to work”

7: “If she be black, and thereto have a wit, She'll find a white that shall her blackness hit.”

8: “She never yet was foolish that was fair; For even her folly help'd her to an heir.”

9: “I find it still, when I have list to sleep …She puts her tongue a little in her heart, And chides with thinking.”

Act II, Scene I

Cassio throughout this scene exerts himself to be the ideal and perfect courteous gentlemen. In this scene, his appreciation for feminine beauty is highlighted as he speaks with much enthusiasm about Desdemona’s beauty (more than what most men would speak of when talking about another man’s wife). His romantic character is developed through his description of Desdemona. In lines 62 to 64, he portrays Desdemona as a woman that “paragons description and wild fame”, “excels the quirks of blazoning pens” and is an “essential vesture of creation”. The use of extravagant courtly diction depicts Desdemona’s beauty to be overwhelming; as if it is beyond the ability of humans and their words to describe her thus suggesting that her beauty is divine. This idea is further reinforced when Cassio boldly claims that jagged rocks and sandbanks “as having sense of beauty do omit/ their moral natures, letting go safely by/ the divine Desdemona” (lines 71 – 73). This implies that Desdemona’s beauty is so overpowering that her ship manage to escape the dangers of the storm, rocks and sands because of it.

Being the gentlemen that Cassio is, upon the arrival of Desdemona on his ship he alerts the men on board the ship that “the riches of the ship is come on shore!” (line 83) and insists that the men of Cyprus greet her by “[letting] her have [their] knees” (line 84). This depicts Desdemona as something precious, like treasure and is the fact that the men are kneeling before her is akin to welcoming a goddess or an angel, which is a slightly excessive gesture as they are in the middle of a storm, where everything is wet and muddy. He also extends his welcome to Emilia, Iago’s wife by giving her a kiss to which he explains that “’tis [his] breeding/ that gives [him] this bold show of courtesy” (lines 98/99). This suggests that he was brought up in a well-mannered environment. This in turn emphasizes how charming Cassio is and at this point, the audience feels a little bit worried as they can see clearly how Cassio would fit perfectly into Iago’s evil scheme. This additionally serves as a foreshadow of the manifestation of Iago’s plan as it unfolds throughout the course of the play.

Iago’s disdain for women can be seen in this scene through the pessimistic way in which he speaks about them. This is apparent when he compares women in the quote to insignificant objects;

“you are pictures out of doors, bells
In your parlours, wild-cats in your kitchen, saints in
Your injuries, devils being offended, players in your
housewifery, and housewives in your beds.” (lines 108 – 111)

“Pictures out of doors” suggests that they only pretend to be well-behaved when they are out in public but reveal their true nature at home. “Bells in you parlours” suggests that they are as noisy and annoying as the sound of bells while “saints in your injuries, devils being offended” implies that they are religious in their dedication for revenge but are devil-like when someone faults them. “Players in your housewifery, and housewives in your beds” indicates that they only pretend to be housewives and that they use sexual favours to get what they want, which is further emphasized when he says that women “rise to play and go to bed to work”. What he meant by saying this is that women only really earn their living in bed. Therefore, through the horrible things that Iago says, it is not at all surprising that Iago thinks of women as low and inferior as he compares them to animals and devils.

Furthermore, Iago also describes his idea of a perfect woman in this scene.

‘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;
She that in wisdom never was so frail
To change the cod's head for the salmon's tail;
She that could think and ne'er disclose her mind,
See suitors following and not look behind;
She was a wight, if ever such wight were – ‘ (lines 145 – 155)

Iago’s response highlights the point that a woman should be fair, but not overly stuck up; who was well-spoken but knows when to hold back (knows what her limit is); who had gold but did not overdress just because she had the money; who had self-control; who could control her desire to seek revenge for slights; who had enough sense to distinguish head from tail; who could think without expressing her every thought and who could avoid being distracted by others’ reactions.

He then pauses significantly before concluding his speech with “to suckle fools and chronicle small beer” (line 157) with the intention of winding Desdemona up. The last sentence of his speech suggests that a woman, even if she is perfect is good for nothing more than nursing babies and to keep household accounts of insignificant items such as beer.

The contrast in how different male characters portray female characters highlights the fact that men are dominant and hold more power in a relationship as they can easily promote or demote a woman’s status in the society, especially if they are of a high position in the army (for example, Cassio). This in turn emphasizes the inferiority of women and their position in the social hierarchy during the Elizabethan era.

Iago vs. Cassio

Act 2 Scene 1

In this scene, while waiting for the arrival of Othello in Cyprus, Iago and Cassio speak to and of women in contrasting manners. Cassio clearly shows more respect and consideration for women in society, while Iago, on the other hand, exhibits a lack of respect and appreciation, especially towards the woman he married, Emilia.

When Cassio speaks of Desdemona, Othello's wife, he describes her with the utmost respect without lapsing into insincerity;

Most fortunately: he hath achiev'd a maid

That paragons description and wild fame;

One that excels the quirks of blazoning pens

And in th'essential vesture of creation

Does tire the ingener.

Cassio says that Desdemona is so much more than what people describe her as, and that her beauty transcends imagination. By speaking of her in this way, Cassio instantly elevates her status through his inflated compliments, and this is highlighted when Cassio calls to his men 'You men of Cyprus, let her have your knees'. Cassio respects and admires Desdemona, even though she is just a friend and he is not romantically involved with her, indicating that Cassio is respectful towards women in general. He continues to compliment her throughout the scene, calling her 'the divine Desdemona' and 'the riches of the ship', comparing her to something so very rare and valuable.

Cassio also shows respect for Emilia, Iago's wife, when he greets her politely and chivalrously with a kiss. Cassio says 'tis my breeding that gives me this bold show of courtesy', suggesting that Cassio has been brought up in an environment where he was taught to respect women.

Iago, on the other hand, exhibits a very different and negative attitude towards women, to the point where he criticises and disparages his own wife. After Cassio kisses Emilia, Iago says;

Sir, would she give you so much of her lips

As of her tongue she oft bestows on me

You would have enough.

Come on, come on; you are pictures out of doors, bells

in your parlours, wild-cats in your kitchen, saints in

your injuries, devils being offended, players in your

housewifery, and housewives in your beds.

Iago implies that women talk excessively, definitely more than they should, and of useless matters. He says that women are well behaved in public but in the home they are troublesome. In addition to this, Iago makes the vulgar statement, 'You rise to play and go to bed to work', indicating that he thinks women are good for nothing but sex.

In contrast to Cassio, who elevates the status of women, Iago greatly lowers their status, referring to them as objects and animals - pictures, bells, wild-cats, as if they are selfish creatures, and a burden to their husbands.

These contrasting ways in which women are spoken to and spoken of affects our understanding of male/female relationships in the sense that there are two different types of male/female relationships; empowered and constrained. The way that Cassio speaks to women in society is very respectful and courteous. He gives them a voice, an identity and status. However this is only outside of the home. We do not know how Cassio would treat a mistress or a wife. Iago and Emilia's relationship is constrained. Their relationship is an excellent example of power in gender roles in society, with Iago being the powerful masculine persona in the relationship, and Emilia being the weaker feminine persona. The idea that women are inferior to men is exemplified in their relationship, as Emilia is clearly of a lower status to Iago, and Iago constantly verbally abusing her.

Because of the opposing attitudes towards women, Cassio becomes the perfect scapegoat for Iago's plan. His respect for women, in particular Desdemona, makes him the perfect suspect as Iago intends to lure Othello into thinking Desdemona is having an affair with Desdemona, therefore bringing the both of them down. This could foreshadow a terrible ending later on in the play as the more we learn about Cassio and his charming characteristics, the more we realise that Iago's plan could be executed flawlessly. Iago's cruel manners towards his wife also indicates how heartless he is, emphasising his malicious characteristics.

Othello - Ewan Macgregor as Iago and Chiwetel Ejiofor as Othello

A critically acclaimed production of Othello starring Ewan Macgregor as Iago and Chiwetel Ejiofor as Othello. Please bring in a USB - memory stick to have this copied. It is an excellent version word for word.
A link to the Donmar Warehouse where it was performed with some videos of the actors, director, designers discussing the play.



# An Othello of the first rank'
Guardian
# 'This is a terrific Othello'
Independent
# 4 Stars4 Stars4 Stars4 Stars 'hottest theatre ticket in town'
The Times
# 'An extraordinarily fresh and new-minted production'
Independent
# 'It is a most powerful, memorable performance.'
Daily Express
# 4 Stars4 Stars4 Stars4 Stars 'Ejiofor puts himself into the front rank of modern Othellos.'
Guardian
# [Kelly Reilly as Desdemona] 'I shall long remember her vulnerability: when struck by Othello, she registers a shocked disbelief and she is incredibly touching in the "willow" scene.'
Guardian
# 'the production finds two actors (Chiwetel and Ewan) who can go against the grain of current notions of how these roles should be played and who can furnish us with new insights into the hero's downfall.'
Independent
# 'Michael Grandage is directing with his usual flair, care and respect for the text.'
The Times
# 'First-rate support from Tom Hiddleston's posh, rank-pulling Cassio and Michelle Fairley's fierce and indignant Emilia'
Independent
# [Ewan McGregor] 'He’s vigorous, hard, mean and he does hate, really hate. Hate enough to give us Shakespeare’s play as it poignantly, painfully should be.'
The Times
# 4 Stars4 Stars4 Stars4 Stars 'Extraordinary theatrical charge'
Sunday Express
# 4 Stars4 Stars4 Stars4 Stars 'Kelly Reilly's sensual, soft and exquisitely delicate Desdemona'
Mail on Sunday
# 4 Stars4 Stars4 Stars4 Stars 'Ejiofor and McGregor... it's a mouthwatering combination that doesn't disappoint'
Sunday Telegraph
# 'An Othello for our times... magnificant'
Observer