othello prejudice quotes

Question 1

‘Thick lips’ Act 1 scene 1

Answer 1

Racial Prejudice, the audience witness Roderigo and Iago being racist toward Othello before we are introduced to him. This structural choice means that the audience immediately, perhaps subconsciously, have some preconceived negative ideas on our tragic hero

Question 2

‘Valiant moor’ Act 1 scene 3

Answer 2

Racial prejudice, this epithetic is almost oxymoronic. The word ‘moor’ is evocative of lust and barbarism whilst ‘valiant’ connotes heroism and nobility. Othello is seldom referred to by his name by those higher than him in society eg. the duke, instead addresses him by his race; the moor, creating a lack of individual identity

Question 3

‘An old black ram is tupping your white ewe’ Act 1 scene 1

Answer 3

Racial prejudice, Iago uses animalistic language to reveal to Brabantio that the moor is having relations with the fair Desdemona. Iago frames this as a predatory situation in Othello ‘tupping’ the innocent and pure ‘white ewe’ he implies a lack of control on Desdemona’s part. The use of white and black represents the couples races as well as a depiction of light and darkness.

Question 4

‘Making the beast with two backs’ Act 1 scene 1

Answer 4

Racial prejudice, euphemistic for Othello and Desdemona’s sexual relationship. Iago frames the union of black and white as creating an impure ‘beast’, continuing animalistic language associated with Othello

Question 5

‘I hate the moor’ Act 1 scene 3

Answer 5

Racial prejudice, Iago refers to Othello as the ‘moor’ rather than by name, claiming that he has ‘done [his] office’. This lust and sexuality is stereotypical of a ‘moor’ and goes unproven throughout the play, it seems as through Iago is searching for any motive for his malignity- an attempt to justify.

Question 6

‘Barbary horse’ Act 1 scene 1

Answer 6

Racial prejudice, continuation of animalistic imagery associated with Othello. Structurally, this is before the audience have an opportunity to formulate independent ideas on Othello’s character, our perception of him is tainted by Iago and Roderigo’s racist descriptions.

Question 7

‘Far more fair than black’ Act 1 scene 3

Answer 7

Racial prejudice, as the duke deems the interracial marriage as acceptable he says this to Brabantio. This is a backhanded complement stating that Othello’s nobility is more characteristic of a ‘fair’ (white) man than a black man. This also frames blackness as the opposite to ‘fairness’ and goodness.

Question 8

‘Haply for I am black’ Act 3 scene 3

Answer 8

Racial prejudice, as Iago’s manipulations begin to take over Othello’s rational judgement, he begins to internalize the racism he is subject to. ‘Haply’ suggesting that Desdemona’s infidelity was inevitable due to Othello’s race, he could never be good enough for her. He internalizes these racist views as well as misogynistic ones becoming increasingly verbally and physically hostile toward Desdemona.

Question 9

‘Arise black vengeance’ Act 3 scene 3

Answer 9

Racial prejudice, Othello seems to link himself with darkness and hell. This is a further display of him internalizing stereotypes of ‘moors’, associated with evil and barbarism, he begins to accept and even succumb to these ideas as he descends further into his vengeful jealousy.

Question 10

‘Begrimed and black as mine own face’ Act 3 scene 3

Answer 10

Racial prejudice, Othello explicitly compares darkness and evil to the color of his own skin, internalizing the stereotypes imposed on him by white venetian society.

Question 11

‘The blacker devil’ Act 5 scene 2

Answer 11

Racial prejudice, as Emilia discovered the dead body of the innocent Desdemona she is filled with rage. The metaphorical labelling of Othello as the ‘blacker devil’ implies that he is more evil and more ‘black’ than the devil itself

Question 12

‘Divine Desdemona’ Act 2 scene 1

Answer 12

Misogyny/ ToW, Cassio equates Desdemona to divinity, imposing the expectation of purity and chastity. Desdemona is the highest class woman in the play and the closest to an image of ideal venetian womanhood in her obedience and her purity.

Question 13

‘Cunning whore of Venice’ ‘Strumpet’ Act 4 scene 2 ‘Bauble’ Act 4 scene 1

Answer 13

Misogyny/ ToW, as Othello descends further into his vengeful jealousy he adapts Iago’s misogynistic attitudes to women. Referring to Desdemona as a ‘whore’, regarding her (non-existent) infidelity.

Question 14

‘They are all but stomachs and we all but food’ ‘they belch us’ Act 3 scene 4

Answer 14

Misogyny/ ToW, using language evocative of digestion, the worldly wise Emilia explains to the naïve Desdemona how men have no regard for women as human beings. Women are mistreated by men, used and abused until they are ‘full’ and then ‘belched’. This grotesque language mirrors the attitudes of society to women’s sexuality, viewing this as a threat that must be ‘tamed’, an appetite that must be suppressed.

Question 15

‘Tis not a year or two shows us a man’ Act 3 scene 4

Answer 15

Misogyny/ ToW, Emilia explains to Desdemona that underneath, all men are the same and this will be revealed in time. It is implied that she is speaking from experience, her marriage worsening with time- some depictions of Emilia on stage present her as a domestic abuse victim, perhaps suggesting that originally Iago seemed a good man but his true nature was revealed in time

Question 16

[strikes her] Act 4 scene 1

Answer 16

Misogyny/ ToW, Othello has deteriorated from noble speech and actions to broken dialogue and brutality. Here, Othello seems an entirely different man to act 2, who gave his wife a voice and treated her with respect.

Question 17

‘I do perceive here a divided duty’ Act 1 scene 3

Answer 17

Misogyny/ Tow, in front of the Duke and senators Desdemona is given a voice by Othello to speak her own piece about their marriage. She essentially betrays her father, the ownership of Desdemona is transferred from Brabantio to Othello without his permission- exclaiming this betrayal is ‘treason of the blood’