THEMES quotes and analysis

Question 1

FEMININITY AND SEXUALITY

Answer 1

• DESDEMONA
• EMILIA
• BIANCA
• MADONNA-WHORE COMPLEX
• MARRIAGE IN JACOBEAN ERA
• MALE ANXIETIES AROUND FEMININE FREEDOM OF SEXUALITY -> CUCKOLDRY

Question 2

Othello: “She loved me for the dangers I had passed/ And I loved her that she did pity them” (A1S3, 168)

Answer 2

Language:
The parallel phrasing creates a sense of equality, yet subtly enforces traditional gender roles. Desdemona’s “pity” aligns her with the emotional, nurturing ideal of femininity, while Othello’s identity is constructed through heroic suffering. The abstract, emotive language elevates their connection beyond the physical, presenting love as based on narrative and sentiment rather than desire.
Purpose:
Shakespeare idealises their love to expose its instability. By making their bond dependent on storytelling and emotional projection, he sets up its tragic unraveling when those ideals are challenged by sexual jealousy. The romanticised tone here contrasts sharply with the raw suspicion that later dominates, highlighting the vulnerability of love built on illusion.
Context:
Desdemona embodies early modern expectations of femininity, to be empathetic, passive, and modest. Her pity reinforces her role as the virtuous woman, but this same idealisation leaves her open to suspicion. Shakespeare critiques a society where female sexuality is idealised yet easily doubted, revealing how women’s reputations were controlled by male narratives and perceptions.

Question 3

Desdemona: “But here’s my husband; And so much duty as my mother showed to you, preferring you” (A1S3, 186)

Answer 3

Language:
Desdemona’s formal, measured phrasing echoes the rhetoric of obedience and deference expected of women in a patriarchal society. The word “duty” frames love and marriage as obligations, not passions, and “preferring” suggests a rational, almost transactional choice. By aligning herself with her mother’s actions, Desdemona justifies her autonomy through a traditionally feminine lens- loyal to male authority, but transferring it from father to husband.
Purpose:
Shakespeare uses this moment to present Desdemona as assertive within the confines of social expectation. She reclaims agency not by rejecting patriarchal norms, but by operating within them transitionong her loyalty from father to husband as tradition dictates. This subtly empowers her, yet also foreshadows the limits of that agency when male authority turns on her. Shakespeare critiques the fragile foundation of female autonomy when it depends on male permission.
Context:
In Elizabethan society, a woman was expected to be obedient first to her father, then to her husband. Desdemona’s words reinforce this, yet also show her navigating those expectations to claim a voice in her marital choice. Her sexuality, implied in her elopement, is at odds with the image of obedient daughter, revealing the double standards placed on women’s virtue.

Question 4

Iago: “our carnal stings, our unbitted lusts: whereof I take this, that you call love, to be a sect or scion” (A1S3, 330)

Answer 4

Language:
Iago’s use of visceral imagery evokes love as primal, animalistic, and uncontrollable. The metaphor of love as a mere “sect or scion” diminishes romantic love to a byproduct of lust. His tone is cold, clinical, and heavily pragmatic, reducing desire to physical urges and rejecting any emotional or spiritual value in love, especially in contrast to how Othello and Desdemona initially frame their bond.
Purpose:
Shakespeare uses Iago’s voice to challenge and deconstruct the idealism of love that other characters express. This aligns with Iago’s role as a disruptor, undermining romantic and moral ideals by reinterpreting them through a lens of base sexuality. His cynical worldview not only drives the plot, but exposes how easily concepts like love and virtue can be corrupted when filtered through misogyny and sexual suspicion.
Context:
Iago reflects early modern anxieties about unchecked female sexuality and male honour. His view resonates with contemporary beliefs that women’s sexuality was dangerous if not controlled by marriage and male authority. By presenting love as an excuse for lust, Iago echoes a cultural fear that femininity masks sexual duplicity, a fear that fuels Othello’s downfall. His speech reveals how sexuality, when stripped of emotional value, becomes a weapon of control and degradation.

Question 5

Cassio: “divine Desdemona” (A2S2, 75)

Answer 5

Language:
The adjective “divine” elevates Desdemona to a near-saintly status, aligning her with purity, virtue, and unattainable perfection. This kind of idealised language strips her of complexity and reinforces a Madonna-like image, a heavenly being. Cassio’s choice of words reflects the tendency in the play of reducing women to ideals rather than treating them as individuals.
Purpose:
Shakespeare uses Cassio’s praise to contrast sharply with Iago’s crude, sexualised view of women. While Cassio’s comment appears respectful, it also contributes to Desdemona’s dangerous idealisation. This dehumanising act builds the pressure Desdemona faces: she must live up to impossible standards of virtue and modesty. Shakespeare critiques how men place women on pedestals, then punish them for failing to meet the impossible image they’ve created.
Context:
Early modern views of femininity often split women into binaries: the pure and chaste “virgin” or the corrupted “whore” (MADONNA-WHORE DICHOTOMY). Desdemona is first perceived as a “divine” being, but her image is tainted by Othello’s insecurity later on, when even the smallest hint of sexual impropriety shatters the image of Madonna.

Question 6

Desdemona: “Whate’er you be, I am obedient” (A3S3, 90)

Answer 6

Language:
Desdemona acknowledges a possible change or unpredictability in Othello, yet still submits, despite her uneasy tone. The declarative is stark and absolute, reflecting the internalisation of patriarchal expectations. Her identity is defined through her submission to her husband, making her obedience not just a personal act but a societal role.
Purpose:
Shakespeare presents Desdemona as tragically loyal, even when confronted with emotional distance or aggression. Her unwavering submission, rather than empowering her, isolates her and removes her agency. Shakespeare critiques a culture where female virtue is tied to compliance, showing how this ideal traps women in roles that ultimately leave them vulnerable.
Context:
In early modern England, the ideal wife was silent, obedient, and loyal, which Desdemona here embodies that role completely. However, her obedience doesn’t protect her; it becomes a mechanism through which her voice and truth are ignored. The line reflects the tension between female virtue as admired and female autonomy as feared, a key anxiety surrounding women’s sexuality and social roles at the time.

Question 7

Emilia: “I nothing, but to please his fantasy” (A3S3, 302)

Question 8

Iago: “Behold her topped?”
“prime as goats, hot as monkeys” (A3S3, 398)

Question 9

Othello: “I’ll tear her all to pieces” (A3S3, 435)

Question 10

Othello: “I took you for that cunning whore of Venice that married with Othello” (A4S1, 91)

Question 11

Emilia: “it is their husvands faults if wives do fall”
“their wives have sense like them” (A4S3, 86+)

Question 12

Iago: “This is the fruits of whoring” (A5S1, 115)

Question 13

Bianca: “I am no strumpet, but of life as honest as you that thus abuse me” (A5S1, 121)

Question 14

Othello: “Out, strumpet! Weep’st thou for him to my face?” (A5S2, 78)

Question 15

Emilia: “I’ll kill myself for grief. Tis proper I obey him but not now” (A5S2, 194)

Question 16

PREJUDICE

Answer 16

• RACIAL PREDJUDICE TOWARDS OTHELLO

Question 17

Roderigo: “What a full fortune does the thick lips owe” (A1S1, 66)

Answer 17

Language:
Roderigo’s use of reference to “thick lips” reflects a racial stereotype, reducing Othello to a physical feature that signals his difference. The term “thick” is derogatory and associated with negative traits in this context. The phrase “full fortune” expresses resentment and suggests that Othello’s success (his marriage to Desdemona) is undeserved, implying that someone of his race cannot naturally achieve such status.
Purpose:
Shakespeare uses Roderigo’s insult to expose the racial prejudice ingrained in Venetian society. This early comment demonstrates how Othello’s appearance is seen as a marker of inferiority, setting up the racial tension that will dominate the play. It reflects how racial bias distorts perceptions of others, shaping characters’ actions and reactions.
Context:
In Shakespeare’s time, racial prejudice was deeply entrenched, with people of African descent often viewed as inferior. The reference to “thick lips” and the notion that Othello’s achievements are a matter of “fortune” reflect the prevailing stereotype that people of Othello’s race could not legitimately hold power or be successful without external help. Roderigo’s remark highlights the racial divide in the play and the suspicion with which Othello is regarded by others.

Question 18

Iago: “an old black ram is tupping your white ewe” (A1S1, 89)

Answer 18

Language:
Iago’s grating phrase to infuriate Brabantio uses crude, animalistic language to describe Othello’s sexual relationship with Desdemona. The metaphor of the “black ram” and “white ewe” evokes racial and sexual tension, contrasting Othello’s blackness with Desdemona’s whiteness, which was seen as pure and virtuous in Jacobean society.- essentially dehumanising both of them. The verb “tupping” (meaning mating) reduces their relationship to an animalistic act, emphasisng the racialised sexual prejudice Iago seeks to exploit.
Purpose:
Shakespeare uses this image to provoke and manipulate Brabantio by appealing to his racial and sexual anxieties. By framing Othello as an aggressive, lustful outsider violating his pure daughter, Iago plays on the fear that a black man is a threat to white societal norms, particularly concerning women’s sexuality.
Context:
In the Elizabethan era, interracial marriages were often met with suspicion, and were most certainly not the norm. The metaphor of the “black ram” reflects the widespread racist belief that black men were inherently lustful and dangerous, particularly to white women- this racial prejudice was compounded by sexual anxieties. Iago’s words reflect these societal prejudices that rooted from society, setting the stage for the racial conflict that unfolds throughout the play.

Question 19

Iago: “you’ll have your daughter covered with a Barbary horse” (A1S1, 110)

Answer 19

Language:
Iago’s repeated use of crude, animalistic imagery once again links Othello to a racial stereotype of the aggressive outsider. The verb “covered” implies Othello’s sexual dominance over Desdemona, presenting the interracial relationship as unnatural and violent. Several animalistic metaphors leave Iago’s mouth throughout the play, as he constantly dehumanises whom he loathes.
Purpose:
Shakespeare uses Iago’s words to manipulate Brabantio by exploiting his insecurity of who his daughter is with, and how that can affect his bloodline. Iago paints Othello as a corrupting force, using racial prejudice to provoke fear and anger about Desdemona’s marriage.

Question 20

Brabantio: “For an abuser of the world, a practiser of arts inhibited and out of warrant” (A1S2, 88)

Answer 20

Language:
Brabantio’s ridiculing phrases imply that Othello is a threat to societal norms, as an “abuser” and “practiser of arts”. The use of “abuser” suggests corruption, and “arts inhibited” refers to forbidden or immoral practices, reinforcing the idea that Othello’s actions are unlawful or unnatural.
Purpose:
Shakespeare uses Brabantio’s language to underscore the racial prejudice against Othello. By casting him as an “abuser” and someone who engages in forbidden acts, Brabantio reinforces the belief that Othello’s marriage to Desdemona is both a personal betrayal and a violation of natural laws. It shows the deep-seated racism in Venetian society.

Question 21

Brabantio: “in spite of nature, Of years, of country, credit, everything- To fall in love with what she feared to look on?” (A1S3, 97)

Answer 21

Language:
Brabantio’s statement suggests that Othello’s marriage to Desdemona defies the natural and social order. The phrase “what she feared to look on” implies that Othello’s race and appearance are so foreign and frightening to Desdemona that her love for him becomes unnatural, reinforcing the idea that such a union is morally and biologically wrong in Brabantio’s eyes.
Purpose:
Shakespeare uses Brabantio’s words to highlight the racial and social prejudices of the time. Brabantio’s disbelief at his daughter’s choice frames Othello as an outsider, whose love is an affront to nature, age, nationality, and societal expectations. This comment underscores the racial tensions in the play and the idea that Othello’s marriage is seen as an unnatural act by many.

Question 22

Iago: “I hate the Moor” (A1S3, 362, 381)

Question 23

Iago: “… Players in your housewifery, and housewices in your beds” (A2S1, 112)

Question 24

Iago: “Her eye must be fed and what delight shall she have to look on the devil?” (A2S1, 220)

Question 25

APPEARANCE VS REALITY

Question 26

Iago: "I follow him to serve my turn upon him" (A1S1, 42)

Answer 26

Language: The phrase reveals Iago’s true intentions, he appears to be loyal to Othello, but in reality, he is biding his time to manipulate him. The word “serve” is double-edged: on the surface, it suggests loyalty, but it also implies that Iago’s service is self-serving, a means to an end. The phrase “my turn upon him” highlights his desire for revenge, indicating that Iago's outward obedience is merely a facade. Purpose: Shakespeare uses Iago’s words to set up the theme of deception and manipulation. Iago’s claim that he follows Othello to “serve his turn” directly contrasts with the appearance of a loyal ensign. This highlights the gap between what Iago appears to be and what he truly is. The quote shows how Iago is a master of pretending to serve others while actually plotting their downfall. Context: In the context of Jacobean England, loyalty and service were highly valued, especially in military and hierarchical contexts like the one in the play. Iago’s manipulation of Othello and others reflects the social importance of appearances. Iago’s statement exposes the dangers of blindly trusting someone based on their outward appearance, a theme that resonates with the time’s emphasis on reputation and honor.

Question 27

Iago: "I am not what I am" (A1S1, 65)

Answer 27

Language: Iago’s famous declaration is a paradox that reveals his duplicity. The contradiction between his outward appearance (Othello's flagbearer) and his true nature (manipulative and malicious) reflects his two-faced nature, which he uses to his advantage as the play unfolds. This self-revelation marks the beginning of Iago’s manipulation of others, showing that appearances in the play often mask darker truths. Purpose: Shakespeare uses Iago’s words to expose the gap between appearance and reality as a central theme. Iago’s claim that he is not what he seems lays the groundwork for the deceptive behavior that will unfold throughout the play. It highlights how characters are deceived by outward appearances, especially Othello, who believes Iago’s loyalty, not knowing that he is the orchestrator of his downfall. Context: In the context of Jacobean society, outward appearances were crucial, especially regarding honor and reputation. Deception, like Iago’s, often took advantage of these social values. Iago’s statement underscores how easily characters like Othello are manipulated because they trust appearances over reality, a theme that resonates with societal anxieties about identity and trust.

Question 28

Cassio: "Reputation, reputation, reputation! O I have lost my reputation! I have lost the immortal part of myself" (A2S3, 249)

Answer 28

Language: Cassio’s repetition of the word “reputation” emphasises how deeply he values his social standing and honor. This suggests that reputation is not just a superficial aspect of his identity but an essential, eternal part of who he is. His emotional reaction reveals the tension between his actual character and the way others perceive him- he feels that his reputation is so intertwined with his identity that losing it is akin to losing his very self. Purpose: Shakespeare uses Cassio’s distress to illustrate the destructive impact of appearances in the play. Cassio's public image has been tarnished by Iago's manipulation, through the drunken brawl, and in his mind, losing his reputation is equivalent to losing his dignity and sense of self. This highlights how much characters in the play, especially Cassio, are preoccupied with how they are perceived by others, and how the false appearances created by Iago lead to real consequences. Context: In Jacobean society, reputation was everything, especially for men in positions of military or social power. The value placed on a good reputation reflects the importance of honor and social perception at the time. Cassio’s despair illustrates the fragile nature of appearances in a society that judged individuals based on their public persona. The play critiques how easily reputations can be destroyed by deception, showing the destructive power of appearance versus reality.

Question 29

Iago: "Men should be what they seem" (A3S3, 130) ->>

Answer 29

Language: Iago's statement is ironically hypocritical, as Iago himself is the embodiment of deception and hidden villainous scehemes. He advocates for honesty and transparency, but in reality, he is the furthest from this ideal. The simplicit dramatic irony of the phrase contrasts with the complex layers of dishonesty and manipulation present in the play. Iago’s use of the word “should” suggests a moral principle, but his own actions reveal his complete disregard for this ideal. Purpose: Shakespeare uses this line to highlight Iago’s manipulation of Othello. Iago plants the idea that men ought to be straightforward and true to their appearances, even though he himself is the master of deceit. Iago’s words create the false impression that he is trustworthy, while his actions reveal him to be duplicitous. It also contributes to Othello’s increasing mistrust of Desdemona, as Iago convinces him that things are not always as they seem. Context: In Jacobean society, reputation, honor, and the appearance of integrity were crucial, particularly for men in positions of power. The idea that “men should be what they seem” echoes societal expectations of public virtue and private morality. However, the play critiques this ideal by showing how easily appearances can be manipulated, especially through Iago’s deception. This line reflects the tension between societal expectations and the reality of personal ambition and dishonesty.

Question 30

Othello and Iago interaction: (continued A3S3) "I think that he is honest" "I think so too" ... "I think Cassio's an honest man" ... "thinking... thoughts"

Question 31

Iago: "Look to your wife; observe her well with Cassio" (A3S3, 200)