Othello Animal Imagery Quotes

Iago old black ram quote about Othello

Even now, now, very now, an old black ram
Is tupping your white ewe.

– William Shakespeare

Othello, Act 1, Scene 1. Shakespeare’s most notorious villains Iago is a manipulative, sinister and destructive character. He uses an inflammatory animal and racist metaphor to compare Othello to a "black ram," and another metaphor to describe Desdemona as a "white ewe." Iago is shouting this to Desdemona’s father Brabantio in order to incite his rage against Othello. He dehumanizes the black Othello and portrays the match between him and the white or pure Desdemona as something unnatural. “Tupping” is an old English slang word for having sex, and Iago uses it here to convey something dirty and vulgar. Iago also sees Desdemona as Brabantio’s property – "your white ewe" – which is in keeping with Iago’s sexism and low regard for women. Iago’s hatred of Othello is evident here.

Zounds, sir, you are one of those that will not serve God, if the devil bid you. Because we come to do you service and you think we are ruffians, you’ll have your daughter covered with a Barbary horse; you’ll have your nephews neigh to you; you’ll have coursers for cousins and gennets for germans.

– William Shakespeare

Othello, Act 1, Scene 1. Brabantio appears at his window to hear a voice shouting up to him from the dark below. It is Iago, hidden in the shadows, using racist language and a vulgar and insulting animal metaphor to tell him that his daughter Desdemona is being ravished by a "Barbary horse" – Othello. The Barbary horse is a North Africal breed of horse. Master maniplator Iago, in his bid to set Brabantio against Othello, warns that Brabantio’s grandsons will be beasts too.

Ere I would say, I would drown myself for the love of a guinea-hen, I would change my humanity with a baboon.

– William Shakespeare

Othello, Act 1, Scene 3. Love is a concept that is alien to Iago. This is seen in his cynical and misogynistic response to Roderigo, who has threatened suicide over Desdemona’s marriage to Othello. Iago uses crude animal imagery, saying that he would rather be a baboon than drown himself for the sake of a woman. Guinea hen in Shakespearean times was another term for a prostitute, which is how Iago sees women in general.

Come, be a man. Drown thyself! drown cats and blind puppies. I have professed me thy friend and I confess me knit to thy deserving with cables of perdurable toughness; I could never better stead thee than now. Put money in thy purse.

– William Shakespeare

Othello, Act 1, Scene 3. Iago appears to care for Roderigo and be his friend. He offers advice after Roderigo’s talk of drowning himself over his unrequited love for Desdemona. He urges Roderigo to be a man and says that drowning is for cats and blind puppies, not for a man like him. Iago in a metaphor compares their bond of friendship to indestructable cables that knit them together. He advises Roderigo to get some money and follow the army to Cyprus, forecasting that the love between Othello and Desdemona will not last long. The reality is that masterful manipulator Iago is using Roderigo as part of his plan to exact revenge on Othello and also to get Roderigo’s money for himself.

The Moor is of a free and open nature
That thinks men honest that but seem to be so,
And will as tenderly be led by th’ nose
As asses are.

– William Shakespeare

Othello, Act 1, Scene 3. In his first soliloquy, Iago reveals how he likes to take advantage of people’s good nature to use it against them. He admits that Othello is a trusting person who thinks that those who appear to be honest, like Iago, are indeed so. Iago declares his intention to use Othello’s gullible nature to manipulate him and he contemptuously compares him in a simile to an ass that can be led by the hose. Iago’s hatred of Othello is on full display here.

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.

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.

Make the Moor thank me, love me and reward me.
For making him egregiously an ass
And practising upon his peace and quiet
Even to madness. ‘Tis here, but yet confused:
Knavery’s plain face is never seen till used.

– William Shakespeare

Othello, Act 2, Scene 1. In Iago’s second soliloquy he reveals his scheme to revenge himself on Othello. He will do this by pretending to be Othello’s friend to gain his love, so that he can destroy Othello’s peace of mind and drive him to madness. Foreshadowed here are Othello’s jealousy-driven descent into madness and the tragic events and deaths that follow. The important theme of appearance vs reality is captured here, as Iago removes his mask to show the "plain face" of his knavery, but only to us the audience. Themes of deception and treachery also feature strongly in Iago’s plotting to destroy his master. He dehumanizes Othello by using an animal metaphor to compare him to "an ass."

If I can fasten but one cup upon him,
With that which he hath drunk to-night already,
He’ll be as full of quarrel and offence
As my young mistress’ dog.

– William Shakespeare

Othello, Act 2, Scene 3. In an aside Iago reveals to the audience his scheme to get Cassio drunk and rowdy, by persuading him to drink more wine on top of what he has had already. He is hoping that Cassio will get into a fight and get himself in trouble with Othello. Iago uses a very apt animal simile, because Cassio will later become like a dog when animal passion overpowers his reason and he becomes involved in a drunken brawl.

I do follow here in the chase, not like a hound that hunts, but one that fills up the cry. My money is almost spent; I have been to-night exceedingly well cudgelled; and I think the issue will be, I shall have so much experience for my pains, and so, with no money at all and a little more wit, return again to Venice.

– William Shakespeare

Othello, Act 2, Scene 3. The gullible fool Roderigo, conned by Iago into funding his schemes, is frustrated by his failure to win Desdemona’s heart. Despite all the money he has given Iago, meant to buy gifts for Desdemona but pocketed by Iago instead, Desdemona hasn’t looked Roderigo’s way. Roderigo is almost broke and ready to quit Cyprus and return to Venice. He uses a simile to compare himself to a hound that hunts but has failed to capture his prey.

If I do prove her haggard,
Though that her jesses were my dear heart-strings,
I’d whistle her off and let her down the wind,
To prey at fortune.

– William Shakespeare

Othello, Act 3, Scene 3. In this soliloquy Othello uses a falconry metaphor to explain his conflicted feelings about Desdemona. He describes her like a bird of prey needing to be trained and controlled. But if she finds proof that she is cheating, he will let her go and turn her out into the world, though it breaks his heart. This passage speaks to the need that some men have to exercise control over women like they are a piece of property.

O curse of marriage,
That we can call these delicate creatures ours,
And not their appetites! I had rather be a toad,
And live upon the vapour of a dungeon,
Than keep a corner in the thing I love
For others’ uses.

– William Shakespeare

Othello, Act 3, Scene 3. Here Othello uses the word "appetites" as a metaphor for women’s unrestrained lust, despite their marriage bond. Driven by jealousy and provoked by Iago, he offers a misogynistic and demeaning view of women’s sexuality and unconstrained behavior. Using ugly animal imagery, he voices his disgust at the idea of sharing "the thing I love" Desdemona with other men for their sexual gratification. Comparing himself to a toad in a dungeon foreshadows his later Act 4 speech, in which he likens Desdemona to "a cistern for foul toads To knot and gender in."

It is impossible you should see this,
Were they as prime as goats, as hot as monkeys,
As salt as wolves in pride, and fools as gross
As ignorance made drunk.

– William Shakespeare

Othello, Act 3, Scene 3. Iago uses vivid bestial imagery to fuel Othello’s imagination and anger, as he tricks him into thinking that his wife is having sexual intercourse with Cassio. After Othello demands proof of his suspicions, Iago in a series of crude similes compares the copulating Cassio and Desdemona to a pair of lustful fornicating animals.

O monstrous! monstrous!…I’ll tear her all to pieces.

– William Shakespeare

Othello, Act 3, Scene 3. Othello has become so brainwashed by Iago that he has becoming like him, losing his own mind and self and using destructive and ferocious language. Consumed by rage, he says that he will destroy Desdemona. His bestial animal imagery shows how his love for her has has been replaced by pure hatred. Murderous revenge is being suggested here, foreshadowing the violence to come. Othello’s ugly threat is also an example of the abuse of male power and toxic masculinity found in the play.

All my fond love thus do I blow to heaven.
‘Tis gone.
Arise, black vengeance, from thy hollow cell!
Yield up, O love, thy crown and hearted throne
To tyrannous hate! Swell, bosom, with thy fraught,
For ’tis of aspics’ tongues!

– William Shakespeare

Othello, Act 3, Scene 3. Othello says that his love for Desdemona is completely gone after Iago convinces him that she is having an affair with Cassio. Appealing for help with his revenge, Othello appears to associate himself with darkness and hell. He uses personification to describe his hatred of Desdemona as "tyrannous," while love is personified as surrendering its place in his heart to hate. In a metaphor, Othello likens his jealous heart to a heart filled with venonous snakes. The motif of black and white appears in this passage with vengeance given the color of black, the color of Othello’s skin.

This is the monkey’s own giving out: she is persuaded I will marry her, out of her own love and flattery, not out of my promise.

– William Shakespeare

Othello, Act 4, Scene 1. Cassio dismisses Iago’s talk of rumors that he is to marry his lover Bianca, saying it is a rumor she started herself. Cassio displays a disrespectful, misogynistic attitude towards Bianca behind her back, using an animal metaphor to compare her to a monkey. He makes clear that while Bianca loves him, that love is not reciprocated and Cassio seems to be just using her.

OTHELLO: O devil, devil!
If that the earth could teem with woman’s tears,
Each drop she falls would prove a crocodile.
Out of my sight!
DESDEMONA: I will not stay to offend you.

– William Shakespeare

Othello, Act 4, Scene 1. After hitting Desdemona in the presence of Lodovico and Iago, Othello humiliates and hurls abuse at his crying wife. He shouts demented nonsense metaphorically comparing her to the devil and accusing her of crying false "crocodile" tears. An ancient belief was that crocodiles shed tears for the victims they ate. A passive and obedient Desdemona does what Othello commands her and leaves. She is perhaps suffering the trauma of battered woman syndrome, commonly found in victims of domestic physical and emotional abuse like her.

Set you down this;
And say besides, that in Aleppo once,
Where a malignant and a turban’d Turk
Beat a Venetian and traduced the state,
I took by the throat the circumcised dog,
And smote him, thus.

– William Shakespeare

Othello, Act 5, Scene 2. In the play’s startling and tragic ending, Othello speaks this as he stabs and mortally wounds himself. His dying words show that he doesn’t see himself as human anymore, but as a dog. Othello, who grew up a Muslim warrior and converted to Christianity, recalls killing a "malignant" Muslim Turk once on the battlefield. He stabs himself while saying this, so identifying himself with the enemy Turk and acknowledging his alien status as a Moor in Venice. At the end Othello has internalized the prejudice towards black outsiders in white Venetian society.

O Spartan dog,
More fell than anguish, hunger, or the sea!
Look on the tragic loading of this bed;
This is thy work: the object poisons sight;
Let it be hid.

– William Shakespeare

Othello, Act 5, Scene 2. Lodovico addresses Iago and points to the tragic results of his jealous and poisonous manipulation and deception – the deaths of Desdemona, Othello and Emilia. In this pitiful scene, he vilifies Iago with a metaphor, comparing him to a bloodthirsty dog from the ancient Greek city state of Sparta. Spartan dogs were trained to hunt and kill, so Iago’s comparison to them highlights his inhumanity. Lodovico orders the bodies to be covered and hid from sight, as they are worse than pain, hunger and the stormy sea.
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