Othello Hell Devil and Monster 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.

Arise, arise;
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you.

– William Shakespeare

Othello, Act 1, Scene 1. Iago shouts this out in the street at night in front of Brabantio’s house. Using a metaphor, he suggests to Brabantio that the "devil" Othello will make his daughter Desdemona pregnant, so that Brabantio will be grandfather to an evil devil child. The malevolent Iago is displaying his racial prejudice here, as he attempts to whip up a father’s anger against his daughter’s elopement with the black Othello.

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.

Though I do hate him as I do hell-pains.
Yet, for necessity of present life,
I must show out a flag and sign of love,
Which is indeed but sign.

– William Shakespeare

Othello, Act 1, Scene 1. Iago is quite open to Roderigo about his hatred of Othello, the black Moor hired by Venice as a general for its army. The play’s heinous and intriguing villain reveals his flair for deception. He plans to metaphorically display a “flag” of love for his boss Othello, in order to conceal his true feelings of loathing for him.

To fall in love with what she fear’d to look on!
It is a judgment maim’d and most imperfect
That will confess perfection so could err
Against all rules of nature, and must be driven
To find out practises of cunning hell.

– William Shakespeare

Othello, Act 1, Scene 3. Brabantio expresses disbelief that his daughter Desdemona would willingly fall in love with someone so fearful looking as Othello. Here Brabantio openly displays his racial prejudict against the black Othello. As far as he is concerned such an interracial marriage is against the "rules of nature." He is convinced that Othello has used "practises of cunning hell" – witchcraft – to win his daughter’s hand.

Make all the money thou canst: if sanctimony and a frail vow betwixt an erring barbarian and a supersubtle Venetian not too hard for my wits and all the tribe of hell, thou shalt enjoy her; therefore make money.

– William Shakespeare

Othello, Act 1, Scene 3. Iago offers this advice to Roderigo on how to win Desdemona. He urges him to gather all the money he can so that he can effectively buy her. He uses racist language when he speaks of the frailty of the marriage vows between her and "barbarian" Othello. His sexist view of women as men’s sexual playthings is shown when he predicts that Roderigo will "enjoy her" – have sex with Desdemona. In this passage Iago identifies himself with "all the tribe of hell," practically admitting that he is demonic.

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.

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.

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.

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.

A slipper and subtle knave, a finder of occasions, that has an eye can stamp and counterfeit advantages, though true advantage never present itself; a devilish knave.

– William Shakespeare

Othello, Act 2, Scene 1. Iago tells Roderigo that Cassio is a crafty rogue who is on the lookout for sexual opportunities and will take advantage of them. He is suggesting that Cassio would bed Desdemona if given the chance. It’s rather ironic for Iago to describe Cassio as a "devilish knave," since it is a description better fitted to Iago himself. His hatred for Cassio comes through loudly in this description.

Divinity of hell!
When devils will the blackest sins put on,
They do suggest at first with heavenly shows,
As I do now.

– William Shakespeare

Othello, Act 2, Scene 3. The diabolical Iago metaphorically compares himself to the devil, but also sees the work of the devil as divine. He says that devils put on heavenly faces and appear to help people when they are about to commit the darkest sins. He is alluding to what he believes is good advice he gave to Cassio to win back Othello’s favor, when he is in fact setting Cassio up to bring him and Othello down.

By heaven, thou echo’st me,
As if there were some monster in thy thought
Too hideous to be shown.

– William Shakespeare

Othello, Act 3, Scene 3. Does Othello at some subconscious level realize that Iago is not what he appears to be, when he says this to Iago? The "monster" that Iago is thinking about and referred to by Othello is Othello’s jealousy. The irony is, however, that Iago is the monster, as he is trying to drive a wedge between Othello and Desdemona by playing on Othello’s jealousy.

O, beware, my lord, of jealousy!
It is the green-eyed monster which doth mock
The meat it feeds on.

– William Shakespeare

Othello, Act 3, Scene 3. The devious Iago is being ironic when he warns Othello to beware of jealousy. In a powerful metaphor that has become part of modern English vernacular, he compares jealousy to a "green-eyed monster" that mocks the victims it devours. The cunning Iago is using reverse psychology here. His purpose is not to help guard Othello against the mental torture jealousy can bring about. It is to drive Othello to madness by inciting his jealousy over his wife Desdemona. This is foreshadowed in Iago’s speech.

Dangerous conceits are, in their natures, poisons.
Which at the first are scarce found to distaste,
But with a little act upon the blood.
Burn like the mines of Sulphur.

– William Shakespeare

Othello, Act 3, Scene 3. Having weaponized the corrosive power of jealousy to poison Othello’s mind with suspicious thoughts, a gleeful Iago delights in the pain he is causing. Using metaphor and simile, he speaks of Othello’s suspicions and excessive pride – "dangerous conceits" – as a poison that will burn inside him like sulphur. The Machiavellian manipulator uses demonic language here, "mines of Sulphur" being an allusion to hellfire. His hatred of his master is evident here.

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.

OTHELLO: I will withdraw,
To furnish me with some swift means of death
For the fair devil. Now art thou my lieutenant.
IAGO: I am your own forever.

– William Shakespeare

Othello, Act 3, Scene 3. The murder of Desdemona is foreshadowed here, as Othello plots to kill his innocent wife. He promotes Iago to his lieutenant, while Iago pledges loyalty to his master. This is a false loyalty, a manipulation tool used by Iago to control Othello, now completely under Iago’s power. There is irony in Othello’s use of the metaphor "fair devil" to describe Desdemona. For it is he who has joined in a pact with the devilish Iago when they kneel and exchange vows of evil.

Give me your hand: this hand is moist, my lady.
…This argues fruitfulness and liberal heart:
Hot, hot, and moist: this hand of yours requires
A sequester from liberty, fasting and prayer,
Much castigation, exercise devout;
For here’s a young and sweating devil here,
That commonly rebels. ‘Tis a good hand,
A frank one.

– William Shakespeare

Othello, Act 3, Scene 4. In Othello’s speech about Desdemona’s hand, we see his suspicions grow about his wife. Taking her hand, he personifies it as arguing her "fruitfulness and liberal heart." Here he is hinting that she is disloyal and loves too much. When Othello describes her hand as "Hot, hot, and moist," there is a suggestion of sexual promiscuity and he in fact advises her to fast and pray. And if we were under any illusion as what he is thinking, Othello makes it very clear in his use of the metaphor, "a young and sweating devil." This implies that Desdemona has too much sexual appetite. Othello’s changing emotions towards his wife are displayed in his speech, which betrays his mistrust of her. His focus on her hand foreshadows the fate he has in store for her, when he uses his own hands to smother her, believing that she has cheated on him with Cassio.

Naked in bed, Iago, and not mean harm!
It is hypocrisy against the devil:
They that mean virtuously, and yet do so,
The devil their virtue tempts, and they tempt heaven.

– William Shakespeare

Othello, Act 4, Scene 1. Iago has Othello like a fish on a hook after he paints a picture of Desdemona lying naked in bed with Cassio, while suggesting that she means no harm. Taking the bait, hook, line and sinker, Othello responds predictably to Iago’s manipulation and goading. He sees infidelity in this fictional picture painted by Iago. In his mind’s eye he can see the devil tempting their virtue.

Lie with her! lie on her! We say lie on her, when they belie her. Lie with her! that’s fulsome. – Handkerchief – confessions – handkerchief! – To confess, and be hanged for his labour; – first, to be hanged, and then to confess. – I tremble at it. Nature would not invest herself in such shadowing passion without some instruction. It is not words that shake me thus. Pish! Noses, ears, and lips. – Is ‘t possible? – Confess – handkerchief! – O devil!

– William Shakespeare

Othello, Act 4, Scene 1. An agitated and rambling Othello says this and falls down in an epileptic fit at Iago’s feet. Speaking in disjointed prose, he seems to have lost control of language. Just like he has lost control of his mind. The passage shows the hero’s degeneration and deteriorating mental state. He obsesses about the handkerchief, lies, Cassio lying with Desdemona and confession – the handkerchief is the one "proof" Othello has of Desdemona’s infidelity, but she hasn’t confessed. There is a sad and tragic irony in Othello saying, "It is not words that shake me thus." For it is Iago’s words that have driven Othello to this fever of jealousy and destroyed him.

Good sir, be a man;
Think every bearded fellow that’s but yoked
May draw with you: there’s millions now alive
That nightly lie in those unproper beds
Which they dare swear peculiar: your case is better.
O, ’tis the spite of hell, the fiend’s arch-mock,
To lip a wanton in a secure couch,
And to suppose her chaste!

– William Shakespeare

Othello, Act 4, Scene 1. Iago tells Othello that many other men have been cheated on, so he should take it like man. He uses animal imagery and metaphor of a team of oxen yoked to a plow to describe the burden of cuckolded husbands like Othello. Millions of people cheat, he tells him, but Othello is fortunate because he knows what is going on with his wife. It’s the curse of hell to think your wife is faithful when she is not.

Let the devil and his dam haunt you! What did you mean by that same handkerchief you gave me even now? I was a fine fool to take it. I must take out the work? – A likely piece of work, that you should find it in your chamber, and not know who left it there!

– William Shakespeare

Othello, Act 4, Scene 1. Bianca enters with the handkerchief in hand that Cassio told her he found in his chamber and asked her to copy. In an outburst of jealousy, she curses him and doesn’t believe his story of how he came by the handkerchief. Neither she nor Cassio are aware that this is Desdemona’s handkerchief.

DESDEMONA: Why, sweet Othello, –
OTHELLO: [Striking her] Devil!
DESDEMONA: I have not deserved this.

– William Shakespeare

Othello, Act 4. Scene 1. A shocking moment in this scene comes when Othello hits his new bride Desdemona in front of the other horrified soldiers, labeling her the "devil" in a metaphor. It is Othello’s first act of violence in the play. In this moment of jealous madness he loses self-control and becomes a wife-beater. Having been completely brainwashed by Iago into believing Desdemona is a cheat, Othello has reached the point of no return. While she protests her innocence, her plea for justice from her mad husband is destined to fall on deaf ears. We see Othello in a new light compared to the loving husband of earlier on, being transformed into the dominant male and an example of toxic masculinity.

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.

If any wretch have put this in your head,
Let heaven requite it with the serpent’s curse!
For, if she be not honest, chaste, and true,
There’s no man happy; the purest of their wives
Is foul as slander.

– William Shakespeare

Othello, Act 4, Scene 2. Desdemona’s loyal handmaid Emilia criticizes Othello for doubting his wife’s fidelity. She describes Desdemona as the perfect model woman and wife – "honest, chaste and true." Ironically the very perceptive Emilia is right on the nail in questioning if Othello’s suspicions are the result of a "wretch" planting deceptive ideas into his head. She asks God to curse such a person like He cursed the Devil serpent in the Garden of Eden. Little does she know yet that the "wretch" is her husband Iago. Emilia the feminist highlights the subjugation of women within marriage. Using a simile, "foul as slander," she argues that the purest of wives can can be slandered and their reputation ruined by a husband like Othello. The sisterly bond beween Emilia and Desdmona symbolizes the importance of female solidarity in a male dominated society.
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