Othello Irony Quotes

For when my outward action doth demonstrate
The native act and figure of my heart
In complement extern, ’tis not long after
But I will wear my heart upon my sleeve
For daws to peck at: I am not what I am.

– William Shakespeare

Othello, Act 1, Scene 1. Iago reveals his deceitful nature to Roderigo. Confessing he is not the man he pretends to be, he never openly displays his true emotions for others to see. Otherwise he would leave his heart vulnerable for "daws" (foolish jackdaws or humans) to pick at. A fascinating and sinister character and the villain of the play, what you see is not what you get with Iago. Ironically when Iago speaks about his dishonest nature – "I am not what I am" – he is speaking the truth. This line is an allusion to a quote from Exodus 3:14, where Moses asks God is name and Gods says: "I am that I am." What is suggested here is that Iago is something of a diabolical figure and the opposite of God. Iago also provides us with the idiom "wear my heart upon my sleeve," a metaphor for openly showing your true feelings and emotions This is something he prefers to keep hidden from others. Iago remains one of Shakespeare’s most interesting villains.

And spoke such scurvy and provoking terms
Against your honour
That, with the little godliness I have,
I did full hard forbear him.

– William Shakespeare

Othello, Act 1, Scene 2. Iago tells Othello that Brabantio insulted the general’s honor and he had to restrain himself from hurting Brabantio. Iago is of course lying because he is trying to manipulate and provoke Othello into attacking Brabantio. A two-faced Iago puts on the appearance of loyalty to Othello, when we know that he has nothing but hatred for him. Othello appears not to see through the facade Iago hides behind, setting himself up for a tragic downfall. It is ironic for Iago to speak of his "godliness," when we know that he is a villain with no morals.

Keep up your bright swords, for the dew will rust them.
Good signior, you shall more command with years
Than with your weapons.

– William Shakespeare

Othello, Act 1, Scene 2. Othello cuts a dignified and authoritative figure when faced with the threat of violence by an armed Brabantio and his men. The experienced general manages to lower the temperature with calming words. He tactfully reminds the Senator that he is old, adding that his years command more respect than his weapons. It is ironic that a military general, skilled at warfare and fighting, is the one to bring peace to a potentially violent situation.

Whoe’er he be that in this foul proceeding
Hath thus beguiled your daughter of herself
And you of her, the bloody book of law
You shall yourself read in the bitter letter,
After your own sense.

– William Shakespeare

Othello, Act 1, Scene 3. The Duke of Venice promises Brabantio justice, declaring that whoever has beguiled his daughter with witchcraft will pay the price. Brabantio can choose the penalty, he says, even if the Duke’s own son is the perpetrator. This is a good example of dramatic irony, the Duke and Senators being unaware that the person they are talking about is the "valiant Othello", appointed by the Duke to lead the army against the Turks.

Rude am I in my speech,
And little bless’d with the soft phrase of peace.

– William Shakespeare

Othello, Act 1, Scene 3. Othello speaks with modesty and humility before the Duke of Venice and Senators meeting in council. He confesses to not being very good with words, since he was a soldier from the age of seven and associates himself with the roughness of war. However, his words turn out to be ironic, because before the council Othello proves to be a good speaker who defends with eloquence his marriage to Desdemona.

I will a round unvarnish’d tale deliver
Of my whole course of love; what drugs, what charms,
What conjuration and what mighty magic,
For such proceeding I am charged withal,
I won his daughter.

– William Shakespeare

Othello, Act 1, Scene 3. Othello is being ironic when announcing to the Duke and council that he will tell them the drugs, charms and powerful magic he used to win Desdemona’s love. He is saying that he used no witchcraft, as charged by Desdemona’s father, but they simply fell in love.

So please your grace, my ancient;
A man he is of honesty and trust:
To his conveyance I assign my wife,
With what else needful your good grace shall think
To be sent after me.

– William Shakespeare

Othello, Act 1, Scene 3. When the Duke of Venice asks Othello to go to Cyprus to defend it from a Turkish invasion, Othello entrusts Desdemona to the care of Iago who will follow in another ship with whatever Othello needs for the journey. Othello believes Iago to be honest and true, but in reality Iago hates him and is plotting against him. This is dramatic irony, since the audience is aware of Iago’s real feelings towards Othello.

My life upon her faith!

– William Shakespeare

Othello, Act 1, Scene 3. Othello’s answer to Brabantio’s warning that Desdemona may deceive him is filled with irony and double meaning. Swearing his complete trust in Desdemona, he says he would bet his life upon her faith. But it is Othello’s own faith in Desdemona that is later questionable, when he believes the lies about her infidelity drip-fed to him by the duplicitous deceiver Iago. It is Othello’s lack of faith that prompts him to kill Desdemona. When Othello realizes that she has been faithful all along, he kills himself, literally giving his life for what he believes was her lack of faith. Othello’s statement also draws attention to the duplicity of language and of character in the play, the greatest example of this being Iago. There is also foreshadowing in Othello’s words, which turn out to be strangely and tragically prophetic.

If it were now to die,
‘Twere now to be most happy; for, I fear,
My soul hath her content so absolute
That not another comfort like to this
Succeeds in unknown fate.

– William Shakespeare

Othello, Act 2, Scene 1. An overjoyed Othello meets up with Desdemona after surviving the sea storm off Cyprus. He describes it as the happiest he has ever been and will ever be. If he were to die now, it would be at the most joyful moment of his life, he says. This shows the intensity of the love between the two. But there is tragic irony in Othello’s words, for they never will be this happy again as that love comes under strain. Foreshadowed is how their love will be tested to breaking point by Othello’s jealousy and Iago’s manipulations, leading to a horrific fate for both.

The heavens forbid
But that our loves and comforts should increase,
Even as our days do grow!

– William Shakespeare

Othello, Act 2, Scene 1. In this moment of dramatic irony, Desdemona calls to the heavens to continue to increase the love and comfort she and Othello enjoy as they grow older. The audience is aware of Iago’s plot to spoil Desdemona’s dream, so that increase in love is unlikely to happen. At the end of Act 1 Iago revealed his plan to drop hints to Othello that Desdemona is cheating on him with Cassio.

Mark me with what violence she first loved the Moor, but for bragging and telling her fantastical lies: and will she love him still for prating? let not thy discreet heart think it.

– William Shakespeare

Othello, Act 2, Scene 1. There is an irony in an inveterate liar like Iago accusing Othello of telling "fantastical lies" and making up stories in order to win Desdemona’s love. He is trying to convince Roderigo that Desdemona fell in love with Othello too quickly and will soon grow tired of him.

Who stands so eminent in the degree of this fortune as Cassio does? a knave very voluble; no further conscionable than in putting on the mere form of civil and humane seeming, for the better compassing of his salt and most hidden loose affection? why, none.

– William Shakespeare

Othello, Act 2, Scene 1. Iago paints an ironic picture of Cassio as the ideal "knave" to turn Desdemona’s head and win her heart. He is loquacious and a smooth talker, hiding his lustful desires behind fine manners, and Desdemona will choose no one else but him, Iago assures Roderigo. Iago’s description more matches himself than Cassio.

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.

Lechery, by this hand; an index and obscure prologue to the history of lust and foul thoughts. They met so near with their lips that their breaths embraced together. Villanous thoughts, Roderigo!

– William Shakespeare

Othello, Act 2, Scene 1. After Roderigo claims that Cassio holding Desdemona’s hand was simply a courtesy, Iago twists Cassio’s innocent gesture into something immoral and sexual. He attempts to persuade Roderigo that Cassio has lecherous designs on Desdemona and brands him a villain, which is ironic given Iago’s confessions of his own villainy.

It were well
The general were put in mind of it.
Perhaps he sees it not; or his good nature
Prizes the virtue that appears in Cassio,
And looks not on his evils.

– William Shakespeare

Othello, Act 2, Scene 3. After Iago manipulates Cassio into drinking too much wine, Montano believes that Othello must be informed of his drunken behavior. The theme of appearance vs reality is in evidence here, as Montano says that Othello may be blinded to Cassio’s excessive drinking by his good nature and Cassio’s virtue. This passage illustrates the motifs of sight and blindness. Ironically it’s not Othello’s failure to see Cassio’s flaws that Montano should worry about, but rather those of the devious Iago. One of Othello’s biggest flaws is that he is a poor judge of character and he has a huge blind spot where Iago is concerned.

I know, Iago,
Thy honesty and love doth mince this matter,
Making it light to Cassio. Cassio, I love thee
But never more be officer of mine.

– William Shakespeare

Othello, Act 2, Scene 3. We see an example of dramatic irony when Othello praises Iago’s honesty and love. This is after Iago explains Cassio’s part in a drunken brawl. Othello is completely taken in by Iago’s claim that he doesn’t wish to get Cassio in trouble. But the audience knows the truth: Iago was the one who planned the entire situation in order to get Cassio in trouble and discredit him in the eyes of Othello. A rash Othello rushes to judgment and immediately dismisses Cassio as his lieutenant. This character flaw of Othello, who is too quick to believe one side of a story without fully investigating it for himself, will later lead to his downfall.

As I am an honest man, I thought you had received some bodily wound; there is more sense in that than in reputation. Reputation is an idle and most false imposition: oft got without merit, and lost without deserving.

– William Shakespeare

Othello, Act 2, Scene 3. With much irony and as part of his plan to deceive others, Iago refers to himself as an honest person when he speaks to Cassio. Cassio has lamented that his reputation is ruined after getting into a drunken brawl and losing his position as Othello’s lieutenant. But Iago offers Cassio his own cynical view on reputation, saying that it is not that important because it is often given without being deserved.

I protest, in the sincerity of love and honest kindness.

– William Shakespeare

Othello, Act 2, Scene 3. Iago makes this ironic reply when Cassio thanks him for his advice and help after being fired as Othello’s lieutenant. Iago lies when he tells him that he has done this out of love, when the reality is he using Cassio to destroy Othello. The man with an unequaled flair for deception also refers to himself as honest. But Iago just wants to appear that way to others, so he can better deceive them.
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