Quotes & Sayings About Othello In Othello

Blow, wind, crack your cheeks, I thought. Brian wasn't the only one who could quote Shakespeare. I made it to my room without thinking of any other suitably apocalyptic line from Lear, and I was too tired to start in on Othello. I flopped onto the bed facedown - and immediately I was bent into a bow shape, with the soles of my feet facing the back of my head. — Jeff Lindsay

With Othello, Shakespeare posed this problem of a black man in a white society in the role that he's playing. And Shakespeare gave Othello such dignity - he came not from - as he said - not from hate but from honor, from a sense of his own human dignity. And to me, to my mind, there could be no greater character played. — Paul Robeson

You travel the world, you go see different things. I like to see Shakespeare plays, so I'll go - I mean, even if it's in a different language. I don't care, I just like Shakespeare, you know. I've seen Othello and Hamlet and Merchant of Venice over the years, and some versions are better than others. Way better. It's like hearing a bad version of a song. But then somewhere else, somebody has a great version. — Bob Dylan

Glad you like my first tableau. Come and see number two. Hope it isn't spoilt; it was very pretty just now. This is 'Othello telling his adventures to Desdemona'."
The second window framed a very picturesque group of three. Mr March in an armchair, with Bess on a cushion at his feed, was listening to Dan, who, leaning against a pillow, was talking with unusual animation. The old man was in shadow, but little Desdemona was looking up with the moonlight full upon her face, quite absorbed in the story he was telling so well. The gay drapery over Dan's shoulder, his dark colouring and the gesture of his arm made the picture very striking and both very striking, and both spectators enjoyed it with silent pleasure, till Mrs Jo said in a quick whisper:
"I'm glad he's going away. He's too picturesque to have among so many romantic girls. Afraid his 'grand, gloomy and peculiar' style will be too much for our simple maids. — Louisa May Alcott

There is magic in the web Shakespeare (Othello, Act 3, Scene 4) — William Shakespeare

Tis like she comes to speak of Cassio's death,
The noise was high. Ha! No more moving?
Still as the grave. Shall she come in? Were 't good?
I think she stirs again - No. What's best to do?
If she come in, she'll sure speak to my wife -
My wife! my wife! what wife? I have no wife.
Oh, insupportable! Oh, heavy hour!
Methinks it should be now a huge eclipse
Of sun and moon, and that th' affrighted globe
Should yawn at alteration. — William Shakespeare

I had great English teachers in high school who first piqued my interest in Shakespeare. Each year, we read a different play - 'Othello,' 'Julius Caesar,' 'Macbeth,' 'Hamlet' - and I was the nerd in class who would memorize soliloquies just for the fun of it. — Ian Doescher

I've done 'Two Gentlemen of Verona,' I've understudied Iago in 'Othello.' I've done Mercutio in 'Romeo and Juliet.' — Robert Englund

Rude am I in my speech, And little blessed with the soft phrase of peace. — William Shakespeare

OTHELLO [Rising.] O, she was foul! - I scarce did know you, uncle; there lies your niece, Whose breath, indeed, these hands have newly stopp'd: I know this act shows horrible and grim. GRATIANO Poor Desdemona! I am glad thy father's dead: Thy match was mortal to him, and pure grief Shore his old thread in twain: did he live now, This sight would make him do a desperate turn, Yea, curse his better angel from his side, And fall to reprobance. OTHELLO 'Tis pitiful; but yet Iago knows That she with Cassio hath — William Shakespeare

Her stare fixed me. Without rancour and without regret; without triumph and without evil; as Desdemona once looked back on Venice.
On the incomprehension, the baffled rage of Venice. I had taken myself to be in some way the traitor Iago punished, in an unwritten sixth act. Chained in hell. But I was also Venice; the state left behind; the thing journeyed from. — John Fowles

There was all this talk when Obama got elected about how we were living in a postracial world. But we're not. Until we get to the point where James Earl Jones can play, say, George Washington, race matters. You wouldn't put a white actor in blackface to play Othello. You shouldn't have a white actor in what amounts to yellowface to play Asian. — David Henry Hwang

Why, the wrong is but a wrong i'th'world; and having the world for your labour, 'tis a wrong in your own world, and you might quickly make it a right. — William Shakespeare

She turned her head and there was such sadness, such kindness in her pity for me, that I knew at once how the bold Othello, pirate and soldier - that hard, scarred, killing thing - had lost his heart. — Christopher Moore

You get Don King's point of view in what is almost a Shakespearean, classical technique. He comes across almost like a lovable rogue, like Iago in 'Othello' or Richard III. He's doing all these bad things, but I kind of like him. It's like 'Pulp Fiction': Everybody's a bad guy, yet you like them. — Ving Rhames

My father used to act in high school. He was in a production of 'Othello;' I don't know who he played, but it wasn't Othello. He would talk about it, though, and read Shakespeare to me. — Lupita Nyong'o

Oh, there's so much ego with men; in their head, they can't possibly think about Tesco's when they are doing Othello. Er, why not? They want to think that they are such geniuses they can't muddy their day with domesticity, and I've got no truck with it whatsoever. — Lesley Manville

Because our world is not the same as Othello's world. You can't make flivvers without steel-and you can't make tragedies without social instability. The world's stable now. People are happy; they get what they want, and they never want what they can't get. They're well off; they're safe; they're never ill; they're not afraid of death; they're blissfully ignorant of passion and old age; they're plagued with no mothers or fathers; they've got no wives, or children, or lovers to feel strongly about; they're so conditioned that they practically can't help behaving as they ought to behave. And if anything should go wrong, there's soma. Which you go and chuck out of the window in the name of liberty, Mr. Savage. Liberty!" He laughed. "Expecting Deltas to know what liberty is! And now expecting them to understand Othello! My good boy! — Aldous Huxley

How many serious family quarrels, marriages out of spite, and alterations of wills, might have been prevented by a gentle dose of blue pill!-What awful instances of chronic dyspepsia in the characters of Hamlet and Othello! Banish dyspepsia and spirituous liquors from society, and you have no crime, or at least so little that you would not consider it worth mentioning. — Charles Kingsley

Willow trees, willow trees they remind me of Desdemona
I'm so damned literary
and at the same time the waters rushing past remind
me of nothing — Frank O'Hara

Even in the days when they did Othello, you didn't necessarily have to be black to play Othello. You wore the makeup. — Jamie Farr

If you want to know what are the events which cast their shadow over the hell of time of King Lear, Othello, Hamlet, Troilus and Cressida, look to see when and how the shadow lifts. What softens the heart of a man, shipwrecked in storms dire, Tried, like another Ulysses, Pericles, prince of Tyre? — James Joyce

Bernard sank into a yet more hopeless misery.
"But why is it prohibited?" asked the Savage. In the excitement of meeting a man who had read Shakespeare he had momentarily forgotten everything else.
The Controller shrugged his shoulders. "Because it's old; that's the chief reason. We haven't any use for old things here."
"Even when they're beautiful?"
"Particularly when they're beautiful. Beauty's attractive, and we don't want people to be attracted by old things. We want them to like the new ones."
"But the new ones are so stupid and horrible. Those plays, where there's nothing but helicopters flying about and you feel the people kissing." He made a grimace. "Goats and monkeys!" Only in Othello's word could he find an adequate vehicle for his contempt and hatred. — Aldous Huxley

DESDEMONA: I hope my noble lord esteems me honest.
OTHELLO: Oh, ay, as summer flies are in the shambles,
That quicken even with blowing. O thou weed,
Who art so lovely fair and smell'st so sweet
That the sense aches at thee, would thou hadst ne'er been born!
DESDEMONA: Alas, what ignorant sin have I committed?
OTHELLO: Was this fair paper, this most goodly book,
Made to write "whore" upon? — William Shakespeare

But if you know about God, why don't you tell them?' asked the Savage indignantly.
'Why don't you give them these books about God?'
'For the same reason as we don't give them Othello: they're old; they're about God hundreds of years ago. Not about God now.'
'But God doesn't change.'
'Men do, though.'
'What difference does that make?'
All the difference in the world,' said Mustapha Mond. — Aldous Huxley

WHAT WAS JANE AUSTEN'S LAST FINISHED NOVEL?"
"Vaginas and Virginity."
"WHO IS THE LAST PERSON IAGO KILLS IN OTHELLO?"
"His manservant Retardio, for forgetting to change the Brita filter!"
"WHAT HAPPENS TO THE LITTLE MERMAID AT THE END OF CHRISTIAN ANDERSEN'S THE LITTLE MERMAID?"
"She turns into a fish and marries Nemo!"
"Fuck you! — David Levithan

Coleridge's description of Iago's actions as "motiveless malignancy" applies in some degree to all the Shakespearian villains. The adjective motiveless means, firstly, that the tangible gains, if any, are clearly not the principal motive, and, secondly, that the motive is not the desire for personal revenge upon another for a personal injury. Iago himself proffers two reasons for wishing to injure Othello and Cassio. He tells Roderigo that, in appointing Cassio to be his lieutenant, Othello has treated him unjustly, in which conversation he talks like the conventional Elizabethan malcontent. In his soliloquies with himself, he refers to his suspicion that both Othello and Cassio have made him a cuckold, and here he talks like the conventional jealous husband who desires revenge. But there are, I believe, insuperable objections to taking these reasons, as some critics have done, at their face value. — W. H. Auden

[Shakespeare realized that] Women are able to understand themselves better on a personal level and survive in the world if they dress in men's clothing, thus living underground, safe (...). The presence of women disguising themselves as men dictates that the play be a comedy; women remaining in their frocks, a tragedy. In four great tragedies -Julius Caesar, Hamlet, Othello, and King Lear- almost all the women die (...).
How much the women have to adhere to the rules and regulations of their enviroment makes a large difference. Once Rosalind [disguised as a man in As You Like It] has run away from the court, she has no institutional structures to deal with. Ophelia [in her frocks] is surrounded tightly by institutional structures of family, court, and politics; only by going mad can be get out of it all. — Tina Packer

But I have known many women
many women indeed, and it is in their nature to confound us, Othello. They are all by their natures lovely lunatics. — Christopher Moore

Throughout my career, even as a very young actor, people have always said to me that they would like to see my Othello. They could see something of him in me, I suppose. — Eamonn Walker

Instead of Otello being an Italian opera written in the style of Shakespeare, Othello is a play written by Shakespeare in the style of Italian opera. — George Bernard Shaw

I saw 'Othello' at the National Theatre in London, and it was so stunning. I was so moved. It's beautiful. — Douglas Booth

If the distinction is not held too rigidly nor pressed too far, it is interesting to think of Shakespeare's chief works as either love dramas or power dramas, or a combination of the two. In his Histories, the poet handles the power problem primarily, the love interest being decidedly incidental. In the Comedies, it is the other way around, overwhelmingly in the lighter ones, distinctly in the graver ones, except in Troilus and Cressida
hardly comedy at all
where without full integration something like a balance is maintained. In the Tragedies both interests are important, but Othello is decidedly a love drama and Macbeth as clearly a power drama, while in Hamlet and King Lear the two interests often alternate rather than blend. — Harold Clarke Goddard

I know I had my equivalents in Adrian Lester and Lenny James when I was at drama school. I remember David Harewood doing 'Othello' at the National, and Adrian Lester having done Cheek by Jowl's famous 'As You Like It and Company' at the Donmar. Not necessarily performances I saw, but just the fact they happened was massively encouraging. — David Oyelowo

I'd like to do more Shakespeare. I'd like to do Iago in Othello. I look so benign. It would be interesting to see that black evil come out of my soul. — Kyle MacLachlan

Suppose, for instance, that men were only represented in literature as the lovers of women, and were never the friends of men, soldiers, thinkers, dreamers; how few parts in the plays of Shakespeare could be allotted to them; how literature would suffer! We might perhaps have most of Othello; and a good deal of Antony; but no Caesar, no Brutus, no Hamlet, no Lear, no Jaques
literature would be incredibly impoverished, as indeed literature is impoverished beyond our counting by the doors that have been shut upon women. — Virginia Woolf