“Even now, now, very now, an old black ram is tupping your white ewe.”
Iago – Act 1, Scene 1
Crude animal and racial imagery sets up Othello as a threatening “other” corrupting white purity.
“To the gross clasps of a lascivious Moor.”
Roderigo – Act 1, Scene 1
Othello is reduced to “the Moor” and framed as lustful and corrupt.
“You’ll have your daughter covered with a Barbary horse; you’ll have your nephews neigh to you.”
Iago – Act 1, Scene 1
More racist animal imagery, dehumanising Othello and their future children.
“For if such actions may have passage free, bondslaves and pagans shall our statesmen be.”
Brabantio – Act 1, Scene 2
He imagines social collapse if people like Othello (a foreigner, “pagan”) are accepted.
“To fall in love with what she feared to look on.”
Brabantio – Act 1, Scene 3
He suggests Desdemona should naturally fear Othello’s appearance and race.
“So opposite to marriage that she shunned the wealthy curled darlings of our nation.”
Brabantio – Act 1, Scene 2
The “curled darlings” of Venice are contrasted with Othello the outsider.
“If she in chains of magic were not bound, whether a maid so tender, fair and happy, so opposite to marriage, would ever have, to incur a general mock, run from her guardage to the sooty bosom of such a thing as thou.”
Brabantio – Act 1, Scene 2
He calls Othello’s breast “sooty” and “such a thing,” revealing racist disgust.
“Your son-in-law is far more fair than black.”
Duke – Act 1, Scene 3
The Duke uses “fair” and “black” as moral terms, praising Othello by separating him from racist stereotypes.
“Haply, for I am black and have not those soft parts of conversation that chamberers have, or for I am declined into the vale of years.”
Othello – Act 3, Scene 3
Othello internalises racist and social prejudices, blaming his colour and manners.
“Her name, that was as fresh as Dian’s visage, is now begrimed and black as mine own face.”
Othello – Act 3, Scene 3
He uses the colour of his own skin as an image of moral stain, showing deep self-loathing.