Othello Jealousy Quotes

O, beware, my lord, of jealousy; It is the green-ey'd monster, which doth mock The meat it feeds on. That cuckold lives in bliss, Who, certain of his fate, loves not his wronger: But O, what damnèd minutes tells he o'er Who dotes, yet doubts, suspects, yet strongly loves!

Trifles light as air are to the jealous confirmations strong as proofs of holy writ.

Poor and content is rich, and rich enough; But riches fineless is as poor as winter To him that ever fears he shall be poor;– Good heaven, the souls of all my tribe defend From jealousy!

Then must you speak Of one that loved not wisely but too well, Of one not easily jealous but, being wrought, Perplexed in the extreme; of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe; of one whose subdued eyes, Albeit unused to the melting mood, Drop tears as fast as the Arabian trees Their medicinable gum. Set you down this, And say besides that in Aleppo once, Where a malignant and a turbaned Turk Beat a Venetian and traduced the state, I took by th' throat the circumcised dog And smote him thus.

jealous souls need no evidence. They aren't jealous because of a reason, but merely because they are jealous people. Jealousy is a monster that gives birth to itself.

Why, why is this? Think'st thou I'ld make a lie of jealousy, To follow still the changes of the moon With fresh suspicions? No; to be once in doubt Is once to be resolved: exchange me for a goat, When I shall turn the business of my soul To such exsufflicate and blown surmises, Matching thy inference. 'Tis not to make me jealous To say my wife is fair, feeds well, loves company, Is free of speech, sings, plays and dances well; Where virtue is, these are more virtuous: Nor from mine own weak merits will I draw The smallest fear or doubt of her revolt; For she had eyes, and chose me. No, Iago; I'll see before I doubt; when I doubt, prove; And on the proof, there is no more but this,-- Away at once with love or jealousy!

But partly led to diet my revenge, For that I do suspect the lusty Moor Hath leap’d into my seat: the thought whereof Doth, like a poisonous mineral, gnaw my inwards; And nothing can or shall content my soul Till I am even’d with him, wife for wife; Or, failing so, yet that I put the Moor At least into a jealousy so strong That judgement cannot cure.

underlying cause of all the murders isn’t jealousy but a humiliated man’s envy and ambition. In other words, Iago. Othello is just a puppet.

I do think it is their husbands’ faults if wives do fall: say that they slack their duties and pour our treasures into foreign laps, or else break out in peevish jealousies, throwing restraint upon us, or say they strike us, or scant our former having in despite. Why, we have galls; and though we have some grace, yet have we some revenge. Let husbands know their wives have sense like them: they see and smell and have their palates both for sweet and sour, as husbands have. What is it that they do when they change us for others? Is it sport? I think it is. And doth affection breed it? I think it doth. Is’t frailty that thus errs? It is so too. And have not we affections, desires for sport, and frailty, as men have? Then let them use us well, else let them know the ills we do their ills instruct us so.

As for Iago’s jealousy, one cannot believe that a seriously jealous man could behave towards his wife as Iago behaves towards Emilia, for the wife of a jealous husband is the first person to suffer. Not only is the relation of Iago and Emilia, as we see it on stage, without emotional tension, but also Emilia openly refers to a rumor of her infidelity as something already disposed of. Some such squire it was That turned your wit, the seamy side without And made you to suspect me with the Moor. At one point Iago states that, in order to revenge himself on Othello, he will not rest till he is even with him, wife for wife, but, in the play, no attempt at Desdemona’s seduction is made. Iago does not encourage Cassio to make one, and he even prevents Roderigo from getting anywhere near her. Finally, one who seriously desires personal revenge desires to reveal himself. The revenger’s greatest satisfaction is to be able to tell his victim to his face – "You thought you were all-powerful and untouchable and could injure me with impunity. Now you see that you were wrong. Perhaps you have forgotten what you did; let me have the pleasure of reminding you." When at the end of the play, Othello asks Iago in bewilderment why he has thus ensnared his soul and body, if his real motive were revenge for having been cuckolded or unjustly denied promotion, he could have said so, instead of refusing to explain.

Then I saw the keyboard of an organ which filled one whole side of the walls. On the desk was a music-book covered with red notes. I asked leave to look at it and read, ‘Don Juan Triumphant.’ ‘Yes,’ he said, 'I compose sometimes.’ I began that work twenty years ago. When I have finished, I shall take it away with me in that coffin and never wake up again.’ 'You must work at it as seldom as you can,’ I said. He replied, 'I sometimes work at it for fourteen days and nights together, during which I live on music only, and then I rest for years at a time.’ 'Will you play me something out of your Don Juan Triumphant?’ I asked, thinking to please him. 'You must never ask me that,’ he said, in a gloomy voice. 'I will play you Mozart, if you like, which will only make you weep; but my Don Juan, Christine, burns; and yet he is not struck by fire from Heaven.’ Thereupon we returned to the drawing-room. I noticed that there was no mirror in the whole apartment. I was going to remark upon this, but Erik had already sat down to the piano. He said, 'You see, Christine, there is some music that is so terrible that it consumes all those who approach it. Fortunately, you have not come to that music yet, for you would lose all your pretty coloring and nobody would know you when you returned to Paris. Let us sing something from the Opera, Christine Daae.’ He spoke these last words as though he were flinging an insult at me.” “What did you do?” “I had no time to think about the meaning he put into his words. We at once began the duet in Othello and already the catastrophe was upon us. I sang Desdemona with a despair, a terror which I had never displayed before. As for him, his voice thundered forth his revengeful soul at every note. Love, jealousy, hatred, burst out around us in harrowing cries. Erik’s black mask made me think of the natural mask of the Moor of Venice. He was Othello himself. Suddenly, I felt a need to see beneath the mask. I wanted to know the FACE of the voice, and, with a movement which I was utterly unable to control, swiftly my fingers tore away the mask. Oh, horror, horror, horror!” Christine stopped, at the thought of the vision that had scared her, while the echoes of the night, which had repeated the name of Erik, now thrice moaned the cry: “Horror! … Horror! … Horror!

Julius Caesar. His murder is a pivot point for the rest of the action to take place. Other examples?" "Othello," said Amber. "Murder for jealousy. Others?" "Hamlet," offered Heather. "Murder for power. Others?" "The Sopranos," said Rick. Everyone laughed. "Murder of the English language," Skyler quipped, gathering another smattering of laughter.

Par l'univers ! Je crois que ma femme est honnête et qu'elle ne l'est pas ; je crois que tu es probe et que tu ne l'es pas ; je veux avoir quelque preuve. Son nom, qui était pur comme le visage de Diane, est maintenant terni et noir comme ma face !... S'il y a encore des cordes ou des couteaux, des poisons ou du feu ou des flots suffocants, je n'endurerai pas cela ! Oh ! avoir la certitude !

The Outsider by Stewart Stafford Pierce the veil of the marital bed, And find the droning mosquito of infidelity there, O how the heart and stomach sink, And the fiery fever of rabid fury rises. Dispel the interloper, Turn him out, Run him through, But she is no longer wife in name or vision. The choice of hers already made, Only possible resentment at the unilateral revocation of it, No, let them lie, Leave them be. Think, do no react, Incandescent Man Their hand and natures now revealed, Now shall we salt away their penance, Karma shall be their judge. © Stewart Stafford, 2021. All rights reserved.

If anyone [like Lady Macbeth] kills himself/herself because of sins or inner guilts, it is suicide but if anyone [like Othello] kills himself/herself because of others’ injustice to him/her [victim of nepotism, conspiracy, jealousy, corruption, etc.], familial or social pressures and so on, then it is ‘murder’!

—rather than those of more iconic figures such as Ahab, Othello, or Lear, my focus will be on irritation instead of anger, envy rather than jealousy, and “stuplimity” as opposed to the transcendent feeling of the sublime.

Othello goes through in his mind before he develops jealousy and anger,

The presence of the shield feats can also arise in some cases of pathological jealousy. Here, the dreaded anti-feat would be infidelity, understood as anti-feat when it destroys pride and social prestige. One of the shield feats that would appear is the awareness. Here, the logic would be "aware" of infidelity operating as a consolation or compensation that serves to cushion the blow to the pride that infidelity brings. Therefore, this shield feat of awareness is the belief that infidelity has already occurred

figures such as Ahab, Othello, or Lear, my focus will be on irritation instead of anger, envy rather than jealousy, and “stuplimity” as opposed to the transcendent feeling of the sublime. It