“A.E.Housman'No one, not even Cambridge was to blame(Blame if you like the human situation):Heart-injured in North London, he becameThe Latin Scholar of his generation.Deliberately he chose the dry-as-dust,Kept tears like dirty postcards in a drawer;Food was his public love, his private lustSomething to do with violence and the poor.In savage foot-notes on unjust editionsHe timidly attacked the life he led,And put the money of his feelings onThe uncritical relations of the dead,Where only geographical divisionsParted the coarse hanged soldier from the don.”

“Cassio is a ladies’ man, that is to say, a man who feels most at home in feminine company where his looks and good manners make him popular, but is ill at ease in the company of his own sex because he is unsure of his own masculinity.[…]Cassio is a ladies’ man, not a seducer. With women of his own class, what he enjoys is socialized eroticism; he would be frightened of a serious personal passion. For physical sex he goes to prostitutes and when, unexpectedly, Bianca falls in love with him, like many of his kind, he behaves like a cad and brags of his conquest to others.”

“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 wasThat turned your wit, the seamy side withoutAnd 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.”

“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.”

“The practical joker despises his victims, but at the same time he envies them because their desires, however childish and mistaken, are real to them, whereas he has no desire which he can call his own. His goal, to make game of others, makes his existence absolutely dependent upon theirs; when he is alone, he is a nullity. Iago’s self-description, I am not what I am, is correct and the negation of the Divine I am that I am. If the word motive is given its normal meaning of a positive purpose of the self like sex, money, glory, etc., then the practical joker is without motive. Yet the professional practical joker is certainly driven, like a gambler, to his activity, but the drive is negative, a fear of lacking concrete self, of being nobody.”

“In the eyes of others a man is a poet if he has written one good poem. In his own he is only a poet at the moment when he is making his last revision to a new poem. The moment before, he was still only a potential poet; the moment after, he is a man who has ceased to write poetry, perhaps forever.”

“Every man carries within him through life a mirror, as unique and impossible to get rid of as his shadow.A parlor game for a wet afternoon – imaging the mirrors of one’s friends. A has a huge pier glass, gilded and baroque, B a discreet little pocket mirror in a pigskin case with his initials stamped on the back; whenever one looks at C, he is in the act of throwing his mirror away but, if one looks in his pocket or up his sleeve, one always finds another, like an extra ace.”