To those for whom Shakespeare's plays still have value as works of dramatic and poetic art that move and enlighten the receptive, the last words of his tragic protagonists and other major characters should be of special interest and importance as momentous and definitive, because they evidently were for Shakespeare, whether composing or revising, and beginning quite early on, in Richard III and Richard II, for example; but they seem to take on special resonance and significance in the later tragedies, notably A. C. Bradley's Big Four, and also Antony and Cleopatra and Timon of Athens.

Shakespeare constructed the ending of Othello in such a way that Desdemona and Othello both expire on the terminal note of a single heroic couplet, each concerned primarily and affectionately with the other. Othello's last lines have been noticed often enough, and Desdemona's, too, especially in recent years; but they have seldom been attended to in any detail and their significant complementarity has apparently gone unnoticed, no doubt partly because 'Soft you, a word or two . . . And smote him thus' - Othello's 'last great speech', in T. S. Eliot's phrase - has come so to dominate almost every kind of commentary on the endplay. But the complementarity was evidently deliberate, not fortuitous, and this seems to be Shakespeare's first dramatic and dialogical expression in extremis of special endplay effects of the kind inchoate in Hamlet and extended further in Othello and further still in King Lear and Antony and Cleopatra, the latter three of which match a dying protagonist with a dead loved one.