Please write a 5+ paragraph response to one of the following prompts. Be sure to organize your essay clearly (including an introduction, body paragraphs and a conclusion) and use multiple specific details (including quotations) from the text in order to support your argument. A high quality response will have a clear and arguable thesis, use important quotes from the play with necessary context, and follow MLA format for citation.

Prompt Questions (pick one)

1. Othello is often identified as a revenge tragedy. Discuss revenge as a theme in this play.

2. Reputation is a key concept in this play. Analyze how the reputation of a select character or characters is essential to the plot and/or subplots of the play.

3. Aristotle defines tragedy as the tale of a person of noble birth who, by the action of his own tragic flaw, brings about his own downfall. Defend or refute that Othello is a tragedy in the classical tradition.

4. Analyze Othello’s final speech (5.2.397-417) for examples of paradox. Explain how the paradoxes contribute to the conclusion of the play.

5. Discuss Iago, his motivations, machinations, and ethics/ morality. Is he purely evil as so many critics have argued, or is there something more to his case than good versus evil?  

6. There are many foils in this play. Nearly every character has one. Take a pair, such as Iago/ Othello, Emilia/ Desdemona, etc., and analyze the form and function of a foil in the play.

7. Looking at Desdemona, Emilia, and Bianca as a group, discuss how these three women represent a “spectrum of women’s roles/identities” for Shakespeare’s contemporary audience.

OTHELLO
T H E M O O R O F V E N I C E
William Shakespeare
WITH RELATED READINGS
THE EMC MASTERPIECE SERIES
Access Editions
EMC/Paradigm Publishing
St. Paul, Minnesota
Othello FM.qxd 1/14/05 9:25 AM Page i

Staff Credits
Laurie Skiba
Managing Editor
Brenda Owens
Editor
Jennifer J. Anderson
Associate Editor
Nichola Torbett
Associate Editor
Paul Spencer
Art and Photo Researcher
Valerie Murphy
Editorial Assistant
Shelley Clubb
Production Manager
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Design and Production Specialist
Petrina Nyhan
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Cover Designer
Parkwood Composition
Compositor
Cheryl Drivdahl
Proofreader
Cover image: Paul Robeson as Othello and Peggy Ashcroft as Desdemona in
a stage production of Othello, London, 1930. © Bettmann/Corbis.
[back cover] Engraving of William Shakespeare from the First Folio, courtesy
of the Library of Congress.
Library of Congress Cataloging-in-Publication Data
Shakespeare, William, 1564–1616.
Othello : the Moor of Venice / by William Shakespeare ; with related
readings.
p. cm. – (The EMC masterpiece series access editions)
ISBN 0-8219-2956-9
1. Othello (Fictitious character)—Drama. 2. Shakespeare, William, 1564-
1616. Othello. 3. Othello (Fictitious character) 4. Venice (Italy)—Drama. 5.
Jealousy—Drama. 6. Muslims—Drama. 7. Cyprus—Drama. I. Title. II. Series.
PR2829.A1 2004
822.3’3—dc22
2004053207
ISBN 0-8219-2956-9
Copyright © 2005 by EMC Corporation
All rights reserved. No part of this publication may be adapted, reproduced,
stored in a retrieval system, or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise without
permission from the publisher.
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Printed in the United States of America.
1 2 3 4 5 6 7 8 9 10 xxx 10 09 08 07 06 05
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Table of Contents
The Life and Works of William Shakespeare . . . . . . . . . . . iv
Time Line of Shakespeare’s Life. . . . . . . . . . . . . . . . . . . . . . x
Background and Historical Context for
Shakespeare’s Plays . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii
Background and Historical Context for Othello,
the Moor of Venice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvi
Echoes: Famous Lines from Othello . . . . . . . . . . . . . . . . . xxi
Illustrations: Performances of Othello . . . . . . . . . . . . . . xxiii
Othello, the Moor of Venice . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Dramatis Personae . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Act I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Respond to the Selection . . . . . . . . . . . . . . . . . . . . . 44
Act II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Respond to the Selection . . . . . . . . . . . . . . . . . . . . . 86
Act III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Respond to the Selection . . . . . . . . . . . . . . . . . . . . 134
Act IV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Respond to the Selection . . . . . . . . . . . . . . . . . . . . 176
Act V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Respond to the Selection . . . . . . . . . . . . . . . . . . . . 212
Plot Analysis of Othello, the Moor of Venice . . . . . . . . . . . 214
Related Readings
Source Material
from Gli Hecatommithi by Giraldi Cinthio (1565) . . . 218
from The History and Description of Africa by Leo
Africanus (1526) . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Criticism
from “Othello: A Bloody Farce” by Thomas
Rymer (1693). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Notes on Othello by Samuel Taylor
Coleridge (c.1836–39) . . . . . . . . . . . . . . . . . . . . . . . 245
from Shakespearean Tragedy by A. C. Bradley (1904) . . 250
Contemporary Poetry
“Against Jealousy” by Ben Jonson (pub. 1640) . . . . . 258
Creative Writing Activities . . . . . . . . . . . . . . . . . . . . . . . 260
Critical Writing Activities . . . . . . . . . . . . . . . . . . . . . . . . 261
Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Glossary of Words for Everyday Use . . . . . . . . . . . . . . . . 266
Glossary of Literary Terms. . . . . . . . . . . . . . . . . . . . . . . . 273
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THE LIFE AND WORKS OF
William Shakespeare
William Shakespeare (1564–1616) may well be the greatest
dramatist the world has ever known. Certainly he is the most
famous writer in all of English literature. Today, nearly four
hundred years after his death, Shakespeare’s plays are still
being performed for audiences all over the world. As fellow
poet Ben Jonson famously put it, Shakespeare’s art is “not of
an age, but for all time.”
Little is known about Shakespeare’s early life. His mother,
Mary Arden Shakespeare, was from a well-to-do, well-con-
nected family. His father, John Shakespeare, was a prosperous
glove maker and local politician. William’s exact birthdate is
unknown, but he was baptized in his hometown of Stratford-
upon-Avon on April 26, 1564, and tradition has assigned him
a birthdate of April 23, which was also the day of his death
and the feast day of Saint George, England’s patron saint.
iv OTHELLO, THE MOOR OF VENICE
Engraving of William
Shakespeare from the
First Folio.
Image courtesy of the
Library of Congress.
Shakespeare’s
birthplace in
Stratford-upon-Avon.
Photo by Melissa Baker.
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Shakespeare attended the Stratford grammar school,
where he likely studied classical literature in Latin and
Greek, as was typical for students of that era. However, he
did not go on to a university. At the age of eighteen, he
married Anne Hathaway, eight years his senior. At the time
of their marriage, Anne was pregnant with their first child,
a daughter whom they named Susanna. Several years later,
in 1585, the couple had twins, Hamnet and Judith. There is
no record of what Shakespeare did in the years after the
twins were born. He may have worked for a while as a
schoolteacher, as there are many references to teaching in
his plays. However, it is clear that by 1592 he had moved to
London, leaving his family behind while he pursued a life
in the theater. Shakespeare continued to provide for his
family and to expand his holdings in Stratford while living
in London.
Shakespeare’s Professional Career
Once in London, Shakespeare soon made himself known
as a successful actor and playwright. His history plays Henry
the Sixth, Parts 1, 2, and 3 and The Tragedy of Richard the
Third established him as a significant force in London the-
ater. In 1593, however, all London theaters were forced to
close due to an outbreak of the plague. During this time,
Shakespeare turned to narrative poetry, producing Venus
and Adonis and The Rape of Lucrece, both dedicated to a
wealthy patron, the Earl of Southampton.
When the theaters reopened the following year,
Shakespeare became a partner in a theater company
known as the Lord Chamberlain’s Men. The group soon
became the most popular acting troupe in London and
performed regularly at the court of Queen Elizabeth I. In
1599, they were wealthy enough to build their own play-
house, which they called “The Globe.” When Queen
Elizabeth died in 1603, Shakespeare’s company found a
new patron in her successor King James I, and their name
was changed to the King’s Men.
While Shakespeare acted in the troupe, writing the
material soon became his primary vocation. In the span of
twenty years he penned at least thirty-seven plays, includ-
ing comedies such as The Taming of the Shrew, A Midsummer
Night’s Dream, The Merchant of Venice, Twelfth Night, and
All’s Well That Ends Well; tragedies such as Romeo and Juliet,
Julius Caesar, Hamlet, Othello, Macbeth, and King Lear;
romances such as The Winter’s Tale and The Tempest; and
histories such as The Tragedy of King Richard the Second.
THE LIFE AND WORKS OF WILLIAM SHAKESPEARE v
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The last play Shakespeare wrote on his own was The
Famous History of the Life of Henry the Eighth, which was
performed in London in 1613. Later that same year, he col-
laborated with John Fletcher on the romance The Two
Noble Kinsmen. At that time Shakespeare was probably liv-
ing again in Stratford, in a large house called New Place
that he had bought in 1597. When he died at age 52, sur-
vived by his wife and his two daughters, Shakespeare was
a wealthy man. He was buried April 25, 1616 in the Holy
Trinity Church in Stratford-upon-Avon. The stone over his
grave reads:
Good frend for Jesus sake forbeare,
To digg the dust encloased heare:
Blest be the man that spares thes stones
And curst be he that moves my bones.
The Publication of Shakespeare’s Plays
Shakespeare himself never sought to have his plays pub-
lished; however, many individual plays were published
during his lifetime in unauthorized editions known as
quartos. These quartos are quite unreliable. Although
some may have been based on final manuscript versions
produced by the author, others were probably put together
from actors’ memories of the scripts, or reprinted from so-
called prompter’s copies used in production of the plays.
In 1623, seven years after Shakespeare’s death, his
friends and fellow actors John Heminge and Henry
Condell published a collected edition of thirty-five of
Shakespeare’s plays. This collection is known to literary
historians as the First Folio. In the centuries since 1623,
and especially during the last century and a half, editors
have worked diligently to compare the various early
printed versions of Shakespeare’s works to determine
which version or versions of each play best represent what
Shakespeare intended. Editors have also updated
Shakespeare’s spelling so that the the plays can be more
easily understood by a modern audience. If you are inter-
ested, you can view the texts of Shakespeare’s plays in their
original spelling on the Internet.
vi OTHELLO, THE MOOR OF VENICE
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The Authorship of Shakespeare’s Plays
The fact that Shakespeare was a commoner and led,
according to the few facts we have, a rather ordinary life,
has led many people to doubt that he could have written
such great works of literature. Over the years it has been
suggested that the true author could have been someone
else—such as the Earl of Oxford, Christopher Marlowe, or
Ben Jonson. While there is no way to conclusively prove or
disprove such theories, there are good reasons to believe
that Shakespeare was, indeed, the true author of the plays
attributed to him. For one thing, the plays show an under-
standing of the lives of people in all stations of life, from
the lowliest peasants to men and women of the court. We
know that Shakespeare came from a common background
and later moved in court circles; this fact is consistent with
his understanding of people from all walks of life. At the
very least, a careful reader must conclude that the plays
attributed to Shakespeare are the work of a single author,
for they have a distinct voice not to be found in the work
of any other dramatist of his day—a voice that has
enriched our language as none other has ever done.
Shakespeare’s Language
Shakespeare used one of the largest vocabularies ever
employed by an author. In fact, according to the Oxford
English Dictionary, Shakespeare actually introduced an esti-
mated 3,000 new words into the English language, many of
which are in common use today, including bedazzle, silli-
ness, critical, obscene, hurry, and lonely. Numerous
well-known phrases came from his plays, such as “wear my
heart upon my sleeve” (Othello) and “the world is my oys-
ter” (The Merry Wives of Windsor).
Shakespeare’s language tends to be dense, metaphorical,
full of puns and wordplay, and yet natural, so that—to
steal a line from Hamlet—it comes “trippingly off the
tongue” of an actor. A scene of Shakespeare tears across the
stage, riveting and dramatic, and yet it bears close reread-
ing, revealing in that rereading astonishing depth and
complexity.
THE LIFE AND WORKS OF WILLIAM SHAKESPEARE vii
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Shakespeare’s Poetic Technique
Shakespeare used in his plays a combination of prose,
rhymed poetry, and blank verse. Blank verse is unrhymed,
or “blank,” poetry with a distinct rhythm known as
iambic pentameter. Each line of iambic pentameter con-
sists of five iambs, rhythmic units made up of a weakly
stressed syllable followed by a strongly stressed one as in
the word fŏrgét. A simpler way of describing this type of
verse is to say that it contains ten syllables per line, and
every other syllable is stressed. The following are some typ-
ical lines:
!
´
!
´
!
´
!
´
!
´Her fa ther lov’d me, oft in vi ted me
!
´
!
´
!
´
!
´
!
´Still ques tion’d me the sto ry of my life
(Othello, act I, scene iii, lines 28–29)
In order to maintain the verse, the lines of two or more
characters are often combined to create one ten-syllable
line. This accounts for the unusual line numbering and
formatting in Shakespeare’s plays. In the following exam-
ple, the words spoken by Cassio and Iago are all counted as
one line:
CASSIO. I do not understand.
IAGO. He’s married.
CASSIO. To who?
(Othello, act I, scene ii, line 52)
If you scan the dialogue in Othello, you will find most of
it is written in blank verse, although with some variations in
stress and syllable count. Shakespeare and other playwrights
of his time favored the use of blank verse in drama because
they believed it captured the natural rhythms of English
speech, yet had a noble, heroic quality that would not be
possible with ordinary prose. (You will notice that when
Shakespeare does use prose, it is because the characters are
speaking informally or are from the lower class.) Blank
iambic pentameter can also be used in poetry, although it is
more often rhymed, as in Shakespeare’s sonnets.
viii OTHELLO, THE MOOR OF VENICE
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Reading Shakespeare
Shakespeare wrote his plays about four hundred years
ago. Because the English language has changed consider-
ably since then, you will find that reading Shakespeare
presents some special challenges. Although the spelling
has been modernized in this version of Othello, as in virtu-
ally all contemporary editions of Shakespeare’s plays, there
are still differences in style and vocabulary that could not
be edited out without changing the flavor of the work. The
editors of this text have provided footnotes to help you
understand words and phrases that have changed in mean-
ing or spelling since Shakespeare’s day. However, try not to
get bogged down in the footnotes. Remember that a play
is a dramatic action and should move quickly. Try first
reading through each scene without looking at the foot-
notes, so that you can get a general sense of what is
happening. Then reread the scene, referring to the foot-
notes to discern the details. If possible, you may want to
listen to an audio version of the play, or better yet, view a
production of the play on film or on stage. All drama
comes alive when it is performed by actors and is best
experienced in that way.
THE LIFE AND WORKS OF WILLIAM SHAKESPEARE ix
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Time Line of Shakespeare’s Life
William Shakespeare is born in Stratford-upon-Avon, to parents
Mary Arden Shakespeare and John Shakespeare.
William Shakespeare is baptized.
William Shakespeare marries Anne Hathaway.
Shakespeare’s first daughter, Susanna, is born and christened.
Anne Hathaway Shakespeare gives birth to twins: a boy, Hamnet,
and a girl, Judith.
Shakespeare’s first histories, Henry the Sixth, Parts 1 and 2, are
produced.
The Tragedy of Richard the Third is produced. Not long afterward,
the plague afflicts London and the theaters close. Shakespeare
writes Venus and Adonis and The Rape of Lucrece.
Shakespeare’s first comedy, The Comedy of Errors, is produced.
Shakespeare begins writing a series, or cycle, of sonnets.
The Taming of the Shrew is produced.
Love’s Labor’s Lost is produced.
The Tragedy of King Richard the Second is produced.
The Tragedy of Romeo and Juliet and A Midsummer Night’s Dream
are produced.
The Merchant of Venice and Henry the Fourth, Part 1, are produced.
Shakespeare’s son, Hamnet, dies at age eleven.
Shakespeare acquires a fine home called New Place in Stratford-
upon-Avon. He produces The Merry Wives of Windsor, possibly at
the request of Queen Elizabeth I.
Shakespeare produces Henry the Fourth, Part 2.
Much Ado about Nothing is produced.
Shakespeare’s Globe Theater opens. The Life of Henry the Fifth,
The Tragedy of Julius Cæsar, and As You Like It are produced.
The Tragedy of Hamlet, Prince of Denmark is produced.
x OTHELLO, THE MOOR OF VENICE
April 23, 1564
April 26, 1564
1582
1583
1585
1589–1591
1592–1593
1592–1594
c. 1593
1593–1594
1594–1595
1595
1595–1596
1596–1597
1596
1597
1598
1598–1599
1599
1600–1601
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Twelfth Night, or What You Will and The History of Troilus and
Cressida are produced.
All’s Well That Ends Well is produced.
Queen Elizabeth I dies. Shakespeare’s troupe, The Lord
Chamberlain’s Men, is renamed The King’s Men in honor of
their new king and sponsor, James I.
Measure for Measure and The Tragedy of Othello, the Moor of Venice
are produced.
The Tragedy of King Lear is produced.
The Tragedy of Macbeth is produced.
The Tragedy of Antony and Cleopatra is produced.
The Tragedy of Coriolanus and Pericles, Prince of Tyre are produced.
Cymbeline is produced.
The Winter’s Tale is produced.
The Tempest is produced.
The Famous History of the Life of Henry the Eighth is produced.
Shakespeare collaborates with John Fletcher to write The Two
Noble Kinsmen. On June 19, the Globe Theater is burned to the
ground in a fire caused by a cannon shot during a performance
of Henry the Eighth. Shakespeare retires to his home in New Place.
The Globe Theater rebuilt.
Shakespeare dies and is buried in Holy Trinity Church in Stratford-
upon-Avon.
TIME LINE OF SHAKESPEARE’S LIFE xi
1601–1602
1602–1603
1603
1604
1605
1606
1607
1607–1608
1609–1610
1610–1611
1611
1612–1613
1613
1614
April 23, 1616
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BACKGROUND AND HISTORICAL CONTEXT FOR
Shakespeare’s Plays
The Renaissance in England
The word renaissance means “rebirth.” Historians use the
term to refer to the period between the fifteenth and early
seventeenth centuries (1400s–1600s), when Europe was
influenced by a rebirth of interest in Greek and Latin learn-
ing and experienced a flowering of literature and the arts.
In England, the Renaissance did not truly begin until
1558, when Queen Elizabeth I ascended to the throne.
Elizabeth was a great patron of the arts, and during her
reign from 1558 to 1603—a period known as the
Elizabethan Age—English literature reached what many
people consider to be its zenith. Shakespeare wrote and
produced his plays at the height of the Elizabethan period
and throughout much of the Jacobean period, the period
from 1603 to 1625 when James I ruled England.
Shakespeare’s writing is a good example of the spirit of
the Renaissance—his plays often focus on memorable and
complex characters, his plots often derive from classical
sources, and his themes often involve challenges to author-
ity. Although Shakespeare’s scholarly contemporary and
fellow playwright Ben Jonson wrote of Shakespeare, “thou
hadst small Latin, and less Greek,” Shakespeare knew far
more of these languages than most people do today, and he
probably read many of the classical works of Rome in their
original Latin. He was inspired by classical works and by the
history of Rome to write such plays as The Tragedy of Julius
Cæsar and The Tragedy of Antony and Cleopatra, and all of his
works contain allusions to classical subjects.
Renaissance Drama
The two most common types of drama during the
English Renaissance were comedies and tragedies. The
key difference between comedies and tragedies is that the
former have happy endings and the latter have unhappy
ones. (It is only a slight exaggeration to say that comedies
end with wedding bells and tragedies with funeral bells.)
A comedy is typically lighthearted, though it may touch
on serious themes. Action in a comedy usually progresses
from initial order to humorous misunderstanding or con-
xii OTHELLO, THE MOOR OF VENICE
Portrait of Queen
Elizabeth I.
Courtesy the National
Portrait Gallery of
London.
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fusion and back to order again. Stock elements of comedy
include mistaken identities, puns and word play, and
coarse or exaggerated characters. Shakespeare’s comedies
frequently end with one or more marriages.
A tragedy tells the story of the downfall of a person of
high status. Often it celebrates the courage and dignity of
its hero in the face of inevitable doom. The hero is typically
neither completely good nor completely evil but lives and
acts between these extremes. The hero’s fall may be brought
about by some flaw in his or her character, known as a
tragic flaw. In Macbeth that flaw was ambition; in Hamlet,
indecisiveness. As you read this play, try to decide what
tragic flaw, if any, you can find in the character of Othello.
Other kinds of plays produced during the period
included histories—plays about events from the past—and
romances—plays that contained highly fantastic elements,
such as fairies and magic spells. Also popular were short
plays called interludes, as well as elaborate entertainments,
called masques, that featured acting, music, and dance.
Theater in Renaissance London
In the late sixteenth century, London was a bustling city
of perhaps 150,000 people—the mercantile, political, and
artistic center of England. The city proper was ruled by a
mayor and alderman who frowned upon theater because it
brought together large crowds of people, creating the
potential for lawlessness and the spread of controversial
ideas and disease. Many times, London city officials or
Parliament ordered the theaters closed, once because they
objected to the political content of a play called Isle of
Dogs, and regularly because of outbreaks of plague.
Parliament, which was dominated by Puritans, passed laws
that made it possible for traveling actors and performers to
be arrested as vagabonds and cruelly punished. For protec-
tion, actors sought the patronage of members of the
nobility. Actors would become, technically, servants of a
famous lord, and troupes went by such names as The Lord
Worcester’s Men.
Fortunately for actors and playwrights, Queen Elizabeth
and other members of the nobility loved the theater and
protected it. Elizabeth herself maintained two troupes of
boy actors, connected to her royal chapels. In addition to
such troupes, London boasted several professional troupes
made up of men. In those days, women did not act, and
women’s roles were played by men, a fact that further
increased Puritan disapproval of the theaters. When the
BACKGROUND AND HISTORICAL CONTEXT FOR SHAKESPEARE’S PLAYS xiii
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xiv OTHELLO, THE MOOR OF VENICE
Puritans took control of England in 1642, theater was
banned altogether.
The Renaissance Playhouse
The first professional theater in England was built in 1576
by James Burbage. Burbage located his playhouse, which he
called simply The Theater, just outside the northern bound-
aries of the City of London, where he could avoid control by
city authorities. Another professional theater, the Curtain,
was built nearby shortly thereafter. In 1598, Burbage’s son
Richard and other members of the Lord Chamberlain’s Men
tore down the Theater and used its materials to build a new
playhouse, called the Globe. One of the shareholders in this
new venture was William Shakespeare.
The Globe Theater is described in one of Shakespeare’s
plays as a “wooden O.” The theater was nearly circular. It
had eight sides and was open in the middle. The stage jut-
ted into the center of this open area. Poorer theatergoers
called “groundlings,” who paid a penny apiece for admis-
sion, stood around three sides of the stage. Wealthier
playgoers could pay an additional penny or two to sit in
one of the three galleries set in the walls of the theater.
The stage itself was partially covered by a canopy sup-
ported by two pillars. Trapdoors in the stage floor made it
possible for actors to appear or disappear. Backstage center
was an area known as the “tiring house” in which actors
could change costumes. This area could be opened for inte-
rior scenes. A second-story playing area above the tiring
The Globe Theater.
Ill
us
tr
at
io
n
by
C
ar
ol
O
’M
al
ia
.
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house could be used to represent a hilltop, a castle turret,
or a balcony (perhaps used in the famous balcony scene
from Romeo and Juliet). On the third level, above this bal-
cony, was an area for musicians and sound-effects
technicians. A cannon shot from this area during a perfor-
mance of Shakespeare’s Henry the Eighth in 1613 caused a
fire that burned the Globe to the ground.
Because the playhouse was open to the air, plays were
presented in the daytime, and there was little or no artifi-
cial lighting. Scenery in the modern sense was nonexistent,
and very few props, or properties, were used. Audiences had
to use their imaginations to create the scenes, and play-
wrights helped them do this by writing descriptions into
their characters’ speeches.
The Renaissance Audience
Audiences at the Globe and similar theaters were quite
heterogeneous, or mixed. They included people from all
stations of society: laboring people from the lower classes,
middle-class merchants, members of Parliament, and lords
and ladies. Pickpockets mingled among the noisy, raucous
groundlings crowded around the stage. Noble men and
women sat on cushioned seats in the first-tier balcony. The
fanfare of trumpets that signaled the beginning of a play
was heard by some twenty-five hundred people, a cross-
section of the Elizabethan world. As noted in the preface
to the First Folio, Shakespeare’s plays were written for
everyone, from “the most able, to him that can but spell.”
That may explain why even today, they have such a uni-
versal appeal.
BACKGROUND AND HISTORICAL CONTEXT FOR SHAKESPEARE’S PLAYS xv
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BACKGROUND AND HISTORICAL CONTEXT FOR
Othello, the Moor of Venice
Shakespeare probably wrote The Tragedy of Othello, the
Moor of Venice, in 1603 or 1604, since we know that it was
first performed at court on November 1, 1604. A classic
story of love, jealousy, and betrayal, Othello is considered
one of Shakespeare’s greatest tragedies. It tells the story of
Othello, a Moorish (North African) general who marries a
Venetian lady and then is cruelly tricked into believing
that his wife is unfaithful.
The plot itself was taken from a novella by Italian writer
Giraldi Cinthio, which was published in 1565. (See page
218 for a translation of this tale.) This should not be con-
sidered plagiarism; in Shakespeare’s day, it was common
for playwrights to borrow subjects and storylines from
other works and then adapt them for the stage.
Furthermore, although Shakespeare’s plot was not original,
his gift for dialogue, characterization, and poetic imagery
and phrasing transformed the story into something alto-
gether his own.
Venice, Cyprus, and the Ottoman Empire
The setting of Othello must have seemed very exotic to
Shakespeare’s audience in London. The first act of the play
is set in Venice, a city-state in northern Italy, and the fol-
lowing four acts in Cyprus, an island in the Mediterranean
Sea. (See the map on the facing page.)
Today, Venice is a part of the modern nation of Italy, but
in the 1500s, it was a powerful seafaring empire ruled by a
Duke, or doge, and a council of noblemen. Seated in a
lagoon on the Adriatic Sea, Venice was a major trade port
with control over strategic points in the Mediterranean
such as the islands of Crete and Cyprus.
The Venetians’ main rivals were the Turks, or Ottomans,
who controlled a vast empire stretching from the Persian
Gulf in the East to Hungary in the West, including the ter-
ritories of Greece and Egypt. The Ottoman Empire and
Venice were constantly at war. The objective was power
and land, of course, but religion entered into the equation
as well. The Venetians were Christian, and the Turks were
Muslim. To Venice and indeed to Shakespeare’s England,
the Turks were the hated enemy whom Christians had
fought during the Crusades. This conflict between
xvi OTHELLO, THE MOOR OF VENICE
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Christian and Muslim, European and foreign, “civilized”
and “barbarian,” is a major theme that runs throughout
Othello.
In the play, Othello is sent to Cyprus to fend off a
Turkish invasion of the island. This incident is probably
inspired by an actual battle that took place in 1571.
However, in real life the Turks were successful in capturing
Cyprus, whereas in the play, they are held off by a storm.
Although it has a small part in the plot, the battle at sea
serves an important role, as it provides a backdrop and a
mirror for the smaller conflict brewing between Iago and
Othello. The play asks us to examine which man, the
Christian European Iago, or the Muslim-born, “barbarian”
foreigner Othello, is the true enemy of civilization.
There is no record of Shakespeare having traveled to
Venice, so it is likely that he relied on books to help him cre-
ate an accurate picture of Venetian life. One source he
BACKGROUND AND HISTORICAL CONTEXT FOR OTHELLO xvii
Map showing territories held by Venice and the Ottoman Empire in the 16th century.
UKRAINE
POLAND
Aegean
Sea
M e d i t e r r a n e a n S e a
Black
Sea (Pontus)
BARBARY
(MAURETANIA)
CRETE
CYPRUS
RHODES
EGYPT
GREECE
VENICE
O T T O M A N
E M
P
I R
E
ALEPPO
Territories held by Venice
Territories held by the Ottoman Empire
ITALY
Red Sea
Tyrrhenian Sea
Adriatic Sea
Ionian
Sea
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almost certainly used was The Commonwealth and
Government of Venice (De magistratibus et republica Venetorum)
by Italian author Gasparo Contarini, written in 1543 and
translated into English by Lewis Lewkenor in 1599.
The Moors and Race in Othello
The Moors were a Muslim people who lived on the
northern coast of Africa, an area the Europeans called
Barbary. These people had a mixed heritage: they were
descended from the Berbers (a Caucasian people native to
north Africa) and the Arabs, who came from the east. In
the eighth century, the Moors invaded Spain and brought
it under Islamic rule, in the process bringing to Western
Europe their vast knowledge of art, architecture, medicine,
xviii OTHELLO, THE MOOR OF VENICE
Illustration of a
Moor from Degli
habiti antichi et
moderni (1590)
by Cesare Vecellio. By
p
er
m
is
si
on
o
f
th
e
Fo
lg
er
S
ha
ke
sp
ea
re
L
ib
ra
ry
.
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and science, much of which they inherited from the Arabs
and ancient Greeks. The Moors ruled over various parts of
Spain for several centuries. Today, Moorish architecture
and art can be seen all over Spain, especially in the cities
of Toledo, Cordoba, and Seville.
When Shakespeare wrote about “the Moor of Venice,”
therefore, he was envisioning a north African man, well-
educated, and raised in the Muslim faith (although baptized
Christian as an adult). It is unclear, however, whether
Shakespeare meant us to see Othello as a black man, or one
more Arab in appearance. The Moors of Barbary were a dark-
skinned people compared to Europeans, but they were not
black. However, in Shakespeare’s day, the term Moor was
often used broadly, to refer to any person with dark or black
skin, including black Africans. Several references in the play
seem to describe Othello as a black African. But no matter
what the exact color of his skin, the important point is that
Othello was an outsider in Venice, an exotic figure who,
while being admired and valued for his military prowess,
more often provoked curiosity, fear, and even hatred.
These same feelings toward Africans were probably
shared by the members of Shakespeare’s audience. To the
English of Shakespeare’s time, Africans were strange and
foreign enemies of Christianity, given to heathen practices
such as witchcraft and voodoo. In the literature of the time,
they were invariably portrayed as villains. The Africans who
came to England were viewed with suspicion and hostility.
In 1596, Queen Elizabeth I issued an edict against these
unlucky foreigners, reading as follows: “Her Majesty under-
standing that several blackamoors have lately been brought
into this realm, of which kind of people there are already
too many here . . . her Majesty’s pleasure therefore is that
those kind of people should be expelled from the land.”
Considering this climate, it is rather suprising that
Shakespeare should have written a play in which the hero
was an African, and a very noble character at that.
To create the character of Othello, a man whose back-
ground was so different from his own, Shakespeare again
relied upon books. He may have consulted The History and
Description of Africa, a book written in 1526 by Moorish
author Leo Africanus. See page 231 for an excerpt from this
work. You may also refer to the critical readings by Samuel
Taylor Coleridge (page 245) and A. C. Bradley (page 250)
for more discussion on the subject of Othello’s race.
BACKGROUND AND HISTORICAL CONTEXT FOR OTHELLO xix
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The Time Scheme of Othello
As many critics have noted, the time scheme in Othello is
somewhat confusing. The events appear to take place in
only a few days, but throughout the play, there are refer-
ences that suggest much more time has passed. Shakespeare
may have been torn between two objectives: on the one
hand, increasing the dramatic tension by making the events
take place in a short time frame, but on the other, allowing
enough time to pass so that the plot would be believable. In
using a short time frame, Shakespeare was probably follow-
ing the model of the Greek dramatist Aristotle who advised
playwrights to keep the action of a tragedy “within one rev-
olution of the sun.” Shakespeare likely realized that his story
could not take place in such a short time, but tried to limit
the span of time as much as possible.
If the events actually did take place in only two or three
days, there would not have been enough time for
Desdemona to have been unfaithful, and the outcome of
the play would have been unbelievable. Therefore,
Shakespeare creates the illusion of more time having
passed, even as, when we examine the scenes, the group
has only been in Cyprus for two days.
As you read, decide whether Shakespeare’s “double time
scheme” is effective, or whether it can be considered a flaw
in the play.
Characters in Othello
The names in Shakespeare’s plays are often symbolic, and
the names Othello and Desdemona may be seen as symbolic
of the doom that befalls the characters in this tragedy. The
name Desdemona (or Disdemona, as it was spelled by Giraldi
Cinthio in the original story) is Greek for “unlucky.” Also, it
may or may not be coincidental that Othello’s name con-
tains the word hell and Desdemona’s name contains the
word demon. As you read, look for other ways in which
Shakespeare expands on the motif of hell and demons.
Shakespeare probably molded Iago, the villain in
Othello, after the character of Vice in the medieval moral-
ity plays. Vice was a villainous stock character who made
his intent known through asides and soliloquies to the
audience. In the morality plays, Vice’s role was to tempt
the protagonist into doing something that would cause his
own damnation. He did this purely for his own gratifica-
tion and for no other purpose. As you read, decide whether
Iago, like Vice, does evil for his own gratification or
whether he has a real motive for wanting revenge.
xx OTHELLO, THE MOOR OF VENICE
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Echoes:
Famous Lines from
Othello
For when my outward action doth demonstrate
The native act and figure of my heart
In compliment extern, ’tis not long after
But I will wear my heart upon my sleeve
For daws to peck at: I am not what I am.
—Iago, act I, scene i
I saw Othello’s visage in his mind,
And to his honour and his valiant parts
Did I my soul and fortunes consecrate.
—Desdemona, act I, scene iii
[N]oble signior,
If virtue no delighted beauty lack,
Your son-in-law is far more fair than black.
—The Duke of Venice, act I, scene iii
Look to her, Moor; have a quick eye to see.
She has deceiv’d her father; may do thee!
—Brabantio, act I, scene iii
Reputation, reputation, reputation! O, I have lost my
reputation! I have lost the immortal part of myself, and what
remains is bestial. My reputation, Iago, my reputation!
—Cassio, act II, scene iii
ECHOES xxi
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xxii OTHELLO, THE MOOR OF VENICE
Excellent wretch! Perdition catch my soul,
But I do love thee! and when I love thee not,
Chaos is come again.
—Othello, act III, scene iii
O, beware, my lord, of jealousy!
It is the green-ey’d monster which doth mock
The meat it feeds on.
—Iago, act III, scene iii
But yet the pity of it, Iago! O Iago, the pity of it, Iago!
—Othello, act IV, scene i
Speak of me as I am; nothing extenuate,
Nor set down aught in malice. 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 . . .
—Othello, act V, scene ii
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Illustrations:
Performances of Othello
Since it was first enacted at the court of Queen
Elizabeth in 1604, Shakespeare’s Othello, the Moor of Venice
has been performed countless times on stages and in cin-
emas all over the world. Here are a few glimpses.
ILLUSTRATIONS xxiii
Poster for an 1884
production of
Othello starring
American actor
Thomas Keene.
Keene was a white
actor and played
the title role in
blackface, as was
customary in the
theater until the
late 1900s.
Im
ag
e
co
ur
te
sy
o
f
th
e
Li
br
ar
y
of
C
on
gr
es
s.
Ph
ot
o
©
B
et
tm
an
n/
C
or
bi
s.
American actor Paul Robeson and
British actor Peggy Ashcroft in a
production of Othello in London,
1930. The casting of a black actor in
the role of Othello generated a great
deal of controversy, especially at
home in the United States.
Note: replace with hi res photos
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xxiv OTHELLO, THE MOOR OF VENICE
Actor/director
Orson Welles stars
in the 1952 film
adaptation of
Othello. Welles
liked to take risks
as a director, and
his is an edgy film
with dramatic
closeups and
atmospheric
imagery.
Ph
ot
o
©
J
oh
n
Sp
rin
ge
r
C
ol
le
ct
io
n/
C
or
bi
s.
The 1995 film
Othello, directed
by Oliver Parker,
featured excellent
performances by
Laurence Fishburne
(as Othello) and
Kenneth Branagh
(as Iago).
Ph
ot
o
©
C
or
bi
s
Sy
gm
a.
Patrick Stewart as Othello and
Patrice Johnson as Desdemona in
The Shakespeare Theatre’s
1997–1998 production of Othello,
directed by Jude Kelly. Rather than
play the character in blackface as
actors had done in the past,
Stewart conceived the idea of a
“photo-negative Othello”—a white
man in a black country. Ph
ot
o
by
C
ar
ol
P
ra
tt
,
co
ur
te
sy
o
f
Th
e
Sh
ak
es
pe
ar
e
Th
ea
te
r,
W
as
hi
ng
to
n,
D
.C
.
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OTHELLO
T H E M O O R O F V E N I C E
by WILLIAM SHAKESPEARE
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Dramatis Personae
DUKE OF VENICE
BRABANTIO, a senator
Other Senators
GRATIANO, brother to Brabantio
LODOVICO, kinsman to Brabantio
OTHELLO, a noble Moor in the service of the
Venetian state
CASSIO, his lieutenant
IAGO, his ancient
RODERIGO, a Venetian gentleman
MONTANO, Othello’s predecessor in the
government of Cyprus
CLOWN, servant to Othello
DESDEMONA, daughter to Brabantio and wife
to Othello
EMILIA, wife to Iago
BIANCA, mistress to Cassio
Sailor, Messenger, Herald, Officers, Gentlemen,
Musicians, and Attendants
Scene
Venice; a Sea-port in Cyprus.
3
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4 OTHELLO, THE MOOR OF VENICE
ACT I, SCENE i
1. this. Othello’s marriage to Desdemona
2. ’Sblood. An oath, or curse, meaning “by God’s blood”
3. Off-capp’d. Took off their caps, in a gesture of pleading
4. bombast circumstance. A bombastic, or overblown, speech meant to
avoid the question. Circumstance here means circumlocution, a type of speech
that is unecessarily wordy and has no point to it.
5. epithets of war. Terms having to do with war; military jargon
6. Nonsuits. Refuses; that is, turns down their suit
7. Certes. In truth; certainly
8. arithmetician. One who is schooled in military theory, but has no
practical experience on the battlefield. Mathematics were an important part
of warfare then, as they are today. For instance, they could be used to
calculate the trajectory and angle of a cannonball.
9. Florentine. From Florence
10. wife. Probably a mistake, since later in the play it is apparent Cassio is
not married. Shakespeare may have originally intended to have Cassio be a
married man, but changed his mind later. Or, it may be a misprint for life or
wise.
11. spinster. A housewife; one who spins
12. theoric. Theory
13. toged consuls. Senators in togas
14. propose. Speak
15. his. Othello’s
16. At Rhodes, at Cyprus . . . Christian and heathen. In the 1500s,
Venice was a powerful seafaring empire and controlled the islands of Rhodes
and Cyprus, both located in the eastern Mediterranean. Their main rivals
were the Turks, who, as Muslims, were considered heathens by Christian
Europe. Heathen here simply means “non-Christian.”
17. be-lee’d and calm’d. Had the wind taken out of his sails and made
calm
18. counter-caster. Accountant
19. ancient. An ancient, or ensign, was a low-ranking officer several steps
below a lieutenant. The ancient was responsible for carrying the flag, or
standard, and usually stayed by the commander’s side during battle.
FOOTNOTES
ab • hor (!b ho
.
[!]r´) vt., hate strongly;
loathe. Dessa declared that she abhorred
being bored.
suit (süt́ ) n., act or instance of seeking by
entreaty: an appeal. Fiona’s suit to Dieter’s
mercy fell on deaf ears.
prat • tle (prat´ !l) n., idle chatter;
chattering noise. The prattle in the
lunchroom sounded like the humming of
bees in a hive.
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ACT I, SCENE i 5
What reason does
Iago give for hating
Othello? Who is
Cassio?
!
5
10
15
20
25
30
ACT I
SCENE i: Venice. A street.
Enter RODERIGO and IAGO.
RODERIGO. Tush! never tell me; I take it much
unkindly
That thou, Iago, who hast had my purse
As if the strings were thine, shouldst know of this.1
IAGO. ’Sblood,2 but you will not hear me:
If ever I did dream of such a matter,
Abhor me.
RODERIGO. Thou told’st me thou didst hold him in
thy hate.
IAGO. Despise me, if I do not. Three great ones of
the city,
In personal suit to make me his lieutenant,
Off-capp’d3 to him: and, by the faith of man,
I know my price, I am worth no worse a place:
But he; as loving his own pride and purposes,
Evades them, with a bombast circumstance4
Horribly stuff’d with epithets of war;5
And, in conclusion,
Nonsuits6 my mediators; for, “Certes,”7 says he,
“I have already chose my officer.”
And what was he?
Forsooth, a great arithmetician,8
One Michael Cassio, a Florentine,9
A fellow almost damn’d in a fair wife;10
That never set a squadron in the field,
Nor the division of a battle knows
More than a spinster;11 unless the bookish theoric,12
Wherein the toged consuls13 can propose14
As masterly as he: mere prattle, without practice,
Is all his soldiership. But he, sir, had the election:
And I, of whom his15 eyes had seen the proof
At Rhodes, at Cyprus and on other grounds
Christian and heathen,16 must be be-lee’d and
calm’d17
By debitor and creditor: this counter-caster,18
He, in good time, must his lieutenant be,
And I—God bless the mark!—his Moorship’s
ancient.19
What position was
Iago assigned?
!
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6 OTHELLO, THE MOOR OF VENICE
20. old gradation. Seniority
21. affined. Obligated
22. knave. A servant or man of humble position
23. doting on . . . bondage. Loving his own enslaved condition
24. provender. Animal feed
25. cashier’d. Rejected or dismissed from duty
26. trimm’d. Dressed up
27. lined their coats. That is, with money
28. native act and figure of my heart. My true feelings and intentions
29. compliment extern. Outward appearance
30. daws. Jackdaws, a type of bird. The entire line can be interpreted as,
“If I were to be so foolish as to show my true feelings and intentions to the
world, then I might as well wear my heart on my sleeve for daws to peck at.”
31. owe. Own; possess
32. carry’t thus. Carry off this marriage
33. him. Othello
FOOTNOTES
ob • se • qui • ous (!b sē´ kwē !s) adj.,
showing an exaggerated desire to help or
serve; fawning. Lew’s obsequious behavior
led others to call him “teacher’s pet.”
vis • age (viz’ !j) n., appearance; face. The
boy’s angelic visage concealed his
mischievous nature.
in • cense (in sen[t]s´) vt., cause to
become angry. News of the government
scandal incensed the public.
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ACT I, SCENE i 7
35
40
45
50
55
60
65
RODERIGO. By heaven, I rather would have been his
hangman.
IAGO. Why, there’s no remedy; ’tis the curse of
service,
Preferment goes by letter and affection,
And not by old gradation,20 where each second
Stood heir to the first. Now, sir, be judge yourself,
Whether I in any just term am affined21
To love the Moor.
RODERIGO. I would not follow him then.
IAGO. O, sir, content you;
I follow him to serve my turn upon him:
We cannot all be masters, nor all masters
Cannot be truly follow’d. You shall mark
Many a duteous and knee-crooking knave,22
That, doting on his own obsequious bondage,23
Wears out his time, much like his master’s ass,
For nought but provender,24 and when he’s old,
cashier’d:25
Whip me such honest knaves. Others there are
Who, trimm’d26 in forms and visages of duty,
Keep yet their hearts attending on themselves,
And, throwing but shows of service on their lords,
Do well thrive by them and when they have lined
their coats27
Do themselves homage: these fellows have some
soul;
And such a one do I profess myself. For, sir,
It is as sure as you are Roderigo,
Were I the Moor, I would not be Iago:
In following him, I follow but myself;
Heaven is my judge, not I for love and duty,
But seeming so, for my peculiar end:
For when my outward action doth demonstrate
The native act and figure of my heart28
In compliment extern,29 ’tis not long after
But I will wear my heart upon my sleeve
For daws30 to peck at: I am not what I am.
RODERIGO. What a full fortune does the thicklips
owe31
If he can carry’t thus!32
IAGO. Call up her father,
Rouse him: make after him,33 poison his delight,
Proclaim him in the streets; incense her kinsmen,
What two types of
men does Iago
describe? Which type
does he profess
himself to be?
!
How does Iago
plan to “poison
[Othello’s] delight”?
!
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8 OTHELLO, THE MOOR OF VENICE
34. timorous accent. Tone of alarm
35. ’Zounds. An oath meaning “by God’s wounds”
36. snorting. Snoring
37. grandsire. Grandfather
38. distempering draughts. Intoxicating beverages
39. malicious bravery. Wicked boldness
40. start. Startle, alarm
FOOTNOTES
vex • a • tion (vek sā´ sh!n) n., state of
being vexed, or irritated. I thought that the
babysitting job would be easy, but the children
were naughty and caused me much vexation.
dire (d”̄ [!]ŕ ) adj., dreadful. Dire
predictions were made at the end of the
millennium, but few of these frightful visions
came true.
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ACT I, SCENE i 9
How does
Brabantio know
Roderigo? What has
he told Roderigo in
the past?
!
And, though he in a fertile climate dwell,
Plague him with flies: though that his joy be joy,
Yet throw such changes of vexation on’t,
As it may lose some color.
RODERIGO. Here is her father’s house; I’ll call aloud.
IAGO. Do, with like timorous accent34 and dire yell
As when, by night and negligence, the fire
Is spied in populous cities.
RODERIGO. What, ho, Brabantio! Signior Brabantio,
ho!
IAGO. Awake! what, ho, Brabantio! thieves! thieves!
thieves!
Look to your house, your daughter and your bags!
Thieves! thieves!
BRABANTIO appears above, at a window.
BRABANTIO. What is the reason of this terrible
summons?
What is the matter there?
RODERIGO. Signior, is all your family within?
IAGO. Are your doors lock’d?
BRABANTIO. Why, wherefore ask you this?
IAGO. ’Zounds,35 sir, you’re robb’d; for shame, put
on your gown;
Your heart is burst, you have lost half your soul;
Even now, now, very now, an old black ram
Is topping your white ewe. Arise, arise;
Awake the snorting36 citizens with the bell,
Or else the devil will make a grandsire37 of you:
Arise, I say.
BRABANTIO. What, have you lost your wits?
RODERIGO. Most reverend signior, do you know my
voice?
BRABANTIO. Not I; what are you?
RODERIGO. My name is Roderigo.
BRABANTIO. The worser welcome:
I have charged thee not to haunt about my doors:
In honest plainness thou hast heard me say
My daughter is not for thee; and now, in madness,
Being full of supper and distempering draughts,38
Upon malicious bravery,39 dost thou come
To start40 my quiet.
70
75
80
85
90
95
100
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10 OTHELLO, THE MOOR OF VENICE
41. grange. Farmhouse or granary; i.e., a remote place where burglary
would be more likely to occur
42. Barbary horse. A type of horse from Barbary, the northern coast of
Africa. Iago implies that Othello is no better than a stud horse.
43. you’ll have coursers . . . germans. You’ll have horses for relatives. A
courser is a spirited horse; a gennet (today spelled jennet) is a small Spanish
horse. Cousins and germans both meant simply “relatives.” The reference to a
horse from Spain might refer to the fact that the Moors occupied Spain for
several centuries.
44. This thou shalt answer. You’ll be punished for this.
45. odd-even and dull watch. Time between day and night, that is,
around midnight, when nobody is around
46. gondolier. One who pilots a gondola, a type of boat used to transport
people through the canals of Venice
47. gross clasps. Vulgar or indecent embraces
48. from the sense of all civility. In violation of civility
49. reverence. Respect
50. extravagant and wheeling. Here, both words mean “wandering;
vagabond.”
FOOTNOTES
ruf • fi • an (r!f´ ē !n) n., bully. The ruffians
taunted Okema and blocked his way.
pro • fane (pro fān´) adj., vulgar. The movie
was rated PG-13 for its profane language.
las • civ • i • ous (l! siv´ ē !s) adj., lustful;
obscene. The manager was fired for sexual
harassment after making lascivious
comments to an employee.
re • buke (ri byük´) n., expression of
strong disapproval. The principal issued a
strong rebuke to the students who had been
caught vandalizing school property.
tri • fle (tr”̄ ´ f!l) vi., treat something or
someone as unimportant. The knave
cruelly trifled with the maiden’s feelings.
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ACT I, SCENE i 11
What has
Desdemona done?
!
105
110
115
120
125
130
135
RODERIGO. Sir, sir, sir,—
BRABANTIO. But thou must needs be sure
My spirit and my place have in them power
To make this bitter to thee.
RODERIGO. Patience, good sir.
BRABANTIO. What tell’st thou me of robbing? this is
Venice;
My house is not a grange.41
RODERIGO. Most grave Brabantio,
In simple and pure soul I come to you.
IAGO. ’Zounds, sir, you are one of those that will not
serve God, if the devil bid you. Because we come to
do you service and you think we are ruffians, you’ll
have your daughter covered with a Barbary horse;42
you’ll have your nephews neigh to you; you’ll have
coursers for cousins and gennets for germans.43
BRABANTIO. What profane wretch art thou?
IAGO. I am one, sir, that comes to tell you your
daughter and the Moor are now making the beast
with two backs.
BRABANTIO. Thou art a villain.
IAGO. You are—a senator.
BRABANTIO. This thou shalt answer;44 I know thee,
Roderigo.
RODERIGO. Sir, I will answer any thing. But, I beseech
you,
If’t be your pleasure and most wise consent,
As partly I find it is, that your fair daughter,
At this odd-even and dull watch45 o’ the night,
Transported, with no worse nor better guard
But with a knave of common hire, a gondolier,46
To the gross clasps47 of a lascivious Moor—
If this be known to you and your allowance,
We then have done you bold and saucy wrongs;
But if you know not this, my manners tell me
We have your wrong rebuke. Do not believe
That, from the sense of all civility,48
I thus would play and trifle with your reverence:49
Your daughter, if you have not given her leave,
I say again, hath made a gross revolt;
Tying her duty, beauty, wit and fortunes
In an extravagant and wheeling50 stranger
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12 OTHELLO, THE MOOR OF VENICE
51. Strike on the tinder. Light a match
52. taper. Candle
53. accident. Happening
54. meet. Appropriate
55. produced . . . against the Moor. Shown to be working against Othello
56. gall him with some cheque. Irritate him with some small
punishment. Eloping with a nobleman’s daughter would have been
considered a punishable offense.
57. cast him. Dismiss him from service
58. Cyprus wars. Wars between Venice and Turkey over the island of
Cyprus, located south of Turkey in the Mediterranean Sea. At the time of
this play, the Venetians controlled Cyprus and were defending it against the
Turks.
59. even now stand in act. Are happening right now
60. fathom. Worth
61. Sagittary. An inn where the newlyweds are staying
62. raised search. A party of searchers who have been raised, or roused,
from their beds
FOOTNOTES
de • lude (di lüd´) vt., mislead; trick. The con artist deluded his victims into depositing their
money into his bank account.
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ACT I, SCENE i 13
Why does the
Venetian government
need Othello?
!
What does
Brabantio say of his
daughter’s possible
marriage to Othello?
Of here and every where. Straight satisfy yourself:
If she be in her chamber or your house,
Let loose on me the justice of the state
For thus deluding you.
BRABANTIO. Strike on the tinder,51 ho!
Give me a taper!52 call up all my people!
This accident53 is not unlike my dream:
Belief of it oppresses me already.
Light, I say! light!
Exit above.
IAGO. Farewell; for I must leave you:
It seems not meet,54 nor wholesome to my place,
To be produced—as, if I stay, I shall—
Against the Moor:55 for, I do know, the state,
However this may gall him with some cheque,56
Cannot with safety cast him,57 for he’s embark’d
With such loud reason to the Cyprus wars,58
Which even now stand in act,59 that, for their souls,
Another of his fathom60 they have none,
To lead their business: in which regard,
Though I do hate him as I do hell-pains,
Yet, for necessity of present life,
I must show out a flag and sign of love,
Which is indeed but sign. That you shall surely find
him,
Lead to the Sagittary61 the raised search;62
And there will I be with him. So, farewell.
Exit.
Enter, below, BRABANTIO, and SERVANTS with torches.
BRABANTIO. It is too true an evil: gone she is;
And what’s to come of my despised time
Is nought but bitterness. Now, Roderigo,
Where didst thou see her? O unhappy girl!
With the Moor, say’st thou? Who would be a father!
How didst thou know ’twas she? O she deceives me
Past thought! What said she to you? Get more tapers:
Raise all my kindred. Are they married, think you?
RODERIGO. Truly, I think they are.
BRABANTIO. O heaven! How got she out? O treason
of the blood!
Fathers, from hence trust not your daughters’ minds
By what you see them act. Is there not charms
By which the property of youth and maidhood
!
140
145
150
155
160
165
170
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14 OTHELLO, THE MOOR OF VENICE
63. deserve. Reward
ACT I, SCENE ii
1. contrived. Premeditated; intentional
2. yerk’d. Stabbed
3. prated. Chattered
4. scurvy. Despicable
5. I did full hard forbear him. I found it hard to keep myself from
hurting him.
6. fast. Securely
7. magnifico. Brabantio is a magnifico, or person of great standing in
Venice
8. Will give him cable. Will give him the power, or the means [to punish
Othello]
9. signiory. Venetian government
10. I fetch my life . . . royal siege. I am descended from royalty.
FOOTNOTES
ap • pre • hend (ap´ ri h!nd´) vt., arrest;
seize. The police officer apprehended the
burglars at the scene of the crime.
in • iq • ui • ty (in ik´ w! tē) n.,
wickedness. The teens had no motive for
attacking the homeless man; they did it out
of sheer iniquity.
pro • vok • ing (pr! vō´ ki# ) adj., causing
anger or outrage. The politician’s provoking
comments caused outrage in the community.
pro • mul • gate (präm´ !l gāt´, prō´ m!l
gāt´) vt., declare openly or make known;
also, to spread (knowledge or ideas). The
teachings of Socrates were largely
promulgated by his foremost pupil, Plato.
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ACT I, SCENE ii 15
How does
Brabantio feel about
Roderigo now?
!
What does Iago
claim he wanted to
do to Roderigo?
!
175
180
5
10
15
20
May be abused? Have you not read, Roderigo,
Of some such thing?
RODERIGO. Yes, sir, I have indeed.
BRABANTIO. Call up my brother. O, would you had
had her!
Some one way, some another. Do you know
Where we may apprehend her and the Moor?
RODERIGO. I think I can discover him, if you please,
To get good guard and go along with me.
BRABANTIO. Pray you, lead on. At every house I’ll call;
I may command at most. Get weapons, ho!
And raise some special officers of night.
On, good Roderigo: I’ll deserve63 your pains.
Exeunt.
SCENE ii: Another street.
Enter OTHELLO, IAGO, and ATTENDANTS with torches.
IAGO. Though in the trade of war I have slain men,
Yet do I hold it very stuff o’ the conscience
To do no contrived1 murder: I lack iniquity
Sometimes to do me service: nine or ten times
I had thought to have yerk’d2 him here under the
ribs.
OTHELLO. ’Tis better as it is.
IAGO. Nay, but he prated,3
And spoke such scurvy4 and provoking terms
Against your honor
That, with the little godliness I have,
I did full hard forbear him.5 But, I pray you, sir,
Are you fast6 married? Be assured of this,
That the magnifico7 is much beloved,
And hath in his effect a voice potential
As double as the duke’s: he will divorce you;
Or put upon you what restraint and grievance
The law, with all his might to enforce it on,
Will give him cable.8
OTHELLO. Let him do his spite:
My services which I have done the signiory9
Shall out-tongue his complaints. ’Tis yet to know,—
Which, when I know that boasting is an honor,
I shall promulgate—I fetch my life and being
From men of royal siege,10 and my demerits
What might
Brabantio have the
power to do?
!
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16 OTHELLO, THE MOOR OF VENICE
11. my demerits . . . reach’d. My merits, in all modesty, are equal to those
of Desdemona’s family. By unbonneted, he means “with my hat off,” a
gesture of courtesy and humility. He may doff his hat when speaking this
line.
12. But that I. If I did not
13. circumscription. Restriction; limits
14. the sea’s worth. All the treasure in the sea
15. Janus. The two-faced god of the Romans [see illustration below], an
appropriate idol for the “two-faced” Iago
16. heat. Urgency
17. galleys. Long, low ships used for war and trade in the Mediterranean
Sea from the Middle Ages to the 19th century
18. what makes he here? What is Othello doing here at the inn?
19. carack. Treasure ship
FOOTNOTES
Janus, the Roman god of doorways, was depicted with two faces and
thus is an appropriate idol for the “two-faced” Iago.
©
B
et
tm
an
n/
C
or
bi
s
man • i • fest (man´ ! fest) vt., show.
Shakespeare’s dramatic works manifest his
extraordinary ear for dialogue.
di • vine (d! v”̄ n´) vt., discover intuitively;
infer. From the bits of conversation I
overheard, I was able to divine that there
was some trouble afoot.
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ACT I, SCENE ii 17
Who comes to find
Othello at the inn?
What news do they
have for him?
!
25
30
35
40
45
50
May speak unbonneted to as proud a fortune
As this that I have reach’d:11 for know, Iago,
But that I12 love the gentle Desdemona,
I would not my unhoused free condition
Put into circumscription13 and confine
For the sea’s worth.14 But, look! what lights come
yond?
IAGO. Those are the raised father and his friends:
You were best go in.
OTHELLO. Not I, I must be found:
My parts, my title and my perfect soul
Shall manifest me rightly. Is it they?
IAGO. By Janus,15 I think no.
Enter CASSIO, and certain OFFICERS with torches.
OTHELLO. The servants of the duke, and my
lieutenant.
The goodness of the night upon you, friends!
What is the news?
CASSIO. The duke does greet you, general,
And he requires your haste-post-haste appearance,
Even on the instant.
OTHELLO. What is the matter, think you?
CASSIO. Something from Cyprus as I may divine:
It is a business of some heat:16 the galleys17
Have sent a dozen sequent messengers
This very night at one another’s heels,
And many of the consuls, raised and met,
Are at the duke’s already: you have been hotly call’d
for;
When, being not at your lodging to be found,
The senate hath sent about three several guests
To search you out.
OTHELLO. ’Tis well I am found by you.
I will but spend a word here in the house,
And go with you.
Exit.
CASSIO. Ancient, what makes he here?18
IAGO. ’Faith, he to-night hath boarded a land carack:19
If it prove lawful prize, he’s made for ever.
CASSIO. I do not understand.
IAGO. He’s married.
To what does Iago
compare Desdemona?
!
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18 OTHELLO, THE MOOR OF VENICE
20. Marry. Indeed (originally an oath using the name of the Virgin Mary),
with a pun on his previous line.
21. Have with you. I’ll go with you.
22. I am for you. I will fight you.
23. Keep up. Keep sheathed
24. opposite to. Opposed to
25. guardage. Guardianship
26. sooty. Black
27. gross in sense. Obvious
28. motion. The senses or mental powers
29. disputed on. Argued in the court of law
30. attach thee / For an abuser of the world. Arrest you as a corrupter of
the community. Apprehend and attach both mean “arrest.”
31. inhibited and out of warrant. Prohibited and unjustifiable
FOOTNOTES
sub • due (s!b dü´) vt., bring under control; conquer. The dictator sent his army to
subdue rebel forces.
Othello Act 1.qxd 1/14/05 9:30 AM Page 18

ACT I, SCENE ii 19
How does Othello
respond to the threat
of violence?
!
55
60
65
70
75
80
CASSIO. To who?
Re-enter OTHELLO.
IAGO. Marry,20 to—Come, captain, will you go?
OTHELLO. Have with you.21
CASSIO. Here comes another troop to seek for you.
IAGO. It is Brabantio. General, be advised;
He comes to bad intent.
Enter BRABANTIO, RODERIGO, and OFFICERS with torches
and weapons.
OTHELLO. Holla! stand there!
RODERIGO. Signior, it is the Moor.
BRABANTIO. Down with him, thief!
They draw on both sides.
IAGO. You, Roderigo! Come, sir, I am for you.22
OTHELLO. Keep up23 your bright swords, for the dew
will rust them.
Good signior, you shall more command with years
Than with your weapons.
BRABANTIO. O thou foul thief, where hast thou
stow’d my daughter?
Damn’d as thou art, thou hast enchanted her;
For I’ll refer me to all things of sense,
If she in chains of magic were not bound,
Whether a maid so tender, fair and happy,
So opposite to24 marriage that she shunned
The wealthy curled darlings of our nation,
Would ever have, to incur a general mock,
Run from her guardage25 to the sooty26 bosom
Of such a thing as thou, to fear, not to delight.
Judge me the world, if ’tis not gross in sense27
That thou hast practiced on her with foul charms,
Abused her delicate youth with drugs or minerals
That weaken motion:28 I’ll have’t disputed on;29
’Tis probable and palpable to thinking.
I therefore apprehend and do attach thee
For an abuser of the world,30 a practicer
Of arts inhibited and out of warrant.31
Lay hold upon him: if he do resist,
Subdue him at his peril.
OTHELLO. Hold your hands,
Both you of my inclining, and the rest:
Of what does
Brabantio accuse
Othello?
!
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20 OTHELLO, THE MOOR OF VENICE
32. course of direct session. Proper channels of justice
33. idle. Unworthy, lacking in merit
34. have passage free. Be freely allowed
ACT I, SCENE iii
1. composition. Consistency
2. gives them credit. Makes them believable
3. disproportion’d. Contradictory
4. they jump not on a just account. They do not agree on an exact
number
FOOTNOTES
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ACT I, SCENE iii 21
What do all the
scouts’ reports
confirm?
!
85
90
95
5
10
Were it my cue to fight, I should have known it
Without a prompter. Where will you that I go
To answer this your charge?
BRABANTIO. To prison, till fit time
Of law and course of direct session32
Call thee to answer.
OTHELLO. What if I do obey?
How may the duke be therewith satisfied,
Whose messengers are here about my side,
Upon some present business of the state
To bring me to him?
FIRST OFFICER. ’Tis true, most worthy signior;
The duke’s in council and your noble self,
I am sure, is sent for.
BRABANTIO. How! the duke in council!
In this time of the night! Bring him away:
Mine’s not an idle33 cause: the duke himself,
Or any of my brothers of the state,
Cannot but feel this wrong as ’twere their own;
For if such actions may have passage free,34
Bond-slaves and pagans shall our statesmen be.
Exeunt.
SCENE iii: A council-chamber.
The DUKE and SENATORS sitting at a table; OFFICERS
attending.
DUKE OF VENICE. There is no composition1 in these
news
That gives them credit.2
FIRST SENATOR. Indeed, they are disproportion’d;3
My letters say a hundred and seven galleys.
DUKE OF VENICE. And mine, a hundred and forty.
SECOND SENATOR. And mine,
two hundred:
But though they jump not on a just account,4—
As in these cases, where the aim reports,
’Tis oft with difference—yet do they all confirm
A Turkish fleet, and bearing up to Cyprus.
DUKE OF VENICE. Nay, it is possible enough to
judgment:
I do not so secure me in the error,
But the main article I do approve
In fearful sense.
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22 OTHELLO, THE MOOR OF VENICE
5. Turkish preparation . . . Rhodes. The Turkish fleet is heading for the
island of Rhodes, which at the time of the play was controlled by the
Venetians.
6. assay of reason. Test of reason
7. ’tis a pageant . . . false gaze. It is a mere show meant to distract us.
8. as it . . . bear it. The Turks are more interested in Cyprus than in
Rhodes, and have a much better chance of capturing it besides.
9. warlike brace . . . abilities. Military readiness; that is, Cyprus does not
have the same military defense that Rhodes does. Brace literally means
“armor.”
10. wake. Risk
11. for. Headed for, or aiming for
12. Ottomites. Another name for the Turks. Turkey at that time was at the
heart of the great Ottoman Empire, which had control of many regions
including Syria, Arabia, Egypt, Greece, Israel, and parts of Russia and
Hungary. The phrase “reverend and gracious” does not refer to the
Ottomites, but to the senators and Duke whom the messenger is addressing.
13. injointed . . . after fleet. Joined up with a second fleet
14. restem / Their backward course. Re-steer, or change course
FOOTNOTES
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ACT I, SCENE iii 23
Why are the Turks
heading for Rhodes?
Why would they not
attack Rhodes,
according to the First
Senator?
!
15
20
25
30
35
40
45
SAILOR. [Within] What, ho! what, ho! what, ho!
FIRST OFFICER. A messenger from the galleys.
Enter a SAILOR.
DUKE OF VENICE. Now, what’s the business?
SAILOR. The Turkish preparation makes for Rhodes;5
So was I bid report here to the state
By Signior Angelo.
DUKE OF VENICE. How say you by this change?
FIRST SENATOR. This cannot be,
By no assay of reason:6 ’tis a pageant,
To keep us in false gaze.7 When we consider
The importancy of Cyprus to the Turk,
And let ourselves again but understand,
That as it more concerns the Turk than Rhodes,
So may he with more facile question bear it,8
For that it stands not in such warlike brace,
But altogether lacks the abilities9
That Rhodes is dress’d in: if we make thought of this,
We must not think the Turk is so unskilful
To leave that latest which concerns him first,
Neglecting an attempt of ease and gain,
To wake10 and wage a danger profitless.
DUKE OF VENICE. Nay, in all confidence, he’s not
for11 Rhodes.
FIRST OFFICER. Here is more news.
Enter a MESSENGER.
MESSENGER. The Ottomites,12 reverend and gracious,
Steering with due course towards the isle of Rhodes,
Have there injointed them with an after fleet.13
FIRST SENATOR. Ay, so I thought. How many, as you
guess?
MESSENGER. Of thirty sail: and now they do restem
Their backward course,14 bearing with frank
appearance
Their purposes toward Cyprus. Signior Montano,
Your trusty and most valiant servitor,
With his free duty recommends you thus,
And prays you to believe him.
DUKE OF VENICE. ’Tis certain, then, for Cyprus.
Marcus Luccicos, is not he in town?
FIRST SENATOR. He’s now in Florence.
How are the First
Senator’s suspicions
proved correct? What
are the Turks doing?
!
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24 OTHELLO, THE MOOR OF VENICE
15. aught. Anything
16. engluts. Swallows
17. mountebanks. People who sell quack medicines
18. the bloody book of law . . . your own sense. You can read the law
to this criminal yourself. The making of love-potions was against the
law in Venice.
19. though our proper son / Stood in your action. Even if it were my
own son who you were accusing [you would get justice].
FOOTNOTES
sans (sanz´) adj., without. We found
ourselves lost in the jungle, sans map and
sans compass.
be • guile (b! g”̄ l’) vt., lead astray by
means of tricks or deception. The Pied
Piper beguiled all the children of Hamelin
town, leading them into a mountain and
then shutting them inside.
man • date (man´ dāt́ ) n., formal order.
Everyone had to obey the queen’s mandate.
Othello Act 1.qxd 1/14/05 9:30 AM Page 24

ACT I, SCENE iii 25
What does
Brabantio say has
happened to his
daughter? How does
the Duke respond?
!
50
55
60
65
70
DUKE OF VENICE. Write from us to him; post-post-
haste dispatch.
FIRST SENATOR. Here comes Brabantio and the valiant
Moor.
Enter BRABANTIO, OTHELLO, IAGO, RODERIGO, and
OFFICERS.
DUKE OF VENICE. Valiant Othello, we must straight
employ you
Against the general enemy Ottoman.
[To BRABANTIO.]
I did not see you; welcome, gentle signior;
We lack’d your counsel and your help tonight.
BRABANTIO. So did I yours. Good your grace, pardon
me;
Neither my place nor aught15 I heard of business
Hath raised me from my bed, nor doth the general
care
Take hold on me, for my particular grief
Is of so flood-gate and o’erbearing nature
That it engluts16 and swallows other sorrows
And it is still itself.
DUKE OF VENICE. Why, what’s the matter?
BRABANTIO. My daughter! O, my daughter!
DUKE OF VENICE. Dead?
BRABANTIO. Ay, to me;
She is abused, stol’n from me, and corrupted
By spells and medicines bought of mountebanks;17
For nature so preposterously to err,
Being not deficient, blind, or lame of sense,
Sans witchcraft could not.
DUKE OF VENICE. Whoe’er he be that in this foul
proceeding
Hath thus beguiled your daughter of herself
And you of her, the bloody book of law
You shall yourself read in the bitter letter
After your own sense,18 yea, though our proper son
Stood in your action.19
BRABANTIO. Humbly I thank your grace.
Here is the man, this Moor, whom now, it seems,
Your special mandate for the state-affairs
Hath hither brought.
DUKE OF VENICE. We are very sorry for’t.
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26 OTHELLO, THE MOOR OF VENICE
20. since . . . seven years’ pith . . . tented field. Since my arms had the
pith, or strength, of seven years, I have used them on the battleground. In
other words, Othello has been a soldier since he was seven years old.
21. unvarnish’d. Plain, unembellished
22. withal. With
23. her motion / Blush’d at herself. She blushed at any stirring of
emotion.
24. vouch. Claim; swear to be true
25. dram. A measure of fluid; a small portion of drink
26. thin habits. Thin clothing; that is, superficial appearances
27. modern seeming. Everyday assumptions
FOOTNOTES
con • jur • a • tion (kän´ jü rā´ sh!n) n., magic spell or trick. The children were entranced
by the magician’s conjurations.
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ACT I, SCENE iii 27
How does Othello
show modesty in his
response?
!
75
80
85
90
95
100
105
110
DUKE OF VENICE. [To OTHELLO] What, in your own
part, can you say to this?
BRABANTIO. Nothing, but this is so.
OTHELLO. Most potent, grave, and reverend signiors,
My very noble and approved good masters,
That I have ta’en away this old man’s daughter,
It is most true; true, I have married her:
The very head and front of my offending
Hath this extent, no more. Rude am I in my speech,
And little bless’d with the soft phrase of peace:
For since these arms of mine had seven years’ pith,
Till now some nine moons wasted, they have used
Their dearest action in the tented field,20
And little of this great world can I speak,
More than pertains to feats of broil and battle,
And therefore little shall I grace my cause
In speaking for myself. Yet, by your gracious patience,
I will a round unvarnish’d21 tale deliver
Of my whole course of love; what drugs, what charms,
What conjuration and what mighty magic,
For such proceeding I am charged withal,22
I won his daughter.
BRABANTIO. A maiden never bold;
Of spirit so still and quiet, that her motion
Blush’d at herself;23 and she, in spite of nature,
Of years, of country, credit, every thing,
To fall in love with what she fear’d to look on!
It is a judgment maim’d and most imperfect
That will confess perfection so could err
Against all rules of nature, and must be driven
To find out practices of cunning hell,
Why this should be. I therefore vouch24 again
That with some mixtures powerful o’er the blood,
Or with some dram25 conjured to this effect,
He wrought upon her.
DUKE OF VENICE. To vouch this, is no proof,
Without more wider and more overt test
Than these thin habits26 and poor likelihoods
Of modern seeming27 do prefer against him.
FIRST SENATOR. But, Othello, speak:
Did you by indirect and forced courses
Subdue and poison this young maid’s affections?
Or came it by request and such fair question
As soul to soul affordeth?
How does
Brabantio describe
his daughter? Why
does he continue to
claim that Othello
must have given
Desdemona
“mixtures powerful
o’er the blood”?
!
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28 OTHELLO, THE MOOR OF VENICE
28. Still. Always
29. spake. Spoke
30. scapes. Escapes
31. breach. A gap in the wall of a fort, caused by enemy fire
32. portance. Behavior
33. antres. Caverns (from the Latin antrum)
34. idle. Barren; empty
35. Anthropophagi. Man-eaters; cannibals
36. men whose heads / Do grow beneath their shoulders. One of the
outlandish stories told by ancient travelers. See the picture below. This tribe
of people was mentioned by Roman historian Pliny the Elder in his
encyclopedic work Naturalis Historia (first published in AD 77). Pliny
described them as “a tribe who are without necks, and have eyes in their
shoulders.” The story was repeated by writers and explorers in later
centuries, including the medieval writer Sir John Mandeville and travelers to
the Americas such as Sir Walter Raleigh. Pliny also wrote about the
Anthropophagi, the cannibal tribe, whom he claimed lived north of the
Black Sea.
37. This to hear . . . incline. Desdemona was inclined, or drawn, to these
tales.
38. But still . . . draw her thence. But very often Desdemona could not
stay to hear the tales, being called away to resolve some household affairs.
39. Which ever . . . with haste dispatch. Whenever she could take care of
these matters hastily enough
40. She’ld. Contraction of she would
41. pliant. Convenient
FOOTNOTES
“Men Whose Heads Do Grow Beneath Their Shoulders.” Woodcut
illustration from The Voyages and Travels of Sir John Mandeville
(1582). Mandeville’s book first appeared around 1371, and was filled
with outlandish tales, many of them borrowed from ancient sources
such as Roman historian Pliny the Elder.
dis • course (dis´ kō[!]rs´) n., conversation; verbal expression or exchange of ideas.
The two friends talked frequently, and their discourse was always lively and open.
Bo
dl
ei
an
L
ib
ra
ry
,
U
ni
ve
rs
ity
o
f
O
xf
or
d.
D
ou
ce
M
M
4
8
9
.
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ACT I, SCENE iii 29
Whom does
Othello wish to speak
on his behalf?
!
115
120
125
130
135
140
145
150
OTHELLO. I do beseech you,
Send for the lady to the Sagittary,
And let her speak of me before her father:
If you do find me foul in her report,
The trust, the office I do hold of you,
Not only take away, but let your sentence
Even fall upon my life.
DUKE OF VENICE. Fetch Desdemona hither.
OTHELLO. Ancient, conduct them: you best know
the place.
Exeunt IAGO and ATTENDANTS.
And, till she come, as truly as to heaven
I do confess the vices of my blood,
So justly to your grave ears I’ll present
How I did thrive in this fair lady’s love,
And she in mine.
DUKE OF VENICE. Say it, Othello.
OTHELLO. Her father loved me; oft invited me;
Still28 question’d me the story of my life,
From year to year, the battles, sieges, fortunes,
That I have passed.
I ran it through, even from my boyish days,
To the very moment that he bade me tell it;
Wherein I spake29 of most disastrous chances,
Of moving accidents by flood and field
Of hair-breadth scapes30 i’ the imminent deadly
breach,31
Of being taken by the insolent foe
And sold to slavery, of my redemption thence
And portance32 in my travels’ history:
Wherein of antres33 vast and deserts idle,34
Rough quarries, rocks and hills whose heads touch
heaven
It was my hint to speak,—such was the process;
And of the Cannibals that each other eat,
The Anthropophagi35 and men whose heads
Do grow beneath their shoulders.36 This to hear
Would Desdemona seriously incline:37
But still the house-affairs would draw her thence:38
Which ever as she could with haste dispatch,39
She’ld40 come again, and with a greedy ear
Devour up my discourse: which I observing,
Took once a pliant41 hour, and found good means
To draw from her a prayer of earnest heart
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30 OTHELLO, THE MOOR OF VENICE
42. dilate. Tell at length
43. by parcels. In pieces
44. intentively. Attentively; with full attention
45. passing. Exceptionally; surpassingly
46. she wish’d . . . heaven had made her such a man. Some critics have
taken this to mean that Desdemona wished she herself had been born a
man, and had the adventures Othello had. Or, it could simply mean that
she wished she had a man like Othello.
47. hitherto. Until now
FOOTNOTES
pil • gri • mage (pil´ gr! mij) n., long journey, often made for religious purposes. Many
Muslims, at some time in their lives, make a pilgrimage to the holy site of Mecca.
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ACT I, SCENE iii 31
What hint did
Desdemona give
Othello?
!
155
160
165
170
175
180
185
That I would all my pilgrimage dilate,42
Whereof by parcels43 she had something heard,
But not intentively:44 I did consent,
And often did beguile her of her tears,
When I did speak of some distressful stroke
That my youth suffer’d. My story being done,
She gave me for my pains a world of sighs:
She swore, in faith, ’twas strange, ’twas passing45
strange,
’Twas pitiful, ’twas wondrous pitiful:
She wish’d she had not heard it, yet she wish’d
That heaven had made her such a man:46 she
thank’d me,
And bade me, if I had a friend that loved her,
I should but teach him how to tell my story.
And that would woo her. Upon this hint I spake:
She loved me for the dangers I had pass’d,
And I loved her that she did pity them.
This only is the witchcraft I have used:
Here comes the lady; let her witness it.
Enter DESDEMONA, IAGO, and ATTENDANTS.
DUKE OF VENICE. I think this tale would win my
daughter too.
Good Brabantio,
Take up this mangled matter at the best:
Men do their broken weapons rather use
Than their bare hands.
BRABANTIO. I pray you, hear her speak:
If she confess that she was half the wooer,
Destruction on my head, if my bad blame
Light on the man! Come hither, gentle mistress:
Do you perceive in all this noble company
Where most you owe obedience?
DESDEMONA. My noble father,
I do perceive here a divided duty:
To you I am bound for life and education;
My life and education both do learn me
How to respect you; you are the lord of duty;
I am hitherto47 your daughter: but here’s my husband,
And so much duty as my mother show’d
To you, preferring you before her father,
So much I challenge that I may profess
Due to the Moor my lord.
BRABANTIO. God be wi’ you! I have done.
Why, according
to Othello, did
Desdemona fall in
love with him, and
he with her?
!
Whom does
Desdemona say she
must obey?
!
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32 OTHELLO, THE MOOR OF VENICE
48. get it. Beget it. In other words, Brabantio wishes he had adopted a
child instead of having one of his own.
49. clogs. Blocks of wood hung on criminals to keep them from escaping
50. lay a sentence. Repeat a saying, or proverb
51. grise. Step
52. Patience . . . makes. If you bear your injury with patience, you take
away its power to hurt you.
53. bootless. Vain; pointless
54. us beguile. Steal from us
55. he bears . . . poor patience borrow. The proverb sounds good to a
person who is in a position to be comforted by it; but for one like myself,
who is in the midst of grief, it doesn’t help. (In other words, he is telling the
Duke, “That’s easy for you to say.”)
56. These sentences . . . equivocal. These proverbs are just about as
irritating as they are comforting. Equivocal here means “equal.”
57. I never yet . . . ear. Words have no power to hurt (or heal) a person’s
heart. Pierced is sometimes read as pieced, in the sense of “to mend, to piece
together.”
58. fortitude. Military fortifications
59. substitute. Referring to Montano, the governor of Cyprus
60. opinion . . . more safer voice on you. The general opinion is that
you, Othello, would be the safer choice. (In other words, Othello will take
Montano’s place as governor and defender of Cyprus.)
61. slubber. Sully; ruin
62. thrice-driven. Sifted through three times, to leave only the softest
feathers
63. agnise. Acknowledge
FOOTNOTES
tyr • an • ny (tir´ ! nē) n., state of being a tyrant, a ruler who exercises absolute power
brutally and oppressively. The tyranny of the dictator was intolerable, and many citizens
tried to flee.
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ACT I, SCENE iii 33
190
195
200
205
210
215
220
225
230
Please it your grace, on to the state-affairs:
I had rather to adopt a child than get it.48
Come hither, Moor:
I here do give thee that with all my heart
Which, but thou hast already, with all my heart
I would keep from thee. For your sake, jewel,
I am glad at soul I have no other child:
For thy escape would teach me tyranny,
To hang clogs49 on them. I have done, my lord.
DUKE OF VENICE. Let me speak like yourself, and lay
a sentence,50
Which, as a grise51 or step, may help these lovers
Into your favor.
When remedies are past, the griefs are ended
By seeing the worst, which late on hopes depended.
To mourn a mischief that is past and gone
Is the next way to draw new mischief on.
What cannot be preserved when fortune takes
Patience her injury a mockery makes.52
The robb’d that smiles steals something from the
thief;
He robs himself that spends a bootless53 grief.
BRABANTIO. So let the Turk of Cyprus us beguile;54
We lose it not, so long as we can smile.
He bears the sentence well that nothing bears
But the free comfort which from thence he hears,
But he bears both the sentence and the sorrow
That, to pay grief, must of poor patience borrow.55
These sentences, to sugar, or to gall,
Being strong on both sides, are equivocal:56
But words are words; I never yet did hear
That the bruised heart was pierced through the ear.57
I humbly beseech you, proceed to the affairs of state.
DUKE OF VENICE. The Turk with a most mighty
preparation makes for Cyprus. Othello, the
fortitude58 of the place is best known to you; and
though we have there a substitute59 of most allowed
sufficiency, yet opinion, a sovereign mistress of
effects, throws a more safer voice on you:60 you
must therefore be content to slubber61 the gloss of
your new fortunes with this more stubborn and
boisterous expedition.
OTHELLO. The tyrant custom, most grave senators,
Hath made the flinty and steel couch of war
My thrice-driven62 bed of down: I do agnise63
What advice does
the Duke give
Brabantio? Does
Brabantio appreciate
the advice?
!
What expedition
must Othello
undertake?
!
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34 OTHELLO, THE MOOR OF VENICE
64. natural . . . hardness. I have a natural willingness to endure hardness,
or hardship [but my wife does not].
65. fit disposition. Suitable accommodations
66. reference of place and exhibition. Place to stay and an allowance of
money
67. besort . . . breeding. Suitable company for someone of her breeding,
or status
68. To my unfolding lend your prosperous ear. Lend a sympathetic ear
to what I am about to say.
69. charter . . . assist my simpleness. Do me the honor of speaking for
me, as I am simple, or unskilled, at stating my case.
70. My downright violence and storm of fortunes. My aggressive action
in taking my fortune by storm
71. my heart’s subdued / Even to the very quality of my lord. My heart
is in perfect agreement with every quality of my husband.
72. I saw . . . in his mind. I saw Othello’s beauty in his mind, not in his
face.
73. parts. Qualities
74. moth of peace. An idle creature who feeds off peace without having
worked for it.
75. Vouch. Swear
76. Nor to comply with heat . . . defunct. Not because I want to fulfill
my lust—since I’m too old now to have those youthful urges
77. But . . . bounteous to her mind. But because I want to be generous to
Desdemona’s wishes
78. scant. Neglect
79. when light-wing’d toys . . . instruments. When love and lust get in
the way of my senses
80. disports. Sports or frolics
FOOTNOTES
a • lac • ri • ty (! lak´ r!t ē) n.,
promptness; cheerful readiness. The
plumber responded with alacrity when I
called to report a flood in my basement.
con • se • crate (kän´ s!k rāt́ ) vt.,
dedicate, as to a sacred purpose. A portion
of land outside the village was consecrated
for use as a Catholic cemetery.
be • reft (bi reft́ ) adj., deprived or
robbed (usually used with of). A terrible
accident left the children bereft of their
parents.
in • ter • im (int´ ! r!m) n., intervening
time; time in between. During the interim
between semesters, Sandra took a part-time
job.
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ACT I, SCENE iii 35
235
240
245
250
255
260
265
270
A natural and prompt alacrity
I find in hardness,64 and do undertake
These present wars against the Ottomites.
Most humbly therefore bending to your state,
I crave fit disposition65 for my wife.
Due reference of place and exhibition,66
With such accommodation and besort
As levels with her breeding.67
DUKE OF VENICE. If you please,
Be’t at her father’s.
BRABANTIO. I’ll not have it so.
OTHELLO. Nor I.
DESDEMONA. Nor I; I would not there reside,
To put my father in impatient thoughts
By being in his eye. Most gracious duke,
To my unfolding lend your prosperous ear;68
And let me find a charter in your voice,
To assist my simpleness.69
DUKE OF VENICE. What would you, Desdemona?
DESDEMONA. That I did love the Moor to live with
him,
My downright violence and storm of fortunes70
May trumpet to the world: my heart’s subdued
Even to the very quality of my lord:71
I saw Othello’s visage in his mind,72
And to his honor and his valiant parts73
Did I my soul and fortunes consecrate.
So that, dear lords, if I be left behind,
A moth of peace,74 and he go to the war,
The rites for which I love him are bereft me,
And I a heavy interim shall support
By his dear absence. Let me go with him.
OTHELLO. Let her have your voices.
Vouch75 with me, heaven, I therefore beg it not
To please the palate of my appetite,
Nor to comply with heat—the young affects
In me defunct76—and proper satisfaction;
But to be free and bounteous to her mind:77
And heaven defend your good souls, that you think
I will your serious and great business scant78
For she is with me: no, when light-wing’d toys
Of feather’d Cupid seal with wanton dullness
My speculative and officed instruments,79
That my disports80 corrupt and taint my business,
What does
Desdemona ask of
the Duke?
!
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36 OTHELLO, THE MOOR OF VENICE
81. helm. Helmet
82. indign and base adversities. Unworthy and evil opponents
83. Make head against my estimation. Raise an armed force against my
reputation
84. commission. Assignment
85. import. Concern
86. ancient. Iago
87. To his conveyance . . . wife. Iago will take care of conveying, or
bringing, Desdemona to Cyprus.
88. If virtue no delighted beauty lack. If virtue can be said to have
beauty
89. My life upon her faith! I’d bet my life on her faithfulness.
90. prithee. Pray thee
91. we must obey the time. We must hurry, as we have not much time.
FOOTNOTES
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ACT I, SCENE iii 37
275
280
285
290
295
300
Let housewives make a skillet of my helm,81
And all indign and base adversities82
Make head against my estimation!83
DUKE OF VENICE. Be it as you shall privately
determine,
Either for her stay or going: the affair cries haste,
And speed must answer it.
FIRST SENATOR. You must away to-night.
DESDEMONA. To-night, my lord?
DUKE OF VENICE. This night.
OTHELLO. With all my heart.
DUKE OF VENICE. At nine i’ the morning here we’ll
meet again.
Othello, leave some officer behind,
And he shall our commission84 bring to you;
With such things else of quality and respect
As doth import85 you.
OTHELLO. So please your grace, my ancient;86
A man he is of honest and trust:
To his conveyance I assign my wife,87
With what else needful your good grace shall think
To be sent after me.
DUKE OF VENICE. Let it be so.
Good night to every one.
[To BRABANTIO]
And, noble signior,
If virtue no delighted beauty lack,88
Your son-in-law is far more fair than black.
FIRST SENATOR. Adieu, brave Moor, use Desdemona
well.
BRABANTIO. Look to her, Moor, if thou hast eyes to see:
She has deceived her father, and may thee.
Exeunt DUKE OF VENICE, SENATORS, OFFICERS, etc.
OTHELLO. My life upon her faith!89 Honest Iago,
My Desdemona must I leave to thee:
I prithee,90 let thy wife attend on her:
And bring them after in the best advantage.
Come, Desdemona: I have but an hour
Of love, of worldly matters and direction,
To spend with thee: we must obey the time.91
Exeunt OTHELLO and DESDEMONA.
Who will escort
Desdemona to
Cyprus? What does
Othello say about
this man?
!
What ominous
warning does
Brabantio give
Othello?
!
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38 OTHELLO, THE MOOR OF VENICE
92. incontinently. At once
93. Ere. Before
94. guinea-hen. Slang term for a woman of loose character
95. fond. Foolish or overly sentimental
96. virtue. Nature
97. ’tis in ourselves . . . thus. We have the power to determine what kind
of people we will be.
98. hyssop. A fragrant herb
99. gender. Kind
100. manured with industry. Fertilized with hard work
101. corrigible authority. Ability to correct, or mend, our faults
102. unbitted. Uncoiled
103. sect or scion. Type or offshoot. Iago sees love as merely an offshoot of
lust.
104. knit to thy deserving. Devoted to your cause
105. perdurable. Extremely durable
106. stead thee. Assist you
107. defeat thy favor. Spoil your looks, or, hide your appearance
108. usurped beard. A beard that you have no right to wear [possibly
referring to the fact that Roderigo is too young to wear a beard]. Usurped
means “taken without any right.”
FOOTNOTES
a • mend (! mend´) vt., fix or change for the better. The couple went to a marriage
counselor to see if they could amend their troubled relationship.
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ACT I, SCENE iii 39
What does
Roderigo say he
will do?
!
305
310
315
320
325
330
335
340
RODERIGO. Iago,—
IAGO. What say’st thou, noble heart?
RODERIGO. What will I do, thinkest thou?
IAGO. Why, go to bed, and sleep.
RODERIGO. I will incontinently92 drown myself.
IAGO. If thou dost, I shall never love thee after. Why,
thou silly gentleman!
RODERIGO. It is silliness to live when to live is
torment; and then have we a prescription to die
when death is our physician.
IAGO. O villainous! I have looked upon the world for
four times seven years; and since I could distinguish
betwixt a benefit and an injury, I never found man
that knew how to love himself. Ere93 I would say, I
would drown myself for the love of a guinea-hen,94 I
would change my humanity with a baboon.
RODERIGO. What should I do? I confess it is my
shame to be so fond;95 but it is not in my virtue96 to
amend it.
IAGO. Virtue! a fig! ’tis in ourselves that we are thus
or thus.97 Our bodies are our gardens, to the which
our wills are gardeners: so that if we will plant
nettles, or sow lettuce, set hyssop98 and weed up
thyme, supply it with one gender99 of herbs, or
distract it with many, either to have it sterile with
idleness, or manured with industry,100 why, the
power and corrigible authority101 of this lies in our
wills. If the balance of our lives had not one scale of
reason to poise another of sensuality, the blood and
baseness of our natures would conduct us to most
preposterous conclusions. But we have reason to
cool our raging motions, our carnal stings, our
unbitted102 lusts, whereof I take this that you call
love to be a sect or scion.103
RODERIGO. It cannot be.
IAGO. It is merely a lust of the blood and a permission
of the will. Come, be a man. Drown thyself! drown
cats and blind puppies. I have professed me thy friend
and I confess me knit to thy deserving104 with cables
of perdurable105 toughness; I could never better stead
thee106 than now. Put money in thy purse; follow
thou the wars; defeat thy favor107 with an usurped
beard;108 I say, put money in thy purse. It cannot be
What does Iago
believe is more
powerful: willpower
and reason, or
emotion and
sentiment? What is
his opinion of love?
!
What does Iago say
Roderigo must do?
!
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40 OTHELLO, THE MOOR OF VENICE
109. answerable sequestration. A separation that is equally rapid (violent
here means “sudden”)
110. locusts. The sweet pods of the carob tree
111. coloquintida. A bitter fruit used to provoke vomiting
112. erring barbarian. Wandering barbarian (referring to Othello).
Barbarian, meaning “uncivilized person,” originated as a term for the people
of Barbary, a region in North Africa.
113. supersubtle. Super-refined or civilized (referring to Desdemona)
114. clean out of the way. Completely out of the question
115. fast. True
116. hearted. Whole-hearted; deeply felt
117. be conjunctive. Work together
118. cuckold. Make Othello a cuckold by sleeping with his wife. A cuckold
is a man whose lover has cheated on him.
119. Traverse! Go forward!
120. betimes. At an early hour; or, soon
FOOTNOTES
com • mence • ment (k!m men[t]s´
m!nt) n., beginning. In the Gregorian
calendar, January 1st marks the
commencement of a new year.
sanc • ti • mo • ny (sa#[k]´ t! mō´ nē) n.,
affected or hypocritical holiness. “I never
tell a lie,” sniffed Doug, with an air of
sanctimony that we all found very annoying.
Othello Act 1.qxd 1/14/05 9:30 AM Page 40

What will Roderigo
do in order to “put
money in his purse”?
ACT I, SCENE iii 41
345
350
355
360
365
370
375
380
385
that Desdemona should long continue her love to the
Moor,—put money in thy purse,—nor he his to her: it
was a violent commencement, and thou shalt see an
answerable sequestration:109—put but money in thy
purse. These Moors are changeable in their wills: fill
thy purse with money:—the food that to him now is
as luscious as locusts,110 shall be to him shortly as
bitter as coloquintida.111 She must change for youth:
when she is sated with his body, she will find the
error of her choice: she must have change, she must:
therefore put money in thy purse. If thou wilt needs
damn thyself, do it a more delicate way than
drowning. Make all the money thou canst: if
sanctimony and a frail vow betwixt an erring
barbarian112 and a supersubtle113 Venetian be not too
hard for my wits and all the tribe of hell, thou shalt
enjoy her; therefore make money. A pox of drowning
thyself! it is clean out of the way:114 seek thou rather
to be hanged in compassing thy joy than to be
drowned and go without her.
RODERIGO. Wilt thou be fast115 to my hopes, if I
depend on the issue?
IAGO. Thou art sure of me:—go, make money:—I
have told thee often, and I re-tell thee again and
again, I hate the Moor: my cause is hearted;116 thine
hath no less reason. Let us be conjunctive117 in our
revenge against him: if thou canst cuckold118 him,
thou dost thyself a pleasure, me a sport. There are
many events in the womb of time which will be
delivered. Traverse!119 go, provide thy money. We
will have more of this to-morrow. Adieu.
RODERIGO. Where shall we meet i’ the morning?
IAGO. At my lodging.
RODERIGO. I’ll be with thee betimes.120
IAGO. Go to; farewell. Do you hear, Roderigo?
RODERIGO. What say you?
IAGO. No more of drowning, do you hear?
RODERIGO. I am changed.
IAGO. Go to; farewell. Put money enough in your
purse.
RODERIGO. I’ll go sell all my land.
Exit.
Why, according to
Iago, is Othello’s
marriage destined to
fail?
!
!
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42 OTHELLO, THE MOOR OF VENICE
121. snipe. A silly or contemptible person
122. ’twixt my sheets / He has done my office. He has slept with my wife.
123. He holds me well. Othello holds me in high esteem.
124. proper. Handsome
125. plume up my will. Gratify my ego
126. knavery. Mischief; mean-spirited actions
127. He hath . . . framed to make women false. A man like Cassio, who is
good looking and charming, is made to tempt women into infidelity.
128. free. Frank; honest
FOOTNOTES
en • gen • der (in jen´ d!r) vt., bring into being. The book engendered a flurry of
controversy.
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ACT I, SCENE iii 43
How will Iago use
Cassio in his plot to
get revenge on
Othello?
!
What does Iago
say of Othello’s
nature? What can
Iago do because of it?
!
390
395
400
405
IAGO. Thus do I ever make my fool my purse:
For I mine own gain’d knowledge should profane,
If I would time expend with such a snipe121
But for my sport and profit. I hate the Moor:
And it is thought abroad, that ’twixt my sheets
He has done my office:122 I know not if’t be true;
But I, for mere suspicion in that kind,
Will do as if for surety. He holds me well;123
The better shall my purpose work on him.
Cassio’s a proper124 man: let me see now:
To get his place and to plume up my will125
In double knavery126—How, how? Let’s see:—
After some time, to abuse Othello’s ear
That he is too familiar with his wife.
He hath a person and a smooth dispose
To be suspected, framed to make women false.127
The Moor is of a free128 and open nature,
That thinks men honest that but seem to be so,
And will as tenderly be led by the nose
As asses are.
I have’t. It is engender’d. Hell and night
Must bring this monstrous birth to the world’s light.
Exit.
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Respond to the Selection
Othello and Desdemona’s marriage undergoes a serious challenge in act I. From
what you have read so far, what do you think of their relationship? Is it solid, or,
as Iago thinks, likely to fail?
Investigate, Inquire, and Imagine
Recall: GATHERING FACTS
1a. What incident has Roderigo
upset at the beginning of the
play, and why?
2a. What reasons does Iago give for
hating Othello?
3a. Why does the Duke send for
Othello? How does the Duke
resolve the dispute between
Brabantio and Othello?
Interpret: FINDING MEANING
1b. What is Roderigo’s relationship
with Iago? Is Iago a true friend to
him? Explain.
2b. How does Iago plan to get
revenge on Othello? What
specifically does he hope to gain
through his “monstrous” plot?
3b. How is Othello regarded by the
Duke and the other authorities in
Venice? How can you tell?
Analyze: TAKING THINGS APART
4a. In scene i, Othello is never
referred to by name. What terms
are used to refer to him? Of what
does Brabantio accuse him in
scene ii? What picture of Othello
is created by these references?
Synthesize: BRINGING THINGS TOGETHER
4b. What impression do you get of
Othello when he appears in scene
ii? How does the picture of Othello
from Iago, Roderigo, and
Brabantio’s point of view compare
to what Othello is really like? Are
any of these characters racists?
”
”
”
”
44 OTHELLO, THE MOOR OF VENICE
Evaluate: MAKING JUDGMENTS
5a. What kind of a person is Iago?
Does he have any real motive for
hating Othello, or is he simply an
evil and malicious person? Cite
evidence from the text—his own
words and his actions—to support
your answer.
Extend: CONNECTING IDEAS
5b. Much has been written about the
character of Iago. Some critics say
that he is not a believable character,
as he seems too transparently evil—
almost a caricature of a villain. Do
you agree? Do you believe that
there are people who are truly pure
evil, who have no conscience? How
else might you explain the
character of Iago?
”
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Understanding Literature
CENTRAL CONFLICT AND INCITING INCIDENT. A central conflict is the primary struggle
dealt with in the plot of a story or drama. The inciting incident is the event that
introduces the central conflict. What central conflict is introduced in act I of
Othello? What incident introduces this conflict?
CHARACTERIZATION. Characterization is the use of literary techniques to create a
character. In creating a character, a playwright may use the following techniques:
showing what characters themselves say, do, and think; showing what other
characters say about him or her; and showing, through stage directions or other
references, what physical features, dress, and personality the characters display.
What do you learn about Othello through his words and actions in act I? What
does he say about himself? What do others say about him?
MOTIF. A motif is any element that recurs in one or more works of literature or
art. One of the motifs running throughout Othello is the imagery of animals.
What animal images can you find in act I? To whom do they refer? Another motif
is the imagery of of light and dark. What images can you find of light and dark,
or black and white? What do darkness and the color black signify? What do light
and the color white stand for?
RESPOND TO THE SELECTION, ACT I 45
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46 OTHELLO, THE MOOR OF VENICE
ACT II, SCENE i
1. highwrought flood. Stirred-up or agitated sea
2. main. The sea (any large body of salt water)
3. ruffian’d. Raged; stormed
4. hold the mortise. Hold its joints together (A mortise is the place where
two pieces of wood are joined together, as on a ship or building.)
5. segregation. Scattering
6. chidden billow. The storm-battered sea (Chidden actually means
“scolded”; we can imagine that the sea was being scolded by the storm.)
7. mane. The water could have been spurting up to look like a lion’s
mane; or, this word could have actually been main, meaning “power.”
8. burning bear. Refers either to the constellation Ursa major (the Great
Bear, also known as the Big Dipper) or to Ursa minor (Little Bear or Little
Dipper)
9. guards . . . pole. Stars in Ursa minor that line up with the North Star
(or Pole Star)
10. enchafed. Enraged
11. tempest. Storm
12. their designment halts. Their plans are put to a stop.
13. Veronesa. From the city of Verona. The ship may have been built in
Verona and sold to the Venetians. Or, it could be that Shakespeare made a
mistake here, accidentally calling Cassio a Veronese instead of a Florentine.
14. in full commission. With full authority
FOOTNOTES
quay (kē´) n., structure built as a landing
place along water. The fishing boat docked
at the quay to unload two tons of fish.
cape (kāp´) n., land formation that juts
out into the water as a point or a
peninsula. Our family took a trip to Cape
Cod in Massachusetts.
dis • cern (dis !rn´, diz !rn´) vt., detect
with the eyes. Looking through the
microscope at the tissue sample, I could
discern the outlines of cells.
des • cry (diz skr”̄´) vt., catch sight of. The
hiker descried the outline of a person coming
toward her in the fog.
pelt (pelt́ ) v., strike with blows or with
thrown objects; beat or dash repeatedly
against. The angry child pelted the ground
with her fists.
griev • ous (grē´ v!s) adj., serious;
characterized by severe pain, suffering, or
sorrow. The criminal had inflicted grievous
wrongs on his victims, yet he felt no
remorse.
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What is the setting
of this scene? What is
happening out at
sea?
ACT II, SCENE i 47
!
5
10
15
20
25
ACT II
SCENE i: A Sea-port in Cyprus.
An open place near the quay.
Enter MONTANO and two GENTLEMEN.
MONTANO. What from the cape can you discern at
sea?
FIRST GENTLEMAN. Nothing at all: it is a highwrought
flood.1
I cannot, ’twixt the heaven and the main,2
Descry a sail.
MONTANO. Methinks the wind hath spoke aloud at
land;
A fuller blast ne’er shook our battlements.
If it hath ruffian’d3 so upon the sea,
What ribs of oak, when mountains melt on them,
Can hold the mortise?4 What shall we hear of this?
SECOND GENTLEMAN. A segregation5 of the Turkish
fleet:
For do but stand upon the foaming shore,
The chidden billow6 seems to pelt the clouds;
The wind-shaked surge, with high and monstrous
mane,7
Seems to cast water on the burning bear,8
And quench the guards of the ever-fixed pole:9
I never did like molestation view
On the enchafed10 flood.
MONTANO. If that the Turkish fleet
Be not enshelter’d and embay’d, they are drown’d:
It is impossible they bear it out.
Enter a third GENTLEMAN.
THIRD GENTLEMAN. News, lads! our wars are done.
The desperate tempest11 hath so bang’d the Turks,
That their designment halts.12 A noble ship of Venice
Hath seen a grievous wreck and sufferance
On most part of their fleet.
MONTANO. How! is this true?
THIRD GENTLEMAN. The ship is here put in,
A Veronesa;13 Michael Cassio,
Lieutenant to the warlike Moor Othello,
Is come on shore: the Moor himself at sea,
And is in full commission14 here for Cyprus.
What has
happened to the
Turkish fleet? Where
is Othello?
!
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48 OTHELLO, THE MOOR OF VENICE
FOOTNOTES
15. governor. Commander of a ship [speaking of Othello]
16. till we make the main and the aerial blue / An indistinct regard.
Until we can no longer tell the difference between the sea and the sky.
17. His bark is stoutly timber’d. His ship is made of strong timbers.
18. pilot. One who steers the ship
19. my hopes . . . bold cure. My hopes, not overindulged, have a good
chance of being fulfilled.
20. brow. Edge
21. My hopes . . . governor. I hope that is Othello’s ship.
22. shot of courtesy. The ship fired a cannon shot as a signal to the
citadel, indicating that it is a Venetian ship, not an enemy ship.
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ACT II, SCENE i 49
30
35
40
45
50
55
MONTANO. I am glad on’t; ’tis a worthy governor.15
THIRD GENTLEMAN. But this same Cassio, though he
speak of comfort
Touching the Turkish loss, yet he looks sadly,
And prays the Moor be safe; for they were parted
With foul and violent tempest.
MONTANO. Pray heavens he be;
For I have served him, and the man commands
Like a full soldier. Let’s to the seaside, ho!
As well to see the vessel that’s come in
As to throw out our eyes for brave Othello,
Even till we make the main and the aerial blue
An indistinct regard.16
THIRD GENTLEMAN. Come, let’s do so:
For every minute is expectancy
Of more arrivance.
Enter CASSIO.
CASSIO. Thanks, you the valiant of this warlike isle,
That so approve the Moor! O, let the heavens
Give him defense against the elements,
For I have lost us him on a dangerous sea.
MONTANO. Is he well shipp’d?
CASSIO. His bark is stoutly timber’d,17 his pilot18
Of very expert and approved allowance;
Therefore my hopes, not surfeited to death,
Stand in bold cure.19
A cry within: “A sail, a sail, a sail!”
Enter a fourth GENTLEMAN.
CASSIO. What noise?
FOURTH GENTLEMAN. The town is empty; on the
brow20 o’ the sea
Stand ranks of people, and they cry “A sail!”
CASSIO. My hopes do shape him for the governor.21
Guns heard.
SECOND GENTLEMEN. They do discharge their shot of
courtesy:22
Our friends at least.
CASSIO. I pray you, sir, go forth,
And give us truth who ’tis that is arrived.
SECOND GENTLEMAN. I shall.
Exit.
What does
Montano think of
Othello?
!
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50 OTHELLO, THE MOOR OF VENICE
23. wived. Married
24. paragons description. Surpasses all description
25. quirks. Inventive quips or clever phrases
26. blazoning. Proclaiming
27. in the essential vesture . . . ingener. Desdemona is so beautifully
clothed, or endowed, with virtue by her creator that describing her
adequately would exhaust anyone who tried. (Ingener, an old spelling of
engineer, here means an “author.”)
28. put in. Come into harbor
29. H’as. He has
30. gutter’d. Jagged
31. congregated. Massed together, as in a sandbar
32. Traitors . . . keel. The rocks and sands are traitors submerged in the
water to hinder or obstruct the innocent ships. (The keel of a ship is the
central ridge that runs along the bottom of the hull.)
33. omit / Their mortal natures. Abandon their deadly ways
34. footing. Landing
35. anticipates . . . se’nnight’s speed. A week (seven nights) ahead of time
36. Jove. Another name for Jupiter, the king of the Roman gods,
equivalent to Zeus in Greek mythology
37. extincted. Extinguished
38. let her have your knees. Kneel to her.
39. Enwheel. Encircle
40. How lost you company? How did you come to be separated from
Othello?
FOOTNOTES
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ACT II, SCENE i 51
Who has just
arrived with
Desdemona? How
does Cassio greet
Desdemona?
!
60
65
70
75
80
85
90
MONTANO. But, good lieutenant, is your general
wived?23
CASSIO. Most fortunately: he hath achieved a maid
That paragons description24 and wild fame;
One that excels the quirks25 of blazoning26 pens,
And in the essential vesture of creation
Does tire the ingener.27
Re-enter second GENTLEMAN.
How now! who has put in?28
SECOND GENTLEMAN. ’Tis one Iago, ancient to the
general.
CASSIO. H’as29 had most favourable and happy speed:
Tempests themselves, high seas, and howling winds,
The gutter’d30 rocks and congregated31 sands—
Traitors ensteep’d to clog the guiltless keel,32—
As having sense of beauty, do omit
Their mortal natures,33 letting go safely by
The divine Desdemona.
MONTANO. What is she?
CASSIO. She that I spake of, our great captain’s
captain,
Left in the conduct of the bold Iago,
Whose footing34 here anticipates our thoughts
A se’nnight’s speed.35 Great Jove,36 Othello guard,
And swell his sail with thine own powerful breath,
That he may bless this bay with his tall ship,
Make love’s quick pants in Desdemona’s arms,
Give renew’d fire to our extincted37 spirits
And bring all Cyprus comfort!
Enter DESDEMONA, EMILIA, IAGO, RODERIGO, and
ATTENDANTS.
O, behold,
The riches of the ship is come on shore!
Ye men of Cyprus, let her have your knees.38
Hail to thee, lady! and the grace of heaven,
Before, behind thee, and on every hand,
Enwheel39 thee round!
DESDEMONA. I thank you, valiant Cassio.
What tidings can you tell me of my lord?
CASSIO. He is not yet arrived: nor know I aught
But that he’s well and will be shortly here.
DESDEMONA. O, but I fear—How lost you company?40
What does Cassio
think of Desdemona?
!
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52 OTHELLO, THE MOOR OF VENICE
41. contention of the sea and skies. Quarrel of the sea and sky; storm
42. a friend. That is, not an enemy ship
43. extend my manners. Greet your wife with a kiss. (This was a
customary greeting.)
44. she has no speech. She doesn’t talk back (or talk too much).
45. list. Desire
46. before your ladyship. When you, Desdemona, are present
47. with thinking. Without words
48. Bells. That is, always making lots of noise, with tongues moving like
the clapper of a bell
49. Saints in your injuries. Delivering insults in a holier-than-thou
manner
50. housewives. Hussies
FOOTNOTES
cit • a • del (sit´ ! del, sit´ !d !l) n.,
fortress that commands a city; or, a
fortified part of a city. The Acropolis is an
ancient citadel in Athens, Greece.
chide (ch”̄ d´) vt., scold or voice
disapproval. I chided myself for the silly
error.
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ACT II, SCENE i 53
How does Cassio
greet Emilia?
!
95
100
105
110
115
CASSIO. The great contention of the sea and skies41
Parted our fellowship—But, hark! a sail.
Within: “A sail, a sail!” Guns heard.
SECOND GENTLEMAN. They give their greeting to the
citadel;
This likewise is a friend.42
CASSIO. See for the news.
Exit GENTLEMAN.
Good ancient, you are welcome.
To EMILIA.
Welcome, mistress.
Let it not gall your patience, good Iago,
That I extend my manners;43 ’tis my breeding
That gives me this bold show of courtesy.
Kissing her.
IAGO. Sir, would she give you so much of her lips
As of her tongue she oft bestows on me,
You’ll have enough.
DESDEMONA. Alas, she has no speech.44
IAGO. In faith, too much;
I find it still, when I have list45 to sleep:
Marry, before your ladyship,46 I grant,
She puts her tongue a little in her heart,
And chides with thinking.47
EMILIA. You have little cause to say so.
IAGO. Come on, come on; you are pictures out of
doors,
Bells48 in your parlors, wild-cats in your kitchens,
Saints in your injuries,49 devils being offended,
Players in your housewifery, and housewives50 in
your beds.
DESDEMONA. O, fie upon thee, slanderer!
IAGO. Nay, it is true, or else I am a Turk:
You rise to play and go to bed to work.
EMILIA. You shall not write my praise.
IAGO. No, let me not.
DESDEMONA. What wouldst thou write of me, if thou
shouldst praise me?
IAGO. O gentle lady, do not put me to’t;
For I am nothing, if not critical.
What is Iago’s
opinion of women?
!
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54 OTHELLO, THE MOOR OF VENICE
51. assay. Try
52. I do beguile / The thing I am. I distract my anxious self
53. invention / Comes from my pate as birdlime . . . from frize. Ideas
come from my head with as much difficulty as paste is removed from
woolen cloth. Pate: head; birdlime: a sticky paste used to trap birds; frize or
frieze: a coarse woolen cloth. Iago’s ideas indeed are akin to birdlime—they
are intended to entrap others.
54. Muse. In Greek mythology, one of the nine goddesses, daughters of
Zeus and Mnemonsyne (Memory), who were said to inspire learning and the
arts
55. black. Dark-haired or dark-complected; not black as in African
56. white. Here, a pun on wight, meaning “a person”
57. folly help’d her to an heir. Another play on words. Folly could mean
either “foolishness” or “wantonness.” Iago hints that wantonness, or lust,
could help a fair woman win a rich husband.
58. fond. Silly
59. thereunto. In addition
60. put on the vouch. Win the approval
61. Had tongue at will. Could speak freely
62. gay. Showily or gaudily dressed
63. Fled from her wish . . . “Now I may.” Denied herself something that
she could have had free access to
64. Bade her wrong stay. Endured her pain [rather than avenge it]
65. change . . . tail. Exchange something good for something worthless.
Possibly an old proverb that is no longer in use today.
66. wight. A person
FOOTNOTES
par • a • dox (par´ ! däks´) n., seemingly
contradictory statement or idea. The
statement “I never tell the truth” is a
paradox.
mal • ice (mal´ !s) n., wickedness.
Although the child claimed that he had
broken the toy accidentally, I sensed that he
had done it out of malice.
suit • or (sü´ t!r) n., one who courts a
woman or seeks to marry her; also,
anyone who petitions or entreats. The
popular girl had many suitors, but rejected
them all because she was too busy to have a
relationship.
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ACT II, SCENE i 55
What praise does
Iago have for
Desdemona? Why is
it somewhat of a
backhanded
compliment?
!
120
125
130
135
140
145
150
155
DESDEMONA. Come on, assay.51 There’s one gone to
the harbor?
IAGO. Ay, madam.
DESDEMONA. I am not merry; but I do beguile
The thing I am,52 by seeming otherwise.
Come, how wouldst thou praise me?
IAGO. I am about it; but indeed my invention
Comes from my pate as birdlime does from frize;53
It plucks out brains and all: but my Muse54 labors,
And thus she is deliver’d.
If she be fair and wise, fairness and wit,
The one’s for use, the other useth it.
DESDEMONA. Well praised! How if she be black55 and
witty?
IAGO. If she be black, and thereto have a wit,
She’ll find a white56 that shall her blackness fit.
DESDEMONA. Worse and worse.
EMILIA. How if fair and foolish?
IAGO. She never yet was foolish that was fair;
For even her folly help’d her to an heir.57
DESDEMONA. These are old fond58 paradoxes to make
fools laugh i’ the alehouse. What miserable praise
hast thou for her that’s foul and foolish?
IAGO. There’s none so foul and foolish thereunto,59
But does foul pranks which fair and wise ones do.
DESDEMONA. O heavy ignorance! thou praisest the
worst best. But what praise couldst thou bestow on a
deserving woman indeed, one that, in the authority
of her merit, did justly put on the vouch60 of very
malice itself?
IAGO. She that was ever fair and never proud,
Had tongue at will61 and yet was never loud,
Never lack’d gold and yet went never gay,62
Fled from her wish and yet said “Now I may,”63
She that being anger’d, her revenge being nigh,
Bade her wrong stay64 and her displeasure fly,
She that in wisdom never was so frail
To change the cod’s head for the salmon’s tail;65
She that could think and ne’er disclose her mind,
See suitors following and not look behind,
She was a wight,66 if ever such wight were,—
DESDEMONA. To do what?
Using the footnote,
explain the pun on
white and wight.
!
According to Iago,
what do all women
do, whether foul or
fair, foolish or wise?
!
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56 OTHELLO, THE MOOR OF VENICE
67. suckle fools . . . beer. Raise children and keep petty household
accounts
68. liberal. Here, it means too free with his words, lacking moral restraint.
69. home. Directly; bluntly
70. well said. Well done
71. I will gyve thee in thine own courtship. I will use your very courtly
behavior as a means to entrap you. (A gyve was a shackle used on a
prisoner’s legs.)
72. kissed your three fingers. A gesture of admiration
73. play the sir. Behave in a courtly manner
74. clyster-pipes. Syringes
75. Olympus-high. As high as Mount Olympus, a mountain in Greece
believed by the ancients to be the home of the gods
76. Succeeds. Follows
FOOTNOTES
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ACT II, SCENE i 57
What will Iago use
to snare Cassio?
!
160
165
170
175
180
185
190
IAGO. To suckle fools and chronicle small beer.67
DESDEMONA. O most lame and impotent conclusion!
Do not learn of him, Emilia, though he be thy
husband. How say you, Cassio? Is he not a most
profane and liberal68 counsellor?
CASSIO. He speaks home,69 madam: You may relish
him more in the soldier than in the scholar.
IAGO. [Aside] He takes her by the palm: ay, well
said,70 whisper: with as little a web as this will I
ensnare as great a fly as Cassio. Ay, smile upon her,
do; I will gyve thee in thine own courtship.71 You
say true; ’tis so, indeed: if such tricks as these strip
you out of your lieutenantry, it had been better you
had not kissed your three fingers72 so oft, which
now again you are most apt to play the sir73 in. Very
good; well kissed! an excellent courtesy! ’tis so,
indeed. Yet again your fingers to your lips? Would
they were clyster-pipes74 for your sake!
[Trumpet within]
The Moor! I know his trumpet.
CASSIO. ’Tis truly so.
DESDEMONA. Let’s meet him and receive him.
CASSIO. Lo, where he comes!
Enter OTHELLO and ATTENDANTS.
OTHELLO. O my fair warrior!
DESDEMONA. My dear Othello!
OTHELLO. It gives me wonder great as my content
To see you here before me. O my soul’s joy!
If after every tempest come such calms,
May the winds blow till they have waken’d death!
And let the laboring bark climb hills of seas
Olympus-high75 and duck again as low
As hell’s from heaven! If it were now to die,
’Twere now to be most happy; for, I fear,
My soul hath her content so absolute
That not another comfort like to this
Succeeds76 in unknown fate.
DESDEMONA. The heavens forbid
But that our loves and comforts should increase,
Even as our days do grow!
What does Othello
say he is likely never
to have again? Why
might these words be
prophetic?
!
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58 OTHELLO, THE MOOR OF VENICE
77. here. In my heart
78. set down the pegs. Turn the pegs on a stringed instrument, so as to
put it out of tune
79. well desired. Warmly welcomed
80. prattle out of fashion. Chatter on without regard to politeness
81. coffers. Trunks
82. master. The ship’s captain
83. challenge. Demand
84. presently. Immediately
85. base men. Men of low birth
86. list. Listen to
87. court of guard. A group of soldiers stationed on guard or as sentinels.
Cassio will be in charge of watching over this group.
88. directly. Completely
89. thus. On the lips (in other words, be silent)
90. the devil. Refers to Othello, as the devil was said to be black in color.
91. favor. Good looks
92. conveniences. Agreements; compatibilities
FOOTNOTES
dis • cord (dis´ ko
.
[!]rd) n., lack of
agreement or harmony. Family discord
tends to increase around the holidays.
sa • ti • ety (s! t”̄ ´ !t ē) n., state of being
satisfied fully or to excess. After the huge
meal, the diners let out a groan of satiety.
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ACT II, SCENE i 59
What lie does Iago
tell Roderigo?
!
195
200
205
210
215
220
225
230
OTHELLO. Amen to that, sweet powers!
I cannot speak enough of this content;
It stops me here;77 it is too much of joy:
And this, and this, the greatest discords be
[Kissing her]
That e’er our hearts shall make!
IAGO. [Aside] O, you are well tuned now!
But I’ll set down the pegs78 that make this music,
As honest as I am.
OTHELLO. Come, let us to the castle.
News, friends; our wars are done, the Turks are
drown’d.
How does my old acquaintance of this isle?
Honey, you shall be well desired79 in Cyprus;
I have found great love amongst them. O my sweet,
I prattle out of fashion,80 and I dote
In mine own comforts. I prithee, good Iago,
Go to the bay and disembark my coffers:81
Bring thou the master82 to the citadel;
He is a good one, and his worthiness
Does challenge83 much respect. Come, Desdemona,
Once more, well met at Cyprus.
Exeunt OTHELLO, DESDEMONA, and ATTENDANTS.
IAGO. [To an ATTENDANT as he goes out] Do thou meet
me presently84 at the harbor. [To RODERIGO] Come
hither. If thou be’st valiant,—as, they say, base
men85 being in love have then a nobility in their
natures more than is native to them—list86 me. The
lieutenant tonight watches on the court of
guard:87—first, I must tell thee this—Desdemona is
directly88 in love with him.
RODERIGO. With him! why, ’tis not possible.
IAGO. Lay thy finger thus,89 and let thy soul be
instructed. Mark me with what violence she first
loved the Moor, but for bragging and telling her
fantastical lies: and will she love him still for
prating? let not thy discreet heart think it. Her eye
must be fed; and what delight shall she have to look
on the devil?90 When the blood is made dull with
the act of sport, there should be, again to inflame it
and to give satiety a fresh appetite, loveliness in
favor,91 sympathy in years, manners and beauties; all
which the Moor is defective in: now, for want of
these required conveniences,92 her delicate
According to Iago,
why will Desdemona
reject Othello?
Whom does he claim
will be Desdemona’s
second choice?
!
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60 OTHELLO, THE MOOR OF VENICE
93. heave the gorge. Feel like vomiting
94. pregnant. Clear, obvious, convincing (as of an argument)
95. no further conscionable . . . humane seeming. Not really
conscientious, or bound by his conscience, but rather just pretending to be
civil and polite
96. salt. Lusty; lecherous (referring to Cassio’s affections)
97. slipper. Slippery
98. counterfeit advantages. Invent opportunities
99. green. Young; inexperienced
100. condition. Character
101. Lechery. Overindulgence of lust
102. index. Table of contents (which, along with the prologue, forms the
front matter of Iago’s “history of lust”)
103. obscure. Hidden; secret
104. mutualities. Exchanges
105. hard at hand. Soon
106. incorporate. Carnal; sexual
107. tainting. Discrediting
108. minister. Provide
109. haply. Likely
FOOTNOTES
em • i • nent (em´ ! n!nt) adj.,
prominent; standing out. The eminent
scientist was often called upon to make
television appearances.
vol • u • ble (väl´ y! b!l) adj., marked by
ease and fluency in speech; glib. Kendra
was as voluble as her sister was tongue-tied.
pes • ti • lent (pes´ t! l!nt) adj., causing
displeasure or annoyance; extremely
disagreeable. My pestilent neighbor spread
foul rumors about me.
cho • ler (kä´ l!r) n., anger, irateness. Sara
was even-tempered, whereas her brother
was prone to fits of choler.
pro • voke (pr! vōk´) vt., incite to anger.
The bullfighter provoked his opponent by
waving his cape near the animal’s nose.
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ACT II, SCENE i 61
What does
Roderigo refuse to
believe about
Desdemona?
!
235
240
245
250
255
260
265
270
275
tenderness will find itself abused, begin to heave the
gorge,93 disrelish and abhor the Moor; very nature
will instruct her in it and compel her to some
second choice. Now, sir, this granted,—as it is a most
pregnant94 and unforced position—who stands so
eminent in the degree of this fortune as Cassio does?
a knave very voluble; no further conscionable than
in putting on the mere form of civil and humane
seeming,95 for the better compassing of his salt96
and most hidden loose affection? why, none; why,
none: a slipper97 and subtle knave, a finder of
occasions, that has an eye can stamp and counterfeit
advantages,98 though true advantage never present
itself; a devilish knave. Besides, the knave is
handsome, young, and hath all those requisites in
him that folly and green99 minds look after: a
pestilent complete knave; and the woman hath
found him already.
RODERIGO. I cannot believe that in her; she’s full of
most blessed condition.100
IAGO. Blessed fig’s-end! the wine she drinks is made
of grapes: if she had been blessed, she would never
have loved the Moor. Blessed pudding! Didst thou
not see her paddle with the palm of his hand? didst
not mark that?
RODERIGO. Yes, that I did; but that was but courtesy.
IAGO. Lechery,101 by this hand; an index102 and
obscure103 prologue to the history of lust and foul
thoughts. They met so near with their lips that their
breaths embraced together. Villanous thoughts,
Roderigo! when these mutualities104 so marshal the
way, hard at hand105 comes the master and main
exercise, the incorporate106 conclusion, Pish! But, sir,
be you ruled by me: I have brought you from Venice.
Watch you to-night; for the command, I’ll lay’t
upon you. Cassio knows you not. I’ll not be far from
you: do you find some occasion to anger Cassio,
either by speaking too loud, or tainting107 his
discipline; or from what other course you please,
which the time shall more favorably minister.108
RODERIGO. Well.
IAGO. Sir, he is rash and very sudden in choler, and
haply109 may strike at you: provoke him, that he
may; for even out of that will I cause these of Cyprus
What is the next
step in Iago’s plan?
!
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62 OTHELLO, THE MOOR OF VENICE
110. whose qualification . . . taste again. Cyprus will not be appeased or
brought back into a satisfactory state again.
111. prefer. Advance
112. I warrant thee. I guarantee you
113. apt and of great credit. Likely and credible
114. howbeit. Although
115. peradventure. Perhaps
116. I stand accountant . . . sin. I can be considered guilty of that sin, too
(that is, he does lust after Desdemona).
117. diet. Feed
118. leap’d into my seat. Taken my place, i.e., slept with my wife
119. inwards. Innards
120. this poor trash of Venice. Roderigo
121. trash. In hunting, to trash meant to hold back a hound by means of a
leash. Iago is holding Roderigo back until the moment is right to set him on
Cassio.
122. stand the putting on. Respond to my inciting
123. on the hip. Where I want him (a wrestling term)
124. in the rank garb. In the worst way; using gross terms
125. I fear Cassio . . . too. I fear that Cassio has slept with my wife, too.
126. practicing upon. Plotting against
127. Knavery’s plain face . . . used. Critic W. J. Rolfe reads the line thus:
“The full design of knavery is never visible until the moment comes for its
being put into practice.”
FOOTNOTES
mu • ti • ny (myüt´ ! ne) n., revolt against
authority, esp. of a naval crew. In the novel
Treasure Island, the villain Long John Silver
organizes a mutiny against the ship captain.
im • ped • i • ment (im ped´ ! m!nt) n.,
obstacle; something that impedes. One of
the major impediments to our project was
lack of sufficient funds.
egre • gious • ly (i gre´ j!s le) adv., in a
way that is obviously or conspicuously bad:
glaringly. Ryan knew he could never forgive his
friend for having insulted him so egregiously.
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ACT II, SCENE i 63
What is Iago’s true
opinion of Othello
and his marriage to
Desdemona? How
does he really feel
about Desdemona?
!
280
285
290
295
300
305
310
315
to mutiny; whose qualification shall come into no
true taste again110 but by the displanting of Cassio.
So shall you have a shorter journey to your desires
by the means I shall then have to prefer111 them;
and the impediment most profitably removed,
without the which there were no expectation of our
prosperity.
RODERIGO. I will do this, if I can bring it to any
opportunity.
IAGO. I warrant thee.112 Meet me by and by at the
citadel: I must fetch his necessaries ashore. Farewell.
RODERIGO. Adieu.
Exit.
IAGO. That Cassio loves her, I do well believe it;
That she loves him, ’tis apt and of great credit:113
The Moor, howbeit114 that I endure him not,
Is of a constant, loving, noble nature,
And I dare think he’ll prove to Desdemona
A most dear husband. Now, I do love her too;
Not out of absolute lust, though peradventure115
I stand accountant for as great a sin,116
But partly led to diet117 my revenge,
For that I do suspect the lusty Moor
Hath leap’d into my seat;118 the thought whereof
Doth, like a poisonous mineral, gnaw my inwards;119
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 judgment cannot cure. Which thing to do,
If this poor trash of Venice,120 whom I trash121
For his quick hunting, stand the putting on,122
I’ll have our Michael Cassio on the hip,123
Abuse him to the Moor in the rank garb124—
For I fear Cassio with my night-cap too125—
Make the Moor thank me, love me and reward me.
For making him egregiously an ass
And practicing upon126 his peace and quiet
Even to madness. ’Tis here, but yet confused:
Knavery’s plain face is never seen till used.127
Exit.
What does Iago
claim, again, as his
reason for wanting
revenge on Othello?
How will he get his
revenge?
!
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64 OTHELLO, THE MOOR OF VENICE
ACT II, SCENE ii
1. mere perdition. Absolute destruction
2. addiction. Inclination or desire
3. offices. The parts of a house devoted to household work and service,
such as its kitchens, pantries, and cellars, as well as its laundry and stables.
“All offices are open” essentially means, “We’re ready to serve you.”
ACT II, SCENE iii
1. Not to outsport discretion. So as not to overdo our sport, or take our
partying too far
2. cast. Dismissed
FOOTNOTES
nup • tial (n!p´ sh!l, n!p´ sh! w!l) n., marriage; wedding [usu. used in plural]. The
couple’s nuptials took place the first Saturday in June.
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ACT II, SCENE iii 65
What two happy
occasions will be
celebrated at
tonight’s feast?
!
SCENE ii: A street.
Enter a HERALD with a proclamation; PEOPLE following.
HERALD. It is Othello’s pleasure, our noble and
valiant general, that, upon certain tidings now
arrived, importing the mere perdition1 of the
Turkish fleet, every man put himself into triumph;
some to dance, some to make bonfires, each man to
what sport and revels his addiction2 leads him: for,
besides these beneficial news, it is the celebration of
his nuptial. So much was his pleasure should be
proclaimed. All offices3 are open, and there is full
liberty of feasting from this present hour of five till
the bell have told eleven. Heaven bless the isle of
Cyprus and our noble general Othello!
Exeunt.
SCENE iii: A hall in the castle.
Enter OTHELLO, DESDEMONA, CASSIO, and ATTENDANTS.
OTHELLO. Good Michael, look you to the guard to-
night:
Let’s teach ourselves that honorable stop,
Not to outsport discretion.1
CASSIO. Iago hath direction what to do;
But, notwithstanding, with my personal eye
Will I look to’t.
OTHELLO. Iago is most honest.
Michael, good night: to-morrow with your earliest
Let me have speech with you.
[To DESDEMONA]
Come, my dear love,
The purchase made, the fruits are to ensue;
That profit’s yet to come ’tween me and you.
Good night.
Exeunt OTHELLO, DESDEMONA, and ATTENDANTS.
Enter IAGO.
CASSIO. Welcome, Iago; we must to the watch.
IAGO. Not this hour, lieutenant; ’tis not yet ten o’
the clock. Our general cast2 us thus early for the love
of his Desdemona; who let us not therefore blame:
he hath not yet made wanton the night with her;
and she is sport for Jove.
Read lines 14–28.
What suggestive
comments does Iago
make about
Desdemona? How does
Cassio respond to his
insinuating comments?
!
5
10
5
10
15
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66 OTHELLO, THE MOOR OF VENICE
3. sounds a parley of provocation. Invites talk of love
4. alarum. Trumpet signal
5. stoup. A large jar or cask
6. brace of Cyprus gallants. A group of young men from Cyprus
7. would fain. Would be eager to
8. a measure. A drink
9. craftily qualified. Diluted, to make it less strong
10. behold, what innovation it makes here. Look what effect it has had
on me already.
11. it dislikes me. I don’t like it.
12. To Desdemona . . . caroused. Drunk to Desdemona’s health
13. Potations pottle-deep. Alcoholic drinks by the pottle-full (a pottle
being a drinking vessel holding about a half a gallon)
14. swelling. Prideful
FOOTNOTES
in • fir • mi • ty (in f!r´ m!t ē) n., personal failing; defect. I am aware of my infirmities
and constantly try to improve myself.
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ACT II, SCENE iii 67
Why does Cassio
hesitate to join Iago
and the others for
drinks?
!
20
25
30
35
40
45
50
55
CASSIO. She’s a most exquisite lady.
IAGO. And, I’ll warrant her, full of game.
CASSIO. Indeed, she’s a most fresh and delicate
creature.
IAGO. What an eye she has! Methinks it sounds a
parley of provocation.3
CASSIO. An inviting eye; and yet methinks right
modest.
IAGO. And when she speaks, is it not an alarum4 to
love?
CASSIO. She is indeed perfection.
IAGO. Well, happiness to their sheets! Come,
lieutenant, I have a stoup5 of wine; and here without
are a brace of Cyprus gallants6 that would fain7 have
a measure8 to the health of black Othello.
CASSIO. Not to-night, good Iago: I have very poor
and unhappy brains for drinking: I could well wish
courtesy would invent some other custom of
entertainment.
IAGO. O, they are our friends; but one cup: I’ll drink
for you.
CASSIO. I have drunk but one cup to-night, and that
was craftily qualified9 too, and, behold, what
innovation it makes here:10 I am unfortunate in the
infirmity, and dare not task my weakness with any
more.
IAGO. What, man! ’tis a night of revels: the gallants
desire it.
CASSIO. Where are they?
IAGO. Here at the door; I pray you, call them in.
CASSIO. I’ll do’t; but it dislikes me.11
Exit.
IAGO. If I can fasten but one cup upon him,
With that which he hath drunk to-night already,
He’ll be as full of quarrel and offense
As my young mistress’ dog. Now, my sick fool
Roderigo,
Whom love hath turn’d almost the wrong side out,
To Desdemona hath to-night caroused12
Potations pottle-deep;13 and he’s to watch:
Three lads of Cyprus, noble swelling14 spirits,
How will Iago use
Cassio’s weakness to
further his plot?
!
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68 OTHELLO, THE MOOR OF VENICE
15. hold their honors in a wary distance. Are very sensitive when it
comes to their honor
16. If . . . dream. If things go as I hope they will
17. rouse. A full draught of liquor
18. canakin. Diminutive form of can: a small can or drinking vessel
19. span. A short stretch of time
20. potent in potting. Skilled at drinking alcohol
21. swag-bellied. Having a big, hanging paunch (caused by drinking too
much liquor)
22. Hollander. A Dutch soldier. In Shakespeare’s time, the English and the
Dutch were allies, and Dutch soldiers often fought alongside the British.
23. Almain. German soldier (from Old French aleman; modern French
allemand)
24. I’ll do you justice. I’ll drink to your toast.
25. crown. An old British coin worth five shillings or about sixty pence
26. He held them sixpence all too dear. He believed they were overpriced
by six pence.
FOOTNOTES
fa • ci • li • ty (f! sil´ !t ē) n., ease. Laura’s facility with numbers led her to a career as an
accountant.
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ACT II, SCENE iii 69
60
65
70
75
80
85
90
That hold their honors in a wary distance,15
The very elements of this warlike isle,
Have I to-night fluster’d with flowing cups,
And they watch too. Now, ’mongst this flock of
drunkards,
Am I to put our Cassio in some action
That may offend the isle.—But here they come:
If consequence do but approve my dream,16
My boat sails freely, both with wind and stream.
Re-enter CASSIO; with him MONTANO and GENTLEMEN;
SERVANTS following with wine.
CASSIO. ’Fore God, they have given me a rouse17
already.
MONTANO. Good faith, a little one; not past a pint,
as I am a soldier.
IAGO. Some wine, ho!
[Sings]
“And let me the canakin18 clink, clink;
And let me the canakin clink
A soldier’s a man;
A life’s but a span;19
Why, then, let a soldier drink.”
Some wine, boys!
CASSIO. ’Fore God, an excellent song.
IAGO. I learned it in England, where, indeed, they
are most potent in potting:20 your Dane, your
German, and your swag-bellied21 Hollander22—
Drink, ho!—are nothing to your English.
CASSIO. Is your Englishman so expert in his drinking?
IAGO. Why, he drinks you, with facility, your Dane
dead drunk; he sweats not to overthrow your
Almain;23 he gives your Hollander a vomit, ere the
next pottle can be filled.
CASSIO. To the health of our general!
MONTANO. I am for it, lieutenant; and I’ll do you
justice.24
IAGO. O sweet England!
[Sings]
“King Stephen was a worthy peer,
His breeches cost him but a crown;25
He held them sixpence all too dear,26
How might
Shakespeare’s
audience have
reacted on hearing
these lines about
England?
!
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70 OTHELLO, THE MOOR OF VENICE
27. lown. A loon, that is, a worthless or roguish person
28. quality. High rank
29. just equinox. Exact equivalent. That is, his vice is just as great as his
virtue.
30. watch the horologe a double set. Watch the clock two days in a row;
that is, he’ll stay up all night.
FOOTNOTES
vice (v”̄ s´) n., moral fault or failing. Procrastination is my greatest vice.
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ACT II, SCENE iii 71
Is Cassio drunk?
How do you know?
!
95
100
105
110
115
120
125
130
With that he call’d the tailor lown.27
He was a wight of high renown,
And thou art but of low degree:
’Tis pride that pulls the country down;
Then take thine auld cloak about thee.”
Some wine, ho!
CASSIO. Why, this is a more exquisite song than the
other.
IAGO. Will you hear’t again?
CASSIO. No; for I hold him to be unworthy of his
place that does those things. Well, God’s above all;
and there be souls must be saved, and there be souls
must not be saved.
IAGO. It’s true, good lieutenant.
CASSIO. For mine own part,—no offense to the
general, nor any man of quality,28—I hope to be saved.
IAGO. And so do I too, lieutenant.
CASSIO. Ay, but, by your leave, not before me; the
lieutenant is to be saved before the ancient. Let’s have
no more of this; let’s to our affairs.—Forgive us our
sins!—Gentlemen, let’s look to our business. Do not
think, gentlemen, I am drunk: this is my ancient; this
is my right hand, and this is my left: I am not drunk
now; I can stand well enough, and speak well enough.
ALL. Excellent well.
CASSIO. Why, very well then; you must not think
then that I am drunk.
Exit.
MONTANO. To the platform, masters; come, let’s set
the watch.
IAGO. You see this fellow that is gone before;
He is a soldier fit to stand by Caesar
And give direction: and do but see his vice;
’Tis to his virtue a just equinox,29
The one as long as the other: ’tis pity of him.
I fear the trust Othello puts him in.
On some odd time of his infirmity,
Will shake this island.
MONTANO. But is he often thus?
IAGO. ’Tis evermore the prologue to his sleep:
He’ll watch the horologe a double set,30
How does Iago
slyly undermine
Cassio’s reputation?
!
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72 OTHELLO, THE MOOR OF VENICE
31. Should hazard . . . infirmity. Should risk having as his lieutenant a
man with such a habitual weakness
32. twiggen. Wicker-covered
33. Staying him. Holding him back
34. mazzard. Head
FOOTNOTES
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ACT II, SCENE iii 73
Who intervenes to
stop the fight
between Cassio and
Roderigo?
!
135
140
145
150
155
If drink rock not his cradle.
MONTANO. It were well
The general were put in mind of it.
Perhaps he sees it not; or his good nature
Prizes the virtue that appears in Cassio,
And looks not on his evils: is not this true?
Enter RODERIGO.
IAGO. [Aside to him] How now, Roderigo!
I pray you, after the lieutenant; go.
Exit RODERIGO.
MONTANO. And ’tis great pity that the noble Moor
Should hazard such a place as his own second
With one of an ingraft infirmity:31
It were an honest action to say
So to the Moor.
IAGO. Not I, for this fair island:
I do love Cassio well; and would do much
To cure him of this evil—But, hark! what noise?
Cry within: “Help! help!”
Re-enter CASSIO, driving in RODERIGO.
CASSIO. You rogue! you rascal!
MONTANO. What’s the matter, lieutenant?
CASSIO. A knave teach me my duty! I’ll beat the
knave into a twiggen32 bottle.
RODERIGO. Beat me!
CASSIO. Dost thou prate, rogue?
Striking RODERIGO.
MONTANO. Nay, good lieutenant! [Staying him33]
I pray you, sir, hold your hand.
CASSIO. Let me go, sir, or I’ll knock you o’er the
mazzard.34
MONTANO. Come, come, you’re drunk.
CASSIO. Drunk!
They fight.
IAGO. [Aside to RODERIGO] Away, I say; go out, and cry
a mutiny.
Exit RODERIGO.
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74 OTHELLO, THE MOOR OF VENICE
35. Diablo. Devil (a curse)
36. Are we turn’d . . . Which heaven hath forbid the Ottomites? Are we
turned into barbarians, doing to ourselves what the Turks could not [i.e.,
defeat us]?
37. carve for. Indulge
38. Holds his soul light. Doesn’t value his soul
39. propriety. Proper self
40. In quarter. In close quarters; side by side
41. Devesting. Undressing
42. tilting. Thrusting
43. peevish odds. Foolish quarrel
44. are thus forgot. Have so forgotten yourself
FOOTNOTES
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ACT II, SCENE iii 75
160
165
170
175
180
185
Nay, good lieutenant,—alas, gentlemen;—
Help, ho!—Lieutenant,—sir,—Montano,—sir;
Help, masters!—Here’s a goodly watch indeed!
[Bell rings]
Who’s that which rings the bell?—Diablo,35 ho!
The town will rise: God’s will, lieutenant, hold!
You will be shamed for ever.
Re-enter OTHELLO and ATTENDANTS.
OTHELLO. What is the matter here?
MONTANO. ’Zounds, I bleed still;
I am hurt to the death.
Faints.
OTHELLO. Hold, for your lives!
IAGO. Hold, ho! Lieutenant,—sir—Montano,—
gentlemen,—
Have you forgot all sense of place and duty?
Hold! the general speaks to you; hold, hold, for
shame!
OTHELLO. Why, how now, ho! from whence ariseth
this?
Are we turn’d Turks, and to ourselves do that
Which heaven hath forbid the Ottomites?36
For Christian shame, put by this barbarous brawl:
He that stirs next to carve for37 his own rage
Holds his soul light;38 he dies upon his motion.
Silence that dreadful bell: it frights the isle
From her propriety.39 What is the matter, masters?
Honest Iago, that look’st dead with grieving,
Speak, who began this? on thy love, I charge thee.
IAGO. I do not know: friends all but now, even now,
In quarter,40 and in terms like bride and groom
Devesting41 them for bed; and then, but now—
As if some planet had unwitted men—
Swords out, and tilting42 one at other’s breast,
In opposition bloody. I cannot speak
Any beginning to this peevish odds;43
And would in action glorious I had lost
Those legs that brought me to a part of it!
OTHELLO. How comes it, Michael, you are thus
forgot?44
CASSIO. I pray you, pardon me; I cannot speak.
What has
happened to
Montano?
!
What does Othello
call Iago?
!
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76 OTHELLO, THE MOOR OF VENICE
45. were wont be civil. Are customarily civil
46. censure. Judgment
47. unlace. Undo
48. spend your rich opinion. Waste your good reputation
49. something now offends me. Something hurts me badly
50. blood begins my safer guides to rule. Anger is starting to take over
my powers of reason.
51. collied. Darkened
52. rout. Riot; disturbance
53. approved . . . offense. Found guilty of this offense
54. manage. Carry out
55. affined. Biased; that is, influenced by friendship with Cassio
56. execute upon him. Use the weapon on him
57. entreats his pause. Begs him to stop
FOOTNOTES
gra • vi • ty (grav´ !t ē) n., seriousness. The speaker had a tone of gravity that was
appropriate to the serious occasion.
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ACT II, SCENE iii 77
190
195
200
205
210
215
220
225
230
OTHELLO. Worthy Montano, you were wont be civil;45
The gravity and stillness of your youth
The world hath noted, and your name is great
In mouths of wisest censure:46 what’s the matter,
That you unlace47 your reputation thus
And spend your rich opinion48 for the name
Of a night-brawler? Give me answer to it.
MONTANO. Worthy Othello, I am hurt to danger:
Your officer, Iago, can inform you,—
While I spare speech, which something now offends
me,49—
Of all that I do know: nor know I aught
By me that’s said or done amiss this night;
Unless self-charity be sometimes a vice,
And to defend ourselves it be a sin
When violence assails us.
OTHELLO. Now, by heaven,
My blood begins my safer guides to rule;50
And passion, having my best judgment collied,51
Assays to lead the way: if I once stir,
Or do but lift this arm, the best of you
Shall sink in my rebuke. Give me to know
How this foul rout52 began, who set it on;
And he that is approved in this offense,53
Though he had twinn’d with me, both at a birth,
Shall lose me. What! in a town of war,
Yet wild, the people’s hearts brimful of fear,
To manage54 private and domestic quarrel,
In night, and on the court and guard of safety!
’Tis monstrous. Iago, who began’t?
MONTANO. If partially affined,55 or leagued in office,
Thou dost deliver more or less than truth,
Thou art no soldier.
IAGO. Touch me not so near:
I had rather have this tongue cut from my mouth
Than it should do offense to Michael Cassio;
Yet, I persuade myself, to speak the truth
Shall nothing wrong him. Thus it is, general.
Montano and myself being in speech,
There comes a fellow crying out for help:
And Cassio following him with determined sword,
To execute upon him.56 Sir, this gentleman
Steps in to Cassio, and entreats his pause:57
Myself the crying fellow did pursue,
Lest by his clamor—as it so fell out—
What excuse does
Montano give for his
involvement in the
brawl?
!
How does Othello
feel about the
incident? What does
he demand to know?
!
What does
Montano warn Iago
not to do?
!
What does Iago
say about Cassio?
!
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58. high in oath. Using many oaths, or curse words
59. strange indignity. Unusually extreme insult
60. patience . . . pass. Could not be patiently endured
61. mince . . . to Cassio. Making light of the matter in order to protect
Cassio
62. myself . . . surgeon. That is, I personally will make sure your wounds
are treated; Othello himself is not a surgeon.
63. sense. Hurt
78 OTHELLO, THE MOOR OF VENICE
FOOTNOTES
vile (vi[!]ĺ ) adj., morally or physically
despicable. The evil wizard wanted to take
over the country, but the superhero foiled his
vile plot.
bal • my (bäm´ ē, bälm´ ē) adj., soothing.
A balmy breeze wafted over us as we lay on
the beach.
strife (str”̄ f́ ) n., conflict or struggle; often
bitter and violent. The country’s history was
marked by constant strife, and its people
longed for peace.
best • ial (bes´ ch!l, besh´ ch!l) adj.,
of or relating to beasts. War can bring out
people’s bestial instincts.
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ACT II, SCENE iii 79
235
240
245
250
255
260
265
The town might fall in fright: he, swift of foot,
Outran my purpose; and I return’d the rather
For that I heard the clink and fall of swords,
And Cassio high in oath;58 which till to-night
I ne’er might say before. When I came back—
For this was brief—I found them close together,
At blow and thrust; even as again they were
When you yourself did part them.
More of this matter cannot I report:
But men are men; the best sometimes forget:
Though Cassio did some little wrong to him,
As men in rage strike those that wish them best,
Yet surely Cassio, I believe, received
From him that fled some strange indignity,59
Which patience could not pass.60
OTHELLO. I know, Iago,
Thy honesty and love doth mince this matter,
Making it light to Cassio.61 Cassio, I love thee
But never more be officer of mine.
Re-enter DESDEMONA, attended.
Look, if my gentle love be not raised up!
I’ll make thee an example.
DESDEMONA. What’s the matter?
OTHELLO. All’s well now, sweeting; come away to bed.
[To MONTANO] Sir, for your hurts, myself will be your
surgeon.62 Lead him off.
[MONTANO is led off.]
Iago, look with care about the town,
And silence those whom this vile brawl distracted.
Come, Desdemona: ’tis the soldiers’ life
To have their balmy slumbers waked with strife.
Exeunt all but IAGO and CASSIO.
IAGO. What, are you hurt, lieutenant?
CASSIO. Ay, past all surgery.
IAGO. Marry, heaven forbid!
CASSIO. Reputation, reputation, reputation! O, I
have lost my reputation! I have lost the immortal
part of myself, and what remains is bestial. My
reputation, Iago, my reputation!
IAGO. As I am an honest man, I thought you had
received some bodily wound; there is more sense63
in that than in reputation. Reputation is an idle and
What is Othello’s
punishment to
Cassio?
!
What does a
ruined reputation
mean to Cassio?
What does Iago say
about reputation?
!
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80 OTHELLO, THE MOOR OF VENICE
64. imposition. Something imposed by others
65. recover. Win back
66. cast in his mood. Dismissed because he is angry
67. sue to him. Appeal to him
68. slight. Worthless
69. speak parrot. Speak nonsense
70. discourse fustian. Speak in overblown gibberish
71. Hydra. A many-headed snake which, in Greek myth, was slain by
Hercules as one of his twelve labors
FOOTNOTES
in • or • di • nate (in o
.
rd´ [!]n !t) adj., exceeding reasonable limits; excessive. The vain
fashion model spent an inordinate amount of time in front of the mirror.
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ACT II, SCENE iii 81
270
275
280
285
290
295
300
305
310
most false imposition:64 oft got without merit, and
lost without deserving: you have lost no reputation
at all, unless you repute yourself such a loser. What,
man! There are ways to recover65 the general again:
you are but now cast in his mood,66 a punishment
more in policy than in malice, even so as one would
beat his offenseless dog to affright an imperious lion:
sue to him67 again, and he’s yours.
CASSIO. I will rather sue to be despised than to
deceive so good a commander with so slight,68 so
drunken, and so indiscreet an officer. Drunk? and
speak parrot?69 and squabble? swagger? swear? and
discourse fustian70 with one’s own shadow? O thou
invisible spirit of wine, if thou hast no name to be
known by, let us call thee devil!
IAGO. What was he that you followed with your
sword? What had he done to you?
CASSIO. I know not.
IAGO. Is’t possible?
CASSIO. I remember a mass of things, but nothing
distinctly; a quarrel, but nothing wherefore. O God,
that men should put an enemy in their mouths to
steal away their brains! that we should, with joy,
pleasance, revel and applause, transform ourselves
into beasts!
IAGO. Why, but you are now well enough: how
came you thus recovered?
CASSIO. It hath pleased the devil drunkenness to give
place to the devil wrath; one unperfectness shows me
another, to make me frankly despise myself.
IAGO. Come, you are too severe a moraler: as the
time, the place, and the condition of this country
stands, I could heartily wish this had not befallen;
but, since it is as it is, mend it for your own good.
CASSIO. I will ask him for my place again; he shall
tell me I am a drunkard! Had I as many mouths as
Hydra,71 such an answer would stop them all. To be
now a sensible man, by and by a fool, and presently
a beast! O strange! Every inordinate cup is unblessed
and the ingredient is a devil.
IAGO. Come, come, good wine is a good familiar
creature, if it be well used: exclaim no more against
it. And, good lieutenant, I think you think I love you.
Why is Cassio no
longer drunk?
!
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82 OTHELLO, THE MOOR OF VENICE
72. splinter. Set with splints, as to mend a broken bone
73. lay. Wager
74. I am desperate . . . here. I despair for my future if my career is ended
in this way.
75. Probal to thinking. [My advice] will prove to be reasonable and
rational to anyone who thinks about it.
76. subdue. Win over
77. honest suit. Good cause
78. fruitful. Generous
79. baptism . . . seals and symbols of redeemed sin. The “baptism” refers
to Othello’s conversion to Christianity. As a Moor, Othello was most likely
raised with the Muslim faith, and only as an adult was baptized as a
Christian. Here, Iago suggests that Othello would renounce even his
Christian faith if Desdemona asked him to do so.
80. enfetter’d. Bound or chained to, as if by fetters, or shackles on the feet
81. what she list. What she wishes
82. parallel course. The course that corresponds with these facts
83. Divinity. Theology; that is, the study of religious faith. Iago practices a
backwards theology—the “divinity of hell”—by studying Hell rather than
Heaven.
84. put on. Encourage
85. suggest . . . heavenly shows. Tempt people first by pretending to be
kind and helpful
FOOTNOTES
im • por • tune (im´ p!r tyün´, im po. r´ ch!n) vt., beg or urge with annoying
persistence. The students importuned their teacher to give them less homework.
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According to Iago,
why is his advice
“honest”? Why would
it be impossible for
anyone to accuse him
of being a villain?
ACT II, SCENE iii 83
315
320
325
330
335
340
345
350
CASSIO. I have well approved it, sir. I drunk!
IAGO. You or any man living may be drunk at some
time, man. I’ll tell you what you shall do. Our
general’s wife is now the general. I may say so in this
respect, for that he hath devoted and given up
himself to the contemplation, mark, and denotement
of her parts and graces. Confess yourself freely to her;
importune her help to put you in your place again.
She is of so free, so kind, so apt, so blessed a
disposition, she holds it a vice in her goodness not to
do more than she is requested. This broken joint
between you and her husband entreat her to
splinter;72 and, my fortunes against any lay73 worth
naming, this crack of your love shall grow stronger
than it was before.
CASSIO. You advise me well.
IAGO. I protest, in the sincerity of love and honest
kindness.
CASSIO. I think it freely; and betimes in the morning
I will beseech the virtuous Desdemona to undertake
for me: I am desperate of my fortunes if they cheque
me here.74
IAGO. You are in the right. Good night, lieutenant; I
must to the watch.
CASSIO. Good night, honest Iago.
Exit.
IAGO. And what’s he then that says I play the villain?
When this advice is free I give and honest,
Probal to thinking75 and indeed the course
To win the Moor again? For ’tis most easy
The inclining Desdemona to subdue76
In any honest suit:77 she’s framed as fruitful78
As the free elements. And then for her
To win the Moor—were’t to renounce his baptism,
All seals and symbols of redeemed sin,79
His soul is so enfetter’d80 to her love,
That she may make, unmake, do what she list,81
Even as her appetite shall play the god
With his weak function. How am I then a villain
To counsel Cassio to this parallel course,82
Directly to his good? Divinity83 of hell!
When devils will the blackest sins put on,84
They do suggest at first with heavenly shows,85
According to Iago,
what should Cassio
do to win back the
general’s favor?
!
!
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84 OTHELLO, THE MOOR OF VENICE
86. Plies. Appeals to; begs
87. repeals him. Asks for Cassio to be reinstated as lieutenant
88. one that fills up the cry. One that goes along with the pack
89. cudgelled. Beaten
90. issue. Result
91. dilatory. Slow; tending to cause delay
92. cashier’d Cassio. Caused Cassio to be discharged from his position
93. where thou art billeted. To your assigned sleeping-quarters
94. move for Cassio. Plead Cassio’s case
95. jump. At the exact moment
96. device. Plotting
FOOTNOTES
pes • ti • lence (pes´ t! len[t]s) n.,
anything destructive or deadly. Unclean
water can spread pestilence.
so • lic • it (s! lis´ !t) vt., approach with a
request or plea. The students went door to
door to solicit donations for the school.
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ACT II, SCENE iii 85
355
360
365
370
375
380
385
390
As I do now: for whiles this honest fool
Plies86 Desdemona to repair his fortunes
And she for him pleads strongly to the Moor,
I’ll pour this pestilence into his ear,
That she repeals him87 for her body’s lust;
And by how much she strives to do him good,
She shall undo her credit with the Moor.
So will I turn her virtue into pitch,
And out of her own goodness make the net
That shall enmesh them all.
Re-enter RODERIGO.
How now, Roderigo!
RODERIGO. I do follow here in the chase, not like a
hound that hunts, but one that fills up the cry.88 My
money is almost spent; I have been to-night
exceedingly well cudgelled;89 and I think the issue90
will be, I shall have so much experience for my
pains, and so, with no money at all and a little more
wit, return again to Venice.
IAGO. How poor are they that have not patience!
What wound did ever heal but by degrees?
Thou know’st we work by wit, and not by witchcraft;
And wit depends on dilatory91 time.
Does’t not go well? Cassio hath beaten thee.
And thou, by that small hurt, hast cashier’d Cassio:92
Though other things grow fair against the sun,
Yet fruits that blossom first will first be ripe:
Content thyself awhile. By the mass, ’tis morning;
Pleasure and action make the hours seem short.
Retire thee; go where thou art billeted:93
Away, I say; thou shalt know more hereafter:
Nay, get thee gone.
Exit RODERIGO.
Two things are to be done:
My wife must move for Cassio94 to her mistress;
I’ll set her on;
Myself the while to draw the Moor apart,
And bring him jump95 when he may Cassio find
Soliciting his wife: ay, that’s the way!
Dull not device96 by coldness and delay.
Exit.
What “pestilence”
will Iago pour into
Othello’s ear?
How does Iago
persuade Roderigo to
stay in Cyprus? What
makes the hours
seem short to Iago?
!
How will Iago
involve Emilia in his
plot?
!
!
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Respond to the Selection
What do you think about the character of Roderigo? Is he a complete fool, or
has Iago simply done an excellent job of conning him?
Investigate, Inquire, and Imagine
86 OTHELLO, THE MOOR OF VENICE
Recall: GATHERING FACTS
1a. What is the outcome of the
battle with the Turks?
2a. Explain the incident that led to
Cassio’s dismissal.
3a. What report does Iago give to
Othello and the others about
the incident? What does he say
to Cassio privately?
Interpret: FINDING MEANING
1b. Why doesn’t Shakespeare spend
much time describing the battle?
Is the war an important part of the
play? Explain.
2b. How has Iago used Roderigo to
further his plot against Othello?
3b. How do Iago’s words mislead
everyone?
Analyze: TAKING THINGS APART
4a. Evaluate Iago’s view of women,
and of Desdemona in particular.
How does Iago’s attitude toward
Desdemona compare to the way
Cassio regards her? Cite lines from
the play to support your answer.
Synthesize: BRINGING THINGS TOGETHER
4b. Does either man have a realistic
view of women? What do you
think Shakespeare’s attitudes were
toward women? How do you think
he intended the audience to feel
about Desdemona?
Evaluate: MAKING JUDGMENTS
5a. Cassio’s lines, “Reputation,
reputation, reputation! O, I
have lost my reputation!”
(act II, scene iii, 264–67) are
among the most famous in the
play. Evaluate Cassio’s and Iago’s
stated opinions about reputation.
Do you agree with Iago or with
Cassio? Explain.
Extend: CONNECTING IDEAS
5b. How important is your reputation
to you personally? Do you know of
anyone who has a good reputation
and does not deserve it? Do you
know of anyone who has a bad
reputation that has been unfairly
imposed upon him or her?
”
”
”
”
”
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Understanding Literature
ASIDE AND SOLILOQUY. An aside is a statement made by a character in a play,
intended to be heard by the audience, but not by other characters on the stage. A
soliloquy is a speech given by a character alone onstage, in which the character
reveals his or her thoughts and feelings to the audience. In act II, scene i, Iago
delivers several asides and two major soliloquies to the audience. What does he
reveal in these asides and soliloquies?
DRAMATIC IRONY. Irony is a difference between appearance and reality. Dramatic
irony occurs when something is known to the reader or audience but not to the
characters. How do Iago’s asides and soliloquies contribute to the dramatic irony
in act II? Why do you suppose Shakespeare chose to make Iago’s intentions so
clear to the audience?
RISING ACTION. The rising action, or complication, is the part of a plot that
develops the central conflict to a high point of intensity. Summarize the events in
act II that make up the rising action.
RESPOND TO THE SELECTION, ACT II 87
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88 OTHELLO, THE MOOR OF VENICE
ACT III, SCENE i
1. content your pains. Reward you for your trouble
2. Good morrow. Good morning
3. Naples . . . speak i’ the nose. Could be a reference to the nasally
accent of people from Naples, another city and region in Italy. Some editors
also believe it is a joke about venereal disease, which was associated with
that region.
4. keep up thy quillets. Keep your clever quips to yourself.
5. stirring . . . stir. The clown is punning on two meanings of stir: “to
wake up” and “to move.”
FOOTNOTES
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ACT III, SCENE i 89
Why has Cassio
brought the
musicians to the
castle?
!
5
10
15
20
25
ACT III
SCENE i: Before the castle.
Enter CASSIO and some MUSICIANS.
CASSIO. Masters, play here; I will content your
pains;1
Something that’s brief; and bid “Good morrow,2
general.”
Music.
Enter CLOWN.
CLOWN. Why masters, have your instruments been
in Naples, that they speak i’ the nose3 thus?
FIRST MUSICIAN. How, sir, how!
CLOWN. Are these, I pray you, wind-instruments?
FIRST MUSICIAN. Ay, marry, are they, sir.
CLOWN. O, thereby hangs a tail.
FIRST MUSICIAN. Whereby hangs a tale, sir?
CLOWN. Marry, sir, by many a wind-instrument that I
know. But, masters, here’s money for you: and the
general so likes your music, that he desires you, for
love’s sake, to make no more noise with it.
FIRST MUSICIAN. Well, sir, we will not.
CLOWN. If you have any music that may not be
heard, to’t again: but, as they say to hear music the
general does not greatly care.
FIRST MUSICIAN. We have none such, sir.
CLOWN. Then put up your pipes in your bag, for I’ll
away: go; vanish into air; away!
Exeunt MUSICIANS.
CASSIO. Dost thou hear, my honest friend?
CLOWN. No, I hear not your honest friend; I hear you.
CASSIO. Prithee, keep up thy quillets.4 There’s a poor
piece of gold for thee: if the gentlewoman that
attends the general’s wife be stirring, tell her there’s
one Cassio entreats her a little favor of speech: wilt
thou do this?
CLOWN. She is stirring, sir: if she will stir5 hither, I
shall seem to notify unto her.
Explain the clown’s
joke about “wind
instruments.”
!
Whom has Cassio
come to see at the
castle?
!
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90 OTHELLO, THE MOOR OF VENICE
FOOTNOTES
6. In happy time. Just in time; I’m glad I ran into you.
7. mean. Means; way
8. I never knew . . . honest. Iago is a Venetian, not a Florentine, so this
line appears to be an error. However, Cassio is from Florence, so he may be
saying here, “I never knew even a Florentine [i.e., one of my own
countrymen] to be more kind and honest.”
9. stoutly. Strongly
10. great affinity. Has powerful family connections
11. wholesome. Sound; reasonable
12. He might not but refuse you. He has no choice but to refuse you.
13. needs no other suitor but his likings. He needs no convincing; he’s
only waiting for the right time.
14. front. Forelock, by which he’ll pull Cassio in again
15. bosom. Innermost thoughts
pro • cure (pr! kyu
.
[!]r´, prō kyu
.
[!]ŕ ) vt., obtain; get possession of. Although it was
wartime and supplies were not plentiful, the family was able to procure a ham for the
holiday.
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ACT III, SCENE i 91
CASSIO. Do, good my friend.
Exit CLOWN.
Enter IAGO.
In happy time,6 Iago.
IAGO. You have not been a-bed, then?
CASSIO. Why, no; the day had broke
Before we parted. I have made bold, Iago,
To send in to your wife: my suit to her
Is, that she will to virtuous Desdemona
Procure me some access.
IAGO. I’ll send her to you presently;
And I’ll devise a mean7 to draw the Moor
Out of the way, that your converse and business
May be more free.
CASSIO. I humbly thank you for’t.
Exit IAGO.
I never knew a Florentine more kind and honest.8
Enter EMILIA.
EMILIA. Good morrow, good Lieutenant: I am sorry
For your displeasure; but all will sure be well.
The general and his wife are talking of it;
And she speaks for you stoutly:9 the Moor replies,
That he you hurt is of great fame in Cyprus,
And great affinity,10 and that in wholesome11
wisdom
He might not but refuse you;12 but he protests he
loves you
And needs no other suitor but his likings13
To take the safest occasion by the front14
To bring you in again.
CASSIO. Yet, I beseech you,
If you think fit, or that it may be done,
Give me advantage of some brief discourse
With Desdemona alone.
EMILIA. Pray you, come in;
I will bestow you where you shall have time
To speak your bosom15 freely.
CASSIO. I am much bound to you.
Exeunt.
According to
Emilia, what does
Othello plan to do
about Cassio’s
situation? Is Cassio
satisfied with this
answer?
!
30
35
40
45
50
55
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92 OTHELLO, THE MOOR OF VENICE
ACT III, SCENE ii
1. pilot. The pilot of the ship that is returning to Venice
2. by him do my duties. Tell him to pay my respects
3. walking on the works. Taking a tour of the fortifications that
surround the citadel
4. Repair. Return
ACT III, SCENE iii
1. in strangeness. In aloofness; as a stranger
2. polite distance. Some versions have this as a “politic distance.” Either
way, the message is the same: Othello is only keeping a distance from Cassio
for political reasons.
3. feed upon such nice and waterish diet. Need such slight reasons to
be continued
4. Do not doubt that. Do not be afraid of that.
5. watch him tame. Keep him awake until he gives in. Alludes to the
practice in falconry of taming hawks by keeping them from sleep.
Throughout the play, Shakespeare makes several references to the sport of
falconry, which is the practice of training hawks for use in hunting.
FOOTNOTES
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ACT III, SCENE ii 93
Of what does
Desdemona assure
Cassio?
!
5
5
10
15
20
SCENE ii: A room in the castle.
Enter OTHELLO, IAGO, and GENTLEMEN.
OTHELLO. These letters give, Iago, to the pilot;1
And by him do my duties2 to the senate:
That done, I will be walking on the works;3
Repair4 there to me.
IAGO. Well, my good lord, I’ll do’t.
OTHELLO. This fortification, gentlemen, shall we see’t?
GENTLEMEN. We’ll wait upon your lordship.
Exeunt.
SCENE iii: The garden of the castle.
Enter DESDEMONA, CASSIO, and EMILIA.
DESDEMONA. Be thou assured, good Cassio, I will do
All my abilities in thy behalf.
EMILIA. Good madam, do: I warrant it grieves my
husband,
As if the case were his.
DESDEMONA. O, that’s an honest fellow. Do not
doubt, Cassio,
But I will have my lord and you again
As friendly as you were.
CASSIO. Bounteous madam,
Whatever shall become of Michael Cassio,
He’s never any thing but your true servant.
DESDEMONA. I know’t; I thank you. You do love my
lord:
You have known him long; and be you well assured
He shall in strangeness1 stand no further off
Than in a polite distance.2
CASSIO. Ay, but, lady,
That policy may either last so long,
Or feed upon such nice and waterish diet,3
Or breed itself so out of circumstance,
That, I being absent and my place supplied,
My general will forget my love and service.
DESDEMONA. Do not doubt that;4 before Emilia here
I give thee warrant of thy place. Assure thee,
If I do vow a friendship, I’ll perform it
To the last article. My lord shall never rest;
I’ll watch him tame5 and talk him out of patience;
Where will Othello
be?
!
What do Emilia
and Desdemona
believe about Iago?
!
What will
Desdemona do if
Othello is not quick
to reinstate Cassio?
!
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94 OTHELLO, THE MOOR OF VENICE
6. his board a shrift. The place where he takes his meals will seem like a
confessional (where a person goes to confess sins to a priest).
7. give thy cause away. Give up your cause
8. do your discretion. I leave it to your discretion; do what you think is
best.
9. His present reconciliation take. Accept his plea to be reconciled with
you.
10. sooth. True
FOOTNOTES
lan • guish (la” ´ gwish) vi., live in a state of depression, to pine away or, to suffer
neglect. Charged with a crime she did not commit, the young woman would have
languished away in prison if not for the efforts of her family and friends to bring her justice.
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ACT III, SCENE iii 95
25
30
35
40
45
50
55
His bed shall seem a school, his board a shrift;6
I’ll intermingle every thing he does
With Cassio’s suit: therefore be merry, Cassio;
For thy solicitor shall rather die
Than give thy cause away.7
EMILIA. Madam, here comes my lord.
CASSIO. Madam, I’ll take my leave.
DESDEMONA. Why, stay, and hear me speak.
CASSIO. Madam, not now: I am very ill at ease,
Unfit for mine own purposes.
DESDEMONA. Well, do your discretion.8
Exit CASSIO.
Enter OTHELLO and IAGO.
IAGO. Ha! I like not that.
OTHELLO. What dost thou say?
IAGO. Nothing, my lord: or if—I know not what.
OTHELLO. Was not that Cassio parted from my wife?
IAGO. Cassio, my lord! No, sure, I cannot think it,
That he would steal away so guilty-like,
Seeing you coming.
OTHELLO. I do believe ’twas he.
DESDEMONA. How now, my lord!
I have been talking with a suitor here,
A man that languishes in your displeasure.
OTHELLO. Who is’t you mean?
DESDEMONA. Why, your lieutenant, Cassio. Good my
lord,
If I have any grace or power to move you,
His present reconciliation take;9
For if he be not one that truly loves you,
That errs in ignorance and not in cunning,
I have no judgment in an honest face:
I prithee, call him back.
OTHELLO. Went he hence now?
DESDEMONA. Ay, sooth;10 so humbled
That he hath left part of his grief with me,
To suffer with him. Good love, call him back.
OTHELLO. Not now, sweet Desdemon; some other
time.
How might these
lines be ironic?
Whom did
Desdemona call
“honest” at the
beginning of the
scene? Can she really
tell an honest face
when she sees one?
!
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96 OTHELLO, THE MOOR OF VENICE
11. not almost . . . cheque. Hardly even a fault that would deserve a
private reprimand [let alone a public dismissal]
12. mammering. Hesitating (as Othello is doing)
13. ta’en your part. Defended you
14. bring him in. Bring him back into your favor
15. Why, this is not a boon . . . To your own person. This is not a favor
you are doing for me. I am asking you to do something that would be of
particular benefit to your own self. Peculiar here means particular or
personal.
16. when I . . . touch your love indeed. When I really have to rely on
your love to grant me a favor
17. poise. Weight, importance
18. fearful to be granted. Difficult or risky to grant
FOOTNOTES
pen • i • tent (pen´ ! t!nt) adj., feeling
sorry about offenses; repentant. After I
yelled at him for chewing up my shoes, the
dog looked mournful and penitent.
boon (bün´) n., favor; blessing. The new
library, financed by a rich family in the area,
was a real boon for the community.
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ACT III, SCENE iii 97
60
65
70
75
80
85
What has Cassio
done to show
friendship to Othello?
!
What does Othello
promise Desdemona?
!
DESDEMONA. But shall’t be shortly?
OTHELLO. The sooner, sweet, for you.
DESDEMONA. Shall’t be to-night at supper?
OTHELLO. No, not to-night.
DESDEMONA. To-morrow dinner, then?
OTHELLO. I shall not dine
at home;
I meet the captains at the citadel.
DESDEMONA. Why, then, to-morrow night; or
Tuesday morn;
On Tuesday noon, or night; on Wednesday morn:
I prithee, name the time, but let it not
Exceed three days: in faith, he’s penitent;
And yet his trespass, in our common reason—
Save that, they say, the wars must make examples
Out of their best—is not almost a fault
To incur a private cheque.11 When shall he come?
Tell me, Othello: I wonder in my soul,
What you would ask me, that I should deny,
Or stand so mammering12 on. What! Michael Cassio,
That came a-wooing with you, and so many a time,
When I have spoke of you dispraisingly,
Hath ta’en your part;13 to have so much to do
To bring him in!14 Trust me, I could do much,—
OTHELLO. Prithee, no more: let him come when he
will;
I will deny thee nothing.
DESDEMONA. Why, this is not a boon;
’Tis as I should entreat you wear your gloves,
Or feed on nourishing dishes, or keep you warm,
Or sue to you to do a peculiar profit
To your own person.15 Nay, when I have a suit
Wherein I mean to touch your love indeed,16
It shall be full of poise17 and difficult weight
And fearful to be granted.18
OTHELLO. I will deny thee nothing:
Whereon, I do beseech thee, grant me this,
To leave me but a little to myself.
DESDEMONA. Shall I deny you? No: farewell, my lord.
OTHELLO. Farewell, my Desdemona: I’ll come to thee
straight.
DESDEMONA. Emilia, come. Be as your fancies teach
you;
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98 OTHELLO, THE MOOR OF VENICE
19. wretch. A miserable person; here used as a term of endearment,
expressing tenderness mixed with pity
20. went between us. Served as a go-between, carrying messages
21. horrible conceit. Terrible idea
FOOTNOTES
per • di • tion (p!r dish´ !n) n., damnation; hell. The preacher shouted that perdition
awaited the sinners among us.
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ACT III, SCENE iii 99
What will happen
if Othello loses his
love for Desdemona?
!
90
95
100
105
110
115
Whate’er you be, I am obedient.
Exeunt DESDEMONA and EMILIA.
OTHELLO. Excellent wretch!19 Perdition catch my
soul,
But I do love thee! and when I love thee not,
Chaos is come again.
IAGO. My noble lord—
OTHELLO. What dost thou say, Iago?
IAGO. Did Michael Cassio, when you woo’d my lady,
Know of your love?
OTHELLO. He did, from first to last: why dost thou
ask?
IAGO. But for a satisfaction of my thought;
No further harm.
OTHELLO. Why of thy thought, Iago?
IAGO. I did not think he had been acquainted with
her.
OTHELLO. O, yes; and went between us20 very oft.
IAGO. Indeed!
OTHELLO. Indeed! ay, indeed: discern’st thou aught in
that?
Is he not honest?
IAGO. Honest, my lord!
OTHELLO. Honest! ay, honest.
IAGO. My lord, for aught I know.
OTHELLO. What dost thou think?
IAGO. Think, my lord!
OTHELLO. Think, my lord!
By heaven, he echoes me,
As if there were some monster in his thought
Too hideous to be shown. Thou dost mean something:
I heard thee say even now, thou likedst not that,
When Cassio left my wife: what didst not like?
And when I told thee he was of my counsel
In my whole course of wooing, thou criedst “Indeed!”
And didst contract and purse thy brow together,
As if thou then hadst shut up in thy brain
Some horrible conceit.21 If thou dost love me,
Show me thy thought.
IAGO. My lord, you know I love you.
What does Iago
ask Othello?
!
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100 OTHELLO, THE MOOR OF VENICE
22. these stops of thine. Your hesitations
23. such things . . . tricks of custom. Such things [as exaggerated pauses
and hesitations] are tricks customarily used by false and disloyal people who
want to mislead a person.
24. close delations . . . rule. Hidden accusations or secret thoughts
coming out from a heart that cannot control itself during a time of great
passionate feeling.
25. would they might seem none. It would be better that they not seem
like men at all, but like the animals they really are.
26. to that all slaves are free to. Even slaves are free to disobey an unjust
order.
27. who has a breast . . . lawful? Nobody has such a clean mind that
some unjustified suspicions do not occasionally enter it, sitting side-by-side
with more legitimate thoughts, and leading them to pass unfair judgment
on others. Leets and law-days both mean “days when the court of law is in
session.”
28. it is my nature’s plague . . . that are not. It is a flaw in my nature that
I am always looking for signs of bad behavior, and often, in my jealousy, I
see faults where there are none. Jealousy here means “zealous vigilance.”
29. conceits. Conceives, as in comes up with an idea. The first quarto has
“coniects,” which some have interpreted as “conjects,” meaning
“conjectures.”
30. scattering and unsure observance. Random and uncertain
observations
FOOTNOTES
ru • mi • nate (rü´ m! nāt́ ) vi., go over in the mind; ponder, reflect. I sat by the brook,
ruminating about the events of the day.
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ACT III, SCENE iii 101
Is Iago really guilty
of being “scattering
and unsure” in his
speech?
!
120
125
130
135
140
145
150
OTHELLO. I think thou dost;
And, for I know thou’rt full of love and honesty,
And weigh’st thy words before thou givest them
breath,
Therefore these stops of thine22 fright me the more:
For such things in a false disloyal knave
Are tricks of custom,23 but in a man that’s just
They are close delations, working from the heart
That passion cannot rule.24
IAGO. For Michael Cassio,
I dare be sworn I think that he is honest.
OTHELLO. I think so too.
IAGO. Men should be what they seem;
Or those that be not, would they might seem none!25
OTHELLO. Certain, men should be what they seem.
IAGO. Why, then, I think Cassio’s an honest man.
OTHELLO. Nay, yet there’s more in this:
I prithee, speak to me as to thy thinkings,
As thou dost ruminate, and give thy worst of
thoughts
The worst of words.
IAGO. Good my lord, pardon me:
Though I am bound to every act of duty,
I am not bound to that all slaves are free to.26
Utter my thoughts? Why, say they are vile and false;
As where’s that palace whereinto foul things
Sometimes intrude not? who has a breast so pure,
But some uncleanly apprehensions
Keep leets and law-days and in session sit
With meditations lawful?27
OTHELLO. Thou dost conspire against thy friend, Iago,
If thou but think’st him wrong’d and makest his ear
A stranger to thy thoughts.
IAGO. I do beseech you—
Though I perchance am vicious in my guess,
As, I confess, it is my nature’s plague
To spy into abuses, and oft my jealousy
Shapes faults that are not28—that your wisdom yet,
From one that so imperfectly conceits,29
Would take no notice, nor build yourself a trouble
Out of his scattering and unsure observance.30
It were not for your quiet nor your good,
Nor for my manhood, honesty, or wisdom,
What does Othello
think of Iago? What
would he think of
Iago’s behavior, were
he not so sure of
Iago’s honesty?
!
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102 OTHELLO, THE MOOR OF VENICE
31. immediate. Closest; most precious
32. if. Even if
33. mock / The meat it feeds on. Toys with the jealous person on whom
it preys
34. That cuckold . . . wronger. A man whose lover is cheating on him can
live in bliss, even knowing he is being wronged, if he does not love the
woman who wrongs him.
35. what damnèd minutes . . . yet strongly loves! What damned, or
hellish, times a man has to live through if he loves a woman and suspects
her of cheating.
36. riches fineless. Infinite riches. Fine means “end,” so fineless means
“endless.”
37. make a lie of jealousy. Invent or imagine things out of sheer jealousy
38. exsufflicate and blown surmises. Empty and insubstantial guesses
39. Matching thy inference. Such as you have described. Othello means
that he would never be mocked by jealousy in the way that Iago has
suggested. He would never be led on by jealousy to make empty and
insubstantial guesses.
40. Nor from mine . . . revolt. Just because I may have some imperfect
qualities, I see no reason to suspect that she will revolt, or turn against me.
FOOTNOTES
filch (filch´) vt., steal. When he thought I
was not looking, Dad filched a cookie from
my plate.
dote (dōt́ ) vi., be lavish or excessive in
one’s attention. The young parents doted
on their child, almost to the point of spoiling
him.
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ACT III, SCENE iii 103
What is the
“green-eyed
monster”? What is
“the meat it feeds
on”?
!
155
160
165
170
175
180
185
190
To let you know my thoughts.
OTHELLO. ’Zounds, what dost thou mean?
IAGO. Good name in man and woman, dear my lord,
Is the immediate31 jewel of their souls:
Who steals my purse steals trash; ’tis something,
nothing;
’Twas mine, ’tis his, and has been slave to thousands:
But he that filches from me my good name
Robs me of that which not enriches him
And makes me poor indeed.
OTHELLO. By heaven, I’ll know thy thoughts.
IAGO. You cannot, if32 my heart were in your hand;
Nor shall not, whilst ’tis in my custody.
OTHELLO. Ha!
IAGO. O, beware, my lord, of jealousy!
It is the green-eyed monster which doth mock
The meat it feeds on.33 That cuckold lives in bliss
Who, certain of his fate, loves not his wronger;34
But, O, what damnèd minutes tells he o’er
Who dotes, yet doubts, suspects, yet strongly loves!35
OTHELLO. O misery!
IAGO. Poor and content is rich and rich enough,
But riches fineless36 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!
OTHELLO. Why, why is this?
Think’st thou I’ld make a lie of jealousy,37
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,38
Matching thy inference.39 ’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;40
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!
Is Othello a
jealous person?
Why won’t he doubt
Desdemona?
!
What does Iago say
about a person’s
reputation, or “good
name”? How does
this speech compare
with his words to
Cassio in act II, scene
iii, lines 268–274?
!
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104 OTHELLO, THE MOOR OF VENICE
41. not jealous nor secure. Not too suspicious, but not overly trusting
either
42. self-bounty. Inherent generosity
43. give out such a seeming. Give out such a false appearance.
Desdemona kept her love for the Moor secret from her father, as she was
afraid of her father’s disapproval.
44. close as oak. As tightly as the grain of oak (a very close-grained wood)
45. strain my speech / To grosser issues. Stretch the meaning of my
words in order to come to bigger (or more revolting) conclusions
46. My speech . . . vile success. My speech would lead to such terrible
consequences (success here means “consequence, that which succeeds or
follows”).
FOOTNOTES
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ACT III, SCENE iii 105
What does Iago
suggest is true of all
Venetian women?
!
195
200
205
210
215
220
225
IAGO. I am glad of it; for now I shall have reason
To show the love and duty that I bear you
With franker spirit: therefore, as I am bound,
Receive it from me. I speak not yet of proof.
Look to your wife; observe her well with Cassio;
Wear your eye thus, not jealous nor secure:41
I would not have your free and noble nature,
Out of self-bounty,42 be abused; look to’t.
I know our country disposition well;
In Venice they do let heaven see the pranks
They dare not show their husbands; their best
conscience
Is not to leave’t undone, but keep’t unknown.
OTHELLO. Dost thou say so?
IAGO. She did deceive her father, marrying you;
And when she seem’d to shake and fear your looks,
She loved them most.
OTHELLO. And so she did.
IAGO. Why, go to then;
She that, so young, could give out such a seeming,43
To seal her father’s eyes up close as oak44—
He thought ’twas witchcraft—but I am much to
blame;
I humbly do beseech you of your pardon
For too much loving you.
OTHELLO. I am bound to thee for ever.
IAGO. I see this hath a little dash’d your spirits.
OTHELLO. Not a jot, not a jot.
IAGO. I’ faith, I fear it has.
I hope you will consider what is spoke
Comes from my love. But I do see you’re moved:
I am to pray you not to strain my speech
To grosser issues45 nor to larger reach
Than to suspicion.
OTHELLO. I will not.
IAGO. Should you do so, my lord,
My speech should fall into such vile success46
As my thoughts aim not at. Cassio’s my worthy
friend—
My lord, I see you’re moved.
OTHELLO. No, not much moved:
I do not think but Desdemona’s honest.
What “evidence”
does Iago have of
Desdemona’s
dishonesty?
!
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106 OTHELLO, THE MOOR OF VENICE
47. erring. Straying
48. affect. Take on
49. of her own clime, complexion, and degree. Of her own region, race,
and social class. Complexion here refers to Desdemona’s fair skin as
contrasted with Othello’s dark Moorish skin.
50. a will most rank. A foul desire or appetite; rank could also mean
lustful.
51. disproportion. Lack of balance
52. I do not . . . speak of her. I do not, in making this argument, speak
about Desdemona in particular.
53. recoiling to. Going back to
54. fall to match you . . . repent. Will begin to compare you to her
countrymen (fellow Italians) and perhaps repent of, or regret, her choice in
marrying you
55. Set on thy wife to observe. Ask your wife, Emilia, to observe
Desdemona closely.
56. strain his entertainment. Urge his reinstatement
57. importunity. The quality of being importunate; that is, overly
persistent in request or demand
58. too busy. Overactive or overly meddlesome
59. hold her free. Consider her to be free from guilt
60. Fear not my government. Have faith in my ability to control myself.
61. learned. Experienced or intelligent
62. haggard. A haggard was a wild, untrained hawk.
63. jesses. Leather straps attached to the foot of a hawk, by which the
falconer held her
64. whistle her off . . . down the wind. Another reference to falconry.
Critic Samuel Johnson explained this line as follows: “The falconers always
let the hawk fly against the wind; if she flies with the wind behind her, she
seldom returns. If therefore a hawk was for any reason to be dismissed, she
was let down the wind, and from that time shifted for herself.”
65. pray at fortune. Rely on fortune. Some versions of the play read prey at
fortune, which continues the falconry metaphor.
66. Haply, for I am black. Perhaps because I am black. Again, this line
does not necessarily mean that Othello is black in our sense of the word.
Black simply meant dark-haired or dark-complexioned.
67. soft parts of conversation. Refined social graces
FOOTNOTES
ve • he • ment (vē´ ! m!nt) adj., intensely emotional; deeply felt or strongly expressed.
I knew there was no use arguing with my mother when she looked me in the eye and gave
me a vehement “No!”
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ACT III, SCENE iii 107
What does Iago say
might be a sign of
“foul disproportion” in
Desdemona? What
does he say she might
do?
!
230
235
240
245
250
255
260
IAGO. Long live she so! and long live you to think so!
OTHELLO. And yet, how nature erring47 from itself,—
IAGO. Ay, there’s the point: as—to be bold with you—
Not to affect48 many proposèd matches
Of her own clime, complexion, and degree,49
Whereto we see in all things nature tends—
Foh! one may smell in such a will most rank,50
Foul disproportion,51 thoughts unnatural.
But pardon me; I do not in position
Distinctly speak of her;52 though I may fear
Her will, recoiling to53 her better judgment,
May fall to match you with her country forms
And happily repent.54
OTHELLO. Farewell, farewell:
If more thou dost perceive, let me know more;
Set on thy wife to observe.55 Leave me, Iago.
IAGO. [Going] My lord, I take my leave.
OTHELLO. Why did I marry? This honest creature
doubtless
Sees and knows more, much more, than he unfolds.
IAGO. [Returning] My lord, I would I might entreat
your honor
To scan this thing no further; leave it to time:
Though it be fit that Cassio have his place,
For sure, he fills it up with great ability,
Yet, if you please to hold him off awhile,
You shall by that perceive him and his means.
Note, if your lady strain his entertainment56
With any strong or vehement importunity;57
Much will be seen in that. In the mean time,
Let me be thought too busy58 in my fears—
As worthy cause I have to fear I am—
And hold her free,59 I do beseech your honor.
OTHELLO. Fear not my government.60
IAGO. I once more take my leave.
Exit.
OTHELLO. This fellow’s of exceeding honesty,
And knows all qualities, with a learned61 spirit,
Of human dealings. If I do prove her haggard,62
Though that her jesses63 were my dear heartstrings,
I’ld whistle her off and let her down the wind,64
To pray at fortune.65 Haply, for I am black66
And have not those soft parts of conversation67
What does Iago
advise Othello to do
regarding Cassio?
What should Othello
watch for?
!
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108 OTHELLO, THE MOOR OF VENICE
68. chamberers. Courtiers
69. declined / Into the vale of years. Fallen into the valley of old age.
This and other references in the play suggest that Othello is significantly
older than Desdemona, perhaps some twenty years her senior.
70. keep a corner . . . For others’ uses. Allow even a corner, or a small
part, of Desdemona, to be used by others.
71. the plague of great ones. The drawback of being a distinguished man
72. Prerogatived. Privileged
73. unshunnable. Unable to be shunned, or denied
74. forkèd plague. The cuckold was always portrayed as having horns, the
visible evidence of being played a fool by his wife.
75. quicken. Begin to live
76. generous. Highborn, or noble (from the Latin generosus)
77. attend. Await
78. here. Referring to spots on both sides of his forehead, where a
cuckold’s horns would be. Although Desdemona does not understand his
meaning, the audience knows that Othello’s pain is caused by the horns he
imagines are sprouting from his forehead.
79. that’s with watching. That’s from staying up late.
80. ’twill away. It will go away
81. bind it. Wrap your head
82. napkin. Handkerchief
83. a hundred times. This is apparently inconsistent with the timeframe
of the play. The group has only been in Cyprus for two days. However, this
and other references give the impression that much more time has elapsed.
84. Woo’d. Begged persistently
85. conjured. Solemnly or earnestly requested
86. reserves. Preserves; keeps
87. I’ll have the work ta’en out. I’ll have the work copied.
88. I nothing but. I want nothing but
89. fantasy. Fancy, whim
FOOTNOTES
to • ken (tō´ k!n) n., something done or given as a sign of obligation or affection. “I give
you this ring as a token of my affection,” said Ralph to his girlfriend.
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ACT III, SCENE iii 109
265
270
275
280
285
290
295
That chamberers68 have, or for I am declined
Into the vale of years,69—yet that’s not much—
She’s gone. I am abused; and my relief
Must be to loathe her. O curse of marriage,
That we can call these delicate creatures ours,
And not their appetites! I had rather be a toad,
And live upon the vapor of a dungeon,
Than keep a corner in the thing I love
For others’ uses.70 Yet, ’tis the plague of great ones;71
Prerogatived72 are they less than the base;
’Tis destiny unshunnable,73 like death:
Even then this forkèd plague74 is fated to us
When we do quicken.75 Desdemona comes:
Re-enter DESDEMONA and EMILIA.
If she be false, O, then heaven mocks itself!
I’ll not believe’t.
DESDEMONA. How now, my dear Othello!
Your dinner, and the generous76 islanders
By you invited, do attend77 your presence.
OTHELLO. I am to blame.
DESDEMONA. Why do you speak so faintly?
Are you not well?
OTHELLO. I have a pain upon my forehead here.78
DESDEMONA. ’Faith, that’s with watching;79 ’twill
away80 again:
Let me but bind it81 hard, within this hour
It will be well.
OTHELLO. Your napkin82 is too little:
[He puts the handkerchief from him; and it drops]
Let it alone. Come, I’ll go in with you.
DESDEMONA. I am very sorry that you are not well.
Exeunt OTHELLO and DESDEMONA.
EMILIA. I am glad I have found this napkin:
This was her first remembrance from the Moor:
My wayward husband hath a hundred times83
Woo’d84 me to steal it; but she so loves the token,
For he conjured85 her she should ever keep it,
That she reserves86 it evermore about her
To kiss and talk to. I’ll have the work ta’en out,87
And give’t Iago: what he will do with it
Heaven knows, not I;
I nothing but88 to please his fantasy.89
Why does
Emilia steal the
handkerchief?
!
Reread lines
263–268. What
reasons does Othello
think Desdemona
might have for
cheating on him?
!
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110 OTHELLO, THE MOOR OF VENICE
90. to the advantage. Taking advantage of the opportunity
91. import. Importance
92. lack it. Find it missing
93. be not acknown on’t. Do not acknowledge that you know where it is.
94. to the jealous. To those who are jealous
95. proofs of holy writ. Evidence as trustworthy as if it came from God
Himself (holy writ refers to the Bible or Holy Scriptures, i.e., the Word of
God in Christian belief)
96. conceits. Ideas
97. mines of Sulphur. Sulphur, also spelled sulfur, is a chemical element
with a pungent, acidic quality. The Devil was associated with sulphur, so
this reference to sulphur mines calls up an image of hell.
98. I did say so. Look, I told you so (referring to Othello’s reappearance).
99. Not poppy, nor mandragora. Poppies are the source of opium;
mandragora, or mandrake root, has narcotic properties. Both can induce
sleep.
FOOTNOTES
neg • li • gence (neg´ li j!n[t]s) n.,
carelessness or neglect. When Susan lost
her softball jersey, the coach scolded her for
her negligence.
tri • fle (tr#̄ ´ f!l) n., something of little
significance or value. The gift was only a
small trifle, but the child appreciated it
immensely.
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ACT III, SCENE iii 111
300
305
310
315
320
325
330
Re-enter IAGO.
IAGO. How now! what do you here alone?
EMILIA. Do not you chide; I have a thing for you.
IAGO. A thing for me? it is a common thing—
EMILIA. Ha!
IAGO. To have a foolish wife.
EMILIA. O, is that all? What will you give me now
For the same handkerchief?
IAGO. What handkerchief?
EMILIA. What handkerchief?
Why, that the Moor first gave to Desdemona;
That which so often you did bid me steal.
IAGO. Hast stol’n it from her?
EMILIA. No, ’faith; she let it drop by negligence.
And, to the advantage,90 I, being here, took’t up.
Look, here it is.
IAGO. A good wench; give it me.
EMILIA. What will you do with’t, that you have been
so earnest
To have me filch it?
IAGO. [Snatching it] Why, what’s that to you?
EMILIA. If it be not for some purpose of import,91
Give’t me again: poor lady, she’ll run mad
When she shall lack it.92
IAGO. Be not acknown on’t;93 I have use for it.
Go, leave me.
Exit EMILIA.
I will in Cassio’s lodging lose this napkin,
And let him find it. Trifles light as air
Are to the jealous94 confirmations strong
As proofs of holy writ:95 this may do something.
The Moor already changes with my poison:
Dangerous conceits96 are, in their natures, poisons,
Which at the first are scarce found to distaste,
But with a little act upon the blood
Burn like the mines of Sulphur.97
Re-enter OTHELLO.
I did say so:98
Look, where he comes!
Not poppy, nor mandragora,99
What will Iago
do with the
handkerchief?
!
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112 OTHELLO, THE MOOR OF VENICE
100. owedst. Owned; had
101. Avaunt! Away!
102. the rack. An instrument of torture
103. free. Carefree
104. wanting. Missing
105. Pioners. The lowest rank of soldier, usually appointed to that job as a
punishment
106. pomp and circumstance. Splendor and ceremonies. This phrase has
been quoted so often that it is now a cliché.
107. mortal engines. Deadly machinery (such as cannons)
108. immortal Jove’s . . . counterfeit. Imitate the dreaded thunder of the
immortal Jove (Jove, or Jupiter, was king of the Roman gods and was
believed to cause thunder when angry)
109. ocular. Visible to the eye
110. probation. Proof
FOOTNOTES
tran • quil (tra” ´ kw!l) adj., peaceful. The vacation cabin was located in a tranquil spot,
far from the bustle of the city.
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ACT III, SCENE iii 113
How has Othello
already been affected
by Iago’s poisonous
words?
!
335
340
345
350
355
360
365
Nor all the drowsy syrups of the world,
Shall ever medicine thee to that sweet sleep
Which thou owedst100 yesterday.
OTHELLO. Ha! ha! false to me?
IAGO. Why, how now, general! no more of that.
OTHELLO. Avaunt!101 be gone! thou hast set me on
the rack:102
I swear ’tis better to be much abused
Than but to know’t a little.
IAGO. How now, my lord!
OTHELLO. What sense had I of her stol’n hours of lust?
I saw’t not, thought it not, it harm’d not me:
I slept the next night well, was free103 and merry;
I found not Cassio’s kisses on her lips.
He that is robb’d, not wanting104 what is stol’n,
Let him not know’t, and he’s not robb’d at all.
IAGO. I am sorry to hear this.
OTHELLO. I had been happy, if the general camp,
Pioners105 and all, had tasted her sweet body,
So I had nothing known. O, now, for ever
Farewell the tranquil mind! farewell content!
Farewell the plumed troop, and the big wars,
That make ambition virtue! O, farewell!
Farewell the neighing steed, and the shrill trump,
The spirit-stirring drum, the ear-piercing fife,
The royal banner, and all quality,
Pride, pomp and circumstance106 of glorious war!
And, O you mortal engines,107 whose rude throats
The immortal Jove’s dread clamours counterfeit,108
Farewell! Othello’s occupation’s gone!
IAGO. Is’t possible, my lord?
OTHELLO. Villain, be sure thou prove my love a
whore,
Be sure of it; give me the ocular109 proof:
Or by the worth of man’s eternal soul,
Thou hadst been better have been born a dog
Than answer my waked wrath!
IAGO. Is’t come to this?
OTHELLO. Make me to see’t; or, at the least, so prove it,
That the probation110 bear no hinge nor loop
To hang a doubt on; or woe upon thy life!
IAGO. My noble lord,—
What does Othello
demand from Iago?
!
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114 OTHELLO, THE MOOR OF VENICE
111. God be wi’ you. Goodbye
112. this profit. This lesson
113. sith. Since
114. shouldst be. Must be (in other words, I believe you to be). Iago plays
upon the word in his response.
115. Dian’s visage. The face of Diana, the Roman goddess of the moon and
of hunting. Diana was depicted as a pure and virginal young woman.
116. begrimed. Made grimy
117. If there be cords . . . Would I were satisfied! I do not care what
dangers may befall me, I cannot endure the torment of not knowing the
truth. I wish I were satisfied (by learning the truth).
118. supervisor. Witness
119. topp’d. In other words, with Cassio on top of her (a very vulgar term)
120. bolster. Bed down
121. More than their own. Other than their own (eyes)
122. prime. Lustful
123. salt. Lecherous
124. in pride. In heat
125. strong circumstances. Strong circumstantial evidence
FOOTNOTES
im • pu • ta • tion (im´ py! tā´ sh!n) n., accusation; insinuation. Carl denied imputations
that he’d only gotten the job because he was the boss’s son.
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ACT III, SCENE iii 115
How has
Desdemona’s image
changed in Othello’s
mind?
!
370
375
380
385
390
395
400
405
OTHELLO. If thou dost slander her and torture me,
Never pray more; abandon all remorse;
On horror’s head horrors accumulate;
Do deeds to make heaven weep, all earth amazed;
For nothing canst thou to damnation add
Greater than that.
IAGO. O grace! O heaven forgive me!
Are you a man? have you a soul or sense?
God be wi’ you;111 take mine office. O wretched fool,
That livest to make thine honesty a vice!
O monstrous world! Take note, take note, O world,
To be direct and honest is not safe.
I thank you for this profit;112 and from hence
I’ll love no friend, sith113 love breeds such offense.
OTHELLO. Nay, stay: thou shouldst be114 honest.
IAGO. I should be wise, for honesty’s a fool
And loses that it works for.
OTHELLO. By the world,
I think my wife be honest and think she is not;
I think that thou art just and think thou art not.
I’ll have some proof. Her name, that was as fresh
As Dian’s visage,115 is now begrimed116 and black
As mine own face. If there be cords, or knives,
Poison, or fire, or suffocating streams,
I’ll not endure it. Would I were satisfied!117
IAGO. I see, sir, you are eaten up with passion:
I do repent me that I put it to you.
You would be satisfied?
OTHELLO. Would! nay, I will.
IAGO. And may: but, how? how satisfied, my lord?
Would you, the supervisor,118 grossly gape on—
Behold her topp’d?119
OTHELLO. Death and damnation! O!
IAGO. It were a tedious difficulty, I think,
To bring them to that prospect: damn them then,
If ever mortal eyes do see them bolster120
More than their own!121 What then? how then?
What shall I say? Where’s satisfaction?
It is impossible you should see this,
Were they as prime122 as goats, as hot as monkeys,
As salt123 as wolves in pride,124 and fools as gross
As ignorance made drunk. But yet, I say,
If imputation and strong circumstances,125
What kind of proof
can Iago offer, if not
direct “ocular proof”?
!
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116 OTHELLO, THE MOOR OF VENICE
126. living reason. Real proof; more than circumstances
127. Prick’d to’t. Goaded or prodded into it
128. gripe. Grip
129. this denoted a foregone conclusion. This is further evidence to prove
the conclusion we have already come to, i.e., that Desdemona is unfaithful.
130. shrewd doubt. Strong reason for suspicion
131. thicken other proofs . . . thinly. Give more credence to the other
evidence we have, which is still not very substantial.
132. slave. Cassio (a term of contempt)
FOOTNOTES
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ACT III, SCENE iii 117
410
415
420
425
430
435
440
Which lead directly to the door of truth,
Will give you satisfaction, you may have’t.
OTHELLO. Give me a living reason126 she’s disloyal.
IAGO. I do not like the office:
But, sith I am enter’d in this cause so far,
Prick’d to’t127 by foolish honesty and love,
I will go on. I lay with Cassio lately;
And, being troubled with a raging tooth,
I could not sleep.
There are a kind of men so loose of soul,
That in their sleeps will mutter their affairs:
One of this kind is Cassio:
In sleep I heard him say “Sweet Desdemona,
Let us be wary, let us hide our loves;”
And then, sir, would he gripe128 and wring my hand,
Cry “O sweet creature!” and then kiss me hard,
As if he pluck’d up kisses by the roots
That grew upon my lips: then laid his leg
Over my thigh, and sigh’d, and kiss’d; and then
Cried, “Cursed fate that gave thee to the Moor!”
OTHELLO. O monstrous! monstrous!
IAGO. Nay, this was but
his dream.
OTHELLO. But this denoted a foregone conclusion:129
’Tis a shrewd doubt,130 though it be but a dream.
IAGO. And this may help to thicken other proofs
That do demonstrate thinly.131
OTHELLO. I’ll tear her all to pieces.
IAGO. Nay, but be wise: yet we see nothing done;
She may be honest yet. Tell me but this,
Have you not sometimes seen a handkerchief
Spotted with strawberries in your wife’s hand?
OTHELLO. I gave her such a one; ’twas my first gift.
IAGO. I know not that; but such a handkerchief—
I am sure it was your wife’s—did I to-day
See Cassio wipe his beard with.
OTHELLO. If it be that—
IAGO. If it be that, or any that was hers,
It speaks against her with the other proofs.
OTHELLO. O, that the slave132 had forty thousand lives!
One is too poor, too weak for my revenge.
Now do I see ’tis true. Look here, Iago;
What does Iago
claim he heard
Cassio say?
!
What final piece of
“evidence” convinces
Othello of his wife’s
infidelity?
!
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118 OTHELLO, THE MOOR OF VENICE
133. fond. Foolish
134. hearted throne. The throne in my heart, on which I had Desdemona
sit (she was the queen of his heart)
135. fraught. Freight, load
136. aspics’ tongues. The tongues of asps, or poisonous snakes, whose bites
could cause swelling (as in the previous line, “Swell, bosom…”)
137. Pontic sea. The Black Sea, north of Turkey
138. compulsive. Relentless
139. Ne’er feels retiring ebb. Its tide continually flows, without ebbing, or
receding backward, as the tide normally does.
140. Propontic and the Hellespont. The Propontic is the Sea of Marmara,
in northwest Turkey. The Hellespont is another name for the Strait of
Dardanelles, which connects the Sea of Marmara with the Aegean.
141. capable. Capacious, ample
142. yond. Yonder, distant
143. engage. Pledge
144. clip us. Enclose us
145. execution. Use, employment
146. to obey . . . ever. To obey him will be an act of pity and kindness, not
of cruelty, however bloody the business may be. Critic Samuel Johnson
explained the line thus: “It shall be an act, not of cruelty, but of tenderness to
obey him; not of malice to others, but of tenderness to him.”
147. lewd minx. Sexually unchaste woman. Lewd meant unchaste or
wicked; minx meant a wanton woman.
FOOTNOTES
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ACT III, SCENE iii 119
445
450
455
460
465
470
475
480
All my fond133 love thus do I blow to heaven.
’Tis gone.
Arise, black vengeance, from thy hollow cell!
Yield up, O love, thy crown and hearted throne134
To tyrannous hate! Swell, bosom, with thy fraught,135
For ’tis of aspics’ tongues!136
IAGO. Yet be content.
OTHELLO. O, blood, blood, blood!
IAGO. Patience, I say; your mind perhaps may change.
OTHELLO. Never, Iago: Like to the Pontic sea,137
Whose icy current and compulsive138 course
Ne’er feels retiring ebb,139 but keeps due on
To the Propontic and the Hellespont,140
Even so my bloody thoughts, with violent pace,
Shall ne’er look back, ne’er ebb to humble love,
Till that a capable141 and wide revenge
Swallow them up. Now, by yond142 marble heaven,
[Kneels]
In the due reverence of a sacred vow
I here engage143 my words.
IAGO. Do not rise yet.
[Kneels]
Witness, you ever-burning lights above,
You elements that clip us144 round about,
Witness that here Iago doth give up
The execution145 of his wit, hands, heart,
To wrong’d Othello’s service! Let him command,
And to obey shall be in me remorse,
What bloody business ever.146
They rise.
OTHELLO. I greet thy love,
Not with vain thanks, but with acceptance bounteous,
And will upon the instant put thee to’t:
Within these three days let me hear thee say
That Cassio’s not alive.
IAGO. My friend is dead; ’tis done at your request.
But let her live.
OTHELLO. Damn her, lewd minx!147 O, damn her!
Come, go with me apart; I will withdraw,
To furnish me with some swift means of death
For the fair devil. Now art thou my lieutenant.
IAGO. I am your own for ever.
Exeunt.
What will Iago do
for Othello?
!
How will Othello
reward Iago? What
will he do to
Desdemona?
!
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ACT III, SCENE iv
1. sirrah. Form of address indicating inferiority of the person being
spoken to
2. lies. Lodges
3. to say a soldier lies, is stabbing. To accuse a soldier of lying is
tantamount to stabbing him.
4. Go to. Come on! (Stop your kidding!)
5. lie in mine own throat. Tell an outright lie
6. catechise. To give religious instruction by questions, answers, and
corrections to the answers. Plays on another meaning of edify, which is “to
instruct in moral and religious knowledge.”
7. make questions . . . answer. Here he extends his joke about
catechizing the world. He will ask questions, and from the information he
learns, he will be able to answer Desdemona’s question.
8. moved my lord on his behalf. Attempted to influence Othello in his
favor. Othello is indeed moved on Cassio’s behalf, but not in the way
Desdemona thinks.
9. compass. Scope, range. The Clown uses flowery language to humorous
effect. The entire sentence could be reworded as: “To do this is doable, and
therefore I will attempt to do it.”
10. Where should I lose. Where could I have lost
11. crusadoes. Portuguese gold coins, which were valid currency in
England in Shakespeare’s day. They had a cross stamped on one side, and
thus the term crusado, from Portuguese cruzado, meaning “crossed.”
12. baseness. The quality of being base, or low. Base meant lacking noble
qualities. Desdemona thinks that Othello has no baseness in him.
13. humors. Inclinations; states of mind
120 OTHELLO, THE MOOR OF VENICE
FOOTNOTES
ed • i • fy (ed´ ! f#̄´) vi., inform or enlighten. The pupils were all eager to be edified by the
learned teacher.
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ACT III, SCENE iv 121
5
10
15
20
25
30
SCENE iv: Before the castle.
Enter DESDEMONA, EMILIA, and CLOWN.
DESDEMONA. Do you know, sirrah,1 where
Lieutenant Cassio lies?2
CLOWN. I dare not say he lies any where.
DESDEMONA. Why, man?
CLOWN. He’s a soldier, and for one to say a soldier
lies, is stabbing.3
DESDEMONA. Go to:4 where lodges he?
CLOWN. To tell you where he lodges, is to tell you
where I lie.
DESDEMONA. Can any thing be made of this?
CLOWN. I know not where he lodges, and for me to
devise a lodging and say he lies here or he lies there,
were to lie in mine own throat.5
DESDEMONA. Can you inquire him out, and be
edified by report?
CLOWN. I will catechise6 the world for him; that is,
make questions, and by them answer.7
DESDEMONA. Seek him, bid him come hither: tell
him I have moved my lord on his behalf,8 and hope
all will be well.
CLOWN. To do this is within the compass9 of man’s
wit: and therefore I will attempt the doing it.
Exit.
DESDEMONA. Where should I lose10 that
handkerchief, Emilia?
EMILIA. I know not, madam.
DESDEMONA. Believe me, I had rather have lost my
purse
Full of crusadoes:11 and, but my noble Moor
Is true of mind and made of no such baseness12
As jealous creatures are, it were enough
To put him to ill thinking.
EMILIA. Is he not jealous?
DESDEMONA. Who, he? I think the sun where he was
born
Drew all such humors13 from him.
EMILIA. Look, where he comes.
What different
meanings of “lie”
does the Clown play
on?
!
Does Desdemona
view Othello as
jealous?
!
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122 OTHELLO, THE MOOR OF VENICE
14. hardness. Anger; hardheartedness
15. fruitfulness and liberal heart. Generosity; but here, Othello means
overly generous. He implies that she is too giving—that she gives herself to
others.
16. sequester from liberty. A period of being sequestered, or kept secluded
apart from others, as nuns in a convent
17. exercise devout. Performance of religious duties
18. frank. Honest, open—but again, Othello implies that she has been too
open.
19. Our new heraldry is hands, not hearts. Our new way of doing things
is to give up our hands in marriage, but not our hearts. (Hearts and hands
were common symbols in heraldry, or coats of arms.)
20. chuck. A term of endearment, related to chick
21. salt and sorry rheum. Sharp and painful head cold. Rheum also meant
“tears.” Othello is probably trying to explain away the fact that he is crying.
22. Egyptian. Gypsy
23. charmer. Enchantress or witch; one who casts spells
FOOTNOTES
dis • sem • ble (dis em´ b!l) vt., hide
under a false appearance. Laura dissembled
her annoyance by smiling cheerfully.
cas • ti • ga • tion (kas´ t! gā´ sh!n) n.,
punishment. Slaves could be severely beaten
and even killed as castigation for running
away.
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ACT III, SCENE iv 123
35
40
45
50
55
DESDEMONA. I will not leave him now till Cassio
Be call’d to him.
Enter OTHELLO.
How is’t with you, my lord?
OTHELLO. Well, my good lady. [Aside] O, hardness14
to dissemble!—
How do you, Desdemona?
DESDEMONA. Well, my good lord.
OTHELLO. Give me your hand. This hand is moist,
my lady.
DESDEMONA. It yet hath felt no age nor known no
sorrow.
OTHELLO. This argues fruitfulness and liberal heart:15
Hot, hot, and moist: this hand of yours requires
A sequester from liberty,16 fasting and prayer,
Much castigation, exercise devout;17
For here’s a young and sweating devil here,
That commonly rebels. ’Tis a good hand,
A frank18 one.
DESDEMONA. You may, indeed, say so;
For ’twas that hand that gave away my heart.
OTHELLO. A liberal hand: the hearts of old gave hands;
But our new heraldry is hands, not hearts.19
DESDEMONA. I cannot speak of this. Come now, your
promise.
OTHELLO. What promise, chuck?20
DESDEMONA. I have sent to bid Cassio come speak
with you.
OTHELLO. I have a salt and sorry rheum21 offends me;
Lend me thy handkerchief.
DESDEMONA. Here, my lord.
OTHELLO. That which I gave you.
DESDEMONA. I have it not about me.
OTHELLO. Not?
DESDEMONA. No, indeed, my lord.
OTHELLO. That is a fault.
That handkerchief
Did an Egyptian22 to my mother give;
She was a charmer,23 and could almost read
The thoughts of people: she told her, while she kept it,
What does Othello
say about
Desdemona’s hand?
!
What magic charm
does the handkerchief
possess? What does
Othello say will
happen if the
handkerchief is lost or
given away?
!
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124 OTHELLO, THE MOOR OF VENICE
24. amiable. Lovable
25. wive. Take a wife
26. give it her. Give it to my wife.
27. perdition. Here, it could mean either a loss or a disaster
28. web. Fabric or weave
29. sibyl. A female prophet or fortune-teller
30. The sun to course two hundred compasses. The sun had gone two
hundred times around the earth; that is, the sibyl was two hundred years
old.
31. prophetic fury. A frenzy or trance into which a prophet goes when
attempting to receive messages from the spirits or gods
32. dyed in mummy . . . maidens’ hearts. Dyed with the embalming
fluid taken from the hearts of mummified virgins. Mummy itself, the fluid
taken from mummies, was said to have medicinal qualities and in
Shakespeare’s day, could be purchased at a pharmacy. The fact that this
mummy came from virgins’ hearts is highly significant, since it adds to the
symbolism of the handkerchief as a sign of Desdemona’s chastity.
33. rash. Hastily; without thought
34. what an if. What if
35. put me from. Distract me from
36. misgives. Is giving in to doubts and fears
37. sufficient. Able; deserving
FOOTNOTES
ver • i • ta • ble (ver´ !t ! b!l) adj., true; being truly or very much so. The seaside town
was a veritable paradise.
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ACT III, SCENE iv 125
60
65
70
75
80
85
90
’Twould make her amiable24 and subdue my father
Entirely to her love, but if she lost it
Or made gift of it, my father’s eye
Should hold her loathed and his spirits should hunt
After new fancies. She, dying, gave it me;
And bid me, when my fate would have me wive,25
To give it her.26 I did so: and take heed on’t;
Make it a darling like your precious eye;
To lose’t or give’t away were such perdition27
As nothing else could match.
DESDEMONA. Is’t possible?
OTHELLO. ’Tis true: there’s magic in the web28 of it.
A sibyl,29 that had number’d in the world
The sun to course two hundred compasses,30
In her prophetic fury31 sew’d the work;
The worms were hallow’d that did breed the silk;
And it was dyed in mummy which the skillful
Conserved of maidens’ hearts.32
DESDEMONA. Indeed! is’t true?
OTHELLO. Most veritable; therefore look to’t well.
DESDEMONA. Then would to God that I had never
seen’t!
OTHELLO. Ha! wherefore?
DESDEMONA. Why do you speak so startingly and
rash?33
OTHELLO. Is’t lost? is’t gone? speak, is it out o’ the
way?
DESDEMONA. Heaven bless us!
OTHELLO. Say you?
DESDEMONA. It is not lost; but what an if34 it were?
OTHELLO. How!
DESDEMONA. I say, it is not lost.
OTHELLO. Fetch’t, let me see’t.
DESDEMONA. Why, so I can, sir, but I will not now.
This is a trick to put me from35 my suit:
Pray you, let Cassio be received again.
OTHELLO. Fetch me the handkerchief: my mind
misgives.36
DESDEMONA. Come, come;
You’ll never meet a more sufficient37 man.
What dye was
used on the
handkerchief?
!
What does
Desdemona think is
the reason for
Othello’s questioning?
!
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126 OTHELLO, THE MOOR OF VENICE
38. but. Nothing but
39. hungerly. Hungrily
40. ’tis she must do’t. She, Desdemona, is the one who must help you win
back Othello’s favor
41. the happiness! Good luck!
42. virtuous. Powerful
43. If my offense be of such mortal kind. If my offense is so deadly
serious
44. Nor purposed merit in futurity. Nor any promise to serve well in the
future
45. shut myself up in. Confine myself to
46. advocation . . . in tune. My advocacy, or pleading, is not now pleasing
to Othello’s ears (but is rather like an instrument out of tune).
47. nor should . . . in humour alter’d. If he were as changed in
appearance as he is in personality and mood, I would not recognize him.
48. sanctified. Holy
FOOTNOTES
alms (ä[l]mz´) n., something (as money or food) given as charity. It was our custom to
give alms to the poor during the holiday season.
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ACT III, SCENE iv 127
95
100
105
110
115
120
125
OTHELLO. The handkerchief!
DESDEMONA. I pray, talk me of Cassio.
OTHELLO. The handkerchief!
DESDEMONA. A man that all his time
Hath founded his good fortunes on your love,
Shared dangers with you,—
OTHELLO. The handkerchief!
DESDEMONA. In sooth, you are to blame.
OTHELLO. Away!
Exit.
EMILIA. Is not this man jealous?
DESDEMONA. I ne’er saw this before.
Sure, there’s some wonder in this handkerchief:
I am most unhappy in the loss of it.
EMILIA. ’Tis not a year or two shows us a man:
They are all but38 stomachs, and we all but food;
They eat us hungerly,39 and when they are full,
They belch us. Look you, Cassio and my husband!
Enter CASSIO and IAGO.
IAGO. There is no other way; ’tis she must do’t:40
And, lo, the happiness!41 go, and importune her.
DESDEMONA. How now, good Cassio! what’s the news
with you?
CASSIO. Madam, my former suit: I do beseech you
That by your virtuous42 means I may again
Exist, and be a member of his love
Whom I with all the office of my heart
Entirely honour. I would not be delay’d.
If my offense be of such mortal kind43
That nor my service past, nor present sorrows,
Nor purposed merit in futurity,44
Can ransom me into his love again,
But to know so must be my benefit;
So shall I clothe me in a forced content,
And shut myself up in45 some other course,
To fortune’s alms.
DESDEMONA. Alas, thrice-gentle Cassio!
My advocation is not now in tune;46
My lord is not my lord; nor should I know him,
Were he in favor as in humor alter’d.47
So help me every spirit sanctified,48
What view does
Emilia have of men?
!
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128 OTHELLO, THE MOOR OF VENICE
49. blank. Bull’s eye, on a target
50. ranks. Soldiers under his command
51. Puff’d his own brother. Blew away his own brother. The implication
here is that even when his brother was killed in battle, Othello was able to
remain cool and calm.
52. Something of moment. Something very important
53. Something, sure, of state. Something relating to matters of the state,
or politics
54. unhatch’d practice. A plot that has yet to be hatched, or carried out
55. puddled. Muddied
56. wrangle with inferior things. Pick fights about smaller issues
57. it indues . . . pain. It brings pain to the other parts of the body
58. observances / As fit the bridal. Niceties or politenesses that would be
more conducive to a happy marriage
59. Beshrew me. A very mild oath
60. unhandsome warrior. Unfair assailant
61. Arraigning . . . with my soul. Charging him with unkindness in the
courtroom of my soul
62. I find I had suborn’d the witness. I find that I have forced the witness
to lie on the stand; that is, I forced the evidence to fit my own false
conclusions. Witness could mean an actual person who witnessed the crime,
or it could mean evidence of any kind.
63. toy. Fancy; idea
64. Begot upon itself. Made by itself, without any outside cause
FOOTNOTES
suf • fice (s! f#̄ s´) vi., vt., to meet or satisfy
a need; to be enough or be enough for.
The supplies in the cupboard were not
plentiful, but they would suffice to get the
family through the long winter.
in • dict (in d#̄ t́ ) vt., criticize; accuse;
charge with a crime. Three men were
indicted by a federal grand jury on charges
they tried to rob a bank.
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As I have spoken for you all my best
And stood within the blank49 of his displeasure
For my free speech! you must awhile be patient:
What I can do I will; and more I will
Than for myself I dare: let that suffice you.
IAGO. Is my lord angry?
EMILIA. He went hence but now,
And certainly in strange unquietness.
IAGO. Can he be angry? I have seen the cannon,
When it hath blown his ranks50 into the air,
And, like the devil, from his very arm
Puff’d his own brother:51—and can he be angry?
Something of moment52 then: I will go meet him:
There’s matter in’t indeed, if he be angry.
DESDEMONA. I prithee, do so.
Exit IAGO.
Something, sure, of state,53
Either from Venice, or some unhatch’d practice54
Made demonstrable here in Cyprus to him,
Hath puddled55 his clear spirit: and in such cases
Men’s natures wrangle with inferior things,56
Though great ones are their object. ’Tis even so;
For let our finger ache, and it indues
Our other healthful members even to that sense
Of pain.57 Nay, we must think men are not gods,
Nor of them look for such observances
As fit the bridal.58 Beshrew me59 much, Emilia,
I was, unhandsome warrior60 as I am,
Arraigning his unkindness with my soul;61
But now I find I had suborn’d the witness,62
And he’s indicted falsely.
EMILIA. Pray heaven it be state-matters, as you think,
And no conception nor no jealous toy63
Concerning you.
DESDEMONA. Alas the day! I never gave him cause.
EMILIA. But jealous souls will not be answer’d so;
They are not ever jealous for the cause,
But jealous for they are jealous: ’tis a monster
Begot upon itself,64 born on itself.
DESDEMONA. Heaven keep that monster from
Othello’s mind!
EMILIA. Lady, amen.
ACT III, SCENE iv 129
On what does
Desdemona blame
Othello’s odd
behavior?
!
130
135
140
145
150
155
160
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130 OTHELLO, THE MOOR OF VENICE
65. ’Save you. God save you (a common greeting)
66. What make you from home? What are you doing away from home?
67. Eight score eight hours. One hundred sixty-eight hours, the number
of hours in a week. (A score is twenty.) Here is another reference that
suggests that more time has elapsed. Going by Bianca’s words, we must
conclude that the group has been in Cyprus for at least a week.
68. lovers’ absent . . . times. The hours in which a lover is gone are one
hundred sixty times more slow and agonizing than regular clock-hours. Dial
means “clock.”
69. weary reckoning. Tiresome mathematics
70. leaden. Heavy, as made of lead
71. continuate. Uninterrupted
72. Strike off this score. Pay off this debt (playing on another meaning of
score)
73. Take me this work out. Copy this needlework for me.
74. in good troth. In good truth
75. ere it be demanded. Before someone comes to demand it back
76. think it no addition. I think it would not add anything to my image
FOOTNOTES
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DESDEMONA. I will go seek him. Cassio, walk
hereabout:
If I do find him fit, I’ll move your suit
And seek to effect it to my uttermost.
CASSIO. I humbly thank your ladyship.
Exeunt DESDEMONA and EMILIA.
Enter BIANCA.
BIANCA. ’Save you,65 friend Cassio!
CASSIO. What make you
from home?66
How is it with you, my most fair Bianca?
I’ faith, sweet love, I was coming to your house.
BIANCA. And I was going to your lodging, Cassio.
What, keep a week away? seven days and nights?
Eight score eight hours?67 and lovers’ absent hours,
More tedious than the dial eight score times?68
O weary reckoning!69
CASSIO. Pardon me, Bianca:
I have this while with leaden70 thoughts been press’d:
But I shall, in a more continuate71 time,
Strike off this score72 of absence. Sweet Bianca,
[Giving her DESDEMONA’S handkerchief]
Take me this work out.73
BIANCA. O Cassio, whence came this?
This is some token from a newer friend:
To the felt absence now I feel a cause:
Is’t come to this? Well, well.
CASSIO. Go to, woman!
Throw your vile guesses in the devil’s teeth,
From whence you have them. You are jealous now
That this is from some mistress, some remembrance:
No, in good troth,74 Bianca.
BIANCA. Why, whose is it?
CASSIO. I know not, sweet: I found it in my chamber.
I like the work well: ere it be demanded75—
As like enough it will—I’ld have it copied:
Take it, and do’t; and leave me for this time.
BIANCA. Leave you! wherefore?
CASSIO. I do attend here on the general;
And think it no addition,76 nor my wish,
To have him see me woman’d.
ACT III, SCENE iv 131
What excuse does
Cassio give for his
long absence? What
does he give to
Bianca?
!
165
170
175
180
185
190
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132 OTHELLO, THE MOOR OF VENICE
77. bring me on the way. Lead me on
78. I must be circumstanced. I must yield to circumstances.
FOOTNOTES
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BIANCA. Why, I pray you?
CASSIO. Not that I love you not.
BIANCA. But that you do not
love me.
I pray you, bring me on the way77 a little,
And say if I shall see you soon at night.
CASSIO. ’Tis but a little way that I can bring you;
For I attend here: but I’ll see you soon.
BIANCA. ’Tis very good; I must be circumstanced.78
Exeunt.
ACT III, SCENE iv 133
195
200
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Evaluate: MAKING JUDGMENTS
5a. Analyze the role that jealousy
plays in this act. What is the
nature of jealousy, according to
Iago and Emilia? Is Othello a
naturally jealous person? How
does jealousy change Othello’s
view of the world?
Extend: CONNECTING IDEAS
5b. Is Othello right that “’tis better
to be much abused / Than but
to know’t a little?” Is ignorance
bliss?
”
Respond to the Selection
At this point in the play, Iago’s “poison” has worked quite well—Othello believes
his wife has been unfaithful. Desdemona, having no idea of his suspicions, is
completely bewildered by Othello’s anger regarding the misplaced handkerchief.
What would you do at this point if you were Othello? if you were Desdemona?
Investigate, Inquire, and Imagine
Recall: GATHERING FACTS
1a. To whom does Cassio appeal
for help in regaining his
position? At the beginning of
the act, what does Othello say
he plans to do about Cassio?
2a. How does Iago get
Desdemona’s handkerchief?
What does he do with it?
3a. At the end of act III, scene iii,
what does Othello say he will
do about Cassio? about
Desdemona? Who will be his
lieutenant now?
Interpret: FINDING MEANING
1b. How does this fit into Iago’s
plan?
2b. Explain the significance of the
handkerchief. Why is it special?
3b. Explain Othello’s change of
heart.
Analyze: TAKING THINGS APART
4a. In act III, scene iii, Desdemona
is “tried” and found guilty, with
Iago as the prosecutor and
nobody to act as her defense.
Analyze Iago’s arguments
against Desdemona. What
“evidence” does he present?
Synthesize: BRINGING THINGS TOGETHER
4b. How convincing is the
evidence? What flaws do you
see in Iago’s case? Given the
evidence presented, is Othello
right to condemn Desdemona?
134 OTHELLO, THE MOOR OF VENICE
”
”
”
”
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Understanding Literature
CLIMAX AND CRISIS. The climax of a play is the high point of interest or
suspense in the plot. The crisis, or turning point, often the same event as the
crisis, is the point in the plot where something decisive happens to determine
the future course of events and the eventual working out of the conflict. All
throughout act III, the suspense has been building as Iago feeds Othello more
lies and insinuations. Identify the high point of the suspense—the climatic
moment in which Othello is finally and irrevocably convinced of Desdemona’s
guilt. What does he resolve to do?
DRAMATIC IRONY. Irony is a difference between appearance and reality.
Dramatic irony occurs when something is known to the reader or audience
but not to the characters. The dramatic irony builds throughout act III, as Iago
continues to gain the trust and esteem of others even while the effects of his
poison are being seen. What examples can you find of Iago being called
“honest”? Who is being called “dishonest”? What irony can you find in Iago’s
line “Men should be what they seem” (act III, scene iii, line 126)? (Recall Iago’s
line from act I, scene i: “I am not what I am.”)
COMIC RELIEF AND PUN. Writers sometimes insert into a serious work of fiction or
drama a humorous scene that is said to provide comic relief because it
relieves the seriousness or emotional intensity felt by the audience. A pun is a
play on words, one that wittily exploits a double meaning. What character is
introduced in act III to provide comic relief? What puns does this character
employ?
SYMBOL. A symbol is a thing that stands for or represents both itself and
something else. Othello is extremely upset when he believes that Desdemona
has given away her handkerchief. What does the handkerchief symbolize to
Othello?
RESPOND TO THE SELECTION, ACT III 135
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136 OTHELLO, THE MOOR OF VENICE
ACT IV, SCENE i
1. hypocrisy against the devil. Hypocrisy against God is pretending to
be virtuous when you are not. Hypocrisy against the devil, then, is giving
the appearance of being sinful when you are not. Othello is being ironic
here.
2. The devil . . . heaven. As explained by the poet and critic W. E.
Henley: “The devil tempts their virtue by stirring up their passions, and they
tempt heaven by placing themselves in such a situation [i.e., naked in bed] as
makes it scarcely possible to avoid falling [into sinful behavior] by the
gratification of them.”
3. venial slip. A sin that is forgivable or slight (as opposed to a mortal sin)
4. They have it very oft . . . not. People who have the honor and respect
of others often do not deserve it.
5. As doth the raven . . . house. It was believed that the raven hovered
near a house in which sickness or infection existed.
6. Who having . . . blab. Who, having convinced a woman to sleep with
them (or supplied the woman with the sex that she wanted), feel the need
to blab about it.
FOOTNOTES
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ACT IV, SCENE i 137
5
10
15
20
25
ACT IV
SCENE i: Cyprus. Before the castle.
Enter OTHELLO and IAGO.
IAGO. Will you think so?
OTHELLO. Think so, Iago!
IAGO. What,
To kiss in private?
OTHELLO. An unauthorized kiss.
IAGO. Or to be naked with her friend in bed
An hour or more, not meaning any harm?
OTHELLO. Naked in bed, Iago, and not mean harm!
It is hypocrisy against the devil:1
They that mean virtuously, and yet do so,
The devil their virtue tempts, and they tempt
heaven.2
IAGO. So they do nothing, ’tis a venial slip:3
But if I give my wife a handkerchief,—
OTHELLO. What then?
IAGO. Why, then, ’tis hers, my lord; and, being hers,
She may, I think, bestow’t on any man.
OTHELLO. She is protectress of her honor too:
May she give that?
IAGO. Her honor is an essence that’s not seen;
They have it very oft that have it not:4
But, for the handkerchief,—
OTHELLO. By heaven, I would most gladly have
forgot it.
Thou said’st, it comes o’er my memory,
As doth the raven o’er the infected house,5
Boding to all—he had my handkerchief.
IAGO. Ay, what of that?
OTHELLO. That’s not so good now.
IAGO. What
If I had said I had seen him do you wrong?
Or heard him say—as knaves be such abroad,
Who having, by their own importunate suit,
Or voluntary dotage of some mistress,
Convinced or supplied them, cannot choose
But they must blab6—
What does Iago
say about honor?
How is this true of
him?
!
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138 OTHELLO, THE MOOR OF VENICE
FOOTNOTES
7. belie her. Show her to be false or wrong
8. fulsome. Too much, overdone; also, morally offensive
9. Nature . . . instruction. It would not be natural for me to be taken
over by such a strong and foreboding emotion unless there were some
reason for it. Shadowing passion could mean passion, or strong emotion, that
comes over Othello like a shadow. Instruction refers to a cause or reason.
10. Noses, ears, and lips. Othello is probably imagining Cassio and
Desdemona kissing each other’s noses, ears, and lips
11. Falls in a trance. Some directors interpret this to mean that Othello
literally falls down to the ground while in a trancelike state. This would
make sense considering that Iago, in the next lines, tells Cassio that Othello
is having an epileptic fit.
12. epilepsy. Epileptic fit
13. lethargy. State of unconsciousness
14. his. Its
cred • u • lous (kre´ j! l!s) adj., ready to
believe anything, even with slight or
uncertain evidence. The children were so
credulous that they believed all the tall tales
and superstitions they heard.
re • proach (ri prōch´) n., disgrace or
discredit; expression of disapproval. The
scholar was so highly respected as to be
beyond reproach.
for • bear (fō[!]r ba[!]ŕ ) vt., refrain from.
The sign read: “Please forbear feeding the
four bears.”
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ACT IV, SCENE i 139
OTHELLO. Hath he said any thing?
IAGO. He hath, my lord; but be you well assured,
No more than he’ll unswear.
OTHELLO. What hath he said?
IAGO. ’Faith, that he did—I know not what he did.
OTHELLO. What? what?
IAGO. Lie—
OTHELLO. With her?
IAGO. With her, on her; what you will.
OTHELLO. Lie with her! lie on her! We say lie on her,
when they belie her.7 Lie with her! that’s fulsome.8
—Handkerchief—confessions—handkerchief!—To
confess, and be hanged for his labor;—first, to be
hanged, and then to confess.—I tremble at it. Nature
would not invest herself in such shadowing passion
without some instruction.9 It is not words that shake
me thus. Pish! Noses, ears, and lips.10—Is’t
possible?—Confess—handkerchief!—O devil!—
Falls in a trance.11
IAGO. Work on,
My medicine, work! Thus credulous fools are caught;
And many worthy and chaste dames even thus,
All guiltless, meet reproach. What, ho! my lord!
My lord, I say! Othello!
[Enter CASSIO]
How now, Cassio!
CASSIO. What’s the matter?
IAGO. My lord is fall’n into an epilepsy:12
This is his second fit; he had one yesterday.
CASSIO. Rub him about the temples.
IAGO. No, forbear;
The lethargy13 must have his14 quiet course:
If not, he foams at mouth and by and by
Breaks out to savage madness. Look, he stirs.
Do you withdraw yourself a little while,
He will recover straight: when he is gone,
I would on great occasion speak with you.
Exit CASSIO.
How is it, general? have you not hurt your head?
OTHELLO. Dost thou mock me?
According to Iago,
what has Cassio
said?
!
How does this
news affect Othello?
!
30
35
40
45
50
55
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140 OTHELLO, THE MOOR OF VENICE
15. hornèd man’s. A cuckold’s
16. civil. Civilized
17. but yoked. Married
18. May draw with you. Has the same luck as you (with a pun on draw,
meaning pull a load, as oxen do under a yoke)
19. unproper beds . . . peculiar. Beds that are not exclusively their own,
which they would swear are private, or theirs alone
20. arch-mock. The worst mock of all
21. lip a wanton. Kiss a wanton, or unchaste, woman
22. secure couch. A bed that’s safe, or free from any suspicion
23. in a patient list. In the bounds of patience
24. laid . . . ecstasy. Gave a good excuse for your fit of emotion
25. encave. Hide
26. fleers. Mocks
27. notable scorns. Easily noted expressions of scorn
28. cope. To meet with or come into contact with
29. all and all in spleen. Totally overtaken by anger; out of control
30. housewife. Hussy
31. It. Bianca. Iago calls her “it” instead of “she” to show his contempt
32. strumpet’s . . . one. The curse of prostitutes is that they seduce many
men, but fall in love with one who does not love them back.
FOOTNOTES
Othello Act 4.qxd 1/17/05 9:56 AM Page 140

ACT IV, SCENE i 141
60
65
70
75
80
85
90
95
IAGO. I mock you! no, by heaven.
Would you would bear your fortune like a man!
OTHELLO. A hornèd man’s15 a monster and a beast.
IAGO. There’s many a beast then in a populous city,
And many a civil16 monster.
OTHELLO. Did he confess it?
IAGO. Good sir, be a man;
Think every bearded fellow that’s but yoked17
May draw with you:18 there’s millions now alive
That nightly lie in those unproper beds
Which they dare swear peculiar:19 your case is better.
O, ’tis the spite of hell, the fiend’s arch-mock,20
To lip a wanton21 in a secure couch,22
And to suppose her chaste! No, let me know;
And knowing what I am, I know what she shall be.
OTHELLO. O, thou art wise; ’tis certain.
IAGO. Stand you awhile apart;
Confine yourself but in a patient list.23
Whilst you were here o’erwhelmed with your grief—
A passion most unsuiting such a man—
Cassio came hither: I shifted him away,
And laid good ’scuse upon your ecstasy,24
Bade him anon return and here speak with me;
The which he promised. Do but encave25 yourself,
And mark the fleers,26 the gibes, and notable scorns,27
That dwell in every region of his face;
For I will make him tell the tale anew,
Where, how, how oft, how long ago, and when
He hath, and is again to cope28 your wife:
I say, but mark his gesture. Marry, patience;
Or I shall say you are all in all in spleen,29
And nothing of a man.
OTHELLO. Dost thou hear, Iago?
I will be found most cunning in my patience;
But—dost thou hear?—most bloody.
IAGO. That’s not amiss;
But yet keep time in all. Will you withdraw?
[OTHELLO retires]
Now will I question Cassio of Bianca,
A housewife30 that by selling her desires
Buys herself bread and clothes. It31 is a creature
That dotes on Cassio; as ’tis the strumpet’s plague
To beguile many and be beguiled by one:32
What does Iago
prepare Othello to
hear?
!
Bianca first
appeared in the
previous scene. Who
is Bianca, and what is
Cassio’s opinion of
her? Why will Iago
ask Cassio about her?
!
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142 OTHELLO, THE MOOR OF VENICE
33. unbookish. Ignorant
34. worser . . . kills me. Worse now that you give me the title [of
lieutenant], the lack of which is killing me
35. Ply. Urge
36. caitiff. Despicable wretch
37. Do you triumph, Roman? Alluding to the Roman conquerors, who
seized foreign lands in order to enlarge their empire
38. customer. Prostitute
FOOTNOTES
con • strue (k!n strü´) vt., understand or explain the intention of a word or action,
usually in a particular way given a set of circumstances. The CEO claimed that he had
done nothing wrong, although he could see how his actions “could be construed as violating
the law.”
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ACT IV, SCENE i 143
100
105
110
115
120
125
He, when he hears of her, cannot refrain
From the excess of laughter. Here he comes.
Re-enter CASSIO.
As he shall smile, Othello shall go mad;
And his unbookish33 jealousy must construe
Poor Cassio’s smiles, gestures and light behavior,
Quite in the wrong. How do you now, lieutenant?
CASSIO. The worser that you give me the addition
Whose want even kills me.34
IAGO. Ply35 Desdemona well, and you are sure on’t.
[Speaking lower]
Now, if this suit lay in Bianca’s power,
How quickly should you speed!
CASSIO. Alas, poor caitiff!36
OTHELLO. Look, how he laughs already!
IAGO. I never knew woman love man so.
CASSIO. Alas, poor rogue! I think, i’ faith, she loves
me.
OTHELLO. Now he denies it faintly, and laughs it out.
IAGO. Do you hear, Cassio?
OTHELLO. Now he importunes him
To tell it o’er: go to; well said, well said.
IAGO. She gives it out that you shall marry her:
Do you intend it?
CASSIO. Ha, ha, ha!
OTHELLO. Do you triumph, Roman?37 do you
triumph?
CASSIO. I marry her! what? a customer!38 Prithee,
bear some charity to my wit: do not think it so
unwholesome. Ha, ha, ha!
OTHELLO. So, so, so, so: they laugh that win.
IAGO. ’Faith, the cry goes that you shall marry her.
CASSIO. Prithee, say true.
IAGO. I am a very villain else.
OTHELLO. Have you scored me? Well.
CASSIO. This is the monkey’s own giving out: she is
persuaded I will marry her, out of her own love and
flattery, not out of my promise.
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144 OTHELLO, THE MOOR OF VENICE
39. beckons. Signals with a hand gesture
40. hales. Hauls
41. fitchew. Polecat, an animal (related to the ferret) known for having a
bad smell. Cassio goes on to say that although Bianca is a fitchew, at least
she is a “perfumed one.”
42. devil and his dam. The devil and his mother
43. likely piece of work. Likely story
44. hobby-horse. Harlot
45. should. Must
46. An. If
FOOTNOTES
bau • ble (bo
.
´ b!l, bäb´ !l) n., trinket;
something insignificant. Behind the counter
of the antique store were many curious
baubles such as salt-spoons and lacquered
thimbles.
loll (läĺ ) vt., hang loosely or laxly; lounge.
The baby lolled contentedly on its mother’s
lap.
rail (rā[!]ĺ ) vt., utter harsh or abusive
language. The soccer player railed against the
referee for what he considered an unfair call.
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ACT IV, SCENE i 145
130
135
140
145
150
155
160
165
What does Othello
think Cassio is
talking about?
!
What does Othello
see?
!
OTHELLO. Iago beckons39 me; now he begins the story.
CASSIO. She was here even now; she haunts me in
every place. I was the other day talking on the sea-
bank with certain Venetians; and thither comes the
bauble, and, by this hand, she falls me thus about
my neck—
OTHELLO. Crying “O dear Cassio!” as it were: his
gesture imports it.
CASSIO. So hangs, and lolls, and weeps upon me; so
hales,40 and pulls me: ha, ha, ha!
OTHELLO. Now he tells how she plucked him to my
chamber. O, I see that nose of yours, but not that
dog I shall throw it to.
CASSIO. Well, I must leave her company.
IAGO. Before me! look, where she comes.
CASSIO. ’Tis such another fitchew!41 marry a
perfumed one.
Enter BIANCA.
What do you mean by this haunting of me?
BIANCA. Let the devil and his dam42 haunt you!
What did you mean by that same handkerchief you
gave me even now? I was a fine fool to take it. I must
take out the work?—A likely piece of work,43 that
you should find it in your chamber, and not know
who left it there! This is some minx’s token, and I
must take out the work? There; give it your hobby-
horse:44 wheresoever you had it, I’ll take out no
work on’t.
CASSIO. How now, my sweet Bianca! how now! how
now!
OTHELLO. By heaven, that should45 be my
handkerchief!
BIANCA. An46 you’ll come to supper to-night, you
may; an you will not, come when you are next
prepared for.
Exit.
IAGO. After her, after her.
CASSIO. ’Faith, I must; she’ll rail in the street else.
IAGO. Will you sup there?
CASSIO. ’Faith, I intend so.
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146 OTHELLO, THE MOOR OF VENICE
47. very fain. Very much like to
48. vice. Sinful behavior
49. I would . . . nine years a-killing. I wish I could make his killing last
nine years (so prolonged do I want his pain to be)
50. condition. Disposition
51. too gentle. Too generous with her affections
52. fond. Foolishly doting
53. Give her patent. Give her permission, or license
FOOTNOTES
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ACT IV, SCENE i 147
What is Othello
now determined to
do?
!
170
175
180
185
190
195
200
IAGO. Well, I may chance to see you; for I would
very fain47 speak with you.
CASSIO. Prithee, come; will you?
IAGO. Go to; say no more.
Exit CASSIO.
OTHELLO. [Advancing] How shall I murder him, Iago?
IAGO. Did you perceive how he laughed at his
vice?48
OTHELLO. O Iago!
IAGO. And did you see the handkerchief?
OTHELLO. Was that mine?
IAGO. Yours by this hand: and to see how he prizes
the foolish woman your wife! she gave it him, and
he hath given it his whore.
OTHELLO. I would have him nine years a-killing.49
A fine woman! a fair woman! a sweet woman!
IAGO. Nay, you must forget that.
OTHELLO. Ay, let her rot, and perish, and be damned
to-night; for she shall not live: no, my heart is
turned to stone; I strike it, and it hurts my hand. O,
the world hath not a sweeter creature: she might lie
by an emperor’s side and command him tasks.
IAGO. Nay, that’s not your way.
OTHELLO. Hang her! I do but say what she is: so
delicate with her needle: an admirable musician: O!
she will sing the savageness out of a bear: of so high
and plenteous wit and invention:—
IAGO. She’s the worse for all this.
OTHELLO. O, a thousand thousand times: and then,
of so gentle a condition!50
IAGO. Ay, too gentle.51
OTHELLO. Nay, that’s certain: but yet the pity of it,
Iago! O Iago, the pity of it, Iago!
IAGO. If you are so fond52 over her iniquity, give her
patent53 to offend; for, if it touch not you, it comes
near nobody.
OTHELLO. I will chop her into messes: cuckold me!
IAGO. O, ’tis foul in her.
OTHELLO. With mine officer!
How is Othello
conflicted?
!
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148 OTHELLO, THE MOOR OF VENICE
54. unprovide my mind. Cause me to lose my resolve
55. his undertaker. The one who undertakes his killing
56. With all my heart. I thank you with all my heart; or, I welcome you
with all my heart
57. instrument of their pleasures. Said while kissing his hand, as if to
blow a kiss: his hand is the instrument, or tool, ready to do whatever the
duke and senators wish.
58. cousin. Lodovico is a kinsman to Desdemona’s father. Cousin was a
general term meaning “relative.”
FOOTNOTES
ex • pos • tu • late (ik späs´ ch! lāt́ ) vi.,
express objection in the form of earnest
reasoning. The senators expostulated with
one another all day, but never came to a
decision about the issue.
breach (brēch´) n., break in relations. A
breach developed between the leadership of
both countries, and diplomats attempted to
repair the broken relationship.
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ACT IV, SCENE i 149
Who has arrived?
!
205
210
215
220
225
230
IAGO. That’s fouler.
OTHELLO. Get me some poison, Iago; this night. I’ll
not expostulate with her, lest her body and beauty
unprovide my mind54 again: this night, Iago.
IAGO. Do it not with poison, strangle her in her bed,
even the bed she hath contaminated.
OTHELLO. Good, good: the justice of it pleases: very
good.
IAGO. And for Cassio, let me be his undertaker:55
you shall hear more by midnight.
OTHELLO. Excellent good.
[A trumpet within]
What trumpet is that same?
IAGO. Something from Venice, sure. ’Tis Lodovico
Come from the duke: and, see, your wife is with
him.
Enter LODOVICO, DESDEMONA, and ATTENDANTS.
LODOVICO. ’Save you, worthy general!
OTHELLO. With all my
heart,56 sir.
LODOVICO. The duke and senators of Venice greet you.
Gives him a letter.
OTHELLO. I kiss the instrument of their pleasures.57
Opens the letter and reads.
DESDEMONA. And what’s the news, good cousin58
Lodovico?
IAGO. I am very glad to see you, signior.
Welcome to Cyprus.
LODOVICO. I thank you. How does Lieutenant
Cassio?
IAGO. Lives, sir.
DESDEMONA. Cousin, there’s fall’n between him and
my lord
An unkind breach: but you shall make all well.
OTHELLO. Are you sure of that?
DESDEMONA. My lord?
OTHELLO. [Reads] “This fail you not to do, as you
will—”
What has Othello
decided?
!
What does
Desdemona tell
Lodovico?
!
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150 OTHELLO, THE MOOR OF VENICE
59. atone. Reconcile
60. Deputing. Substituting
61. glad . . . mad. Could be an error, as it would be more likely he was
“mad to see her glad,” or perhaps Othello is being sarcastic.
62. If that the earth could teem . . . a crocodile. If the Earth could teem,
or bring forth life, at the touch of a woman’s tears, each drop shed by
Desdemona would turn into a crocodile. An allusion to the false tears
supposedly shed by crocodiles upon eating their victims.
FOOTNOTES
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ACT IV, SCENE i 151
What does Othello
do that shocks
Desdemona and
Lodovico?
!
235
240
245
250
LODOVICO. He did not call; he’s busy in the paper.
Is there division ’twixt my lord and Cassio?
DESDEMONA. A most unhappy one: I would do much
To atone59 them, for the love I bear to Cassio.
OTHELLO. Fire and brimstone!
DESDEMONA. My lord?
OTHELLO. Are you wise?
DESDEMONA. What, is he angry?
LODOVICO. May be the letter
moved him;
For, as I think, they do command him home,
Deputing60 Cassio in his government.
DESDEMONA. Trust me, I am glad on’t.
OTHELLO. Indeed!
DESDEMONA. My lord?
OTHELLO. I am glad to see you mad.61
DESDEMONA. Why, sweet Othello,—
OTHELLO. [Striking her] Devil!
DESDEMONA. I have not deserved this.
LODOVICO. My lord, this would not be believed in
Venice,
Though I should swear I saw’t. ’Tis very much:
Make her amends; she weeps.
OTHELLO. O devil, devil!
If that the earth could teem with woman’s tears,
Each drop she falls would prove a crocodile.62
Out of my sight!
DESDEMONA. I will not stay to offend you. [Going]
LODOVICO. Truly, an obedient lady:
I do beseech your lordship, call her back.
OTHELLO. Mistress!
DESDEMONA. My lord?
OTHELLO. What would you with
her, sir?
LODOVICO. Who, I, my lord?
OTHELLO. Ay; you did wish that I would make her
turn:
What did the letter
say? How does
Desdemona feel
about the news?
!
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152 OTHELLO, THE MOOR OF VENICE
63. Concerning this. Referring to the letter given him by Lodovico
64. well-painted passion. Well-acted emotion (said to Desdemona; whose
tears he believes are false and hypocritical)
65. safe. Sound
66. censure. Opinion; judgment
67. Is it his use? Is this his usual behavior?
68. work upon his blood. Make him angry
69. honesty. Proper behavior
FOOTNOTES
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ACT IV, SCENE i 153
Which of these
lines are spoken to
Lodovico, and which
to Desdemona?
!
255
260
265
270
275
280
Sir, she can turn, and turn, and yet go on,
And turn again; and she can weep, sir, weep;
And she’s obedient, as you say, obedient,
Very obedient. Proceed you in your tears.
Concerning this,63 sir,—O well-painted passion!64—
I am commanded home. Get you away;
I’ll send for you anon. Sir, I obey the mandate,
And will return to Venice.—Hence, avaunt!
Exit DESDEMONA.
Cassio shall have my place. And, sir, tonight,
I do entreat that we may sup together:
You are welcome, sir, to Cyprus.—Goats and monkeys!
Exit.
LODOVICO. Is this the noble Moor whom our full
senate
Call all in all sufficient? Is this the nature
Whom passion could not shake? whose solid virtue
The shot of accident, nor dart of chance,
Could neither graze nor pierce?
IAGO. He is much changed.
LODOVICO. Are his wits safe?65 is he not light of brain?
IAGO. He’s that he is: I may not breathe my censure66
What he might be: if what he might he is not,
I would to heaven he were!
LODOVICO. What, strike his wife!
IAGO. ’Faith, that was not so well; yet would I knew
That stroke would prove the worst!
LODOVICO. Is it his use?67
Or did the letters work upon his blood,68
And new-create this fault?
IAGO. Alas, alas!
It is not honesty69 in me to speak
What I have seen and known. You shall observe him,
And his own courses will denote him so
That I may save my speech: do but go after,
And mark how he continues.
LODOVICO. I am sorry that I am deceived in him.
Exeunt.
Whose reputation
is suffering now as a
result of Iago’s plots
and schemes?
!
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154 OTHELLO, THE MOOR OF VENICE
ACT IV, SCENE ii
1. durst . . . wager. I dare lay a bet
2. the serpent’s curse. The curse placed by God on the serpent in the
Bible
3. she’s a simple bawd . . . as much. A bawd was a female pimp, or
brothel-keeper. Othello is saying that any brothel-keeper will protect her
whores, just as Emilia defends the “whore” Desdemona.
4. subtle whore. Sneaky whore (speaking of Desdemona)
5. Some of your function. Do what you do best (that is, stand outside
the door and watch for someone coming, as you do when Desdemona meets
with Cassio)
FOOTNOTES
re • quite (ri kw”̄ t́ ) vt., repay or return; avenge. Trinh vowed to requite the abuse she had
suffered.
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ACT IV, SCENE ii 155
About what does
Othello question
Emilia?
!
5
10
15
20
25
SCENE ii: A room in the castle.
Enter OTHELLO and EMILIA.
OTHELLO. You have seen nothing then?
EMILIA. Nor ever heard, nor ever did suspect.
OTHELLO. Yes, you have seen Cassio and she together.
EMILIA. But then I saw no harm, and then I heard
Each syllable that breath made up between them.
OTHELLO. What, did they never whisper?
EMILIA. Never, my lord.
OTHELLO. Nor send you out o’ the way?
EMILIA. Never.
OTHELLO. To fetch her fan, her gloves, her mask, nor
nothing?
EMILIA. Never, my lord.
OTHELLO. That’s strange.
EMILIA. I durst, my lord, to wager1 she is honest,
Lay down my soul at stake: if you think other,
Remove your thought; it doth abuse your bosom.
If any wretch have put this in your head,
Let heaven requite it with the serpent’s curse!2
For, if she be not honest, chaste, and true,
There’s no man happy; the purest of their wives
Is foul as slander.
OTHELLO. Bid her come hither: go.
Exit EMILIA.
She says enough; yet she’s a simple bawd
That cannot say as much.3 This is a subtle whore,4
A closet lock and key of villainous secrets
And yet she’ll kneel and pray; I have seen her do’t.
Enter DESDEMONA with EMILIA.
DESDEMONA. My lord, what is your will?
OTHELLO. Pray, chuck,
come hither.
DESDEMONA. What is your pleasure?
OTHELLO. Let me see your eyes;
Look in my face.
DESDEMONA. What horrible fancy’s this?
OTHELLO. [To EMILIA] Some of your function,5 mistress;
What does Emilia
say about
Desdemona? Why
doesn’t Othello
believe her?
!
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156 OTHELLO, THE MOOR OF VENICE
6. procreants. Those who procreate, i.e., lovers
7. your mystery. Your business or occupation
8. dispatch. Go off and perform your duty
9. what doth . . . import. What do you mean by these words?
10. being like one of heaven. Looking like an angel
11. honest. Chaste
12. If haply you . . . calling back. If you suspect my father is responsible
for you being called back to Venice
13. fixed figure . . . finger at. A disputed passage. Probably means “a
person who the scornful world points its finger at.” The image is one of the
hand on a clock pointing at an unmoving number.
14. garner’d up. Stored, as if in a grain bin
15. cistern. A tank for storing water
FOOTNOTES
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ACT IV, SCENE ii 157
What does
Desdemona think
could be the reason
for Othello’s anger?
!
30
35
40
45
50
55
60
Leave procreants6 alone and shut the door;
Cough, or cry “hem,” if any body come:
Your mystery, your mystery:7 nay, dispatch.8
Exit EMILIA.
DESDEMONA. Upon my knees, what doth your
speech import?9
I understand a fury in your words,
But not the words.
OTHELLO. Why, what art thou?
DESDEMONA. Your wife, my lord; your true
And loyal wife.
OTHELLO. Come, swear it, damn thyself
Lest, being like one of heaven,10 the devils themselves
Should fear to seize thee: therefore be double damn’d:
Swear thou art honest.11
DESDEMONA. Heaven doth truly know it.
OTHELLO. Heaven truly knows that thou art false as
hell.
DESDEMONA. To whom, my lord? with whom? how
am I false?
OTHELLO. O Desdemona! away! away! away!
DESDEMONA. Alas the heavy day! Why do you weep?
Am I the motive of these tears, my lord?
If haply you my father do suspect
An instrument of this your calling back,12
Lay not your blame on me. If you have lost him,
Why, I have lost him too.
OTHELLO. Had it pleased heaven
To try me with affliction; had they rain’d
All kinds of sores and shames on my bare head,
Steep’d me in poverty to the very lips,
Given to captivity me and my utmost hopes,
I should have found in some place of my soul
A drop of patience: but, alas, to make me
A fixed figure for the time of scorn
To point his slow unmoving finger at!13
Yet could I bear that too; well, very well:
But there, where I have garner’d up14 my heart,
Where either I must live, or bear no life;
The fountain from the which my current runs,
Or else dries up; to be discarded thence!
Or keep it as a cistern15 for foul toads
What afflictions
could Othello bear?
What can’t he bear?
!
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158 OTHELLO, THE MOOR OF VENICE
16. knot and gender. Mate
17. Turn thy complexion there . . . hell. Patience, which is depicted as a
rosy angel, would pale and look grim with the knowledge of what
Desdemona has done.
18. shambles. Slaughterhouse
19. quicken even with blowing. Come to life as soon as the eggs are
deposited
20. commoner. Harlot
21. forges. Furnaces where metal is wrought
22. moon winks. Closes her eyes, as not to see. The moon is associated
with chastity.
23. Impudent strumpet. Indecent or immodest prostitute
24. this vessel. This body
25. cry you mercy. Beg your pardon
FOOTNOTES
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ACT IV, SCENE ii 159
65
70
75
80
85
90
To knot and gender16 in! Turn thy complexion there,
Patience, thou young and rose-lipp’d cherubin,—
Ay, there, look grim as hell!17
DESDEMONA. I hope my noble lord esteems me honest.
OTHELLO. O, ay; as summer flies are in the shambles,18
That quicken even with blowing.19 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? What committed!
Committed! O thou public commoner!20
I should make very forges21 of my cheeks,
That would to cinders burn up modesty,
Did I but speak thy deeds. What committed!
Heaven stops the nose at it and the moon winks,22
The bawdy wind that kisses all it meets
Is hush’d within the hollow mine of earth,
And will not hear it. What committed!
Impudent strumpet!23
DESDEMONA. By heaven, you do me wrong.
OTHELLO. Are you not a strumpet?
DESDEMONA. No, as I am a Christian:
If to preserve this vessel24 for my lord
From any other foul unlawful touch
Be not to be a strumpet, I am none.
OTHELLO. What, not a whore?
DESDEMONA. No, as I shall be saved.
OTHELLO. Is’t possible?
DESDEMONA. O, heaven forgive us!
OTHELLO. I cry you mercy,25 then:
I took you for that cunning whore of Venice
That married with Othello.
[Raising his voice]
You, mistress,
That have the office opposite to Saint Peter,
And keep the gate of hell!
Re-enter EMILIA.
You, you, ay, you!
What does Othello
call Desdemona?
What does he call
Emilia?
!
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160 OTHELLO, THE MOOR OF VENICE
26. keep our counsel. Keep our conversation secret
27. answer . . . go by water. The only answer I could give you would come
in the form of tears.
28. wedding sheets. Some critics have cited this line as evidence that
Othello and Desdemona’s marriage may still not have been consummated,
owing to the interruptions on previous nights. If this is true, perhaps
Desdemona means to prove her chastity to Othello by giving up her
virginity to him. Or, the sheets may just foreshadow the tragedy that is to
come, since wives were sometimes buried in their wedding sheets.
29. small’st opinion . . . misuse. Harshest judgment on my smallest
mistake
30. bewhored her. Called her “whore.” Apparently Emilia did hear their
conversation when listening at the door.
31. Thrown such despite. Showed so much scorn
FOOTNOTES
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ACT IV, SCENE ii 161
Whose advice does
Desdemona seek?
!
95
100
105
110
115
120
We have done our course; there’s money for your
pains:
I pray you, turn the key and keep our counsel.26
Exit.
EMILIA. Alas, what does this gentleman conceive?
How do you, madam? how do you, my good lady?
DESDEMONA. ’Faith, half asleep.
EMILIA. Good madam, what’s the matter with my
lord?
DESDEMONA. With who?
EMILIA. Why, with my lord, madam.
DESDEMONA. Who is thy lord?
EMILIA. He that is yours, sweet lady.
DESDEMONA. I have none: do not talk to me, Emilia;
I cannot weep; nor answer have I none,
But what should go by water.27 Prithee, tonight
Lay on my bed my wedding sheets:28 remember;
And call thy husband hither.
EMILIA. Here’s a change indeed!
Exit.
DESDEMONA. ’Tis meet I should be used so, very meet.
How have I been behaved, that he might stick
The small’st opinion on my least misuse?29
Re-enter EMILIA with IAGO.
IAGO. What is your pleasure, madam?
How is’t with you?
DESDEMONA. I cannot tell. Those that do teach
young babes
Do it with gentle means and easy tasks:
He might have chid me so; for, in good faith,
I am a child to chiding.
IAGO. What’s the matter, lady?
EMILIA. Alas, Iago, my lord hath so bewhored her.30
Thrown such despite31 and heavy terms upon her,
As true hearts cannot bear.
DESDEMONA. Am I that name, Iago?
IAGO. What name, fair lady?
DESDEMONA. Such as she says my lord did say I was.
EMILIA. He call’d her whore: a beggar in his drink
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162 OTHELLO, THE MOOR OF VENICE
32. callat. Coarse or lewd woman
33. forsook . . . matches. Desdemona turned down so many noble suitors
34. Beshrew. Curse
35. trick. Foolish behavior
36. cogging, cozening. Lying, cheating. Note that Emilia does not suspect
her husband of being this “eternal villain.”
37. to get some office. To earn some position
38. halter. A hangman’s noose
39. notorious. Notable
40. scurvy. Worthless; contemptible
41. companions. Rascals
42. unfold. Uncover; expose
43. Speak within door. Keep your voice down.
44. squire. Servant or attendant (used contemptuously)
45. seamy side without. Wrong side out
46. made you to . . . Moor. Refers to Iago’s suspicion that Emilia slept with
Othello
FOOTNOTES
in • sin • u • ating (in sin´ y! wā´ ti# ) adj., ingratiating: winning favor and confidence
by imperceptible degrees. The manipulative boy tried to become popular by kissing up to
the older kids, but they saw through his insinuating ways and ignored him.
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ACT IV, SCENE ii 163
What does Emilia
guess is the cause of
Othello’s behavior?
How does Iago
respond?
!
125
130
135
140
145
150
Could not have laid such terms upon his callat.32
IAGO. Why did he so?
DESDEMONA. I do not know; I am sure I am none
such.
IAGO. Do not weep, do not weep. Alas the day!
EMILIA. Hath she forsook so many noble matches,33
Her father and her country and her friends,
To be call’d whore? would it not make one weep?
DESDEMONA. It is my wretched fortune.
IAGO. Beshrew34 him for’t!
How comes this trick35 upon him?
DESDEMONA. Nay, heaven doth
know.
EMILIA. I will be hang’d, if some eternal villain,
Some busy and insinuating rogue,
Some cogging, cozening36 slave, to get some office,37
Have not devised this slander; I’ll be hang’d else.
IAGO. Fie, there is no such man; it is impossible.
DESDEMONA. If any such there be, heaven pardon
him!
EMILIA. A halter38 pardon him! and hell gnaw his
bones!
Why should he call her whore? who keeps her
company?
What place? what time? what form? what
likelihood?
The Moor’s abused by some most villainous knave,
Some base notorious39 knave, some scurvy40 fellow.
O heaven, that such companions41 thou’ldst
unfold,42
And put in every honest hand a whip
To lash the rascals naked through the world
Even from the east to the west!
IAGO. Speak within door.43
EMILIA. O, fie upon them! Some such squire44 he was
That turn’d your wit the seamy side without,45
And made you to suspect me with the Moor.46
IAGO. You are a fool; go to.
DESDEMONA. O good Iago,
What shall I do to win my lord again?
Good friend, go to him; for, by this light of heaven,
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164 OTHELLO, THE MOOR OF VENICE
47. discourse of thought. In the course of thought; or, could be a misprint
for “discourse or thought”
48. defeat. Destroy
49. To do . . . addition earn. To actually earn the title of “whore” by
behaving like one
50. ’tis but his humor. It is just his mood
51. chide with. Quarrel with
52. I warrant. I guarantee it
53. stay the meat. Are waiting to have supper
54. What in the contrary? What reason do you have to say that I am
unjust?
55. daffest me. Put me off
56. device. Trick or excuse
57. keepest . . . hope. You keep me from Desdemona, rather than
supplying me with any hope.
58. put up in peace. Peacefully put up with
59. your words and performances are no kin together. Your words do
not match up with your actions.
FOOTNOTES
for • swear (fo
.
r swa[!]r´, fōr swa[!]ŕ ) vt.,
reject or renounce. “From this day forward,
I forswear candy,” Don said after he
discovered he had three cavities.
taint (tānt́ ) vt., spoil; contaminate. The
water supply was tainted by chemicals that
had leached into the soil.
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ACT IV, SCENE ii 165
155
160
165
170
175
180
185
I know not how I lost him. Here I kneel:
If e’er my will did trespass ’gainst his love,
Either in discourse of thought47 or actual deed,
Or that mine eyes, mine ears, or any sense,
Delighted them in any other form;
Or that I do not yet, and ever did,
And ever will—though he do shake me off
To beggarly divorcement—love him dearly,
Comfort forswear me! Unkindness may do much;
And his unkindness may defeat48 my life,
But never taint my love. I cannot say “whore.”
It does abhor me now I speak the word;
To do the act that might the addition earn49
Not the world’s mass of vanity could make me.
IAGO. I pray you, be content; ’tis but his humor:50
The business of the state does him offense,
And he does chide with51 you.
DESDEMONA. If ’twere no other—
IAGO. ’Tis but so, I warrant.52
[Trumpets within]
Hark, how these instruments summon to supper!
The messengers of Venice stay the meat;53
Go in, and weep not; all things shall be well.
Exeunt DESDEMONA and EMILIA.
Enter RODERIGO.
How now, Roderigo!
RODERIGO. I do not find that thou dealest justly with
me.
IAGO. What in the contrary?54
RODERIGO. Every day thou daffest me55 with some
device,56 Iago; and rather, as it seems to me now,
keepest from me all conveniency than suppliest me
with the least advantage of hope.57 I will indeed no
longer endure it, nor am I yet persuaded to put up in
peace58 what already I have foolishly suffered.
IAGO. Will you hear me, Roderigo?
RODERIGO. ’Faith, I have heard too much, for your
words and performances are no kin together.59
IAGO. You charge me most unjustly.
What complaint
does Roderigo have
about Iago?
!
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166 OTHELLO, THE MOOR OF VENICE
60. votarist. Nun
61. sudden respect. Forthcoming attention [from her]
62. fobbed. Duped
63. give over. Give up
64. You have said now. You’ve had your say.
65. protest intendment of doing. What I intend to do
66. taken . . . exception. Voiced a fair objection to my behavior
67. engines for. Plots against
68. compass. Ability
FOOTNOTES
met • tle (met´ !l) n., strength of spirit; courage. The tough times tested Li’s mettle, but
her spirit was not broken.
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ACT IV, SCENE ii 167
190
195
200
205
210
215
220
225
RODERIGO. With nought but truth. I have wasted
myself out of my means. The jewels you have had
from me to deliver to Desdemona would half have
corrupted a votarist:60 you have told me she hath
received them and returned me expectations and
comforts of sudden respect61 and acquaintance, but I
find none.
IAGO. Well; go to; very well.
RODERIGO. Very well! go to! I cannot go to, man; nor
’tis not very well: nay, I think it is scurvy, and begin
to find myself fobbed62 in it.
IAGO. Very well.
RODERIGO. I tell you ’tis not very well. I will make
myself known to Desdemona: if she will return me
my jewels, I will give over63 my suit and repent my
unlawful solicitation; if not, assure yourself I will
seek satisfaction of you.
IAGO. You have said now.64
RODERIGO. Ay, and said nothing but what I protest
intendment of doing.65
IAGO. Why, now I see there’s mettle in thee, and
even from this instant to build on thee a better
opinion than ever before. Give me thy hand,
Roderigo: thou hast taken against me a most just
exception;66 but yet, I protest, I have dealt most
directly in thy affair.
RODERIGO. It hath not appeared.
IAGO. I grant indeed it hath not appeared, and your
suspicion is not without wit and judgment. But,
Roderigo, if thou hast that in thee indeed, which I
have greater reason to believe now than ever, I mean
purpose, courage and valour, this night show it: if
thou the next night following enjoy not
Desdemona, take me from this world with treachery
and devise engines for67 my life.
RODERIGO. Well, what is it? is it within reason and
compass?68
IAGO. Sir, there is especial commission come from
Venice to depute Cassio in Othello’s place.
RODERIGO. Is that true? why, then Othello and
Desdemona return again to Venice.
How has Iago
tricked Roderigo out
of his jewels?
!
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69. Mauritania. The Roman name for Barbary, the region in northern
Africa, including parts of modern-day Morocco and Algeria, which was
considered to be the homeland of the Moors (generally spelled Mauretania).
Not to be confused with the modern African nation of Mauritania in
northwest Africa.
70. abode. Stay
71. lingered. Prolonged; extended
72. determinate. Effective
73. harlotry. Harlot
74. honorable fortune. The fact that he will take Othello’s place in Cyprus
75. watch his going thence. Watch for him as he leaves Bianca’s house
76. high suppertime. High time for supper
ACT IV, SCENE iii
1. forthwith. Immediately
168 OTHELLO, THE MOOR OF VENICE
FOOTNOTES
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ACT IV, SCENE iii 169
230
235
240
245
5
10
IAGO. O, no; he goes into Mauritania69 and takes
away with him the fair Desdemona, unless his
abode70 be lingered71 here by some accident:
wherein none can be so determinate72 as the
removing of Cassio.
RODERIGO. How do you mean, removing of him?
IAGO. Why, by making him uncapable of Othello’s
place; knocking out his brains.
RODERIGO. And that you would have me to do?
IAGO. Ay, if you dare do yourself a profit and a right.
He sups tonight with a harlotry,73 and thither will I go
to him: he knows not yet of his honorable fortune.74 If
you will watch his going thence,75 which I will
fashion to fall out between twelve and one, you may
take him at your pleasure: I will be near to second your
attempt, and he shall fall between us. Come, stand not
amazed at it, but go along with me; I will show you
such a necessity in his death that you shall think
yourself bound to put it on him. It is now high
suppertime,76 and the night grows to waste: about it.
RODERIGO. I will hear further reason for this.
IAGO. And you shall be satisfied.
Exeunt.
SCENE iii: Another room in the castle.
Enter OTHELLO, LODOVICO, DESDEMONA, EMILIA and
ATTENDANTS.
LODOVICO. I do beseech you, sir, trouble yourself no
further.
OTHELLO. O, pardon me: ’twill do me good to walk.
LODOVICO. Madam, good night; I humbly thank
your ladyship.
DESDEMONA. Your honor is most welcome.
OTHELLO. Will you walk, sir?
O,—Desdemona,—
DESDEMONA. My lord?
OTHELLO. Get you to bed on the instant; I will be
returned forthwith:1 dismiss your attendant there:
look it be done.
DESDEMONA. I will, my lord.
What does Iago
instruct Roderigo to
do?
!
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170 OTHELLO, THE MOOR OF VENICE
2. incontinent. Immediately
3. nightly wearing. Nightgown
4. cheques. Scoldings
5. unpin me. Unpin my gown
6. All’s one. All the same; very well.
7. shroud. Cover with a shroud, that is, a winding-sheet for the dead.
Wives were sometimes shrouded in their wedding sheets.
8. you talk. You talk nonsense
9. Barbary. A name reminiscent of the Barbary coast, the area where
Othello was born.
10. proved mad. Turned out to be insane, or went insane
11. I have much to do . . . Barbary. It is hard for me to resist hanging my
head down and singing the song like poor Barbary. Note that the willow is
symbolic of weeping and death. The garland in the song could be
interpreted as a funeral wreath.
12. nether. Bottom
FOOTNOTES
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ACT IV, SCENE iii 171
15
20
25
30
35
40
Exeunt OTHELLO, LODOVICO, and ATTENDANTS.
EMILIA. How goes it now? he looks gentler than he
did.
DESDEMONA. He says he will return incontinent:2
He hath commanded me to go to bed,
And bade me to dismiss you.
EMILIA. Dismiss me!
DESDEMONA. It was his bidding: therefore, good
Emilia,
Give me my nightly wearing,3 and adieu:
We must not now displease him.
EMILIA. I would you had never seen him!
DESDEMONA. So would not I. My love doth so
approve him,
That even his stubbornness, his cheques,4 his frowns—
Prithee, unpin me,5—have grace and favor in them.
EMILIA. I have laid those sheets you bade me on the
bed.
DESDEMONA. All’s one.6 Good faith, how foolish are
our minds!
If I do die before thee prithee, shroud7 me
In one of those same sheets.
EMILIA. Come, come you talk.8
DESDEMONA. My mother had a maid call’d Barbary:9
She was in love, and he she loved proved mad10
And did forsake her: she had a song of “willow;”
An old thing ’twas, but it express’d her fortune,
And she died singing it: that song to-night
Will not go from my mind; I have much to do,
But to go hang my head all at one side,
And sing it like poor Barbary.11 Prithee, dispatch.
EMILIA. Shall I go fetch your night-gown?
DESDEMONA. No, unpin me here.
This Lodovico is a proper man.
EMILIA. A very handsome man.
DESDEMONA. He speaks well.
EMILIA. I know a lady in Venice would have walked
barefoot to Palestine for a touch of his nether12 lip.
DESDEMONA. [Singing] “The poor soul sat sighing by
a sycamore tree,
Sing all a green willow;
Who was Barbary?
What happened to
her?
!
What do Emilia
and Desdemona
wish?
!
What does
Desdemona ask
Emilia to do if she
dies before Emilia?
!
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172 OTHELLO, THE MOOR OF VENICE
13. Lay by these. Set these [clothes] aside
14. hie thee. Hurry away
15. next. The full lyrics are as follows, as recorded by Samuel Pepys:
The poor soul sat sighing by a sycamore tree
Sing all a green willow;
Her hand on her bosom, her head on her knee,
Sing willow, willow, willow!
The fresh streams ran by her, and murmur’d her moans;
Sing willow, willow, willow;
Her salt tears fell from her and soften’d the stones;
Sing willow, willow, willow!
Let nobody blame him, his scorn I approve,
Sing willow, willow, willow,
He was born to be fair, I to die for his love.
Sing willow, willow, willow!
I called my love false love, but what said he then?
Sing willow, willow, willow
If I court moe women, you’ll couch with moe men.
Sing willow, willow, willow!
Chorus to be sung between verses:
Sing willow, willow, willow
My garland shall be;
Sing all a green willow,
Willow, willow, willow,
Sing all a green willow my garland shall be.
16. moe. More
17. abuse . . . gross kind. Cheat on their husbands
18. joint-ring. A ring made in separable halves, often with the man’s name
on one half, and the woman’s on the other. A common love-token in
Shakespeare’s time.
19. measures of lawn. Lengths of fabric
20. petty exhibition. Small gift
FOOTNOTES
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ACT IV, SCENE iii 173
45
50
55
60
65
70
75
Her hand on her bosom, her head on her knee,
Sing willow, willow, willow:
The fresh streams ran by her, and murmur’d her
moans;
Sing willow, willow, willow;
Her salt tears fell from her, and soften’d the stones”—
Lay by these13—
[Singing] “Sing willow, willow, willow”—
Prithee, hie thee;14 he’ll come anon—
[Singing] “Sing all a green willow must be my garland.
Let nobody blame him; his scorn I approve”—
Nay, that’s not next.15—Hark! who is’t that knocks?
EMILIA. It’s the wind.
DESDEMONA. [Singing] “I call’d my love false love;
but what said he then?
Sing willow, willow, willow;
If I court moe16 women, you’ll couch with moe men!”
So, get thee gone; good night. Mine eyes do itch;
Doth that bode weeping?
EMILIA. ’Tis neither here nor there.
DESDEMONA. I have heard it said so. O, these men,
these men!
Dost thou in conscience think,—tell me, Emilia,—
That there be women do abuse their husbands
In such gross kind?17
EMILIA. There be some such, no question.
DESDEMONA. Wouldst thou do such a deed for all the
world?
EMILIA. Why, would not you?
DESDEMONA. No, by this heavenly light!
EMILIA. Nor I neither by this heavenly light;
I might do’t as well i’ the dark.
DESDEMONA. Wouldst thou do such a deed for all the
world?
EMILIA. The world’s a huge thing: it is a great price
For a small vice.
DESDEMONA. In troth, I think thou wouldst not.
EMILIA. In troth, I think I should; and undo’t when I
had done. Marry, I would not do such a thing for a
joint-ring,18 nor for measures of lawn,19 nor for
gowns, petticoats, nor caps, nor any petty
exhibition;20 but for the whole world,—why, who
What question
does Desdemona
have for Emilia?
!
How does Emilia
justify the idea of
cheating on her
husband for “all the
world”?
!
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174 OTHELLO, THE MOOR OF VENICE
21. a monarch. If a woman won the whole world for the sin of cheating,
then she could make her husband king of the world.
22. purgatory. According to Roman Catholic doctrine, an intermediary
state of punishment where souls go to be purged of sin before going to
Heaven. Emilia would risk being sent to purgatory if it meant she could get
the whole world.
23. the wrong is but . . . make it right. Cheating is only a sin according to
the rules of the world. If you win the world for your cheating, then you can
simply change the rules.
24. to the vantage. More, to boot
25. store . . . played for. Would populate the world they played for (by
continuing to sleep around)
26. foreign. Other women’s
27. peevish. Foolish (today, it means fretful, overly obstinate, or ill-
tempered)
28. restraint. Restrictions
29. scant . . . in despite. Reduce our allowance out of spite
30. galls. Bitter feelings
31. sense. Senses
32. doth affection breed it? Is it affection that causes it?
33. The ills we do . . . instruct us so. Whatever bad things we do, we
learned them from men.
34. heaven me such uses send. Heaven keep me away from such bad
behavior
35. Not to . . . mend! In seeing bad behavior, not to imitate it, but rather
to see a lesson in what not to do
FOOTNOTES
pa • late (pal´ !t) n., taste or liking (often
refined). The décor was too fussy for my
palate.
frail • ty (frā[!]l´ tē) n., weakness. The
habit of lying is a common human frailty.
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ACT IV, SCENE iii 175
80
85
90
95
100
105
would not make her husband a cuckold to make him
a monarch?21 I should venture purgatory22 for’t.
DESDEMONA. Beshrew me, if I would do such a wrong
For the whole world.
EMILIA. Why, the wrong is but a wrong i’ the world:
and having the world for your labor, ’tis a wrong in
your own world, and you might quickly make it
right.23
DESDEMONA. I do not think there is any such
woman.
EMILIA. Yes, a dozen; and as many to the vantage24
as would store the world they played for.25
But I do think it is their husbands’ faults
If wives do fall: say that they slack their duties,
And pour our treasures into foreign26 laps,
Or else break out in peevish27 jealousies,
Throwing restraint28 upon us; or say they strike us,
Or scant our former having in despite;29
Why, we have galls,30 and though we have some
grace,
Yet have we some revenge. Let husbands know
Their wives have sense31 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?32
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.33
DESDEMONA. Good night, good night: heaven me
such uses send,34
Not to pick bad from bad, but by bad mend!35
Exeunt.
Whom does Emilia
say is to blame for
women’s infidelities,
and why?
!
How does
Desdemona think
women should
respond to men’s bad
behavior?
!
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Respond to the Selection
Which character do you sympathize with more—Othello or Desdemona? Why?
Investigate, Inquire, and Imagine
Evaluate: MAKING JUDGMENTS
5a. After Othello has slapped her in
public, yelled at her, and called
her a whore, Desdemona insists,
“Unkindness may do much; /
And his unkindness may defeat
my life, / But never taint my love”
(act IV, scene ii, 160–62). What
do you think of Desdemona and
her response to Othello’s
treatment? Do you pity her?
respect her? How might you
explain her behavior?
Extend: CONNECTING IDEAS
5b. How does Cassio treat Bianca?
Why do you think Bianca puts
up with this treatment?
Compare Bianca’s situation to
Desdemona’s.
Recall: GATHERING FACTS
1a. While Othello watches from
the sidelines, whom does Iago
question Cassio about? Who
approaches while they are
talking, and what does she give
to Cassio?
2a. What news does Lodovico
bring from the Duke? How does
Desdemona react to the news?
3a. What plan do Iago and
Roderigo devise at the end of
scene ii?
Interpret: FINDING MEANING
1b. How does Othello interpret what
he sees? What does he resolve to
do as a result?
2b. Why does Othello slap Desdemona?
How might he have interpreted her
reaction to the news?
3b. How does Iago convince Roderigo
to go through with this plan?
Analyze: TAKING THINGS APART
4a. Gather evidence from act IV of
Othello’s decline into savage
madness. What do other
characters, in particular Emilia
and Lodovico, say about his
behavior?
Synthesize: BRINGING THINGS TOGETHER
4b. How has Iago’s poison changed
Othello?
”
”
”
”
”
176 OTHELLO, THE MOOR OF VENICE
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Understanding Literature
FALLING ACTION. The falling action of a plot is all of the events that happen as a
result of the crisis. Ever since the turning point in act III, in which Othello was won
over by Iago’s lies, the action of the play has been falling to its inevitable tragic
conclusion. Summarize the falling action in act IV. Are things turning out the way
Iago planned?
DRAMATIC IRONY. Irony is a difference between appearance and reality. Dramatic
irony occurs when something is known to the reader or audience but not to the
characters. Discuss the irony in act IV, scene ii, lines 131–145. What do we know
that Emilia does not?
FOIL. A foil is a character whose attributes, or characteristics, contrast with and
therefore throw into relief the attributes of another character. How does Emilia act
as a foil for Desdemona in act IV, scene iii? In other words, what do we learn about
Desdemona by seeing her interact with Emilia?
FORESHADOWING. Foreshadowing is the act of presenting materials that hint at
events to occur later in the story. Discuss the use of foreshadowing in act IV, scene iii.
RESPOND TO THE SELECTION, ACT IV 177
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178 OTHELLO, THE MOOR OF VENICE
ACT V, SCENE i
1. bulk. A part of a building jutting out
2. rapier bare. A straight two-edged sword with a narrow, pointed blade;
bare: unsheathed.
3. put it home. Drive it straight into your target (Cassio’s breast)
4. mars. Harms or destroys
5. miscarry in’t. Carry it out poorly
6. quat. Pimple; contemptuous term for a young person
7. to the sense. To the quick
8. bobb’d from him. Fooled him out of
9. beauty in his life. Unclear. Perhaps refers to Cassio’s virtue or good
looks, of which Iago is envious
10. had been mine enemy indeed. Would have proved a worthy, and
deadly, enemy
11. coat. A shirt of mail worn underneath his outer garments
12. I will make proof of thine. Now, I’ll test your armor
FOOTNOTES
res • ti • tu • tion (res´ t! t[y]ü´ sh!n) n.,
making up for an injury or restoring
something to its rightful owner. The
thieving employee was ordered to pay
restitution for the money he stole.
gait (gāt´) n., manner of walking. The
animal’s gait was hampered by a crippled foot.
maim (mām´) vt., mutilate or disfigure.
The drunk driver was maimed when her car
hit a telephone pole.
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What reasons
does Iago have for
wanting both Cassio
and Roderigo dead?
ACT V, SCENE i 179
5
10
15
20
25
ACT V
SCENE i: Cyprus. A street.
Enter OTHELLO and IAGO.
IAGO. Here, stand behind this bulk;1 straight will he
come:
Wear thy good rapier bare,2 and put it home:3
Quick, quick; fear nothing; I’ll be at thy elbow:
It makes us, or it mars4 us; think on that,
And fix most firm thy resolution.
RODERIGO. Be near at hand; I may miscarry in’t.5
IAGO. Here, at thy hand: be bold, and take thy stand.
Retires.
RODERIGO. I have no great devotion to the deed;
And yet he hath given me satisfying reasons.
’Tis but a man gone. Forth, my sword: he dies.
IAGO. I have rubb’d this young quat6 almost to the
sense,7
And he grows angry. Now, whether he kill Cassio,
Or Cassio him, or each do kill the other,
Every way makes my gain: live Roderigo,
He calls me to a restitution large
Of gold and jewels that I bobb’d from him,8
As gifts to Desdemona;
It must not be. If Cassio do remain,
He hath a daily beauty in his life9
That makes me ugly; and, besides, the Moor
May unfold me to him; there stand I in much peril:
No, he must die. But so: I hear him coming.
Enter CASSIO.
RODERIGO. I know his gait, ’tis he.—Villain, thou diest!
Makes a pass at CASSIO.
CASSIO. That thrust had been mine enemy indeed,10
But that my coat11 is better than thou know’st
I will make proof of thine.12
Draws, and wounds RODERIGO.
RODERIGO. O, I am slain!
IAGO from behind wounds CASSIO in the leg, and exits.
CASSIO. I am maim’d for ever. Help, ho! murder!
murder! [Falls]
What is the result
of Roderigo’s attack
on Cassio? Who
wounds Cassio?
Who kills Roderigo?
!
!
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180 OTHELLO, THE MOOR OF VENICE
FOOTNOTES
13. your unblest fate hies. Your cursed fate is approaching rapidly.
14. blotted. Blotted out
15. no passage? No passers-by?
16. heavy. Dark or foggy
17. counterfeits. Impostors; men who are pretending to be hurt but are
actually muggers or thieves trying to lure in a victim
18. shirt. Nightshirt
minion (min´ y!n) n., servile follower or underling. The powerful businesswoman ordered
her minions to do all her work for her.
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ACT V, SCENE i 181
Enter OTHELLO.
OTHELLO. The voice of Cassio: Iago keeps his word.
RODERIGO. O, villain that I am!
OTHELLO. It is even so.
CASSIO. O, help, ho! light! a surgeon!
OTHELLO. ’Tis he:—O brave Iago, honest and just,
That hast such noble sense of thy friend’s wrong!
Thou teachest me. Minion, your dear lies dead,
And your unblest fate hies:13 strumpet, I come.
Forth of my heart those charms, thine eyes, are
blotted;14
Thy bed, lust-stain’d, shall with lust’s blood be
spotted.
Exit OTHELLO.
Enter LODOVICO and GRATIANO.
CASSIO. What, ho! no watch? no passage?15 murder!
murder!
GRATIANO. ’Tis some mischance; the cry is very direful.
CASSIO. O, help!
LODOVICO. Hark!
RODERIGO. O wretched villain!
LODOVICO. Two or three groan: it is a heavy16 night:
These may be counterfeits:17 let’s think’t unsafe
To come in to the cry without more help.
RODERIGO. Nobody come? then shall I bleed to
death.
LODOVICO. Hark!
Re-enter IAGO, with a light.
GRATIANO. Here’s one comes in his shirt,18 with light
and weapons.
IAGO. Who’s there? whose noise is this that cries on
murder?
LODOVICO. We do not know.
IAGO. Did not you hear a cry?
CASSIO. Here, here! for heaven’s sake, help me!
IAGO. What’s the matter?
GRATIANO. This is Othello’s ancient, as I take it.
LODOVICO. The same indeed; a very valiant fellow.
How does Othello
still regard Iago?
What does he say
Desdemona can
expect?
!
30
35
40
45
50
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182 OTHELLO, THE MOOR OF VENICE
19. make away. Get away
20. As you shall prove us, praise us. See for yourself that we are good.
FOOTNOTES
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ACT V, SCENE i 183
55
60
65
70
75
80
IAGO. What are you here that cry so grievously?
CASSIO. Iago? O, I am spoil’d, undone by villains!
Give me some help.
IAGO. O me, lieutenant! what villains have done this?
CASSIO. I think that one of them is hereabout,
And cannot make away.19
IAGO. O treacherous villains!
[To LODOVICO and GRATIANO]
What are you there? Come in, and give some help.
RODERIGO. O, help me here!
CASSIO. That’s one of them.
IAGO. O murderous slave! O villain!
Stabs RODERIGO.
RODERIGO. O damn’d Iago! O inhuman dog!
IAGO. Kill men i’ the dark!—Where be these bloody
thieves?—
How silent is this town!—Ho! murder! murder!—
What may you be? are you of good or evil?
LODOVICO. As you shall prove us, praise us.20
IAGO. Signior Lodovico?
LODOVICO. He, sir.
IAGO. I cry you mercy. Here’s Cassio hurt by villains.
GRATIANO. Cassio!
IAGO. How is’t, brother!
CASSIO. My leg is cut in two.
IAGO. Marry, heaven forbid!
Light, gentlemen; I’ll bind it with my shirt.
Enter BIANCA.
BIANCA. What is the matter, ho? who is’t that cried?
IAGO. Who is’t that cried!
BIANCA. O my dear Cassio! my sweet Cassio!
O Cassio, Cassio, Cassio!
IAGO. O notable strumpet! Cassio, may you suspect
Who they should be that have thus many led you?
CASSIO. No.
GRATIANO. I am to find you thus: I have been to seek
you.
Who kills Roderigo?
!
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184 OTHELLO, THE MOOR OF VENICE
21. garter. A band used to hold up a stocking. Iago will use it to bind
Cassio’s wounded leg.
22. chair. A sedan chair, one that is designed to be carried by poles
23. this trash. Bianca
24. gastness. Ghastliness, or terror. Iago is attempting to suggest that
Bianca’s fear is actually a fear of being implicated in the plot against Cassio.
Actually, of course, Bianca is in love with Cassio and is simply horrified that
he is hurt.
FOOTNOTES
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ACT V, SCENE i 185
85
90
95
100
105
110
IAGO. Lend me a garter.21 So. O, for a chair,22
To bear him easily hence!
BIANCA. Alas, he faints! O Cassio, Cassio, Cassio!
IAGO. Gentlemen all, I do suspect this trash23
To be a party in this injury.
Patience awhile, good Cassio. Come, come;
Lend me a light. Know we this face or no?
Alas my friend and my dear countryman
Roderigo! no:—yes, sure: O heaven! Roderigo.
GRATIANO. What, of Venice?
IAGO. Even he, sir; did you know him?
GRATIANO. Know him! ay.
IAGO. Signior Gratiano? I cry you gentle pardon;
These bloody accidents must excuse my manners,
That so neglected you.
GRATIANO. I am glad to see you.
IAGO. How do you, Cassio? O, a chair, a chair!
GRATIANO. Roderigo!
IAGO. He, he, ’tis he.
A chair brought in.
O, that’s well said; the chair!
GRATIANO. Some good man bear him carefully from
hence;
I’ll fetch the general’s surgeon.
[To BIANCA]
For you, mistress,
Save you your labor. He that lies slain here, Cassio,
Was my dear friend: what malice was between you?
CASSIO. None in the world; nor do I know the man.
IAGO. [To BIANCA] What, look you pale? O, bear him
out o’ the air.
CASSIO and RODERIGO are borne off.
Stay you, good gentlemen. Look you pale, mistress?
Do you perceive the gastness24 of her eye?
Nay, if you stare, we shall hear more anon.
Behold her well; I pray you, look upon her:
Do you see, gentlemen? nay, guiltiness will speak,
Though tongues were out of use.
Enter EMILIA.
Whom does Iago
say might be to
blame for Cassio’s
being attacked?
!
What does Iago
suggest is a sign of
Bianca’s guilt? What
is a more likely
explanation of this
“sign”?
!
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186 OTHELLO, THE MOOR OF VENICE
25. ’Las. Alas
26. This is the fruit of whoring. This is what Cassio gets for sleeping with
whores.
27. tell’s another tale. Tell us what really happened (i.e., we know that you
have something to do with Cassio’s being attacked)
28. fordoes. Destroys
ACT V, SCENE ii
1. the cause. The cause of justice
2. monumental alabaster. Alabaster is a fine-textured, translucent white
material often used to make monuments such as those found in cemeteries.
3. flaming minister. Fiery servant (i.e., the candle)
4. thy light . . . excelling nature. Desdemona’s light, the wondrously
clever creation of nature that she is
5. Promethean heat. The fire of Prometheus; that is, the fire of the gods.
In Greek mythology, Prometheus stole fire from the gods and gave it to
mankind.
FOOTNOTES
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ACT V, SCENE ii 187
115
120
125
5
10
Whose “light” will
Othello put out?
!
EMILIA. ’Las,25 what’s the matter? what’s the matter,
husband?
IAGO. Cassio hath here been set on in the dark
By Roderigo and fellows that are scaped:
He’s almost slain, and Roderigo dead.
EMILIA. Alas, good gentleman! alas, good Cassio!
IAGO. This is the fruit of whoring.26 Prithee, Emilia,
Go know of Cassio where he supp’d to-night.
[To BIANCA]
What, do you shake at that?
BIANCA. He supp’d at my house; but I therefore
shake not.
IAGO. O, did he so? I charge you, go with me.
EMILIA. Fie, fie upon thee, strumpet!
BIANCA. I am no strumpet; but of life as honest
As you that thus abuse me.
EMILIA. As I! foh! fie upon thee!
IAGO. Kind gentlemen, let’s go see poor Cassio dress’d.
Come, mistress, you must tell’s another tale.27
Emilia, run you to the citadel,
And tell my lord and lady what hath happ’d.
Will you go on? I pray. [Aside] This is the night
That either makes me or fordoes28 me quite.
Exeunt.
SCENE ii: A bedchamber in the castle:
Desdemona in bed asleep; a light burning.
Enter OTHELLO.
OTHELLO. It is the cause,1 it is the cause, my soul,—
Let me not name it to you, you chaste stars!—
It is the cause. Yet I’ll not shed her blood;
Nor scar that whiter skin of hers than snow,
And smooth as monumental alabaster.2
Yet she must die, else she’ll betray more men.
Put out the light, and then put out the light:
If I quench thee, thou flaming minister,3
I can again thy former light restore,
Should I repent me: but once put out thy light,
Thou cunning’st pattern of excelling nature,4
I know not where is that Promethean heat5
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188 OTHELLO, THE MOOR OF VENICE
6. relume. Light up again
7. walk by. Stand by; wait
8. forfend. Forbid
9. kill thy soul. According to traditional Christian belief, repenting and
asking God’s forgiveness for one’s sins is the only way to get into heaven.
FOOTNOTES
vi • tal (v”̄ ´ t!l) adj., having to do with life; characteristic of life. The accident victim had
lost a lot of blood and other vital fluids.
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ACT V, SCENE ii 189
15
20
25
30
35
40
That can thy light relume.6 When I have pluck’d the
rose,
I cannot give it vital growth again.
It must needs wither: I’ll smell it on the tree.
[Kissing her]
Ah balmy breath, that dost almost persuade
Justice to break her sword! One more, one more.
Be thus when thou art dead, and I will kill thee,
And love thee after. One more, and this the last:
So sweet was ne’er so fatal. I must weep,
But they are cruel tears: this sorrow’s heavenly;
It strikes where it doth love. She wakes.
DESDEMONA. Who’s there? Othello?
OTHELLO. Ay, Desdemona.
DESDEMONA. Will you come to bed, my lord?
OTHELLO. Have you pray’d to-night, Desdemona?
DESDEMONA. Ay, my lord.
OTHELLO. If you bethink yourself of any crime
Unreconciled as yet to heaven and grace,
Solicit for it straight.
DESDEMONA. Alas, my lord, what do you mean by
that?
OTHELLO. Well, do it, and be brief; I will walk by:7
I would not kill thy unprepared spirit;
No; heaven forfend!8 I would not kill thy soul.9
DESDEMONA. Talk you of killing?
OTHELLO. Ay, I do.
DESDEMONA. Then heaven
Have mercy on me!
OTHELLO. Amen, with all my heart!
DESDEMONA. If you say so, I hope you will not kill me.
OTHELLO. Hum!
DESDEMONA. And yet I fear you; for you are fatal
then
When your eyes roll so: why I should fear I know not,
Since guiltiness I know not; but yet I feel I fear.
OTHELLO. Think on thy sins.
DESDEMONA. They are loves I bear to you.
OTHELLO. Ay, and for that thou diest.
What sins does
Desdemona say she
has committed?
!
What does Othello
want to make sure of
before he kills
Desdemona?
!
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190 OTHELLO, THE MOOR OF VENICE
10. strong conception. Strong conviction that you are guilty
11. That I do groan withal. Which makes me groan in pain.
12. But with such . . . I might love. In an innocent and chaste way, which
was permitted by heaven.
13. thou dost stone my heart. You turn my heart to stone (with your lies)
FOOTNOTES
por • tent (po
.
[!]r´ t!nt) n., sign of things
to come: omen. The cry of an owl was once
thought a portent of death.
per • jur • y (p!rj´ ! rē) n., violation of an
oath; often, referring to a person lying on
the stand in court. The defendant was
convicted of perjury when it was discovered
that he lied about his involvement in the
crime.
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ACT V, SCENE ii 191
How does
Desdemona defend
herself in response to
Othello’s
accusations?
!
45
50
55
60
65
DESDEMONA. That death’s unnatural that kills for
loving.
Alas, why gnaw you so your nether lip?
Some bloody passion shakes your very frame:
These are portents; but yet I hope, I hope,
They do not point on me.
OTHELLO. Peace, and be still!
DESDEMONA. I will so. What’s the matter?
OTHELLO. That handkerchief which I so loved and
gave thee
Thou gavest to Cassio.
DESDEMONA. No, by my life and soul!
Send for the man, and ask him.
OTHELLO. Sweet soul, take heed,
Take heed of perjury; thou art on thy deathbed.
DESDEMONA. Ay, but not yet to die.
OTHELLO. Yes, presently:
Therefore confess thee freely of thy sin;
For to deny each article with oath
Cannot remove nor choke the strong conception10
That I do groan withal.11 Thou art to die.
DESDEMONA. Then Lord have mercy on me!
OTHELLO. I say, amen.
DESDEMONA. And have you mercy too! I never did
Offend you in my life; never loved Cassio
But with such general warranty of heaven
As I might love:12 I never gave him token.
OTHELLO. By heaven, I saw my handkerchief in’s
hand.
O perjured woman! thou dost stone my heart,13
And makest me call what I intend to do
A murder, which I thought a sacrifice:
I saw the handkerchief.
DESDEMONA. He found it then;
I never gave it him: send for him hither;
Let him confess a truth.
OTHELLO. He hath confess’d.
DESDEMONA. What, my lord?
OTHELLO. That he hath used thee.
DESDEMONA. How? unlawfully?
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192 OTHELLO, THE MOOR OF VENICE
14. ta’en order for’t. Taken measures to have him killed.
15. strive. Struggle
16. Being done. Since all is over
17. So, so. Said as he is strangling her again to make sure she is completely
dead
18. like. Likely
FOOTNOTES
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ACT V, SCENE ii 193
70
75
80
85
90
95
OTHELLO. Ay.
DESDEMONA. He will not say so.
OTHELLO. No, his mouth is stopp’d;
Honest Iago hath ta’en order for’t.14
DESDEMONA. O! my fear interprets: what, is he dead?
OTHELLO. Had all his hairs been lives, my great
revenge
Had stomach for them all.
DESDEMONA. Alas! he is betray’d and I undone.
OTHELLO. Out, strumpet! weep’st thou for him to
my face?
DESDEMONA. O, banish me, my lord, but kill me not!
OTHELLO. Down, strumpet!
DESDEMONA. Kill me to-morrow: let me live to-night!
OTHELLO. Nay, if you strive15—
DESDEMONA. But half an hour!
OTHELLO. Being done,16 there is no
pause.
DESDEMONA. But while I say one prayer!
OTHELLO. It is too late.
He stifles her.
EMILIA. [Within] My lord, my lord! what, ho! my
lord, my lord!
OTHELLO. What noise is this? Not dead? not yet
quite dead?
I that am cruel am yet merciful;
I would not have thee linger in thy pain: So, so.17
EMILIA. [Within] What, ho! my lord, my lord!
OTHELLO. Who’s there?
EMILIA. [Within] O, good my lord, I would speak a
word with you!
OTHELLO. Yes: ’tis Emilia. By and by. She’s dead.
’Tis like18 she comes to speak of Cassio’s death.—
The noise was here. 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.
O insupportable! O heavy hour!
How does
Othello interpret
Desdemona’s tears?
!
How does Othello
kill Desdemona?
!
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194 OTHELLO, THE MOOR OF VENICE
19. the affrighted globe . . . alteration. The frightened earth should gape
open, as with an earthquake, at this change (now that she is dead)
20. Soft. Wait a moment
21. error. Aberration; odd behavior
22. than she was wont. Than it customarily does
FOOTNOTES
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ACT V, SCENE ii 195
What news does
Emilia report? What
surprises Othello?
!
100
105
110
115
120
125
Methinks it should be now a huge eclipse
Of sun and moon, and that the affrighted globe
Should yawn at alteration.19
EMILIA. [Within] I do beseech you
That I may speak with you, O, good my lord!
OTHELLO. I had forgot thee: O, come in, Emilia;
Soft;20 by and by. Let me the curtains draw.
Where art thou? [Unlocks the door]
Enter EMILIA.
What’s the matter with thee now?
EMILIA. O, my good lord, yonder’s foul murders
done!
OTHELLO. What, now?
EMILIA. But now, my lord.
OTHELLO. It is the very error21 of the moon;
She comes more nearer earth than she was wont,22
And makes men mad.
EMILIA. Cassio, my lord, hath kill’d a young Venetian
Call’d Roderigo.
OTHELLO. Roderigo kill’d!
And Cassio kill’d!
EMILIA. No, Cassio is not kill’d.
OTHELLO. Not Cassio kill’d! then murder’s out of tune,
And sweet revenge grows harsh.
DESDEMONA. O, falsely, falsely murder’d!
EMILIA. Alas, what cry is that?
OTHELLO. That! what?
EMILIA. Out, and alas! that was my lady’s voice.
Help! help, ho! help! O lady, speak again!
Sweet Desdemona! O sweet mistress, speak!
DESDEMONA. A guiltless death I die.
EMILIA. O, who hath done this deed?
DESDEMONA. Nobody; I myself. Farewell!
Commend me to my kind lord: O, farewell!
Dies.
OTHELLO. Why, how should she be murder’d?
EMILIA. Alas, who knows?
OTHELLO. You heard her say herself, it was not I.
Whom does
Desdemona say is
guilty of her death?
!
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196 OTHELLO, THE MOOR OF VENICE
23. folly. Wantonness, unchastity
24. belie. Tell a lie about; slander
25. false as water. Probably an idiom in Shakespeare’s day. Refers to the
fact that water is fluid and changeable, rather than fixed and reliable.
26. such another world. Another world like this one (echoes Desdemona’s
claim in the previous act)
27. chrysolite. Topaz, a precious gem
28. iteration. Repetition
29. too fond . . . bargain. Too devoted to her wedding vows
FOOTNOTES
per • ni • cious (p!r nish´ !s) adj., destructive; deadly. The pernicious disease only got
worse when doctors attempted to treat it.
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ACT V, SCENE ii 197
130
135
140
145
150
155
EMILIA. She said so: I must needs report the truth.
OTHELLO. She’s, like a liar, gone to burning hell:
’Twas I that kill’d her.
EMILIA. O, the more angel she,
And you the blacker devil!
OTHELLO. She turn’d to folly,23 and she was a whore.
EMILIA. Thou dost belie24 her, and thou art a devil.
OTHELLO. She was false as water.25
EMILIA. Thou art rash as fire, to say
That she was false: O, she was heavenly true!
OTHELLO. Cassio did top her; ask thy husband else.
O, I were damn’d beneath all depth in hell,
But that I did proceed upon just grounds
To this extremity. Thy husband knew it all.
EMILIA. My husband!
OTHELLO. Thy husband.
EMILIA. That she was false to wedlock?
OTHELLO. Ay, with Cassio. Nay, had she been true,
If heaven would make me such another world26
Of one entire and perfect chrysolite,27
I’ld not have sold her for it.
EMILIA. My husband!
OTHELLO. Ay, ’twas he that told me first:
An honest man he is, and hates the slime
That sticks on filthy deeds.
EMILIA. My husband!
OTHELLO. What needs this iteration,28 woman? I say
thy husband.
EMILIA. O mistress, villainy hath made mocks with
love,
My husband say that she was false!
OTHELLO. He, woman;
I say thy husband: dost understand the word?
My friend, thy husband, honest, honest Iago.
EMILIA. If he say so, may his pernicious soul
Rot half a grain a day! he lies to the heart:
She was too fond of her most filthy bargain.29
OTHELLO. Ha!
EMILIA. Do thy worst:
What phrase does
Emilia repeat? What
is she only now
realizing?
!
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198 OTHELLO, THE MOOR OF VENICE
30. to be hurt. To endure hurt
31. apt. Credible
32. I thought so then. I thought so earlier (i.e., in IV, ii, lines 131–148)
FOOTNOTES
gull (g!l´) n., person who is easily
deceived or cheated. The swindler was
always looking for a gull to involve in his
latest scheme.
odi • ous (ō´ dē !s) adj., hateful. To get
revenge on his ex-best friend, Brian spread
odious gossip about him.
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ACT V, SCENE ii 199
Who responds to
Emilia’s screams?
!
160
165
170
175
180
185
190
This deed of thine is no more worthy heaven
Than thou wast worthy her.
OTHELLO. Peace, you were best.
EMILIA. Thou hast not half that power to do me harm
As I have to be hurt.30 O gull! O dolt!
As ignorant as dirt! thou hast done a deed—
I care not for thy sword; I’ll make thee known,
Though I lost twenty lives.—Help! help, ho! help!
The Moor hath kill’d my mistress! Murder! murder!
Enter MONTANO, GRATIANO, IAGO, and others.
MONTANO. What is the matter? How now, general!
EMILIA. O, are you come, Iago? you have done well,
That men must lay their murders on your neck.
GRATIANO. What is the matter?
EMILIA. Disprove this villain, if thou be’st a man:
He says thou told’st him that his wife was false:
I know thou didst not, thou’rt not such a villain:
Speak, for my heart is full.
IAGO. I told him what I thought, and told no more
Than what he found himself was apt31 and true.
EMILIA. But did you ever tell him she was false?
IAGO. I did.
EMILIA. You told a lie, an odious, damned lie;
Upon my soul, a lie, a wicked lie.
She false with Cassio!—did you say with Cassio?
IAGO. With Cassio, mistress. Go to, charm your
tongue.
EMILIA. I will not charm my tongue; I am bound to
speak:
My mistress here lies murder’d in her bed,—
ALL. O heavens forfend!
EMILIA. And your reports have set the murder on.
OTHELLO. Nay, stare not, masters: it is true, indeed.
GRATIANO. ’Tis a strange truth.
MONTANO. O monstrous act!
EMILIA. Villainy, villainy, villainy!
I think upon’t, I think: I smell’t: O villainy!—
I thought so then:32—I’ll kill myself for grief:—
O villainy, villainy!
What does Emilia
demand to know
from Iago? What
does she conclude by
his answer?
!
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200 OTHELLO, THE MOOR OF VENICE
33. uncle. Gratiano is Brabantio’s brother
34. Shore his old thread in twain. Cut the thread of his life in half
35. desperate turn. A desperate act (of revenge against Othello)
36. curse his better angel . . . reprobation. Brabantio would ignore his
conscience and kill Othello in revenge, even if it meant condemning his
own soul to hell in the process.
37. gratify. Reward
38. recognizance. Token
39. My father gave my mother. Note that this does not match what he
told Desdemona in act III, scene iv. Earlier, he was probably telling a tall tale
to Desdemona in order to scare her.
40. liberal as the north. As freely as the north wind blows
FOOTNOTES
am • o • rous (am´ ! r!s) adj., indicative of love. Liz was embarrassed by the amorous
notes she received from the boy in her class.
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ACT V, SCENE ii 201
195
200
205
210
215
220
IAGO. What, are you mad? I charge you, get you
home.
EMILIA. Good gentlemen, let me have leave to speak:
’Tis proper I obey him, but not now.
Perchance, Iago, I will ne’er go home.
OTHELLO. O! O! O!
He falls on the bed.
EMILIA. Nay, lay thee down and roar;
For thou hast kill’d the sweetest innocent
That e’er did lift up eye.
OTHELLO. [Rising] O, she was foul!
I scarce did know you, uncle:33 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:34 did he live now,
This sight would make him do a desperate turn,35
Yea, curse his better angel from his side,
And fall to reprobation.36
OTHELLO. ’Tis pitiful; but yet Iago knows
That she with Cassio hath the act of shame
A thousand times committed; Cassio confess’d it:
And she did gratify37 his amorous works
With that recognizance38 and pledge of love
Which I first gave her; I saw it in his hand:
It was a handkerchief, an antique token
My father gave my mother.39
EMILIA. O heaven! O heavenly powers!
IAGO. Come, hold your peace.
EMILIA. ’Twill out, ’twill out: I peace?
No, I will speak as liberal as the north:40
Let heaven and men and devils, let them all,
All, all, cry shame against me, yet I’ll speak.
IAGO. Be wise, and get you home.
EMILIA. I will not.
IAGO offers to stab EMILIA.
GRATIANO. Fie!
Your sword upon a woman?
What happened to
Brabantio? What
would he do if he
could hear of this?
!
How does Iago
answer Emilia? What
does she say about
her obedience to
him?
!
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202 OTHELLO, THE MOOR OF VENICE
41. coxcomb. Fool (referring to Othello)
42. Are there no stones . . . thunder? Are all the stones in heaven used to
create thunder? Why doesn’t heaven drop stones on this villain?
43. notorious. Notable; egregious (not the modern sense of infamous)
44. But kill him rather. Kill Othello if he tries to escape
45. that same villain. Iago
46. ’tis. It is; again showing contempt by calling Iago an “it.” He is not a
person, but an animal.
47. whipster. Nimble little fellow; a whippersnapper (said with contempt)
48. play the swan, / And die in music. Imitate the swan, who is said to
sing a particularly sweet song (a swansong) just before dying.
FOOTNOTES
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ACT V, SCENE ii 203
What does Emilia
reveal?
!
225
230
235
240
245
250
EMILIA. O thou dull Moor! That handkerchief thou
speak’st of
I found by fortune and did give my husband;
For often, with a solemn earnestness,
More than indeed belong’d to such a trifle,
He begg’d of me to steal it.
IAGO. Villainous whore!
EMILIA. She give it Cassio! no, alas! I found it,
And I did give’t my husband.
IAGO. Filth, thou liest!
EMILIA. By heaven, I do not, I do not, gentlemen.
O murderous coxcomb!41 What should such a fool
Do with so good a woman?
OTHELLO. Are there no stones in heaven
But what serve for the thunder?42—Precious villain!
He runs at IAGO but is disarmed by MONTANO. IAGO,
from behind, stabs EMILIA, and exits.
GRATIANO. The woman falls; sure, he hath kill’d his
wife.
EMILIA. Ay, ay: O, lay me by my mistress’ side.
GRATIANO. He’s gone, but his wife’s kill’d.
MONTANO. ’Tis a notorious43 villain. Take you this
weapon,
Which I have here recover’d from the Moor:
Come, guard the door without; let him not pass,
But kill him rather.44 I’ll after that same villain,45
For ’tis46 a damned slave.
Exeunt MONTANO and GRATIANO.
OTHELLO. I am not valiant neither,
But every puny whipster47 gets my sword:
But why should honor outlive honesty?
Let it go all.
EMILIA. What did thy song bode, lady?
Hark, canst thou hear me? I will play the swan,
And die in music.48
[Singing]
“Willow, willow, willow,”—
Moor, she was chaste; she loved thee, cruel Moor;
So come my soul to bliss, as I speak true;
So speaking as I think, I die, I die.
Dies.
What happens to
Emilia?
!
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204 OTHELLO, THE MOOR OF VENICE
49. sword . . . ice-brook’s temper. Swords from Spain were famous for
their quality. The “ice-brook” might refer to the fact that steel is tempered
by plunging it red-hot into ice-cold water; however, some editors read this
as an error for “Innsbruck,” a place noted for its superior steel.
50. perforce. By necessity
51. naked. Unarmed
52. more impediments . . . your stop. Impediments, or obstacles, that had
twenty times your power to stop me
53. butt. Goal
54. sea-mark. Beacon or other elevated marker on a harbor that serves as a
guide to mariners; hence, something that marks a journey’s end.
55. my utmost sail. My last journey
56. lost. Wasted
57. Man but a rush . . . retires. Come after me with a rush (a tufted grass)
and I will give in.
58. how dost thou look now? Said while looking at Desdemona
59. ill-starr’d. Ill-fated
60. compt. Judgment Day
61. steep-down gulfs. Deep gulfs
FOOTNOTES
vi • per (v”̄ ´ p!r) n., vicious or treacherous person. We thought we could trust the stranger,
but he was a viper.
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ACT V, SCENE ii 205
255
260
265
270
275
280
OTHELLO. I have another weapon in this chamber;
It is a sword of Spain, the ice-brook’s temper:49—
O, here it is. Uncle, I must come forth.
GRATIANO. [Within] If thou attempt it, it will cost
thee dear:
Thou hast no weapon, and perforce50 must suffer.
OTHELLO. Look in upon me then and speak with me,
Or, naked51 as I am, I will assault thee.
Re-enter GRATIANO.
GRATIANO. What is the matter?
OTHELLO. Behold, I have a weapon;
A better never did itself sustain
Upon a soldier’s thigh: I have seen the day,
That, with this little arm and this good sword,
I have made my way through more impediments
Than twenty times your stop:52 but, O vain boast!
Who can control his fate? ’tis not so now.
Be not afraid, though you do see me weapon’d;
Here is my journey’s end, here is my butt,53
And very sea-mark54 of my utmost sail.55
Do you go back dismay’d? ’tis a lost56 fear;
Man but a rush against Othello’s breast,
And he retires.57 Where should Othello go?
Now, how dost thou look now?58 O ill-starr’d59
wench!
Pale as thy smock! when we shall meet at compt,60
This look of thine will hurl my soul from heaven,
And fiends will snatch at it. Cold, cold, my girl!
Even like thy chastity. O cursed slave!
Whip me, ye devils,
From the possession of this heavenly sight!
Blow me about in winds! roast me in sulphur!
Wash me in steep-down gulfs61 of liquid fire!
O Desdemona! Desdemona! dead!
Oh! Oh! Oh!
Enter LODOVICO, MONTANO, CASSIO carried in a chair,
and OFFICERS with IAGO, prisoner.
LODOVICO. Where is this rash and most unfortunate
man?
OTHELLO. That’s he that was Othello: here I am.
LODOVICO. Where is that viper? bring the villain
forth.
What does Othello
say will happen when
he and Desdemona
meet at Judgment
Day?
!
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206 OTHELLO, THE MOOR OF VENICE
62. I look . . . a fable. I look down to see if Iago’s feet are cloven-hoofed [as
the devil’s were fabled to be].
63. If that thou be’st a devil. If you be a devil
64. wert. Were
65. practice. Plot
66. consent in. Conspire together in
67. demand that demi-devil. Demand an answer from that half devil
68. Torments. Torture
FOOTNOTES
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ACT V, SCENE ii 207
285
290
295
300
305
310
OTHELLO. I look down towards his feet; but that’s a
fable.62
If that thou be’st a devil,63 I cannot kill thee.
Wounds IAGO.
LODOVICO. Wrench his sword from him.
IAGO. I bleed, sir;
but not kill’d.
OTHELLO. I am not sorry neither: I’ld have thee live;
For, in my sense, ’tis happiness to die.
LODOVICO. O thou Othello, thou wert64 once so good,
Fall’n in the practice65 of a damned slave,
What shall be said to thee?
OTHELLO. Why, any thing:
An honorable murderer, if you will;
For nought I did in hate, but all in honor.
LODOVICO. This wretch hath part confess’d his
villainy:
Did you and he consent in66 Cassio’s death?
OTHELLO. Ay.
CASSIO. Dear general, I never gave you cause.
OTHELLO. I do believe it, and I ask your pardon.
Will you, I pray, demand that demi-devil67
Why he hath thus ensnared my soul and body?
IAGO. Demand me nothing: what you know, you
know:
From this time forth I never will speak word.
LODOVICO. What, not to pray?
GRATIANO. Torments68 will ope
your lips.
OTHELLO. Well, thou dost best.
LODOVICO. Sir, you shall understand what hath
befall’n,
Which, as I think, you know not. Here is a letter
Found in the pocket of the slain Roderigo;
And here another: the one of them imports
The death of Cassio to be undertook
By Roderigo.
OTHELLO. O villain!
CASSIO. Most heathenish and most gross!
What does Othello
have to say for
himself?
!
What does the
group learn from the
letters found in the
dead Roderigo’s
pocket?
!
What does Othello
ask of Cassio? What
does he want to
know from Iago?
What is Iago’s
response?
!
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208 OTHELLO, THE MOOR OF VENICE
69. another discontented . . . villain. Here’s another discontented letter
found in Roderigo’s pocket, which Roderigo was apparently planning to give
to Iago.
70. belike. Likely
71. wrought to. Worked toward
72. Brave me. Confront me
73. whereon . . . I was cast. For which I was dismissed from my position
74. he spake. Roderigo spoke
75. You shall close prisoner rest. You, Othello, shall be kept prisoner, in
close custody.
76. nothing extenuate. Leave nothing out
77. set down. Record
78. but being wrought. But once wrought upon, or manipulated
79. Perplex’d. Bewildered; distressed
80. base Indian . . . tribe. Indians were seen as ignorant savages, who
would throw away a pearl because they had no knowledge of its value. Base
means “low,” in the sense of uncivilized. The First Folio edition has this as,
not Indian, but Iudean, which could be a reference to the Judean king
Herod, who, in a fit of blind jealousy, threw away Marianne, his “jewel” of a
wife, or, to the Jews who killed Jesus, not recognizing his value.
81. subdued. Downcast
FOOTNOTES
al • be • it (o
.
l bē´ !t) conj., even though; although. The chocolate mousse torte was a rich
dessert, albeit a small one.
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ACT V, SCENE ii 209
315
320
325
330
335
340
345
350
LODOVICO. Now here’s another discontented paper,
Found in his pocket too; and this, it seems,
Roderigo meant to have sent this damnèd villain;69
But that belike70 Iago in the interim
Came in and satisfied him.
OTHELLO. O the pernicious caitiff!
How came you, Cassio, by that handkerchief
That was my wife’s?
CASSIO. I found it in my chamber:
And he himself confess’d but even now
That there he dropp’d it for a special purpose
Which wrought to71 his desire.
OTHELLO. O fool! fool! fool!
CASSIO. There is besides in Roderigo’s letter,
How he upbraids Iago, that he made him
Brave me72 upon the watch; whereon it came
That I was cast:73 and even but now he spake,74
After long seeming dead, Iago hurt him,
Iago set him on.
LODOVICO. You must forsake this room, and go with
us:
Your power and your command is taken off,
And Cassio rules in Cyprus. For this slave,
If there be any cunning cruelty
That can torment him much and hold him long,
It shall be his. You shall close prisoner rest,75
Till that the nature of your fault be known
To the Venetian state. Come, bring him away.
OTHELLO. Soft you; a word or two before you go.
I have done the state some service, and they know’t.
No more of that. I pray you, in your letters,
When you shall these unlucky deeds relate,
Speak of me as I am; nothing extenuate,76
Nor set down77 aught in malice: then must you speak
Of one that loved not wisely but too well;
Of one not easily jealous, but being wrought78
Perplex’d79 in the extreme; of one whose hand,
Like the base Indian, threw a pearl away
Richer than all his tribe;80 of one whose subdued81
eyes,
Albeit unused to the melting mood,
Drop tears as fast as the Arabian trees
Their medicinal gum. Set you down this;
What did Roderigo
himself say as he lay
dying?
!
What will happen
to Othello? to Iago
and Cassio?
!
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82. Aleppo. A city in the Ottoman Empire (modern-day Syria)
83. circumcised dog. Circumcision was and still is today a strictly observed
religious practice by Muslims in Turkey and elsewhere. At the time,
Christians in Europe were not generally circumcised. Circumcision, and
turbans, were a mark of the enemy Turk.
84. period. End; conclusion
85. Spartan dog. The dogs of Sparta (a city in Greece) were bred as attack
dogs.
86. fell. Cruel
87. Let it be hid. Let the bodies be hid by the curtain.
88. they succeed on you. Gratiano, as kinsman to Othello and
Desdemona, will inherit the Moor’s fortunes.
89. censure. Sentence; condemnation
90. Myself will straight aboard. I will immediately get on board ship and
return to Venice.
210 OTHELLO, THE MOOR OF VENICE
FOOTNOTES
tra • duce (tr! düs´, tr! dyüs´) vt., destroy the reputation of someone or cause shame by
misrepresenting or telling falsehoods. The author traduced his family in a shocking memoir
that turned out to be a pack of lies.
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ACT V, SCENE ii 211
355
360
365
370
And say besides, that in Aleppo82 once,
Where a malignant and a turban’d Turk
Beat a Venetian and traduced the state,
I took by the throat the circumcised dog,83
And smote him, thus.
Stabs himself.
LODOVICO. O bloody period!84
GRATIANO. All that’s spoke is marr’d.
OTHELLO. I kiss’d thee ere I kill’d thee: no way but
this;
Killing myself, to die upon a kiss.
Falls on the bed, and dies.
CASSIO. This did I fear, but thought he had no
weapon;
For he was great of heart.
LODOVICO. [To IAGO] O Spartan dog,85
More fell86 than anguish, hunger, or the sea!
Look on the tragic loading of this bed;
This is thy work: the object poisons sight;
Let it be hid.87 Gratiano, keep the house,
And seize upon the fortunes of the Moor,
For they succeed on you.88 To you, lord governor,
Remains the censure89 of this hellish villain;
The time, the place, the torture: O, enforce it!
Myself will straight aboard,90 and to the state
This heavy act with heavy heart relate.
Exeunt.
Whom did Othello
kill in Aleppo? Whom
does he kill now?
!
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Analyze: TAKING THINGS APART
4a. Analyze Othello’s final speech.
How does he want to be
remembered? To whom does he
compare himself?
Synthesize: BRINGING THINGS TOGETHER
4b. Recall Othello’s words in act II, as
he discovers Cassio and Montano
in a drunken brawl: “Are we turn’d
Turks”? (II, iii, 170). To the
Venetians of the Renaissance, what
did it mean to be a Turk? In what
way has Othello, in his own mind,
“turn’d Turk”?
Respond to the Selection
Who do you think was more responsible for this tragedy, Iago or Othello?
Explain.
Investigate, Inquire, and Imagine
Recall: GATHERING FACTS
1a. Whom do Iago and Roderigo
attack at the beginning of act V,
scene i? What is the outcome of
the attack? Whom does Iago
attempt to blame for what
happened?
2a. What piece of evidence does
Othello cite in his claim that
Desdemona is a “perjured
woman”? How does he kill
Desdemona?
3a. Explain how Othello and the
others learn the truth about
Iago.
Interpret: FINDING MEANING
1b. What reasons did Iago have for
wanting both Roderigo and Cassio
dead?
2b. Why does Othello ask Desdemona
if she has said her prayers?
3b. Why does Othello look down at
Iago’s feet, once he has learned the
truth about him?
”
”
”
”
212 OTHELLO, THE MOOR OF VENICE
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Evaluate: MAKIING JUDGMENTS
5a. In act V, scene ii, Othello
completes his “trial” of
Desdemona and carries out the
penalty of death on her. What
evidence is there that Othello
thinks he is committing a just act?
Why does he call himself an
“honorable murderer”? Could
such an act ever be justified? Does
justice triumph at the end of this
play? Why, or why not?
Extend: CONNECTING IDEAS
5b. Is the death penalty ever just, in
your opinion? Explain.
Understanding Literature
SOLILOQUY. A soliloquy is a speech given by a character alone onstage, in which the
character reveals his or her thoughts and feelings to the audience. What misgivings
does Othello reveal in his soliloquy at the beginning of act V, scene ii? What is the
“cause” he speaks of? How is Desdemona’s life unlike the flame of a candle? What
mood do Othello’s words create?
MOTIF. A motif is any element that recurs in one or more works of literature or art.
One recurring motif in Othello is the imagery of hell, demons, and monsters. What
examples can you find of this motif in act V? How is this motif echoed in the names
of the two doomed lovers themselves? In the Christian morality plays of the Middle
Ages, the protagonist was often tempted to his damnation by an evil villain called
Vice. How does this compare with the plot of Othello?
CATASTROPHE AND DÉNOUEMENT. The catastrophe, in tragedy, is the event that
resolves, or ends, the central conflict and marks the ultimate tragic fall of the
central character. Often this event is the character’s death. The dénouement is any
material that follows and ties up loose ends. Who witnesses the catastrophe in
Othello? What information is given as part of the dénouement?
TRAGEDY AND TRAGIC FLAW. A tragedy is a drama that tells about the downfall of a
person of high status. Tragedy tends to be serious. It celebrates the courage and
dignity of a tragic hero in the face of inevitable doom. Sometimes that doom is
made inevitable by a tragic flaw in the hero, a personal weakness that leads to his
or her downfall. In what ways does Othello, the Moor of Venice fit the definition of a
tragedy? What is Othello’s tragic flaw?
”
RESPOND TO THE SELECTION, ACT V 213
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214 OTHELLO, THE MOOR OF VENICE
Plot Analysis of
Othello, the Moor of Venice
A plot is a series of events related to a central conflict, or
struggle. The following plot diagram illustrates the main
plot of Othello.
The parts of a plot are as follows:
The exposition is the part of a plot that provides background
information about the characters, setting, or conflict.
The inciting incident is the event that sets into motion the
central conflict, or struggle.
The rising action, or complication, develops the conflict to
a high point of intensity.
The crisis, or turning point, presents a decisive occurrence
that determines the future course of events in the play. This
event may or may not be the same as the climax.
The falling action is all the events that come as the result
of the crisis.
The resolution is the point at which the central conflict is
ended, or resolved. In a tragedy, this event is called the
catastrophe because it marks the ultimate fall of the central
character.
The dénouement is any material that follows the resolu-
tion and that ties up loose ends.
PLOT PYRAMID
Ris
ing
Ac
tio
n (A
CT
II)
Inciting Incident (ACT I)
Exposition (ACT I)
Falling Action (ACT IV)
Climax and Crisis
(ACT III)
Resolution or Catastrophe
(ACT V)
Dénouement (ACT V)
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The plot of Othello follows the same general pattern found
in most five-act plays of Renaissance times. Act I contains
the exposition and inciting incident. In act II, the central
conflict is developed through the rising action, or compli-
cation. The crisis or climax comes in act III, and the falling
action in act IV. Act V consists of the resolution (or catas-
trophe) and the dénouement. Following is a brief summary
of the plot of Othello.
Exposition and Inciting Incident (Act I)
The inciting incident is the elopement of Othello and
Desdemona, which actually occurs prior to the events in
scene i. This event touches off all the conflict to follow. In
act I, we meet Iago and learn of his relationship with
Roderigo and his feelings toward Othello. We also meet
Othello and Desdemona and hear them speak before the
Senate in defense of their love, in response to the charge by
Desdemona’s father that the Moor has taken his daughter
by unlawful means. Once Brabantio’s charges have been
dismissed, the Duke announces that Othello must be sent
immediately to Cyprus in order to ward off an attack by the
enemy Turks. He gives Othello permission to bring along
his bride. At the end of the act, Iago explains in a soliloquy
how he plans to get his revenge on Othello: he will “abuse
Othello’s ear / That [Cassio] is too familiar with his wife.”
Rising Action (Act II)
At the beginning of act II, several weeks have passed and
the conflict with the Turks has ended, the Turkish fleet
having been destroyed by a storm at sea. The characters all
land safely on the island of Cyprus and a party is planned
for that evening. During the night’s revels, Iago enacts the
first part of his plan by getting Cassio drunk. As the pair
had arranged earlier, Roderigo picks a fight with the drunk-
en Cassio, and a fight ensues. Othello intervenes, and find-
ing Cassio at fault, dismisses him from his position as lieu-
tenant. Iago encourages Cassio to appeal to Desdemona for
help in winning back Othello’s favor.
PLOT ANALYSIS OF OTHELLO, THE MOOR OF VENICE 215
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216 OTHELLO, THE MOOR OF VENICE
Crisis and Climax (Act III)
The rising action continues in act III, as Cassio visits
Desdemona and she promises to plead his case to Othello.
Iago and Othello spot Cassio leaving, and Iago suggests to
Othello that Cassio looks guilty. He continues to make
insinuating remarks about Cassio and Desdemona, suggest-
ing that the two have been intimate. When Othello presses
him for proof, Iago tells him that he has seen Desdemona’s
handkerchief in Cassio’s hand. This detail pushes Othello to
the breaking point and brings about the crisis of the play—
a point we can also consider to be the climax. Othello is
completely convinced and vows his revenge: “Now do I see
’tis true. Look here, Iago; / All my fond love thus do I blow
to heaven. / ’Tis gone. / Arise, black vengeance, from thy
hollow cell!” (III, iii, 444–447). He asks Iago to kill Cassio for
him, and promotes Iago to lieutenant. Now that the crisis or
climax has been reached, the action begins to fall to its
inevitable conclusion. In act III, scene iv, Othello questions
Desdemona about the handkerchief, which, unbeknownst
to the two of them, was stolen by Emilia and given to Iago,
who has placed it in Cassio’s chamber. A bewildered
Desdemona tries to change the subject by bringing up
Cassio’s case. As she pleads that he be reinstated, Othello
becomes even more enraged by what he sees as proof of her
love for Cassio.
Falling Action (Act IV)
Iago continues with his lies, telling Othello that Cassio
admitted to having an affair with Desdemona. He arranges
for Othello to hide while he questions Cassio about
Desdemona. While Othello looks on, Iago asks Cassio
about Bianca, a subject which provokes Cassio’s laughter.
Meanwhile Bianca comes by at that moment with
Desdemona’s handkerchief, which Cassio gave her to copy.
This serves as the “ocular proof” Othello had wanted—he is
now completely convinced that his wife has been unfaith-
ful, and is going mad with grief and the desire for
vengeance. Emissaries arrive from Venice at the end of act
IV, scene i with the news that Othello is recalled to Venice,
leaving Cassio as governor of Cyprus. When Desdemona
declares that she is happy about this, Othello strikes her,
shocking everyone. In act IV, scene ii, Othello questions
Emilia about Desdemona’s fidelity, but refuses to believe
her that Desdemona is chaste. Later in that scene, Iago and
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PLOT ANALYSIS OF OTHELLO, THE MOOR OF VENICE 217
Roderigo plot Cassio’s murder. In scene iii, Desdemona
waits for Othello in their bedchamber, and as Emilia helps
her prepare for bed, the women talk about infidelity.
Desdemona declares that she would never cheat on Othello
for “all the world.” This knowledge, in the eyes of the audi-
ence, makes her impending doom all the more tragic.
Resolution and Dénouement (Act V)
The falling action continues throughout act V. In scene i,
Roderigo and Iago fail in their attempt to murder Cassio.
Roderigo and Cassio are both wounded, and Iago kills
Roderigo to cover up for his role in the attack. In scene ii,
Othello enters the bedchamber to kill Desdemona. When
she realizes what he is about to do, she begs for mercy, but
he smothers her. Emilia comes in and discovers the mur-
der, whereupon Othello tells her Desdemona was unfaith-
ful and that Iago knew the whole story. A stunned Emilia
repeats, “My husband!” She calls for help, and Montano,
Gratiano, Iago, and the others enter. In front of everyone,
Emilia accuses her husband of bringing on the murder of
Desdemona, and an enraged Iago stabs her. Now that
Iago’s role in the tragedy is clear, Othello stabs him (but
does not kill him), then stabs himself. Othello’s death is
the catastrophe, the event that resolves the central conflict
and makes the tragedy complete. The dénouement comes
in Lodovico’s lines at the end of the play, through which
we learn that Gratiano will inherit all of Othello’s posses-
sions, and that Cassio will supervise the punishment and
torture of the villain Iago.
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218 OTHELLO, THE MOOR OF VENICE
R E L A T E D R E A D I N G
1. Signoria. The government of Venice, made up of the Duke, or doge,
and a council of noblemen.
pru • dence (prü´ d!n[t]s) n., caution as to danger or risk; shrewdness and good
judgment in the management of affairs or resources. The zookeepers exercised prudence
when dealing with the tigers, knowing that wild animals can be unpredictable.
from Gli Hecatommithi (1565)
by Giovanbattista Giraldi Cinthio,
translated by J. E. Taylor
ABOUT THE RELATED READING
During the Renaissance, all of Europe was reading the
novelle, or short stories, of Italy. These dramatic, action-
filled tales provided Elizabethan playwrights with a gold
mine of source material. Matteo Bandello’s “Tragical
Historie of Rhomeo and Giulietta” provided Shakespeare
with the plot of his famous play Romeo and Juliet. The plot
of Othello came from the following tale, written by Italian
novelist and poet Giovanbattista Giraldi Cinthio
(1504–1573) and published in 1565 in a collection of one
hundred tales called Gli Hecatommithi. As you will see,
Shakespeare changed some of the details, but the basic
plot is the same.
There once lived in Venice a Moor, who was very valiant
and of a handsome person; and having given proofs in war
of great skill and prudence, he was highly esteemed by the
Signoria1 of the Republic, who in rewarding deeds of valor
advanced the interests of the State.
It happened that a virtuous lady of marvelous beauty,
named Disdemona, fell in love with the Moor, moved
thereto by his valor; and he, vanquished by the beauty and
the noble character of Disdemona, returned her love; and
their affection was so mutual that, although the parents of
the lady strove all they could to induce her to take another
husband, she consented to marry the Moor; and they lived
in such harmony and peace in Venice that no word ever
passed between them that was not affectionate and kind.
Now it happened at this time that the Signoria of Venice
made a change in the troops whom they used to maintain
in Cyprus, and they appointed the Moor commander of the
soldiers whom they dispatched thither. Joyful as was the
Moor at the honor proffered him—such dignity being only
Why must the
Moor go to Cyprus?
!
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RELATED READINGS: FROM GLI HECATOMMITHI 219
conferred on men of noble rank and well-tried faith, and who
had displayed bravery in arms—yet his pleasure was lessened
when he reflected on the length and dangers of the voyage,
fearing that Disdemona would be pained at his absence. But
Disdemona, who had no other happiness in the world than
the Moor, and who rejoiced to witness the testimony of his
valor her husband had received from so powerful and noble
a Republic, was all impatient that he should embark with his
troops, and longed to accompany him to so honorable a post.
And all the more it vexed her to see the Moor so troubled;
and not knowing what could be the reason, one day, when
they were at dinner, she said to him, “How is it, O Moor, that
when so honorable a post has been conferred on you by the
Signoria, you are thus melancholy?”
The Moor answered Disdemona, “My pleasure at the
honor I have received is disturbed by the love I bear you; for
I see that of necessity one of two things must happen—
either that I take you with me, to encounter the perils of the
sea, or, to save you from this danger, I must leave you here
in Venice. The first could not be otherwise than serious to
me, for all the toil you would have to bear, and every dan-
ger that might befall you, would cause me extreme anxiety
and pain. Yet, were I to leave you behind me, I should be
hateful to myself, since in parting from you I should part
from my own life.”
Disdemona, on hearing this, replied: “My husband, what
thoughts are these that wander through your mind? Why let
such things disturb you? I will accompany you whithersoe’er2
you go, were it to pass through fire, as now to cross the water
in a safe and well-provided ship: if indeed there are toils and
perils to encounter, I will share them with you. And in truth
I should think you loved me little, were you to leave me here
in Venice, denying me to bear you company, or could believe
that I would liefer bide3 in safety here than share the dangers
that await you. Prepare then for the voyage with all the readi-
ness which the dignity of the post you hold deserves.”
The Moor, in the fullness of his joy, threw his arms
around his wife’s neck, and with an affectionate and tender
kiss exclaimed, “God keep you long in such love, dear wife!”
Then speedily donning his armor, and having prepared
everything for his expedition, he embarked on board the
galley with his wife and all his troops, and, setting sail, they
pursued their voyage, and with a perfectly tranquil sea
arrived safely at Cyprus.
2. whithersoe’er. Whithersoever: wherever
3. liefer bide. Rather live
What reasons does
the Moor give for
being melancholy?
!
What solution does
Disdemona offer?
!
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Now amongst the soldiery there was an Ensign,4 a man of
handsome figure, but of the most depraved nature in the
world. This man was in great favor with the Moor, who had
not the slightest idea of his wickedness; for, despite the mal-
ice lurking in his heart, he cloaked with proud and valorous
speech and with a specious presence the villainy of his soul
with such art that he was to all outward show another
Hector or Achilles.5 This man had likewise taken with him
his wife to Cyprus, a young, and fair, and virtuous lady; and
being of Italian birth she was much loved by Disdemona,
who spent the greater part of every day with her.
In the same Company there was a certain Captain of a
troop, to whom the Moor was much affectioned. And
Disdemona, for this cause, knowing how much her husband
valued him, showed him proofs of the greatest kindness,
which was all very grateful to the Moor. Now the wicked
Ensign, regardless of the faith that he had pledged his wife,
no less than of the friendship, fidelity and obligation which
he owed the Moor, fell passionately in love with Disdemona,
and bent all his thoughts to achieve his conquest; yet he
dared not to declare his passion openly, fearing that, should
the Moor perceive it, he would at once kill him. He therefore
sought in various ways, and with secret guile, to betray his
passion to the lady. But she, whose every wish was centered
in the Moor, had no thought for this Ensign more than any
other man, and all the means he tried to gain her love had
no more effect than if he had not tried them. But the Ensign
imagined that the cause of his ill success was that
Disdemona loved the Captain of the troop; and he pondered
how to remove him from her sight. The love which he had
borne the lady now changed into the bitterest hate, and,
having failed in his purposes, he devoted all his thoughts to
plot the death of the Captain of the troop and to divert the
affection of the Moor from Disdemona. After revolving in
his mind various schemes, all alike wicked, he at length
220 OTHELLO, THE MOOR OF VENICE
de • praved (di pravd´) adj., marked by
corruption or evil; perverted. The criminal
was completely depraved—no amount of
rehabilitation could make him fit to rejoin
society.
spe • cious (spe´ sh!s) adj., having a false
look of truth or genuineness. I was warned
that the gems being sold at the market were
specious.
guile (g”̄ ´ [!]l) n., cunning deception. It
doesn’t take much guile to trick naïve people.
4. Ensign. A low-ranking officer; one who displayed the ensign, or flag,
in battle. Shakespeare uses the term ancient.
5. Hector or Achilles. Heroes of the Trojan War. Their story is told in
Homer’s Iliad.
What motivates
the Ensign to practice
“an artful fraud upon
the Moor”?
!
´´
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resolved to accuse her of unfaithfulness to her husband, and
to represent the Captain as her paramour. But knowing the
singular love the Moor bore to Disdemona, and the friend-
ship which he had for the Captain, he was well aware that,
unless he practiced an artful fraud upon the Moor, it were
impossible to make him give ear to either accusation: where-
fore he resolved to wait until time and circumstance should
open a path for him to engage in his foul project.
Not long afterwards it happened that the Captain, hav-
ing drawn his sword upon a soldier of the guard, and
struck him, the Moor deprived him of his rank; whereat
Disdemona was deeply grieved, and endeavored again and
again to reconcile her husband to the man. This the Moor
told to the wicked Ensign, and how his wife importuned
him so much about the Captain that he feared he should
be forced at last to receive him back to service. Upon this
hint the Ensign resolved to act, and began to work his web
of intrigue. “Perchance,” said he, “the lady Disdemona
may have good reason to look kindly upon him.”
“And wherefore?” said the Moor.
“Nay, I would not step ’twixt man and wife,” replied the
Ensign; “but let your eyes be witness to themselves.”
In vain the Moor went on to question the officer—he
would proceed no further; nevertheless, his words left a sharp,
stinging thorn in the Moor’s heart, who could think of noth-
ing else, trying to guess their meaning and lost in melancholy.
And one day, when his wife had been endeavoring to pacify
his anger toward the Captain, and praying him not to be
unmindful of ancient services and friendship for one small
fault, especially since peace had been made between the
Captain and the soldier he had struck, the Moor was angered,
and exclaimed, “Great cause have you, Disdemona, to care so
anxiously about this man! Is he a brother, or your kinsman,
that he should be so near your heart?”
The lady, with all gentleness and humility, replied, “Be
not angered, my dear lord; I have no other cause to bid me
speak than sorrow that I see you lose so dear a friend as, by
your own words, this Captain has been to you; nor has he
done so grave a fault that you should bear him so much
enmity. Nay, but you Moors are of so hot a nature that
every little trifle moves you to anger and revenge.”
RELATED READINGS: FROM GLI HECATOMMITHI 221
en • mi • ty (en´ m! tē) n., openly expressed hostility. The enmity between the Israelis
and Palestinians has led to great tragedy.
What stereotypical
image does Disdemona
have of Moors?
!
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222 OTHELLO, THE MOOR OF VENICE
Still more enraged at these words, the Moor replied, “I
could bring proofs—by heaven it mocks belief! but for the
wrongs I have endured revenge must satisfy my wrath.”
Disdemona, in astonishment and fright, seeing her hus-
band’s anger kindled against her, so contrary to his wont,6
said humbly and with timidness, “None save a good intent
has led me thus to speak with you, my lord; but to give
cause no longer for offense, I’ll never speak a word more
on the subject.”
The Moor, observing the earnestness with which his
wife again pleaded for the Captain, began to guess the
meaning of the Ensign’s words; and in deep melancholy he
went to seek that villain and induce him to speak more
openly of what he knew. Then the Ensign, who was bent
upon injuring the unhappy7 lady, after feigning at first
great reluctance to say aught8 that might displease the
Moor, at length pretended to yield to his entreaties, and
said, “I can’t deny it pains me to the soul to be thus forced
to say what needs must be more hard to hear than any
other grief; but since you will it so, and that the regard I
owe your honor compels me to confess the truth, I will no
longer refuse to satisfy your questions and my duty. Know,
then, that for no other reason is your lady vexed to see the
Captain in disfavor than the pleasure that she has in his
company whenever he comes to your house, and all the
more since she has taken an aversion to your blackness.”
These words went straight to the Moor’s heart; but in
order to hear more (now that he believed true all that the
Ensign had told him) he replied, with a fierce glance, “By
heavens, I scarce can hold this hand from plucking out
that tongue of thine, so bold, which dares to speak such
slander of my wife!”
“Captain,” replied the Ensign, “I looked for such reward
for these my faithful offices—none else; but since my duty,
and the jealous care I bear your honor, have carried me thus
far, I do repeat, so stands the truth, as you have heard it
from these lips; and if the lady Disdemona hath, with a false
show of love for you, blinded your eyes to what you should
aver • sion (! v!r´ zh!n) n., strong dislike or repugnance. Ever since I got food poisoning
from it, I’ve had an aversion to tuna.
6. wont. Habitual way of behaving
7. unhappy. Unlucky
8. aught. Anything
What does the
Ensign say is
Disdemona’s reason
for speaking in favor
of the Captain? What
does he say
Disdemona has
“taken an aversion
to”?
!
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RELATED READINGS: FROM GLI HECATOMMITHI 223
have seen, this is no argument but that I speak the truth.
Nay, this same Captain told it me himself, like one whose
happiness is incomplete until he can declare it to another;
and, but that I feared your anger, I should have given him,
when he told it me, his merited reward, and slain him. But
since informing you of what concerns you more than any
other man brings me so undeserved a recompense, would I
had held my peace, since silence might have spared me your
displeasure.”
Then the Moor, burning with indignation and anguish,
said, “Make thou these eyes self-witnesses of what thou tell’st
or on thy life I’ll make thee wish thou hadst been born
without a tongue.”
“An easy task it would have been,” replied the villain,
“when he was used to visit at your house; but now that
you have banished him, not for just cause, but for mere
frivolous pretext, it will be hard to prove the truth. Still, I
do not forgo the hope to make you witness of that which
you will not credit from my lips.”
Thus they parted. The wretched Moor, struck to the
heart as by a barbed dart, returned to his home, and await-
ed the day when the Ensign should disclose to him the
truth which was to make him miserable to the end of his
days. But the evil-minded Ensign was, on his part, not less
troubled by the chastity which he knew the lady
Disdemona observed inviolate; and it seemed to him
impossible to discover a means of making the Moor believe
what he had falsely told him; and, turning the matter over
in his thoughts in various ways, the villain resolved on a
new deed of guilt.
Disdemona often used to go, as I have already said, to
visit the Ensign’s wife, and remained with her a good part
of the day. Now, the Ensign observed that she carried
about with her a handkerchief, which he knew the Moor
had given her, finely embroidered in the Moorish fashion,
and which was precious to Disdemona, nor less so to the
Moor. Then he conceived the plan of taking this kerchief
from her secretly, and thus laying the snare for her final
re • com • pense (re´ k!m pen[t]s) n.,
compensation; payment. The boy was given
twenty dollars as recompense for his labor.
pre • text (prē´ tekst) n., reason or motive
assumed or pretended as a cover for the
real reason or motive. Brian said he had
errands to run, but I knew that was just a
pretext for getting out of the house.
in • vi • o • late (in v”̄ ´ ! l!t) adj., pure;
that is, not violated or profaned. In 1929,
the Migratory Bird Conservation Act was
passed, which stated that refuges were to be
managed as “inviolate sanctuaries” for
migratory birds, where no hunting was
allowed.
How does the
Ensign get
Disdemona’s
handkerchief?
!
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ruin. The Ensign had a little daughter, a child three years
of age, who was much loved by Disdemona; and one day,
when the unhappy lady had gone to pay a visit at the
house of this vile man, he took the little child up in his
arms, and carried her to Disdemona, who took her and
pressed her to her bosom; whilst at the same instant this
traitor, who had extreme dexterity of hand, drew the ker-
chief from her sash so cunningly that she did not notice
him, and overjoyed he took his leave of her.
Disdemona, ignorant of what had happened, returned
home, and, busied with other thoughts, forgot the handker-
chief. But a few days afterwards, looking for it and not find-
ing it, she was in alarm, lest the Moor should ask her for it,
as he oft was wont to do. Meanwhile the wicked Ensign,
seizing a fit opportunity, went to the Captain of the troop,
and with crafty malice left the handkerchief at the head of
his bed without his discovering the trick; until the following
morning, when, on his getting out of bed, the handkerchief
fell upon the floor, and he set his foot upon it. And not
being able to imagine how it had come into his house,
knowing that it belonged to Disdemona, he resolved to give
it to her; and waiting until the Moor had gone from home,
he went to the back door and knocked. It seemed as if fate
conspired with the Ensign to work the death of the unhap-
py Disdemona. Just at that time the Moor returned home,
and hearing a knocking at the back door, he went to the
window, and in a rage exclaimed, “Who knocks there?” The
Captain, hearing the Moor’s voice, and fearing lest he
should come downstairs and attack him, took to flight with-
out answering a word. The Moor went down, and opening
the door hastened into the street and looked about, but in
vain. Then, returning into the house in great anger, he
demanded of his wife who it was that had knocked at the
door. Disdemona replied, as was true, that she did not know;
but the Moor said, “It seemed to me the Captain.”
“I know not,” answered Disdemona, “whether it was he
or another person.”
The Moor restrained his fury, great as it was, wishing to
do nothing before consulting the Ensign, to whom he has-
tened instantly, and told him all that had passed, praying
him to gather from the Captain all he could respecting the
affair. The Ensign, overjoyed at the occurrence, promised
the Moor to do as he requested; and one day he took occa-
sion to speak with the Captain when the Moor was so
placed that he could see and hear them as they conversed.
And whilst talking to him of every other subject than of
224 OTHELLO, THE MOOR OF VENICE
What does the
Ensign do with the
handkerchief? What
does the Captain do
with it?
!
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RELATED READINGS: FROM GLI HECATOMMITHI 225
Disdemona, he kept laughing all the time aloud, and feign-
ing astonishment, he made various movements with his
head and hands, as if listening to some tale of marvel. As
soon as the Moor saw the Captain depart, he went up to
the Ensign to hear what he had said to him. And the
Ensign, after long entreaty, at length said, “He has hidden
from me nothing, and has told me that he has been used
to visit your wife whenever you went from home, and that
on the last occasion she gave him this handkerchief which
you presented to her when you married her.”
The Moor thanked the Ensign, and it seemed now clear
to him that, should he find Disdemona not to have the
handkerchief, it was all true that the Ensign had told to
him. One day, therefore, after dinner, in conversation with
his wife on various subjects, he asked her for the kerchief.
The unhappy lady, who had been in great fear of this, grew
red as fire at this demand; and to hide the scarlet of her
cheeks, which was closely noted by the Moor, she ran to a
chest and pretended to seek the handkerchief, and after
hunting for it a long time, she said, “I know not how it is—
I cannot find it—can you, perchance, have taken it?”
“If I had taken it,” said the Moor, “why should I ask it
of you? But you will look better another time.”
On leaving the room, the Moor fell to meditating how
he should put his wife to death, and likewise the Captain
of the troop, so that their deaths should not be laid to his
charge. And as he ruminated over this day and night, he
could not prevent his wife’s observing that he was not the
same toward her as he had been wont; and she said to him
again and again, “What is the matter? What troubles you?
How comes it that you, who were the most light-hearted
man in the world, are now so melancholy?”
The Moor feigned various reasons in reply to his wife’s
questioning, but she was not satisfied, and, although con-
scious that she had given the Moor no cause, by act or deed,
to be so troubled, yet she feared that he might have grown
wearied of her; and she would say the Ensign’s wife, “I know
not what to say of the Moor; he used to be all love toward
me; but within these few days he has become another man;
and much I fear that I shall prove a warning to young girls
not to marry against the wishes of their parents, and that
the Italian ladies may learn from me not to wed a man
whom nature and habitude of life estrange from us.9 But as
What lesson does
Disdemona fear her
tale may provide to
young Italian girls?
!
9. whom nature . . . estrange from us. Whose nature and customs
make him so different from us. This line echoes Disdemona’s earlier
statement that all Moors are “hot of nature.”
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I know the Moor is on such terms of friendship with your
husband, and communicates to him all of his affairs, I pray
you, if you have heard from him aught that you may tell me
of, fail not to befriend me.” And as she said this, she wept
bitterly.
The Ensign’s wife, who knew the whole truth (her hus-
band wishing to make use of her to compass10 the death of
Disdemona), but could never consent to such a project,
dared not, from fear of her husband, disclose a single cir-
cumstance: all she said was, “Beware lest you give any
cause of suspicion to your husband, and show to him by
every means your fidelity and love.”
“Indeed I do so,” replied Disdemona, “but it is all of no
avail.”
Meanwhile the Moor sought in every way to convince
himself of what he fain11 would have found untrue; and
he prayed the Ensign to contrive that he might see the
handkerchief in the possession of the Captain. This was a
difficult matter to the wicked Ensign, nevertheless he
promised to use every means to satisfy the Moor of the
truth of what he said.
Now the Captain had a wife at home, who worked the
most marvelous embroidery upon lawn;12 and seeing the
handkerchief, which belonged to the Moor’s wife, she
resolved, before it was returned to her, to work one like it.
As she was engaged in this task, the Ensign observed her
standing at a window, where she could be seen by all the
passers-by in the street, and he pointed her out to the Moor,
who was now perfectly convinced of his wife’s guilt. Then
he arranged with the Ensign to slay Disdemona and the
Captain of the troop, treating them as it seemed they both
deserved. And the Moor prayed the Ensign that he would
kill the Captain, promising eternal gratitude to him. But
the Ensign at first refused to undertake so dangerous a task,
the Captain being a man of equal skill and courage; until at
length, after much entreating and being richly paid, the
Moor prevailed on him to promise to attempt the deed.
Having formed this resolution, the Ensign, going out
one dark night, sword in hand, met the Captain on his way
to visit a courtesan, and struck him a blow on his right
thigh, which cut off his leg and felled him to the earth.
Then the Ensign was on the point of putting an end to his
life, when the Captain, who was a courageous man and
226 OTHELLO, THE MOOR OF VENICE
10. compass. Bring about, achieve
11. fain. Gladly
12. lawn. A fine sheer linen or cotton fabric
Where does the
Moor see his wife’s
handkerchief?
!
How much does
the Ensign’s wife
know of the plot to
kill Disdemona? Why
doesn’t she tell
Disdemona what she
knows?
!
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used to the sight of blood and death, drew his sword, and,
wounded as he was, kept on his defense, exclaiming with a
loud voice, “I’m murdered!” Thereupon the Ensign, hearing
the people come running up, with some of the soldiers who
were lodged thereabouts, took to his heels to escape being
caught; then turning about again, he joined the crowd, pre-
tending to have been attracted by the noise. And when he
saw the Captain’s leg cut off, he judged that if not already
dead, the blow must at all events end his life; and whilst in
his heart he was rejoiced at this, yet he feigned to compas-
sionate13 the Captain as he had been his brother.
The next morning the tidings of this affair spread
through the whole city, and reached the ears of Disdemona;
whereat she, who was kindhearted and little dreamed that
any ill would betide her, evinced the greatest grief at the
calamity. This served but to confirm the Moor’s suspicions,
and he went to seek for the Ensign, and said to him, “Do
you know, that fool my wife is in such grief at the Captain’s
accident that she is well nigh gone mad?”
“And what could you expect, seeing he is her very soul?”
replied the Ensign.
“Ay, soul forsooth!” exclaimed the Moor; “I’ll draw the
soul from out her body; call me no man if that I fail to shut
the world upon this wretch.”
Then they consulted of one means and another—poison
and daggers—to kill poor Disdemona, but could resolve on
nothing. At length the Ensign said, “A plan comes to my
mind, which will give you satisfaction and raise cause for no
suspicion. It is this: the house in which you live is very old,
and the ceiling of your chamber has many cracks; I propose
we take a stocking, filled with sand, and beat Disdemona
with it till she dies; thus will her body bear no signs of vio-
lence. When she is dead, we can pull down a portion of the
ceiling, and thus make it seem as if a rafter falling on her
head had killed the lady. Suspicion can not rest on you,
since all men will impute her death to accident.”
This cruel counsel pleased the Moor, and he only wait-
ed for a fitting time to execute the plot. One night, when
he and Disdemona had retired to bed, the Ensign, whom
the Moor had concealed in a closet which opened into the
RELATED READINGS: FROM GLI HECATOMMITHI 227
evince (i vin[t]s´) vt., display clearly: reveal.
From childhood, Donna evinced an
extraordinary talent for gymnastics.
im • pute (im pyüt´) vt., lay the responsibility
or blame for, often falsely or unjustly. Many
imputed the loss to poor pitching, but really the
team just couldn’t score.
13. compassionate. Pity
What plan do the
Ensign and the Moor
have for killing
Disdemona?
!
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chamber, raised a noise in the closet, according to a con-
certed plan; whereat the Moor said to his wife, “Did you
not hear that noise?”
“Indeed I heard it,” she replied.
“Rise,” said the Moor, “and see what ’tis.”
The unhappy Disdemona rose from bed, and the instant
she approached the closet, out rushed the Ensign, and
being strong and of stout nerve, he beat her cruelly with
the bag of sand across her back; upon which Disdemona
fell to the ground, scarce able to draw her breath; but with
the little voice she had left, she called upon the Moor for
aid. But the Moor, leaping from bed, exclaimed, “Thou
wickedest of women, thus has thy falseness found its just
reward—the recompense to wives who, counterfeiting
love, place horns upon their husbands’ brows.”14
The wretched lady, hearing these words, and feeling that
she was near her end (for the Ensign had given her another
blow), appealed to the justice of Heaven, since justice here
had failed her, in proof of her fidelity and truth; and as she
was thus calling Heaven to witness, the wicked Ensign inflict-
ed a third blow, under which she sank lifeless to the floor.
Then the Ensign and the Moor, laying Disdemona on
the bed and wounding her head, pulled down part of the
ceiling of the chamber, as they had arranged; whereupon
the Moor began to call aloud for help, exclaiming that the
house was falling. Hearing this uproar, the neighbors all
came running up, and there found Disdemona lying dead
beneath a rafter—a sight which, from the good life of that
poor lady, did fill all hearts with sorrow.
On the following day Disdemona was buried, followed to
the grave by the universal grief of the people. But Heaven, the
just regarder of all hearts, willed not that so wicked a deed
should go unpunished. Ere long the Moor, whom Disdemona
had loved more than her own life, began to feel such sorrow
at her loss that he went wandering about as one bereft of rea-
son, searching in every part of the house. And reflecting in
his thoughts that the Ensign had been the cause that he had
lost, with Disdemona, all joy in life, he conceived so deep a
hatred to that wicked man, he could not bear to set eyes on
228 OTHELLO, THE MOOR OF VENICE
14. place horns . . . brows. Make their husbands into cuckolds
be • reft (bi reft´) adj., deprived or robbed (usually used with of ). Bereft of all joy, Nadia
became cynical and bitter.
What happens
between the Moor
and the Ensign after
Disdemona’s death?
!
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RELATED READINGS: FROM GLI HECATOMMITHI 229
him; and had it not been for his fear of the inviolable justice
of the Signoria of Venice, he would have slain him openly.
But being unable to do this with safety, he deprived him of
his rank, and would not allow him to remain in his
Company; whereat such an enmity arose between the two
that no greater or more deadly can be imagined.
The Ensign, that wickedest of all bad men, now turned
his thoughts to injuring the Moor; and seeking out the
Captain, whose wound was by this time healed, and who
went about with a wooden leg in place of the one that had
been cut off, he said to him, “’Tis time you should be
avenged for your lost limb; and if you will come with me
to Venice, I’ll tell you who the malefactor is, whom I dare
not mention to you here for many reasons; and I will bring
you proofs.”
The Captain of the troop, whose anger returned fiercely
but without knowing why, thanked the Ensign, and went
with him to Venice. On arriving there, the Ensign told him
that it was the Moor who had cut off his leg, on account
of the suspicion he had formed of Disdemona’s conduct
with him; and for that reason he had slain her, and then
spread the report that the ceiling had fallen and killed her.
Upon hearing which, the Captain accused the Moor to the
Signoria, both of having cut off his leg and killed his wife,
and called the Ensign to witness the truth of what he said.
The Ensign declared both charges to be true, for that the
Moor had disclosed to him the whole plot, and had tried
to persuade him to perpetrate both crimes; and that, hav-
ing afterwards killed his wife out of jealousy he had con-
ceived, he had narrated to him the manner in which he
had perpetrated her death.
The Signori15 of Venice, when they heard of the cruelty
inflicted by a barbarian upon a lady of their city, command-
ed that the Moor’s arms should be pinioned in Cyprus, and
he be brought to Venice, where, with many tortures, they
sought to draw from him the truth. But the Moor, bearing
with unyielding courage all the torment, denied the whole
charge so resolutely that no confession could be drawn
from him. But although by his constancy and firmness he
15. Signori. Noblemen (plural of Signor, Italian for sir)
mal • e • fac • tor (ma´ l! fak´ t!r) n., one
who does bad things to another person or
commits an offense against the law. The
police caught the malefactor in the act of
robbing the store.
pin • ion (pin´ y!n) vt., restrain or shackle,
especially by the arms. The two bullies
pinioned their victim against the wall so that
he could not fight back.
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escaped death, he was, after being confined for several days
in prison, condemned to perpetual banishment, in which
he was eventually slain by the kinsfolk of Disdemona, as he
merited. The Ensign returned to his own country, and, fol-
lowing up his wonted villainy, he accused one of his com-
panions of having sought to persuade him to kill an enemy
of his, who was a man of noble rank; whereupon this per-
son was arrested and put to the torture; but when he denied
the truth of what his accuser had declared, the Ensign him-
self was likewise tortured to make him prove the truth of
his accusation; and he was tortured so that his body rup-
tured, upon which he was removed from prison and taken
home, where he died a miserable death. Thus did Heaven
avenge the innocence of Disdemona, and all these events
were narrated by the Ensign’s wife, who was privy to the
whole, after his death, as I have told them here.
Critical Thinking
1. In Cinthio’s tale, the Moor and Disdemona have been
married for some time before going to Cyprus. In
Shakespeare, the couple are newlyweds. What
difference, if any, does this make to the story?
2. Cinthio’s story seems to unfold over several months,
but Shakespeare compressed the action into several
days. Why do you suppose Shakespeare made this
change to the time scheme? What effect does it have?
Which time scheme do you prefer, and why?
3. Compare the two villains, the Ensign and Iago. How
do their motives differ? Some critics claim that Iago,
not Othello, is the true protagonist of Shakespeare’s
play. What does Shakespeare do to flesh out the villain
character and make him more central to the story?
4. What stereotypes about African people are repeated
in this tale? Do you think that Cinthio intended the
moral of the story to be that “Italian ladies should not
marry Moors”?
230 OTHELLO, THE MOOR OF VENICE
privy (pri´ vē) adj., know about something; as a secret. The president’s advisors were privy
to much top-secret information.
What happens to
the Moor and the
Ensign in the end?
!
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RELATED READINGS: FROM THE HISTORY AND DESCRIPTION OF AFRICA 231
from The History and
Description of Africa (1526)
by Leo Africanus, translated by John Pory
ABOUT THE RELATED READING
Leo Africanus, also known as John Leo, was born Al-
Hasan Ibn Muhammad in Granada, Spain between 1489
and 1495. He was raised on the Barbary Coast in north-
ern Africa, where Morocco is today. As an adult, he trav-
eled to other areas of Africa, including the Sudan, Mali,
and Bornu (modern-day Nigeria). Captured by pirates
around the year 1518, he was taken to Rome to be a
slave of Pope Leo X. There he converted to Christianity
and took the name of Giovanni (John) Leo. The Pope
soon recognized Leo’s intelligence and set him free;
however, Leo stayed in Italy where he taught Arabic and
published an Arabic grammar book and medical dic-
tionary. It is believed that he returned to North Africa
and died a Muslim around 1552.
Leo’s History and Description of Africa, from which
this reading was taken, was originally written in Arabic,
then translated into Italian in 1526. The book soon
became popular among Europeans and was for many
years the only known source on the Sudan. Shakespeare
probably read the English translation by John Pory,
which was published in 1600, and used Leo’s description
of the inhabitants of Barbary to draw the character of
Othello. In fact, he may have based Othello on Leo him-
self—a wise and respected north African who had under-
gone many adventures, then converted to Christianity
and lived among the Italians.
This reading describes, in the author’s words, some of
the “virtues” and “vices” of the African peoples. As you
read, decide whether any of these describe Othello.
R E L A T E D R E A D I N G
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232 OTHELLO, THE MOOR OF VENICE
from The History and
Description of Africa
The commendable actions and virtues of the Africans.
The Arabians which inhabit in Barbary1 or upon the
coast of the Mediterranean Sea are greatly addicted2 unto
the study of good arts and sciences, and those things which
concern their law and religion3 are esteemed by them in
the first place. Moreover they have been heretofore4 most
studious of the Mathematiques, of Philosophy, and of
Astrology: but these arts (as it is aforesaid) were, four hun-
dred years ago, utterly destroyed and taken away by the
chief professors of their law. The inhabitants of the cities do
most religiously observe and reverence those things which
appertain unto their religion; yea, they honor those doctors
and priests of whom they learn their law as if they were
petie-gods.5 Their Churches they frequent very diligently,
to the end they may repeat certain prescript6 and formal
prayers; most superstitiously persuading themselves that
the same day wherein they make their prayers it is not law-
ful for them to wash certain of their members,7 when as at
other times they will wash their whole bodies. Whereof we
will (by God’s help) discourse more at large in the second
Book of this present treatise, when we shall fall into the
mentioning of Mahumet8 and his religion.
Moreover those which inhabit Barbary are of great cun-
ning & dexterity for building & for mathematical inven-
Which Africans
does Leo discuss
first?
1. Barbary. The Barbary Coast, or Barbary, was the term Europeans used
to refer to the coastal regions of modern-day Morocco, Algeria, Tunisia,
and Libya. Leo divided African into four regions: Barbary, Numidia, Libya,
and “the land of the Negroes.” Of Barbary, his native land, Leo wrote:
“This is the most noble and worthy region of all Africa, the inhabitants
whereof are of a white or tawny color, being a civil people, and prescribe
wholesome laws and constitutions unto themselves.”
2. addicted. In this text, the word means “devoted,” “prone [to],” or
“tending [toward].”
3. their law and religion. That is, Islamic law and religion. The
Barbarians were a Muslim people.
4. heretofore. At one time; previously
5. petie-gods. Minor gods
6. prescript. Prescribed by law; laid down as a rule
7. members. Body parts
8. Mahumet. Also spelled Mohammed or Muhammad; the Arab prophet
who founded the religion of Islam. He lived from about
570–632 AD.
!
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tions, which a man may easily conjecture by their artificial
works.9 Most honest people they are, and destitute of all
fraud and guile; not only embracing all simplicity and truth,
but also practicing the same throughout the whole course of
their lives—albeit certain Latin authors,10 which have writ-
ten of the same regions, are far otherwise of opinion.
Likewise they are most strong and valiant people, especially
those which dwell upon the mountains. They keep their
covenant most faithfully; insomuch that they had rather die
than break promise. No nation in the world is so subject
unto jealousy; for they will rather lose their lives than put
up any disgrace in the behalf of their women. So desirous
they are of riches and honor that therein no other people
can go beyond them. They travel in a manner over the
whole world to exercise traffic.11 For they are continually to
be seen in Egypt, in Ethiopia, in Arabia, Persia, India, and
Turkey: and whithersoever they go, they are most honorably
esteemed of: for none of them will possess any art,12 unless
he hath attained unto great exactness and perfection there-
in. They have always been much delighted with all kind of
civility and modest behavior: and it is accounted heinous
among them for any man to utter in company any bawdy
or unseemly word. They have always in mind this sentence
of a grave author: “Give place to thy superior.” If any youth,
in presence of his father, his uncle, or any other of his kin-
dred, doth sing or talk aught of love matters, he is deemed
to be worthy of grievous punishment. Whatsoever lad or
youth there lighteth by chance into any company which
discourseth of love, no sooner heareth nor understandeth
what their talk tendeth unto, but immediately he with-
draweth himself from among them. These are the things
which we thought most worthy of relation as concerning
RELATED READINGS: FROM THE HISTORY AND DESCRIPTION OF AFRICA 233
What does Leo say
is true of these peo-
ple, despite what
“certain Latin
authors” have
claimed?
9. artificial works. Man-made constructions, such as dams and canals
10. certain Latin authors. Probably a reference to Pliny the Elder, a
Roman historian whose Naturalis Historia was widely known and a
principal source of European knowledge about Africa
11. traffic. Trade
12. art. Skill
con • jec • ture (k!n jek′ ch!r) vt., conclude
based on evidence; infer. Looking at the x-rays,
the doctor conjectured that the patient’s joint
pain was caused by a bone spur.
des • ti • tute (des′ t! tüt′) adj., devoid of;
lacking. The country was destitute of natural
resources and had to import almost
everything from abroad.
al • be • it (o
.
l bē´ !t) conj., even though;
although. I had to leave, albeit I didn’t want to.
co • ve • nant (kuv′ n!nt, ku′ v! n!nt) n.,
an agreement or contract. Marriage is one of
the oldest covenants.
hei • nous (hā′ n!s) adj., shockingly evil.
The entire community was shocked and
outraged by the heinous crime.
!
What does Leo say
these people are sub-
ject unto, more than
any other nation in
the world?
!
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the civility, humanity, and upright dealing of the
Barbarians: let us now proceed unto the residue.13
Those Arabians which dwell in tents, that is to say,
which bring up cattle, are of a more liberal and civil dispo-
sition: to wit, they are in their kind as devout, valiant,
patient, courteous, hospital,14 and as honest in life and
conversation as any other people. They be most faithful
observers of their word and promise; insomuch that the
people, which before we said to dwell in the mountains, are
greatly stirred up with emulation of their virtues. Howbeit15
the said mountainers, both for learning, for virtue, and for
religion, are thought much inferior to the Numidians,16
albeit they17 have little or no knowledge at all in natural
philosophy. They are reported likewise to be most skillful
warriors, to be valiant, and exceeding lovers and practicers
of all humanity.18 Also, the Moors and Arabians inhabiting
Libya19 are somewhat civil of behavior, being plain dealers,
void of dissimulation, favorable to strangers, and lovers of
simplicity. Those which we before named white, or tawny
Moors, are steadfast in friendship, as likewise they indiffer-
ently and favorably esteem of other nations, and wholly
endeavor themselves in this one thing; namely, that they
may lead a most pleasant and jocund life. Moreover, they
maintain most learned professors of liberal arts, and such
234 OTHELLO, THE MOOR OF VENICE
13. residue. Remaining peoples; that is, the peoples from regions other
than Barbary.
14. hospital. Hospitable
15. Howbeit. Although
16. Numidians. People dwelling in Numidia, an ancient African
kingdom and Roman province on the northern coast of Africa. Today,
this area makes up the northeastern part of Algeria.
17. they. That is, the Numidians
18. exceeding lovers and practicers of all humanity. They [the Arabians
that dwell in tents] love and interact with all kinds of people. Here, practicer
means “one who deals with, treats, or interacts with [people].”
19. Libya. This word referred to a larger area of Africa than that
encompassed by the country of Libya today. According to Leo, it began at
the Atlantic Ocean in the west and the Nile River in the east. North of
Libya were Numidia and Barbary, and south of it was “the land of the
Negroes,” mostly unknown to Europeans at the time.
em • u • la • tion (em′ y! lā′ sh!n) n.,
imitation; ambition to equal or excel.
Clarissa often did things in emulation of her
older sister, whom she greatly admired and
envied.
dis • sim • u • la • tion (di sim′ y! lā′
sh!n) n., the act of putting on a false
appearance. Marvin smiled and acted happy
to see me, but his dissimulation did not fool
me, since I knew full well he hated me.
jo • cund (jä′ k!nd; jō′ k!nd) adj., merry;
marked by high spirits and mirthfulness.
The jocund atmosphere of the party cheered
everyone up.
What does Leo
say is the one aim of
the “tawny Moors”?
!
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RELATED READINGS: FROM THE HISTORY AND DESCRIPTION OF AFRICA 235
men are most devout in their religion. Neither is there any
people in all Africa that lead a more happy and honorable
life.
What vices the foresaid Africans are subject unto.
Never was there any people or nation so perfectly
endued with virtue, but that they had their contrary faults
and blemishes: now therefore let us consider whether the
vices of the Africans do surpass their virtues & good parts.
Those which we named the inhabitants of the cities of
Barbary are somewhat needy and covetous, being also very
proud and high-minded, and wonderfully addicted unto
wrath; insomuch that (according to the proverb) they will
deeply engrave in marble any injury be it never so small, &
will in no wise blot it out of their remembrance. So rustical
they are & void of good manners, that scarcely can any
stranger obtain their familiarity and friendship. Their wits
are but mean, and they are so credulous that they will
believe matters impossible, which are told them. So igno-
rant are they of natural philosophy, that they imagine all
the effects and operations of nature to be extraordinary and
divine. They observe no certain order of living nor of laws.
Abounding exceedingly with choler,20 they speak always
with an angry and loud voice. Neither shall you walk in the
day-time in any of their streets, but you shall see common-
ly two or three of them together by the ears.21 By nature
they are a vile and base people, being no better accounted
of by their governors than if they were dogs. [. . .] No peo-
ple under heaven are more addicted unto covetise22 than
this nation: neither is there (I think) to be found among
them one of an hundred, who for courtesy, humanity, or
devotion’s sake will vouchsafe23 any entertainment upon a
20. choler. Anger. Choler, or yellow bile, was believed to be an actual
substance secreted by the liver which caused irritability and ire. It was
one of the four humors, or fluids, which were believed to influence a
person’s temperament; the others were blood, phlegm, and melancholy
(black bile).
21. together by the ears. Fighting; scuffling
22. covetise. Covetousness: a tendency to covet, or strongly desire, the
possessions of others
23. vouchsafe. Grant or give, as a favor
en • due (in dü′) vt., provide; endow. The
people were endued with good fortune.
cred • u • lous (kre′ j! l!s) adj., ready to
believe anything, even with slight or
uncertain evidence. Children are often
credulous and will believe anything they are
told.
What does Leo
think of the
Barbarians’ wits?
!
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stranger. Mindful they have always been of injuries, but
most forgetful of benefits. Their minds are perpetually pos-
sessed with vexation and strife, so that they will seldom or
never show themselves tractable to any man; the cause
whereof is supposed to be for that they are so greedily
addicted unto their filthy lucre,24 that they never could
attain unto any kind of civility or good behavior. [. . .]
All the Numidians, being most ignorant of natural,
domestical, & commonwealth-matters,25 are principally
addicted unto treason, treachery, murder, theft, and robbery.
This nation, because it is most slavish, will right gladly
accept of any service among the Barbarians, be it never so
vile or contemptible. For some will take upon them to be
dung-farmers, others to be scullions,26 some others to be
ostlers,27 and such like servile occupations.
Likewise the inhabitants of Libya live a brutish kind of
life; who neglecting all kinds of good arts and sciences, do
wholly apply their minds unto theft and violence. Never as
yet had they any religion, any laws, or any good form of
living; but always had, and ever will have, a most miser-
able and distressed life. There cannot any treachery or vil-
lainy be invented so damnable which for lucre’s sake they
dare not attempt. They spend all their days either in most
lewd28 practices, or in hunting, or else in warfare: neither
wear they any shoes nor garments.
The Negroes29 likewise lead a beastly kind of life, being
utterly destitute of the use of reason, of dexterity of wit,
and of all arts. Yea, they so behave themselves as if they
had continually lived in a forest among wild beasts. They
have great swarms of harlots among them; whereupon a
man may easily conjecture their manner of living; except
their conversation perhaps be somewhat more tolerable
who dwell in the principal towns and cities: for it is like
that they are somewhat more addicted to civility.
236 OTHELLO, THE MOOR OF VENICE
What vices do the
Numidians possess,
according to Leo?
!
24. lucre. Money. The phrase “filthy lucre” is a cliché.
25. domestical, & commonwealth-matters. Matters having to do with
local or national politics or political organization
26. scullions. Kitchen servants employed to do menial tasks
27. ostlers. Servants employed in a stable to take care of horses
28. lewd. Immoral, especially in a sexual way
29. Negroes. Black Africans, as distinct from those with Arab blood such
as the author himself
tract • a • ble (trak′ t! b!l) adj., easy to deal with or manage; docile. The teacher was
happy to find her students an easygoing and tractable group.
How does Leo
characterize Libyans
and Negroes? What
stereotypes does he
reinforce with his
description?
!
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Critical Thinking
1. What is the meaning today of the word barbarian,
and how does this meaning compare with the picture
of Barbarians given by Leo in this reading?
2. How does Leo distinguish between the Barbarians (his
native people) and the other Africans he discusses?
What evidence do you see of racial and cultural
prejudice in his writing?
3. What are the principal virtues and failings of the
Barbarians, in Leo’s words? Could any of these be said
to describe Othello? Explain, using evidence from the
play to support your answer.
RELATED READINGS: FROM THE HISTORY AND DESCRIPTION OF AFRICA 237
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238 OTHELLO, THE MOOR OF VENICE
R E L A T E D R E A D I N G “Othello: A Bloody Farce” (1693)
by Thomas Rymer
ABOUT THE RELATED READING
English literary critic Thomas Rymer (c.1643–1713)
was extremely influential in the 18th century, although
his work was ridiculed later for being too narrow-mind-
ed. Rymer believed that all drama should adhere to clas-
sical principles and that it should be morally instruc-
tive. Following the ideas of classical theorists, he also
insisted that for a drama to be believable, characters
should behave in a way that was typical of their class
and station in life. In the following excerpt, from his
book A Short View of Tragedy (1693), Rymer explains
why, in his view, Othello is simply “a Bloody Farce” with
little or no value to the theatergoer.
From all the Tragedies acted on our English Stage,
Othello is said to bear the Bell away.1 The Subject is more of
a piece, and there is indeed something like—there is, as it
were, some phantom of—a Fable.2 The Fable is always
accounted the Soul of Tragedy, and it is the Fable which is
properly the Poets part. [. . .]
The Fable.
Othello, a Blackamoor Captain, by talking of his
Prowess and Feats of War, makes Desdemona a Senator’s
Daughter to be in love with him; and to be married to him,
without her Parents knowledge; And having preferred
Cassio, to be his Lieutenant (a place which his Ensign
Jago3 sued for), Jago in revenge, works the Moor into a
Jealousy that Cassio Cuckolds him: which he effects by
stealing and conveying a certain handkerchief, which had,
at the Wedding, been by the Moor presented to his Bride.
Hereupon, Othello and Jago plot the Deaths of Desdemona
and Cassio, Othello Murders her, and soon after is con-
vinced of her Innocence. And as he is about to be carried
to Prison, in order to be punish’d for the Murder, He kills
himself.
1. bear the Bell away. That is, win the top prize
2. Fable. Plot; with a pun on the meaning “a story with a moral.”
3. Jago. Iago. In Renaissance times, the letters i and j were often used
interchangeably, as were the letters u and v. You will notice other spelling
differences in Rymer’s piece.
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RELATED READINGS: FROM “OTHELLO: A BLOODY FARCE” 239
What morals does
Rymer say one can
draw from the plot of
Othello?
!
What ever rubs or difficulty may stick on the Bark, the
Moral, sure, of this Fable is very instructive: First, This may
be a caution to all Maidens of Quality how, without their
Parents consent, they run away with Blackamoors. [. . .]
Secondly, This may be a warning to all good Wives, that they
look well to their Linnen. Thirdly, This may be a lesson to
Husbands, that before their Jealousie be Tragical, the proofs
may be Mathematical.4
Cinthio affirms that She was not overcome by a Womanish
Appetite, but by the Vertue of the Moor. It must be a good-
natur’d Reader that takes Cinthio’s word in this case, tho’
in a Novel. Shakespear, who is accountable both to the
Eyes, and to the Ears, And to convince the very heart of an
Audience, shews that Desdemona was won, by hearing
Othello talk:
OTHELLO: [. . .] I spake of most disastrous chances,
Of Moving accidents by flood and field [. . .] [I, iii,
134–45]
This was the Charm, this was the philtre,5 the love-powder
that took the Daughter of this Noble Venetian. This was
sufficient to make the Black-amoor White, and reconcile
all, tho’ there had been a Cloven-foot into the bargain.
Shakespear in this Play calls ’em the supersubtle
Venetians. Yet examine throughout the Tragedy there is
nothing in the noble Desdemona, that is not below any
Countrey Chamber-maid with us.
And the account he gives of their Noblemen and Senate,
can only be calculated for the latitude of Gotham.6
The Character of that State is to employ strangers in
their Wars; But shall a Poet thence fancy that they will set
a Negro to be their General; or trust a Moor to defend them
against the Turk? With us a Black-amoor might rise to be a
Trumpeter; but Shakespear would not have him less than a
Lieutenant-General. With us a Moor might marry some lit-
tle drab,7 or Small-coal Wench: Shake-spear, would provide
him the Daughter and Heir of some great Lord, or Privy-
Councellor, and all the Town should reckon it a very suit-
able match: [. . .]
4. Mathematical. Logical
5. philtre. Love potion
6. Gotham. Town in England with a reputation for being the home of
the stupid or insane
7. drab. Whore
What does Rymer
think of the character
of Desdemona?
!
What does Rymer
find unbelievable
about Othello’s rank
and status in the
play?
!
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240 OTHELLO, THE MOOR OF VENICE
Why does Rymer
think that Iago is an
inconsistent
character?
!
Nothing is more odious in Nature than an improbable
lye;8 and, certainly, never was any Play fraught like this of
Othello with improbabilities.
The Characters or Manners, which are the second part
in a Tragedy, are not less unnatural and improper, than the
Fable was improbable and absurd.
Othello is made a Venetian General. We see nothing
done by him, nor related concerning him, that comports
with the condition of a General, or, indeed, of a Man,
unless the killing himself, to avoid a death the Law was
about to inflict upon him. When his Jealousy had wrought
him up to a resolution of’s taking revenge for the suppos’d
injury, he sets Jago to the fighting part, to kill Cassio, and
chuses himself to murder the silly Woman his Wife, that
was like to make no resistance.
His Love and his Jealousie are no part of a Souldiers
Character, unless for Comedy.
But what is most intolerable is Jago. He is no Black-
amoor Souldier, so we may be sure he should be like other
Souldiers of our acquaintance; yet never in Tragedy, nor in
Comedy, nor in Nature was a Souldier with his Character;
take it in the Authors own words:
EMILIA: . . . some Eternal Villain,
Some busie, and insinuating Rogue,
Some cogging, couzening Slave, to get some Office.
[IV, ii, 131–3]
Horace Describes a Souldier otherwise: Impiger, iracun-
dus, inexorabilis, acer.9
Shakespear knew his Character of Jago was inconsistent.
In this very Play he pronounces,
If thou dost deliver more or less than Truth,
. . . Thou are no Souldier. [II, iii, 211–12]
com • port (k!m po
.
rt′; k!m pōrt′) vi., to be fitting; to be in accord with. The president
was criticized for making decisions that did not comport with national policy.
8. lye. Lie
9. Impiger . . . acer. Latin for “Active, irascible, unyielding, fierce.” From
Roman writer Horace’s Art of Poetry. According to Horace (65–8 BC),
characters in plays should display certain personality traits, according to
what would be typical of their station in life. Rymer argues that the
character of Iago is not believable because it doesn’t fit the typical
character of a soldier.
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This he knew, but to entertain the Audience with some-
thing new and surprising, against common sense, and
Nature, he would pass upon us a close,10 dissembling, false,
insinuating rascal, instead of an open-hearted, frank, plain-
dealing Souldier, a character constantly worn by them for
some thousands of years in the World.
Nor is our Poet more discreet in his Desdemona, He had
chosen a Souldier for his Knave: And a Venetian Lady is to
be the Fool. This Senators Daughter runs away to (a
Carriers Inn) the Sagittary, with a Black-amoor: is no soon-
er wedded to him, but the very night she Beds him, is
importuning and teizing11 him for a young smock-fac’d12
Lieutenant, Cassio. And tho’ she perceives the Moor
Jealous of Cassio, yet will she not forbear, but still rings
Cassio, Cassio in both his Ears.
Roderigo is the Cully13 of Jago, brought in to be mur-
dered by Jago, that Jago’s hands might be the more in
Blood, and be yet the more abominable Villain: who with-
out that was too wicked on all Conscience; And had more
to answer for, than any Tragedy, or Furies could inflict
upon him. So there can be nothing in the characters,
either for the profit, or to delight an Audience.
The third thing to be considered is the Thoughts. But
from such Characters, we need not expect many that are
either true, or fine, or noble. [. . .]
Step then amongst the Scenes to observe the Conduct in
this Tragedy. [. . .] Michael Cassio came not from Venice in
the Ship with Desdemona, nor till this Morning could be
suspected of an opportunity with her. And [in Act III, scene
iii] ’tis now but Dinner time; yet the Moor complains of his
Forehead. He might have set a Guard on Cassio, or have
lockt up Desdemona, or have observ’d their carriage14 a
day or two longer. He is on other occasions phlegmatick
enough: this is very hasty.
RELATED READINGS: FROM “OTHELLO: A BLOODY FARCE” 241
10. close. Secretive
11. teizing. Teasing, that is, pursuing or urging him on
12. smock-fac’d. Smooth-faced; girlish
13. Cully. Dupe
14. carriage. Behavior
dis • sem • bling (di s!m′ bli#) adj.,
describing someone who dissembles, or
puts on a false appearance in order to
deceive. The dissembling wolf put on a
sheep’s skin so he could get at the sheep
without the shepherd noticing him.
phleg • ma • tic (fleg ma′ tik) adj., slow to
move or act; not easily excited; sluggish.
The phlegmatic dog slumbered all day, rarely
rousing himself to bark at passers-by.
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But after Dinner we have a wonderful flight:15
OTHEL. What sense had I of her stol’n hours of lust?
I saw’t not, thought it not, it harm’ d not me:
I slept the next night well, was free and merry;
I found not Cassio’s kisses on her lips [. . .]
[III, iii, 342–5]
A little after this, says he,
OTH. Give me a living reason that she’s disloyal.
JAGO. I lay with Cassio lately,
. . . In sleep I heard him say: sweet Desdemona,
Let us be wary, let us hide our loves: [. . .]
[III, iii, 413–30]
By the Rapture of Othello, one might think that he
raves, is not of sound Memory, forgets that he has not yet
been two nights in the Matrimonial Bed with his
Desdemona. But we find Jago, who should have a better
memory, forging his lies after the very same Model. The
very night of their Marriage at Venice, the Moor, and also
Cassio, were sent away to Cyprus. In the Second Act,
Othello and his Bride go the first time to Bed; the Third Act
opens the next morning. The parties have been in view to
this moment. We saw the opportunity which was given for
Cassio to speak his bosom to her; once, indeed, might go a
great way with a Venetian. But once, will not do the Poets
business; The Audience must suppose a great many
bouts,16 to make the plot operate. They must deny their
senses, to reconcile it to common sense: or make it any
way consistent, and hang together. [. . .]
So much ado, so much stress, so much passion and rep-
etition about an Handkerchief? Why was not this call’d the
Tragedy of the Handkerchief? [. . .] Had it been Desdemona’s
Garter, the Sagacious Moor might have smelt a Rat: but the
242 OTHELLO, THE MOOR OF VENICE
According to
Rymer, what does
Othello seem to have
forgotten?
!
15. flight. Flight of passion
16. great many bouts. That is, many meetings between Cassio and
Desdemona
rap • ture (rap′ ch!r) n., state of being
carried away by overwhelming emotion.
The prince gazed in rapture at the princess,
completely overwhelmed by her beauty.
sag • a • cious (s! gā′ sh!s) adj., wise. The
sagacious old man dispensed much sage
advice.
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Handkerchief is so remote a trifle, no Booby, on this side
Mauritania, cou’d make any consequence from it. [. . .]
Desdemona dropt the Handkerchief, and missed it that
very day after her Marriage; it might have been rumpl’d up
with her Wedding sheets: And this Night that she lay in
her wedding sheets, the Fairey Napkin (whilst Othello was
stifling her) might have started up to disarm his fury, and
stop his ungracious mouth. Then might she (in a Traunce
for fear) have lain as dead. Then might he, believing her
dead, touched with remorse, have honestly cut his own
Throat, by the good leave, and with the applause of all the
Spectators. Who might thereupon have gone home with a
quiet mind, admiring the beauty of Providence;17 fairly
and truly represented on the Theatre.
But from this Scene to the end of the Play we meet with
nothing but blood and butchery [. . .] What can remain
with the Audience to carry home with them from this sort
of Poetry, for their use and edification? how can it work,
unless (instead of settling the mind, and purging our pas-
sions18) to delude our senses, disorder our thoughts, addle
our brain, pervert our affections, hair our imaginations,
corrupt our appetite, and fill our head with vanity, confu-
sion, Tintamarre,19 and Jingle-jangle, beyond what all the
Parish Clarks of London, with their old Testament farces,
and interludes, in Richard the seconds time cou’d ever pre-
tend to? Our only hopes, for the good of their Souls, can
be, that these people go to the Playhouse, as they do to
Church, to sit still, look on one another, make no reflec-
tion, nor mind the Play, more than they would a Sermon.
There is in this Play, some burlesk,20 some humour, and
ramble of Comical Wit, some shew, and some Mimickry21
to divert the spectators: but the tragical part is, plainly
none other, than a Bloody Farce, without salt or savour.
RELATED READINGS: FROM “OTHELLO: A BLOODY FARCE” 243
What does Rymer
say would have been
a fitting ending to
the play?
!
17. Providence. God as guide of human destiny
18. settling the mind . . . passions. According to the classical theorists, a
proper tragedy was supposed to do these things
19. Tintamarre. A confused noise: clamor, racket, or hubbub
20. burlesk. Burlesque; that is, a theatrical entertainment with broad and
earthy humor
21. Mimickry. Impersonation; acting
ed • i • fi • ca • tion (e′ d! f! kā′ sh!n) n.,
process of being enlightened, educated,
or uplifted, especially with moral or
religious knowledge. The school offered
many excellent programs for the edification
of its students.
farce (färs′) n., a comedy characterized by
broad satire and improbable situations;
ridiculous or empty show. The Mel Brooks
movie was an entertaining farce.
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244 OTHELLO, THE MOOR OF VENICE
Critical Thinking
1. What does Rymer find to be improbable in the plot of
Othello? What does he think of the characters? How
would you respond to each of his criticisms?
2. What point does Rymer make about the time scheme
in the play? Do you agree or disagree? Why?
3. Do you agree with Rymer’s belief that a drama should
be edifying, or educational, to its audience? Why, or
why not? Do you think Othello is edifying? Explain.
4. Imagine that you are a contemporary of Rymer and
wish to respond to his review. Write a response to his
review in the form of a letter to the editor.
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RELATED READINGS: FROM COLERIDGE’S NOTES ON OTHELLO 245
R E L A T E D R E A D I N G
1. This speech. You may read the entire speech in Act I, scene iii, lines
322–336.
par • ti • san (pär′ t! z!n; pär′ t! s!n) n., a passionate supporter of something (as a
cause or a political party). The Douglas family are enthusiastic partisans of the Republican
party and often volunteer their time to help with local campaigns.
Notes on Othello (c.1836–39)
by Samuel Taylor Coleridge
ABOUT THE RELATED READING
Samuel Taylor Coleridge (1772–1834) is best known
for his lyrical poems, which are classics of English
Romantic literature; however, he was also a formidable
critic and philosopher. The following commentary on
Othello is taken from Coleridge’s notes and lectures on
Shakespeare, which were collected and published after
his death. The first two excerpts were published in
Literary Remains between 1836 and 1839. In the first
excerpt, he discusses the character of Iago, showing his
awe at the “motiveless malignity” in Shakespeare’s
notorious villain. In the second excerpt, he explains
why he believes that Othello should not be viewed as a
“blackamoor or negro”—not a black man, but a brown
one. In the third excerpt (taken from a talk he delivered
in December 1822 and published in the book Table Talk
in 1835), Coleridge repeats that Othello should be seen,
again, not as a negro, but rather a “high and chivalrous
Moorish chief.” Coleridge’s racist view was still in evi-
dence one hundred years later when, in 1930, American
audiences were outraged by the idea of black actor Paul
Robeson playing the Moor onstage.
On the character of Iago:
Virtue? a fig! ’Tis in ourselves that we are thus, or thus . . .
This speech1 comprises the passionless character of
Iago. It is all will in intellect; and therefore he is here a
bold partisan of a truth, but yet of a truth converted into a
falsehood by the absence of all the necessary modifications
caused by the frail nature of man. And then comes the last
sentiment,—
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. . . our raging motions, our carnal stings, our unbitted
lusts; whereof I take this, that you call love, to be a sect
or scion . . .
Here is the true Iagoism of, alas! how many! Note Iago’s
pride of mastery in the repetition of “Go, make money!” to
his anticipated dupe, even stronger than his love of lucre:
and when Roderigo is completely won—
I am chang’d. I’ll go sell all my land.
when the effect has been fully produced, the repetition
of triumph—
Go to: farewell; put money enough in your purse!
The remainder—Iago’s soliloquy2—the motive-hunting
of a motiveless malignity—how awful it is! Yea, whilst he
is still allowed to bear the divine image, it is too fiendish
for his own steady view,3—for the lonely gaze of a being
next to devil, and only not quite devil,—and yet a charac-
ter which Shakspeare has attempted and executed, without
disgust and without scandal!4
On Othello’s race:
RODERIGO. What a full fortune does the “thick-lips” owe,
If he can carry’t thus.
Roderigo turns off to Othello; and here comes one, if
not the only, seeming justification of our blackamoor or
negro Othello. Even if we supposed this an uninterrupted
tradition of the theatre, and that Shakspeare himself, from
246 OTHELLO, THE MOOR OF VENICE
What does Iago
repeat that makes
him, in Coleridge’s
eyes, even more
wicked?
!
ma • lig • ni • ty (m! li$′ n! tē) n., malignancy: the quality or state of being malignant,
that is, evil or harmful. The malignity of the villain was contrasted with the kindness and
goodness of the hero.
2. Iago’s soliloquy. That is, act I, scene iii, lines 383–404.
3. whilst he . . . his own steady view. While Iago is still attempting to
appear “divine,” or saintly, in the eyes of the other characters, he is
unwilling to own up to the truth about himself. The truth—that he has
no motives at all and is simply evil—is “too fiendish” for him to admit,
even to himself.
4. without disgust and without scandal. That is, Shakespeare does not
make a fuss over Iago or make any apologies for him—he simply presents
him as he is.
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want of scenes,5 and the experience that nothing could be
made too marked for the senses of his audience, had prac-
tically sanctioned it,—would this prove aught concerning
his own intention as a poet for all ages? Can we imagine
him so utterly ignorant as to make a barbarous negro plead
royal birth,—at a time, too, when negros were not known
except as slaves?—As for Iago’s language to Brabantio, it
implies merely that Othello was a Moor, that is, black.6
Though I think the rivalry of Roderigo sufficient to
account for his wilful confusion of Moor and Negro,—yet,
even if compelled to give this up, I should think it only
adapted for the acting of the day, and should complain of
an enormity built on a single word, in direct contradiction
to Iago’s “Barbary horse.”7 Besides, if we could in good
earnest believe Shakspeare ignorant of the distinction, still
why should we adopt one disagreeable possibility instead
of a ten times greater and more pleasing probability? It is a
common error to mistake the epithets applied by the
“dramatis personae”8 to each other, as truly descriptive of
what the audience ought to see or know. No doubt
Desdemona saw Othello’s visage in his mind; yet, as we are
constituted, and most surely as an English audience was
disposed in the beginning of the seventeenth century, it
would be something monstrous to conceive this beautiful
Venetian girl falling in love with a veritable negro. It
would argue a disproportionateness, a want of balance, in
Desdemona, which Shakspeare does not appear to have in
the least contemplated.
RELATED READINGS: FROM COLERIDGE’S NOTES ON OTHELLO 247
What does
Coleridge say would
be “something
monstrous to
conceive”?
!
5. want of scenes. A desire to create a scene, or spectacle, that would
shock the audience
6. black. Of dark skin; swarthy in appearance, but not “black” in the
sense of “negro”
7. contradiction to Iago’s “Barbary horse.” Iago’s reference to Othello
as a “Barbary horse” implies that Othello was from Barbary, and therefore
would be “a tawny Moor,” not a black African.
8. “dramatis personae.” The characters in a drama
sanc • tion (sa#[k]′ sh!n) vt., to approve
or consent to. In Communist China, only
certain churches are sanctioned by the
government; others are outlawed.
ep • i • thet (e′ p! th!t) n., a descriptive
word or phrase applied to a person or
thing; often used in place of the person’s
name. Because she often forgot to turn in
her homework, the student earned the
epithet “Forgetful Sam.”
ver • i • ta • ble (ver′ ! t! b!l) adj., being
in fact the thing named; actual, real. Often
used as an intensifier. Marie Curie was not
only smart, she was a veritable genius.
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On the character of Othello:
Othello must not be conceived as a negro, but a high
and chivalrous Moorish chief. Shakspere learned the spirit
of that character from the Spanish poetry which was
prevalent in England in his time.
Jealousy does not strike me as the point in his passion;
I take it to be rather an agony that the creature, whom he
had believed angelic, with whom he had garnered up his
heart, and whom he could not help still loving, should be
proved impure and worthless. It was the struggle not to
love her. It was a moral indignation and regret that virtue
should so fall:—“But yet the pity of it, Iago!—O Iago! the
pity of it, Iago!” In addition to this, his honour was con-
cerned: Iago would not have succeeded but by hinting
that his honour was compromised. There is no ferocity in
Othello; his mind is majestic and composed. He deliberate-
ly determines to die; and speaks his last speech with a view
of showing his attachment to the Venetian state, though it
had superseded him.
Schiller9 has the material sublime; to produce an effect,
he sets you a whole town on fire, and throws infants with
their mothers into the flames, or locks up a father in an old
tower. But Shakspere drops a handkerchief, and the same
or greater effects follow. Lear is the most tremendous effort
of Shakspere as a poet; Hamlet10 as a philosopher or med-
itator and Othello is the union of the two. There is some-
thing gigantic and unformed in the former two; but in the
latter, everything assumes its due place and proportion,
and the whole mature powers of his mind are displayed in
an admirable equilibrium.
248 OTHELLO, THE MOOR OF VENICE
What does
Coleridge was “not
the point” in
Othello’s character?
How does he describe
Othello’s mind?
!
9. Schiller. German dramatist Friedrich von Schiller (1759–1805). Here
Coleridge refers to Schiller’s famous play The Robbers (1781).
10. Lear . . . Hamlet. The heroes of two of Shakespeare’s other great
tragedies: The Tragedy of King Lear and The Tragedy of Hamlet, Prince of
Denmark.
chiv • al • rous (shi′ v!l r!s) adj., having
the qualities of courtesy and grace, as
outlined in the laws of chivalry, or
knighthood. Opening the door for a lady
was long considered a chivalrous act
expected of all men; nowadays it is
considered equally proper for a woman to
hold a door for a man.
su • per • sede (sü′ p!r sēd′) vt., to
displace or set aside, and put another in
place of. The gruff army general was forced
into retirement and superseded by a younger
and more personable officer.
sub • lime (s! bl”̄m´) adj., lofty, grand, or
exalted in thought or expression; more
broadly, excellent. The critic described the
orchestra’s performance as “nothing short of
sublime.”
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Critical Thinking
1. Coleridge writes that Iago’s soliloquies are the
“motive-hunting of motiveless malignity.” Do you
agree? Does Iago have any true motive for wanting
revenge on Othello?
2. How and why does Coleridge distinguish between
“Moor” and “Negro”? Why does he think
Shakespeare must have intended for Othello to be a
Moor, and not a black African? How would you
respond to his arguments?
3. Many critics have stated that it is Othello’s jealous
nature—the stereotypical “hot Moorish blood”—that
leads to his downfall. Coleridge, on the other hand,
says that “jealousy does not strike me as the point.”
What feelings does Coleridge see as motivating
Othello, if not jealousy? Do you agree or disagree?
Explain.
RELATED READINGS: FROM COLERIDGE’S NOTES ON OTHELLO 249
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from Shakespearean Tragedy (1904)
by A. C. Bradley
ABOUT THE RELATED READING
British literary critic A. C. Bradley (1851–1935) was well
known as a critic and scholar of Shakespeare’s works.
His book Shakespearean Tragedy (1904) is a classic
which has helped to shape our modern understanding
of Shakespeare. In the first two excerpts, Bradley
describes the distinctive impression created by Othello
and discusses the romantic character of its hero. In the
third excerpt, he discusses the question of Othello’s
race, offering a compelling retort to Coleridge and other
critics who found it impossible to believe such a noble
and eloquent hero as Othello could have been black.
On the distinctive impression of Othello:
What is the peculiarity of Othello? What is the distinctive
impression that it leaves? Of all Shakespeare’s tragedies, I
would answer, not even excepting King Lear, Othello is the
most painfully exciting and the most terrible. From the
moment when the temptation of the hero begins, the read-
er’s heart and mind are held in a vice, experiencing the
extremes of pity and fear, sympathy and repulsion, sicken-
ing hope and dreadful expectation.
On the character of Othello:
Othello is, in one sense of the word, by far the most
romantic figure among Shakespeare’s heroes; and he is so
partly from the strange life of war and adventure which he
has lived from childhood. He does not belong to our world,
and he seems to enter it we know not whence—almost as if
from wonderland. There is something mysterious in his
descent from men of royal siege; in his wanderings in vast
deserts and among marvellous peoples; in his tales of magic
handkerchiefs and prophetic Sibyls; in the sudden vague
glimpses we get of numberless battles and sieges in which
he has played the hero and has borne a charmed life; even
in chance references to his baptism, his being sold to slav-
ery, his sojourn in Aleppo.
250 OTHELLO, THE MOOR OF VENICE
R E L A T E D R E A D I N G
According to
Bradley, what is it
that makes Othello
distinct from all of
Shakespeare’s
tragedies?
!
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RELATED READINGS: FROM SHAKESPEAREAN TRAGEDY 251
And he is not merely a romantic figure; his own nature is
romantic. He has not, indeed, the meditative or speculative
imagination of Hamlet; but in the strictest sense of the word
he is more poetic than Hamlet. Indeed, if one recalls
Othello’s most famous speeches—those that begin “Her
father loved me,” “O now for ever,” “Never, Iago,” “Had it
pleased heaven,” “It is the cause,” “Behold, I have a
weapon,” “Soft you, a word or two before you go”—and if
one places side by side with these speeches an equal number
by any other hero, one will not doubt that Othello is the
greatest poet of them all. There is the same poetry in his
casual phrases—like “These nine moon wasted,” “Keep up
your bright swords, for the dew will rust them,” “You chaste
stars,” “It is a sword of Spain, the ice brook’s temper,” “It is
the very error of the moon”—and in those brief expressions
of intense feeling which ever since have been taken as the
absolute expression, like
If it were now to die,
’Twere now to be most happy; for, I fear,
My soul hath her content so absolute
That not another comfort like to this
Succeeds in unknown fate,
or
If she be false, O then Heaven mocks itself.
I’ll not believe it;
or
No, my heart is turned to stone; I strike it, and it hurts
my hand,
or
But yet the pity of it, Iago! O Iago, the pity of it, Iago!
or
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.
spec • u • la • tive (sp!′ ky! l! tiv) adj., involved in intellectual speculation, that is,
pondering intellectual questions. Shakespeare’s Hamlet is a speculative character, not a
man of action.
How does Bradley
describe Othello’s
nature? How does
Othello compare to
Hamlet, in Bradley’s
view?
!
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252 OTHELLO, THE MOOR OF VENICE
And this imagination, we feel, has accompanied his
whole life. He has watched with a poet’s eye the Arabian
trees dropping their med’cinable gum, and the Indian
throwing away his chance-found pearl; and has gazed in a
fascinated dream at the Pontic sea rushing, never to return,
to the Propontic and the Hellespont; and has felt as no
other man ever felt (for he speaks of it as none other ever
did) the poetry of the pride, pomp, and circumstance of
glorious war.
So he comes before us, dark and grand, with a light
upon him from the sun where he was born; but no longer
young, and now grave, self-controlled, steeled by the expe-
rience of countless perils, hardships and vicissitudes, at
once simple and stately in bearing and in speech, a great
man naturally modest but fully conscious of his worth,
proud of his services to the State, unawed by dignitaries
and unelated by honours, secure, it would seem, against all
dangers from without and all rebellion from within. And
he comes to have his life crowned with the final glory of
love, a love as strange, adventurous and romantic as any
passage of his eventful history, filling his heart with ten-
derness and his imagination with ecstasy. For there is no
love, not that of Romeo in his youth, more steeped in
imagination than Othello’s.
The sources of danger in this character are revealed but
too clearly by the story. In the first place, Othello’s mind,
for all its poetry, is very simple. He is not observant. His
nature tends outward. He is quite free from introspection,
and is not given to reflection. Emotion excites his imagi-
nation, but it confuses and dulls his intellect. On this side
he is the very opposite of Hamlet, with whom, however, he
shares a great openness and trustfulness of nature. In addi-
tion, he has little experience of the corrupt products of
civilised life, and is ignorant of European women.
In the second place, for all his dignity and massive calm
(and he has greater dignity than any other of Shakespeare’s
men), he is by nature full of the most vehement passion. [. . .]
vi • cis • si • tude (v! si′ s! tüd′) n.,
chance occurrence or fluctuation in state
or condition; a difficulty or hardship that
occurs in the course of life. Melissa
weathered all the vicissitudes of life with a
cheerful attitude.
in • tro • spec • tion (in′ tr! spek′ sh!n)
n., act of looking inward. After much
introspection, Henry felt that he had a better
understanding of who he was and what he
wanted out of life.
ve • he • ment (vē′ ! m!nt) adj., marked
by extreme intensity or force. When asked
if they would like to take a test, the class
responded with a vehement “No!”
What traits in
Othello lead to his
downfall, according
to Bradley?
!
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RELATED READINGS: FROM SHAKESPEAREAN TRAGEDY 253
Lastly, Othello’s nature is all of one piece. His trust,
where he trusts, is absolute. Hesitation is almost impossible
to him. He is extremely self-reliant, and decides and acts
instantaneously. If stirred to indignation, as “in Aleppo
once,” he answers with one lightning stroke. Love, if he
loves, must be to him the heaven where either he must
leave or bear no life. If such a passion as jealousy seizes him,
it will swell into a well-nigh uncontrollable flood. He will
press for immediate conviction or immediate relief.
Convinced, he will act with the authority of a judge and
the swiftness of a man in mortal pain. Undeceived, he will
do like execution on himself.
This character is so noble, Othello’s feelings and actions
follow so inevitably from it and from the forces brought to
bear on it, and his sufferings are so heart-rending, that he
stirs, I believe, in most readers a passion of mingled love and
pity which they feel for no other hero in Shakespeare. [. . .]
On Othello’s race:
[T]here is a question, which, though of little conse-
quence, is not without dramatic interest, whether
Shakespeare imagined Othello as a Negro or as a Moor.
Now I will not say that Shakespeare imagined him as a
Negro and not as a Moor, for that might imply that he dis-
tinguished Negroes and Moors precisely as we do; but what
appears to me nearly certain is that he imagined Othello as
a black man, and not as a light-brown one.
In the first place, we must remember that the brown or
bronze to which we are now accustomed in the Othellos of
our theatres is a recent innovation. Down to Edmund
Kean’s1 time, so far as is known, Othello was always quite
black. This stage-tradition goes back to the Restoration2,
and it almost settles our question. For it is impossible that
the colour of the original Othello should have been forgot-
ten so soon after Shakespeare’s time, and most improbable
that it should have been changed from brown to black.
What does
Bradley say appears
to him nearly
certain, regarding
Shakespeare’s
idea of Othello?
!
in • no • va • tion (i′ n! vā′ sh!n) n., introduction of something new. In 1955, there was
a new innovation in fasteners, known as “Velcro.”
1. Edmund Kean’s. Kean (1789–1833) was an acclaimed English actor
who portrayed Othello onstage in the early 1800s.
2. Restoration. The re-establishment of the British monarchy in 1660
after the rule of the Puritans from 1642–1660. Theaters were reopened in
England at this time, after having been closed during the Puritan rule.
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254 OTHELLO, THE MOOR OF VENICE
If we turn to the play itself, we find many references to
Othello’s colour and appearance. Most of these are indeci-
sive; for the word “black” was of course used then where we
should speak of a “dark” complexion now; and even the
nickname “thick-lips,” appealed to as proof that Othello
was a Negro, might have been applied by an enemy to what
we call a Moor. On the other hand, it is hard to believe that,
if Othello had been light-brown, Brabantio would have
taunted him with having a “sooty bosom,” or that (as Mr.
Furness3 observes) he himself would have used the words,
her name, that was as fresh
As Dian’s visage, is now begrimed and black
As mine own face.
These arguments cannot be met by pointing out that
Othello was of royal blood, is not called an Ethiopian, is
called a Barbary horse, and is said to be going to Mauritania.
All this would be of importance if we had reason to believe
that Shakespeare shared our ideas, knowledge and terms.
Otherwise it proves nothing. And we know that sixteenth-
century writers called any dark North African a Moor, or a
black Moor, or a blackamoor. Sir Thomas Elyot,4 according
to Hunter,5 calls Ethiopians Moors; and the following are
the first two illustrations of “Blackamoor” in the Oxford
English Dictionary: 1547, “I am a blake More borne in
Barbary”; 1548, “Ethiopo, a blake More, or a man of
Ethiope.” Thus geographical names can tell us nothing
about the question how Shakespeare imagined Othello. He
may have known that a Mauritanian is not a Negro nor
black, but we cannot assume that he did. He may have
known, again, that the Prince of Morocco, who is described
in the Merchant of Venice as having, like Othello, the com-
plexion of a devil,6 was no Negro. But we cannot tell: nor is
there any reason why he should not have imagined the
Prince as a brown Moor and Othello as a Blackamoor.
Titus Andronicus appeared in the Folio among
Shakespeare’s works. It is believed by some good critics to
3. Mr. Furness. American Shakespeare scholar Horace Furness
(1833–1912)
4. Sir Thomas Elyot. English diplomat and scholar who lived
c.1490–1546
5. Hunter. American critic Joseph Hunter (1783–1861). Bradley here
refers to Hunter’s New Illustrations of the Life, Studies, and Writings of
Shakespeare (1845), vol. ii, page 281.
6. complexion of a devil. That is, black. The devil was believed to be
black in color, a fact which went hand-in-hand with the racial prejudice
of Europeans.
How did sixteenth-
century writers use
the terms “Moor,”
“black Moor,” and
“blackamoor”?
!
Who was Aaron?
Why does Bradley
mention him?
!
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be his: hardly anyone doubts that he had a hand in it: it is
certain that he knew it, for reminiscences of it are scattered
through his plays. Now no one who reads Titus Andronicus
with an open mind can doubt that Aaron7 was, in our
sense, black; and he appears to have been a Negro. To men-
tion nothing else, he is twice called “coal-black”; his colour
is compared with that of a raven and a swan’s legs; his child
is coal-black and thick-lipped; he himself has a “fleece of
woolly hair.” Yet he is “Aaron the Moor,” just as Othello is
“Othello the Moor.” In the Battle of Alcazar,8 Muly the
Moor is called “the negro”; and Shakespeare himself in a
single line uses “negro” and “Moor” of the same person
(Merchant of Venice, III, v, 42).
The horror of most American critics (Mr. Furness is a
bright exception) at the idea of a black Othello is very
amusing, and their arguments are highly instructive. But
they were anticipated, I regret to say, by Coleridge, and we
will hear him. “No doubt Desdemona saw Othello’s visage
in his mind; yet, as we are constituted, and most surely as
an English audience was disposed in the beginning of the
seventeenth century, it would be something monstrous to
conceive this beautiful Venetian girl falling in love with a
veritable Negro. It would argue a disproportionateness, a
want of balance, in Desdemona, which Shakespeare does
not appear to have in the least contemplated.” Could any
argument be more self-destructive? It actually did appear to
Brabantio “something monstrous to conceive” his daughter
falling in love with Othello—so monstrous that he could
account for her love only by drugs and foul charms. And
the suggestion that such love would argue “disproportion-
ateness” is precisely the suggestion that Iago did make in
Desdemona’s case:
Foh! one may smell in such a will most rank,
Foul disproportion, thoughts unnatural
In fact he spoke of the marriage exactly as a filthy-minded
cynic now might speak of the marriage of an English lady to
a Negro like Toussaint.9 Thus the argument of Coleridge and
others points straight to the conclusion against which they
argue.
RELATED READINGS: FROM SHAKESPEAREAN TRAGEDY 255
7. Aaron. In Titus Andronicus, Aaron the Moor is a villain.
8. Battle of Alcazar. A play attributed to English dramatist George Peele
(1558–1598).
9. Toussaint. Toussaint L’Ouverture (1743–1803), a former slave and
leader of the Haitian slave revolt of 1791
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256 OTHELLO, THE MOOR OF VENICE
But this is not all. The question whether to Shakespeare
Othello was black or brown is not a mere question of isolat-
ed fact or historical curiosity; it concerns the character of
Desdemona. Coleridge, and still more the American writers,
regard her love, in effect, as Brabantio regarded it, and not
as Shakespeare conceived it. They are simply blurring this
glorious conception10 when they try to lessen the distance
between her and Othello, and to smooth away the obstacle
which his “visage” offered to her romantic passion for a
hero. Desdemona, the “eternal womanly”11 in its most love-
ly and adorable form, simple and innocent as a child, ardent
with the courage and idealism of a saint, radiant with that
heavenly purity of heart which men worship the more
because nature so rarely permits it to themselves, had no
theories about universal brotherhood, and no phrases about
“one blood in all the nations of the earth”12 or “barbarian,
Scythian, bond and free”;13 but when her soul came in sight
of the noblest soul on earth, she made nothing of the
shrinking of her senses, but followed her soul until her sens-
es took part with it, and “loved him with the love which was
her doom.”14 It was not prudent. It even turned out tragical-
ly. She met in life with the reward of those who rise too far
above our common level; and we continue to allot her the
same reward when we consent to forgive her for loving a
brown man, but find it monstrous that she should love a
black one.
10. this glorious conception. That is, the glorious conception
Shakespeare had of Desdemona’s love, as something noble and true.
11. “eternal womanly.” The archetypical woman: one who embodies all
the qualities thought to represent ideal womanhood. The phrase comes
from German writer Johann von Goethe (1749–1832).
12. “one blood . . . earth.” From the Bible, Acts 17:26
13. “barbarian . . . free.” From the Bible, the Epistle of Paul to the
Colossians, 3:11. A Scythian was a member of Eurasian nomadic people
who were believed to be very savage and fierce.
14. “loved him . . . doom.” A quote from the poem “Lancelot and
Elaine” by Alfred, Lord Tennyson (1809–1892)
ar • dent (är′ d!nt) adj., full of strong enthusiasm or intense emotion. Lyle was an ardent
fan of Shakespeare, and his voice glowed with enthusiasm when he spoke of the Bard.
According to
Bradley, how do
Coleridge and some
American writers
regard Desdemona’s
love?
!
What does Bradley
say leads to
Desdemona’s tragic
end? What does he
say about the
difference in audience
perceptions regarding
whether she loves a
“brown” or “black”
man?
!
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Critical Thinking
1. What does Bradley say is the peculiarity or uniqueness
of Othello, as compared to Shakespeare’s other great
tragedies? How does Othello compare with the other
Shakespearean tragedies you have read, if any?
2. How does Bradley describe the nature of Othello?
According to Bradley, which characteristics in Othello
lead to his downfall? Do you agree or disagree with
Bradley’s view? Is there anything you might add?
3. Summarize Bradley’s argument as to Othello’s race.
Compare his viewpoint to that of Coleridge. In your
opinion, did Shakespeare intend for us to see Othello
as a black man or a white man with dark skin? Does
it matter? Why, or why not?
RELATED READINGS: FROM SHAKESPEAREAN TRAGEDY 257
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258 OTHELLO, THE MOOR OF VENICE
R E L A T E D R E A D I N G “Against Jealousy” (pub. 1640)
by Ben Jonson
ABOUT THE RELATED READING
English dramatist and poet Ben Jonson (1572–1637)
was a contemporary of Shakespeare. The two men like-
ly first met in the London theater in the late 1500s,
since in 1598, Shakespeare acted in Jonson’s play Every
Man in His Humour. The two men were rivals while
Shakespeare was alive, but Jonson clearly admired his
fellow playwright. In a poem published in the First Folio
in 1632, Jonson called Shakespeare the “soul of the Age!
The applause! delight! the wonder of our Stage!”
Published in 1640, “Against Jealousy” is a poem
about jealousy, a central motif in Othello. As you read,
consider how Jonson’s depiction of jealousy compares
to that portrayed in Shakespeare’s play.
Wretched and foolish Jealousy,
How cam’st thou thus to enter me?
I ne’er was of thy kind:
Nor have I yet the narrow mind
To vent that poor1 desire,
That others should not warm them2 at my fire:
I wish the sun should shine
On all men’s fruit and flowers, as well as mine.
But under the disguise of love,
Thou say’st, thou only cam’st to prove
What my affections were.
Think’st thou that love is help’d by fear?
Go, get thee quickly forth,
Love’s sickness, and his3 noted want of worth.4
Seek doubting men5 to please;
I ne’er will owe my health to a disease.
What does
Jealousy claim it is
there to prove?
!
1. poor. Worthless; despicable
2. them. Themselves
3. his. Love’s
4. noted want of worth. Well-known defect
5. doubting men. That is, men who are not sure whether they are in
love or not, and who therefore need proof in the form of jealous feelings
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RELATED READINGS: FROM “AGAINST JEALOUSY” 259
Critical Thinking
1. In this poem, what words and phrases are used to
describe jealousy? Would the characters of Othello
agree with this attitude toward jealousy? Think in par-
ticular of the words Desdemona, Emilia, and Iago
used when describing jealousy in the play.
2. Do you think that jealousy can ever be a sign of a
healthy love relationship, or is it a “disease,” as
described here? Explain.
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260 OTHELLO, THE MOOR OF VENICE
Creative Writing Activities
Creative Writing Activity A: Alternate Ending
What would Othello be like with a happy ending? Try it!
Write a new act V for the play, with a Hollywood-style happy
ending. Make sure to keep the same style as Shakespeare,
using iambic pentamenter for all the characters’ lines.
Creative Writing Activity B: An Updated Othello
Choose one of the scenes or acts from Othello and rewrite
it using contemporary language and references. You may
collaborate with other students to adapt the entire play in
this manner. You may choose to write the part or lines in
prose, or keep with the verse format.
Creative Writing Activity C: Journal Entry
Write a journal entry from the point of view of one of the
characters in Othello. For example, you might have Roderigo
describe his feelings about Desdemona and relate his fears
that Iago is leading him on. Or, you might write the entry
Desdemona would have written after the events in act III,
scene iv, describing her bewilderment at the change in
Othello’s behavior.
Creative Writing Activity D: Newspaper
Newspapers as we know them did not exist in the 1500s,
when the events of this play took place. Nonetheless, imag-
ine that you are on the staff of a newspaper in sixteenth-
century Venice. Work with other students to prepare a
series of news articles telling about the events related in the
play, including the appointment of Cassio as Othello’s lieu-
tenant, the news of Desdemona’s elopment, the Turkish
attack on Cyprus, the event that led to Cassio’s dismissal,
the attack on Cassio’s life, and the murder of Desdemona.
Creative Writing Activity E: Talk Show
Imagine the characters of Othello were to appear on a
Jerry Springer-style talk show to air their differences. Assume
that the appearance is taking place sometime before the
tragic events of act V. What information might be revealed
on the show? What conflicts might break out on stage?
Write the script of the show and act it out for the class.
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CRITICAL WRITING ACTIVITIES 261
Critical Writing Activities
The following are suggested topics for short critical
essays on Othello, the Moor of Venice. An essay written on
any of these topics should begin with an introductory para-
graph that states the thesis, or main idea, of the essay. The
introductory paragraph should be followed by several para-
graphs that support the thesis using evidence from the play.
This evidence may be presented in the form of quotations
or summaries of events or dialogue. The essay should con-
clude with a paragraph that summarizes the points made in
the body of the essay and that restates the thesis in differ-
ent words.
Critical Writing Activity A: Women in Othello
In Othello, Shakespeare gives a representation of three
types of women: the privileged noblewoman, the tough
middle-class servant, and the low-class prostitute. Examine
his depictions of each of these women. Was Shakespeare
sexist? That is, do you think he would agree with Iago that
women are useless creatures who “rise to play, and go to
bed to work”? Was he classist? For example, would he
agree with Cassio that it would be ridiculous to marry a
common prostitute like Bianca? Does he mean for us to
view the high-class Desdemona as a more pure and better
person than Emilia? Brainstorm on these questions, and
then come up with a thesis statement about Shakespeare’s
depiction of women. In your essay, use quotes and exam-
ples from the play to support your thesis.
Critical Writing Activity B: Othello as Tragic Hero
Is Othello a true tragic hero? Is he the central character
of the play? If Othello is a tragic hero, what is his tragic
flaw? Some critics have said it is his jealousy; others have
said it is his gullibility, in that he is too quick to believe
Iago’s insinuations. Other critics have claimed that Othello
is not a true tragic hero, because he is brought down not
by a tragic flaw but by the machinations of the villain Iago.
Still others have claimed that the true hero of the play is
not Othello, but Iago. Write an essay in which you defend
your position on the matter. Discuss how well Othello fits
the definition of a tragedy, and how well Othello fits the
definition of a tragic hero.
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262 OTHELLO, THE MOOR OF VENICE
Critical Writing Activity C: The Villainy of Iago
Write an essay in which you discuss the character of
Iago. Here are some possible positions you might take in
your essay:
” Iago is a classic two-faced villain, with no motives for
his crimes other than to “plume up his will.” His solil-
oquies are, as Coleridge put it, merely the
“motive-hunting of motiveless malignity.”
” Iago is not a believable character: he is too evil, like a
caricature of a villain. Shakespeare should have made
him more human, more realistic.
” Iago is not as terrible a villain as he is commonly
thought, and certainly no evil genius. He never meant
for his plan to go as far as it did—he never meant for
Desdemona or Cassio or Othello to die. He just want-
ed to get revenge on Othello, who he believed slept
with his wife, but his plan spun out of his control.
” Although it is commonly believed that the Moor’s jeal-
ousy leads to the tragic events in Othello, it is actually
Iago’s jealousy that causes all the trouble.
Critical Writing Activity D: The Character of Desdemona
Write a critical essay examining the character of
Desdemona. Before you start, brainstorm about questions
such as the following: Why did Desdemona marry Othello,
when she could have chosen from all the “wealthy curled
darlings” of Venice? What does that choice say about her?
Why does she continue to declare her love for Othello
even as his actions become more abusive and irrational? In
your essay, consider how Desdemona’s character is devel-
oped not only through her own words and actions but also
through what other characters say about her—notably
Brabantio, Cassio, and Emilia.
Critical Writing Activity E: Race in Othello
Write an essay examining the role of race in Othello. In
your essay, you might deal with such questions as the fol-
lowing: Is Othello’s race an important factor in the play?
Does racism contribute to Othello’s tragic downfall? If so,
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CRITICAL WRITING ACTIVITIES 263
how? If not, why not? Why did critics like Samuel Taylor
Coleridge insist that Othello “should not be viewed as a
negro”?
Critical Writing Activity F: Analysis
Choose one of the following speeches and analyze it in
detail. Begin by explaining where the speech appears in
the play and its connection to the plot. Then go through
the speech line by line, explaining what it says. Finally,
summarize the primary message of the speech.
“We cannot all be masters . . .” (I, i, 43–65)
“And what’s he then that says I play the villain . . .” (II,
iii, 337–363)
“Haply, for I am black . . .” (III, iii, 263–277)
“But I do think it is their husbands’ faults . . .” (IV, iii,
87–104)
“It is the cause . . .” (V, ii, 1–15)
“Then must you speak / Of one that loved not wisely
but too well . . .” (V, ii, 342–355)
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264 OTHELLO, THE MOOR OF VENICE
Projects
Project A: Set Design
Choose one scene from Othello and design a set for it.
Begin by making sketches. Then create a finished illustra-
tion of the set or construct a model of the set out of balsa
wood, foam rubber, or other materials. You might wish to
design a set using a computer draw/paint or computer-
aided drafting (CAD) program.
Project B: Costuming
Design a costume for one of the characters in the play,
such as Othello, Desdemona, Iago, or Bianca. Create an
illustration of the costume and explain, in writing, why
you have designed the costume as you have. In creating
your design, you may want to research hair and clothing
styles that were popular in Venice in the sixteenth centu-
ry. Some information is available on the Internet.
Project C: The “Willow” Song
Desdemona’s “willow” song from act IV plays an impor-
tant role in the play, as it foreshadows her sad fate. If you
are musically inclined, you may want to try playing and/or
singing the ballad. The words and music for the song can
be found in Tom Kines’ book Songs From Shakespeare’s Plays
(1964, Oak Publications). If you have trouble locating this
book, you might make up your own tune. Perform your
version for the class.
Project D: Othello: A Novel
Now that you are familiar with Othello in its original
form, you may want to read a different version of the story.
The book Othello: A Novel (1998) by Julius Lester is a nov-
elization of the play, with some adjustments to the histor-
ical context and some surprising differences in characteri-
zation. Read the book and prepare a review to share with
your classmates. In the review, be sure to discuss the
changes Lester made to the story.
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PROJECTS 265
Project E: Paul Robeson’s Othello
In 1930, Paul Robeson became the first black actor to play
Othello on the stage, alongside white actor Peggy Ashcroft
as Desdemona. The mixed-race production, staged in
London, caused a flurry of controversy. Conduct a research
project with the aim of learning more about this incident, as
well as facts about Paul Robeson’s life and career as an actor.
If possible, locate news articles and reviews that were pub-
lished at the time, and share copies of these with the class.
What did critics have to say about Robeson’s performance?
Why was the production so controversial?
Project F: Reviewing a Performance of Othello
View a stage performance or a film version of Othello
and write a review of it. Several excellent films are avail-
able. Consult with your teacher before selecting one to
review. If you are interested in music, you might want to
view a performance of the opera Otello, written by Italian
composer Giuseppe Verdi. One version, starring Placido
Domingo, is widely available on videocasette.
Project G: Twenty Questions
Have a classmate assume the role of some character
from the play. Ask yes or no questions of that character
until you figure out which character it is.
Project H: Jealousy
Explore the theme of jealousy in literature and other
media, such as song, film, and television. Create a book or
visual display about jealousy. Include vivid images of jeal-
ousy, such as Shakespeare’s green-eyed monster, and quo-
tations about it. You might want to start by thinking about
your own thoughts or experiences with jealousy.
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266 OTHELLO, THE MOOR OF VENICE
PRONUNCIATION KEY
VOWEL SOUNDS
a hat
ā play
ä star
e then
ē me
i sit
“̄ my
ō go
o
.
paw, born
u
.
book, put
ü blue, stew
oi boy
ou wow
u up
u burn
! extra
under
civil
honor
bogus
CONSONANT SOUNDS
b but
ch watch
d do
f fudge
$ go
h hot
j jump
k brick
l lip
m money
n on
# song, sink
p pop
r rod
s see
sh she
t sit
th with
th the
v valley
w work
y yell
z pleasure
Glossary of Words for Everyday Use
ab • hor (!b ho
.
[!]r´) vt., hate strongly; loathe.
a • lac • ri • ty (! lak´ r!t ē) n., promptness; cheerful readiness.
al • be • it (o
.
l bē´ !t) conj., even though; although.
alms (ä[l]mz´) n., something (as money or food) given as charity.
a • mend (! mend´) vt., fix or change for the better.
am • o • rous (am´ ! r!s) adj., indicative of love.
ap • pre • hend (ap´ ri h!nd´) vt., arrest; seize.
ar • dent (är´ d!nt) adj., full of strong enthusiasm or intense emotion.
aver • sion (! v!r´ zh!n) n., strong dislike or repugnance.
bal • my (bäm´ ē, bälm´ ē) adj., soothing.
bau • ble (bo
.
´ b!l, bäb´ !l) n., trinket; something insignificant.
be • guile (b! g”̄ l´) vt., lead astray by means of tricks or deception.
be • reft (bi reft́ ) adj., deprived or robbed (usually used with of).
best • ial (bes´ ch!l, besh´ ch!l) adj., of or relating to beasts.
boon (bün´) n., favor; blessing.
breach (brēch´) n., break in relations.
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cape (kāp´) n., land formation that juts out into the water as a point or a
peninsula.
cas • ti • ga • tion (kas´ t! gā´ sh!n) n., punishment.
chide (ch”̄ d´) vt., scold or voice disapproval.
chiv • al • rous (shi´ v!l r!s) adj., having the qualities of courtesy and
grace, as outlined in the laws of chivalry, or knighthood.
cho • ler (kä´ l!r) n., anger, irateness.
cit • a • del (sit´ ! del, sit´ !d !l) n., fortress that commands a city; or, a
fortified part of a city.
com • mence • ment (k!m men[t]s´ m!nt) n., beginning.
com • port (k!m po
.
rt´; k!m pōrt´) vi., to be fitting; to be in accord with.
con • jec • ture (k!n jek′ ch!r) vt., conclude based on evidence; infer.
con • jur • a • tion (kän´ jü rā´ sh!n) n., magic spell or trick.
con • se • crate (kän´ s!k rāt́ ) vt., dedicate, as to a sacred purpose.
con • strue (k!n strü´) vt., understand or explain the intention of a word
or action, usually in a particular way given a set of circumstances.
co • ve • nant (kuv´ n!nt, ku´ v! n!nt) n., an agreement or contract.
cred • u • lous (kre´ j! l!s) adj., ready to believe anything, even with
slight or uncertain evidence.
de • lude (di lüd´) vt., mislead; trick.
de • praved (di prāvd´) adj., marked by corruption or evil; perverted.
des • cry (diz skr”̄´) vt., catch sight of.
des • ti • tute (des´ t! tüt′) adj., devoid of; lacking.
dire (d”̄ [!]ŕ ) adj., dreadful.
dis • cern (dis !rn´, diz !rn´) vt., detect with the eyes.
dis • cord (dis´ ko
.
[!]rd) n., lack of agreement or harmony.
dis • course (diś kō[!]rs´) n., conversation; verbal expression or
exchange of ideas.
dis • sem • ble (dis em´ b!l) vt., hide under a false appearance.
dis • sem • bling (di s!m´ bli#) adj., describing someone who
dissembles, or puts on a false appearance in order to deceive.
dis • sim • u • la • tion (di sim´ y! lā´ sh!n) n., the act of putting on a
false appearance.
di • vine (d! v”̄ n´) vt., discover intuitively; infer.
dote (dōt́ ) vi., be lavish or excessive in one’s attention.
ed • i • fi • ca • tion (e´ d! f! kā´ sh!n) n., process of being enlightened,
educated, or uplifted, especially with moral or religious knowledge.
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ed • i • fy (ed´ ! f”̄´) vi., inform or enlighten.
egre • gious • ly (i grē´ j!s lē) adv., in a way that is obviously or
conspicuously bad: glaringly.
em • i • nent (em´ ! n!nt) adj., prominent; standing out.
em • u • la • tion (em´ y! lā´ sh!n) n., imitation; ambition to equal or excel.
en • due (in dü´) vt., provide; endow.
en • gen • der (in jen´ d!r) vt., bring into being.
en • mi • ty (en´ m! tē) n., openly expressed hostility.
ep • i • thet (e´ p! th!t) n., a descriptive word or phrase applied to a
person or thing; often used in place of the person’s name.
evince (i vin[t]s´) vt., display clearly: reveal.
ex • pos • tu • late (ik späs´ ch! lāt́ ) vi., express objection in the form
of earnest reasoning.
fa • ci • li • ty (f! sil´ !t ē) n., ease.
farce (färs´) n., a comedy characterized by broad satire and improbable
situations; ridiculous or empty show.
filch (filch´) vt., steal.
for • bear (fō[!]r ba[!]ŕ ) vt., refrain from.
for • swear (fo
.
r swa[!]r´, fōr swa[!]ŕ ) vt., reject or renounce.
frail • ty (frā[!]l´ tē) n., weakness.
gait (gāt´) n., manner of walking.
gra • vi • ty (grav´ !t ē) n., seriousness.
griev • ous (grē´ v!s) adj., serious; characterized by severe pain,
suffering, or sorrow.
guile (g”̄ ´ [!]l) n., cunning deception.
gull (g!l´) n., person who is easily deceived or cheated.
hei • nous (hā′ n!s) adj., shockingly evil.
im • ped • i • ment (im ped´ ! m!nt) n., obstacle; something that
impedes.
im • por • tune (im´ p!r tyün´, im po. r´ ch!n) vt., beg or urge with
annoying persistence.
im • pu • ta • tion (im´ py! tā´ sh!n) n., accusation; insinuation.
im • pute (im pyüt´) vt., lay the responsibility or blame for, often falsely or
unjustly.
in • cense (in sen[t]s´) vt., cause to become angry.
in • dict (in d”̄ t́ ) vt., criticize; accuse; charge with a crime.
in • fir • mi • ty (in f!r´ m!t ē) n., personal failing; defect.
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in • iq • ui • ty (in ik´ w! tē) n., wickedness.
in • no • va • tion (i´ n! vā´ sh!n) n., introduction of something new.
in • or • di • nate (in o
.
rd´ [!]n !t) adj., exceeding reasonable limits;
excessive.
in • sin • u • ating (in sin´ y! wā´ ti# ) adj., ingratiating: winning favor
and confidence by imperceptible degrees.
in • ter • im (int´ ! r!m) n., intervening time; time in between.
in • tro • spec • tion (in´ tr! spek´ sh!n) n., act of looking inward.
in • vi • o • late (in v”̄ ´ ! l!t) adj., pure; that is, not violated or profaned.
jo • cund (jä´ k!nd; jō´ k!nd) adj., merry; marked by high spirits and
mirthfulness.
lan • guish (la# ´ gwish) vi., live in a state of depression, to pine away or,
to suffer neglect.
las • civ • i • ous (l! siv´ ē !s) adj., lustful; obscene.
loll (läĺ ) vt., hang loosely or laxly; lounge.
maim (mām´) vt., mutilate or disfigure.
mal • e • fac • tor (ma´ l! fak´ t!r) n., one who does bad things to
another person or commits an offense against the law.
mal • ice (mal´ !s) n., wickedness.
ma • lig • ni • ty (m! li$´ n! tē) n., malignancy: the quality or state of
being malignant, that is, evil or harmful.
man • date (man´ dāt́ ) n., formal order.
man • i • fest (man´ ! fest) vt., show.
met • tle (met´ !l) n., strength of spirit; courage.
minion (min´ y!n) n., servile follower or underling.
mu • ti • ny (myüt´ ! nē) n., revolt against authority, esp. of a naval
crew.
neg • li • gence (neg´ li j!n[t]s) n., carelessness or neglect.
nup • tial (n!p´ sh!l, n!p´ sh! w!l) n., marriage; wedding [usu. used in
plural].
ob • se • qui • ous (!b sē´ kwē !s) adj., showing an exaggerated desire
to help or serve; fawning.
odi • ous (ō´ dē !s) adj., hateful.
pa • late (pal´ !t) n., taste or liking (often refined).
par • a • dox (par´ ! däks´) n., seemingly contradictory statement or
idea.
par • ti • san (pär´ t! z!n; pär´ t! s!n) n., a passionate supporter of
something (as a cause or a political party).
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pelt (pelt́ ) v., strike with blows or with thrown objects; beat or dash
repeatedly against.
pen • i • tent (pen´ ! t!nt) adj., feeling sorry about offenses; repentant.
per • di • tion (p!r dish´ !n) n., damnation; hell.
per • jur • y (p!rj´ ! rē) n., violation of an oath; often, referring to a
person lying on the stand in court.
per • ni • cious (p!r nish´ !s) adj., destructive; deadly.
pes • ti • lence (pes´ t! len[t]s) n., anything destructive or deadly.
pes • ti • lent (pes´ t! l!nt) adj., causing displeasure or annoyance;
extremely disagreeable.
phleg • ma • tic (fleg ma´ tik) adj., slow to move or act; not easily
excited; sluggish.
pil • gri • mage (pil´ gr! mij) n., long journey, often made for religious
purposes.
pin • ion (pin´ y!n) vt., restrain or shackle, especially by the arms.
por • tent (po
.
[!]r´ t!nt) n., sign of things to come: omen.
prat • tle (prat´ !l) n., idle chatter; chattering noise.
pre • text (prē´ tekst) n., reason or motive assumed or pretended as a
cover for the real reason or motive.
privy (pri´ vē) adj., know about something; as a secret.
pro • cure (pr! kyu
.
[!]r´, prō kyu
.
[!]ŕ ) vt., obtain; get possession of.
pro • fane (pro fān´) adj., vulgar.
pro • mul • gate (präm´ !l gāt´, prō´ m!l gāt´) vt., declare openly or
make known; also, to spread (knowledge or ideas).
pro • voke (pr! vōk´) vt., incite to anger.
pro • vok • ing (pr! vō´ ki# ) adj., causing anger or outrage.
pru • dence (prü´ d!n[t]s) n., caution as to danger or risk; shrewdness
and good judgment in the management of affairs or resources.
quay (kē´) n., structure built as a landing place along water.
rail (rā[!]ĺ ) vt., utter harsh or abusive language.
rap • ture (rap´ ch!r) n., state of being carried away by overwhelming
emotion.
re • buke (ri byük´) n., expression of strong disapproval.
re • com • pense (re´ k!m pen[t]s) n., compensation; payment.
re • proach (ri prōch´) n., disgrace or discredit; expression of
disapproval.
re • quite (ri kw”̄ t́ ) vt., repay or return; avenge.
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res • ti • tu • tion (res´ t! t[y]ü´ sh!n) n., making up for an injury or
restoring something to its rightful owner.
ruf • fi • an (r!f´ ē !n) n., bully.
ru • mi • nate (rü´ m! nāt́ ) vi., go over in the mind; ponder, reflect.
sag • a • cious (s! gā´ sh!s) adj., wise.
sanc • ti • mo • ny (sa#[k]´ t! mō´ nē) n., affected or hypocritical
holiness.
sanc • tion (sa#[k]´ sh!n) vt., to approve or consent to.
sans (sanz´) adj., without.
sa • ti • ety (s! t”̄ ´ !t ē) n., state of being satisfied fully or to excess.
so • lic • it (s! lis´ !t) vt., approach with a request or plea.
spe • cious (spē´ sh!s) adj., having a false look of truth or genuineness.
spec • u • la • tive (sp!´ ky! l! tiv) adj., involved in intellectual
speculation, that is, pondering intellectual questions.
strife (str”̄ f́ ) n., conflict or struggle; often bitter and violent.
sub • due (s!b dü´) vt., bring under control; conquer.
sub • lime (s! bl”̄m´) adj., lofty, grand, or exalted in thought or
expression; more broadly, excellent.
suf • fice (s! f”̄ s´) vi., vt., to meet or satisfy a need; to be enough or be
enough for.
suit (süt́ ) n., act or instance of seeking by entreaty: an appeal.
suit • or (sü´ t!r) n., one who courts a woman or seeks to marry her;
also, anyone who petitions or entreats.
su • per • sede (sü´ p!r sēd´) vt., to displace or set aside, and put
another in place of.
taint (tānt́ ) vt., spoil; contaminate.
to • ken (tō´ k!n) n., something done or given as a sign of obligation or
affection.
tract • a • ble (trak´ t! b!l) adj., easy to deal with or manage; docile.
tra • duce (tr! düs´, tr! dyüs´) vt., destroy the reputation of someone or
cause shame by misrepresenting or telling falsehoods.
tran • quil (tra# ´ kw!l) adj., peaceful.
tri • fle (tr”̄ ´ f!l) n., something of little significance or value; vi., treat
something or someone as unimportant.
tyr • an • ny (tir´ ! nē) n., state of being a tyrant, a ruler who exercises
absolute power brutally and oppressively.
ve • he • ment (vē´ ! m!nt) adj., intensely emotional; deeply felt or
strongly expressed; marked by extreme intensity or force.
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ver • i • ta • ble (ver´ !t ! b!l) adj., true; being truly or very much so;
being in fact the thing named; actual, real. Often used as an intensifier.
vex • a • tion (vek sā´ sh!n) n., state of being vexed, or irritated.
vice (v”̄ s´) n., moral fault or failing.
vi • cis • si • tude (v! si´ s! tüd´) n., chance occurrence or fluctuation in
state or condition; a difficulty or hardship that occurs in the course of
life.
vile (vi[!]ĺ ) adj., morally or physically despicable.
vi • per (v”̄ ´ p!r) n., vicious or treacherous person.
vis • age (viz´ !j) n., appearance; face.
vi • tal (v”̄ ´ t!l) adj., having to do with life; characteristic of life.
vol • u • ble (väl´ y! b!l) adj., marked by ease and fluency in speech;
glib.
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Glossary of Literary Terms
ASIDE. An aside is a statement made by a character in a
play, intended to be heard by the audience, but not by
other characters on the stage. In Othello, Iago’s many asides
allow the audience to learn about his plot, which is kept
secret from the other characters onstage.
CATASTROPHE. The catastrophe, in tragedy, is the event that
resolves, or ends, the central conflict and marks the ulti-
mate tragic fall of the central character. Often this event is
the character’s death. Also known as the resolution. See plot.
CENTRAL CONFLICT. A central conflict is the primary strug-
gle dealt with in the plot of a story or drama. See plot.
CHARACTER. A character is a person (or sometimes an ani-
mal) who figures in the action of a literary work. A
protagonist, or main character, is the central figure in a liter-
ary work. An antagonist is a character who is pitted against
a protagonist. Major characters are those who play signifi-
cant roles in a work. Minor characters are those who play
lesser roles. A one-dimensional character, flat character, or car-
icature is one who exhibits a single dominant quality, or
character trait. A three-dimensional, full, or rounded charac-
ter is one who exhibits the complexity of traits associated
with actual human beings. A static character is one who
does not change during the course of the action; a dynam-
ic character is one who does change. A stock character is a
character found again and again in different literary works.
An example of a stock character is the mad scientist of
nineteenth- and twentieth-century fiction.
CHARACTERIZATION. Characterization is the use of literary
techniques to create a character. In creating a character, a
playwright may use the following techniques: showing
what characters themselves say, do, and think; showing
what other characters say about him or her; and showing,
through stage directions or other references, what physical
features, dress, and personality the characters display.
CLIMAX. The climax of a play is the high point of interest
or suspense in the plot. See plot.
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COMIC RELIEF. Writers sometimes insert into a serious work
of fiction or drama a humorous scene that is said to pro-
vide comic relief because it relieves the seriousness or
emotional intensity felt by the audience. The character of
the Clown in Othello is introduced to provide comic relief.
CRISIS. The crisis, or turning point, is the point in the plot
where something decisive happens to determine the future
course of events and the eventual working out of the con-
flict. This turning point can change things for the better or
for the worse. In a tragedy, things are changed for the
worse. Note that often, the crisis also marks the climax, or
climactic moment, in the plot. In a five-act play such as
Othello, the crisis usually occurs in act III. See plot.
DÉNOUEMENT. The dénouement is any material that fol-
lows the catastrophe or resolution and ties up loose ends.
See plot.
DRAMATIC IRONY. Irony is a difference between appearance
and reality. Dramatic irony occurs when something is
known to the reader or audience but not to the characters.
Shakespeare employs dramatic irony to great effect in
Othello. Iago’s evil scheming is revealed to the audience
through his soliloquies and asides, but the other characters
in the play remain ignorant, believing that Iago is honest
when quite the opposite is true.
EXPOSITION. See plot.
FALLING ACTION. The falling action of a plot is all of the
events that happen as a result of the crisis. In a five-act
play such as Othello, the falling action occurs throughout
acts IV and V. See plot.
FOIL. A foil is a character whose attributes, or characteris-
tics, contrast with and therefore throw into relief the
attributes of another character. Emilia acts as a foil for
Desdemona in Othello.
FORESHADOWING. Foreshadowing is the act of presenting
materials that hint at events to occur later in the story.
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INCITING INCIDENT. The inciting incident is the event that
introduces the central conflict of a story or drama. In a
five-act play, the inciting incident is typically introduced
in act I. However, the inciting incident of Othello—that is,
Othello’s marriage—actually occurs just prior to the begin-
ning of act I. See plot.
MOOD. Mood, or atmosphere, is the emotion created in
the reader by part or all of a literary work. A writer creates
mood through judicious use of concrete details. A somber,
tragic mood is created in Othello’s soliloquy at the begin-
ning of act V, scene i.
MOTIF. A motif is any element or image that recurs in one
or more works of literature or art. One recurring motif in
Othello is the imagery of hell, demons, and monsters.
ONE-DIMENSIONAL CHARACTER. A one-dimensional charac-
ter, flat character, or caricature is one who exhibits a
single dominant quality, or character trait. The character
of Iago is sometimes criticized as being too one-dimension-
al, and therefore not believable. You may explore this idea
in the Critical Writing Activity C described on page 262.
See also character.
PLOT. A plot is a series of events related to a central conflict,
or struggle. A typical plot involves the introduction of a
conflict, its development, and its eventual resolution.
Terms used to describe elements of plot include the follow-
ing:
• The exposition, or introduction, sets the tone or mood,
introduces the characters and the setting, and provides
necessary background information.
• The inciting incident is the event that introduces the
central conflict.
• The rising action, or complication, develops the con-
flict to a high point of intensity.
• The climax is the high point of interest or suspense in
the plot.
• The crisis, or turning point, often the same event as the
climax, is the point in the plot where something decisive
happens to determine the future course of events and the
eventual working out of the conflict.
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• The falling action is all of the events that follow the cri-
sis, or climax.
• The resolution is the point at which the central conflict
is ended, or resolved.
• The catastrophe, in tragedy, is the event that resolves, or
ends, the central conflict and marks the ultimate tragic
fall of the central character. Often this event is the char-
acter’s death.
• The dénouement is any material that follows the resolu-
tion and ties up loose ends.
Plots rarely contain all these elements in precisely this
order. Elements of exposition may be introduced at any
time in the course of a work. A work may begin with a
catastrophe and then use flashback to explain it .The expo-
sition or dénouement or even the resolution may be miss-
ing. The inciting incident may occur before the beginning
of the action actually described in the work, as in the case
of Othello, in which the inciting incident, Othello’s mar-
riage, occurs before the beginning of act I. See page 214 for
a discussion of the plot of Othello.
PUN. A pun is a play on words, one that wittily exploits a
double meaning. Shakespeare used many puns in his plays.
RESOLUTION. See plot.
RISING ACTION. The rising action, or complication, is the
part of a plot that develops the central conflict to a high
point of intensity. In a five-act play such as Othello, the ris-
ing action begins in act I and continues until the climax or
crisis in act III. See plot.
SOLILOQUY. A soliloquy is a speech given by a character
alone onstage, in which the character reveals his or her
thoughts and feelings to the audience.
STOCK CHARACTER. A stock character is one found again
and again in different literary works. The character of Iago
is somewhat similar to the stock character of Vice found in
medieval morality plays. Vice was a villain who tempted
the protagonist to commit a sin so grave that he or she
would be condemned to Hell.
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SYMBOL. A symbol is a thing that stands for or represents
both itself and something else. In Othello, Desdemona’s
handkerchief is symbolic.
THEME. A theme is a central idea in a literary work. One of
the themes of Othello is the destructive power of jealousy.
TRAGEDY. A tragedy is a drama that tells about the down-
fall of a person of high status. Tragedy tends to be serious.
It celebrates the courage and dignity of a tragic hero in the
face of inevitable doom. Sometimes that doom is made
inevitable by a tragic flaw in the hero, a personal weak-
ness that leads to his or her downfall.
TRAGIC FLAW. See tragedy.
TURNING POINT. See crisis and plot.
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