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HD WIDENER

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THE G

RENAIS-

-SANCE

SHAKES

-PEARE
13477.85.5 (32)

1
H
VE RI
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HARVARD COLLEGE

LIBRARY 1

IN MEMORY OF

JOHN HAYS GARDINER

CLASS OF 1885 .
The University Press Shakespeare
THE COMPLETE WORKS OF

WILLIAM SHAKESPEARE

IN FORTY VOLUMES

Renaissance Edition
The Cambridge Text and the Globe Glossary are used
in this edition through the courtesy ofthe Messrs.
Macmillan.

The annotations at the foot of the page are intended

to explain difficult phrases or allusions. Single
words, which are no longer in common use, appear
only inthe glossary, which is printed in Volume XL.
The numbering of the lines follows that of the
Cambridge Edition .
COPYRIGHT 1908,BYTHE UNIVERSITY PRESS.
THE COMPL ..

LLIAM SHAKESPUNAR

H ANNOTA, CON

BY SIDNEY AZ

VOLUME XXXT

OTHELITO

WITH A SPECFEYSANAT.NAY
WILLIAM E. IFNIS

VGAN ORIGINAL FRONT.SEF BY

BRANGWYN

DLR NAISSAN Z
roth 95li smor}¸Jud II » .071TZO
VCMY ' S By? \ y M
ail .In in guido " ZAKAJTZAD TEA
;hooft,Iqworn -dyid a
rinm adt bry rownad trist' ,tonunɔ I
"Jine a prozo
I andang28 II TOA
 OTHELLO

FBRANGWYN

CONTANO What from the cape can you dicern.

MONTANG
FIRST GENTLEMAN Nothing at all is
a high- wrought fluod
Icannot, mal heaven and the main,
UPYRICHT140 BY THE UNIVERSITY RE
Descry a sail. " ACT II, SCENE 1, line 1.
 THE COMPLETE WORKS

OF

WILLIAM SHAKESPEARE

WITH ANNOTATIONS AND A GENERAL

INTRODUCTION

BY SIDNEY LEE

VOLUME XXXII

OTHELLO

WITH A SPECIAL INTRODUCTION BY

WILLIAM E. HENLEY

AND AN ORIGINAL FRONTISPIECE BY

F. BRANGWYN

THE RENAISSANCE PRESS

MCMVII
13477,35.5

AR LE
RV GE
HA

MAY 6 1936
LIBRARY

Gardinerfend

Copyright, 1907
BY THE UNIVERSITY PRESS

Entered at Stationers' Hall, London

All Rights Reserved

THE UNIVERSITY PRESS, CAMBRIDGE, U.S.A.

 CONTENTS

PAGE
INTRODUCTION TO OTHELLO BY

WILLIAM E. HENLEY · • ix

TEXT OF THE PLAY · 1

INTRODUCTION

N 1622 " N. O. " printed for Thomas

Walkly : " and are to be sold at
his Shop, at the Sign of the Eagle
and Child, in Brittan's Bursse " :
the " Tragedy of Othello the
Moore of Venice," as it had been
" divers times acted at the Globe

and at the Black- Friars by his

Maiestie's Servants." This is the
first " Othello." " To commend
it I will not," Walkly says ; " for
that which is good I hope every
man will commend, without en-
treaty ; and I am the bolder because the Author's name
is sufficient to vent his work. " Then, the year after
( 1623 ), came the First Folio ; and in 1630 Walkly, who
seems to have been in pocket by his earlier venture,
published a Second Quarto. It is of no particular
[ ix ]
 OTHELLO

interest or importance : the text, as we have it, being

Walkly plus Heminge and Condell, the First Quarto
plus the First Folio. The latter version is longer than
Walkly's by some hundred and fifty lines ; but the
Walkly, printed ( Mr. Herford conjectures) " from an
old copy of the play, as curtailed, and otherwise modi-
fied, for performance," is very much richer in " oaths
and expletives " than the Heminge and Condell, and is
therefore of respectable authority. As the first recorded
performance of " Othello " is dated 1604 in the No-
vember of which year it was presented before the Court
at Whitehall : and as the style, as beseems the subject,
is " simple, sensuous, and passionate " to the nth degree :
a style with memories of " Hamlet," yet with scarce
a foretaste of " Macbeth " : it is assumed that 1604 was
the birth-year of this unrivalled achievement in intimate,
or domestic, drama, and that the text, as we have it, is
very much the text that left Shakespeare's hand.

II

The material is engagingly old and plain, at the same

time that it is unalterably and essentially eternal. As
stated by a critic of a day or two ago, a critic, by the way,
of the same name as the " Moore's " first printer, it is
simply the story of what your Modern Frenchman has
elected to denote and to discriminate as un crime pas-
sionnel. In Cinthio's " Hecatommithi," where Shake-
speare found the raw suggestion of his mighty and
magnificent presentation of jealousy of jealousy, too, in
[x ]
 INTRODUCTION

its operation on a mind which, rich in other sorts of ex-

perience, is, sexually speaking, next door to virginal : the
passional crime is ever so much more persuasively para-
graphed than it is in Mr. Walkley's amiable boutade ; for
in Cinthio the hero is not Othello (he is not so much,
I believe, as named by name) but Iago, his Ensign,
"in love with Disdemona. " To that fair and innocent
creature Cinthio's Antient imparts the purpose of his
passion ; she understands him not ; he instantly conceives
her enamoured of the party we know as Michael Cassio.
So he goes to work, corrupts the Moor, plots Des-
demona's death, and the Lieutenant's ; and, in the end,
after sand-bagging the object of his passion into the other
world in her husband's presence, pulling down the ceiling
upon her broken body, and giving out that she has been
killed by a fallen beam, turns on the Moor, accuses him
of murder, gets him tortured and done to death, and,
having thus justified his Renaissance habit, and purged
himself of his crime d'amour, goes gallantly to justice
on a different count, and accepts the sweet compulsion
of the Rope for another crime. It is in this rather black-
guard story of a blackguard lecher's disappointment and
revenge that our Archimage discovered his " Othello."
He astonishes always, when you come to look into his
treatment of other men's material. His method is ever
royal he lays hands on what he wants, and the fact that
he wants it makes it his, and none else's. I know not
that, anywhere in his work, is there discovered so clear
a proof of sovranty as here. Othello, Iago, Cassio,
1 This is Cinthio's spelling of the Shakespearean Desdemona.
[ xi ]
 OTHELLO

Emilia, Desdemona - even the Handkerchief- all these

93
figure in the twenty-seventh of the " Hecatommithi.'
Yet to compare the Novella and the Play is to live in
two worlds at once, and, so living, to be utterly and
everlastingly cognisant of the inexpressible difference
between creation as Cinthio understood and practised
it, and creation as it was apprehended and done by
William Shakespeare.

III

In Cinthio's anecdote, or compte-rendu, the interest is

almost wholly one of incident. The Novelist, or Re-
porter, is primarily concerned with- not character, nor
action in its effect on character, but - action for its own
sake, action as material for narrative. His Moor, his
Lieutenant, his Desdemona, are counters all : such char-
acter-interest as he discovers is contained in his Antient ;
and he even is no more personal than any trim , literal
incarnation of the clear-eyed, clean-minded , self- seeking,
ruthless, self-sufficing scoundrelism of Cesare Borgia would
be. Cinthio's Antient is wholly lacking in those touches
of doubt, those instants of inquiry, those hints and flashes
of internal conflict, those glimpes of desperate debate be-
tween Mind and Appetite, between Brain and Tempera-
ment, which lend so potent and so variable a magic
to the portraiture of that strange, brilliant, evil-speaking,
66
evil-thinking, evil-doing " demi- devil " : that parcel-tamed,
over-civilised man-eating tiger, which we know as Iago.
He is Cinthio's hero ; but in Cinthio his psychology
[ xii ]
 INTRODUCTION

remains obscure : in fact, we know as much and as little

of him as we know of the chief agent in any criminal
affair which was reported yesterday. Stated in Police
Court terms : he is a subaltern, who tries to lie with
his General's wife ; failing in his intent, he gets jeal-
ous of an airy rival ; poisons his General's ear ; has
the satisfaction of bruising the lady of his desire to
death- as a positive confirmed whore too ! - in the
eye of him he'd fain have cuckolded ; experiences a
wolfish joy in the death of that once potential horned
beast ; and, in the end, is himself sent down to the Pit
on quite other grounds than poor Desdemona's broken
breast-bone and spine, and with never so much as a
memory or a thought of the cuckold that was not to be,
whom he had escorted to the bounds of Space and Time
with every circumstance of miserableness and hate.
That is pretty much as he half-exists in the " Hecatom-
mithi ": for the simple reason that Cinthio, having made
him play his part, with supreme success, in the affairs of
Desdemona and the Moor, as a good enough Renaissance
Italian, a Cesare Borgia on the smallest scale, was content
to ask no more of him, but to let him end even as, in
an enlightened Italy, such small change of Machiavelli's
ideal Prince might end , and very often did. In “ Othello ”
all this is changed : Iago quits the Police- Court (so to
say) for the purlieus of Humanity, and, instead of depend-
ing for immortality on the word of a mere reporter, is
taken up, and shaken, and squeezed, and made to know
something of himself, and to make that much of himself
he knows, and a great deal besides, intelligible to others,
[ xiii ]
 OTHELLO

by the greatest manieur d'hommes that ever lived. The

result is such an exemplary presentation of active, mo-
tiveless, and militant wickedness as Balzac, say — the
Balzac of Philippe Bridau and Cousin Betty - has not
so much as approached.

IV

Is it quite made out ? I am reluctant to determine.

I think it is ; but I have to admit that, if it be, the
achievement is accomplished largely by means of solilo-
quy : an expedient in dramatic art abominable to the
play-going mind. Yet was it a common device with
Shakespeare, to whom its practice saved much trouble :
nay, made things possible which in its absence could not
have been essayed. Accepting it for the compromise it
is, you may say, I think, that, thanks to its use, Iago is
entirely credible. Despite the majestic assurance and
completeness of his presentment as a chief actor in the
play, we should not know him as we do if we were
denied the privilege of sitting with him in the privy
chamber of his thought, and taking our fill, and more,
of those terrible mental practices by which he seeks,
in the dry light of an excellent and daring intelligence,
to reconcile his action with his conscience , his processes
with his results, and, half in earnest , half in jest,
as it were to excuse himself before his soul. He is a
piece of pure intellect : he has gaiety, wit, invention, a
kind of lethal humour ; he is versed in " politic authors, '
and, besides, he is deeply read in the books of Character
[ xiv ]
 INTRODUCTION

and Life, so that he " knows all qualities of human deal-

ing with a most learned spirit " ; he discovers in him-
self a fine observer, a shrewd and gluttonous critic ;
first and last he is high in resolve, cruel of heart, swift
and resolute of hand ; in speech he is liberal to the
point of intemperance, with an odd trick of obscenity,
whether suggested or phrased , which he has practised till
it has mastered him, and in which the World , if it were
but wise, would find proof indubitable of the inherent
baseness of his mind. Said a fine critic to me long years

ago, in the great Salvini times : " You may meet Iago
on any Yorkshire race-course " ; and, the inevitable mu-
tations duly made, I take the remark to be intrinsi-
cally just. Palmer of Rugely, the poisoning creature,
was of Iago's type and strain ; and the Ring breeds
many such potential beasts of prey. These are the men
who kill, and are half surprised and half angered to find ,
as they generally do, that Killing is called Murder, is an
offence before the Law, and must be expiated on the
Gallows. These wretches play with Evil much as a
young man plays with Life ; and are just as sorry for
themselves when they come to the unchanging end.
For the rest, Iago, like his kind at large, is wholly the
creature of the Event he quickens and stage- manages.
He gulls Roderigo, he gulls Cassio, he gulls Othello into
killing Desdemona, and essaying to compass his Lieu-
tenant's murder. But, though he never so much as sus-
pect it, the mortal issue he has made imminent masters
him ever, and, being determined, leaves him the most
wretched slave this side Eternity. He starts by " guying"
[ xv ]
 OTHELLO

an aged and respectable Senator on a most delicate and

peculiar point of honour, in terms so rank that Shake-
speare himself, good as he was at filth (and none better
ever lived), has not improved on them ; he ends as the
murderer whole or parcel-gilt of Othello, Desdemona,
Roderigo, and Emilia, with a bad wound in his body, the
assurance of being done to death by torture ( not that
he would care much for that), and the knowledge that,
thanks to him, the Cassio he so wretchedly loathed and
scorned is Governor of Cyprus. For all his vocabulary
and for all his brains, his contempt for elementary human
law is ever too strong for him. He makes the best
of circumstances that he can ; he wins his points ; he
is always alert, maleficent, superior to his opportunity ;
and in the long run he is found to be merely the peer of
the Hogarthian Thomas Idle.

But, to make a play, it is not enough to present Intel-

ligence at odds with Morals. For, as was long since
pointed out to me by my dear friend Fleeming Jenkin,
the staple of Drama is Emotion. " You must have Inci-
dent," he argued , in his fine, logical way, " or your Emo-
tion will not be Strong ; you must have Character, or it
will not be Interesting ; you must have Style, or your
presentation of it, whatever it be, will not be Literature. ”
But, if you lacked all these (the contention was) you
might stagger through, and grip your audience, and
[ xvi ]
 INTRODUCTION

achieve your end, if only you had Emotion. Dumas

père, though Jenkin knew it not, had said the same
thing years before. There was an essential difference,
99
he remarked, between himself and Hugo, " le Penseur
(so the loyal old Artist called the greatest Liar in all
Drama) , and the difference consisted in this : Hugo could
do nothing in the play-writing way without what one
may call the fripperies of drama - Horns of Hernani,
Tombs of Charlemagne, " Soupers à Ferrare," Choruses
of Monks, Coffins, Thunder and Lightning, Ruined Cas-
tles, and the like ; whereas all he wanted was " four tres-
tles, four boards, two actors, and a passion. " "Tis the
briefest, the most comprehensive, the most luminous
statement of the essentials of drama that ever, I believe,
was made ; and it fits the " Othello " of Shakespeare as
it fits the Eschylean " Oresteia, " like a glove.
Scene by scene and act by act, the " Moor of Venice "
moves with an irresistible stride to an inevitable end ; 't is
a lasting and affecting proof, if any proof were needed,
that the " well- made play " did not begin with “ An-
tony " and " la Tour de Nesle " ; it shows that the Sar-
dou formula and the Ibsen formula are mere matters of

to-day, and that here at least is a point at which the

Sophocles of the " Edipus " might take hands with Shake-
speare, and own that, his own masterpiece, all radiant and
serene as it appears, is no greater nor more splendid an
achievement in design, in construction, in effect, than this.
This is another way of saying that, Iago apart, the inter-
est of " Othello " is entirely and unalterably emotional.
You might play it in a barn, and it would still fulfil it-
[ xvii ]
 OTHELLO

self; for the singular reason that here, wherever you look,
are old Dumas' " two actors and a passion," and that
what Jenkin called " emotion " is never absent. The
actors change : are now Othello and Iago, now Desde-
mona and Emilia, now Othello and Desdemona, now
Emilia and Othello , now Othello and Fate, the tremen-
dous, the inevitable : even Death. But the passion
persists : it shifts its quality as the Master wills , takes
on the hues, speaks with the voice, dares with the
furiousness of love, and hate, and jealousy, and misery
and murder and despair. But, once evoked , it never lets
go of your throat ; and this is what makes " Othello " the
play of plays it is. I think that " Lear " is bigger, as
being more elemental (let us say ) ; I think that " Hamlet "
is certainly more subtle, more engaging, more romantic ;
I think that in " Measure for Measure " and " Macbeth " :
perhaps, too, in " Troilus," and in " Antony and Cleo-
patra," with its elderly lovers kissing and dying against
a background of ruining Empire and a changing world :
we get more of such vital and undisguisable essentials as
went to the making of our Prospero- Proteus, our Man
of Men, our Chief of Poets. But nowhere in his achieve-
ment has he discovered a greater capacity, a clearer in-
sight, a more assured and royal method, than here. Of
course, he plundered Cinthio ; but who was Cinthio that
he should not be plundered ? And of what effect were
Cinthio now - he, and his Antient, and his Lieutenant,
his " Moore," and his Desdemona - had he not been
translated, and glorified, and eternised in terms of very
Shakespeare ?
[ xviii ]
 INTRODUCTION

VI

Tragedy is an abstraction of life at its quintessential

points its passages of high-climbing, inoubliable, anni-
hilating rapture ; its supreme moments of envy, hate,
wrath, misery, suspicion, lust, despair. And Shake-
speare, the great " Abstractor of Quintessences," accom-
plished no more splendidly difficult task in all the years
of his tremendous and triumphing achievement than
when he made his Moor, not merely plausible, but en-
tirely human and credible. It has been, and perhaps
still is, objected to this august and immortal thing, that
Othello is too " easily moved " : that his ear is too wide,
that is, his mind too prompt, his heart too eager to
entertain suspicion ; and that he is so readily satisfied in
the matter of proof that he might give points to such
typical exemplars of horndom as Arnolphe in " l'École
des femmes" and the Sganarelle of " le Cocu imagin-
aire." These objections have, of course, been traversed,
and traversed to so complete a purpose that I note them
only for the form's sake, and with never a thought of
going back on them. 'Tis enough to note that Trag-
edy, being a quintessentialised abstraction of life in its
most desperate potentialities, has its own convention,
and is governed by none but its own rules, and that to
begin upon the examination of an exemplary piece of
tragedy by questioning the propriety of that convention
were to make Criticism impossible. To accept the
Tragic Convention is to find the character of Othello an
[ xix ]
 OTHELLO

"entire and perfect chrysolite " among creations : an

achievement in presentation which Shakespeare himself
has not surpassed ; a study in passion-wrought character
in which the last is said. "Tis as it were a soul in

earthquake and eclipse ; and there is never a detail,

never a touch of the cataclysm, however variable and
minute, but is realised and recorded with so consum-
mate an artistry, an intelligence so abounding, 1 so
complete, and so assured, that the issue savours of
inspiration.

VII

It is history that J.-B. Poquelin, called Molière, wrote

for his company, and that, cutting his parts to his actors
and actresses much as a modern snip cuts you his
"tailor-mades " and his " suits " to the physical idiosyn-
crasies of his customers, female and male, succeeded ,
being an accomplished and very admirable master in this
sort of sartorials, not only in fitting his customers but,
also, in founding and establishing a tradition : a tradition,
too, of such comprehensive and enduring potency that,
in its shadow, Coquelin aîné plays Scapin much as
Molière played Scapin, while Agnès (say) and Horace
are to this day presented in the same terms, on the same
level, so far as is possible in the same spirit, as were im-
posed by J.-B. Poquelin on le Sieur Lagrange and on
that brilliant and beautiful Mlle. de Brie, of whom 't is
told that, at sixty, she was still the best Agnès of them
[ xx ]
 INTRODUCTION

all. Now, Molière was the greatest Actor-Manager¹

that ever lived ; but it is obvious that Shakespeare, being
a person of (shall I say ?) considerable intelligence , an-
ticipated him in this matter, and, having a great actor,
Burbage to wit, in his company, wrote as carefully and
as joyously for him as, long years after, le Sieur Po-
quelin wrote for Molière and Lagrange and de Brie.
-
I would go so far as to say that had Dick Burbage — a
Stratford man, too ! — been of another temperament than
he was, and lacked the strange, romantic, passionate face
he had, there had been differences in Richard , Hamlet,
Macbeth, Lear, Othello, as we have them, and that they
who would fain present the dramatist from his plays
would do well to look carefully and keenly into the in-
tellectual and emotional quality of his chief of actors.
But such argument is not for here nor now ; and I
end with this reflection : " This afternoon, at the Globe
Theatre, First Performance of ' Othello, the Moore of
Venice ' ; Othello , Master Richard Burbadge. " Othello ?
with Burbage " up," and Shakespeare prompting him
from the wings ? What a première !
W. E. HENLEY.

1 That he wrote his best for himself and his temporary woman, or "leading
lady," is but to say that he was a Manager-Actor in the fullest sense of the
term.

[ xxi ]
OTHELLO
 DRAMATIS PERSONƹ

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.
LAGO, 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 seaport in Cyprus

1 This piece was first printed in 1622 in a quarto volume which was reissued in
1630. A better and fuller text appeared in the First Folio of 1623. Acts and Scenes
are indicated in the First Folio, and a list of "The Names of the Actors " is put at
the end. The First Quarto has no such list, and the only notes of scenic subdivisions
there are prefixed to Acts II, IV, and V, which are introduced respectively with the
words Actus 2, Scana 1 , Actus 4, and Actus 5.
 ACT FIRST - SCENE I - VENICE
A STREET
Enter RODERIGO and IAGO
RODERIGO

USH, 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.
T IAGO. 'Sblood, but you will
not hear me :
If ever I did dream of such a
matter,
Abhor me.
ROD. 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 ,

1 Tush, never tell me] Thus the Quartos. The Folios omit Tush. Ro-
derigo is impatiently rebuking Iago's protestations, that he was igno-
rant of Roderigo's love for Desdemona. The dialogue, which is
[3 ]
 OTHELLO ACT I

Off-capp'd to him : and, by the faith of man , 10

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 circumstance
Horribly stuff'd with epithets of war ;
And, in conclusion,
Nonsuits my mediators ; for, " Certes," says he,
“ I have already chose my officer.'
And what was he ?

Forsooth, a great arithmetician,

One Michael Cassio, a Florentine, 20
A fellow almost damn'd in a fair wife ;

under weigh before the scene opens, deals with the first news of
Othello's elopement with Desdemona, which Iago has just commu-
nicated to Roderigo .
3 know ofthis] know, without revealing to the speaker, the understand-
ing between Othello and Desdemona.
10 Off-capp'd to] Stood cap in hand soliciting.
13 with a bombast circumstance] with inflated circumlocution.
16 "Certes "] Certainly, assuredly.
19-20 arithmetician ... Florentine] one only fit for dealing with figures
on paper, a man suited to the vocation of a city clerk, able to add and
subtract. Cassio as a Florentine might be credited with quickness
at figures and bookkeeping, a characteristic of the Florentines' tradi-
tional absorption in commerce. Cf. line 31, infra. Arithmetical
faculty might, too, be well ascribed to a soldier who had only learnt
the art of war in books of strategy, which commonly abounded in
statistical tables . Cf. line 24, infra, “ bookish theoric. "
21 A fellow almost damn'd in a fair wife] Thus the early editions. The
reading is difficult, and many changes have been suggested, but none
are quite convincing. Cassio is a bachelor ; but at Act IV, Sc. i, Iago
banters him with the report that he is intending to marry the courtesan
Bianca. Iago may imply sneeringly here that Cassio is on the point of
[4]
SCENE I OTHELLO

That never set a squadron in the field,

Nor the division of a battle knows
More than a spinster ; unless the bookish theoric,
Wherein the toged consuls can propose
As masterly as he : mere prattle without practice
Is all his soldiership . But he, sir, had the election :
And I , of whom his eyes had seen the proof
At Rhodes, at Cyprus, and on other grounds
Christian and heathen, must be be-lee'd and calm'd 80

By debitor and creditor : this counter- caster,

He, in good time, must his lieutenant be,
And I - God bless the mark ! - his Moorship's ancient.

coming to grief, of challenging damnation by making the beautiful

prostitute his wife. Iago has a cynical suspicion of his own wife's
fidelity (see I, iii, 381–382 ; II , i, 289–293 ; IV, ii, 148, infra), and is
inclined to regard damnation as the common fate of all husbands of
beautiful women.
23 the division of a battle] the disposition of a battalion.
99
24 theoric] theory. Cf. All's Well, IV, iii, 135 : "theoric of war.
25 toged] Thusthe First Quarto. All other early editions read less pointedly
tongued, i. e., garrulous, talkative. Toged means wearing the " toga, "
the uniform of civil officers of state as opposed to military officers.
"Consuls " merely means councillors or senators, as in I, ii, 43, infra.
propose] talk.
30 be-lee'd] under the lee of another, out of the way of the wind, and so
becalmed (as of a ship).
31 By debitor and creditor] By a mere bookkeeper, and ready- reckoner.
counter-caster] one who casts up counters ; an old method of account-
ancy. Cf. line 19, supra, "arithmetician. "
32 in good time] used ironically like the French "à la bonne heure, " i. e.,
"forsooth," "good luck. "
33 God bless the mark!] God avert the omen!
ancient] a colloquial mispronunciation of " ensign. "
[5]
 OTHELLO ACT I

ROD. By heaven, I rather would have been his hang-

man.

IAGO. Why, there's no remedy ; ' t is the curse of

service,
Preferment goes by letter and affection,
And not by old gradation , where each second
Stood heir to the first. Now, sir, be judge yourself
Whether I in any just term am affined
To love the Moor.
ROD. I would not follow him then. 40
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 ,
That doting on his own obsequious bondage
Wears out his time, much like his master's ass ,
For nought but provender, and when he's old, cashier'd :
Whip me such honest knaves. Others there are
Who, trimm'd in forms and visages of duty, 50

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
coats
Do themselves homage : these fellows have some soul,
And such a one do I profess myself.

36 by letter and affection] by commendatory testimonial and favouritism.

39 I · • affined] I am bound in any such close terms of affinity or kin-
ship as.
49 honest knaves] honest fellows.
50 trimm❜d . . . visages] decked out in the outward forms and semblances.
[ 6 ]
SCENE I OTHELLO

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, 60
But seeming so, for my peculiar end :
For when my outward action doth demonstrate
The native act and figure of my heart
In compliment extern, ' t is not long after
But I will wear my heart upon my sleeve
For daws to peck at : I am not what I am.
ROD. What a full fortune does the thick-lips owe,
If he can carry ' t thus !
IAGO. Call up her father,
Rouse him : make after him, poison his delight,
Proclaim him in the streets ; incense her kinsmen, 70
And, though he in a fertile climate dwell,
Plague him with flies : though that his joy be joy,

58 I would not be Iago] Either " I should not be my servile self." or prefer-
ably " there would be no need for me to play this malicious rôle.”
64 In compliment extern] In external etiquette or behaviour; Rowe's correc-
tion of the original reading complement [i . e. , accomplishment] extern.
65 I will wear . . . upon my sleeve] Men of fashion wore their mistresses'
favours or tokens pinned to their sleeve.
66 I am not what I am] I am concealing my true character, I am not what
I seem to others to be.
67-68 What ... carry 't thus] What a fulness of luck does the nigger
enjoy or possess, if he can succeed in a matter of this sort. "Thick-
lips," which were dominant features of negroes, was an expression
only applicable by way of abuse to a smooth-lipped Moor.
72 Plague him with flies] The speaker has in mind the noisome activity
of insect pests in barren sandy regions.
[ 7 ]
 OTHELLO ACT I

Yet throw such changes of vexation on ' t

As it may lose some colour.
ROD. Here is her father's house ; I'll call aloud.
IAGO. DO ; with like timorous accent and dire yell
As when, by night and negligence, the fire
Is spied in populous cities .
ROD. What, ho, Brabantio ! Signior Brabantio , ho !
IAGO. Awake ! what, ho , Brabantio ! thieves ! thieves !

80
thieves ! 80

Look to your house, your daughter and your bags !

Thieves ! thieves !

BRABANTIO appears above, at a window

BRA. What is the reason of this terrible summons ?

What is the matter there ?
ROD. Signior, is all your family within ?
IAGO. Are your doors lock'd ?
BRA. Why, wherefore ask you this ?
IAGO. 'Zounds , 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 tupping your white ewe. Arise, arise ; 90

Awake the snorting citizens with the bell ,

Or else the devil will make a grandsire of you :
Arise , I say.

73 changes] alternations. Thus the Quartos. The Folios read chances,

i. e., damaging accidents.
77 by night and negligence] at night and through negligence, or as a result
of carelessness.
[8 ]
SCENE I OTHELLO

BRA. What, have you lost your wits ?

ROD. Most reverend signior, do you know my
voice ?
BRA. Not I : what are you ?
ROD. My name is Roderigo.
BRA . 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, 100
Upon malicious bravery, dost thou come
To start my quiet.
ROD. Sir, sir, sir,
BRA. But thou must needs be sure
My spirit and my place have in them power
To make this bitter to thee.
ROD .
Patience, good sir .
BRA. What tell'st thou me of robbing ? this is Venice ;
My house is not a grange .
ROD. Most grave Brabantio ,
In simple and pure soul I come to you. 108
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 ; you'll

100 distempering draughts] intoxicating liquors.

101 Upon malicious bravery] Out of malicious bravado and bluster. Thus
the Quartos.
107 a grange] a secluded farm-house in the open country.
108 In simple and pure soul] With absolute honesty of purpose.
[ 9 ]
 OTHELLO ACT I

have your nephews neigh to you ; you'll have coursers

for cousins , and gennets for germans .
BRA. 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.
BRA. Thou art a villain .
IAGO. You are - a senator.
BRA. This thou shalt answer ; I know thee, Roderigo.
ROD. Sir, I will answer any thing. But, I beseech
you, 121

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 watch o' the night,
Transported with no worse nor better guard
But with a knave of common hire, a gondolier,
To the gross clasps 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 130
We have your wrong rebuke. Do not believe

113 nephews] grandsons.

114 gennets for germans] (small Spanish) horses for kinsmen.
115 profane] blasphemous.
124 At this odd-even . . . o' the night] At the midmost period of the
night, between 12 P. M. and 1 a. M., when night, as in Macb., III,
iv, 127, is " at odds with morning."
125 Transported] Has been or was transported. The verb in the sentence
is incomplete.
128 and your allowance] and (has) your approval.
131 We have your wrong rebuke ] You rebuke us unjustly.
[ 10 ]
SCENE I OTHELLO

That, from the sense of all civility,

I thus would play and trifle with your reverence :
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 wheeling stranger
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 140
For thus deluding you .
BRA. Strike on the tinder, ho !
Give me a taper ! call up all my people !
This accident 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, nor wholesome to my place,
To be produced — as, if I stay, I shall
Against the Moor : for I do know, the state,
However this may gall him with some check,
Cannot with safety cast him ; for he's embark'd 150
With such loud reason to the Cyprus wars,
Which even now stand in act, that, for their souls,
Another of his fathom they have none

132 from the sense] contrary to the intention.

137-138 In an extravagant ... every where] To a vagabond and rov-
ing foreigner belonging to this and every country.
149 check] rebuke.
150 cast] dismiss, reject. Cf. V, ii, 330, infra.
153 fathom] capacity.
[ 11 ]
 OTHELLO АСТ І

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 Sagittary the raised search ;
And there will I be with him. So farewell . [Exit. 160

Enter, below, BRABANTIO, in his night-gown , and Servants

with torches

BRA. 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 ' t was she ? O, she deceives me
Past thought ! What said she to you ? Get more tapers.
Raise all my kindred. Are they married , think you ?
ROD. Truly, I think they are.

154 in which regard] on which account.

159 the Sagittary] probably intended for the name of a well-known inn ,
which bore as its sign a picture of the Archer of the Zodiac. The
"Centaur " is similarly mentioned in Com. of Errors, I, ii, 9 et passim,
and " the Pegasus " in T. of Shrew, IV, iv, 5. There seems no ground
for the suggestion frequently made by commentators on this line that
the arsenal of Venice was called by this name.
the raised search] the hue and cry.
162 my despised time] According to Johnson "time of no value." The
notion seems to be that for the rest of Brabantio's life he will be an
object of contempt.
[ 12 ]
SCENE II OTHELLO

BRA. O heaven ! How got she out ? O treason of

the blood ! 170
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
May be abused ? Have you not read, Roderigo,
Of some such thing ?
ROD . Yes, sir, I have indeed.
BRA. 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 ?
ROD. I think I can discover him, if you please
To get good guard and go along with me. 180
BRA. 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 deserve 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

173 the property of] the innocence appertaining to.

174 abused] deceived, deluded .
182 I may command at most] My word is law at most houses.
183 of night] Thus the First Quarto. All other early editions read of
might.
2 very stuff] essence.
[ 18 ]
 OTHELLO ACT I

To do no contrived murder : I lack iniquity

Sometimes to do me service : nine or ten times
I had thought to have yerk'd him here under the
ribs.
ОTн. "T is better as it is.
IAGO. Nay, but he prated
And spoke such scurvy and provoking terms
Against your honour,
That, with the little godliness I have,
I did full hard forbear him. But I pray you,
sir, 10
Are you fast married ? Be assured of this,
That the magnifico 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.
Отн. Let him do his spite :
My services, which I have done the signiory,
Shall out-tongue his complaints. 'T is yet to know

20
Which, when I know that boasting is an honour, 20

5 yerk'd him] given him (i. e., Roderigo) a smart stab. Thus the Folios.
The Quartos read jerk’d.
10 forbear him] let him alone.
12 the magnifico] the grandee Brabantio. "Magnifico " was a term spe-
cifically applied to a Venetian magnate.
13-14 a voice potential . . . duke's] a voice of powerful influence quite
as extensive as the duke's. "Double " often means " exceptionally
strong," as "single " often means "exceptionally weak."
17 cable] full means or opportunity.
[ 14 ]
SCENE II OTHELLO

-
I shall promulgate — I fetch my life and being
From men of royal siege, and my demerits
May speak unbonneted to as proud a fortune
As this that I have reach'd : for know, Iago,
But that I love the gentle Desdemona ,
I would not my unhoused free condition
Put into circumscription and confine
For the sea's worth. But, look ! what lights come
yond ?
IAGO . Those are the raised father and his friends :
You were best go in .

30
Отн. Not I ; I must be found :
My parts, my title and my perfect soul,
Shall manifest me rightly. Is it they ?
IAGO. By Janus , I think no.

22 siege] rank. “ Siege " often means " seat " or " throne. "
99 66
demerits] "deserts,' "merits," as in the classical Latin “demereo. ”
99.66
23 unbonneted] This must mean " with the cap off," "without any conceal-
ment. " Othello points out that his merits may openly and undis-
guisedly address on even terms (or rank with) a station in life as
eminent as that to which his marriage conducts him. The sugges-
tion of obeisance which often attaches to " unbonneted " does not
belong to the word here.
26 unhoused] undomesticated, without household cares.
27 circumscription and confine] circumscribed limits.
28 the sea's worth] Cf. Sonnet xxi, 6, " sea's rich gems."
29 raised summoned. Cf. I, i, 159, supra, “ the raised search, " and
I, i, 183, “raise some special officers. '
31 My parts ... my perfect soul] My endowments or gifts • my spot-
less conscience.
33 By Janus] Iago appropriately swears by the double-faced god.

[ 15 ]
 OTHELLO ᎪᏨᎢ 1

Enter CASSIO, and certain Officers with torches

OTн. The servants of the duke, and my lieutenant.

The goodness of the night upon you, friends !
What is the news ?
CAS. The duke does greet you, general ,
And he requires your haste-post-haste appearance,
Even on the instant.
Отн . What is the matter, think you ?
CAS. Something from Cyprus, as I may divine :
It is a business of some heat : the galleys 40
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 quests
To search you out.
Отн. "T is well I am found by you.
I will but spend a word here in the house,
And go with you. [Exit.
CAS . Ancient, what makes he here ?
IAGO. Faith, he to-night hath boarded a land carack :
If it prove lawful prize, he's made for ever. 51

35 The goodness . • upon you] Good night to you !

41 sequent] following one another, one after the other.
43 consuls] councillors. Cf. I, i, 25, supra, “ toged consuls.”
46 about] Thus the Folios. The Quartos read above.
quests] search parties.
50 a land carack] a ship of great burden on land.
[ 16 ]
SCENE II OTHELLO

CAS. I do not understand .

IAGO . He's married .
CAS. To who ?

Re-enter OTHELLO

IAGO. Marry, to — Come, captain, will you go ?

Отн . Have with you.
CAS. 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

Отн. Holla ! stand there !

ROD. Signior, it is the Moor.
BRA. Down with him , thief !
[They draw on both sides.
IAGO. You, Roderigo ! come, sir, I am for you.
Отн. Keep up your bright swords, for the dew will
rust them .

Good signior, you shall more command with years 60

Than with your weapons .
BRA. O thou foul thief, where hast thou stow'd my
daughter ?

52 To who?] Cassio's ignorance is affected. Cf. III , iii, 97, where Othello
asserts that Cassio knew his relations with Desdemona "from first
to last."
53 Have with you] I am quite ready.
55 be advised] be careful.
2 [ 17 ]
 OTHELLO ACT I

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 to marriage that she shunn'd
The wealthy curled darlings of our nation,
Would ever have, to incur a general mock,
Run from her guardage to the sooty bosom 70

Of such a thing as thou, to fear, not to delight.

Judge me the world , if ' t is not gross in sense
That thou hast practised on her with foul charms,
Abused her delicate youth with drugs or minerals
That weaken motion : I'll have't disputed on ;
"T is probable, and palpable to thinking .
I therefore apprehend and do attach thee
For an abuser of the world, a practiser
Of arts inhibited and out of warrant.

65 If ... bound] The First Quarto omits this line.

68 curled darlings] pretty fops, who were wont to curl their hair. Cf. Ant.
.99
and Cleop., V, ii, 299, "the curled Anton
70 guardage] guardianship.
71 a thing ... to fear, not to delight] a thing · • to cause fear, not to
give delight.
72-77 Judge · thee] The First Quarto omits this passage.
72 Judge gross in sense] Let the world judge for me, if it is
not obvious to any understanding . Cf. 76, infra, “ palpable to
thinking."
75 weaken motion] impair the faculties. Hanmer needlessly suggested
waken motion, i. e., waken the sensual impulse, although " motion "
often has the latter sense. Cf. I, iii, 95, infra.
77 attach] arrest.
78 an abuser of the world] a proclaimed cheat.
79 inhibited . . . warrant] prohibited and unauthorised.
[ 18 ]
SCENE II OTHELLO

Lay hold upon him : if he do resist, 80

Subdue him at his peril.
Отн. Hold your hands ,
Both you of my inclining and the rest :
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 ?
BRA. To prison, till fit time
Of law and course of direct session
Call thee to answer.
Отн . 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 OFF . "T is true, most worthy signior ;
The duke's in council, and your noble self,
I am sure, is sent for.
BRA. How! the duke in council !
In this time of the ight ! Bring him away :
Mine's not an idle cause : the duke himself,
Or any of my brothers of the state,
Cannot but feel this wrong as ' t were their own ;
For if such actions may have passage free,
Bond-slaves and pagans shall our statesmen be. [Exeunt.

82 of my inclining] of those inclined to side with me.

86 course of direct session] regular process of judicial procedure.
99 pagans] lawless savages.

[ 19 ]
 OTHELLO ACT I

SCENE III - A COUNCIL-CHAMBER

The Duke and Senators sitting at a table ; Officers attending

DUKE. There is no composition in these news

That gives them credit.
FIRST SEN . Indeed they are disproportion'd ;
My letters say a hundred and seven galleys .
DUKE. And mine , a hundred and forty.
SEC . SEN. And mine, two hundred :
But though they jump not on a just account, —
As in these cases, where the aim reports,
"T is oft with difference , — yet do they all confirm
A Turkish fleet, and bearing up to Cyprus .
DUKE. Nay, it is possible enough to judgement :
I do not so secure me in the error, 10
But the main article I do approve
In fearful sense.
SAILOR. [Within] What, ho ! what, ho ! what, ho !
FIRST OFF. A messenger from the galleys .

1 composition] consistency, coherence.

5 jump not . . . account] agree not in an exact estimate.
6 the aim reports] guess or conjecture brings the news.
8 A Turkish fleet . . . Cyprus] Cyprus was under the dominion of the
Venetian republic from 1489 till 1571 , when it was captured by the
Turkish fleet.
10-12 I do not so secure . . . fearful sense] I do not attach so much im-
portance to the discrepancy as not to admit the substantial accuracy
of the intelligence in its sense of giving ground for alarm.
[ 20 ]
SCENE III OTHELLO

Enter Sailor

DUKE. Now, what's the business ?

SAIL. The Turkish preparation makes for Rhodes ;
So was I bid report here to the state
By Signior Angelo.
DUKE. How say you by this change ?
FIRST SEN. This cannot be,

By no assay of reason : ' t is a pageant

To keep us in false gaze . When we consider
The importancy of Cyprus to the Turk, 20
And let ourselves again but understand
That as it more concerns the Turk than Rhodes,
So may he with more facile question bear it,
For that it stands not in such warlike brace,
But altogether lacks the abilities
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,
30
To wake and wage a danger profitless.
DUKE. Nay, in all confidence , he's not for Rhodes.
FIRST OFF. Here is more news .

14 preparation] force ready for action. Cf. line 221 , infra.

17 How . . . change ?] What do you make of this change ?
18 assay] test.
23 with more facile question bear it] with less opposition contest it.
24-30 For that ... profitless] The First Quarto omits this passage.
24 brace] state of defence.
30 wake and wage] excite and challenge.
[ 21 ]
 OTHELLO ACT I

Enter a Messenger

MESS . The Ottomites , reverend and gracious,

Steering with due course toward the isle of Rhodes,
Have there injointed them with an after fleet.
FIRST SEN. Ay, so I thought . How many, as you
guess ?
MESS . Of thirty sail : and now they do re-stem
Their backward course, bearing with frank appearance
Their purposes toward Cyprus . Signior Montano,
Your trusty and most valiant servitor, 40
With his free duty recommends you thus,
And prays you to believe him.
DUKE. 'Tis certain then for Cyprus.
Marcus Luccicos, is not he in town ?
FIRST SEN. He's now in Florence.
DUKE. Write from us to him ; post-post-haste
dispatch.
FIRST SEN. Here comes Brabantio and the valiant
Moor.

Enter BRABANTIO, OTHELLO, IAGO, RODERIGO, and Officers

DUKE. Valiant Othello, we must straight employ you

Against the general enemy Ottoman.
[ To Brabantio] I did not see you ; welcome, gentle signior ; 50
We lack'd your counsel and your help to-night.

33 The Ottomites] The Ottomans, the Turks.

35 injointed them] joined their forces, combined.
36 Ay, so I ... guess ?] The First Quarto omits this line.
44 Marcus Luccicos] apparently a prominent Greek of Cyprus, who was
known to be visiting Italy. He is mentioned nowhere else.
46 to him] The First Quarto reads wish him, i. e. , desire him to come.
[ 22 ]
SCENE III OTHELLO

BRA. So did I yours. Good your grace, pardon me ;

Neither my place nor aught 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 engluts and swallows other sorrows,
And it is still itself.
DUKE . Why, what's the matter ?
BRA. My daughter ! O , my daughter !
ALL. Dead ?
BRA. Ay, to me ;
She is abused , stol'n from me and corrupted 60

By spells and medicines bought of mountebanks ;

For nature so preposterously to err,
Being not deficient, blind, or lame of sense,
Sans witchcraft could not.
DUKE. 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, yea, though our proper son
Stood in your action .
BRA. Humbly I thank your grace. 70
Here is the man, this Moor ; whom now, it seems,

56 flood-gate] like a torrent rushing through a sluice.

67-69 the bloody ... sense] the stringent statute appointing condign
punishment shall be applied to the letter, in accord with your own
interpretation.
69-70 though • action] though our own son should be defendant in
your action .
[ 23 ]
 OTHELLO ACT I

Your special mandate for the state- affairs

Hath hither brought.
ALL . We are very sorry for 't.
DUKE. [ To Othello] What in your own part can you
say to this ?
BRA. Nothing, but this is so.
OTн. 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 80
Hath this extent, no more . Rude am I in my speech,
And little blest 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 ;
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'd tale deliver 90

Of my whole course of love ; what drugs, what charms,

What conjuration and what mighty magic
For such proceeding I am charged withal —
I won his daughter .
BRA. A maiden never bold ;

77 approved good masters] tried patrons.

84 some nine moons wasted] save for nine months, wasted in unemploy-
ment.
85 dearest] chief, most important.
90 round] plain, direct.
[ 24 ]
SCENE III OTHELLO

Of spirit so still and quiet that her motion

Blush'd at herself ; 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 judgement maim'd and most imperfect,
That will confess perfection so could err 100
Against all rules of nature ; and must be driven
To find out practices of cunning hell,
Why this should be . I therefore vouch again,
That with some mixtures powerful o'er the blood ,
Or with some dram conjured to this effect,
He wrought upon her.
DUKE. To vouch this, is no proof,
Without more certain and more overt test
Than these thin habits and poor likelihoods
Of modern seeming do prefer against him.
FIRST SEN . But, Othello , speak : 110

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 ?
Отн. I do beseech you,
Send for the lady to the Sagittary ,

95-96 her motion . . . herself] any sensual impulse of her spirit caused
blushing. "Motion " is thus used elsewhere. Cf. note on I, ii, 75,
supra. “ Her, ” “ herself " both refer to Desdemona's spirit. The
66
"spirit " or " soul " is usually reckoned feminine.
108-109 thin habits . . . modern seeming] superficial semblances and in-
substantial conjectures of trivial appearance. "Modern " is frequently
used by Shakespeare for trivial or commonplace. Cf. As you like it,
II, vii, 156 : " wise saws and modern instances. "
[ 25 ]
 OTHELLO ACT I

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. Fetch Desdemona hither. 120

ОTH. 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. Say it, Othello .
Отн. Her father loved me, oft invited me,
Still question'd me the story of my life
From year to year, the battles, sieges , fortunes , 130
That I have pass'd.
I ran it through, even from my boyish days
To the very moment that he bade me tell it :
Wherein I spake of most disastrous chances ,
Of moving accidents by flood and field ,
Of hair- breadth ' scapes i' the imminent deadly breach,
Of being taken by the insolent foe ,
And sold to slavery, of my redemption thence,
And portance in my travels' history :

139 portance ... history] Thus substantially the Second Quarto. The
First Quarto has the variation with it all my for portance in my, while
the Folios substitute Travellers for travels' . " Portance" means de-
portment, carriage.
[ 26 ]
SCENE III OTHELLO

Wherein of antres vast and deserts idle , 140

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 Anthropophagi, and men whose heads
Do grow beneath their shoulders . This to hear
Would Desdemona seriously incline :
But still the house-affairs would draw her thence ;
Which ever as she could with haste dispatch,
She'ld come again, and with a greedy ear
Devour up my discourse : which I observing, 150

Took once a pliant hour, and found good means

To draw from her a prayer of earnest heart
That I would all my pilgrimage dilate,
Whereof by parcels she had something heard,
But not intentively : 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,

140 antres] caves or caverns ; a French word, not found elsewhere.

144-145 men whose heads . . . shoulders] Cf. Raleigh's Discoverie of
Guiana, 1596, where a nation of people whose " heades appeare not
above their shoulders " is allotted by Raleigh to a region of South
America on hearsay evidence, which he is inclined to credit.
146 incline] sc. her ear.
151 a pliant hour] a suitable hour.
153 dilate] relate in full.
154 by parcels] in parts, partially.
155 intentively] with full attention, intently. Thus the Quartos. The
First Folio reads less satisfactorily instinctively and the later Folios
distinctively.
[ 27 ]
 OTHELLO ACT I

She gave me for my pains a world of sighs :

She swore, in faith , ' t was strange, ' t was passing strange ;
'T was pitiful, ' t was wondrous pitiful : 161

She wish'd she had not heard it, yet she wish'd
That heaven had made her such a man : she thank'd 10,
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, j
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. 170

Enter DESDEMONA, IAGO, and Attendants

DUKE. 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 .
BRA. 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 ?
DES . My noble father, 180

I do perceive here a divided duty :

To you I am bound for life and education ;

159 sighs] Thus the Quartos. The Folios read unsatisfactorily kisses.
173 Take up · at the best] Make the best of this ugly tortured business.
[ 28 ]
SCENE III OTHELLO

My life and education both do learn me

How to respect you ; you are the lord of duty,
I am hitherto your daughter : but here's my husband ,
And so much duty as my mother show'd
To you, preferring you before her father,
much I challenge that I may profess
Due to the Moor my lord.
BRA . God be with you ! I have done.
Please it your grace , on to the state- affairs : 190

I had rather to adopt a child than get it.

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 clogs on them. I have done, my lord .
DUKE. Let me speak like yourself, and lay a sentence
200
Which, as a grise or step, may help these lovers
Into your favour.
When remedies are past, the griefs are ended
By seeing the worst, which late on hopes depended .

183 learn] teach.

191 get] beget.
197 escape] escapade.
199 Let me speak like yourself] Let me speak as it would become you to
speak (of un fait accompli).
200 grise] step ; from the old French greis, plural of gré, a step.
202 When remedies . . . ended] Cf. L. L. L., V, ii, 28 : " past cure is still
past care." See also Wint. Tale, III, ii, 219–220, and Macb., III, ïi,
11-12.
[ 29 ]
 OTHELLO ACT I

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.
The robb'd that smiles steals something from the thief ;
He robs himself that spends a bootless grief.
BRA. So let the Turk of Cyprus us beguile ; 210
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.
These sentences, to sugar or to gall,
Being strong on both sides , are equivocal :
But words are words ; I never yet did hear
That the bruised heart was pierced through the ear.
I humbly beseech you, proceed to the affairs of state. 220
DUKE. The Turk with a most mighty preparation
makes for Cyprus . Othello, the fortitude of the place
is best known to you ; and though we have there a sub-

207 Patience her injury a mockery makes] Patience ridicules the loss.
213 the free comfort . . . hears] The moral precepts of consolation which
are liberally bestowed when sentences are pronounced in a court of
law. In line 216, infra, “ sentences " is used in the different sense of
"maxims " or "proverbs."
215 to pay grief] to satisfy the call of grief.
216-217 These sentences . . . equivocal] These maxims have equivocal
force, have ambiguous significance, and equally well tend to sweetness
or bitterness, tend to console or exasperate.
219 pierced] penetrated, reached, touched. Cf. L. L. L., V, ii, 740 :
"Honest plain words best pierce the ear of grief."
221 preparation] force ready for action. Cf. line 14, supra.
[ 30 ]
SCENE III OTHELLO

stitute of most allowed sufficiency , yet opinion, a sover-

eign mistress of effects, throws a more safer voice on you :
you must therefore be content to slubber the gloss of
your new fortunes with this more stubborn and boister-
ous expedition .
Отн. The tyrant custom, most grave senators ,
Hath made the flinty and steel couch of war 230

My thrice-driven bed of down : I do agnize

A natural and prompt alacrity
I find in hardness ; and do undertake
These present wars against the Ottomites.
Most humbly therefore bending to your state,
I crave fit disposition for my wife,
Due reference of place and exhibition ,
With such accommodation and besort
As levels with her breeding.
DUKE. If you please,
Be ' t at her father's .
BRA. I'll not have it so. 240
OTн . Nor I.
DES. Nor I, I would not there reside,

224-225 opinion . · effects] public opinion, which exerts effective

sovereignty.
226 slubber the gloss] sully or blur the brightness.
231 thrice-driven bed of down] bed of softest and lightest feathers. A
driving fan was applied to feathers in order to separate the light from
the heavy.
agnize] confess, acknowledge.
235 bending to your state] making obeisance to your throne.
237 Due reference . . . exhibition] Due allotment of residence and
maintenance or allowance.
238 besort] companionship, retinue ; not found elsewhere as a substantive.
[ 31 ]
 OTHELLO ACT I

To put my father in impatient thoughts

By being in his eye. Most gracious duke,
To my unfolding lend your prosperous ear,
And let me find a charter in your voice
To assist my simpleness .
DUKE. What would you , Desdemona ?
DES . That I did love the Moor to live with him,
My downright violence and storm of fortunes
May trumpet to the world : my heart's subdued 250

Even to the very quality of my lord :

I saw Othello's visage in his mind,
And to his honours and his valiant parts
Did I my soul and fortunes consecrate .
So that, dear lords , if I be left behind ,
A moth of peace, 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.
Отн. Let her have your voices . 260

244 your prosperous ear] your propitious, favourable ear. Thus the
Folios. The Quartos read more simply a gracious ear.
245 charter] legal protection.
249 My downright violence and storm of fortunes] My unbridled impetu-
osity and tempestuous challenge of the common course of fortune.
Thus the Folios. The First Quarto reads scorne of Fortunes for storm
offortunes.
251 the very quality] the whole nature, character, and virtue ; “ quality ”
has a wider significance here than its common sense of " profession."
Thus the Folios. The First Quarto reads the vtmost pleasure.
252 I saw . . . mind] I found Othello's true character, not in his black
complexion, but in his mental endowments.
256 A moth] An idle parasite.
[ 32 ]
SCENE III OTHELLO

Vouch 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 defunct- and proper satisfaction ;
But to be free and bounteous to her mind :
And heaven defend your good souls , that you think
I will your serious and great business scant
For she is with me. No , when light-wing'd toys
Of feather'd Cupid seel with wanton dulness
My speculative and officed instruments , 270

That my disports corrupt and taint my business,

Let housewives make a skillet of my helm,
And all indign and base adversities
Make head against my estimation !

263 the young affects] the affections or passions of youth.

264 In me defunct] Capell's correction of the original unintelligible
reading In my defunct. The punctuation of this and the former line
is also due to Capell. For the general sense cf. Fletcher's Fair
Maid of the Inn, Act I, Sc. i : "our cold fathers In whom long since
theiryouthful heats were dead." Othello (III, iii, 269-270, infra) thinks
to explain Desdemona's alleged infidelity : " for I am declined Into the
vale of years, - yet that's not much. "
proper] personal, selfish, self- indulgent.
266 defend ... that you think] forbid you from thinking.
269 seel] close or sew up the eyes. A method employed in taming hawks.
Cf. III, iii, 214, infra.
270 My speculative and officed instruments] My faculties of thought or
vision and of activity in the discharge of duty.
271 my disports] my indulgences in pleasure.
272 skillet] kettle or saucepan.
273 indign and base adversities] unworthy and disgraceful accusations of
enmity.
274 estimation] Thus the Folios. The Quartos read reputation.
3 [ 33 ]
 OTHELLO ACT I

DUKE. Be it as you shall privately determine,

Either for her stay or going : the affair cries haste,
And speed must answer ' t ; you must hence to-night.
DES. To-night, my lord ?
DUKE. This night.
ОTH. With all my heart.
DUKE. At nine i' the morning here we'll meet again.
Othello , leave some officer behind, 280
And he shall our commission bring to you ;
With such things else of quality and respect
As doth import you.
Отн . So please your grace, my ancient ;
A man he is of honesty and trust :
To his conveyance I assign my wife,
With what else needful your good grace shall think
To be sent after me.
DUKE. Let it be so .

Good night to every one. [ To Brab. ] And , noble signior,

If virtue no delighted beauty lack,
Your son-in-law is far more fair than black. 290
FIRST SEN. Adieu , brave Moor ; use Desdemona well.
BRA. Look to her, Moor, if thou hast eyes to see :
She has deceived her father, and may thee.
[Exeunt Duke, Senators, Officers, &c.

283 import] concern .

289 If virtue no delighted beauty lack] If virtue consist in attractions
capable of giving delight. " Delighted " here means " delightful,”
capable of causing delight. Cf. Cymb. , V, iv, 101 , 102 : "my gift
The more delay'd delighted."
293 She has deceived . . . and may thee] An ironical anticipation of the
fate attending the union of Desdemona and Othello.
[ 34 ]
SCENE III OTHELLO

Отн. My life upon her faith ! Honest Iago,

My Desdemona must I leave to thee :
I prithee, 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. 800
[Exeunt Othello and Desdemona.
ROD. Iago !
IAGO. What say'st thou, noble heart ?
ROD. What will I do , thinkest thou ?
IAGO. Why, go to bed and sleep.
ROD. I will incontinently drown myself.
IAGO . If thou dost, I shall never love thee after.
Why, thou silly gentleman !
ROD. It is silliness to live when to live is torment ;
and then have we a prescription to die when death is
our physician. 310

IAGO. O villanous ! 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. Ere I would say I would
drown myself for the love of a guinea-hen, I would
change my humanity with a baboon .
ROD. What should I do ? I confess it is my shame
to be so fond ; but it is not in my virtue to amend it.

297 in the best advantage] at the first or most favourable opportunity.

305 incontinently] straightway, immediately.
312 four times seven years] Iago here claimed to be no more than twenty-
eight years old.
315 guinea-hen] a word occasionally used as a slang term for "courtesan."
[ 35 ]
 OTHELLO ACT I

IAGO. Virtue ! a fig ! ' t is in ourselves that we are

thus or thus . Our bodies are gardens ; to the which our
wills are gardeners : so that if we will plant nettles or
sow lettuce, set hyssop and weed up thyme, supply it
with one gender of herbs or distract it with many, either
to have it sterile with idleness or manured with industry,
why, the power and corrigible authority 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 pre-
posterous conclusions : but we have reason to cool our
raging motions, our carnal stings , our unbitted lusts ;
whereof I take this, that you call love, to be a sect or
scion .
ROD. It cannot be. 332

IAGO . It is merely a lust of the blood and a permis-

sion 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 deserving with cables
of perdurable toughness : I could never better stead thee

320 gardens] Thus the Quartos. The Folios read less satisfactorily our
Gardens.
323 gender] species.
324 manured] cultivated, or tilled. Cf. Milton, Par. Lost, XI, 28 : "his
own hand manuring."
325 corrigible] corrective, or correcting.
326 balance] Thus the Quartos. The Folios read, quite unintelligibly,
the brain.
331 a sect or scion] a cutting or graft.
336 thy deserving] thy merits, deserts.
337 better stead] better serve.
[ 36 ]
SCENE III OTHELLO

than now. Put money in thy purse ; follow thou the

wars ; defeat thy favour with an usurped beard ; I say ,
put money in thy purse . It cannot be that Desdemona
should long continue her love to the Moor- put money
in thy purse nor he his to her : it was a violent com-
mencement , and thou shalt see an answerable sequestra-
tion ; 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 , shall
be to him shortly as bitter as coloquintida . 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 sancti-
mony and a frail vow betwixt an erring barbarian and a
supersubtle 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 : seek thou rather to be hanged in compassing

358
thy joy than to be drowned and go without her.

339 defeat thy favour] disfigure or disguise thy countenance.

343 an answerable sequestration] a corresponding separation, breach, or
parting.
346 locusts] According to Gerard's Herbal, the fruit or bean of the carob
(Siliqua dulcis) tree, found both in South Italy and Palestine, was
of a juicy sweetness, and was " of some called St. John's bread, and
thought to be that which is translated ' locusts ' whereon St. John
did feed when he was in the wilderness. "
347 coloquintida] more familiarly known as "colocynth," made from
"bitter" apples, a familiar ingredient in pills.
853 erring] vagabond.
[ 37 ]
 OTHELLO ACT I

ROD. Wilt thou be fast to my hopes , if I depend on

the issue ? 360

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 ; thine hath no less
reason. Let us be conjunctive in our revenge against
him if thou canst cuckold him, thou dost thyself a
pleasure, me a sport . There are many events in the
womb of time, which will be delivered . Traverse ; go ;
provide thy money . We will have more of this to-
morrow. Adieu .
ROD. Where shall we meet i̇' the morning ? 870
IAGO . At my lodging .
ROD. I'll be with thee betimes.
IAGO. Go to ; farewell. Do you hear, Roderigo ?
ROD. What say you ?
IAGO. No more of drowning, do you hear ?
ROD. I am changed : I'll go sell all my land . [Exit.
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 snipe
But for my sport and profit. 380
I hate the Moor ;
And it is thought abroad that ' twixt my sheets

He has done my office : I know not if ' t be true ;

But I for mere suspicion in that kind

363 hearted] fixed in my heart.

367 Traverse] March ; a military word of command.
379 snipe] " Woodcock " is also frequent in the sense of simpleton.
381-382 And it is thought . my office] See note on I, i, 21 , supra,
and II, i, 289–293, and IV, ii, 148, infra.
[ 38 ]
SCENE III OTHELLO

Will do as if for surety. He holds me well ;

The better shall my purpose work on him.
Cassio's a proper man : let me see now ;
To get his place, and to plume up my will
In double knavery ― How, how ? Let's see : -
After some time, to abuse Othello's ear
That he is too familiar with his wife. 890

He hath a person and a smooth dispose

To be suspected ; framed to make women false .
The Moor is of a free 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.

384 Will ... surety] Will act as if I were certain of it.

He holds me well] He thinks well of me.
386 a proper man] a handsome fellow.
387 plume up my will ] exalt, glorify my ambition.
391 a smooth dispose] a smooth or gentle disposition or manner.

[ 39 ]
 ACT SECOND — SCENE I - A SEA-PORT

IN CYPRUS
AN OPEN PLACE NEAR THE QUAY
Enter MONTANO and two Gentlemen
MONTANO

HAT FROM THE CAPE

can you discern at sea ?
FIRST GENT. Nothing at all :
it is a high-wrought flood ;
I cannot, ' twixt the heaven and
the main ,
W
Descry a sail.
MON. Methinks the wind hath

spoke aloud at land ;

A fuller blast ne'er shook our
battlements :

If it hath ruffian'd so upon the

sea,
What ribs of oak, when mountains melt on them,
Can hold the mortise ? What shall we hear of this ?

7 ruffian'd] blustered.
9 hold the mortise] keep the dovetailed beams in place.
[ 40 ]
SCENE I OTHELLO

SEC. GENT. A segregation of the Turkish fleet : 10

For do but stand upon the foaming shore,
The chidden billow seems to pelt the clouds ;
The wind-shaked surge, with high and monstrous mane ,
Seems to cast water on the burning bear,
And quench the guards of the ever-fixed pole :
I never did like molestation view
On the enchafed flood .
MON. If that the Turkish fleet
Be not enshelter'd and embay'd , they are drown'd ;
It is impossible to bear it out.

Enter a third Gentleman

THIRD GENT. News, lads ! our wars are done. 20

The desperate tempest hath so bang'd the Turks,

That their designment halts : a noble ship of Venice
Hath seen a grievous wreck and sufferance
On most part of their fleet.
MON. HOW ! is this true ?

13 The wind-shaked surge ...

.. mane] The foaming white tops of the
breakers are likened to the " manes " of horses, the breakers being
known in popular parlance as " sea-horses."
14 the burning bear] the shining constellation of the Great Bear, the
"ursa major" in the northern sky.
15 the guards of the ever-fixed pole] the stars near the pole star. In con-
temporary treatises of navigation
66 "the guards " is a term specifically
bestowed on the two stars "ẞ and γ ursae minoris," which are usually
depicted on the shoulder and foreleg of the Little Bear.
23 wreck] The old reading wrack, i. e., ruin, would be better retained
here.
[ 41 ]
 OTHELLO ACT II

THIRD GENT. The ship is here put in,

A Veronesa ; Michael Cassio ,
Lieutenant to the warlike Moor Othello ,
Is come on shore : the Moor himself at sea,
And is in full commission here for Cyprus.
MON. I am glad on't ; ' t is a worthy governor . 80
THIRD GENT. 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.
MON. 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 .
THIRD GENT. Come, let's do so ; 40
For every minute is expectancy
Of more arrivance.
Enter CASSIO

CAS. Thanks, you the valiant of this warlike isle,

That so approve the Moor ! O, let the heavens

26 A Veronesa] Doubtless a ship equipped at the expense of the Veronese

for the Venetian service. Verona was a dependency of Venice.
36 full] finished, perfect .
39-40 Even till . . . regard] As far as the distant horizon, where the blue
of the sea and the blue of the sky merge into one indivisible line of
vision.
[ 42 ]
SCENE I OTHELLO

Give him defence against the elements ,

For I have lost him on a dangerous sea.
MON . Is he well shipp'd ?
CAS . His bark is stoutly timber'd , and his pilot
Of very expert and approved allowance ;
Therefore my hopes, not surfeited to death, 50
Stand in bold cure. [A cry within: "A sail, a sail, a sail !"

Enter a fourth Gentleman

CAS . What noise ?
FOURTH GENT. The town is empty ; on the brow o'
the sea

Stand ranks of people, and they cry “ A sail !"

CAS. My hopes do shape him for the governor.
[Guns heard.
SEC. GENT. They do discharge their shot of courtesy :
Our friends at least.
CAS. I pray you, sir, go forth,
And give us truth who ' t is that is arrived.
SEC. GENT. I shall . [Exit.
MON. But, good lieutenant, is your general wived ? 60
CAS. Most fortunately : he hath achieved a maid
That paragons description and wild fame ;
One that excels the quirks of blazoning pens ,

49 Of very expert and approved allowance] With a reputation for great

skill and experience.
50 not surfeited to death] not quite sick unto death.
51 Stand in bold cure] Are confident of remedy, are assured that all may
yet be well.
53 brow o'the sea] edge, margin of the shore.
63 excels • pens] outmatches all the happy turns of pens devoted to
panegyric .
[ 43 ]
 OTHELLO ACT II

And in the essential vesture of creation

Does tire the ingener.

Re-enter second Gentleman

How now ! who has put in ?

SEC. GENT. "T is one Iago, ancient to the general .
CAS. He has had most favourable and happy speed :
Tempests themselves , high seas, and howling winds,
The gutter'd rocks, and congregated sands,
Traitors ensteep'd to clog the guiltless keel , 70
As having sense of beauty, do omit
Their mortal natures, letting go safely by
The divine Desdemona .
MON. What is she ?
CAS. She that I spake of, our great captain's captain,
Left in the conduct of the bold Iago ;
Whose footing here anticipates our thoughts
A se'nnight's speed . Great Jove , Othello guard,

64-65 And in the essential . . . ingener] And in those essential or su-

preme qualities of beauty, which are possible in created beings [she]
""
wearies out or defeats the powers of the pictorial artist. "Ingener '
is used in the sense of " designer " or " author." Cf. Gabriel Har-
vey's Pierce's Supererogation ( 1592) , p . 8 : “ ingener of phrases."
65 tire the ingener] Thus the Folios. The Quartos read tamely bear an
excellency.
put in] sc. to port.
69 gutter'd rocks] rocks with channels or gutters cut about them by the
sea's action.
70 ensteep'd] steeped in water, submerged. Thus the Folios. The
First Quarto reads enscerped, i. e ., enscarped.
71-72 omit ... natures] forgo their deadly characteristics. "Mortal "
means destructive, death dealing.
77 a se'nnight's speed] a week's space.
[ 44 ]
SCENE I OTHELLO

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, 80
Give renew'd fire to our extincted 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 .
Hail to thee, lady ! and the grace of heaven ,
Before, behind thee, and on every hand,
Enwheel thee round !
DES . I thank you, valiant Cassio.
What tidings can you tell me of my lord ?
CAS. He is not yet arrived : nor know I aught
90
But that he's well and will be shortly here.
DES . O, but I fear - How lost you company ?
CAS . The great contention of the sea and skies
Parted our fellowship ― But, hark ! a sail .
[A cry within: "A sail, a sail !" Guns heard.
SEC. GENT. They give their greeting to the citadel :
This likewise is a friend.
CAS . See for the news . [Exit Gentleman.
Good ancient, you are welcome. [ To Emilia] Welcome,
mistress :

81 extincted] extinguished, quenched.

82 And bring ... comfort] Thus the Quartos. The Folios omit the line.
83 riches] used in the singular like the French richesse, i. e., wealth. Cf.
III, iii, 177, infra.
[ 45 ]
 OTHELLO ACT II

Let it not gall your patience, good Iago,

That I extend my manners ; ' t is my breeding
That gives me this bold show of courtesy . [Kissing her.
IAGO. Sir, would she give you so much of her lips 100
As of her tongue she oft bestows on me,
You'ld have enough.
DES . Alas , she has no speech.
IAGO. In faith , too much ;
I find it still when I have list to sleep :
Marry, before your ladyship, I grant,
She puts her tongue a little in her heart
And chides with thinking.
EMIL. You have little cause to say so .
IAGO. Come on, come on ; you are pictures out of
doors,
Bells in your parlours, wild- cats in your kitchens , 110

Saints in your injuries , devils being offended ,

Players in your housewifery, and housewives in your
beds.
DES. 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.
EMIL. You shall not write my praise .
IAGO. No, let me not.

104 have list] have inclination.

109 pictures] beautiful painted objects.
110 Bells] Sounding cymbals.
111 Saints in your injuries] Assume the meek air of saints when you are
bent on injuring others.
112 housewives] hussies, with an implication of wantonness.
[ 46 ]
SCENE I OTHELLO

DES. 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.
DES. Come on, assay - There's one gone to the
harbour ? 120

IAGO. Ay, madam.

DES. I am not merry ; but I do beguile
The thing I am 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 ;
It plucks out brains and all : but my Muse labours ,
And thus she is deliver'd .
If she be fair and wise , fairness and wit,
The one's for use , the other useth it. 130

DES . Well praised ! How if she be black and witty ?

IAGO . If she be black, and thereto have a wit,
She'll find a white that shall her blackness fit.
DES . Worse and worse.
EMIL. How if fair and foolish ?
IAGO . She never yet was foolish that was fair ;
For even her folly help'd her to an heir.
DES. These are old fond paradoxes to make fools

119 critical] censorious. Similarly " critic " commonly means 66 censor."
126 frize] rough woollen cloth to which birdlime naturally sticks fast.
130 the other useth it] her wit enables her to employ her beauty to the
best advantage.
133 white] a quibble on " white " and " wight, " a fellow. Cf. line 157,
infra.
138 fond] silly.
[ 47 ]
 OTHELLO ACT II

laugh i' the alehouse . What miserable praise hast thou

for her that's foul and foolish ? 140
IAGO. There's none so foul, and foolish thereunto ,
But does foul pranks which fair and wise ones do.
DES. O heavy ignorance ! thou praisest the worst
best. But what praise couldst thou bestow on a de-
serving woman indeed , one that in the authority of her
merit did justly put on the vouch of very malice itself ?
IAGO . She that was ever fair and never proud,
Had tongue at will and yet was never loud ,
Never lack'd gold and yet went never gay,
Fled from her wish and yet said " Now I may ;" 150
She that, being anger'd , her revenge being nigh,
Bade her wrong stay and her displeasure fly ;
She that in wisdom never was so frail
To change the cod's head for the salmon's tail ;
She that could think and ne'er disclose her mind,
See suitors following and not look behind ;
She was a wight, if ever such wight were, -

141 foul] ugly.

145-146 one that . . . malice itself] one that was so conscious of her own
merit and of the authority it gave her that she could justly call on
malice itself to vouch for her virtuous character.
148 Had tongue at will] Had free command of speech.
154 change ... tail] give up delicate fare in exchange for coarse fare.
The cod's head was held to be delicate eating, while the salmon's tail
was thought not to be worth serving up at table. An ambiguous
reference has been suggested here to Desdemona's preference for a
coarse suitor like Othello to one of greater refinement, such as Rod-
erigo. In that case Iago doubtless had in mind that a cod's head
meant a fool as well as an edible delicacy.
156 See . . . behind] This line is omitted from the First Quarto.
[ 48 ]
SCENE I OTHELLO

DES. To do what ?
IAGO . To suckle fools and chronicle small beer.
DES. 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 liberal
counsellor ? 163

CAS . He speaks home, madam : you may relish him

more in the soldier than in the scholar.
IAGO . [Aside] He takes her by the palm : ay, well said ,
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 . You say true ; ' t is
so, indeed : if such tricks as these strip you out of your
lieutenantry, it had been better you had not kissed your
three fingers so oft, which now again you are most apt
to play the sir in. Very good ; well kissed ! an excellent
courtesy ! ' t is so, indeed . Yet again your fingers to your
lips ? would they were clyster-pipes for your sake !
[Trumpet within. ] The Moor ! I know his trumpet. 176
CAS. "T is truly so.
DES. Let's meet him and receive him.
CAS . Lo, where he comes !

159 chronicle small beer] keep account of small household expenses.

162 profane and liberal] blasphemous and licentious.
169 gyve ... courtship] fetter, entrap thee in thine own acts of courtesy.
Thus the Folios. The Quartos read catch you in your own courtesies.
171-172 kissed your three fingers] made the gesture of politeness, which
was in vogue in high society.
173 play the sir] show your good breeding and gallantry.
173-174 well kissed ! ... courtesy] Probably Cassio has just saluted
Desdemona by kissing his hand.
4
[ 49 ]
 OTHELLO ACT II

Enter OTHELLO and Attendants

OTH.
Отн. O my fair warrior !
DES . My dear Othello ! 180
Отн. 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 labouring bark climb hills of seas
Olympus-high, and duck again as low
As hell's from heaven ! If it were now to die,
'T were now to be most happy ; for I fear,
My soul hath her content so absolute
That not another comfort like to this 190
Succeeds in unknown fate.
DES . The heavens forbid
But that our loves and comforts should increase,
Even as our days do grow !
Отн . Amen to that , sweet powers !
I cannot speak enough of this content ;
It stops me here ; 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 !

180 my fair warrior] a conventional apostrophe of amorous sonneteers of

the day. Cf. Spenser's Amoretti, lvii, 1 : “ Sweet warrior. " It is de-
rived from Petrarch's " dolce guerrera, " which is constantly imitated
by the French poets. Cf. De Baif's " belle ennemi " and Desportes'
"douce adversaire." The phrase is also found in Pandora (London,
1584), an adaptation of Ronsard's verse by John Southern or Soothern.
[ 50 ]
SCENE I OTHELLO

But I'll set down the pegs that make this music,
As honest as I am.
Отн. Come, let us to the castle.
News, friends ; our wars are done , the Turks are
drown'd . 200

How does my old acquaintance of this isle ?

Honey, you shall be well desired in Cyprus ;
I have found great love amongst them. O my sweet,
I prattle out of fashion, and I dote
In mine own comforts . I prithee, good Iago ,
Go to the bay, and disembark my coffers :
Bring thou the master to the citadel ;
He is a good one, and his worthiness
Does challenge much respect. Come, Desdemona,
Once more well met at Cyprus. 210
[Exeunt all but Iago and Roderigo.
IAGO. Do thou meet me presently at the harbour.
Come hither. If thou be'st valiant - as , they say, base
men being in love have then a nobility in their natures
-- list me. The lieutenant
more than is native to them —
to-night watches on the court of guard . First, I must

198 set down the pegs] lower the pegs or pins (on which the wires were
tightly stretched on well-tuned musical instruments) . Iago means
that he will turn this harmony to discord.
202 well desired] much solicited by hospitable invitations.
204 out of fashion] without method, aimlessly.
dote] talk stupidly.
207 the master] the sailing master of the ship, who held first place under
the captain in large vessels.
212-214 base men . . . native to them] Cf. Hamlet, IV, v, 158 : "Nature
is fine in love."
215 on the court of guard] on guard, on sentinel duty. The phrase " court
[ 51 ]
 OTHELLO ACT II

tell thee this : Desdemona is directly in love with

him .
ROD. With him ! why, ' t is not possible. 217
IAGO. Lay thy finger thus, and let thy soul be in-
structed . 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 ? When the
blood is made dull with the act of sport , there should
be, again to inflame it and to give satiety a fresh ap-
petite, loveliness in favour, sympathy in years, manners
and beauties ; all which the Moor is defective in : now,
for want of these required conveniences, her delicate ten-
derness will find itself abused, begin to heave the gorge,
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 pregnant and unforced
position — who stands so eminently 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, for the better compassing

of guard" is common. "Court " is commonly assumed to be a cor-

ruption of the French " corps."
218 Lay thy finger thus] Iago puts his finger to his lips, enjoining silence
on Roderigo.
221 and will she love him] Thus the Quartos. The Folios have merely
To love him.
232 pregnant and unforced] most obvious and natural.
236 civil and humane seeming] courteous and polite demeanour.
236-237 the better compassing . . . affection] the better indulgence of his
licentious and most secret wanton disposition.
[ 52 ]
 SCENE I OTHELLO

of his salt and most hidden loose affection ? why, none ;

why, none : a slipper and subtle knave ; a finder out of
occasions ; that has an eye can stamp and counterfeit
advantages , 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
green minds look after : a pestilent complete knave ;
and the woman hath found him already. 244
ROD. I cannot believe that in her ; she's full of most
blest condition .
IAGO . Blest fig's-end ! the wine she drinks is made of
grapes : if she had been blest, she would never have
loved the Moor : blest pudding ! Didst thou not see her
paddle with the palm of his hand ? didst not mark that ?
ROD. Yes, that I did ; but that was but courtesy. 251
IAGO. Lechery, by this hand ; an index and obscure
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
mutualities so marshal the way, hard at hand comes the
master and main exercise , the incorporate conclusion :
pish ! But, sir, be you ruled by me : I have brought

238 slipper] an old form of " slippery."

239 stamp and counterfeit advantages] coin and forge opportunities.
242 green] young, unripe.
244 found him] acknowledged his fascination.
246 blest condition] pious temperament .
252 index] The " index " was usually prefixed to books of the day and
was applied generally to the prefatory matter.
256 mutualities] interchanges of familiarity.
257 the incorporate conclusion] cohabitation.
[ 53 ]
く
 OTHELLO ACT II

you from Venice. Watch you to-night ; for the com-

mand, 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 tainting his dis-
cipline, or from what other course you please, which the
time shall more favourably minister. 264
ROD . Well .
IAGO . Sir, he is rash and very sudden in choler, and
haply may strike at you : provoke him, that he may ;
for even out of that will I cause these of Cyprus to
mutiny ; whose qualification shall come into no true
taste again but by the displanting of Cassio . So shall
you have a shorter journey to your desires by the means
I shall then have to prefer them, and the impediment
most profitably removed, without the which there were
no expectation of our prosperity. 274
ROD. I will do this, if I can bring it to any oppor-
tunity.
IAGO. I warrant thee. Meet me by and by at the
citadel : I must fetch his necessaries ashore . Farewell.
ROD. Adieu . [Exit.
IAGO . That Cassio loves her, I do well believe it ; 280

262 tainting] casting a slur on, discrediting.

266 sudden in choler] hasty in anger.
269-270 whose qualification ... again] whose assuagement of anger,
whose pacification shall never be without some unpleasant taste of
bitterness. "Qualification " is a rare derivative from "qualify, "
which ordinarily meant " appease, assuage, allay. " Cassio talks
(II, iii, 36, infra) of a cup of wine being " qualified ” (i. e., allayed,
diluted with water).
272 prefer] advance.
[ 54 ]
SCENE I OTHELLO

That she loves him, ' t is apt and of great credit :

The Moor, howbeit 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 peradventure
I stand accountant for as great a sin,
But partly led to diet my revenge,
For that I do suspect the lusty Moor
Hath leap'd into my seat : the thought whereof 290
Doth like a poisonous mineral gnaw my inwards ;
And nothing can or shall content my soul
Till I am even'd with him, wife for wife ;
Or failing so, yet that I put the Moor
At least into a jealousy so strong
That judgement cannot cure . Which thing to do,
If this poor trash of Venice, whom I trash
281 apt .. credit] natural and most credible.
289-290 I do suspect · seat] See note on I, i, 21 , and I, iii, 381-382 ,
supra, and IV, ii, 148, infra.
291 like a poisonous mineral gnaw] like a poisonous mineral (which kills
by corrosion).
297-298 If this poor ... putting on] Thus Steevens, who substituted for
I crush of the First Quarto, and I trace of the other early editions, the
words I trash. The verb “trash " was a technical term of the kennel,
and meant " to restrain by fastening a weight to the neck of an over-
eager hound. 99 Iago means that he will succeed if Roderigo, this
poor insignificant Venetian (“ trash of Venice ") , whom he is checking
because of his impetuosity in pursuit of his lady love, prove equal to
the task of provoking the quarrel with Cassio. If the Folio I trace
be retained, Iago may mean that he is dogging the steps of Roderigo
in order to quicken his pace (in the pursuit of Desdemona) , but there
seem difficulties in this interpretation of "for his quick hunting. "
[ 55 ]
 OTHELLO ACT II

For his quick hunting, stand the putting on,

I'll have our Michael Cassio on the hip,
Abuse him to the Moor in the rank garb ; 300
For I fear Cassio with my night-cap too ;
Make the Moor thank me, love me and reward me,
For making him egregiously an ass
And practising upon his peace and quiet
Even to madness. "T is here, but yet confused :
Knavery's plain face is never seen till used. [ Exit.

SCENE II - A STREET

Enter a Herald with a proclamation ; People following

HER. It is Othello's pleasure , our noble and valiant

general, that upon certain tidings now arrived , import-
ing the mere perdition 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 addic-
tion leads him : for, besides these beneficial news, it is
the celebration of his nuptial. So much was his pleasure
should be proclaimed . All offices are open, and there

300 in the rank garb] in his gross character, as warrants his coarseness.
Thus the Quartos. The Folios read in the right garb. " Rank " is fre-
quently found in the sense of " lascivious,” “'wanton. "
305 'Tis here] Iago raises his hand to his head.
306 Knavery's ... used] A knave can never clearly forecast his plans
till the time for action arrives.
3 mere perdition] entire destruction.
5 addiction] inclination. Thus the Second Quarto, which the Folios
misprint addition. The First Quarto reads minde.
8 offices] rooms in the castle where stores of food and drink were kept.
[ 56 ]
SCENE III OTHELLO

is full liberty of feasting from this present hour of five

till the bell have told eleven . Heaven bless the isle of 10
Cyprus and our noble general Othello ! [Exeunt.

SCENE III - A HALL IN THE CASTLE

Enter OTHELLO, DESDEMONA, CASSIO, and Attendants

OTH . Good Michael , look you to the guard to- night :

Let's teach ourselves that honourable stop,
Not to outsport discretion .
CAS. Iago hath direction what to do ;
But notwithstanding with my personal eye
Will I look to 't.
Отн . Iago is most honest .
Michael, good night : to-morrow with your earliest
Let me have speech with you . Come, my dear love,
The purchase made, the fruits are to ensue ;
10
That profit's yet to come ' tween me and you .
Good night. [Exeunt Othello, Desdemona, and Attendants.

Enter LAGO

CAS. Welcome , Iago ; we must to the watch.

IAGO. Not this hour, lieutenant ; ' t is not yet ten o'
the clock. Our general cast 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.

3 to outsport discretion] to neglect precautions by excessive indulgence in

sport and revelry.
14 cast us] dismissed us.
[ 57 ]
 OTHELLO ACT II

CAS . She's a most exquisite lady.

IAGO . And , I'll warrant her , full of game.
CAS . Indeed she's a most fresh and delicate creature . 20
IAGO . What an eye she has ! methinks it sounds a
parley to provocation.
CAS. An inviting eye ; and yet methinks right modest.
IAGO. And when she speaks , is it not an alarum to
love ?
CAS. She is indeed perfection .
IAGO . Well, happiness to their sheets ! Come, lieu-
tenant, I have a stoup of wine ; and here without are a
brace of Cyprus gallants that would fain have a measure
to the health of black Othello .
CAS. Not to-night, good Iago : I have very poor and 30
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 .

CAS . I have drunk but one cup to-night, and that

was craftily qualified too , and behold what innovation it
makes here : I am unfortunate in the infirmity, and dare
not task my weakness with any more.
IAGO. What, man ! ' t is a night of revels : the gallants
desire it. 40
CAS. Where are they ?
IAGO. Here at the door ; I pray you , call them in.
CAS. I'll do ' t ; but it dislikes me. [Exit.

27 a stoup] a large tankard.

36 craftily qualified] slily allayed, diluted with water. See note on II, i,
269-270, supra.
[ 58 ]
SCENE III OTHELLO

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 offence
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 caroused
Potations pottle-deep ; and he's to watch : 50
Three lads of Cyprus, noble swelling spirits,
That hold their honours in a wary distance,
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 drunk-
ards,
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,
My boat sails freely, both with wind and stream.

Re-enter CASSIO ; with him MONTANO and Gentlemen ; Servants

following with wine

CAS . 'Fore God, they have given me a rouse already. 60

MON. Good faith, a little one ; not past a pint, as I
am a soldier.
IAGO . Some wine , ho !

50 pottle-deep] a " pottle " was a measure of two quarts.

52 That hold their honours . . . distance] That treat their honour with
the highest respect, are most sensitive on points of honour.
53 The very elements . . . isle] The very quintessence of the warlike
people here.
58 If consequence • approve] If the result attest, prove true.
60 a rouse] a deep draught.
[ 59 ]
 OTHELLO ACT II

[Sings] And let me the canakin clink, clink ;

And let me the canakin clink :
A soldier's a man ;
A life's but a span ;
Why then let a soldier drink.
Some wine, boys !
CAS. 'Fore God, an excellent song. 70

IAGO. I learned it in England, where indeed they are

most potent in potting : your Dane, your German , and
your swag-bellied Hollander, ― Drink, ho ! - are noth-
ing to your English.
CAS. 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 ;
he gives your Hollander a vomit ere the next pottle can
be filled .
CAS . To the health of our general !
MON. I am for it, lieutenant, and I'll do you justice . 80
IAGO. O sweet England !

64-68 And let me • . • a soldier drink] A verse out of a popular drink-

ing song of the day, although it has not been met with elsewhere
in this precise form. Cf. Ravenscroft's Pammelia (1609) , where
a drinking song has the refrain : "Tap the cannikin, troll the
cannikin, Toss the cannikin, turn the cannikin." 66 " Canakin " or
"cannikin " is, of course, a diminutive of " can."
72-74 your Dane . .. your English] For other references by Shakespeare
to the drinking habits of these peoples, cf. Merch. of Ven., I , ii, 76, seq.
and Hamlet, I, iv, 17, seq.
75 expert] Thus the First Quarto. The other early editions read ex-
quisite.
77 Almain] a common term for a German.
80 I'lldo you justice] I'll drink as much as you. Cf. 2 Hen. IV, V, iii, 71 :
"you have done me right."
[ 60 ]
SCENE III OTHELLO

[Sings] King Stephen was a worthy peer,

His breeches cost him but a crown ;
He held them sixpence all too dear,
With that he call'd the tailor lown.

He was a wight of high renown,

And thou art but of low degree :
"T is pride that pulls the country down ;
Then take thine auld cloak about thee.

Some wine, ho ! 90
CAS . Why, this is a more exquisite song than the
other.
IAGO . Will you hear ' t again ?
CAS . 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 .
CAS. For mine own part -no offence to the general ,
― I hope to be saved .
nor any man of quality ·
IAGO. And so do I too , lieutenant. 100

CAS. Ay, but, by your leave , not before me ; the lieu-

tenant is to be saved before the ancient. Let's have no
more of this ; let's to our affairs . God forgive us our

82-89 King Stephen ... cloak about thee] A quotation from an old
ballad called Take thy old cloak about thee which is given in
full in Percy's Reliques (ed. 1876, Vol. I, pp. 195-198) . Allusion is
made to the lines concerning King Stephen in The Tempest, IV, i,
221-222.
95-96 and there be souls must not be saved] The Quartos omit this sen-
tence.
[ 61 ]
 OTHELLO ACT II

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.
CAS. Why, very well then ; you must not think then
that I am drunk. [Exit. 110
MON. 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 Cæsar
And give direction : and do but see his vice ;
"T is to his virtue a just equinox,
The one as long as the other : 't is pity of him.
I fear the trust Othello puts him in
On some odd time of his infirmity
Will shake this island .
MON. But is he often thus ? 120
IAGO. 'Tis evermore the prologue to his sleep :
He'll watch the horologe a double set,
If drink rock not his cradle .
MON. 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 ?

111-112 set the watch] mount guard.

122 He'll watch . a double set] He'll keep awake while the clock goes
round twice, through the whole twenty-four hours.
[ 62 ]
SCENE III OTHELLO

Enter RODERIGO

IAGO . [Aside to him] How now, Roderigo !

I pray you, after the lieutenant ; go. [Exit Roderigo.
MON. And ' t is great pity that the noble Moor 130

Should hazard such a place as his own second

With one of an ingraft infirmity :
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 ?
A cry within: "Help ! help !"

Re-enter CASSIO, driving in RODERIGO

CAS. 'Zounds ! you rogue ! you rascal !

MON. What's the matter, lieutenant ?
CAS. A knave teach me my duty ! But I'll beat the
knave into a wicker bottle. 140
ROD. Beat me !
CAS. Dost thou prate, rogue ? [Striking Roderigo.
MON. Nay, good lieutenant ; I pray you, sir, hold
your hand.
CAS. Let me go, sir, or I'll knock you o'er the
mazzard.
MON. Come, come, you're drunk.
CAS . Drunk ! [They fight.

132 ingraft] inveterate, rooted.

140 wicker bottle] Thus the Quarto. The Folios read Twiggen Bottle.
A flask covered with straw network is intended by either word.
[ 63 ]
 OTHELLO ACT II

IAGO . [Aside to Roderigo] Away, I say ;

go out, and
cry a mutiny . [Exit Roderigo.
Nay, good lieutenant ! God's will, gentlemen ! 150
- Lieutenant, — sir, — Montano, - sir ; -
Help , ho ! —
-
Help , masters ! — Here's a goodly watch indeed !
[A bell rings.
Who's that that rings the bell ? - Diablo, ho !
The town will rise : God's will, lieutenant, hold ;
You will be shamed for ever..

Re-enter OTHELLO and Attendants

Отн. What is the matter here ?

MON. 'Zounds, I bleed still ; I am hurt to the death .
[Faints.
OTн. Hold, for your lives !
IAGO. Hold, ho ! Lieutenant, sir, — Montano, -
gentlemen ,
Have you forgot all sense of place and duty ? 159
Hold ! the general speaks to you ; hold, hold, for
shame !

Отн. Why, how now, ho ! from whence ariseth this ?

Are we turn'd Turks, and to ourselves do that
Which heaven hath forbid the Ottomites ?

153 Diablo] A contraction of the Italian " Diabolo," i. e., the devil.
156 I am hurt to the death [Faints] Thus the Second and Third Quartos.
The First Quarto omits the stage direction . The First Folio adds
He dies to the text of the line. Such words could not be a stage
direction ; for Montano does not die. If He dies be retained, it
must be as a threat on Montano's part to pursue the fight till
Cassio die. But it is simpler to omit the words.
163 Ottomites] The Turks had been drowned and thereby prevented
from fighting on land.
[ 64 ]
SCENE III OTHELLO

For Christian shame, put by this barbarous brawl :

He that stirs next to carve for his own rage
Holds his soul light ; he dies upon his motion.
Silence that dreadful bell : it frights the isle
From her propriety. What is the matter, masters ?
Honest Iago, that look'st dead with grieving,
Speak, who began this ? on thy love, I charge thee. 170
IAGO . I do not know : friends all but now, even
now,
In quarter, and in terms like bride and groom
Devesting them for bed ; and then, but now,
As if some planet had unwitted men,
Swords out, and tilting one at other's breast,
In opposition bloody. I cannot speak
Any beginning to this peevish odds ;
And would in action glorious I had lost
Those legs that brought me to a part of it !
OTн . How comes it, Michael, you are thus forgot ? 180
CAS. I pray you , pardon me ; I cannot speak.
ОTн. Worthy Montano, you were wont be civil ;
The gravity and stillness of your youth
The world hath noted , and your name is great

164 put by] abate, end.

165 carve for] gratify, from the notion of causing pleasure by serving
food. Thus all the early editions save the First Quarto, which
feebly substitutes carve forth.
166 upon his motion] on his stirring, if he move.
168 her propriety] her natural quiet.
172 In quarter] In their quarters in the guard room.
177 peevish odds] foolish quarrel.
183 stillness] placidity.
5 [ 65 ]
 OTHELLO ACT II

In mouths of wisest censure : what's the matter,

That you unlace your reputation thus,

And spend your rich opinion for the name

Of a night-brawler ? give me answer to it.
MON. Worthy Othello, I am hurt to danger :
Your officer, Iago, can inform you — 190
While I spare speech, which something now offends
me
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.
Отн. Now, by heaven,
My blood begins my safer guides to rule ,
And passion, having my best judgement collied ,
•
Assays to lead the way : if I once stir,
Or do but lift this arm, the best of you 200

Shall sink in my rebuke. Give me to know

How this foul rout began, who set it on,
And he that is approved in this offence,
Though he had twinn'd with me, both at a birth,

185 censure] judgment.

186 unlace] undo, remove by unlacing, as of a garment.
187 spend ... opinion] squander your good repute.
191 something now offends me] somewhat hurts me now.
194 self-charity] care of one's self.
197 My blood] My passionate feeling.
198 collied] blackened, darkened. Cf. Mids. N. Dr., I, i, 145 : "the
collied night."
203 approved in] proved guilty of.
[ 66 ]
SCENE III OTHELLO

Shall lose me. What! in a town of war,

Yet wild, the people's hearts brimful of fear,

To manage private and domestic quarrel,
In night, and on the court and guard of safety !
'Tis monstrous. Iago, who began't ?
210
MON. If partially affined, 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 offence 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 . Sir, this gentleman 220
Steps in to Cassio and entreats his pause :
Myself the crying fellow did pursue,
Lest by his clamour ― as it so fell out

205 lose me] forfeit my favour.

207 manage] handle, deal with.
208 court and guard of safety] a somewhat awkward variation of the
common phrase " court of guard, " which seems a corruption of
66
" corps de garde." See note on II, i, 215, supra. “Of safety" has
the force of an epithet implying that the guard exists in the interest
of safety.
210-211 If partially . . . truth] If being connected by close ties or offi-
cial relations, which make for partiality, thou art thereby led to give a
partial account.
219 with determined sword] with drawn sword with which he was resolved
to strike him.
[ 67 ]
 OTHELLO ACT II

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 ; 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 230

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,
Which patience could not pass.
OTH . I know , Iago ,
Thy honesty and love doth mince this matter ,
Making it light to Cassio. Cassio , I love thee ; 240
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 .
DES. What's the matter ?
OTн. All's well now, sweeting ; come away to bed.
Sir, for your hurts , myself will be your surgeon :
[To Montano, who is led off.
Lead him off.
Iago, look with care about the town,

224 fall in fright] fall into alarm, into panic.

[ 68 ]
SCENE III OTHELLO

And silence those whom this vile brawl distracted.

Come, Desdemona : ' t is the soldiers' life
To have their balmy slumbers waked with strife . 250
[Exeunt all but Iago and Cassio.
IAGO. What, are you hurt, lieutenant ?
CAS. Ay, past all surgery.
IAGO. Marry, heaven forbid !
CAS. 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 ! 257
IAGO . As I am an honest man, I thought you had
received some bodily wound ; there is more sense in that
than in reputation . Reputation is an idle and most
false imposition ; 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 recover the general again : you are but now
cast in his mood, a punishment more in policy than in
malice ; even so as one would beat his offenceless dog
to affright an imperious lion : sue to him again , and he's
yours .
CAS . I will rather sue to be despised than to deceive

259 sense] sense of feeling, sensibility. Thus the Folios ; the Quartos
read offence. The meaning is of course that a wound in the body
causes more pain than a wound to the reputation.
261 imposition] imposture or delusion.
265 cast in his mood] dismissed when he was in an angry mood.
266-267 as one would beat . . . lion] Cf. Cotgrave, French-Engl. Dict.,
1611 : "Batre le chien devant le lyon, To punish a meane man in
the presence, and to the terror of, a great one."
[ 69 ]
 OTHELLO ACT II

so good a commander with so slight , so drunken, and so

indiscreet an officer. Drunk ? and speak parrot ? and
squabble ? swagger ? swear ? and discourse fustian
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 ? 276
CAS. I know not.
IAGO. Is't possible ?
CAS. I remember a mass of things, but nothing dis-
tinctly ; 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 ! 283

IAGO . Why, but you are now well enough : how came
you thus recovered ?

CAS. 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. 292
CAS . I will ask him for my place again ; he shall tell
me I am a drunkard ! Had I as many mouths as
Hydra, such an answer would stop them all . To be

270-272 Drunk? . . . shadow] The First Quarto omits this passage.

270 speak parrot?] speak as senselessly as a parrot.
287 unperfectness] imperfection, defect.
[ 70 ]
SCENE III OTHELLO

now a sensible man, by and by a fool , and presently a

beast ! O strange ! Every inordinate cup is unblest,
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. 801
CAS. 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 gen-
eral's wife is now the general. I may say so in this re-
spect, 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 ; and, my fortunes against any lay worth
naming, this crack of your love shall grow stronger than
it was before. 315
CAS . You advise me well.
IAGO. I protest, in the sincerity of love and honest
kindness .
CAS . I think it freely ; and betimes in the morning I

307 denotement] close observation ; Theobald's correction of the original

reading deuotement, an obvious misprint. " Denotements " reap-
pears in the First Quarto reading of III, iii, 127 ; see note there.
313 splinter] unite with splints ; the common usage.
any lay] any bet or wager.
814 grow stronger] elliptical for " cause it to grow stronger."
319 I think it freely] I willingly believe it so.
[ 71 ]
 OTHELLO ACT II

will beseech the virtuous Desdemona to undertake for

me : I am desperate of my fortunes if they check me
here.
IAGO. You are in the right. Good night, lieutenant ;
I must to the watch.
CAS. Good night, honest Iago . [Exit.
IAGO. And what's he then that says I play the
villain ? 325
When this advice is free I give and honest,
Probal to thinking, and indeed the course
To win the Moor again ? For ' t is most easy
The inclining Desdemona to subdue
In any honest suit. She's framed as fruitful 880
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,
His soul is so enfetter'd to her love,
That she may make, unmake, do what she list,
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 ,
Directly to his good ? Divinity of hell !
When devils will the blackest sins put on, 340

320 undertake for me] take up my cause.

326 free] gratis.
327 Probal to thinking] Plausible to the mind, reasonable to be thought of.
"Probal" is a rare contraction of "Probable. "
330 fruitful] bountiful, benign. Cf. III, iii, 7, infra : "Bounteous madam. "
337 his weak function] his weak powers or character, his weak nature.
338 this parallel course] this course corresponding with the circumstances.
340 put on] incite, instigate.
[ 72 ]
SCENE III OTHELLO

They do suggest at first with heavenly shows,

As I do now : for whiles this honest fool
Plies 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 him 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 350
That shall enmesh them all.

Enter RODERIGO

How now, Roderigo !

ROD. I do follow here in the chase, not like a hound
that hunts, but one that fills up the cry. My money is

almost spent ; I have been to-night exceedingly well

cudgelled ; and I think the issue 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, 360
And wit depends on dilatory time.
Does ' t not go well ? Cassio hath beaten thee,
And thou by that small hurt hast cashier'd Cassio :

341 suggest] tempt, prompt.

346 repeals him] recalls or repeats his name, talks about him again.
353 the cry] a common term for a pack of hounds. Roderigo here means
he is a mere makeweight, a tool.
[ 73 ]
 OTHELLO ACT II

Though other things grow fair against the sun,

Yet fruits that blossom first will first be ripe :
Content thyself awhile. By the mass, ' t is morning ;
Pleasure and action make the hours seem short.

Retire thee ; go where thou art billeted :

Away, I say ; thou shalt know more hereafter :
Nay, get thee gone . [Exit Rod. ] Two things are to be done :
My wife must move for Cassio to her mistress ; 871
I'll set her on ;

Myself the while to draw the Moor apart,

And bring him jump when he may Cassio find
Soliciting his wife : ay, that ' s the way ;
Dull not device by coldness and delay. [Exit.

364-365 Though other things ... be ripe] Though other parts of our
scheme are maturing promisingly, yet of necessity the part which
happens to get the earliest opportunity of blossoming will come to frui-
tion first, will prove the first success.
366 By the mass] Thus the Quartos. The Folios read Introth, i. e., by
my troth.
374 jump] just, at the very instant.

[ 74 ]
 ACT THIRD - SCENE I

BEFORE THE CASTLE

Enter CASSIO and some Musicians

CASSIO

ASTERS , PLAY HERE ; I

will content your pains ;
Something that's brief ; and bid
" Good morrow, general . "
[Music.
Enter Clown
M

CLO. Why, masters , have your

instruments been in Naples, that
they speak i' the nose thus ?
FIRST MUS . How, sir, how ?
CLO. Are these , I pray you,
wind-instruments ?
FIRST MUS . Ay, marry, are they, sir.
CLO. O , thereby hangs a tail .

1 play here] It was a common custom to wake with music a bride and
bridegroom on the morning after wedding ceremonies.
[ 75 ]
 OTHELLO ACT III

FIRST MUS . Whereby hangs a tale, sir ?

CLO. Marry, sir, by many a wind-instrument that I 10
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 MUS . Well, sir, we will not.
CLO. 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 MUS. We have none such, sir.
CLO. Then put up your pipes in your bag, for I'll
away : go ; vanish into air ; away ! [Exeunt Musicians. 20
CAS. Dost thou hear, my honest friend ?
CLO. No, I hear not your honest friend ; I hear you .
CAS . Prithee, keep up thy quillets . 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 favour of speech : wilt thou do this ?
CLO. She is stirring , sir : if she will stir hither, I shall
seem to notify unto her.
CAS . Do, good my friend. [Exit Clown.

4 Naples ... nose] Neapolitans have a drawling nasal twang, but

there is possibly a reference to the disastrous effects on the nose
wrought by the venereal disease, which was supposed to have origi-
nated in Naples.
12-13 for love's sake] Thus all the early editions, save the First Quarto
which reads of all loves, a phrase of the same significance often met
with in Elizabethan writers . Cf. M. Wives, II, ii, 103.
19-20 I'll away] I'll leave you, have nothing more to do with you. The
clown does not quit the scene at once.
23 quillets] niceties, verbal distinctions.
29 Do, good my friend]. These words are omitted in the Folios.
[ 76 ]
SCENE I OTHELLO

Enter LAGO

In happy time, Iago.

30
IAGO. You have not been a-bed , then ? 30

CAS . 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 mean to draw the Moor
Out of the way, that your converse and business
May be more free.
CAS. I humbly thank you for ' t . [Exit Iago.] I never
knew
A Florentine more kind and honest. 40

Enter EMILIA

EMIL. 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 : the Moor replies,
That he you hurt is of great fame in Cyprus
And great affinity, and that in wholesome wisdom
He might not but refuse you ; but he protests he loves
you,

29 In happy time] “ À la bonne heure,” well met.

39–40 I never knew ... honest] Cassio, who is himself a Florentine,
means that he never met a kinder man, even among his own coun-
trymen.
42 your displeasure] the displeasure that you have incurred.
sure] Thus the Folios. The Quartos read soone.
[ 77 ]
 OTHELLO ACT III

And needs no other suitor but his likings

To take the safest occasion by the front
To bring you in again.
CAS . Yet, I beseech you, 50

If you think fit, or that it may be done,

Give me advantage of some brief discourse
With Desdemona alone .
EMIL. Pray you, come in :
I will bestow you where you shall have time
To speak your bosom freely.
CAS. I am much bound to you.
[Exeunt.

SCENE II - A ROOM IN THE CASTLE

Enter OTHELLO, LAGO, and Gentlemen

ОTн. These letters give, Iago, to the pilot ;

And by him do my duties to the senate :
That done, I will be walking on the works ;
Repair there to me.
IAGO. Well, my good lord , I'll do ' t.
OTн. This fortificati on, gentlemen, shall we see ' t ?
GENT. We'll wait upon your lordship . [Exeunt.

49 To take ... front] This line is omitted from the Folios.

52 advantage] opportunity.
55 I am much bound to you] The First Quarto omits this sentence.

[ 78 ]
SCENE III OTHELLO

SCENE III - THE GARDEN OF THE CASTLE

Enter DESDEMONA, CASSIO, and EMILIA

DES. Be thou assured, good Cassio, I will do

All my abilities in thy behalf.
EMIL. Good madam, do : I warrant it grieves my
husband
As if the case were his.
DES . O, that's an honest fellow. Do not doubt,
Cassio,
But I will have my lord and you again
As friendly as you were.
CAS. Bounteous madam,
Whatever shall become of Michael Cassio,
He's never any thing but your true servant.
DES. I know 't : I thank you . You do love my lord : 10
You have known him long ; and be you well assured
He shall in strangeness stand no farther off
Than in a politic distance .
CAS . Ay, but, lady,
That policy may either last so long,

12 in strangeness] in aloofness of manner. Thus the Folios. The Quartos

read in strangest.
14-18 That policy . . . service] That policy or plan of his to keep me out
of office may persist so long, it may either be just kept alive by slight
and scanty considerations, or it may find increased justification in
[ 79 ]
 OTHELLO ACT III

Or feed upon such nice and waterish diet,

Or breed itself so out of circumstance,
That, I being absent and my place supplied,
My general will forget my love and service.
DES. Do not doubt that ; before Emilia here
I give thee warrant of thy place : assure thee, 20
If I do vow a friendship, I'll perform it
To the last article : my lord shall never rest ;
I'll watch him tame and talk him out of patience ;
His bed shall seem a school, his board a shrift ;
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.

Enter OTHELLO and IAGO, at a distance

EMIL. Madam, here comes my lord.

CAS . Madam, I'll take my leave. 30
DES. Nay, stay and hear me speak.
CAS . Madam , not now : I am very ill at ease,
Unfit for mine own purposes .

DES . Well, do your discretion . [Exit Cassio.

IAGO . Ha ! I like not that.
OTн . What dost thou say ?

accidental turns of events, to such an extent that in my absence and

with my place filled by another, the general will forget all about me,
my loyalty and my past service.
19 doubt] fear.
23 I'll watch him tame] Falconers kept hawks awake in order to tame them
and make them obedient.
[ 80 ]
SCENE III OTHELLO

IAGO. Nothing, my lord : or if I know not what.

Отн. 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 , 40

Seeing you coming.

Отн . I do believe ' t was he.
DES. How now, my lord !
I have been talking with a suitor here,
A man that languishes in your displeasure.
OTн. Who is ' t you mean ?
DES . Why, your lieutenant, Cassio . Good my lord,
If I have any grace or power to move you,
His present reconciliation take ;
For if he be not one that truly loves you ,
That errs in ignorance and not in cunning, 50

I have no judgement in an honest face :

I prithee, call him back.
Отн . Went he hence now ?
DES. Ay, sooth ; so humbled,
That he hath left part of his grief with me,
To suffer with him. Good love, call him back.
OTH. Not now, sweet Desdemona ; some other time.
DES. But shall ' t be shortly ?
Отн . The sooner, sweet, for you.
DES. Shall ' t be to-night at supper ?
Отн . No, not to-night.
DES. To-morrow dinner then ?

48 His present reconciliation] The submission he now makes with a view

to reconciliation.
50 in cunning] on purpose, knowingly.
6 [ 81 ]
 OTHELLO ACT III

Отн. I shall not dine at home ;

I meet the captains at the citadel. 60
DES. 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 check. When shall he come ?
Tell me, Othello : I wonder in my soul,
What you would ask me, that I should deny, 70
Or stand so mammering 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 ; to have so much to do
-
To bring him in ! Trust me, I could do much —
ОTн. Prithee, no more : let him come when he
will ;

I will deny thee nothing.

DES . Why, this is not a boon ;
"T is 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 80
To your own person : nay, when I have a suit
Wherein I mean to touch your love indeed,

67 their best] Rowe's emendation of the original reading her best.

is not ... fault] hardly amounts to such a fault as.
71 mammering] muttering hesitatingly.
82 touch] test, apply the touchstone to.
[ 82 ]
SCENE III OTHELLO

It shall be full of poise and difficult weight,

And fearful to be granted.
Отн . I will deny thee nothing :
Whereon , I do beseech thee, grant me this ,
To leave me but a little to myself.
DES . Shall I deny you ? no : farewell, my lord.
Oтн. Farewell , my Desdemona : I'll come to thee
straight.
DES. Emilia, come. Be as your fancies teach you ;
Whate'er you be, I am obedient . 90
[Exeunt Desdemona and Emilia.
ОTн. Excellent wretch ! Perdition catch my soul ,
But I do love thee ! and when I love thee not,
Chaos is come again .
-
IAGO. My noble lord ,
Отн. What dost thou say, Iago ?
IAGO. Did Michael Cassio, when you woo'd my lady,
Know of your love ?
OTн. He did, from first to last : why dost thou ask ?
IAGO. But for a satisfaction of my thought ;
No further harm .
Отн. Why of thy thought, Iago ?

83 full of poise and difficult weight] of great moment and of heavy burden.
Thus the Folios. "Poise " and "weight " mean so much the same
thing that the First Quarto reading difficulty for difficult weight is
worthy of consideration.
91 Excellent wretch] Excellent little woman ; " wretch " is frequently
a term of endearment, like "fool."
92-93 I do love . . . Chaos is come again] Cf. Venus and Adonis, 1019–
1020 : " For he being dead, with him is beauty slain, And, beauty
dead, black chaos comes again."
97 He did, from first to last] Cf. I, ii, 52, supra, and note.
[ 83 ]
 OTHELLO ACT III

IAGO. I did not think he had been acquainted with

her. 100
OTH. O , yes, and went between us very oft.
Отн.
IAGO . Indeed !
OTн . Indeed ! ay, indeed : discern'st thou aught in
that ?
Is he not honest ?
IAGO. Honest, my lord !
ОTн. Honest ! ay, honest.
IAGO . My lord, for aught I know.
ОTн. What dost thou think ?
IAGO. Think, my lord !
Отн. Think, my lord ! By heaven, he echoes me, 110
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 : if thou dost love me,
Show me thy thought . 120

IAGO . My lord, you know I love you .

Отн . 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 thine fright me the more :
For such things in a false disloyal knave
110-111 By heaven, he echoes . . . his thought] Thus the First Quarto.
The Folios read less graphically, Alas, thou eccho'st ... thy thought.
[ 84 ]
SCENE III OTHELLO

Are tricks of custom ; but in a man that's just

They're close delations, working from the heart,
That passion cannot rule.
IAGO. For Michael Cassio,
I dare be sworn I think that he is honest.
ОTн. I think so too.
IAGO. Men should be what they seem ;
Or those that be not, would they might seem none ! 131
Отн. Certain, men should be what they seem .
IAGO. Why then I think Cassio ' s an honest man .
Отн. 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.
Utter my thoughts ? Why, say they are vile and false ;

127 close delations] Thus Johnson. The First Quarto reads close de-
notements, and the First Folio and later Quartos close dilations.
"Delations," which has been interpreted as "accusations," like the
Latin " delatio," is not apparently found elsewhere in Elizabethan
literature in that sense. It is only found as an alternative spelling of
"dilations," i. e., delays, protractions. Probably " close delations "
ог 66'dilations " means mysterious or suspicious pauses.
128 That passion cannot rule] That cannot govern its emotion.
131 Or those ... seem none] Or those men that be not what they seem, would
they might not seem men at all, would they might have no semblance
of men about them.
139-140 are free to. Utter my thoughts?] Thus the First Quarto, save
that a comma follows to instead of the full stop. The Folios omit to.
"Free" has the sense of " not bound," " free from any compulsion."
[ 85 ]
 OTHELLO ACT III

141
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 ?
Oтн . 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 150

To spy into abuses , and oft my jealousy

Shapes faults that are not that your wisdom yet,
From one that so imperfectly conceits ,
Would take no notice, nor build yourself a trouble
Out of his scattering and unsure observance.
It were not for your quiet nor your good,

143-145 But some . . . lawful?] But that some unclean thoughts will not
hold court and sit in session along with just and good thoughts.
" Leets and law-days " both mean sittings of local courts of law, which
took place every half-year, to revise and enforce police regulations.
Kit Sly threatens to present the alewife of Wincot " at the leet. ”
(T. of Shrew, Induction, II, 90. )
149-153 Though I perchance ... conceits] Inasmuch as I for my part am
apt to put a bad construction upon everything (indeed I confess I
have the natural infirmity which leads me to pry into scandals, and
often my suspicious temper imagines faults that are non-existent) , I
therefore beg that a man of your good sense will take no notice of
suggestions coming from one that forms such defective conjectures.
64
' Conceits, " appears in line 153 in all the early editions save the First
Quarto, which reads coniects.
155 scattering] random.
[ 86 ]
SCENE III OTHELLO

Nor for my manhood, honesty, or wisdom,

To let you know my thoughts.
OTH. What dost thou mean ?
IAGO . Good name in man and woman, dear my lord,
Is the immediate jewel of their souls : 160

Who steals my purse steals trash ; ' t is something,

nothing ;
'T was mine, ' t is 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 .
Отн. By heaven, I'll know thy thoughts.
IAGO . You cannot , if my heart were in your hand ;
Nor shall not, whilst ' t is in my custody .
OTн . Ha !
IAGO. O, beware, my lord , of jealousy ;
It is the green-eyed monster, which doth mock 170
The meat it feeds on : that cuckold lives in bliss
Who, certain of his fate, loves not his wronger ;
But, O , what damned minutes tells he o'er
Who dotes, yet doubts , suspects, yet strongly loves !

160 immediate] most intimate, peculiar.

170 the green-eyed monster . . . mock] Though yellow is the colour mainly
associated with jealousy, green is also often a conventional epithet ;
cf. "green-eyed jealousy " in Merch. of Ven., III , ii, 110. Here
"jealousy " is personified as a sort of tiger or cat, which plays with or
tortures the things which give it sustenance. The jealous man sacri-
fices his peace by toying with all the circumstances which feed his
suspicion. Theobald somewhat imprudently substitutes make for
mock, the reading of all the early editions.
172 his wronger] his faithless wife.
174 strongly] Thus the Quartos. The Folios read soundly.
[ 87 ]
 OTHELLO ACT III

Отн. O misery !
IAGO. Poor and content is rich, and rich enough ;
But riches fineless is as poor as winter
To him that ever fears he shall be poor :
Good heaven, the souls of all my tribe defend
From jealousy !
OTH . Why, why is this ? 180
Think'st thou I'ld make a life of jealousy,
To follow still the changes of the moon
With fresh suspicions ? No ; to be once in doubt
Is once to be resolved : exchange me for a goat,
When I shall turn the business of my soul
To such exsufflicate and blown surmises ,
Matching thy inference . "T is 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 : 190
Nor from mine own weak merits will I draw
The smallest fear or doubt of her revolt ;
For she had eyes, and chose me. No , Iago ;
I'll see before I doubt ; when I doubt, prove ;
And on the proof, there is no more but this,
Away at once with love or jealousy !

177 riches] used as a singular. Cf. II , i, 83, supra.

fineless] endless ; a word not known elsewhere. Cf. Hamlet, V, i,
103 : " Is this the fine [i. e. , the end] of his fines ? "
as poor as winter] winter produces no fruits.
184 resolved] freed from uncertainty.
186 exsufflicate] swollen like a bubble, inflated. The word is found no-
where else, though exsufflate, i. e., to blow out, is met with.
190 these are more virtuous] these graces make addition to virtue.
[ 88 ]
SCENE III OTHELLO

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. 200

Look to your wife : observe her well with Cassio ;

Wear your eye thus , not jealous nor secure :
I would not have your free and noble nature
Out of self- bounty 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 con-
science

Is not to leave ' t undone, but keep ' t unknown.

ОTH. Dost thou say so ?
IAGO . She did deceive her father, marrying you ; 210
And when she seem'd to shake and fear your looks ,
She loved them most.
Отн. And so she did.
IAGO. Why, go to then ;
She that so young could give out such a seeming,
To seel her father's eyes up close as oak
He thought 't was witchcraft - but I am much to
blame ;
I humbly do beseech you of your pardon
For too much loving you.
Отн. I am bound to thee for ever.

202 secure] careless, over-confident.

204 self-bounty] inherent generosity.
214 seel] close. Cf. I, iii, 269, supra, and note.
close as oak] close as the grain of oak. Thus all the early editions.
Hawk's has been suggested for oak.
[ 89 ]
 OTHELLO ACT III

IAGO. I see this hath a little dash'd your spirits.

ОTH. Not a jot, not a jot.
IAGO. I' faith, I fear it has.
I hope you will consider what is spoke 220

Comes from my love ; but I do see you ' re moved :

I am to pray you not to strain my speech
To grosser issues nor to larger reach
Than to suspicion.
Отн . I will not.
IAGO. Should you do so , my lord,
My speech should fall into such vile success
As my thoughts aim not at . Cassio's my worthy
friend
My lord, I see you're moved .
Отн. No, not much moved :
I do not think but Desdemona's honest.
IAGO. Long live she so ! and long live you to think so ! 230
Отн. And yet, how nature erring from itself—
IAGO. Ay, there's the point : as to be bold with
you-
Not to affect many proposed matches
Of her own clime, complexion and degree,
Whereto we see in all things nature tends —
Foh ! one may smell in such a will most rank,
Foul disproportion, thoughts unnatural .
But pardon me : I do not in position
Distinctly speak of her ; though I may fear

223 To grosser issues] To plainer conclusions.

226 such vile success] such a vile issue, end or conclusion .
236 a will most rank] a self-will overgrown, exuberant, ungovernable.
238 in position] in the way of deliberate assertion .
[ 90 ]
SCENE III OTHELLO

Her will, recoiling to her better judgement, 240

May fall to match you with her country forms,

And happily repent.
Отн . Farewell, farewell :
If more thou dost perceive, let me know more ;
Set on thy wife to observe : leave me, Iago .
IAGO . [Going] My lord , I take my leave.
OTн. 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 honour
To scan this thing no further ; leave it to time :
Though it be fit that Cassio have his place, 250
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 entertainment
With any strong or vehement importunity ;
Much will be seen in that. In the mean time,
Let me be thought too busy in my fears -
As worthy cause I have to fear I am -
And hold her free , I do beseech your honour.
Отн. Fear not my government . 260

240-242 Her will • repent] Her will, reverting to or coming under

the sway of her better or more fully considered judgment, may
come to compare you with the form or outward aspect of her fellow-
countrymen, and perhaps repent of her alliance with you.
253 his means] the way he is working (through Desdemona) .
254 strain his entertainment] press for his readmission to service.
260 government] self-control.
[ 91 ]
 OTHELLO ACT III

IAGO. I once more take my leave. [Exit.

OTн. This fellow ' s of exceeding honesty,
And knows all qualities , with a learned spirit,
Of human dealings. If I do prove her haggard,
Though that her jesses were my dear heart-strings,
I'ld whistle her off and let her down the wind
To prey at fortune. Haply, for I am black
And have not those soft parts of conversation
That chamberers have, or for I am declined
Into the vale of years, yet that's not much- 270
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 vapour of a dungeon,
Than keep a corner in the thing I love
For others' uses . Yet, ' t is the plague of great ones ;
Prerogatived are they less than the base ;
263–264 And knows all qualities . . . Of human dealings] And knows all
dispositions . . . of human nature.
264–265 If I do prove ... heart-strings] Othello is using technical terms
of falconry. "Haggard, " a wild or untrained hawk, is sometimes
used for "courtesan." 66 Jesses " are the leathern thongs which bind
the hawk's foot to the falconer's wrist.
266 I'ld whistle ...
. . . wind] Falconers were wont to whistle to untame-
able and therefore worthless hawks and so induce them to leave the
leash, and fly away with the wind, thus abandoning them for good.
Hawks only returned to the falconer's hand when they were let fly
against the wind.
268 parts] gifts, endowments.
269 chamberers] haunters of drawing-rooms.
278 Prerogatived . . . base] They have smaller prerogatives or privi-
leges than men in low positions.
[ 92 ]
SCENE III OTHELLO

'Tis destiny unshunnable, like death :

Even then this forked plague is fated to us 280

When we do quicken. Desdemona comes :

Re-enter DESDEMONA and EMILIA

If she be false, O , then heaven mocks itself !

I'll not believe't.
DES. How now, my dear Othello !
Your dinner, and the generous islanders
By you invited, do attend your presence.
ОTH. I am to blame.
DES . Why do you speak so faintly ?
Are you not well ?
Отн. I have a pain upon my forehead here.
DES . Faith, that's with watching ; ' t will away again :
Let me but bind it hard , within this hour 290
It will be well .
Отн . Your napkin is too little ;
[He puts the handkerchief from him ; and she drops it.
Let it alone. Come, I'll go in with you.
DES. I am very sorry that you are not well .
[Exeunt Othello and Desdemona.
EMIL. I am glad I have found this napkin :
This was her first remembrance from the Moor :
My wayward husband hath a hundred times
Woo'd me to steal it ; but she so loves the token,

280 this forked plague] this plague of conjugal infidelity, which causes
forked horns to sprout on the deceived husband's head.
281 When we do quicken] When we are born.
284 generous islanders] noblemen or gentry of the island.
291 napkin] handkerchief.
295 remembrance] souvenir.
[ 93 ]
 OTHELLO ACT III

For he conjured her she should ever keep it,

That she reserves it evermore about her
To kiss and talk to . I'll have the work ta'en out, 300

And give ' t Iago : what he will do with it

Heaven knows, not I ;

I nothing but to please his fantasy.

Re-enter LAGO

IAGO. How now ! what do you here alone ?

EMIL. Do not you chide ; I have a thing for you.
IAGO. A thing for me ? it is a common thing
EMIL. Ha !
IAGO . To have a foolish wife .
EMIL. O, is that all ? What will you give me now
For that same handkerchief ?
IAGO. What handkerchief ? 310
EMIL. 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 ?
EMIL. No, faith ; she let it drop by negligence,
And , to the advantage, I being here took ' t up.
Look, here it is.
IAGO. A good wench ; give it me.
EMIL. What will you do with 't, that you have been
so earnest
To have me filch it ?

300 the work ta'en out] the embroidery copied. Cf. III, iv, 181, infra,
"Take me this work out," and IV, i, 148, seq.
316 to the advantage] on the opportunity, in the nick of time.
[ 94 ]
SCENE III OTHELLO

IAGO. [Snatching it] Why, what's that to you ?

EMIL. If ' t be not for some purpose of import, 320
Give't me again : poor lady, she ' ll run mad
When she shall lack it.
IAGO . Be not acknown on ' t ; 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 jealous confirmations strong
As proofs of holy writ : this may do something.
The Moor already changes with my poison :
Dangerous conceits are in their natures poisons , 330
Which at the first are scarce found to distaste ,
But with a little act upon the blood
Burn like the mines of sulphur . I did say so :
Look, where he comes !

Re-enter ОTHELLO

Not poppy, nor mandragora,

Nor all the drowsy syrups of the world,
Shall ever medicine thee to that sweet sleep
Which thou owedst yesterday.
Отн. Ha ha ! false to me?

IAGO. Why, how now, general ! no more of that.

Отн. Avaunt ! be gone ! thou hast set me on the
rack :

323 Be not acknown on't] Know nothing about it, do not acknowledge
that you know anything about it.
333 I did say so] I mean what I say, I know what I mean.
834 mandragora] an herb well known as a soporific or opiate.
[ 95 ]
 OTHELLO ACT III

I swear ' t is better to be much abused 340

Than but to know ' t a little.
IAGO. How now, my lord !
OTн . 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 :
He that is robb'd, not wanting what is stol'n,
Let him not know't and he's not robb'd at all.
IAGO. I am sorry to hear this .
OTн. I had been happy, if the general camp ,
Pioners and all , had tasted her sweet body, 350

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 circumstance of glorious war !
And, O you mortal engines, whose rude throats
The immortal Jove's dread clamours counterfeit, 360
Farewell ! Othello's occupation's gone !
IAGO. Is't possible, my lord ?
OTн . Villain, be sure thou prove my love a whore ;
Be sure of it ; give me the ocular proof;

340 much abused] altogether deceived.

350 Pioners] Sappers and miners, men of the lowest military rank.
358 circumstance] ceremonious detail.
359 mortal] deadly.
[ 96 ]
SCENE III OTHELLO

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 ?
Отн. Make me to see't ; or at the least so prove it,
That the probation bear no hinge nor loop
To hang a doubt on ; or woe upon thy life ! 370
IAGO . My noble lord,
Отн. 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 defend me !
Are you a man ? have you a soul or sense ?
God be wi' you ; take mine office . O wretched fool,
That livest to make thine honesty a vice ! 380
O monstrous world ! Take note, take note, O world,
To be direct and honest is not safe .

I thank you for this profit, and from hence

I'll love no friend sith love breeds such offence.
Отн. Nay, stay : thou shouldst be honest.
IAGO . I should be wise ; for honesty's a fool ,
And loses that it works for.
Отн . By the world ,

365 man's] Thus the First Quarto. The Folios read mine.
873 remorse] sense of conscience. Cf. line 459, infra.
383 profit] profitable knowledge.
887-394 Bythe world . . . would be satisfied] These lines are omitted from
the First Quarto .
7 [ 97 ]
 OTHELLO ACT III
i
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 390
As Dian's visage, is now begrimed 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 !
IAGO. I see, sir, you are eaten up with passion :
I do repent me that I put it to you. I
You would be satisfied ?
Отн . Would ! nay, I will .
IAGO. And may : but, how ? how satisfied, my lord ?
Would you, the supervisor, grossly gape on ?
Behold her topp'd ?
Отн. Death and damnation ! O! 400

IAGO. It were a tedious difficulty , I think,

To bring them to that prospect : damn them then,
If ever mortal eyes do see them bolster
More than their own ! What then ? how then ?
What shall I say ? Where's satisfaction ?
It is impossible you should see this,
Were they as prime as goats, as hot as monkeys,
As salt as wolves in pride, and fools as gross
390 Her] Thus the Second and later Quartos. The Folios read less
satisfactorily My.
399 supervisor] onlooker.
403-404 If ever . . . their own] If ever any other mortal eyes in addi-
tion to their own see their heads on the same pillow.
407 prime] forward, ready, eager.
408-9 As salt ... drunk] As lascivious as wolves in their lusthood, and
(were they) thoughtless fools as licentious as ignorance or inexper-
ience can be when it is made drunk.
[ 98 ]
SCENE III OTHELLO

As ignorance made drunk. But yet, I say,

If imputation and strong circumstances, 410
Which lead directly to the door of truth ,
Will give you satisfaction , you may have 't.
OTH. Give me a living reason she ' s disloyal.
IAGO . I do not like the office :
But sith I am enter'd in this cause so far,
Prick'd to ' t 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, 420
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 gripe and wring my hand,
66
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 ! " 430
Отн. O monstrous ! monstrous !
IAGO. Nay, this was but his dream.
OTн. But this denoted a foregone conclusion :
"T is a shrewd doubt, though it be but a dream.

410 If imputation . . . circumstances] If inference and strong circum-

stantial evidence.
413 a living reason] a reason founded on actual fact, drawn from life.
432 a foregone conclusion] an antecedent experience.
433 a shrewd doubt] a well-founded suspicion.
[ 99 ]
 OTHELLO ACT III

IAGO. And this may help to thicken other proofs

That do demonstrate thinly.
Отн. 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 ? 1
Отн. І gave her such a one ; ' t was my first gift. 440
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 .
OTH . If it be that, -
IAGO . If it be that, or any that was hers ,
It speaks against her with the other proofs.
Отн. O , that the slave had forty thousand lives !
One is too poor, too weak for my revenge.
Now do I see ' t is true. Look here, Iago ;
All my fond love thus do I blow to heaven :
"T is gone. 450

Arise, black vengeance, from thy hollow cell !

Yield up, O love, thy crown and hearted throne
To tyrannous hate ! Swell, bosom, with thy fraught,
For ' t is of aspics ' tongues !
IAGO. Yet be content.

439 Spotted] Embroidered.

451 cell] Thus the Quartos. The Folios read hell.
452 hearted throne] throne in the heart.
453 fraught] burden, freight.
454 aspics' tongues] The " asp of the Nile," with its deadly bite is
Cleopatra's instrument of suicide. The rare form " aspic " for " asp'
is found in Ant. and Cleop. , V, ii, 291 .
[ 100 ]
SCENE III OTHELLO

Отн. O, blood, blood , blood !

IAGO. Patience, I say ; your mind perhaps may
change.
OTH. Never, lago . Like to the Pontic sea,
Whose icy current and compulsive course
Ne'er feels retiring ebb, but keeps due on
To the Propontic and the Hellespont ; 460

Even so my bloody thoughts , with violent pace,

Shall ne'er look back, ne'er ebb to humble love,
Till that a capable and wide revenge
Swallow them up. Now, by yond marble heaven,
In the due reverence of a sacred vow [Kneels.
I here engage my words.
IAGO. Do not rise yet. [Kneels.
Witness , you ever-burning lights above,
You elements that clip us round about,
Witness that here Iago doth give up
The execution of his wit, hands , heart, 470
To wrong'd Othello's service ! Let him command,
And to obey shall be in me remorse ,
What bloody business ever. [ They rise.

457-464 Iago . . . heaven] These lines are omitted from the First Quarto.
457 the Pontic sea] the Pontic, now the Black sea, according to Pliny and
the ancient geographers, had only a flowing tide, and never ebbed,
for ever flowing into the Propontic, i . e., the sea of Marmora, and
the Hellespont, i. e. , the Bosphorus.
463 capable] capacious, comprehensive.
468 clip] embrace.
470 execution] exercise.
472-473 to obey . . . business ever] to perform what he commands shall
be with me matter of conscience whatever the bloody work he orders.
For "remorse," cf. line 372, supra.
[ 101 ]
 OTHELLO ACT III

OTH. 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 ; ' t is done at your request :
But let her live.
Отн. Damn her, lewd minx ! O, damn her !
Come, go with me apart ; I will withdraw, 480
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.

SCENE IV - BEFORE THE CASTLE

Enter DESDEMONA, EMILIA, and Clown

DES. Do you know, sirrah , where Lieutenant Cassio

lies ?
CLO. I dare not say he lies any where.
DES . Why, man ?
CLO. He's a soldier ; and for one to say a soldier
lies, is stabbing.
DES. Go to : where lodges he ?
CLO. To tell you where he lodges , is to tell you where
I lie.

475 put thee to 't] test you.

1 lies] lives, resides.
7-9 To tell you ... of this] This passage is omitted from the First Quarto.
[ 102 ]
SCENE IV OTHELLO

DES. Can any thing be made of this ?

CLO. I know not where he lodges ; and for me to 10
devise a lodging, and say he lies here or he lies there,
were to lie in mine own throat.

DES. Can you inquire him out and be edified by

report ?
CLO. I will catechize the world for him ; that is, make
questions and by them answer.
DES . Seek him, bid him come hither : tell him I
have moved my lord on his behalf and hope all will be
well.
CLO. To do this is within the compass of man's wit,
and therefore I will attempt the doing it. [Exit.
DES. Where should I lose that handkerchief, Emilia ? 20
EMIL. I know not, madam.
DES. Believe me, I had rather have lost my purse
Full of crusadoes : and, but my noble Moor
Is true of mind and made of no such baseness
As jealous creatures are, it were enough
To put him to ill thinking.
EMIL. Is he not jealous ?
DES . Who, he ? I think the sun where he was
born
Drew all such humours from him.

12 in mine own throat] deliberately, wilfully.

15 by them answer] by the replies to my questions get information for
my answer.
23 crusadoes] gold coins of Portugal, marked with a cross. They were
moulded of three values, varying from 6s. 8d. to 9s. according to the
size of the cross stamped upon them.
[ 103 ]
 OTHELLO ACT III

EMIL. Look, where he comes.

DES. I will not leave him now till Cassio
Be call'd to him.
Enter OTHELLO

How is 't with you , my lord ? 80

OTн. Well, my good lady . [Aside] O, hardness to dis-

semble !
How do you, Desdemona ?
DES . Well, my good lord.
Отн. Give me your hand : this hand is moist, my
lady.
DES . It yet has felt no age nor known no sorrow.
Отн . This argues fruitfulness and liberal heart :
Hot, hot, and moist : this hand of yours requires •
A sequester from liberty, fasting and prayer,
Much castigation , exercise devout ;
For here's a young and sweating devil here,
That commonly rebels. 'T is a good hand, 40
A frank one.
DES . You may, indeed , say so ;
1
For 't was that hand that gave away my heart. I
Отн. A liberal hand : the hearts of old gave hands ;
But our new heraldry is hands , not hearts.

33 this hand is moist] a moist hand was commonly held to be a sign of an

amorous disposition, as a dry hand was held to be a sign of indiffer-
ence to love. Cf. Tw. Night, I, iii, 69, and note.
35 fruitfulness and liberal heart] a bountiful disposition and a heart in-
clined to licentiousness.
37 A sequester from liberty] A seclusion from liberty, some confinement.
44 our new heraldry . . . hearts] probably this line means nothing more
than that the fashion of the present day is to offer hands insincerely
[ 104 ]
SCENE IV OTHELLO

DES. I cannot speak of this.

this . Come now, your
promise.
OTн. What promise, chuck ?
DES. I have sent to bid Cassio come speak with you.
Oтн. I have a salt and sorry rheum offends me ;
Lend me thy handkerchief.
DES. Here, my lord . 50
ОTн . That which I gave you.
DES. I have it not about me.
OTH . Not ?
DES . No, indeed , my lord.
Отн . That's a fault. That handkerchief
Did an Egyptian to my mother give ;
She was a charmer, and could almost read
The thoughts of people : she told her, while she kept it
"T would make her amiable and subdue my father

without hearts. Sir William Cornwallis in his essay in 1601 lamented

the novel vogue of giving hands in one direction and hearts in an-
other. The common notion that reference is made in this line to
James I's newly created order of baronets, of which " the bloody hand "
was an heraldic badge, seems, unless the line be treated as an inter-
polation, to be inconsistent with the fact that the creation of baronets
only began in 1611 , fully six years after this play was written.
46 chuck] a term of endearment.
48 sorry rheum] Thus the Folios. The Quartos read sullen rheum, i. e.,
an obstinately troublesome cold.
55-56 That handkerchief · • give] Othello gives a different account of
the handkerchief, V, ii, 219–220, infra, where he describes it as “ an
antique token My father gave my mother." The discrepancy may
be an oversight on Shakespeare's part ; but more probably Othello
is inventing the present story in order to impress and alarm his wife.
56 an Egyptian] a gipsy.
57 charmer] a practiser of enchantments, a witch.
[ 105 ]
 OTHELLO ACT III

Entirely to her love, but if she lost it 60

Or made a 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,
To give it her. 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 perdition
As nothing else could match.
DES . Is 't possible ?
OTH. 'Tis true : there's magic in the web of it :
A sibyl, that had number'd in the world 70

0
The sun to course two hundred compasses ,
In her prophetic fury sew'd the work ;
The worms were hallow'd that did breed the silk ;
And it was dyed in mummy which the skilful
Conserved of maidens' hearts .
DES. Indeed ! is ' t true ?
ОTн. Most veritable ; therefore look to ' t well.
DES . Then would to God that I had never seen 't !
ОTн. Ha ! wherefore ?

DES. Why do you speak so startingly and rash ?

65 give it her] give it to my wife.

70 sibyl] According to Ovid's Metamorphoses, the Cumaan Sibyl had
lived seven centuries, and was to live three hundred years more. Cf.
Merch. of Ven., I, ii, 95 : “ If I live to be as old as Sibylla. ” Here a
sibyl's age is reckoned at two hundred years or compasses of the sun's
course. "The sun to course " is a harsh construction. But cf. such a
phrase as " I counted the clock to strike four. "
74 mummy] The liquid oozing from Egyptian mummies, of a transparent
brown colour, which painters valued highly.
[ 106 ]
SCENE IV OTHELLO

OTH. Is 't lost ? is ' t gone ? speak, is it out o' the

80
way ?
DES. Heaven bless us !
OTH . Say you ?
Отн.
DES. It is not lost ; but what an if it were ?
OTH . HOW !
DES. I say, it is not lost.
Отн. Fetch 't, let me see it.
DES. Why, so I can , sir, but I will not now.
This is a trick to put me from my suit :
Pray you, let Cassio be received again.
ОTH . Fetch me the handkerchief : my mind misgives. 90
DES . Come, come ;
You'll never meet a more sufficient man.
Отн. The handkerchief !
DES . I pray, talk me of Cassio.
Отн. The handkerchief !
DES. A man that all his time
Hath founded his good fortunes on your love,
Shared dangers with you,
Отн. The handkerchief !
DES. In sooth, you are to blame.
Отн
ОTH. Away ! [Exit.
EMIL. Is not this man jealous ? 100
DES . I ne'er saw this before.
Sure there's some wonder in this handkerchief :
I am most unhappy in the loss of it.

82 Say you?] What are you saying ?

93-94 I pray .... handkerchief] These words are found only in the
First Quarto .
[ 107 ]
 OTHELLO ACT III

EMIL. 'Tis not a year or two shows us a man :

They are all but stomachs and we all but food ;
They eat us hungerly, and when they are full
They belch us. Look you , Cassio and my husband .

Enter CASSIO and IAGO

IAGO. There is no other way ; ' t is she must do 't :

And, lo, the happiness ! go and importune her.
DES. How now, good Cassio ! what's the news with
you ? 110

CAS. Madam, my former suit : I do beseech you

That by your virtuous 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 offence be of such mortal kind,
That nor my service past nor present sorrows
Nor purposed merit in futurity
Can ransom me into his love again,
But to know so must be my benefit ; 120
So shall I clothe me in a forced content
And shut myself up in some other course
To fortune's alms.
DES . Alas, thrice-gentle Cassio !

106 hungerly] ravenously.

109 the happiness] the happy chance, the good luck.
121-123 So shall . . . alms] So shall I have to content myself on com-
pulsion and devote myself to some other course of life, waiting for such
relief as the accidental hand of charity may offer. Shut is the reading
of all the early editions save the First Quarto, which has shoote, a diffi-
cult word to explain here.
[ 108 ]
SCENE IV OTHELLO

My advocation is not now in tune ;

My lord is not my lord, nor should I know him
Were he in favour as in humour alter'd.
So help me every spirit sanctified,
As I have spoken for you all my best
And stood within the blank of his displeasure
For my free speech ! You must awhile be patient : 180
What I can do I will ; and more I will
Than for myself I dare : let that suffice you.
IAGO . IS my lord angry ?
EMIL. 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 ranks into the air ,
And , like the devil, from his very arm
Puff'd his own brother ; and can he be angry ?
Something of moment then : I will go meet him :
There's matter in ' t indeed if he be angry. 140

DES. I prithee , do so . [Exit Iago.

Something sure of state,
Either from Venice or some unhatch'd practice
Made demonstrable here in Cyprus to him,
Hath puddled his clear spirit ; and in such cases

124 advocation] advocacy ; a rare word.

126 in favour] in look, in countenance.
129 within the blank] full within the range. The "blank " was the white
mark on the centre of the target.
138 Puff'd his own brother] There is aposiopesis here. Some words like
"yet he stood unruffled " are understood after brother.
142 unhatch'd practice] unrevealed or undeveloped plot or conspiracy.
144 puddled] clouded or mudded .
[ 109 ]
 OTHELLO ACT III

Men's natures wrangle with inferior things,

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 : nay, we must think men are not gods,

Nor of them look for such observancy 150
As fits the bridal. Beshrew me much, Emilia,
I was, unhandsome warrior as I am,
Arraigning his unkindness with my soul ;
But now I find I had suborn'd the witness ,
And he's indicted falsely .
EMIL. Pray heaven it be state-matters, as you think,
And no conception nor no jealous toy
Concerning you.
DES . Alas the day, I never gave him cause !
160
EMIL. But jealous souls will not be answer'd so ;
They are not ever jealous for the cause,
But jealous for they are jealous : ' t is a monster
Begot upon itself, born on itself.
DES. Heaven keep that monster from Othello's mind !
EMIL. Lady, amen.
DES. 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.
CAS. I humbly thank your ladyship .
[Exeunt Desdemona and Emilia.

150 observancy] watchful attendance.

152 unhandsome warrior] ungenerous assailant ; a reminiscence of
Othello's "my sweet warrior " (II, i, 180, supra).
157 jealous toy] suspicious fancy.
[ 110 ]
SCENE IV OTHELLO

Enter BIANCA

BIAN. Save you, friend Cassio ! 170

CAS . What make you from home ?
How is it with you, my most fair Bianca ?
I' faith , sweet love, I was coming to your house .
BIAN. And I was going to your lodging, Cassio.
What, keep a week away ? seven days and nights ?
Eight score eight hours ? and lovers ' absent hours ,
More tedious than the dial eight score times ?
O weary reckoning !
CAS . Pardon me, Bianca :
I have this while with leaden thoughts been press'd ;
But I shall in a more continuate time
Strike off this score of absence. Sweet Bianca, 180
[Giving her Desdemona's handkerchief.
Take me this work out.
BIAN. 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 .
CAS . 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, by my faith, Bianca.

179 continuate] continuous, uninterrupted, unbroken . Thus all the early

editions, save the First Quarto, which gives conuenient.
181 Take me this work out] Copy this embroidery for me. Cf. III, iii, 300,
supra.
[ 111 ]
 OTHELLO ACT III

BIAN. Why, whose is it ?

CAS. I know not, sweet : I found it in my chamber.
I like the work well : ere it be demanded - 190

As like enough it will I 'ld have it copied :

Take it, and do ' t ; and leave me for this time.
BIAN. Leave you ! wherefore ?
CAS. I do attend here on the general ;
And think it no addition , nor my wish,
To have him see me woman'd.
BIAN. Why, I pray you ?
CAS . Not that I love you not.
BIAN. But that you do not love me.
I pray you , bring me on the way a little ;

And say if I shall see you soon at night.

CAS . "T is but a little way that I can bring you ; 200
For I attend here : but I'll see you soon .
BIAN. 'Tis very good ; I must be circumstanced .
[Exeunt.

195 addition] title of credit.

196 woman'd] in the company of a woman.
196-197 Why ... love you not] These speeches are omitted from the
First Quarto.
202 be circumstanced] conform to circumstance, submit to neglect.

[ 112 ]
 ACT FOURTH - SCENE I - CYPRUS

BEFORE THE CASTLE

Enter OTHELLO and IAGO

IAGO

ILL YOU THINK SO?

Отн . Think so, Iago !
IAGO . What,
To kiss in private ?
Отн . An unauthorized kiss .
LAGO . Or to be naked with

W her friend in bed

An hour or more, not meaning
any harm ?
OTH. Naked in bed, Iago,
and not mean harm !
It is hypocrisy against the devil :
They that mean virtuously and
yet do so ,
The devil their virtue tempts and they tempt heaven.
IAGO . So they do nothing, ' t is a venial slip :
10

But if I give my wife a handkerchief- 10

ОTн. What then ?
8
[ 118 ]
 OTHELLO ACT IV

IAGO . Why, then, ' t is hers, my lord ; and being hers,

She may, I think, bestow 't on any man.
Отн. She is protectress of her honour too :
May she give that ?
LAGO. Her honour is an essence that's not seen :
They have it very oft that have it not :
But for the handkerchief
OTH . By heaven, I would most gladly have forgot it :
Oтн.
Thou said'st- O, it comes o'er my memory, 20
As doth the raven o'er the infected house,
Boding to all - - he had my handkerchief.
IAGO. Ay, what of that ?
Отн. 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,

1 Will you think so?] Iago has been perversely arguing, it must be as-
sumed, that men and women may be found in compromising situa-
tions without justifying the natural suspicion of guilty intercourse.
6 It is hypocrisy against the devil] It is hypocrisy which cheats the devil,
when persons appear to be committing sins, which they are as a
matter of fact avoiding.
8 they tempt heaven] they try the patience of heaven (by trying how near
they can go towards vice without actually succumbing to it).
17 They have . . . it not] They often have the outward semblances of
honour, who are in reality persons of dishonour.
21-22 the raven • .. Boding to all] the raven, the bird of ill omen,
brooded over houses infected with sickness, foreboding disaster to all
inside.
23 That's not so good now] You are not showing your usual good sense.
[ 114 ]
SCENE I OTHELLO

Convinced or supplied them, cannot choose

But they must blab
Отн . Hath he said any thing ?
IAGO. He hath, my lord ; but be you well assured, 30
No more than he'll unswear.
Отн. What hath he said ?
—
IAGO . Faith, that he did I know not what he did.
OTн. What ? what ?
IAGO. Lie-
Отн . With her ?
IAGO. With her, on her ; what you will.
ОTн. Lie with her ! lie on her ! - We
We say lie on her,
when they belie her. - Lie with her ! 'Zounds , that's
fulsome ! Handkerchief -confessions - handkerchief !
To confess, and be hanged for his labour ; first, to
be hanged, and then to confess . I tremble at it . Nature
would not invest herself in such shadowing passion with- 40
out some instruction . It is not words that shakes me
thus. Pish ! Noses, ears and lips. Is't possible ? -
Confess ? - Handkerchief ? - O devil ! [Falls in a trance.
IAGO . Work on,

28 Convinced or supplied them] Overcome their reluctance or complied

with their wish.
37-43 To confess . • devil] This passage is omitted from the First
Quarto.
38 confess, and be hanged] a proverbial ejaculation of impatience.
39-41 Nature . . . instruction] Othello here experiences sensations which
are warnings of the apoplectic fit which immediately follows. He
means in this passage that nature would not be likely to set up such
paroxysm of passion, which is darkening (or casting a shadow over)
his vision, unless she were acting on sure information.
[ 115 ]
 OTHELLO ACT IV

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 !

CAS . What's the matter ?
IAGO. My lord is fall'n into an epilepsy : 50
This is his second fit ; he had one yesterday.
CAS . Rub him about the temples.
IAGO. No , forbear ;
The lethargy must have his 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 ?
ОTH. Dost thou mock me ?
IAGO. I mock you ! no, by heaven.
Would you would bear your fortune like a man ! 61
Отн . A horned man's a monster and a beast.
IAGO. There's many a beast then in a populous
city ,
And many a civil monster.
Отн. Did he confess it ?
IAGO. Good sir, be a man ;
Think every bearded fellow that ' s but yoked
May draw with you : there ' s millions now alive
[ 116 ]
SCENE I OTHELLO

That nightly lie in those unproper beds

Which they dare swear peculiar : your case is better.
O, ' t is the spite of hell , the fiend's arch-mock, 70
To lip a wanton in a secure couch,
And to suppose her chaste ! No, let me know ;
And knowing what I am, I know what she shall be.
ОTн. O, thou art wise ; ' t is certain .
IAGO. Stand you awhile apart ;
Confine yourself but in a patient list.
-
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 ;

50
Bade him anon return and here speak with me ; 80
The which he promised . Do but encave yourself,
And mark the fleers , the gibes and notable scorns ,
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 cope your wife :

68-69 in those ... peculiar] in those beds which are common property,
though oath may be taken that they are the husband's exclusive
possession.
71 a secure couch] a couch where a man's confidence in his wife's fidelity
is undisturbed.
75 in a patient list] within the bounds of patience.
76 here o'erwhelmed] Thus all the early editions save the First Quarto
which reads here ere while, mad.
77 unsuiting] Thus the Duke of Devonshire's copy of the First Quarto.
Capell's copy of the same edition reads, like the Second Quarto,
vnfitting. The Folios misprint resulting.
79 your ecstasy] your fit of epilepsy.
[ 117 ]
 OTHELLO ACT IV

I say , but mark his gesture . Marry, patience ;

Or I shall say you are all in all in spleen,
And nothing of a man.
OTH . Dost thou hear, Iago ?

90
I will be found most cunning in my patience ; 90
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 housewife that by selling her desires
Buys herself bread and clothes : it is a creature
That dotes on Cassio ; as ' t is the strumpet's plague
To beguile many and be beguiled by one.
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 ; 100

And his unbookish jealousy must construe
Poor Cassio's smiles, gestures and light behaviour,
Quite in the wrong. How do you now, lieutenant ?
CAS . The worser that you give me the addition
Whose want even kills me.

88 all in all in spleen] altogether made up of spleen, which was reckoned

the main seat of tempestuous passion.
92 keep time] be patient ; avoid haste.
94 housewife] used like " hussy."
101 unbookish] ignorant, uninformed.
construe] Rowe's spelling of the Quarto reading conster. The Folios
misprint conserue.
104 addition] title.
[ 118 ]
SCENE I OTHELLO

IAGO. Ply Desdemona well, and you are sure on't.

Now, if this suit lay in Bianca's power,
How quickly should you speed !
CAS. Alas, poor caitiff !
OTн. Look, how he laughs already !
IAGO . I never knew a woman love man so . 110

CAS . Alas, poor rogue ! I think, i' faith , she loves me.
OTн. Now he denies it faintly and laughs it out.
IAGO. Do you hear, Cassio ?
Отн. 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 ?
CAS. Ha, ha, ha !
OTH. Do you triumph, Roman ? do you triumph ?
CAS. I marry her ! what, a customer ! I prithee, bear
some charity to my wit ; do not think it so unwholesome.
Ha, ha, ha ! 121

OTH. So, so, so, so : they laugh that win.

IAGO . Faith , the cry goes that you shall marry her.
CAS. Prithee, say true .
IAGO . I am a very villain else .
Отн
OTн.. Have you scored me ? Well.
CAS . This is the monkey's own giving out : she is

114 well said] well done ; a common usage.

118 triumph, Roman ?] Triumphs were so closely identified with Rome
that the use of the one word suggests the other.
119 a customer] a loose woman who invites custom.
126 Have you scored me?] Have you paid your score off me ? Cf. "do
you triumph ? '' l. 118, supra.
[ 119 ]
 OTHELLO ACT IV

persuaded I will marry her, out of her own love and

flattery, not out of my promise.
OTн. Iago beckons me ; now he begins the story. 130
CAS . 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

Oтн. Crying " O dear Cassio ! " as it were : his gesture

imports it.
CAS. SO hangs and lolls and weeps upon me ; so hales
and pulls me : ha, ha, ha !
OTн. 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. 141
CAS. Well , I must leave her company.
IAGO . Before me ! look, where she comes.
CAS. "T is such another fitchew ! marry, a perfumed
one.
Enter BIANCA

What do you mean by this haunting of me ?

BIAN. Let the devil and his dam 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, 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

133 the bauble] the trivial creature.

144 'Tis such another fitchew] She 's just like a polecat.
148-149 take out the work] copy the embroidery. So lines 151, 152. Cf.
III, iii, 300, and III, iv, 181, supra.
[ 120 ]
SCENE I OTHELLO

work ? There ; give it your hobby-horse : wheresoever

you had it, I'll take out no work on't. 153

CAS. How now, my sweet Bianca ! how now ! how

now !
Отн. By heaven, that should be my handkerchief !
BIAN. An 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 .
CAS . Faith, I must ; she'll rail i' the street else.
IAGO. Will you sup there ? 160
CAS . Faith, I intend so.
IAGO . Well , I may chance to see you ; for I would
very fain speak with you .
ČAS . Prithee, come ; will you ?
IAGO. Go to ; say no more. [Exit Cassio.
OTH. [Advancing] How shall I murder him, Iago ?
IAGO. Did you perceive how he laughed at his vice ?
OTH . O Iago !
IAGO . And did you see the handkerchief ?
Отн. Was that mine ? 170

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.
OTH. I would have him nine years a-killing. A fine
woman ! a fair woman ! a sweet woman !
IAGO. Nay, you must forget that.
OTн. Ay, let her rot, and perish, and be damned to-
night : for she shall not live : no, my heart is turned to

152 hobby-horse] a term of contempt for a frivolous woman.

[ 121 ]
 OTHELLO ACT IV

stone ; I strike it, and it hurts my hand. O, the world

hath not a sweeter creature : she might lie by an em-
peror's side, and command him tasks. 181
IAGO . Nay, that ' s not your way.
OTH. Hang her ! I do but say what she is : so deli-
cate 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 .
Отн. O, a thousand thousand times : and then, of so
gentle a condition !
IAGO. Ay, too gentle. 190

OTн . Nay, that ' s certain: but yet the pity of it, Iago !
O Iago, the pity of it, Iago !
IAGO. If you are so fond over her iniquity, give her
patent to offend ; for , if it touch not you, it comes near
nobody.
OTH. I will chop her into messes : cuckold me !
IAGO. O, ' t is foul in her.
Отн . With mine officer !
IAGO . That's fouler. 199

OTH . Get me some poison, Iago ; this night. I'll not

expostulate with her, lest her body and beauty unpro-
vide my mind again : this night, Iago.
IAGO. Do it not with poison, strangle her in her bed,
even the bed she hath contaminated.

182 your way] your point of view.

189 condition] disposition.
193–194 If you . . . offend] If you are so foolishly mild about her sin-
fulness, give her formal right to commit offence.
[ 122 ]
SCENE I OTHELLO

OTн . Good, good : the justice of it pleases : very

good.
IAGO . And for Cassio, let me be his undertaker : you
shall hear more by midnight.
ОTH. Excellent good . [ A trumpet within.] What trumpet
is that same ?
IAGO . Something from Venice, sure . "T is Lodovico
Come from the duke : and, see, your wife is with him . 210
Enter LODOVICO, DESDEMONA, and Attendants

LOD. God save the worthy general !

OTH. With all my heart, sir.
LOD. The duke and senators of Venice greet you .
[Gives him a letter.
Отн. I kiss the instrument of their pleasures.
[Opens the letter, and reads.
DES. And what's the news, good cousin Lodovico ?
IAGO. I am very glad to see you, signior ;
Welcome to Cyprus .

LOD. I thank you. How does Lieutenant Cassio ?

IAGO. Lives, sir.
DES. Cousin, there's fall'n between him and my lord
An unkind breach : but you shall make all well . 220

ОTн. Are you sure of that ?

DES. My lord ?
OTH . [Reads] " This fail you not to do, as you will — ”
LOD. He did not call ; he's busy in the paper.
Is there division ' twixt my lord and Cassio ?

206 let me • undertaker] let me take up your cause of quarrel with

him . "Undertaker " was the title commonly bestowed on such in-
terveners in controversy.
[ 123 ]
 OTHELLO ACT IV

DES. A most unhappy one : I would do much

To atone them, for the love I bear to Cassio.
Отн . Fire and brimstone !
DES. My lord ?
OTH. Are you wise ? 230
DES . What, is he angry ?
LOD . May be the letter moved him ;
For, as I think, they do command him home,
Deputing Cassio in his government.
DES. By my troth, I am glad on 't.
Отн. Indeed !
DES . My lord ?
OTн. I am glad to see you mad .
DES. Why, sweet Othello ?
OTн. Devil ! [Striking her.
DES . I have not deserved this .
LOD. My lord, this would not be believed in Venice,
Though I should swear I saw ' t : ' t is very much :
Make her amends ; she weeps .
OTH . O devil, devil ! 240
If that the earth could teem with woman's tears,
Each drop she falls would prove a crocodile.
Out of my sight !

227 atone] reconcile.

230 Are you wise?] Are you prudent in talking thus ? Fechter, the actor,
assigned these words to Iago, assuming them to be a hint to Othello
to control himself better.
242 falls] lets fall.
a crocodile] In popular natural history crocodiles were a type of de-
ceitfulness and insincerity. Hence, feigned tears are commonly known
as "crocodile's tears. "
[ 124 ]
SCENE I OTHELLO

DES . I will not stay to offend you . [Going.

LOD. Truly, an obedient lady :
I do beseech your lordship , call her back.
Отн. Mistress !
DES. My lord ?
OTн. What would you with her, sir ?
LOD. Who, I, my lord ?
OTн. Ay ; you did wish that I would make her turn :
Sir, she can turn and turn , and yet go on, 250
And turn again ; and she can weep , sir, weep ;
And she's obedient , as you say, obedient,
r s
Very obedient. Proceed you in you tear .
― d n
Concerning this , sir, O well-painte passio !
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, to-night,
I do entreat that we may sup together :
You are welcome, sir, to Cyprus. Goats and monkeys !
[Exit.
LOD. Is this the noble Moor whom our full senate 261
Call all in all sufficient ? This the nature

Whom passion could not shake ? whose solid virtue

The shot of accident nor dart of chance
Could neither graze nor pierce ?

254 well-painted passion] cleverly simulated passion.

260 Goats and monkeys] Othello recalls Iago's references to the lascivious-
ness of goats and monkeys, III , iii , 407, supra.
264 accident ... chance] The distinction between these two words is
not quite obvious. " Accident " may mean a personal calamity, and
[ 125 ]
 OTHELLO ACT IV

IAGO. He is much changed.

LOD. Are his wits safe ? is he not light of brain ?
IAGO. He's that he is : I may not breathe my censure
What he might be : if what he might he is not,
I would to heaven he were !
LOD. What, strike his wife !
IAGO . Faith, that was not so well ; yet would I knew
That stroke would prove the worst !
LOD. Is it his use ? 271
Or did the letters work upon his blood,
And new create this fault ?
IAGO . Alas , alas !
It is not honesty 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 .

LOD. I am sorry that I am deceived in him. [Exeunt.

SCENE II - A ROOM IN THE CASTLE

Enter OTHELLO and EMILIA

OTн. You have seen nothing, then ?

EMIL. Nor ever heard, nor ever did suspect.
OTн. Yes, you have seen Cassio and she together.

"chance " a turn of fortune involving more than mere personal

consequences.
267 censure] opinion.
274 honesty] honourable.
[ 126 ]
SCENE II OTHELLO

EMIL. But then I saw no harm , and then I heard

Each syllable that breath made up between them .
Oтн. What, did they never whisper ?
EMIL. Never, my lord.
OTн. Nor send you out o' the way ?
EMIL. Never.
Отн. To fetch her fan, her gloves, her mask, nor
nothing ?
EMIL. Never, my lord . 10
Отн. That's strange.
EMIL. I durst, my lord, to wager 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 !

For if she be not honest, chaste and true,
There's no man happy ; the purest of their wives
Is foul as slander.
Отн. Bid her come hither : go. [Exit Emilia.
She says enough : yet she's a simple bawd 20
That cannot say as much. This is a subtle whore,
A closet lock and key of villanous secrets :
And yet she'll kneel and pray ; I have seen her do ' t.

Enter DESDEMONA with EMILIA

DES. My lord, what is your will ?

Отн. Pray, chuck, come hither.
DES. What is your pleasure ?
Отн . Let me see your eyes ;
Look in my face.
[ 127 ]
 OTHELLO ACT IV

DES . What horrible fancy ' s this ?

OTH. [ To Emilia] Some of your function , mistress ,
Leave procreants alone and shut the door ;
29
Cough, or cry hem, if any body come :
Your mystery, your mystery : nay, dispatch. [ Exit Emilia.
DES . Upon my knees, what doth your speech import ?
I understand a fury in your words ,
But not the words .
OTH. Why, what art thou ?
DES. Your wife, my lord ; your true and loyal wife.
Oтн. Come, swear it, damn thyself ;
Lest, being like one of heaven, the devils themselves
Should fear to seize thee : therefore be double-damn'd ;
Swear thou art honest.
DES . Heaven doth truly know it.
OTн . Heaven truly knows that thou art false as hell . 40
DES. To whom, my lord ? with whom ? how am I
false ?
OTHн. O Desdemona ! Away ! away ! away!
DES . 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,
Lay not your blame on me : if you have lost him,
Why, I have lost him too .

27 Some of your function] Some persons practising your line of business

(of procuress or bawd) .
30 Your mystery] Bethink you of your trade or profession of procuress .
37-38 Lest ... double-damn'd] Lest being like an angel, like one of the
elect of heaven, the fiends of hell themselves should fear to touch
you. Therefore heap sin upon sin, add perjury to adultery.
[ 128 ]
 SCENE II OTHELLO

Отн . Had it pleased heaven

To try me with affliction ; had they rain'd
All kinds of sores and shames on my bare head, 50
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 !
Yet could I bear that too ; well, very well :
But there, where I have garner'd up my heart,
Where either I must live or bear no life,
•
The fountain from the which my current runs , 60
Or else dries up ; to be discarded thence !
Or keep it as a cistern for foul toads
To knot and gender in ! Turn thy complexion there,

49 they] sc. the heavens.

55-56 A fixed figure . . . finger at] This is substantially the reading of
the Quartos, though the First Quarto has fingers for finger, and at is
followed in all by oh, oh. The main change in the Folios is the sub-
stitution of The for A in line 55, and of and mouing for vnmouing in
line 56. The metaphor is drawn from a clock. " A fixed figure " refers
to the small figure of a man which ornamented a clock, and some-
times played a part in the mechanism by striking a bell to sound the
hours or quarter hours. Cf. Rich. II, V, v, 60, "I stand fooling here
his Jack o' the clock," and Rich. III, IV, ii, 118, “ like a Jack thou
keep'st the stroke. " "The time of scorn " means "the hour of
99
scorn, "hour " being put for the dial or clock's face on which
the hours are indicated. " Slow unmoving finger " is the dial hand
or pointer with its imperceptible movement.
58 garner'd up] treasured, stored.
63-65 Turn ... as hell] Apparently Patience, being apostrophised, is
9
[ 129 ]
 OTHELLO ACT IV

Patience, thou young and rose-lipp'd cherubin,

Ay, there, look grim as hell !
DES. I hope my noble lord esteems me honest.
Отн. O, ay; as summer flies are in the shambles,
That quicken even with blowing. 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 ! 70

DES . Alas , what ignorant sin have I committed ?

OTH. Was this fair paper, this most goodly book,
Made to write " whore " upon ? What committed !
Committed! O thou public commoner !
I should make very forges 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 ;
The bawdy wind, that kisses all it meets,
Is hush'd within the hollow mine of earth, 80
And will not hear it. What committed !
Impudent strumpet !

warned that it will change colour in presence of such filth, and that
all its normal fresh beauty would become ugly as hell in view of
such corruption. Othello exaggerates the beauty and virtue of pa-
tience, which could find no place in his present condition of mind.
Cherubin, used here as a singular, is really the plural of " cherub."
73 committed!] The word has a technical sense of doing unlawful acts of
love. Cf. Lear, III, iv, 81 : 'commit not with man's sworn spouse."
74-77 Committed .. committed!] These lines are omitted from the First
Quarto.
79 The bawdy wind ... meets] Cf. Merch. of Ven., II, vi, 16 : “ Hugg'd
and embraced by the strumpet wind."
[ 130 ]
SCENE II OTHELLO

DES . By heaven, you do me wrong.

ОTн. Are not you a strumpet ?
DES. No, as I am a Christian :
If to preserve this vessel for my lord
From any other foul unlawful touch
Be not to be a strumpet, I am none.
ОтTн. What, not a whore ?
DES. No, as I shall be saved.
ОTH . Is ' t possible ?
DES. O, heaven forgive us !
Отн. I cry you mercy then :
I took you for that cunning whore of Venice 90
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 !

We have done our course ; there's money for your pains :
I pray you, turn the key, and keep our counsel. [Exit.
EMIL. Alas, what does this gentleman conceive ?
How do you, madam ? how do you, my good lady ?
DES . Faith , half asleep .
EMIL. Good madam, what's the matter with my lord ?
DES . With who ? 100

EMIL. Why, with my lord , madam.

84 this vessel for my lord] an obvious scriptural reminiscence.

89 I cry you mercy] I beg your pardon. Cf. V, i, 69, infra.
92 office opposite to Saint Peter] office opposed to that of St. Peter, who
keeps the keys of heaven.
[ 131 ]
 OTHELLO ACT IV

DES. Who is thy lord ?

EMIL. He that is yours , sweet lady.
DES. I have none : do not talk to me, Emilia ;
I cannot weep, nor answer have I none
But what should go by water. Prithee, to-night
Lay on my bed my wedding sheets : remember ;
And call thy husband hither.
EMIL. Here's a change indeed ! [Exit.
DES. '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 ? 110

Re-enter EMILIA with IAGO

IAGO . What is your pleasure, madam ? How is 't

with you ?
DES. 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 ?
EMIL. Alas , Iago, my lord hath so bewhored her,
Thrown such despite and heavy terms upon her,
As true hearts cannot bear.
DES. Am I that name , Iago ?
IAGO . What name, fair lady ?
DES . Such as she says my lord did say I was. 120

105 go by water] express itself in tears.

110 opinion] ill opinion or suspicion.
least misuse] slightest fault. Thus all the early editions, save the
First Quarto, which reads greatest abuse.
[ 132 ]
SCENE II OTHELLO

EMIL. He call'd her whore : a beggar in his drink

Could not have laid such terms upon his callet.
IAGO . Why did he so ?
DES. I do not know ; I am sure I am none such.
IAGO. Do not weep, do not weep . Alas the day !
EMIL. Hath she forsook so many noble matches ,
Her father and her country and her friends ,
To be call'd whore ? would it not make one weep P
DES. It is my wretched fortune.
IAGO . Beshrew him for 't!
How comes this trick upon him ?
DES . Nay, heaven doth know.
EMIL. I will be hang'd , if some eternal villain , 131
Some busy and insinuating rogue,
Some cogging, cozening slave , to get some office ,
Have not devised this slander ; I'll be hang'd else.
LAGO . Fie, there is no such man ; it is impossible.
DES . If any such there be, heaven pardon him !
EMIL. A halter pardon him ! and hell gnaw his bones !
Why should he call her whore ? who keeps her com-
pany ?
What place ? what time ? what form ? what likelihood ?
The Moor's abused by some most villanous knave, 140
Some base notorious knave, some scurvy fellow.
O heaven, that such companions thou❜ldst unfold,

122 callet] a low prostitute.

131 eternal] infernal ; a common term of extreme abhorrence.
132 busy and insinuating] officious and plausible.
133 cogging, cozening ] lying, cheating.
141 notorious] outrageous, deserving to be branded. Cf. V, ii, 242, infra.
142 companions] fellows ; a word of scorn.
[ 133 ]
 OTHELLO ACT IV

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.
EMIL. O, fie upon them ! Some such squire he was
That turn'd your wit the seamy side without,
And made you to suspect me with the Moor.
IAGO. You are a fool ; go to.
DES. O good Iago,
What shall I do to win my lord again ? 150

Good friend, go to him; for, by this light of heaven,

I know not how I lost him. Here I kneel :
If e'er my will did trespass ' gainst his love
Either in discourse of thought 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 ; 160
And his unkindness may defeat my life ,
But never taint my love. I cannot say " whore " :
It doth abhor me now I speak the word ;

145 Speak within door] Don't speak so loud as to be heard outside the
door.
148 suspect me with the Moor] Cf. I, iii, 381-382, and II, i, 289–293, supra.
154 discourse of thought] range or course of thought. Cf. Hamlet, I, ii,
150 : "discourse of reason. "
161 defeat] destroy.
163 It doth abhor me] It is abhorrent to me.
[ 134 ]
SCENE II OTHELLO

To do the act that might the addition earn

Not the world's mass of vanity could make me.
IAGO. I pray you, be content ; ' t is but his humour :
The business of the state does him offence,
And he does chide with you.
DES. If 't were no other, ―
IAGO. "T is but so, I warrant. [ Trumpets within.
Hark, how these instruments summon to supper ! 170
The messengers of Venice stay the meat :
Go in, and weep not ; all things shall be well .
[Exeunt Desdemona and Emilia.

Enter RODERIGO

How now, Roderigo !

ROD. I do not find that thou dealest justly with me.
IAGO. What in the contrary ?

ROD. Every day thou daffest me with some device,

Iago ; and rather, as it seems to me now, keepest from
me all conveniency than suppliest me with the least
advantage of hope. I will indeed no longer endure it ;
nor am I yet persuaded to put up in peace what already
I have foolishly suffered . 181
IAGO . Will you hear me, Roderigo ?
ROD. Faith , I have heard too much ; for your words
and performances are no kin together.

164 addition] title.

176 daffest me] puttest me off.
183-184 for your words and] In the Duke of Devonshire's copy and in at
least three other extant copies of the First Folio a careless printer has
substituted for these words the phrase and hell gnaw his bones, thus
repeating by a freak of misdirected vision Emilia's angry ejaculation
[ 135 ]
 OTHELLO ACT IV

IAGO. You charge me most unjustly.

ROD. 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 vota-
rist : you have told me she hath received them and re-
turned me expectations and comforts of sudden respect
and acquaintance ; but I find none. 191
IAGO . Well ; go to ; very well .
ROD. Very well ! go to ! I cannot go to, man ; nor
't is not very well : by this hand, I say 't is very scurvy,
and begin to find myself fopped in it.
IAGO . Very well .
ROD. I tell you ' t is not very well . I will make my-
self known to Desdemona : if she will return me my
jewels , I will give over my suit and repent my unlawful
solicitation ; if not, assure yourself I will seek satisfac-
tion of you . 200
IAGO . You have said now.

ROD. Ay, and said nothing but what I protest intend-

ment of doing .
IAGO . Why, now I see there's mettle in thee ; and
even from this instant do build on thee a better opinion
than ever before. Give me thy hand, Roderigo : thou
hast taken against me a most just exception ; but yet, I
protest, I have dealt most directly in thy affair.

from line 137, supra. In the majority of the copies of the First Folio
the mistake is corrected.
188 a votarist] a nun.
190 sudden respect] prompt show of regard.
195 fopped] deluded, deceived ; " fobbed " is the more ordinary form.
202 intendment] intention.
[ 136 ]
SCENE II OTHELLO

ROD. It hath not appeared. 209

IAGO. I grant indeed it hath not appeared, and your
suspicion is not without wit and judgement. But, Rod-
erigo, 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 for my life.
ROD . Well , what is it ? is it within reason and com-
pass ?
IAGO. Sir, there is especial commission come from
Venice to depute Cassio in Othello's place . 220

ROD. Is that true ? why then Othello and Desdemona

return again to Venice.
IAGO. O , no ; he goes into Mauritania , and takes
away with him the fair Desdemona , unless his abode
be lingered here by some accident : wherein none can be
so determinate as the removing of Cassio.
ROD. How do you mean, removing of him ?
IAGO . Why, by making him uncapable of Othello's
place ; knocking out his brains .
ROD. And that you would have me to do ? 230

IAGO. Ay, if you dare do yourself a profit and a

right. He sups to-night with a harlotry, and thither
will I go to him : he knows not yet of his honourable
fortune. If you will watch his going thence, which I
will fashion to fall out between twelve and one, you may

216 devise engines • life] plot to destroy my life.

232 harlotry] harlot. Cf. Rom. and Jul., IV, ii, 14 : "A peevish self-will'd
harlotry."
[ 137 ]
 OTHELLO ACT IV

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 supper-
time, and the night grows to waste : about it. 241
ROD. 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

LOD. I do beseech you, sir, trouble yourself no

further.
Отн. О , pardon me ; ' t will do me good to walk.
LOD. Madam, good night ; I humbly thank your
ladyship .
DES. Your honour is most welcome.
Отн. Will you walk, sir ?
O, - Desdemona,
DES. My lord ?
ОTH. Get you to bed on the instant ; I will be re-
turned forthwith : dismiss your attendant there : look
it be done.
DES. I will , my lord.
[Exeunt Othello, Lodovico, and Attendants.

240-241 high supper-time] fully the hour of supper.

4 walk] withdraw.
[ 138 ]
SCENE III OTHELLO

EMIL. How goes it now ? he looks gentler than he

did. 10
DES. He says he will return incontinent :
He hath commanded me to go to bed,
And bade me to dismiss you.
EMIL. Dismiss me !

DES. It was his bidding ; therefore, good Emilia,

Give me my nightly wearing, and adieu :
We must not now displease him.
EMIL. I would you had never seen him !
DES . So would not I : my love doth so approve him,
That even his stubbornness, his checks, his frowns,
Prithee, unpin me, - have grace and favour in them. 20
EMIL. I have laid those sheets you bade me on the
bed.
DES. All's one . Good faith, how foolish are our
minds !

If I do die before thee, prithee, shroud me

In one of those same sheets .
EMIL. Come, come, you talk.
DES. My mother had a maid call'd Barbara :
She was in love ; and he she loved proved mad
And did forsake her : she had a song of " willow ; "
An old thing 't was, but it express'd her fortune,
And she died singing it : that song to-night

11 incontinent] immediately.
22 Good faith] Thus the First Quarto. All other early editions read
absurdly good father.
24 you talk] you chatter thoughtlessly.
26 mad] wild, fickle.
27 a song of " willow "] Shakespeare adapts the song, which he gives
[ 139 ]
 OTHELLO ACT IV

Will not go from my mind ; I have much to do 30

But to go hang my head all at one side
And sing it like poor Barbara. Prithee, dispatch.
EMIL. Shall I go fetch your night-gown ?
DES .
No, unpin me here.
This Lodovico is a proper man.
EMIL. A very handsome man.
DES. He speaks well .
EMIL. I know a lady in Venice would have walked
barefoot to Palestine for a touch of his nether lip.

DES . [Singing] The poor soul sat sighing by a sycamore tree,

Sing all a green willow; 40
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 these :

[Singing] Sing willow, willow, willow;

Prithee, hie thee ; he'll come anon : -

lines 39-55, infra, from an old ballad, probably of early sixteenth

century date. The original music is extant. Percy printed a version
of the words from a copy in the Pepysian library (at Magdalene
College, Cambridge) , entitled “ A lover's complaint, being forsaken of
his love, to a pleasant tune." There and elsewhere the singer is a man.
"Willow, willow " was a favourite burden of many other sixteenth
century songs.
30-51 I have . . . next] The First Quarto omits this passage.
30-31 I have much to do But to go] I can hardly refrain from going.
[ 140 ]
SCENE III OTHELLO

[Singing] Sing all a green willow must be my garland.

Let nobody blame him ; his scorn I approve, ---
— 50

Nay, that's not next. Hark ! who is ' t that knocks ?

EMIL. It's the wind.

DES. [Singing] I call'd my love false love ; but what said he

then ?
Sing willow, willow, willow :
If I court moe women, you'll couch with moe men.

So get thee gone ; good night. Mine eyes do itch ;

Doth that bode weeping ?
EMIL. "T is neither here nor there.
DES . 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 60
In such gross kind ?
EMIL. There be some such, no question.
DES . Wouldst thou do such a deed for all the world ?
EMIL. Why, would not you ?
DES . No, by this heavenly light !
EMIL. Nor I neither by this heavenly light ; I might
do't as well i' the dark .
DES . Wouldst thou do such a deed for all the world ?
EMIL. The world's a huge thing : it is a great price
For a small vice.

49 Sing ... garland] Cf. Much Ado, II , i , 193-194 : "I offered him my
company to a willow-tree, either to make him a garland,” etc.
53-55 I call'd . . . men] The First Quarto omits these lines.
55 moe ... moe] more . . . more.
58-61 I have · • question] The First Quarto omits these lines.
[ 141 ]
 OTHELLO ACT IV

DES. In troth, I think thou wouldst not.

EMIL. 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, nor for measures of lawn, nor for gowns ,
petticoats, nor caps, nor any petty exhibition ; but, for
the whole world, — why, who would not make her hus-
band a cuckold to make him a monarch ? I should
venture purgatory for 't. 75
DES . Beshrew me, if I would do such a wrong
For the whole world.

EMIL. Why, the wrong is but a wrong i' the world ;

and having the world for your labour, ' t is a wrong in
your own world, and you might quickly make it right. 80
DES. I do not think there is any such woman.
EMIL. Yes, a dozen ; and as many to the vantage as
would store the world they played for.
But I do think it is their husbands' faults

If wives do fall : say that they slack their duties

And pour our treasures into foreign laps,
Or else break out in peevish jealousies ,
Throwing restraint upon us, or say they strike us,
Or scant our former having in despite,

71 joint-ring] a token of troth-plight, usually of small intrinsic value ; it

was first broken in two parts which were then neatly riveted together.
72 exhibition] allowance.
82 to the vantage] into the bargain.
83 store] stock.
84-101 But I do think. · · us so] The First Quarto omits this passage.
86 treasures] Cf. 1 Hen. IV, II, iii, 42-43 : “ given my treasures and my
rights of thee To ... melancholy. "
89 having] allowance for expenses.
[ 142 ]
SCENE III OTHELLO

Why, we have galls, and though we have some grace, 90

Yet have we some revenge. Let husbands know
Their wives have sense like them : they see and smell
And have their palates both for sweet and sour,
As husbands have. What is it that they do
When they change us for others ? Is it sport ?
I think it is : and doth affection breed it ?
I think it doth : is ' t frailty that thus errs ?
It is so too : and have not we affections ,
Desires for sport, and frailty, as men have ?
Then let them use us well : else let them know, 100
The ills we do , their ills instruct us so.
DES . Good night, good night : heaven me such uses
send ,
Not to pick bad from bad, but by bad mend ! [Exeunt.

92 sense] sensual appetite.

102 uses] experiences, with a reference to Emilia's phrase, line 100, supra,
"then let them use us."

[ 143 ]
 ACT FIFTH - SCENE I- CYPRUS

A STREET

Enter IAGO and RODERIGO

IAGO

ERE , STAND BEHIND THIS

bulk ; straight will he come :
Wear thy good rapier bare, and
put it home :
Quick, quick ; fear nothing ; I'll
be at thy elbow:
H It makes us, or it mars us ; think
on that,
And fix most firm thy resolu-
tion .
ROD. Be near at hand ; I
may miscarry in 't.
IAGO. Here, at thy hand : be
bold, and take thy stand. [Retires.
ROD. 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. 10
[ 144 ]
SCENE I OTHELLO

IAGO. I have rubb'd this young quat almost to the

sense,
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,
As gifts to Desdemona :
It must not be : if Cassio do remain,
He hath a daily beauty in his life
That makes me ugly ; and besides , the Moor 20

May unfold me to him ; there stand I in much peril :

No, he must die . Be ' t so. I hear him coming.

Enter CASSIO

ROD . I know his gait ; ' t is he.

Villain , thou diest !
[Makes a pass at Cassio.
CAS . That thrust had been mine enemy indeed,

1 bulk] a stall or counter outside a shop. Florio in his Italian-English

Dictionary explains " Balcone ” as “ a bulke, or stall of a shop." Cf.
Cor., II, i, 200 : " stalls, bulks, windows. " Bulke is the reading of the
Quartos, for which the Folios substitute unsatisfactorily Barke or
Bark.
7 stand] technically applied to the place chosen by the huntsmen for
shooting at the deer.
11 quat] Thus all the early editions, save the First Quarto, which reads
gnat. "Quat" means in Warwickshire dialect “ a pimple." It is em-
ployed here as a term of contempt, like " scab " in Tw. Night, II, v,
69. " Rubb'd to the sense " is rubbed to the quick, so as to make the
spot or sore " angry."
14 gain] Thus the Folios. The Quartos read game.
16 bobb'd] cheated or swindled. Cf. Troil. and Cress. , III, i, 65.
10
[ 145 ]
 OTHELLO ACT V

But that my coat is better than thou know'st :

I will make proof of thine. [Draws, and wounds Roderigo.
ROD. O, I am slain !
[Iago from behind wounds Cassio in the leg, and exit.
CAS. I am maim'd for ever. Help, ho ! murder !
murder ! [Falls.
Enter OTHELLO

Отн. The voice of Cassio : Iago keeps his word.

ROD. O, villain that I am !
Отн. It is even so .
CAS. O, help, ho ! light ! a surgeon ! 80

OTH. '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 : strumpet, I come !
Forth of my heart those charms, thine eyes, are blotted ;
Thy bed lust-stain'd shall with lust's blood be spotted.
[Exit.
Enter LODOVICO and GRATIANO

CAS. What, ho ! no watch ? no passage ? murder !

murder !
GRA. "T is some mischance ; the cry is very direful.

25 my coat] Cassio probably wears an undercoat of mail, i. e. , a tunic of

finely wrought links of steel.
34 hies] hastes away. The Folios read highes, and the Quartos hies
apace.
35 Forth of] Out of. Thus the Quartos ; the First Folio reads For of,
the other Folios For off.
37 no passage?] no traffic ? are no persons passing by ? is nobody about ?
Cf. Com. of Errors, III, i, 99 : "the stirring passage of the day," i. e.,
the hour when traffic is busiest.
[ 146 ]
SCENE I OTHELLO

CAS. O, help !
LOD. Hark ! 40
ROD. O wretched villain !
LOD. Two or three groan : it is a heavy night :
These may be counterfeits : let's think ' t unsafe
To come in to the cry without more help .
ROD. Nobody come ? then shall I bleed to death.
LOD. Hark !
Re-enter LAGO, with a light

GRA. Here's one comes in his shirt, with light and

weapons .
IAGO. Who's there ? whose noise is this that cries on
murder ?
LOD. We do not know.
IAGO. Did not you hear a cry ?
CAS. Here, here ! for heaven's sake, help me !
IAGO. What's the matter ? 50
GRA. This is Othello's ancient, as I take it.
LOD. The same indeed ; a very valiant fellow.
IAGO. What are you here that cry so grievously ?
CAS. Iago ? O , I am spoil'd, undone by villains !
Give me some help .
IAGO. O me, lieutenant ! what villains have done
this ?
CAS . I think that one of them is hereabout,
And cannot make away.

42 a heavy night] a dark cloudy night.

48 cries on] calls out.
51 ancient] ensign. See note on I, i, 33, supra.
58 make away] make off, escape.
[ 147 ]
 OTHELLO ACT V

IAGO. O treacherous villains !

What are you there ? come in and give some help .
[To Lodovico and Gratiano.
ROD. O, help me here ! 60
CAS . That's one of them.
IAGO. O murderous slave ! O villain !
[Stabs Roderigo.
ROD. 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 ?
LOD. As you shall prove us, praise us.
IAGO . Signior Lodovico ?
LOD . He, sir.
IAGO. I cry you mercy. Here's Cassio hurt by vil-
lains.
GRA. Cassio ! 70
IAGO . How is 't, brother ?
CAS . My leg is cut in two.
IAGO . Marry, heaven forbid !
Light, gentlemen : I'll bind it with my shirt .

Enter BIANCA

BIAN. What is the matter, ho ? who is't that cried ?

IAGO . Who is ' t that cried !
BIAN. O my dear Cassio ! my sweet Cassio ! O Cas-
sio, Cassio, Cassio !

69 I cry you mercy] I beg your pardon. Cf. IV, ii, 89, supra.
[ 148 ]
SCENE I OTHELLO

LAGO. O notable strumpet ! Cassio, may you sus-

pect
Who they should be that have thus mangled you ?
CAS. No. 80
GRA. I am sorry to find you thus : I have been to
seek you.

IAGO. Lend me a garter. So. O, for a chair,

To bear him easily hence !
BIAN. Alas, he faints ! O Cassio, Cassio, Cassio !
IAGO . Gentlemen all , I do suspect this trash
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

00
Roderigo ? no : - yes , sure : O heaven ! Roderigo. 90
GRA. What, of Venice ?
IAGO . Even he , sir : did you know him ?
GRA. Know him ! ay .
IAGO . Signior Gratiano ? I cry you gentle pardon ;
These bloody accidents must excuse my manners,
That so neglected you .
GRA. I am glad to see you .
IAGO. How do you , Cassio ? O, a chair, a chair !
GRA. Roderigo !
IAGO . He, he, ' t is he. [A chair brought in.] O , that's
well said ; the chair :

82-83 Lend ... hence] These lines are omitted from the First Quarto.
85 trash] feeble creature. Cf. II , i , 321 , supra, and note.
86 To be a party] Thus the Folios. The Quartos read To beare a part.
93 I cry ... pardon] I beg you kindly pardon. Cf. line 69, supra.
[ 149 ]
 OTHELLO ACT V

Some good man bear him carefully from hence ;

I'll fetch the general's surgeon. [ To Bianca] For you,
mistress , 100

Save you your labour. He that lies slain here, Cassio,

Was my dear friend : what malice was between you ?
CAS. None in the world ; nor do I know the man.
IAGO. [ To Bian.] 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 gastness 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. 110

101 Save you your labour] Iago impatiently deprecates Bianca's attendance
on Cassio.
105 gentlemen] Thus the Folios. The Quartos read gentlewoman, which
has been defended on the ground that Bianca would be following her
wounded lover, unless she were restrained by Iago's. It is almost
certain that Iago is addressing Lodovico and Gratiano, who, now
that Cassio has been appointed general in Othello's place, would be
bound to render him all the assistance in their power, and would only
stay behind him on his removal, at a very urgent entreaty. They
do not follow their wounded chief. Iago addresses them again in
line 109.
106 gastness] ghastliness, deadly paleness. Cf. Lear, II, i, 55 : "gasted, "
i. e., frightened, made aghast ; gastness is the reading of the Folios.
The Quartos read less intelligibly ieastures.
109-110 guiltiness ...
. of use] Cf. Hamlet, II, ii, 589–590 : "For murder,
though it have no tongue, will speak With most miraculous organ.”

[ 150 ]
SCENE I OTHELLO

Enter EMILIA

EMIL. ' Las, 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.
EMIL. Alas , good gentleman ! alas, good Cassio !
IAGO. This is the fruit of whoring. Prithee, Emilia,
Go know of Cassio where he supp'd to-night.
What, do you shake at that ?
BIAN. He supp'd at my house ; but I therefore shake
not.
IAGO . O, did he so ? I charge you, go with me. 120
EMIL. Fie, fie upon thee, strumpet !
BIAN. I am no strumpet ; but of life as honest
As you that thus abuse me.
EMIL . 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.
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 fordoes me quite. [Exeunt.

117 Go know . . . to-night] This apparent ignorance of Iago as to where

Cassio supped is inconsistent with much that has gone before, and
must be intended to mystify Emilia as to his own share in recent events
at IV, i, 160, supra. Cassio tells Iago he intends to sup with Bianca,
and Iago at IV, ii, 232, supra, arranges with Roderigo to fetch him
from Bianca's house.
129 fordoes] ruins, destroys.
[ 151 ]
 OTHELLO ACT V

SCENE II - A BEDCHAMBER IN THE CASTLE

DESDEMONA IN BED ASLEEP - A LIGHT

BURNING

Enter OTHELLO

OTн. It is the cause, 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.
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,
I can again thy former light restore,
10
Should I repent me : but once put out thy light,

1 It is the cause] Much has been written on the precise meaning of these
words here. Othello is justifying to himself his design of murdering
his wife, by laying stress on the heinousness of her offence, which
demands the sacrifice of her life in the cause of justice. Cf. line 17,
infra. It is the monstrousness of the crime, he tells his soul, which is
the cause and justification of his terrible act of vengeance.
2 chaste stars] This epithet is rarely applied to the stars, though commonly
applied to the moon, who is often identified with Diana, the goddess
of chastity. But it is a natural epithet to apply to the bright, pure
stellar light.
5 monumental alabaster] alabaster was the ordinary material of monu-
mental tombs.
7 Put out ... light] Put out the candle, and then put out the light of
life. In Othello's excited temper the trivial words of the first half
of the line " Put out the light " are invested on their involuntary
repetition with a terrible significance. This punctuation is that of
[ 152 ]
SCENE II OTHELLO

Thou cunning'st pattern of excelling nature,

I know not where is that Promethean heat
That can thy light relume. 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, 20
But they are cruel tears : this sorrow ' s heavenly ;
It strikes where it doth love . She wakes.
DES . Who's there ? Othello ?
Отн . Ay, Desdemona .
DES . Will you come to bed, my lord ?

Отн. Have you pray'd to-night, Desdemona ?

DES. Ay, my lord.
ОTH. If you bethink yourself of any crime

the old editions, and many changes have been suggested . Fielding
in his " Journey from this world to the next " has a long and curious
dissertation on the histrionic effect of the line and on its pedantic
treatment by the commentators.
11 pattern] model.
13 relume] rekindle. Thus substantially the Folios. The First Quarto
reads returne and the later Quartos relumine. Theobald here adds
the stage direction Sets down the taper.
21-22 this sorrow's heavenly; It strikes ... love] this sorrow is like
the action of God. Cf. Hebrews, xii, 6 : “ whom the Lord loveth he
chasteneth. "
[ 153 ]
 OTHELLO ACT V

Unreconciled as yet to heaven and grace,

Solicit for it straight.
DES. Alas, my lord, what may you mean by that ? so
OTн . Well , do it, and be brief ; I will walk by :
I would not kill thy unprepared spirit ;
No ; heaven forfend ! I would not kill thy soul .
DES . Talk you of killing ?
ОTH. Ay, I do.
DES . Then heaven have mercy on me !
OTн. Amen, with all my heart !
DES. If you say so, I hope you will not kill me.
ОTн. Hum !
DES. And yet I fear you ; for you are fatal then 40
When your eyes roll so : why I should fear I know
not,
Since guiltiness I know not ; but yet I feel I fear.
OTн. Think on thy sins.
DES. They are loves I bear to you.
Отн. Ay, and for that thou diest.
DES. 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.
Отн. Peace, and be still !

31 walk by] walk apart, aside.

33 heaven forfend] heaven forbid.
45 That death's ... loving] Cf. Rich. III, I, ii, 134-135 : "It is a quarrel
most unnatural, To be revenged on him that loveth you."
49 point on] refer to, concern. Cf. Jul. Cæs., I , iii, 31-32 : " they are
portentous things Unto the climate that they point upon."
[ 154 ]
SCENE II OTHELLO

DES. I will so. What's the matter ? 50

Отн. That handkerchief which I so loved and gave
thee

Thou gavest to Cassio.

DES. No, by my life and soul !
Send for the man , and ask him.
Отн. Sweet soul, take heed,
Take heed of perjury ; thou art on thy death-bed.
DES. Ay, but not yet to die.
Отн. Yes , presently :
Therefore confess thee freely of thy sin ;
For to deny each article with oath
Cannot remove nor choke the strong conception
That I do groan withal . Thou art to die.
DES. Then Lord have mercy on me !
Отн. I say, amen. 60

DES. 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 : I never gave him token.
OTH
Oтн.. By heaven, I saw my handkerchief in's hand.
O perjured woman ! thou dost stone my heart,
And makest me call what I intend to do

55 presently] immediately, at once.

66 myheart] Thus all the early editions, save the First Quarto which reads
thy heart.
67-68 makest ... sacrifice] Othello means that what he judges to be
Desdemona's perjury is hardening his heart, and filling his soul with
the pitiless rage of a murderer, instead of with the calmness of a
priest engaged in sacrificial offering, which it was his intention to
maintain.
[ 155 ]
 OTHELLO ACT V

A murder, which I thought a sacrifice :

I saw the handkerchief.
DES. He found it then ;
I never gave it him : send for him hither ; 70
Let him confess a truth.
Отн. He hath confess'd .

DES. What, my lord ?

Отн. That he hath used thee.
DES . How ? unlawfully ?
Отн . Aу .
DES . He will not say so.
Отн. No, his mouth is stopp'd ;
Honest Iago hath ta'en order for 't.
DES . O, my fear interprets ! what, is he dead ?
Отн. Had all his hairs been lives, my great revenge
Had stomach for them all .
DES . Alas, he is betray'd , and I undone ! 80

Oтн . Out, strumpet ! weep'st thou for him to my

face ?
DES . O, banish me, my lord, but kill me not !
ОTH. Down, strumpet !
DES. Kill me to-morrow ; let me live to-night !
Отн . Nay , if you strive , -
DES. But half an hour !
Отн. Being done, there is no pause.
DES . But while I say one prayer !

76 hath ta'en order for 't] has arranged, taken the necessary steps, for
that.
86 Being done · pause] The resolution being irrevocable, and the act
being practically done, there is no possibility of delay.
[ 156 ]
SCENE II OTHELLO

OTH. It is too late. [He stifles her.

EMIL. [Within] My lord, my lord ! what, ho ! my lord,
my lord!
OTн . What noise is this ? Not dead ? not yet quite
dead ?
I that am cruel am yet merciful ; 90
I would not have thee linger in thy pain :
So, so.
EMIL. [Within] What, ho ! my lord, my lord !
OTH . Who's there ?
EMIL. [Within] O, good my lord, I would speak a
word with you !
OTH. Yes : ' t is Emilia . By and by. She's dead.
"T is like 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. 100
O, insupportable ! O heavy hour!
Methinks it should be now a huge eclipse

87 It is too late] Thus all the early editions save the First Quarto, which
inserts here a cry from Desdemona's lips, O Lord, Lord, Lord.
92 So, so] Steevens suggested, and many actors adopt the suggestion, that
at these words Othello stabs Desdemona, so as to put her out of her
pain. Nothing in the text justifies this conjecture. Othello doubt-
less presses the pillow down again on Desdemona's face with convul-
sive energy, or perhaps grasps her neck in order to stop her breathing.
Though a fatal fracture of the larynx seems to be the result, it is not
inconsistent with medical experience that she should yet be able to
gasp out a few sentences. See note on line 120, infra.
[ 157 ]
 OTHELLO ACT V

Of sun and moon , and that the affrighted globe

Should yawn at alteration.
EMIL. [Within] I do beseech you
That I may speak with you, O, good my lord !
OTH. I had forgot thee : O , come in , Emilia.
Soft ; by and by. Let me the curtains draw.
Where art thou ? [Unlocks the door.
Enter EMILIA

What's the matter with thee now ?

EMIL. O, my good lord , yonder's foul murders done !
Отн. What, now ? 110
EMIL. But now, my lord.
OTн. It is the very error of the moon ;
She comes more nearer earth than she was wont
And makes men mad.
EMIL. Cassio, my lord, hath kill'd a young Venetian
Call'd Roderigo .
Отн . Roderigo kill'd !
And Cassio kill'd !
EMIL. No, Cassio is not kill'd .
Отн. Not Cassio kill'd ! then murder's out of tune,
And sweet revenge grows harsh.
DES. O, falsely, falsely murder'd !

104 Should yawn at alteration] Should be riven asunder under stress of

catastrophic revolution. "Yawn " is used as in "yawning chasm."
112 the very error] the mere deviation of the moon from its true course.
Lunacy, as the word implies, was supposed to be due to irregular
movements of the moon.
120 O, falsely, . . . murder'd !] Much has been written on the impossi-
bility of Desdemona speaking these lines and of the lines 125, 127, 128
[ 158 ]
SCENE II OTHELLO

EMIL. Alas, what cry is that ?

Отн. That ! what ? 121
EMIL. Out, and alas ! that was my lady's voice.
Help ! help, ho ! help ! O lady, speak again !
Sweet Desdemona ! O sweet mistress, speak !
DES. A guiltless death I die.
EMIL. O, who hath done this deed ?
DES. Nobody ; I myself. Farewell :
Commend me to my kind lord : O , farewell ! [Dies.
Отн. Why, how should she be murder'd ?
EMIL. Alas, who knows ?
Oтн. You heard her say herself, it was not I. 130

EMIL. She said so : I must needs report the truth .

Oтн. She's like a liar gone to burning hell :
"T was I that kill'd her.
EMIL. O, the more angel she ,
And you the blacker devil !
Отн. She turn'd to folly, and she was a whore.
EMIL. Thou dost belie her, and thou art a devil .
Oтн . She was false as water.
EMIL. Thou art rash as fire, to say
That she was false : O, she was heavenly true !
OTH. Cassio did top her ; ask thy husband else .
O, I were damn'd beneath all depth in hell, 140

subsequently assigned to her, after Othello's strangulation of her.

But a momentary revival before actual death is not impossible from
a medical point of view. See note on line 92, supra.
133 the more angel she] Thus Emilia pays tribute to Desdemona's dying
falsehood.
135 folly] lasciviousness, immoral indulgence.
[ 159 ]
 OTHELLO ACT V

But that I did proceed upon just grounds

To this extremity. Thy husband knew it all .
EMIL. My husband !
Отн. Thy husband.
EMIL. That she was false to wedlock ?
OTн. Ay, with Cassio. Nay, had she been true,
If heaven would make me such another world
Of one entire and perfect chrysolite,
I'ld not have sold her for it.
EMIL. My husband !
Отн. Ay, ' t was he that told me first :
An honest man he is, and hates the slime 151
That sticks on filthy deeds.
EMIL. My husband !
OTн . What needs this iteration, woman ? I say thy
husband.
EMIL. O mistress, villany hath made mocks with
love !
My husband say that she was false !
OTH. He, woman ;
I say thy husband : dost understand the word ?
My friend, thy husband , honest, honest Iago.
EMIL. If he say so, may his pernicious soul
148 chrysolite] a rare kind of topaz or jasper, said to be of a greenish hue.
153 iteration] Thus the Quartos. The Folios read itterance, which im-
proves the metre. For the form "itterance " or " iterance, " cf. the
Folio reading Reprobance at line 212, infra, where the First Quarto
reads Reprobation.
154-157 O mistress · • · honest Iago] These lines are omitted from the
First Quarto.
154 villany ...
. . . love] villany has taken advantage of or played tricks
with love.
[ 160 ]
SCENE II OTHELLO

Rot half a grain a day ! he lies to the heart :

She was too fond of her most filthy bargain. 160
ОTH . Ha !
EMIL. Do thy worst :
This deed of thine is no more worthy heaven
Than thou wast worthy her.
Отн . Peace, you were best.
EMIL. Thou hast not half that power to do me harm
As I have to be hurt. 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 ! 170

Enter MONTANO, GRATIANO, IAGO, and others

MON. What is the matter ? How now, general !

EMIL. O, are you come, Iago ? you have done well,
That men must lay their murders on your neck.
GRA. What is the matter ?
EMIL. 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 apt and true. 180

EMIL. But did you ever tell him she was false ?
IAGO . I did .

166 As I have to be hurt] As I have (the power) to endure any hurt you
can inflict on me.
180 apt] to the purpose, accurate.

11 [ 161 ]
 OTHELLO ACT V

EMIL. 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.
EMIL. I will not charm my tongue ; I am bound to
speak :
My mistress here lies murder'd in her bed,
ALL. O heavens forfend !
EMIL. And your reports have set the murder on. 190

Oтн. Nay, stare not, masters : it is true indeed .

GRA. 'Tis a strange truth .
MON. O monstrous act !
EMIL. Villany, villany, villany !
I think upon 't : I think : I smell ' t : O villany !
I thought so then : I ' ll kill myself for grief :
O villany, villany !
IAGO . What, are you mad ? I charge you, get you
home.
EMIL. Good gentlemen, let me have leave to speak :
'Tis proper I obey him, but not now.
Perchance, Iago , I will ne'er go home. 200
Отн . О ! О ! О ! [Falling on the bed.
EMIL. Nay, lay thee down and roar ;

186 charm your tongue] silence your tongue, put your tongue under a
spell of silence.
188-196 My mistress O villany, villany !] These lines are omitted
from the First Quarto.
195 I thought so then] When Emilia gave the handkerchief to Iago, she
suspected he wanted it for no honest purpose. See III, iii, 320, supra.
[ 162 ]
SCENE II OTHELLO

For thou hast kill'd the sweetest innocent

That e'er did lift up eye.
Отн. [Rising] O, she was foul !
I scarce did know you, uncle : there lies your niece,
Whose breath indeed these hands have newly stopp'd :
I know this act shows horrible and grim.
GRA. Poor Desdemona ! I am glad thy father's dead :
Thy match was mortal to him, and pure grief
Shore his old thread in twain : did he live now,
This sight would make him do a desperate turn, 210

Yea, curse his better angel from his side,

And fall to reprobation .
OTH. '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 gratify his amorous works
With that recognizance 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. 220

208 mortal] deadly, fatal.

211 curse his better angel from his side] Cf. Sonnet cxliv, 5–6 : " my female
evil Tempteth my better angel from my side."
212 to reprobation] into eternal perdition . Thus the Quartos. The
Folios read to Reprobance. Both terms are familiar in Calvinistic
theology, and their significance survives in the colloquial term “ repro-
bate." For the forms " reprobance " and " reprobation " cf. the Folio
reading itterance and the Quarto reading iteration at line 153, supra.
216 gratify] show gratitude for, reward.
217 recognizance] recognition, acknowledgment.
219-220 It was .. my mother] See note on III, iv, 55–56, supra, where
[ 163 ]
 OTHELLO ACT V

EMIL. O heaven ! O heavenly powers !

IAGO. 'Zounds ! hold your peace.
EMIL. "T will out, ' t will out. I peace !
No, I will speak as liberal as the north :
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.
EMIL. I will not.
[Iago offers to stab Emilia.
GRA. Fie !
Your sword upon a woman !
EMIL. 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 , 230
More than indeed belong'd to such a trifle,
He begg'd of me to steal it.
IAGO. Villanous whore !
EMIL. She give it Cassio ! no , alas, I found it,
And I did give ' t my husband.
IAGO . Filth, thou liest !
EMIL. By heaven, I do not, I do not, gentlemen.
O murderous coxcomb ! what should such a fool
Do with so good a wife ?

Othello gives another account of the early history of the handkerchief,

where it is stated that an " Egyptian charmer " gave it his mother.
223 liberal as the north] as free and as unrestrained as a blast of the north
wind. All the early editions read north, save the First Quarto, which
has ayre. Cf. Cymb., I, iii, 36-37 : " And, like the tyrannous breath-
ing of the north, Shakes all our buds from growing.”
[ 164 ]
SCENE II OTHELLO

Отн . Are there no stones in heaven

But what serve for the thunder ? Precious villain !
[He runs at Iago : Iago, from behind, stabs Emilia, and exit.
GRA. The woman falls : sure, he hath kill'd his wife.
EMIL. Ay, ay : O, lay me by my mistress' side. 240
GRA. He's gone, but his wife's kill'd .
MON. "T is a notorious 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. I'll after that same villain ,
For ' t is a damned slave. [Exeunt all but Othello and Emilia.
Отн . I am not valiant neither,
But every puny whipster gets my sword.
But why should honour outlive honesty ?
Let it go all.
EMIL. What did thy song bode, lady ?
Hark, canst thou hear me ? I will play the swan, 250

237-238 Are there no stones ... thunder] Can heaven not spare one bolt
for this villain ? is it all needed for thunder ? Cf. Jul. Cæs., I , iii, 49,
"the thunderstone " [i. e., thunderbolt], and Cymb., IV, ii, 272,
" the all-dreaded thunder-stone."
238 Precious] Thus all the old editions, save the Second and Third
Quartos, which read pernitious.
242 notorious] colloquially used much like " egregious " or " outrageous. ”
Cf. IV, ii, 141, supra.
247 whipster] "whipper-snapper; " a term of contempt.
248 honour ... honesty] Othello is thinking of his own valour and his
wife's proven chastity.
249-251 What did . . . willow] The First Quarto omits these lines.
250 I will play the swan] The ancient superstition that the swan sings
for the first time in death is constantly noticed by classical writers
and by sixteenth-century English poets. Shakespeare mentions it
[ 165 ]
 OTHELLO ACT V

And die in music. [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.
OTH. I have another weapon in this chamber ;
It is a sword of Spain, the ice-brook's temper.
O, here it is. Uncle, I must come forth.
GRA. [Within] If thou attempt it, it will cost thee dear :
Thou hast no weapon, and perforce must suffer.
Oтн. Look in upon me then, and speak with me, 260
Or, naked as I am, I will assault thee.

Re-enter GRATIANO

GRA. What is the matter ?

Отн. 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 : but, O vain boast !
Who can control his fate ? ' t is not so now.

many times. Cf. Merch. of Ven. , III, ii, 44–45 : “ he makes a swan-
99
like end Fading in music.'
256 It is a sword of Spain temper] The best swords came from
Spain, and more especially from Bilboa or Toledo. The steel blades
were tempered by plunging the steel while it was red-hot into ice-cold
water. Martial (Epigrams, Bk. i, 49, 12, and iv, 55, 15) mentions
that the icy-cold temperature of the Spanish river Xalon effectively
tempered steel if it were plunged into it when it was red-hot.
261 naked] sc. of arms, unarmed.
267 your stop] your power of resistance.
[ 166 ]
SCENE II OTHELLO

Be not afraid, though you do see me weapon'd ;

Here is my journey's end, here is my butt 270

And very sea-mark of my utmost sail .

Do you go back dismay'd ? ' t is a lost fear:
Man but a rush against Othello's breast,
And he retires. Where should Othello go ?
Now, how dost thou look now ? O ill-starr'd wench !
Pale as thy smock ! when we shall meet at compt,
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 , 280

From the possession of this heavenly sight !

Blow me about in winds ! roast me in sulphur !
Wash me in steep-down gulfs of liquid fire !
O Desdemona ! Desdemona ! dead !
Oh ! Oh ! Oh !

269–275] Be not . . . wench !] The First Quarto omits these lines.

270 butt] goal, target of an archer.
271 sea-mark] beacon at sea ; cf. Cor., V, iii, 74 : “ Like a great sea-mark.”
272 lost] useless, profitless.
273 Man but a rush] Direct or aim so weak a weapon as a reed or rush.
275 wench] often used as a term of endearment.
276 at compt] at the day of reckoning or judgment.
282 Blow ... winds] Cf. Claudio's speech in Meas. for Meas., III, i,
125-127 : "To be imprison'd in the viewless winds And blown with
restless violence round about The pendent world.”
284-285 O Desdemona! . . . Oh! Oh! Oh!] Thus substantially the
Quartos. The First Folio reads, Oh Desdemon ! dead Desdemon:
dead. Oh! oh ! The Second Folio has dead dead for the second
dead. The Third and Fourth Folios accept this last reading, but
substitute Desdemona for Desdemon.
[ 167 ]
 OTHELLO ACT V

Enter LODOVICO, MONTANO, CASSIO carried in a chair, and

Officers with Lago, prisoner

LOD. Where is this rash and most unfortunate man ?

ОTн . That's he that was Othello : here I am.
LOD. Where is that viper ? bring the villain forth .
ОTн. I look down towards his feet ; but that's a
fable.
If that thou be'st a devil , I cannot kill thee. 290
[Wounds Iago.
LOD. Wrench his sword from him.
IAGO. I bleed , sir, but not kill'd .
OTH. I am not sorry neither : I ' ld have thee live ;
For, in my sense, ' t is happiness to die.
LOD. O thou Othello, that wert once so good,
Fall'n in the practice of a damned slave,
What shall be said to thee ?
Отн. Why, any thing :
An honourable murderer, if you will ;
For nought did I in hate, but all in honour .
LOD. This wretch hath part confess'd his villany :
Did you and he consent in Cassio's death ? 300
Отн. Ay .
CAS . Dear general , I never gave you cause.
Oтн. I do believe it, and I ask your pardon.
Will you, I pray, demand that demi-devil
Why he hath thus ensnared my soul and body ?

289 I look down ... fable] a reference to the story that the Devil has
cloven feet.
290 I cannot kill thee] a reference to the belief that devils are immortal.
295 practice] treacherous plot.
[ 168 ]
SCENE II OTHELLO

IAGO . Demand me nothing ; what you know, you

know :
From this time forth I never will speak word.
LOD . What, not to pray ?
GRA . Torments will ope your lips.
Отн. Well, thou dost best.
LOD. Sir, you shall understand what hath befall'n , 310
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.
Отн. O villain !
CAS. Most heathenish and most gross !
LOD. Now here's another discontented paper,
Found in his pocket too ; and this , it seems,
Roderigo meant to have sent this damned villain ;
But that , belike, Iago in the interim 320
Came in and satisfied him.
Отн . O the pernicious caitiff !
How came you, Cassio, by that handkerchief
That was my wife's ?
CAS . 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 to his desire.
Отн. O fool ! fool ! fool!
CAS. There is besides in Roderigo's letter,
How he upbraids Iago, that he made him
Brave me upon the watch ; whereon it came

[ 169 ]
 OTHELLO ACT V

330
That I was cast : and even but now he spake
After long seeming dead, Iago hurt him,
Iago set him on.
LOD. 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,
Till that the nature of your fault be known
340
To the Venetian state. Come, bring away.
OTH. 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,
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,
Perplex'd in the extreme ; of one whose hand,
Like the base Indian, threw a pearl away 350

330 cast] dismissed. Cf. I, i, 150, supra.

348-349 but ... extreme] but one who being wrought upon or incited
to suspicion is distracted to despair.
350 Like the base Indian . . . pearl away] All the early editions read
Indian here, except the First Folio, which has Iudean. No satisfactory
explanation of the First Folio reading, which ruins the metre, has been
given, and it may reasonably be treated as a misprint. References to
the indifference of American Indians to the value of precious stones
and gold abound in Elizabethan literature. Cf. Nashe's Pierce Peni-
lesse (1592, ed. McKerrow, Vol. I, p. 241) : "like the Indians, that
[ 170 ]
SCENE II OTHELLO

Richer than all his tribe ; of one whose subdued eyes,

Albeit unused to the melting mood,
Drop tears as fast as the Arabian trees
Their medicinal gum. Set you down this ;
And say besides, that in Aleppo once,
Where a malignant and a turban'd Turk
Beat a Venetian and traduced the state,
I took by the throat the circumcised dog
And smote him, thus . [Stabs himself.
LOD. O bloody period !
GRA. All that's spoke is marr❜d . 360

haue store of gold and pretious stones at command, yet are ignorant
of their value," and Drayton's Legend of Matilda (England's Heroical
Epistles): "the wretched Indian spurns the golden ore."
353–354 the Arabian trees . . . gum] apparently the Arabian acacia tree.
which exudes what is known as " gum-arabic." The process of exu-
dation was said to be confined to the night. Cf. Greene's Mourning
Garment [ 1590] (works, ed. Grosart, Vol. IX, p. 139) : “ The Arabic-
tree that yields no gum but in the darke night. " Othello's “ Arabian
99
trees are quite distinct from the " one tree" in " Arabia " (Temp. ,
III , iii, 22–23) which seems to be the palm ; cf. The Phoenix and
the Turtle, line 2 : "the sole Arabian tree. "
354 medicinal] Thus the Quartos. The Folios read Medicinable, which
is used by Shakespeare in four other places in the sense of " medici-
nal. " Cf. Much Ado, II , ii, 5, Troil. and Cress., I , iii, 91 , III, iii, 44,
Cymb. , III, ii, 33.
355 Aleppo] The Venetians had special trading privileges in Aleppo and
were frequent visitors there.
357 the state] the Venetian republic.
358-359 I took . . . smote him] A bold act, for immediate death was
the punishment of a Christian who struck a Turk in Turkish
territory.
360 All that's ... marr'd] Words are incapable of describing the horror
of the scene.
[ 171 ]
 OTHELLO ACT V

OTн. 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.
CAS. This did I fear, but thought he had no weapon ;
For he was great of heart.
LOD . [To Iago] O Spartan dog,
More fell 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. Gratiano, keep the house,
And seize upon the fortunes of the Moor,
For they succeed on you. To you, lord governor , 370
Remains the censure of this hellish villain ,
The time, the place, the torture : O , enforce it !
Myself will straight aboard , and to the state
This heavy act with heavy heart relate. [Exeunt.

364 great of heart] of great courage.

Spartan dog] Spartan hounds were noted for their savage pertinacity
in pursuing their prey.
368 keep the house] set guard upon the house.
369 seize upon] take legal possession of.
371 censure] judgment.
374 heavy] sorrowful.

[ 172 ]
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