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 Copyright, 1 90 1 
 
 By 
 
 THE UNIVERSITY SOCIETY
 
 COLLEG 
 LIBRARY 
 
 Pi? 
 
 THE TRAGEDY OF OTHELLO. /^ ' 
 
 ^ 
 
 Preface. 
 
 The Early Editions. The First Edition of Othello 
 was a Quarto, published in 1622, with the following title- 
 page :— 
 
 " The I Tragoedy of Othello, | The Moore of Venice. | 
 As it hath bccnc diners times acted at the \ Globe, and at 
 the Black-Friers, by | his Maiesties Scruants. \ Written 
 by William Shakespeare. | [Vignette] | London, | Printed 
 by N. O. for Thomas Walkley, and are to be sold at his | 
 shop, at the Eagle and Child, in Brittans Bursse. | 1622." * 
 
 In 1623 appeared the First Folio, containing Othello 
 among the ''Tragedies" (pp. 310-339) ; the text, how- 
 ever, was not derived from the same source as the First 
 Quarto; an independent MS. must have been obtained, 
 in addition to many improved readings, the play as printed 
 in the Folio contained over one hundred and fifty verses 
 omitted in the earlier edition, while, on the other hand, 
 ten or fifteen lines in the Quarto were not represented in 
 the Folio version. Thomas Walkley had not resigned his 
 interest in the play ; it is clear from the Stationers' Regis- 
 
 * Prefixed to this First Quarto were the following lines : — 
 " The Stationer to the Reader. 
 
 '' To set forth a booke without an Epistle, zvere like to the old 
 English protierhe, A blew coat without a badge, &- the Author 
 being dead, I thought good to take that piece of u'orke upon mee: 
 To commend it, I will not, for that which is good I hope euery 
 matt will commend, without interaty: and I am the bolder, because 
 the author s name is sufUcient to vent his worke. Thus leauing 
 cuery one to the liberty of iudgcment: I haue ventTred to print 
 this plav, and Icaue it to the generall censure. Yours, Thomas 
 Walkley."
 
 Preface TRAGEDY OF OTHELLO. 
 
 tcr that it remained his property until March ist, 1627 
 {i.e. 1628) when he assigned ** Orthello the More of 
 Venice " unto Richard Hawkins, who issued the Second 
 Quarto in 1630. A Third Quarto appeared in 1655 ; and 
 later Quartos in 1681, 1687, 1695. 
 
 The text of modern editions of the play is based on that 
 of the First Folio, though it is not denied that we have in 
 the First Quarto a genuine play-house copy; a notable 
 difference, pointing to the Quarto text as the older, is its 
 retention of oaths and asseverations, which are omitted or 
 toned down in the Folio version. 
 
 Date of Composition. This last point has an impor- 
 tant bearing on the date of the play, for it proves that 
 Othello was written before the Act of Parliament was 
 issued in 1606 against the abuse of the name of God in 
 plays. External and internal evidence seem in favour of 
 1604 as the birth-year of the tragedy, and this date has 
 been generally accepted since the publication of the Vari- 
 onim Shakespeare of 1821, wherein Malone's views in 
 favour of that year were set forth (Alalone had died nine 
 years before the work appeared). After putting forward 
 various theories, he added : — " We know it was acted in 
 1604, and I have therefore placed it in that year." For 
 twenty years scholars sought in vain to discover upon 
 what evidence he knezv this important fact, until at last, 
 about the year 1840, Peter Cunningham announced his 
 discovery of certain Accounts of the Revels at Court, con- 
 taining the following item : — 
 
 " By the King's * Hallamas Day, being the first of Nov, 
 Matis Plaiers. A play at the bankettinge House att 
 Whitehall, called the Moor of Venis 
 
 [1604].'"* 
 
 We now know that this manuscript was a forgery, but 
 strange to say, there is every reason to believe that though 
 ' the book ' itself is spurious, the information which it 
 
 *v. Shakespeare Society Puhlications, 1842.
 
 THE MOOR OF VENICE Preface 
 
 yields is genuine, and that Malone had some such entry 
 in his possession when he wrote his emphatic statement 
 (z'ide Grant White's account of the whole story, quoted 
 in Furness' Varionun edition ; cp. pp. 351-357). 
 
 The older school of critics, and Malone himself at first, 
 assigned the play to circa 161 1 on the strength of the lines, 
 III. iv. 46, 47 : — 
 
 ' The hearts of old gave hands; 
 
 But our new heraldry is hands not hearts,' 
 
 which seemed to be a reference to the arms of the order 
 of Baronets, instituted by King James in 161 1 ; Malone, 
 however, in his later edition of the play aptly quoted a 
 passage from the Essays of Sir William Comwallis, the 
 younger, published in 1601, which may have suggested 
 the thought to Shakespeare: — ''They (our forefathers) 
 had zi'ont to give their hands and their hearts together, 
 hut zee think it a finer grace to look asquint, our hand' 
 looking one zvay, and our heart another." 
 
 The Original Othello. From the elegy on the death 
 of Richard Burbage in the year 1618, it appears that the 
 leading character of the play was assigned to this most 
 famous actor : — 
 
 "But let me not forget one chief est pan 
 Wherein, beyond the rest, he mov'd the heart, 
 The grieved Moor, made jealous by a slave, 
 Who sent his wife to till a timeless grave. 
 Then slew himself upon the bloody bed. 
 All these and many more zvith him are dead." * 
 
 The Source of the Plot. The story of ' // Moro di 
 Venezia ' was taken from the Heccatommithi of the Italian 
 novelist Giraldi Cinthio ; it is the seventh tale of the third 
 deca,de, which deals with " The unfaithfulness of Hus- 
 bands and Wives." No English translation of the novel 
 
 * Z'. Ingleby's Centurie of Prayse (New Shak. Soe.), 2nd edi- 
 tion, p. 131, where the elegy is discussed, and a truer version 
 printed.
 
 Preface TRAGEDY OF OTHELLO. 
 
 existed in Shakespeare's time (at least we know of none), 
 but a French translation appeared in the year 1584, and 
 through this medium the work may have come to Eng- 
 land. Cinthio's novel may have been of Oriental origin, 
 and in its general character it somewhat resembles the tale 
 of The Three Apples in The Thousand and One Nights; 
 on the other hand it has been ingeniously maintained that 
 " a certain Christophal Moro, a Luogotenente di Cipro, 
 who returned from Cyprus in 1508, after having lost his 
 wife, was the original of the Moor of Venice of Giraldi 
 Cinthio." " Fronting the summit of the Giants' Stair/' 
 writes Mr. Rawdon Brown, the author of this theory, 
 *' where the Doges of Venice were crowned, there are 
 still visible four shields spotted with mulberries (strazu- 
 berries in the description of Desdemona's handkerchief), 
 indicating that that part of the palace portal on which they 
 are carved was terminated in the reign of Christopher 
 Moro, whose insignia are three mulberries sable and three 
 bends azure on a field argent ; the word Moro signifying 
 in Italian either mulberry-tree or blackamoor." Perhaps 
 Shakespeare learnt the true story of his Othello from 
 some of the distinguished Venetians in England ; '' Cin- 
 thio's novel would never have sufficed him for his 
 Othello "* (z'ide Fumess, pp. 372-389. Knowing, how- 
 ever, Shakespeare's transforming power, w^e may well 
 maintain that, without actual knowledge of Christopher 
 ]\Ioro's history, he was capable of creating Othello from 
 Cinthio's savage Moor, lago from the cunning cowardly 
 ensign of the original, the gentle lady Desdemona from 
 " the virtuous lady of marvellous beauty, named Disde- 
 
 * The title of the novel summarises its contents as follows : — 
 " A Moorish Captain takes to a wife a Venetian Dame, and his 
 Ancient accuses her of adultery to her husband : it is planned 
 that the Ancient is to kill him whom he believes to be the adul- 
 terer : the Captain kills the woman, is accused by the Ancient, the 
 Moor does not confess, but after the infliction of extreme torture, 
 is banished; and the wicked Ancient, thinking to injure others, 
 provided for himself a miserable death."
 
 THE MOOR OF VENICE Preface 
 
 mona (i.e. 'the hapless one'),"* who is beaten to death 
 " with a stocking filled with sand," Cassio and Emilia 
 from the vaguest possible outlines. The .tale should be 
 read side by side with the play by such as desire to study 
 the process whereby a not altogether artless tale of hor- 
 rorf has become the subtlest of tragedies — " perhaps the 
 greatest work in the world. "J; " The most pathetic of 
 human compositions. "§ 
 
 " Dreams, Books, are each a world : and books, we know, 
 Are a substantial world, both pure and good ; 
 Round them with tendrils strong as flesh and blood, 
 Our pastime and our happiness will grow. 
 There find I personal theme, a plenteous store, 
 Matter wherein right voluble I am, 
 To which I listen with a ready ear; 
 Two shall be named pre-eminently dear, — 
 The gentle Lady married to the Moor; 
 And heavenly Una, with her milk-white Lamb." 
 
 * This is the only name given by Cinthio. Steevens first pointed 
 out that " Othello " is found in Reynold's God's Revenge against 
 Adultery, standing in one of his arguments as follows: — "She 
 marries Othello, an old Gefman soldier." The name " lago " also 
 occurs in the book. It is also found in " The first and second 
 part of the History of the famous Euordanus, Prince of Den- 
 mark. With the strange adventures of lago, Prince of Saxonie: 
 and of both their several fortunes in Love. At London, 1605." 
 
 t Mrs. Jameson rightly calls attention to a striking incident of 
 the origmal story : — Desdemona does not accidentally drop the 
 handkerchief: it is stolen from her by lago's little child, an irifant 
 of three years old, whom he trains and bribes to the theft. The 
 love of Desdemona for this child, her little playfellow — the pretty 
 description of her taking it in her arms and caressing it, while 
 it profits by its situation to steal the handkerchief from her bosom, 
 are well imagined and beautifully told, etc. 
 
 X Macaulay. 
 
 § Wordsworth — "The tragedy of Othello, Plato's records of the 
 last scenes in the career of Socrates, and Izaak Walton's Life of 
 George Herbert are the most pathetic of human compositions." 
 (A valuable summary of criticisms, English and foreign, will be 
 found in Furness's Othello, pp. 407-453.)
 
 Preface TRAGEDY OF OTHELLO, 
 
 Duration of Action. The action seems to cover three 
 days : — Act L, one day. Interval for voyage. Act II., 
 one day. Acts III., IV., V., one day. In order to get 
 over the difficulty of this time-division various theories 
 have been advanced, notably that of Double Time, pro- 
 pounded by Halpin and Wilson ; according to the latter, 
 " Shakespeare counts off days and hours, as it were, by 
 two clocks, on one of which the true Historic Time is 
 recorded, and on the other the Dramatic Time, or a false 
 show of time, whereby days, weeks, and months may be 
 to the utmost contracted " (Furness, pp. 358-372). 
 
 According to Mr. Fleay, the scheme of time for the 
 play is as follows : — 
 
 Act I., one day. Interval for voyage. Act II., one 
 day. Act III., one day (Sunday). Interval of a week, at 
 least. Act IV. Sc. i., ii., iii. ; Act V. Sc. i., ii., iii., one 
 day : where Act IV. begins with what is now Act III. 
 Sc. iv., and Act V. with the present Act IV. Sc. iii.
 
 THE MOOR OF VENICE 
 
 Critical Comments. 
 I. 
 
 Argument. 
 
 I, Desdemoiia, a beautiful and high-born Venetian 
 maiden, is wooed and won by Othello, a Moorish gen- 
 eral, whose dusky skin cannot conceal a chivalrous and 
 adventurous spirit such as women love. Desdemona's 
 father, Brabantio, learning of their secret marriage, is 
 much incensed and goes before the Duke of Venice and 
 complains that his daughter has been stolen from him. 
 But it so happens that Othello's warlike qualities are in 
 demand upon the very night in which these affairs cul- 
 minate. He has been in the service of the Venetian 
 government, and the state now requires his presence in 
 Cypress to oppose a Turkish fleet. He is therefore suf- 
 fered to depart in peace with his wife Desdemona, espe- 
 cially since she, in the council chamber, declares her love 
 and confidence in him. 
 
 II. lago, Othello's ancient or ensign, has sworn se- 
 cret enmity against his master because the Moor raised 
 Cassio instead of himself to the chief Heutenancy. The 
 enmity has taken the form of carefully laid plots, which 
 began with the very nuptial night of Othello. In 
 Cyprus, whither Othello and his train repair, the plots 
 have abundant time for ripening. A storm has wrecked 
 the Turkish fleet, and Othello remains in command on 
 land amid a general revelry, authorized by him, to cele- 
 brate the dispersion of the enemy and in honor of his 
 own nuptials. During the feasting lago makes Cassio 
 drunk and involves him in a street brawl. Othello ar- 
 rives on the scene and deprives the officer of his lieuten- 
 ancy. 
 
 7
 
 Comments TRAGEDY OF OTHELLO, 
 
 IIL lago advises Cassio to sue for favor and restora- 
 tion of rank through Desdemona, since Othello will deny 
 her nothing. Cassio, unsuspicious of treachery, obtains 
 an interview with her, and lago lures Othello to the 
 scene — innocent enough, but greeted by lago with an 
 ominous shake of the head. Othello, seeing the ges- 
 ture, questions his ensign, whereupon the latter instils 
 the poison of jealousy into his master's ears, making 
 him to doubt Desdemona's relations with Cassio. The 
 doubt is intensified when that lady, in the kindness of her 
 heart, intercedes for Cassio. Henceforward lago loses 
 no opportunity to add to his master's jealousy. He 
 procures by stealth a handkerchief given by Othello to 
 Desdemona, and causes it to be found in Cassio's pos- 
 session. 
 
 IV. Othello becomes convinced that his wife has 
 been untrue to him. He determines upon her death, 
 and charges his supposed friend lago with the task of 
 despatching Cassio. Nothing loth, lago embroils Cas- 
 sio in a night combat with Roderigo, a former suitor 
 of Desdemona's, entangled in the meshes of lago. 
 
 V. Cassio wounds Roderigo. lago desires the death 
 of both, and so, unseen, stabs Cassio. ^Meanwhile 
 Othello goes to Desdemona's bedchamber and smothers 
 her to death. Emilia, the wife of lago and devoted 
 servant of Desdemona, proves to Othello that the wife 
 he has just murdered is innocent. lago kills Emilia. 
 Othello wounds lago, then kills himself. Cassio, who 
 still lives, is advanced to the government of Cyprus, 
 lago is reserved for lingering torture. 
 
 IL 
 
 lago and Roderigo. 
 
 Admirable is the preparation, so truly and peculiarly 
 Shakespearian, in the introduction of Roderigo, as the 
 dupe on whom lago shall first exercise his art, and in 
 
 8
 
 THE MOOR OF VENICE Comments 
 
 so doing display his own character. Roderigo, without 
 any fixed principle, but not without the moral notions 
 and sympathies with honour, which his rank and con- 
 nections had hung upon him, is already well fitted and 
 predisposed for the purpose; for very want of character 
 and strength of passion, like wnnd loudest in an empty 
 house, constitute his character. The first three lines 
 happily state the nature and foundation of the friendship 
 between him and lago — the purse — as also the con- 
 trast of Roderigo's intemperance of mind with lago's 
 coolness — the coolness of a preconceiving experimenter. 
 The mere language of protestation — 
 
 If ever I did dream of such a matter, abhor me — 
 
 wdiich falling in with the associative link, determines 
 Roderigo's continuation of complaint — 
 
 Thou told'st me, thou didst hold him in thy hate — 
 
 elicits at length a true feeling of lago's mind, the dread 
 of contempt habitual to those, who encourage in them- 
 selves, and have their keenest pleasure in, the expression 
 of contempt for others. Observe lago's high self- 
 opinion, and the moral, that a wicked man will employ 
 real feelings, as well as assume those most alien from his 
 own, as instruments of his purposes : — 
 
 And. by the faith of man, 
 I know my place, I am worth no worse a place. 
 
 I think Tyrwhitt's reading of " life " for " wife " — 
 
 A fellow almost damn'd in a fair zvifc — 
 
 the true one, as fitting to lago's contempt for whatever 
 did not display power, and that intellectual power. In 
 what follows, let the reader feel how by and through 
 the glass of two passions, disappointed vanity and envy, 
 the very vices of which he is complaining, are made to 
 act upon him as if they were so many excellences, and 
 the more appropriately, because cunning is always ad- 
 mired and wished for bv minds conscious of inward 
 
 V
 
 Comments TRAGEDY OF OTHELLO. 
 
 weakness; — but they act only by half, like music on an 
 inattentive auditor, swelling the thoughts which pre- 
 vent him from listening to it. 
 
 Coleridge: Notes and Lectures upon Shakespeare. 
 
 Roderigo thinks he is buying up lago's talents and 
 efiforts. This is just what lago means to have him 
 think; and it is something doubtful which glories most, 
 the one in having money to bribe talents, or the other 
 in having wit to catch money. Still it is plain enough 
 that lago, with a pride of intellectual mastery far 
 stronger than his love of lucre, cares less for the money 
 than for the fun of wheedling and swindling others 
 out of it. . . . 
 
 Still, to make his scheme work, he must allege some 
 reasons for his purpose touching the Moor: for Rod- 
 erigo, gull though he be, is not so gullible as to entrust 
 his cause to a groundless treachery; he must know 
 something of the strong provocations w^hich have led 
 lago to cherish such designs. lago understands this 
 perfectly: he therefore pretends a secret grudge against 
 Othello, which he is but holding in till he can find or 
 make a fit occasion; and therewithal assigns such 
 grounds and motives as he knows will secure faith in 
 his pretence; whereupon the other gets too warm with 
 the anticipated fruits of his treachery to suspect any 
 similar designs on himself. Wonderful indeed are the 
 arts whereby the rogue wins and keeps his ascendancy 
 over the gull! During their conversation, \\q can almost 
 see the former worming himself into the latter, hke a 
 corkscrew into a cork. 
 
 Hudson : The Works of Shakespeare. 
 
 lago has no other aim than his own advantage. It 
 is the circumstance that not he, but Cassio, has been 
 appointed second in command to Othello, which first 
 sets his craft to work on subtle combinations. He 
 
 10
 
 THE MOOR OF VENICE Comments 
 
 coveted this post, and he will stick at nothing in order 
 to win it. In the meantime, he takes advantage of 
 every opportunity of profit that ofifers itself; he does 
 not hesitate to fool Roderigo out of his money and his 
 jewels. He is always masked in falsehood and hypoc- 
 risy; and the mask he has chosen is the most impene- 
 trable one, that of rough outspokenness, the straight- 
 forward, honest bluntness of the soldier who does not 
 care what others think or say of him. He never flatters 
 Othello or Desdemona, or even Roderigo. He is the 
 free-spoken, honest friend. 
 
 He does not seek his own advantage without side- 
 glances at others. He is mischievousness personified. 
 He does evil for the pleasure of hurting, and takes 
 active delight in the adversity and anguish of others. 
 He is that eternal envy which merit or success in others 
 never fails to irritate — not the petty envy which is con- 
 tent with coveting anotfief's honours or possessions, or 
 with holding itself more deserving of another's good 
 fortune. No; he is an ideal personification. He is 
 blear-eyed rancour itself, figuring as a great power — 
 nay, as fJic motive force — in human life. He embodies 
 the detestation for others' excellences which shows itself 
 in obstinate disbelief, suspicion, or contempt; the in- 
 stinct of hatred for all that is open, beautiful, bright, 
 good, and great. 
 
 Shakespeare not only knew that such wickedness 
 exists; he seized it and set his stamo on it, to his eternal 
 honour as a psychologist. 
 
 Every one has heard it said that this tragedy is mag- 
 nificent in so far as the true and beautiful characters of 
 Othello and Desdemona are concerned; but lago — who 
 knows him? — what motive underlies his conduct? — what 
 can explain such wickedness? If only he had even been 
 frankly in love with Desdemona, and therefore hated 
 Othello, or had had some other incentive of a like 
 nature ! 
 
 II
 
 Comments TRAGEDY OF OTHELLO. 
 
 Yes, if he had been the ordinary amorous villain and 
 slanderer, everything would undoubtedly have been 
 much simpler; but, at the same time, everything would 
 have sunk into banality, and Shakespeare would here 
 have been imequal to himself. 
 
 No, no! precisely in this lack of apparent motive lies 
 the profundity and greatness of the thing. Shakespeare 
 understood this. lago in his monologues is incessantly 
 giving himself reasons for his hatred. Elsewhere, in 
 reading Shakespeare's monologues, we learn what the 
 person really is; he reveals himself directly to us; even 
 a villain like Richard III. is quite honest in his mono- 
 logues. Not so lago. This demi-devil is always try- 
 ing to give himself reason for his malignity, is always 
 half fooling himself by dwelling* on half motives, in 
 which he partly believes, but disbelieves in the main. 
 Coleridge has aptly designated this action of his mind: 
 " The motive-hunting of a motiveless malignity." Again 
 and again he expounds to himself that he believes Othello 
 has been too familiar with his wife, and that he will 
 avenge the dishonour. He now and then adds, to ac- 
 count for his hatred of Cassio, that he suspects him too 
 of tampering with Emilia. He even thinks it worth 
 while to allege, as a secondary motive, that he himself 
 is enamoured of Desdemona. 
 
 Brandes: JVilliitiii Shakespeare. 
 
 in. 
 
 Othello. 
 
 Othello must not be considered as a negro, but a high 
 and chivalrous Moorish chief. Shakespeare learned the 
 spirit of the character from the Spanish poetry, which 
 was prevalent in England in his time. Jealousy does 
 not strike me as the point in his passion; I take it to 
 be rather an agony that the creature, whom he had 
 believed angelic, with whom he had garnered up his 
 
 12
 
 THE MOOR OF VENICE Comments 
 
 heart, and whom he could not help still loving, should 
 be proved impure and worthless. It was the struggle 
 not to love her. It was a moral indignation and regret 
 that virtue should so fall: — " But' yet the pity of it, lago! 
 — O lago! the pity of it, lago!" In addition to this, 
 his honour was concerned: lago would not have suc- 
 ceeded but by hinting that his honour was compro- 
 mised. There is no ferocity in Othello; his mind is 
 majestic and composed. He deliberately determines to 
 die; and speaks his last speech with a view of showing 
 his attachment to the Venetian State, though it had 
 superseded him. 
 
 Schiller has the material Sublime; to produce an 
 effect, he sets you a whole town on fire, and throws 
 infants with their mothers into the flames, or locks up 
 a father in an old tower. But Shakespeare drops a 
 handkerchief, and the same or greater effects follow. 
 
 Lear is the most tremendous effort of Shakespeare 
 as a poet; Hamlet as a philosopher or meditator; and 
 Othello is the union of the two. There is something 
 gigantic and unformed in the former two; but in the 
 latter, everything assumes its due place and proportion, 
 and the whole mature powers of his mind are displayed 
 in admirable equilibrium 
 
 Coleridge : Tabic Talk. 
 
 Now what is Othello? He is night. An immense 
 fatal figure. Night is amorous of day. Darkness loves 
 the dawn. The African adores the white woman. Des- 
 demona is Othello's brightness and frenzy! And then 
 how easy to him is jealousy! He is great, he is digni- 
 fied, he is majestic, he soars above all heads, he has as 
 an escort bravery, battle, the braying of trumpets, the 
 banner of war, renown, glory; he is radiant with twenty 
 victories, he is studded with stars, this Othello: but 
 he is black. And thus how soon, when jealous, the hero 
 becomes monster, the black becomes the negro! How 
 
 13
 
 Comments TRAGEDY OF OTHELLO. 
 
 speedily has night beckoned to death! By the side of 
 Othello, who is night, there is lago, who is evil. Evil, 
 the other form of darkness. Night is but the night of 
 the world; evil is the night of the soul. How deeply 
 black are perfidy and falsehood! To have ink or treason 
 in the veins is the same thing. Whoever has jostled 
 against imposture and perjury knows it. One must 
 blindly grope one's way with roguery. Pour hypocrisy 
 upon the break of day, and you put out the sun, and 
 this, thanks to false religions, happens to God. lago 
 near Othello is the precipice near the landslip. '' This 
 way! " he says in a low voice. The snare advises 
 blindness. The being of darkness guides the black. 
 Deceit takes upon itself to give what light may be re- 
 quired by night. Jealousy uses falsehood as the blind 
 man his dog. lago the traitor, opposed to whiteness 
 and candour, Othello the negro, what can be more ter- 
 rible! These ferocities of the darkness act in unison. 
 These two incarnations of the eclipse comprise together, 
 the one roaring, the other sneering, the tragic suffocation 
 of light. 
 
 Hugo: Jl'illiani Shakespeare. 
 
 The Moor has for the most part been regarded as 
 specially illustrating the workings of jealousy. Whether 
 there be anything, and, if so, how much, of this passion 
 in him, may indeed be questions having two sides ; but 
 we may confidently affirm that he has no special pre- 
 disposition to jealousy; and that whatsoever of it there 
 may be in him does not grow in such a way, nor from 
 such causes, that it can justly be held as the leading 
 feature of his character, much less as his character itself; 
 though such has been the view more commonly taken 
 of him. On this point, there has been a strange ignoring 
 of the inscrutable practices in which his passion orig- 
 inates. Instead of going behind the scene, and taking 
 its grounds of judgement directly from, the subject hini- 
 
 14
 
 THE MOOR OF VENICE Comments 
 
 self, criticism has trusted overmuch in what is said of 
 him by other persons in the drama, to whom he must 
 perforce seem jealous, because they know and can 
 know nothing of the devilish cunning that has been at 
 work with him. And the common opinion has no doubt 
 been much furthered by the stage; lago's villainy being 
 represented as so open and barefaced, that the Moor 
 must have been grossly stupid or grossly jealous not 
 to see through him; whereas, in fact, so subtle is the 
 villain's craft, so close and involved are his designs, that 
 Othello deserves but the more respect and honour for 
 being taken in by him. 
 
 It seems clear enough that a passion thus self-gener- 
 ated and self-sustained ought not to be confounded with 
 a state of mind superinduced, like Othello's, by forgery 
 or external proofs, — a forgery wherein himself has no 
 share but as the victim. And we may safely affirm that 
 he has no aptitude for such a passion; it is against the 
 whole grain of his mind and character. lago evidently 
 knows this; knows the Moor to be incapable of spon- 
 taneous distrust ; that he must see, before he '11 doubt : 
 that when he doubts, he '11 prove ; and that when he has 
 proved, he will retain his honour at all events, and retain 
 his love, if it be compatible with honour. Accordingly, 
 lest the Moor should suspect himself of jealousy, lago 
 pointedly warns him to beware of it; puts him on his 
 guard against such self-delusion, that so his mind may 
 be more open to the force of evidence, and lest from 
 fear of being jealous he should entrench himself in the 
 opposite extreme, and so be proof against conviction. 
 
 The struggle, then, in Othello is not between love 
 and jealousy, but between love and honour; and lago's 
 machinations are exactly adapted to bring these two 
 latter passions into collision. Indeed it is the Moor's 
 very freedom from a jealous temper, that enables the 
 villain to get the mastery of him. Such a character 
 as his, so open, so generous, so confiding, is just the
 
 Comments TRAGEDY OF OTHELLO, 
 
 one to be taken in the strong toils of lago's cunning; 
 to have escaped them, would have argued him a par- 
 taker of the strategy under which he falls. 
 
 Hudson : The Works of Shakespeare. 
 
 IV. 
 
 Desdemona. 
 
 At the period of the story a spirit of wild adventure 
 had seized all Europe. The discovery of both Indies 
 was yet recent; over the shores of the western hem- 
 isphere still fable and mystery hung, with all their dim 
 enchantments, visionary terrors, and golden promises! 
 perilous expeditions and distant voyages were every day 
 undertaken from hope of plunder, or mere love of en- 
 terprise; and from these the adventurers returnd with 
 tales of " antres vast and desarts wild — of cannibals that 
 did each other eat — of Anthropophagi, and men whose 
 heads did grow beneath their shoulders." With just 
 such stories did Raleigh and Clifford, and their follow- 
 ers, return from the New World: and thus by their 
 splendid or fearful exaggerations, which the imperfect 
 knowledge of those times could not refute, was the 
 passion for the romantic and marvellous nourished at 
 home, particularly among the women. A cavalier of 
 those days had no nearer, no surer way to his mistress's 
 heart than by entertaining her with these wondrous nar- 
 ratives. What was a general feature of his time, Shak- 
 speare seized and adapted to his purpose with the most 
 exquisite felicity of effect. Desdemona, leaving her 
 household cares in haste, to hang breathless on Othello's 
 tales, was doubtless a picture from the life; and her 
 inexperience and her quick imagination lend it an added 
 propriety: then her compassionate disposition is inter- 
 ested by all the disastrous chances, hair-breadth 'scapes, 
 and moving accidents by flood and field, of which he has 
 to tell ; and her exceeding gentleness and timidity, and 
 
 i6
 
 THE MOOR OF VENICE Comments 
 
 iicr domestic turn of mind, render her more easily cap- 
 tivated by the mihtary renown, the valour, and lofty 
 bearing of the noble Moor. 
 
 When Othello first outrages her in a manner which 
 appears inexplicable, she seeks and finds excuses for 
 him. She is so innocent that not only she cannot be- 
 lieve herself suspected, but she cannot conceive the ex- 
 istence of guilt in others. 
 
 Something, sure, of state. 
 Either from Venice, or some nnhatch'd practice 
 Made demonstrable here in Cyprus to him, 
 Hath puddled his clear spirit. 
 
 'T is even so — 
 Nay, we must think, men are not gods, 
 Nor of them look for such observances 
 As fit the bridal. 
 
 And when the direct accusation of crime is flung on her 
 in the vilest terms, it does not anger but stun her, as 
 if it transfixed her whole being; she attempts no reply, 
 no defence; and reproach or resistance never enters 
 her thought. 
 
 And there is one stroke of consummate delicacy, sur- 
 prising, when we remember the latitude of expression 
 prevailing in Shakspeare's time, and which he allowed 
 to his other women generally; she says, on recovering 
 from her stupefaction — 
 
 Desd. Am I that name, lago? 
 I ago. What name, sweet lady? 
 Desd. That which she says my lord did say I was. 
 
 So completely did Shakspeare enter into the angelic 
 refinement of the character. 
 
 Endued with that temper which is the origin of super- 
 stition in love as in religion — which, in fact, makes love 
 itself a religion — she not only does not utter an up- 
 braiding, Init nothing that Othello does or says, no out- 
 rage, no injustice, can tear away the charm with which 
 her imagination had invested him, or impair her faith 
 
 17
 
 Comments TRAGEDY OF OTHELLO. 
 
 in his honour. " Would you had never seen him! " ex- 
 claims Emilia. 
 
 Desd. So would not I ! — my love doth so appro\e hhn. 
 That even his stubbornness, his checks and frowns 
 Have grace and favour in them. 
 
 There is another peculiarity, which, in reading the 
 play of Othello, we rather feel than perceive: through the 
 Vv^hole of the dialogue appropriated to Desdemona there 
 is not one general observation. Words are with her 
 the vehicle of sentiment, and never of reflection; so that 
 I cannot find throughout a sentence of general applica- 
 tion. 
 
 Mrs. Jameson : Characteristics of Women. 
 
 Emilia, Instrument of Nemesis. 
 
 It is lago's own wife Emilia whose quick woman's 
 wit is the first to pierce the web of intrigue, and stim- 
 ulated by sight of her murdered mistress she gives her 
 suspicions vent, though at the point of her husband's 
 sword. The principle underlying this nemesis is one 
 of the profoundest of Shakespeare's moral ideas — that 
 evil not only corrupts the heart, but equally undermines 
 the judgement. To lago is applicable the biting sen- 
 tence of Junius'. "Virtue and simplicity have so long 
 been synonymous that the reverse of the proposition 
 has grown into credit, and every villain fancies himself 
 a man of ability." It is because he knows himself un- 
 fettered by scruples that lago feels himself infallible, and 
 considers honest men fools; he never sees how his foul 
 thoughts have bhnded his perceptive powers, and made 
 him blunder where simple men would have gone straight. 
 True, he brings infinite acuteness to bear upon the details 
 of his intrigues; but he never perceives, what the reader 
 sees at a glance, that the whole ground of his action 
 
 i8
 
 THE MOOR OF VENICE Comments 
 
 in these intrigues — his suspicions that Emilia has been 
 tampered with by Cassio and Othello — is a stupid mis- 
 take, which no one with any wholesome knowledge of 
 human nature would make. And the same want of in- 
 sight into honest human nature, which made him set 
 up his atrocious schemes, is the cause now of their fail- 
 ure. He thought he had foreseen everything: it never 
 occurred to him that his wife might betray him ivith 
 nothing to gain by such betrayal, simply from affection 
 and horror. 
 
 I care not for thy sword ; I "11 make thee known, 
 Though I lost twenty lives. — Help ! help, ho ! help ! 
 The Moor hath kill'd my mistress ! 
 
 In vain lago seeks to stop her mouth; a few words put 
 all the suspicious circumstances together, until in rage 
 and spite lago stabs Emilia, though the blow seals his 
 own ruin. This detail is a fresh touch in the perfection 
 of the nemesis upon lago: in a sense different from what 
 he intended he is now " evened " with Othello, " wife 
 for wife." The nemesis draws items of equal retribu- 
 tion from all the intrigues of lago. It was on account 
 of Emilia that he played the villain, and it is Emilia who 
 betrays him. He had made a tool of Roderigo, and 
 the contents of the dead Roderigo's pockets furnish the 
 final links of evidence against him. His main purpose 
 was to oust Cassio both from office and life: Cassio 
 lives to succeed Othello as Governor, and make his first 
 official act the superintendence of lago's torturing. 
 
 MouLTON : Shakespeare as a Dramatic Artist. 
 
 VI. 
 
 Other Characters, 
 
 The subordinate figures are worked out with hardly 
 less skill than the principal characters of the tragedy. 
 Emilia especially is inimitable — good-hearted, honest, 
 
 19
 
 Comments TRAGEDY OF OTHELLO, 
 
 and not exactly light, but still sufficiently the daughter of 
 Eve to be unable to understand Desdemona's naive and 
 innocent chastity. 
 
 At the end of Act IV. (in the bedroom scene) Desde- 
 mona asks Emilia if she believes that there really are 
 women who do what Othello accuses her of. Emilia 
 answers in the affirmative. Then her mistress asks 
 again: " Would'st thou do such a deed for all the 
 world? " and receives the jesting answer, '' The world 's 
 a huge thing; it is a great price for a small vice: — 
 
 " 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, the 
 wrong is but a wrong i' the world ; and having the world for your 
 labour, 'tis a wrong in your own world, and 3'OU might quickly 
 make it right." 
 
 In passages like this a mildly playful note is struck in 
 the very midst of the horror. And according to his 
 habit and the custom of the times, Shakespeare also in- 
 troduces, by means of the Clown, one or two deliber- 
 ately comic passages ; but the Clown's merriment is 
 subdued, as Shakespeare's merriment at this period 
 always is. 
 
 Brandes : IVilliain Shakespeare. 
 
 Cassio is an enthusiastic admirer, almost a worshipper, 
 of Desdemona. O, that detestable code that excellence 
 cannot be loved in any form that is female, but it must 
 needs be selfish! Observe Othello's "honest," and 
 Cassio's " bold " lago, and Cassio's full guilelcssdiearted 
 wishes for the safety and love-raptures of Othello and 
 " the divine Desdemona." And also note the exquisite 
 circumstance of Cassio's kissing lago's wife, as if it 
 ought to be impossible that the dullest auditor should 
 not feel Cassio's religious love of Desdemona's purity, 
 lago's answers are the sneers which a proud bad intel- 
 lect feels towards women, and expresses to a wife. 
 
 20
 
 THE MOOR OF VENICE Comments 
 
 Surely it ought to be considered a very exalted compli- 
 ment to women, that all the sarcasms on them in Shake- 
 speare are put in the mouths of villains. 
 
 Coleridge: Notes and Lectures upon Shakespeare. 
 
 VII. 
 
 Spiritual Import of the Play. 
 
 Were Othello but the spirited portrait of a half-tamed 
 barbarian, we should view him as a bold and happy 
 poetical conception, and, as such, the Poet's work might 
 satisfy our critical judgement; but it is because it depicts 
 a noble mind, wrought by deep passion and dark devices 
 to agonies such as every one might feel, that it awakens 
 our strongest sympathies. We see in this drama a grand 
 and true moral picture; we read in it a profound ethical 
 lesson; for (to borrow the just image of the classical 
 Lowth) while the matchless work is built up to the 
 noblest height of poetry, it rests upon the deepest foun- 
 dations of true philosophy. 
 
 Verplanck : The Illustrated Shakespeare. 
 
 The central point of its spiritual import lies in the 
 contrast between lago and his victim. lago, with keen 
 intellectual faculties and manifold culture in Italian vice, 
 lives and thrives after his fashion in a world from which 
 all virtue and all beauty are absent. Othello, with his bar- 
 baric innocence and regal magnificence of soul, must 
 cease to live the moment he ceases to retain faith in 
 the purity and goodness which were to him the highest 
 and most real things upon earth. Or if he live, life must 
 become to him a cruel agony. Shakspere compels us 
 to acknowledge that self-slaughter is a rapturous en- 
 ergy — that such prolonged agony is joy in comparison 
 with the earthy Hfe-in-death of such a soul as that of 
 lago. The noble nature is taken in the toils because it 
 
 21
 
 Comments 
 
 is noble. lago suspects his wife of every baseness, but 
 the suspicion has no other effect than to intensify his 
 malignity. lago could not be captured and constrained 
 to heroic suffering and rage. The shame of every be- 
 ing who bears the name of woman is credible to lago, 
 and yet he can grate from his throat the jarring music: — 
 
 " And let me the canakin clink, clink ! 
 And let me the canakin clink ! " 
 
 There is, therefore, Shakspere would have us under- 
 stand, something more inimical to humanity than suf- 
 fering — namely, an incapacity for noble pain. To die 
 as Othello dies is indeed grievous. But to live as lago 
 lives, devouring the dust and stinging — this is more ap- 
 palling. 
 
 Such is the spiritual motive that controls the tragedy. 
 And the validity of this truth is demonstrable to every 
 sound conscience. No supernatural authority needs to 
 be summoned to bear witness to this reality of human 
 life. No pallid flame of hell, no splendour of dawning 
 heaven, needs show itself beyond the verge of earth to 
 illumine this truth. It is a portion of the ascertained 
 fact of human nature, and of this our moral existence. 
 
 DowDEN : Shakspere, 
 
 22
 
 The Tragedy of 
 Othello, The Moor of Venice.
 
 DRAMATIS PERSONAE. 
 
 Duke of Venice. 
 
 Brabantio^ a senator. 
 
 Other Senators. 
 
 Gratiano, brother to Brabantio. 
 
 LoDOVico, kinsman to Brabantio. 
 
 Othello, a noble Moor in the service of the Venetian state. 
 
 Cassio, his lieutenant. 
 
 Iago^ his ancient. 
 
 RoDERiGO, a J-^enetia}! gentleman. 
 
 Montano, Othello's predecessor in the government of Cyprus. 
 
 Clown, servant to Othello. 
 
 Desdemona, daughter to Brabantio and zvife to Othello. 
 Emilia,, wife to lago. 
 Bianca^ mistress to Cassio. 
 
 Sailor, Messenger, Herald, Officers, Gentlemen, Musicians, and 
 Attendants. 
 
 Scene: Venice: a seaport in Cyprus. 
 
 24
 
 o 
 
 The Tragedy of 
 Othello, The Moor of Venice. 
 
 ACT FIRST. 
 
 Scene I. 
 
 Venice. A street. 
 Enter Roderigo and lago. 
 
 Rod. Tush, never tell me; I take it much unkindly 
 That thou, lago, who hast had my purse 
 As if the strings were thine, shouldst know of this. 
 
 lago. '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. 
 
 lago. Despise me, if I do not. Three great ones of the city. 
 In personal suit to make me his lieutenant, 
 Of¥-capp'd to him: and, by the faith of man, lo 
 
 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 ; li.6* 
 
 25
 
 Act I. Sc. i. TRAGEDY OF 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 
 By debitor and creditor: this counter-caster, 31 
 
 He, in good time, must his lieutenant be. 
 And I — God bless the mark ! — his Moorship's ancient. 
 Rod. By heaven, I rather would have been his hangman. 
 lago. Why, there 's no remedy ; 'tis 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 
 
 lago. O, sir, content you; 
 
 follow him to serve my turrr upon him: 
 We cannot all be masters, nor all masters 
 I Cannot be truly follow'd. You shall mark 
 J /Many a duteous and knee-crooking knave, 
 ^ V V That doting on his own obsequious bondage 
 
 ' 3^^^ Wears out his time, much like his master's ass, 
 ^^ For nought but provender, and when he 's old, 
 
 ^^ P cashier'd: 
 
 ^^ ^Vhip me such honest knaves. Others there are 
 Mr ^ * AVho, trimm'd in forms and visages of duty, 50 
 
 ^ (/ Keep yet their hearts attending on themselves, 
 9^ ^f And throwing but shows of service on their lords 
 
 
 / 
 
 26
 
 THE MOOR OF VENICE Act I. Sc. i. 
 
 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. 
 For, sir, 
 
 It is as sure as you are Roderigo, 
 Were I the Moor, I would not be lago: 
 In following him, I follow but myself; 
 Heaven is my judge, not I f on love and duty, 
 But seeming so, for my p^qpnar end: 60 
 
 For when my outward action doth demonstrate 
 The native act and figure of my heart 
 In compliment extern, 'tis not long after 
 But I will wear my heart upon my sleeve 
 For daws to peck at : I am not what I am. 
 
 Rod. What a full fortune does the thick-lips owe, 
 If he can carry 't thus! 
 
 lago. Call up her father, 
 
 Rouse him: make after him, poison his delight, 
 Proclaim him in the streets; incense her kinsmen. 
 And, though he in a fertile climate dwell, 70 
 
 Plague him with flies: though that his joy be joy, 
 Yet throw such changes of vexation on 't 
 As it may lose some colour. 
 
 Rod. Here is her father's house; I. '11 call aloud. 
 
 Jag^o. 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! ^* 
 
 lago. Awake! what, ho, Brabantio! thieves! thieves I 
 thieves ! 
 Look to your house, your daughter and your bags! 
 Thieves! thieves! 81 
 
 27
 
 Act I. Sc. i. TRAGEDY OF OTHELLO. 
 
 Brabantio appears above, at a windozu. 
 
 Bra. What is the reason of this terrible summons? 
 What is the matter there? 
 
 Rod. Signior, is all your family within? 
 
 I ago. Are your doors lock'd? 
 
 Bra. Why, wherefore ask you this? 
 
 I ago. '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; 
 Awake the snorting citizens with the bell, 90 
 
 Or else the devil will make a grandsire of you: 
 Arise, I say. 
 
 Bra. What, have you lost your wits? 
 
 Rod. Most reverend signior, do you know my voice? 
 
 Bra. Not I : w^iat 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, 
 Upon malicious bravery, dost thou come 100 
 
 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; 
 
 28
 
 THE MOOR OF VENICE Act I. Sc. i. 
 
 My house is not a grange. 
 
 Rod. Most grave Brabantio, 
 
 In simple and pure soul I come to you. 
 
 lago. '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 no 
 ruffians, you '11 have your daughter covered with 
 a Barbary horse; you'll have your nephews 
 neigh to you; you '11 have coursers for cousins, 
 and gennets for germans. 
 
 Bra. What profane wretch art thou? 
 
 lago. I am one, sir, that comes to tell you youf 
 daughter and the Moor are now making the 
 beast with two backs. 
 
 Bar. Thou art a villain. 
 
 lago. You are — a senator. 119 
 
 Bra. This thou slialt answer; I know thee, Roderigo. 
 
 Rod. Sir, I will answer any thing. But, I beseech you, 
 If 't be your pleasure and most wise consent, 
 As partly I find it is, that your fair daughter, 
 At this odd-even and dull 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 
 That, from the sense of all civility, 
 I thus Vv'ould play and trifle with your reverence: 
 Your daughter, if you have not given her leave, 
 I say again, hath made a gross revolt, 
 
 29
 
 Act I. Sc. i, TRAGEDY OF OTHELLO, 
 
 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 sav! I Mit! [Exit above. 
 
 I ago. 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 
 With such loud reason to the Cyprus wars, 151 
 
 Which even now stand in act, that, for their souls, 
 Another of his fathom they have none 
 To lead their business: in which regard. 
 Though I do hate him as I do hell pains, 
 Yet for necessity of present life, 
 I must show out a flag and sign of love. 
 Which is indeed but sign. That you shall surely 
 
 find him, 
 Lead to the Sagittary the raised search; 
 And there will I be with him. So farewell. [Exit. 
 
 Enter hcloii', Brahantio, in Jiis night-gozvn, and 
 Servants zi'ith torches. 
 
 Bra. It is too true an evil: gone she is; 161 
 
 30
 
 THE MOOR OF VENICE Act I. Sc. ii. 
 
 And what's to come of my despised time 
 Is nought but bitterness. Now, Roderigo, 
 Where didst thou see her? O unhappy girl! 
 With the Moor, say'st thou ? Who would be a father ! 
 How didst thou know 'twas she ? O, she deceives me 
 Past thought ! What said she to you ? Get more tapers. 
 Raise all my kindred. Are they married, think you? 
 
 Rod. Truly, I think they are. 
 
 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 ai:t. Is there not charms 
 By which the property of youth and maidhood 
 May be abused? Have yoi\ not read, Roderigo, 
 Of some such thing? 
 
 Rod. Yes, sir, X 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 '11 call ; 
 I may command at most. Get weapons, ho! 
 And raise some special officers of night. 
 On, good Roderigo; I '11 deserve your pains. 
 
 {Exeunt. 
 
 Scene II. 
 
 Another street. 
 
 Enter Othello, lago, and Attendants icith torches. 
 
 lago. Though in the trade of war I have slain men, 
 Yet do I hold it very stuff o' the conscience 
 
 31
 
 Act I. Sc. ii. TRAGEDY OF OTHELLO, 
 
 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. 
 
 0th. 'Tis better as it is. 
 
 lagv. Nay, but he prated 
 
 And spoke such scurvy and provoking terms 
 
 Against your honour, 
 
 That, with the httle godHness I have, 
 
 I did full hard forbear him. But I pray you, sir, 
 
 Are you fast married? Be assured of this, ii 
 
 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. 
 
 0th. Let him do his spite: 
 
 My services, which I have done the signlory, 
 Shall out-tongue his complaints. 'Tis yet to know — 
 Which, when I know that boasting is an honour, 20 
 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, lago. 
 But that I love the gentle Desdemona, 
 I would not my unhoused free condition 
 Put into a circumscription and confine 
 For the sea's worth. But, look! what lights come 
 yond? 
 
 lago. Those are the raised father and his friends: 
 You were best go in. 
 
 32
 
 THE MOOR OF VENICE Act I. 5c. ii. 
 
 Oth. Not I; I must be found: 30 
 
 My parts, my title and my perfect soul, 
 Shall manifest me rightly. Is it they? 
 
 lago. By J anus, I thinkj ip. 
 
 Enter Cassio, aiid certain Officers zvith torches. 
 
 Oth. The servants of the duke, and my Heutenant. 
 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. 
 
 Oth. 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. 
 
 Oth. 'Tis 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? 
 
 lago. Faith, he to-night hath boarded a land carack: 50 
 If it prove lawful prize, he 's made for ever. 
 
 Cas. I do not understand. V <i 
 
 lago. He's married. \ ^ y 
 
 Cas. To who? A -^*^ 
 
 33
 
 Act I. Sc. ii. TRAGEDY OF OTHELLO. 
 
 Re-enter Othello. 
 
 I ago. Marry, to — Come, captain, will you go? 
 0th. Have with you. 
 
 Cas. Here comes another troop to seek for you. 
 I ago. It is Brabantio: general, be advised; 
 He comes to bad intent. 
 
 Enter Brabantio, Roderigo, and 0-fficers zvith torches 
 and weapons. 
 
 0th. Hallo! stand there! 
 
 Rod. Signior, it is the Moor. 
 
 Bra. Down with him, thief! 
 
 [They draw on both sides, 
 I ago. You, Roderigo! come, sir, I am for you. 
 0//i. ,Keep up your bright swords, for the dew will rust 
 them, 
 rood signior, you shall more command with years 
 'han with your weapons. 61 
 
 Bra. O thou foul thief, where hast thou stow'd my 
 daughter? 
 Damn'd as thou art, thou hast enchanted her; 
 For I '11 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 'tis not gross in sense 
 That thou hast practised on her with foul charms, 
 Abused her delicate youth with drugs or minerals 
 
 34
 
 THE MOOR OF VENICE Act I. Sc. ii. 
 
 That weaken motion : I '11 have 't disputed on ; 
 
 'Tis 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. 
 
 Lay hold upon him: if he do resist, 80 
 
 Subdue him at his peril. 
 0th. 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. 
 
 Oik. 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 ^'-. qo r-^,^^jt 
 To bring me to him? £jb>«- 
 
 First Off. Tis true, most worthy signior; — 
 
 The duke 's in council, and your noble self, -€c»-Ce<^ 
 
 I am sure, is sent for. -^JUujtJix^ 
 
 Bra. How! the duke in council! .Ju;x<>L>t^ 
 
 In this time of the night! Bring him away: Qot^c^tL^\Sl/vaJ 
 Mine 's not an idle cause : the duke himself, JL iR g. 
 Or any of my brothers of the state, J^HJ^JiikS^iu^ 
 
 Cannot but feel this w^rong as 'twxre their own; ^^~*~-^ 
 
 For if such actions may have passage free. 
 Bond-slaves and pagans shall our statesmen be. 
 
 [Exeunt. 
 
 35
 
 Act L Sc. iii. TRAGEDY OF OTHELLO. 
 
 Scene IIL 
 
 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, 
 'Tis 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, lo 
 
 But the main article I do approve 
 In fearful sense. 
 
 Sailor. [PVithin] What, ho! what, ho! what, ho! 
 
 First Off. A messenger from the galleys. 
 
 Filter 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: 'tis a pageant 
 To keep us in false gaze. When we consider 
 The importancy of Cyprus to the Turk, 20 
 
 36
 
 THE MOOR OF VENICE Act I. Sc. iii. 
 
 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, 
 
 To wake and wage a danger profitless. 30 
 
 D^ikc. Nay, in all confidence, he 's not for Rhodes. 
 
 First Off. Here is more news. 
 
 Enter a Messcui^cr. 
 
 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. 
 
 Ditke. '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, Iai!;o, Roderigo, and Officers. 
 
 Dnke. Valiant Othello, we must straight employ you 
 Against the general enemy Ottoman. 
 
 37
 
 Act I. Sc. iii. TRAGEDY OF OTHELLO, 
 
 [To Brabantio] I did not see you; welcome, gentle 
 signior ; 50 
 
 We lack'd your counsel and your help to-night. 
 
 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. 
 Your special mandate for the state-affairs 
 Hath hither brought. 
 
 All. We are very sorry for 't. 
 
 Duke. [To OtJiello] What in your own part can you say 
 to this? 
 
 38
 
 THE MOOR OF VENICE Act I. Sc. iii. 
 
 Bra. Nothing, but this is so. 
 
 Ofh. 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 w^asted, they have used 
 Their dearest action in the tented field; — jg 
 
 And little of t his great world can I speak , ~^?^'''^ ^-^^ £ 
 More than pertains to feats of broil and batu^ ^^ 
 
 And therefore httle shall I grace my cause 
 In speaking for myself. Yet, by your gracious pa- 
 tience, 
 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; I VcJuX^*. 
 
 Of spirit so still and quiet that her motion a 
 
 Blush'd at herself ; and she — in spite of nature, ^oflwlftucji 
 
 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 wqth some mixtures powerful o'er the blood, 
 Or with some dram conjured to this effect, 
 
 39
 
 Act I. Sc. iii. TRAGEDY OF OTHELLO, 
 
 He wrought upon her. 
 
 Duke. To vouch this, is no proof, 
 
 Without more certain and more overt test 
 Than these thin habits and poor hkeHhoods 
 Of modern seeming do prefer against him. 
 
 First Sen. But, Othello, speak: no 
 
 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? 
 
 0th. I do beseech -you, 
 
 Send for the lady to the Sagittary, 
 And let her speak of me before her father: 
 If you do find me foul in her report. 
 The trust, the office I do hold of you. 
 Not only take away, but let your sentence 
 Even fall upon my life. 
 
 Duke. Fetch Desdemona hither, 120 
 
 0th. Ancient, conduct them; you best know the place. 
 
 [Exeunt lago 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 '11 present 
 How I did thrive in this fair lady's love 
 And she in mine. 
 
 Duke. Say it, Othello. 
 
 0th. Her father loved me, oft invited me, 
 Still questioned 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: 
 40
 
 THE MOOR OF VENICE Act I. Sc. iii. 
 
 Wherein I spake of most disastrous chances, taQLcfli 
 
 Of moving accidents by flood and held, H ^ 
 
 Of hair-breadth 'scapes i' the imminent deadly breach, T 
 
 Of being taken by the insolent foe, »p J'^ 
 
 And sold to slavery, of my redemption thence, '^^**-«» f^ 
 
 And portance in my travels' history: ^'<^c9QtA< 
 
 Wherein of antres vast and deserts idle, 140^^^**'^ 
 
 Rough quarries, rocks, and hills whose heads touch '^^'*^^*' 
 heaven, ^ye^^o^ 
 
 It was my hint to speak, — such was the process ; "^^^^QBtfte^d 
 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-afifairs would draw her thence; 
 Which ever as she could with haste dispatch, 
 She 'Id 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, 
 She gave me for my pains a world of sighs : 
 She swore, in faith, 'twas strange, 'twas passing 
 strange; 160 
 
 'Twas pitiful, 'twas wondrous pitiful: 
 She wish'd she had not heard it, yet she wish'd 
 That heaven had made her such a man : she thank'd 
 me, 
 
 41
 
 Act I. Sc. iii. TRAGEDY OF OTHELLO. 
 
 And bade me, if I had a friend that loved her, 
 
 I should but teach him how to tell my story, 
 
 And that would woo her. Upon this hint I spake: 
 
 She loved me for the dangers I had pass'd, 
 
 And I loved her that she did pity them. 
 
 This only is the witchcraft I have used. 
 
 Here comes the lady; let her witness it. 170 
 
 Enter Desdemona, lago, 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: 
 1 To you I am bound for life and education ; 
 ! My life and education both do learn me 
 How to respect you; you are the lord of duty, 
 I am hitherto your daughter : but here 's my husband. 
 And so much duty as my mother show'd 
 To you, preferring you before her father. 
 So much I challenge that I may profess 
 Due to the Moor my lord. 
 
 Bra. God be with you! I have done. 
 
 Please it your grace, on to the state-affairs: 190 
 
 42
 
 THE MOOR OF VENICE Act I. Sc. iii. 
 
 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 i Jfj 
 
 Which, as a grise or step, may help these lovers 200 r ^ 
 
 Into your favour. 
 
 When remedies are past, the griefs are ended 
 
 By seeing the w^orst, which late on hopes depended. 
 
 To mourn a mischief that is past and gone 
 
 Is the next way to draw new mischief on. 
 
 What cannot be preserved when fortune takes. 
 
 Patience her injury a mockery makes. 
 
 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 ^'Y, 
 
 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 ^^VftM^e'^f^sugar or to gall, Juu^^^d^ 
 
 Being strong on both sides, are equivocal: ^f ^^juLfJi^dbx^ 
 
 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 afifairs of state. 
 Duke. The Turk with a most mighty preparation 221 
 
 makes for Cyprus. Othello, the fortitude of the 
 
 43 
 
 ^ 
 
 rt-^
 
 Act I. Sc. iii. TRAGEDY OF OTHELLO. 
 
 place is best known to you; and though we have 
 there a substitute of most allowed sufficiency, 
 yet opinion, a sovereign 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 bois- 
 terous expedition. 
 
 0th. The tyrant custom, most grave senators, 230 
 
 Hath made the flinty and steel couch of war 
 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, 240 
 
 Be 't at her father's. 
 
 Bra. I '11 not have it so. 
 
 0th. Nor I. 
 
 Des. Nor I, I would not there reside. 
 
 To put my father in impatient thoughts 
 By being in his eye. Most gracious dukc^ 
 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? 
 
 Dcs. That I did love the Moor to live with him. 
 
 My downright violence and storm of fortunes 250 
 May trumpet to the world : my heart 's subdued 
 
 44
 
 THE MOOR OF VENICE Act I. Sc. iii. 
 
 Even to the very quality of my lord: 
 
 I 5aw 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. 260 
 
 0th. Let her have your voices. 
 
 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 dullness 270 
 
 My speculative and officed instruments, 
 
 That my disports corrupt and taint my business, 
 
 Let housewives make a skillet of m.y helm. 
 
 And all indign and base adversities 
 
 Make head against my estimation! 
 
 Duke. Be it as you shall privately determine. 
 
 Either for her stay or going: the afifair cries haste, 
 And speed must answer 't; you must hence to-night. 
 
 Des. To-night, my lord? 
 
 Duke. This night. 
 
 0th. With all my heart. 
 
 Duke. At nine i' the morning here we '11 meet again. 280 
 Othello, leave some officer behind, 
 
 45
 
 Act I. Sc. iii. TRAGEDY OF OTHELLO. 
 
 And he shall our commission bring to you; 
 With such things else of quality and respect' 
 As doth import you. 
 0th. 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. 
 
 "^ jGood night to every one. [To Brah.] And, noble 
 <iy signior, 
 4^ f If virtue no delighted beauty lack, 290 
 
 Your son-in-law is far more fair than black. 
 First Sen. Adieu, brave Moor; use Desdemona well. 
 Look to her, Moor, if thou hast eyes to see 
 She has deceived her father, and may thee. 
 
 [Exeunt Duke, Senators, Officers, &c. 
 0th. My life upon her faith! Honest lago. 
 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, 300 
 
 To spend with thee : we must obey the time. 
 
 [Exeunt Othello and Desdemona. 
 Rod. lago! 
 
 logo. What say'st thou, noble heart? 
 Rod. What will I do, thinkest thou? 
 lago. Why, go to bed and sleep. 
 Rod. I will incontinently drown myself. 
 lago. If thou dost, I shall never love thee after. 
 Why, thou silly gentleman! 
 46
 
 THE MOOR OF VENICE Act I. Sc. iii. 
 
 Rod. It is silliness to live when to live is torment; 
 
 and then have we a prescription to die when 310 
 death is our physician. 
 
 logo. O villanons! 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 320 
 amend it. 
 
 lago. Virtue! a fig! 'tis 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 Hes 
 in our wills. If the balance of our lives had not 330 
 one scale of reason to poise another of sensual- 
 ity, the blood and baseness of our natures would 
 conduct us to most preposterous conclusions: 
 but we have reason to cool our raging motions, 
 our carnal stings, our unbitted lusts; whereof 
 I take this, that you call love, to be a sect or 
 scion. 
 Rod. It cannot be. 
 lago. It is merely a lust of the blood and a permission 
 
 of the will. Come, be a man: drown thyself! 340 
 
 47
 
 Act I. Sc. iii. TRAGEDY OF OTHELLO. 
 
 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 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 commencement, and 350 
 thou shalt see an answerable sequestration; put 
 but money in thy purse. These ivloors 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 m thy purse. If 
 thou wilt needs damn thyself, do it a more deli- 360 
 cate way than drowning. Make all the money 
 thou canst: if sanctimony and a frail vow be- 
 twixt 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 compassmg thy joy than to be 
 drowned and go without her. 
 
 Rod. Wilt thou be fast to my hopes, if I depend on 370 
 the issue? 
 
 lago. Thou art sure of me: go, make money: I have 
 
 48
 
 THE MOOR OF VENICE Act I. Sc. iii. 
 
 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 ; pro- 
 vide thy money. We will have more of this 380 
 to-morrow. Adieu. 
 
 Rod. Where shall we meet i' the morning? 
 
 lago. At my lodging. 
 
 Rod. I '11 be with thee betimes, 
 
 lago. Go to : farewell. Do you hear, Roderigo ? 
 
 Rod. What say you ? 
 
 lago. No more of drowning, do you hear? 
 
 Rod. I am changed : I '11 go sell all my land. [Exit, 
 
 lago. 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 391 
 
 But for my sport and profit. 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 th^t kind 
 
 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 : — 400 
 
 After some time, to abuse Othello's ear 
 
 That he is too familiar with his wife. 
 
 He hath a person and a smooth dispose 
 
 To be suspected ; framed to make women false. 
 
 49
 
 Act II. Sc. i. TRAGEDY OF OTHELLO, 
 
 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. 
 
 ACT SECOND. 
 
 Scene I. 
 
 A sea-port in Cyprus, An open place near the quay. 
 Enter Montano and tzvo Gentlemen. 
 
 Mon. What 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. 
 Descry a sail. 
 
 Mon. Alethinks 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? 
 
 Sec. Gent. A segregation of the Turkish fleet : lo 
 
 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. 
 
 50
 
 THE MOOR OF VENICE Act II. Sc. i. 
 
 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 ? 
 
 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 ; 'tis a worthy governor. 30 
 
 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. 
 
 SI
 
 Act II. Sc. i. ' TRAGEDY OF OTHELLO. 
 
 Enter Cassio. 
 
 Cas. Thanks, you the valiant of this warlike isle, 
 That so approve the Moor ! O, let the heavens 
 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 Moise? 
 
 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. 
 
 {Giins 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 'tis 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, 
 
 And in the essential vesture of creation 
 
 Does tire the ingener. 
 
 Re-enter second Gentleman. 
 
 How now ! who has put in ? 
 52
 
 THE MOOR OF VENICE Act II. Sc. i. 
 
 Sec. Gent. 'Tis one lago, 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. \Miat is she? 
 
 Cas. She that I spake of, our great captain's captain, 
 Left in the conduct of the bold lago ; 
 Whose footing here anticipates our thoughts 
 A se nnight's speed. Great Jove, Othello guard, 
 And swell his sail with thine own powerful breath, 
 That he may bless this bay with his tall ship, 
 Make love's quick pants in Desdemona's arms, 80 
 Give renew 'd fire to our extincted spirits, 
 And bring all Cyprus comfort. 
 
 Enter Desdemona, Emilia, lago, Roderigo, and 
 Attendants. 
 
 O, behold. 
 
 The riches of the ship is come on shore ! 
 
 \ e men of Cyprus, let her have your knees. 
 
 Hail to thee, lady ! and the grace of heaven, 
 
 Before, behind thee, and on every hand, 
 
 i^nwheel 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 
 
 But that he 's well and will be shortly here. 90 
 
 Des. O, but I fear — How lost you company ? 
 Cas, The great contention of the sea and skies 
 
 53
 
 Act II. Sc. i. TRAGEDY OF OTHELLO. 
 
 Parted our fellowship — But, hark ! a sail. 
 
 [A cry zvithin : ' 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] Wel- 
 come, mistress : 
 Let it not gall your patience, good lago, 
 That I extend my manners ; 'tis my breeding 
 That gives me this bold show of courtesy. lOO 
 
 [Kissi)ig her. 
 
 lago. Sir, would she give you so much of her lips 
 As of her tongue she oft bestows on me, 
 You 'Id have enough. 
 
 Des. Alas, she has no speech. 
 
 lago. 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. 
 
 lago. Come on, come on; you are pictures out of 
 doors, no 
 
 Bells in your parlours, wild-cats in your kitchens. 
 Saints in your injuries, devils being offended. 
 Players in your housewifery, and housewives in your 
 beds. 
 
 Des. O, fie upon thee, slanderer! 
 
 lago. Nay, it is true, or else I am a Turk : 
 You rise to play, and go to bed to work. 
 
 EviiL You shall not write my praise. 
 
 lago. No, let me not. 
 
 54
 
 THE MOOR OF VENICE Act II. Sc. i. 
 
 Dcs. What wouldst thou write of me, if thou shouldst 
 praise me? 
 
 lago. O gentle lady, do not put me to 't; 
 
 For I am nothing if not critical. 120 
 
 Dcs. Come on, assay — There 's one gone to the harbour? 
 
 lago. Ay, madam. 
 
 Des. I am not merry; but I do beguile 
 The thing I am by seeming otherwise. 
 Come, how wouldst thou praise me? 
 
 lago. 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, 130 
 
 The one's for use, the other useth it. 
 
 Des. Well praised! How if she be black and witty? 
 
 lago. If she be black, and thereto have a wit. 
 
 She '11 find a white that shall her blackness fit. 
 
 Dcs. Worse and worse. 
 
 Entil. How if fair and foolish? 
 
 lago. She never yet was foolish that was fair; 
 For even her folly help'd her to an heir. 
 
 Dcs. These are old fond paradoxes to make fools 
 
 laugh i' the alehouse. What miserable praise 140 
 hast thou for her that's foul and foolish? 
 
 lago. There 's none so foul, and foolish thereunto, 
 But does foul pranks which fair and wise ones do. 
 
 Dcs. O heavy ignorance ! thou praisest the worst best. 
 But what praise couldst thou bestow on a de- 
 serving woman indeed, one that in the author- 
 ity of her merit did justly put on the vouch of 
 very malice itself? 
 
 55
 
 Act II. Sc. i. TRAGEDY OF OTHELLO. 
 
 lago. She that was ever fair and never proud, 
 
 Had tongue at v^ill and yet was never loud, 150 
 
 Never lack'd gold and yet went never gay, 
 Fled from her wish and yet said ' Now I may '; 
 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, — 
 
 Dcs. To do what? 160 
 
 lago. To suckle fools and chronicle small beer. 
 
 Dcs. 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? 
 
 Cas. He speaks home, madam: you may relish him 
 more in the soldier than in the scholar. 
 
 lago. [Asidc^^ 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 170 
 her, do; I will gyve thee in thine own courtship. 
 You say true; 'tis so, indeed: if such tricks as 
 these strip you out of your lieutenantry, it had 
 been better you had not kissed your three fin- 
 gers so oft, which now again you are most apt 
 to play the sir in. Very good; well kissed! an 
 excellent courtesy! 'tis so, indeed. Yet again 
 your fingers to your lips? would they were clys- 
 ter-pipes for your sake! — [Trumpet within.'] 
 The Moor! I know his trumpet. 180 
 
 56
 
 THE MOOR OF VENICE Act II. Sc. i. 
 
 Cas. 'Tis truly so. 
 
 Des. Let 's meet him and receive him. 
 
 Cas. Lo, where he comes ! 
 
 Enter Othello and Attendants. 
 
 0th. O my fair warrior! 
 
 Des. Aly dear Othello ! 
 
 0th. 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 190 
 
 As hell 's from heaven ! If it were now to die, 
 
 'Twere now to be most happy ; for I fear, 
 
 My soul hath her content so absolute 
 
 That not another comfort like to this 
 
 Succeeds in unknown fate. 
 Des. The heavens forbid 
 
 But that our loves and comforts should increase. 
 
 Even as our days do grow ! 
 0th. Amen to that, sweet powers ! 
 
 I cannot speak enough of this content ; 
 
 It stops me here ; it is too much of joy : 199 
 
 And this, and this, the greatest discords be 
 
 [Kissing her. 
 
 That e'er our hearts shall make! 
 I ago. \ Aside] O, you arc well tuned now! 
 
 But I '11 set down the pegs that make this music, 
 
 As honest as I am. 
 0th. Come, let us to the castle. 
 
 News, friends ; our wars are done, the Turks are 
 drown 'd. 
 
 57
 
 Act II. Sc. i. TRAGEDY OF OTHELLO, 
 
 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 cut of fashion, and I dote 
 
 In mine own comforts. I prithee, good lago, 
 
 Go to the bay, and disembark my coffers : 210 
 
 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. 
 
 [Exeunt all but lago and Roderigo. 
 
 lago. 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 more than is native to them — 
 list me. The lieutenant to-night watches on 
 the court of guard. First, I must tell thee this : 220 
 Desdemona is directly in love with him. 
 
 Rod. With him ? why, 'tis not possible. 
 
 lago. 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 230 
 to inflame it and to give satiety a fresh appetite, 
 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 tenderness will find itself abused, 
 
 58
 
 THE MOOR OF VENICE Act II. Sc. i. 
 
 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 un- 
 forced position — who stands so eminently in 240 
 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 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 250 
 all those requisites in him that folly and green 
 minds look after: a pestilent complete knave; 
 and the woman hath found him already. 
 
 Rod. I cannot believe that in her; she 's full of most 
 blest condition. 
 
 lago. 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? 260 
 
 Rod. Yes, that I did; but that was but courtesy. 
 
 lago. 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 
 
 S9
 
 Act II. Sc. i TRAGEDY OF OTHELLO, 
 
 main exercise, the incorporate conclusion: pish! 
 But, sir, be you ruled by me: I have brought 
 you from Venice. Watch you to-night; for 270 
 the command, I '11 lay 't upon you : Cassio 
 knows you not: I '11 not be far from you: do 
 you find some occasion to anger Cassio, either 
 by speaking too loud, or tainting his discipline, 
 or from what other course you please, which the 
 time shall more favourably minister. 
 
 Rod. Well. 
 
 lago. 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 280 
 Cyprus to mutiny; whose qualification shall 
 come into no true taste again but by the dis- 
 planting 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. 
 
 Rod. I will do this, if I can bring it to any oppor- 
 tunity. 
 
 Icigo. I warrant thee. Meet me by and -by at the 290 
 citadel: I must fetch his necessaries ashore. 
 Farewell. 
 
 Rod. Adieu. [Exit. 
 
 logo. That Cassio loves her, I do well believe it; 
 That she loves him, 'tis apt and o^ great credit: 
 The Moor, howbeit that I endure him not, 
 Is of a constant, loving, noble nature; 
 And I dare think he '11 prov^ to Desdemona 
 A. most dear husband. Now, I do love her too, 
 60
 
 THE MOOR OF VENICE Act II. Sc. ii. 
 
 Not out of absolute lust, though peradventure 300 
 
 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 
 
 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 311 
 
 For his quick hunting, stand the putting on, 
 
 I '11 have our ^Michael Cassio on the hip, 
 
 Abuse him to the Moor in the rank garb; 
 
 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. 'Tis here, but yet confused: 319 
 
 Knavery's plain face is never seen till used. [Exit. 
 
 Scene II. 
 
 A street. 
 
 Enter a Herald z^itJi a proclamation; people 
 follozving. 
 
 Her. It is Othello's pleasure, our noble and valiant 
 general, that upon certain tidings now arrived, 
 importing 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 addiction leads him : for, 
 
 61
 
 Act II. Sc. iii. TRAGEDY OF OTHELLO. 
 
 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 
 is full liberty of feasting from this present hour lo 
 of five till the bell have told eleven. Heaven 
 bless the isle of Cyprus and our noble general 
 Othello! [Exeunt. 
 
 Scene III. 
 
 A hall in the castle. 
 Enter Othello, Desdemona, Cassio, and Attendants. 
 
 0th. Good Michael, look you to the guard to-night: 
 Let 's teach ourselves that honourable stop, 
 Not to outsport discretion. 
 
 Cas. lago hath direction what to do; 
 
 But notwithstanding with my personal eye 
 Will I look to 't. 
 
 0th. lago 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; 
 That profit 's yet to come 'tween me and you. lo 
 
 Good night. 
 
 [Exeunt Othello, Desdemona, and Attendants. 
 
 Enter lago. 
 
 Cas. Welcome, lago; we must* to the watch. 
 
 lago. Not this hour, lieutenant ; 'tis not yet ten o' the 
 clock. Our general cast us thus early for the 
 love of his Desdemona ; who let us not therefore 
 62
 
 THE MOOR OF VENICE Act II. Sc. iii. 
 
 blame : he hath not yet made wanton the night 
 with her, and she is sport for Jove, 
 
 Cas. She 's a most exquisite lady. 
 
 lago. And, I '11 warrant her, full of game. 
 
 Cas. Indeed she 's a most fresh and delicate creature. 20 
 
 lago. What an eye she has! methinks it sounds a 
 parley to provocation. 
 
 Cas. An inviting eye ; and yet methinks right modest. 
 
 lago. And when she speaks, is it not an alarum to 
 love? 
 
 Cas. She is indeed perfection. 
 
 lago. Well, happiness to their sheets! Come, lieu- 
 tenant, I have a stoup of wine; and here with- 
 out are a brace of Cyprus gallants that would 
 fain have a measure to the health of black 30 
 Othello. 
 
 Cas. Not to-night, good lago : I have very poor and 
 unhappy brains for drinking: I could well wish 
 courtesy would invent some other custom of 
 entertainment. 
 
 lago. 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 in- 
 novation it makes here: I am unfortunate in the 40 
 infirmity, and dare not task my weakness with 
 any more. 
 
 lago. What, man! 'tis a night of revels: the gallants 
 desire it. 
 
 Cas. Where are they? 
 
 lago. Here at the door; I pray you, call them in. 
 
 Cas. I '11 do 't; but it dislikes me. [Exit. 
 
 63
 
 Act II. Sc. iii. TRAGEDY OF OTHELLO, 
 
 I ago. If I can fasten but one cup upon him, 
 
 With that which he hath drunk to-night already, 
 He '11 be as full of quarrel and offence 50 
 
 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: 
 Three lads of Cyprus, noble swelHng 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 
 
 drunkards, 
 Am I to put our Cassio in some action 60 
 
 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 folloiving zvith zvine. 
 
 Cas. 'Fore God, they have given me a rouse already. 
 Mon. Good faith, a little one; not past a pint, as I 
 
 am a soldier. 
 lago. Some wine, ho! 
 
 f^/n^^^] And let me the canakin cHnk, clink; 
 And let me the canakin clink: 
 
 A soldier 's a man; 70 
 
 A life's but a span; 
 Why then let a soldier drink. 
 Some wine, boys! 
 
 Cas. 'Fore God, an excellent song. 
 
 64
 
 THE MOOR OF VENICE Act II. Sc. iii. 
 
 lago. I learned it in England, where indeed they are 
 most potest in potting: your Dane, your Ger- 
 man, and your swag-bellied Hollander, — Drink, 
 ho! — are nothing to your EngHsh. 
 
 Cas. Is your Englishman so expert in his drinking? 
 
 lago. Why, he drinks you with facility your Dane 80 
 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 '11 do you justice. 
 
 lago. O sweet England! 
 
 r^/;z^^] 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. 90 
 
 He was a wight of high renown, 
 And thou art but of low degree : 
 
 'Tis pride that pulls the country down; 
 Then take thine auld cloak about thee. 
 
 Some wine, ho! 
 Cas. Why, this is a more exquisite song than the 
 
 other. 
 lago. 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 100 
 
 all; and there be souls must be saved, and there 
 
 be souls must not be saved. 
 lago. It 's true, good lieutenant. 
 Cas. For mine own part — no ofifence to the general, 
 
 nor any man of quality — I hope to be saved. 
 
 65
 
 Act II. Sc. iii. TRAGEDY OF OTHELLO. 
 
 lago. And so do I too, lieutenant. 
 
 Cas, Ay, but, by your leave, not before* me; the 
 lieutenant is to be saved before the ancient. 
 Let 's have no more of this; let 's to our affairs. 
 God forgive us our sins! Gentlemen, let 's look no 
 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. 
 
 Mon. To the platform, masters; come, let 's set the 
 
 watch. 1 20 
 
 lago. You see this fellow that is gone before; 
 He is a soldier fit to stand by Caesar 
 And give direction: and do but see his vice; 
 'Tis to his virtue a just equinox. 
 The one as long as the other: 'tis pity of him. 
 I fear the trust Othello puts him in 
 On some odd time of his infirmity 
 Will shake this island. 
 
 Mon. But is he often thus? 
 
 lago. Tis evermore the prologue to his sleep: 
 
 He '11 watch the horologe a double set, 130 
 
 If drink rock not his cradle. 
 
 Mon. It were well 
 
 The general w^ere 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? 
 66
 
 THE MOOR OF VENICE Act II. Sc. iii. 
 
 Enter Rodcrigo. 
 
 lago. [Aside to hini] How now, Roderigo ! 
 
 I pray you, after the lieutenant ; go ! [Exit Roderigo. 
 Mon. And 'tis great pity that the noble Moor 
 
 Should hazard such a place as his own second 
 
 With one of an ingraft infirmity : 140 
 
 It were an honest action to say 
 
 So to the Moor. 
 lago. 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, drivim^ in Roderis^o. 
 
 Cas. 'Zounds ! you rogue ! you rascal ! 
 
 Mo}i. What 's the matter, lieutenant? 
 
 Cas. A knave teach me my duty ! But I '11 beat the 
 
 knave into a wicker bottle. 
 Rod. Beat me ! 
 
 Cas. Dost thou prate, rogue ? [Striking Roderigo. 150 
 Mon. Nay, good lieutenant ; I pray you, sir, hold 
 
 your hand. 
 Cas. Let me go, sir, or I '11 knock you o'er the mazzard. 
 Mon. Come, come, you 're drunk. 
 
 Cas. Drunk! [They fight. 
 
 lago. [Aside to Roderigo] Away, I say; go out, and cry 
 
 a mutiny. [E,rit Roderigo. 
 
 Nay, good lieutenant ! God's will, gentlemen ! 
 
 Help, ho ! — Lieutenant, — sir, — Montano, — sir ; — 
 
 Help, masters ! — Here 's a goodly watch indeed ! 
 
 [A bell rings. 
 
 Who 's that that rings the bell ?— Diablo, ho ! 
 
 67
 
 Act II. Sc. iii. TRAGEDY OF OTHELLO. 
 
 The town will rise : God's will, lieutenant, hold ; i6o 
 You will be shamed for ever. 
 
 Re-enter Othello and Attendants. 
 
 0th. What is the matter here? 
 
 Mon. "Zounds, I bleed still ; I am hurt to the death. 
 
 [Faints. 
 
 0th. Hold, for your lives ! 
 
 lago. Hold, ho! Lieutenant, — sir, — Montano, — gentle- 
 men, — 
 Have you forgot all sense of place and duty? 
 Hold! the general speaks to you; hold, hold, for shame! 
 
 0th. Why, how now, ho ! from whence ariseth this ? 
 • Are we turn'd Turks, and to ourselves do that 
 Which heaven hath forbid the Ottomites ? 
 For Christian shame, put by this barbarous brawl : 
 He that stirs next to carve for his own rage 171 
 
 Holds his soul light ; he dies upon his motion. 
 Silence that dreadful bell : it frights the isle 
 From her propriety. W^hat is the matter, masters ? 
 Honest lago, that look'st dead with grieving, 
 Speak, w^ho began this ? on thy love, I charge thee. 
 
 lago. 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, 180 
 
 vSwords 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 ! 
 
 0th. How comes it, Michael, you are thus forgot? 
 
 68
 
 THE MOOR OF VENICE Act II. Sc. iii. 
 
 Cas. I pray you, pardon me; I cannot speak. 
 
 0th. Worthy Montano, you were wont be civil; 
 The gravity and stillness of your youth 
 The world hath noted, and your name is great 190 
 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 ofBcer, lago, can inform you — 
 While I spare speech, which something now ofTends 
 
 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, 200 
 
 And to defend ourselves it be a sin 
 When violence assails us. 
 
 0th. 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 hft this arm, the best of you 
 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 ofifence, 
 Though he had twinn'd with me, both at a birth, 210 
 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. lago, who began 't? 
 
 Mon. If partially affined, or leagued in ofifice, 
 Thou dost deliver more or less than truth, 
 
 69
 
 Act II. Sc. iii. TRAGEDY OF OTHELLO. 
 
 Thou art no soldier. 
 
 I ago. Touch me not so near: 
 
 I had rather have this tongue cut from my mouth 
 
 Than it should do offence to Michael Cassio; 220 
 
 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 
 
 Steps in to Cassio and entreats his pause: 
 
 Myself the crying fellow did pursue. 
 
 Lest by his clamour — as it so fell out — 229 
 
 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 
 
 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, 240 
 
 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. 
 
 0th. I know, lago. 
 
 Thy honesty and love doth mince this matter, 
 Making it light to Cassio. Cassio, I love thee; 
 But never more be officer of mine. 
 70
 
 THE MOOR OF VENICE Act II. Sc. iii. 
 
 Re-enter Desdcinona, attended. 
 
 Look, if my gentle love be not raised up ! 
 I '11 make thee an example. 
 
 Des. What 's the matter? 
 
 0th. All 's well now, sweeting; come away to bed, 250 
 Sir, for your hurts, myself will be your surgeon : 
 
 [To Montana, who is led off. 
 Lead him off. 
 
 lago, look with care about the town, 
 xA.nd silence those whom this vile brawl distracted. 
 Come, Desdemona : 'tis the soldiers' life 
 To have their balmy slumbers waked with strife. 
 
 [Exeunt all but lago and Cassio, 
 
 lago. What, are you hurt, lieutenant ? 
 
 Cas. Ay, past all surgery. 
 
 lago. Marry, heaven forbid! 
 
 Cas. Reputation, reputation, reputation ! O, I have 260 
 lost my reputation ! I have lost the immortal 
 part of myself, and what remains is bestial. 
 My reputation, lago, my reputation ! 
 
 lago. 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 with- 
 out merit and lost without deserving: you have 
 lost no reputation at all, unless you repute your- 
 self such a loser. What, man ! there are ways 270 
 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. 
 
 71
 
 Act II. Sc. iii. TRAGEDY OF OTHELLO. 
 
 Cas. I will rather sue to be despised than to deceive 
 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 280 
 thou invisible spirit of wine, if thou hast no 
 name to be known by, let us call thee devil ! 
 
 lago. What was he that you followed with your 
 sword ? What had he done to you ? 
 
 Cas. I know not. 
 
 lago. 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 290 
 should, with joy, pleasance, revel and applause, 
 transform ourselves into beasts ! 
 
 lago. \\' hy, 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. 
 
 la^o. Come, you are too severe a moraler : as the 
 
 time, the place, and the condition of this country 300 
 stands, I could heartily wish this had not be- 
 fallen ; but since it is as it is, mend it for your 
 own good. 
 
 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 now a sensible man, by and 
 
 72-
 
 THE MOOR OF VENICE Act II. Sc. iii. 
 
 by a fool, and presently a beast! O strange! 
 Every inordinate cup is unblest, and the in- 
 gredient is a devil. 310 
 
 lago. 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. 
 
 Cas. I have well approved it, sir. I drunk! 
 
 lago. You or any man living may be drunk at some 
 time, man. I '11 tell you what you shall do. 
 Our general's wife is now the general. I mav 
 say so in this respect, for that he hath devoted 
 and given up himself to the contemplation, mark 320 
 and denotement of her parts and graces: con- 
 fess 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. 330 
 
 Cas. You advise me well. 
 
 lago. I protest, in the sincerity of love and honest 
 kindness. 
 
 Cas. I think it freely; and betimes in the morning I 
 will beseech the virtuous Desdemona to under- 
 take for me: I am desperate of my fortunes if 
 they check me here. 
 
 lago. You are in the right. Good night, lieutenant; 
 I must to the watch. 
 
 72
 
 Act II. Sc. iii. TRAGEDY OF OTHELLO. 
 
 Cas. Good night, honest lago. [Exit. 340 
 
 lago. And what 's he then that says I play the villain? 
 When this advice is free I give and honest, 
 Probal to thinking, and indeed the course 
 To v^in the Moor again? For 'tis most easy 
 The inclining Desdemona to subdue 
 In any honest suit. She 's framed as fruitful 
 As the free elements. And then for her 
 To w^in the Moor, w^ere 't to renounce his baptism, 
 All seals and symbols of redeemed sin, 
 His soul is so enfetter'd to her love, 350 
 
 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, 
 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, 360 
 I '11 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 
 That shall enmesh them all. 
 
 Enter Rodcrigo. 
 
 How now, Roderigo! 
 Rod. I do follow here in the chase, not like a hound 
 
 74
 
 THE MOOR OF VENICE Act II. Sc. iii. 
 
 that hunts, but one that fills up the cry. My 
 money is almost spent; I have been to-night 370 
 exceedingly well cudgelled; and I think the 
 issue will be, I shall have so rijuch experience 
 for my pains ; and so, with no money at all and 
 a little more wit, return again to Venice. 
 I ago. 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 witch- 
 craft, 
 And wit depends on dilatory time. 
 Does 't not go well? Cassio hath beaten thee, 380 
 And thou by that small hurt hast cashier'd Cassio: 
 Though other things grow fair against the sun, 
 Yet fruits that blossom first will first be ripe: 
 Content thyself awhile. By the mass, 'tis morning; 
 Pleasure and action make the hours seem short. 
 Retire thee; go where thou art billeted: 
 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; 
 I'll set her on; 39° 
 
 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. 
 
 75
 
 Act III. Sc. i. TRAGEDY OF OTHELLO, 
 
 ACT THIRD. 
 
 Scene I. 
 
 Before the castle. 
 
 Enter Cassio and some Musicians. 
 
 Cas. Masters, play here; I will content your pains; 
 
 Something that 's brief; and bid ' Good morrow, 
 general.' [Music. 
 
 Enter Cloivn. 
 
 Clo. Why, masters, have your instruments been in 
 Naples, that they speak i' the nose thus? 
 
 First M us. How, sir, how? 
 
 Clo. Are these, I pray you, wind-instruments? 
 
 First Mas. Ay, marry, are they, sir. 
 
 Clo. O, thereby hangs a tail. 
 
 First Mils. Whereby hangs a tale, sir? 
 
 Clo. Marry, sir, by many a wind-instrument that I lo 
 know. But, masters, here 's money for you: 
 and the general so likes your music, that he de- 
 sires you, for love's sake, to make no more noise 
 with it. 
 
 First Mils. 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 '11 20 
 away: go; vanish into air; away! 
 
 [Exeunt Musicians. 
 
 Cas. Dost thou hear, my honest friend ? 
 
 76
 
 THE MOOR OF VENICE Act III. Sc. i. 
 
 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. 30 
 
 Cas. Do, good my friend. {Exit Clown. 
 
 Enter lago. 
 
 In happy time, lago. 
 
 lago. You have not been a-bed, then? 
 
 Cas. Why, no; the day had broke 
 
 Before we parted. I have made bold, lago, 
 To send in to your wife: my suit to her 
 Is, that she will to virtuous Desdemona 
 Procure me some access. 
 
 lago. I '11 send her to you presently; 
 
 And I '11 devise a mean to draw the Moor 
 Out of the way, that your converse and business 
 May be more free. 40 
 
 Cas. I humbly thank you for 't. [Exit lago.] I never knew 
 A Florentine more kind and honest. 
 
 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 
 
 77
 
 Act III. Sc. ii.=iii. TRAGEDY OF OTHELLO. 
 
 He might not but refuse you; but he protests he 
 loves you, 
 
 And needs no other suitor but his Hkings 50 
 
 To take the safest occasion by the front 
 
 To bring you in again. 
 Cas. Yet, I beseech you, 
 
 If you think fit, or that it may be done, 
 
 Give me advantage of some brief discourse 
 
 With Desdemona alone. 
 Einil. 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 IL 
 
 A room in the castle. 
 Enter Othello, lago, and Gentlemen. 
 
 0th. These letters give, lago, 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. 
 
 lago. Well, my good lord, I '11 do 't. 
 
 0th. This fortification, gentlemen, shall we see 't? 
 
 Gent. We '11 wait upon your lordship. [Exeunt. 
 
 Scene IIL 
 
 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. 
 
 78
 
 THE MOOR OF VENICE Act III. Sc. iii. 
 
 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 : lo 
 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. 
 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 '11 perform it 
 
 To the last article: my lord shall never rest; 
 
 I '11 watch him tame and talk him out of patience; 
 
 His bed shall seem a school, his board a shrift; 
 
 I '11 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 lago, at a distance. 
 
 Emil. Madam, here comes my lord. 
 
 Cas. Madam, I '11 take my leave. 30 
 
 79
 
 Act III. Sc. iii. TRAGEDY OF OTHELLO. 
 
 Dcs. Nay, stay and hear me speak. 
 
 Cas. Madam, not now : I am very ill at ease, 
 
 Unfit for mine own purposes. 
 Dcs. Well, do your discretion. [Exit Cassio. 
 
 I ago. Ha! I like not that. 
 0th. What dost thou say? 
 
 I ago. Nothing, my lord : or if — I know not what. 
 0th. Was not that Cassio parted from my wife? 
 I ago. Cassio, my lord ! No, sure, I cannot think it, 
 
 That he would steal away so guilty-like, 
 
 Seeing you coming. 
 0th. I do believe 'twas he. 
 
 Des. How now, my lord! 
 
 I have been talking with a suitor here. 
 
 A man that languishes in your displeasure. 
 0th. Who is 't you mean? 
 Dcs. 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, 
 
 I have no judgement in an honest face: 50 
 
 I prithee, call him back. 
 0th. Went he hence now? 
 
 Dcs. Ay, sooth; so humbled. 
 
 That he hath left part of his grief with me, 
 
 To suffer with him. Good love, call him back. 
 0th. Not now, sweet Desdemona; some other time. 
 Dcs. But shall 't be shortly? 
 
 0th. The' sooner, sweet, for you. 
 
 Dcs. Shall 't be to-night at supper? 
 0th. No, not to-night. 
 
 80
 
 THE MOOR OF VENICE Act III. Sc. iii. 
 
 ' Dcs. To-morrow dinner then? 
 
 0th. I shall not dine at home ; 
 
 I meet the captains at the citadel. 
 
 Des. Why then to-morrow night; or Tuesday morn; 60 
 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, 69 
 
 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 — 
 
 0th. Prithee, no more: let him come when he will; 
 I will deny thee nothing. 
 
 Dcs. Why, this is not a boon ; 
 
 'Tis as I should entreat you wear your gloves, 
 Or feed on nourishing dishes, or keep you warm, 
 Or sue to you to do a peculiar profit 
 To your own person : nay, when I have a suit 80 
 Wherein I mean to touch your love indeed, 
 It shall be full of poise and difficult weight, 
 And fearful to be granted. 
 
 0th. 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. 
 
 81
 
 Act III. Sc. iii. TRAGEDY OF OTHELLO, 
 
 Oth. Farewell, my Desdemona : I '11 come to thee straight. 
 Dcs. Emilia, come. Be as your fancies teach you; 
 
 Whate'er you be, I am obedient. 
 
 [Exeunt Desdemona and Emilia. 
 Oth. Excellent wretch! Perdition catch my soul, 90 
 
 But I do love thee! and when I love thee not, 
 
 Chaos is come again. 
 lago. My noble lord, — 
 
 Oth. What dost thou say, lago? 
 
 lago. Did Michael Cassio, when you woo'd my lady, 
 
 Know of your love? 
 Oth. He did, from first to last: why dost thou ask? 
 lago. But for a satisfaction of my thought; 
 
 No further harm. 
 Oth. Why of thy thought, lago? 
 
 lago. I did not think he had been acquainted with her. 
 Oth. O, yes, and went between us very oft. lOO 
 
 lago. Indeed! 
 Oth. Indeed! ay, indeed: discern'st thou aught in that? 
 
 Is he not honest? 
 lago. Honest, my lord! 
 Oth. Honest! ay, honest. 
 lago. My lord, for aught I know. 
 Oth. What dost thou think? 
 lago. Think, my lord! 
 Oth. Think, my lord! By heaven, he echoes me. 
 
 As if there were some monster in his thought 
 
 Too hideous to be shown. Thou dost mean some- 
 thing: 
 
 I heard thee say even now, thou likedst not that. 
 
 When Cassio left my wife: what didst not like? no 
 
 And when I told thee he was of my counsel 
 
 82
 
 THE MOOR OF VENICE Act III. Sc. iii. 
 
 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. 
 
 lago. My lord, you know I love you. 
 
 0th. I think thou dost; 
 
 And for I know thou Vt 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 121 
 
 Are tricks of custom; but in a man that 's just 
 They 're close delations, working from the heart. 
 That passion cannot rule. 
 
 Jcigo. For Michael Cassio, 
 
 I dare be sworn I think that he is honest. 
 
 0th. I think so too. 
 
 lago. Men should be what they seem; 
 
 Or those that be not, would they might seem none! 
 
 0th. Certain, men should be what they seem. 
 
 lago. Why then I think Cassio 's an honest man. 
 
 0th. Nay, yet there 's more in this: 130 
 
 I prithee, speak to me as to thy thinkings, 
 As thou dost ruminate, and give thy worst of thoughts 
 The worst of words. 
 
 lago. 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 ; 
 And where 's that palace whereinto foul things 
 Sometimes intrude not? who has a breast so pure 
 
 83
 
 Act III. Sc. iii. TRAGEDY OF OTHELLO. 
 
 But some uncleanly apprehensions 
 
 Keep leets and law-days, and in session sit 140 
 
 With meditations lawful? 
 
 Ofh. Thou dost conspire against thy friend, lago, 
 
 If thou but think'st him wrong'd and makest his ear 
 A stranger to thy thoughts. 
 
 lago. I do beeseech you — 
 
 Though I perchance am vicious in my guess, 
 As, I confess, it is my nature's plague 
 To spy into abuses, and oft my jealousy 
 Shapes faults that are 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. 151 
 It were not for your quiet nor your good, 
 Nor for my manhood, honesty, or wisdom. 
 To let you know my thoughts. 
 
 0th. What dost thou mean? 
 
 lago. Good name in man and woman, dear my lord. 
 Is the immediate jewel of their souls: 
 Who steals my purse steals trash; 'tis something, 
 
 nothing; 
 Twas mine, 'tis his, and has been slave to thousands ; 
 But he that filches from me my good name 
 Robs me of that which not enriches him 160 
 
 And makes me poor indeed. 
 
 0th. By heaven, I '11 know thy thoughts. 
 
 lago. You cannot, if my heart were in your hand; 
 Nor shall not, whilst 'tis in my custody. 
 
 0th. Ha! 
 
 lago. O, beware, my lord, of jealousy; 
 
 It is the green-eyed monster, which doth mock 
 
 84
 
 THE MOOR OF VENICE Act III. Sc. iii. 
 
 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 ! 
 
 0th. O misery! 171 
 
 lago. 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! 
 
 Ofh. Why, why is this! 
 
 Think'st thou I 'Id 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, 180 
 When I shall turn the business of my soul 
 To such exsuiflicate and blown surmises, 
 Matching thy inference. 'Tis not to make me jealous 
 To say my wife is fair, feeds well, loves company, 
 Is free of speech, sings, plays and dances well ; 
 Where virtue is, these are more virtuous: 
 Nor from mine own weak merits will I draw 
 The smallest fear or doubt of her revolt; 
 For she had eyes, and chose me. No, lago; 
 I'll see before I doubt; when I doubt, prove; 190 
 And on the proof, there is no more but this, 
 Away at once with love or jealousy! 
 
 lago. I am glad of it; for now I shall have reason 
 To show the love and duty that I bear you 
 With franker spirit: therefore, as I am bound, 
 Receive it from me. I speak not yet of proof. 
 Look to your wife: observe her well with Cassio; 
 
 85
 
 Act III. Sc. iii. TRAGEDY OF OTHELLO. 
 
 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: 200 
 
 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. 
 
 0th. Dost thou say so? 
 
 I ago: She did deceive her father, marrying you ; 
 
 And when she seem'd to shake and fear your looks, 
 She loved them most. 
 
 0th. And so she did. 
 
 I ago. Why, go to then; 
 
 She that so young could give out such a seeming. 
 To seel her father's eyes up close as oak — 210 
 
 He thought 'twas witchcraft — but I am much to 
 
 blame; 
 I humbly do beseech you of your pardon 
 For too much loving you. 
 
 0th. I am bound to thee for ever. 
 
 lago. I see this hath a little dash'd your spirits. 
 
 0th. Not a jot, not a jot. ^ 
 
 lago. V faith, I fear it has. 
 
 I hope you will consider what is spoke 
 Comes from my love; but I do see you're moved: 
 I am to pray you not to strain my speech 
 To grosser issues nor to larger reach 
 Than to suspicion. 220 
 
 0th. I will not. 
 
 lago. 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 — 
 
 86
 
 THE MOOR OF VENICE Act III. Sc. iii. 
 
 My lord, I see you 're moved. 
 
 Oih. No, not much moved: 
 
 I do not think but Desdemona 's honest. 
 
 lago. Long Hve she so! and long live you to think so! 
 
 0th. And yet, how nature erring from itself — 
 
 lago. Ay, there 's the point : as — to be bold with you — 
 Not to effect many proposed matches 
 Of her own clime, complexion and degree, 230 
 
 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 
 Her will, recoiling to her better judgement. 
 May fall to match you with her country forms, 
 And happily repent, 
 
 0th. Farewell, farewell: 
 
 If more thou dost perceive, let me know more ; 
 
 Set on thy wife to observe: leave me, lago. 240 
 
 lago. [Going] My lord, I take my leave. 
 
 0th. Why did I marry? This honest creature doubtles^ 
 Sees and knows more, much more, than he unfolds. 
 
 lago. [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. 
 For sure he fills it up with great ability, 
 Yet, if you please to hold him ofif awhile, 
 You shall by that perceive him and his means: 
 Note if your lady strain his entertainment 250 
 
 With any strong or vehement importunity; 
 Much will be seen in that. In the mean time, 
 
 87
 
 Act III. Sc. iii. TRAGEDY OF OTHELLO. 
 
 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. 
 
 0th. Fear not my government. 
 
 lago. I once more take my leave. [Exit. 
 
 0th. This fellow 's of exceeding honesty, 
 
 And knows all qualities, with a learned spirit. 
 Of human dealings. If I do prove her haggard, 260 
 Though that her jesses were my dear heart-strings, 
 I 'Id whistle her ofif 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 — 
 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, 271 
 
 Than keep a corner in the thing I love 
 For others' uses. Yet, 'tis the plague of great ones; 
 Prerogatived are they less than the base; 
 'Tis destiny unshunnable, like death: 
 Even then this forked plague is fated to us 
 When we do quicken. Desdemona comes: 
 
 Re-enter Desdemona and Emilia. 
 
 If she be false, O, then heaven mocks itself! 
 I '11 not believe 't. 
 Des. How now, my dear Othello! 
 
 Your dinner, and the generous islanders 280 
 
 By you invited, do attend your presence.
 
 THE MOOR OF VENICE Act III. Sc. iii. 
 
 0th. I am to blame. 
 
 Dcs. Why do you speak so faintly? 
 
 Are you not well? 
 
 0th. I have a pain upon my forehead here. 
 
 Dcs. Faith, that 's with watching; 'twill away again: 
 Let me but bind it hard, within this hour 
 It will be well. 
 
 0th. Your napkin is too little; 
 
 [He puts the handkerchief from him; and she drops it. 
 Let it alone. Come, I '11 go in with you. 
 
 Dcs. I am very sorry that you are not well. 
 
 {Exeunt Othello and Dcsdemona. 
 
 Emil. I am glad I have found this napkin: 290 
 
 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, 
 For he conjured her she should ever keep it, 
 That she reserves it evermore about her 
 To kiss and talk to. I '11 have the work ta'en out, 
 And give 't lago : what he will do with it 
 Heaven knows, not I; 
 I nothing but to please his fantasy. 
 
 Re-enter Ias:o. 
 
 lago. How now! what do you here alone? 300 
 
 Emil. Do not you chide; I have a thing for you. 
 
 lago. A thing for me? it is a common thing — 
 
 Emil. Ha! 
 
 lago. To have a foolish wife. 
 
 Emil. O, is that all? What will you give me now 
 
 For that same handkerchief? 
 lago. What handkerchief? 
 
 89
 
 Act III. Sc. iii. TRAGEDY OF OTHELLO, 
 
 Einil. What handkerchief! 
 
 Why, that the Moor nrst gave to Desdemona; 
 That which so often you did bid me steal. 
 
 I ago. Hast stol'n it from her? 310 
 
 Emii. No, faith; she let it drop by negligence, 
 
 And, to the advantage, I being here took 't up. 
 Look, here it is. 
 
 I ago. A good wench; give it me. 
 
 Emil. What will you do with 't, that you have been so 
 earnest 
 To have me filch it? 
 
 lago. [Snatching it] Why, wliat 's that to you? 
 
 Emil. If 't be not for some purpose of import, 
 Give 't me again : poor lady, she '11 run mad 
 When she shall lack it. 
 
 lago. Be not acknown on 't; I have use for it. 
 
 Go, leave me. [Exit Emilia. 320 
 
 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, 
 
 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 Othello. 
 
 Not poppy, nor mandragora, 330 
 Nor all the drowsy syrups of the world, 
 Shall ever medicine thee to that sweet sleep 
 90 
 
 I
 
 THE MOOR OF VENICE Act III. Sc. iii. 
 
 Which thou owedst yesterday. 
 
 0th. Ha! ha! false to me? 
 
 I ago. Why, how now, general! no more of that. 
 
 0th. Avaimt! be gone! thou hast set me on the rack: 
 I swear 'tis better to be much abused 
 Than but to know 't a little. 
 
 J ago. How now, my lord! 
 
 0th. 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; 340 
 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 robbed at all. 
 
 lago. I am sorry to hear this. 
 
 0th. I had been happy, if the general camp, 
 
 Pioners and all, had tasted her sweet body, 
 So I had nothing known. O, now for ever 
 Farewell the tranquil mind! farewell content! 
 Farewell the plumed troop and the big wars 
 That make ambition virtue! O, farewell, 350 
 
 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, 
 Farewell! Othello's occupation's gone! 
 
 Tago. Is 't possible, my lord? 
 
 0th. Villain; be sure thou prove my love a whore; 
 
 Be sure of it; give me the ocular proof; 360 
 
 Or, by the worth of man's eternal soul. 
 Thou hadst been better have been born a dog 
 
 91
 
 Act III. Sc. iii. TRAGEDY OF OTHELLO. 
 
 Than answer my waked wrath! 
 I ago. Is 't come to this? 
 
 0th. 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! 
 lago. My noble lord, — 
 0th. If thou dost slander her and torture me, 
 
 Never pray more; abandon all remorse; 
 
 On horror's head horrors accumulate; 370 
 
 Do deeds to make heaven weep, all earth amazed; 
 
 For nothing canst thou to damnation add 
 
 Greater than that. 
 lago. 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! 
 
 monstrous world! Take note, take note, O world, 
 To be direct and honest is not safe, 
 
 1 thank you for this profit, and from hence 
 
 I '11 love no friend sith love breeds such offence. 380 
 
 0th. Nay, stay: thou shouldst be honest. 
 
 lago. I should be wise; for honesty 's a fool. 
 And loses that it works for. 
 
 0th. By the world, 
 
 I think my wife be honest, and think she is not; 
 I think that thou art just, and think thou art not: 
 I '11 have some proof. Her name, that was as fresh 
 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 '11 not endure it. Would I were satisfied! 390 
 
 92
 
 THE MOOR OF VENICE Act III. Sc. iii. 
 
 lago. I see, sir, you are eaten up with passion: 
 I do repent me that I put it to you. 
 You would be satisfied? 
 
 0th. Would! nay, I will. 
 
 lago. And may: but, how? how satisfied, my lord? 
 Would you, the supervisor, grossly gape on? 
 Behold her topp'd? 
 
 0th. Death and damnation! O! 
 
 lago. It were a tedious difficulty, I think. 
 
 To bring them to that prospect : damn them then. 
 
 If CA^er mortal eyes do see them bolster 
 
 i\Iore than their own! What then? how then? 400 
 
 Wliat 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 
 
 As ignorance made drunk. But yet, I say, 
 
 If imputation and strong circumstances, 
 
 Wliich lead directly to the door of truth, 
 
 Will give you satisfaction, you may have 't. 
 
 0th. Give me a living reason she 's disloyal. 
 
 lago. I do not like the office: 410 
 
 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, 
 That in their sleeps will mutter their afifairs: 
 One of this kind is Cassio: 
 In sleep I heard him say ' Sweet Desdemona, 
 Let us be wary, let us hide our loves'; 420 
 
 93
 
 Act III. Sc. iii. TRAGEDY OF OTHELLO, 
 
 And then, sir, would he gripe and wring my 
 hand, 
 
 Cry ' O sweet creature! ' and then kiss me hard, 
 
 As if he pluck'd up kisses by the roots, 
 
 That grew upon my Hps : then laid his leg 
 
 Over my thigh, and sigh'd and kiss'd, and then 
 
 Cried * Cursed fate that gave thee to the Moor!*' 
 OiJi. O monstrous! monstrous! 
 
 lago. Nay, this was but his dream. 
 
 0th. But this denoted a foregone conclusion: 
 
 Tis a shrewd doubt, though it be but a dream. 
 lago. And this may help to thicken other proofs 430 
 
 That do demonstrate thinly. 
 0th. I '11 tear her all to pieces. 
 
 lago. 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: 
 0th. I gave her such a one; 'twas my first gift. 
 lago. 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. 
 0th. If it be that,— 
 
 lago. If it be that, or any that was hers, 440 
 
 It speaks against her with the other proofs. 
 0th. O, that the slave had forty thousand lives! 
 
 One is too poor, too weak for my revenge. 
 
 [|Now do I see 'tis true. Look here, lago; 
 . All my fond love thus do I blow to heaven : 
 
 'Tis gone. 
 
 Arise, black vengeance, from thy hollow cell! 
 
 Yield up, O love, thy crown and hearted throne 
 
 94 
 
 y ,
 
 THE MOOR OF VENICE Act III. Sc. iii. 
 
 To tyrannous hate! Swell, bosom, with thy fraught, 
 For 'tis of aspics' tongues! 
 
 lago. Yet be content. 450 
 
 0th. O, blood, blood, blood! 
 
 I ago. Patience, I say; your mind perhaps may change. 
 
 0th. 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; 
 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 459 
 
 Swallow them up. Now, by yond marble heaven, 
 In the due reverence of a sacred vow [Kneels. 
 
 I here engage my words. 
 
 Jdgo. Do not rise yet. [Kneels. 
 
 Witness, you ever-burning lights above, 
 You elements that clip us round about. 
 Witness that here lago doth give up 
 The execution of his wit, hands, heart. 
 To wrong'd Othello's service! Let him command. 
 And to obey shall be in me remorse, 
 What bloody business ever. [They rise. 
 
 0th. I greet thy love, 
 
 Not with vain thanks, but with acceptance bounteous, 
 And will upon the instant put thee to 't: 471 
 
 Within these three days let me hear thee say 
 That Cassio 's not alive. 
 
 lago. My friend is dead; 'tis done at your request: 
 But let her live. 
 
 OtJi. Danm her, lewd minx! O, damn her! 
 
 Come, go with me apart; I will withdraw, 
 
 95
 
 Act III. Sc. iv. TRAGEDY OF OTHELLO. 
 
 To furnish me with some swift means of death 
 For the fair devil. Now art thou my Heutenant. 
 lago. I am your own for ever. {Exeunt. 
 
 Scene IV. 
 
 Before the castle. 
 Enter Desdemona, EiiiiJia, and Cloivn. 
 
 Des. Do you know, sirrah, where Lieutenant Cassio 
 
 Hes? 
 Clo. I dare not say he Hes 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 vou where he lodges, is to tell vou where 
 
 I He. 
 Des. Can any thing be made of this? lo 
 
 Clo. I know not where he lodges; and for me to 
 
 devise a lodging, and say he lies here or he lies 
 
 there, were to lie in mine own throat. 
 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. 20 
 
 Clo. To do this is within the compass of man's wit, 
 
 and therefore I will attempt the doing it. [Exit. 
 
 Des. Where should 1 lose that handkerchief, Emilia? 
 Emil. I know not. madam. 
 Des. Believe me, I had rather have lost my purse 
 
 96
 
 THE MOOR OF VENICE Act III. Sc. iv. 
 
 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? 
 
 Dcs. Who, he? I think the sun where he was born 30 
 Drew all such humours from him. 
 
 Einil. , Look, where he comes. 
 
 Dcs. I will not leave him now till Cassio 
 Be call'd to him. 
 
 Enter Othello. 
 
 How is 't with you, my lord? 
 0th. Well, my good lady. [Aside] O, hardness to dis- 
 semble! 
 
 How do you, Desdemona? 
 Des. Well, my good lord. 
 
 0th. Give me your hand : this hand is moist, my lady. 
 Dcs. It yet has felt no age nor known no sorrow. 
 0th. This argues fruitfulness and liberal heart: 
 
 Hot, hot, and moist: this hand of yours requires 
 
 A sequester from liberty, fasting and prayer, 40 
 
 Much castigation, exercise devout; 
 
 For here 's a young and sweating devil here, 
 
 That commonly rebels. 'Tis a good hand, 
 
 A frank one. 
 Dcs. You may, indeed, say so; 
 
 For 'twas that hand that gave away my heart. 
 0th. A liberal hand: the hearts of old gave hands; 
 
 But our new heraldry is hands, not hearts. 
 Dcs. T cannot speak of this. Come now, your promise. 
 0th. What promise, chuck? 
 
 97
 
 Act III. Sc. iv. TRAGEDY OF OTHELLO. 
 
 Dcs. I have sent to bid Cassio come speak with you. 50 
 0th. I have a salt and sorry rheum offends me; 
 
 Lend me thy handkerchief. 
 Dcs. Here, my lord. 
 0th. That which I gave you. 
 Dcs. I have it not about me. 
 0th. Not? 
 
 Dcs. No, indeed, my lord. 
 0th. 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 
 
 'Twould make her amiable and subdue my father 
 
 Entirely to her love, but if she lost it 60 
 
 i / 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 wife, 
 
 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? 
 
 0th. 'Tis true: there 's magic in a web of it: 
 
 A sibyl, that had number'd in the world 70 
 
 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? 
 
 98
 
 THE MOOR OF VENICE Act III. Sc. iv. 
 
 Oth. Most veritable; therefore look to 't well. 
 
 Dcs. Then v/ould to God that I had never seen 't! 
 
 Oth. Ha! wherefore? 
 
 Dcs. Why do you speak so startingly and rash? 
 
 Oth. Is 't lost? is 't gone? speak, is it out o' the way? 80 
 
 Dcs. Heaven bless us! 
 
 Ofh. Say you? 
 
 Dcs. It is not lost ; but what an if it were ? 
 
 Oth. How! 
 
 Dcs. I say, it is not lost. 
 
 Oth. Fetch 't, let me see it. 
 
 Dcs. 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. 
 Oth. Fetch me the handkerchief: my mind misgives)^ 
 Dcs. Come, come; \ 90 
 
 You '11 never meet a more sufficient man. 
 Oth. The handkerchief! 
 
 Dcs. I pray, talk me of Cassio. 
 
 Oth. The handkerchief! 
 Dcs. A man that all his time 
 
 Hath founded his good fortunes on your love^ 
 
 Shared dangers with you, — /-^ 
 
 Oth. The handkerchief! 
 Dcs. In sooth, you are to blame. 
 Ofh. Away! ^ [Exit. 
 
 Emil. Is not this man jealous? 
 Dcs. I ne'er saw this before. 100 
 
 Sure there 's some wonder in this handkerchief: 
 
 I am most unhappy in the loss of it. 
 Emil. 'Tis not a year or two shows us a man : 
 
 They are all but stomachs and we all but food; 
 
 99
 
 Act III. Sc. iv. TRAGEDY OF OTHELLO. 
 
 They eat us hungerly, and when they are full 
 
 They belch us. Look you, Cassio and my husband. 
 
 Enter Cassio and I ago. 
 
 logo. There is no other way; 'tis she must do 't: 
 And, lo, the happiness! go and importune her. 
 
 Dcs. How now, good Cassio! what 's the news with you? 
 
 Cas. Madam, my former suit: I do beseech you no 
 
 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 delayed. 
 If my ofifence 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; 
 So shall I clothe me in a forced content 120 
 
 And shut myself up in some other course 
 To fortune's alms. 
 
 Dcs. Alas, thrice-gentle Cassio! 
 
 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: 
 What I can do I wall; and more I will 130 
 
 Than for myself I dare : let that suffice you. 
 
 lago. Is my lord angry? 
 
 Emil. He went hence but now, 
 
 100
 
 THE MOOR OF VENICE Act III. Sc. iv. 
 
 And certainly in strange unquietness. 
 
 I ago. Can he 1)e 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 >vill go meet him : 
 There 's matter in 't indeed if he be angry. 
 
 Dcs. I prithee, do so. [Exit lago. 
 
 Something sure of state, 140 
 
 Either from Venice some imhatch'd practice 
 Made demonstrable here in Cyprus to him, 
 Hath puddled his clear spirit; and in such cases 
 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 
 As fits the bridal. Beshrew^ me much, Emilia, 150 
 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. 
 
 Eniii. Pray heaven it be state-matters, as you think, 
 And no conception nor no jealous toy 
 Concerning you. 
 
 Dcs. Alas the day, I i;ever gave him cause! 
 
 Eniil. But jealous souls will not be answer'd so; 
 
 They are not ever jealous for the cause, 160 
 
 But jealous for they are jealous: 'tis a monster 
 Begot upoH itself, born on itself. 
 
 Dcs. Heaven keep that monster from Othello's mind!
 
 Act III. Sc. iv. TRAGEDY OF OTHELLO, 
 
 Ernil. Lady, amen. 
 
 Dcs. I will go seek him. Cassio, walk hereabout : 
 
 If I do find him fit, I '11 move your suit, 
 
 And seek to effect it to my uttermost. 
 Cas. I humbly thank your ladyship. 
 
 [Exeunt Dcsdemona and Emilia. 
 
 Enter Bianea. 
 
 Bian. Save you, friend Cassio! 
 
 Cas. What make you from home? 
 
 How is it with you, my most fair Bianea? 170 
 
 r 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? 
 
 weary reckoning! 
 
 Cas. Pardon me, Bianea: 
 
 1 have this while with leaden thoughts been press'd; 
 But I shall in a more continuate time 
 
 Strike off this score of absence. Sweet Bianea, 
 
 [Giving her Desdemonas handkerchief. 
 Take me this work out. 
 
 Bian. O Cassio, whence came this? 
 
 This is some token from a newer friend: 181 
 
 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, Bianea. 
 102
 
 THE MOOR OF VENICE Act IV. Sc. i. 
 
 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 — 
 
 As like enough it will — I 'Id have it copied: 190 
 
 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. 
 Biaii. 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. 'Tis but a little way that I can bring you; 
 
 For I attend heVe : but I '11 see you soon. 200 
 
 Bian. 'Tis very good; I must be circumstanced. [Exeunt. 
 
 ACT FOURTH. 
 
 Scene I. 
 
 Cyprus. Before the castle. 
 
 Enter Othello and I ago. 
 
 I ago. Will you think so? 
 
 Ofh. Think so, lago! 
 
 logo. What, 
 
 To kiss in private ? 
 0th. An unauthorized kiss. 
 
 lago. Or to be naked with her friend in bed 
 
 An hour or more, not meaning any harm? 
 0th. Naked in bed, lago, and not mean harm! 
 
 103
 
 Act IV. Sc. i. TRAGEDY OF OTHELLO, 
 
 It is hypocrisy against the devil: 
 
 They that mean virtuously and yet do so, 
 
 The devil their virtue tempts and they tempt heaven. 
 
 I ago. So they do nothing, 'tis a venial slip: 
 
 But if I give my wife a handkerchief — lo 
 
 0th. What then? 
 
 Icigo. Why, then, 'tis hers, my lord; and being hers, 
 She may, I think, bestow t on any man. 
 
 0th. She is protectress of her honour too: 
 May she give that? 
 
 I ago. Her honour is an essence that 's not seen; 
 They have it very oft that have it not: 
 But for the handkerchief — 
 
 0th. By heaven, I would most gladly have forgot it; 
 
 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. 
 
 I a go. Ay, what of that? 
 
 0th. That 's not so good now. 
 
 lago. What, 
 
 If I had said I had seen him do you wrong? 
 Or heard him say — as knaves be such abroad. 
 Who having, by their own importunate suit. 
 Or voluntary dotage of some mistress, 
 Convinced or supplied them, cannot choose 
 But they must blab — 
 
 0th. Hath he said anything? 
 
 lago. He hath, my lord; but be you well assured, 30 
 No more than he '11 unswear. 
 
 0th. What hath he said? 
 
 lago. Faith, that he did — I know not what he did. 
 
 0th. What, what? 
 
 104
 
 THE MOOR OF VENICE Act IV. Sc. i. 
 
 I a go. Lie — 
 
 0th. With her? 
 
 I ago. With her, on her; what you will. 
 
 0th. Lie with her! lie on her! — 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 40 
 confess. I tremble at it. Nature would not in- 
 vest herself in such shadowing passion without 
 some instruction. It is not words that shakes 
 me thus. Pish! Noses, ears and lips. Is 't pos- 
 sible? — Confess? — Handkerchief? — O devil! 
 
 [Falls ill a trance, 
 
 lago. Work on. 
 
 My medicine, work! Thus credulous fools are 
 
 caught : 
 And many worthy and chaste dames even thus, 
 All guiltless, meet reproach. What, ho! my lord! 
 My lord, I say! Othello! 
 
 Enter Cassia. 
 
 How now, Cassio! 
 
 Cos. What 's the matter? 50 
 
 lago. My lord is fall'n into an epilepsy: 
 
 This is his second fit; he had one yesterday. 
 
 Cas. Rub him about the temples. 
 
 [ago. 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, 
 
 105
 
 Act IV. Sc. i. TRAGEDY OF OTHELLO. 
 
 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? 
 
 0th. Dost thou mock me? 
 
 lago. I mock you! no, by heaven. 6i 
 
 Would you would bear your fortune like a man! 
 
 0th. A horned man 's a monster and a beast. 
 
 lago. There 's many a beast then in a populous city, 
 And many a civil monster. 
 
 0th. Did he confess it? 
 
 lago. Good sir, be a man; 
 
 Think every bearded fellow that 's but yoked 
 
 May draw with you; there 's millions now alive 
 
 That nightly lie in those unproper beds 
 
 Which they dare swear peculiar: your case is better. 
 
 O, 'tis the spite of hell, the fiend's arch-mock, yi 
 
 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. 
 
 0th. O, thou art wise; 'tis certain. 
 
 lago. 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 'sense upon your ecstasy; 8o 
 
 Bade him anon return and here speak with me; 
 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, 
 io6
 
 THE MOOR OF VENICE Act IV. Sc. i. 
 
 Where, how, how oft, how long ago and when 
 He hath and is again to cope your wife : 
 I say, but mark his gesture. Marry, patience; 
 Or I shall say you are all in all in spleen. 
 And nothing of a man. 
 
 Ofh. Dost thou hear, lago? 90 
 
 I will be found most cunning in my patience; 
 But — dost thou hear? — most bloody. 
 
 logo. 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 'tis 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. 100 
 
 Re-enter Cassio. 
 
 As he shall smile, Othello shall go mad; 
 
 And his unbookish jealousy must construe 
 
 Poor Cassio's smiles, gestures and light behaviour, 
 
 Quite in the wrong. How do you now, lieutenant? 
 Cos. The worser that you give me the addition 
 
 Whose want even kills me. 
 logo. Ply Desdemona well, and you are sure on 't. 
 
 Now, if this suit lay in Bianca's power, 
 
 How quickly should you speed! 
 Cos. Alas, poor caitiff! 
 
 0th. Look, how he laughs already! no 
 
 logo. I never knew a woman love man so. 
 
 107
 
 Act IV. Sc. i. TRAGEDY OF OTHELLO. 
 
 Cos. Alas, poor rogue ! I think, i' faith, she loves 
 me. 
 
 0th. Xow he denies it faintly and laughs it out. 
 
 lago. Do you hear, Cassio? 
 
 Oth. Xow he importunes him 
 
 To tell it o'er: go to; well said, well said. 
 
 lago. She gives it out that you shall marry her: 
 Do you intend it? 
 
 Cas. Ha, ha, ha! 120 
 
 Ofh. 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! 
 
 Ofh. So, so, so, so: they laugh that win. 
 
 lago. Faith, the cry goes that you shall marry her. 
 
 Cos. Prithee, say true. 
 
 logo. I am a very villain else. 
 
 OfJi. Have you scored me? Well. 
 
 Cas. This is the monkey's own giving out: she is 130 
 persuaded I will marry her, out of her own love 
 and flattery, not out of my promise. 
 
 Oth. lago beckons me; now he begins the story. 
 
 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 — 
 
 Oth. Crying ' O dear Cassio! ' as it were: his ges- 
 ture imports it. 140 
 
 Cas. So hangs and lolls and weeps upon me; so 
 hales and pulls me: ha, ha, ha! 
 
 Ofh. Now he tells how she plucked him to my 
 
 108
 
 THE MOOR OF VENICE Act IV. Sc. i. 
 
 chamber. O, I see that nose of yours, but not 
 
 that dog I shall throw it to. 
 Cas. Well, I must leave her company. 
 lago. Before me ! look, where she comes. 
 Cas. 'Tis such another fitchew ! marry, a perfumed 
 
 one. 
 
 Enter Bianca. 
 
 What do you mean by this haunting of me ? 150 
 
 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 work? 
 There ; give it your hobby-horse : wheresoever 
 you had it, I '11 take out no work on 't. 
 
 Cas. How now, my sweet Bianca I how now! how 160 
 now ! 
 
 Otii. By heaven, that should be my handkerchief! 
 
 Bian. An you '11 come to supper to-night, you may; 
 an you will not, come when you are next pre- 
 pared for. [Exit. 
 
 lago. After her, after her. 
 
 Cas. Faith, I must ; she '11 rail i' the street else. 
 
 lago. Will you sup there? 
 
 Cas. Faith, I intend so. 
 
 lago. W^ell, I may chance to see you; for I would 170 
 very fain speak with you. 
 
 Cas. Prithee, come ; will you ? 
 
 lago. Go to ; say no more. [Exit Cassio. 
 
 0th. [Advancing] How shall I murder him, lago? 
 
 109
 
 Act IV. Sc. i. TRAGEDY OF OTHELLO. 
 
 lago. Did you perceive how he laughed at his vice? 
 
 0th. O lago! 
 
 lago. And did you see die handkerchief? 
 
 Otii. Was that mine? 
 
 lago. Yours, by this hand : and to see how he prizes 
 
 the fooHsh woman your wife ! she gave it him, i8o 
 and he hath given it his wdiore. 
 
 0th. I would have him nine years a-killing. A fine 
 woman ! a fair woman ! a sweet woman ! 
 
 lago. Nay, you must forget that. 
 
 0th. Ay, let her rot, and perish, and be damned to- 
 night ; for she shall not live : no, my heart is 
 turned to stone ; I strike it, and it hurts my 
 hand. O, the world hath not a sweeter crea- 
 ture : she might lie by an emperor's side, and 
 command him tasks. 190 
 
 lago. Nay, that 's not };our way. 
 
 0th. 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 : — 
 
 lago. She 's the worse for all this. 
 
 0th. O, a thousand thousand times : and then, of so 
 gentle a condition ! 
 
 lago. Ay, too gentle. 
 
 0th. Nay, that 's certain : but \et the pity of it, lago! 200 
 O lago, the pity of it, lago ! 
 
 lago. If you are so fond over her iniquity, give her 
 patent to offend ; for, if it touch not you, it 
 , comes near nobody. 
 
 th. I wdll chop her into messes : cuckold me ! 
 
 lago. O, 'tis foul in her. 
 
 no
 
 THE MOOR OF VENICE Act IV. Sc. i. 
 
 0th. With mine officer! 
 
 logo. That 's fouler. 
 
 0th. Get me some poison, lago ; this night. I '11 not 
 
 expostulate with her, lest her body and beauty 210 
 
 un provide my mind again : this night, lago. 
 lago. Do it not with poison, strangle her in her bed, 
 
 even the bed she hath contaminated. 
 0th. Good, good : the justice of it pleases : very good. 
 lago. And for Cassio, let me be his undertaker : you 
 
 shall hear more by midnight. 
 0th. Excellent good. [A trumpet zvithin.] What 
 
 trumpet is that same? t 
 
 lago. Something from Venice, sure. 'Tis Lodovico 
 
 Come from the duke : and, see, your wife is with him. 
 
 Enter Lodovico, Desdemona, and Attendants. 
 
 Lod. God save the worthy general ! 
 
 0th. With all my heart, sir. 
 
 Lod. The duke and senators of Venice greet you. 221 
 
 [Gives him a letter. 
 0th. I kiss the instrument of their pleasures. 
 
 [Opens the letter, and reads. 
 Des. And what 's the news, good cousin Lodovico ? 
 lago. I am very glad to see you, signior ; 
 
 Welcome to Cyprus. 
 Lod. I thank you. How does Lieutenant Cassio ? 
 lago. Lives, sir. 
 Des. Cousin, there 's fall'n between him and my lord 
 
 An unkind breach : but you shall make all well. 
 0//t. Are you sure of that? 230 
 
 Des. My lord ? 
 0th. [Reads] * This fail you not to do as you will — ' 
 
 III
 
 Act JV. Sc. i. TRAGEDY OF OTHELLO, 
 
 Lod, He did not call ; he 's busy in the paper. 
 
 Is there division 'twixt my lord and Cassio? 
 Des, A most unhappy one : I would do much 
 
 To atone them, for the love I bear to Cassio. 
 0th, Fire and brimstone ! 
 Des. My lord? 
 
 0th. Are you wise? 
 
 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. 
 0th. Indeed ! 
 
 Des. My lord? 240 
 
 0th. I am glad to see you mad. 
 Des. Why, sweet Othello? 
 
 0th. 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 : 'tis very much : 
 
 Make her amends ; she weeps. 
 0th. O devil, devil! 
 
 If that the earth could teem with woman's tears, 
 
 Each drop she falls would prove a crocodile. 
 
 Out of my sight ! 
 Des. I will not stay to offend you. [Going. 
 
 Lod. Truly, an obedient lady : 250 
 
 I do beseech your lordship, call her back. 
 0th. Mistress! 
 Des. My lord? 
 
 0th. What would you with her, sir? 
 Lod. W'ho, I, my lord ? 
 
 112
 
 THE MOOR OF VENICE Act IV. Sc. i. 
 
 0th. Ay ; you did wish that I would make her turn ■ 
 Sir, she can turn and turn, and yet go on, 
 And turn again ; and she can weep, sir, weep ; 
 And she 's obedient, as you say, obedient. 
 Very obedient. Proceed you in your tears. 
 Concerning this, sir, — O well-painted passion ! — 
 I am commanded home. Get you away ; 260 
 
 I '11 send for you anon. Sir, I obey the mandate. 
 And will return to Venice. Hence, avaunt ! 
 
 [Exit Dcsdcinoiia. 
 Cassio shall have my place. And, sir, to-night, 
 I do entreat that w^e may sup together : 
 You are welcome, sir, to Cyprus. Goats and mon- 
 keys ! " [Exit. 
 
 Lod. Is this the noble Moor whom our full senate 
 Call all in all sufficient ? This the nature 
 Whom passion could not shake? whose solid virtue 
 The shot of accident nor dart of chance 270 
 
 Could neither graze nor pierce ? 
 
 lago. He is much changed. 
 
 Lod. Are his wits safe ? is he not light of brain ? 
 
 lago. 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. 
 
 lago. Faith, that was not so well ; yet would I knew 
 That stroke would prove the worst ! 
 
 Lod. Is it his use? 
 
 Or did the letters work upon his blood, 
 And new create this fault ? 
 
 lago. Alas, alas ! 
 
 It is not honesty in me to speak 280 
 
 113
 
 Act IV. Sc. ii. TRAGEDY OF OTHELLO. 
 
 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 IL 
 
 A room in the castle. 
 Enter Othello and Emilia. 
 
 0th. You have seen nothing, then? 
 
 Einil. Nor ever heard, nor ever did suspect. 
 
 0th. Yes, you have seen Cassio and she together. 
 
 Emil. But then I saw no harm, and then I heard 
 
 Each syllable that breath made up between them. 
 
 0th. \Miat, did they never whisper? 
 
 Emil. Never, my lord. 
 
 0th. Nor send you out o' the way? 
 
 Emil. Never. 
 
 0th. To fetch her fan, her gloves, her mask, nor nothing? 
 
 Emil. Never, my lord. lo 
 
 0th. 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. 
 
 0th. Bid her come hither : go. [Exit Emilia. 
 
 She says enough : yet she 's a simple bawd 20 
 
 114
 
 THE MOOR OF VENICE Act IV. Sc. ii. 
 
 That cannot say as much. This is a subtle whore, 
 
 A closet lock and key of villanous secrets : 
 
 And yet she '11 kneel and pray ; I have seen her do 't. 
 
 Enter Desdcnwna zvith Emilia. 
 
 Des. My lord, what is your will ? 
 
 0th. Pray, chuck, come hither. 
 
 Des, What is your pleasure? 
 
 0th. Let me see your eyes; 
 
 Look in my face. 
 Des. What horrible fancy 's this ? 
 
 0th. [To Emilia] Some of your function, mistress, 
 
 Leave procreants alone and shut the door ; 
 
 Cough, or cry hem, if any body come : 
 
 Your mystery, your mystery : nay, dispatch. 30 
 
 [Exit Emilia, 
 Des. Upon my knees, what doth your speech import? 
 
 I understand a fury in your words. 
 
 But not the words. 
 0th. Why, what art thou ? 
 
 Des. Your wife, my lord ; your true and loyal wife. 
 0th. 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. 
 
 0th. Heaven truly knows that thou art false as hell. 
 Des. To whom, my lord ? with whom ? how am I false ? 
 0th. O Desdemona! Away! away! away! 41 
 
 Des. Alas the heavy day ! Why do you weep ? 
 
 Am I the motive of these tears, my lord ? 
 
 IIS
 
 Act IV. Sc. ii. TRAGEDY OF OTHELLO. 
 
 If haply you my father do suspect 
 
 An uistrument of this your calHng back, 
 
 Lay not your blame on me : if you have lost him, 
 
 Why, I have lost him too. 
 
 0th. Had it pleased heaven 
 
 To try me with affliction ; had they rain'd 
 All kinds of sores and shames on my bare head, 
 Steep'd me in poverty to the very lips, 50 
 
 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. 
 Or else dries up ; to be discarded thence ! 60 
 
 Or keep it as a cistern for foul toads 
 To knot and gender in ! Turn thy complexion there. 
 Patience, thou young and rose-lipp'd cherubin. 
 Ay, there, look grim as hell ! 
 
 Dcs. I hope my noble lord esteems me honest. 
 
 0th. 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 ! 
 
 Dcs. Alas, what ignorant sin have I committed ? 70 
 
 0th. W^as this fair paper, this most goodly book. 
 
 Made to write ' whore ' upon ? What committed ! 
 Committed ! O thou public commoner ! 
 116
 
 THE MOOR OF VENICE Act IV. Sc. ii. 
 
 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, 
 
 And will not hear it. What committed ! 80 
 
 Impudent strumpet ! 
 
 Dcs. By heaven, you do me wrong. 
 
 0th. Are not you a strumpet? 
 
 Dcs. 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. 
 
 0th. Wliat, not a whore? 
 
 Dcs. No, as I shall be saved. 
 
 0th. Is 't possible? 
 
 Dcs. O, heaven forgive us ! 
 
 0th, I cry you mercy then : 
 
 I took you for that cunning whore of Venice 
 That married with Othello. [Raising his voice} 
 You, mistress, 90 
 
 That have the office opposite to Saint Peter. 
 And keep the gate of hell ! 
 
 Re-enter Emilia. 
 
 You, you, ay, you ! 
 y\Q have done our course ; there 's money for your 
 
 pains : 
 I pray you, turn the kev, and keep our counsel. 
 
 [Exit. 
 EmiL Alas, what does this gentleman conceive? 
 
 117
 
 Act IV. Sc. ii. TRAGEDY OF OTHELLO, 
 
 How do you, madam ? how do you, my good lady ? 
 
 Des. Faith, half asleep. 
 
 Emil. Good madam, what 's the matter with my lord? 
 
 Dcs. With who? 
 
 Emil. Why, with my lord, madam. lOO 
 
 Dcs. 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? 
 
 Re-enter Emilia, with I a go. 
 
 logo. \Miat is your pleasure, madam ? How is 't with 
 you? no 
 
 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. 
 lago. What 's the matter, lady ? 
 
 Emil. Alas, lago, my lord hath so bewhored her, 
 
 Thrown such despite and heavy terms upon her, 
 
 As true hearts cannot bear. 
 Des. Am I that name, lago? 
 
 lago. What name, fair lady? 
 
 Des. Such as she says my lord did say I was. 
 
 ii8
 
 THE MOOR OF VENICE Act IV. Sc. ii. 
 
 Emil. He call'd her whore : a beggar in his drink 120 
 Could not have laid such terms upon his callet. 
 
 lago. Why did he so? 
 
 Dcs. I do not know : I am sure I am none such. 
 
 lago. 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 ? 
 
 Des. It is my wTetched fortune. 
 
 lao-Q. Beshrew him for't! 
 
 How comes this trick upon him ? 
 
 Dcs. Xay, heaven doth know. 
 
 Emil. I will be hang'd, if some eternal villain, 130 
 
 Some busy and insinuating rogue. 
 Some cogging, cozening slave, to get some office, 
 Have not devised this slander ; I '11 be hang'd else. 
 
 Jago. 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 likeli- 
 hood? 
 The Moor's abused by some most villanous knave. 
 Some base notorious knave, some scurvy fellow. 140 
 O heaven, that such companions thou 'Idst unfold. 
 And put in every honest hand a whip 
 To lash the rascals naked through the world 
 Even from the east to the west ! 
 
 lago. Speak within door. 
 
 Emil. O, fie upon them! Some such squire he was 
 That tum'd your wit the seamy side without, 
 
 119
 
 Act IV. Sc. ii. TRAGEDY OF OTHELLO. 
 
 And made you to suspect me with the Moor. 
 
 I ago. You are a fool ; go to. 
 
 Dcs. O good lago, 
 
 What shall I do to win my lord again ? 
 Good friend, go to him ; for, by this light of heaven, 
 I know not how I lost him. Here I kneel : 151 
 
 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 ofif 
 To beggarly divorcement, love him dearly, 
 Comfort forswear me! Unkindness may do much; 
 And his unkindness may defeat my life, 160 
 
 But never taint my love. I cannot say ' whore ' : 
 It doth abhor rhe now I speak the word : 
 To do the act that might the addition earn 
 Not the world's mass of vanity could make me. 
 
 lago. I pray you, be content : 'tis but his humour : 
 The business of the state does him offence. 
 And he does chide with you. 
 
 Des. If 'twere no other, — 
 
 lago. 'Tis but so, I warrant. [Trumpets zvithin. 
 
 Hark, how these instruments summon to supper ! 
 The messengers of Venice stay the meat : 170 
 
 Go in, and weep not ; all things shall be well. 
 
 [Exeunt Desdeinona and Emilia. 
 
 Enter Roderigo. 
 
 How now, Roderigo ! 
 Rod, I do not find that thou dealest justly with me. 
 
 120
 
 THE MOOR OF VENICE Act IV. Sc. ii. 
 
 logo. What in the contrary? 
 
 Rod. Every day thou daffest me with some device, 
 lago ; 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 suf- i8o 
 fered. 
 
 lago. Will you hear me, Roderigo ? 
 
 Rod. Faith, for I have heard too much ; for your 
 words and performances are no kin together. 
 
 lago. 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 votarist : you have told me she 
 hath received them and returned me expecta- 
 tions and comforts of sudden respect and ac- 190 
 quaintance ; but I find none. 
 
 lago. \\' ell ; go to ; very well. 
 
 Rod. Very well ! go to ! I cannot go to, man ; nor 
 'tis not very well : by this hand, I say 'tis very 
 scurvy, and begin to find myself fopped in it. 
 
 lago. Very well. 
 
 Rod. I tell you 'tis not very well. I will make myself 
 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 200 
 will seek satisfaction of you. 
 
 lago. You have said now. 
 
 Rod. Ay. and said nothing but what I protest intend- 
 ment of doing. 
 
 lago. Why, now I see there 's mettle in thee ; and 
 
 121
 
 Act IV. Sc. ii. TRAGEDY OF OTHELLO. 
 
 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 
 more directly in thy affair. 210 
 
 Rod. It hath not appeared. 
 
 lago. I grant indeed it hath not appeared, and your 
 suspicion is not without wit and judgement. 
 But, Roderigo, if thou hast that in thee indeed, 
 which I have greater reason to believe now than 
 ever, I mean purpose, courage and valour, this 
 night show it : if thou the next night following 
 enjoy not Desdemona, take me from this world 
 with treachery and devise engines for my life. 
 
 Rod. Well, what is it? is it within reason and com- 220 
 pass? 
 
 lago. Sir, there is especial commission come from 
 Venice to depute Cassio in Othello's place. 
 
 Rod. Is that true? why then Othello and Desdemona 
 return again to Venice. 
 
 lago. 0,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. 230 
 
 Rod. How do you mean, removing of him ? 
 
 lago. Why, by making him uncapable of Othello's 
 place ; knocking out his brains. 
 
 Rod. And that you would have me to do ? 
 
 lago. 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
 
 THE MOOR OF VENICE Act IV. Sc. iii. 
 
 fortune. If you will watch his going thence, 
 which I will fashion to fall out between twelve 
 and one, you may take him at your pleasure : I 240 
 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 your- 
 self bound to put it on him. It is now high 
 supper-time, and the night grows to waste: 
 about it. 
 
 Rod. I will hear further reason for this. 
 
 I ago. And you shall be satisfied. [Exeunt. 
 
 Scene III. 
 
 Another room in the castle. 
 
 Enter Othello, Lodovico, Desdeniona, Emilia, and 
 Attendants. 
 
 Lod. I do beseech you, sir, trouble yourself no further. 
 
 0th. O, pardon me ; 'twill do me good to walk. 
 
 Lod. Madam, good night ; I humbly thank your ladyship. 
 
 Des. Your honour is most welcome. 
 
 0th. Will you walk, sir? 
 
 O, — Desdemona, — 
 
 Des. My lord ? 
 
 0th. 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. 10 
 
 [Exeunt Othello, Lodovico, and Attendants 
 
 Emit. How goes it now ? he looks gentler than he did. 
 
 Des. He says he will return incontinent : 
 He hath commanded me to go to bed, 
 
 123
 
 Act IV. Sc. iii. TRAGEDY OF OTHELLO, 
 
 And bade me to dismiss you. 
 
 Ejiiil. Dismiss me! 
 
 Dcs. 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! 
 
 Dcs. So would not I : my love doth so approve him, 19 
 That even his stubbornness, his checks, his frowns, — 
 Prithee, unpin me, — have grace and favour in 
 them. 
 
 Eniil. I have laid those sheets vou bade me on the 
 bed. 
 
 Dcs. 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. 
 
 Dcs. 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 'twas, but it express'd her fortune, 
 And she died singing it : that song to-night 30 
 
 Will not go from my mind ; I have much to do 
 But to go hang my head all at one side 
 And sing it like poor Barbara. Prithee, dispatch. 
 
 Eniii. Shall I go fetch your night-pown ^ 
 
 Dcs. No, unpin me here. 
 
 This Lodovico is a proper man. 
 
 Emil. A very handsome man. 
 
 Dcs. He speaks well. 
 
 Einil. I know a lady in Venice would have walked 
 barefoot to Palestine for a touch of his nether 
 lip. 40 
 
 124
 
 THE MOOR OF VENICE Act IV. Sc. iii. 
 
 Des. [Singing \ The poor soul sat sighing by a sycamore tree, 
 Sing all a green willow ; 
 Her hand on her bosom, her head on her knee, 
 
 Sing willow, willow, willow : 
 The fresh streams ran by her, and murmur'd her 
 moans ; 
 Sing willow, willow, willow ; 
 Her salt tears fell from her, and soften'd the stones ; — 
 Lay by these : — 
 
 [Singing'] Sing willow, willow, willow ; 
 
 Prithee, hie thee ; he '11 come anon : — 50 
 
 [5'f/z^f^//zo^] Sino^ alia green willow must be my garland. 
 Let nobody blame him ; his scorn I approve, — 
 
 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 '11 couch with moe men. 
 
 So get thee gone ; good night. ]\Iine eyes do itch ; 
 
 Doth that bode weeping? 
 Emil. 'Tis 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 62 
 
 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 ! 
 
 125
 
 Act IV. Sc. iii. TRAGEDY OF OTHELLO, 
 
 Emil. Nor I neither by this heavenly Hght ; I might 
 do 't as well i' the dark. 
 
 Dcs. 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. 
 
 Des. In troth, I think thou wouldst not. 
 
 Einil. In troth, I think I should ; and undo 't when I 71 
 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 husband a cuckold to 
 make him a monarch ? I should venture purga- 
 tory for 't. 
 
 Des. Beshrew me, if I would do such a wrong 
 
 For the whole world. 80 
 
 Eniil. Why, the wrong is but a wrong i' the world ; 
 and having the Vv'orld for your labour, 'tis a 
 wrong in your own world, arid you might 
 quickly make it right. 
 
 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, 90 
 
 Or else break out in peevish jealousies. 
 Throwing restraint upon us, or say they strike us. 
 Or scant our former having in despite, 
 Why, we have galls, and though we h.ave some grace, 
 Yet have we some revenge. Let husbands know 
 Their wives have sense like them : they see and smell 
 126
 
 THE MOOR OF VENICE Act V. Sc. i. 
 
 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? loo 
 
 It is so too : and have not we affections, 
 Desires for sport, and frailty, as men have? 
 Then let them use us well : else let them know. 
 The ills we do, their ills instruct us so. 
 Des. Good night, good night : heaven me such uses send, 
 Not to pick bad from bad, but by bad mend ! 
 
 [Exeimt. 
 
 ACT FIFTH. 
 Scene I. 
 
 Cyprus. A street. 
 Enter I a go and Roderigo. 
 
 logo. Here, stand behind this bulk ; straight will he come : 
 Wear thy good rapier bare, and put it home : 
 Quick, quick ; fear nothing ; I '11 be at thy elbow : 
 It makes us, or it mars us ; think on that. 
 And fix most firm thy resolution. 
 
 Rod. Be near at hand ; I may miscarry in 't. 
 
 lago. 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. lo 
 
 lago. 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, 
 127
 
 Act V. Sc. i. TRAGEDY OF OTHELLO, 
 
 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 ; 'tis he. Villain, thou diest ! 
 
 [Makes a pass at Cassio. 
 Cas. That thrust had been mine enemy indeed, 
 
 But that my coat is better than thou know'st : 
 I will make proof of thine. 
 
 [Drazi's, and icounds Roderigo. 
 Rod. O, I am slain ! 
 
 [I ago from behind zi'ounds Cassio in the leg, and exit. 
 Cas. I am maim'd for ever. Help, ho ! murder ! murder ! 
 
 [Falls. 
 
 Enter Othello. 
 
 0th. The voice of Cassio: lago keeps his word. 
 
 Rod. O, villain that I am ! 
 
 0th. It is even so. 
 
 Cas. O, help, ho ! light ! a surgeon ! 30 
 
 OfJi. 'Tis he. O brave lago, 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 : 
 Thv bed lust-stain'd shall with lust's blood be spotted. 
 
 [Exit. 
 
 128
 
 THE MOOR OF VENICE 'Act V. Sc. i. 
 
 Enter Lodovico and Gratiano. 
 
 Cas. What, ho ! no watch ? no passage ? murder ! murder ! 
 
 Gra. 'Tis some mischance; the cry is very direful. 
 
 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 into the cry without more help. 
 
 Rod. Nobody come ? then shall I bleed to death. 
 
 Lod. Hark! 
 
 Re-enter I ago, zvith a light. 
 
 Gra. Here's one comes in his shirt, with light and weapons. 
 
 I ago. Who's there ? whose noise is this that cries on murder ? 
 
 Lod. We do not know. 
 
 lago. Did not you hear a cry? 49 
 
 Cas. Here, here ! for heaven's sake, help me ! 
 
 lago. What 's the matter ? 
 
 Gra. This is Othello's ancient, as I take it. 
 
 Lod. The same indeed ; a very valiant fellow. 
 
 lago. What are you here that cry so grievously? 
 
 Cas. lago? O, I am spoil'd, undone by villains! 
 
 Give me some help. 
 lago. O me, lieutenant ! what villains have done this ? 
 Cas. I think that one of them is here about. 
 
 And cannot make away. 
 lacro. O treacherous villains? 
 
 o 
 
 What are you there ? come in and give some help. 
 
 [To Lodovico and Gratiano. 
 Rod. Q, help me here ! 60 
 
 Cas. That 's one of them. 
 
 129
 
 Act V. Sc. i. • TRAGEDY OF OTHELLO. 
 
 lago. O murderous slave ! O villain ! 
 
 [Stabs Roderigo. 
 Rod. O damn'd lago! O inhuman dog! 
 lago. 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. 
 lago. Signior Lodovico? 
 Lod, He, sir. 
 
 lago. I cry you mercy. Here 's Cassio hurt by villains. 
 Gra. Cassio! 70 
 
 lago. How is 't, brother ? 
 Cas. My leg is cut in two. 
 lago. Marry, heaven forbid! 
 
 Light, gentlemen : I '11 bind it with my shirt. 
 
 Enter Bianca. 
 
 Bian. What is the matter, ho ? who is 't that cried ? 
 
 lago. Who is 't that cried ! 
 
 Bian. O my dear Cassio! my sweet Cassio! O 
 
 Cassio, Cassio, Cassio ! 
 lago. O notable strumpet ! Cassio, may you suspect 
 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. 
 lago. Lend me a garter. So. O, for a chair. 
 
 To bear him easily hence ! 
 Bian. Alas, he faints ! O Cassio, Cassio, Cassio ! 
 lago. 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? 
 
 130
 
 THE MOOR OF VENICE Act V. Sc. i. 
 
 Alas, my friend and my dear countryman 
 
 Roderigo? no: — yes, sure: O heaven! Roderigo. 
 Gra, What, of Venice? 91 
 
 lago. Even he, sir : did you know him ? 
 Gra. Know him ! ay. 
 
 lago. 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. 
 
 lago. How do you, Cassio ? O, a chair, a chair ? 
 Gra. Roderigo! 
 
 lago. He, he, 'tis he. [A chair brought in.] O, that's 
 well said ; the chair : 
 
 Some good man bear him carefully from hence ; 
 
 I '11 fetch the general's surgeon. [To Biafica] For 
 you, mistress, 100 
 
 Save you your labour. He that lies slain here, Cassio, 
 
 Was my dear friend : what malice was between you ? 
 Gas. None in the world ; nor do I know the man. 
 lago. [To Bian.] What, look you pale? O, bear him out 
 o' the air. [Gassio and Roderigo are home off. 
 
 Stay you, good gentlemen. Look you pale, mis- 
 tress ? 
 
 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. no 
 
 Enter Emilia. 
 
 Emil. 'Las, what's the matter? what's the matter, hus- 
 band? 
 lago. Cassio hath here been set on in the dark 
 
 131
 
 Act V. Sc. ii. TRAGEDY OF OTHELLO. 
 
 By Roderigo, and fellows that are 'scaped : 
 
 He 's almost slain, and Roderigo dead. 
 Emil. Alas, good gentleman ! alas, good Cassio ! 
 lago. 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. 
 lago. 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. 
 Einil. As I ! foh ! fie upon thee ! 
 
 lago. 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. 
 
 Scene IL 
 
 A bedchamber in the castle: Desdemona in bed 
 asleep ; a light burning. 
 
 Enter Othello. 
 
 0th. 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 '11 not shed her blood, 
 Nor scar that whiter skin of hers than snow 
 And smooth as monumental alabaster. 
 Yet she must die, else she '11 betray more men. 
 Put out the light, and then put out the light : 
 If I quench thee, thou flaming minister, 
 
 132
 
 THE MOOR OF VENICE Act V. Sc. ii. 
 
 I can again thy former light restore, 
 
 Should I repent me : but once put out thy light, lo 
 
 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 '11 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? 
 
 Otli. Ay, Desdemona. 
 
 Dcs. Will you come to bed, my lord? 
 
 0th. Have you pray'd to-night, Desdemona? 
 
 Des. Ay, my lord. 
 
 0th. If you bethink yourself of any crime 
 Unreconciled as yet to heaven and grace, 
 Solicit for it straight. 
 
 Des. Alas, my lord, what may you mean by that? 
 
 0th, Wdl, do it, and be brief ; I will walk by : 30 
 
 I would not kill thy unprepared spirit ; 
 No ; heaven forfend ! I would not kill thy soul. 
 
 Des. Talk you of killing? 
 
 th. Ay, I do. 
 
 Des. Then heaven have mercy on me ! 
 
 0th. Amen, with all my heart ! 
 
 133
 
 Act V. Sc. ii. TRAGEDY OF OTHELLO. 
 
 Des. If you say so, I hope you will not kill me. 
 
 0th. Hum! 
 
 Dcs. And yet I fear you ; for you are fatal then 
 
 When your eyes roll so : why I should fear I know not, 
 Since guiltiness I know not ; but yet I feel I fear. 
 
 0th. Think on thy sins. 
 
 Des. They are loves I bear to you. 40 
 
 0th. Ay, and for that thou diest. 
 
 Dcs. 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. 
 
 0th. Peace, and be still! 
 
 Dcs. I will so. What 's the matter? 
 
 0th. That handkerchief which I so loved and gave thee 
 Thou gavest to Cassio. 
 
 Des. . No, by my life and soul ! 49 
 
 Send for the man, and ask him. 
 
 0th. Sweet soul, take heed. 
 
 Take heed of perjury; thou art on thy death-bed. 
 
 Dcs. Ay, but not yet to die. 
 
 0th. 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. 
 
 Dcs. Then Lord have mercy on me ! 
 
 0th. I say, amen. 
 
 Des. And have you mercy too ! I never did 
 Offend you in my life ; never loved Cassio 
 But with such general warranty of heaven 60 
 
 134
 
 THE MOOR OF VENICE Act V. Sc. ii. 
 
 As I might love : I never gave him token. 
 0th. By heaven, I saw my handkerchief in 's hand. 
 
 perjured woman! thou dost stone my heart, 
 And makest me call what I intend to do 
 
 A murder, which I thought a sacrifice : 
 
 1 saw the handkerchief. 
 
 Des. He found it then ; 
 
 I never gave it him : send for him hither ; 
 
 Let him confess a truth. 
 0th. He hath confess'd. 
 
 Des, What, my lord? 
 0th. That he hath used thee. 
 Des. How? unlawfully? 
 
 th. Ay. 70 
 
 Des. He will not say so. 
 0th. No, his mouth is stopp'd; 
 
 Honest lago hath ta'en order for 't. 
 Des. O, my. fear interprets ! what, is he dead ? 
 0th. Had all his hairs been lives, my great revenge 
 
 Had stomach for them all. 
 Des. Alas, he is betray'd, and I undone! 
 0th. Out, strumpet ! weep'st thou for him to my face? 
 Des. O, banish me, my lord, but kill me not ! 
 0th. Down, strumpet! 
 
 Des. Kill me to-morrow ; let me live to-night ! 80 
 
 0th. Nay, if you strive, — 
 Des. But half an hour! 
 
 0th. Being done, there is no pause. 
 
 Des. But while I say one prayer ! 
 
 0th. It is too late. [He stifles her. 
 
 Emil. [Within] I\Iy lord, my lord! what, ho! my lord, 
 my lord ! 
 
 ^35
 
 Act V. Sc. ii. TRAGEDY OF OTHELLO, 
 
 0th. What noise is this ? Not dead ? not yet quite dead ? 
 
 I that am cruel am yet merciful ; 
 
 I would not have thee linger in thy pain : 
 
 So, so. 
 Emil. [Within] What, ho! my lord, my lord! 
 0th. Who's there? 
 
 Emil. [Within] O, good my lord, I would speak a word 
 with you ! 90 
 
 0th. Yes : 'tis Emilia. By and by. She 's dead. 
 
 'Tis 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 '11 sure speak to my wife : 
 
 My wife! my wife! what wife? I have no wife. 
 
 O, insupportable! O heavy hour! 
 
 Methinks it should be now a huge eclipse 
 
 Of sun and moon, and that the affrighted globe 100 
 
 Should yawn at alteration. 
 Emil. [Within] I do beseech you 
 
 That I may speak with you, O, good my lord ! 
 0th. T 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 ! 
 0th. What, now? 
 Emil. But now, my lord. 
 0th, It is the very error of the moon ; 
 
 She comes more nearer earth than she was wont 
 
 136
 
 THE MOOR OF VENICE Act V. Sc. ii. 
 
 And makes men mad. ill 
 
 EmiL Cassio, my lord, hath kill'd a young Venetian 
 
 Call'd Roderigo. 
 0th. Roderigo kill'd ! 
 
 And Cassio kill'd ! 
 EmiL No, Cassio is not kill'd. 
 
 0th. Not Cassio kill'd ! then murder 's out of tune, 
 
 And sweet revenge grows harsh. 
 Des. O, falsely, falsely murder'd ! 
 
 EmiL Alas, what cry is that? 
 
 0th. That! what? 
 EmiL Out, and alas ! that was my lady's voice. 
 
 Help! help, ho! help! O lady, speak again ! I20 
 
 Sweet Desdemona! O sw^eet 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. 
 0th. Why, how should she be murder'd? 
 EmiL Alas, who knows ? 
 
 0th. You heard her say herself, It was not I. 
 EmiL She said so : I must needs report the truth. 
 0th. She 's like a liar gone to burning hell : 
 
 'Twas I that kill'd her. 
 EmiL O, the more angel she, 130 
 
 And you the blacker devil ! 
 0th. She tum'd to folly, and she was a whore. 
 EmiL Thou dost belie her, and thou art a devil. 
 0th. She was false as water. 
 EmiL Thou art rash as fire, to say 
 
 That she was false : O, she was heavenly true ! 
 0th. Cassio did top her ; ask thy husband else. 
 
 137
 
 Act V. Sc. ii. TRAGEDY OF OTHELLO. 
 
 O, I were damn'd beneath all depth in hell, 
 
 But that I did proceed upon just grounds 
 
 To this extremity. Thy husband knew it all. 
 Emil. My husband ! 140 
 
 th. Thy husband. * 
 
 Ejjiil. That she was false to wedlock? 
 OtJi. Ay, with Cassio. Nay, had she been true, 
 
 If heaven would make me such another world 
 
 Of one entire and perfect chrysolite, 
 
 I 'Id not have sold her for it. 
 Emil. My husband! 
 0th. Ay, 'twas he that told me first: 
 
 An honest man he is, and hates the slime 
 
 That sticks on filthy deeds. 
 Emil. My husband! 149 
 
 0th. 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 ! 
 0th. He, woman ; 
 
 I say thy husband: dost understand the word? 
 
 My friend, thy husband, honest, honest lago. 
 Emil. If he say so, may his pernicious soul 
 
 Rot half a grain a day ! he Hes to the heart : 
 
 She was too fond of her most filthy bargain. 
 0th. Ha! 
 Emil. Do thy worst : 
 
 This deed of thine is no more worthy heaven 160 
 
 Than thou wast worthy her. 
 0th. 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— 
 
 138
 
 THE MOOR OF VENICE Act V. Sc. ii. 
 
 I care not for thy sword ; I '11 make thee known, 
 Though I lost twenty lives. Help ! help, ho ! help I 
 The Moor hath kill'd my mistress ! Murder ! murder ! 
 
 Enter Montano, Gratiano, lago, and others, 
 
 Mon. What is the matter ? How now, general ! 
 Emil. O, are you come, lago? you have done well. 
 
 That men must lay their murders on your neck. 170 
 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. 
 lago. I told him what I thought, and told no more 
 
 Than what he found himself was apt and true. 
 Emil. But did you ever tell him she was false ? 
 lago. I did. 
 Emil, You told a lie, an odious, damned lie; 180 
 
 Upon my soul, a lie, a wicked lie ! 
 
 She false with Cassio ! Did you say with Cassio ? 
 lago. 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 forf end ! 
 
 Eniil. And your reports have set the murder on. 
 0th. Nay, stare not, masters : it is true indeed. 
 Gra. 'Tis a strange truth. 
 Mon. O monstrous act ! 
 E,mil. Villany, villany, villany ! 190 
 
 I think upon 't : I think : I smell 't : O villany ! 
 
 I thought so then : I '11 kill myself for grief : 
 
 O villany, villany ! 
 
 139
 
 Act V. Sc. ii. TRAGEDY OF OTHELLO. 
 
 I ago. 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, lago, I will ne'er go home. 
 
 0th. 0\ O! O! [Falling on the bed. 
 
 Emil. Nay, lay thee down and roar ; 
 
 For thou hast kill'd the sweetest innocent 
 That e'er did lift up eye. 
 
 0th. [Rising^^ O, she was foul ! 200 
 
 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, 
 Yea, curse his better angel from his side, 
 And fall to reprobation. 
 
 0th. 'Tis pitiful ; but yet lago knows 210 
 
 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. 
 
 Emil. O heaven ! O heavenly powers ! 
 
 lago. 'Zounds ! hold your peace. 
 
 Emil. Twill out, 'twill out. I peace! 
 
 No, I will speak as liberal as the north : 220 
 
 Let heaven and men and devils, let them all. 
 All, all, cry shame against me, yet I '11 speak. 
 140
 
 THE MOOR OF VENICE Act V. Sc. ii. 
 
 lago. Be wise, and get you home. 
 
 Emil. I will not. 
 
 [lago 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, 
 
 More than indeed belong'd to such a trifle, 
 
 He begg'd of me to steal it. 
 lago. A'illanous whore! 
 
 Emil. She give it Cassio ! no, alas, I found it, 230 
 
 And I did give 't my husband. 
 lago. 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? 
 0th. Are there no stones in heaven 
 
 But what serve for the thunder ? Precious villain ! 
 [He runs at lago: lago, 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. 
 Gra. He 's gone, but his wife 's kill'd. 
 Mon. 'Tis a notorious villain. Take you this weapon, 
 
 Which I have here recover'd from the Moor : 240 
 
 Come, guard the door without ; let him not pass, 
 
 But kill him rather. I '11 after that same villain. 
 
 For 'tis a damned slave. 
 
 [Exeunt all but Othello and Emilia. 
 0th. I am not valiant neither, 
 
 141
 
 Act V. Sc. ii. TRAGEDY OF OTHELLO. 
 
 But every puny whipster gets my sword. 
 
 But why should honour outUve honesty? 
 
 Let it go all. 
 Efiiil. What did thy song bode, lady? 
 
 Hark, canst thou hear me ? I will play the swan, 
 
 And die in music. [vS/n^/;/ o-] Willow, willow, willow. 
 
 Moor, she was chaste ; she loved thee, cruel Moor ; 
 
 So come my soul to bliss, as I speak true ; 250 
 
 So speaking as I think, I die, I die. [Dies. 
 
 0th. 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. 
 0th. Look in upon me then, and speak with me, 
 
 Or, naked as I am, I will assault thee. 
 
 Re-enter Gratiano. 
 
 Gra. What is the matter? 
 
 0th. Behold, I have a weapon; 
 
 A better never did itself sustain 260 
 
 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? 'tis not so now. 
 Be not afraid, though you do see me weapon'd ; 
 Here is my journey's end, here is my butt 
 And very sea-mark of my utmost sail. 
 Do you go back dismay'd ? 'tis a lost fear : 
 Man but a rush against Othello's breast, 270 
 
 And he retires. Where should Othello go? 
 142
 
 THE MOOR OF VENICE Act V. Sc. ii. 
 
 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. 
 
 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 ! 280 
 
 O Desdemona ! Desdemona ! dead ! 
 
 Oh! Oh! Oh! 
 
 Enter Lodovico, Montana, Cassio carried in a chair, 
 and Oificers, kvith I a go, prisoner. 
 
 Lod. Where is this rash and most unfortunate man? 
 0th. That 's he that was Othello : here I am. 
 Lod. Where is that viper ? bring the villain forth. 
 0th. I look down towards his feet; but that 's a fable. 
 
 If that thou be'st a devil, I cannot kill thee. 
 
 [Wounds lago. 
 Lod. Wrench his sword from him. 
 
 lago. 1 bleed, sir, but not kilFd. 
 
 0th. I am not sorry neither : I 'Id have thee live ; 
 
 For, in my sense, 'tis happiness to die. 290 
 
 Lod. O thou Othello, that wert once so good, 
 
 Fall'n in the practice of a damned slave, 
 
 What shall be said to thee? 
 0th. 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? 
 
 143
 
 Act V. Sc. ii. TRAGEDY OF OTHELLO. 
 
 th, Ay. 
 
 Cas. Dear general, I never gave you cause. 
 
 0th. I do believe it, and I ask your pardon. 300 
 
 Will you, I pray, demand that demi-devil 
 Why he hath thus ensnared my soul and body ? 
 
 1 ago. 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. 
 
 0th. Well, thou dost best. 
 Lod. Sir, you shall understand what hath befall'n, 
 
 Which, as I Chink, you know not. Here is a letter 
 
 Found in the pocket of the slain Roderigo, 
 
 And here another : the one of them imports 310 
 
 The death of Cassio to be undertook 
 
 By Roderigo. 
 0th. 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, lago in the interim 
 
 Came in and satisfied him. 
 0th. O the pernicious caitiff ! 
 
 How came you, Cassio, by that handkerchief 
 
 That was my wife's ? 
 Cas. I found it in my chamber : 320 
 
 And he himself confess'd but even now 
 
 That there he dropp'd it for a special purpose 
 
 Which wrought to his desire. 
 ^Oth. O fool! fool! fool! 
 
 Cas. There is besides In Roderigo's letter, 
 
 144
 
 THE MOOR OF VENICE Act V. Sc. ii. 
 
 How he upbraids lago, that he made him 
 Brave me upon the watch ; whereon it came 
 That I was cast : and even but now he spake 
 After long seeming dead, lago hurt him, 
 lago set him on. 
 
 Lod. You must forsake this room, and go with us : 330 
 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 
 To the Venetian state. Come, bring away. 
 0th. 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, 340 
 
 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 
 Richer than all his tribe ; of one whose subdued eyes, 
 Albeit unused to the melting mood. 
 Drop tears as fast as the Arabian trees 350 
 
 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. 
 
 145
 
 Act V. Sc. ii. TRAGEDY OF OTHELLO, 
 
 Lod. O bloody period ! 
 
 Gra. All that 's spoke is marr'd. 
 
 0th, 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 ; 360 
 For he was great of heart. 
 
 Lod. [To lago] 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 th^y succeed on you. To you, lord governor, 
 Remains the censure of this hellish villain. 
 The time, the place, the torture : O, enforce it ! 
 Myself will straight aboard, and to the state 370 
 
 This heavy act with heavy heart relate. [Exeunt. 
 
 T1.6
 
 THE MOOR OF VENICE 
 
 Glossary, 
 
 Abhor; "it doth a. me," it is 
 
 abhorrent to me ; IV. ii. 162. 
 About, out; I. ii. 46. 
 Abuse, deceive; I. iii. 401. 
 Abused, deceived; I. i. 174. 
 Abuser, corrupter ; I. ii. 78. 
 Achieved, won ; II. i. 61. 
 Acknown on't, confess any 
 
 knowledge of it; III. iii. 319. 
 Act, action, working; III. iii. 
 
 328. 
 Action, accusation ; I. iii. 70. 
 Addiction, inclination ; II. ii. 6. 
 Addition, honour; III. iv. 194. 
 Advantage; "in the best a.," 
 
 at the most favourable op- 
 portunity; I. iii. 298. 
 Advised, careful ; I. ii. 55. 
 Advocation, advocacy; III. iv. 
 
 123. 
 AiHned, bound by any tie ; I. i. 
 
 39- 
 Affinity, connexions; III. i. 49. 
 Agnize, confess with pride; I. 
 
 iii. 232. 
 Aim, conjecture; I. iii. 6. 
 All in all, wholly, altogether; 
 
 IV. i. 89. 
 Allowance ; "and your a.," and 
 
 has your permission ; I. i. 128. 
 Allowed, acknowledged; I. iii. 
 
 224. 
 All's one, very well; IV. iii. 23. 
 Ahnain, German ; II. iii. 86. 
 A n c i e n t, ensign (Folio i, 
 
 " Auntient") ; I. i. 33. 
 
 Anthropophagi, cannibals 
 (Quartos, "A n t h r p 0- 
 phagie"; Folio i, " Antropo- 
 phague ") ; I.' iii. 144. For 
 ' men whose heads do grow 
 beneath their shoulders.' Cp. 
 illustration. 
 
 From Kuchlein's illustrations of the 
 lourney held at Stuttgart, 1609. 
 
 Antres, caverns ; I. iii. 140. 
 Apart, aside; II. iii. 391. 
 Approve, prove, justify; II. iii. 
 
 , love, adore ; IV. iii. 19. 
 
 Approved, proved to have been 
 
 involved; II. iii. 211. 
 Apt, natural ; II. i. 295. 
 Arraigning, accusing; III. iv. 
 
 152. 
 Arrivance, arrival (Folios, ''^4 r- 
 
 rivancy" or "Arrivancie"); 
 
 II. i. 42. 
 
 147
 
 Glossary 
 
 TRAGEDY OF OTHELLO. 
 
 As, as if; III. iii. 77- 
 
 Aspics, venomous snakes ; III. 
 
 iii. 450. 
 Assay, a test; I. iii. 18. 
 
 , try; 11. i. 121. 
 
 Assure thee, be assured; III. 
 
 iii. 20. 
 At, on ; I. ii. 42. 
 Atone, reconcile; IV. i. 236. 
 Attach, arrest ; I. ii. 77. 
 Attend, await ; III. iii. 281. 
 
 Bauble, fool (used contemptu- 
 ously) ; IV. i. 137. 
 
 Bear, the Constellation so 
 called; II. iyi4. 
 
 Bear out, get the better of; II. 
 i. 19. 
 
 Beer; " small beer," small ac- 
 counts, trifles ; II. i. 161. 
 
 Be-lee'd, placed on the lee 
 (Quarto i, "he led"); I. i. 
 30. 
 
 Beshrew me, a mild assevera- 
 tion; III. iv. 150. 
 
 Besort, what is becoming ; I. iii. 
 
 239- 
 
 Best; " were b.," had better ; I. 
 ii. 30. 
 
 Bestozv, place ; III. i. 56. 
 
 Betimes, early ; I. iii. 383. 
 
 Bid " good morrow," alluding 
 to the custom of friends bid- 
 ding good-morroiij by sere- 
 nading a newly married 
 couple on the morning after 
 their marriage ; III. i. 2. 
 
 Birdlime, lime to catch birds ; 
 II. i. 127. 
 
 Black, opposed to "fair"; III. 
 iii. 263. 
 
 Blank, the white mark in the 
 centre of the butt, the aim; 
 
 III. iv. 128. 
 
 Blazoning, praising ; II. i. 63. 
 Blood, anger, passion ; II. iii. 
 
 205. 
 Blozvn, empty, puffed out ; III. 
 
 iii. 182. 
 Bohb'd, got cunningly; V. i. 16. 
 Boding, foreboding, ominous; 
 
 IV. i. 22. 
 
 Bootless, profitless ; I. iii. 209. 
 
 Brace, state of defence (prop- 
 erly, armour to protect the 
 arm) ; I. iii. 24. 
 
 Brave, defy ; V. ii. 326. 
 
 Bravery, bravado, defiance ; I. 
 i. 100. 
 
 Bring on the ivay, accompany ; 
 III. iv. 197. 
 
 Bulk, the projecting part of a 
 shop on which goods were 
 exposed for sale ; V. i. i. 
 
 Butt, goal, limit ; V. ii. 267. 
 
 By, aside ; V. ii. 30. 
 
 , " how you say by," what 
 
 say you to; I. iii. 17. 
 
 By and by, presently; II. iii. 
 309. 
 
 Cable; "give him c./' give him 
 scope; I. ii. 17. 
 
 Caitiff, thing, wretch; a term 
 of endearment ; IV. i. 109. 
 
 Callet, a low woman; IV. ii. 
 121. 
 
 Calm'd, becalmed, kept from 
 motion ; I. i. 30. 
 
 Canakin, little can; II. iii. 71. 
 
 Cannibals; I. iii. I43- Cp. il- 
 lustration. 
 
 Capable, ample; III. iii. 459. 
 
 148
 
 THE MOOR OF VENICE 
 
 Glossary 
 
 From a rare old broadside depicting 
 the habits of the aboriginal Mexicans. 
 
 Carack, large ship, galleon; I. 
 
 ii. 50. 
 Caroused, drunk; II. iii. 55. 
 Carve for, indulge (Quarto i, 
 
 " carve forth ") ; II. iii. 173. 
 Case, matter (Folios, 
 
 " cause ") ; III. iii. 4. 
 Cast, dismissed, degraded from 
 
 office ; V. ii. 327. 
 Censure, judgement ; II. iii. 
 
 , opinion ; IV. i. 273. 
 
 Certes, certainly ; I. i. 16. 
 Chair; " a chair, to bear 
 
 easily hence " ; V. i. 82. 
 
 illustration. 
 
 193- 
 
 him 
 Cp. 
 
 From a plate in Sandy's Travels (1621 V 
 depicting a sick person carried to 
 the sulpnur-baths at Pozzuoli, near 
 Naples. 
 
 Challenge, claim; I. iii. 188. 
 
 Chamhcrers, effeminate men; 
 III. iii. 265. 
 
 Chances, events ; I. iii. 134. 
 
 Charm, make silent, restrain ; 
 V. ii. 183. 
 
 CJiarnicr, enchantress, sorcer- 
 ess ; III. iv. 57. 
 
 Cherubin, cherub; IV. ii. 62. 
 
 Chidden, chiding, making an 
 incessant noise ; II. i. 12. 
 
 Chide, quarrel ; IV. ii. 167. 
 
 Chuck, a term of endearment ; 
 
 III. iv. 49. 
 Circumscription, restraint; I. 
 
 ii. 27. 
 Circumstance, circumlocution ; 
 
 I. i. 13. 
 
 , appurtenances ; III. iii. 
 
 354- 
 Circumstanced, give way to 
 
 circumstances; III. iv. 201. 
 Civil, civilised; IV. i. 65. 
 Clean, entirely, altogether ; I. 
 
 iii. 366. 
 Clime, country; III. iii. 230. 
 Clip, embrace ; III. iii. 464. 
 Clog, encumber (Folios i, 2, 3. 
 
 " enclogge ") ; II. i. 70. 
 Close, secret ; III. iii. 123. 
 Close as oak = " close as the 
 
 grain of oak " ; III. iii. 210. 
 Clyster-pipes, tubes used fon* 
 
 injection ; II. i, 179. 
 Coat, coat of mail ; V. i. 25. 
 Cogging, deceiving by lying; 
 
 IV. ii. 132. 
 
 C allied, blackened, darkened ; 
 
 II. iii. 204, 
 
 Coloquintida, colocynth, or bit- 
 ter apple; I. iii. 355. 
 Commoner, harlot ; IV. ii. 72, 
 
 149
 
 Glossary 
 
 TRAGEDY OF OTHELLO. 
 
 Companions, fellows (used 
 contemptuously) ; IV. ii. 141. 
 
 Compasses, annual circuits ; 
 III.iv.71. 
 
 Compliment extern, external 
 shov*' ; I. i. 63. 
 
 Composition, consistency; I. 
 iii. I. 
 
 Compt, reckoning, day of reck- 
 oning; V. ii. 273. 
 
 Conceit, idea; thought (Quarto 
 
 I, "connsell"); III. iii. 115. 
 Conceits, conceives, judges; 
 
 III. iii. 149. 
 Condition, temper, disposition ; 
 
 II. i. 255. 
 
 Confine, limit ; I. ii. 27. 
 
 Conjunctive, closely united 
 (Quarto i, " communica- 
 tiue " ; Quarto 2, " conjec- 
 tiue") ; I. iii. 375. 
 
 Conjured, charmed by incanta- 
 tions; I. iii. 105. 
 
 Conscionable, conscientious ; 
 II. i. 242. 
 
 Consent in, plan together; V. 
 ii. 297. 
 
 Consequence, that which fol- 
 lows or results ; II. iii. 64. 
 
 Conserved, preserved (Quarto 
 I, " conserues" \ Quarto 2, 
 " concerue") ; III. iv. 75. 
 
 Consuls, senators (Theobald, 
 " Couns'lers " ; H a n m e r, 
 "counsel") ; I. ii. 43. 
 
 Content, joy; II. i. 185. 
 
 , satisfy, reward; III. i. i. 
 
 Content you, be satisfied, be 
 easy; I. i. 41. 
 
 Continuate, continual, uninter- 
 rupted (Quarto i, "' conuen- 
 icnt") ; Ill.iv. 178. 
 
 Contrived, plotted, deliberate; 
 I. ii. 3- 
 
 Conveniences, comforts; IT. i, 
 234- 
 
 Converse, conversation ; III. i. 
 40. 
 
 Cope, meet ; IV. i. 87. 
 
 Corrigible, corrective ; I. iii. 
 329. 
 
 Counsellor, prater (Theobald, 
 " censurer ") ; II. i. 165. 
 
 C un t e r-castcr, accountant 
 (used contemptuously) ; I. i. 
 31- 
 
 Course, proceeding (Quarto i. 
 " cause") ; II. i. 275. 
 
 , run (Quarto i, " make") ; 
 
 III.iv.71. 
 
 Court and guard of safety, 
 " very spot and guarding 
 place of safety " (Theobald, 
 " court of guard and safe- 
 ty"); II. iii. 216. 
 
 Court of guard, the main 
 guardhouse ; II. i. 220. 
 
 Courtship, civility, elegance of 
 manners (Quarto i, ''courte- 
 sies") ; II. i. 171. 
 
 Coxcomb, fool ; V. ii. 233. 
 
 Cozening, cheating ; IV. ii. 132. 
 
 Crack, breach ; II. iii. 330. 
 
 Creation, nature ; II. i. 64. 
 
 Cries on, cries out (Folios 2,3, 
 4, " cries out") ; V. i. 48. 
 
 Critical, censorious ; II. i. 120. 
 
 Crusadoes, Portuguese gold 
 coins ; so called from the 
 cross on them (worth be- 
 tween six and seven shil- 
 lings) ; III. iv. 26. Cp. illus- 
 tration. 
 
 150
 
 THE MOOR OF VENICE 
 
 Glossary 
 
 From an engraving by Fairho t. 
 
 Cry, pack of hounds ; II. iii. 
 
 370. 
 Cunning, knowledge; III. iii. 
 
 49. 
 
 Curled, having hair formed into 
 ringlets, Jience affected, fop- 
 pish ; I. ii. 68. 
 
 Customer, harlot ; IV. i. 112. 
 
 Daffcf, dost put off (Collier, 
 " d a ff ' .s' t " ; Quartos, 
 " dofftst " ; Folio i\" dafts ") ; 
 IV. ii. 175- 
 
 Danger; " hurt to danger,'' 
 dangerously hurt, wounded ; 
 II. iii. 197. 
 
 Darlings, favourites ; I. ii. 68. 
 
 Daws, jack-daws ; 1. i. 65. 
 
 Dear, deeply felt ; I. iii. 260. 
 
 Dearest, most zealous; I. iii. 85. 
 
 Debitor and creditor, " the title 
 of certain ancient treatises on 
 book-keeping here used as a 
 nick-name " (Clarke) ; I. i. 
 .V. 
 
 Defeat, destroy; IV. ii. 160. 
 
 , disfigure; I. iii. 346. 
 
 Defend, forbid; I. iii. 267. 
 
 Delations, accusations; III. iii. 
 123. 
 
 Pelighted, delightful ; I. iii. 290. 
 
 Deliver, say, relate; II. iii. 217. 
 
 Demand, ask; V. ii. 301. 
 
 Demerits, merits; I. ii. 22. 
 
 Demonstrable, "made d.," 
 demonstrated, revealed; III. 
 iv. 142. 
 
 Denotement, denoting; II. iii. 
 
 323- 
 Deputing, substituting ; IV. i. 
 
 248. 
 Designment, design ; II. i. 22. 
 Desired ; " well d.," well loved, 
 
 a favourite ; II, i. 206. 
 Despite, contempt, aversion ; 
 
 IV.ii. 116. 
 Determinate, decisive ; W . ii. 
 
 232. 
 Devesting, divesting; II. iii. 
 
 179 
 
 Diablo, the Devil ; II. iii. 161. 
 
 Diet, feed; II. i. 302. 
 
 Dilate, relate in detail, at 
 length; I. iii. 153. 
 
 Directly, in a direct straightfor- 
 ward way ; IV. ii. 210. 
 
 Discontented, full of dissatis- 
 faction ; V. ii. 314. 
 
 Discourse of thought, faculty of 
 thinking, range of thought ; 
 IV.ii. 153- 
 
 Dislikes, displeases; II. iii. 49. 
 
 Displeasure ; " your d.," the 
 disfavour you have incurred ; 
 III. i. 45. 
 
 Disports, sports, pastimes; I. 
 iii. 272. 
 
 Dispose, disposition ; I. iii. 403. 
 
 Disprove, refute ; V. ii. 172. 
 
 Disputed on, argued, investi- 
 gated; I. ii. 75. 
 
 Distaste, be distasteful ; III. iii. 
 
 327- 
 Division, arrangement ; I. i. 23. 
 Do, act ; I. iii. 395. 
 Dotage, affection for ; IV. i. 27. 
 
 151
 
 Glossary 
 
 TRAGEDY OF OTHELLO. 
 
 Double, of two-fold influence ; 
 I. ii. 14. 
 
 Double set, go twice round ; II. 
 iii. 135- 
 
 Doubt, suspicion ; III. iii. 188. 
 
 , fear; III. iii. 19. 
 
 Dream, expectation, anticipa- 
 tion ; II. iii. 64. 
 
 Ecstacy, swoon ; IV. i. 80. 
 Elements, a pure extract, the 
 
 quintessence ; II. iii. 59. 
 Embay' d, land-locked; II. i. 
 
 18. 
 Encave, hide, conceal ; IV. i. 
 
 82. 
 Enchafed, chafed, angry; II. i. 
 
 17- 
 Engage, pledge ; III. iii. 462. 
 Engines, devices, contrivances, 
 
 (?) instruments of torture; 
 
 IV. ii. 219. 
 
 Engluts, engulfs, swallows up ; 
 I. iii. 57. 
 
 Enshelter'd, sheltered ; II. i. 18. 
 
 Ensteep'd, steeped, lying con- 
 cealed under water (Quarto 
 
 I, " enscerped ") ; II. i. 70. 
 Entertainment, re-engagement 
 
 in the service; III. iii. 250. 
 Enzi'heel, encompass, surround; 
 
 II. i. 87. 
 
 Equinox, counterpart; II. iii. 
 
 129. 
 Erring, wandering; III. iii. 227. 
 Error, deviation, irregularity ; 
 
 V. ii. 109. 
 
 Escape, escapade, wanton 
 
 freak; I. iii. 197. 
 Essential, real ; II. i. 64. 
 Estimation, reputation ; I. iii. 
 
 27$' 
 
 Eternal, damned (used to ex- 
 press abhorrence) ; IV. ii. 
 130. 
 
 Ever-fixed, fixed for ever 
 (Quartos, " ever-Hred") ; II. 
 
 i. 15. 
 Execute, to wreak anger; II. 
 
 iii. 228. 
 Execution, working; III. iii. 
 
 466. 
 Exercise, religious exercise ; 
 
 III. iv. 41. 
 Exhibition, allowance; I. iii. 
 
 Expert, experienced; II. iii. 82. 
 
 Expert and approved allozv- 
 ance, acknowledged and 
 proved ability ; II. i. 49. 
 
 ExsuMicate, inflated, unsub- 
 stantial; (Quartos, Folios i, 
 2, 3, " cxiMicate " ; Folio 4. 
 " exsumicatcd") ; III. iii. 
 182. 
 
 Extern, eternal ; I. i. 63. 
 
 Extincted, extinct (Folios 3,4, 
 " extinctest " ; Rowe, "ex- 
 tinguished ") ; II. i. 81. 
 
 Extravagant, vagrant, wander- 
 ing; Li. 137. 
 
 Facile, easy; I. iii. 23. 
 Falls, lets fall ; IV. i. 248. 
 Fantasy, fancy; III. iii. 299. 
 Fashion, conventional custom ; 
 
 II. i. 208. 
 Fast, faithfully devoted; I. iii. 
 
 369. 
 Fathom, reach, capacity; I. i. 
 
 153- 
 
 Favour, countenance, appear- 
 ance ; III. iv. 125. 
 
 Fearful, full of fear ; I. iii, 12. 
 
 152
 
 THE MOOR OF VENICE 
 
 Glossary 
 
 Fell, cruel ; V. ii. 362. 
 
 Filches, pilfers, steals ; III. iii. 
 159- 
 
 Filth, used contemptuously; V. 
 ii. 231. 
 
 Fineless, without limit, bound- 
 less; III. iii. 173. 
 
 Fitchew, pole-cat (used con- 
 temptuously) ; IV. i. 150. 
 
 Fits, befits; III. iv. 150. 
 
 Fleers, sneers ; IV. i. 83. 
 
 Flood, sea ; I. iii. 135. 
 
 Flood-gate, rushing, impetu- 
 ous ; I. iii. 56. 
 
 Folly, unchastity ; V. ii. 132. 
 
 Fond, foolish; I. iii. 320. 
 
 Fopped, befooled, duped ; IV. ii. 
 
 195. 
 For, because (Folios, 
 
 " zvhen ") ; I. iii. 269. 
 Forbear, spare; I. ii. 10. 
 Fordoes, destroys ; V. i. 129. 
 Forfend, forbid; V. ii. 32. 
 Forgot; " are thus f.," have so 
 
 forgotten yourself ; II. iii. 188. 
 Forms and visages, external 
 
 show, outward appearance ; 
 
 1. i. 50. 
 
 Forth of, forth from, out of 
 (Folio I, "For of"; Folios 
 
 2. 3, 4, "For off") ; V. i. 35- 
 Fortitude, strength; I. iii. 222. 
 Fortune, chance, accident ; V. 
 
 ii. 226. 
 Framed, moulded, formed ; I. 
 
 iii. 404. 
 Fraught, freight, burden ; III. 
 
 iii. 449. 
 Free, innocent, free from guilt ; 
 
 III. iii. 255. 
 
 , liberal ; I. iii. 266. 
 
 Frights, terrifies; II. iii. 175. 
 
 Frise, a kind of coarse woollen 
 stuff; II. i. 127. 
 
 From, contrary to ; I. i. 132. 
 
 Fruitful, generous ; II. iii. 347. 
 
 Full, perfect ; II. i. 36. 
 
 Function, exercise of the facul- 
 ties ; II. iii. 354. 
 
 Fustian; " discourse f.," talk 
 rubbish ; II. iii. 282. 
 
 Galls, rancour, bitterness of 
 
 mind ; IV. iii. 93. 
 Garb, fashion, manner ; II. i. 
 
 314- 
 
 Garner' d, treasured; IV. ii. 57. 
 
 Gastness, ghastliness (Quar- 
 tos I, 2, " ieastures" ; Quar- 
 to 3, " jestures" ; Quarto 
 1687, "" gestures " ; Knight, 
 " ghastness") ; V. i. 106. 
 
 Gender, kind, sort ; I. iii. 326. 
 
 Generous, noble; III. iii. 280. 
 
 Give azvay, give up; III. iii. 28. 
 
 Government, self-control ; III. 
 iii. 256. 
 
 Gradation, order of promotion ; 
 I. i. 2>7- 
 
 Grange, a solitary farm-house ; 
 I. i. 106. 
 
 Green, raw, inexperienced; II. 
 i. 251. 
 
 Grise, step ; I. iii. 200. 
 
 Gross in sense, palpable to rea- 
 son ; I. ii. y2. 
 
 Guardage, guardianship ; I. ii. 
 70. 
 
 Guards, guardians ("alluding 
 to the star Arctophylax," 
 Johnson) ; II. i. 15. 
 
 Guinea-hen, a term of con- 
 tempt for a woman ; I. iii. 
 317. 
 
 153
 
 Glossary 
 
 TRAGEDY OF OTHELLO. 
 
 Gyve, fetter, ensnare; II. i. 171. 
 
 Habits, appearances, outward 
 
 show ; I. iii. 108. 
 Haggard, an untrained wild 
 
 hawk; III. iii. 260. 
 Hales, hauls, draws; IV. i. 141. 
 Haply, perhaps; II. i. 279. 
 Happ'd, happened, occurred ; 
 
 V. i. 127. 
 Happiness, good luck; III. iv. 
 
 108. 
 Happy; " in h. time," at the 
 
 right moment; III. i. 32. 
 Hard at hand, close at hand 
 
 (Quartos, "hand at hand") ; 
 
 II. i. 268. 
 
 Hardness, hardship ; I. iii. 234. 
 
 Hast-posthaste, very great 
 haste ; I. ii. 37. 
 
 Have with you, I '11 go with 
 you; I. ii. 53- 
 
 Having, allowance (?) "pin- 
 money " ; IV. iii. 92. 
 
 Hearted, seated in the heart; 
 
 III. iii. 448. 
 Heavy, sad; V. ii. 371. 
 
 ; " a h. night," a thick 
 
 cloudy night ; V. i. 42. 
 Heat, urgency; I. ii. 40. 
 Helm, helmet; I. iii. 273. 
 Herself, itself; I. iii. 96. 
 Hie, hasten ; IV. iii. 50. 
 High suppertime, high time for 
 
 supper ; IV. ii. 245-6. 
 Hint, subject, theme; I. iii. 142. 
 Hip; "have on the h.," catch 
 
 at an advantage (a term in 
 
 wrestling) ; II. i. 314. 
 Hold, make to linger; V. ii. 
 
 334- 
 Home, to the point ; II. i. 166. 
 
 Honestly, becoming; IV. i. 288. 
 Honey, sweetheart ; II. i. 206. 
 Horologe, clock; II. iii. 130. 
 Houseivife, hussy ; IV. i. 95. 
 Htmgerly, hungrily; III. iv. 
 
 105. 
 Hurt; "to be h.," to endure 
 
 being hurt; V. ii. 163. 
 Hydra, the fabulous monster 
 
 with many heads ; II. iii. 308. 
 
 Ice-brook's temper, i.e. a sword 
 tempered in the frozen 
 brook; alluding to the an- 
 cient Spanish custom of 
 hardening steel by plunging 
 red-hot in the rivulet Salo 
 near Bilbilis ; V. ii. 252. 
 
 Idle, barren ; I. iii. 140. 
 
 Idleness, unproductiveness, 
 want of cultivation ; I. iii. 
 328. 
 
 Import, importance ; III. iii. 
 316. 
 
 Importancy, importance ; I. iii. 
 20. 
 
 In, on ; I. i. 137. 
 
 Inclining, favourably disposed; 
 II. iii. 346. 
 
 Incontinent, immediately: lY . 
 ii. 12. 
 
 Incontinently, immediately; I. 
 iii. 306. 
 
 Index, introduction, prologue : 
 
 II. i. 263. 
 
 Indign, unworthy; I. iii. 274. 
 
 Indues, affects, makes sensi- 
 tive; (Quarto 3, "endures" ; 
 Johnson conj. "subdues") ; 
 
 III. iv. 146. 
 
 In^ener, inventor (of praises) ; 
 
 ii. i. 65. 
 
 154
 
 THE MOOR OF VENICE 
 
 Glossary 
 
 hifiraft, ingrafted ; II. iii. 145. 
 
 Inhibited, prohibited, forbid- 
 den ; I. ii. 79. 
 
 In jointed them, joined them- 
 selves ; I. iii. 35. 
 
 Injuries; " in your i.," while 
 doing injuries; II. i. 112. 
 
 Inordinate, immoderate; II. 
 
 iii. 311- 
 
 Intendment, intention; IV. ii. 
 203. 
 
 Intentively, with unbroken at- 
 tention (Folio I, " instinctiue- 
 ly " : Folios 2, 3, 4, " distinc- 
 tively" \ Gould conj. " con- 
 nectively ") ; I. iii. 155. 
 
 Invention, mental activity; IV. 
 i. 195. 
 
 Issues, conclusions ; III. iii. 219. 
 
 Iteration, repetition; V. ii. 150. 
 
 Janus, the two-headed Roman 
 God ; I. ii. 23- 
 
 I esses, straps of leather or silk, 
 with which hawks were tied 
 by the leg for the falconer 
 to hold her by; III. iii. 261. 
 Cp. illustration. 
 
 From an engraving of the year 1593. 
 
 Joint-ring, a ring with joints 
 in it, consisting of two 
 halves ; a lover's token ; IV. 
 iii. JZ' Cp' illustration. 
 
 From a woodcut by Fairholt. 
 
 Jump, exactly; II. iii. 392. 
 
 , agree ; I. iii. 5. 
 
 Just, exact; I. iii. 5. 
 Justly, truly and faithfully ; I. 
 iii. 124. 
 
 Keep up, put up, do not draw ; 
 I. ii. 59- 
 
 Knave, servant ; I. i. 45. 
 
 Knee-crooking, fawning, ob- 
 sequious ; I. i. 45. 
 
 Know of, learn from, find out 
 from; V. i. 117. 
 
 Lack, miss; III. iii. 318. 
 
 Law-days, court-days ; III. iii. 
 140. 
 
 Leagued, connected in friend- 
 ship (Quartos, Folios, 
 "league") ; II. iii. 218. 
 
 Learn, teach ; I. iii. 183. 
 
 Learned, intelligent ; III. iii. 
 
 259. 
 
 Lcets, days on which courts are 
 held; III. iii. 140. 
 
 Levels, is in keeping, is suit- 
 able ; I. iii. 240. 
 
 Liberal, free, wanton; II. i. 165. 
 
 155
 
 Glossary 
 
 TRAGEDY OF OTHELLO. 
 
 Lies, resides; III. iv, 2, 
 
 Like, equal ; II. i. 16. 
 
 Lingered, prolonged; IV. ii. 
 228. 
 
 List, boundary ; " patient 1.," the 
 bounds of patience ; IV. i. 76. 
 
 , inclination (Folios. Quar- 
 tos 2, 3, " leaue") ; II. i. 105, 
 
 , listen to, hear ; II. i. 219 
 
 Living, real, valid; III. iii. 409, 
 
 Lost, groundless, vain ; V. ii, 
 269, 
 
 Lown, lout, stupid, blockhead 
 II. iii. 95. 
 
 Magniiico, a title given to a 
 
 Venetian grandee ; I. ii. 12. 
 Maidhood, maidenhood ; I. i. 
 
 173. 
 
 Main, sea, ocean; II. i. 3. 
 
 Make away, get away; V. i. 58. 
 
 Makes, does ; I. ii. 49. 
 
 Manunering, hesitating (Fo- 
 lios, Quartos 2, 3, " mam'- 
 ring" ', Quarto i, " mutter- 
 'i^ig " ; Johnson, " mummer- 
 ing ") ; III. iii. 70. 
 
 Man, wield; V. ii. 270. 
 
 Manage, set on foot ; II. iii. 215. 
 
 Mandragora, mandrake, a plant 
 supposed to induce sleep ; III. 
 iii. 330. 
 
 Mane, crest ; II. i. 13. 
 
 Manifest, reveal : I. ii. 32. 
 
 Marble, (?) everlasting; III. 
 iii. 460. 
 
 Mass; " by the mass," an oath 
 (Folios I, 2, 3, "Introth''; 
 Folio 4, "In troth") ; II. iii. 
 
 384. 
 Master, captain; II. i. 211. 
 May, can; V. i. 78. 
 
 Maasai'd, head; II. iii. 155. 
 
 Me; " whip me," whip (me 
 ethic dative) ; I. i. 49. 
 
 Mean, means; III. i. 39. 
 
 Meet, seemly, becoming ; I. i. 
 146. 
 
 Mere, utter, absolute ; II. ii. 3. 
 
 Minion, a spoilt darling ; V. i. 
 33. 
 
 Mischance, misfortune; V. 1. 
 38. 
 
 Mock, ridicule; I. ii. 69. 
 
 Modern, common-place ; I. iii. 
 109. 
 
 Moe, more ; IV. iii. 57. 
 
 Molestation, disturbance ; II. i. 
 16. 
 
 Monstrous (trisyllabic) (Ca- 
 pell, " monsterous") ; II. iii. 
 217. 
 
 Moons, months ; I. iii. 84. 
 
 Mo or ship's (formed on analo- 
 gy of worship ; Quarto i 
 reads " Worship's ") ; I. i. 2>Z- 
 
 Moraler, moralizer; II. iii. 301. 
 
 Mortal, deadly ; II. i. 72. 
 
 , fatal ; V. ii. 205. 
 
 Mortise, " a hole made in tim- 
 ber to receive the tenon of 
 another piece of timber ; II. 
 
 i- 9. 
 Moth, "an idle eater"; I. iii. 
 
 257- 
 
 Motion, impulse, emotion; I. 
 iii. 95. 
 
 , natural impulse; I. ii. 75. 
 
 Mountebanks, quacks: I. iii. 61. 
 
 Mummy, a preparation used 
 for magical — as well as me- 
 dicinal — purposes, made orig- 
 inally from mummies; III. 
 iv. 74. 
 
 156
 
 THE MOOR OF VENICE 
 
 Glossary 
 
 Mutualities, familiarities; 11. i. 
 
 266. 
 Mystery, trade craft ; IV. ii. 30. 
 
 Naked, unarmed ; V. ii. 258. 
 Napkin, handkerchief; III. iii. 
 
 287. 
 Native, natural, real ; I. i. 62. 
 New, fresh (Quartos, 
 
 " more") ; I. iii. 205. 
 Next, nearest ; I. iii. 205. 
 North, north wind ; V. ii. 220. 
 Notorious, notable, egregious ; 
 
 IV. ii. 140. 
 Nuptial, wedding (Quartos, 
 
 "Ntiptialls"); II. ii. 8. 
 
 Obscure, abstruse ; II. i. 263. 
 Ohservancy, homage; III. iv. 
 
 149. 
 Odd-even, probably the interval 
 
 between twelve o'clock at 
 
 night and one o'clock in the 
 
 morning; I. i. 124. 
 Odds, quarrel ; II. iii. 185. 
 Off, away; V. ii. 331. 
 Off-capp'd, doffed their caps, 
 
 saluted (Quartos, "oft 
 
 capt") ; I. i. 10. 
 Offends, hurts, pains ; II. iii. 
 
 199- 
 
 Office, duty (Quarto i, 
 "duty") ; III. iv. 113. 
 
 OfHced, having a special func- 
 tion ; I. iii. 271. 
 
 Offices, domestic offices, where 
 food and drink were kept ; II. 
 ii. 9. 
 
 Old, time-honoured system ; I. 
 i. 37- 
 
 On, at ; II. iii. 132. 
 
 On't, of it; II. i. 30. 
 
 Opinion, public opinion, repu- 
 tation ; II. iii. 196. 
 Opposite, opposed ; I. ii. 67. 
 Other, otherwise; IV. ii. 13. 
 Ottomites, Ottomans; I. iii. 
 
 33- 
 Out-tongue, bear down; I. ii. 
 
 19. 
 Overt; " o. test," open proofs ; 
 
 I. iii. 107. 
 Owe, own ; I. i. 66. 
 Oivcdst, didst own ; III. iii. 2,33- 
 
 Paddle, play, toy; II. i. 259. 
 Pageant, show, pretence ; I. iii. 
 
 18. 
 Paragons, excels, surpasses ; II. 
 
 i. 62. 
 Parcels, parts, portions ; I. iii. 
 
 154. 
 Partially, with undue favour 
 
 (Qq-. "partiality''); II. iii. 
 
 218. 
 Parts, gifts; III. iii. 264. 
 Passage, people passing; V. i. 
 
 37-^ 
 Passing, surpassingly; I. iii. 
 
 160. 
 Patent, privilege; IV. i. 203. 
 Patience (trisyllabic) ; II. iii. 
 
 376. 
 Peculiar, personal ; III. iii. 79. 
 Peevish, childish, silly; II. iii. 
 
 185. 
 Pegs, " the pins of an instru- 
 ment on which the strings are 
 
 fastened " ; II. i. 202. 
 Perdurable, durable, lasting ; I. 
 
 iii; 343- 
 Period, ending ; V. ii. 357. 
 Pestilence, poison ; II. iii. 362. 
 Pierced, penetrated; I. iii. 219. 
 
 157
 
 Glossary 
 
 TRAGEDY OF OTHELLO. 
 
 Pioners, pioneers, the common- 
 est soldiers, employed for 
 rough, hard work, such as 
 levelling roads, forming 
 mines, etc. ; III. iii. 346. 
 
 Plcasancc, pleasure (Quartos, 
 " pleasure ") ; II. iii. 293. 
 
 Pliant, convenient; I. iii. 151. 
 
 Plume up, make to triumph 
 (Quarto i, "make up"); I. 
 iii. 398. 
 
 Poise, weight ; III. iii. 82. 
 
 Pontic sea, Euxine or Black 
 Sea ; III. iii. 453. 
 
 Portance, conduct ; I. iii. 139. 
 
 Position, positive assertion ; 
 III. iii. 234. 
 
 Post-post-haste, very great 
 haste ; I. iii. 46. 
 
 Pottle-deep, to the bottom of 
 the tankard, a measure of 
 two quarts ; II. iii. 56. 
 
 Practice, plotting; III. iv. 141. 
 
 Precious, used ironically 
 (Quartos 2, 3, " perni- 
 tious") ; V. ii. 235. 
 
 Prefer, promote ; II. i. 286. 
 
 , show, present ; I. iii. 109. 
 
 Preferment, promotion ; I. i. 
 
 Pregnant, probable; II. i. 239. 
 Presently, immediately ; III. i. 
 
 38. 
 Prick'd, incited, spurred ; III. 
 
 iii. 412. 
 Probal, probable, reasonable ; 
 
 II. iii. 344. 
 Probation, proof; III. iii. 365. 
 Profane, coarse, irreverent ; II. 
 
 i. 165. 
 ProfA, profitable lesson ; III. iii. 
 
 379. 
 
 Proof ; " make p.," test, make 
 trial ; V. i. 26. 
 
 Proper, own ; I. iii. 69. 
 
 , handsome ; I. iii. ^gy. 
 
 Propontic, the Sea of Mar- 
 mora; III. iii. 456. 
 
 Propose, speak ; I. i. 25. 
 
 Propriety ; " from her p.," out 
 of herself; II. iii. 176. 
 
 Prosperity, success ; II. i. 287. 
 
 Prosperous, propitious ; I. iii. 
 245- 
 
 Puddled, muddled; III. iv. 143. 
 
 Purse, wrinkle, frown ; III. iii. 
 
 113. 
 Purse . . . strings; I. i. 2, 3. 
 Cp. illustration. 
 
 From the leaden seal of the Confra- 
 ternity of Purse-makers (Boursiers) 
 of Paris. 
 
 Put on, incite, instigate ; II. iii. 
 357. 
 
 Qualitication, appeasement ; II. 
 i. 281. 
 
 Qualified, diluted; II. iii. 41. 
 
 Quality; " very q.," i.e. very na- 
 ture ; I. iii. 252. 
 
 Quarter ; " in q.," in peace, 
 friendship; II. iii. 180. 
 
 158
 
 THE MOOR OF VENICE 
 
 Glossary 
 
 Quat, pistLile, pimple (used 
 
 contemptuously) ; Quarto i. 
 
 "gnat"; Theobald, "knot," 
 
 etc.) ; V. i. ii. 
 Question, trial and decision by 
 
 force of arms ; L iii. 23. 
 Quests, bodies of searchers; I. 
 
 ii. 46. 
 Quicken, receive life; III. iii. 
 
 277. 
 Quillets, quibbles ; III. i. 25. 
 Quirks, shallow conceits ; II. i. 
 
 63. 
 
 Raised up, awakened ; II. iii. 
 
 250. 
 Rank, coarse; II. i. 314. 
 Rank, lustful ( ? morbid) ; III. 
 
 iii. 232. 
 Recognizance, token; V. ii. 214. 
 Reconciliation, restoration to 
 
 favour; III. iii. 47. 
 Reference, assignment (Quarto 
 
 I, " reuerence" ; Folios 3, 4, 
 
 "reverence" ', Johnson conj. 
 
 "preference") ; I. iii. 238. 
 Regard, view ; II. i, 40. 
 Region, part ; IV. i. 84. 
 Relume, rekindle ; V. ii. 13. 
 Remorse, pity, compassion; III. 
 
 iii. 369. 
 Remove, banish; IV. ii. 14. 
 Repeals, recalls to favour ; II. 
 
 iii. 363. 
 Reprobation, perdition, damna- 
 
 tion (Folios, " Repro- 
 hance") ; V. ii. 209. 
 Reverses, keeps ; III. iii. 295. 
 Respect, notice ; IV. ii. 190. 
 Re-stem, retrace; I. iii. 37. 
 Revolt, inconstancy; III. iii. 
 
 188. 
 
 Rich, valuable, precious ; II. iii. 
 
 195. 
 Roman (used ironically) ; IV. 
 
 i. 121. 
 Round, straightforward, plain ; 
 
 I. iii. 90. 
 
 Rouse, bumper, full measure ; 
 
 II. iii. 66. 
 
 Rude, harsh ; III. iii. 355. 
 RuiHan'd, been bois t e r o u s, 
 raged ; II. i. 7. 
 
 Sadly, sorrowfully ; II. i. 32. 
 Safe, sound ; IV. i. 2y2. 
 Sagittary, a public building in 
 
 Venice; I. i. 159. 
 Salt, lustful ; II. i. 245. 
 Sans, without ; I. iii. 64. 
 'Sblood, a corruption of God's 
 
 blood; an oath (the reading 
 
 of Quarto i ; omitted in 
 
 others) ; I. i. 4. 
 Scant, neglect ; I. iii. 268. 
 'Scapes, escapes ; I. iii. 136. 
 Scattering, random; III. iii. 
 
 151. 
 Scion, slip, off-shoot (Quartos, 
 
 "syen"; Folios, " Seyen") ; 
 
 I. iii. 337- 
 Scored me, " made my reckon- 
 ing, settled the term of my 
 
 life" (Johnson, Schmidt). 
 
 "branded me" (Steevens, 
 
 Clarke) ; IV. i. 129. 
 Scorns, expressions of scorn : 
 
 IV. i. 83. 
 Seamy side without, wrong side 
 
 out ; IV. ii. 146. 
 Sect, cutting, scion ; I. iii. 336. 
 Secure, free from care ; IV. i. 
 
 72. 
 
 159
 
 Glossary 
 
 TRAGEDY OF OTHELLO, 
 
 Secure me, feel myself secure; 
 
 I. iii. 10. 
 Seel, blind (originally a term 
 
 in falconry) ; I. iii. 270. 
 Seeming, appearance, exterior ; 
 
 I. iii. 109. 
 
 , hypocrisy ; III. iii. 209. 
 
 Segregation, dispersion ; II. i. 
 
 10. 
 Self-bounty, inherent kindness 
 
 and benevolence ; III. iii. 
 
 200. 
 Self-charity, charity to one's 
 
 self; II. iii. 202. 
 Sennight's, seven night's, a 
 
 week's ; II. i. yy. 
 Sense, feeling (Quartos, "of- 
 fence ") ; II. iii. 268. 
 ; "to the s.," i.e. "to the 
 
 quick "; V. i, 11. 
 Sequent, successive; I. ii. 41. 
 Sequester, sequestration ; III. 
 
 iv. 40. 
 Sequestration, rupture, divorce ; 
 
 I. iii. 351. 
 Shore, did cut; V. ii. 206. 
 Should, could; III. iv. 23. 
 Shrewd, bad, evil ; III. iii. 429. 
 Shrift, shriving place, confes- 
 sional ; III. iii. 24. 
 Shut up in, confine to; III. iv. 
 
 121. 
 Sibyl, prophetess ; III. iv. 70. 
 Siege, rank, place ; I. ii. 22. 
 Simpleness, simplicity ; I. iii. 
 
 247. 
 Sir; " play the s.," play the fine 
 
 gentleman; II. i. 176. 
 Sith, since (Quartos, " since ") ; 
 
 III. iii. 380. 
 Skillet, boiler, kettle ; I. iii. 273. 
 
 The accompanying illustra- 
 
 tion represents an old six- 
 teenth century helmet used as 
 a skillet, which was found in 
 dredging the Thames near 
 the Tower of London. 
 
 Slight, worthless, frivolous; II. 
 
 iii. 279. 
 Slipper, slippery; II. i. 246. 
 Slubber, sully, soil ; I. iii. 22y. 
 Snipe, simpleton (Folio i, 
 
 " S n p e" ', Folio 2, *' a 
 
 Swaine " ; Folios 3, 4, " a 
 
 Swain") ; I. iii. 390. 
 Snorting, snoring; I. i. 90. 
 Soft, mild, gentle ; I. iii. 82. 
 Soft you, hold ; V. ii. 338. 
 Something, somewhat; II. iii. 
 
 199. 
 
 Sorry, painful (Quartos, "sul- 
 len"; Collier MS., "sud- 
 den") ; III. iv. 51. 
 
 Spake, said, affirmed (Quarto 
 3, " speake") ; V. ii. s^y. 
 
 160
 
 THE MOOR OF VENICE 
 
 Glossary 
 
 spartan dog, the dogs of Spar- 
 tan breed were fiercest ; V. ii. 
 361. 
 
 Speak i' the nose, " the Nea- 
 poHtans have a singularly 
 drawling nasal twang in the 
 utterance of their dialect; 
 and Shylock tells of ' when 
 the bagpipe sings i' the 
 nose'" (Clarke); (Collier 
 MS., "squeak"; etc.); III. 
 
 i. 5. 
 Speak parrot, talk nonsense ; II. 
 
 iii. 280. 
 Speculative, possessing the 
 
 power of seeing; I. iii. 271. 
 Spend, waste, squander ; II. iii. 
 
 195. 
 
 Spleen, choler, anger ; IV. i. 89. 
 
 Splinter, secure by splints; II. 
 iii. 329. 
 
 Squire, fellow (used contemp- 
 tuously) ; IV. ii. 145. 
 
 Stand in act, are in action ; I. i. 
 152. 
 
 Start, startle, rouse; I. i. loi. 
 
 Startingly, abruptly (Folios 3, 
 4. " staringly ") ; III. iv. 79. 
 
 Stay, are waiting for ; IV. ii. 
 170. 
 
 Stead, benefit, help; I. iii. 344. 
 
 Still, often, now and again ; I. 
 iii. 147. 
 
 Stomach, appetite ; V. ii. 75. 
 
 Stop; "your s.," the impedi- 
 ment you can place in my 
 way ; V. ii. 264. 
 
 Stoup, a vessel for holding 
 liquor ; II. iii. 30. 
 
 Stozv'd, bestowed, placed ; I. ii. 
 62. 
 
 Straight, straightway ; I. i. 138. 
 
 Strain, urge, press ; III, iii. 250. 
 
 Strangeness, estrang e m e n t 
 (Quartos, "strangest") ; III. 
 iii. 12. 
 
 Strazvberries; the accompany- 
 ing engraving is copied from 
 " a piece of Elizabethan nee- 
 dlework in which the straw- 
 berry and pink alternate over 
 a ground of fawn-coloured 
 silk" ; III. iii. 435. 
 
 Stuff 0' the conscience, matter 
 of conscience; I. ii. 2. 
 
 Subdued, make subject; I. iii. 
 251. 
 
 Success, that which follows, 
 consequence; III. iii. 222. 
 
 Sudden, quick, hasty ; II. i. 278. 
 
 Sufferance, damage, loss ; II. i. 
 23- 
 
 Sufficiency, ability ; I. iii. 224. 
 
 Sufficient, able ; III. iv. 91. 
 
 Suggest, tempt ; II. iii. 358. 
 
 Supersubtle, excessively crafty 
 (Collier MS., "super-sup- 
 ple ") ; I. iii. 363. 
 
 Szveeting, a term of endear- 
 ment ; II. iii. 252. 
 
 Swelling, inflated ; II. iii. 57. 
 
 161
 
 Glossary 
 
 TRAGEDY OF OTHELLO, 
 
 Szvord of Spain, Spanish 
 swords were celebrated for 
 their excellence ; V. ii. 253. 
 
 Ta'en order, taken measures ; 
 V. ii. 72. 
 
 Ta'en out, copied ; III. iii. 296. 
 
 Tainting, disparaging ; II. i. 
 274. 
 
 Take out, copy ; III. iv. 180. 
 
 Take up at the best, make the 
 best of; I. iii. 173. 
 
 Talk, talk nonsense ; IV. iii. 25. 
 
 Ta/^ ^^z^", speak to me ; III.iv.92. 
 
 Tells o'er, counts; III. iii. 169. 
 
 Theoric, theory ; I. i. 24. 
 
 Thick-lips ; used contemptuous- 
 ly for " Africans " ; I. i. 66. 
 
 Thin, slight, easily seen 
 through ; I. iii. 108. 
 
 Thread, thread of life ; V. ii. 
 206. 
 
 Thrice-driven, " referring to 
 the selection of the feathers 
 by driving with a fan, to sep- 
 arate the light from the 
 heavy " (Johnson) ; I. iii. 
 232. 
 
 Thrive in, succeed in gaining ; 
 
 I. iii. 125. 
 Time, life; I. i. 162. 
 Timorous, full of fear ; I. i. 75. 
 Tire, make tired, weary out ; II. 
 
 i. 65. 
 Toged, wearing the toga ; I. i. 
 
 25. 
 Told, struck, counted (Folios 
 
 3, 4. " toll'd") ; II. ii. II. 
 Toy, fancy; III. iv. 156. 
 Toys, trifles ; I. iii. 269. 
 Trash, worthless thing, dross ; 
 
 II. i. 311. 
 
 , keep back, hold in check 
 
 (a hunter's term) ; II. i. 311. 
 Traverse, march, go on ; I. iii. 
 
 Trimm'd in, dressed in, wear- 
 ing; I. i. 50. 
 
 Turn; " t. thy complexion," 
 change colour ; IV. ii. 62. 
 
 Unblest, accursed; II. iii. 311. 
 
 Unbonnetted, without taking 
 
 off the cap, on equal terms ; 
 
 I. ii. 23. 
 
 Unbookish, ignora.nt ; IV. i. 102. 
 Uncapable, incapable; IV. ii. 
 
 232. 
 Undertaker; " his u.," take 
 
 charge of him, dispatch him ; 
 
 IV. i. 224. 
 Unfold, reveal, bring to light ; 
 
 IV. ii. 141. 
 Unfolding, communication ; I. 
 
 iii. 245. 
 Unhandsome, unfair; III. iv. 
 
 151- 
 
 Unhatch'd, undisclosed; III. iv. 
 
 141. 
 Unhoused, homeless, not tied to 
 
 a household and family; I. ii. 
 
 26. 
 Unlace, degrade ; II. iii. 194. 
 Unperfectness, imperfection; 
 
 II. iii. 298. 
 
 Unprovide, make unprepared ; 
 IV. i. 211. 
 
 Unsure, uncertain ; III. iii. 151. 
 
 Unvarnish'd, plain, unadorned ; 
 I. iii. 90. 
 
 Unzvitted, deprived of under- 
 standing; II. iii. 182. 
 
 Upon, incited by, urged by; I. 
 i. 100. 
 
 162
 
 THE MOOR OF VENICE 
 
 Glossary 
 
 Use, custom ; IV. i. 277. 
 
 Uses, manners, habits (Quarto 
 
 I, " z'sage") ; IV. iii. 105. 
 
 Vantage; " to the v.," over and 
 above; IV. iii. 85. 
 
 Vessel, body ; IV. ii. 83. 
 
 Vesture, garment ; II. i. 64. 
 
 Violence, bold action ; I. iii. 
 250. 
 
 Virtuous, having efficacy, pow- 
 erful ; III. iv. III. 
 
 Voices, votes; I. iii. 261. 
 
 Vouch, assert, maintain ; I. iii. 
 103, 106. 
 
 , bear witness ; I. iii. 262. 
 
 , testimony; II. i. 148. 
 
 Wage, venture, attempt ; I. iii. 
 
 30. 
 Watch, watchman; V. i. 2>7- 
 Watch him, keep him from 
 
 sleeping ; a term in falconry ; 
 
 III. iii. 23. 
 Wearing, clothes ; IV. iii. 16. 
 Well said, well done (Quartos, 
 
 "well sed") ; II. i. 168. 
 What, who; I. i. 18. 
 Wheeling, errant (Quarto 2. 
 
 '■ zvheedling ") ; I. i. 137. 
 Vl'' hipster, one who whips out 
 
 his sword (used contemptu- 
 ously) ; V. ii. 244. 
 White (used with a play upon 
 
 white and wight) ; II. i. 134. 
 Wholesome, reasonable; III. i. 
 
 49- 
 Wicker, covered with wicker- 
 work; (Folios," Twiggen ") ; 
 
 II. iii. 152. 
 
 Wight, person (applied to both 
 sexes) ; II. i. 159. 
 
 Wind; "let her down the w."; 
 the falconers always let the 
 hawk fly against the wind ; if 
 she flies with the wind behind 
 her she seldom returns. If 
 therefore a hawk was for any 
 reason to be dismissed, she 
 was let down tJie wind, and 
 from that time shifted for 
 herself and preyed at for- 
 tune" (Johnson); III. iii. 
 262. 
 
 Wind-shaked, wind-shaken ; II. 
 i. 13- 
 
 With, by ; II. i. 34. 
 
 Withal, with ; I. iii. 93. 
 
 With all my heart, used both 
 as a salutation, and also as a 
 reply to a salutation ; IV. i. 
 220. 
 
 Within door ; " speak w. d.," i.e. 
 " not so loud as to be heard 
 outside the house " ; IV. ii. 
 
 144. 
 Womand, accompanied by a 
 
 vv^oman ; III. iv. 195. 
 Worser, worse ; I. i. 95. 
 Wrench, wrest (Quarto i, 
 
 "Wring")] V. ii. 288. 
 Wretch, a term of endearment; 
 
 (Theobald, "wench"); III. 
 
 iii. 90. 
 Wrought, worked upon ; V. ii. 
 
 345. 
 
 Yerk'd, thrust ; I. ii. 5. 
 Yet, as yet, till now; III. iii. 
 432. 
 
 163
 
 TRAGEDY OF OTHELLO, 
 
 Critical Notes. 
 
 BY ISRAEL GOLLANCZ. 
 
 I. i. 15. Omitted in Folios and Quartos 2, 3. 
 
 I. i. 21. 'A fellow almost danui'd in a fair wife' ; if this alludes 
 to Bianca, the phrase may possibly mean ' very near being married 
 to a most fair wife.' Some explain " A fellow whose ignorance of 
 war would be condemned in a fair woman." The emendations 
 proposed 2 re unsatisfactory, and probably unnecessary. 
 
 I. i. 72. 'changes' ; Folios read 'chances.' 
 
 I. ii. 72-77; iii. 16; 36; 63; 118; 123; 194; omitted in Quarto i. 
 
 I. ii. 7S. ' weaken motion'; Rowe's emendation; Folios, and 
 Quartos 2, 3, ' weakens motion' ; Pope (Ed, 2, Theobald) ' weaken 
 notion'; Hanmer, 'waken motion'; Keightley, 'wakens motion'; 
 Anon. conj. in Furness, 'wake emotion,' etc. 
 
 I. iii. 67. 'bloody book of law'; "By the Venetian law the 
 giving of love-potions was highly criminal" (Clarke). 
 
 I. iii. 87. 'feats of broil' ; Capell's emendation; Quarto i, ' feate 
 of broile'; Folio i, 'Feats of Broiles,' etc. 
 
 I. iii. 107. ' Certain ' ; so Quartos ; Folios? ' wider.' 
 
 I. iii. 139. ' portance in my'; so Folios and Quarto 2; Quarto 
 3, ' portence in my'; Quarto i, 'with it all my'; Johnson conj. 
 'portance in't; my'; etc.; 'travels"; the reading of Modern 
 Edd. (Globe Ed.); Quartos, 'trauells'; Pope, 'travel's'; Folio 
 I, ' Trauellours ' ; Folios 2, 3, ' Travellers ' ; Folio 4, ' Traveller s ' ; 
 Richardson conj. ' travellous' or ' travailous.' 
 
 I. iii. isg.' sighs' ; Folios, 'kisses'; Southern MS., 'thanks.' 
 
 I. iii. 250. 'and storm of fortunes'; Quarto i, 'and scorne of 
 Fortunes,' etc. 
 
 I. iii. 261. 'Let her have your voices'; Dyce's correction; 
 Folios, ' Let her have your voice ' ; Quartos read — 
 
 " Your voyccs Lords; beseech you let her will 
 Haue a free way." 
 
 I. iii. 264-265. 'the young affects In mc defunct'; Quartos, 
 'the young affects In my defunct'; so Folio i; Folios 2, 3, 4, 
 ' effects' The reading of the text is the simplest and most plau- 
 
 164
 
 THE MOOR or VENICE Notes 
 
 sible emendation of the many proposed, the words meaning ' the 
 passions of youth which I have now outlived': 'proper satisfac- 
 tion ' = ' my own gratification.' 
 
 I. iii. 330. 'balance' ; Folios, 'brain' and 'braine'; Theobald, 
 ' beam.' 
 
 I. iii. 354. ' luscious as locusts ' ; " perhaps so mentioned from 
 being placed together with wild honey in St. Matthew iii. 4 " 
 (Schmidt). 
 
 I. iii. 358. Omitted in Folios. 
 
 I. iii. 384-388. The reading in the text is that of the second 
 and third Quartos ; Quarto i, adds after the words ' / am 
 cliang'd '' — 
 
 " Goe to farezi'cll, put money enough in your purse"', 
 
 omitting ' I'll go sell all my land.' 
 
 II. i. 39-40; 158; 260 {'didst not mark that?'); omitted in 
 Quarto i. 
 
 II. i. 65. 'tire the ingener'; Knight, Steevens conj.; Folio i, 
 'tyre the Ingeniuer' ; Folios 2, 3, 4, ' tire the Ingeniver' ; Quarto 
 I, ' beare all Excellency ' — ; Quartos 2, 3, ' beare an excelency ' : — 
 Johnson conj. 'tire the ingenious verse'; Pope, 'beare all excel- 
 lency — ' 
 
 II. i. 82. 'And . . . Cyprus'; omitted in Folios. 
 
 II. i. 249. ' a devilish knave ' ; omitted in Quartos. 
 
 II. i. 258. 'blest pudding'; Folios, ' Bless' d pudding'; omitted 
 in Quartos. 
 
 II. i. 267-268. ' comes the master and main ' ; so Folios ; Quarto 
 I reads 'comes the maine'; Quartos 2, 3, 'comes Roderigo, the 
 master and the maine.' 
 
 11. i. 279. 'haply may'; Quartos read 'haply with his Trunchen 
 may.' 
 
 II. i. 31T. 'poor trash of J^enice, whom I trasJi'; Steevens' 
 emendation ; Quarto i, ' poor trash . . . I crush ' ; Folios, 
 Quartos 2. 3, 'poor Trash . . . I trace'; Theobald. Warbnr- 
 ton conj. 'poor brach . . . I trace'; Warburton (later conj.) 
 ' poor brach . . . I cherish.' 
 
 II. iii. 42. 'here' i.e. in my head. 
 
 II. iii. 92-99, These lines are from an old song called ' Take thy 
 old cloak about thee,' to be found in Percy's Reliques. 
 
 II. iii. 167. 'sense of place'; Hanmer's emendation of Quar- 
 tos: Folios, 'place of sense.' 
 
 II. iii. 292. ' transform ourselves into beasts.' "This trans- 
 
 163
 
 Notfes 
 
 TRAGEDY OF OTHELLO, 
 
 formation was irequently depicted in old satirical prints ; as in 
 the woodcut here copied from the Mtisarum Deliciae 1657, repre- 
 senting ' the drunken humors ' 
 imparling to men the feeling and 
 manners of the tiger, the ass, the 
 fox, the dog. the ape and the 
 swine." 
 
 II. iii. 318. 'some time'; so 
 Quartos ; Folios, ' a time ' ; Grant 
 White, ' one time.' 
 
 III. i. 13. 'for love's sake'', 
 Quarto i, ' of all tones.' 
 
 III. i. 43. ' F I o r e n t i n c' i.e. 
 ' even a Florentine ' ; lago was a 
 Venetian. 
 
 III. i. 52. Omitted in Folios, 
 III. iii. 23. ' zuatch him tame,' 
 i.e. tame him by keeping him from sleep (as was done with 
 hawks). 
 
 III. iii. 106. 'By heaven, he echoes me'; Quarto i, 'By Jieauen 
 he eccJioes me'; Folios 'Alas, thou ecchos't me'; Quartos 2, 3, 
 ' 7vhy dost tJiou ecchoe me.' 
 
 III. iii. 132. 'thy worst of thoughts' ; so Folios, Quarto 2; 
 Quarto i reads 'the worst of thougJits' ; Quarto 3, 'thy 
 thoughts'; perhaps we should read: — 
 
 "As thou dost rum'nate, give tJiy worst of thoughts." 
 
 III. iii. 
 
 ' fondly.' 
 
 III. iii. 
 
 170. 'strongly ' ; so Quartos; Folios, 'soundly ' \ Knight, 
 
 so Quartos ; Folios read 
 iv. 8-10; 195-196. Omitted in 
 
 277. ' Desdemona comes 
 ' Looke where she comes.' 
 
 III. iii. 325; 383-390; 453-460 
 Quarto i. 
 
 III. iii. 440. 'any that was hers' ; Malone's emendation; Quar- 
 tos, 'any, it zvas hers'; Folio i, ' avty, it zcas hers'; Folios 2, 3. 4. 
 'any, if't zvas hers'; Anon. conj. 'any 'it' ivas hers.' 
 
 III. iii. 447. 'thy hollozv cell'; so Quartos; Folios read 'the 
 hollozv hell'; Warburton, ' fh' u)iJiallozv'd cell.' 
 
 III. iii. 456. Steevens compares the following passage in Hol- 
 land's Pliny : — " And the sea Pontus ever more floweth and run- 
 neth out from Propontes, but the sea never retireth back again 
 within Pontus." 
 
 166'
 
 THE MOOR OF VENICE Notes 
 
 III. iii. 469. 'business ever'; Quartos, ' worke so euer'\ Col- 
 lier, ' work soe'er,' etc. 
 
 III. iv. 47. 'our new heraldry' (vide Preface). 
 
 III. iv. 65. 'her' i.e. to my wife (implied in 'wive'). 
 
 III. iv. 121. ' shut myself up in,' etc., i.e. ' Confine myself to 
 some other course of life, awaiting fortune's charity ' ; Quarto i, 
 ' shoote my selfe up in ' ; Capell, ' shoot myself upon ' ; Rann, 
 ' sliape myself upon'; Collier MS., 'shift myself upon.' 
 
 III. iv. 151. 'warrior'; Hanmer, ' ivrangler' ; cp. ' O my fair 
 zuarrior' ; (II. i. 184). 
 
 IV. i. 77. 'here o'erwhelmed' ; Quarto i, 'here ere while, mad.' 
 IV. i. 122. C What, a customer!') ; ii. 7y7^) i"- 60-63, 87-104; 
 
 omitted in Quarto i. 
 
 IV. i. 137-138. 'and, by this hand, she falls me'; so Collier; 
 Quarto i, reads 'by this hand she fals'; Folios, 'and falls me'; 
 Quartos 2, 3, ' fals me.' 
 
 IV. i. 268. 'This the nature,' Pope's reading; Quartos, 'This 
 the noble nature ' ; Folios, ' Is this the nature.' 
 
 IV. ii. 109. ' least misuse' ; Quarto i,' greatest abuse' ; Collier 
 MS., ' least misdeed e.' 
 
 IV. ii. 170. 'The messengers of Venice stay the meat'; 
 Knight's reading; Folio i, ' The Messengers of Venice staies the 
 meate'; Folios 2, 3, 4, 'The Messenger of Venice staies the 
 meate'; Quarto i, 'And the great Messengers of Venice stay'; 
 Quartos 2, 3, ' The meate, great Messengers of Venice stay.' 
 
 IV. iii. 23. 'All's one. Good faith'; Quarto i, 'All's one 
 good faith'; Quartos 2, 3, 'All's one; good father'; Folios, 
 'All's one: good Father.' 
 
 IV. iii. 26. 'Barbara' ; Quartos read' Barbary ' ; Folio i, 'Bar- 
 baric.' 
 
 IV. iii. 41, etc. ; the original of Desdemona's song is to be 
 found in Percy's Reliques under the title of 'A Lover's Com- 
 ''iaint, being forsaken of Jiis Love ' ; where the plaintive lover is 
 
 man. 
 
 IV. iii. 41. 'sighing'; Folios, 'singing'; Quarto 3, ' singhing' ; 
 Folio I, (Dev.) ' sining.' 
 
 V. i. 82-83; ii. 82, 185-193, 266-272; omitted in Quarto i. 
 
 V. i. 105. 'gentlemen,' the reading of Folios; Quartos, 'Gen- 
 tlewoman.' 
 
 V. i. 107. 'if you stare'; so Folios; Quartos i, 2, 'an you 
 stirre ' ; Quarto 3, ' an you stirr ' ; Anon. conj. ' if you stay.' 
 
 V. ii. 7. 'Put out the light, and then put out the light'; i.e, 
 
 it;
 
 Notes TRAGEDY OF OTHELLO. 
 
 'put out the light, and then put out the light of life." The Cam- 
 bridge Editors give some dozen variant methods of punctuating 
 and reading the line, but it is perfectly clear as it stands. 
 
 V. ii. 151. 'made mocks with love'; "taken advantage to play 
 upon the weakness of passion " (Johnson). 
 
 V. ii. 172. 'Disprove this villain'; Capell^ 'Disprove it, villain.' 
 
 V. ii. ZZJ. 'bring aivay'; Quartos, 'bring him away'; Collier 
 MS., ■' bring them away.' 
 
 V. ii. 347. 'Indian'; Folio i, ' ludcan'; Theobald proposed 
 'Indian,' adding, " I am satisfied in his Indian he is alluding to 
 Herod, who, in a fit of blind jealosie, threw away such a jewel of 
 a wife as Mariamne was to him." This interpretation was War- 
 burton's. " This it is," as Coleridge put it, " for no-poets to com- 
 ment on the greatest of poets ! To make Othello say that he, who 
 had killed his wife, was like Herod who had killed Mariamne ! " 
 Boswell aptly quotes from Habington's Castara : — 
 
 "So the unskilful Indian those bright gems 
 Which might add majesty to diadems, 
 'Mong the waves scatters." 
 
 168
 
 THE MOOR OF VENICE 
 
 Explanatory Notes. 
 
 The Explanatory Xotes in this edition have been specially selected and 
 adapted, with emendations after the latest and best authorities, from the 
 most eminent Shakespearian scholars and commentators, including Johnson, 
 Malone, Steevens, Singer, Dyce, Hudson, White, Furness, Dowden, and 
 others. This method, here introduced for the first time, provides the best 
 annotation of Shakespeare ever embraced in a single edition. 
 
 ACT FIRST. 
 Scene I. 
 
 3. shotildst know of this: — Of the intended elopement. Rod- 
 erigo has been suing for Desdemona's hand, employing lago to 
 aid him in his suit, and paying his service in advance. The play 
 opens pat upon her elopement with the Moor, and Roderigo pre- 
 sumes lago to have been in the secret of their intention. 
 
 10. Off-capp'd: — To cap was often used for a salutation of re- 
 spect, made by taking off the cap. " Three great ones of the city," 
 says Knight, " wait upon Othello ; they off-capp'd — they took cap 
 in hand — in personal suit that he should make lago his lieutenant." 
 
 31. By debitor and creditor: — By a mere accoimtant, a keeper 
 of debt and credit. lago means that Cassio, though knowing no 
 more of war than men of the gown, as distinguished from men of 
 the sword, has yet outsailed him in military advancement. Again, 
 he calls Cassio "this counter-caster,'' in allusion to the counters 
 formerly used in reckoning up accounts. 
 
 33. ancient: — This old corruption of ensign was used both for 
 a standard and a standard-bearer. For both uses see i Henry IV., 
 IV. ii. 25 and 33 respectively. But that ensign was in use in 
 Shakespeare's day is abundantly proved, as in Drayton's Barons' 
 Warres : — 
 
 " Ensigne beards Ensigne, Sword 'gainst Sword doth shake." 
 
 39. Whether I stand within any such terms of affinity to the 
 Moor, as that I am bound to love him. 
 
 169
 
 Notes TRAGEDY OF OTHELLO. 
 
 45. knee-crooking knave: — We have here a notable example of 
 the use of knazr in the transition stage between its second and its 
 third or present meaning. It first meant a child; then, because 
 children served their elders, a servant ; and finall}-, because of the 
 dishonesty and loose morals of servants, a rogue. In Roderigo's 
 account of the elopement, farther on in this scene, the word occurs 
 in its secondary sense, " a knave of common hire, a gondolier." 
 The opprobrious sense of the word seems to have become lixed 
 early in the second quarter of the seventeenth century. " For 
 whosoeuer should in these present times say in England to some 
 English men knaue, which formerly was taken for a man seruant, 
 and on which word the law takes no hold, it would not take well, 
 for that knaue and a base fellow signifieth the selfe sarrte thing." 
 
 65. / am not zvhat I am: — A misprint, perhaps, for "I am not 
 what I seem." This, at all events, is probably the meaning of 
 lago. 
 
 66. full fortune, etc. : — So both the Quartos : the Folio has fall 
 instead of full. The meaning is, how fortunate he is, or how 
 strong in fortune, if he can hold out against such practice. Simi- 
 lar language occurs in Cymbeline : " Our pleasure his full fortune 
 doth confine." And in Antony and Cleopatra: "The imperious 
 show of the full-fortuned Csesar." Of course owe is used in the 
 old sense of ozvn or possess. 
 
 75,76. In the time of night and negligence; a very common 
 form of expression. Timorous was sometimes used, as fearful 
 still is. for that which frightens. Old dictionaries explain it, 
 " fearful, horridus, formidolosus." 
 
 106. My house is not a grange: — Mine is not a lone house, 
 where a robbery might easily be committed. Grange is, strictly, 
 the farm of a monastery ; but, provincially, any lone house or soli- 
 tary farm is called a grange. So in Measure for Measure, III. i. 
 274, 275: "There, at the moated grange, resides this dejected 
 Mariana." 
 
 114. A gennct is a horse; strictly a Spanish horse of the breed 
 called barbs, introduced into Spain by the Moors from Barbary. 
 Germans, meaning brothers, sisters, or cousins, is here used for 
 any near relations. 
 
 126. gondolier: — A writer in the Pictorial Shakspere tells us. 
 "that the gondoliers are the only conveyors of persons, and of a 
 large proportion of property, in Venice; that they are thus 
 cognizant of all intrigues, and the fittest agents in them, and are 
 under perpetual and strong temptations to make profit of the 
 
 170
 
 THE MOOR OF VENICE Notes 
 
 secrets of society. Brabantio might well be in horror at his 
 daughter having, in ' the dull watch o' the night, no worse nor 
 better guard.' " 
 
 132. from : — Against or opposed to. 
 
 137. In an extravagant and wheeling stranger: — A stranger who 
 has no fixed abode, whose life is irregular. So in Markham's 
 English Housewife, " The Sewer upon the placing them [certain 
 dishes] upon the table shall not set them down as he received 
 them, but setting the Sallets extravagantly about the table," etc., 
 Ed. 1653; and in Hamlet, I. i. 154. 155, "The extravagant and 
 erring spirit hies to his confine." So lago, Sc. iii., 362, 363, of 
 this Act calls Othello an " erring barbarian." 
 
 143. not unlike my dream: — "The careful old senator," says 
 Coleridge, " being caught careless, transfers his caution to his 
 dreaming-power at least." 
 
 159. The Sagittary is supposed by some commentators to have 
 been some public house or inn with a figure of the Archer, after 
 Sagittarius, ninth sign of the zodiac, for the sign of the house 
 itself. Perhaps Shakespeare knew at Venice an inn so called. 
 
 182. at most: — That is, at most of the houses. 
 
 Scene II. 
 
 2. stiiif 0' the conscience: — A point or matter of conscience, 
 
 8. lago is speaking of Roderigo, and pretending to relate what 
 he has done and said against Othello. 
 
 22. men of royal siege: — Men who have sat on kingly thrones. 
 Siege was often thus used for seat. 
 
 22,23. ffiy demerits may speak unhonneted, etc.: — Shakespeare 
 and his contemporaries use demerits to express both the presence 
 and the absence of merit. See an instance of the former in Mac- 
 beth, IV. iii., and of the latter in Coriolanus, I. i. Unhonneted 
 can only mean without the bonnet ; which sense, as the uncovering 
 of the head is a sign of deference, seems at variance with the 
 manifest purpose of Othello's speech. Yet there does not appear 
 to be sufficient reason for us to assume that there is corruption. 
 Theobald would have read, " may speak and bonneted." 
 
 28. tJie sea's worth : — Pliny, the naturalist, has a chapter on the 
 riches of the sea. The expression seems to have been proverbial. 
 
 59. There seems to be a sort of playful, good-humoured irony 
 expressed in the very rhythm of this line. Throughout this Scene, 
 
 171
 
 Notes TRAGEDY OF OTHELLO, 
 
 Othello appears at all points " the noble nature, whose solid virtue 
 the shot of accident, nor dart of chance, could neither graze, nor 
 pierce " ; his calmness and intrepidity of soul, his heroic modesty, 
 his manly frankness and considerative firmness of disposition are 
 all displayed at great advantage, marking his character as one 
 made up of the most solid and gentle qualities. Though he has 
 nowise wronged Brabantio, he knows that he seems to have done 
 so : his feelings therefore take the old man's part, and he respects 
 his age and sorrow too much to resent his violence ; hears his 
 charges with a kind of reverential defiance, and answers them as 
 knowing them false, yet sensible of their reasonableness, and hon- 
 ouring him the more for making them. 
 
 68. In Shakespeare's time it was the fashion for lusty gallants 
 to wear " a curled bush of frizzled hair." In King Lear, Edgar, 
 when he was "proud in heart and mind." curled Ins hair. The 
 Poet has other allusions to the custom among people of rank and 
 fashion. 
 
 99. Pagan was a word of contempt ; and the reason will appear 
 from its etymology: " Paganus, villanus vel incultus. Et deriva- 
 tur a pagiis, quod est villa. Et quictuique habitat in villa est 
 paganiis. Prsetera quicunque est extra civitatem Dei. i. e., eccle- 
 siam, dicitur paganus. Anglice, a paynijn." — Ortus Vocahulorum, 
 1528. 
 
 Scene IH. 
 
 23. That he may capture it with an easier conflict. 
 
 48, 49. employ you, etc. : — It was part of the policy of the Vene- 
 tian state to employ strangers, and even Moors, in their wars. 
 " By lande they are served of straungers, both for generals, for 
 capitaines, and for all other men of warre, because theyr lawe 
 permitteth not any Venetian to be capitaine over an armie by 
 lande; fearing, I thinke, Caesar's example." — Thomas's History of 
 Italye. 
 
 67. bloody hook of law : — By the Venetian law the giving love- 
 potions was highly criminal, as appears in the Code Delia Promis- 
 sion del Maleiico. 
 
 96. herself'. — Shakespeare, like other writers of his age, fre- 
 quently uses the personal instead of the neutral pronoun. 
 
 1^0. antres: — Caverns; irom. antrum, 1.2.1. Warburton observes 
 that Rymer ridicules this whole circumstance ; and Shaftesbury 
 obliquely sneers at it. " Whoever," says Johnson, " ridicules this 
 
 172
 
 THE MOOR OF VENICE Notes 
 
 account of the progress of love, shows his ignorance not only of 
 history, but of nature and manners. It is no wonder that, in any 
 age, or in any nation, a lady, recluse, timorous, and delicate, 
 should desire to hear of events and scenes which she could never 
 see, and should admire the man who had endured dangers, and 
 performed actions, which, however great, were magnified by her 
 timidity." 
 
 144, 145. Nothing excited more universal attention than the ac- 
 count brought by Sir Walter Raleigh, on his return from his cele- 
 brated voyage to Guiana in 1595, of the cannibals, amazons, and 
 especially of the nation, " whose heads do grow beneath their 
 shoulders." A short extract of the more wonderful passages was 
 also published in Latin and in several other languages in 1599, 
 adorned with copper-plates, representing these cannibals, ama- 
 zons, and headless people, etc. These extraordinary reports were 
 universally credited; and Othello therefore assumes no other 
 character but what was very common among the celebrated com- 
 manders of the Poet's time. 
 
 155. not intentifcly: — Intention and attention were once synony- 
 mous. " Intentive, which listeneth well and is earnestly bent to a 
 thing," says Bullokar, in his Expositor, 1616. 
 
 163. such a man : — A question has been raised whether the 
 meaning here is, that Desdemona wished such a man had been 
 made for her, or that she herself had been made such a man ; 
 and several have insisted on the latter, lest the lady's delicacy 
 should be impeached. Her delicacy stands in need of no such 
 critical guardianship. 
 
 199. Let me speak as you yourself have spoken ; referring to 
 Brabantio's words, " I here do give thee that," etc. 
 
 202. This is expressed in a common proverbial form in Lore's 
 Labour's Lost: " Past cure is still past care." 
 
 219. pierced through the ear: — The wounded heart was healed 
 with words, pierced bemg used simply in the sense of reached or 
 penetrated. So in The Faerie Quecne, vi. 9, 26: — 
 
 "Whyl'st thus he talkt, the Knight with greedy eare 
 Hong still upon his melting mouth attent ; 
 Whose sensefull words empierst his hart so neare. 
 That he was wrapt with double ravishment." 
 
 Dyce quotes the First Part of Marlowe's Tambiirlaine, 1. 2: — 
 
 " Nor thee nor them, thrice-noble Tamburlame, 
 Shall want my heart to be with gladness pierc'd." 
 
 173
 
 Notes TRAGEDY OF OTHELLO. 
 
 249-251. That I did love . . . world: — So the Folio and the 
 Quarto of 1630: the Quarto of 1622 has scorn instead of storm. 
 Scorn will not cohere with violence, unless by making it express 
 a quality of Desdemona herself, not of her fortunes ; the sense in 
 that case being, " my downright violence of behaviour, and scorn 
 of fortune." She evidently means the violence and storm of for- 
 tunes which she has braved or encountered in marrying the Moor, 
 and not anything of a violent or scornful temper in herself. 
 
 293-295. Look to Iter . . . her faith : — " In real life," says 
 Coleridge, " how do we look back to little speeches as presenti- 
 mental of, or contrasted with, an affecting event ! Even so Shake- 
 speare, as secure of being read over and over, of becoming a fam- 
 ily friend, provides this passage for his readers, and leaves it to 
 them." 
 
 313. four times seven years: — This clearly ascertains the age 
 of lago to be twenty-eight years; though the general impres- 
 sion of him is that of a much older man. The Poet, no doubt, 
 had a wise purpose in making him so young, as it infers his viru- 
 lence of mind to be something innate and spontaneous, and not 
 superinduced by harsh experience of the world. Verplanck re- 
 marks upon it thus : " An old soldier of acknowledged merit, who, 
 after years of service, sees a young man like Cassio placed over 
 his head, has not a little to plead in justification of deep resent- 
 ment, and in excuse, though not in defence, of his revenge: such 
 a man may well brood over imaginary wrongs. The caustic sar- 
 casm and contemptuous estimate of mankind are at least pardon- 
 able in a soured and disappointed veteran. But in a young man 
 the revenge is more purely gratuitous, the hypocrisy, the knowl- 
 edge, the dexterous management of the worst and weakest parts 
 of human nature, the recklessness of moral feeling, — even the 
 stern, bitter wit, intellectual and contemptuous, without any of the 
 gaiety of youth, — are all precocious and peculiar; separating 
 lago from the ordinary sympathies of our nature, and investing 
 him with higher talent and blacker guilt." 
 
 336, 337. A sect is what the gardeners call a cutting. " This 
 speech," observes Coleridge, " comprises the passionless character 
 of lago. It is all will in intellect ; and therefore he is here a bold 
 partisan of a truth, but yet of a truth converted into a falsehood 
 by the absence of all the necessary modifications caused by the 
 frail nature of man." 
 
 354, 355. Alluding, probably, to the ceratonia or caroh, an ever- 
 green growing in the south of Europe, and bearing sweet black 
 
 174
 
 THE MOOR OF VENICE Notes 
 
 pods. Commerce had made the fruit well known in London, and 
 locust was the popular name for it. 
 
 396. Will do . . . well: — That is, I will act as if I were cer- 
 tain of the fact. He holds me well is, he entertains a good opinion 
 of me. 
 
 ACT SECOND. 
 Scene I. 
 
 [A sea-port in Cyprus.] The principal seaport town of Cyprus 
 is Famagiista ; where there was formerly a strong fort and com- 
 modious haven, " neare which," says Knolles, " standeth an old 
 castle, with four towers after the ancient manner of building." 
 To this castle we find that Othello presently repairs. 
 
 13. There is implied a comparison of the " wind-shaked surge " 
 to the war-horse ; the Poet probably having in mind the passage 
 of Job: "Hast Thou given the horse strength? Hast Thou 
 clothed his neck with thunder?" Knight remarks upon the place 
 thus : " The horse of Job is the war-horse, ' who swalloweth the 
 ground with fierceness and rage ' ; and when Shakespeare pictured 
 to himself his mane wildly streaming, * when the quiver rattleth 
 against him, the glittering spear, and the shield,' he saw an image 
 of the fury of the ' wind-shaked surge,' and of its very form ; 
 and he painted it 'with high and monstrous mane.' " 
 
 14. bear: — The constellation near the pole star. The next line 
 alludes to the star Arctophylax, which literally signifies the guard 
 of the bear. 
 
 26. Veronesa: — This refers to the ship. It is true, the same 
 speaker has just called the ship "a noble ship of Venice'': but 
 Verona was tributary to the Venetian state ; so that there is no 
 reason why she might not belong to Venice, and still take her 
 name from Verona. 
 
 39, 40. till we make the main . . . regard : — Till sea and 
 sky blend and become indistinguishable to sight. On this passage 
 Coleridge remarks: "Observe in how many ways Othello is 
 made, first, our acquaintance, then our friend, then the object of 
 our anxiety, before the deeper interest is to be approached." 
 
 49. Of allowed and approved expertness. 
 
 64, 65. By the essential vesture of creation the Poet seems to 
 mean her outzvard form, which in the Merchant of Venice (V. i. 
 
 175
 
 Notes TRAGEDY OF OTHELLO, 
 
 64) he calls " this muddy vesture of decay." The meaning would 
 appear to be, " She is one who exceeds all description, and in real 
 beauty, or outward form, goes beyond the power of the inventive 
 pencil of the artist. Ben Jonson, in his Sejanus, I. i., says: 
 "No, Silius, we are no good inginers; we want their fine arts." 
 Flecknoe, in 1664, speaking of painting, mentions " the stupendous 
 works of your great ingeniers." 
 
 70. Ensteep'd here means simply hjd in the water, submerged ; 
 a frequent use of the word. Thus in The Faerie Queene, 
 i. II : — 
 
 " Now gan the golden Phoebus for to steepe 
 His fierie face in billows of the west." 
 
 112. Saints in your injuries: — "When you have a mind to do 
 injuries, you put on an air of sanctity." 
 
 144-148. "The sense," says Warburton, "is this: One that was 
 so conscious of her own merit, and of the authority her character 
 had with every one, that she durst call upon malice itself to vouch 
 for her. This was strong commendation. And the character only 
 of clearest virtue ; which could force malice, even against its 
 nature, to do justice." 
 
 156. To exchange a delicacy for coarser fare, the head being 
 the best part of the cod, the tail the worst of the salmon. 
 
 161. That is, to suckle children and keep the accounts of the 
 household. 
 
 184. fair warrior: — Perhaps Othello intends a playful allusion 
 to the unwillingness Desdemona has expressed to he left behind, 
 a moth of peace, and lie go to tJie war. Steevens, however, thinks 
 it was a term of endearment derived from the old French poets ; 
 as Ronsard, in his Sonnets, often calls the ladies guerrieres. 
 
 201-203. [Aside.] Coleridge pronounces lago " a being next to 
 devil, and only not quite devil." It is worth noting that Milton's 
 Satan relents at the prospect of ruining the happiness before him, 
 and prefaces the deed with a gush of pity for the victims ; whereas 
 the same thought puts lago in a transport of jubilant ferocity. Is 
 our idea of Satan's wickedness enhanced by his thus indulging 
 such feelings, and then acting in defiance of them, or as if he 
 had them not? or is lago more devilish than he? 
 
 208. out of fashion : — Out of method, without any setttled or- 
 der of discourse. 
 
 223, Lay thy finger thus: — On thy mouth to stop it, while thou 
 art listening to a wiser man. 
 
 176
 
 THE MOOR OF VENICE Notes 
 
 262, 263. index . . . prologue : — Indexes were formerly pre- 
 iixed to books. 
 
 314, in the rank garb: — In the right-dozvn, or straight-forward 
 fashion. In King Lear, Cornwall says of Kent in disguise, that 
 he *' doth affect a saucy roughness,' and constrains the garb quite 
 from his nature." Gower says of Fluellen, in King Henry V., 
 " You thought, because he could not speak English in the native 
 garb, he could not therefore handle an English cudgel." 
 
 320. "An honest man," says Johnson, "acts upon a plan, and 
 forecasts his designs ; but a knave depends upon temporary and 
 local opportunities, and never knows his own purpose, but at the 
 time of execution." 
 
 Scene III. 
 
 57. elements: — As quarrelsome as the discordia semina rerum; 
 as quick in opposition as fire and water. 
 
 62. Every scheme subsisting only in the imagination may be 
 termed a dream. 
 
 80-83. In The Captain of Beaumont and Fletcher, one of the 
 persons asks, " Are the Englishmen such stubborn drinkers ? " 
 and another answers thus : " Not a leak at sea can suck more 
 liquor: you shall have their children christened in mull'd sack, 
 and at five years old able to knock a Dane down." And in Henry 
 Peacham's Complcat Gentleman, 1622, we have the following: 
 " Within these fiftie or threescore yeares it was a rare thing with 
 us to see a drunken man. But since we had to doe in the quarrel! 
 of the Netherlands, the custom of drinking and pledging healthes 
 was brought over into England ; wherein let the Dutch be their 
 owne judges, if we equall them not; yea, I think, rather excell 
 them." 
 
 85. I'll do you justice: — That is, drink as much as you do: 
 old pot-house slang. 
 
 87-94. These stanzas are copied, with a few slight variations, 
 from an old ballad entitled " Take thy old Cloak about thee," 
 which is reprinted entire in Percy's Reliques. 
 
 122, 123. How differently the liar speaks of Cassio's soldiership 
 to Mcntano and to Roderigo ! He is now talking where he is 
 liable to be called to account for his words. 
 
 130. If he have no drink, he will keep awake while the clock 
 strikes two rounds, or four-and-twenty hours. The word horo- 
 loge is familiar to most of our ancient writers: Chaucer often 
 uses it. 
 
 177
 
 Notes TRAGEDY OF OTHELLO. 
 
 252. Lead Jiim off: — Malone thought that these words were a 
 stage direction which had crept into the text, because " in our old 
 plays all the stage directions were couched in imperative terms." 
 " Such," says White, " is my opinion, and such it was before I 
 saw Malone's note, but for a different reason. If Othello had or- 
 dered the removal of Montano, he would have said, not ' Lead 
 him off,' but ' Lead him azuay.' We speak of a man's being or 
 having been led off, or on, in the sense of away, or onward ; but 
 when we direct a man to be taken from where we are, we say 
 ' away,' unless we are upon a staging, or some place of that kind, 
 which, for Shakespeare's purposes, Othello was not. The rhythm 
 of this command, too, is not like that of Shakespeare's hemistichs. 
 But as Folio and Quartos unite in the reading in question, I do 
 not venture to change it upon mere opinion." Rolfe retains this 
 reading. Hudson (Harvard ed.) omits it. 
 
 354. 355- Parallel course : — Course parallel to or agreeing with 
 his good ; coinciding with his wish or design. 
 
 356. When devils will instigate to their blackest sins, they 
 tempt, etc. We repeatedly meet with the same use of put on, and 
 of suggests and its cognates for tempt. 
 
 382, 383. Though other things, etc. : — Clarke's explanation is, 
 " Although our other plans are growing to maturity, yet the 
 fruits of our scheme for the removal of Cassio, as it first bore 
 promising blossom, will naturally first ripen. lago is trying to 
 inspire Roderigo with patience for the ripening of his plan against 
 Desdemona by bidding him remember* that meanwhile his plan 
 against Cassio is succeeding." Johnson explains the passage thus: 
 " Of many different things, all planned with the same art and 
 promoted with the same diligence, some must succeed sooner than 
 others, by the order of nature. Everything cannot be done at 
 once; we must proceed by the necessary gradation. We are not 
 to despair of slow events any more than of tardy fruits, while the 
 causes are in regular progress, and the fruits grow fair against 
 the sun." 
 
 ACT THIRD. 
 Scene L 
 
 2. It was usual for friends to serenade a new-married couple 
 on the morning after the celebration of the marriage, or to greet 
 them with a morning song to bid them good morrow. 
 
 178
 
 THE MOOR OF VENICE Notes 
 
 42. In consequence of this line a doubt has been entertained con- 
 cerning the country of lago. Cassio was undoubtedly a Floren- 
 tine, as appears by the first Scene of the play, where he is ex- 
 pressly called one. That lago was a Venetian is proved by a 
 speech in the third Scene of this Act, and by what he says in the 
 fifth Act, after having stabbed Roderigo, All that Cassio means 
 to say in the present passage is. " I never experienced more hon- 
 esty and kindness, even in one of my own countrymen." 
 
 44. your displeasure : — The displeasure you have incurred from 
 Othello. 
 
 Scene III. 
 
 14 et seq. That policy, etc. : — Johnson explains this as fol- 
 lows : He may either of himself think it politic to keep me out 
 of office so long, or he may be satisfied with such slight reasons, 
 or so many accidents may make him think my readmission at that 
 time improper, that I may be quite forgotten. 
 
 23. / // zi.'atch him tame: — Hawks and other birds are tamed 
 by keeping them from sleep. To this Shakespeare alludes. 
 
 90. The word wretcli was a term of the fondest tenderness and 
 endearment. Shakespeare often uses it so. 
 
 91, 92. The meaning is, " Ere I cease to love thee, the world 
 itself shall be reduced to its primitive chaos." But is used in its 
 exceptive sense; hut that, or "if I do not love thee." 
 
 96. He did, etc. : — In Act I. Sc. ii., when lago, speaking of the 
 Moor to Cassio, says, " He 's married," Cassio asks, " To whom? " 
 Yet here he seems to have known all about it. Of course the ex- 
 planation is, that Cassio there feigned ignorance, in order to keep 
 his friend's secret till it should be publicly known. 
 
 123. close delations: — "Close delations" are secret accusings, 
 intimations. So in Ben Jonson's Volpone, II. iii. : " Yet, if I do 
 it not, they may delate my slackness to my patron." It should be 
 noted, that in all this part of the dialogue the doubts started in 
 Othello by the villain's artful insinuations have reference only to 
 Cassio. There is not the least sign that the Moor's thoughts any- 
 wise touch his wife; and lago seeems perplexed that his sus- 
 picions have lighted elsewhere than he had intended. 
 
 136 et seq. Utter my thoughts, etc.: — Who has so virtuous a 
 breast that some impure conceptions and uncharitable surmises 
 will not sometimes enter into it; hold a session there, as in a 
 regular court, and " bench by the side " of authorized and lawful 
 
 179
 
 Notes TRAGEDY OF OTHELLO. 
 
 thoughts? A leet is also called a law-day. " This court, in whose 
 manor soever kept, was accounted the king's court, and commonly 
 held every half year " : it was a meeting of the hundred " to cer- 
 tify the king of the good manners and government of the in- 
 habitants." 
 
 i66, 167. the green-eyed monster, etc.: — Hanmer changed mock 
 to make, and the change has been frequently adopted, among 
 other commentators, by Hudson. Schmidt conjectures that make 
 may be correct. Furness and Rolfe adhere to mock, the former 
 remarking: "The meat that jealousy feeds on is the victim of 
 jealousy, the jealous man, who is mocked with trifles light as 
 air." White says that jealousy " is fed by the objects of its open 
 scorn and derision. For we all know, as well as lago, that 
 the green-eyed monster is like Pistol, and if it ' can mock a leek,' 
 it ' can eat a leek.' Had the original text read make there could 
 have been no question as to its soundness. But both Folio and 
 Quarto have, which doth mocke. The curious reader will find 
 five pages of comment upon this passage in the Variorum of 1821." 
 
 173. riches fineless, etc. : — JFineless is endless, unbounded. War- 
 burton observes that this is finely expressed — winter producing 
 no fruits. 
 
 1 82. exsuMicate : — This is the only known instance of exsuf- 
 Hicatc. Phillips interprets sufHation " a puffing up, a making to 
 swell with blowing." In Platus we have " suiHavit nescio quid 
 uxore " ; which Cooper renders. " He hath whispered something 
 in his wifes eare whatsoever it be." Richardson's explanation is, 
 " Exsiifiiicate, in Shakespeare, is not improbably a misprint for 
 exsutHate, that is, etflate or eMatcd, puffed out, and, consequently 
 exaggerated, extravagant ; to which blown is added, not so much 
 for the sake of a second epithet, with a new meaning, as of giving 
 emphasis to the first." 
 
 249. You shall discover whether he thinks his best means, his 
 most powerful interest, is by the solicitation of your lady. 
 
 259,260. And knows . . . dealings: — "He knows with a 
 learned spirit all qualities of human dealings." 
 
 260. Haggard is wild, unreclaimed; commonly used of a hawk. 
 So in Sir Thomas Browne's Religio Medici : " Thus I teach my 
 haggard and unreclaimed reason to stoop to the lure of faith." 
 A passage in The White Devil, or Vittoria Corombona, 1612, 
 shows that the term was sometimes applied to a wanton : " Is this 
 your perch, you haggard? fly to the stews." 
 
 292. hundred : — Here used for an indefinite number ; still it 
 
 180
 
 THE MOOR OF VENICE Notes 
 
 '^Iiows that the unity of time is much less observed in this play 
 ihan some hate supposed. Thus far only one night since that of 
 the marriage has been expressly accounted for; and this was the 
 night when the nuptials were celebrated, and Cassio cashiered; 
 though several must have passed during the sea-voyage. From 
 lago's soliloquy at the close of Act I., it is clear he had his plot 
 even then so far matured, that he might often woo his wife to 
 steal the handkerchief while at sea. Moreover, we may well 
 enough suppose a considerable interval of time between the first 
 and third Scenes of the present Act ; since Cassio may not have 
 had the interview with Desdemona immediately after he engaged 
 Emilia to solicit it for him. 
 
 296. ta'en out : — Meaning that she will have it copied. Her 
 first thoughts are to have a copy made of it for her husband, and 
 restore the original to Desdemona ; but the sudden coming in of 
 lago, in a surly humour, makes her alter her resolution. 
 
 330. Look, ivhere he comes! — "That is," explains Steevens, 
 " I knew the least touch of such a passion would not permit the 
 Moor a moment of repose; I have just said that jealousy is a 
 restless commotion of the mind; and look, where Othello ap- 
 proaches, to confirm my observation." 
 
 350 et scq. There is some resemblance between this speech and 
 the following lines in Peek's Farewell to the Famous and For- 
 tunate Generals of our English Forces, 1589: — 
 
 "Change love for armes ; gyrt to your blades, my boyes; 
 Your rests and muskets take, take helme and targe, 
 And let god Mars his trumpet make you mirth, 
 The roaring cannon, and the brazen trumpe. 
 The angry-sounding drum, the whistling fife, 
 The shriekes of men, the princelie courser's ncy." 
 
 352. In mentioning the £fe joined to the drum, Shakespeare, as 
 usual, paints from life ; those instruments, accompanying each 
 other, being used in his age by the English soldiery. The fife, 
 however, as a martial instrument, was afterwards discontinued 
 for many years, but at length revived by the British guards under 
 the Duke of Cumberland, when they were encamped before 
 Maestricht in 1747, and thence adopted into other English regi- 
 ments of infantry. 
 
 449,450. Swell . . . tongues! — Szvell, because the freight 
 thou art charged with is that of poison, as from the deadly bites 
 of asps. 
 
 181
 
 Notes TRAGEDY OF OTHELLO. 
 
 467-469. The meaning here, as explained by Mr. Joseph Crosby, 
 is : " Let him command whatever bloody work he may, to per- 
 form it shall be with me a matter of conscience." 
 
 Scene IV. 
 
 24. / know not: — Objection has been made to the conduct of 
 Emilia in this scene, as inconsistent with the spirit she afterwards 
 shows. But it is not easy to discover any such inconsistency. 
 Want of principle and strength of attachment are often thus seen 
 imited. Emilia loves her mistress deeply ; but she has no moral 
 repugnance to theft and falsehood, apprehends no fatal conse- 
 quences from the Moor's passion, and has no soul to conceive 
 the agony her mistress must suffer by the charge of infidelity ; and 
 it is but natural that when the result comes she should be the 
 more spirited for the very remembrance of her own guilty part 
 in the process. It is the seeing of the end that rouses such people, 
 and rouses them all the more that they themselves have served 
 as means. 
 
 26. crusadoes : — It appears from Rider's Dictionary that there 
 were three sorts of crusadoes ; one with a long cross, one with a 
 short cross, and the great crusado of Portugal. They were of 
 gold, and differed in value from six shillings and eight pence to 
 nine shillings. 
 
 47. nezv heraldry: — This "new heraldry" appears to be an al- 
 lusion to the bloody hand borne on the arms of the new order of 
 baronets, created by James I. in 161 1. Malone, with much prob- 
 ability, quotes, in illustration of the text, the following from the 
 Essays of Sir William Cornwallis, 1601 : " We of these later 
 times, full of a nice curiositie, mislike all the performances of 
 our forefathers; we say they were honest plaine men, but they 
 want the capering wits of this ripe age. They had wont to give 
 their hands and hearts together, hutzve think it a finer grace to 
 looke asquint, our hand looking one way and our heart another.'" 
 
 57. a charmer: — Used for an enchanter in the Psalms. So in 
 Perkins's Discourse of the damned Art of Witchcraft, 1610: "By 
 witches we understand not only those which kill and torment, but 
 all charmers, jugglers, all wizards, commonly called wise men 
 and wise women." 
 
 65. To give it her: — Of course her refers to the noun implied 
 in wive. In the last scene of the play, Othello speaks of the hand- 
 kerchief as " an antique token my father gave my mother." This 
 
 182
 
 THE MOOR OF VENICE Notes 
 
 has been thought an oversight ; Steevens regards it as a fresh 
 proof of the Poet's art. " The first account," says he, " was pur- 
 posely ostentatious, in order to alarm his wife the more. When 
 he again mentions it, the truth was sufficient." 
 
 74. dyed in mummy : — The balsamic liquor running from 
 mummies was formerly celebrated for its anti-epileptic virtues. 
 It was much coveted by painters, as a transparent brown colour 
 that threw a warmth into the shadows of a picture. 
 
 i6g. "What are you doing away from home? " We repeatedly 
 meet with the same phraseology in Shakespeare. 
 
 173. A week away : — It would seem, by this, that seven days 
 at least have elapsed since Cassio was cashiered ; perhaps much 
 more, as the " leaden thoughts " may have been kept off for some 
 time by the hopes built upon Desdemona's promise of intercession, 
 and brought on again by the unexpected delay. 
 
 180. Take me this zvork out: — Copy this work in another hand- 
 kerchief. So in Middleton's Women beware Women : " She in- 
 tends to take out other works in a new sampler." Again, in the 
 Preface to Holland's Pliny, 1601 : " Nicophanes gave his mind 
 wholly to antique pictures, partly to exemplify and take out pat- 
 terns, after that in long continuance of time they were decayed." 
 
 ACT FOURTH. 
 Scene I. 
 
 I. We must suppose that lago had been applying cases of false 
 comfort to Othello; as that, though the parties had been even 
 found exchanging endearments, there might be no harm done : it 
 might be only for trial of their virtue. In these pretended excu- 
 sings lago seeks only to intensify the sufferings which he pro- 
 fesses to allay. 
 
 8. The devil tempts their virtue by stirring up their passions, 
 and they tempt heaven by placing themselves in a situation which 
 makes it scarcely possible to avoid falling by the gratification of 
 them. Perhaps the story of St. Adhelm. related in Bale's Actes 
 of Englysh Votaries, is referred to: "This Adhelmus never re- 
 fused women, but wold have them commonly both at borde and 
 bedde, to mocke the Devyll with." 
 
 21,22. The raven was thought to be a bird of ill omen, given 
 to hovering about houses infected with the plague, 
 
 183
 
 Notes TRAGEDY OF OTHELLO. 
 
 28. Convinced: — Having either conquered her reluctance or 
 comphed with her wish. The proper meaning of convince is con- 
 quer or overcome. 
 
 41-43. Nature . . . instruction : — This passage has called 
 forth much critical discussion. As suggested by Johnson, Othello 
 seems to say, " This passion, which spreads its clouds over me, 
 is the effect of some agency more than the operation of words : 
 it is one of those notices which men have of unseen calamities." 
 Or the sense may be given, as by Sir J. Reynolds, something thus : 
 " Nature would not in Cassio clothe herself in such shadowing 
 passion, or would not give out such adumbrations of passion, 
 without some former experience, or the instruction of some fore- 
 going fact." 
 
 45. "The starts," says Warburton, "and broken reflections in 
 this speech have something in them very terrible, and show the 
 mind of the speaker to be in inexpressible agonies." The trance 
 is thus justified by Sir J. Reynolds: "Othello, in broken sen- 
 tences and single words, all of which have a reference to the 
 cause of his jealousy, shows that all the proofs are present at 
 once to his mind, which so overpower it that he falls into a 
 trance — the natural consequence." 
 
 69. Beds which really do not pertain to themselves alone ; beds 
 which are not peculiarly or specially their own, but are shared in 
 common with others. 
 
 121. Othello calls Cassio Roman ironically, probably in allusion 
 to his apparent elation, calling to Othello's mind the triumphs 
 or triumphant career of the Romans. 
 
 247, 248. If that the earth . . . crocodile: — By the doctrine 
 of equivocal generation new animals were supposed producible 
 by new combinations of matter. Shakespeare here alludes to the 
 fabulous accounts which make the crocodile the most deceitful 
 of animals. In Bullokar's Expositor, 1616, occurs the following: 
 " It is written that he will weep over a man's head when he hath 
 devoured the body, and will then eat up the head too." Where- 
 fore in Latin there is a proverb, " Crocodili lachrymae, crocodiles 
 teares, to signifie such teares as are feigned, and spent only with 
 intent to deceive or do harm." 
 
 265. Goats and monkeys! — In this exclamation Shakespeare has 
 shown great art. lago in Act III. Sc. iii., being urged to give 
 some ocular proof of the guilt of Cassio and Desdemona, tells 
 the Moor it were impossible to have ocular demonstration of it, 
 " were they as prime as goats, as hot as monkeys." These words 
 
 184
 
 THE MOOR OF VENICE Notes 
 
 still ring in the ears of Othello, who, being now fully convinced 
 of his wife's infidelity, explodes with this involuntary exclamation. 
 
 Scene II. 
 
 54,55. A fixed figure . . . finger at! — Much has been writ- 
 ten upon this famous passage, and various changes proposed. 
 " The time of scorn " probably means, as Knight says, the age of 
 scorn, that is, the whole period during which scorn may be said 
 to live. The "fixed figure" is simply the speaker himself, and 
 not, as been so much supposed, a figure on a dial. As to " slow 
 unmoving," the sense of it can be better felt than expressed : we 
 can see the sneer darting from the inexorable finger, ever slowly 
 moving zvitli the object, never moving from it; but we cannot 
 speak it in any words but Shakespeare's, as they stand in the text. 
 
 74. make very forges of my cheeks : — Othello has already, when 
 with lago, spoken Desdemona's imputed deeds very plainly; and 
 would Shakespeare have forgotten that Othello's cheeks were too 
 dark to show a blush? or still more, would he have referred the 
 blush in such a case to the countenance of the man when the 
 woman was present? In Titus Andronicus, IV. ii., Aaron, the 
 Moor, when Chiron says, " I blush to think upon this ignomy " 
 (of his mother's having a mulatto child), replies: — 
 
 '*Why, there's the privilege your beauty bears: 
 Fie, treacherous hue, that will betray with blushing 
 The close enacts and counsels of the heart ! 
 Here 's a young lad framed of another leer" 
 
 88. / cry you mercy : — That is, " I ask your pardon." 
 91. The office opposed to Saint Peter; alluding, evidently, to 
 " the power of the keys," which was given to the Apostles gen- 
 erally, and especially to Saint Peter as representing them. So 
 that the opposition is between Emilia as keeper of the gate of 
 Hell and Saint Peter as keeper of the gate of Heaven. The sense, 
 therefore, requires that the special emphasis, if there be any, 
 should be laid on opposite. 
 
 104. go by water: — Be expressed by tears. A similar conceit is 
 found in Hamlet, IV, vii. 186, 187 : — 
 
 " Too much of water hast thou, poor Ophelia, 
 And therefore I forbid my tears." 
 
 185
 
 Notes TRAGEDY OF OTHELLO. 
 
 144. speak within door : — Do not clamour so as to be heard be- 
 yond the house. 
 
 167. he does chide with you : — This was the phraseology of the 
 time. So Baret : " To complaine, to make a quarrel, to chide 
 zL'ith one for a thing. Expostulare et queri." So too in the Poet's 
 CXIth Sonnet: " O, for my sake do you zvith fortune cJiide." 
 
 212, 213. I grant . , . judgement: — " Shakespeare," says Ma- 
 lone, " knew well that most men like to be flattered on account 
 of those endowments in which they are most deficient. Hence 
 lago's compliment to this snipe on his sagacity and shrewdness." 
 
 226. goes into Mauritania: — This passage proves, so far as any- 
 thing said by lago may be believed, that Othello was not meant 
 to be a negro, as has been represented, both on the stage and off. 
 but a veritable Moor. His kindred, the Mauritanians — from 
 whose " men of royal siege he fetched his life and being." and 
 among whom he was about to retire — though apt enough to be 
 confounded with the negroes, were as different from them, ex 
 ternally, as brown is from black; internally, in mind and char- 
 acter, the difference was far greater. 
 
 236. He sups to-night with a harlotry: — See "a peevish self- 
 will'd harlotry," i King Henry IV., HI. i., and the very same 
 phrase in Romeo and Juliet, IV. ii. 
 
 Scene IH. 
 
 II. Hazlitt calls this "one of those side intimations of the fluc- 
 tuations of passion, which we seldom meet with but in Shake- 
 speare. He has here put into half a line what some authors would 
 have spun out into ten set speeches." 
 
 55-57- [Singing.'] These lines sung by Desdemona are from an 
 old ballad, entitled A Lover's Complaint, being forsaken of his 
 Love. The ballad may be found entire in Percy's Reliqucs. It is 
 there the lament of a man : Shakespeare adapted it to the sex of 
 "poor Barbara." Subjoined are the stanzas from which he bor- 
 rowed: — 
 
 A poore soule sat sighing under a sicamore tree ; 
 
 O willow, willow, willow ! 
 With his hand on his bosom, his head on his knee : 
 
 O willow, willow, willow ! 
 Sing, O the greene willow shall be my garland, 
 
 186
 
 THE MOOR OF VENICE Notes 
 
 The cold streams ran by him, his eyes wept apace ; 
 
 O willow, willow, willow ! 
 The salt tears fell from him, which drowned his face: 
 
 O willow, willow, willow ! 
 Sing, O the greene willow shall be my garland. 
 
 The mute birds sat by him, made tame by his mones ; 
 
 O willow, willow, willow ! 
 The salt tears fell from him, which soften'd the stones : 
 
 O willow, willow, willow ! 
 Sing, O the greene willow shall be my garland. 
 
 Let nobody blame me, her scorns I do prove ; 
 
 O willow, willow, willow ! 
 She was borne to be faire; I to die for her love: 
 
 O willow, willow, willow ! 
 Sing, O the greene willow shall be my garland. 
 
 "JZ- A joint-ring was anciently a token of troth-plight between 
 lovers, like the piece of broken gold in the Bride of Lanimermoor. 
 Dryden has a minute description of it in his Don Sebastian : — 
 
 " A curious artist wrought them 
 With joints so close as not to be perceiv'd ; 
 Yet are they both each other's counterpart : 
 Her part had Juan inscrib'd, and his had Zayda, 
 (You know these names are theirs,) and in the midst 
 A heart divided in two halves was plac'd. 
 Now, if the rivets of those rings enclos'd 
 Fit not each other, I have forg'd this lie ; 
 But, if they join, you must for ever part." 
 
 ACT FIFTH. 
 Scene I. 
 
 II. A quat, in provincial usage, was a pimple, which by rubbing 
 could be made to smart. Roderigo is called a quat in the same 
 manner that a low fellow was vulgarly termed a scab. To rub to 
 the sense is to rub to the quick. 
 
 187
 
 Notes TRAGEDY OF OTHELLO, 
 
 Scene IL 
 
 1. Othello's act is caused b}' her supposed crime. Herein alone 
 he finds his self-justification. 
 
 2. Steevens declares that there is " no classical authority " for 
 chaste stars. But Othello has authority as good, perhaps, as 
 classical, in the supposed unchastity of his wife, which is tJic ' 
 cause of his present purpose, and which the purity of the stars 
 withholds him from naming in their presence. No classical au- 
 thority ! The phrase itself is classical now. 
 
 21. this sorrow's heavenly: — Is of heavenward tendency. 
 
 65, A murder, etc. : — Some editors have managed to stumble 
 at this passage. The language is indeed compressed, but the 
 meaning seems clear enough. Othello goes about the killing of 
 his wife as an act of religion, and he fears lest her perjury may 
 excite his anger, and so corrupt the deed into an act of revenge. 
 This is Johnson's explanation: "Thou hardenest my heart, and 
 makest me kill thee with the rage of a murderer, when I thought 
 to have sacrificed thee to justice with the calmness of a priest 
 striking a victim." 
 
 82. Being done, etc. : — Othello regards the act as done, wlici 
 the conflict between his love and honour is fully over, his resolu- 
 tion finally taken, and his hand raised to strike. To admit any 
 pause in such a case, were but to prolong the suffering of the 
 victim. 
 
 88. So, so : — At these words, the Othello of the stage is made to 
 stab Desdemona. There is no such direction in any of the old 
 copies ; but still the stage-custom may be right ; as, in the agony 
 of the moment, and in his desire " not to have her linger in her 
 pain," Othello's resolution not to shed her blood might be over- 
 come. It seems more natural, too, that Desdemona should speak 
 after being stabbed than after being smothered to death. 
 
 183. charm your tongue : — To charm is to still or hush as with 
 a charm. Pliny informs us that favete Unguis was the constant 
 exclamation before any cJiarm was applied. From this circum- 
 stance the phrase to charm a tongue, may have originated. 
 
 192. / thought so then : — That is, when she gave Desdemona's 
 handkerchief to lago ; for even tJien Emilia appears to have sus- 
 pected it was sought after for no honest purpose. 
 
 212. A thousand times: — An indefinite number. See a hundred 
 times, III. iii. 2r2. 
 
 239. Strictly speaking, lago cannot be called a notorious vil- 
 
 188
 
 THE MOOR OF VENICE Notes 
 
 Iain, as his villainy was not kiiozvn. The meaning is egregious, 
 as in IV. ii. 140. 
 
 253. The way of tempering steel is by plunging it red-hot into 
 cold water; and the colder the water, the higher the temper at- 
 tained. Steevens has shown from Martial and Justin that in 
 Spain the waters of the Salo and the Chalybes, being remarkable 
 for coldness, were used in tempering swords. As Toledo blades 
 were famous all over Europe in the Poet's time, he might easily 
 learn that they were of the ice-brook's temper without going to 
 classical authorities. 
 
 286. / look dozvii toivards his feet : — Alluding to the devil's 
 fabled cloven foot. Othello looks down towards lago's feet to 
 see if he has that sign of being a devil, but then concludes that 
 he may be just as much a devil without it. 
 
 347. Coleridge remarks upon this passage : " Othello wishes to 
 excuse himself on the score of ignorance, and yet not excuse him- 
 self — to excuse himself by accusing. This struggle of feeling is 
 finely conveyed in the word base, which is applied to the rude 
 Indian, not in his own character, but as the momentary represen- 
 tative of Othello's." Whether Shakespeare meant an allusion to 
 any particular story of an Indian, or to the Indians as generally 
 described, is not quite clear ; probably, the latter. Thus in Dray- 
 ton's Legend of Matilda : " The wretched Indian spumes the 
 golden ore.'' So again in The Woman's Conquest, by Sir Ed- 
 ward Howard : " Behold my queen, who with no more concern 
 He cast away then Indians do a pearl, that ne'er did know its 
 value." 
 
 352. Aleppo : — It is said to have been immediate death for a 
 Christian to strike a Turk in Aleppo. 
 
 361. Spartan dog: — The dogs of Spartan breed were among the 
 most fierce and savage.
 
 TRAGEDY OF OTHELLO. 
 
 Questions on Othello, 
 
 1. What is known of the early editions of Othello; of the date 
 of its composition? 
 
 2. What can you say of the original stage Othello ; of the 
 sources of the plot ? 
 
 3. What is the duration of action in this play? 
 
 ACT FIRST. 
 
 4. How was Venice ruled at the time of the play; what was 
 the office of Duke of Venice; that of Senator? 
 
 5. What was the Council of State; why had it been convened? 
 
 6. What of the Cyprus ivars to which lago refers ; what was the 
 Sagittary? (About 1470 Cyprus, the scene of the entire action of 
 Othello, was annexed to Venice, and it continued under Venetian 
 rule until about 1571.) 
 
 7. Where does lago first make known his hatred of Othello ; 
 what cause was there for that hatred, as shown by lago? 
 
 8. What impression is made by lago's estimate of himself? 
 
 9. How account for Othello's influence over Desdemona ; for 
 Brabantio's reference of Desdemona's submission to Othello to 
 witchcraft? 
 
 10. Describe Shakespeare's general treatment of witchcraft ; 
 how far does it reflect the superstitious mind of his age? 
 
 11. Does the character of Roderigo include the sense of honour; 
 what led him to hate Othello? 
 
 12. Why should Othello speak in the same passage of the Can- 
 nibals and the Anthropophagi? 
 
 13. With a timorous disposition, as appears later, how does 
 Desdemona in this Act speak for herself so boldly? 
 
 14. Was Othello a negro? What answer to this is suggested by 
 his calling himself (HI. iii. 263, 387) black? What do we know 
 of the Moors of that day ? 
 
 15. Give a brief summary of the characters and action of Act I. 
 
 190
 
 THE MOOR OF VENICE Questions 
 
 ACT SECOND. 
 
 i6. What are the conditions under which this Act opens? 
 
 17. What purpose is served by introducing the Turkish fleet 
 and its destruction? 
 
 18. At first impression, what sort of a man is Cassio? 
 
 19. When lago, in -the soHloquy which ends Sc. iii., declares 
 Othello to be of a constant, loving, noble nature, does lago show 
 that he is capable of compunction? 
 
 20. Interpret this soliloquy as a whole, 
 
 21. What does Cassio think of drunkenness? Relate his expe- 
 rience of it. How are we affected by his repentance? 
 
 22. How do you regard lago's account to Othello of the in- 
 cidents following Cassio's indiscretion? 
 
 23. What part does lago wish Cassio to play ; what part Ro- 
 derigo ? 
 
 24. How in this Act does lago treat Roderigo ; why ? 
 
 25. Analyze the closing lines of Sc. iii. 
 
 26. What performance follows the purpose here outlined by 
 lago? 
 
 27. How does Desdemona impress Cassio? 
 
 28. Give a brief summary of Act H. 
 
 ACT THIRD. 
 
 29. Interpret the opening of the Act — Clown, musicians, etc. 
 
 30. What does the Clown mean by his question about the in- 
 struments having been in Naples? 
 
 31. What tragic sequence does this light action prelude? 
 2,2. Outline the character of Emilia. 
 
 33. Did she understand her husband? 
 
 34. Do you gain any definite idea from lago's speech to Othello 
 (Sc. iii. 144-154) ; what does Othello understand from it? 
 
 35. What is the meaning of this (Sc. iii. 165-167) ? — 
 
 " O, beware, my lord, of jealousy; 
 It is the green-eyed monster, which doth mock 
 The meat it feeds on." 
 
 26. Was Othello justified in attaching such weight to the words 
 of lago beginning, Slic did deceive her father, marrying you? 
 Was Desdemona's conduct in the matter cited reprehensible? 
 
 191
 
 Questions TRAGEDY OF OTHELLO, 
 
 Zy. Upon what does Othello base his opinion of lago's honesty? 
 
 38. How does lago so completely befool Othello? 
 
 39. What wrong directions does Othello's revenge take? 
 
 40. How does Desdemona apprehend the feeling of jealousy; 
 how does she regard the jealousy of Othello? 
 
 41. What of Desdemona's behaviour under Othello's suspicion? 
 
 42. Does Emilia's obedience to her husband after he has 
 snatched the handkerchief from her seem out of keeping with 
 her character? 
 
 43. Up to the end of this Act, how does the character of Des- 
 demona impress you; that of Emilia? 
 
 44. What new influence appears with the introduction of 
 Bianca; how does she show the effect of jealousy? What new 
 light does her appearance throw upon Cassio? 
 
 45. How much does Act HI. advance the action of the play? 
 
 ACT FOURTH. 
 
 46. Describe the increased efforts of lago to work upon the 
 jealousy and anger of Othello. 
 
 47. Does lago here exhibit any trace of human pity or feeling? 
 
 48. Does any other great character of Shakespeare approach 
 lago in heartlessness and diabolic spirit? 
 
 49. How are the sorrow and compassion of Othello portrayed 
 in Sc. i.? 
 
 50. How is shown the lowest depth of lago's devilish perfidy? 
 
 51. Explain (Sc. i. 248) Each drop she falls would prove a 
 crocodile. 
 
 52. Does Emilia betray any suspicion of her husband when she 
 says (Sc. ii. 130-133), / will be hanged, etc.? 
 
 53. Is Desdemona's song essential to the action of the drama; 
 what is its artistic or dramatic purpose; what similar incident in 
 Shakespeare does it recall? 
 
 54. How does Othello at first intend to kill Desdemona; what 
 other means does lago suggest, and why? 
 
 55. How does Desdemona receive Othello's accusation against 
 her ; how does Emilia treat it ? 
 
 56. Does lago deceive others as completely as he does Othello? 
 
 57. What relation does Act IV. bear to the main action of the 
 play? 
 
 192
 
 THE MOOR OF VENICE Questions 
 
 ACT FIFTH. 
 
 58. How would the death of Cassio or Roderigo further the 
 ends of lago? 
 
 59. What does Roderigo's confession in view of death show as 
 to his character? 
 
 60. By what means does lago still forward his schemes? 
 
 61. What is Othello's mental condition during most of this Act? 
 How does he justify himself in killing Desdemona? 
 
 62. Does Desdemona at last see that she and Othello have both 
 been betrayed? 
 
 63. How does Desdemona face Othello's final determination to 
 kill her; why does she beg for half an hour of grace? 
 
 64. How account for the fact that Desdemona died with a false- 
 hood on her lips; was it an intentional falsehood, a mistake, or 
 the result of a confused mind? 
 
 65. When Othello learns that Desdemona was innocent, how 
 does he act? 
 
 66. Explain (Sc. ii. 7) Put out the light, and then put out the 
 
 light. 
 
 67. What is the allusion in line 347: Like the base Indian, 
 threw a pearl away? 
 
 68. Explain lago's last speech in the play. 
 
 69. What is shown by comparing Desdemona and Emilia? 
 
 70. Is this play marked by Shakespeare's usual breadth of 
 treatment? 
 
 71. What is the purpose of soliloquy in the modern drama; has 
 it any relation to the chorus of ancient drama? 
 
 72. Describe the purpose and effect of lago's soliloquy at the 
 end of Act I. , ,., . 
 
 73. Does any other character of Shakespeare s soliloquize as 
 
 much as lago? 
 
 74. Could the subtle and wicked spirit and purposes of lago so 
 well be made known in any other manner? 
 
 75. How were love and marriage regarded by Othello ; by Des- 
 demona ; by lago; by Emilia? 
 
 76. Compare these characters in any respect to others m Shake- 
 speare. 
 
 77. Interpret Shakespeare's contrasting of humour and tragedy, 
 as in Act III., at its beginning, and at the opening of Sc. iv.; 
 
 193
 
 Questions 
 
 with what scene of Hamlet may it be compared in respect of 
 dramatic purpose? 
 
 78. In view of his character, what value has lago's estimate of 
 good name'? 
 
 79. In the mouth of villainy has the praise of virtue any ethical 
 significance? 
 
 80. What is the secret power by which a man like lago makes 
 even innocent persons, as well as circumstances, conspire to 
 serve his evil purposes? 
 
 81. Is the source of lago's influence over Othello more to be 
 seen in lago's own complex and diabolical genius or in Othello's 
 simplicity of nature? 
 
 82. What is the ethical import of this play as dealing with love, 
 jealousy, hate, revenge, etc.? 
 
 83. Does good here seem to be vanquished and evil prospered ; 
 is the influence of the play on the side of pessimism or of opti- 
 mism? 
 
 84. Indicate the usual contrasts between the jealousies of noble 
 souls and those of base. 
 
 85. Is there anywhere a better portrayal of such contrasts as 
 appear between Othello and lago than in this play? 
 
 86. What is to be said of the art whereby Shakespeare makes 
 the Moor so admirable, notwithstanding his limitations, and even 
 renders lago fascinating in spite of all his "inscrutable de- 
 pravity " ? 
 
 194
 
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