THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 OF CALIFORNIA 
 
 LOS ANGELES 
 
 GIFT OF 
 
 Professor 
 Llewelyn M. Buell 
 
 WITHDRAWN
 
 THE ARDEN SHAKESPEARE 
 GENERAL EDITOR : W. J. CRAIG 
 
 THE TRAGEDY OF OTHELLO
 
 THE WORKS 
 
 OF 
 
 SHAKESPEARE 
 
 Lhr 
 
 THE TRAGEDY OF OTHELLO 
 
 EDITED BY 
 
 H. C. HART 
 
 METHUEN AND CO. 
 
 36 ESSEX STREET: STRAND 
 
 LONDON 
 
 1903
 
 SRLF 
 
 CONTENTS 
 
 PACE 
 
 INTRODUCTION ix 
 
 THE TRAGEDY OF OTHELLO, THE MOOR OF VENICE . . i
 
 INTRODUCTION 
 
 THE best text we have of Othello is that of the Folio of 
 1623. On this text the following edition is mainly founded ; 
 and it is that of the Globe, Cambridge, and other modern 
 and reliable versions. 
 
 We have to consider the following editions of the play. 
 The first appearance in print was in Quarto, of the date 
 1622, with the following title : 
 
 THE Tragedy of Othello, The Moore of Venice. As 
 it hath beene diuerse times acted at the Globe, and at the 
 Black Friers, by his Maiesties Seruants. Written by William 
 Shakespeare. LONDON, Printed by N. O. for Thomas 
 Walkley, and are to be sold at his shop, at the Eagle and 
 Child, in Brittans Burffe. I622. 1 
 
 This is the first Quarto, Q i. 
 
 The next appearance of Othello was in the well-known 
 first Folio, F I, November 1623. 
 
 In 1630 Richard Hawkins issued a second Quarto of 
 Othello, with the same title-page, differing only in the 
 vignette, the date, and the words " Printed by A. M. for 
 Richard Hawkins, and are to be sold at his shoppe in 
 Chancery Lane, neere Sergeants Inne." 
 
 1 There is a vignette of clasped hands grasping a caduceus, flanked by cornu- 
 copise, and surmounted by a Pegasus, which does duty again on the title of Lear, 
 Quarto i. It appears to be the device of Nicholas Okes. 
 
 ix
 
 x INTRODUCTION 
 
 This is the second Quarto, Q 2. 
 
 In 1655 another Quarto (Q 3) was " Printed for William 
 Leak at the Crown in Fleet Street between the two Temple 
 Gates." And in 1 68 1 , a Player's Quarto appeared, reprinted 
 in 1687 and 1695. 
 
 The second, third, and fourth Folios were printed in 
 1632, 1663, and 1685. 
 
 We may dismiss the texts of the Quartos after the 
 second, except as curiosities ; and practically speaking the 
 four Folios may be regarded as one text. The third 
 Quarto is a worthless reprint of the second. 
 
 The first Quarto appears to have been printed from an 
 independent MS., which had been an early acting copy. 
 This circumstance is rendered probable by the fact that it 
 contains many oaths, expletives, and adjurations which are 
 either omitted altogether, or much modified in all the later 
 editions. These alterations were probably made in accord- 
 ance with the "Act against Swearing" (1606); and would 
 tend to prove that the first Quarto was printed from a copy 
 of a date prior to 1605 or 1606. Further mention of this 
 evidence will be found in the notes at I. i. 4. 
 
 In the interval between the printing of the first and 
 second Quartos the Folio appeared, for which Shakespeare's 
 friends and fellow-actors John Heming and Henry Condell 
 were responsible. The title-page states that the plays 
 therein are printed " according to the true originall copies " ; 
 and there is a similar statement in their Dedication. 
 
 We are to believe, then, that the play as printed in the 
 Folio came from Shakespeare's authorised version, a tran- 
 script belonging to the theatre ; and unless the Quarto can 
 establish a prior claim, the Folio must be accepted as the
 
 INTRODUCTION xi 
 
 primary text of Othello. This latter was the form in which 
 we may assume that it was known to and authenticated by 
 Shakespeare himself. Of the Quarto we have no history 
 except that contained in the title-page, and the following 
 prejiminary remarks by the publisher : 
 
 "THE STATIONER TO THE READER. 
 
 " To set forth a booke without an Epistle, were like to the 
 old Englishe prouerbe, A blew coat without a badge, 1 and 
 the Author being dead, I thought it good to take that piece of 
 worke upon mee. To commend it, I will not, for that which 
 is good, I hope euery man will commend, without intreaty : 
 and I am the bolder, because the Author's name is sufficient 
 to vent his worke. Thus leauing euery one to the liberty 
 of iudge-ment : I haue ventered to print this Play, and 
 leaue it to the generall censure. Yours, 
 
 " THOMAS WALKLEY." 
 
 From the study of the texts referred to, we learn the 
 following facts : 
 
 (1) The second Quarto is a great improvement upon 
 
 Q i; 
 
 (2) The Folio is better than either ; and 
 
 (3) The reason the second Quarto has improved in so 
 many respects upon the first, is from the assistance obtained 
 from the text of the intervening Folio. 
 
 1 Compare N. Breton, Wits Trenchmore, 1597 : "Olde ling without mustard 
 is like a blew coate without a cognisaunce." They were left off soon after the 
 accession of James. " Since Blew Coats were left off, the kissing of the hand is 
 the servingman's badge, you shall know him by't" (Sharpham, The Fleire, 
 Act ii., 1607). The badge or cognisance was the master's arms in silver fastened 
 to the left arm.
 
 xii INTRODUCTION 
 
 This is a peculiarity with regard to Othello. As a rule, 
 the text of the plays in the Folio has been taken from 
 the Quarto, where one previously existed. The texts in 
 the case of Othello must have been from independent MSS., 
 as indeed might have been almost expected from their 
 nearly simultaneous appearance. Why the Quarto appeared 
 at all may be a question, but the obvious answer is that 
 Walkley knew of the intended publication of the Folio, and, 
 being the possessor of an Othello MS., snatched the oppor- 
 tunity of putting a little money in his purse. 
 
 The superiority of the Folio is easily proved. In the 
 first place, it contains about 1 60 lines, undoubtedly genuine, 
 omitted in the first Quarto. In most cases these omissions 
 are set right by the second Quarto. Again, there are very 
 many errors or misprints in the first Quarto which are 
 correctly rendered by the Folio. There are, indeed, a cer- 
 tain number of important exceptions, where the readings of 
 the 1622 Quarto are better than the Folio. These are, 
 usually, common to the second Quarto, with the exception 
 of a few readings, as Mr. Evans points out in his valuable 
 Introduction to the reprint. Examples may be found at 
 the words in the present text " toged consuls," I. i. 25; 
 "officers of night" I. i. 183; "list to sleepe," II. i. 104; 
 " againe to inflame it," II. i. 230; "supervisor? III. iii. 395 ; 
 " good faith" IV. iii. 23. To refer to the numerous passages 
 where the Folio gives the correct reading, would be merely 
 to anticipate the collation set forth in the following pages. 
 For this collation I am considerably indebted to the Cam- 
 bridge Shakespeare and to Furness' Variorum edition of 
 this play. I have, however, gone through the whole care- 
 fully with regard to the three principal texts, and made
 
 INTRODUCTION xiii 
 
 constant use of several of the more important later editions. 
 I had, indeed, extended the collation altogether beyond the 
 prescribed limits, that is to say beyond what is here pro- 
 duced ; but the condensation was simple, and the labour 
 expended was all to the good for an intimate knowledge of 
 the text. 
 
 The question arises, How came these omissions to be 
 made in the first Quarto? Or, on the other hand, were 
 the 1 60 odd lines subsequent additions to the original 
 text? To arrive at any guess consonant with probability 
 we must consider the more important omissions. In the 
 first place, it is generally held that Shakespeare did not 
 revise his work, and it is therefore more unlikely that the 
 passages are additions due to afterthoughts, or improve- 
 ments, than that they are either excisions or careless 
 omissions in the first Quarto. Internal evidence connected 
 with the date argument is of no weight here, since all we 
 know of the date of the MS. of the first Quarto is its 
 publication ; and that its original version probably was 
 prior to 1605 or 1606, but whatever treatment the MS. 
 received in the way of alterations from that time to 1622 
 may belong to any portion of that period. 
 
 In many cases the omitted lines or passages are clearly 
 due to carelessness. This applies especially to dropt words 
 or short paragraphs, sometimes to the palpable injury of 
 the sense or of the metre. But in other cases the difference 
 seems to arise from a set purpose ; either of addition to the 
 one text or omission from the other. Take, for example, 
 to refer to the last Act first, the lines from " My mistress 
 here lies murdered in her bed," V. ii. 183-191. These 
 must have been cut out merely to shorten the play. They
 
 xiv INTRODUCTION 
 
 are of great importance with regard to Emilia's demeanour. 
 And it is hardly possible to imagine their being additions. 
 The same remark applies, only not quite so forcibly, to the 
 preceding lines 149 152, in the " iteration " passage ; and 
 to several others. On the other hand, it is hard to conceive 
 any reason, even that gross one of abridgment, which would ' 
 induce any hand to omit purposely such a passage as the 
 lines beginning " Be not afraid, though you do see me 
 weapon'd," V. ii. 264270; and these lines are not incap- 
 able of being subsequent additions. Nor are they capable 
 of being by any hand but Shakespeare's. This applies to 
 the beautiful protest of Desdemona beginning " Here I 
 kneel," IV. ii. 152165, with equal force; and to the mag- 
 nificent passage beginning " Never, lago. Like to the Pontic 
 sea," III. iii. 454-461. There never could have been an 
 Indian base enough to throw such pearls away intentionally ; 
 and their accidental omission seems equally unlikely. It is 
 a simple solution to imagine such passages as being possibly 
 later insertions ; and if this can be the case, possibly it may 
 assist us with regard to one or two passages, such as the 
 " new heraldry " metaphor (ill. iv. 47), suggestive of a later 
 date. 
 
 The text of Othello, as given to us by the Folio, is, on 
 the whole, an excellent text. There is no reason to assert 
 in any place that the reading is either certainly corrupt, or 
 undoubtedly spurious, as there is in many of Shakespeare's 
 other plays. There are assuredly several passages which 
 are of exceeding difficulty, and where we can be by no 
 means satisfied that we have arrived at the author's mean- 
 ing, or in some cases at any certain sense at all. This may 
 be because we have still to learn the force of language used
 
 INTRODUCTION xv 
 
 at that time in a growing state words whose budding 
 meaning it is almost impossible to be certain of. They 
 may have rendered an obvious sense to Shakespeare, 
 and even if he did on any occasion revise his work, it 
 does not seem to have ever occurred to him to illuminate 
 passages to us obscure since to the writer no doubt they 
 presented no such obscurity. This observation is made 
 only with reference to the abstruse passages in the present 
 play. 
 
 There are a few places where certain commentators 
 would appear to vote for excision of a few lines. Some of 
 these (they are duly noticed in the notes) are of a revolting 
 nature, but I do not agree in the freely expressed opinion 
 of these editors that they are not by Shakespeare. Such 
 an assertion is entirely unwarrantable. Reference may be 
 made to V. i. 33-36; V. ii. 313 et seq. In the scene 
 between Desdemona and lago (II. i.), an inferior hand 
 seems to me possibly to have lent unwelcome assistance, 
 but this is the merest conjecture, and based partly on 
 parallels referred to in the notes, which may be accepted by 
 others in an opposite direction. 
 
 The later Folios, and in a minor degree the later Quartos, 
 are useful when the premier editions afford misprints. They 
 often lend us assistance in orthography, or in grammatical 
 constructions; but in bare punctuation they usually make 
 confusion worse confounded. But it is in the gradual 
 modernisation of archaic spelling and certain idiomatic 
 forms of speech that the later Folios are of most interest. 
 Here they occasionally confirm expressions to which some 
 doubt attached. For this reason I have in many cases 
 preserved their collation in my notes. This is not the place
 
 xvi INTRODUCTION 
 
 to deal fully with these topics, which have received ample 
 consideration in the preliminary matter to the various re- 
 prints of the early texts, and which develop themselves in 
 collation. 
 
 In this edition the text is practically that of the Globe, 
 keeping the Folio reading rigidly paramount where there 
 was left an open question. A very few deviations will be 
 found, chiefly in punctuation marks and in division of lines, 
 where it appeared to me desirable ; sometimes leaning 
 towards the Cambridge Shakespeare reading, sometimes 
 towards that of my friend Mr. Craig, the editor of the 
 Oxford Shakespeare. 
 
 One or two departures in this text are of sufficient im- 
 portance to be mentioned here. At II. iii. 328, 1 read "the 
 denotement of her parts and graces," not denotement, and 
 herein I am justified by the elder texts. There has been 
 an error here in the collation which I hope I have set 
 right. 
 
 At III. iii. 1 24 I read " close dilations," following the 
 Folios ; while at the stumbling-block " in me defunct " 
 (I. iii. 265) the Folio reading "my" is necessary to the 
 sense I give the words. 
 
 At IV. ii. 65 I read "I here" with the elder texts, 
 not " Ay, there," of modern editions. My chief reason 
 for doing so is that I believe the words " thou young 
 and rose-lipp'd cherubin " must be addressed to Des- 
 demona. 
 
 A couple of other alterations have been suggested, but 
 not made; at the beginning of Act III. (line 20) "ye '11 
 away," i.e. "ye must away," may be a preferable sugges- 
 tion to those hitherto advanced. At present the passage
 
 INTRODUCTION xvii 
 
 seems to be incorrect. 1 One or two other mild proposed 
 invasions had better perhaps be left to slumber in my 
 notes. I had intended to place in the Introduction a 
 short summary of what appeared the more interesting of 
 my notes and explanatory illustrations, but I found they 
 were too numerous, and would waste so much space. 
 Possibly, too, they will be more mercifully dealt with in 
 quiet places. 
 
 The date of the appearance of Othello has been a 
 matter of much controversy. It is finally placed at 1604, 
 upon an almost unsupported statement of Malone, whose 
 accuracy and veracity in such matters are deemed unim- 
 peachable. Other circumstances tend to confirm this date, 
 while there have not been wanting critics with evidence in 
 favour of a date as late as 1 6 1 1 . 
 
 The following are Malone's statements. I quote from 
 Evans's Introduction to Quarto I. In a note to Dry- 
 den's Grounds of Criticism, edition 1800, p. 258, Malone 
 says : " I formerly thought that Othello was one of our 
 great dramatick poet's latest compositions, but I now 
 know from indisputable evidence that this was not the 
 case." Mr. Evans refers here to Athenceum, July 18, 
 1885, p. 90. Again, in Boswell's Malone, ii. p. 404, the 
 words occur, due to Malone : " We know it [Othello} was 
 acted in 1604, and I have therefore placed it in that 
 year." 
 
 Whence, then, did Malone obtain this knowledge ? 
 
 1 With regard to this crux another suggestion occurs to me. Cassio has 
 already ordered one tune, " Good morrow " by name. Can the words " for I '11 
 away " refer to another ? This punning reference to the catchword of a tune was 
 in constant use. The popular ballad of this period " Christmas's Lamentation " 
 had for its refrain " I '11 away, I '11 away, I '11 away, for here 's no stay. " The 
 ballad is in Chappell, and in Collier's Roxborough Ballads. 
 
 b
 
 xviii INTRODUCTION 
 
 Unfortunately here two things occurred which place us at 
 a loss for the full reply to this enquiry. The one was 
 Malone's death before he completed his second edition of 
 his Shakespeare ; the other was the " wicked and senseless 
 forgery " which tampered with a MS. in the Record Office, 
 entitled " The Accompte of the Office of the Reuelles of 
 this whole Yeres charge, in anno 1604 untell the last of 
 October 1605." The entry in that MS., which is believed 
 to be a forgery, is copied into Halliwell-Phillip's Outlines of 
 the Life of Shakespeare. It was exposed by Sir Thomas 
 Hardy. It runs as follows : 
 
 Ano 1605. 
 
 The Plaiers Hallamas Day being the first The Poete wch 
 
 By the kings of November A play in the mayd the plaies 
 
 Matis plaiers Banketinge house at Whithall Shaxberd. 
 
 called the Moor of Venis. 
 
 " Shaxberd " in the original is placed opposite Mesur. for 
 Mesur. See "[BOOK XII.] THE REUELLES BOOKE," 
 Cunningham's Extracts, Shakespeare Society, 1842, p. 203. 
 Now, although this entry is a forgery, inserted into a genuine 
 book, whereof several leaves are spurious, it is believed that 
 the statements are correct. It appears that Malone, in the 
 year 1791, obtained permission from Sir William Musgrave, 
 the First Commissioner of the Board of Audit, to make an 
 examination of the ancient manuscripts in his office, and 
 that he availed himself of the opportunity. This is proved 
 by a reference to his Variorum Shakespeare, iii. 361, 363. 
 And among the papers found in the portion of his library 
 which the Bodleian obtained, is a leaf which is not in his 
 handwriting, and which gives no clue to its origin, but which 
 contains the following :
 
 INTRODUCTION xix 
 
 " 1604 and 1605. Edd. Tylney. Hallamas in the 
 Banquetting hos. at Whitehall the Moor of Venis perfd. 
 by the K.'s players." 
 
 This entry is believed to be a portion of the original 
 material from which the forger drew for his entries. Malone 
 perhaps obtained the extract from Sir W. Musgrave, and 
 afterwards verified it. At anyrate it may be taken for 
 granted it is the information upon which Malone made his 
 statement "we know Othello was acted in 1604." The 
 question is discussed in Halliwell - Phillip's Outlines at 
 length. 
 
 There was another forgery relating to the date of Othello. 
 In 1836 Collier (New Particulars, p. 58) disputed Malone's 
 date, and announced his discovery that Othello was written 
 in 1602. He asserted this upon the strength of Accounts 
 preserved at Bridgewater House relating to the expenses of 
 entertaining Queen Elizabeth at Harefield in that year. 
 The whole most interesting subject is fully detailed in 
 Furness' invaluable Variorum edition of Othello (pp. 346 
 et seg.~). Staunton was the first to reject the evidence 
 formally. He says : " The suspicion long entertained that 
 the Shakespearian documents in that [Bridgewater] collec- 
 tion are modern fabrications having now deepened almost 
 into certainty, the extract in question is of no historical 
 value." This wretched group of forgeries has been fully 
 exposed by Ingleby in his Complete View of the Shak- 
 spere Controversy, pp. 261265. 
 
 These mysteries and occurrences with regard to the 
 first appearance of Othello seem to have arisen partly out 
 of an undoubted peculiarity in the first printed edition of 
 the play. In 1622 there were nineteen of Shakespeare's
 
 xx INTRODUCTION 
 
 plays imprinted, and known only upon the stage. Troilus 
 and Cressida and Pericles were published in 1 609. Why, 
 then, after a lapse of thirteen or fourteen years, was Othello 
 selected for publication, and all the others passed by? 
 And this, too, on the eve of the appearance of the Folio. 
 These are questions asked by Grant White when endeavour- 
 ing to establish a late date for the play. I presume it was 
 the mere coincidence of Thomas Walkley owning a MS., 
 and the high popularity of Othello. But whatever be the 
 cause, it is an accident which gave rise to much opportunity 
 for diversifying the text at the time, establishing as it did 
 the two parallels of Quarto and Folio texts on different 
 lines ; and to much fabrication of dates, as we see, hereafter. 
 The argument in favour of a late date is based upon 
 the " new heraldry " passage (ill. iv. 46, 47), and was 
 advanced by Warburton. See note to passage. The new 
 heraldry supposed to be referred to here was the order of 
 baronets created in i6ii,and granted the "bloody hand 
 of Ulster" for their arms in 1612. Malone at first believed 
 in this, but rejected the date on account of the proof he 
 obtained subsequently of the 1 604 date. He refers also to 
 a passage (quoted in my note) from Sir William Cornwallis, 
 which cannot refer to the baronetcy creation, and is very 
 similar to Shakespeare's words ; but it does not contain the 
 gist of the allusion " new heraldry." Any other evidence 
 of a later date is unimportant. The above passage, I am 
 inclined to believe, is an insertion of a later date, and does 
 bear the reference attributed to it. But I am not in the 
 least confident about it. In my note I adduce earlier 
 parallels for the " hands and hearts " antithesis, which 
 appears to have been a form of speech built upon a saying
 
 INTRODUCTION xxi 
 
 of Burleigh to Queen Elizabeth. It occurs in both Greene 
 and Peel. But to my mind it is the words " new heraldry " 
 that have to be dealt with. " Insertions " are extremely 
 obnoxious things to support or admit, and it would be 
 much preferable to reject the idea entirely. But why 
 " new " ? The instances I quote prove that the sentiment 
 was in vogue about I 5 90, or earlier ; but these words seem 
 to relate to an added meaning which has to be explained. 
 
 It will be seen that there is nothing reliable in support 
 of the 1602 date of performance. Nevertheless that may 
 well be correct, and may yet be established. It seems to be 
 a likely date for the composition of the play, since several 
 thoughts in Othello appear to be taken from Holland's 
 translation of Pliny's Natural History \ which appeared in 
 1 60 1. Malone mentioned this with regard to the Pontick 
 sea allusion in III. iii. 455 ; and a further illustration from 
 Pliny, which I quote, will strengthen the parallel. But 
 there are other passages which point quite as plainly to 
 this source, and, taking them as a total, their evidence 
 seems to me irrefutable. I refer to parallels in the notes of 
 this edition quoted at Anthropophagi, and men whose heads, 
 etc., I. iii. 144; at to! en out, III. iii. 297; at eclipse of 
 sun and moon, V. ii. 98, 99; at chrysolite, V. ii. 143; at 
 Drop tears as fast as the Arabian trees Their medicinal gum, 
 V. ii. 348, 349 ; and in several other passages. I have 
 met no better parallels to any of these passages in any 
 writer of an earlier date than Othello, and to most of them 
 none at all. Critics may reject this one or that one, but 
 as a general rule they may not be gainsaid. Indeed 
 outside Plutarch's (North's edition) Lives, it would be 
 difficult to produce an author so definitely honoured by
 
 xxii INTRODUCTION 
 
 Shakespeare's recognition as Philemon Holland in this 
 play. 
 
 Judged by metrical tests, Othello belongs to this period 
 of the dramatist's writings. An excellent analysis of these 
 will be found in Macmillan's Introduction to his edition of 
 this play, based upon Fleay's calculations (New Sh. Soc., 
 1874), and resolved into percentages. Macmillan gives 
 a wholesome caveat against " The Metrical Test pressed 
 too far." In the percentage of double-endings in blank 
 verse Othello is credited with 24.2 ; Macbeth^ 24.5 ; and 
 Hamlet, 24. This agrees closely with the assigned date. 
 This test is perhaps the only one worth the labour which 
 has been expended upon them, as affording anything like 
 reliable evidence. The test of the sense of the line con- 
 tinued into the next has yielded assistance. The pro- 
 portion of these also grows greater in Shakespeare's later 
 plays. By this test Fleay arrived at the date 1605 for 
 Othello. This is a subject upon which such different 
 opinions are entertained, that it is better to refer the reader 
 to the Discussion on it in the Transactions of the New 
 Sh. Soc. above referred to. 
 
 I have already mentioned an important testimony with 
 regard to the date, that of the omission of many oaths in 
 editions printed presumably from MSS. of a later date than 
 that from which the first Quarto was printed which con- 
 tains these expressions. Their admission and subsequent 
 omission must be attributed to the Act passed to restrain 
 the Abuses of Players in 1605-1606. 
 
 With regard to the historical period in which the 
 action of the play is placed, Reed says : " Selymus the 
 Second formed his design against Cyprus in 15 69, and
 
 INTRODUCTION xxiii 
 
 took it in 15/1. This was the only attempt the Turks 
 ever made upon that island after it came into the hands 
 of the Venetians (which was in the year 1473), wherefore 
 the time must fall in with some part of that interval. We 
 learn from the play that there was a junction of the 
 Turkish fleet at Rhodes, in order for the invasion of Cyprus, 
 that it first came sailing to Cyprus, then went to Rhodes, 
 there met another squadron, and then resumed its way to 
 Cyprus. These are real historical facts which happened 
 when Mustapha, Selymus's general, attacked Cyprus in 
 May 1570, which therefore is the true period of this 
 performance. See Knolles's History of the Turks, pp. 838, 
 846, 867." Knolles tells us that " Neere unto the haven 
 [Famagusta] standeth an old castle, with four towers after 
 the ancient manner of building" (Malone). This is the 
 castle of the play. 
 
 I have let Reed's note remain. But it does not release 
 the passage at I. iii. 2030 from an historical inconsistency, 
 if we accept Reed's explanation. Malone pointed out that 
 Rhodes had been taken by the Turks in the famous siege of 
 1522. For a full account of the fall of Rhodes in 1522, 
 and of Cyprus in 1572,866 Hakluyt, vol. ii. (1599). At 
 p. 182 (reprint 1809) of "The losse of Rhodes" is a 
 passage showing that demonstrations against Rhodes had 
 become a byword amongst the Turks, in connection with 
 an attack upon Cyprus, before the loss of either, " for the 
 spies . . . brought tidings to the castle of St. Peter and to 
 Rhodes, of all that was sayd and done in Turkic. Never- 
 thelesse, the sayd lord gaue no great credence to all that 
 was brought and told, because that many yeeres before, the 
 predecessors of the great Turke had made great armies :
 
 xxiv INTRODUCTION 
 
 and alway it was sayd that they went to Rhodes, the which 
 came to none effect. And it was holden for a mocke and a 
 by-word in many places, that the Turke would goe to besiege 
 Rhodes. And for this reason doubt was had of this last 
 armie, and some thought that it should have gone into 
 Cyprus or to Cataro, a land of the lordship of Venice." 
 
 The above passage appears to weaken Reed's historical 
 facts, or at least the force of them, and I am inclined to regard 
 them as mere coincidences with the action of the play. We 
 seem to be bound to take a period for the story prior to the 
 fall of Rhodes, one of those periods " many yeeres before " 
 mentioned by the " Reuerend Lord Thomas Dockwra," 
 Prior of Jerusalem, in the year 1524, the author of the 
 above account. 
 
 The story of Othello is taken from The Hecatomithii of 
 Giraldi Cinthio, where it forms the seventh of the Third 
 Decade. It was originally published at Monteregale, in 
 Sicily, in 1565, and frequently reprinted in Italy, but not 
 ^translated to English till 1795 by W. Parr. Farmer says he 
 saw an unfaithful translation by Gabriel Chappuys, Paris, 
 1 5 84, which has been reprinted by Victor Hugo. A 
 Spanish edition appeared in 1590 (Ency. Brit.'}. 
 
 The tale is a poor one, and although supplying Shake- 
 speare with the outlines of his plot, he departs widely from 
 the original. None of the characters in it are named, 
 except Disdemona, a virtuous lady of marvellous beauty 
 (una virtuosa Donna, di maravigliosa bellezzd). 
 
 The original story in full, with Parr's translation, is 
 given in the Shakespeare Library. Furness gives it with a 
 translation by J. E. Taylor, 1855. 
 
 The tale in Cinthio, though belonging to the period in
 
 INTRODUCTION xxv 
 
 which the Venetians occupied Cyprus (1473-1572), makes 
 no reference to the Turkish attack. The following is a 
 condensed version. 
 
 There lived at Venice a valiant Moor (un Moro molto 
 valoroso), who was held in great esteem for his services 
 and his military talent by the republic. A virtuous lady 
 of marvellous beauty, named Desdemona, fell in love with 
 him, moved thereto by his valour, not by feminine passion 
 (appetito donnescd). The Moor returned her love, and in 
 spite of her parents' opposition, who wished her to take 
 another husband, she married him, and they lived in the 
 greatest happiness. It occurred that the Venetian signiors 
 (i Signori Venetiani) resolved to appoint the Moor to the 
 command of Cyprus, a great honour, which, however, to 
 his wife's grief and surprise, he seemed to be troubled at. 
 I On questioning him he told her that his enjoyment of 
 "the rank conferred upon him was rendered insupportable 
 by the reflection that he should be separated from her, 
 never doubting that Desdemona would be loath to under- l 
 take the risks and fatigues of the journey. Upon this 
 she rallied him for distressing himself, saying that where 
 he went she would go with him, were it through fire 
 instead of water, so entirely was she devoted to him ; 
 and she bade him prepare for her voyage with all the 
 dignity suitable to the occasion. Overjoyed at this, the 
 Moor made the arrangements, and embarked with his wife 
 and his troops on board ship, arriving at Cyprus with a 
 perfectly tranquil sea. Amongst his troops he had an 
 ensign (un Alfierd), a man of extreme personal attractions, *-- 
 but utterly depraved. The Moor's simplicity was quite 
 imposed on by this man, to whom he was much attached.
 
 xxvi INTRODUCTION 
 
 The ensign took also his wife, a handsome and honest 
 woman (la quale era bella, et honesta giovane)> who was 
 greatly beloved by Desdemona. There was also a captain 
 (un Capo di squadrd}, who was very dear to the Moor, and 
 to whom Desdemona was very kind, knowing her husband's 
 regard for him. 
 
 Now this wicked ensign became desperately enamoured 
 of Desdemona, but he soon perceived his secret suit was 
 useless, and he dared not avow it openly. He persuaded 
 himself this was because she loved the captain, and he 
 determined to get rid of him. Moreover, his love for her 
 became the bitterest hate, and he resolved to destroy her 
 husband's love for her. He thought over many plans, all 
 detestable ; but a chance soon arrived. The captain got 
 into disgrace for a brawl, and was degraded from his rank. 
 Desdemona was very sorry for him, and importuned the 
 Moor to restore him, so that he told the wicked ensign he 
 feared he must restore the captain. The ensign seized the 
 chance, and insinuated that his wife had good reason to be 
 kind to him, and, by poisoning the Moor's mind, succeeded 
 in causing him to quarrel with his wife when she again 
 interceded on behalf of the cashiered officer. He again 
 consulted the ensign, in great trouble, and the latter told 
 him more plainly than before, and after feigning great 
 reluctance, and that he must in duty tell, and so forth, that 
 her chief pleasure was with the captain, since she had taken 
 an aversion to her husband's blackness (e venuta anoia questa 
 vostra nerezzd], 
 
 Then the Moor, although believing him, threatened 
 him furiously for this slander, and told him it would be 
 better for him to be born without a tongue, unless he made
 
 INTRODUCTION xxvii 
 
 him an eye-witness of what he told him. And the ensign 
 said he looked for that reward for his faithful offices 
 (amorevole ufficio}, that he was sorry he spoke, and that the 
 captain himself had boasted of his happiness. 
 
 The ensign now, knowing Desdemona's chastity, saw 
 how difficult it would be to satisfy the Moor, while the 
 latter waited in misery for the proof he was promised. He 
 determined at last to steal a certain handkerchief (pannicello 
 di naso) the Moor had given her. It was most skilfully 
 worked in the Moorish fashion (lavorato alia moresca 
 sottillissamente), and equally precious to both of them. 
 With this he proposed to lay a snare, and while Desdemona 
 was playing one day with his little daughter (a child of 
 three) in his house, to whom she was devoted, he stole it 
 from her girdle so cleverly, for she carried it with her, 
 that she never missed it. When she did miss it a few 
 days later she was much alarmed. Meanwhile the crafty 
 scoundrel stole into the captain's bedroom, and left the 
 handkerchief at the head of his bed, where he found it the 
 next morning. Not able to imagine how it got there, and 
 knowing it was Desdemona's, he thought it best to give it 
 to her, and as soon as the Moor left his house he went to the 
 back door and knocked. Fate helped the ensign, for at that 
 instant the Moor returned, and, hearing the knock, he called 
 out in a rage, " Who knocks ? " The captain fled without 
 answering, and the Moor asked Desdemona, who said she 
 did not know, which put the Moor into a fury he restrained 
 with difficulty. He told the ensign what had occurred, who 
 was greatly elated at this lucky accident. He told the 
 Moor that, if he concealed himself, he would so place him 
 that he would hear and see him in conversation with the
 
 xxviii INTRODUCTION 
 
 captain while he asked him all about this affair, as the 
 Moor requested. This was arranged, and the Moor was 
 
 '- deceived by the various movements the ensign made with 
 his head and his hands, and by his laughter, though he and 
 the captain were talking of every other thing rather than 
 his wife. As soon as they parted, the ensign, with great 
 reluctance, said the captain told him he visited his wife 
 whenever the Moor was away, and that, the last time, she 
 presented him with the handkerchief he had given her at 
 their marriage. When the Moor found that Desdemona 
 could not produce the handkerchief, he no longer doubted 
 
 - her guilt, and only considered how he could put both his 
 wife and the captain to death without incurring the blame. 
 He became very morose and strange to his wife, to her 
 great distress, nor would he satisfy her, though she ques- 
 tioned him again and again. She even questioned the 
 ensign's wife, weeping bitterly the while, and knowing the 
 ensign was in her husband's confidence. She said she 
 feared she would be a warning to Italian ladies not to 
 marry against their parents' wishes, and not to marry those 
 whom Nature and Heaven and manner of life estranged 
 from them. But the ensign's wife would tell her nothing, 
 
 ^ although she knew the whole truth. Her husband had 
 indeed attempted to make use of her to kill Desdemona, 
 but she would not consent. Fearing her husband, she 
 would not disclose a single thing (il tutto sapeva . . . 
 temendo del Marito, non ardiva di dirle cosa alcund). She 
 merely warned her to be careful not to make her husband 
 suspicious. 
 
 i! The Moor now wanted finally to see the handkerchief 
 in the possession of the captain. It so happened the latter
 
 INTRODUCTION xxix 
 
 had a wife at home who worked beautifully in embroidery, 
 and who on seeing the handkerchief determined to work 
 one like it before it was returned. As she did so at her 
 window the ensign points her out to the Moor, who was 
 quite convinced now that his most chaste wife was an 
 adulteress. 
 
 The Moor promising a large reward (for the captain 
 was a brave and skilful man) persuaded the ensign to 
 undertake to kill them both. He waylaid the captain on 
 his way to visit a courtesan one dark night, and cut off his 
 right leg with a blow of his sword. However, the captain 
 kept on his defence, and raising the cry of " Murder," 
 some soldiers came up, upon which the ensign fled, but 
 returned again with the crowd attracted by the noise. He 
 pretended to sympathise with the captain as though he had "" 
 been a brother, believing he would die. 
 
 On the following morning the kind-hearted Desdemona 
 was greatly grieved to hear of this occurrence, which in- 
 flamed the Moor so much that he consulted with the 
 ensign how she was to be killed forthwith. After re- 
 volving many plans, they agreed to the ensign's, which 
 was to beat her to death with a stocking full of sand, so 
 that the body would show no violence. They were then 
 to pull down a portion of the ceiling (which was old), and 
 say it had killed her. For this purpose the ensign 
 was concealed in a closet opening into the chamber. On 
 his making a noise there Desdemona rose, at her husband's 
 bidding, to see what it was, whereupon the ensign struck 
 her to the ground. And the Moor, instead of responding 
 to her call for help, reviled her as the wickedest of women, 
 who had met with her just reward for placing horns upon V
 
 xxx INTRODUCTION 
 
 her husband's head (coma in capo}. Another blow given 
 by the ensign completed the murder. They then laid 
 her on the bed, and, wounding her on the head, pulled 
 down part of the ceiling, calling aloud for help, and that 
 the house was falling. Great was the grief of the neigh- 
 bours when they found Desdemona lying dead beneath a 
 rafter. 
 
 Subsequently the Moor became almost mad with grief, 
 searching about the house for Desdemona. Then he con- 
 ceived the greatest hatred for the ensign, who was the 
 cause of her loss, and longed to kill him, fearing only the y 
 laws of Venice. But by degrading him from his rank, 
 there arose such hatred between them that the ensign 
 determined to injure the Moor. He sought out the captain, 
 who still lived, and inflamed him to have revenge, stating 
 that it was the Moor who had sought to kill him on 
 account of jealousy ; and for that he had murdered her, 
 saying the roof fell in. Upon this the captain accused the 
 Moor to the State on both charges, and called the ensign to 
 witness, who supported him, declaring the Moor had told 
 him everything. When the Venetian Signioria heard of 
 these crimes committed by a barbarian (usata dal Barbara) 
 they caused him to be brought pinioned from Cyprus to 
 Venice ; but no torture, of which they tried many sorts, > 
 would make him confess. He therefore escaped death, 
 but was sentenced to banishment, in which he was eventually 
 killed by his wife's relations. The ensign, continuing in 
 his villanies, died a miserable death in prison from internal 
 injuries received while being tortured in connection with 
 some further crimes. Thus was divine vengeance executed 
 upon the murderers of the innocent Desdemona ; and these
 
 INTRODUCTION xxxi 
 
 events were related in full by the ensign's wife, after his 
 death, for she was privy to them all. [With reference to 
 the Moor's blackness (nerezza), see note at " sooty bosom," 
 I. ii. 70.] 
 
 To some readers it will seem likely that Shakespeare 
 had some other or fuller version of the story than the 
 above as his material. The absence of any of his names 
 except Desdemona is an argument in support of this. 
 One or two positive pieces of evidence, such as Cassio's 
 commercial pursuits (I. i.) and the names " Sagittary " and 
 " Marcus Luccicos " (I. iii.), denoting some important per- 
 sonage connected with the historical events, together with 
 the general trend of the latter, suggest a foundation un- 
 known to us. 
 
 But the play on the whole, if we except the start and 
 the conclusion, agrees in much detail with the story. It is 
 unnecessary to call attention to the obvious discrepancies. 
 It may seem a matter of surprise that two highly dramatic 
 incidents were not made use of. I refer to the purloining of 
 the handkerchief by the little girl's unintentional assistance ; 
 and to the effective scene where the ensign leads the Moor 
 past the captain's window to enable him to see the wife of 
 the latter working at the " taking out " of the Moorish 
 embroidery. The rest of the story is a bare narration of 
 facts of no power whatever. All the characterisation and 
 delineation of intense passion ; all the subtle analysis of 
 motives, and portrayal of human nature at its very best and 
 at its very worst, belong to the master hand. 
 
 We have seen that the name Desdemona is the only 
 one which Shakespeare takes from Cinthio's tale. This name 
 is probably derived from Juo-Sat'/zwi^that is, the " unfortunate."
 
 xxxii INTRODUCTION 
 
 The name Othello is found, Steevens says, in Reynolds's 
 God's Revenge against Adultery, where the name I ago also 
 occurs. Both the names occur likewise in the History of 
 Euordanus, 1605. But both these works are of later date 
 than Othello. 
 
 lago is the Italian Jacob (or James), which means the 
 supplanter, another form of lachimo, whose disposition in 
 Cymbeline is in some respects a mild reflex of lago's. 
 Bardsley says : " It would almost seem as if Shakespeare 
 had had the original meaning of Jacob in his mind when he 
 took its Italian derivations for his two greatest villains, 
 lago, who is regarded as a masterpiece of intellectual 
 wickedness, and lachimo, whose cruel stratagem is one of 
 the stories common to the whole world, from the Highlands 
 to Mount Etna " (History of Christian Names, i. p. 5 8). 
 
 Emilia was a familiar name since the days of Chaucer 
 and Boccaccio's Teseide, when it was adopted all over 
 Europe. 
 
 The name lago occurs in Holinshed, Book III., ed. 
 1578, p. 14, as Mr. Craig has informed me: " I Ago \sic\ 
 or lago . . . was made governour of Brytayne, in the next 
 yere of the worlde, iiii. M.v.Clxx." The name Jago occurs 
 as a Staffordshire name in Fuller's Worthies. It is not 
 uncommon. 
 
 lago is the name of a nonentity in Dekker's Match 
 Mee in London, "an old play in 1625 "; and in Swetnam, 
 the Woman-hater (1620), lago is an honourable nobleman 
 of Sicilia. 
 
 The names of the characters in Shakespeare's plays are 
 rarely of real importance. He made his character, and 
 christened him as fancy suggested. In this he differed
 
 INTRODUCTION xxxiii 
 
 from his greatest contemporary Ben Jonson, whose names 
 are constantly of carefully imposed significance. The name 
 of Cassio may be, however, of import. See notes, I. i. 
 
 19-31. 
 
 A great deal has been written concerning the duration 
 
 of time necessary for the action of the play. Briefly speak- 
 ing, we are confronted with " two times " which do not in 
 the least degree harmonise. In the first place, the events of 
 the play carry us quickly along, so that, allowing whatever 
 we please for the journey to Cyprus, the subsequent occur- 
 rences comprise themselves into a brief space of from 
 Saturday to Sunday. The beginning of III. iii. informs us 
 that they all arrived in Cyprus on Saturday, if we are to 
 take the words " to-morrow night or Tuesday morn " 
 literally, since there has already been the morning after 
 their arrival when (ill. i.) Cassio provided the music. 
 After that there seems little room for a gap. Othello 
 goes at once in all probability to inquire from his wife 
 about the handkerchief. Bianca says (iv. i.) she received 
 it " even now." Lodovico is invited to supper that night, 
 in the same scene, and a little later in the next scene 
 the supper takes place, and at its close Othello accom- 
 panies Lodovico to his lodgings, after sending Desdemona 
 to bed, returning to her forthwith. There is therefore no 
 room for any lapse of time beyond these two days, or 
 parts of days, from the time when Othello married 
 Desdemona privately (he starts for Cyprus " that very 
 night," I. iii. 279), except that which the voyage occupied, 
 a distance of thirteen or fourteen hundred miles, and 
 sufficient to account for the space of about a week. 
 
 On the other hand, there are numerous places in the 
 c
 
 xxxiv INTRODUCTION 
 
 play where we are compelled to feel that a long time is 
 being made use of. Of the more important cases, that 
 which brings Lodovico to Cyprus, in order to recall Othello 
 and substitute Cassio in his place, almost as soon as they 
 arrived, is the most glaring; for we must imagine an 
 interval sufficient for the Council at Venice to have heard 
 from him, and considered over such an important matter 
 sufficiently, ere sending to depose him. Another notice- 
 able point (they are numerously alluded to in my notes) 
 lies in the beginning of IV. ii. This cross-examination of 
 Emilia implies a residence of some days, a week or two 
 at least, in Cyprus. Roderigo's complaint of his great ex- 
 penditure, and his being " every day " put off, in the same 
 scene, forces the same feeling upon us. And a dozen 
 other passages may easily be referred to, many of them 
 seeming to require not only a considerable period of 
 married life between Desdemona and Othello, but also 
 a continued sojourn at Cyprus. These things are held by 
 critics to be a great difficulty, to violate the laws of unity 
 of time, and to need explanation. Professor Wilson 
 (" Christopher North ") has treated the subject exhaus- 
 tively and at great length, dialoguewise, in BlackivoocFs 
 Magazine (1850). This review is given by Furness, and 
 a general summary of the conclusions arrived at. The 
 theory is known as the " Two Times " theory ; " the Short 
 Time for maintaining the tension of the passion, the Long 
 for a thousand general needs." The theory is very ingeni- 
 ous, but far too long to be more than barely referred to 
 here. It afforded opportunities for a most interesting 
 disquisition on the events of the play, and, however far it 
 carries or fails to carry conviction, it is an oasis in the arid
 
 INTRODUCTION xxxv 
 
 waste of criticism. Furness believes in it. Daniel rejects 
 it. Fleay offered another theory. Probably Shakespeare 
 troubled himself little about the question. It satisfied him 
 that he produced a work unequalled in power whether for 
 the stage or the study. How many careful readers do 
 actually find the time question a stumbling-block, unless 
 they are called upon to worry over it? And to what 
 extent does it produce any incongruity in the action ? Do 
 not the intervals, to be made use of as our fancy pleases, 
 from Scene to Scene, and from Act to Act, smooth over and 
 polish out of existence all these imaginary or exaggerated 
 structural difficulties ? Perhaps not always, but in this 
 play it seems to me they do. I cannot bring myself to 
 attach the apparently requisite importance to this depart- 
 ment of Othello criticism ; or to regard it indeed as much 
 more than an intricate and highly instructive intellectual 
 puzzle, to which there is probably no satisfactory solution. 
 The fact seems to be that Shakespeare follows, on the one 
 hand, the time occupied by the telling of the original story 
 to the end, where he closes up its dilated conclusions into 
 one grand climax, entirely his own conception. On the 
 other hand, it is needful that these be compressed into a 
 " more continuate time," for the purposes of action ; a neces- 
 sity that none had better practical dramatic knowledge to 
 enable him to carry out than Shakespeare. 
 
 The duration of this tale does not need such great 
 breaches of the unities, as is found in some plays, for 
 example, in the case of the Winter's Tale, and these are 
 not therefore placed prominently before us, or explained 
 away by any of the devices adopted in such emergencies. 
 He therefore lets the story fit itself into the time of action,
 
 xxxvi INTRODUCTION 
 
 seeing that its doing so involved no material incon- 
 gruity. 
 
 Othello stands in the front rank of Shakespeare's plays. 
 With the three tragedies, Lear, Hamlet, and Macbeth, the 
 highest pitch of greatness in dramatic art is reached, and 
 there are not wanting eminent critics who place Othello 
 at the very apex of this glorious pinnacle. 
 
 A mass of criticism and eulogy has arisen around 
 Othello. Some of it is excellent, and from that down to 
 puerility and odiousness (Rymer) we get it in varied shades. 
 Furness's Variorum edition is here of the utmost help, 
 enabling us to contrast the conclusions and weigh the 
 opinions of many minds. Into these I have no intention 
 to enter in any detail. Space alone is a sufficient deterrent. 
 Some, of especial merit, must, however, be placed before the 
 reader ; and if this part of this Introduction seems to be of 
 unsuitable brevity, I would call attention to the various 
 passages in my notes, where, as the action moves onward, 
 I have done more than enter into purely verbal criticism 
 and explanation, but have called attention to the develop- 
 ments and situations ; sometimes venturing to comment 
 upon their excellences, or analyse the motives and feelings 
 of the actors. 
 
 Dr. Johnson says of Othello : " The beauties of this play 
 impress themselves so strongly upon the attention of the 
 reader, that they can draw no aid from critical illustration. 
 The fiery openness of Othello, magnanimous, artless and 
 credulous, boundless in his confidence, ardent in his affec- 
 tion, inflexible in his resolution, and obdurate in his 
 revenge ; the cool malignity of lago, silent in his resent- 
 ment, subtle in his designs, and studious at once of his
 
 INTRODUCTION xxxvii 
 
 interest and his vengeance ; the soft simplicity of Desde- 
 mona, confident of merit, and conscious of innocence, her 
 artless perseverance in her suit, and her slowness to 
 suspect that she can be suspected, are such proofs of 
 Shakespeare's skill in human nature as I suppose it is in 
 vain to seek in any modern writer. 
 
 " The gradual progress which I ago makes in the Moor's 
 conviction, and the circumstances which he employs to 
 enflame him, are so artfully natural that, though it will not 
 perhaps be said of him [Othello] as he says of himself, that 
 he is ' a man not easily jealous,' yet we cannot but pity 
 him, when at last we find him ' perplexed in the extreme ' 
 . . . the virtue of Emilia is such as we often find, worn 
 loosely but not cast off, easy to commit small crimes, but 
 quickened and alarmed at atrocious villanies . . . Had the 
 scene opened in Cyprus, and the preceding incidents been 
 occasionally related, there had been little wanting to a 
 drama of the most exact and scrupulous regularity." 
 
 At these last words Coleridge has some remarks to 
 make upon the " unities." He finds occasion to make 
 ./-'exception to the " unity of action " (the other two being 
 " place" and "time") in noteworthy language. He says it 
 " would perhaps have been as appropriately, as well as 
 more intelligibly, entitled the unity of interest. With this 
 last the present question has no immediate concern ; in 
 fact, its conjunction with the former two is a mere delusion 
 of words. It is not properly a rule, but in itself the great 
 end, not only of the drama, but of the epic poem, the lyric 
 ode, of all poetry." 
 
 Mrs. Jameson in her Characteristics of Women wrote : 
 " The character of Hermione is addressed more to the
 
 xxxviii INTRODUCTION 
 
 imagination, that of Desdemona to the feelings. All 
 that can render sorrow majestic is gathered round Hermi- 
 one; all that can render misery heart-breaking is assem- 
 bled around Desdemona . . . the injured and defenceless 
 innocence of Desdemona so wrings the soul ' that all for 
 pity we could die.' . . . The character of Othello is 
 perhaps the most greatly drawn, the most heroic of any of 
 Shakespeare's actors ; but it is perhaps that one also of 
 which his reader last acquires the intelligence. . . . Emilia 
 in this play is a perfect portrait from common life, a 
 masterpiece in the Flemish style ; and though not 
 necessary as a contrast, it cannot be but that the thorough 
 vulgarity, the loose principles of this plebeian woman, 
 united to a high degree of spirit, energetic feeling, strong 
 sense, and low cunning, serve to place in bright relief the 
 exquisite refinement, etc., of Desdemona." 
 
 Maginn endeavours to defend lago. He says : " lago 
 had been affronted in the tenderest point. He felt that he 
 had strong claims on the office of lieutenant. . . . When he 
 first conceived his hatred against Othello he had no notion 
 that it would be pushed to such dire extremity." Maginn 
 says also : " lago is the sole examplar of studied personal 
 revenge in the plays." I think Maginn is lago's sole 
 champion. 
 
 Of all the commentators who have dealt at length with 
 Othello, none gives to me such pleasure as William Hazlitt. 
 After a few cogent and original remarks about tragedy in 
 general, he says (I quote from Bohn's edition, 1880): 
 " It \Othello\ excites our sympathy to an extraordinary 
 degree. The moral it conveys has a closer application to 
 the concerns of human life than that of almost any other
 
 INTRODUCTION xxxix 
 
 of Shakespear[.$7<:]'s plays. It comes directly home to the 
 bosoms and passions of men. The pathos in Lear is 
 indeed more dreadful and overpowering ; but it is less 
 natural, and less of everyday's occurrence. We have not 
 the same degree of sympathy with the passions described 
 in Macbeth. The interest in Hamlet is more remote and 
 reflex. That of Othello is at once equally profound and 
 affecting . . . 
 
 " The movement of passion in Othello is exceedingly dif- 
 ferent from that of Macbeth. In Macbeth there is a violent 
 struggle between opposite feelings, between ambition and 
 the stings of conscience, almost from first to last : in Othello 
 the doubtful conflict between contrary passions, though 
 dreadful, continues only for a short time, and the chief 
 interest is excited by the alternate ascendency of different 
 passions, by the entire and unforeseen change from the 
 fondest love and the most unbounded confidence to the 
 tortures of jealousy and the madness of hatred. . . . The 
 nature of the Moor is noble, confiding, tender, and generous ; 
 but his blood is of the most inflammable kind. . . . It is in 
 working his noble nature up to this extremity through 
 rapid but gradual transitions . . . that Shakespeare has 
 shown the mastery of his genius and of his power over the 
 human heart. The third Act of Othello is his finest display, 
 not of knowledge or passion separately, but of the two com- 
 bined, of the knowledge of character with the expression of 
 passion, of consummate art in the keeping up of appearances 
 with the profound workings of nature, and the convulsive 
 movements of uncontrollable agony, of the power of in- 
 flicting torture and of suffering it. ... If anything could 
 add to the force of our sympathy with Othello, or compas-
 
 xl INTRODUCTION 
 
 sion for his fate, it would be the frankness and generosity 
 of his nature, which so little deserve it. ... The character 
 of lago is one of the supererogations of Shakespeare's 
 genius. Some persons, more nice than wise, have thought 
 this whole character unnatural, because his villainy is with- 
 out a sufficient motive. Shakespeare, who was as good a 
 philosopher as he was a poet, thought otherwise. He knew 
 that the love of power, which is another name for the love 
 of mischief, is natural to man." The whole essay is excel- 
 lent, and should be read in full. Hazlitt selects passages 
 from the play to illustrate his expositions as he goes along. 
 Some critics place Othello first, if comparison be either 
 desirable or possible, amongst Shakespeare's plays. Mac- 
 beth is regarded (or was) as the most successful as an 
 acting play. Dowden places Lear as his " greatest single 
 achievement." Craig is inclined to place Othello above Lear. 
 Goethe has been quoted as regarding Hamlet as the " finest 
 manifestation of Shakespeare's genius " (Macmillan). Cole- 
 ridge considers Othello displays " the whole mature powers of 
 the author's mind in admirable equilibrium." While Mac- 
 aulay makes the emphatic statement that " Othello is, 
 perhaps, the greatest work in the world " (Essay on Dante], 
 Whatever the verdict be, nothing has ever surpassed it in 
 tragedy. Whether we consider the many exquisite beauties 
 of poetic diction continually recurring, the perfect skill with 
 which the situations and incidents are contrived, or the 
 power of the author to lead us by the hand into scenes of 
 the most harrowing mental suffering, of the most pitifully 
 moving sorrow, and then rack us with poignant regrets 
 and heartfelt sympathy none the less moving because 
 hopeless none the less real because fictitious, in which-
 
 INTRODUCTION xli 
 
 ever of these moods we arise from a study of Othello^ we 
 feel that perfection has been attained. The beauty and 
 skill are unequalled ; the strain of interest has reached its 
 utmost limit. 
 
 Why should we be made to suffer thus ? Is it good 
 for us ? Yes, because the one result obviously is that, 
 as Dowden says, " it is I ago whose whole existence has 
 been most blind, purposeless, and miserable a struggle 
 against the virtuous powers of the world by which he 
 stands convicted and condemned." Othello dies " upon a 
 kiss." He perceives his calamitous error. He recognises 
 Desdemona pure and loyal as she was. 
 
 To my thinking Othello is the most perfect play that 
 Shakespeare wrote. The central interests are more absorb- 
 ing and continuously in evidence than elsewhere. We are 
 not asked to fritter away our sorrows on any minor griefs. 
 Cassio's leg is nothing. A tempest hardly arouses our 
 interest. Never for a fraction of a scene do we lose 
 sight of the point at issue will this thorough-paced 
 villain succeed in his outrageous plots ? We sorrow for 
 Desdemona, and we suffer with Othello. We are horrified, 
 while we marvel, at lago's malignant skill ; and all the 
 while we feel that one purpose travels through the pages 
 and will have its way, and that purpose is revenge, lago's 
 baseless but self-satisfying vengeance. As ambition is 
 the keynote of Macbeth, ingratitude of Lear, intellect 
 strained to insanity of Hamlet, so the guiding principle 
 here is revenge. lago is indeed an embodied vengeance. 
 All the players are his puppets. Other villains are sus- 
 pected or watched. lago has the complete confidence of 
 everyone from start to finish. He is always " honest
 
 xlii INTRODUCTION 
 
 lago " to everybody. Roderigo needs a touch of the 
 whip now and then, but that is a device to show lago's 
 skill in doing it. In other plays the characters, as it were, 
 unfold one another. lago unfolds them all, including him- 
 self. If he had not been condescending enough to take us 
 into his confidence, what should we know of him ? Nothing. 
 No one gets to the bottom of him except Fate, and that 
 not till all his plans have succeeded ; for his personal success, 
 his captainship, and his suggestions of a fancy for Desde- 
 mona are mere " nifles and trifles " alongside of his revenge 
 and his glory in the skill of it. When he has succeeded he 
 closes his mouth. Probably he died quite happily in his 
 tortures. 
 
 A study of lago's soliloquies is of much interest. It 
 is a device that Shakespeare has used more powerfully 
 in Othello perhaps than elsewhere. I mean his scene- 
 ending soliloquies (like Ford's in Merry Wives), which 
 develop the plot. lago in this respect dominates the 
 actions as much as Prospero does (but how differently !) 
 in The Tempest. lago is not thrasonical. His purpose is 
 not loud but deep. It is no part of his " compliment extern," 
 and his mocking nature is as proof against emotion as it is 
 against the stings of conscience, or as Cassio's coat was 
 against Roderigo's sword. He joins his wits to his purpose, 
 and the former interest him more than the latter stirs him. 
 
 Two scenes there are more or less independent of lago. 
 One of these, the third in the first Act, down to line 300, 
 ought, in my opinion, to be a separate scene, letting the 
 conversation between lago and Roderigo form the fourth 
 in the Act. Neither have spoken before, and the rest of 
 the characters leave the stage. The previous part of that
 
 INTRODUCTION xliii 
 
 scene, between Othello and the senators, is Othello's own 
 proud and unbiassed glory of the whole play. In the bed- 
 chamber scene, it is all lago's handicraft ; it is there, and 
 in the preamble to it at the end of the previous Act (a part 
 of the same scene) where Emilia assists to undress her 
 mistress, it is there that Desdemona most fully occupies 
 our undivided attention. We love her there entirely for 
 her own sake, and know her apart from the actions and 
 reports of others. But lago is looking over our shoulders. 
 
 A few words with regard to Othello before the world 
 of Shakespeare's time and soon afterwards, and I have done. 
 The earliest known reference to the play is in the journal of 
 the visit of Prince Lewis of Wirtemberg to England in 1610, 
 written by his secretary Wurmsser, where the following 
 entry occurs : 
 
 " Lundi, 30 [April, 1610] S. E[minence]. Alia au 
 Globe, lieu ordinaire ou Ton Joue les Commedies, y fut 
 represente 1'histoire du More de Venise." 
 
 In a folio MS. in Huth's library (pp. 99, 100) there is 
 an elegy printed by Collier, Annals of the Stage, i. 430, 
 and verified by Ingleby and Furnivall. This elegy is 
 entitled, " A funerall elegie on ye Death of the famous 
 Actor Richard Burbedg, who dyed on Saturday in Lent the 
 13 March, 1618." It contains these lines: "hee's gone 
 & w th him what A world are dead, which he reuiu'd to be 
 reuiued soe, no more young Hamlett, ould Heironymoe, Kind 
 Leer, the Greued Moore, and more beside, that liu'd in him." 
 
 There are not many more references earlier than the 
 revival of the theatres after the Civil War times. These re- 
 ferences are tabulated at the end of Furnivall's Supplement 
 to Ingleby's Centurie of Prayse (New Sh. Soc.). If we take
 
 xliv INTRODUCTION 
 
 them as a test of popularity there were few plays before 
 Othello in the years preceding 1642. These were Hamlet ', 
 Romeo and Juliet, and Richard III. But in the succeeding 
 years, from 1642 to 1693, Hamlet alone takes precedence. 
 
 Two of these later notices are interesting. Samuel 
 Pepys says, August 20, 1 666 : " To Deptford by water, 
 reading Othello, Moor of Venice, which I ever heretofore 
 esteemed a mighty good play, but having so lately read 
 The Adventures of Five Houres, it seems a mean thing.' 
 This play, reprinted in Hazlitt's Dodsley, is nearly as 
 absurd as Pepys's opinion. "Thomas Jordan, 1660-1664 
 ... A Prologue to introduce the first Woman that came 
 to Act on the Stage in the Tragedy, call'd The Moor of 
 Venice." 
 
 Finally, I have the pleasure of thanking, for their help 
 and valuable advice, two friends, whose names are land- 
 marks in modern Shakespearian study Professor Dowden 
 and Mr. W. J. Craig.
 
 ERRATUM 
 
 At page 4 there is an error in my notes. Ben Jonson {Masque of 
 Owls) refers probably to a later Act. Early in May 1621 "an Act 
 came up from the Commons, passed in the said House, against swear- 
 ing, blaspheming, and drunkenness," Court and Times of James /., ii. 
 253, 254. In my Introduction, therefore (p. x), the words should read, 
 "Act to restrain the abuses of players," etc. 
 
 H. C. H.
 
 THE TRAGEDY 
 
 OF 
 
 OTHELLO, THE MOOR OF VENICE 
 
 v
 
 DRAMATIS PERSONS 
 
 DUKE OF VENICE. 
 
 BRABANTIO, a Senator. 
 
 Other Senators. 
 
 GRATIANO, Brother to Brabantio. 
 
 LODOVICO, Kinsman to Brabantio. 
 
 OTHELLO, a noble Moor in the service of the Venetian State. 
 
 CASSIO, his Lieutenant. 
 
 IAGO, his Ancient. 
 
 RODERIGO, a Venetian Gentleman. 
 
 MONTANO, Othelltfs predecessor in the government of Cyprus. 
 
 Clown, Servant to Othello. 
 
 DESDEMONA, Daughter to Brabantio and Wife to Othello. 
 EMILIA, Wife to lago. 
 BIANCA, Mistress to Cassio. 
 
 Sailor, Messenger, Herald, Officers, Gentlemen, Musicians, and 
 Attendants. 
 
 SCENE : Venice : a Seaport in Cyprus. 
 
 Dramatis Personse] At the end of the play in F I ; prefixed first in F 4 ; 
 omitted Q i, 2. "The Names of the Actors." "Othello, the Moore" heads 
 the list; then "Brabantio, Father to Desdemona. Cassio, an Honourable 
 Lieutenant. lago, a Villaine. Rodorigo, a gtiltd Gentleman. Duke of 
 Venice. Senators. Montano, Governour of Cyprus. Gentlemen of Cyprus. 
 Lodovico and Gratiano, two Noble Venetians. Saylors. Clowne. Desdemona, 
 Wife to Othello. ^Emilia, Wife to lago. Bianca, a Curtezan."
 
 THE TRAGEDY 
 
 OF 
 
 OTHELLO, THE MOOR OF VENICE 
 
 ACT I 
 
 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, 5 
 
 Abhor me. 
 
 Act I, Scene /.] Acts and scenes not marked in Qq, except at beginning of 
 Acts II., III., IV., V., marked throughout in Ff. Venice. A Street] Capell. 
 
 I. Tush] Qq, omitted Ff ; much] Qq, F I ; very F 2, 3, 4. 2. thou] Ff, Q 2 ; 
 you Q ; had] held Capell conj. 4. 'Sblood] Q r, omitted in the rest ; you will] 
 Q I ; you'lY I, 2. 
 
 I. Tush] an old interjection ; "tussch ! marriage of Othello. And we are to 
 
 for youre tales, pai touche not entente," understand a course of previous dealing 
 
 York Mystery Plays, circa 1400, Toul- for Desdemona between Roderigo and 
 
 min Smith, p. 324. See note at "pish," lago, the former assuming already that 
 
 II. i. 268. Cotgrave equates Tush with he has been "fobbed." 
 
 French Trut, " an interjection import- 4. 'Sblood] This form of profanity was 
 
 ing indignation " (1611). rebuked by Chaucer in the Pardonere's 
 
 3. this] We are at once introduced to Tale and the Persons'* Tale : " For 
 
 a mainspring of the plot, the secret Christe's sake me swereth not so sin- 
 
 3
 
 OTHELLO 
 
 [ACT i. 
 
 Rod. Thou told'st me thou didst hold him in thy hate. 
 
 I ago. Despise me, if I do not. Three great ones of the city, 
 In personal suit to make me his lieutenant, 
 Off-capped to him : and, by the faith of man, i o 
 
 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, i 5 
 
 Nonsuits my mediators ; for, " Certes," says he, 
 " I have already chose my officer." 
 And what was he ? 
 
 io. Off-capped] Off-capt Ff; Oft capt Qq ; Oft capped Rowe, Steevens, and 
 others. 14. epithets} F 3, 4 ; epithites Qq, F I, 2. 15. And, in conclusion] 
 Q I ; omitted Ff, Q 2, 3. ij. chose] Ff, Q 2, 3 ; chosen Q I. 
 
 fully, in dismembringe of Crist, by soule, 
 herte, bones and body." See Skeat's 
 Chaucer, v. 275, 276. For the bearing 
 of these expressions upon the date of 
 Othello, see Introduction, p. I. In 1605 
 an Act was passed, known as the Act 
 against Swearing (Ben Jonson, Masque 
 of Owls), " to restrain the abuses of 
 players." 
 
 io. Off-capped] "stood cap in hand 
 soliciting," Theobald. Hardly so strong ; 
 the meaning is, tendered their request 
 with a salutation, the force lying in the 
 fact that they were "great ones." 
 Compare Ant. and Cleop, II. vii. 64, 
 " I have ever held my cap off to thy 
 fortunes." " To cap " (take off the cap 
 to one) and "to be capped" (keep it 
 on) both occur, but the present phrase 
 appears to be unique. 
 
 13. bombast] inflated or stuffed as with 
 cotton. " Cottonnee, bombasted or 
 stuffed with cotton," Cotgrave, 1611. 
 As applied to language, Gabriel Harvey 
 has " bombasted terms or Babylonian 
 phrases." A New Letter, etc., 1593, 
 Grosart's Harvey, i. 290 : And Putten- 
 ham, ' ' using such bombasted wordes, 
 
 as seem altogether farced full of 
 wind." Arber's reprint, p. 266 (ante 
 
 1589). 
 
 13. circumstance] prolixity, diffuse- 
 ness, circumlocution. " To use great 
 circumstance of woordes, to goe about 
 the bushe, circuitione uti," Baret's 
 Alvearie, 1580. "What need this 
 circumstance ? Pray you, be direct, " 
 Ben Jonson, Every Man in his Humour, 
 ii. i, 1598. 
 
 14. epithets'] Epithite, the spelling of 
 the earliest editions, seems to have been 
 introduced to our language by Gabriel 
 Harvey. See his Letter Book, ante 1 580 
 (" names and epithites ") ; and A New 
 Letter, etc., 1593, "it is Aristotle's 
 epithite." Grosart ed., i. 115, ii. 19, 
 and ii. 156 (1589). 
 
 16. Nonsuits] a legal term. " Per- 
 emption d" instance. A nonsuit or let- 
 ting a suit fall ; a quitting or forsaking 
 a cause," Cotgrave, 1611. 
 
 1 6. Certes] certainly, assuredly. Fur- 
 ness points out that Schmidt erred in 
 saying this word was monosyllabic here. 
 In Peele, Spenser, and other writers of 
 this time it is always a dissyllable.
 
 sc. i.] THE MOOR OP VENICE 
 
 Forsooth a great arithmetician, 
 
 One Michael Cassio, a Florentine, 
 
 A fellow almost damn'd in a fair wife ; 
 
 20 
 
 20, 21. Cassio, . . . wife ;] Cassio ; ("the Florentine's A . . . wife;} Theo- 
 bald ; Cassio (A Florentine's A . . . -wife} Warburton ; Cassio, Florentine, (A 
 fellow' s almost damned in a fair wife !) [Aside] Jennens. 21.] in brackets Ff. 
 
 19. arithmetician] A sneer parallel 
 with " bookish theoric," line 24. Old 
 books on military tactics have page 
 upon page of what looks like arithmetic 
 rows and columns of numerals, the 
 arrangement of troops represented by 
 figures. William BarrifTs Military 
 Discipline (1643) ma y be instanced. 
 This sense will not, however, suffice for 
 line 31. Dowden supplies the follow- 
 ing : " Stratarithmetrie is the skill 
 appertaining to the warre to set in 
 figure any number of men appointed : 
 differing from Tacticie, which is the 
 wisdom and the oversight," Sylvanus 
 Morgan, 1652, Horologiographica 
 Optica. I am inclined to think we must 
 resort to Cassio's name for the sugges- 
 tion. See note, line 31. 
 
 21. A fellow . . . -wife ;] Dr. John- 
 son says, " This is one of the passages 
 which must for the present be resigned 
 to corruption and obscurity " ; and 
 many will be inclined to agree with this 
 easy method and leave it so. Furness 
 gives the views of many commentators 
 in five closely printed pages. Only a 
 few of these appear to convey any 
 degree of conviction even to their 
 writers. Taking the passage as it 
 stands (numerous unwarrantable altera- 
 tions have been proposed), it seems 
 necessarily to refer to Cassio's entangle- 
 ment with Bianca, to be developed 
 later in the play. " She gives it out 
 that you shall marry her," says Jago 
 (IV. i. 119), and Cassio remarks, 
 ' ' prithee bear some charity to my wit. " 
 He would, he implies, be damned " in 
 her " indeed if he did so insane a thing. 
 But the cry was going that he was to 
 marry her, so that he may be said to 
 be almost "damned." He is not, as 
 
 Steevens puts it, "completely damned 
 because he is not absolutely married." 
 Malone agrees with the above explana- 
 tion, and replies, in answer to the 
 objection that Cassio appears to have 
 first met Bianca as a courtesan of 
 Cyprus: "Cassio, who was a Floren- 
 tine, and Othello's lieutenant, sailed 
 from Venice in a ship belonging to 
 Verona, at the same time with the 
 Moor ; and what difficulty is there in 
 supposing that Bianca, who, Cassio 
 himself informs us, ' haunted him 
 everywhere,' took her passage in the 
 same vessel with him, or followed him 
 afterwards ? lago, after he has been at 
 Cyprus but one day, speaks of Bianca 
 (iv. i. 95-100) as one whom he had 
 long known." It somewhat strengthens 
 this view if we imagine lago indulging 
 in a little introspection over these 
 words. If ever anyone was surely 
 damned it must have been lago, and he 
 lays it partly at the door of his own 
 fair wife. He might mutter reflectively, 
 " this fellow is almost married to a 
 loose woman, he will then be in the 
 same position as I am in my faithless 
 wife." Tyrwhitt finds a great stumbling- 
 block in the sentiment itself. But it is 
 quite consonant with the estimation in 
 which the average Italian of that day 
 held the moral worth of the sex. 
 Emilia's speech at the end of the fourth 
 Act may be taken as an exposition. 
 This line should be divested of its 
 personal garb and regarded as a pro- 
 verbial ejaculation, uttered, as it is, 
 parenthetically. As a matter of fact, it 
 is a proverb, and Shakespeare, imbued 
 at present with the romance and sonnet 
 literature of Italy, had assimilated it. 
 Or he may have heard it from John
 
 OTHELLO 
 
 [ACT i. 
 
 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 i 
 
 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 
 
 25. toged} Q I ; tongued Ff, Q 2, 3. 
 2 ; Ciprus F. 
 
 Florio. The proverb is, L'kai tolta 
 bella ? Tuo danno. Which translates, 
 " You have married a fair wife [a 
 beauty]? You are damned." A fuller 
 version of the saying is S. Rowland's, 
 Diogenes Lanthome, 1607, where a 
 white horse is added on. And Alex- 
 ander Niccholes says, "As the Italian 
 proverbe is, 
 
 ' Whose horse is white and wife is fair, 
 
 His head is never void of care ' " 
 Discourse of Marriage and Wiving, 
 Harl. Misc. iii. 259. Swetnam in his 
 Arraignment of Women, ch. i., 1615, 
 calls this an old saying. This view 
 seems to reconcile one to the presence 
 of the line, which some authorities (e.g. 
 Schmidt) deem fit to omit altogether. 
 
 23. battle} battle-array. Compare 
 Dekker, ' ' Your battailes thus I'le put. 
 The first blow given shall run clean 
 through my heart," If this be not a good 
 Play, etc., 1612. See Macbeth, V. vi. 4, 
 and Henry V. IV. iii. 69. 
 
 24. bookish] erudite, learned. See 
 S Henry VI. I. i. 259, and Winter's 
 Tale, in. iii. 73. Webster gives a 
 reference to Bishop Hall, "bookish 
 skill." " Un-bookish " occurs in this 
 play, iv. i. 102. 
 
 24. theoric} Theory as opposed to 
 practice. This form is found also in 
 All's Well, iv. iii. 162, and Henry V. 
 i. i. 52. It is one of the terms Ben 
 Jonson ridicules, and appears to have 
 
 29. Cyprus} F 2, 3, 4; Cipres Q I, 
 
 been introduced by Gabriel Harvey in 
 his Letters to Spenser, ' ' Theoricks and 
 Practicks" (Grosart's Harvey, i. 130), 
 circa 1573. A passage in a letter of 
 Sir John Harington from the Irish wars, 
 I 599> illustrates lago here : "And as to 
 warr, joyning the practise to the theory, 
 and reading the book you prays'd, and 
 other books of Sir Griffin Markhams, 
 with his conference and constructions, 
 I hope at my coming to talke of counter- 
 scarpes and cazamats with any of our 
 captains," Nugce Antiquce, ii. 15, ed. 
 1779. 
 
 25. toged] Wearing a toga, gowned. 
 This form has not been elsewhere met 
 with. Naunton in his Fragmenta 
 Regalia (1641) speaks of the " Togati " 
 (the Council) as if it was a familiar 
 Elizabethan expression ; ' ' this great 
 instrument among the Togati" (Cecil). 
 See Harl. Misc.(ed. 1809), v. 130, 133, 
 J 37> J 38- The word descended into 
 cant. " Togeman, a cloak," occurs 
 in Dekker's English Villanies, and 
 in Head's English Rogue (reprint, i. 
 148). 
 
 25. consuls'] councillors. The rulers 
 of the state or civil governors. The 
 word is used by Marlowe in the same 
 sense in Tamburlaine, 1590 (Pt. I. i. 2). 
 " Both we will raigne as consuls of the 
 earth" (Malone). Venice was originally 
 governed by consuls (Steevens). The 
 word was similarly used in France.
 
 sc.i.] THE MOOR OF VENICE 7 
 
 Christian and heathen, must be be-lee'd and calm'd 30 
 
 By debitor and creditor : this counter-caster, 
 
 He, in good time, must his lieutenant be, 
 
 And I God bless the mark ! his Moorship's ancient. 
 
 30. Christian] Q I, F 3, 4; Christen 1 'dY I, 2 ; Christ*? d Q 2, 3 ; be be-lee'd] 
 Ff, Q 2 ; be led Q I, be let Warburton, be lee'd Malone. 31. creditor: this} 
 creditor, this counter-caster: Qq, creditor. This counter-caster, Ff. 33. / 
 God bless the mark .'] I, God blesse the marke Q I , / (blesse the marke) Ff, / Sir 
 (blesse the marke) Q 2, 3 ; Moorship's'] Worships Q I. 
 
 30. be-lee'd] placed on the lee, an 
 unfavourable position. The meaning 
 is, " that Cassio got the wind of him and 
 becalmed him from going on "(Steevens). 
 Verbs commencing with be-, de-, and 
 en- (or in-) were freely coined by 
 writers of this time. There is a group 
 of them in the present play. 
 
 31. debitor and creditor] i.e. an 
 account-book or keeper of one. Compare 
 Cymbeline, v. iv. 171 : "O the charity 
 of a penny cord ! it sums up thousands 
 in a trice : you have no true debitor and 
 creditor but it." Compare the follow- 
 ing : " Wee have appoynted that hee 
 which shall abide at Colmogro . . . 
 shall have with him there such of our 
 yong men as can best skill in keeping 
 ofaccompts, after the maner of Mer- 
 chants, that is, by Debitor and Creditor," 
 Letter of the Moscovie Companie, 1577 
 (Hakluyt, i. 334, reprint, 1809), 1598. 
 
 31. counter-caster] an arithmetician. 
 ' ' Augrym, algorisme ... To cast an 
 accomptes after the comen maner, with 
 counters, compter par icct," Palsgrave's 
 Lesclarcissement, 1530. The method 
 of computation by casting counters on 
 the abacus or counting-board (the 
 earliest method known) was falling now 
 into disuse in favour of numerals, but 
 never has become obsolete. The dia- 
 gram of squares in military formation 
 may without any great stretch of fancy 
 be likened to representations of 
 counting-boards. And thus we would 
 have a continuation of the former sar- 
 casm. For the reference to the Floren- 
 tines as famous for " book-keeping and 
 
 everything connected with a counting- 
 house " (C. A. Brown) will not be 
 readily accepted as apposite. But this, 
 on the other hand, detracts from the 
 force of ''debitor and creditor." 
 Several passages could be adduced from 
 Shakespeare showing a contemptuous 
 bearing towards reckoning, as "it 
 fitteth the spirit of a tapster," Love's 
 Labour's Lost, I. ii. 143. Perhaps a 
 pun is intended here on casting up 
 counter-work in fortification, such as 
 counter-scarps, counter-mines, counter- 
 wall, counter-mote, etc. But may not 
 the name be responsible for the allu- 
 sion ? In Ben Jonson's Every Man in 
 his Humour (1598), Kitely's cashier is 
 named Cash. Here we have the double 
 signification of the "cashiered one" 
 (cassare), and a cashier (cassiere). lago 
 may merely be having a cheap sneer at 
 Cassio for his name. " Cass was a fre- 
 quent form of ourword "cashier." Com- 
 pare Bacon, Observations on a Libel 
 (1592), quoted in Spedding's Life of 
 Bacon, i. 175, as illustrative of Othello, 
 "whereon it came that I was cast" 
 (v. ii. 327) : " I have read and heard 
 that in all estates upon cassing or dis- 
 banding of soldiers many have endured 
 necessity." 
 
 33. God bless the mark /] in 1 Henry 
 IV. and Romeo and Juliet the expression 
 is "save." Used simply as an inter- 
 jection, but, according to Schmidt, 
 "originally a phrase to avert the evil 
 omen." Probably Schmidt is right, 
 though the origin of this has never been 
 satisfactorily explained. In the North
 
 8 OTHELLO [ACT i. 
 
 Rod. By heaven, I rather would have been his hangman. 
 
 lago. Why, there 's no remedy ; 'tis the curse of service, 3 5 
 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 ; 
 
 I follow him to serve my turn upon him : 
 
 We cannot all be masters, nor all masters 
 
 Cannot be truly follow'd. You shall mark 
 
 Many a duteous and knee-crooking knave, 45 
 
 That doting on his own obsequious bondage 
 
 Wears out his time, much like his master's ass, 
 
 For nought but provender, and when he's old, cashier'd: 
 
 35. Why,'] Ff, But Qq. 37. And . . . old~\ Ff, Not by the aide Qq, 
 
 Steevens, Not (as of old) gradation Warburton. 39. affined] assin'd Q I. 
 43. all be] be all Q i. 48. nought] noughe Q I, naught F i. 
 
 the expression "God bless it" is still word again in Measure for Measure, 
 
 held necessary to avert the evil eye, but IV. iii. 104. "Old gradation, that is, 
 
 chiefly after praising any person or gradation established by ancient prac- 
 
 thing. The fuller expression in Beau- tice " (Johnson). 
 
 mont and Fletcher's Noble Gentleman, 39. just term] Schmidt says "justly, 
 
 iv. 4, 1625, supports this view : " God in any respect ; the only instance of the 
 
 bless the mark and every good man's singular." 
 
 child." The phrase in the text occurs 39. affined] occurs again II. iii. 218. 
 
 as late as Swift, 1738. " Do I stand within any such terms of 
 
 35. there's no remedy] a very common propinquity or relation to the Moor, as 
 ejaculation, equal to our " there it is." that it is my duty to love him " (John- 
 
 36. letter} letter of recommendation, son). This is the only example given 
 i.e. favour. The term "preferment" in New Eng. Diet, of this word mean- 
 occurs in Humphrey Gifford's Poems ing "bound by any tie." "Affined" 
 (Grosart, p. 22), 1580. " Letter " in this (related) occurs in J. King, Jonah, 
 exact sense is met with in an old pro- 1597. 
 
 verb, " Money will do more than my 45. knee-crooking] so in Hamlet, 
 
 lord's letter." It occurs in Ben Jonson's " crook the pregnant hinges of the knee 
 
 Every Man in his Humour, ii. 3. Where thrift may follow fawning " 
 
 37. gradation] Shakespeare uses this (ill. ii. 66).
 
 sc. i.] THE MOOR OF VENICE 9 
 
 Whip me such honest knaves. Others there are 
 Who, trimm'd in forms and visages of duty, 50 
 
 Keep yet their hearts attending on themselves, 
 And throwing but shows of service on their lords 
 Do well thrive by them, and when they have lined 
 
 their coats 
 Do themselves homage : these fellows have some 
 
 soul, 
 
 And such a one do I profess myself. For, sir, 5 5 
 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 for love and duty, 
 But seeming so, for my peculiar end : 60 
 
 For when my outward action doth demonstrate 
 The native act and figure of my heart 
 In compliment extern, 'tis not long after 
 
 54. these] Those Qq, These Ff. 55. For, sir] omitted Pope ; separate line 
 Capell, Steevens, and later editors ; restored to original position Globe, Craig. 
 6l. doth] does Q i. 
 
 50. trimm'd] decked, dressed, to be, " Could I be the master you may 
 
 "And needy nothing trimmed in be sure I would not be the man." 
 
 jollity," Sonnet 66. Oliphant gives an 60. peculiar] own particular, private, 
 
 early reference, "Well - trimmed" See again ill. iii. 80, and IV. i. 70. 
 
 (equipped), Ellis' Letters, circa 1500 63. compliment extern] external 
 
 (New English, i. 369). show, outward form or appearance. 
 
 53. lined their coats'] equivalent to Compare " The poorness of your com- 
 
 our "lined their pockets." Barnaby pliment" (i.e. manners, general ex- 
 
 Riche has " line a purse " in his Fare- terior), Beaumont and Fletcher, Mad 
 
 well to Military Profession, 1581 ; and Lover, i. I. The affected use of this 
 
 Pericles, "he will line your apron with term was ridiculed by Jonson, Marston, 
 
 gold " (iv. vi. 63). Chapman, etc. The Latin doublet 
 
 $$.]Abbott(S&a&espearutrt Grammar, " complement " was also used without 
 512) reads "For, sir," as an "interjec- any constant distinction. " Extern " for 
 tional line" out ofthe regular verse, after external (like "intern" and "etern") is 
 the practice in Greek poetry. He gives occasionally met with for metrical pur- 
 several examples from Shakespeare. poses. See Ben Jonson's Alchemist, iv. 
 
 56, 57. The meaning may be taken i. p. 51^, Cunningham's Giffbrd.
 
 10 OTHELLO [ACT i. 
 
 But I will wear my heart upon my sleeve 
 
 For daws to peck at: I am not what I am. 65 
 
 Rod. What a full fortune does the thick-lips owe, 
 If he can carry 't thus ! 
 
 I ago. 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. 
 
 65. daws} Dawes Ff, Q 2, 3 ; Doves Q I, Malone. 66. full] Qq, fall Ff ; 
 thick-lips'] thicks-lips F I. 69. streets, incense] slreete, incense Q I, Streets. 
 Incense Ff, streets ; incense Steevens, etc. 70. And though] Qq, Ff; And, 
 though modern editors. 72. changes] Qq, chances Ff ; on V] Ff, out Qq. 
 
 64. JA metaphor taken from the custom flowing, good fortune. So in Antony 
 of wearing ladies' favours on the sleeve and Cleopatra, IV. xv. 24, "the full- 
 as a defiance to any impertinent person fortuned Caesar " ; and see also Cym- 
 to challenge or question ("|peck at") it. define, v. iv. 1 10. " Owe," as in many 
 Compare " Gentility is pinned upon thy other places in Shakespeare, means 
 sleeve" (Time's Whistle, Sat. ii. 784, "possess." 
 
 1615). This, however, refers rather to 68. make after him] Not a common 
 
 the pinning of a badge of employment expression in literature, but probably 
 
 in that position, which gave rise to a still a provincialism. To pursue, run 
 
 frequent saying of close connection, after. " Being near them with our 
 
 But the two ideas grade into one barge and wherries, we made after 
 
 another. A passage from Lyly's them, and ere they could land came 
 
 Euphues, 1580 (Arber, reprint, p. 322), within call," Sir W. Raleigh, Discovery 
 
 is frequently quoted here in illustration : of Guiana. 1595 (Payne's Voyages, ed. 
 
 " all is not truth that beareth the shew 1880, p. 366). 
 
 of godliness, nor all friendes that beare a 70. though] since, inasmuch as, 
 
 faire face, if thou pretend such love to See III. iii. 146. A good instance of 
 
 Euphues carry thy heart on the back of this use occurs in Robert Greene's 
 
 thy hand. ... I [am] more willing Never too Late, 1590. It is quoted at 
 
 that a Raven should pecke out mine eyes, "haggard," in. iii. 261. 
 
 then a Turtle pecke at them." The 70, 71. though . . . flies'] That is to 
 
 reading of Q I, "doves," was adopted say, in the same way that flies are the 
 
 by Malone on account of this parallel, chief- curse in a fertile climate, so make 
 
 Compare also the serving man s badge him in his blessed condition be a victim 
 
 on the left sleeve (Introduction, p. ii, of petty annoyances. Compare fertile 
 
 note). = bountiful (Schmidt), Winter's Tale, 
 
 66. full fortune} complete, over- I. ii. 113, Twelfth Night, i. ii. 274.
 
 sc. i.] THE MOOR OF VENICE 11 
 
 I ago. Do ; with like timorous accent and dire yell 7 5 
 
 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! thieves! 
 
 Look to your house, your daughter and your bags ! 
 
 Thieves ! thieves ! 8 1 
 
 BRABANTIO, above, at a window. 
 
 Bra. What is the reason of this terrible summons ? 
 
 What is the matter there ? 
 Rod. Signior, is all your family within ? 
 lago. Are your doors lock'd ? 
 
 Bra. Why, wherefore ask you this ? 85 
 
 lago. 'Zounds, sir, you 're robb'd ; for shame, put on your 
 gown ; 
 
 Your heart is burst, you have lost half your soul ; 
 
 77. spied] spred Warburton. 79. thieves /] three times in Qq, twice in Ff. 
 80. your daughter} you Daughter Q I. 8l, 82. Brabantio . . . Bra.] Bra- 
 bantio appears above, etc. Theobald ; Bra. Above Ff ; Brabantio at a window. 
 Brab. Qq. 85. your} all Q I ; lock'd} lockts Q I. 86. 'Zounds} zounds Q 
 I, omitted in the rest. 
 
 75. timorous} awful, terrifying. This ' ' Arrest him at my suite . . . thou 
 
 is probably the sense here. Compare shalt have irons 
 
 Skelton : And usage such as I '11 deny to 
 
 " With that I harde the noyse of a dogs : 
 
 trumpe, Away with him. 
 
 That longe tyme blewe a full Charles. You are too timorous ; but 
 
 timorous blaste, trouble is my master, 
 
 Lyke to the boryall wyndes whan And I will serve him truely." 
 
 they blowe Here it means ' ' terrifying. " 
 
 76.] "The meaning, "as Mr. Edwards 
 
 The dredefull dinne drove all the has observed, "is ' not that the fire 
 
 rowte on a rowe ; was spied by negligence, but the fire, 
 
 Some tremblid, some girnid, some which came by night and negligence, 
 
 gaspid, some gasid" was spied' " (Malone). 
 
 (Garlande of Laurell, circa 1520, Dyce 87. burst} fractured, broken. Corn- 
 ed., ii. 372). And in Heywood's pare Ben Jonson, "hath your feighting 
 Woman Kild -with Kindnes (Pearson, ram burst his hard horn," Sad Shcp- 
 p. 115), Shafton says to a Sergeant : herd, II. ii. p. 501*$, Cunningham's
 
 12 OTHELLO [ACT i. 
 
 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 : what are you ? 
 
 Rod. My name is Roderigo. 
 
 Bra. The worser welcome : 9 5 
 
 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 knavery, 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. 
 
 88. now, now] F i, z ; now Qq, F 3, 4. 95. worser] worse Qq. 100. 
 knavery] Ff, Rowe, Craig; bravery Qq, etc., Steevens, Globe. 101. quiet. ~\ 
 Ff, quiet? Qq. 103. spirit} Qq, spirits Ff ; them] Qq, their Ff. 
 
 Gifford; and Middleton, "though on the very brink, To neigh with 
 
 back be almost burst with iron's cope," spirit." Homer's Iliad, Book xii. 
 
 The Wisdom of Solomon Paraphrased (1598). 
 
 (Bullen's ed., viii. 224), 1597. Shake- 99. distempering] intoxicating. Com- 
 speare uses "burst" frequently in the pare Hamlet, III. ii. 312. And Mas- 
 sense of "break." singer, "more than distempered . . . 
 
 89. tupping] "to tup, to cover an stark drunk" (Great Duke of Florence, 
 ewe," Bailey's Dictionary, 1721. iv. i) ; and again : 
 
 90. snorting] snoring, as in 1 Henry " the courtiers reeling 
 IV. II. iv. 578. "To snore, or snort, And the duke himself, I dare not 
 Ronfler," Sherwood's App. to Cotgrave, say distempered 
 
 1672. The words were used synony- But kind, and in his tottering chair 
 
 mously. Chapman has the converse, carousing" 
 
 "they could not get their horse To (Duke of Milan, i. i). Shirley also has 
 
 venture on, but trample, snore, and the word.
 
 sc. i.] THE MOOR OF VENICE 13 
 
 Rod. Patience, good sir. 
 
 Bra. What tell'st thou me of robbing? this is Venice; 105 
 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 '11 have your nephews neigh 
 to you ; you '11 have coursers for cousins, and 
 gennets for germans. 
 
 Bra. What profane wretch art thou ? 115 
 
 lago. I am one, sir, that comes to tell you your 
 daughter and the Moor are now making the 
 beast with two backs. 
 
 Bra. Thou art a villain. 
 
 lago. You are a senator. 
 
 Bra. This thou shalt answer; I know thee, Roderigo. 120 
 
 Rod. Sir, I will answer any thing. But, I beseech you, 
 If 't be your pleasure and most wise consent, 
 
 104. good} omitted Seym. conj. 105. What teWst} Ff, What, tetfst Qq. 
 108. 'Zounds} Zouns Q I, omitted in the rest, and by Rowe, Pope, etc. no. 
 service and you} service, and you Ff, service, you Qq. 117. timv} Qq, omitted 
 Ff. 119. are a} Upton, Capell, etc.; are a, Qq Ff. 122-138. Ift be . . . 
 yourself:} these lines are omitted in Q I. 
 
 106. grange"} a lonely farm. Com- 115. profane~} coarse, foul-mouthed, 
 
 pare Measure for Measure, ill. i. 278. See II. i. 163. 
 
 112. nephews} grandsons or any lineal 116-118.] From Rabelais, i. 3: "Et 
 
 descendants. Lat. nepos. Halliwell faisoyent eux deux souvent ensemble la 
 
 cites the fact that Shakespeare in his beste a deux dos." It is wrongly quoted 
 
 will speaks of his granddaughter Eliza- and referenced by Steevens. An Eng- 
 
 beth Hall as his niece. lish " Gargantua " (unhappily lost) 
 
 114. germans~\ relations. Spenser appeared in 1592. Cotgrave has " Faire 
 
 uses the word as a substantive (Faerie la beste a deux dos ensemble. To 
 
 Queene, II. viii. 46). leacher" (1611).
 
 14 OTHELLO [ACTI. 
 
 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 125 
 
 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 1 30 
 
 We have your wrong rebuke. Do not believe 
 
 That, from the sense of all civility, 
 
 I thus would play and trifle with your reverence : 
 
 Your daughter, if you have not given her leave, 
 
 I say again, hath made a gross revolt, 135 
 
 Tying her duty, beauty, wit and fortunes, 
 
 In an extravagant and wheeling stranger 
 
 124. odd-even] Odde Even Ff, od euen Q 2, hyphened by Malone, etc. 
 126. gondolier] Gundelierfi, Q 2, 3. 127. Moor, ] Malone et scq. t Moore: 
 old editions. 
 
 123.] If the word "is" be transferred 126. gondolier] the accent is to be 
 
 from its present position to after taken from the last syllable, as in 
 
 " daughter," it would complete the sen- pioner, enginer, muleter, etc., Walker, 
 
 tence ; reading ' ' As partly I find it, that Shakespeare's Versification, p. 218. 
 
 your fair daughter is Transported," etc. 128. and your allowance] the verb 
 
 124. odd-even] Compare Macbeth : "be" is carried through, "and be your 
 
 " What is the night ? allowance " or approval. "Allowance, 
 
 Lady M. Almost at odds with accepcion, or estimation, Acceptio," 
 
 morning, which is which " Huloet, 1552. 
 
 (ill. iv. 126). This would suggest the 137. extravagant] wandering, vag- 
 meaning " midnight," that is to say, it rant, vagabond. The classical sense 
 is a toss up, odd or even, whether it is as elsewhere in Shakespeare. Chap- 
 night or morn. "Odd or even" was man recalled this line in Byron's 
 a common form of gambling, similar to Tragedy, v. i. (1608): "this extrava- 
 " handy-dandy." It is one of Gar- gant and errant rogue." The word 
 gantua's games; "a pair ou non," had decidedly a bad sense: "enter- 
 translated by Urquhart "at even and taining extra vagants and vagabonds," 
 odd." ' ' Odde or even " occurs as early Nobody and Somebody (Simpson's School 
 as Gower's Conf. Amantis, 1393 (iii. of Shakespeare, line 148), 1600; and 
 138, fidS Oliphant, New English, i. "the college of extra vagants yclept 
 174). Bridewell," Rowley, Match at Midnight 
 
 124. dull] has here the sense of dead, (Haz. Dods. x. 12), 1624. 
 
 lifeless. Compare " O sleep, lie dull 137. wheeling] erring about. Compare 
 
 upon her," Cymbeline, II. ii. 31. Coriol. I. vi. 19; Tr. and Ores. v. vii.
 
 sc. i.] THE MOOR OF VENICE 15 
 
 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 1 40 
 
 For thus deluding you. 
 
 Bra. Strike on the tinder, ho ! 
 
 Give me a taper ! call up all my people ! 
 This accident is not unlike my dream : 
 Belief of it oppresses me already. 
 Light, I say ! light ! [Exit above. 
 
 lago. Farewell ; for I must leave you : 
 
 It seems not meet, nor wholesome to my place, 146 
 To be produced as, if I stay, I shall 
 Against the Moor : for I do know, the state, 
 However this may gall him with some check, 
 Cannot with safety cast him ; for he 's embark'd 150 
 With such loud reason to the Cyprus wars, 
 Which even now stand in act, that, for their souls, 
 Another of his fathom they have none 
 
 139. her] Qq, F I ; your F 2, 3, 4. 141. thus deluding you] this delusion 
 Q i. 145. [Exit above] Exit F I, omitted the rest. 146. place] pate 
 Q i. 147. prodiiced] produc' d QQ, productedYi. 152. stand] Pope, etc.; 
 stands Qq, Ff. 153. none} not Q I, Capell, Steevens, etc. 
 
 2 (Schmidt). Equivalent to, and con- ridge says, " The old careful senator, 
 
 founded with, "whirl." In the North being caught careless, transfers his 
 
 a wheelbarrow is commonly called a caution to his dreaming power at last " 
 
 whirlbarrow. Cotgrave has " Vire- (Notes, etc., 249). This touch of 
 
 voulter, to veer, whirl, turn or wheel superstition prepares us for Brabantio's 
 
 round about, fetch many a frisk about. " witchcraft beliefs below. 
 
 141. Strike on the tinder] Amongst 149. check] rebuke, as in III. iii. 68. 
 
 "Notes of Commodities for Cathay" 150. cast] The technical military term 
 
 (for Export) is, in 1580: "Tinder for dismissed, as in Ben Jonson, "a 
 
 Boxes with Steele, Flint, and Matches, cast commander" (Alcht. n. ii. 430) ; 
 
 the Matches to bee made of luniper to and Beaumont and Fletcher, Bonduca, 
 
 avoid the Smell of Brimstone," Hakluyt ii. 2, "captain, cast with loss of 
 
 (i. 499, reprint, 1809). honours, flung out o' the army." The 
 
 144. already] Brabantio would pre- term occurs later in this play in a less 
 
 tend here that he has already (previous specialised sense, 
 
 to this) been oppressed by this belief, 153. fathom] depth of intellect and 
 
 on account of a dream he had. Cole- power, as in our "unfathomable."
 
 16 
 
 OTHELLO 
 
 [ACT i. 
 
 To lead their business : in which regard, 
 
 Though I do hate him as I do hell-pains, 155 
 
 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. 
 
 155. hell-pains'] hyphened by Dyce, Globe, Craig, etc.; hell-pains Capell, 
 Steevens, etc.; hells paines Q i; hell opines F i; hell F 2, 3, 4. 158. Which 
 . . . sign} in brackets F I, signe) that Ff, signe, that Qq, sign: that Rowe 
 (ed. i). 159. Sagittary] Sagitar Q 2, 3, F 4 ; Sagittar Q i, Capell, Malone. 
 
 155. hell-pains'] torments of hell. 
 "I would it were hell-pains for thy 
 sake." All's Well, n. iii. 245. Shake- 
 speare has several similar compounds, 
 which were much in vogue. Middleton 
 has hell-wain, hell-cat, Hell-tree, etc. 
 Compare " in the hell-dark night when 
 we could not see any shore," James, 
 Account of Cavendishes Last Voyage, 
 1593 (Payne, ed. 1880, p. 317). 
 
 157. flag] A flag or a banner was the 
 ordinary sign to proclaim that some- 
 thing or some show or play was going 
 on inside. See Middleton, The Widow, 
 iv. I, iv. 2 (Dyce's Beaumont and 
 Fletcher, iv. 355), and Knight of the 
 Burning Pestle ; Ben Jonson, Bart. 
 Fair, v. I (Cunningham's Gifford, v. 
 1953, vol. ii.). See Nares' Flag. 
 
 159. Sagittary} And at I. iii. 115. 
 The place signified here has given rise 
 to much dispute. Knight says " it 
 was the residence at the Arsenal of the 
 commanding officers of the navy and 
 army of the republic. The figure of 
 an archer with his drawn bow, over the 
 gates, still indicates the place. Prob- 
 ably Shakespeare had looked upon 
 that structure." Rolfe replies, " We 
 cannot find any evidence that the 
 Arcenal at Venice was ever called ' the 
 Sagittary ' ; probably this is a mere 
 conjecture of Knight's. . . . The figure 
 mentioned by Knight is not ' over the 
 
 gates, ' but is one of four statues stand- 
 ing in front of the structure. It re- 
 presents a man holding a bow . . . 
 but we cannot imagine why it should 
 suggest to him to call the place the 
 Sagittary. That word means, not an 
 ordinary archer, but a centaur with a 
 bow, as in the familiar representations 
 of the zodiacal sign Sagittarius. . . . 
 That the Sagittary in the present passage 
 cannot be the Arsenal is, however, 
 sufficiently clear from I. iii. 121. The 
 Arsenal was by far the largest and most 
 prominent public building, or collection 
 of buildings, in all Venice, its outer 
 walls being nearly two miles in circuit. 
 To suppose that anybody in the employ 
 of the Government would need the help 
 of lago in finding the place is absurd 
 (Rolfe's Othello (New York, 1886), 
 p. 210). I attach no weight to Rolfe's 
 reply ; rather I think it conveys its 
 own refutation. In the first place, the 
 primary meaning of Sagittarius is, of 
 course, archer. In Barretti's Italian 
 Dictionary ' ' Sagittario, an archer, a 
 bowman," is a distinct term; and in 
 Cotgrave, "Sagittaire: An Archer, 
 Bowman, Shooter ; and hence, the 
 heavenly Archer, or sign Sagittarius." 
 Why, therefore, should not this statue 
 have been so called ? And what more 
 natural than that one portion of this 
 enormous extent of buildings should
 
 sc. i.] THE MOOR OF VENICE 17 
 
 Enter, below, BRABANTIO, and Servants with torches. 
 
 Bra. It is too true an evil : gone she is ; 161 
 
 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! 165 
 
 How didst thou know 'twas she ? O, she deceives me 
 Past thought I 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 act. Is there not charms 
 
 163. bitterness. Now\ Ff, bitterness now Qq. 166. she deceives'} thou 
 
 deceivest Q I. 167. more'] Qq, moe Ff. 170. the blood} Qq, F I ; my blood 
 F 2, 3, 4. 172. />] Are F 2, 3, 4. 
 
 receive this distinctive name ; which Shakespeare's mind and fancy fed 
 
 portion we are to presume was that in themselves. 
 
 which officers of Othello's rank had 159. search] an organised search- 
 official apartments or transacted their party. In Barry's Ram Alley (1611) 
 business ? Rolfe insists on the vast the parties of constables whose business 
 extent of these buildings ; is it unlikely, it was to patrol the suburbs are called 
 then, that lago, who "best knows the the "searches" (Hazlitt's Dodsley, x. 
 place," should be deputed as a guide 376, 377). See "quest," I. ii. 46. 
 to this particular department? It is 162. despised time] Johnson compares 
 not necessary to divest the name Macbeth, n. iii. 98-101 ; and the ex- 
 "Sagittary" of its zodiacal meaning, pression below, "time of scorn" (IV. 
 It would still be a suitable name for the ii. 55), is parallel. 
 
 statue of an archer. In the absence of 1 66, 167. deceives me Past thought /] 
 
 any other explanation (Rolfe gives no See ill. iii. 207. 
 
 alternative) this suggestion may be 172, 173.] "And finallie he saith, 
 
 acceptable. It must always be borne that all beautiful things whatsoever, 
 
 in mind that we have not access to are soone subject to be bewitched ; as 
 
 one-tenth of the matter upon which namelie, goodlie young men, faire
 
 18 OTHELLO 
 
 By which the property of youth and maidhood 
 
 May be abused ? Have you not read, Roderigo, 
 
 Of some such thing ? 
 
 Rod. Yes, sir, I have indeed. 175 
 
 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 dan discover him, if you please 
 
 To get good guard and go along with me. 1 80 
 
 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* 
 
 173. maidhood~\ Ff, manhood Qq. 175. Yes . . . indeed'} I have sir Q i. 
 176. would] that Q I. 177. you] yon Q I. 181. you, lead] leade me Q I, 
 183. night] Q i, etc. ; might Ff, Q 2, 3, Rowe, Capell. 184. I'll] He Q i, 2 ; 
 He Q 3 ; / will Ff. 
 
 women," etc. Reginald Scot, Dis- officers of the night are six, and six 
 
 coverie of Witchcraft, Booke 12, ch. xx., likewise are those meane officers, that 
 
 1584. have only power to correct base vaga* 
 
 173. maidhood] virginity. Used bonds and trifling offences . . . Out 
 
 again by Shakespeare in Twelfth Night, of every tribe (for the city is divided 
 
 III. i. 162. A Middle-English term, into six tribes) there is elected an 
 
 Strattrhan gives three references, circa officer of the night, and a head of the 
 
 1 200, in v. meid-had. It seems to be tribe. The duty of eyther of these 
 
 a rare word, but I find it twice in officers is ... to make rounds about 
 
 A Merry Ballad of the Hawthorn Tree, his quarter, till the dawning of the day, 
 
 attributed to G. Peele (ed. 1874, p. 605). being always guarded and attended oil 
 
 180. go] Abbott says in a note to with weaponed officers and sergeants, 
 
 Midsummer Night's Dream, I. i. 123: and to see that there be not any dis- 
 
 " Note, that here, as in Taming of the order done in the darkness of the 
 
 Shrew, IV. v. 7 ; # Henry IV. II. i. night" (pp. 97,99). Furness says, " This 
 
 191; Othello, i. i. 1 80, 'go' is used note of Malone seems to have satisfied, 
 
 where we should say ' come.' " Shake- with the exception of Delius, all modern 
 
 spearian Grammar, 30. editors." This extract gives also point 
 
 183. officers of night} Malone sup- to the word "special," as distinct from 
 
 ports this reading of a disputed "those meane officers" of the night, 
 
 passage by a reference to Lewkenor's We find in this passage also the un- 
 
 translation of Contareno'sF<?wzV<f (1599), common adjective "weaponed," used 
 
 a highly popular book at this time, below, V. ii. 266. 
 The passage is (curtailed): "These
 
 sc. ii.] THE MOOR OF VENICE 19 
 
 SCENE II. Another Street. 
 Enter OTHELLO, I AGO, and Attendants with torches. 
 
 lago. Though in the trade of war I have slain men, 
 Yet do I hold it very stuff o' the conscience 
 To do no contrived murder : I lack iniquity 
 Sometimes to do me service : nine or ten times 4 
 
 I had thought to have yerk'd liim here under the ribs. 
 
 Oth. Tis better as it is. 
 
 lago. Nay, but he prated 
 
 And spoke such scurvy and provoking terms 
 
 Against your honour, 
 
 That, with the little godliness I have, 
 
 I did full hard forbear him. But I pray you, sir, 10 
 
 Are you fast married ? Be assured of this, 
 
 That the magnifico is much beloved, 
 
 2. stuff <? the] stuff o 1 tW Ff, stuff of Q I. 3. lack] lake F 2, 3 ; take F 4. 
 IO. you] omitted Qq. 1 1 . Be assured] Ff, For be sure Qq. 
 
 1. trade of war] course of war. (1584), " I am afraid shee will yerke me 
 
 2. stuff] The word has here its old if I strike her. " I have no example of 
 signification, "material," "substance," its use, "stab." Rowley, A Shoemaker 
 as in "We are such stuff as dreams are A Gentleman, uses it in the sense of 
 ma.de of "(Tempest, iv. i.). The gradual drive a nail home. Shoemaker (ad- 
 descent of the term to its modern mean- dressing his journeyman), ' ' Good boyes, 
 ing " folly " was now taking place. yirke it home." The following technical 
 
 3. contrived] planned or plotted, care- use (a shoemaker's awl) is exactly illus- 
 fully arranged, as in Henry V. IV. i. 171, trative. Simon Eyre, the master shoe- 
 " premeditated and contrived murder." maker in Dekker's Gentle Croft (1600), 
 
 5. yerKd] An old form of "jerk," says to his men: "my lads, commit 
 
 almost invariably, however (as in their feet to our apparelling, put grosse 
 
 Henry V, iv. vii. 83), applied to a worke to Hans : yarke and seame : 
 
 horse's kick. "He yerketh at her yarke and seame. " The meaning here 
 
 fiercely with his heels" (Harington, is " pierce, "" prod, "" bore. " 
 
 Orl. Furioso, xxxiii. 78, 1591). Nares 5, 6. him, he] lago refers in both 
 
 gives two instances of it meaning places probably to Roderigo, as 
 
 "lash with a whip." All his others Steevens suggested and Knight as- 
 
 (and Halliwell's) are horse-kicking, serted. Observe, in support of this, 
 
 In Harvey's New Letter (Gros. i. 283, lago's ready attack, at line 58. 
 
 r 593) "yirked him like a hobbling 12. magnifico] "The chief men of 
 
 gig " (top) refers again to whipping. Venice are by a peculiar name called 
 
 Compare Lyly, Sapho and Phaon, i. i Magnifici, i.e. Magnificoes," Minshew
 
 20 
 
 OTHELLO 
 
 [ACT i. 
 
 Oth. 
 
 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 
 That law, with all his might to enforce it on, 
 Will give him cable. 
 
 Let him do his spite : 
 
 15. and] Qq, or Ff. 16. That} Q I, The the rest. 
 
 (quoted by Toilet). Ben Jonson uses the 
 term as Venetian in The Fox, equivalent 
 to "clarissimo," 1605. It appears to 
 have been introduced by the Italianated 
 Gabriel Harvey, "What a Magnifico 
 would he be were his purse as heavy as his 
 head were light " ( Works, ed. Grosart, 
 ii. 220), An Advertisement for Papp- 
 hatchett, 1589. Spenser used it in 
 Mother Hubbard" s Tale (line 665), 1591. 
 Harvey used the word in Letters to 
 Spenser '(1573-1580), Grosart, 1.84. Lyly 
 has it in Euphues (1580), Arber, p. 260. 
 
 13. potential] powerful. Compare 
 Lear, n. i. 78. This word is limited 
 now to the sense of "possible." Com- 
 pare Pliny (xxx. 8), Holland's trans- 
 lation : "The flies called cantharides 
 mixed with quicklime, are a good 
 potentiall cauterie." This may, how- 
 ever, be a technical surgical sense. 
 
 14. double] A long note is given 
 here by Steevens (ed. 1793). He 
 quotes Malone's extract from Conta- 
 reno's Venice, which being almost 
 certainly a book in Shakespeare's use, 
 may be deemed best worthy of con- 
 sideration. The words are : "So great 
 is the prince's authoritie, that he may, 
 in whatever court, adjoine himselfe to 
 the magistrate therein, being president, 
 as his colleague and companion, and 
 have equal power with the other presi- 
 dents" (p. 41). "Thus we see," con- 
 tinues Malone, ' ' though he had not a 
 double voice in any one assembly, yet 
 as he had a vote in all the various 
 assemblies, his voice thus added to the 
 voice of each of the presidents of those 
 assemblies, might with strict propriety 
 be called double, and potential (i.e. 
 
 powerful). Malone's commentary is 
 especially levelled at the difficulty pro- 
 pounded by Steevens from an earlier 
 work than Contareno's, Thomas' His* 
 tory of Italy, 1560: "Whereas," says 
 Thomas, "many have reported, the 
 duke in ballotyng should have two 
 voices ; it is nothing so, for in giving 
 his voice he hath but one ballot as all 
 others have." Steevens goes on then 
 to suppose that Shakespeare may have 
 gone on this report ; but supposing he 
 had learnt that it was an error, he 
 might still (as Malone believed) rely on 
 Contareno. Henley supposed the refer- 
 ence was to the optional power of either 
 divorcing or punishing. Others take 
 the word to mean ' ' strong " as opposed 
 to "single," "weak," "as applied to 
 liquors and perhaps to other objects " 
 (Steevens). To an ordinary reader 
 this would commend itself in the first 
 instance. An example may be given 
 from Lyly : " Such double coistrels as 
 you be " (meaning thorough, complete), 
 Mother Bombie, ii. I. But the sense 
 here is twofold, "thorough" and 
 "counterfeit." Davenant speaks of a 
 "strong tall double gelding," The 
 Platonick Lovers, Act IV. The word is 
 so used provincially ; a " double " snipe 
 is a full or complete snipe, as opposed 
 to the "single* or small jacksnipe in 
 the North ; and " double double" is a 
 very strong adjective denoting excess. 
 I am inclined to reject the learned and 
 technical interpretation. For the power 
 of the duke's voice, see note below at 
 "signiory" (line 18). 
 
 17. cable] or as we say, give him 
 "rope."
 
 sc.n.l THE MOOR OF VENICE 
 
 21 
 
 My services, which I have done the signiory, 
 
 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 
 
 18. services'] service Q 3. 20. Which . . . know] omitted Q I. 21. pro- 
 mulgate] provulgate Q I. 22. siege] F 3, 4 ; seige F I, 2 ; height Q I, 2 ; 
 hight Q 3. 23. unbonneted] unbonnetting Pope, Warburton ; e'en bonnetted 
 Hanmer; and, bonnetted Theobald, Steevens ; (unbonnetted) Ff ; to} omitted Q 2, 3. 
 
 1 8. signiory] "To tell you of the Duke 
 of Venice, and of the Seignory : there is 
 one chosen that ever beareth the name of 
 a duke, but in trueth hee is but seruant 
 to the Seignorie, for of himselfe hee can 
 doe litle : ... Of the Seignory there 
 be about three hundredth, and about 
 fourtie of the priuie Counsell of Venice, 
 who usually are arayed in gownes of 
 crimsen Satten, or crimsen Damaske, 
 when they sit in Counsell," First Voyage 
 of Master Laurence Aldersey, 1581 
 (Hakluyt, ed. 1811, ii. 268, 269). 
 
 21. promulgate} publish. In Pals- 
 grave, 1530. Derivation unknown. The 
 Quarto spelling supports a supposed 
 origin. 
 
 22. siege} literally "seat, "but theterm 
 here has reference to the more dignified, 
 early sense of "throne." See Cotgrave 
 in v. Early writers commonly spelt it 
 " sege," which is probably more correct. 
 
 22. demerits} Cotgrave is best here : 
 " Demerit e : m. Desert, merit, deserv- 
 ing ; also (the contrary), a disservice, 
 demerit, misdeed, ill carriage, ill 
 deserving ; in which sense it is most 
 commonly used at this day," 1611 (ed. 
 1673). Shakespeare uses the word in 
 both senses. Othello here refers to the 
 services he has done the State, as in 
 v. ii. 339, not to his inherent excellence. 
 Compare Patten, Expedition into Scot- 
 land, 1548 (Arber's English Garner, 
 iii. 57): "What honour and reverence 
 condign, for these his notable demerits 
 ought our Protector to receive ? " 
 
 23. unbonneted] A much disputed 
 expression. Without mentioning the 
 various comments, often very dis- 
 tracting, it is enough to say that the 
 word may well mean what it should 
 mean (i.e. with hat on), and therefore, 
 I take it, it must mean that. In a 
 passage in Coriolanus (ii. ii. 30), the 
 verb " bonnet " means to " take off the 
 cap " ; according to Schmidt and others, 
 who have the support of Cotgrave, 
 1 ' Bonneter, to put off his cap unto " 
 (1611). Schmidt says, "The common 
 explanation is, without the addition of 
 patrician or senatorial dignity : the 
 bonnet, as well as the toge, being at 
 Venice a badge of aristocratic honours. 
 But nowhere, not even in those plays 
 the scene of which is Venice, is the 
 word bonnet found in this sense." This 
 "common explanation" is that of Fu- 
 seli, and appears to me very forced. 
 Schmidt may be replied to from Lingua 
 (Hazlitt's Dods. ix. 371), where " Com- 
 munis Sensus, a grave man, in a black 
 velvet cassock like a councillor," speaks 
 of a bonnet (over a velvet cap) as a 
 necessary mark of dignity. But it is 
 too great a strain to import into the 
 sense the ceremonial finesse required 
 by Fuseli. Standing bareheaded while 
 addressing a superior was a much more 
 usual custom in those days than now. 
 This is evidenced often by the appear- 
 ance of the quaint old phrase " remem- 
 ber thy courtesy," meaning "remember 
 your hat's off, be covered."
 
 22 
 
 OTHELLO 
 
 [ACT i. 
 
 As this that I have reach'd : for know, lago, 
 
 But that I love the gentle Desdemona, 25 
 
 I would not my unhoused free condition 
 
 Put into 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. 
 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 Janus, I think no. 
 
 28. yond] Ff ; yonder Qq, Pope, Steevens. 29. Those] Ff, These Qq. 
 
 32. me rightly] Q I, Ff ; my right by Q 2, 3 ; Is it they?] It is they Q I. 
 
 26. unhoused] "not tied to a house- 
 hold and family " (Schmidt). Whalley 
 says, " It is only by recollecting the way 
 in which the Italians use cassare, that 
 we arrive at its true meaning, which 
 is unmarried." " Unhoused" in its 
 normal sense occurs in Timon. Here 
 it simply means "free," a dweller in 
 the "tented field." Compare I. i. 126. 
 
 27. sea's worth] Compare Winter's 
 Tale, IV. iv. 500-502 ; and Henry V. I. 
 ii. 163-165. Davenant borrows this 
 expression in The Cruel Brother (Maid- 
 ment, p. 131). A more apposite illus- 
 tration is that of a chapter (book ix. 
 ch. xxxiiii.) in Holland's Pliny, 1601, 
 on "The riches of the Sea." It is 
 only a few lines, and it is to be re- 
 garded as an introduction to the follow- 
 ing most interesting and lengthy disserta- 
 tion " Of Pearles : how and where they 
 are to be found." The " riches of the 
 sea " are " varietie of dishes " ; " dain- 
 tie and delicate fishes," but these are 
 "small trifling matters," and "all 
 ryot and superfluitie proceedeth from 
 these shell fishes" in the form of 
 pearls. Pliny (i.e. Holland) goes on 
 to say "The richest merchandize of all, 
 
 and the most soveraigne commoditie 
 throughout the whole world are these 
 Pearles." Steevens referred to Pliny, 
 and Furness dismisses the note 
 unjustifiably. So pre - eminent were 
 pearls, both in poetry and practice, that 
 it is not unreasonable to suppose the 
 " sea's worth " much enhanced thereby. 
 Compare : 
 
 "she is mine own ; 
 
 And I as rich in having such a jewel, 
 
 As twenty seas, if all their sand were 
 pearl " 
 
 (Two Gentlemen, n. iv. 170). 
 And again, "A sea of melting pearl, 
 which some call tears" (ibid. in. i. 224). 
 Compare also Chester's Love's Martyr 
 (Grosart, p. 108), 1601 : " I will here 
 expresse . . . The salt Seas unseene, 
 unknowne worthinesse." Pliny's dis- 
 sertation may have suggested the 
 metaphor to Shakespeare. 
 
 31. perfect] " fully prepared for what 
 may occur," or "knowing what to do 
 or say," as Schmidt says. Compare 
 Measure for Measure, v. 82. 
 
 33. Janus] Warburton rightly says 
 "there is great propriety in making 
 the double lago swear by Janus, who
 
 ac.ii.] THE MOOR OF VENICE 23 
 
 Enter CASSIO, and certain Officers with torches. 
 
 Of/i. The servants of the duke, and my lieutenant. 
 
 The goodness of the night upon you, friends ! 3 5 
 
 What is the news ? 
 Cas. The duke does greet you, general, 
 
 And he requires your haste - post - haste appear- 
 ance, 
 
 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; 
 
 35. you] your Q r. 38. What is] Ff, What's Qq. 41. sequent] fre- 
 quent Q i. 42. at one] one at Q 2, 3. 44. already. You] Ff, Craig ; 
 already ; you Qq and editors. 
 
 had two faces." lago does so because " He that is a iourney man, and rydeth 
 he glories in his duplicity. Ben Jonson upon an other mannes horse, yf he 
 uses the "bifronted God's" name ryde an honest pace, no manne wyll 
 similarly. Macilente (Every Man Out, dysalowe hym : But yf he make Poste- 
 I. i. 76), 1599, addresses Carlo Buffone, haste bothe he that oweth the horse, 
 " an open throated, black mouthed and he peradventure also that after- 
 caar,"as "good Janus." Amore forcible warde shal bye the horse, may chaunce 
 instance is found in Poetaster (v. i. to curse hym," Ascham, Toxophilus 
 2593), 1601, "That he may look bi- (Arber's reprint, p. 115), 1545. A pro- 
 fronted as he speaks." minent character in that mouldy old 
 
 35-] A poetical paraphrase of " good- play, Histriomastix (circa I599)> is 
 
 night." Compare "The best and named Post-haste. Mr. Simpson in- 
 
 wholesomest spirits of the night En- deed had the daring to identify him 
 
 velop you," Measure for Measure, iv. with Shakespeare. See I. iii. 46. 
 
 ii. 76. And the Irish " The top of the 40. galleys} See note at "Castle," 
 
 morning to you. " in. i. I. 
 
 37. haste post - haste] The words 43. consuls'] See I. i. 25. 
 written on dispatches sent express.
 
 24 OTHELLO [ACT i. 
 
 When, being not at your lodging to be found, 45 
 
 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 ? 
 
 I ago. Faith, he to-night hath boarded a land carrack : 50 
 If it prove lawful prize, he 's made for ever. 
 
 Cas. I do not understand. 
 
 I ago. He 's married. 
 
 Cas. To who ? 
 
 Re-enter OTHELLO. 
 
 lago. Marry, to Come, captain, will you go ? 
 
 Oth. Have with you. 
 
 Cas. Here comes another troop to seek for you. 
 
 46. abouf] Ff ; aboue Q i, 2 ; above Q 3. 50. carrack] Q i ; carract F I ; 
 carack Malone, Steevens, Globe ; carrack (Skeat), Craig. 53. Have -with 
 you] Ff, Ha, with who ? Q I. 
 
 46. quests'] bodies of searchers, or 52.] "How came Cassio such a 
 
 search-parties. Schmidt equates it stranger to this affair when it after- 
 
 with "search," I. i. 159. wards (in. iii. 71, 72) appears he went 
 
 49. makes] does. See in. iv. 167. awooing with Othello and took his part 
 
 50. carrack~\ ' ' A name given by the in the suit ? " (Theobald). Blackstone 
 Spaniards and Portuguese to the vessels replies (quoted by Steevens, 1793), 
 they sent to Brazil and the East Indies ; "Cassio's seeming ignorance of Othello's 
 large, round built, and fitted for fight courtship or marriage might only be 
 as well as burden. Their capacity lay affected, in order to keep his friend's 
 in their depth, which was extraordinary, secret till it became publicly known. " 
 English vessels of size and value were 53- Have with you] I 'm in agree- 
 sometimes so called, " Admiral Smyth's ment with you. Come along. Nashe's 
 Sailor's Word Book (1867). The board- well-known attack upon Gabriel Harvey 
 ing of carracks, from the voyages of is entitled Have with you to Saffron 
 Drake, Cavendish, and others, was a Walden, 1596. Other forms of the 
 familiar idea. Blount says "of the forcible imperative are Have at it, Have 
 Italian word carico, or carco, a burthen to it, and Have through (in Shake- 
 or charge ; you have this word," Glosso- speare). 
 
 grafhia, 1670.
 
 sc. ii.] THE MOOR OF VENICE 25 
 
 I ago. It is Brabantio : general, be advised ; 5 5 
 
 He comes to bad intent. 
 
 Enter BRABANTIO, RODERIGO, and Officers with torches 
 and weapons, 
 
 Oth. Holla ! stand there ! 
 
 Rod. Signior, it is the Moor. 
 
 Bra. Down with him, thief! 
 
 [They draw on both sides. 
 
 lago. You, Roderigo ! come, sir, I am for you. 
 
 Oth. Keep up your bright swords, for the dew will rust them. 
 Good signior, you shall more command with years 60 
 Than with your weapons. 
 
 Bra. O thou foul thief, where hast thou stow'd my daughter ? 
 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, 65 
 
 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 
 
 57. [They . . .] Rowe et seq.\ omitted Qq, Ff. 65. If . . . bound] line 
 omitted in Q i, in brackets Ff, Q 2. 
 
 55. be advised] be cool and careful, his ear, perfumed gloves," etc. Burton's 
 
 " Who, in my rage, kneel'd at my feet Anatomy (p. 576, ed. 1852), 1621. A 
 
 and bade me be advised ? " (Richard volume might be written, as indeed was 
 
 ///. II. i. 107). done by Prynne, about these love-locks, 
 
 68. curled'] fashionable, elegant. The which were most carefully curled. See 
 
 badge of an exquisite was a love-lock Epicene, iii. 2 (Cunningham's Gifford's 
 
 and curled hair. Compare Lear, in. iv. Jonson, i. 4300). 
 
 88, and Timon, iv. iii. 160. '"Tis the 70. guardage] guardianship. Webster 
 common humour of all suitors to trick up says "Old French." It is not in Cot - 
 themselves, to be prodigal in apparel, grave or Palsgrave. It is probable 
 neat, combed and curled with powdered Shakespeare took the word from Hoi- 
 hair, with a long love-lock, a flower in land's Plinie : ' ' hee was come from
 
 26 
 
 OTHELLO 
 
 [ACT i. 
 
 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 
 
 71. as thou ;] as thou: Ff, as thou? Qq, omitted Seymour conj. 
 Judge . . . thee"] omitted Q I. 
 
 72-77- 
 
 his younger brother, who had recom- 
 mended his daughter to his tuition and 
 guardenage " (vii. 53). The word is so 
 divided by the lines " guarde-nage," that 
 the would easily drop out. ' ' Guardian- 
 age" is better than "guardage." Hol- 
 land has elsewhere the word "garden- 
 age," of wholly different origin. New 
 Eng. Diet, quotes from Beaumont and 
 Fletcher, Thierry and Theod. v. I : 
 "You see this cardicue, the last, and the 
 only quintessence of fifty crowns distill'd 
 in the limbeck of your gardage." This 
 instance has not the appropriate sense 
 that Holland's word has. 
 
 70. sooty] This seems to be a suitable 
 place to refer to a disputed topic, the 
 colour of Othello. Garrick's Othello 
 is said to have been a failure, compara- 
 tively, because he assumed the garb of 
 a negro. Kean first substituted, and 
 Coleridge endeavoured to justify, the 
 tawny hue of the light brown Moor of 
 Mauritania ; the complexion of the 
 ' ' burnished sun " ascribed to Portia's 
 suitor, the Prince of Morocco. Knight, 
 Grant White, and others support 
 the Mauritanian view. Halliwell says, 
 "Was Othello a negro? Certainly 
 not. He was. a Moor of lofty line- 
 age, thick lips (l. i. 66) and a very 
 dark complexion. The reference to 
 Mauritania, iv. ii. 257, surely settles 
 the disputed question." But the 
 evidence deduced from the one passage 
 about Mauritania is no make-weight 
 against the present word "sootie," the 
 "black Othello" of II. iii. 33, and 
 III. iii. 264, the previous "thick lips," 
 and the " begrimed and black As mine 
 own face" of in. iii. 387. The geo- 
 graphical term Mauritania was, indeed, 
 wide enough to include Ethiopia (see 
 Holland's Plinie's Naturall Historic 
 
 (v. i). And compare Bk. VI. ch. xix., 
 ' ' Beyond the river Ganges . . . the 
 people are caught with the sunne, and 
 begin to be blackish ; but yet not all 
 out so sunburnt and black indeed as 
 the Moores and ^Ethiopians" (1601). 
 Sir Thomas Elyot calls the Ethiopians, 
 Moors. Wilson says, "Coleridge al- 
 most always thought, felt, wrote, and 
 spoke finely as a critic, but may I 
 venture, in all love and admiration of 
 that name, to suggest that the removal 
 which the stage makes of a subject from 
 reality must never be forgotten?" 
 (Black-wood's Magazine, April 1850, 
 p. 484). The conclusion seems to be 
 that Shakespeare wrote of a Negro 
 (negrezza in Cinthio), a " Negro Moor," 
 as Peele calls Muly Mahamet in the 
 Battle of Alcazar ; and that actors and 
 sensitive readers, revolting at such an 
 union, are unable to digest him in his 
 sooty garb. The evidence as to our 
 author's idea is very definite, and, prac- 
 tically, wholly of one kind. Charles 
 Lamb (Works, 1870, iii. 102) finds 
 nothing offensive in the reading of 
 Desdemona wedding with a coal-black 
 Moor. But the seeing is another matter. 
 
 71. to fear] to terrify. A common 
 sense formerly, as in our ' ' fearful. " 
 
 72. gross in sense] easily discernible, 
 palpable, in apprehension or percep- 
 tion (Schmidt). 
 
 73. practised] plotted. A common 
 use. 
 
 74. minerals] powerful or poisonous 
 drugs. See Cymbeline, V. v. 50. Com- 
 pare Ben Jonson, "Nor barren fern, 
 nor mandrake low, Nor mineral to kill," 
 Golden Age Restored (ante 1616) ; and 
 Chapman's Alphonsus, iv. 2. " a mineral 
 not to be digested, Which burning eats 
 and eating burns my heart,"
 
 sc. ii.] THE MOOR OF VENICE 27 
 
 That weaken motion : I '11 have 't disputed on ; 75 
 
 '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. 
 Oth. 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 85 
 
 Of law and course of direct session 
 
 Call thee to answer. 
 Oth. What if I do obey ? 
 
 75- weaken motion} Rowe, Ritson, etc. ; weakens motion Ff, Q 2, 3 ; waken 
 motion Hanmer, Johnson, Steevens. J&. For] Such Q I. 83. cue] Qu Q I. 
 84. Where] Qq ; Whether F I ; Whither F 2, 3, 4. 85. To} And Q I. 87. 
 if I do~\ if do F I ; */"/Pope, Hanmer. 
 
 75. weaken motion] " Sense, per- (Skeat) ; arrest : a legal term, frequent 
 ceptivity, mental sight " (Schmidt), in the historical plays. 
 [Schmidt has a misprint here, "All's" 83. cue~] motive, hint, from the thea- 
 should be " Ant."] The context seems trical term. Compare " the clock gives 
 to require a little more than this ; the me my cue," Merry Wives, in. ii. 46 ; 
 will or power of free choice are what and Hamlet, n. ii. 587. Believed to be 
 are weakened. Cotgrave gives " Mouve- derived from the French queue, a tail ; 
 ment : m. A moving, stirring : motion, the tail-word or catch-word. Some- 
 agitation, course : agility, moveable- times written Q from the sound. An 
 ness ; an inclination, disposition, free early instance occurs in T. Howell's 
 will." This may possibly, however, Devises, 1581 : 
 
 have the sense of "motion" in that "Take heede therefore, and kepe 
 
 intolerable conjecture which reads eche cue so right, 
 
 " wakens motion, "parallelling the word That Heaven for hyre unto thy 
 
 with that in I. iii. 95. Many are satis- lotte may light." 
 
 fied with Ritson's explanation (equiva- And Lyly's /"a/ wz'M an Hatchet (\<ffi>} : 
 
 lent to Schmidt's), "impairs the facul- "they must be hangd. Hangde is the 
 
 ties." Que, and it comes just to my pur- 
 
 75. disputed on] argued in court pose." 
 
 (Rolfe). 86. course of direct session] regular, 
 
 77- attach] "take and hold fast" or ordinary course of session.
 
 OTHELLO [ACT i. 
 
 How may the duke be therewith satisfied, 
 
 Whose messengers are here about my side, 
 
 Upon some present business of the state 90 
 
 To bring me to him ? 
 
 Tis true, most worthy signior ; 
 The duke 's in council, and your noble self, 
 I am sure, is sent for. 
 
 Bra. How ! the duke in council ! 
 
 In this time of the night ! Bring him away : 
 Mine's not an idle cause: the duke himself, 95 
 
 Or any of my brothers of the state, 
 Cannot but feel this wrong as 'twere their own ; 
 For if such actions may have passage free, 
 Bond-slaves and pagans shall our statesmen be. 99 
 
 [Exeunt. 
 
 SCENE III. A Council-Chamber. 
 
 The Duke and Senators sitting at a table ; Officers attending. 
 
 Duke. There is no composition in these news 
 That gives them credit. 
 
 91. bring] Ff, beare Qq. 
 
 Scene ill. 
 
 I. There is] There's F I ; these] Q I, 2 ; this Ff ; his Q 3. 
 
 99. pagans'] used contemptuously with explain. Heath thinks there is a refer- 
 
 reference to Othello's nationality, ence in "bond-slaves" to Othello's 
 
 Malone says, "A very common expres- actual experience of slavery (l. iii. 138). 
 
 sion of contempt." I do not recollect ,, 
 it in those past-masters of abuse 
 
 Marston, Dekker, and Middleton. I. composition] accord, agreement. 
 
 Malone's reference to 2 Henry IV. I. news'} tidings. Usually a singular 
 
 (II. iii. 168) is not, I submit, to the in Shakespeare, and in several passages 
 
 point. The word there has a special the Folios alter the Quarto reading of 
 
 feminine signification, which a reference "these" to "this," as they do here, 
 
 to Massinger's City Madam (ii. 2) will The transition was taking place. Com-
 
 sc. in.] THE MOOR OF VENICE 29 
 
 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, 5 
 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, 10 
 
 But the main article I do approve 
 In fearful sense. 
 
 Sailor. [ Within] What, ho ! what, ho ! what, ho ! 
 
 Off. A messenger from the galleys. 
 
 4. And\ Qq, F 4 ; omitted F I, 2, 3. 6. the] Ff, they Qq ; aim] ayntd 
 Ql. IO. in] Ff, to Qq. II. article'} articles Q I. 13. galleys'] 
 galley Q I. 
 
 pare N. Breton, " Newes here are none Compare Holland's Plinie : " In their 
 
 but old or false," Post with a Packet, swimming they descry no land by the 
 
 etc. (Grosart reprint i. letter 64), 1603. eye, but only by their smelling have an 
 
 Skeat gives a reference to Berner's aime thereat " (viii. 32). 
 Froissart, 1523. 8. bearing up to] taking her course 
 
 5. jump] agree. A frequent word in to. Compare Tempest, in. ii. 3 : 
 Shakespeare's time (compare Merchant "therefore bear up and board 'em." 
 of Venice, n. ix. 62 ; Richard III. in. A nautical expression, as in Hayes' 
 i. Ii), but generally followed by with. Narrative of Gilberfs Voyage, 1583 
 See Ben Jonson, Epicene, ii. 3: "My (Payne, 1880, p. 199): "bearing to 
 speeches jump right with what you the south, even for our lives, into the 
 conceive." wind's eye." 
 
 5. just'] exact. Frequent in Shake- 10. secure] hold myself secure on 
 speare. Ben Jonson uses it : account of the error or disagreement. 
 
 " just twenty nobles. To make careless or confident (Schmidt), 
 
 Face. O, you are too just" as in Timon, II. ii. Compare "security 
 
 (Alchemist, in. ii. 440). Is mortal's chiefest enemy" (Macbeth, 
 
 6. aini] "Where there is no better ill. v. 32), where this sense has its 
 ground for information than conjee- fullest force. 
 
 ture" (Warburton). "Aim," with the II. approve] admit, assent to. 
 
 sense of "guess," "conjecture," occurs 12. fearful] full of fear. A very 
 
 in 2 Henry IV. in. i. 83: "A common sense. Compare " timorous, ' 
 
 man may prophesy with a near aim." I. i. 75.
 
 30 OTHELLO [ACT i. 
 
 Enter Sailor. 
 
 Duke. Now, what 's the business ? 
 
 Sail. The Turkish preparation makes for Rhodes ; 
 
 So was I bid report here to the state I 5 
 
 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 
 
 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 2 5 
 
 13. -what's} omitted Qq. 1 6. By . . . Angelo] omitted Q I. 24-30. 
 For . . . profitless} omitted Q I. 25. Buf\ Ff ; Who Q 2, 3. 
 
 17. How say you by\ What say you "for the weighty shield So long sus- 
 
 of. Occurs again in Merchant of tained, employ the facile sword " 
 
 Venice, I. ii. 58; Hamlet, II. ii. 128. (Sejanus, iv. iii. 3080:, 1603). The 
 
 Compare "He knows some notorious sense, easily handled, is exactly parallel, 
 
 jest by this gull " (Ben Jonson, Every 24. brace"} an attitude of defence. 
 
 Man Out, IV. iv. Ii83, 1599); and Brace means literally protection for 
 
 "meant by Caesar," "meant by us" the arm, as in bracer, vambrace, Halli- 
 
 (Poetaster, v. i. 253). well refers the substantive here used 
 
 17, 18. This . , , reason"] this will to the verb "to brace," to brave, to 
 not stand any reasonable test. It is defy, which is used several times by 
 highly improbable. Skelton : "Suche boste to make, To 
 
 18. pageant} show, delusion ; from prate and crake, To face, to brace," 
 the theatrical sense. Compare Tempest, Against the Scottes (Dyce's Skelton, i. 
 "this insubstantial pageant" (iv. 155). 183) ; and see Dyce's excellent note, ii. 
 
 20. importancy} importance. A rare 216. Palsgrave has "I brace or face, 
 
 word. "The importancy or urgency Je braggue." 
 
 of the cause," Act 32, Henry VIII., 25, 26. abilities . . . dressed] To be 
 
 1540 (New Eng. Diet.). "dressed in abilities" sounds forced in 
 
 23. facile question bear it] carry it modern ears, though the meaning is 
 
 with easier opposition. Observe that obvious, referring to fortresses, etc. 
 
 "it" in lines 22, 23, 24 refers to "Abilities" was connected with garb, 
 
 Cyprus. " Facile " does not occur again or outward show through its doublet, 
 
 in Shakespeare. Compare Ben Jonson : " habilaments" perhaps. Compare the
 
 SC.IIL] THE MOOR OF VENICE 31 
 
 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 
 
 Duke. Nay, in all confidence, he 's not for Rhodes. 
 Here is more news. 
 
 Enter a Messenger. 
 
 Mess. The Ottomites, reverend and gracious, 
 
 Steering with due course toward the isle of Rhodes 
 Have there injointed them with an after fleet 35 
 
 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. 
 
 29, 30. ease . . . wake and] as in Q 2, 3, F 3, 4 ; ease, andgaine To -wake, and 
 1*1,2. 31. Nay, ] And Q i. 35. Mew] omitted Q I. 36,37. First Sen. 
 Ay, . . . guess? Mess.] omitted Q I. 37. thirty] 30 Qq ; re-stem] Ff, 
 resterine Q i, resterite Q 2, 3. 
 
 following passage in Chettle's Kind- 31. he's not for Rhodes'] On this 
 
 hartes Dreame (New Sh. Soc. p. 74), feigned attack upon Rhodes, see In- 
 
 1592 : " This shifter forsooth carried no troduction. 
 
 lesse countenance than a gentleman's 33. Ottomites~\ Ottomans or Turks, 
 abilitie, with his two men in blue See also line 235 and 11. iii. 171. This 
 coates." Cockeram has ' ' Habilitie, form is unusual, if not unique, 
 handsomenesse." "Dressed" may be 35. injointed'} allied, joined. Corn- 
 taken, however, meaning simply " pre- pare our "disjointed," a verb formed 
 pared," and "ability," power. from the similar past participle. "In- 
 
 30. wage} to hazard, to attempt, to join " (injungo) in this sense is in Ains- 
 venture on (Schmidt). Compare King worth's Eng.-Lat. Diet. The omission 
 John, I. 266. Hardly distinguishable of " them" (Q I ) seems preferable here, 
 in sense from ' ' wage " in the sense of Hudson adopted it. 
 
 "wager," i.e. "risk" in the modern 42. to believe hint] not to doubt the 
 use. truth of this intelligence (Johnson).
 
 32 OTHELLO [ACT i. 
 
 Duke. 'Tis certain then for Cyprus. 
 
 Marcus Luccicos, is not he in town ? 
 
 First Sen. He's now in Florence. 45 
 
 Duke. Write from us to him ; post-post-haste dispatch. 
 First Sen. Here comes Brabantio and the valiant Moor. 
 
 Enter BRABANTIO, OTHELLO, lAGO, RODERIGO, and 
 Officers. 
 
 Duke. Valiant Othello, we must straight employ you 
 
 Against the general enemy Ottoman. 
 
 [To Brabantio} I did not see you; welcome, gentle 
 signior. 50 
 
 We lack'd your counsel and your help to-night. 
 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 
 
 44. Luccicos] Qq, Ff; Lucchesc Capell, Malone, Steevens ; not he] F I, 2, 
 Q 2, 3 ; not here Q I ; he not F 3, 4. 46. to him ; post} -wish him post Q I ; 
 
 post-post-haste] hyphened by Steevens, reading -wish as Q I. 47. valiant] 
 omitted F 2, 3, 4. 51. lacKd\ lacke Q I, lac&t Ff. 53. nor] Qq ; hor F I ; 
 
 for F 2, 3, 4. 54. nor] nolQi. 
 
 44. Marcus Luccicos] Nothing is Venice, to the same effect :" Fearing, " 
 
 known of this personage. The mention the latter adds, " I thinke, Caesar's ex- 
 
 of this name points to some historical ample." Compare Webster's White 
 
 source for this play with which we are Devil : " Saw you not yet the Moor 
 
 unacquainted. that's come to court? . . . He hath, 
 
 46. post-post-haste] See note at I. ii. by report, served the Venetian In 
 
 37. Candy these twice seven years, and 
 
 48, 49. ] Malone says it is part of the been chief In many a bold design " 
 policy of the Venetian State never to (Dyce's Webster, ed. 1877, p. 35^). 
 entrust the command of an army to a The Moor in this play (of whom there 
 native. He quotes from Lewkenor's is a noble description at the place 
 Contareno: "Their charges and yearly cited) is, however, no Moor, but Fran- 
 occasions of disbursement are likewise cisco de Medicis "disguised like 
 very great: for always they do entertain Mulinassar." The date of the play is 
 in honourable sort, with great provision, 1612. 
 
 a captaine generall, who alwaies is a 49. Ottoman] this term is found in 
 
 stranger borne." Reed quotes from T. Shute's Commentaries, 1562 (Stan- 
 
 the earlier work, Thomas, Hist, of ford Dictionary}.
 
 8c.ni.] THE MOOR OF VENICE 
 
 33 
 
 Take hold on me ; for my particular grief 5 5 
 
 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. 
 
 55. hold on] Ff, any hold of Q I, hold of Q 2, 3 ; grief] grief es Q i. 
 All] Qq, Sen. Ff. 63. Being . 
 
 line in brackets Ff, Q 2. 
 
 56. flood-gate] Shakespeare has this 
 metaphor twice elsewhere ( Veil, and 
 Ad. 959 and 1 Henry IV. II. iv. 435). 
 In both cases it refers to the eyes as 
 the floodgates for tears, as it does also 
 in the following lines from Fitzgeoffrey's 
 Z)ra/&;(Grosart, reprint, p.26), 1596: "at 
 your pleasures drawe or else let downe 
 The flood-hatches of all spectators eies." 
 Collier absurdly says of this passage, ' ' it 
 is the earliest allusion to Shakespeare's 
 Henry IV." An early use of this 
 metaphor will be found in Gabriel 
 Harvey's Advertisement to Papp- 
 hatchett (Grosart, ii. 153), 1589: "an 
 open fludgate to drown Pollicy with 
 licentiousness." 
 
 57. engluts] swallows. The word is 
 found also in Henry V. IV. iii. 83, 
 and in Timon, n. ii. 175. See 
 Cotgrave, " Engloutir : To devour, 
 inglut, ingulf, swallow up." Gabriel 
 Harvey uses it, " didst englut thyself," 
 Pierce's Supererogation (Grosart, ii. 
 
 "4), 1593- 
 61. mountebanks] ' ' Fellows, to mount 
 
 sense'] omitted Q I 
 
 . - 59- 
 
 not] omitted Q 3 ; 
 
 a bank. Did your instructor In the 
 dear tongues, never discourse to you Of 
 the Italian mountebanks?" Ben Jon- 
 son, The Fox, ii. I. Ben Jonson has 
 the best account of these " ciarlitani," 
 who came from Italy about this time. 
 See also Coryat's Crudities (1611). 
 The word made its appearance earlier 
 in Comedy of Errors, I. ii. 101 (1590). 
 Warburton quotes here the Venetian 
 law, against giving love-potions, held 
 very criminal. 
 
 62. preposterously} literally " in the 
 wrong order, that first which ought to be 
 last," as in Midstimmer Nigh fs Dream, 
 III. ii. 121. Compare Ben Jonson: 
 " In witness whereof, as you have pre- 
 posterously put to your seals already, 
 which is your money, you will now add 
 the other part of your suffrage, your 
 hands," Bartholomew Fair, Induction 
 (1480). 
 
 64. Sans] without. Used in English 
 literature from Chaucer's time down to 
 Evelyn's. Occurs about a dozen times 
 in Shakespeare.
 
 34 OTHELLO [ACTI. 
 
 Duke. Whoe'er he be that in this foul proceeding 65 
 
 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 Othello] What in your own part can you say to 
 this? 
 
 Bra. Nothing, but this is so. 75 
 
 Oth. Most potent, grave, and reverend signiors, 
 My very noble and approved good masters, 
 That I have ta'en away this old man's daughter, 
 It is most true ; true, I have married her : 
 The very head and front of my offending 80 
 
 Hath this extent, no more. Rude am I in my 
 
 speech, 
 
 And little blest with the soft phrase of peace ; 
 For since these arms of mine had seven years' pith, 
 Till now some nine moons wasted, they have used 
 Their dearest action in the tented field ; 8 5 
 
 69. your] Ff, its Qq ; sense ; yea, though} Ff ; sense, tho Q I ; sense, yea 
 tho Q 2, 3 ; sense ; though Pope. 81. am I] / am Q 2, 3. 82. soft] Ff, 
 set Qq, Warburton, Steevens. 
 
 70. Stood in your action] "Stand" is 76.] Compare "Most reverend and 
 equivalent almost to the auxiliary verb grave elders," Corio/anus, II. ii. 
 " to be," in this and several other 46. 
 
 passages in the plays (Schmidt). Com- 85. dearest] See note at line 260, 
 pare I. iii. 70 and II. i. 51.
 
 sc. in.] THE MOOR OF VENICE 35 
 
 And little of this great world can I speak, 
 
 More than pertains to feats of broil and battle ; 
 
 And therefore little shall I grace my cause 
 
 In speaking for myself. Yet, by your gracious 
 
 patience, 
 
 I will a round unvarnish'd tale deliver 90 
 
 Of my whole course of love ; what drugs, what 
 
 charms, 
 
 What conjuration and what mighty magic 
 For such proceeding I am charged withal 
 I won his daughter. 
 Bra. A maiden never bold ; 
 
 Of spirit so still and quiet that her motion 95 
 
 Blush'd at herself ; and she, in spite of nature, 
 
 Of years, of country, credit, every thing, 
 
 To fall in love with what she fear'd to look on ! 
 
 It is a judgment maim'd and most imperfect, 
 
 90. unvarnish'd'] unravisKd Q 2, 3. 93. proceeding] Ff, proceedings Qq ; 
 / am] Ff, am I Qq. 94. daughter] daughter with F 2, 3, 4. 94, 95. 
 bold; Of spirit so] so in Ff; line 94 ends bold of spirit, Q i, ends bold, Q 2. 
 98. on /] on ? Qq, on ; Ff. 99. maim'd] main'd F I. 
 
 90. round] "plain, direct" (Rolfe). ment, charm or sorcery, to the intent 
 
 We may add, perhaps, the sense of to provoke any person to unlawful 
 
 "sincere," "earnest" as found in the love," the penalty upon conviction is a 
 
 adverb "roundly." It occurs (e.g. ) in year's imprisonment. Steevens takes 
 
 Troilus and Cressida : ' ' and fell so the view that this is the Act Shakespeare 
 
 roundly to a large confession, to angle relied on; Ritson, that he was acquainted 
 
 for your thoughts" (in. ii. 161). And with the Venetian law (see note at i. 
 
 Ben Jonson's Magnetic Lady, i. I : 171). 
 
 "Set to him roundly, aye and swinge 93. withal~\ "=with, as placed at 
 
 him soundly." the end of the sentence" (Schmidt's 
 
 90. unvamish' 'd] Gabriel Harvey Lexicon). 
 
 has this applied sense earlier: "var- 95.96. motion . . . herself} Schmidt 
 
 nished phrases " occurs in A Notable interprets ' ' motion " here ' ' movement 
 
 Letter, etc. (Grosart, i. 284) 1593. of the soul, tendency of the mind, im- 
 
 93. charged withal] Grey, cited by pulse." Abbott ( Grammar) says, "Her 
 
 Furness at line 61, adduces a law of is very often applied by Shakespeare to 
 
 Jac. cap. xii. to the effect, "That if the mind and soul, which tends to 
 
 any person or persons should take upon confirm Schmidt." Grant White says 
 
 him or them, by witchcraft, inchant- "motion" means "natural desires."
 
 36 OTHELLO [ACT i. 
 
 That will confess perfection so could err 100 
 
 Against all rules of nature ; and must be driven 
 To find out practices of cunning hell, 
 Why this should be. I therefore vouch again, 
 That with some mixtures powerful o'er the blood, 
 Or with some dram conjured to this effect, 105 
 
 He wrought upon her. 
 
 Duke. To vouch this, is no proof, 
 
 Without more certain and more overt test 
 Than these thin habits and poor likelihoods 
 Of modern seeming do prefer against him. 
 
 First Sen. But, Othello, speak : 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? 
 
 Of/i. I do beseech you, 
 
 Send for the lady to the Sagittary, 115 
 
 100. perfection] affection Theobald ; could] Ff, would Qq. 106. upon] upon 
 F I ; Duke] omitted F i ; vouch] youth Q I. 107. certain} wider Ff, Globe, 
 Rolfe ; overt test] Q 1 , 2 ; over Test F I ; over- Test F 2,3,4; over test Q 3. 108. 
 Than these] Ff, These are Qq, Coll. 109. seeming] seemings Q I, 2 ; do] Ff, you 
 Qq. 115. Sagittary] Sagittar Q I ; Sagitary F I, 2, 3 ; Sagittary Q 2, 3, F 4. 
 
 TOO. perfection] excellence. Compare and Cressida, v. ii. 122. This seems to 
 
 Sonnet 66, " right perfection wrong- be Schmidt's view, 
 fully disgraced." 109. modern] trivial, commonplace, 
 
 105. conjured] The accent is simi- valueless. The modern sense does not 
 
 larly placed in III. iii. 294. Schmidt occur in Shakespeare's time, but it must 
 
 cites three other similar pronunciations have been in use, since it is the only 
 
 (Comedy of Errors, ni.i. 34 ; Romeoand one in Cotgrave (1611): "Moderns: 
 
 Juliet, II. i. 26 ; Hamlet, V. i. 279). Modern, new, of this age, of these 
 
 Abbott overlooked this in s. 490. times, in our times." Compare Ben 
 
 107. overt test] " open proofs, exter- Jonson, "a kind of modern happi- 
 
 nal evidence " (Johnson). "Test" may ness" (iv. i. 470), where the sense is 
 
 mean (i) "witness," (2) "trial." See exactly parallel, i.e. "transparently 
 
 Webster. For the sense Jonson gives, worthless, " hence fictitious, 
 "test" would be equivalent to or con- 115. Sagittary] See note I. i. 159. 
 tracted from "attest," as in Troilus
 
 sc.ni.] THE MOOR OF VENICE 37 
 
 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 
 
 Oth. 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 125 
 
 And she in mine. 
 
 Duke. Say it, Othello. 
 
 Oth. 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 : 
 Wherein I spake of most disastrous chances, 
 Of moving accidents by flood and field, 135 
 
 Of hair-breadth scapes i' the imminent deadly breach, 
 Of being taken by the insolent foe, 
 
 118. The . . . you] omitted Q i. 122. till] tell F I ; truly] faithful Q I. 
 123. 7 ... blood] omitted Q i. 129. story} storyes Q 3. 130. fortunes] 
 Qc[,f0rtttnef. 134. spake] Qq, spoke Ff. 135. accidents by]accident of Q i. 
 
 124. justly] exactly, conformably Compare "frith and fell." Anallitera- 
 
 with the truth. Jonson has the adjec- tive touch, not common in the later plays, 
 live in Neptune's Triumph : "sprightly 136. scapes] This form occurs per- 
 
 green, Just to the colour of the sea." haps twice as often as "escape" in 
 
 Compare 2 Henry IV. in. ii. 89. Shakespeare, and is a legitimate word. 
 
 135. flood and field] sea and land. At eschappi Cotgrave places it before 
 
 Field means any open space of land, "escape."
 
 38 
 
 OTHELLO 
 
 [ACT i. 
 
 And sold to slavery, of my redemption thence, 
 And portance in my travel's history : 
 Wherein of antres vast and deserts idle, 1 40 
 
 Rough quarries, rocks, and hills whose heads touch 
 
 heaven, 
 
 It was my hint to speak, such was the process ; 
 And of the Cannibals that each other eat, 
 The Anthropophagi, and men whose heads 
 
 138. slavery, of] slavery, and Q I, slavery. OfFf, slavery ; 0/Q2, 3, Rowe, 
 Steevens, etc. 139. portance in my~\ Ff, Q 2, with it all my Q I ; travel's} 
 Pope, Steevens, etc. , Craig ; travels' Globe, travells Qq, Travellours Ff. 
 140. antres] Antrees Q i, Antars Q 2, 3, Ff ; idle] Qq, F I ; wilde F 2, 3 ; 
 wild F 4, Pope, Hanmer, Gifford (in Ben Jonson's Sejanus). 141. and} 
 omitted F I ; heads'] head F I. 142. the] Q I ; my Ff, Q 2, 3. 143. 
 other] Qq, F 3, 4 ; others Ff. 144. Anthropophagi] F 2, 3, 4 ; Anthropophagie 
 Qq ; Antropophague F I. 
 
 139. portance] behaviour, demeanour, 
 port. Compare Spenser: "a woman 
 of great worth, And by her stately 
 portance borne of heavenly birth," 
 Faerie Queene, II. iii. 21 ; and Tomlds, 
 Albumazar, iv. 2 : " through what a 
 grace And goodly countenance the 
 rascal speaks ! What a grave port- 
 ance ! " 
 
 139. travel's} This seems to be better 
 than "travels'," as it is frequently 
 printed. Shakespeare commonly uses 
 "travel," where we would use "travels." 
 
 140. antres] a French word. "Antre, 
 A cave, den, grot, cavern, hole or hollow- 
 ness under the ground," Cotgrave 
 (1611), ed. 1673. The Latin form is 
 given as English in Bailey's Dictionary. 
 Keats used the word ' ' antres " in Endy- 
 mion, bk. ii. line 230. See Chalmers' 
 note on this line quoted by Furness. 
 
 140. idle] useless, unprofitable. 
 Compare Ben Jonson : " a poor and 
 idle sin" (Sejanus, I. i. 1603); and 
 Comedy of Errors, "usurping ivy, 
 brier, or idle moss" (n. ii. 180). "Idle 
 is an epithet used [Saxon ydael} to 
 express the infertility of the chaotic 
 state in the Saxon translation of the 
 Pentateuch" (Johnson). And see 
 
 Gifford's note to Sejanus. The reading 
 ' ' wild " arose out of a blunder. 
 
 143. Cannibals that each other eat] 
 Cannibal was a man-eating Carib ; a 
 recent word in Shakespeare's time. 
 In Arber's Eden (p. 29) mention is 
 made " of the people called Cannibales 
 or Anthropophagi, which are accus- 
 tomed to eate man's flesh" (1555). 
 Again In Frobisher : ' ' Supposed us 
 belike to be Cannibals, or eaters of 
 man's flesh " (Best's Narrative of Fro- 
 bisher 's Second Voyage (Payne, ed. 
 1880, p. 56), 1577). Sir Walter Raleigh 
 confirms the derivation (Discovery 
 of Guiana, 1595). The term became 
 common in metaphorical use, as in 
 Jonson : " make our cannibal-christians 
 Forbear the mutual eating one another, 
 Which they do more cunningly than 
 the wild Anthropophagi, that snatch 
 only strangers" (Staple of News, III. i. 
 3083). 
 
 144. Anthropophagi] This people (of 
 Scythia) appear first in Herodotus, and 
 thence into Pliny's Nattiral Historic. 
 The term was revived in English in 
 Edward VI. 's reign: "Histories make 
 mention of a people called anthropo- 
 phagi, men-eaters," B. Gilpin, Sermon
 
 8c.ui.] THE MOOR OF VENICE 
 
 39 
 
 Do grow beneath their shoulders. This to hear 145 
 
 Would Desdemona seriously incline : 
 
 But still the house-affairs 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 
 
 145. Do grow] Qq, Grew Ff ; This] ; this Q I, These things Ff, ; these Q 2, 3. 
 147. thence} Qq, hence Ff. 148. Which] And Q I. 
 
 before Edward VI., 1552 (Stanford 
 Dictionary). Subsequently it was fre- 
 quently used, as in Eden's Newe India 
 (Arber, reprint, p. 23), and Scott's Dis- 
 coverie of Whitchcraft ( 1 584). Dekker 
 calls Ben Jonson an Anthropophagist, 
 because he devours his patrons ; Satiro- 
 mastix (Pearson, reprint, p. 234), 1602. 
 It seems likely, however, that Shake- 
 speare's direct source here was Holland's 
 Plinie's Nat. Hist. (1601) : "Above 
 those (Arimaspians) are other Scythians 
 called Anthrophagi . . . The former 
 Anthropophagi or eaters of men's flesh, 
 whom we have placed about the North 
 Pole " (bk. vil. ch. ii. ). Greene perhaps 
 was the first to introduce this resounding 
 word into poetry in his Selimus, line 
 1421, 1594: 
 
 "Ah 1 cruel tyrant and unmerciful, 
 More bloody than the Anthropo- 
 phagi, 
 That fill their hungry stomachs 
 
 with men's flesh." 
 
 Greene was a great enricher of the 
 English language from all sorts of 
 sources. 
 
 144, 145. men . . . shoulders'] "on 
 that branch which is called Caora, are 
 a nation of people whose heads appear 
 not above their shoulders . . . They 
 are called Ewaipanoma. They are 
 reported to have their eyes in their 
 shoulders, and their mouths in the 
 middle of their breasts," Sir W. 
 Raleigh, Discovery of Guiana (Payne's 
 Voyages, ed. 1880, p. 376), 1595. 
 Raleigh goes on, " such a nation was 
 
 written of by Mandevile, those reports 
 were holden for fables many years . . . 
 Whether it be true or not the matter is 
 not great, neither can there be any profit 
 in the imagination : for mine own part I 
 saw them not." He regrets he did not 
 chance to hear of them in time, as " I 
 might have brought one of them with 
 me to put the matter out of doubt" 
 (ibid. p. 377). At p. 390 mention is 
 made again of "divers nations of Canni- 
 bals and of those Ewaipanoma without 
 heads." We find these people also in 
 Pliny : ' ' Again, beyond those (Troglo- 
 dytes) westward, some there bee with- 
 out heads standing upon their neckes 
 who carry eies in their shoulders " 
 (Holland's Plinie, xii. 2). Shakespeare 
 refers again to this fable in the Tempest 
 (ill. iii. 46). In De prodigiis ostentis 
 per conradum Lycostheneum (p. 670), 
 1557) there is an engraving of one of 
 these headless men. 
 
 149. greedy ear] Malone quotes 
 Spenser : 
 
 " Whylest thus he talkt, the Knight 
 
 with greedy eare, 
 
 Hong still upon his melting mouth 
 attent " 
 
 (Faerie Queene, vi. ix. 26). 
 Steevens refers to aures avida of Cicero's 
 Orations, and to Ovid, De Ponto. 
 
 151. pliant"} easily bent, yielding. 
 Hence suitable, convenient. Not 
 found elsewhere in Shakespeare, and 
 not then a common term. It is found 
 in Gabriel Harvey's A New Letter, etc. 
 (Grosart, i. 268), 1593: "the prompt
 
 40 OTHELLO [ACT i. 
 
 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, 155 
 
 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 ; 1 60 
 
 '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, 
 
 154. parcels] parcel! Q I. 155. intentively] Qq ; instinctively F I ; dis- 
 tinctively F 2, 3, 4. 157. distressful] distressed Q I. 159. sighs] Qq, kisses Ff. 
 
 and pliant Nature." Compare "Traict- prepared to Hue and die, and to receiue 
 able, tractable, pliant, facile, intreat- his enemies as they ought to bee re- 
 able, courteous, gracious " (Cotgrave). ceiued." 
 
 153. dilate] to relate at large, to 159. world of sighs] vast, immense 
 
 enlarge upon. So in Comedy of Errors, quantity of sighs. A favourite expres- 
 
 " dilate at full What hath befallen." sion with Shakespeare. Compare "a 
 
 This word is found spelt "delate," which world of curses " (1 Henry IV. I. iii. 
 
 leads to confusion. In a letter of Eliza- 164). And Holland's Plinie, xxxv. 
 
 beth to James (Jan. 1595-6, Camden 14: "the earth thus infarced, con- 
 
 Soc. 1849, p. 113), I find the words tinueth a world of yeers, and perisheth 
 
 "whos praise, if I shuld not lessene not." 
 
 in praising, I could more delate, but 163. her] There is a difference of 
 
 thus muche I must tell you, that I can- opinion as to whether the pronoun 
 
 not imagin," etc. Minshew has "To here is accusative or dative. The 
 
 delate or speak at large of anything ; accusative is more pleasing, and more 
 
 see to Dilate." Compare the following : consonant with the bright and perfect 
 
 ' ' In my delating brains a thousand innocence of Desdemona's character, 
 
 thoughts were fed," T. Howell, Devises She listens, rapt in hero-worship, and 
 
 (Grosart, ii. 192), 1581. what more natural than the expression 
 
 155. intensely'] attentively. Cot- of the familiar feminine thought, "Oh 
 grave has " Ententiveinent : Inten- that I were a man to do such gallant 
 lively, busily, earnestly, attentively, care- deeds. " The sense of the dative be- 
 fully, needfully." Steevens cites two ex- longs to an ordinary, not to say to a for- 
 amples from Chapman's Homer. Com- ward temperament. Desdemona's ad- 
 pare Hakluyt, ii. 196 (rept. 1809), 1599 : miration for her " warrior's " deeds is a 
 "his knights intentiuely ready, and corner-stone of the play, and Othello
 
 sc. in.] THE MOOR OF VENICE 41 
 
 And bade me, if I had a friend that loved her, 
 
 I should but teach him how to tell my story, 165 
 
 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. 1 70 
 
 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 : 175 
 
 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, 1 80 
 
 I do perceive here a divided duty : 
 To you I am bound for life and education ; 
 
 1 66. hint'] Ff, heate Qq. 167. had\ Qq, F I ; have F 2, 3, 4. 177. on my 
 heaa\ Ff, light on me Qq (lite Q i). 
 
 in recognising this keen sympathy calls lators. The earlier commentators say 
 
 her his "fair warrior" (n. i. 184); nothing. 
 
 to which pet name that she loved I73-] settle this as well as you can: 
 she refers back in the plaintive words take up, to make up, to settle, as in 
 " unhandsome warrior as I am" (in. As Yon Like It, v. iv. 50 and v. iv. 104, 
 iv. 149). For the thought, compare and elsewhere in Shakespeare (Schmidt). 
 Condemns^ \. i. 235. Furness agrees, At the best, "How fare you?" "Ever 
 hesitatingly, with the above view. He at the best, hearing well^of your lord- 
 cites Knight, Cowden-Clarke, Rolfe, ship" (as well as possible), Timon of 
 Hudson, and Purnell in favour of the Athens, III. vi. 29. Clarke, I think, 
 dative, as well as the German trans- suggested " mingled " here.
 
 42 OTHELLO [ACTI. 
 
 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 hus- 
 band, 185 
 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 : 1 90 
 
 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, 195 
 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 
 
 Which, as a grise or step, may help these lovers 200 
 Into your favour. 
 
 184. the lord of] lord of all my Q I. 189. God. . . done.] God bu'y, I ha 
 done: Qq. 194. Which . . . heart] omitted Q I. 200. as] Qq, F i; 
 like F 2, 3, 4. 201. Into your favour] omitted in Ff. 
 
 183. learn] teach. Common in Shake- Stella (second song). It stands there : 
 
 speare and writers of his time. Now a "Have I caught my heavenly jewel." 
 
 frequent vulgarism. It occurs (once) in See Dyce's note to passage in Merry 
 
 Chaucer : ' ' Thus was I ones lerned of a Wives. There it is grotesque ; here it 
 
 Clerk," The Chanouns Yemannes Tale. is bitter in the extreme. 
 
 194. all] omitted, Pope. This editor 199. like yourself] as if I was in your 
 omitted a word for metrical purposes, or position in full sympathy with you. 
 made contractions, at his will. These Other meanings are suggested by Rolfe. 
 alterations are not noticed in this edition. Johnson explains, ' ' sententiously. " 
 
 195. jewel] Falstaff uses this term of But " hang clogs" can hardly be called 
 endearment in Merry Wives, "Have a "sentence." 
 
 I caught thee, my heavenly jewel," 200. grise] degree, step. SeeTwe/ftA 
 quoting from Sidney's Astrophel and Night, HI. i. 135. A common word in
 
 sc. in.] THE MOOR OF VENICE 43 
 
 When remedies are past, the griefs are ended 
 By seeing the worst, which late on hopes depended. 
 To mourn a mischief that is past and gone 
 Is the next way to draw new mischief on. 205 
 
 What cannot be preserved when fortune takes, 
 Patience her injury a mockery makes. 
 The robb'd that smiles steals something from the thief; 
 He robs himself that spends a bootless grief. 
 Bra. So let the Turk of Cyprus us beguile; 210 
 
 We lose it not so long as we can smile. 
 He bears the sentence well, that nothing bears 
 But the free comfort which from thence he hears ; 
 But he bears both the sentence and the sorrow, 
 That, to pay grief, must of poor patience borrow. 2 1 5 
 
 203. the worst'] worst F 3, 4. 205. new] Ff, more Qq. 207. mockery] 
 mocKry F r, mocker Q 3. 208. from the] from a Q 3. 210. So let] So, let 
 Theobald. 
 
 Ben Jonson. Variously epelt, grice, will be found In Leonato's speech in 
 
 grise, grize, greece, gree, grece, etc. Much Ado, V. i. He is also mourning 
 
 See Baret, Alvearie (1580), "grises or over the loss of a daughter: 
 
 steps were made to go into the entry : "Patch grief with proverbs, make 
 
 gradibus surgitant limina " ( Virgil). misfortune drunk 
 
 202.] Equivalent to "past cure, With candle- wasters . . . 
 
 past care," a saying found in Greene's Charm ache with air and agony 
 
 Mamilia (Grosart ed., ii. 154), 1583; with words: 
 
 and in Love's Labours Lost, v. ii. 28. No, no : 'tis all men's office to 
 
 204, 205.] Compare "He that will speak patience . . . 
 
 seek harm, shall find harm " Caxton's Therefore give me no counsel." 
 
 Reynard the Fox (Arber, p. 50), 1483 ; 212. sentence] maxim, proverb, as 
 
 or its more modern form, ' ' Harm watch, above (line 199) and again in this speech. 
 
 Harm catch" (Ben Jonson, Bart. Fair, See also Much Ado, n. iii. 249, etc. 
 
 v. 2). 213-215.] He must not only put up 
 
 208, 209.] Compare " He well abides with gratuitous counsel, but resort after- 
 
 that can well endure, quoth Hendyng," wards to patience to console himself. 
 
 ante 1300; or as Shakespeare puts it 215. poor patience] There was a variety 
 
 in Merry Wives, "What cannot be of proverbs about "poor patience." 
 
 eschewed must be embraced." Vincit As " Patience perforce "; "There's no 
 
 qui patitur, or "Of sufferance cometh remedy but patience" ; " Patience is a 
 
 ease," are other parallels of an earlier pack-horse " (cf. Henry V. n. i. 26) ; 
 
 date. " Let patience grow in your garden 
 
 211-219.] The best parallel illustra- always"; " Purse penniless and patience 
 
 tion to Brabantio's string of ' ' sentences " remediless," etc.
 
 44 
 
 OTHELLO 
 
 [ACT i. 
 
 These sentences, to sugar or to gall, 
 Being strong on both sides, are equivocal : 
 But words are words ; I never yet did hear 
 That the bruised heart was pierced through the ear. 
 I humbly beseech you, proceed to the affairs of state. 
 Duke. The Turk with a most mighty preparation 221 
 makes for Cyprus. Othello, the fortitude of 
 the place is best known to you ; and though 
 we have there a substitute of most allowed suf- 
 ficiency, yet opinion, a sovereign mistress of 225 
 
 219. ear\eares~F I. 220. 7. . . proceed to] F i, 2 ; Beseech you now, to Qq ; 
 7 humbly beseech you to proceed to F 3 (7 omitted F 4) ; Beseech you, now to 
 Theobald; of state] Ff, of the state Qq. 221. a] omitted Qq. 225. a sove- 
 reign] Qq, Steevens, Globe ; a more sovereign Ff, Rowe. 
 
 216, 217. to sugar . . . equivocal]^ 
 sweeten, or to annoy, etc. The passage 
 is explained by rendering "sugar" and 
 "gall" as infinitives (Schmidt). This 
 gives an awkward sound to the verb 
 "to sugar," not warranted by other 
 Shakespearian usage. Might the sense 
 be taken " these sentences (or maxims), 
 strong on both sides, have doubtful 
 sense, they are equal either to sugar or 
 to gall " ? Possibly Shakespeare wished 
 to write "equivalent," but the exigency 
 of rhyme demanded this substitute. The 
 Latin word "equivocal" was hardly 
 established, and was perhaps somewhat 
 vague. New Eng. Diet, has only one 
 earlier example : Fulbecke, 1601-2 
 (excluding the "nonce-word" in All's 
 Well). What is it we are to sugar ? Is 
 it Brabantio or things in general ? 
 
 219. pierced] entered, penetrated, 
 reached ; as in Lear, I. iv. 368 : "how 
 far your eyes may pierce I cannot tell." 
 The word here, however, as Furness 
 remarks, needs to mean "penetrated 
 with a soothing or consoling power," 
 and numerous suggestions, alterations, 
 and illustrations have been advanced to 
 that effect. Schmidt's fourth sense of 
 "pierce" is "to affect, to touch, to 
 
 move deeply," and he has a dozen ex- 
 amples of that use. The first suffices : 
 "plain words best pierce the ear of 
 grief" (Love's Labour's Lost, V. ii. 763). 
 
 222. fortitude] power to resist attack. 
 No other example in this sense has been 
 adduced ; the following from New Eng: 
 Diet, comes nearest to it : "a beast 
 . . . excelling other beastes in fortitude 
 and strength " (Eden's Travels (Arber, 
 reprint), 1553). But it is not a good 
 example, as its sense is not defined by 
 the context. The word might, however, 
 be well replaced by "strength." But 
 I know no other instance of its being 
 applied to inanimate objects. The 
 " beast" use is a step that way. 
 
 225, 226. opinion . . , effects] public 
 reputation, which governs outward show 
 or manifestation. "Effects" here has 
 escaped Schmidt, perhaps through a 
 misprint for "success," which occurs 
 where this passage is cited at "opinion." 
 Opinion (like " opportunity") was often 
 made the subject of a quasi-personal 
 address or attack. Guilpin has a lengthy 
 tirade in Skialetheia (1598). He ad- 
 dresses her as "innovation's mistris." 
 See also Marston, Scourge of Villainy 
 (Bullen ed., iii. 370).
 
 sc. in.] THE MOOR OF VENICE 
 
 45 
 
 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 boisterous expedition. 
 
 Oth. 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 
 
 226. safer} Qq, F I ; safe F 2, 3, 4. 227. gloss} glosse Qq, F I ; grossc F 2 ; 
 gross F 3, 4, Rowe. 230. grave} great Q I. 231. couch} Cooch Qq, Coach 
 Ff. 233. alacrity} Alacartie F i. 
 
 226. more safer} The doubled com- 
 parative and superlative were in frequent 
 use. See Abbott's Grammar, s. II. 
 Ben Jonson, quoting an instance in each 
 from Sir Thomas More, defends the 
 practice as "an elegant phrase of 
 speech" {English Grammar, ii. iv.). 
 
 227. slubber} soil, sully (Schmidt); 
 The more usual sense (hardly separable) 
 is "slur over," "smear," or "perform 
 in a slovenly way," "I slubber, I fyle 
 [defile] a thyng" (Palsgrave). Shake- 
 speare has the word again in Merchant 
 of Venice, II. viii. 39 ; and " beslubber," 
 1 Henry IV. II. iv. 341. In a letter 
 of Elizabeth to James (Camden Society, 
 p. 121, 1597-8) this passage occurs: 
 " Looke you not therefore that without 
 large amends I may or will slupper-up 
 such indignities." And in Chapman's 
 continuation to Marlowe's Hero and 
 Leander (4th sest. line 212), 1598, 
 " slubbered duties" is another example. 
 See also Halliwell's Dictionary. Stee- 
 vens quotes from Jeronymo (Hazlitt's 
 Dodsley, iv. 374), 1588. This meta- 
 phor, with "slubber" varied to "soil," 
 occurs in Much Ado, ill. ii. 6. 
 
 229. boisterous~\ fierce, violent and 
 rough. A word of a stronger meaning 
 formerly than it has at present. Com- 
 pare "base and boisterous sword," As 
 You Like It, ii. iii. 31. So Gabriel 
 Harvey, "boysterous and fierce crea- 
 
 tures" (Grosart's ed., i. 49), Three 
 Proper Letters, 1580. 
 
 232. thrice driven} thoroughly sifted 
 (as by the wind), or prepared. "Thrice" 
 is commonly used by Shakespeare "by 
 way of general amplification." Gabriel 
 Harvey has ten such compounds ad- 
 ditional to those in Shakespeare. 
 " Driven," i.e. driven before the wind, 
 and therefore that which is sorted out from 
 the coarser particles, purified and sifted. 
 Similarly we have "as white as driven 
 snow" (Winter's Tale, iv. 3); an in- 
 tensitive form of the much earlier "as 
 white as snow. " "Driven snow "was 
 used earlier by Nashe, Martin s Month 
 Mind (Grosart's Nashe, i. 186), 1589. 
 A " doun-bed " is spoken of as excessive 
 luxury in Cambyses (Hazlitt's Dodsley, 
 iv. 175), 1578. Shelley borrows this 
 expression in The Cenci, ii. 2 : " thrice- 
 driven beds of down and delicate food." 
 Shelley has several Shakespearian 
 reminiscences in this tragedy. 
 
 232. agnize} to recognise the exist- 
 ence of, to acknowledge, to confess. 
 " Unthankful is he that doth not agnise 
 and knowledge the unmeasurable kind- 
 ness of this most excellent prince " 
 (Becon, Polity of War, 1543, New Eng. 
 Diet. ). Malone gives another early ex- 
 ample. See Cockeram's and Bulloker's 
 Dictionaries.
 
 46 OTHELLO [ACTI. 
 
 I find in hardness ; and do undertake 
 
 These present wars against the Ottomites. 235 
 
 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. 
 
 Oth. Nor I. 
 Des. Nor I, I would not there reside, 
 
 To put my father in impatient thoughts 
 
 By being in his eye. Most gracious duke, 
 
 To my unfolding lend your prosperous ear, 245 
 
 234. dd\ would Q I. 235. These . . . wars] Malone ; This . . . Warres 
 Q I, F I ; This . . . warre Q 2, F 2 (war Q 3, F 3, 4). 238. reference] F i, 
 2, Q 2, 3 ; reuerence Q I, reverence F 3, 4, Rowe, Hanmer, etc.; preference John- 
 son conj. 240, 241. If . . . father's] divided as by Capell, one line Qq ; Why 
 at her Fathers? F I ; Why, at her Fathers. F 2, 3, 4. 242. Nor /, I -would 
 not~\ Qq, Nor would I Ff, Rowe. 245. your prosperous"] Ff, Globe ; a 
 gracious Qq, Capell, Steevens, Malone; your gracious Pope, Theobald, Craig. 
 
 234. hardness] hardship. Compare elsewhere, formed from "sort, "in the 
 2 Tim. ii. 3: "Thou therefore endure sense of "rank," "quality," as in 
 hardness, as a good soldier of Jesus Much Ado, i. i. 7 : "but few of any 
 Christ." And see Cymbeline, in. sort and none of name." This con- 
 vi. 21. struction implies a verb, which verb 
 
 235. Ottomites] See above, line 33. occurs in Lear, i. iv. 244 : " such men 
 238. reference] assignment, appoint- as may besort your age." These are 
 
 ment (Schmidt). Compare Cotgrave, the only examples in New Eng, Diet. 
 
 "Remise ... a reference, referring, 240. levels with] is equal or even 
 
 or committing unto ." with. The adjective occurs in the 
 
 238. exhibition] provision, allowance, same sense in Antony and Cleopatra, 
 Still in use in the universities. See iv. xv. 66: "Young boys and girls 
 Two Gentlemen of Verona, I. iii. 69, are level now with men." 
 
 and Lear, Cymbeline, and later (iv. 245. unfolding] communication, ex- 
 
 iii. 75) in this play. Compare Ben planation. Equivalent to our "dis- 
 
 Jonson, "Good truth, I'll pay you closure." Often used by Shakespeare, 
 
 again at my next exhibition, Every Compare Ben Jonson: " What riddle is 
 
 Man Out, ii. ii. 93^ (1599). Jonson this? unfold yourself, dear Robin" 
 
 uses the term half a dozen times. {Sad Shepherd, n. ii. 502^). 
 
 239. besort] a substantive, not known 245. prosperous] auspicious, favour-
 
 sc. in.] T : HE MOOR OF VENICE 
 
 47 
 
 And let me find a charter in your voice 
 
 To assist my simpleness. 
 Duke. What would you, Desdemona ? 
 Des. That I did love the Moor to live with him, 
 
 My downright violence and storm of fortunes 250 
 
 May trumpet to the world : my heart 's subdued 
 
 Even to the very quality of my lord : 
 
 I saw Othello's visage in his mind, 
 
 246. charter} Qq, F I ; character F 2, 3, 4. 247. To . . . simpleness.} And 
 if my simplenesse. Q I. 248. you, Desdemona?} you speake. Q I. 249. 
 did} omitted Ff. 250. and . . . fortunes} and scorne of Fortunes Q I, and scorn 
 of Fortune, Johnson conj. ; fortunes] Fortune Keightley. 252. very quality} 
 utmost pleasure Q I. 
 
 ing, propitious. Compare Ben Jonson, 
 "Besides in taking your last augury, 
 No prosperous bird appeared," Sejanus, 
 v. i. 315*, (1603). And see Timon of 
 Athens, v. i. 168, " prosperous gods. 
 
 246. Let . . . voice] Let your favour 
 privilege me (Johnson). "Voice" here 
 is equivalent to "vote," as in I. ii. 13 
 and i. iii. 226. The classical favete 
 linguis. 
 
 250.] A debatable line, with variants 
 in the readings and explanations. 
 Singer explains it, " the stormy violence 
 I have used against my fortunes." 
 Rolfe separates the two figures: "the 
 bold action I have taken, and the 
 stormy fortunes I have voluntarily 
 encountered " (in order to marry 
 Othello). Rolfe's paraphrase is prefer- 
 able, conveying, as it does, a wider 
 force. This speech of the gentle 
 Desdemona justifies the appellation of 
 "warrior." Should a crisis arise, 
 "like many women whose gentleness 
 of nature has been wrought into timidity 
 by a too rigid strictness on the part of 
 those who bring them up, she is capable 
 of bold action and self-assertion on rare 
 occasions " (Cowden-Clarke). Rolfe's 
 explanation above is that of Edwards, 
 followed by Malone. 
 
 251, 252. subdued . . . to] subject to, 
 subjugated by. Compare Sonnet ill : 
 
 "And almost thence ray nature is 
 
 subdued 
 
 To what it works In, like the dyer's 
 hand." 
 
 252. quality] Malone, followed by 
 Dyce, Singer, and others, gives this 
 word the sense "profession, which it 
 frequently bears in Shakespeare and 
 other writers of his time. He says the 
 purport of her speech is, that as she 
 had married a soldier, so she was ready 
 to accompany him to the wars, and he 
 calls upon the Quarto reading to sup- 
 port him. The speech is a practical 
 one, suggesting immediate action, and 
 this view seems more natural than that 
 of Schmidt, etc., making quality = 
 nature. For quality in the sense of 
 "profession," "trade," compare Ham- 
 let, ii. ii. 333 and 411. The earliest 
 reference I have is a good one : ' ' Voca- 
 tion, Profession, or Qualitie," G. 
 Harvey, Advertisement for Papphatchett 
 (Grosart, ii. 199), 1589. 
 
 253. ] It must raise no wonder that I 
 loved one of Othello's visage ; I saw 
 his face only in his mind : the greatness 
 of his character reconciled me to his 
 appearance. There is no occasion to 
 make this line conflict with the sense 
 given to ' ' quality " above, as several 
 editors do. Desdemona at once adverts 
 again to his "valiant parts." as a
 
 48 OTHELLO [ACTI. 
 
 And to his honours and his valiant parts 
 Did I my soul and fortunes consecrate. 255 
 
 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 
 
 Oth. 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 my defunct and proper satisfaction; 265 
 
 258. which] Qq, -why Ff. 261. Let . . . voices] Dyce et seq., Let . . . 
 voice Ff, Your voyces Lords ; beseech you let her will, Have a free way, Qq. 
 262. Vouch . . . heaven,] omitted Q I, the lines ending will, . . . not; in Q 2, 
 3 Have a free way forms a separate line. 264, 265. heat, the young affects 
 In my defunct] Qq, Ff (effects F 2, 3, 4) ; heat, the young affects, In my distinct 
 Theobald, Steevens ; heat, (the young affects In me defunct} Upton, Capell, Dyce, 
 Globe, etc. ; heat, the young affects, In my disjunct Malone. 
 
 soldier, and to them and the honours John Chamberlain, 1613 (Court and 
 gained thereby she consecrates herself. Times of James the First, i. 264). 
 This line is a sort of parenthetical 258. rites] ' ' the duties in the inter- 
 apology for his colour, given with the course of love " (Schmidt). Compare 
 most loving delicacy. It is the one and Sonnet xxiii. 6, " The perfect ceremony 
 only reference she deigns to make of love's rite," and All's Well, n. 
 throughout the play to the reproaches iv. 42. 
 
 levelled at his " sooty " exterior. 260. dear] "grievously felt" (Schmidt). 
 
 257. moth] "An idle eater "(Schmidt). "Dear is used of whatever touches us 
 
 It may be suggested here that "moth" nearly either in love or hate, joy or sor- 
 
 was an obsolete form of "mote," as in row," Wright (apud Hamlet, I. ii. 182, 
 
 the 1604 Quarto of Hamlet, I. i. 112, Clar. Press, q.v.). The term was there- 
 
 and the Folio of King John (iv. i.). If fore often used of disagreeable, or even 
 
 we read "mote," the sense would be hateful affections. Compare "Here's 
 
 "an insignificant trifle" or "useless no dear villainy !" Middleton Mayor of 
 
 atom." See Nares in v. And see note Quinborough, iv. 2. Compare I. iii. 85. 
 
 in Clarendon Press to the above passages, 264, 265. heat . . . defunct] A very 
 
 and to Midsummer Nighfs Dream, difficult and much debated passage. The 
 
 V. i. 306, and Henry V. iv. i. 170. reading of the text differs from that of 
 
 But the expression in the text has a the Globe and Cambridge editors, based 
 
 poetical status of its own, too thoroughly upon Capell's reading " me " for "my." 
 
 accepted to be disturbed. Compare The present is the earliest known use 
 
 "But you had not meet with many such in English of this Latin participle. Its 
 
 poor moths as Master Pory, who must meaning of "dead" in that language 
 
 have both meat and money," Letter of was a late use, first due perhaps to
 
 sc.m.] THE MOOR OF VENICE 
 
 49 
 
 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, 
 
 266. to her} of her Q I. 268. great} Ff, good Qq. 269. For] Qq, 
 When Ff. 270. Of} Ff, And Qq ; seel} F 4; seelc F I, 2, 3 ; foyles Qq. 
 271. officed} offic'dfi, active Qq ; instruments} Qq, instrument Ff. 
 
 Pliny ( = cadaver), in which sense 
 Shakespeare uses it in Cymbeline t IV. 
 ii. 358. The first Quarto reads : 
 
 "Nor to comply with heate, the 
 
 young affects 
 
 In my defunct, and proper satis- 
 faction, 
 But to be free and bounteous to 
 
 her mind." 
 
 The first Folio differs only in omitting 
 the comma after " heat," and in placing 
 a full stop at "satisfaction," and in a 
 couple of spellings. The primary sense 
 of defunctus is "discharged from." 
 Othello immediately states that it is only 
 her mental desires he wishes to comply 
 with, and calls upon himself all disgrace 
 if he gives way to his appetites, thereby 
 scanting or neglecting the great business 
 of the State. Therefore he determines, 
 and announces his determination, not to 
 yield to natural inclinations in his " dis- 
 charged" (or "laid aside") marriage 
 "rites." Littre has an early French 
 example (La Fontaine), " marquise de- 
 funct," where the meaning is one who 
 has been deposed or dismissed; an 
 "ex-marquise." Othello means to rid 
 himself from these " light- winged toys," 
 though entirely his own, till his busi- 
 ness is done. In Ryder's Bibliotheca 
 Scholastica (1589), "rid from" and 
 "discharged from" are equivalents to 
 defunctus. If this explanation is not 
 accepted I would read " deferred " in- 
 stead of "defunct," used, as elsewhere 
 In Shakespeare, for "postpone," "de- 
 lay," "adjourn," "suspend." Compare 
 "I have but an hour Of love," lines 
 
 299, 300. The signification "dead" 
 for "defunct" here, is quite intoler- 
 able. 
 
 269. For} because. A common usage 
 of the time. 
 
 269. light-wing' d] volatile. Winged 
 with light. Bullen's " Middleton " had 
 already used this poetical expression in 
 Blurt Master-Constable, II. i. (1602): 
 
 "Well, I will go, 
 And with a light-winged spirit insult 
 
 o'er woe." 
 
 270^ seel} blind. A term in falconry. 
 See also in. iii. 210. "Seeling is when 
 a hawk first taken is so blinded with a 
 thread run through the eyelids, that she 
 seeth not or very little, the better to 
 make her endure the hood" (Gentle- 
 man's Recreation}. Compare Jonson's 
 Catiline, Act I. (84^) : " Are your eyes 
 yet unseeled ? " " Foil " (the Qq read- 
 ing)is supported in the sense of disgrace, 
 degrade, by the following passage in 
 Capt. John Smith's Works (Arber, p. 
 926), 1631: "although all our planta- 
 tions have been so foyled and abused, 
 their best good willers . . . discour- 
 aged," etc. 
 
 271.] " My visual and active powers " 
 (Rolfe). "Speculative," as yet a rare 
 word, had been used by Gabriel Harvey 
 before 1583 (Letter Book, Grosart's 
 Harvey, i. 127). In the sense required 
 here, "pertaining to vision," Webster 
 refers to Bacon. 
 
 271. officed} having a place, or func- 
 tion (Schmidt). Compare Winter's 
 Tale, I. ii. 172. For "taint," see n, 
 i. 274.
 
 50 OTHELLO [ACTI. 
 
 That my disports corrupt and taint my business, 
 
 Let housewives make a skillet of my helm, 
 
 And all indign and base adversities 
 
 Make head against my estimation ! 275 
 
 Duke. Be it as you shall privately determine, 
 
 Either for her stay or going : the affair cries haste, 
 
 And speed must answer it. 
 First Sen. You must away to-night. 
 Oth. With all my heart. 
 
 Duke. At nine i' the morning here we'll meet again. 280 
 
 Othello, leave some officer behind, 
 
 And he shall our commission bring to you ; 
 
 With such things else of quality and respect 
 
 As doth import you. 
 Oth. So please your grace, my ancient ; 
 
 A man he is of honesty and trust : 285 
 
 275. estimation] Ff, reputation Qq. 277. her] omitted Q I ; affair cries'} 
 
 affaires cry Q I. 278. answer it.~\ Ff, ansiver, you must hence to-night Qq, 
 answer. You must hence to-night Pope, etc., answer 't ; you must hence to- 
 night Camb., answer it, etc. (as here) Globe, Craig. 279. First Sen. You 
 . . . to-night} Desd. To-night, my Lord? Duke. This night Qq, Theobald, 
 Warburton / seq. Camb.; Des. To-night, my lord, to-night? Pope and Hanmer ; 
 omitted in Ff. 280. nine] ten Q I. 283. With] Qq, And Ff, Rowe, 
 Steevens ; and] or Q I. 284. import] concerns Q I ; So~\ Ff, omitted Qq. 
 
 273. skillet] a small saucepan with minde ; bees to make their hives in 
 
 a long handle. The term is in pro- souldier's helmets" (Campaspe, iv. 3, 
 
 vincial use (Irish sgileid, saucepan, or 1584). This idea forms one of Alciati's 
 
 skillet). In Skelton's Elynour Rum- Emblems, reproduced by Whitney, 1586. 
 myng (circa 1515) the word is spelt 274. indign] unworthy, shameful, 
 
 "skellet,"asin Qq. It is a diminutive of Lat. indignus. Compare Spenser: 
 
 " skele " (a dairy vessel), still in use in "Sith she herself was of his grace 
 
 Yorkshire. See Herrtage's note in indigne" (Faerie Queene, IV. i. 30). 
 
 Catholicon Anglicum. To convert a Nares errs in saying Chaucer uses this 
 
 helmet to debased usage was not a new word. He uses "undigne" twice in the 
 
 thought. Peele's lines, "His helmet same sense in The Clerk Js Tale and 
 
 now shall make a hive of bees," are The Persone's J^ale. 
 well known. Compare also Beaumont 284. import] concern. Compare 
 
 and Fletcher's Cupid's Revenge, iv. 2. Antony and Cleopatra, I. ii. 125 : 
 
 So Lyly :" for what else do we see now "What else more serious Impprteth 
 
 than a kinde of softnes in every man's thee to know."
 
 sc.ni.] THE MOOR OF VENICE 51 
 
 To his conveyance I assign my wife, 
 
 With what else needful your good grace shall think 
 
 To be sent after me. 
 Duke. Let it be so. 
 
 Good night to every one. And, noble signior, 
 
 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. 
 Bra. Look to her, Moor, if thou hast eyes to see : 
 
 She has deceived her father, and may thee. 
 
 \Exeunt Duke, Senators, Officers, &c. 
 Oth. My life upon her faith! Honest lago, 295 
 
 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. 
 
 289. [To Brab.] Capell, Globe, [To Brabantio.] Steevens ; omitted Qq, Ff, 
 Rolfe. 293. if thou hast eyes} have a quick eye Q I, Johnson, Steevens. 294. 
 and may} may doe Q i. 298. them} Ff, her Qq ; the} Qq, F I ; theirY 2, 3, 4. 
 300. worldly} Qq, wordly F I, 4 ; matters} Qq, matter Ff. 301. spend} Qq, 
 F I, speaks F 2, speak F 3, 4 ; the} the thef i. 
 
 287.] i.e. "With what else your good sentiment here with Twelfth Night, 
 
 grace shall think needful." Compare III. iv. 401-403. New Eng. Diet. 
 
 Hamlet, III. iii. 3 : "I your commis- quotes at this word Sir T. Herbert, 
 
 sion will forthwith dispatch." See Travels, 1634: "by supping a delighted 
 
 Abbott's Shakespearian Grammar, cup of extreame poyson. " 
 where many similar "transpositions" 293, 294.] Note this presentimental 
 
 are cited. passage, which, as Coleridge says, 
 
 289.] The insertion of a stage direction Shakespeare "provides for his readers, 
 
 "To Brabantio" is needless here, as and leaves it to them." 
 Rolfe remarks, since the speech itself 298. best advantage"} most favourable 
 
 shows to whom it is addressed. opportunity ; " best advantage " occurs 
 
 290. delighted'} delighting, delight- in the same sense in King John, II. i. 
 some. Compare Measure for Measure, 40, and in Antony and Cleopatra, iv. 
 in. i. 121. Steevens compares the ii. 4.
 
 52 OTHELLO [ACT i. 
 
 Rod. I ago ! 
 
 I ago. What say'st thou, noble heart ? 
 
 Rod. What will I do, thinkest thou ? 
 
 lago. Why, go to bed and sleep. 305 
 
 Rod. I will incontinently drown myself. 
 
 lago. If thou dost, I shall never love thee after. 
 Why, thou silly gentleman ? 
 
 Rod. It is silliness to live when to live is torment ; 
 
 and then have we a prescription to die when 310 
 death is our physician. 
 
 lago. O villanous ! I have looked upon the world 
 for four times seven years; and since I could 
 distinguish betwixt a benefit and an injury, I 
 never found man that knew how to love him- 315 
 self. Ere I would say I would drown myself 
 for the love of a guinea-hen, I would change 
 my humanity with a baboon. 
 
 307. If} Ff, Well, /Qq, Steevens ; after. } Ff, after it, Qq. 308. gentleman ?] 
 Ff ; gentleman. Q i, 2; gentleman! Rowe tt seq. 309. torment] Ff, Globe ; a 
 torment, Qq, Steevens. 310. have we] Ff, we have Qq. 312. O villanous} 
 omitted Q I. 314. betwixt} Ff, betweene Qq. 315. man] Ff, a man Qq. 
 317. guinea-hen] Ginny Hen Qq, Gynney Hen F I, 2, 3 ; Guinea-hen Johnson. 
 
 306. incontinently] immediately. Clarke). As lago is an ensign looking 
 
 The adjective was more commonly for and expecting his promotion to the 
 
 used adverbially, as elsewhere in Shake- rank of lieutenant as his right, he must 
 
 speare. It was the same in French, be a young man. This may be the 
 
 " Incontinent, incontinently, instantly, right age for him to expect a step, 
 
 immediately, presently, forthwith, out There is a slight clue to his age in the 
 
 of hand, as soon as may have " (Cot- novel : he is said to have a child aged 
 
 grave). three. 
 
 313. four times seven years] "It is 317. guinea- hen] Steevens stated 
 remarkable that Shakespeare has here this was a cant term for a prostitute, 
 taken pains to specify the exact age of From the known salacity of these birds 
 lago, as he has specified that of Hamlet, it may have become so, but this is no 
 They are, perhaps, the most intellectual proof it had this sense at the date of the 
 characters that our poet has drawn ; and present play. Steevens' only reference 
 he has made them nearly of the same to Glapthorne's wretched production, 
 age, as if at that period of life a man's Albertus Wallenstein(\(>qS), is not con- 
 intellect were at the culminating point vincing. The passage will be found in 
 of activity and energy " (Cowden- Pearson's reprint, ii. p. 53. The term is
 
 sc.m.] THE MOOR OF VENICE 
 
 53 
 
 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. 
 
 Jago. Virtue ! a fig ! 'tis in ourselves that we are thus 
 or thus. Our bodies are our gardens ; to the 
 which our wills are gardeners : so that if we will 
 plant nettles or sow lettuce, set hyssop and weed 325 
 
 323. our gardens] Ff, Steevens, Globe, Craig ; gardens Qq, Collier, Dyce, 
 Camb. 325. hyssop] F 4, Isop Qq, Hisope F I. 
 
 there applied, scurrilously, to one of 
 a pair of virtuous lovers, and the 
 speaker afterwards calls her a virgin. 
 Ben Tonson applies the term "ginney 
 hen to Dol Common (Alchemist, iv. 
 i. 47^), 1610, but the context does not 
 bear out Steevens' sense ; it is rather a 
 term of endearment. I find it in 
 Armin's Two Maids of Moreclacke 
 (Grosart, p. 92), ante 1609: "Wife 
 coop up our ginny hen that wants the 
 treading," said of a forward maid. 
 Armin was an actor in Shakespeare's 
 plays (he stands sixth in the Folio list), 
 and constantly recalls "play- ends" of 
 the great dramatist. He may have 
 recalled this very passage. In lines 
 prefixed to Coryat's Crudities (1611) by 
 Henry Peacham, these birds are said to 
 be one of the sights of London ; appar- 
 ently on show at St. James" Fair, 
 Piccadilly. I think the accepted and 
 unpleasant meaning given by all com- 
 mentators and dictionaries, is open to 
 challenge. Grose has not got it ; Farmer 
 and Henley only on Steevens' dictum. 
 
 322. a fig!] Compare n. i. 256. An 
 old expression, as : "A figge for all her 
 chastity," Court of Love (Aldine 
 Chaucer, Pickering, vi. p. 152, Oli- 
 phant), circa 1520; "a fig for it," 
 Appius and Virginia (Haz. Dods. iv. 
 135), 1568. And in 2 Henry VL II. 
 Hi. 67. 
 
 325. set] plant. See quotations from 
 Turner, below. 
 
 325, 326. nettles . . . lettuce . . . 
 hyssop . . . thyme] It is hard to 
 
 gather any method out of lago's illus- 
 trations. The first two may be regarded 
 as food-plants. The two latter are 
 desirable for their fragrance. Again, of 
 the two first operations, the one is 
 injurious (regarding nettles as bad 
 weeds), the other profitable ; and the 
 same may be said of the last, in reversed 
 order. For hyssop, though now regarded 
 as of no account, was formerly, Cul- 
 pepper says, " well known to be an 
 inhabitant in every garden." Perhaps 
 there may be some further "balance " 
 in the juxtaposition of these plants, yet 
 to be discovered. Turner (1548) says : 
 ' ' The true Netel [Vrtica] groweth not 
 in England e out of gardines, but it 
 groweth in Italy and at Mense in 
 Germany vnset or sowen abrode in the 
 fieldes and hedges." Herbalists held 
 the nettle to be under the government 
 of Mars, hot and dry (Culpepper), while 
 Lactuca (lettuce) "is measurably cold 
 and moist " (Turner). And Ellacombe 
 quotes from Lyly (Arber, p. 37) : "good 
 gardeners in their curious knots rnixe 
 Hisoppe with Time as ayders the one 
 to the growth of the other ; the one 
 beeing drye, the other moist." But 
 lago departs from this instruction (unless 
 indeed " weed up " be taken " free from 
 weeds"), although the antithesis re- 
 mains. Compare also "Wash her, O 
 Lord, with Hysope and with Thyme" 
 (Chester, Love's Martyr, 1601). Peele 
 in The Gardener's Speech to the Queen 
 at Theobalds, 1591 (1874, pp. 578, 579), 
 says : "I cast it into four quarters. In
 
 54 
 
 OTHELLO 
 
 [ACT i. 
 
 up thyme, supply it with one gender of herbs or 
 distract it with many, either to have it sterile 
 with idleness or manured with industry, why, 
 the power and corrigible authority of this lies 
 in our wills. If the balance of our lives had not 330 
 one scale of reason to poise another of sensuality, 
 the blood and baseness of our natures would 
 conduct us to most preposterous conclusions : 
 but we have reason to cool our raging motions, 
 our carnal stings, our unbitted lusts ; whereof 335 
 I take this, that you call love, to be a sect or 
 scion. 
 
 326. thyme] Pope, Time Qq Ff. 330. balance] ballance Q I, 2; braine F I, 
 2; beam Theobald, Capell, Steevens. 335. our carnal} our carnall Qq, F i; 
 or carnall F 2, 3 (carnal F 4) ; our unbitted] Qq, or unbitted Ff. 336. sect] 
 set Johnson. 337. scion"] Steevens (1793), syen Qq, Seyen Ff. 
 
 the first I framed a maze, not of hyssop 
 and thyme." 
 
 326. gender] kind. The original 
 sense of the word, 'as in Hamlet, IV. vii. 
 1 8. Lyly has a similar metaphor in the 
 Prologue to Campaspe, 1584: "Wee 
 have mixed mirth with councell and 
 discipline with delight, thinking it not 
 amisse in the same garden to sow pot- 
 hearbes that we set flowers." 
 
 327. distract] confuse, harass, as if 
 by too great a variety or oversupply. 
 Schmidt explains it " parcel out," but 
 I do not agree with that interpretation. 
 The use of ' ' with " forbids it. Compare 
 his other example in Antony and Cleo- 
 patra, in. vii. 44. 
 
 328. manured] Compare 2 Henry 1 V, 
 IV. iii. 129. I find this metaphorical use 
 in Greene's Selimus (ed. Grosart, line 
 381), 1594: " It argueth an unmanured 
 wit." 
 
 334. 335- motions . . . stings] Com- 
 pare Measure for Meastire, I. iv. 59 : 
 " the wanton stings and motions of the 
 sense"; and "The brutish sting," As 
 You Like It, n. vii. 66. 
 
 336. sect] So the old editions have it, 
 
 but Johnson's reading of "set" would 
 be very acceptable. There does not 
 seem to be any such word (unless it be 
 here) as " sect," a contraction from 
 ' ' section, " a cutting. Our word 
 "sect" is from "sequor," but "sec- 
 tion " has a different derivation. The 
 contraction, with the analogy from " bi- 
 sect," no doubt would be very natural. 
 "Set" is synonymous with "scion." It 
 occurs in Tusser's Husbandrie, 1557 : 
 "no poling nor wadling [wattling] till 
 set be far out " ; where it means a young 
 shoot (Eng. Dial. Soc. p. 83). Cot- 
 grave has " Plante : A plant, or set; 
 the ciens of a tree or slip of an herb, 
 set or fit to be set, also a vine set of a 
 ciens or slip (called so till it be come 
 to its full growth), also the sole of 
 the foot." From which it will be 
 gathered that "cutting" is a false 
 trail : that word itself is probably 
 modern in this sense. Schmidt's ex- 
 planation of scion, definitely, as a 
 "graff," is not, I think, supportable. 
 However, it was vaguely used. Com- 
 pare Higgin's Nomenclator : " Stolones 
 . , . young shootes or sciences that
 
 sc. in.] THE MOOR OF VENICE 55 
 
 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 
 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; 345 
 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 in her, 350 
 
 341. professed] profest Ff, professe Qq (have omitted). 345. thou the] Ff, 
 these Qq. 347, 348. be that . . . shoiild long] be, that . . . should long Q I, 
 2 ; be long that , . . should Ff. 348. to] Ff, iinto Qq. 349. his] 
 omitted Qq. 350. commencement in her,] Ff, Rowe, Craig, etc. ; commence' 
 ment Qq, Steevens, Globe. 
 
 growe out of the rootes or sides of the 345. follow thou the wars] Roderigo 
 
 stocke " ; and " Surculus . . . agraffe, volunteers in disguise for Cyprus. See 
 
 or science." Hence our plant-name II. i. 270 and n. iii. 56, etc. 
 
 "close-sciences." 346. defeat] disfigure (Schmidt). 
 
 343. perdurable] " Perdurable: per- Similarly in Cotgrave : li Vn visage 
 turable, perpetual, everlasting, aye- desfaicte : grown very lean, pale, wan : 
 during" (Cotgrave). Shakespeare uses or, decayed in features and colour." 
 this strong form in Henry V. IV. v. 7. The word "defeat" applied to the 
 Compare " The mighty and perdurable countenance has not been illustrated 
 God be his guide, " Calisto and Melibea from any writer. The word had a 
 (Haz. Dods. i. 64), 1520. Examples wider use than it now has. Cockeram 
 of this and the following are in Nares. (1642) has " Defeat, to deceive, to be- 
 
 344. stead] help, benefit, stand to. guile, to take craftily from one." Rode- 
 Shakespeare uses this verb several rigo is therefore to take his appear- 
 times, as in Two Gentlemen of Verona, ance craftily from himself with a false 
 II. i. 119, and Meastire for Measure, beard. 
 
 I. iv. 117. Compare Ben Jonson : 346. favour] features, countenance. 
 
 "Arise, great soul ! fame by surrep- Shakespeare has the term frequently, as 
 
 tion got in Much Ado About Nothing, n. i. 97. 
 
 May stead us for the time, but So Ben Jonson : ' ' You did never hear 
 
 lasteth not," A phrenetic so in love with his own 
 
 Prince Henry 's Barriers (vol. iii. 64^), favour " (Devil is an Ass, iv. iii. 2600) ; 
 
 l6io, and Cotgrave: "Mine: The counts-
 
 56 
 
 OTHELLO 
 
 [ACT i. 
 
 and thou shalt see an answerable sequestration ; 
 put but money in thy purse. These Moors are 
 changeable in their wills : fill thy purse with 
 money, The food that to him now is as luscious 
 as locusts, shall be to him shortly as bitter as 355 
 
 355. bitter as] acerbe as the Q I. 
 
 nance, look, cheer, visage ; the gesture 
 or posture of the face ; also, favour, 
 phisnomy, feature, outward face, or 
 shew." 
 
 351. sequestration} separation. Pro- 
 perly a legal term. " Enforcement : a 
 sequestration, sequestering, or putting 
 into a third hand" (Cotgrave). See 
 Henry V. I. i. 58. 
 
 3S4> 355- as luscious as locusts} 
 Beisley and Ellacombe state that 
 "locusts" here means the fruit of the 
 carob tree ( Ceratonia siliqua}. There 
 is reason to believe that the beans of 
 that tree were called "locusts" in 
 Shakespeare's time. Gerarde (1597) 
 says: "The cods (of the carob) are 
 so full of sweet juice that it is used to 
 preserve ginger . . . both young and 
 old feed thereon with pleasure . . . 
 This is of some called St. John's bread, 
 and thought to be that which is trans- 
 lated locusts whereon St. John did feed 
 when he was in the wilderness." 
 Shakespeare may have borrowed his 
 metaphor from this very passage. Pliny 
 (Holland, i. 447) says: "The fruit 
 called carobes or caracts ... so pass- 
 ing sweet they be ... their cods also 
 are good to be eaten." In both the 
 passages relating to St. John's food in 
 the wilderness (Matt. iii. 4, Mark i. 8) 
 the later Wycliffite (Purvey's) reading 
 is not "locusts," but "his meat was 
 honysoukis and hony of the woode" 
 (Forshall and Madden, 1850). The 
 name "locust" for the Ceratonia or 
 Caroub occurs in Chambers's Cyclo- 
 pedia in the middle of the eighteenth 
 century. Blount refers to the idea that 
 "locusts" may bear the meaning as- 
 cribed to it of "buds" (Glossographia^ 
 
 1670). Schmidt says: " Mentioned as an 
 aliment of very sweet taste . . . per- 
 haps from its being placed together with 
 wild honey in St. Mark iii. 4." It will 
 be seen from the above that there was 
 more than a mere juxtaposition possible; 
 the word "locusts" was equated with 
 " honeysoukis " as early as 1393. 
 Locusts, in the sense of carobs, is not 
 found in Britten and Holland, nor in 
 Prior. Mr. Bradley (editor of New 
 Eng. Diet. ) has kindly given me further 
 information. He writes : "I have no 
 direct evidence to show that 'locust* 
 was used in Shakespeare's time for a 
 fruit. But the passage from Othello 
 seems strongly to suggest that inter- 
 pretation, the admissibility of which is 
 infirmed by the fact that already in 
 Turner's Names of Herbes (1548), s.v. 
 Siliqua, it is stated that the ' tree and 
 fruite which is called in Greek Ceretia, 
 or Ceratonia, in Italian Carobe? is 
 called in duche 'saynte lohans Brot.' 
 This 'duche 1 appellation proves that 
 the ' locustse ' of the Vulgate were sup- 
 posed to be carob-fruits in the first 
 half of the sixteenth century, and I do 
 not think we need hesitate to assume 
 that Shakespeare knew of this inter- 
 pretation. As you say, Purvey's 
 ' honysoukis ' indicates a knowledge of 
 the traditional explanation of ' locustse ' 
 as something belonging to the vegetable 
 kingdom." I find there are earlier 
 examples than Turner's. One is " From 
 a Pictorial Vocabulary of the latter 
 part of the Fifteenth Century " [Wright, 
 p. 264] in English Plant Names, by 
 John Earle, 1880. In this list occurs 
 "Hec locusta, a sokyll-blome," to 
 which the editor has a note: "This
 
 sc. in.] THE MOOR OF VENICE 
 
 57 
 
 coloquintida. She must change for youth : when 
 she is sated with his body, she will find the 
 error of her choice : she must have change, she 
 must : therefore put money in thy purse. If thou 
 
 356. She . . . youth'] omitted Q I. 358. error] Qq, errors Ff. 358, 359. 
 she . . . she must} Qq, omitted Ff. 
 
 seems to indicate the same plant as 
 Ligustrum hunisuce, p. 30, namely, 
 Lonicera Periclymenum, and perhaps 
 'locusta' is a mere corruption of 
 ligustrum." And it is a striking coin- 
 cidence that the only other passage in 
 which Shakespeare uses the word 
 "luscious" is in Midsummer Nighfs 
 Dream (ii. i. 251), where he applies it 
 to the woodbine, or honeysuckle, in the 
 sense of pleasant (for shade). Honey- 
 suckles (i.e. " locusts") for food is met 
 with in Trevisa, Bartholomew, De 
 Prop. Rer. (ed. Steele, p. 75, 1893), 
 1397: "Other men of Ethiopia live 
 only by honeysuckles dried in smoke 
 and in the sun, and these live not past 
 forty years. " This is Trevisa's render- 
 ing of "locusta." The passage he 
 quotes from will be found, with the 
 reading " locusts," in Holland's Plinie, 
 tome i. p. 147 (bk. vi. ch. xxx.) 
 at the foot of the page. On the 
 whole, it seems to me, the weight 
 of evidence is rather against the 
 " carob." 
 
 355, 356. as bitter as coloquintida~\ 
 A long known Eastern simple. It is 
 the wild trailing gourd, Cucumis 
 (Citrullus) colocynthis, found in the 
 Sinaitic Desert, and (as Gerard rightly 
 stated) on the shores of the Southern 
 Mediterranean (Gaza, etc.). It is 
 mentioned by Pliny : " So is there of 
 Gourds and Cucumbers both, a certain 
 savage kind. [Marginal reference, 
 Colocynthis or Coloquintada.'} Such 
 are not for the kitchen, but for the 
 Apothecarie's shop, and good onely in 
 Physicke." He says he reserves the 
 discourse about it for another place, 
 but it is not in his Natural History 
 (Holland's Pliny, bk. XIX. ch. v.). 
 From the dried fruit a powerful purge 
 
 is extracted. The bitterness of the fruit 
 is well known : " the taste is nauseous 
 and intensely bitter " (Materia Medico). 
 The leaf appears to be bitter also : 
 " one leafe of coloquintada marreth and 
 spoyleth the whole pot of porridge," 
 Lyly, Euphues (Arber, p. 39), 1579. 
 Reed quotes from Bullein (Bulvaarke 
 of Defence), 1579 ; he says "it is most 
 bitter . . . and thus do I end of 
 coloquintada, which is most bitter and 
 must be taken with discretion." The 
 bitterness lies in the very hard orange- 
 coloured rind of the dry fruit. Com- 
 pare also Day {He of Gulls], 1 606 : 
 " look askance like a pothicarie's wife 
 pounding colliquintada," and see Cot- 
 grave. Craig supports the Q I read- 
 ing "acerb," from the substantive 
 acerbity in Cotgrave. Bailey's Diction- 
 ary has : ' ' Acerb : A taste between sour 
 and bitter, such as most fruits have 
 before they are ripe." Not by any 
 means so good as the simple "bitter." 
 Kersey has the adjective also. Trevisa, 
 in Bartholomew's De Prop. Rer. , says it 
 is "a manere herbs that is most bitter " 
 ( r 397)' "As bitter as coloquintada " 
 occurs in Greene's Mamilia (Grosart, 
 iii. 117), 1583. 
 
 356. coloquintida] There is a touch 
 of local colour here. Will. Barret, 
 1584, tells us "whence drugs come," 
 in Hakluyt (ed. 1810, ii. 413). Amongst 
 those mentioned is "Coloquintada, from 
 Cyprus." 
 
 359, etc. put money in thy purse"] 
 Compare Merry Wives, n. ii. 175 : 
 "They say, if money goes before, all 
 ways do lie open." Holland (trans. 
 Pliny) says : ' ' No arts and professions 
 are now set by and in request, but 
 such as bring pence into our purses " 
 (Proeme to bk. XI V.).
 
 58 
 
 OTHELLO 
 
 [ACT I. 
 
 wilt needs damn thyself, do it a more delicate 360 
 way than drowning. Make all the money thou 
 canst : if sanctimony and a frail vow betwixt an 
 erring barbarian and a supersubtle Venetian be 
 not too hard for my wits and all the tribe of 
 hell, thou shalt enjoy her; therefore make money. 365 
 A pox of drowning thyself! it is clean out of the 
 way: seek thou rather to be hanged in compassing 
 thy joy than to be drowned and go without her. 
 
 Rod. Wilt thou be fast to my hopes, if I depend on 
 
 the issue? 370 
 
 lago. Thou art sure of me : go, make money : I 
 have told thee often, and I re-tell thee again 
 
 363. a] omitted Qq. 366. of drowning] Ff, a drowning Qq ; thyself] 
 omitted Qq. 369,370. if . . . issue] omitted Q I. 372. re-tell] Ff, tell Qq. 
 
 363. erring] See I. i. 137, and 
 Hamlet, I. i. 154. " Erring barbarian " 
 means a wanderer or stranger from a 
 barbarous country. Malone suggests a 
 rover from Barbary, which Ritson sets 
 in opposition to the Venetian's subtilty 
 with a few additional adjectives applied 
 to Othello. " Barbarian " in both senses 
 is far older than the date of Othello, in 
 English. For "erring" compare the 
 following passages from Chapman's 
 Honier : 
 
 " Comest thou from Troy but now, 
 
 enforced to err 
 
 All this time with thy soldiers ? " 
 Odyssey, xi. (Shepherd's reprint, 1875, 
 p. 4010). And a few lines below : 
 
 " For I came nothing near Achaia, 
 But, mishaps suffering, erred from 
 coast to coast." 
 
 363. supersubtle\ Shakespeare has 
 several similar compounds, as "super- 
 serviceable" and " superfinical " in 
 Lear, and " superdainty " in Taming 
 of the Shrew, So Gabriel Harvey 
 has "supermetaphysical," "superexcel- 
 lent," and " superhappy " ; while Ben 
 
 Jonson indulges in "superlunatical," 
 "supervexation," and "superdainty." 
 
 366. dean] completely. Frequent in 
 Shakespeare, and still a common 
 colloquialism. It occurs in the Vul- 
 gate. Compare Ben Jonson, Every 
 Man in His Htimour, ill. ii. 286 : 
 "That's true: fool on me! I had clean 
 forgot it." 
 
 367, 368. hanged . . . drowned] 
 Probably this is a reference to the 
 proverb, " He that is born to be hanged 
 shall never be drowned," which is 
 mentioned more unmistakably in 
 Tempest, I. i. : "This fellow . . . hath 
 no drowning mark upon him, his com- 
 plexion is perfect gallows." lago 
 chuckles to himself as he says, "you 
 talk of drowning yourself, but I '11 see 
 that you're hanged instead." The 
 earliest reference I have to this pro- 
 verb immediately precedes Othello's 
 date. It is in N. Breton's Crossing 
 of Proverbs, 1603. A reference at 
 "hanged" to Cotgrave, s.v. Couilla- 
 tris (in Furness) is as nauseous as it is 
 inappropriate.
 
 sc. in.] THE MOOR OF VENICE 59 
 
 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 375 
 canst cuckold him, thou dost thyself a pleasure, 
 me a sport. There are many events in the 
 womb of time, which will be delivered. Tra- 
 verse ; go ; provide thy money. We will have 
 more of -this to-morrow. Adieu. 380 
 
 Rod. Where shall we meet i' the morning ? 
 
 I ago. At my lodging. 
 
 Rod. I '11 be with thee betimes. 
 
 lago. Go to ; farewell. Do you hear, Roderigo ? 
 
 Rod. What say you? 385 
 
 lago. No more of drowning, do you hear ? 
 
 Rod. I am changed : I '11 go sell all my land. 
 
 lago. Go to ; farewell ! put money enough in your purse. 
 
 \Exit Roderigo. 
 Thus do I ever make my fool my purse; 389 
 
 375. conjunctive\comrmmicativeQ\. 377. me]andmeQl. 384-387. Go 
 to . . . land} as in Q 2 ; Q I omits /'// . . . land ; Ff omit Rod. What . . . 
 changed (385-387), so also Rowe, Pope ; Hanmer omits drowning . . . changed 
 (386, 387); Capell omits Do you . . . changed and go (384-387); Theobald as 
 here to land (387). 387. go] omitted Ff. 388.] as in Q i, Steevens, Craig ; 
 omitted in Ff, Q 2, 3, Rowe, Globe. 
 
 374. hearted] in the heart. Compare to work, stir yourself." As a word of 
 
 III. iii. 448. combat it often occurs in early writers, 
 
 375. conjunctive] conjoined, closely but this applied sense is peculiar, 
 united. Compare Hamlet, IV. iv. 379. provide thy money} Compare 
 17. Ben Jonson for this repeated advice : 
 
 378, 379- Traverse} Compare % Henry "Get money; still get money, boy; 
 
 IV. in. ii. 291 ; where Steevens No matter by what means ; money will 
 says it is a military term. Malone do More, boy, than my lord's letter" 
 cites Bulloker, "To march up and (Every Man in his Humour, n. iii. 
 down." In Ainsworth's Eng.-Lat. 226). Jonson thinks probably of 
 Diet, the term occurs at a later date Horace : " Rem, facias rem ; si possis 
 (ed. 1761) in Steevens' sense: "To recte, si non, quocunque modo rem." 
 traverse the ground as a fencer Com- 384. Go to} See in. iii. 209. 
 ponere ad prceliandum gradum, Petr. 389. ] There is something decidedly 
 Arb. 95." The meaning here is, " Set youthful in the conceited brag of lago's
 
 60 OTHELLO [ACTI. 
 
 For I mine own gained knowledge should profane, 
 
 If I would time expend with such a snipe 
 
 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 that kind 395 
 
 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 
 
 391. snipe} snpe F I ; swain F 2, 3, 4, Rowe. 394. He has} F 3, 4 ; ffa's 
 Qq, She Aa's F I, He ha's F 2. 395. Bttt} Ff, Yet Qq. 399. his} F I, 
 this Qq ; to plume} to make O i. 400. /] Ff, A Qq ; knavery ] Qq, 
 knavery. Ff ; Let's} Ff, let me Qq. 401. ear} Qq, eares Ff. 
 
 in his own villainy, although the latter 396. holds me well} holds me in good 
 
 is perfect enough to be worth the glory- esteem ; thinks well of me. Compare : 
 
 ing in. He revels as he finds his power ' ' He holds you well, and will be led 
 
 for devilment developing itself before At your request a little from himself," 
 
 his mind's eye. Troilus and Cressida, II. iii. 190. 
 
 391. snipe} "Woodcock" was in And in Much Ado, in. ii. 101, the 
 
 common use for a fool from Stephen same expression occurs. 
 Gosson (1579) down to Motteux's Rabe- 398. proper} handsome, fine, present- 
 
 lais, 1708; and especially favoured by able. At iv. iii. 35 we are told that 
 
 Jonson and Shakespeare. It had not " Lodovico is a proper man . . . a very 
 
 the wit to keep its neck out of the handsome man." Further, lago ap- 
 
 noose. In Love s Labour's Lost, iv. iii. pears to be jealous of Cassio's good 
 
 82: " Four woodcocks in a dish," i.e. looks in v. i. 19,20. In the original tale 
 
 four fools together, is a proverbial the " man of handsome figure " is lago. 
 
 phrase. Heywood varies this into : Cassio's appearance is not referred to. 
 "Two snights to a dish," Fair Maid 399. plume up my will} glorify, or 
 
 of Exchange (Pearson, reprint, p. 69), put more pride into my intention, by 
 
 1607 a confirmation of the reading doubling the knavery, 
 in the first Folio. Halliwell's example 401. abuse} parallel uses of this word 
 
 of "snipe-knave, a worthless fellow," are in Measure for Measure, v. 139, 
 
 is an error. It should be a worthless, " I have heard your royal ear abused " ; 
 
 or \&\i-snipe (i.e. jack=knave). The All's Well, V. iii. 395, "She doth 
 
 "snite" may be regarded as Cotgrave abuse our ears" ; Hamlet, \. v. 58, and 
 
 does="a little woodcock." Lear, n. iv. 310. The sense is " put- 
 
 395, 396. I for . . . for surety} "I ting to a wrong use," "corrupting"; 
 
 because of a bare suspicion of that kind, but ' ' in all these cases the idea of 
 
 will treat it for a certainty." deception is prevailing" (Schmidt).
 
 sc.m.] THE MOOR OF VENICE 61 
 
 That he is too familiar with his wife. 
 
 He hath a person and a smooth dispose 
 
 To be suspected ; framed to make women false. 
 
 The Moor is of a free and open nature, 405 
 
 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 409 
 
 Must bring this monstrous birth to the world's light. 
 
 [Exit. 
 
 ACT II 
 
 SCENE I. A Sea-port in Cyprus. An open place 
 near the Quay. 
 
 Enter MoNTANO and two Gentlemen. 
 
 Mon. What from the cape can you discern at sea ? 
 First Gent. Nothing at all : it is a high-wrought flood ; 
 
 405. is of] omitted Q I ; rtature,"] nature too, Q I. 406. seem] Ff, seems Qq. 
 
 403. dispose] disposition. Shake- "high." From "high-battled" and 
 
 speare uses this noun again in Troilus "high-blown" to "high-swoln" and 
 
 and Cressida, II. iii. 174. "high-viced," taking them in alpha- 
 
 407, 408.] " Menar uno per il naso. betical order, his plays contain about 
 Ital. TT}S p6s ?\/ceo-0at. This is an two dozen such combinations. This is 
 ancient Greek proverb. Erasmus saith interesting, since it seems to be peculi- 
 the metaphor is taken from buffaloes, arly Shakespearian. Milton followed 
 who are led and guided by a ring put him with another set, as ' ' high-climb- 
 into one of their nostrils. ... So we ing," "high- towered," "high-blest," 
 in England are wont to lead bears" etc. about a dozen in all. I do not 
 (Ray). Compare Winter's Tale, IV. find these "high" compounds prevailing 
 iv. 832. See also North's Plutarch in other Elizabethan writers. Middleton 
 (Tudor Trans, iii. n), 1579: "you are revels in hyphened adjectives. See his 
 all content to be ledde by the noses," Wisdom, of Solomon Paraphrased, 1597. 
 where it is amongst the sayings of Cato. Drayton has the expression "high- work- 
 There are several variants. ing sea " in his Polyolbion (1613). 
 
 ..... c 2. flood] heavy surge. See Julius 
 
 Act 11. Scene I. Casar, I. ii. 103. Cotgrave has "/%*, 
 
 2. high wrought] Shakespeare re- a wave, surge, flood." In T. Howell's 
 
 joices in adjectival compounds with Poems (ed. Grosart), 1568-81, the
 
 62 OTHELLO [ACT n. 
 
 I cannot, 'twixt the heaven and the main, 
 Descry a sail. 
 
 Mon. Methinks the wind hath spoke aloud at land ; 5 
 
 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: 10 
 
 For do but stand upon the foaming shore, 
 The chidden billow seems to pelt the clouds ; 
 The wind-shaked surge, with high and monstrous mane, 
 Seems to cast water on the burning bear, 
 And quench the guards of the ever-fixed pole : I 5 
 
 3. heaven~\ haven Q I, Mai one. 5. hath spoke] Ff, does speake Q i, 2. 
 8. mountains melt on them,'} F 3, 4 ; Mountaines melt on them, F i, 2, Q 3 ; the 
 huge mountaine meslt, Q I ; mountaine melt on them, Q 2. 9. mortise~\ morties 
 Qq, Ff. II. foaming] banning Q I. 12. chidden] Ff, chiding Q<\; billow] 
 billowes Q 2, 3. 13. mane] Knight, mayne Qq, mains F I, 2 ; main F 3, 4, 
 Rowe. 15. ever-fixed] Ff, ever-fired Qq. 
 
 word flood is constantly applied (with parallel use of the word. Compare the 
 
 a qualifying adjective as here) to an en- sense of to ruffle (King Lear, II. iv. 
 
 raged sea. We have ' ' foming floodes, " 304): "the high winds Do sorely 
 
 p. 67; "the surge of furious foming ruffle." 
 
 flood," p. 85; "furious floodes," p. 10. segregation] separation from, 
 
 95; "the Furious vigour of the Flood," hence dispersal. "Segregation: a 
 
 p. 245. Never of a quiet sea. segregation, separation, severing from " 
 
 5. at land] on land. The more reg- (Cotgrave). The word had hardly come 
 
 ular expression, like our " ashore, " was into English use. " Segrego : to take 
 
 "aland." Compare "cast a-land in out of the flock, to lay apart" 
 
 another island adjoining," Amadis and (Blount). 
 
 Barlow's Voyage (Payne, 1880, p. 219), 13. wind-shaked] " wind - shaken " 
 
 1584; and Holland's Plinie: "both occurs in Coriolanus, V. ii. 117. Knight 
 
 kinds being cast up a land, turne into first gave the true reading "mane" in 
 
 the pumish stone (bk. xm. ch. xxv.). this line, formerly erroneously spelt 
 
 7. ruffian! d\ played the ruffian, "mayne" and "maine." 
 One of numerous examples of the verb 14. btirning] shining. Compare 
 
 formed from the noun by Shakespeare. Tempest, I. ii. 336. 
 Compare ' ' mammocked " ( Coriolanus, 1 5. guards . . . pole] The guards are 
 
 I. iii. 21). A long list (not including the two principal stars, next in bright- 
 
 these two) will be found in Abbott's ness to the Pole Star, of the constella- 
 
 Grammar, 290. "The ruffian Boreas" tion known as the Little Bear (Ursa 
 
 (in Troilus and Cressida, I. iii. 38) is a Minor). They lead directly to the Pole
 
 sc.i.] THE MOOR OF VENICE 
 
 63 
 
 I never did like molestation view 
 On the enchafed flood. 
 
 Mon. If that the Turkish fleet 
 
 Be not enshelter'd and embay'd, they are drown'd ; 
 It is impossible they bear it out. 
 
 19. they] Q I, Steevens, Globe, Craig, etc.; to Ff, Q 2, 3, Dyce, Cambridge. 
 
 Star along the Little Bear's very long 
 tail, the extremity of which is the Pole. 
 One of them, the nearest "guard," is 
 brighter than any other star nearly as 
 close to it. But the term sometimes 
 included the Cynosure itself, as the 
 Pole Star was called. These stars were 
 known also as "load-stars" or "lead- 
 ing-stars." " Before this invention 
 [compass], pilots were directed in their 
 night voyages by certain stars ; they 
 took notice of, especially, the Pleiades, 
 or Charles' Wain, and the two stars 
 in the tail of the Bear, called Helice 
 and Cynosure [i.e. the Lesser Bear, 
 called also Helice and Cynosure], 
 which are therefore called load-stars, 
 or leading-stars" (Philipott, Discozirse 
 on History of Navigation, 1661 ; Harl. 
 Misc., ed. 1810, vii. 167). Sir Robert 
 Ball in his Story of the Heavens (p. 375, 
 ed. 1890) says: "The two principal 
 stars of this group [Little Bear], next in 
 brightness to the Pole Star, are some- 
 times called the ' Guards. ' " Rolfe's 
 statement, that the "Guards" was 
 another name for the " Pointers " (the 
 well-known stars of the Great Bear, 
 /3 and a), is unsupported. Jonson, 
 misled by the derivation of Arcto- 
 phylax (another name for Arcturus), 
 is still further away. The two stars 
 here mentioned are /3 and 7 of Ursae 
 Minoris, but variously placed in the 
 fanciful depicting of the animal. Fur- 
 ness tells us these stars " were more 
 observed in Shakespeare's time than 
 now for the purposes of navigation." 
 Norman's Safeguard of Sailors, 1587, 
 has a chapter, " Howe to knowe the 
 houre of the night by the Guards." 
 Greene has a similar thought : 
 
 " And Neptune with a calm did 
 
 please his slaves, 
 Ready to wash the never-drenched 
 bear" 
 
 (Never Too Late), 1590. 
 
 16. molestation] trouble. Low-Latin, 
 molestatio. In Smith's Virginia (ed. 
 Arber, p. 655), 1616, the term is used 
 with reference to the sea : " they would 
 build him a boat . . . should go a 
 fishing all weathers. . . . Having made 
 choise of a place most fit from molesta- 
 tion, they went forward with that ex- 
 pedition, that in a short time shee was 
 brought to perfection." Disturbance of 
 the water. 
 
 17. enchafed'} Compare Holland: "of 
 all other beasts, he alone after this 
 manner enchaufeth himselfe, and giveth 
 an edge to his anger" (Plinie's Nat. 
 Hist, bk. via. ch. xlv.), 1601. Shake- 
 speare uses the word again (later) in 
 Cymbeline. 
 
 1 8. enshelter'd] The formation of 
 verbs with en or em and in or im pre- 
 fixed seems to have arisen with Spenser 
 and Gabriel Harvey. But no one 
 adopted these forms more often than 
 Shakespeare. The letter /;/ usually 
 does duty, as a labiate should, before b 
 and p. There are a few of Harvey's 
 prior to the examples in New Eng. 
 Diet, that may be adduced : ' ' enfreight, " 
 1593 (Gros. ii. 17); "engraced," 1592 
 (Gros. i. 219) ; " ensconce," 1593 (Gros. 
 ii. 228); "ensweeteneth," 1593 (Gros. 
 "95)- Jonson has some, "enstyled," 
 " engallanted," etc. Spenser set the 
 fashion which Shakespeare adopted 
 and developed. In the present play it at- 
 tains its height. Earlier and established 
 Anglo-Norman forms, existing from the
 
 64 OTHELLO [ACTII. 
 
 Enter a third Gentleman. 
 
 Third Gent. News, lads 1 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. 
 
 Man. How 1 is this true ? 
 
 Third Gent. The ship is here put in, 25 
 
 A Veronesa ; Michael Cassio, 
 Lieutenant to the warlike Moor, Othello, 
 Is come on shore: the Moor himself 's 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 
 
 20. lads'] lords Q I, Steevens, Malone. 21. Turks] Turke Qq. 22. a 
 noble] Another Q I. 24. their] the Q I, 3. 25, 26. in, A Veronesa;} 
 in: A Veronessa, Qq; in: A Verennessa, Yi;in: A Veronesso, F 2, 3, 4 ; in, A 
 Veronese ; Johnson. 28. on shore] Ff, ashore Q I, a shore Q 2, 3 ; the Moor 
 himselj "s] Steevens, Craig, etc. 5 the Moor himself Ff, Qq, Globe. 
 
 time of Chaucer, paved the way. See occurs in Hakluyt : "he continued 
 
 note at " enwheel," line 87. his former designment and purpose," 
 
 1 8. embay 'd] Not the Spenserian Hayes' Narrative of Gilberts Voyage 
 
 word (Faerie Queene, II. viii. 55 and II. (Payne, 1880, p. 180), 1583. 
 
 xii. 60) which signifies "embathed," or 23. sufferance} distress, disaster, 
 
 "steeped in," as later in Milton; but quasi " suffering." An abnormal use 
 
 the legitimate and forcible term of the the old word "suffraunce" meaning 
 
 early mariners, meaning " sheltered as properly patience, 
 
 in a bay." Compare " Embay'd in the 26. Veronesa] A disputed reading. 
 
 Grand Bay," Hayes' Narrative of Malone pointed out that Verona was 
 
 Gilberfs Voyage (Payne, 1880, p. 187), a city belonging to Venice, and may 
 
 1583; "a great dead fish, which as it therefore be supposed to have fitted 
 
 should seem had been embayed with out ships for her use. The people of 
 
 ice," Best's Narrative of Frobisher's Verona are called the Veronesi in 
 
 Second Voyage (to. p. 79), 1577. Thomas's History of Italy (e.g. Paolo 
 
 21. bang'd] implies many repeated Veronese). The "Third Gentleman" 
 blows: "battered," like the French has had conversation with Cassio, and 
 battu. Compare Cotgrave, il Fripper\ knows all the details. Elze invented a 
 To beat, bang, belam, belabour." word verrinessa, which Furness trans- 
 
 22. designment} design, plan. See lates "cutter, "and is inclined to accept. 
 Corio/anus,v,\i. 35. An earlier example 30. 0;/V]ofit.
 
 sc. i.] THE MOOR OF VENICE 65 
 
 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 heaven he be ; 
 
 For I have served him, and the man commands 35 
 Like a full soldier. Let 's to the seaside, ho ! 
 As well to see the vessel that 's come in 
 As to throw out our eyes for brave Othello, 
 Even till we make the main and the aerial blue 
 An indistinct regard. 
 
 Third Gent. Come, let 's do so ; 40 
 
 For every minute is expectancy 
 Of more arrivance. 
 
 Enter CASSIO. 
 
 Cas. Thanks, you the valiant of this warlike isle, 
 
 That so approve the Moor 1 O, let the heavens 
 
 34. heaven] Qq, Capell, Steevens, Craig ; heavens Ff, Globe. 39, 40. Even 
 . . . regard} omitted Q I. 39. the aerial} Pope ; tK Eriall F I, 2, 3 ; tK 
 Ayre all Q 2, 3 ; tK Erial F 4. 42. more arrivance~\ Qq, more Arrivancie 
 F r. 43. Thanks, you the] Thankesyou, the Ff, Thankes to the Qq ; warlike} 
 Ff, worthy Q i, omitted Q 2, 3. 44. O, let} Oh let Ff, and let Qq. 
 
 32. sadly} gravely, seriously. and rose of the fair state." "Expectance" 
 
 34. With} the causal "by." (expectation) is in Trot/us, iv. v. 146. 
 
 36. full} accomplished, perfect. Both forms are used at present, amongst 
 
 Rolfe's citation from Ant. and Cleop. lawyers chiefly ("estate in expectancy"). 
 
 (ill. xiii. 87) is hardly apposite, as " Expectancy " is first instanced in New 
 
 Schmidt points out. Compare Webster, Eng. Diet, from Holland's Livy, 1600. 
 
 White Devil, i. 1(1612), " Have a full 42. arrivance} arrival. The"arriv- 
 
 man within you." ancie " of the Folios was used later by 
 
 40. regard] view, aspect. The Sir Thomas Browne. The present is 
 French sense. See The Lover's Com- the earliest example in New Eng. Diet, 
 plaint, 213. Compare Holland's Plinie, The number of words of this form in 
 xxvn. ix. : " Empetron . . . groweth Othello is noteworthy. 
 
 upon mountains regarding the sea, and 43, 44.] Cassio has had time to receive 
 
 commonly upon rocks and stonie cliffs." some demonstrations of welcome ; and 
 
 41. expectancy} expectation, hope, the " third gentleman " heard the news. 
 The latter sense, since there is anxiety Furness makes a difficulty of this in a 
 about Othello, is better. Compare note on line 26, q.v. 
 
 Hamlet, in. i. 160 : "the expectancy
 
 66 
 
 OTHELLO 
 
 [ACT ii. 
 
 Give him defence against the elements, 45 
 
 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. 
 
 [ Within : " A sail, a sail, a sail ! " 
 
 Enter a fourth Gentleman, 
 
 Cas. What noise? 
 
 Fourth Gent. The town is empty ; on the brow o' the sea 
 
 45. the] Ff, their Qq. 
 F I, 2, Q 2 ; hope's not . 
 
 50. hopes, not . . . death,} hope's (not 
 . death, Q i, as above F 3, 4. 
 
 death) 
 
 48, 49. pilot , . . allowance'] pilot 
 who is allowed (acknowledged) to be 
 very expert and approved (experienced). 
 Other paraphrases are suggested, but 
 this seems a simple one. 
 
 50. hopes, not . . . death] The words 
 in this strongly disputed passage, from 
 "not" to "death," are enclosed as a 
 parenthesis in the Folios, a circumstance 
 which sometimes assists the meaning. 
 The enclosed words, replaced by some 
 such expression as "by no means in 
 great abundance," give good sense. 
 "On account of his good ship and his 
 expert pilot, my hopes, not by any 
 means (far from it) excessive, stand 
 boldly in hope of being fulfilled." In 
 order to give this sense, " to death " 
 must be regarded as meaning merely 
 "immoderately," as it frequently does 
 in Shakespeare: "broiled to death," 
 "frozen to death," " Falstaff sweats to 
 death," etc. The sense of the word 
 "surfeited" (taken greedily) is natural 
 enough. " Gorged " has a parallel use. 
 A man may gorge food greedily, or 
 gorge himself with food greedily. This 
 kind of involved difficulty seems to me 
 quite Shakespearian. The parenthesis, 
 
 it will be seen, has no reference to the 
 welfare of the hopes, but merely act as 
 an aside to characterise their quantity. 
 However, a simpler explanation is, 
 I think, available, if the above be re- 
 jected. It is, that the included words 
 be taken as a case of that figure of 
 speech wherein an idea is rendered 
 more forcible by being contrasted with 
 its opposite. "My hopes, not im- 
 moderately lusty (certainly not, they 
 were meagre in the extreme), grow 
 healthy." Such a mode of speech is, 
 and I suppose has always been, common. 
 Compare iv. ii. 67 : "honest ... as 
 summer flies are in the shambles." 
 
 51. Stand in bold cure] Compare 
 "Stand in hard cure," Lear, in. vi. 
 107. 
 
 53. the brow o 1 the sea] the margin 
 or edge of the sea. The shore. This 
 phrase would hardly be used now in 
 ordinary language, but it is common, 
 provincially, in the North of Ireland, 
 pronounced ' ' broo. " Such expressions 
 as " the broo of a river," " the broo of 
 the lough" are familiar. One said to 
 me recently, " the tide came up to the 
 broo of the road" (Lough S willy).
 
 sc. i.] THE MOOR OF VENICE 67 
 
 Stand ranks of people, and they cry " A 
 
 sail ! " 
 
 Cas. My hopes do shape him for the governor. 5 5 
 
 \Guns heard. 
 Sec. Gent. They do discharge their shot of courtesy : 
 
 Our friends at least. 
 Cas. I pray you, sir, go forth, 
 
 And give us truth who '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, 
 
 55. governor} Ff, government Qq. 56. their} Ff, the Qq. 57. friends} 
 Ff, friend Qq. 63. quirks of} omitted Q I. 
 
 56. courtesy] Compare " he gave the verb (Paradise Lost, x. 426) which 
 them certaine pieces of ordinance after seems to have been introduced by 
 the curtesie of the Sea for their wel- Shakespeare. Nares refers (erroneously) 
 come" (Sir John Hawkins, Second to Sidney. 
 
 Voyage to West Indies, 1564 (Hakluyt 63. quirks} a conceit, or quick term 
 
 ed., 1810, ii. 532, 1599). of thought or speech. Shakespeare's 
 
 60. wived} Shakespeare frequently Much Ado (n. iii. 345) is an early 
 uses the Old English verb, "wive." It reference (1598). Probably originally 
 was preserved in several proverbs, as a lawyer's expression. Compare Ben 
 "There's thriving in wiving"; "A Jonson (who constantly uses it) : "This 
 man may not wive and thrive all in one is your lawyer's face, a contracted, 
 year"; "Hanging and wiving go by subtle, and intricate face, full of quirks 
 destiny." and turnings," Cynthia's Revels, II. i. 
 
 61. achieved} obtained, gained. l6cvz (1600). Blount gives as the 
 
 62. paragons} The verb occurs three second meaning of Quiddity, ' ' a querk 
 times in Shakespeare, this being the or subtle question." And the translator 
 first use. Schmidt gives to the other of Rabelais (iv. 52) renders quolibetz, 
 examples (Henry VIII. ii. iv. 230, and "quirks." 
 
 Antony and Cleopatra, I. v. 71) dis- 63. blazoning} praising. Compare 
 tinct senses. All belong to the French Romeo and Juliet, ii. vi. 26. " Bla- 
 word from which it is taken : "Para- sonner, to blaze arms ; also, to praise, 
 gonner, to paragon ; equal, match, or extol, commend ; or, to publish the 
 compare with ; also, to examine, or praises, divulge the perfections, pro- 
 trie the goodness of a thing, by com- claim the virtues of; also (the con- 
 paring it with other (excellent) things " trary), to reprove . . . ; in which 
 (Cotgrave). The last is the required sense we also use the word blaze " 
 meaning fully set forth. Milton uses (Cotgrave).
 
 68 
 
 OTHELLO 
 
 [ACT n. 
 
 And in the essential vesture of creation 
 Does tire the ingener. 
 
 Re-enter Second Gentleman. 
 
 How now ! who has put in ? 65 
 
 65. tire the ingener] Steevens conj., Dyce, Globe, Craig, etc. ; tyre the Inge- 
 niucr. Ff; beare all excellency : Q I, Pope, Steevens, Malone ; beare an excel- 
 lency Q 2, 3, Rowe. 
 
 64.] Shakespeare does not use the 
 word "essential "elsewhere, and perhaps 
 its meaning is more doubtful than the 
 other terms in this and the following 
 disputed lines. " 'Essential,' belonging 
 to the essence or being of a thing 
 (Blount) came into use as a theological 
 or philosophical term. Gabriel Harvey 
 has it only once, and he is a regular 
 museum of neology ; he places it along- 
 side of "practicable" (Grosart, ii. 36, 
 1593)) m tne sense of real, existent. 
 But a better clue to Shakespeare's sense 
 may be derived from his use of ' ' essence " 
 in this play : " Her honour is an es- 
 sence that 's not seen" (iv. i. 16). There 
 the term means elemental substance. 
 Shakespeare formed his adjective from 
 this word, and his meaning is of a more 
 spiritual tendency than the word's pre- 
 sent use contains. This would give 
 some such sense to the line as "the 
 etherially pure, or celestial, garb of her 
 nature does tire," etc. "Creation" is 
 equivalent to "nature," as in Sonnet 
 127, and Merchant of Venice, III. ii. 
 116. This appears to be the meaning, 
 though the wording renders it difficult 
 to arrive at. Johnson's sense of "real 
 qualities with which creation has in- 
 vested her " (accepted by Rolfe) would 
 refer to her substantial or physical en- 
 dowments. Cassio (who is intimate 
 with "the divine Desdemona") aims 
 at a higher flight than this. In those 
 respects she "paragons description." 
 And in the supremer consideration of 
 her pure and higher nature, her eulogy 
 would wear out the contriver. 
 
 65. tire the ingener] weary the one 
 
 who designs, or attempts, to describe 
 it ; or compose the narration of it. 
 " Tire " has a strong sense of extreme or 
 over weariness several times in Shake- 
 speare, as in " Tired with all these for 
 restful death I cry " (Sonnet 66). The 
 word otherwise seems trivial. ' ' Ingener " 
 in the sense of "contriver" is abund- 
 antly common, and its spelling is of no 
 moment. See the collection of variants 
 in New Eng. Diet. One instance will 
 suffice; it is quoted by Halliwell : "Our 
 worthy poets, inginers of wit, Pourtray 
 these knights in colours" (Middleton, 
 Time's Metamorphosis, 1608). The 
 passage from Sejanus, i. i, is a bad 
 example, since the word has there a 
 distinctly bad sense of "scheming 
 plotter," as it has again at the end of 
 the fourth Act of Eastward Ho (Jonson, 
 Chapman, etc.), which are both plays 
 date for date almost with Othello. But 
 the word was common. Brinsley 
 Nicholson reaches so high a pitch of 
 elaboration that one cannot see the 
 wood for the trees. I totally disagree 
 with his sense of the word " tire," from 
 the "head-dress." Similarly, Steevens 
 refers it to a well - known form of 
 "attire"; but both these senses (prac- 
 tically identical) add much to the 
 difficulty of unfolding the construction 
 of the sentence. Most of the notes are 
 wasted energy over the meaning, de- 
 rivation, or orthography of the word in 
 the first Folio, "ingeniver," which, as 
 Nicholson says, is merely the French 
 ingenieur, a naturalised word in various 
 shapes. An extraneous example of 
 "tired" in the stronger sense of
 
 sc.i.] THE MOOR OF VENICE 
 
 69 
 
 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. What is she? 
 
 Cas. She that I spake of, our great captain's captain, 
 
 67. Cas.] Cassio Ff, omitted Qq giving all speech to Sec. Gent. ; He has] Qq, 
 Has Ff. 68. high] by Q I. 70. ensteep'd\ Ff, Q 2, 3 ; enscerped Q l ; en- 
 scarp' 1 d Grant White ; clog] Qq ; encloggt F I, 2, 3. 72. mortal} Ff, common Qq. 
 
 " forwearied," worn out, or to death, 
 may be cited : 
 
 " Whose trust is tyer'd, whose toyle 
 
 in vaine is spente 
 
 Whose pensive plaintes did beate 
 the barren ayre " 
 
 (T. Howell, Devises, 1581). 
 65. put in] put into the harbour. 
 The verb "to put" had and has many 
 distinct nautical applications, coupled 
 with various adverbs, all implying 
 "move" or "go." Nares quotes 
 the substantive " puttings-in " (ports) 
 formed from the expression here. It 
 occurs in Dekker's Dead Term (1608). 
 To " put into the bay," "put to sea," 
 " put forth," " put off," and " put out" 
 occur of going or coming by water in 
 Shakespeare. 
 
 69. gutter d rocks'] channelled rocks. 
 New Eng. Diet, quotes from Turner's 
 Herbal, ii. 88 (1562): "Every lefe of 
 the pine tree (is) . . . furrowed or 
 guttered as sum kinde of yong grasse 
 is." This is the only example prior to 
 Othello. I find in Sherwood's Index to 
 Cotgrave (1672) : "To gutter, caneler" 
 and "guttered, caneW ; and in Cot- 
 grave (1611): " Caneleure, a fluting, 
 channelling, stroking, furrowing ; gut- 
 ter- worke (in stone or timber)." 
 
 70. ensteep'd} White followed Q I, 
 
 reading "enscarped" (Old French, 
 escarp^), because Shakespeare "never 
 uses 'steep' in the sense of 'submerge,' 
 but always in that of ' lave ' or 
 'soak.' On Dyce (2nd ed.) remind- 
 ing White that Henley referred to 
 Othello, IV. ii. 60, White adopted 
 'ensteeped' in his 2nd ed., and 
 'enscarped' was heard of no more" 
 (Furness). This detail is given because 
 Rolfe's note (ed. 1886) is misleading. 
 For verbs with the prefix en, see note 
 above at " ensheltered," line 18. The 
 word may be taken ' ' in his habit as he 
 lived " without the extra syllable. 
 
 72. mortal] deadly, fatal ; as in our 
 "mortal wound." A favourite word 
 with Shakespeare. Ben Jonson plays 
 on the two meanings : 
 
 " Whilst he himself is mortal let him 
 
 feel 
 
 Nothing about him mortal in his 
 house " 
 (Love's Welcome at WelbecK). 
 
 74. captain's captain] Malone aptly 
 refers to Richard III. IV. iv. 336 : 
 " And she shall be sole victress, Caesar's 
 Caesar." See below, II. iii. 325 : "Our 
 general's wife is now the general." 
 
 74. captain] Othello's style is else- 
 where " general." Perhaps Cassio re- 
 fers to his command ot ' ' his tall ship "
 
 70 
 
 OTHELLO 
 
 [ACT ii. 
 
 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, 
 Give renew'd fire to our extincted spirits, 
 And bring all Cyprus comfort. 
 
 Enter DESDEMONA, EMILIA, IAGO, RODERIGO, 
 and Attendants. 
 
 O, behold, 
 The riches of the ship is come on shore ! 
 
 75 
 
 80 
 
 80. Make 
 omitted Ff. 
 
 . . in] Ff, And swiftly come to Qq. 
 83. on shore] ashore Q I. 
 
 82. And . . . comfort] Qq, 
 
 from which he has just landed. A 
 little lower in this scene (line 211) 
 Othello speaks of the "master" of 
 the ship. I think Othello himself 
 "captained" her. Compare the first 
 words of Smith's Accidence for Young 
 Sea-men, 1626 : " The captaine's charge 
 is to command all, and tell the Maister 
 to what Port he will go or to what 
 height. In a fight he is to give direc- 
 tion for the managing thereof, and the 
 Maister is to see to the cunning the 
 ship, and trimming the sailes." 
 
 75. conduct] escort. Compare Mer- 
 chant of Venice, iv. i. 148 ; and Jonson : 
 " Come, gentlemen, I will be your 
 conduct" (Every Man Out, n. i. 
 
 1599). 
 
 77. sennight] seven night, week. 
 Shakespeare uses the term again in 
 As You Like It and Macbeth. Com- 
 pare Jonson: "feed it about this day 
 sev'n-night" (Alchemist, v. 2), and 
 elsewhere in Ben Jonson. 
 
 77- Jove] The heathen deity is com- 
 monly, and seriously, invoked many 
 times in Shakespeare's plays and in 
 
 those of his contemporaries. Malone 
 cavilled at the word here, and Hudson 
 actually altered it to " God." 
 
 79. tall ship] fine, gallant. In the 
 sense of stout, courageous, the adjec- 
 tive was very commonly applied to a 
 person. The early navigators employed 
 the present expression : ' ' the loss of 
 a tall ship, and (more to his grief) of a 
 valiant gentleman, Miles Morgan," 
 Hayes' Narrative of Gilberfs Voyage 
 (Payne, ed. 1880, p. 180), 1583. See 
 also Merchant of Venice, III. i. 6, and 
 Richard II. n. i. 286. 
 
 80. pants] Compare the finer use of 
 "pants" in this sense in Antony and 
 Cleopatra, IV. viii. 16. 
 
 8 1. extincted] Lat. extinctus, 
 quenched. An unrecognised word. 
 The Old French extinction seems to 
 have been the first introduction. It 
 occurs in Humphrey Gifford, 1580. 
 
 83. riches'] Schmidt distinguishes the 
 cases where Shakespeare uses this word 
 as a singular or as a plural. Its de- 
 rivation from French richesse makes 
 the former more correct, but the gram-
 
 sc. i.] THE MO.OR OF VENICE 71 
 
 Ye men of Cyprus, let her have your knees. 
 
 Hail to thee, lady! and the grace of heaven, 8$ 
 
 Before, behind thee, and on every hand, 
 
 Enwheel thee round ! 
 Des. I thank you, valiant Cassio. 
 
 What tidings can you tell me of my lord ? 
 Cas. He is not yet arrived : nor know I aught 
 
 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 
 
 Parted our fellowship But, hark ! a sail. 
 
 [ Within : " A sail, a sail ! " [Guns heard. 
 Sec. Gent. They give their greeting to the citadel : 
 
 This likewise is a friend. 
 Cas. See for the news. \Exit Gentleman. 95 
 
 Good ancient, you are welcome: \To Emilid\ 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. 
 
 [Kissing her. 
 lago. Sir, would she give you so much of her lips I oo 
 
 As of her tongue she oft bestows on me, 
 
 84. Ye] Qq, You Ff. 85. thee, lady} the lady Q (1695). 88. me] omitted 
 F I. 89. yef\ omitted F 2, 3, 4. 92. the sea} sea F I. 94. their] Qq, 
 this Ff. 95. See . . . news'] So speakes this voyce Q I. 100. Sir,] For 
 Q I. IOI. oft bestows} Ff, has bestowtd Qq ; on"] Qq, F I ; ofY 2, 3, 4, Rowe. 
 
 matical law was often neglected. Walker quotes from Beaumont and 
 
 Chaucer makes "richesse" plural in Fletcher, The Pilgrim, I. ii. 17 (ed. 
 
 Canterbury Tales. Dyce) : ' ' Heaven's grace in-wheel you, 
 
 87. Enwheel} Here the prefix is used And all good thoughts and prayers 
 
 in its proper sense of enclosing. Com- dwell about you." Obviously an echo 
 
 pare ' ' How dread an army hath en- of Shakespeare, 
 
 rounded him " (Henry V. IV. Prol. 96. ancient} ensign. 
 36. The meaning is "encompass."
 
 72 
 
 OTHELLO 
 
 [ACT ii. 
 
 Alas, she has no speech. 
 
 You 'Id have enough. 
 Des. 
 lago. In faith, too much ; 
 
 I find it still when I have list to sleep : 
 
 Marry, before your ladyship, I grant, 105 
 
 She puts her tongue a little in her heart 
 
 And chides with thinking. 
 Emit. You have little cause to say so. 
 lago. Come on, come on ; you are pictures out of doors, 
 
 102. You' Id} You would Ff. 103. In faith,] I know Q I. 104. it still 
 when] Ff, it, I ; for when Q \,it still, for when Q 2, 3 ; list] Q I ; leave Ff, Q 2, 
 3. 109-112. Come . . . beds] prose in F i. 109. of doors] of doore F I, 
 adores Q i. 
 
 104. list] inclination, desire. The 
 verb is common, but the substantive 
 seems to be rare. Compare Chaucer, 
 Troilus, iii. 187 : 
 
 " 'Y-wis,' quod she, ' myn owne 
 
 hertes list, 
 My ground of ese, and al myn 
 
 herte dere.'" 
 
 It may, however, be a variant of ' ' lust " 
 here ; or rather the two derivations 
 from the same root were not yet dis- 
 tinguished. They are in the Prompt. 
 Parv. (1440), where " lust " = voluptas, 
 libido; and " list " = delectatio. 
 
 109-112.] This censure of women, so 
 suitable to the lips of lago, is developed 
 from "a report by Mistress Shore" from 
 the chronicles, according to Puttenham, 
 Arte of Poesie (p. 299, Arber's ed.). 
 "We limit the comely parts of a 
 woman to consist in foure points, that is, 
 to be a shrewe in the kitchin, a saint in 
 the Church, an Angell at the bourd, 
 and an Ape in the bed, as the chronicle 
 reportes by Mistresse Shore paramour 
 to King Edward the Fourth." Putten- 
 ham's words are followed (nearly) in 
 Middleton's Blurt, iii. 3. 1602 ; and 
 in Wilkins' Miseries of Enforced Mar- 
 riage, 1607. Line in, in the above, 
 is additional to the original, and the 
 alteration from "apes" to "housewives" 
 
 (line 112) helps to confirm the sense 
 given to the latter word elsewhere. 
 See below, line 112. The last line has 
 its periphrasis in line 115. 
 
 109. Come on, come on] "like the 
 simple ' come,' used as an interjection, 
 implying an exhortation or rebuke" 
 (Schmidt). Frequent in Shakespeare. 
 
 109. pictures] refers to the painted 
 faces of ladies of fashion, generally at- 
 tacked by all the writers of the time. 
 But this direct application of the word 
 ' ' picture " quasi ' ' woman " is rare. 
 Here is, however, an even stronger 
 example : 
 
 " Upon a louing foole, as you shall 
 
 heare ; 
 A foole that knowes not how to use 
 
 his eies, 
 But takes a picture for an Angell's 
 
 face, 
 
 And in his thoughts strange won- 
 ders will devise, 
 To bring his wits into a piteous 
 
 case " 
 
 (Choice, Chance, and Change [N. 
 Breton], Grosart, reprint, p. 66, 1606). 
 This work was published anonymously ; 
 but a careful study of Breton's works 
 enables me to state positively (as 
 Grosart suggested) that it is by that 
 voluminous writer.
 
 sc. i.] THE MOOR OF VENICE 73 
 
 Bells in your parlours, wild-cats in your kitchens, 1 10 
 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. 115 
 
 Emit. You shall not write my praise. 
 
 lago. No, let me not. 
 
 Des. 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. 119 
 
 Des. 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. 
 
 113. Des.] omitted Q I, Emil. Jennens, Em. Anon. MS. (Devonshire Q i). 
 
 no. Bells in your parlours] Robert bodily business As well as she, I am a 
 
 Tofte in his translation of Benedetto Turk." Probably varied from the earlier 
 
 Varchi's Blazon of Jealousy, likens a " to turn Turk," i.e. to undergo some sort 
 
 shrew's tongue to a bell: "the shrew of great disimprovement. The present 
 
 is reported to be of middle stature, and expression is parallel to our ' ' if I don't, 
 
 somewhat pale or sallow of colour, I 'm a Dutchman " ; which is as old as 
 
 with a thin lip, a Hawke's eye, and a Ben Jonson's Fox (1605). Compare 
 
 shrill voice, that sounds as a bell" (p. also the expression " I am a Jew, " Muc h 
 
 34, ed. 1615); and'a few lines down on Ado, II. iii. 272. 
 
 the same page, "she scoldeth shrill 119. critical] censorious. Shake- 
 like a Bell." In Peele's Old Wives speare had already used this term in 
 Tale, Lampriscus says his first wife had Midsummer Night's Dream, v. i. 54- 
 a tongue that " sounded in my ears The earliest reference in New Eng. 
 like the clapper of a great bell." Diet, is that of Midsummer Nighfs 
 
 112. house-wives} undoubtedly had a Dream, but the word had been intro- 
 
 bad sense both here and later in this duced by Barnabe Barnes : " Good 
 
 play (iv. i. 87). Compare Henry V. Sir, arise and confound those Viperous 
 
 v. i. 85, and 2 Henry IV. in. iii. Cryticall monsters, and those prophane 
 
 341. Atheistes of our Commonwealth," B. 
 
 1 14. or else I am a TurK\ Compare Barnes to Gabriel Harvey (prefixed to 
 Beaumont and Fletcher, The Captain, Pierce's Supererogation), Grosart's 
 iv. 4 : " But if I go not about mine own Harvey (ii. 19), 1593.
 
 74 OTHELLO [ACT ii. 
 
 Come, how wouldst thou praise me ? 
 lago. I am about it; but indeed my invention 125 
 
 Comes from my pate as birdlime does from frize ; 
 
 It plucks out brains and all : but my Muse labours, 
 
 And thus she is deliver'd. 
 
 If she be fair and wise, fairness and wit, 
 
 The one's for use, the other useth it. 130 
 
 Des. Well praised ! How if she be black and witty ? 
 lago. If she be black, and thereto have a wit, 
 
 She '11 find a white that shall her blackness fit. 
 Des. Worse and worse. 
 
 Emit. How if fair and foolish ? 135 
 
 lago. She never yet was foolish that was fair ; 
 
 For even her folly help'd her to an heir. 
 Des. These are old fond paradoxes to make fools 
 
 laugh i' the alehouse. What miserable praise 
 
 hast thou for her that's foul and foolish? 140 
 
 lago. There 's none so foul, and foolish thereunto, 
 
 But does foul pranks which fair and wise ones do. 
 Des. O heavy ignorance ! thou praisest the worst 
 
 125-128. / am . . . deliver W] as in Qq, arranged as prose in Ff. 127. 
 brains] braine Qq. 129, 130; 132, 133; 136, 137; 141, 142; 147-157, and 159 
 are in italics in Ff, Q 2, 3. 130. useth\ using Q I. 133. fif\hitQ i. 137. 
 her to an heir.'} her, to a haire Q I. 138. fond} omitted Qq. 
 
 125. invention'} composition ; men- about a dozen passages in Shakespeare 
 tal device. I disagree with Schmidt (see V. ii. 132 for a good example), 
 here, and at IV. i. 198, on this word. which gives sense to a line which evolved 
 
 126, 127.] Steevens compares a some extraordinary remarks from earlier 
 passage in The Puritan, 1607: "The commentators. See Lucrece, 556, 557 : 
 excuse stuck upon my tongue, like ship- "Her sad behaviour feeds his vulture 
 pitch upon a mariner's gown." Com- folly, A tyrant gulf that even in plenty 
 pare Lyly, Mother Bombie, iv. 2, 1594 : wanteth." The sense was French. 
 "A scrivener's shop hangs to a Serjeant's Cotgrave has " Folie aux gardens. 
 mace, like a burre to a freeze coat." Leachery ; and hence Faire folie. A 
 
 133. white'} Schmidt calls attention woman to play false," etc. Compare 
 
 to the pun on "wight." Deuteronomy xxii. 21 ; Hoseaii. 10, etc. 
 
 137. folly} inordinate desire, wanton- 138. fond] foolish, silly. The com- 
 
 ness. Schmidt finds this meaning in monest sense of the word at this time.
 
 sc. i.] THE MOOR OF VENICE 
 
 75 
 
 best. But what praise couldst thou bestow on 
 a deserving woman indeed, one that in the 145 
 authority of her merit did justly put on the 
 vouch of very malice itself? 
 lago. She that was ever fair and never proud, 
 
 Had tongue at will and yet was never loud, 
 
 Never lack'd gold and yet went never gay, 150 
 
 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 
 
 143. thou praises f\ Ff, that praises Qq. 146. merit} Ff, merrits Q I, merits 
 
 144 et seq.} Steevens (ed. 1793) wrote 
 "The hint for this question, and the 
 metrical reply of lago, is taken from a 
 strange pamphlet, called Choice jChance, 
 and Change, or Conceits in their Colours, 
 1606 ; when after Tidero has described 
 many ridiculous characters in verse, 
 Arnophilo asks him, ' but, I pray thee, 
 didst thou write none in commendation 
 of some worthy creature?' Tidero 
 then proceeds, like lago, to repeat 
 more verses. " The only objection to be 
 made to this entirely apt parallel, is 
 that, according to the accepted date of 
 Othello (1604), the "hint" came from 
 Shakespeare to Breton (see above, note 
 to line 109), and not vice versd. The 
 author of the pamphlet (reprinted by 
 Grosart) varies his metre to the regular 
 alternately rhymed lines in his ' ' Epi- 
 grammaticall Sonnets," of which there 
 are a dozen well worth perusal. The 
 prose in this tract is the thinnest possible 
 stuff, unworthy even of " N. B." 
 
 145-147. one that . . . malice itself} 
 one whose great merit even malice itself 
 would vouch for. 
 
 148.] One of the sonnets referred to 
 above begins 
 
 " She that is neither faire, nor riche, 
 nor wise 
 
 And yet as proude as any Pea- 
 cocke's taile, 
 
 Mumps with her lippes and winketh 
 with her eies, 
 
 And thinkes the world of fooles will 
 
 never faile." 
 
 In connection with the date of Othello, 
 the parallel is of interest. 
 
 149. Had tongue at will} Mr. Craig 
 gives me a good instance : "in short 
 time he became a perfect pleader, and 
 had tongue at will," North's Plu- 
 tarch's Lives, Cato, p. 370 (ed. 1596), 
 1579. See also Cotgrave, " Ernbabille. 
 Un courtisan bien em. Well-spoken ; 
 that hath tongue at will, or that wants 
 no Babil" (ed. 1673). This appears 
 therefore to have been a recognised ex- 
 pression. "At will," i.e. "at pleasure," 
 occurs several times in Shakespeare. 
 Compare Chester's Love's Martyr, ' ' to 
 the inward sence gives strength at will " 
 (Grosart, p. 102), 1601 ; and later, p. 
 ill. And see T. Howell : "Sithe 
 wee are now in pleasaunt place, Where 
 cache may speake his minde at will " 
 (Poems, ed. Grosart, ii. 142, 1568). 
 "Wind at will" occurs early (1580) in 
 Hakluyt, and in Peele's Tale of Troy, 
 1589.
 
 76 
 
 OTHELLO 
 
 [ACT ii. 
 
 To change the cod's head for the salmon's tail ; 155 
 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, 
 
 157. See . . . behind] omitted Q I. 
 F I) ; if . . . were] in brackets Ff, Q 2. 
 To Des. Seymour. 
 
 155. To change the cod's head for the 
 salmon's tail] "Cod's head" had a very 
 definite meaning long before and after 
 this was written = a fool. "To couch 
 a cod's head " was an old witticism for 
 putting a fool (i.e. " one's self") to bed. 
 See Marriage of Wit and Science (Haz. 
 Dods. ii. 365), 1570. lago pays Des- 
 demona's wisdom the compliment of 
 preferring even a bit of the best of 
 fishes, a thing of true worth, for all of 
 an empty-headed courtier. A few early 
 instances of this word must be given. 
 Nares has two late ones. Halliwell 
 implies that it is still in use. " He that 
 fishes for him might be sure to catch a 
 cod's head" (Gascoigne, Supposes, \ 566); 
 " Thou, that hast great experience . . . 
 to be handled like a cod's head in thy 
 olde dayes," North, Dent's Philosophy, 
 (Jacob's ed., p. 170), 1570. At the 
 beginning of the second Act of Beau- 
 mont and Fletcher, Woman Hater, 
 4 ' A fish-head ? Gond. Whence comes 
 it ? Sero. From the court. Gond. Oh, 
 'tis a cod's head," seems to place this 
 sort of fool naturally at court, like the 
 "wealthy curled darlings" of Venice. 
 Shakespeare does not use this term 
 again, and only once refers to salmon. 
 The "tail" is put in merely in apposi- 
 tion to the ' ' head " of the previous 
 expression, which it is worth mentioning 
 is used again unmistakably in the Choice, 
 Chance, and Change sonnets. The line 
 has a proverbial ring, and may be 
 paralleled by an Old English one in Hey- 
 wood and Camden : " The leg of a lark 
 is better than the body of a kite." The 
 meaning given here to "cod's head" 
 does not seem to have been previously 
 suggested. Steevens quoted an extract 
 from Queen Elizabeth's Household Book 
 
 158. wight] Qq, wights Ff (wightes 
 158, 159. were, Des. 70] were, 
 
 (43rd year) : " Item, the Master Cookes 
 have to fee all salmon's tailes," etc. 
 This shows them naturally to have 
 been perquisites of some value, though 
 Steevens draws an opposite conclusion. 
 In confirmation of the value of the tail 
 of the salmon, I find in Holland's 
 Plinie (ix. 15): "howsoever in other 
 fishes [excepting the Tunney] the taile- 
 piece is in greatest request, as being 
 most stirred and exercised " so that 
 "even a bit" above may read "the 
 best bit." 
 
 158. wight} person, either male or 
 female. Nares quotes from Drayton's 
 Muses Elizium and from Ferrex and 
 Porrex for the latter sense. Halliwell 
 gives an earlier example. This jingle 
 consists much in playing upon words. 
 Why not add another, and carry over 
 the "white" and "wight" from above 
 to the present line, and make the white 
 to "chronicle small beer," have a refer- 
 ence to chalking it on the post ? It 
 is a very old phrase, and the practice 
 was most familiar. Two instances will 
 suffice : " But when they would walke, 
 Were fayne with a chalke, To score on 
 the balke," Skelton, Elynour Rum- 
 myng(Dyce, p. 114), circa 1515. And 
 " Besides he [the Vintner] hath some 
 scores, which if you looke ; they make 
 his postes look white and black his 
 booke" (Taylor, Travels of Twelvepence, 
 p. 70, ed. 1630). And see Nashe's 
 Pierce Penniless (Grosart, ii. 18), and N. 
 Breton, Pasquils Foole's Cap (Grosart, 
 pt. xvi. 210), circa 1600. The ordinary 
 explanation, duetoSteevens, of "keeping 
 the accounts of a household" is no doubt 
 correct. This was a part of the duty. 
 Compare, too, Greene's Groatsworth 
 of Wit: "living in extreme poverty,
 
 sc. i.] THE MOOR OF VENICE 
 
 77 
 
 Des. To do what ? 
 
 lago. To suckle fools and chronicle small beer. 160 
 
 Des. O most lame and impotent conclusion ! Do 
 not learn of him, Emilia, though he be thy 
 husband. How say you, Cassio ? is he not a 
 most profane and liberal counsellor? 
 
 Cas. He speaks home, madam: you may relish him 165 
 more in the soldier than in the scholar. 
 
 lago. [Aside] He takes her by the palm : ay, well 
 said, whisper: with as little a web as this will 
 I ensnare as great a fly as Cassio. Ay, smile upon 
 
 169 fly} Flee Q i, Flie Q 2. 
 
 having nothing to pay but chalke, which 
 now his host accepted not for currant." 
 1 60. chronicle} This word came to 
 have a trivial sense from the " minute 
 industry " with which Fabian, Holling- 
 shed, Stow, Baker, etc., registered every 
 unimportant event in their "useful but 
 desultory pages." See Gifford, note to 
 Massinger's A New Way to Pay Old 
 Debts, iv. 2. So Day, " 'Twas admir- 
 able, does not this jest deserve to be 
 chronicled?" (Law Trickes, 1608). 
 When leaving this somewhat puerile 
 and unworthy dialogue, it seems hard 
 to say much in favour of it. One would 
 be almost glad to find somehow that it 
 was a later insertion, foisted in by an 
 author-actor (Armin, e.g.} to tickle the 
 ears of the groundlings. To my mind 
 Breton's sonnets on the same lines 
 (referred to above) contain more grit 
 and wit both. One would rather think 
 an inferior hand "took a hint" from 
 them. For the resemblance is too palp- 
 able to be accidental. That abominable 
 Rymer (see Furness' Othello, passim 
 et ad nauseam) is more justified in his 
 vulgarities here than usually. He says, 
 ' ' Now follows a long rabble of Jack- 
 pudding farce . . . below the patience 
 of any country kitchenmaid with her 
 sweetheart," etc. (Short View of Tra- 
 gedy, 1693). 
 
 160. small beer] So Bobadil, "A 
 cup of small beer, sweet hostess " (Ben 
 Jonson, Every Man in his Humour, 
 i. 4). Often called "single beer." 
 
 164. profane'} coarse in speech. lago 
 had already earned this epithet. Com- 
 pare 2 Henry IV. v. v. 54, and Cym- 
 beline, II. iii. 129. 
 
 164. liberal] wanton, free-spoken. 
 See below, v. i. 218. Compare Hamlet, 
 iv. vii. 171. Steevens quotes, "But 
 Vallinger, most like a liberal villain, 
 Did give her scandalous, ignoble terms " 
 (Fair Maid of Bristow}. Nares cites 
 Beaumont and Fletcher, The Captain : 
 ' ' And give allowance to your liberal 
 jests upon his person." 
 
 164. counsellor'] talker. Seeffam/et, 
 III. iv. 213 ; Tempest, I. i. 23. | 
 
 165. home} unreservedly. Often used 
 by Shakespeare in this sense. " She '11 
 tax him home" (Hamlet, in. iii. 29, 
 etc. ). 
 
 167. palni\ See note, line 260. 
 
 167, 168. well said} well done. See 
 below, iv. i. 107 and V. i. 98. Dyce 
 pointed this out in a note to The 
 Maid's Tragedy, i. 2, in his edition ot 
 Beaumont and Fletcher. Compare 
 "Enter servants with a banquet; well 
 said, I thank you " (Beaumont and 
 Fletcher, Wit at Several Weapons, v. I, 
 and again v. 5). It is very common.
 
 OTHELLO 
 
 [ACT n. 
 
 her, do; I will gyve thee in thine own courtship. 170 
 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 ringers 
 so oft, which now again you are most apt to play 
 the sir in. Very good ; well kissed ! an ex- 175 
 
 170. gyve thee] F 2; give thee F I, 3, 4; catch you Qq ; thine] Ff, your 
 Qq ; courtship] courtesies Q I. 1 75- Very] omitted Q I ; an] Q I ; andFf, 
 Q2.3- 
 
 170. gyve] fetter. The substantive 
 occurs several times {Romeo and Juliet, 
 II. ii. 180, and Cymbeline, v. iv. 14, 
 etc.), the verb only here in Shakespeare. 
 Compare Ben Jonson : 
 
 "Where yet she had gyved 
 
 Them so in chains of darkness, as no 
 might 
 
 Should loose them hence " 
 
 (Masque of Beauty, 1608-9). 
 
 170. courtship] courteousness. Com- 
 pare Lovers Labour s Lost, V. ii. 363, and 
 Richard II, I. iv. 24. So Massinger : 
 "Yet grant him this Which a mere 
 stranger in the way of courtship, Might 
 challenge from you "(A Very Woman,\.i). 
 
 1 72. lieutenantry'] office oflieutenant, 
 lieutenancy. In Antony and Cleopatra, 
 in. ii. 39, the word has a different sense : 
 "he alone dealt on lieutenantry," i.e. 
 acted by proxy. It is curious that the 
 word "tenantry" has an obsolete form 
 " tenancy," although the sense grew on 
 different lines from the word under 
 consideration. 
 
 173. kissed . . .fingers] This was 
 the courtesy of the time on coming into 
 the presence of a lady. Shakespeare 
 refers to it in Love's Last's Labour, IV. i. 
 148 ; Taming of the Shrew, iv. i. 97 ; 
 As You Like It, III. ii. 50, and Twelfth 
 Night, ill. iv. 36. It seems to have 
 varied in degrees of intensity and in the 
 number of ringers kissed from time to 
 time. It occurs as early as 1580. 
 Gabriel Harvey speaks of "fore-finger 
 kiss and brave embrace to the foote- 
 warde" (Grosart, i. 84), as the vogue 
 
 at that date. N. Breton has "observ- 
 ing all fine ceremonies, with kissing his 
 hand in putting off his hat, with a Passa 
 measure pace, coming towards her sweet 
 presence," Wits Trenchmore (Grosart, 
 p. 15), 1597. In the pamphlet already 
 referred to the lines occur : "A dapper 
 fellow that is fine and neate . . . 
 Can smile and simper, congey, kisse 
 the hand," Choice, Chance, and Change, 
 1606 (Grosart, p. 62). At the same date 
 in Sir Gyles Goosecappe (Bulleris Old 
 Plays, iii. 64), a gallant "tooke time 
 Still as the conference served to shew my 
 courtship In the three quarter legge and 
 settled looke The quicke kisse of the top 
 of the forefinger "; he calls this the "good 
 accost." And finally in Beaumont and 
 Fletcher, Nice Valour, i. i. (circa 
 1624): "-Enter the Passionate Lord; 
 he makes a congee or two to nothing 
 . . . See how it kisses the forefinger 
 still, Which is the last edition." This 
 last play was probably written earlier. 
 These illustrations serve to show that 
 Cassio's demeanour was that of an 
 accomplished courtier, which lago wil- 
 fully distorts to his base interpreta- 
 tions. With reference to the repeated 
 kissing hands, Ben Jonson speaks of 
 one that seems "As he would kiss 
 away his hand in kindness " in presence 
 of a lady (Cynthia s Revels, iii. 2, 
 1600). 
 
 *74> I 75- to play the sir] to play the 
 fine gentleman. The word was often 
 used substantively for a man ; and sar- 
 castically as here in Cymbeline, I. i.
 
 sc.i.] THE MOOR OF VENICE 79 
 
 cellent courtesy ! 'tis so, indeed. Yet again 
 your fingers to your lips? would they were 
 clyster-pipes for your sake ! [Trumpet within.'] 
 The Moor ! I know his trumpet 
 
 Cas. 'Tis truly so. 180 
 
 Des. Let 's meet him and receive him. 
 
 Cas. Lo, where he comes ! 
 
 Enter OTHELLO and Attendants. 
 
 Oth. O my fair warrior ! 
 
 Des. My dear Othello ! 
 
 Oth. It gives me wonder great as my content 
 
 To see you here before me. O my soul's joy! 185 
 
 If after every tempest come such calms, 
 
 May the winds blow till they have waken'd death ! 
 
 And let the labouring bark climb hills of seas 
 
 Olympus-high, and duck again as low 
 
 As hell's from heaven ! If it were now to die, 190 
 
 'Twere now to be most happy ; for I fear, 
 
 My soul hath her content so absolute 
 
 177. to} Ff, at Qq. 1 86. calms} Ff, calmenesse Qq. 
 
 1 66 : "To draw upon an exile! O height, and Sidney Lee has pointed 
 
 brave sir ! " Compare Ben Jonson : out Shakespeare's indebtedness to 
 
 " Here stalks me by a proud and Ronsard, especially in his sonnets, in 
 
 spangled sir, common with other English writers of 
 
 That looks three handfuls higher the time (Life of Shakespeare, pp. 
 
 than his foretop " III, 112), ed. 1899. 
 
 Cynthia's Revels, m. ii. 1673(1600). 1 86.] This proverb, "After a storm 
 
 178. clyster - pipes} The earliest comes a calm," is frequently met with, 
 known use of this term. It occurs in and is as old as Piers the Plowman (ante 
 Ben Jonson's Gipsies Metamorphosed, 1377). It is in the collections of Ray 
 1621: " The devil's glyster-pipe." (who gives French and Italian equiva- 
 
 182. warrior] See below, III. iv. lents) and Camden. " Faire weather 
 
 151. And see note at I. iii. 163. cometh after storms tempestuous" 
 
 Steevens tells us that Ronsard, the (Calisto and Melibcea, 1530) ; "after all 
 
 French sonneteer, " frequently calls his this foule weather ensueth a calm" 
 
 mistresses guerrieres." The sonneteer- (Nashe, Foure Letters Confuted, 1593). 
 ing vogue had already reached its
 
 80 OTHELLO [ACTII. 
 
 That not another comfort like to this 
 
 Succeeds in unknown fate. 
 Des. The heavens forbid 
 
 But that our loves and comforts should increase, 195 
 
 Even as our days do grow ! 
 Oth. Amen to that, sweet powers ! 
 
 I cannot speak enough of this content ; 
 
 It stops me here ; it is too much of joy : 
 
 And this, and this, the greatest discords be 
 
 [Kissing her. 
 
 That e'er our hearts shall make ! 
 lago. \Aside\ O, you are well tuned now ! 200 
 
 But I '11 set down the pegs that make this music, 
 
 As honest as I am. 
 
 199. discords] Ff, discord Qq ; [Kissing her.] omitted Ff, they kisse. Q I, 
 Kisse. Q 2, 3. 201. make] makes Q 2, 3. 
 
 201. set down the pegs] This expres- a couple of examples. In Chappell's 
 
 sion is probably an adaptation of the Popular Music (i. 49) there is a good 
 
 phrase, "to take one a peg lower," one :" 1502, Jan. 7th, To one that sett 
 
 that is to say, to "set one down." the King's clevycordes . . . IDS. 4d." 
 
 "Take you a pegg lower" occurs in The best illustration I find conies from 
 
 Gabriel Harvey's Advertisement to Ainsworth, 1736 (ed. 1761), though 
 
 Papp-hatchett (Grosart, ii. 127), 1589; somewhat late: " Verticillum : A pin 
 
 Harvey takes it from Lyly's tract, which or peg of a musical instrument to set 
 
 he attacks, and it became common in the strings high or low." It simplifies 
 
 the latter half of the next century. The the meaning to suppose that lago, in his 
 
 phrase probably had a musical origin, direct cruelty, means the two lovers, 
 
 as indeed the present passage suggests, by the pegs that are making the sweet 
 
 Compare the far older "to set one's music; taking the musical pegs for the 
 
 heart on a merry pin," which was also musical instrument itself. The expres- 
 
 probably musical in its origin. In the sion "on a merry pin," so very common 
 
 earlier examples of that saying (Digby in and before Shakespeare's time, seems 
 
 Mysteries and Foure Elements) the verb to go, part passu, with the present one ; 
 
 is "set." And it has no reference to and it has been the cause of much waste 
 
 "drinking by pins" as is suggested, of ink and paper. I find the word 
 
 "Peg" and "pin" were synonymous " peg " in the musical sense in Holland's 
 
 terms when both were wooden. Both Plinie, Book ix. ch. 10 (1601) : "The 
 
 expressions, like most old ones, are of Troglodytes have among them certaine 
 
 obscure origin, but whatever explains Tortoises, with broad homes like the 
 
 one will throw light on the other. The pegges in a Lute or Harpe." See also 
 
 verb "to set "had a musical significa- Howell's Vocabulary, Musical Terms, 
 
 tion, " to tune," of which Malone gives 1659.
 
 sc. i.] THE MOOR OF VENICE 81 
 
 Oth. Come, let us to the castle. 
 
 News, friends ; our wars are done, the Turks are 
 
 drown'd. 
 
 How does my old acquaintance of this isle ? 
 Honey, you shall be well desired in Cyprus; 205 
 
 I have found great love amongst them. O my sweet, 
 I prattle out of fashion, and I dote 
 In mine own comforts. I prithee, good lago, 
 Go to the bay, and disembark my coffers ; 
 Bring thou the master to the citadel ; 210 
 
 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. 
 
 204. do'es my] do's my Ff, doe our Q i> dos my Q 2; of this] of the Q I. 
 209. my\ thy F 2, 3, 4. 214. thou] you F 2, 3, 4. 
 
 202 castle'] See note in. i. i. " Ajax. An all men were o' my 
 
 205. Honey] A common term of mind 
 
 endearment provincially, especially in Ulyss. Wit would be out of 
 
 Ireland, where it is applied indiscrimin- fashion " 
 
 ately to all ages and sexes. It does (il; iii. 225, 226). 
 
 not occur again in Shakespeare, the 208. comforts] joys, delights. So in 
 
 passage in Henry V, (il. iii. i) being Tempest, "weigh our sorrow with our 
 
 wrongly adduced by Schmidt. Middle- comfort" (il. i. 9); and frequently in 
 
 ton uses it several times in The Widow, the Sonnets, etc. 
 
 iv. i. Marston says it is a "citizen's 209. coffers'] The usual sense was a 
 
 term" (Dutch Courtezan, iii. I, 1605), money-chest or jewel-case. Here it 
 
 and one is inclined to endorse that. means " trunks. " Compare Cotgrave, 
 
 205. desired] loved, beloved. Com- " Coffre : A coffer, chest, hutch, ark." 
 
 pare Cymbeline, III. v. 62: "her The reading in Pericles ("coffer"), in. 
 
 desired Posthumus." This is Schmidt's i. 68, is doubtful. At line 291 below, 
 
 illustration, but the word may naturally lago tells us these were his "necessaries." 
 
 have the sense of "much wanted" or 210. master} The epithet for the 
 
 "wished for "in the latter passage, which captain or commander of a merchant 
 
 is unsuitable here. Cotgrave gives " De- ship, or one not in commission. See 
 
 sire : Desired, coveted, wished, or longed Smyth's Sailor's Word Book, who 
 
 for ; affected, fancied; lusted after." quotes, "we spoke the Dragon, where- 
 
 207. out of fashion] inappropriately, of Master I vie was maister," Weld, 
 
 in an unfitting or unreasonable way. Voyage to Benin, 1590. Earlier, it 
 
 Compare 7*roilus and Cressida : meant the pilot (Palsgrave, 1530). 
 
 6
 
 82 
 
 OTHELLO 
 
 [Act It, 
 
 Come hither. If thou be'st valiant as, they 215 
 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 : 
 Desdemona is directly in love with him. 220 
 
 Rod. With him 1 why, 'tis not possible. 
 
 215. hither} Qq, thither Ff. 215-2171 as . . them} Aside as . . . them 
 Anon, conj.j in brackets Ff, Q 2, 3. 2191 must] Ff, will Qq. 219, 22O 
 thee this : Desdemona] Ff ; thee, this Desdemona Q l> Theobald, Q 2> 3; 
 
 215-217. as, they say i . . native to 
 them] Professor Butler (Shakspeariana, 
 p, 444, Sept. 1885) refers for this senti- 
 ment to Plato's Symposium (p. 1790, 
 ed. Hermann). The passage he trans' 
 lates, ' ' No man is such a coward that 
 love would not inspire him to valor 
 [or virtue in the classical sense] that he 
 would become like him who is bravest 
 [best] by nature." This takes some 
 reading "between the lines." But 
 though this be cited as the earliest and 
 highest authority, ' ' they say " requires 
 some current or recent reference. 
 Burton, in his Anatomy of Melancholy, 
 has the thought exactly, a little later 
 (1621), "There is no man so pusillani- 
 mous, so very a dastard, whom love 
 would not incense, make of a divine 
 temper, and an heroical spirit" (Part 
 iii. sec. 3, mem. 3, p; 574, ed. 1854). 
 On the previous page Burton gives 
 another reference : " As it [Love] makes 
 wise men fools, so many times it makes 
 fools become wise ; it makes base fellows 
 become generous, cowards courageous " ; 
 with footnote quoting from Cardan, 
 liber 2, de Sap.: "ex vilibus generosos 
 efficiere solet, ex timidis audaces, ex 
 avaris splendidis, ex agrestibus civiles, 
 ex crudelibus mansuetos, ex impiis re- 
 ligiosos, ex sordidis nitidis atque cultos, 
 ex duris misericordes, ex mutis elo- 
 quentes" Cardan wrote in the middle 
 of the previous century. His popular 
 writings had already been translated to 
 English. 
 
 216; base men] Cowden-Clarke calls 
 attention to lago's openly expressed 
 and insolent contempt for Roderigo ) 
 "it imposes upon his victim and tames 
 him into unquestioning submission." 
 It is certainly remarkable. Possibly 
 this may have been spoken as an 
 aside. It is quite in keeping with 
 lago's buoyant villany to gloat over 
 his victims from behind corners and 
 round "asides." He delights in 
 "asides." 
 
 219. court of guard] "Corps de 
 garde. A court of guard in a camp 
 or fort" (Cotgrave). The term here 
 used octiurs again in Antony and Cleo- 
 patra, tv. ix. The word "court" 
 appears to be a mere corruption of 
 "corps," and has led to confusion in 
 giving the unnecessary sense of "place." 
 The military term was introduced about 
 1590 to England, and came to have the 
 two senses (i) a company of soldiers 
 on guard, and (2) a watch-post, a station 
 occupied by soldiers on guard (Stanford 
 Dictionary). The latter is the sense in 
 Shakespeare. Compare "For if the 
 round or court of guard did hear Thou 
 or thy men were braying at the walls " 
 (Greene, Orlando Furioso, 1591). This 
 is the earliest example of the Shake- 
 spearian spelling. Compare also Ra- 
 leigh, Discovery of Guiana (Payne, 
 1880, p. 335), "taking a time of most 
 advantage, I set upon the corps de 
 garde "(1595).
 
 sc. r.] THE MOOR OF VENICE 83 
 
 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 225 
 prating ? let not thy discreet heart think it. Her 
 eye must be fed ; and what delight shall she have 
 to look on the devil ? When the blood is made 
 dull with the act of sport, there should be, again 
 to inflame it and to give satiety a fresh appetite, 230 
 loveliness in favour, sympathy in years, manners 
 and beauties ; all which the Moor is defective 
 in : now, for want of these required conveni- 
 ences, her delicate tenderness will find itself 
 abused, begin to heave the gorge, disrelish and 235 
 
 a"22. finger] fingers F 4. 223. first] omitted F 2, 3. 225. and will she 
 love] Qq, To love Ff. 226. thy} Ff, the Qq ; it] so Q I. 229. be, again] 
 Hanmer; be again Q I, Theobald; be, again Capell, Steevens, etc. 5 be a game 
 Ffi Q 2, 3, Rowe, Pope. 230. to give} Ff, give Qq ; satiety} society Q i, 2. 
 231. loveliness} Love lines Q I. 
 
 222. Lay thy finger thus] That is to Q I, 2 is not accidental, Furness re- 
 say, "Don't interrupt me, but listen." marks, but is the same as that in the 
 lago puts his own ringer to his lips to three other instances in Shakespeare, 
 "instruct" Roderigo's mouth. The word "satiety" was recently intro- 
 
 224. but for] only because of. For duced. It occurs in G. Harvey's Letter- 
 
 the separate uses, see Abbott, 128, Book (Grosart, i. 149), circa 1580. 
 151. Oddly enough this instance is 231. favour] face, personal appear- 
 
 omitted in the collected examples of ance. See I. iii. 337 (note), 
 "but for," both from Schmidt and 233, 234. conveniences] agreeable- 
 
 Cowden-Clarke. Nor do I find its ness, comfort. So in Troilus and 
 
 sense paralleled exactly elsewhere. Cressida, "exposed myself From cer- 
 
 Schmidt's sense of "but for = were it tain and possessed convenience, To 
 
 not for, without," does not apply here, doubtful fortunes" (ill. iii. 7). 
 as it does in his twenty-five examples. 235. begin to heave the gorge] as if 
 
 "But" has passed from its sense of about to vomit. "Gorge "is the stomach. 
 
 " except " to that of " only " (merely). Sometimes it means that which is 
 
 228. devil] An allusion to Othello's swallowed. In Holland's Plinie (1601) 
 
 colour; the devil was always " painted xx. 15, occurs: "cummin seed . . . 
 
 black." will stay immoderate vomit, yea, and 
 
 230. satiety] satiation. The word is the sick heaving of the stomach, as if it 
 
 used in the same sense, dealing with would cast and cannot." The term 
 
 the affections, Venus and Adonis, 19. occurs again in Pliny, " the inordinate 
 
 It is the third sense in Cotgrave, "a heaving of the stomach and the vain 
 
 glutting or cloying." The spelling in proffers to vomit" (xx. 23), and else-
 
 84 
 
 OTHELLO 
 
 [ACT ii. 
 
 abhor the Moor; very nature will instruct her 
 in it and compel her to some second choice. 
 Now, sir, this granted as it is a most pregnant 
 and unforced position who stands so eminently 
 in the degree of this fortune as Cassio does? a 240 
 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; 245 
 
 237. in *V]Ff, to zVQq. 238, 239. as . . . position] in brackets F i. 238. 
 a] omitted Q 2, 3. 239. eminently'} Qq, eminent Ff. 243. humane seem- 
 ing} hand-seeming Q I ; compassing"} Qq, compasse Ff. 244. most hidden loose} 
 hidden Q I ; affection ?~\ Ff, affections Qq. 244, 245. why, none ; why, none :] 
 omitted Q i. 245. slipper and subtle] slipper, and subtle F I ; slippery, and 
 subtle F 2, 3 ; subtle slippery Qq. 
 
 where. I do not think there is any 
 hawking allusion here. 
 
 235. disrelish} distaste, dislike. 
 Shakespeare has not this word else- 
 where. Milton used it in Paradise Lost. 
 " For dinner savoury fruits, of taste 
 
 to please 
 True appetite, and not disrelish 
 
 thirst 
 Of nectarous draught between " 
 
 v. SOS-SOS- 
 
 238. pregnant] full of significance. 
 The word was loosely used metaphoric- 
 ally. Chaucer has "pregnant argu- 
 ment" (Troiltts, iv. 1179). From the 
 sense "full of promise," which is the 
 nearest to the Shakespearian use (com- 
 pare Hamlet, III. ii. 66) to "evident," 
 the gradation is natural. Compare 
 Measure for Measure, II. i. 23 ; and 
 Ben Jonson, "you make them smooth 
 and sound . . . still you increase your 
 friends. Tribulation. Ay, it is very 
 pregnant " (Alchemist, iii. 2). 
 
 239. position} See in. iii. 235. 
 
 241. voluble'} Not as we use it, but in 
 the derived sense. " Voluble', voluble; 
 easily rolled. . . . Hence fickle, in- 
 constant . . . ; glib, nimble, rolling, 
 
 always running, ever turning." Com- 
 pare Lovers Labour's Lost, III. 67, 
 where, however, Q I reads "volable." 
 
 241. conscionable] " which is con' 
 scionable, consciencious, of a good 
 conscience, or full of conscience, con- 
 scientieux" (Sherwood's Index to Cot- 
 grave). Not used by Shakespeare 
 elsewhere. Skeat says, " an ill-coined 
 word ... a sort of compromise between 
 conscible and conscience-able." Compare 
 "a wise and conscionable man," G< 
 Harvey (Grosart, ii. 185), 1587. 
 
 242, 243. civil and humane] welU 
 mannered and courteous. " Humain \ 
 gentle, courteous . . . affable ; also, 
 humane, manly," etc. (Cotgrave). 
 
 244. salt] lecherous. Halliwell gives 
 "maris appetens," in which sense it is 
 common in early writers on Natural 
 History, as Holland's Plinie, 1601. 
 Compare Measure for Measure, V. 406 
 and below (in this play), in. iii. 404. 
 
 245. slipper} slippery. Sliper is the 
 early Anglo-Saxon form. "Slipper" 
 occurs in Spenser's Shepheard's Cal- 
 endar. The present is perhaps its 
 latest appearance. Slipper was a 
 favourite adjective to apply to fortune.
 
 sc.i.] THE MOOR OF VENICE 85 
 
 a finder out of occasions ; that has an eye can 
 stamp and counterfeit advantages, though true 
 advantage never present itself: a devilish knave ! 
 Besides, the knave is handsome, young, and hath 
 all those requisites in him that folly and green 250 
 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 
 blessed condition. 
 
 lago. Blessed fig's-end ! the wine she drinks is made 255 
 of grapes : if she had been blessed, she would 
 never have loved the Moor : blessed pudding ! 
 
 246. a finder out of occasions] Qq, a finder of occasion Ff; has] he's F I. 
 247, 248. counterfeit . . . itself:] cottnterfeit the true advantages never present 
 themselves: Q i. 248. a devilish knave] omitted Qq. 252. hath] Ff, has Qq. 
 254, 255, 256, 257. blessed] Globe, Craig, blest Qq, Cambridge, bless'd Ff. 
 256. blessed pudding] Bless'd pudding Ff, omitted Qq. 
 
 "To slipper happes annexed are their 255. fig's-end] A worthless thing, 
 
 dayes " (T. Howell, Devises, 1581). Nares has a reference to Withal's 
 
 246. occasions] opportunities. Com- Dictionary. Compare ' ' Tut, a fig's- 
 pare Taming of the Shrew, n. 36, "till end!" Warning for Faire Women, I. 
 I find occasion of revenge." The line 438 (Simpson's School of ^ab- 
 original and classical sense, speare), 1599. Cotgrave has " Trut 
 
 247. stamp] make valid or current, avant : A fig's end, no such matter, 
 Compare Coriolanus, v. ii. 22. The you are much deceived." 
 
 meaning is, if he never meet with a 257. blessed pudding /] Slang of the 
 real advantage (opportunity) he can time, equivalent to ' ' blessed fiddle- 
 forge one. sticks." As this expression is not in 
 
 251. pestilent] plaguy. The same the dictionaries, nor elsewhere in 
 expression, "pestilent knave," occurs Shakespeare, a few notes may be given, 
 in Romeo and Juliet, iv. v. 147. The "A stale pudding's-end " (nothing) 
 bare recital of his attractions irritates Nashe, Have with You (Grosart, iii. 
 lago, who is developing a very real 57), 1596; " Ide make thee eat thy 
 hate for Cassio. words, or ... eat a pudding's-end," 
 
 252. found Aim] "taken his mea- Day, Blind Beggar, 1600; "Why, I 
 sure," gauged him. Compare All's told you, Davy Bristle . . . come, 
 Well, II. iii. 216, "I have now found come, you told me a pudding, Toby, a 
 thee"; and Hamlet, in. i. 193. Ben matter of nothing," Ben Jonson, Bart. 
 Jonson has it, "you are found, enough. Fair, iii. I, 1614 ; "lose the hour and 
 A notable old pagan "(Time Vindicated), ourselves too? . . . Lose a pudding," 
 
 254. condition] disposition. Compare Beaumont and Fletcher, The Coxcomb, 
 Merchant of Venice, I. ii. 143 : " the i. 3, 1613. With these later drama- 
 condition of a saint, and the complexion tists it was a favourite. It occurs in 
 of a devil." Hudibras, I. iii. 220. "Horse" and
 
 86 
 
 OTHELLO 
 
 [ACT ii. 
 
 Didst thou not see her paddle with the palm of 
 his hand? didst not mark that? 
 
 Rod. Yes, that I did ; but that was but cour- 260 
 tesy, 
 
 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, 265 
 Roderigo ! when these mutualities so marshal 
 the way, hard at hand comes the master and 
 
 259. didst not mark that?} omitted Q I. 260. that I did] Ff, omitted 
 Qq. 265. Villanous thoughts] omitted Q I. 266. Roderigo~\ Rodorigo Ff, 
 omitted Qq ; mutualities] Qq, mutabilities Ff. 267. hard at hand] Ft, hand 
 at hand Qq. 267, 268. comes . . . main] Ff, comes the main Q I, comes 
 Roderigo, the master and the maine Q 2, 3. 
 
 " dog" were similarly used. " Grand- 
 mother " seems to be modern. 
 
 258. paddle with the palm} Com- 
 pare "paddling palms and pinching 
 fingers" (Winter's Tale, I. ii. 115 and 
 226). The use of the word palm here 
 and at line 167 has significance, as a 
 few quotations will show. The palm 
 was taken to be the touchstone of 
 warm desires ; dry and cold, it implied 
 bareness and torpidity ; hot and moist, 
 the reverse. Compare, in Shakespeare, 
 " his sweating palm, The precedent 
 of pith and livelihood " ( Venus and 
 Adonis, 24, 25, and Antony and Cleo- 
 patra, i. ii. 47). In Ben Jonson, Nano 
 sings : " Would you be ever fair and 
 young . . . Moist of hand ? and light 
 of foot ? " ( The Fox, n. ii. 356 a, b) ; 
 and in Devil is an Ass, i. 2 : " Love is 
 brought up with those soft migniard 
 handlings, His pulse lies in her palm." 
 So also Beaumont and Fletcher : ' ' Ay, 
 here 's a promising palm ! What a soft 
 Handful of pleasures here " ( Wit at 
 Several Weapons, Act II.). The above 
 passages give the full force of Othello's 
 remarks in ill. iv. 36-39, and show the 
 absurdity of Steevens' remark referred 
 to at that passage. 
 
 262. index} The "index" was origi- 
 nally a finger (" pilcrow ") placed in the 
 margin of books to direct attention to 
 the striking passages. Thence it came 
 to mean a list or table of these placed 
 in the front of the book. This is well 
 illustrated by two passages in Mas- 
 singer's Fatal Dowry, iii. I and iv. I : 
 
 " Would I had seen thee graved with 
 
 thy great sin, 
 Ere lived to have men's marginal 
 
 fingers point 
 
 At Charalois, as a lamented story" ; 
 and " Even as the index tells us the 
 contents of stories, and directs to the 
 particular chapters, even so does the 
 outward habit . . . demonstratively 
 point out (as it were a manual note from 
 the margin) all the internal quality and 
 habiliment of the soul." Gifford says 
 here : ' ' Massinger follows Shakespeare 
 in drawing his illustrations from the 
 most familiar objects." Compare 
 Hamlet, in. iv. 52. 
 
 266. mutualities'} interchanges, re- 
 ciprocations. Probably a coinage of 
 Shakespeare. 
 
 267. hard at hand] close by. Com- 
 pare Barry's Ram- Alley, iii. I (1611): 
 "But where's mad Small - Shanks ?
 
 sc. i.] THE MOOR OF VENICE 87 
 
 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 275 
 time shall more favourably minister. 
 
 Rod. Well. 
 
 I ago. 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 
 
 268. fish!} omitted Qq. 270, 271. for the} Ff j for your Q I 5 for 
 
 Q 2, 3. 275. course} cause Q I. 279. may} -with his Trunchen may Qq, 
 Steevens. 
 
 Beard. O, hard at hand, And almost pugning " (Rolfe). Compare Henry 
 mad with loss of his fair bride." And VIII. in. i. 56 ; and Ben Jonson : 
 Peele, Tale of Troy (1874, p. $5S a )> "There was never so willing a jest 
 
 1589: "How Greeks with all their broken . . . Macilante. O, this ap- 
 
 power were hard at hand. " plause taints it foully" (Every Man 
 
 268. pish!} Occurs again, IV. i. 43 ; Out, v. 3, 1599). Schmidt finds eight 
 
 and in Henry V. n. i. 43, 44. An different meanings for the verb in 
 
 expression of contempt. Not by any Shakespeare. The sense he gives for I. 
 
 means one of the common or earliest iii. 272 above is "prejudice," "injure." 
 
 forms, like "tush" (i. i. i). Nash uses Several of them seem indistinguishable. 
 
 it, " Pish, pish ! what talke you of olde Peele uses the word as here in the Tale 
 
 age or balde pates?" Pierce Pennilesse of Troy (1589) : " His peers as loyal to 
 
 (ed. Collier, p. 29, Shaks. Soc.), 1592. their royal lord As might ne tainted be 
 
 And see Cotgrave, " Nargues : Tush, for word or deed." 
 blurt, pish, fie, it cannot be so." 281. qualification} mitigation, temper- 
 
 271. 272. Cassio knows you not} ing, appeasement. Johnson gives a 
 
 This probably refers to Roderigo's dis- different and involved paraphrase which 
 
 guise. See I. iii. 346. Cassio doesn't does not seem necessary. The verb 
 
 recognise him. Cassio would certainly from which this substantive is derived is 
 
 have known Desdemona's suitor in common in Shakespeare. See Two 
 
 Venice. Gentlemen of Verona, II. vii. 22, etc. 
 
 274. tainting} " throwing a slur The substantive is in Cotgrave : 
 
 upon " (Johnson). "Discrediting, im- "Mitigation". A mitigation, qualifica-
 
 88 OTHELLO [ACT n. 
 
 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 285 
 most profitably removed, without the which there 
 were no expectations of our prosperity. 
 
 Rod. I will do this, if I can bring it to any oppor- 
 tunity. 
 
 Jago. I warrant thee. Meet me by and by at the 290 
 citadel : I must fetch his necessaries ashore. 
 Farewell. 
 
 Rod. Adieu. \Exit. 
 
 lago. That Cassio loves her, I do well believe it ; 
 
 That she loves him, 'tis apt and of great credit : 295 
 
 The Moor, howbeit that I endure him not, 
 
 Is of a constant, loving, noble nature ; 
 
 And I dare think he '11 prove to Desdemona 
 
 282. taste] trust Q I ; again] again' t Qq. 286. the -which] Ff, which Qq. 
 288. if I can] Qq, if you can Ff. 297. loving, noble] Ff, noble, loving Qq. 
 
 tion, allaying, tempering, asswaging, " And then telling some man's jest, 
 appeasing." Compare also, "My Thinking to prefer his wit, 
 friends, depart, and qualify this stir, And Equal with his suit by it, 
 see peace kept within thy walls I charge I mean his clothes ? " 
 ye," Three Lords and Three Ladies of Satyr (575), 1603. 
 London (Haz. Dods. vi. 460), 1599. Not 287. prosperity] successful attain- 
 elsewhere in Shakespeare. ment. 
 
 282, 283. displanting] deposing. Not 290. by and by] presently, as in V. 
 
 elsewhere in this sense in Shakespeare, ii. 90. 
 
 nor have I seen an instance quoted. 295. apt] fitting, suitable ; and there- 
 
 The following is from Raleigh's Dis- fore to be expected. ' ' Apte : Apt, fit, 
 
 covery of Guiana (Payne's Voyages, suitable, well-fitting, meet, convenient" 
 
 1880, p. 381), 1596: "And because," Cotgrave. "Of great credit," very 
 
 said he, " they would the better dis- credible. 
 
 plant me . . . they have gotten a 297. constant, loving] Walker sug- 
 
 nephew of mine ... by whom they gests a hyphen between these words, 
 
 seek to make a party against me." since Othello's nature, though true and 
 
 285. prefer] advance, promote. See manly, can hardly be called emphati- 
 
 Two Gentlemen of Verona, n. iv. 157. cally a loving one. Critical Examina- 
 
 And compare Ben Jonson ; tion, etc., i. 29 (1859), Furness.
 
 sc.i.] THE MOOR OF VENICE 
 
 89 
 
 A most dear husband. Now, I do love her too, 
 
 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 ; 305 
 
 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, 310 
 
 If this poor trash of Venice, whom I trash 
 
 302. led] Ff, lead Qq. 303. lusty} Ff, etc. ; lustfull Qq. 306. or} Ff, 
 nor Qq. 307. even'd} even Qq, Steevens ; for wife} for wist F I. 311. 
 trash . . . I trash} Steevens ; trash . . . I crush Q I ; Trash . . . I trace Ff, 
 Q2.3- 
 
 2 99> 3O7-] Of lago's own intentions 
 or views with regard to Desdemona we 
 hear no more. Yet he is very definite 
 here. But jealousy and the lust for 
 revenge carries every minor feeling 
 away. His "inwards" are gnawed, 
 and all else must go till he is even with 
 Othello. 
 
 303, 304.] See the note at i. iii. 380, 
 381. lago is rapidly improving that 
 which was merely " thought abroad " 
 into a "surety." 
 
 305. mineral} See the quotation from 
 Chapman's (?) Alphonsus, at I. ii. 74. 
 
 305. inwards} entrails. Compare Cax- 
 ton's Reynard Fox (Arber, p. 92) : 
 " The moghettes Lyver longes and the 
 Inward shal be for your chyldren/' 
 Compare also Holland's Plinie, xxx. 5 : 
 " by this one word Prcecordia, I meane 
 the inwards or entrailes in man or 
 woman (the bowels, as heart, liver, 
 lights, etc.)." The expression "a pain 
 in the inwards " is sometimes used still. 
 
 307. am evened} made even or quits. 
 No exact parallel occurs in Shakespeare, 
 
 but Nares gives two : " But now the 
 walls be even'd with the plain," Tan- 
 cred and Gismond (Old Plays ; ii. 212, 
 Dodsley) ; and another example from 
 Heywood's Iron Age, Pt. II. To be 
 even with (the Q reading) was a common 
 phrase at this time, and is perhaps 
 preferable. 
 
 311. trash ... 7 trash} This is 
 Steevens' reading, which is generally 
 adopted, though somewhat difficult of 
 explanation. The first ' ' trash " means 
 "rubbish" (referring to Roderigo), in 
 which personal sense it still exists ; 
 " Trash, a good for nothing character," 
 Robinson, Whitby Glossary (E. Dial. 
 Soc.), as Mr. Craig pointed out to me. 
 See also below v. i. 85. Steevens 
 justified the second "trash" for the 
 early " trace " as follows : "To trash is 
 still a hunter's phrase, and signifies 
 [compare Tempest, I. ii. 81] to fasten a 
 weight on the neck of a dog, when his 
 speed is superior to that of his com- 
 panions." Thus, says Caratach, in 
 Bonduca I. i. (Beaumont and Fletcher) :
 
 90 
 
 OTHELLO 
 
 [ACT H. 
 
 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 ; 
 
 315 
 
 314. rank] Qq, right Ff. 
 night-cap} Night -cape F I. 
 
 315. with] wore Anon. MS. (Devonshire Q i) ; 
 
 " I fled too, But not so fast ; your 
 jewel had been lost then, Young 
 Hengo there : he trash'd me, 
 Nennius." That is to say he clogged, 
 checked, or restrained me. lago's 
 meaning is that Roderigo was a poor 
 hound, and so eager in the chase that 
 he required restraint and control. The 
 word "trash" as a clog for a dog's 
 neck who was too forward, is mentioned 
 in Markham's Country Contentments 
 (l. i. 15), 1615 (Dyce). Instances of the 
 verb are given in Todd's Johnson (see 
 Nares). Halliwell (followed by Fur- 
 ness) supports the Folio reading "trace," 
 for a directly opposite purpose ; he 
 makes "for his quick hunting" mean 
 "in order to make him hunt quickly." 
 This is not Roderigo's own view of lago's 
 operations. See below, iii. 339 et seq. 
 But I doubt the meaning Halliwell is 
 compelled to give to " trace," i.e. 
 "carefully watch him in order to 
 quicken his pace." 
 
 312. putting on] inciting. Compare 
 Coriolanus, II. iii. 60. This refers, as 
 Rolfe remarks, to the picking a quarrel 
 with Cassio, not to this "quick hunt- 
 ing " of Desdemona. 
 
 313. have . . . on the hip] have at 
 an advantage. A term in wrestling. 
 Johnson in his Dictionary derives the 
 expression from hunting, "and with 
 more probability," Dyce adds (Re- 
 marks, p. 52). Both these authorities 
 appear to have come round to that view 
 in order to continue the hunting meta- 
 phors. Several of the instances adduced 
 by Nares (who adopts the hunting 
 origin) and by Dyce and others, give 
 no clue to the origin. The meaning is 
 obvious. Many more might be given 
 (for it was a very common expression), 
 
 but the following two confirm the 
 "wrestling" view. The first is con- 
 clusive because it is from the earliest 
 and highest authority on proverbs. John 
 Heywood cannot refer to hunting here : 
 11 Then have yee him on the hip, or 
 
 on the hirdell [loins], 
 Then have yee his head fast under 
 
 your girdell " 
 
 Sharman's Heywood (1874), p. 124, 
 1546. This is the " cross-buttock " of 
 the Westmoreland system. In Beau- 
 mont and Fletcher, Two Noble Kins- 
 men, ii. 2, the first countryman is afraid 
 to wrestle with the second countryman 
 because he has a "vengeance trick o' 
 the hip." See Merchant of Venice, I. 
 iii. 47, and IV. i. 334 for Shakespearian 
 examples. 
 
 314. the rank garb] the grossest 
 manner. "Garb" is usually employed 
 in a creditable connection, but Jonson 
 has "apish customs and forced garbs." 
 Malone adds the sense of ' ' lustful " to 
 " rank." 
 
 315. night-cap] The allusion is to the 
 cap of a cuckold becoming disturbed 
 and badly fitting by his horns. There 
 is a similar allusion in Much Ado, I. i. 
 200. Compare Lyly's Euphues and his 
 England (Arber, p. 284), 1580: "of all 
 my apparel I would have my cap fit 
 close." And for a late example see 
 The City Night -Cap (Hazlitt's Dods. 
 xiii. 130) : "So, a city night-cap go with 
 thee." Unperceived allusions produce 
 pointless passages. lago seems to have 
 some glimmer of the duties of conscience 
 when he finds it expedient to invent 
 these excuses or motives for his actions. 
 He did not, however, appear honestly 
 satisfied when Cassio kissed Emilia 
 (line 99, above). The allusion to
 
 sc. ii.] THE MOOR OF VEjNICE 91 
 
 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 : 
 Knavery's plain face is never seen till used, 320 
 
 [Exit. 
 
 SCENE II. A Street. 
 
 Enter a Herald with a proclamation ; People following. 
 
 Her. It is Othello's pleasure, our noble and valiant 
 general, that upon certain tidings now arrived, 
 importing the mere perdition of the Turkish 
 fleet, every man put himself into triumph ; some 
 
 ^i 
 
 to dance, some to make bonfires, each man to 5 
 
 d&^o*^ 
 
 what sport and revels his addiction leads him : 
 
 4. every] Ff, that every Qq. 5. to make\ Ff, make Qq. 6, addiction'} 
 Q 2, 3 ; addition Ff ; minde Q I ; mind's addiction Anon. conj. 
 
 "night-cap" appears also, perhaps working out and using of his powers, 
 
 oftener, under its more usual name of he knows that his knavery will become 
 
 "biggin," as in Lyly's Papp with a complete in its fashioning. 
 Hatchet ( 1 588- 1 589) : ' ' That made you 
 
 bastards, and your dad a cuckold, scene II. 
 
 whose head is swolne so big that he had 3. mere perdition] total loss, absolute 
 
 neede sende to the cooper to make him destruction. 
 
 a biggin " [cooper is a Marprelate pun]. 4. put himself into triumph] place 
 
 See also Webster's Westward Ho, himself in a condition of exultation and 
 
 ii. I. festivity. Compare "put the Moor 
 
 317. egregiously] exceptionally, espe- . . . into a jealousy," above (n. i. 308, 
 
 cially. These lines should be dwelt 309). " Triumph " has here rather the 
 
 upon in order to endeavour, if possible, special sense of an announced public 
 
 to realise the depths of lago's com- festivity, than merely "exultation," as 
 
 plicated and elaborate baseness. Ac- Schmidt says. Compare Pericles, II. 
 
 cordingly as he unfolds his visions of ii. 5, etc. 
 
 treachery, he grasps at them with 6. addiction] what one is addicted to, 
 
 exultation : realising at once, by the inclination or taste. Shakespeare uses 
 
 light of hell, his own fiendish ingenuity, this word again in Henry V, i. i. 54. 
 
 in which he revels ; and the terrible The latter is the earliest known use of 
 
 resulting misery to Othello, upon which the word (New Eng. Diet, credits 
 
 he gloats. It is not all hatched yet. Othellowith being thefirst(P)). It occurs 
 
 It is a little confused. But in the inPeacham's Compleat Gentleman, 1634.
 
 92 OTHELLO [AC. 
 
 for, besides these beneficial news, it is the cele- 
 bration 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 10 
 hour of five till the bell have told eleven, _j 
 Heaven bless the isle of Cyprus and our noble 
 general Othello! [Exeunt. 
 
 . 
 
 SCENE III. A Hallin the Castle. 
 
 Enter OTHELLO, DESDEMONA, CASSIO, and Attendants. 
 Good Michael, look you to the guard to-night : 
 
 ' r |' | '' " * ^"Kl-'V*^* 
 
 's teach ourselves that honourable stop, 
 
 Not to outsport discretion. 
 Cos.- lago] hath direction what to do ; 
 
 But notwithstanding with my personal eye 5 
 
 Will I look to't. 
 Oth. I ago is most honest. 
 
 Michael, good night : to-morrow with your earliest 
 
 8. nuptial} F I, 2, 3 ; Nuptialls Qq. IO. of feasting] omitted Qq. II. 
 five] nine Capell conj.; told] Qq, F I, 2 ; toll'dY 3, 4, Rowe, Pope, etc. 12. 
 
 Heaven] Qq, omitted Ff. 
 
 Scene Iff. 
 2. that] the Q I. 4. direction] directed Q I. 
 
 Compare Chapman, Widow's Tears, refers to this : " Every office open, 
 
 ante 1612: " tooke occasion to question When poor men that have worth, and 
 
 of you, what your addictions were " want an alms, May perish ere they pass 
 
 (Act II.). the porter's lodge" (The Sisters, 
 
 9. offices] The parts of houses, such iii. i). 
 
 as kitchens, buttery-hatch, etc., appro- Scene III. 
 
 priated to servants in large establish- 
 ments, where food and drink were pre- 3. outsport] revel beyond discretion, 
 
 pared and served. Compare Timon, This word is not elsewhere in Shake- 
 
 II. ii. 167: " where all our offices have speare. As a substantive (a place of 
 
 been oppressed With riotous feeders" ; liberty or recreation) it is in use in the 
 
 and Macbeth, n/i. 14, and Richard II. north of Ireland. 
 
 1.11.69. Nares has a full note on the word 7. with your earliest] very early, as 
 
 which has called forth dispute. Shirley early as possible. This odd construe-
 
 sc. in.] THE MOOR OF VENICE 93 
 
 Let me have speech with you. Come, my dear love, 
 The purchase made, the fruits are to ensue ; 
 That profit's yet to come 'twixt me and you. IO 
 
 Good night. 
 
 [Exeunt Othello, Desdemona, and Attendants. 
 
 Enter I AGO. "-^ 
 
 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 ndt^ 15 /-, 
 therefore blame : he hath not yet made ^vantop *^ 
 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 20 
 creature. 
 
 lago. What an eye she has ! methinks it sounds 
 parley to provocation. 
 
 8. [To Desd.] Johnson, etc., Globe, Craig, after line 9; To Desdemona 
 SteeVens (1793). 10. That} The Q I ; profit's} Ff, profits Qq ; 'twixt} twixt 
 Qq, tweene Ff. 13, 14. ten o' the clock} ten aclock Qq. 15. who} Qq, F I, 
 Dyce> Globe ; whom F 2, 3, 4, Steevens (1793), Malone. 23. to} Ff, 0/"Qqi 
 
 tion, once in general use, occurs again Man in his Humour, I. iv. 15^, and 
 
 in Shakespeare in a later play: "Go, "a great deal with the biggest" New 
 
 And with your speediest bring us what Inn, II. i. 3490 ; Shirley has u some ; 
 
 she says" (Antony and Cleopatra, V. i. thing of the farthest," Gamester, Act 
 
 67). It is not common, and does not III.; while a late appearance is " stayed 
 
 appear to be noticed by Abbott, with the longest," City Nightcap, 1661 
 
 Schmidt, or the commentators. The (Haz. Dads. xiii. 116). Compare also 
 
 earliest example I find is in Udall's Fletcher's Woman's Prize, iii. 5 :" what 
 
 Erasmus (Roberts' reprint, p. 242), think you of his pulse ? Doctor. It beats 
 
 1542: "something with the soonest." with busiest." See Greene'sjames IV. 
 
 These words occur again in Chapman's I. ii. (ante 1592). 
 
 Revenge for Honour, n. i ("of" in- 14. cast} dismissed, 
 
 stead of "with"); and in Massinger's 23. parley} conference. Compare 
 
 Emperor of the East, n. i. Ben Jonson 1 Henry IV. III. i. 204. 
 has "somewhat with the least," Every
 
 94 
 
 OTHELLO 
 
 [ACT n. 
 
 Cas. An inviting eye; and yet methinks right 
 
 modest. 2 5 
 
 I ago. 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 30 
 without are a brace of Cyprus gallants that 
 would fain have a measure to the health of 
 black Othello. 
 
 Cas. Not to-night, good lago : I have very poor and 
 
 unhappy brains for drinking : I could well wish 3 5 
 courtesy would invent some other custom of 
 entertainment. 
 
 Togo. O, they are our friends ; but one cup : I '11 
 drink for you. 
 
 Cas. I have drunk but one cup to-night, and that 40 
 was craftily qualified too, and behold what in- 
 novation it makes here: I am unfortunate in 
 
 26, 27. is it not an . . . love ?] Ff, tis an . . . love Qq. 30. stoup] stof>e 
 Qq, Ff. 32, 33. of black] of the black Qq. 4^- unfortunate] Qq, infortu- 
 nate Ff. 
 
 30. stoup] This word is spelt " slope " 
 in the early editions of Othello. It is 
 in use in Donegal, but dying out (like 
 "noggin" and "piggin") since the 
 introduction of metal vessels. A stoup 
 is a wooden vessel for carrying water, 
 square in section, and larger by about a 
 third at the base than at the top. It is 
 especially useful for carrying water over 
 rough ground, as it does not splash. It 
 is commonly about two feet high, and 
 about six inches across the middle. 
 The vessel has to be carried in one 
 hand, the handle being a crossbar 
 between two of the sides an inch or two 
 below the top. Irish stabh, tub or 
 keeve ; Old English, stoppa . . . 
 
 bucket, wooden mug (Stratmann). A 
 ' ' stoup of wine " might therefore repre- 
 sent several gallons. Nash and Dekker 
 both use the word " stoap " of a 
 measure of wine. 
 
 33. black Othello] See note at "sooty," 
 I. ii. 70. 
 
 41. craftily qualified] slyly tempered 
 or diluted with water. We must sup- 
 pose Cassio has already had a "mea- 
 sure " with some of the Cypriotes, where 
 his loyalty compelled him to toast 
 Othello. See note n. ii. 43. 
 
 42. innovation] alteration, but used 
 here in the special sense of ' ' disturb- 
 ance," "commotion"; I suppose, 
 alluding to his features. This meaning
 
 sc.m,] THE MOOR OF VENICE 95 
 
 the infirmity, and dare not task my weakness 
 
 with any more. 
 lago. What, man! 'tis a night of revels: the gallants 45 
 
 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, 
 
 lago. If I can fasten but one cup upon him, 50 
 
 With that which he hath drunk to-night already, 
 
 He '11 be as full of quarrel and offence 
 
 As my young mistress' dog, Now, my sick fool 
 Roderigo, 
 
 Whom love hath turn'd almost the wrong side out, 
 
 To Desdemona hath to-night caroused 5 5 
 
 Potations pottle-deep ; and he 's to Watch : 
 
 54, out] Ff, ottMard Qq Steevens* 
 
 appears to have escaped the many com- 
 mentators on Hamlet (n. ii. 347), but 
 it certainly existed, and may be helpful 
 there. Compare 1 Henry IV. V. 
 L78: "hurly burly innovation." And 
 Chettle, Kind Hearfs Dreame (New 
 Shak. Soc. p. 66), 1592 : "to see the 
 shameful disorder and routes that some- 
 time in such publike meetings [plays] 
 are used. The beginners are neither 
 gentlemen, nor citizens, nor any of both 
 their seruants, but some lewd mates 
 that long for innovation ; and when 
 they see advantage . . . they will . . . 
 make boote of clothes, hats, purses, or 
 whatever they can lay holde on in a 
 hurley bur ley" In Beaumont and 
 Fletcher {Four Plays in One] "the inno- 
 vation laid again " has the same sense. 
 Chettle's passage, however, is conclusive, 
 and requires no sense of "change," 
 merely a "row" or "ruction"; a 
 " hurly burly," as both he and Shake- 
 speare call it. 
 
 49. dislikes} displeases. Compare 
 
 Romeo and Juliet, ii. ii. 61. A frequent 
 use, as in Daniel, Sonnet, 54 : 
 
 "Like as the lute delights, or else 
 
 dislikes, 
 As is his heart that plays upon the 
 
 same 
 
 So sounds my muse." 
 And Ben Jonson, ' ' would I had broke 
 a joint, When I devised this that so 
 dislikes her." Every Man Out, II. ii. 
 
 55. caroused] Carouse was a technical 
 drinking term introduced from the 
 Dutch " gar aus, trinken," to drink all 
 out, empty the bowl. It occurs twice 
 in Rabelais ; " to quaffe carowse " is the 
 first example (in any sense) of the word 
 in New Eng. Diet, from Drant's Horace, 
 1567. The English term for this sort 
 of drinking was "All-out" (Palsgrave, 
 1530). Cotgrave has " Alluz : All-out, 
 or a carouse fully drunk up." 
 
 56. pottle-deep] To the bottom of the 
 tankard. A pottle was properly two 
 quarts. 
 
 56. he's to -watch] See II. i. 270, 271.
 
 96 
 
 OTHELLO 
 
 
 [ACT H. 
 
 Three lads of Cyprus, noble swelling spirits, 
 
 That hold their honours in a wary distance, 
 
 The very elements of this warlike isle, 
 
 Have I to-night, fluster'd with flowing cups, 60 
 
 And they watch too. Now, 'mongst this flock of 
 
 drunkards, 
 
 Am I to put our Cassio in some adtion 
 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. 65 
 
 Re-enter CASSIO ; with him MoNTANO and Gentlemen ; 
 Servants following with wine. 
 
 Cas. Fore God, they have given me a rouse 
 already. 
 
 57. lads'] Qq, else Ff, elks Jackson conj., elves Collier MS. Ls (abbrevia- 
 tion for Lords) Delius (apud Furness). 58. honours'] Ff, honour Qq. 
 6l. they] Ff, the Qq. 62. Am /] F i, 2 ; lam Qq ; And 7F 3, 4. 66. 
 God] Qq ; heaven Ff, Steevens, etc. 
 
 57. swelling] Schmidt compares this 
 metaphorical use with " swelling like 
 a turkey-cock " in Henry V. V. i. 15, 
 and see Antony and Cleopatra, II. ii. 
 215. 
 
 58.] That treat their honours with 
 careful consideration or respect, and 
 are therefore apt to quarrel. 
 
 59. elements] as though the first 
 principles, i.e. the "masterspirits" of 
 the isle. 
 
 60. fluster'd] excited, or partly in- 
 toxicated. "Flustered . . . somewhat 
 disordered with drink" Bailey's Diction- 
 ary, ed. 1766. N. Bailey refers to 
 Skinner for a derivation, whose Etymolo- 
 gicon appeared in 1671. In Farmer 
 and Henley's Slang and its Analogues 
 is the following: "Another to com- 
 pleat his daily task, Flustered with 
 claret, seizes on a mask " ( Common- 
 wealth of Women, ProL, 1686). Grose 
 
 gives it simply, "Drunk" (Classical 
 Dictionary, 1789). The word "drunk- 
 ards" immediately following leaves us 
 at liberty to attach a strong meaning 
 to " flustered." 
 
 65. stream] a current of water in the 
 ocean as in our "Gulf Stream." Conv 
 pare Comedy of Errors, I. i. 87. And 
 Smith's Virginia (Arber, p. 727), 1616 : 
 "angling with a hooke, and crossing 
 the sweete aire from He to He, over the 
 silent streames of a calme Sea." A 
 technical term. 
 
 66. a rouse] a deep draught. A 
 Danish word introduced about this time. 
 See Hamlet, I. ii. 127 ; i. iv. 8 ; II. i. 
 58. It is mentioned with "stoups" in 
 the 1616 ed. of Marlowe's Doctor 
 Faustus (not in early editions): "he 
 took his rouse with stoups of Rhenish 
 wine." Dekker speaks of "the Danish 
 rouse," Gufs Hornbook, 1609.
 
 sc. in.] THE MOOR OF VENICE 
 
 97 
 
 Mon. Good faith, a little one ; not past a pint, as I 
 
 am a soldier. 
 lago. Some wine, ho ! 
 
 [Sings] And let me the canakin clink, clink ; 
 And let me the canakin clink : 
 A soldier 's a man ; 
 A life 's but a span ; 
 Why then let a soldier drink. 
 Some wine, boys ! 
 Cas. Fore God, an excellent song. 
 lago. I learned it in England, where indeed they 
 are most potent in potting: your Dane, your 
 
 70 
 
 75 
 
 71-75, 91-98. in italics Qq, Ff. 
 life Y] Qq, Oh, mans life's Ff. 77- 
 
 72. clink] clinke, clinke Qq. 74. A 
 
 God\ Q I, heaven ; Ff, Q 2, 3. 
 
 68, 69. as I am a soldier] Compare 
 " he does swear the legiblest of any man 
 christened \ ... as I am a gentleman 
 and a soldier \ " Ben Jonson, Every 
 Man in his Humour, I. iii., 1598. And 
 see Henry V. II. i. 69, and IV. vii. 135. 
 
 71. canakin] Diminutive of can. 
 Steevens quotes from Barclay's Ship of 
 Fools, 1 509. See next note. 
 
 71. let me the canakin clink] Probably 
 an old toping stave. The following ex- 
 tract is from New Eng. Diet. : " carruse 
 and hold the cannikin klynclene," Scot- 
 tish Poems, 1 6th cent., Legend of 
 Bishop of St. Andrews (Jamieson), 1570. 
 Halliwell quotes from The Knave in 
 Grain New Vampt, 1640: "Lod. Clinke, 
 boyes. Toma. Drinke, boyes. Stult. 
 And let the cannikin clinke, boyes." 
 Compare ' ' Whereto hee willingly con- 
 senting, they dranke a carouse, euery 
 man his canikin," Herodotus' Euterpe, 
 the second Book. Englished by B. R. 
 1584 (reprint 1888, p. 115). 
 
 74. A life ' s but a span] This pro- 
 verbial expression is from the Prayer- 
 Book version of Ps. xxxix. ver. 6 : " Be- 
 hold thou hast made my days as it were 
 a span long." See As You Like It, in. 
 
 ii. 189. Compare also Bacon's (?) "The 
 World's a bubble, and the life of man, 
 Less than a span," Merry Drollery, ed. 
 Ebsworth, p. 1 10 (att. to Bp. Ussher), 
 ante 1661. See also Brown, Britan- 
 nia's Pastorals, Pt. II., 1625, etc. 
 
 78, 79. England . . . potent in pot- 
 ting] Where one nation attacks another's 
 foibles, the evidence must be weighed. 
 Rabelais long before this (1530) wrote 
 ' ' Saoul comme ung Anglaise, " trans- 
 lated by Urquhart (correctly as the 
 context shows) "as drunk as an English- 
 man." At a later period Nash attri- 
 buted the excess of drinking in England 
 to the war with the Low Countries : 
 " Superfluitie in drink : a sinne that ever 
 since we have mixed ourselves with 
 the Low Countries is counted honour- 
 able ; but before we knew their ling- 
 ring warres was held in the highest 
 degree of hatred," Pierce Pennilesse 
 (Gros. ii. 78), 1592. It was in James 
 First's reign, under the example of the 
 Danes, that the custom attained its 
 height. In Beaumont and Fletcher's 
 Captain, iii. 2 (1613), Englishmen are 
 called "stubborn drinkers," and able 
 (as here) to "knock a Dane down."
 
 OTHELLO 
 
 [ACT n. 
 
 German, and your swag-bellied Hollander, 80 
 Drink, ho ! are nothing to your English. 
 
 Cas. Is your Englishman so expert in his drinking? 
 
 I ago. Why, he drinks you with facility your Dane 
 dead drunk ; he sweats not to overthrow your 
 Almain; he gives your Hollander a vomit ere 85 
 the next pottle can be filled. 
 
 82. Englishman} Englishmen F I ; English man Qq; Englishman^ 2, 3, 4 ; 
 expert} Q I ; exquisite Ff, Q 2, 3. 
 
 sweares F 2, 3 ; swears F 4, Rowe. 
 
 83. 84. drinks . . . Dane dead 
 drunk} See above note, line 78. Com- 
 pare Hamlet, I. iv. Nash had already 
 loaded the Danes with abuse for their 
 intemperance. He calls a Dane ' ' a 
 foule drunken bezzle," and goes on: 
 " The Danes are bursten-bellied sots, 
 that are to be confuted with nothing 
 but tankards or quart pots," etc., Pierce 
 Pennilesse, 1592. Nash says, earlier 
 still (1591): " it is to bee feared that the 
 Danes shall this yeare be greatly given 
 to drink," Wonderful Prognostication. 
 Compare also Ben Jonson (?) : "The 
 Danes that drench their cares in wine " 
 Ode prefixed to Pancharis, ante 1603 
 (Cunningham's Gi/ord,iu.$29, 530); and 
 in Penates ( 1604) he addresses the Danish 
 Queen of James I. : "By this hand, I 
 believe you were born a good drinker." 
 
 84. dead drunk} Not elsewhere in 
 Shakespeare. Florio had already used 
 the expression in Montaigne's Essays 
 (Tudor Translation, II. ii. 16), 1603. 
 
 85. Almain} a German. 
 
 84, 85. overthrow your Almain} It 
 was only a trifle to overthrow a German. 
 They were beginnersattheart of bezzling. 
 But their time came soon. Middleton 
 says, " It 's as rare to see a Spaniard a 
 drunkard as a German sober, Spanish 
 Gipsy, i. i., circa 1620. And Burtoni n 
 his Anatomy of Melancholy has : " Ger- 
 many hath not so many drunkards, 
 England tobacconists [smokers], France 
 dancers. Holland mariners, as Italy 
 alone hath jealous husbands " (p. 630, 
 ed. 1854), 1621. See next note. 
 
 sweats'] Q I, 3 ; sweates F I Q 2 
 
 85. your Hollander} To the Dutch 
 must unhesitatingly be awarded the 
 chief European reputation for drink- 
 ing, in the i6th century and later. 
 They had drinking terms and drinking 
 bouts technically established, circa 
 1500. See Dyce's Skelton, i. 128, 
 387, and ii. 192. See also Hazlitt's 
 Early Pop. Poetry, i. 26, 27, and i. 88. 
 Some of the terms at these accounts 
 referred to appear to be Scandinavian. 
 But the majority are Flemish. Andrew 
 Borde refers to their habits in 1542 : 
 they kept ' ' a great tub under the table 
 where they quaff" to save them from 
 rising. There is a Dutch drinking 
 contest in Massinger's Old Law (iii. 2), 
 1599. In Merry Wives, ii. i. Shake- 
 speare speaks of "this Flemish drunk- 
 ard " as a natural appellation. Taylor 
 says it was the custom to make Dutch 
 criminals dead drunk, so that they 
 might be hanged senseless, in 1617 
 ( Travels from London to Hamburgh) ; 
 and see also Shirley's Constant Maid, 
 iii. I. In Marston's Malcontent, iii. 
 I, 1607, is a general summary applicable 
 to this period : " amongst a hundred 
 Frenchmen, forty hot-shots ; amongst 
 a hundred Spaniards, three score brag- 
 garts ; amongst a hundred Dutchmen, 
 four score drunkards ; amongst a hun- 
 dred Englishmen, four score and ten 
 madmen ; amongst a hundred Welsh- 
 men, four score and nineteen gentle- 
 men." The passage in Andrew Borde 
 above referred to is taken from the 
 English Politie of Keeping the Sea
 
 so. m.] THE MOOR OF VENICE 
 
 99 
 
 Cas. To the health of our general ! 
 
 Mon. I am for it, lieutenant, and I '11 do 
 
 justice, 
 I ago. O sweet England ! 
 
 \Sings\ King Stephen was a worthy peer, 
 
 His breeches cost him but a crown 
 He held them sixpence all too dear, 
 With that he call'd the tailor lown. 
 
 you 
 
 90 
 
 91. a] Q i ; and-a Ff ; and a Q 2, 3. 
 3, 4 ; to the rest. 
 
 of temp. Henry VI. (circa 1436), which 
 states that the Flemings got their love 
 of " Beerekin " from the High Dutch- 
 men of Pruse. 
 
 88, 89. do you justice] Probably a re- 
 collection of the pledging phrase, ' ' To 
 do one right, " which occurs in 2 Henry 
 IV. v. iii. Nares gives an instance of 
 " I '11 do you reason, sir " (Adventures 
 of Five Hours, Old Plays, xii. 26). The 
 phrase was very common. It meant 
 finishing the bumper. Compare Mas- 
 singer, Great Duke of Florence, IV. i. : 
 1 ' I know the fashion [Drinks all off] ; 
 now, you must do me right, sir." And 
 Urquhart's Rabelais, Book I. (Pre- 
 fatory) : "But hearken, joltheads . . . 
 off with your bumper, I will do you 
 reason, O pull away," etc. See note at 
 line 145, with reference to Montano. 
 
 91. King Stephen] This is the seventh 
 verse of the song " Bell my Wiffe" in 
 Percy Folio MS. (vol. ii. p. 322, ed. 
 Hales and Furnivall). The version 
 there is : 
 
 "King Harry was a very good 
 
 I trow his hose cost but a crowne; 
 
 he thought them I2d. ouerto deere 
 
 therefore he called the taylor 
 
 clowne ; 
 
 he was king and wore the Crowne, 
 
 and thouse but of a low degree ; 
 
 itts pride that putts this cumtrye 
 
 downe ; 
 
 man ! put thye old cloake about 
 thee!" 
 
 93. them} Ff, 'em Qq ; too'] Q I, F 
 
 There are eight verses, and each has 
 the last line almost identical, which 
 appears to have been the name 
 of the tune. Chappell says the tune 
 is evidently formed out of "Green 
 Sleeves" (mentioned in Merry Wives), 
 and has little doubt that words and 
 music are both of English origin. 
 Chappell never willingly admits a tune 
 to be either Scotch or Irish. The 
 Percy Folio editors say "The dialect 
 in which it is written, and the general 
 character of the piece . . . clearly 
 imply a northern origin." Shakespeare 
 probably alludes to this verse again in 
 Tempest, iv. i. 221. King Stephen's 
 breeches, that " cost but a poor noble 
 a pair," are referred to again in Greene's 
 Quip for an Upstart Courtier (Grosart, 
 xi. 234), 1592; and in Dekker's GuCs 
 Hornbook, chap, i., 1609. " Cast your 
 old cloke about you" is mentioned in 
 Heywood's Golden Age (Pearson reprint, 
 p. 71), ante 1611. A more modern 
 version is in Allan Ramsay's Tea Table 
 Miscellany (circa 1728). The verse in 
 Othello, as well as the references to the 
 song given above, show that there was 
 probably an earlier English version than 
 that of the Percy Folio. Another 
 reference is in Lyly's Mother Bombie, ii. 
 5, 1594: "it was as much as bought 
 Rufus, sometime King of this land, a 
 paire of hose." 
 
 94. lown"] lout, stupid fellow. Still 
 in use provincially. This word and 
 " auld," below, are decidedly Scotch.
 
 100 OTHELLO [ACT n. 
 
 He was a wight of high renown, 95 
 
 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 100 
 
 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 all; and there be souls must be saved, 105 
 and there be souls must not be saved. 
 lago. It's true, good lieutenant. 
 
 Cas. For mine own part no offence to the general, 
 nor any man of quality I hope to be 
 saved. 1 1 o 
 
 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 1 1 5 
 /-to our business. Do not think, gentlemen, I am 
 
 t*j ,V V >; /, ' o ' 
 
 ? drunk : this is my ancient : this is my right 
 hand, and this is my left. I am not drunk 
 
 V i *^ 
 
 now; I can stand well enough, and speak well 
 enough. 1 20 
 
 98. Then} Qq, And Ff; thine} Qq, thy Ff; auld} Q 2, 3 ; owd Q I ; 
 awFd Ff. 100. Why} Fore God Q I. 103. to be} omitted Qq. 104. 
 things. Well:} Ff ; things : well Q I ; things well, Q 2, 3 ; God's} Q I ; heav'ns F 
 I, 2; heaven's Q 2, 3, F 3, 4. 105. must be} PY, that must be Qq. 106. 
 and, . . saved} omitted Qq. III. too} omitted Qq. 115. God} Q i; 
 
 omitted Ff, Q 2, 3 ; us} omitted F 3, 4. 118. left} Ff, left hand Qq. 119. 
 and} Qq, and I Ff.
 
 SC.MI.] THE MOOR OF VENICE 
 
 101 
 
 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. 
 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 'It watch the horologe a double set, i 
 
 If drink rock not his cradle. 
 Mon. It were well 
 
 135 
 
 122. Why} omitted Q I ; think then} think Q i. 131. puts} Ff, put Qq. 
 134. the} Qq, his Ff. 135. horologe} F I, Q 3 ; horolodge Q I, 2 ; horologue 
 F 2, 3, 4. 136. // were} Ff, Twere Qq (T'were Q 2, 3). 
 
 124. platform} Compare Hamlet, i. 
 ii. 213 and 252. 
 
 124, 125. set the watch} A technical 
 term. It occurs in Holland's Plinie, 
 xxxiii. 4 : "In which labour the pioners 
 worke by turnes successively, after the 
 manner of the releefe in a set watch " 
 ( 1601 ). To relieve or mount the guard. 
 The expression was northern, and occurs 
 in Barbour's Robert the Bruce (fide 
 Oliphant), 1375; and in Coverdale's 
 Bible, 1537. 
 
 129. equinox} This word is not found 
 elsewhere in Shakespeare. The usual 
 term up to this period, and amongst his 
 contemporaries, is "equinoctial," which 
 occurs in Chaucer. The meaning here 
 
 is ' ' equal, " ' ' equivalent. " The force of 
 the metaphor lies in equating the night of 
 Cassio's vice to the daylight of his virtue. 
 135. horologe} Not used elsewhere in 
 Shakespeare. The meaning is "he'll 
 watch two rounds of the clock. " If we 
 assume lago to be talking of the clocks 
 of his own country, this would mean 
 forty-eight hours. Andrew Borde says 
 of Italian clocks, "At midnight they 
 doo begynne & do reken unto xxiii. a 
 clocke, & then it is midnight, and at 
 one a clocke thei do begin again," Boke 
 of Knowledge, 1542. Some commen- 
 tators have made a point of this with 
 reference to the ' ' dramatic time " of the 
 play. An impossible idea.
 
 102 OTHELLO [ACT ii. 
 
 The general were put in mind of it. 
 
 Perhaps he sees it not, or his good nature 
 
 Prizes the virtue that appears in Cassio 
 
 And looks not on his evils : is not this true ? 1 40 
 
 Enter RODERIGO. 
 
 I ago. [Aside to him\ 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: 145 
 
 It were an honest action to say 
 So to the Moor. 
 lago. Not I, for this fair island : 
 
 139. Prizes'] Ff, Praises Qq ; virtue] virtues Q I. 140. looks'] looke Q I. 
 145. of an] omitted F 2, 3, 4 ; ingraft] engraffed Schmidt. 146. [Aside to 
 him] first marked by Capell. 
 
 145. ingraft} ingraffed. Set or fixed writers of the time apart from technical 
 deeply and firmly. Compare Ford, ones. It is an evidence of his love for 
 Lover's Melancholy, iii. 2 : " The gentle horticulture, confirmed easily in other 
 myrtle Is not engraft upon an olive ways. Booth remarks here, " This is 
 stock." In. Julius C&sar, III. i. 184, not the language of one who had taken 
 " the ingrafted love he bears to Caesar " part in the carouse " (Furness). Steevens 
 is agreeable to the modern and incorrect had already remarked on the impropriety 
 etymology. The word is correct in of Othello's predecessor in the govern- 
 Lear, I. i. 301, "engraffed condition," ment of Cyprus tippling with tipsy 
 for which "ingraft" (or "engraft") is people and encouraging the officer on 
 the natural contraction. The verb is guard to drink. See above, lines 69, 90. 
 (or was) to ingraff. Compare Cotgrave, There was, however, nothing in this 
 " Graffe : Graffed, ingraffed " ; and repugnant to an audience of James' 
 "Gra/er: To graff, or ingraff." See time. See Sir John Harington's account 
 also Holland's Plinie (xvii. 15, 1601) : of the revelling at Court in 1606 (Nugce 
 " hee would have the young imps . . . Antiqua). For the applied use corn- 
 to be set and engraffed so as the marrow pare the first words of The Losse of 
 of the one and the other may joyne and Famagusta, 1571 (Hakluyt, ed. 1810, 
 meet just together." The frequency ii. 230). Englished out of Italian by 
 with which Shakespeare employs terms W. Malim, 1572. "It hath been a 
 about "graffing," both literally and naturall instinct (right honourable and 
 metaphorically, is well worthy of note, mine especiall good lord) ingraffed in 
 and not, I think, paralleled amongst noble personages hearts."
 
 SC.IIL] THE MOOR OF VENICE 
 
 103 
 
 1 do love Cassio well, and would do much 
 .To cure him of this evil : But, hark ! what noise ? 
 
 [Cry within : " Help ! help 
 
 Re-enter CASSIO, driving in RODERIGO. 
 
 Cas. You rogue ! you rascal ! 150 
 
 Man. What 's the matter, lieutenant ? 
 Cas. A knave teach me my duty ! But I '11 beat the ; 
 knave into a twiggen bottle. ' > 
 
 iwrw/j 
 d 
 
 
 150. You rogue] Zouns, you rogue Q I, Camb. 152. Buf\ Qq, omitted Ff. 
 153. twiggen bottle} F 2, Twiggen Bottle F 2, 3, 4; wicker bottle Qq, Capell, 
 Camb. 
 
 152, 153. beat . . . into a twiggen 
 bottle] Booth (quoted by Furness) ex- 
 plains this "slash him till he resembles 
 a ' chianti ' bottle covered by straw net- 
 work," which a recent commentator 
 adopts, saying, "To beat a person into 
 a twiggen bottle means to beat him till 
 he looks more like a twiggen bottle 
 than a man." I have no hesitation in 
 rejecting this, even though it may be 
 improved by the suggestion of a pun in 
 the word "twiggen" ("twigs of birch," 
 Measure for Measure, I. iii. 24). 
 Roderigo is running wildly, looking for 
 any cranny to hide in and escape 
 from his pursuer. The first little aper- 
 ture that occurs to Cassio's mind is the 
 last one he looked at, the opening of 
 the goodly "stoup" they had been drink- 
 ing from. It would be easy to prove 
 that "bottles" stood for articles of 
 greater capacity than those now in use ; 
 a basket-covered " carboy " or a " demi- 
 john " comes perhaps nearer the article 
 referred to. To beat one till he runs 
 into a hole, is a natural thought. It 
 occurs in Antony and Cleopatra, iv. vii. : 
 "we'll beat 'em into bench-holes." 
 The allusion there is an unsavoury one ; 
 here, the thought of a tippler getting 
 into the bottle is more harmonious. The 
 expression in Antony and Cleopatra was 
 proverbial, and several instances could 
 be given from Udall's Erasmus (1542) 
 
 onwards. One may be quoted, "the 
 drab will drive you into a bench-hole," 
 Webster, Northward Ho (1607), or 
 better, "I would I could flie into a 
 bench-hole," Dekker, If this be not, 
 etc. (Pearson, iii. 328), 1612. "Cat- 
 hole " was similarly used : "Is there 
 ne'er a cat-hole Where I may creep 
 through ? 'Would I were in th' Indies, 
 Beaumont and Fletcher, Mad Lover, 
 iii. 2. See also Cotgrave. And in the 
 old play, The Life and Death of Jack 
 Straw (1593), Tom Miller says, sooner 
 than fight, he " can creep into a quart 
 pot" (Hazlitt's Dodsley, v. 386). See 
 too Merie Tales of Skelton, Tale v. 
 
 1 53. twiggen bottle] The Quartos read 
 " wicker." Compare "he looks like a 
 musty bottle new wickered, his head 's 
 the cork, light, light ! " Ben Jonson, 
 Every Man Out, I. i. 760, 1599. 
 Probably these bottles were recently 
 made known, and either term would 
 apply. "Wicker bottle" became the 
 accepted term, or " wicker flask." 
 Shirley's plays may be referred to (Royal 
 Master, II. i., and The Wedding, IV. iii.). 
 Florence flask is a recent synonym. 
 The early commentators have no note 
 to this passage. Since writing above I 
 found the following in Holland's Plinie, 
 xxxiv. 1 6 : " the inhabitants of those 
 parts do conveigh it in little twiggen 
 boats, covered all over with feathers."
 
 104 OTHELLO 
 
 Beat me ! 
 
 Dost thou prate, rogue ? {Striking Roderigj). 155 
 
 . 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. 160 
 
 Cas. Drunk! \Theyfight. 
 
 lago. {Aside to Roderigo\ Away, I say ; go out, and cry a 
 
 mutiny. {Exit Roderigo. 
 
 Nay, good lieutenant ! God's will, gentlemen ! 
 
 Help, ho ! Lieutenant, sir, Montano, sir ; 
 
 Help, masters ! Here 's a goodly watch indeed ! 165 ./p $, 
 
 [A bell rings. 
 
 Who 's that that rings the bell ? Diablo, ho ! 
 
 The town will rise : God's will, lieutenant, hold ; 
 
 You will be shamed for ever. 
 
 Re-enter OTHELLO and Attendants. 
 Oth. What is the matter here? 
 
 156. Nay] omitted Qq ; I pray you, sir] pray sir, Qq. 158. knock] know 
 F 2, 3, 4 ; o'er] on Q -3. 163. God's -will] Qq, Alas Ff. 164. sir, Mon- 
 tano, sir] Capell, Steevens, etc. , Globe ; ; sir, Montanio, sir, Qq ; Sir Mon- 
 tano: Ff ; Sir! Montano! Sir! Craig. 165. masters] master Q 3. 166. 
 that that] Qq, that which Ff. 167. God's will] godswill Q i ; Fie, fie Ff, Q 2, 
 3 ; hold] Qq, omitted Ff. 168. You will be shamed] Qq (sham'd), You'le 
 be asham'd F I , You 1 1 be sham'd F 2. 
 
 159. mazzard] head. Compare Ham- the verb "to mazzard" for "to brain," 
 
 let, v. i. 97. From the old word or "breake one's head," in Love Restored. 
 
 " mazer, a broad standing-cup or drink- Nares gives several examplesof the noun, 
 
 ing-bowl," from a fancied resemblance which is frequent in old plays. 
 
 in shape. But the latter name refers to 166. Diablo] The devil. So Marlowe, 
 
 the spotted wood (i.e. maple) of which "Diablo ! what passions call you these," 
 
 these cups were made. See Skeat's Edward II. i.iv. , 1593. And Carleton's 
 
 Etymological Dictionary in v. mazer, letterfrom Venice, i6i2(Court and Times 
 
 " Maple-face" (spotty-face) was a com- of James I. i. 184): "As they [Venetians] 
 
 mon expression, as in Middleton, Your term him, diabolo in casa." Not there- 
 
 Five Gallants, 1608, etc. This points fore only Spanish, as the commentators 
 
 to another connection. Ben Jonson uses assert.
 
 sc. in.] THE MOOR OF VENICE 105 
 
 Mon. 'Zounds, I bleed still ; I am hurt to the death. 
 
 Oth. Hold, for your lives ! 170 
 
 I ago. 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 ! 
 
 Oth. Why, how now, ho ! from whence ariseth this ? 
 
 Are we turn'd Turks, and to ourselves do that 175 
 Which heaven hath forbid the Ottomites ? 
 For Christian shame, put by this barbarous brawl : 
 He that stirs next to carve for his own rage 
 
 169. 'Zounds] Zouns Q I ; omitted Ff, Q 2, 3 ; hurt to] hurt, but not to F 2, 3, 4, 
 Rowe, Theobald ; death} Q I, F 2, 3, 4, Rowe, Malone, Dyce (ed. i), Craig ; 
 death. He dies F I, death; he dies Capell, Steevens ; death [he faints] (as stage 
 direction) Q 2, 3, Collier, Globe, Cambridge, Dyce. 171. Hold, ho!] Hold, 
 hold Q I, 2. 172. sense of place} Hanmer et seq.; place of sense Qq, Ff (sence 
 Qq). 173. hold, hold} Qq, holdff. 174. ariseth} Ff, arises Qq. 176. 
 
 hath} Ff, has Qq. 178. for} forth Q I. 
 
 175. turned Turks} Compare the pro- sea. A little later, in Hakluyt (p. 310, 
 verbial expression in Hamlet, III. ii. ut supra), a good! example occurs in 
 287, and Much Ado about Nothing, III. the Voyage of Thomas Sanders, 1583 : 
 iv. 57. The proverb has no reference ' ' When that Romaine Sonnings saw 
 to self-destruction. On the contrary, no remedy but that he should die, he 
 the origin of it was self-preservation, protested to turne Turke, hoping there- 
 Compare Captain Smith's Travels by to have saved his life. Then saide 
 (Arber, p. 915), 1629: " with many an the Turke, Speake the words that 
 accursed runnagado or Christian turned thereunto belong ; and he did so. 
 Turke." And see note at "Aleppo," Then saide they vnto him, Now thou 
 V. i. 351. The origin of the shall die in the faith of a Turke, and so 
 proverb may be given here. I quote hee did, as the Turkes reported that 
 from a Charter of Turkie Privileges, were at his execution." 
 1580 (Hakluyt, ed. 1810, ii. 261): 176.] Heaven forbade the Turks to 
 "Item. 1 8. . . . if the partie shal be destroy themselves by doing it for them 
 found to be English, and shall receive in wrecking them, 
 the holy religion (religionem Muzul- 176. Ottomites} See above, I. iii. 
 manniam assumpserit), then let him 33. 
 
 freely be discharged, but if he will 1 78. carve for his own rage} Steevens 
 
 remaine a Christian, let him then be says, " supply food or gratification for 
 
 restored to the Englishmen, and the his own anger, " comparing Hamlet, I. 
 
 buyers shall demaund their money iii. 20, " he may not . . . carve for 
 
 againe of them who solde the man." himself." Others suggest that " carve " 
 
 The " item " refers to captives taken at means simply "cut" or "use the
 
 OTHELLO 
 
 [ACT n. 
 
 Holds his soul light ; he dies upon his motion. 
 Silence that dreadful bell : it frights the isle 1 80 
 
 From her propriety. What is the matter, masters ? 
 Honest lago, that look'st dead with grieving, 
 Speak, who began this ? on thy love, I charge thee. 
 
 lago. I do not know : friends all but now, even now, 
 
 ^'In^uarter, and in terms like bride and groom 185 
 
 jr (" Devesting them for bed ; and then, but now, 
 
 * A ~' 1 " 'ML """_ ^-~_^sr*n**f . 
 
 As if some planet had unwitted men, 
 
 182. looKst] Hanmer ; lookes Qq, F I, 2 ; looks F 3, 4. 1 86. devesting Qq, 
 Ff; digesting Q (1695) ; divesting Q (1681), Rowe (ed. 2) ; for] Ff, to Qq ; then] 
 omitted Q 3. 
 
 sword." But the word will hardly bear 
 that sense. The phrase to " carve for 
 oneself" had established usage, in the 
 sense of _" gratify .Qae?*~aam...iriclinaj 
 - tion." CJabnel Harvey has It is 
 Italian courtesye to give a man leave to 
 be his owne carver" (Grosart, i. 1 12, 
 circa 1580); Lylyhas "In this poynte 
 I meane not to be mine owne carver," 
 Euphues (Arber, p. 55), 1579 ; and 
 another example occurs in Lyly's 
 Mother Bombie. See also Hamlet (ut 
 supra) in this series. "Carving "was 
 a much more important function in 
 Shakespeare's time than now, and the 
 word had other metaphorical uses. 
 
 179. upon his motion] as soon as he 
 moves. 
 
 1 80. dreadful bell] this expression 
 would have a telling effect upon a 
 London audience at this time. The 
 city was suffering from a visitation of 
 the plague (1603-1604), from which 
 more than 30,000 people died in the 
 year (Wilson). Ben Jonson speaks of 
 the " perpetuity of ringing by reason of 
 the sickness" in Epicene, i. I. 
 
 181. From her propriety] proper state 
 or behaviour ; decorum. 
 
 185. In quarter] on good terms, pro- 
 perly behaved. The full expression is 
 " to keep fair quarter," as in Comedy of 
 Errors, n. i. 108. This was a military 
 
 expression. An example may be given 
 from Day's Blind Beggar (Bullen ed. 
 p. 87), 1600: "Thus have you heard 
 your several charges. Every one to his 
 court of guard, and keep fair quarter. " 
 The qualifying adjective is rendered 
 unnecessary by the " terms like bride 
 and groom," equivalent to "fair" or 
 " good," only stronger, as if " in loving 
 quarter. " "In quarter " cannot mean " in 
 quiet," "at peace" (as Henley rightly 
 stated) if it stands alone. But the 
 qualification is here otherwise supplied. 
 
 1 86. Devesting] undressing. Com- 
 pare Cotgrave, "Desvesti: Devested, 
 uncloathed ; disseised, dispossessed." 
 See also Woman's Prize (by Fletcher) 
 i. 2: "Devest you with obedient hands; 
 to bed ! " Wrongly altered to divest by 
 Schmidt. " Devest, uncloath one," 
 Cockeram, 1642. 
 
 187. planet] It was the custom, in the 
 days of astrological belief, to attribute 
 all inexplicable misfortunes, sickness, 
 etc., to the influence of adverse planets. 
 So in 1 Henry VI. I. i. 23 : "What, 
 shall we curse the planets for mishap ? " 
 And see notes to Hamlet, I. i. 162. 
 
 187. unwitted] deprived of one's wits, 
 maddened. Perhaps formed from the 
 old "unwit," folly, which Chaucer uses, 
 and Bailey's Dictionary gives as ob- 
 solete.
 
 sc. in.] THE MOOR OF VENICE 
 
 107 
 
 190 
 
 Swords out, and tilting one at other's breast, 
 In opposition bloody. } I cannot speak 
 'Any beginning to this peevish odds ; 
 And would in action glorious I had lost 
 Those legs that brought me to a part of it ! 
 
 Oth. How comes it, Michael, you are thus forgot ? 
 
 Cos. I pray you, pardon me ; I cannot speak. 
 
 Oth. Worthy Montano, you were wont be civil ; 
 The gravity and stillness of your youth 
 The world hath noted, and your name is great 
 In mouths of wisest censure : what 's the matter, 
 That you unlace your reputation thus, 
 
 1 88. breasf\ Qq ; breasts Ff, Rowe, Theobald. 192. Those} These Q I. 
 193. comes . . . are} Ff, came . . . aw<rQq. 195. k]Qq,tofaWt 198. 
 mouths] men Q I. 
 
 -*-* * 
 Q&A* 
 
 ,95 
 
 ^ 1 1 
 
 190. peevish odds'] senseless quarrel. 
 Compare 1 Henry VL III. I. 92 : 
 " leave this peevish broil, And set this 
 unaccustomed fight aside." In the sense 
 of "meaningless," "silly," compare 
 Lyly's Gallathea, v. 3, 1592: "Let 
 them alone, they bee but peevish." 
 
 193. are thus forgot} have thus for- 
 gotten yourself. An example of the 
 use of "to be " with an intransitive 
 verb, as in "I am declined Into the 
 vale of years" (in. iii. 266). See 
 Abbott's Grammar, 295. Othello 
 has already addressed his favourite 
 Cassio, twice, by the friendly style of 
 " Michael." He never does it again. 
 
 195. wont be civil} For the omission 
 of "to" before the infinitive, see 
 Abbott's Grammar, 349, where this 
 instance amongst others is quoted, 
 as "I list not prophecy," Winter's 
 Tale, IV. i. 86 ; and " Suffer him speak 
 no more," Ben Jonson, Sejantis, iii. I. 
 
 196. stillness} quietness. See Henry 
 V. in. i. 4. Staidness. 
 
 198. censure} judgment. Shake- 
 speare uses this word about equally 
 
 often in the two senses "judgment" 
 and " blame." Here it seems to carry 
 the sense of approbation, as in Letters 
 of Elizabeth to James (Camd. Soc. p. 
 113) : " Receve, therfor, deare brother, 
 bothe my censure and my thankes ther- 
 for," etc. 
 
 199-201.] Booth says here, "Could it 
 be possible, after this, to suppose that 
 Montano was one of the ' flock of 
 drunkards ' ? " But this is what we 
 must suppose (see note, line 145). 
 
 199. unlace your reputation} Johnson 
 says " slacken or loosen ; put in 
 danger of dropping, or perhaps strip of 
 its ornament." This is not satisfactory. 
 May not the word mean ' ' cut up, " or 
 " break up," as in the old sense of the 
 Booke of Keruynge, "unlace that cony"? 
 We have already had a carving meta- 
 phor applied to this brawl. I find the 
 term in a contemporary play : ' ' some- 
 times a mess of stewed broth will do 
 well, and an unlaced rabbit is best of 
 all," Return from Parnasus (Haz. Dods. 
 ix. 1 80), 1602. Halliwell has it, " 
 lace, to cut up."
 
 108 . OTHELLO [ACT it. 
 
 And^sgend your rich opinion for the name 200 
 
 Of a night-brawler ? Give me answer to it. 
 Mon. Worthy Othello, I am hurt to danger : 
 
 Your officer, lago, can inform you 
 
 While I spare speech, which something now offends 
 me 
 
 Of all that I do know: nor know I aught 205 
 
 By me that 's said or done amiss this night ; 
 
 Unless self-charity be sometimes a vice, 
 
 And to defend ourselves it be a sin 
 
 When violence assails us. 
 Oth. Now, by heaven, 
 
 My blood begins my safer guides to rule, ^210 
 
 And passion, having my best judgement collied, 
 
 Assays to lead the way : if I once stir, 
 
 / I 
 
 Or do but lift this arm, the best of you 
 Shall sink in my rebuke. Give me to know 
 How this foul rout began, who set it on, 215 
 
 And he that is approved in this offence, 
 Though he had twinned with me, both at B. birth, 
 lose me. What ! in a town of war, 
 
 Shall 
 
 204. me] "omitted Q 2" (? Furness, Cambridge) in 1885 facsimile of Brit. 
 Mus. copy. 211. having . . . collied} in brackets Ff; collied] Ff, coold Qq. 
 212. if I once'] Ff ; Zouns, if I Q I ; If once 7Q 2, 3. 
 
 200. spend . . . opinion] squander 217. twinned] Ben Jonson has the 
 
 your good character. same idea, and uncommon verb, im- 
 
 207. self-charity'] self-love. Kind- mediately earlier than Othello, in 
 
 ness towards oneself. Sejanus, in. iii. 305* : 
 
 211. collied] darkened, obscured. " Each mark must be alike 
 
 The word occurs in the literal sense Were it to plot against the fame, 
 
 (smutted) in Midsummer Nighfs the life 
 
 Dream, I. i. 145, and in Ben Jonson's Of one with whom I twinned" 
 
 Poetaster, iv. iii. 2423 : "thou hast (1601). 
 
 not collied thy face enough, stinkard." 218. town of war] garrisoned town 
 
 216. approved] found guilty, con- (Abbott). Compare Henry V. n. 
 
 victed by proof. iv. 7.
 
 sc. in.] THE MOOR OF VENICE 109 
 
 Yet wild, the people's hearts brimful of fear, 
 To manage private and domestic quarrel, 220 
 
 In night, and on the court and guard of safety ! 
 'Tis monstrous. lago, who began 't ? 
 
 Mon, If partially affined, or leagued in office, 
 Thou dost deliver more or less than truth, 
 Thou art no soldier. 
 
 lago. Touch me not so near : 225 
 
 I had rather have this tongue cut from my mouth 
 Than it should do offence to Michael Cassio ; 
 Yet, I persuade myself, to speak the truth 
 Shall nothing wrong him. Thus it is, general. 
 Montano and myself being in speech, 230 
 
 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 : 
 
 221. and guard of] of guard and Theobald, Malone. 222. began' f\ Ff; 
 
 began Q I, 2. 223. partially} ^impartiality Qq ; affined} affined Qq, Ff (assign d 
 Q '81, Q '95) ; leagued} league Qq, Ff ; leagued Pope, Steevens, etc. 226. cut 
 from my} Ff, out from my Q i, out of my Q 2, out of his Q 3. 228. the 
 
 truth} Qq, F ; so the truth F 2, 3, 4. 229. Thus] Qq, This Ff. 
 
 220. manage] bring about, contrive. here : " Montano should be in total 
 
 221. court and guard of safety] Theo- ignorance of the cause of the disturb- 
 bald's reading would simplify matters ance" (Furness). But Montano and 
 here desirably. The'passage is presum- lago, so far as the action goes, have 
 ably an amplification of the term " court the same information. Montano is 
 of guard " (n. i. 220). Cowden-CIarke merely conjuring lago to tell the truth 
 says, " the very spot and guarding- without fear or favour, as a soldier 
 place of safety," but I do not think the should. Observe the lying account 
 military technicality can be denied a lago responds with. 
 
 footing here. 233. execute] carry out his intention. 
 
 222. monstrotis] Trisyllabic as in Mac- Compare the sense of the substantive 
 beth t III. vi. 8. The not uncommon still in use and defined in early die- 
 form " monstruous " would suggest the tionaries (Browne's Expositor, 1719, 
 pronunciation. e.g. ) : " Execution . . . the slaughter 
 
 223. affined] related by any tie. Here done upon a flying enemy pursued." 
 related by partiality or favour. For 234. entreats his pause"} Compare 
 "partially" in this sense, see Lucrece, "Must give us pause," Hamlet, in. i. 
 634. See note at I. i. 40. Booth says 68.
 
 110 OTHELLO [ACT ii. 
 
 Myself the crying fellow did pursue, 235 
 
 Lest by his clamour as it so fell out 
 
 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 240 
 
 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 : 245 
 
 But men are men ; the best sometimes forget : 
 
 Though Cassio did some little wrong to him, 
 
 As men in rage strike those x that wish them 
 
 Yet surely Cassio, I believe, received 
 From him that fled some strange indignity, 250 
 
 Which patience could not pass. 
 Oth. I know, I ago, 
 
 Thy honesty and love doth mince this matter, 
 Making it light to Cassio. Cassio, I love thee ; 
 But never more be officer of mine. 
 
 Enter DESDEMONA, attended. 
 
 Look, if my gentle love be not raised up ! 255 
 
 I '11 make thee an example. 
 
 238. the] then F I. 240. oath] oaths Q I. 241. say] seeQl. 245. can- 
 not /] Ff, can / not Qq. 254. Enter . . .] Ff ; Enter Desdemona, with 
 others Qq ; Re-enter Desdemona, attended Dyce, Globe, Cambridge. 
 
 239. For that] because. 30, 31, lago gives another casual stab in 
 
 240. Cassio high in oath] This lie the back to Cassio, as a liar. 
 
 so pleases lago's fancy that he cannot 252. mince this matter] make little 
 leave it without adorning it. In iv. i. of it. Compare Ant, and Cleop. I. ii.
 
 sc. in.] THE MOOR OF VENICE 111 
 
 Des. What's the matter? 
 
 Oth, All 's well now, sweeting ; come away to bed. 
 Sir, for your hurts, myself will be your surgeon : 
 Lead him off. [Montana is led off. 
 
 lago, look with care about the town, 260 
 
 And silence those whom this vile brawl distracted. 
 Come, Desdemona : 'tis the soldiers' life 
 To have their balmy slumbers waked with strife. 
 
 \Exeunt all but lago and Cassio. 
 
 lago. What, are you hurt, lieutenant ? 
 
 Cas. Ay, past all surgery. 
 
 lago. Marry, heaven forbid ! > 
 
 Reputation, reputation, reputation ! O, I have 
 lost my reputation ! I have lost the immortal 
 part of myself, and what remains is bestial. My 
 reputation, lago, my reputation ! 270 
 
 256. matter ?] Qq ; matter (Deere f) F I, 2. 257. well now, sweeting] well 
 now sweeting Qq, well, sweeting Ff. 259. Lead him off] a stage direction, 
 Malone. 263. Exeunt . . .] Exit Moore, Desdemona, and Attendants Qq (after 
 line 264) ; Exit Ff. 266. Marry, heaven] Mary God Q I ; Mary Heaven 
 Q 2, 3. 267. Reputation] three times in Ff, twice Qq ; 0] omitted Q I. 
 269. part of] Ff, part sir o/Qq. 
 
 109. An early use of this now common ably no one will agree with Steevens's 
 
 expression. Compare Beaumont and surly stricture. 
 
 Fletcher, Honest Marts Fortune, v. 259. Lead him off] Malone is " per- 
 
 (ante 1613): " Not to mince the matter, suaded these words were originally a 
 
 we are all cowards." stage direction." White (ed. i) and 
 
 257. sweeting] Steevens says, " This Rolfe agree. But it is not an unnatural 
 surfeiting vulgar term of fondness remark after Othello's announcing his 
 originates from the name of an apple intended care. He wishes Montano to 
 distinguished only by its insipid sweet- be immediately brought to his own 
 ness." Shakespeare uses this term of en- quarters. "Lead"isequivalentto"help," 
 dearment again in Twelfth Night, n. as in "Lead me, my lord? I do not need 
 iii. 43, and in Taming of the Shrew, IV. your help," 1 Henry IV. v. iv. 9. 
 
 iii. 36. See also 1 Henry VL III. iii. 270. reputation] Cassio mourns for 
 
 8l. It occurs in the old play by Lodge the loss of honour and good name. 
 
 and Greene, A Looking - Glass for lago's cynicism is levelled at the insub- 
 
 London and England : "to fold thee in stantiality of the world's opinion. The 
 
 so bright a sweeting's arms." Ben word bears both senses. See note at 
 
 Jonson has it in his Tale of a Tub, ' ' opinion," I. iii. 225. 
 iv. v. : " My pretty sweeting." Prob-
 
 112 
 
 OTHELLO 
 
 [ACT n. 
 
 I ago. As I am an honest man, I thought you had 
 received some bodily wound ; there is more sense 
 in that than in reputation. Reputation is an idle 
 and most false imposition ; oft got without merit 
 and lost without deserving: you have lost no 275 
 reputation at all, unless you repute yourself such 
 a loser. What, man ! there are ways to recover 
 the general again : you are but now cast in his 
 mood, a punishment more in policy than in 
 malice ; even so as one would beat his offenceless 280 
 dog to affright an imperious lion : sue to him 
 again, and he's yours. 
 
 271. thought} Qq, had thought Ff. 
 Qq, are more Ff. 
 
 273-275.] Compare Guilpin's Skiale- 
 
 theia (reprint, p. 52), 1598, on Opinion : 
 
 "It's but the hisse of geese, the 
 
 people's noyse, 
 The tongue of humours, and phan- 
 
 tasticke voyce 
 Of haire-brain'd Apprehension : it 
 
 respects 
 With all due titles, and that due 
 
 neglects 
 
 Even in one instant." 
 274. imposition} that which is im- 
 posed, laid or placed upon. The word 
 had not acquired the sense of " cheat," 
 from ' ' false tax, " therefore the ad- 
 jective is necessary. Compare Winter's 
 Tale, I. ii. 74. 
 
 275-277.] Several classical parallels 
 are cited by Furness. One from Men- 
 ander in Plutarch (quoted by Du Bois, 
 Wreath, p. 72) is the best: "OW^ 
 Tr^TTocflas dfivdv, av /AT) irpoffiroirj Thou 
 hast suffered no wrong, unless thou 
 dost fancy so." Compare John Hey- 
 wood, 1546 (Sharman's ed. ) : "Tush 
 man (quoth I), shame is as it is taken" ; 
 and a little lower (p. 36), " Unminded, 
 unmoned. " The latter is (correctly) in 
 Ray, twice ; and incorrectly in Hazlitt's 
 
 272. sense] Ff, offence Qq. 277. are] 
 
 English Proverbs. Compare also 
 Chapman, ' ' No ache hath any shame 
 within itself, But in the knowledge and 
 ascription," Blind Beggar of Alex- 
 andria, 1598 (acted 1595-96). 
 
 278. casf\ dismissed, as in II. iii. 79. 
 
 280, 281. beat . . . dog . . . to affright 
 . . . /ion] This old proverb has not yet 
 been correctly explained by any of the 
 commentators in sit& that I have met 
 with. The latest editor (College Classics 
 Series, 1901) says, "The idea is that, 
 when the dog is beaten, it will bark 
 and frighten the lion." Various altera- 
 tions in the text have been suggested. 
 The proverb is dealt with in Skeat's 
 Chaucer (vol. v. pp. 383, 384) in a 
 note to The Squiere's Tale, line 491, 
 "by the whelp chasted is the lion." 
 The explanation appears in Cotgrave : 
 " Batre le chien devant le lion. To 
 punish a mean man in the presence of, 
 and for an example to the mighty " (in 
 v. chien} ; and again, in v. Batre, 
 where the words are " to the terror of a 
 great one." The application of the 
 proverb lies in the words "a punish- 
 ment more in policy than in malice," 
 which are senseless without its apprecia-
 
 sc. in.] THE MOOR OF VENICE 113 
 
 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 "28 5 
 parrot ! and squabble ! swagger ! swear ! and 
 discourse fustian with one's own shadow ! O 
 thou invisible spirit of wine, if thou hast no name 
 to be known by, let us call thee devil ! *~*^ 
 
 *^^iii 1 '" tAJ ~l 
 
 lago. What was he that you followed with your 290 
 
 .sword? What had he done to you? 
 Cas. I know not. 
 
 T.f*'* ' 
 
 lago. Is 't possible ? j&* 
 
 Cas. I remember a mass of things, but nothing dis- 
 tinctly; a quarrel, but nothing wherefore. O 295 
 God, that men should put an enemy in their 
 mouths to steal away their brains ! that we 
 should, with joy,, pleasance,^ revel and applause, 
 
 * --"*^ f *^*r**i.^r--f\jrr- * jr V^>^V^ M ^ > ^ M ^^y'\^ > ^*\_J^E J ^A^ 1 -^A--' 
 
 transform ourselves into beasts ! - 
 
 284. slight] Ff, light Qq. 285. and so] Ff, and Qq. 285-287. Drunk) 
 , . . shadow !} omitted Q I. 288. if thou'} thou Q 3. 295, 296. O God} 
 Q I ; O Q 2, 3 ; Oh Ff. 298. pleasance, revel} Revell, pleasure Qq. 
 
 tion. Steevens, Furness, and Rolfe usual stronghold for such fables. See 
 
 pass this difficulty by. The proverb below, in. i. 49. 
 
 occurs in the Earl of Surrey's Poems 285, 286. speak parrot} talk idly. 
 
 (Aldine ed., p. 7), 1557: "I know Compare Chapman, Widow? s Tears, 
 
 how to deceive myself with others help ; Act Vv : "I am seated in the throne of 
 
 And how the lion chastised is, by beat- justice, and I will doe justice : I will 
 
 ing of the whelp." Other references not heare him . . . and moreover, put 
 
 might be given. See Notes and Queries, you in mind in whose presence you 
 
 May 26, i&94,&nd Athentzum, February stand ; if you parrat to me longer, goe 
 
 10, 1900. The proverb is not in any to." 
 
 of the English collections (including 287. fustian} nonsense. Cotgrave has 
 
 Hazlitt's) except Herbert's Jacula " Barragouin : Pedlar's French, fustian 
 
 Prudentium, 1640. It is explained in language; any rude gibble-gabble . . ; 
 
 TopselPs History of Four-footed Beasts Barragoiiiner : To speak fustian : to use 
 
 (1607), who refers to Albertus Magnus, a language that nobody understands." 
 
 who died in 1280. The proverb has In Lyly's Mydas, iv. Hi., when Petulus 
 
 thus a venerable antiquity, and will talks hunting language, Minutius says, 
 
 probably be traced back to the Physio- " This is worse than fustian." 
 logus of the Alexandrian School. It is 298. pleasance} festivity, merriment 
 
 not in Pliny's Natural History, the with others. Compare Spenser, Faerie 
 
 8
 
 114 
 
 OTHELLO 
 
 [ACT ii. 
 
 I ago. Why, but you are now well enough : how came 300 
 
 you thus recovered ? 
 
 Cas./tt hath pleased the devil drunkenness to give 
 
 Cplace to the devil wrath: oneunperfectness 
 
 shows me another, to .make me frankly despise 
 
 s^-^S^&> 3 5 
 
 I ago. Come, you are too severe a moraler : as the 
 
 time, the place, and the condition of this country 
 stands, I could heartily wish this had not be- 
 fallen ; but since it is as it is, mend it for your 
 own good. 310 
 
 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 
 lem all. To be now a sensible man, by and 
 
 md presently a beast ! O strange ! 3 1 
 Every inordinate cup is unblessed, and the 
 gredient is a devil. 
 
 lago. Come, come, good wine is a good familiar 
 
 307. and] omitted Qq. 308. not] not so Q I, 2. 315. strange.'] 
 omitted Qq. 316. inordinate] unordinate Q I. 316, 317. ingredient] Ff, 
 ingredience Qq. 
 
 protest to you I am unperfect " ; and 
 again, Cynthia's Revels, III. ii., "Like 
 an unperfect prologue," etc. 
 
 306. moraler} moralizer. Rolfe 
 points out " moral "= moralize, in As 
 You Like It, ii. vii. 29. 
 
 313. Hydro] Shakespeare alludes to 
 the many-headed dragon of Greek 
 mythology again in 1 Henry IV, V. iv. 
 25, and Coriolanus, III. i. 93. A very 
 common metaphor. 
 
 315. presently] immediately after, 
 very soon. Compare II. i. 214. 
 
 316. unblessed} accursed; asinv. i. 34. 
 318. familiar] There may be a play 
 
 here on the meaning of this word, 
 
 Queene, I. ii. 30: " Faire seemely pleas- 
 aunce each to other makes," and Ben 
 Jonson : "Content: good sir, vouch- 
 safe us your pleasance" (good company), 
 Every Man out of Humour, IV. vi., 1599. 
 303. unperfectness] deficiency, Not 
 synonymous with imperfection, if the 
 adjective be considered. It means 
 rather the absence of perfectness, where 
 the thing spoken of is nothing without 
 it, and is therefore a much stronger 
 term. Compare Sonnet xxiii. : "As an 
 unperfect actor on the stage Who with 
 his fear is put beside his part." And 
 Ben Jonson, Every Man out of Humour, 
 Induction: "Enter Prologue ... I
 
 ' 
 
 sc. in.] THE MOOR OF VENICE 115 
 
 creature, if it be well used : exclaim no more 
 against it. And, good lieutenant, I think you 320 
 think I love you. 
 
 Cas. I have well approved it, sir. I drunk 1 
 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 may 325 
 say so in this respect, for that he hath devoted 
 and given up himself to the contemplation, mark, 
 and devotement of her parts and graces : confess 
 yourself freely to her ; importune her : Shell help 
 to put you in your place again : she is of so free, 330 
 so kind, so apt, so blessed a disposition, that 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, 
 
 323, 324. some time] Qq, a time Ff. 324. man] omitted Q I ; /'//] Qq ; 
 /Ff, Rowe. 327,328. mark, and] Globe ; mark and Qq, Cambridge ; mark: 
 and Ff. 328. devotement] deuotement Q I, F I ; devotement F 2, 3, Q 3 ; denote- 
 ment Q 2, Theobald, Globe, etc. 329, 330. her; she '// help to] Qq, Steevens, 
 Craig ; her help to Ff, Globe, etc. 330. of] omitted Qq. 331. that she] 
 Qq, Capell et seq., Craig; she Ff, Globe, Cambridge. 333. broken joint] 
 braule Q I. 
 
 "devil." Compare Love's Labour's The elder copies leave us no choice as 
 Lost: "Love is a familiar; Love is a to text. Some editors find fault with 
 devil" (i. ii. 177). the repetition devoted himself to the 
 3251] See ii. i. 74, and note. devotement. But on other occasions 
 328. devotement] There has been we are told this is "quite in Shake- 
 confusion in the collation here. F i, speare's style." New Eng. Diet, has a 
 Q i read "deuotement." Theeditorsof referencefor "devotement"("theaction 
 the Cambridge Shakespeare (reading of devoting, or fact of being devoted, 
 "denotement" in text) collate " deuote- devotion, dedication ") to Ainsworth's 
 men t" Q i, F i, Q 2, whereas Q 2 reads Annots. on Pentateuch, 1622. Com- 
 "denotement" (followed by Theobald), pare French Devourment : a vowing, or 
 Again, Ne 10 Eng. Diet, gives F I " de- devotion. Shakespeare meant more 
 votement," and both Quartos (wrongly) than Theobald's word could possibly 
 "denotement," while at the latter word mean. He meant "worship" of her 
 the reference is overlooked in its good parts. 
 
 proper place. Furness, again, collates 334. splinter] to bind up with splints. 
 
 deuotement] Q I, 2 ; the British Mu- See Richard III. li. ii. 118. 
 seum Q 2 has distinctly "denotement."
 
 116 OTHELLO [ACT n. 
 
 my fortunes against any lay worth naming, this 335 
 ^ crack of your love shall grow stronger than it 
 was before. 
 
 Cas. You advise me well. 
 
 lago. I protest, in the sincerity of love and honest 
 
 kindness. 340 
 
 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 ; 345 
 I must to the watch. 
 
 Cas. Good night, honest lago. \Exit. 
 
 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 350 
 
 To win the Moor again ? For 'tis most easy 
 
 342. / will} Ff, will I Qq. 344. here} omitted Ff. 350. Probal} Prob- 
 able Rowe. 
 
 335. lay} wager, as in Cymbeline, I. timely undertaker, to the greatest jus* 
 
 iv. 159, and 8 Henry VI. v. ii. 27. tice of this kingdom," Dedn. to 
 
 341. betimes in the morning} early in Poetaster (Folio, 1616). See also 
 the morning. Shakespeare has this Isaiah xxxviii. 14, " I am in trouble 5 
 expression again in Measure for Meas- undertake for me." 
 
 ure, IV. iii. 49, and 1 Henry IV. II. 348. what Y] who is. Compare Meas- 
 
 iv. 600. Haifa century later it was a ure for Measure, V. 472, etc., and 
 
 favourite with Pepys, who varies his above, line 290. 
 
 early rising to "betimes," "pretty 350. Probal} probable, provable, 
 
 betimes," "very betimes, "and "mighty Halliwell quotes from Sampson's Vow 
 
 betimes." Breaker, 1636 : " Didst thou not make 
 
 342, 343. undertake for me} take up me draw conveighances ? Did not th' 
 my business for me. Used absolutely assurance of thy lands seem proball ? " 
 in this sense in Ben Jonson's New Inn Collier instances contemporary contrac- 
 (iv. iii. 374^) : " O yes, 'tis profitable, tions "miseral" for miserable, and 
 and of use. It [Love] makes us fierce, "varial" for variable (Furness). A 
 and fit to undertake." Compare the very improper contraction, since it 
 substantive below (iv. i. 197), of which should alter the meaning. The play 
 a good instance occurs also in Jonson : above referred to has other echoes of 
 "for whose innocence, as for the Othello. 
 
 author's, you were once a noble and
 
 sc.ni.] THE MOOR OF VENICE 117 
 
 The inclining Desdemona to subdue 
 
 In any honest suit. She's framed as fruitful 
 
 As the free elements. And then for her 
 
 To win the Moor, were 't to renounce his baptism, 
 
 All seals and symbols of redeemed sin, 
 
 His soul is so enfetter'd to her love, <^<Jto 
 
 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, 361 
 
 Directly to his good ? Divinity of hell ! 
 
 When devils will the blackest sins put on, /(/^\ 
 
 They do suggest at first with heavenly shows, 
 
 s As I do now: for while this honest fool 365 
 
 Plies Desdemona to repair his fortunes, 
 
 And she for him pleads strongly to the Moor, 
 
 I '11 pour this pestilence into his ear, 
 
 355. were V] Qq, -were Ff. 363. the] their Qq, F 4, Rowe, Steevens, Malone. 
 365. while} Q i, F 3, 4 ; whiles F I, 2 ; -whilst Q 2, 3. 366. fortunes} Qq, 
 Fortune Ff. 
 
 352. inclining} kindly disposed, giving reference to Macbeth, I. iii. 
 
 gracious. "Compliant" (Malone). 140, as a parallel use. 
 
 353- fruitful} abundant, plenteous; 361, 362. parallel . . . to his good~\ 
 
 hence generous. Compare (for adverb) course directly parallel to, or level with, 
 
 AWs Well, II. ii. 73, and Lear, iv. vi. his welfare. 
 
 270. The sense of "fertile" belongs 363, 364.] For this sentiment, com- 
 
 to the word elsewhere in Shake- pare Love's Labour s Lost, iv. iii. 257 : 
 
 speare. ' ' Devils soonest tempt, resembling 
 
 354. As the free elements} Schmidt spirits of light." And Measure for 
 
 says, "as the air that blows on any- Measure, u. iv. 16 : " Let 's write good 
 
 body"; Johnson explains "out of angel on the devil's horn : 'Tis not the 
 
 which all things are produced." The devil's crest, " where " 'Tis " is probably 
 
 word had very wide and vague, as well a false reading for " Is't. " 
 
 as technical, uses ; which are enhanced 363. put on~\ encourage, thrust for- 
 
 by the chance rendering, singular or ward. See II. i. 312, and Macbeth, iv. 
 
 plural. See above, II. i. 45. All the iii. 239. 
 
 operative causes of nature. 364. suggest] tempt, seduce. Com- 
 
 357. enfetter'd'] See note II. i. 18. pare Richard II. III. iv. 75 ; and 
 
 360. function} Schmidt says, "the "tender youth is soon suggested, " Two 
 
 operation of the mental faculties"; Gentlemen, ill. i. 34.
 
 118 
 
 OTHELLO 
 
 [ACT H. 
 
 That she repeals him for her_bpdy'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 RODERIGO. 
 
 How now, Roderigo ! 
 
 Rod. II do follow here in the chase, not like a 375 
 hound that hunts, but one that fills up the cry. 
 My money is almost spent ; I have been to-night 
 exceedingly well cudgelled ; and I think the 
 issue will be, I shall have so much experience 
 for my pains; and so, with no money at 380 
 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 ? 
 
 374. enmesh] Q I, 2 ; enmashfi. 380-382. pains . . . Venice'] Ff ; paines, 
 as that comes to, and no money at all, and with that wit returne to Venice. 
 Q I ; paines, and so no many at all, and with a little more wit returne to Venice. 
 Q 2, 3 ; as above, omitting again Steevens, Malone, Knight. 
 
 alone. In those days a hound with a 
 fine voice was greatly appreciated. The 
 identical phrase is found in Samuel 
 Harsnet, Declaration of Egregious 
 Popish Impostures, 1603, p. 89, "little 
 beagles to fill up the cry." Compare 
 this passage from Carleton's letter to 
 Chamberlain, Dec. II, 1603 (Court and 
 Times of James I. i. p. 30): "The 
 Lord Cobham, who was now to play 
 his part ... so outprayed the company 
 that helped to pray with him, that a 
 stander-by said, ' he had a good mouth 
 in a cry, but was nothing single.' " 
 
 369. repeals'] recalls. The literal 
 sense 
 
 372. pitch'] " Pitch will defile," 
 Beaumont and Fletcher, Women 
 Pleased, IV. i. From Ecclesiasticus 
 xiii. I. This line takes a commanding 
 place amongst lago's malignant senti- 
 ments. 
 
 374. enmesh] Our form of the word 
 is " immesh." 
 
 376. cry] a pack of hounds giving 
 tongue. See Midsummer Nighfs 
 Dream, iv. i. 122, 129. A hound that 
 fills up the cry is not for hunting, but 
 one who is in the pack for his voice
 
 sc. in.] THE MOOR OF VENICE 119 
 
 Thou know'st we work by wit and not by witch- 
 craft, 385 
 And wit depends on dilatory time. 
 Does 't not go well ? Cassio hath beaten thee, 
 And thou by that small hurt hast cashier'd 
 
 Cassio : 
 
 Though other things grow fair against the sun, 
 Yet fruits that blossom first will first be ripe: 390 
 Content thyself awhile. By the mass, ^tis morn- 
 
 ^f*t* **'l*i J ,*.* ;_ *-~-* .^^^ \ 
 
 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: 395 
 
 My wife must move for Cassio to her mistress ; 
 I '11 set her on ; 
 
 Myself the while to draw the Moor apart, 
 And bring him jump when he may Cassio find 
 Soliciting his wife : ay, that 's the way ; 400 
 
 Dull not device by coldness and delay. {Exit. 
 
 390. Yet] Bui Q I. 391. By the mass} Qq, In troth Ff. 394. Two] 
 Ff, Some Qq. 398. the while] Theobald ; awhile Q I ; a while Ff, Q 2, 3. 
 401. device} Ff, devise Qq. 
 
 389, 390.] "The rest of our plan is The above is tantamount to that of 
 
 progressing favourably, but it was to be Hudson. 
 
 expected that that part which got the 399. jump} exactly in point of time, 
 
 first opportunity should first be ripe. Compare Hamlet, I. i. 65: "jump at 
 
 Be patient for a while, and all will go this dead hour." So in The Spanish 
 
 well." Such seems to be the meaning. Tragedy, "all falls out for our purpose, 
 
 Various paraphrases have been given all hits jump." 
 which pursue the metaphor too closely.
 
 120 
 
 OTHELLO 
 
 [ACT in. 
 
 ACT III 
 
 SCENE I. Cyprus. 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 Clown. 
 
 Clo. Why, masters, have your instruments been in 
 Naples, that they speak i' the nose thus ? 
 
 3. have] Ff, ha Qq ; been in] F 4, Steevens, 1793 *' seq.; bin at Qq ; bin in 
 F i, 2, 3. 4. speak] squeak Collier, 2nd ed. (MS.). 
 
 1. Castle] "We alighted at Fama- 
 gusta, . . . The walles are faire and 
 new . . . these walles did the Venetians 
 make. They have also on the hauen 
 side of it a Castle, and the hauen is 
 chained, the citie hath only two gates. 
 . . . The Venetians send every two 
 yeeres new rulers, which they call 
 Castellani. The towne hath allowed 
 it also two gallies continually armed 
 and furnished," John Locke, Voyage 
 to Jerusalem, 1553; Hakluyt, ii. 220 
 (reprint, 1810), 1599. 
 
 2. bid ' ' Good morrow "] A concert 
 under the window was very usual in 
 England to arouse the inmates in the 
 morning on special occasions. See 
 "Hunt's up," Romeo and Juliet, III. v. 
 54, and the notes thereto for references 
 to the wakening sportsmen by music. 
 Early reference to the custom of waking 
 the bride on the morning of her wedding 
 is found in the old ballad in Collier's 
 Roxburghe Ballads, " The Bride's Good 
 Morrow." This is mentioned as a tune 
 in Ancient Ballads and Broadsides (ed. 
 1870, p. 17), circa 1570. And for the 
 custom, see Barry's Ram-Alley, Act v. 
 This was the orthodox " good -morrow," 
 as proved by the tune's name, and not 
 
 that of greeting a married couple the 
 morning after the wedding, which some 
 commentators think is referred to here. 
 Cotgrave has " Resveil: A Hunts-up, 
 or morning Song for a new married 
 Wife, the day after the Marriage." 
 Othello is, however, included in this 
 greeting alone. Compare The Sun's 
 Darling (Ford and Dekker) : "another 
 did but peep into England, and it cost 
 him more in good-morrows, blown up 
 to him under his window by drums and 
 trumpets, than his whole voyage," IV. i. 
 It is probable that such a ceremonial 
 greeting alone is referred to here. For 
 later examples of the after-marriage 
 custom, see Brand's Pop. Ant., ed. 
 1882, ii. 176. Mildmay, Earl of West- 
 moreland, has a poem (1648) entitled 
 "A Reveille Mattin, or Good Morrow 
 to a Friend." Lyly's Pappe with an 
 Hatchet (1588-1589) opens with the 
 words "Good morrow, goodman 
 Martin, good morrow : will ye anie 
 musique this morning ? " 
 
 4. Naples . . . nose] A reference, 
 undoubtedly, to the venereal disease, 
 known also as the Neapolitan disease, 
 from its having first appeared in Europe 
 at the siege of Naples, in the year 1528.
 
 \ 
 
 sc.i.] THE MOOR OF VENICE 121 
 
 First Mus. How, sir, how ? 5 
 
 Clo. Are these, I pray you, wind-instruments ? 
 
 First Mus. Ay, marry, are they, sir. 
 
 Clo. O, thereby hangs a tail. 
 
 First Mus. Whereby hangs a tale, sir ? 
 
 Clo. Marry, sir, by many a wind-instrument that I 10 
 
 know. But, masters, here 's money for you : 
 
 and the general so likes your music, that he 
 
 desires you, of all loves, to make no more noise 
 
 with it. 
 
 First Mus. Well, sir, we will not. I 5 
 
 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. 
 
 6. pray y<ni\ Ff ; pray, cald Q i, 2 ; pray you, coldQ 3, Steevens. 8. tail] 
 tayle Qq, tale Ff. 9. tale} Ff, tayle Qq. 13. of all loves} Q i, Johnson, 
 Steevens ; for love's sake] Ff, Q 2, 3, Globe, Cambridge, etc. ; more] omitted F 2, 
 Q 3, F 3, 4. 20. up] Ff, omitted Qq. 20, 21. for I'll away:} 'fore all, 
 away, Anon. MS. (apud Jennens), and hye away Hanmer, fly away Ritson conj. 
 21. into air] omitted Q I. 
 
 See Cotgrave in v. Vtrole. References II. ii. 154. Nares collected numerous 
 
 are only too frequent in writers of the examples, e.g.: "For all the loves on 
 
 time. Compare Timon, iv. iii. 157. earth, Hodge, let me see it" (Gammer 
 
 Johnson noted this, which cannot be Carton's Needle, v. 2), 1575 ; and 
 
 overlooked. " Conjuring his wife, of all loves, to 
 
 10.] The joke here is too obvious to prepare cheer fitting for such honourable 
 
 need notice. But it is surely better to tender-men," Honest Whore [Dodsley's 
 
 leave it alone than say it refers to Old Plays, ii. 76, and iii. 267]. 
 
 " ribbons often attached to wind instru- 17, 18.] Two puns have been dis- 
 
 ments," as a recent editor does. covered here: "to't" ("toot"), and 
 
 13. of all loves'] This reading is "general" ("public"). Furness thinks 
 
 authorised by the first Quarto, and "one is quite as likely, or as unlikely, 
 
 more expressive than the Folio, "for as the other." 
 
 love's sake." See Merry Wives, ii. ii. 20. put up . . . /'//] As the Clown 
 
 119, and Midsummer Night's Dream, remains, and the Musicians go, the
 
 122 
 
 OTHELLO 
 
 [ACT in. 
 
 Cas. Dost thou hear, mine honest friend ? 
 
 Clo. No, I hear not your honest friend ; I hear you. 
 
 Cas. Prithee, keep up thy quillets. There 's a poor 
 
 piece of gold for thee : if the gentlewoman that 2 5 
 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. 
 
 22. hear, mine] Theobald, Collier, White, Craig ; hear me, mine Ff ; heart 
 my Qq ; hear, my Capell, etc., Globe, Cambridge. 26. general's wife] Qq, 
 general Ff. 30. seem to] soon so Singer (ed. 2) MS., seem so to Collier (ed. 2) 
 MS. 31. Cas. Do . . . friend] omitted Ff. 
 
 reading perhaps should be "ye '11," i.e. 
 ' ' ye " must away. Several suggestions 
 (ut supra) have been made, but this seems 
 simpler. " Put up your pipes " may be 
 taken proverbially : " // esf au bout de 
 sa corde : He can do no more, he can 
 go no further : he may put up his pipes, 
 go shake his ears" (Cotgrave). The 
 contraction "ye '11" occurs in Love's 
 Labour's Lost, I. ii. 54. 
 
 24. quillets] sly tricks in argument. 
 "Certainly a contraction of quidlibet" 
 (Skeat). See Hamlet, v. i. 108. A 
 legal term. It occurs in Stanyhurst's 
 Virgil, 1584 (Arber's reprint, p. 45). 
 A transitional form may be found in 
 Guilpin's Skialethtia, Satire ii., 1598: 
 "Then what's a wench but a quirke, 
 quidlet case, Which makes a painter's 
 pallat of her face ? " 
 
 29. stirring] out of bed in the morn- 
 ing, as in Lucrece, 1280, and Richard 
 II. ill. ii. 36. The Clown quibbles on 
 this sense in "stir," "to move," 
 "change place." Schmidt notices 
 this. 
 
 30. seem to~\ put on a seeming to, 
 make ready to, or arrange, or begin to 
 do a thing. Such was the sense this 
 construction was used in. Compare 
 Merchant of Venice, n. iv. 1 1, and Mid- 
 
 summer Night's Dream, III. i. 19. 
 Compare Ben Jonson, Alchemist, i. i. 
 IT a: "a loadstone To draw in 
 gallants that wear spurs : the rest 
 they '11 seem to follow " ; and Marston, 
 Eastward Ho, I. i. (Bullen, iii. 19) : 
 " Give me a little box o' the ear, that 
 I may seem to blush" (doubtful here) ; 
 and Captain Smith, Virginia (Arber, 
 p. 414), 1608 : " The people at first 
 with great fury seemed to assault 
 us, yet at last with songs . . . be- 
 came very tractable." Several altera- 
 tions and suggestions have been made 
 here in notes, but none to the purpose. 
 The verb "pretend" had parallel 
 usages. I find this expression earlier 
 in Peele's Sir Cly onion (ante 1 590 ?) : 
 "as his page in these affairs would 
 seem me to entreat " (i.e. arrange to 
 entertain me as his page), ed. 1874, 
 p. 522. And again : " Never seem for 
 to persuade " (i.e. attempt or begin to 
 persuade), p. 529. And "Why, whither 
 runs Clamydes ? Sir Knight, seem to 
 stay him" (arrange to have him 
 stopped), p. 531. In these passages, 
 Dyce doubts the reading, unjustifiably ; 
 while Bullen, Peele's latest editor, says 
 it is awkward, but not corrupt.
 
 sc. i.] THE MOOR OF VENICE 123 
 
 Enter I AGO. 
 
 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 3 5 
 
 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 Iago?[ 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 soon be well. 
 The general and his wife are talking of it, 4 5 
 
 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 
 
 44. soon] Qq, Craig ; sure Yf, Globe, Cambridge. 
 
 37. access] The accent is on the last Florentine (i. i. 20). He means he 
 syllable, as elsewhere in Shakespeare, never found one of his own countrymen 
 where it is determinable, except in more kind, etc. 
 
 Hamlet, n. i. no. 44. displeasure] disfavour, as below, 
 
 38. mean] occurs oftener in the plural m. iii. 43. The meaning is "the dis- 
 in Shakespeare. favour you are in. " 
 
 39. converse] conversation. Accented 48.] See note at II. iii. 281. 
 
 as here in Hamlet, n. i. 42, and Love's 48. affinity] " Affinitt: Affinity, kin- 
 
 Laoour's Lost, v. ii. 745. dred, alliance, nearness " (Cotgrave). 
 
 42. Florentine] lago was a Venetian Not elsewhere in Shakespeare, 
 (in. iii. 201, 202). Cassio was a
 
 124 
 
 OTHELLO 
 
 [ACT in. 
 
 He might not but refuse you ; but he protests he loves 
 you, 
 
 And needs no other suitor but his likings 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 Desdemon alone. 
 Emit. Pray you, come in : 55 
 
 I will bestow you where you shall have time 
 
 To speak your bosom freely. 
 
 Cas, I am much bound to you. 
 
 \Exeunt. 
 
 49.] First you omitted Q 2, 3. 51. To . . . front] omitted Ff. 55. 
 Desdemon] Ff, Rowe, Dyce (ed. 3); Desdemona Qq, etc. , Globe, Craig ; you] 
 omitted F 2, 3, 4. 57. Cas. / . . . you} omitted Q i. 
 
 51. To take . . . front] A classical 
 proverb of reverend antiquity, found in 
 most writers of this time, but not else- 
 where in Shakespeare. Take time 
 (opportunity, occasion, fortune) by the 
 forelock (or front) for she is bald behind. 
 ' ' Occasio prima sui parte comosa, 
 posteriori parte calva, quam si occu- 
 paris teneas ; elapsem semel, non 
 ipse Jupiter possit reprehendere." It 
 is found in Phsedrus' Fables, and in 
 Cato's writings ; and it occurs both in 
 French and Spanish. It is in Rabelais, 
 Gargantua, i. 37 (circa 1530). Com- 
 pare Peele, Battle of Alcazar, n. iii., 
 1594: "I doubt not but will watch 
 occasion, And take her foretop by the 
 slenderest hair" ; Ben Jonson, Cynthids 
 Revels, iv. i., 1601 : "Let's take our 
 time by the forehead " ; Dekker, i. , 
 Honest Whore, i. 12, 1604: "Talk 
 not of happiness till your closed hand 
 Have her by the forehead like the lock 
 of Time " ; Bacon, Essay of Delays 
 (Arber, p. 525), 1625: "Occasion (as 
 
 it is in the common verse) turneth a 
 bald noddle, after she hath presented 
 her locks in front and no hold taken." 
 Greene used it as early as Peele, if not 
 earlier. 
 
 55. Desdemoti] The Quartos always 
 read Desdemona. The Folios avail 
 themselves of the variant for the sake 
 of the metre, six times [ill. i. 56; III. 
 iii. 54 ; iv. ii. 41 ; V. ii. 204 ; v. ii. 281 
 (twice)]. I have followed the Folios 
 except in the last instance (q.v. ). 
 Compare ' ' Plelen " and ' ' Helena," Mid- 
 summer Nighfs Dream ; ' ' Philomel " 
 and "Philomela," Titus Andronicus. 
 
 56. bestow you] conduct you to a 
 place. A common use in Shakespeare : 
 ' ' which way should he go ? how should 
 I bestow him?" Merry Wives, IV. ii. 43. 
 
 57. bosom] inmost thoughts. Com- 
 pare Winters Tale, IV. iv. 574. See 
 Beaumont and Fletcher, Wit at Several 
 Weapons, n. : "The bosom of my pur- 
 pose."
 
 sc. ii.] THE MOOR OF VENICE 125 
 
 SCENE II. A Room in the Castle. 
 
 Enter OTHELLO, lAGO, and Gentlemen. 
 
 Oth. 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 
 
 Oth. This fortification, gentlemen, shall we see 't ? 5 
 
 Gent. We '11 wait upon your lordship. \Exeunt. 
 
 SCENE III. Before the Castle. 
 
 Enter DESDEMONA, CASSIO, and EMILIA. 
 
 Des. Be thou assured, good Cassio, I will do 
 
 All my abilities in thy behalf. 
 
 EmiL Good madam, do : I warrant it grieves my 
 husband. 
 
 As if the case were his. 
 Des. O, that 's an honest fellow. Do not doubt, Cassio, 5 
 
 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 : I o 
 
 2. senate] Ff, State Qq. 3. on] to Q 2, 3. 6. We '11] F 3, 4, etc.; We 
 Qq ; Well F I ; Weel F 2. 
 
 Scene in. 
 
 3. warrant] Ff, know Qq. 4. case] Qq, cause Ff. IO. I know' t:] Ff, 
 O sir, Qq.
 
 126 OTHELLO [ACT m. 
 
 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, I 5 
 
 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 2 5 
 
 With Cassio's suit : therefore be merry, Cassio ; 
 
 For thy solicitor shall rather die 
 
 Than give thy cause away. 
 
 12. in strangeness] in strangest Qq ; farther] further Steevens (1793), Dyce, 
 Globe, Craig. 16. 'Circumstance] circumstances Ff. 28. thy] thee Q I. 
 
 12. strangeness] distant behaviour. "Who will not watch his hawk will 
 
 Compare Venus and Adonis, 310, never reclaim her, " Choice, Chance, and 
 
 etc. Change (Gros. p. 41), 1606. Examples 
 
 15, 16. Or feed . . . circumstance'] may be found in Beaumont and 
 
 " Or keep itself alive with such slight Fletcher's Rule a Wife, V. ; Women 
 
 support, or increase itself out of acci- Pleased, 11. ii., and Pilgrim, in. ii. So 
 
 dents." also Middleton : 
 
 19. doubt} suspect, fear. See Hamlet, " She railed upon me, when I should 
 
 I. ii. 256. sleep, 
 
 23. watch him tame] See Troilus And that 's you know, intolerable, 
 
 and Cressida, III. ii. 46. Hawks were for indeed 
 
 tamed by being kept awake, but the 'Twill tame an elephant " 
 
 method was supposed, with reason, to (Anything for a Quiet Life, I. L). 
 
 apply to all animals. Steevens gives 24. shrift] Confessional coupled with 
 
 several references to the hawking meta- penance or absolution, 
 phor. A few earlier may be instanced :
 
 sc. in.] THE MOOR OF VENICE 127 
 
 Enter OTHELLO and lAGO, at a distance. 
 
 Emit. Madam, here comes my lord. 
 
 Cas. Madam, I '11 take my leave. 30 
 
 Des. Why, stay and hear me speak. 
 
 Cas. Madam, not now : I am very ill at ease, 
 
 Unfit for mine own purposes. 
 
 Des. Well, do your discretion. [Exit Cassio. 
 
 I ago. Ha ! I like not that. 3 5 
 
 Oth. What dost thou say ? 
 
 lago. Nothing, my lord : or if I know not what. 
 Oth. Was not that Cassio parted from my wife ? 
 lago. Cassio, my lord ! No, sure, I cannot think it, 
 
 That he would steal away so guilty-like, 40 
 
 Seeing you coming. 
 
 Oth. 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. 
 Oth. Who is't you mean? 45 
 
 Des. Why, your lieutenant, Cassio. Good my lord, 
 
 If I have any grace or power to move you, 
 
 His present reconciliation take; 
 
 For if he be not one that truly loves you, 
 
 That errs in ignorance and not in cunning, 50 
 
 I have no judgement in an honest face : 
 
 I prithee, call him back. 
 
 31. Why] Ff, Steevens, Globe, Craig ; Nay Q 2, 3, Cambridge. 33. 
 
 purposes] Ff, purpose Qq. 40. steal} sneake Q I. 41. you\ Qq, F 3, 4 ; 
 your F l, 2. 
 
 48. reconciliation] "The submission 50. cunning] knowledge, forethought, 
 he makes in order to be reconciled." The old sense, as in Trot/us, V. v. 
 Johnson. 41.
 
 128 OTHELLO [ACT in. 
 
 Otk. Went he hence now ? 
 
 Des. Ay, sooth ; so humbled, 
 
 That he hath left part of his grief with me, 
 
 To suffer with him. Good love, call him back. 5 5 
 
 Oth. Not now, sweet Desdemon ; some other time. 
 
 Des. But shall 't be shortly ? 
 
 Oth. The sooner, sweet, for you. 
 
 Des. Shall 't be to-night at supper ? 
 
 Oth. No, not to-night. 
 
 Des. To-morrow dinner then ? 
 
 Oth. I shall not dine at home ; 
 
 I meet the captains at the citadel. 60 
 
 Des. Why then to-morrow night ; or Tuesday morn ; 
 
 On Tuesday noon, or night ; on Wednesday morn : 
 
 I prithee, name the time ; but let it not 
 
 Exceed three days : in faith, he 's penitent ; 
 
 And yet his trespass, in our common reason 65 
 
 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 could ask me, that I should deny, ?Q 
 
 53. Ay, sooth] Capell, I sooth Ff, Yes faith Qq, In sooth Rowe. 55. To 
 
 suffer} I suffer Q I. 56. Desdemon] F I, 2, 3, Q 2, Knight, Singer ; Desdemona 
 Q I, 3, F4, Rowe, etc. 6l. or] Qq, on Ff. 62. noon] morneQq; night; 
 on] Ff, night, or Qq. 66. examples'] Qq, example Ff. 67. their] Rowe ; 
 her Qq, Ff. 70. could} Qq, Steevens, etc., Craig ; would Ff, Dyce, Globe, 
 Cambridge ; should} Qq, F I ; would F 2, 3, 4, Rowe. 
 
 53. sooth] in sooth, in truth. Fre- fence if " the wars " be taken as "war" 
 
 quently used by Shakespeare without generally. 
 
 "in," as in Twelfth Night, II. i. II ; 67. not almost a fault} hardly, or 
 
 II. iv. 91, etc. scarcely a fault. Compare Comedy of 
 
 67. their] Rowe's suggestion for Errors, v. i. 181 : "I have not 
 
 "her" of old editions is generally breathed almost since I did see it." 
 accepted. "Her" is capable of de- 68. check} rebuke, as in I. i. 149.
 
 sc. in.] THE MOOR OF VENICE 129 
 
 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 7 5 
 
 Oth. Prithee, no more : let him come when he will ; 
 I will deny thee nothing. 
 
 Des. 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 80 
 
 To your own person : nay, when I have a suit 
 Wherein I mean to touch your love indeed, 
 It shall be full of poise and difficult weight, 
 And fearful to be granted. 
 
 Oth. I will deny thee nothing : 
 
 Whereon, I do beseech thee, grant me this, 85 
 
 To leave me but a little to myself. 
 
 Des. Shall I deny you ? no : farewell, my lord. 
 
 Oth. Farewell, my Desdemona : I '11 come to thee straight. 
 
 71. mammering] mam? ring f, Q 2, 3 ; muttering Q r. 75. Trust me] 
 Birlady Q I ; much ] much, Q 2, 3 ; much. Ff, Q i. 83. difficult -weight} 
 difficulty Q i. 88. Desdemona] Desdemon Dyce (ed. 2). 
 
 71. mammering] hesitating. Com- does not seem apparent. Everything 
 pare Drant's-#i?ra(Sat. in. 2): "when Desdemona says is of some purpose, 
 she daygnes to send for him, then 80. peculiar] private, belonging to 
 mammeringe he doth doute" (1567), one person only. See IV. i. 70. 
 cited by Steevens. All the other ex- 83. poise] weight in the scales or 
 amples quoted are of the expression balance. 
 
 "in a mammering," which was fairly 83. difficult weight] difficult to be 
 
 common, and occurs in Palsgrave's weighed or estimated. The metaphor is 
 
 Acolastus, 1540. continuous in the line, and implies the ad- 
 
 72. That came, etc.] See note at justment of a very serious question. The 
 I. ii. 52. adjective "difficult" occurs nowhere else 
 
 75. / could do much ] Is this a in Shakespeare, and was uncommon, 
 slight ebullition of temper? If it has being long preceded by the substantive. It 
 any special reference or significance, it is,however, in Ryder's Dictionary( 1589), 
 
 9
 
 130 OTHELLO [ACTIII. 
 
 Des. Emilia, come. Be as your fancies teach you ; 
 
 Whate'er you be, I am obedient. 90 
 
 \Exeunt Desdemona and Emilia. 
 Oth. Excellent wretch ! Perdition catch my soul, 
 
 But I do love thee ! and when I love thee not, 
 
 Chaos is come again. 
 I ago. My noble lord, 
 
 Oth. What dost thou say, I ago ? 
 
 I ago. Did Michael Cassio, when you woo'd my lady, 95 
 
 Know of your love ? 
 
 Oth. He did, from first to last : why dost thou ask ? 
 I ago. But for a satisfaction of my thought ; 
 
 No further harm. 
 
 Oth. Why of thy thought, lago ? 
 
 I ago. I did not think he had been acquainted with her. I oo 
 Oth. O, yes, and went between us very oft. 
 lago. Indeed ! 
 Oth. Indeed ! ay, indeed : discern'st thou aught in that ? 
 
 Is he not honest ? 
 
 lago. Honest, my lord ? 
 
 Oth. Honest ! ay, honest. 
 
 89. Be] Ff, be it Qq. 91. wretch] wench Theobald. 95. you] he F i. 
 98. thought] thoughts Q I. 100. her] Qq ; Air F I ; it F 2, 3, 4, Rowe. 
 IOI. off] often Q I. 103. ay] Rowe ; /Ff, Q 2, 3 ; omitted Q I ; in] of Rowe. 
 104-107. Is he not . . . echoes me] divided as in Steevens (1793), Globe Craig ; 
 in Qq each speech forms a line separately except (104) lago. Honest . . . ay, 
 honest which unite to one line ; in Ff each speech forms a line as in Cambridge j 
 in both Qq, Ff, Oth. Think . . , echoes me as one line. 
 
 91. wretch] An affectionate term, faction for the poor kind wretch, who 
 generally used with pity. Compare is out of his wits for my sake." 
 Romeo and Juliet, I. iii. 44, and An- 93. Chaos is come again] The same 
 tony and Cleopatra, V. ii. 306. Ben expression occurs in Venus and Adonis, 
 Jonson uses it three times in his Al- line 2019: "For he, being dead, with 
 chemist : " Dapper. I cannot speak for him is beauty slain, And, beauty dead, 
 joy. Subtle. See, the kind wretch ! " black chaos comes again. " 
 v. ii. 68a ; and again at IV. i. 49^, and 102. et setj.] Ford made free use of 
 II. i. 243. See also Jonson's Bart, this powerful dialogue in Love's Sacri- 
 Fair, v. i.: "to invent some satis- fice, Act in. (printed 1633).
 
 sc. in.] THE MOOR OF VENICE 131 
 
 lago. My lord, for aught I know. 105 
 
 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 something: 
 I heard thee say but now, thou likedst not that, 1 1 o 
 When Cassio left my wife : what didst not like ? 
 And when I told thee he was of my counsel 
 In my whole course of wooing, thou criedst " Indeed ! " 
 And didst contract and purse thy brow together, 
 As if thou then hadst shut up in thy brain 115 
 
 Some horrible conceit : if thou dost love me, 
 Show me thy thought. 
 
 lago. My lord, you know I love you. 
 
 Oth. I think thou dost ; 
 
 And for I know thou 'rt full of love and honesty 
 And weigh'st thy words before thou givest them 
 breath, 120 
 
 Therefore these stops of thine fright me the more : 
 For such things in a false disloyal knave 
 Are tricks of custom ; but in a man that 's just 
 
 107. By . . . echoes'] By heaven he ecchoes Q I; Alas, thou eccho'st Ff ; why 
 dost thou ecchoe Q 2, 3. 108. his] Q i; thy Ff, Q 2, 3. 109. dost} didst 
 Q I. no. buf\ Qq, Steevens (1793), Craig; even Ff, Rowe, Dyce, Globe, 
 Cambridge. 113. /] Qq, ofFL 116. conceit} counsel! Qi, 119. And} 
 omitted F 2, 3, 4 ; thou'rt] Ff, thou art Qq. 120. givest}give Q i. 121. 
 fright} affright Q I. 
 
 114. purse} wrinkle, contract into the world, like a Dutch purse, with 
 
 wrinkles. Purses, made of soft stuff the mouth downwards, his beard the 
 
 and worn at the girdle, were more con- tassels, and he walks ... as melan- 
 
 spicuous formerly than now. There is choly as one ... in the counter." 
 
 a similar simile in Jonson's Every Man 1 1 6. conceit} conception, idea. 
 Out (v. iv. 1333) : "his face is, for all 
 
 A r v rjj< v 
 
 \W>V^ 
 
 V
 
 132 OTHELLO [ACT m. 
 
 They 're close dilations, working from the heart, 
 
 That passion cannot rule. 
 I ago. For Michael Cassio, 125 
 
 I dare be sworn I think that he is honest. 
 Oth. I think so too. 
 lago. Men should "be what they seem ; 
 
 Or those that be not, would they might seem none ! 
 Oth. Certain, men should be what they seem. 
 lago. Why then I think Cassio 's an honest man. 130 
 
 Oth. Nay, yet there 's more in this : 
 
 I prithee, speak to me as to thy thinkings, 
 
 As thou dost ruminate, and give thy worst of thoughts 
 
 The worst of words. 
 lago. Good my lord, pardon me : 
 
 Though I am bound to every act of duty, 135 
 
 124. They're] Ff, They are Qq ; close] cold 2, 3, 4, Rowe ; dilations'} Ff, 
 Q 2, 3, Rowe, Theobald, Jennens ; denotements Q I, Capell, Malone, Steevens 
 ( I 793) > delations Johnson, Globe, Cambridge, Craig. 126. be sworn] pre- 
 sume Q i ; sworn /] sworn / Lettsom conj. 127. whaf\ that Q i. 132. 
 as] omitted Q I. 134. words] word Q i. 
 
 124. dilations'] The reading of the passion (or emotion)." Upton, who 
 Folios. Johnson suggested " dela- reads "dilations," gives it the sense 
 tions," i.e. "accusations," which has "delayings," which Furness hesitatingly 
 been followed by most recent editors, accepts. There is little comfort to be 
 But the word in this sense is more got out of any reading. Malone says 
 recent than Shakespeare's time, and "delation" is notfound in any dictionary 
 the sense itself is not particularly ac- he has seen, but I find in Cockeram, 
 ceptable. The claims of the suggestion 1642: "Delation, an accusation or 
 are by no means of so paramount a secret complaint," which supports John- 
 nature as to warrant an alteration of son. Instances could be given to show 
 the original text. " Dilations " means that the spelling of "dilate " and " de- 
 enlargements, widenings, diffuse late " was arbitrary and interchange- 
 treatments, dilatings. The word is able. See Minshew's Dictionary : 
 in Florio : " Dilatione, a dilation, Letters of Elizabeth and James (Cam- 
 enlarging, or overspreading" (1598). den Soc.), p. 113, etc. 
 Holland, in PlutarcKs Morals, 1603, 128. seem none] "have no seeming 
 has: " The dilations of the arteries." of honesty" (Jennens). Johnson says : 
 These two instances are in New Eng, "no longer seem, or bear the shape 
 Diet.: "These secret expansions or of men." The former is the better 
 developments (of thought), spreading sense, the latter the less violent inter- 
 from the heart, that cannot govern its pretation.
 
 sc.m.] THE MOOR OF VENICE 133 
 
 I am not bound to that all slaves are free to. 
 CUtter my thoughts? Why, say they are vile and 
 
 false ; 
 
 : As where 's that palace whereinto foul things 
 Sometimes intrude not ? who has a breast so pure, 
 But some uncleanly apprehensions 140 
 
 Keep leets and law-days, and in session sit 
 ^_With meditations lawful? 
 Oth. 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 beseech you 145 
 
 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, 
 
 137. vile] Qq, vt!dFf. 139. a breast] Qq ; that breast Ff, Rowe. 140. 
 But some] Qq, Wherein Ff. 141. session] Qq ; sessions Ff, Rowe ; sit] Jit 
 Q 2, 3. 145, 146. you . . . perchance] Steevens (1793) ; you, . . .perchance 
 Qq, Ff ; you, Though I -perchance Johnson. 146. guess\ ghesse Qq. 148. 
 oft my] Qq et seq. ; of my Ff, Rowe, G. White. 149. that your -wisdom yet] 
 Q 2, 3, Globe ; 1 intreate you then Q I, Steevens (1793) ; that your wisdom Ff, 
 Rowe, Staunton. 
 
 139-142. who has . . . lawful?] of " since " or " inasmuch as " seems so 
 
 "Whose breast is so pure, but that certain here, that I think it must be 
 
 evil thoughts will not sometimes intrude admitted. If that be so, it will also 
 
 and sit, as it were, on the bench along- serve us in a previous passage (i. i. "Ji), 
 
 side of lawful meditations ? " For the where it vastly simplifies the meaning, 
 
 legal metaphor, compare Sonnet 30. A good example is quoted at III. iii. 
 
 The meaning is obvious enough, but 261, which I have discovered since 
 
 there is redundancy in line 141, which writing the above. I find another in a 
 
 is not, however, uncommon in Shake- letter of Chamberlain's (1617) in Court 
 
 speare. " Leet is otherwise called a and Times of James I. (ii. 14), where 
 
 Law day" (Blount's Glossographia}. the meaning " because " for " though " 
 
 Compare Taming of the Shrew, Ind. is certain : " My Lady Bennet would 
 
 ii. 89, for the only other use of the not vouchsafe ... to visit the Hague : 
 
 word in Shakespeare. but she had seen enough of that good 
 
 146. Though] requires the sense of town, though she was in a nest of 
 
 "since." "Vicious" means "wrong," hornets, as she told her friends and 
 
 or "faulty." Theobald suggested kindred, by reason of the boys and 
 
 "think" for "though."' The sense wenches, who much wondered at her."
 
 134 
 
 OTHELLO 
 
 [ACT in. 
 
 From one that so imperfectly conceits, 150 
 
 Would take no notice, nor build yourself a trouble 
 
 Out of his scattering and unsure observance. 
 
 It were not for your quiet nor your good, 
 
 Nor for my manhood, honesty, or wisdom, 
 
 To let you know my thoughts. 
 
 Oth. What dost thou mean ? 155 
 
 lago. Good name in man and woman, dear my lord, 
 
 Is the immediate jewel of their souls : 
 
 Who steals mypurse steals trash; 'tis something,nothing; 
 
 'Twas mine, 'tis his, and has been slave to thousands ; 
 
 But he that filches from me my good name 1 60 
 
 150. conceits'} coniects Q I, conjee ts Steevens (1793). 151. Would} You'dQ 
 I, Jennens; Will Q 3; notice] note Anon. conj. (Cambridge). 152. his~\ Ff, 
 my Qq. 154. or] Qq, etc. ; and Ff. 155. What . . . mean?] Zauns Q l. 
 156. woman] -woman's Q I. 157. their] Ff, our Qq. 
 
 150. conceits} imagines, thinks. See 
 above (line 115) for the substantive. 
 Some prefer the Quarto reading, "con- 
 jects," and I append a few examples 
 additional to those in New Eng. Diet. 
 for the intransitive verb, ' ' to conjecture. " 
 The examples in New Eng. Diet, are 
 from Wyck (Ezekiel), Cooper's The- 
 saurus (1565), and Othello (Quarto l). 
 See also Trevisa, Prologue to Bartholo- 
 mew's De proprietatibus , 1397 : 
 "What so ever any man will conject, 
 feign, imagine, suppose, or say" (ed. 
 Steele, 1893). Other instances are in 
 UdalPs Flowers of Terence (1581), and 
 in Huloet's Alvearie (1572). A good 
 instance of the verb "conceit" in the 
 sense of ' ' suspect " occurs in Smith's 
 Virginia (Arber, reprint, p. 597), 
 1622: " Madyson conceited hee re- 
 garded not the message, and intended 
 as he supposed the same treason." 
 
 152. scattering] straggling, going at 
 random (Schmidt). Compare 2 Henry 
 VI. in. ii. 126. 
 
 I 56, 157. Good name . . . jewel} A 
 proverbial saying: " Gode name is 
 golde worthe, my leue childe." " How 
 
 the goode wif thaught hir doughter" 
 (Hazlitt, Early Pop. Poetry, i. 185), 
 circa 1500. Ray has " A good name is 
 better than riches," with Spanish form. 
 See also Proverbs xxii. I. Observe here 
 lago's introduction of " woman," to in- 
 clude and direct attention to Desdemona. 
 158-162. Who steals my purse, etc."} 
 Malone quotes from Horace (Sat. ii. 2), 
 translated thus by Drant, 1567 : "Now 
 Umbrens ground, of late Ofells (a 
 thing not very stable), Now myne, 
 now thyne, So must we take the worlde 
 as variable." This hardly seems worth 
 repeating, but it prepares the way for 
 more apposite illustrations. Hunter 
 refers to Wilson's Rhetorique (1553), 
 chapter on Amplification: "The 
 places of Logique help oft for ampli- 
 fication ... he might shew that a 
 slanderer is worse than any thief, 
 because a good name is better than 
 all the goods in the world, and that 
 the loss of money may be recovered, 
 but the loss of a man's good name 
 cannot be called back again ; and a 
 thief may restore that again which he 
 hath taken away, but a slanderer cannot
 
 sc. in.] THE MOOR OF VENICE 
 
 135 
 
 Robs me of that which not enriches him 
 
 And makes me poor indeed. 
 Oth. 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. 165 
 
 Oth. Ha! 
 lago. O, beware, my lord, of jealousy ; 
 
 It is the green-eyed monster, which doth mock 
 
 161. nof\ naught Grant White conj. 163. By heaven] Q I ; omitted Ff, 
 Q 2, 3, 1 66. Oth. Ha!} omitted Q I, Ha? the rest; beware, my lord, of] 
 beware Q I. 167. the] a Q 2, 3 ; mock] Qq, Ff ; make Theobald conj., Johnson. 
 
 give a man his good name which he 
 hath taken from him" (Furness). Hum- 
 phrey Gifford, Paste of Gilloflowers (ed. 
 Grosart, p. 8), 1580, puts it more con- 
 cisely : " Such as take men's purses from 
 them undesired, passe often by the sen- 
 tence of a cord, and shall such as robbe 
 men of their good names undeserved be 
 supposed to escape scot-free ? " 
 
 158. trash] This word had the dis- 
 tinct sense of "money," and it is 
 unlikely Shakespeare had not that 
 meaning in his mind here. A few 
 instances may prove this. T. Howell 
 (Poems, ed. Grosart, i. 81), 1568, has: 
 "For golde wise men that know the 
 case doe count but trifling trash." In 
 another passage (p. 28), Howell calls 
 wealth or gold ' ' pelting trashe. " Florio 
 has, p. 63, 1598 (Halliwell) : " Pelfe, 
 trash, id est mony." Beaumont and 
 Fletcher, Queen of Corinth, i. ii. ( Dyce, 
 v. 406) : "A large return for the poor 
 trash I ventured with you." Mas- 
 singer, Parliament of Love, II. iii. IO : 
 " There never was a sure path to the 
 mistress But by her minister's help, 
 which I will pay for {gives her his purse], 
 But yet this is but trash." Greene is 
 unmistakable: "therefore must I bid 
 him provide trash, for my master is no 
 friend without money," James IV. 
 (1874, p. 203), 1598. 
 
 166, 167. jealousy . . . green-eyed 
 monster] Compare Merchant of Venice, 
 III. ii. no: "shuddering fear and 
 
 green-eyed jealousy." Yellow was the 
 colour usually applied to denote jealousy 
 from the days of Chaucer's Knight's 
 Tale downwards. But yellow was also 
 the colour of Hymen and of rejoicing, 
 i.e. "bright yellow." The green of 
 jealousy was a sickly yellowish green, 
 the "goose green" of Ben Jonson, the 
 Verdd'oye of Cotgiave. In "Captain 
 Underwit" i.e. The Country Captain, 
 by Duke of Newcastle (Bullen's Old 
 Plays, ii. 344, 345), there is an elabor- 
 ate classification of colours in their 
 poetical meanings : ' ' Your yellow is 
 joy . . . your lemon colour, a pale 
 yellow is jealousy, your yellow is perfect 
 joy . . . your greene hope, your sea 
 greene inconstant." A bright fresh 
 green is not intended. It was even a 
 favourite colour to apply to eyes in 
 poetry. See Romeo and Juliet, in. v. 
 221. Compare also Beaumont and 
 Fletcher's Two Noble Kinsmen, v. i. 
 [probably by Shakespeare] : 
 
 " Oh vouchsafe, 
 
 With that thy rare green eye, which 
 never yet 
 
 Beheld thing maculate, look on thy 
 
 virgin ! " 
 
 See Skeat's note to this passage. 
 Compare "green and yellow melan- 
 choly," Twelfth Night, II. iv. 116. 
 The expression "green with jealousy" 
 is now in use. 
 
 167. monster] If Shakespeare had 
 any particular mythical monster, or real
 
 136 
 
 OTHELLO 
 
 [ACT m. 
 
 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 170 
 
 Who dotes, yet doubts, suspects, yet strongly loves I 
 
 168. The] That Q I. 171. strongly'} Qq, soundly Ff. 
 
 animal (Jackson suggested mouse ; Lord 
 Chedworth, dragon-fly ; Jennens, croco- 
 dile ; others, tiger, cat, ape, etc. ), the 
 beast has not yet been determined. 
 Shakespeare calls many things besides 
 "Jealousy," a "monster," typified. 
 Such as Ignorance, Ingratitude, Envy, 
 Death, Custom. Compare below, in. 
 iv. 1 60. 
 
 167, 1 68. mock . . . feeds on] Plays 
 with, and deludes and tortures her 
 victim, i.e. Othello, "who dotes, yet 
 doubts, suspects, yet strongly loves," 
 while at the same time it [jealousy] 
 grows and increases out of the imagin- 
 ings of its own groundless suspicions. 
 Probably the action of jealousy is no- 
 where so perfectly put in a few power- 
 ful words. Theobald suggested ' ' make " 
 for "mock," which White (2nd ed.) says 
 is ' ' the surest correction ever made in 
 Shakespeare ( !) " Steevens is, in his 
 own words, "counsel for the old read- 
 ing," but he makes "meat," i.e. "the 
 victim," refer to Desdemona herself. 
 His words are: "continues to sport 
 with the woman whom he suspects, 
 and, on more certain evidence, deter- 
 mines to punish." Malone rejects this : 
 "The meat it feeds on," he says, 
 "means not Desdemona herself, as has 
 been maintained, but pabulum zelo- 
 typice," and refers to a kindred image, 
 relating to "policy," at lines 14, 15 
 above. So, also, as jealousy may be 
 said, poetically speaking, to feed upon 
 itself; it may further be spoken of by 
 a continuation of the imagery, to beget 
 itself, as below, in line ill. iv. 160. 
 While not countenancing any alteration 
 of the text, which appears needless and 
 unwarrantable, I agree with Malone's 
 remarks, so far as his conclusions go, 
 but his reasons for supporting "make" 
 
 are to me unintelligible. He aptly quotes 
 from Daniel's A'osamond, 1592: "O 
 jealousy . . . Feeding upon suspect 
 that doth renue thee, Happy were 
 lovers if they never knew thee." 
 Othello has become an embodied 
 ' ' suspect, " at the mercy of the mon- 
 ster, and as lago says later (line 392), 
 he is "eaten up with passion" (of 
 jealousy). Jennens' note that Shake- 
 speare "had here the crocodile in his 
 eye " is rendered more worthy of notice 
 from a passage (not quoted by him) in 
 Burton's Anatomy of Melancholy (3. ill. 
 i. i). Speaking of the jealousy of animals 
 he says : "I have read as much of 
 crocodiles ; and if Peter Martyr's au- 
 thority be authentic, legat. Babylonicct, 
 lib. 3 you shall have a strange tale 
 to that purpose confidently related 
 . . . Crocodili zelotypi et uxorum 
 amanttssimi," etc. Burton gives other 
 interesting references. 
 
 168-171. lives in bliss . . . strongly 
 loves'] If he does not care for his wife 
 who wrongs him, although certain of 
 it, he is in a state of bliss compared 
 with him who loves his wife, and at 
 the same time suspects her, although 
 doubtfully. In Ben Jonson's Every 
 Man in his Humour, Kitely, who has 
 a commonplace attack of jealousy, uses 
 similar words of the miserable torture 
 of acknowledged suspicion : 
 
 ' ' Which as a subtle vapour spreads 
 itself 
 
 Confusedly through every sensive 
 part, 
 
 Till not a thought or notion in the 
 mind 
 
 Be free from the black poison of 
 suspect. 
 
 Ah ! but what misery is it to know 
 this !" (il. ii. ), 1598.
 
 sc.m.] THE MOOR OF VENICE 
 
 137 
 
 Oth. O misery ! 
 
 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: 175 
 
 Good heaven, the souls of all my tribe defend 
 From jealousy ! 
 
 Oth. 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 1 80 
 
 Is once to be resolved : exchange me for a goat, 
 
 When I shall turn the business of my soul 
 
 To such exsufflicate and blown surmises, 
 
 174. fineless} endless Pope, Theobald. 176. heaven} God Q I. 181. Is 
 once] Qq, Is Ff. 183. exsufflicate] Capell, Steevens (1793), etc. ; exufflicate 
 Qq, F I, 2, 3, Rowe, Pope, Theobald ; exufflicated F 4 ; exsujfolate Hanmer ; 
 blown] Qq, b lowed Ff. 
 
 173. Poor and content] Compare 
 T. Howell : "The man is blest, that 
 lyves at rest, With his estate content " ; 
 and again : 
 
 " The poore degree, that lives content, 
 lie sings although his goods be 
 
 spent, 
 
 And who can sing so merrie a note 
 As he that cannot change a grote," 
 Grosart ed. p. 31 (1568). The last 
 two lines were proverbial in Heywood's 
 time (1546). Malone quotes from 
 Dorastus and Fawnia (the novel on 
 which The Winter's Tale is formed), 
 1592: "We are rich, in that we are 
 poor with content." 
 
 174. fineless\ endless, boundless, in- 
 finite. No other example has been 
 adduced. The word "fine," meaning 
 "end," is frequent in Shakespeare (as 
 in Hamlet, v. i. 115), but generally in 
 expression "in fine." N. Bailey gives 
 the adjective in his Dictionary (ed. 
 1 766) : ' ' Fineless, without end. 
 Shakespeare." 
 
 174. as poor as winter'] Compare 
 
 "Old December's bareness" (Sonnet 
 97). Armin has, "as bare as January," 
 Two Maids of Moreclacke, 1609 
 (Grosart, p. 67). 
 
 183. exsufflicate'] This word is not 
 known elsewhere. Sir Thos. Hanmer, 
 in 1744, proposed "exsuffolate," on 
 which Johnson: "This odd and far- 
 fetched word (following Hanmer) was 
 made yet more uncouth in all the 
 editions before Sir Thomas Hanmer's, 
 by being printed exsufflicate. The 
 allusion is to a bubble." Malone 
 rejoined : "Whether our poet had any 
 authority for the word exsufflicate, 
 which I think is used in the sense of 
 'swollen,' and appears to have been 
 formed from stifflatus, I am unable to 
 ascertain ; but I have not thought it 
 safe to substitute for it another word 
 equally unauthorised. Suffolere in 
 Italian means ' to whistle. "... 
 The introducer of this word explains it 
 by ' whispered, buzzed in the ears.' 
 How can then Dr. Johnson's inter- 
 pretation of exsuffolate be supported ? "
 
 138 OTHELLO [ACT m. 
 
 Matching thy inference. Tis not to make me jealous 
 To say my wife is fair, feeds well, loves company, 185 
 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 ; 1 90 
 I '11 see before I doubt ; when I doubt, prove ; 
 And on the proof, there is no more but this, 
 Away at once with love or jealousy ! 
 lago, I am glad of it ; for now I shall have reason 
 
 To show the love and duty that I bear you 195 
 
 With franker spirit : therefore, as I am bound, 
 Receive it from me. I speak not yet of proof. 
 Look to your wife : observe her well with Cassio ; 
 Wear your eye thus, not jealous nor secure : 
 I would not have your free and noble nature 200 
 
 184. thy] the F 2, 3, 4 ; jealous} lealious F I. 1 86. well] Qq, omitted Ff. 
 187. are more] Qq, F I ; are most F 2, 3, 4, Rowe. 190. chose] chosen Q 2, 3. 
 194. / am] I'm Pope (and at 196, 212, 214, 264, 412, 439); it] Qq, Globe; 
 this Ff, Steevens. 199. Wear] Were Q3; eye] eyes Ff; jealous] lealious 
 
 Fl,2. 
 
 New Eng. Diet, has no other example 184. thy inference] Such as you have 
 
 besides Othello of "exsufflicate." alleged (lines 170, 171). Not used 
 
 Earlier examples occur of "exsuffla- elsewhere by Shakespeare. Cotgrave 
 
 tion," which was an ecclesiastical term has: "Illation: an illation, inference, 
 
 from Low Latin exsufflare ; see Nares' conclusion : a reason, or allegation 
 
 Glossary. Du Cange explains "ex- that enforceth." 
 
 sufflare, contemnere, despuere, re- 187. virtuous] beneficial. Instead 
 
 jicere." We may assume this word to of deteriorating from her goodness, 
 
 be derived thus, and to mean (Nares these accomplishments become the 
 
 says) " contemptible," "abominable." more excellent in her, because of her 
 
 The word "exsufflation" occurs in goodness. 
 
 Reginald Scott's Discover ie of Witch- 189. doubt] suspicion, as in line 430, 
 
 craft, in connection with exorcism, at below. "Revolt" is often used of 
 
 page 371 (Nicholson's reprint), 1584. A inconstancy in love, as in King John, 
 
 similar coinage may be found in Chap- III. i. 322, and Cymbeline, I. vi. 112, 
 
 man's Byron's Conspiracy, II. i. : "A etc. See Schmidt's Lexicon, 
 poor and expuate humor of the court."
 
 sc. in.] THE MOOR OF VENICE 
 
 139 
 
 Out of self-bounty be abused ; look to 't : 
 
 I know our country disposition well ; 
 
 In Venice they do let heaven see the pranks 
 
 They dare not show their husbands ; their best con- 
 science 
 
 Is not to leave't undone, but keep't unknown. 205 
 Oth. 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. 
 
 Oth. And so she did. 
 
 lago. Why, go to then ; 
 
 She that so young could give out such a seeming, 210 
 
 203. heaven] God Q I. 204. not] omitted Q i. 205. leave V] Ff, Q 
 2, 3, Globe; leave Q i, Steevens ; keep't] Q 2, 3 ; keepe Q i, Steevens, Dyce, 
 Craig ; kept Ff. 209. to] F 3, 4, Rowe et seq, ; too Qq, F I, 2. 
 
 201. self-bounty] inherent goodness. 
 Compare T. Howell, Devises (Grosart, 
 ii. 1 80), 1581: "The best Natures, 
 soonest abused." It became a proverb 
 in later collections. 
 
 204. conscience] judgment of moral- 
 ity, hence morality itself. 
 
 204, 205.] Venice was at this time 
 the modern Corinth of Europe, and 
 earned the worst reputation for her 
 women. Ben Jonson places this senti- 
 ment in the mouth of Volpone, a 
 magnifico of Venice : 
 
 " 'Tis no sin love's fruits to steal ; 
 But the sweet thefts to reveal : 
 To be taken to be seen 
 These have crimes accounted been" 
 (The Fox, iii. 6), 1605. These are the 
 concluding lines of his well - known 
 song, " Come, my Celia, let us prove," 
 etc., imitated from Catullus. But the 
 concluding lines (those here quoted) 
 are not in Catullus " Vivamus, mea 
 Lesbia," as Gifford points out. Jonson 
 has the song again in The Forest. 
 These lines are referred to (or Shake- 
 speare's ?) by Beaumont and Fletcher : 
 
 " The sin [of enjoyment] 
 Is in itself excusable : to be taken 
 Is a crime as the poet writes" 
 (Love's Progress, IV. i.). Dryden 
 quotes verbatim from Jonson in The 
 Kind Keeper, V. i., 1675. 
 
 207.] Johnson, and later, Cowden- 
 Clarke inculcate a moral lesson from 
 the terrible results following upon poor 
 Desdemona's " deceit and falshood " in 
 privily marrying Othello. Modern 
 views will scarcely coincide with their 
 severity, but undoubtedly her "devia- 
 tion from strict honesty" serves as a 
 powerful weapon in the hands of the 
 undermining and crafty lago. See I. 
 i. 1 66, 167. 
 
 209. go to] This expression is very 
 common in Shakespeare, occurring again 
 in this play at I. iii. 384, and below iv. 
 i. 177. Abbott explains it (185): 
 ' ' To is used adverbially in ' to and 
 fro,' and nautical expressions such as 
 'heave to,' 'come to.' This use ex- 
 plains go to." The expression implied 
 motion, generally ; equivalent to our 
 "come, come."
 
 140 
 
 OTHELLO 
 
 [ACT in. 
 
 To seel her father's eyes up close as oak 
 
 He thought 'twas witchcraft but I am much to 
 
 blame ; 
 
 I humbly do beseech you of your pardon 
 For too much loving you. 
 
 Oth. I am bound to thee for ever. 
 
 lago. I see this hath a little dash'd your spirits. 215 
 
 Oth. 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 : 
 
 211. see!] seek F I, 2; scale Qq, F 3 ; seal F 4, Rowe, Jennens. 212. to 
 blame} F 4, too blame the rest. 214. to] to to F 2. 216. /' faith] I faith Q I ; 
 Trust me Ff, Q 2, 3. 218. my] your F I ; you 're] Rowe, you are Qq, y* are Ff. 
 
 211. see!] See note I. iii. 270. 
 
 211. close as oak] as close as the 
 grain of oak. Similes for " as close as " 
 almost invariably refer to secrecy, another 
 sense of the adjective. "As near as" 
 is common in this sense. It is a pecul- 
 iarly illustrative expression. For the 
 hard, compact grain of oak, compare 
 "unwedgeable and gnarled oak," 
 Measure for Measure, II. ii. 116; 
 " rifted Jove's stout oak," Tempest, V. 
 45; "rive the knotty oak," Julius 
 Ccesar, I. iii. 6; "oak-cleaving thunder- 
 bolt," Lear, in. ii. 5, etc. 
 
 212. witchcraft] See I. iii. 103, etc. 
 213.] A similarly constructed line 
 
 occurs in Merchant of Venice, iv. i. 
 402 : "I humbly do desire your grace 
 of pardon." Abbott, Shakespeare's 
 Grammar, 174, explains this and like 
 passages {Midsummer Night's Dream, 
 III. i. 183 ; As You Like It, v. iv. 56) 
 by attaching the meaning ' ' concerning, " 
 "about," to "of." In some cases (as 
 Twelfth Night, I. ii. 21) this is obviously 
 correct. Here it is simply a transposi- 
 tion, and "of" has the ordinary sense 
 of "from," coming after instead of 
 before the pronoun. The involved con- 
 
 struction hardly makes a very common- 
 place line anything less so. There is 
 no exact parallel to this line in Shake- 
 speare ; those referred to above come 
 nearest, and both are spoken by clowns 
 whose language is purposely defective. 
 I should like much to transpose here. 
 To make "of" = "for," as Macmillan 
 does, seems too great a licence. Never- 
 theless "of" had apparently unwarrant- 
 able usages. Compare Jonson's Sejanus, 
 I. i., 1603 : " 'Tis for a gentleman Your 
 lordship will like of when you see him." 
 No New Eng. Diet, sense of "like" 
 fits this. 
 
 214. thee] Abbott says ' ' thou is gener- 
 ally used by a master to a servant, but 
 not always. Being the appropriate 
 address to a servant, it is used in con- 
 fidential and good-humoured utterances, 
 but a master finding fault often resorts 
 to the unfamiliar you " (232). On the 
 other hand, lago always uses the more 
 respectful "you " in addressing Othello. 
 Many exceptions will, however, be 
 found to this proposed rule in the 
 present play, to go no further. 
 
 215. dashed] damped, depressed. 
 Compare Love's Labour's Lost, V. ii. 585.
 
 sc. in.] THE MOOR OF VENICE HI 
 
 I am to pray you not to strain my speech 
 
 To grosser issues nor to larger reach 220 
 
 Than to suspicion. 
 
 Oth. I will not. 
 
 I ago. Should you do so, my lord, 
 
 My speech should fall into such vile success 
 
 As my thoughts aim not at. Cassio's my worthy 
 
 friend 
 My lord, I see you 're moved. 
 
 Oth. No, not much moved: 225 
 
 I do not think but Desdemona 's honest. 
 
 I ago. Long live she so ! and long live you to think so ! 
 
 Oth. And yet, how nature erring from itself 
 
 lago. Ay, there 's the point : as to be bold with you 
 
 Not to affect many proposed matches 230 
 
 Of her own clime, complexion and degree, 
 Whereto we see in all things nature tends 
 Foh ! one may smell in such, a will most rank, 
 
 224. As] Qq, Which Ff ; aim not af\ Qq ; ayirfd not F I, 2 ; aimd not F 3, 4 ; 
 worthy'} trusty Q I. 233. FoK\ Ff, Fie Qq ; one] Ff, we Qq. 
 
 220. grosser issues'] plainer conclu- carries with it indignation. See V. i. 
 
 sions. For "gross " = " palpable," see 123. 
 
 1 Henry IV. II. iv. 250. 233. such,'] I have left in the comma 
 
 223. success] result, consequence, that of the Folios, not from any reverence for 
 
 which succeeds or follows. their punctuation, but because I prefer 
 
 228. erring] wandering. See I. iii. the construction it points to. "Such" 
 
 362. I believe refers back to Desdemona's 
 
 233. Foh /] An expression of loath- peculiarities specified, and not to the 
 
 ing or disgust. Compare All's Well, words afterwards. It stands elliptically 
 
 v. ii. 17; Troilus, v. ii. 22, 48. or absolutely for "such like," "such a 
 
 The use of interjections was more position," or "such conduct." To make 
 
 attended to and orderly in Shake- the reading "such a will most rank" 
 
 speare's time than it is now. The alters the whole sense and confuses it. 
 
 present one occurs in strong situa- The things we smell in Desdemona's 
 
 tions. Compare, "all the company behaviour are "a most rank will, foul 
 
 which sat at the table crying FOH at disproportion, and unnatural thoughts. " 
 
 such a shameful lie," Udall's Erasmus I do not know if Shakespeare uses 
 
 (Roberts, p. 356), 1542. "Foh" " such " in this manner elsewhere, but in
 
 142 
 
 OTHELLO 
 
 [ACT in. 
 
 Foul disproportion, thoughts unnatural. 
 
 But pardon me : I do not in position 235 
 
 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. 
 
 Oth. Farewell, farewell : 
 
 If more thou dost perceive, let me know more ; 240 
 Set on thy wife to observe : leave me, lago. 
 
 I ago. [Going] My lord, I take my leave. 
 
 Oth. Why did I marry ? This honest creature doubtless 
 Sees and knows more, much more, than he unfolds. 
 
 234. disproportion] Qq, disproportions Ff. 236. her, though I may fear] 
 Qq, Ff, Craig; her; though I may fear Steevens, Globe, Cambridge. 238. 
 /a//]ya*yWhite(ed. 2). 239. Farewell, farewell'} Fare-well Qq. 
 
 " I smell it now : 'tis rank " [of a plot] ; 
 and The Fox, iv. ii. 3840: "if their 
 plot . . . Unto the dullest nostril here, 
 It smell not rank." Schmidt says 
 "morbid." 
 
 235. position] "a proposition to be 
 defended or reasoned out ; a thesis " 
 (Webster). If this be the sense (Schmidt 
 says "assertion"), it is somewhat 
 strained here. A reference to II. i. 239 
 gives a more obvious example. See 
 Troilus and Cressida, in. iii. 112. 
 
 237. recoiling'] reverting, going back. 
 See Winter's Tale, I. ii. 254. 
 
 237, 238. better judgement . . . her 
 country forms'] lago is here deeply and 
 designedly insulting, but Othello has 
 fallen low enough to listen without 
 apparent resentment, and even deliber- 
 ately to set spies on his wife. He 
 simply tells lago to leave him. 
 
 238. fall to~] begin to, come to. Still 
 in use, as " fall to your work." 
 
 243. Why did I many?'] Kitely 
 makes the same remark in the same 
 circumstances : ' ' Bane to my fortunes, 
 what meant I to marry ? " Every Man 
 in his Humour, III. iii., 1598. 
 
 ill. i. 19 is a nearly parallel case. It is 
 an ungraceful usage in modern English, 
 and an Americanism. Milton has it : 
 " To whom the Angel, Son of Heaven 
 
 and Earth, 
 Attend ! That thou art happy, owe 
 
 to God ; 
 That thou continuest such, owe to 
 
 thyself, 
 That is to thy obedience " 
 
 (Paradise Lost, v. 519). 
 Steevens adopts the Folio punctuation 
 (ed. 1793), an d also Craig. But I do 
 not know if they attach this importance 
 to it. 
 
 233. will} desire, appetite. For the 
 carnal sense, see Sonnets 134, 135, 136. 
 233. rank} disgusting, foul, beastly. 
 Shakespeare frequently uses "rank" of 
 smells, or in connection with the sense 
 of smell, as very offensive to it. Com- 
 pare Coriolanus, III. i. 66 ; As You 
 Like It, I. ii. 113; Twelfth Night, ii. 
 v. 136; Hamlet, III. iii. 36; Merry 
 Wives, III. v. 93 ; Antony and Cleo- 
 patra, V. ii. 212 ; Sonnet 69. In 
 Cymbeline (ii. i. 15) there is a pun. 
 Compare Ben Jonson, Sejanus, IV. v. :
 
 sc. in.] THE MOOR OF VENICE 143 
 
 lago. [Returning] My lord, I would I might entreat your 
 honour 245 
 
 To scan this thing no further ; leave it to time : 
 Although 'tis fit that Cassio have his place, 
 For sure he fills it up with great ability, 
 Yet, if you please to hold him off awhile, 
 You shall by that perceive him and his means : 250 
 Note if your lady strain his entertainment 
 With any strong or vehement importunity ; 
 Much will be seen in that. In the mean time, 
 Let me be thought too busy in my fears 
 As worthy cause I have to fear I am 255 
 
 And hold her free, I do beseech your honour. 
 
 Oth. Fear not my government. 
 
 lago. I once more take my leave. [Exit. 
 
 Oth. This fellow 's of exceeding honesty, 
 
 245.] This line (ending honour,) is given to Othello's last speech Q i. 246. 
 further} Qq, farther Ff. 247. Although 'tis fit} Ff, Craig ; Tho it befit Q I, 
 Jennens, Globe, Cambridge (reading though} ; And though tisfit Q 2, 3, Capell, 
 Singer ; And though it befit Steevens, Malone. 249. hold} omitted F I ; put 
 F 2, 3, 4. 251. his} Ff, her Qq. 255. As . . . am} in brackets Ff, Q 2. 
 
 248.] This line is an example of an 257. government} control, direction, 
 apparent Alexandrine. The last foot management. The commentators ex- 
 contains, instead of one extra syllable, plain this "self-control," a meaning the 
 two extra syllables, one of which is word has in 3 Henry VI. I. iv. 132 
 slurred. See Abbott, 493. and elsewhere according to Schmidt. 
 
 250. means} resources ; how far he is I prefer the wider sense, relating to the 
 able to go, or what power he has with conduct of their scheme. Othello may 
 her. Johnson says, "You shall dis- still be allowed self-respect enough not 
 cover whether he thinks his best means ; to suppose his self-control questioned, 
 his most powerful interest is by the 259. honesty} One would almost 
 solicitation of your lady." Very John- hazard an opinion Shakespeare had 
 sonian, but somewhat overwrought. some grudge against the word "honest," 
 
 251. strain his entertainment} press he applies it so constantly to lago. 
 or urge his appointment. ' ' Entertain- The word ' ' honest " occurs oftener in this 
 ment " had the military sense of service, play than any other, and lago is no less 
 office, appointment (which Cassio had than six times called "honest lago." 
 forfeited). See AlVs Well, III. vi. 13 ; People go out of their way to call him 
 IV. i. 17, etc. "honest fellow," so much so that lago 
 
 252.] See note at 248 above. seems to resent it, when he says "as 
 
 256. free} guiltless, honest as I am " (n. i. 104). Perhaps
 
 144 
 
 OTHELLO 
 
 [ACT in. 
 
 And knows all qualities, with a learned spirit, 260 
 Of human dealings. If I do prove her haggard, 
 Though that her jesses were my dear heart-strings, 
 I 'Id whistle her off and let her down the wind 
 
 260. qualities'] Q I ; quantities Ff, Q 2, 3, Rowe. 260, 261. spirit, Of\ 
 Q 3 et seq. ; spirit Of Q I, 2, Ff, Collier. 261. human] Rowe, humaine 
 Q I , humane the rest ; dealings] dealing Q I ; dealings. If\ Ff, Globe ; 
 dealings: ^O_q, etc., Craig. 
 
 the design may be to accentuate the 
 deviation from the original tale where 
 the "wicked ensign" is at once intro- 
 duced as "of the most depraved nature 
 in the world." 
 
 260. learned] experienced (Warbur- 
 ton). 
 
 261. haggard] "A wild-caught and 
 unreclaimed mature hawk" (Harting). 
 " The Haggard Faulcon, wild and un- 
 reclaimed, takes a large liberty to herself 
 for her abode either by Sea or by Land " 
 (Gentleman's Recreation). In Greene's 
 Never Too Late (1590), when Francesco 
 gets some means, Infida "thought to 
 cast forth her lure to reclame him, 
 though by her unkindnesse he was proved 
 haggard." 
 
 262.] "Jesses are those short Straps 
 of Leather which are fastened to the 
 Hawk's Legs, and so to the Leash by 
 Varvels or such like " ( Gentleman's Re- 
 creation). ' ' Leash is a small long thong 
 of Leather by which the Faulconer 
 holdeth his Hawk fast, folding it many 
 times round his Finger " (ibid.). To the 
 legs were attached also little bells in- 
 scribed with the owner's name. When 
 the hawk was flown by detaching the 
 leash, the jesses and bells were still 
 " buttoned about the hawk's legs." No 
 doubt the hawk would prefer to be free 
 of her bells and jesses, as is implied 
 in the passage quoted in Nares from 
 Spenser, Faerie Queene, VI. iv. 19 : 
 " he felt himselfe so slight, 
 
 That, like an hauke, which feeling 
 herselfe freed 
 
 From bels and Jesses which did let 
 her flight, 
 
 Him seem'd his feet did fly." 
 
 But the passage in Othello has for its 
 pith and marrow, the fact that the hawk 
 would fly away with the jesses, as a 
 hawk always did in the sport. So that 
 the Spenser passage is particularly un- 
 happily referred to here by Rolfe. 
 
 262. heart-strings'] Shakespeare uses 
 this expression several times. It is 
 found in the singular in the Catholicon 
 Anglicum, circa 1480. An old metaphor. 
 Compare T. Howell, Poems (Grosart, i. 
 64): "O Drooping hart deprest with 
 deadly care, Whose stretched strings be 
 crackt in peeces smal." 
 
 263. whistle her off} "Whistling" 
 was the sound hawks were taught to 
 understand. "Afterwards go leisurely 
 against the wind, then unhood her, and 
 before she bate or find any Check in her 
 Eye, whistle her off from your Fist fair 
 and softly" (Gentleman's Recreation); 
 and again, "go out with her into the 
 Fields, and whistle her off your Fist ' 
 (ibid.). Compare Middleton, Roaring 
 Girl, V. i. : "I whistled the poor little 
 buzzard off my fist"; and Lyly, Euphues 
 (Arber, p. 372) : " Hawkes that wax 
 haggard by manning, are to be cast 
 off. " "To lett go or whissel a hawk ; 
 Sciogliere I'ztccello," etc., Howell's 
 Vocabulary, 1659. Steevens gives other 
 examples. 
 
 263. down the wind] Against the 
 wind, as the last note shows, was the 
 proper flight for a hawk. Down the 
 wind had a proverbial signification, 
 equivalent to desperate, reckless fortune. 
 Compare Montaigne: "Je jecte la 
 plume au vent, comme on diet, et m' 
 abandonne a la merci de la fortune " 
 (Essais, II xvii.). And Munday and
 
 sc.m.] THE MOOR OF VENICE 145 
 
 To prey at fortune. Haply, for I am black 
 
 And have not those soft parts of conversation 265 
 
 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, 270 
 
 And not their appetites ! I had rather be a 
 
 toad, 
 
 And live upon the vapour of a dungeon, 
 Than keep a corner in the thing I love 
 For others' uses. Yet, 'tis the plague of great 
 
 ones; 
 
 Prerogatived are they less than the base; 2^5 
 
 'Tis destiny unshunnable, like death : 
 
 267. the vale} the valt Q i, a vale Q 3. 272. of a] Ff, in a Qq, 273. ike 
 thing] Ff, a thing Qq. 274. plague of] Qq, plague to Ff. 
 
 Chettle's Downfall of Earl of Hunting- recognised use of "chamber-maid," 
 
 don (Hazlitt's Dodsley, viii. 160), 1601 : Steveens' reference should be quoted in 
 
 1 ' But he is down the wind as all such full. In this latter sense it occurs as 
 
 are, That revel waste and spend." late as 1576 in Nicholl's Progresses. 
 
 264. black} See "sooty, I. ii. 70. Halliwell gives early instances. 
 
 265. parts} gifts, endowments. 267. vale of years} Othello has 
 
 265. conversation} behaviour, deport- already referred to his being past youth 
 ment. Compare Merry Wives, n. i. at I. iii. 264. And lago alludes to it 
 25, etc. when he says " the Moor is defective in 
 
 266. chamberers} " Men of intrigue " . . . sympathy in years "with Desde- 
 (Steevens). "Wan ton persons, "(Nares). mona (II. i. 231). Judging from the 
 The word "chambering" is similarly amount of travel and service Othello 
 used in the New Testament, Romans had seen, he should obviously be some 
 xiii. 13. Steevens cites " Fall'n from a thirty years of age at least. 
 
 souldier to a chamberer," Countess of 271. toad} It must be remembered 
 
 Pembroke's Antonius, 1590 (sic. Qu. that the toad was regarded as the very 
 
 Arcadia ?). This reference is not, how- type of loathsomeness and poisonous- 
 
 ever, authenticated in New Eng. Diet. ness. See below, IV. ii. 62. 
 
 Schmidt equals the term to "carpet- 275. Prerogatived} privileged, exempt 
 
 monger " of Much Ado, V. ii. 32, i.e. from certain things. "The great are 
 
 "men of peace," opposed to "soldiers," less free from this curse than those of 
 
 but there is no proof of such a sense, low degree." 
 As the word "chamberer" had the
 
 146 OTHELLO [ACTIII. 
 
 Even then this forked plague is fated to us 
 When we do quicken. Look where she 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 ! 280 
 
 Your dinner, and the generous islanders 
 
 By you invited, do attend your presence. 
 Oth, I am to blame. 
 Des, Why is your speech so faint ? Are you not 
 
 well? 
 
 Oth. I have a pain upon my forehead here. 285 
 
 Des. Faith, that 's with watching ; 'twill away again : 
 
 Let me but bind it hard, within this hour 
 
 278. Look where she~\ Ff, Rowe, Craig ; Desdemona Qq, Globe. 279. O, 
 then heaven mocks} Qq, Heaven mock'd Ff. 281. islanders} Ff, Ilander Qq. 
 283, 284. / am . . . we/!?] arranged as in Qq, Capell, Steevens, Malone ; 
 Ff read three lines ending blame, faintly ? well ? ; two lines ending faintly ? 
 well? Globe, Cambridge, Craig. 283. to blame} Qq, F 4 ; too blame F I, 
 2, 3. 284. Why is your speech so faint ?} Why do you speake so faintly? Ff, 
 Globe, Cambridge ; Why is your speech so faintly ? Craig (faintly misprint ?). 
 286. Faith} Q I ; Why Ff, Q 2, 3. 287. it hardly our head} Q I. 
 
 277,278. Even . . , ^zV/fc:] When and large." Here at last we have the 
 
 we begin to live ; from birth. " plague of flies " in I. i. 71. 
 
 2 77- forked plague} The horns which 281. generous} noble. 'Lz.'i.generosus. 
 
 were supposed to grow upon the fore- Compare "the generous and gravest 
 
 head of one whose wife was unfaithful citizens," Measure for Measure, iv. vi. 
 
 to him. Compare Winter's Tale, I. 13 ; and Hamlet, I. iii. 74. 
 
 ii. 1 86; Troilus and Cressida, I. ii. 1 78. 282. attend} await. Compare Merry 
 
 Sir J. Harington uses this expression Wives, I. i. 279. 
 
 in an unmistakable connection in one 285. forehead} Othello is brooding 
 
 of his Epigrams (1613) quoted by upon the "forked plague." Desde- 
 
 Malone. Ben Jonson has "forked mona's guilelessness passes this by un- 
 
 head " with a double allusion in Every noticed. Compare Nashe, Wonderfull 
 
 Man Out, IV. iv. 1155 (1599). In Ben Prognostication, 1591: "many that 
 
 Jonson's Every Man in his Humour, have faire wives shal be troubled with 
 
 III. iii. (1598), Kitely emphasizes his greate swelling in the browes, a disease 
 
 " forks " by a gesture, ' ' how they sting as incurable as the goute." 
 my head, With forked stings thus wide
 
 sc.m.] THE MOOR OF VENICE 
 
 It will be well. 
 
 Oth. Your napkin is too little ; 
 
 \She drops her handkerchief. 
 Let it alone. Come, I '11 go in with you. 
 
 Des. I am very sorry that you are not well. 290 
 
 \Exeunt Othello and Desdemona. 
 
 Emit. I am glad I have found this napkin : 
 
 This was her first remembrance from the Moor : 
 My wayward husband hath a hundred times 
 Woo'd me to steal it ; but she so loves the token, 
 For he conjured her she should ever keep it, 295 
 
 That she reserves it evermore about her 
 To kiss and talk to. I '11 have the work ta'en out, 
 
 288. well] well againe Q r. [She drops . . . ] Rowe, etc., Craig; He puts 
 her handkerchief from him, and it drops Steevens, Globe ; lets fall her napkine 
 Anon., Devonshire Q I MS. (apud Cambridge, 1866). 297-299. To kiss , . , 
 not I] arranged as in Qq, Ff; lines ending out, lago; I; Johnson, Steevens, 
 etc., Craig. 
 
 288. napkin] handkerchief. Fre- 
 quently used in this sense in Shake- 
 speare. See Lover's Compt., 15, and As 
 You Like It, IV. iii. The word had also 
 its present sense of serviette at this time. 
 
 292. remembrance] keepsake. See 
 Two Gentlemen of Verona, II. ii. 5. 
 And again, below, III. iv. 186. 
 
 293. -wayward"} capricious, wilfully 
 obstinate. Emilia does not pause to 
 guess at her husband's motives. She 
 knows his disposition too well to 
 attempt to thwart it. "A hundred 
 times" gives here the impression of 
 Desdemona's having been a "long 
 time " married. See below, III. iv. 103, 
 and iv. ii. 176. Compare "a thousand 
 times," V. ii. 21 1. 
 
 296. reserves"} keeps, preserves. See 
 Sonnet 32. 
 
 297. ta'en out] copied from this 
 pattern. See, again, III. iv. 178, and 
 IV. i. 153, below. At the passage in 
 the next scene Steevens quoted two ex- 
 amples of this rare expression, which are 
 
 copied in Nares, etc. , no other instances 
 being adduced hitherto. These are : 
 " She intends 
 
 To take out other works in a new 
 sampler, 
 
 And frame the fashion of an honest 
 
 love," 
 
 Middleton, Women beware Women, 
 I. i., ante 1657. And an earlier 
 one from Holland's Plinie, Preface 
 (1601): "Thus Nicophanes (a famous 
 painter in his time) gave his mind 
 whollie to antique pictures, partly to 
 exemplifie and take out their patterns 
 after that in long continuance of time 
 they were decaied." The latter is not 
 absolutely satisfactory. The former is 
 rather late. A better example occurs 
 in the text of Holland's Plinie (Bk. 
 xxxv. ch. ix. at the end): "Zeuxis 
 . . . chose five of the fairest to take 
 out as from several patterns whatsoever 
 he liked best in any of them ; and of 
 all the lovely parts of those five to make 
 one bodie of incomparable beautie."
 
 148 
 
 OTHELLO 
 
 [ACT in. 
 
 And give 't lago : what he will do with it 
 
 Heaven knows, not I ; 
 
 I nothing but to please his fantasy. 
 
 Enter lAGO. 
 
 lago. How now ! what do you here alone ? 
 Emit. Do not you chide ; I have a thing for you. 
 lago. A thing for me? it is a common thing 
 
 300 
 
 300. nothing but to pkase~\ nothing know, but for Q I. 
 You have a thing Ff. 
 
 303. A thing] Qq, 
 
 And in the following chapter (p. 544) 
 he refers again to Nicophanes, "a 
 proper, feat, and fine workeman, whose 
 manner was to take out old pictures 
 and paint them new againe." So that 
 Nicophanes was a renewer, not a 
 copier. Again, in Pliny, xxxiii. 12, I 
 find, "the patterns could not be taken 
 out in any mould, without hurting or 
 spoiling, so finely and delicately wrought 
 they were." 
 
 298. give '( Iago~\ Emilia's admiration 
 of the work determines her to have a 
 copy of it. She will then hand the 
 napkin over to lago to do what he likes 
 with. Blackstone says, "Her first 
 thoughts are to have a copy made of it 
 for her husband, and to restore the 
 original to Desdemona " ; to which 
 Macmillan adds, "but when lago came 
 in, he snatched the handkerchief from 
 her hand." There is no proof of the 
 latter statement, which depends on a 
 stage direction inserted by Rowe. If 
 she had meant to restore it to Desde- 
 mona she would probably have said so, 
 although her tardy conscience smites 
 her a little at line 318. She can hardly 
 have thought her crafty husband would 
 be satisfied with a copy. Malone says : 
 "This scheme of having the work 
 copied [he doesn't say for whom] was 
 to render Emilia less unamiable. 
 [Why?] It is remarkable that when 
 she perceives Othello's fury on the loss 
 of this token, though she is represented 
 as affectionate to her mistress, she never 
 
 attempts to relieve her of her distress, 
 which she might easily have done. 
 Shakespeare fell into this incongruity 
 by departing from Cinthio's novel." 
 Whether Malone's conclusion be correct 
 or not, and no one will admit it without 
 a struggle, it is impossible for any 
 reader to evade the obvious justice of 
 the remark. Another mystery about 
 the handkerchief appears in III. iv. 186. 
 We should have expected Cassio, who 
 came so often wooing with Othello, 
 would have known of this most im- 
 portant and earliest "remembrance." 
 Emilia, it seems to me, was subservient 
 to her husband's wishes to an extent 
 that fear alone could produce ; that 
 terror of him being due presumably to 
 her familiarity with his jealous and 
 diabolical disposition. See note at 
 in. iv. 157. These views (which 
 occurred to me entirely from the study 
 of the play) are borne out by the tale in 
 Cinthio. Shakespeare probably put 
 aside Cassio's knowledge, but I think 
 he meant us to gather Emilia's fear of 
 her husband. See below, line 320. 
 
 300. fantasy] Schmidt allots four 
 senses ( ' ' imagination, " ' 'mental image, " 
 "love" (or rather, "love-thoughts"), 
 and "whim" or "caprice") to "fan- 
 tasy" in Shakespeare. The latter, 
 occurring again in Hamlet, iv. iv. 6l, is 
 the meaning here. 
 
 303. common] Emilia is insulted at 
 this expression ; lago immediately 
 parries her resentment.
 
 sc. in.] THE MOOR OF VENICE 149 
 
 Emit. Ha ! 
 
 lago. To have a foolish wife. 305 
 
 Emil. O, is that all ? What will you give me now 
 
 For that same handkerchief? 
 
 lago. What handkerchief? 
 
 Emil. What handkerchief! 
 
 Why, that the Moor first gave to Desdemona ; 
 
 That which so often you did bid me steal. 310 
 
 lago. Hast stol'n it from her? 
 Emil. No, faith ; she let it drop by negligence, 
 
 And, to the advantage, I being here took 't up. 
 
 Look, here it is. 
 
 lago. A good wench ; give it me. 
 
 Emil. What will you do with't, that you have been so 
 earnest 315 
 
 To have me filch it ? 
 
 lago. {Snatching if\ Why, what 's that to you ? 
 
 Emil. If it be not for some purpose of import, 
 
 Give 't me again : poor lady, she '11 run mad 
 
 When she shall lack it. 
 
 305. wife] thing Q r. 307, 308. handkerchief] handkercher Q I, hand- 
 kerchiefe the rest. 312. No, faith} Qq ; No: but Ff, Rowe. 315, 316. 
 What . . . it?~\ prose Ff. 316. [Snatching it] Rowe, Globe; what's]Q(\et 
 seq.; what is Ff, Rowe, Steevens (1785). 317. If if] Q I, Ff, Globe, Craig; 
 If't Q 2, 3, Cambridge. 318. Give't me] Gtv't me Ff; Give mee't Q I, 2 ; 
 Give me V Q 3 ; Give it me Steevens, Malone. 
 
 310. so often] Compare "a hundred 316. [Snatching it] I would prefer 
 
 times," above (293), and "so earnest," this stage direction of Rowe's omitted, 
 
 below (315), and "next night" (341). but it is now a part of the action of the 
 
 Upon this "apparent inconsistency play and unassailable. Emilia's im- 
 
 with the brief time that has elapsed mediate purpose is to give it, and she 
 
 since the beginning of the drama," see seems to me to do so, when she says 
 
 Introduction, " Duration of Play. " "here it is" in the previous line but 
 
 313. to the advantage} opportunity one. Though effective on the stage, it 
 
 (Johnson). Compare "we'll read it seems an excrescence in the study. 
 
 at more advantage " (1 Henry IV. Moreover, lago is too calmly subtle to 
 
 II. iv.). be betrayed into impolitic impetuosity.
 
 150 
 
 OTHELLO 
 
 [ACT m. 
 
 lago. Be not acknown on't; I have use for it. 320 
 
 Go, leave me. \Exit Emilia, 
 
 I will in Cassio's lodging lose this napkin, 
 And let him find it. Trifles light as air 
 Are to the jealous confirmations strong 
 As proofs of holy writ : this may do something. 325 
 The Moor already changes with my poison : 
 
 320. not acknown on V] F 3, 4 ; not acknowne on 't F 1 , 2 ; not you knowne on 't 
 Q I, 3 ; not you acknowne on '/ Q 2. 322. lose] Qq, loose Ff. 326. The 
 . . . poison :] omitted Q i ; poison] poysons F 2, 3, 4, Rowe ; potion S. Walker 
 conj. 
 
 320.] These words should be a direct 
 intimation to Emilia that her husband 
 was meditating some devilry. 
 
 320. acknown] To be acknown of 
 meant to confess, to avow, to acknow- 
 ledge. "On" and "of" were used 
 almost interchangeably (see Abbott's 
 Grammar, 181, 182). The term does 
 not occur again in Shakespeare, but 
 was long in use. Steevens quotes 
 from Golding's Ovid, vii. 632 (1565), 
 and Puttenham's Arte of Poesie, Arber, 
 p. 260 (1589). An early example is 
 found in Furnivall's Babees Book, p. 
 46, in " How the Good Wijf tauMe hir 
 douStir" (circa 1430): "But take a 
 smart rodde, and bete hem on a rowe 
 Til ]>ei crie mercy, and be of her gilt 
 aknowe." From lago's tone here, I 
 think we may assume that he held his 
 wife in considerable dread of him. 
 This and her slack morality (see IV. 
 iii. 60-70) combine to produce her 
 fatal conduct. lago's plots have de- 
 veloped with greater rapidity than the 
 play informs us. See note at line 310. 
 Although he has planned the hand- 
 kerchief evidence, apparently, his soli- 
 loquies have conveyed no hint. This 
 is perhaps part of the "insoluble 
 problem of the time which the action 
 in Cyprus is intended to cover," as Boas 
 calls it. In the original story he 
 planned it, it is true, but he stole it 
 himself. Compare " He is not ignorant 
 
 of this report, but hears of it daily ; 
 yet he shrinks not, but thinks he sits 
 fast, and will not be acknown of any 
 such meaning," Letter dated July 1614, 
 Chamberlain to Carleton, Court and 
 Times of James /., i. 333 (1848). 
 
 323-325. Trifles . . . writ} Com- 
 pare Thomas Howell, 1581 (Grosart, ii. 
 176, reprint) : 
 
 "Suspition easily yeelds to light 
 
 beleefe 
 And light beleefe to jealousie is 
 
 thrall, 
 The jealous mynde devoures itselfe 
 
 with grief, 
 Thus love at once doth frye, freese, 
 
 ryse, and fall." 
 
 326. changes'] A realistic expression 
 referring to the actual change in 
 Othello's appearance. It is to this 
 lago refers at 330, 331, when he says 
 ' ' I did say so : Look. " ' ' Change " was 
 a technical term in this sense, omitting 
 "colour." Compare Henry V. II. ii. 
 73: "Look ye how they change! 
 Their cheeks are paper." And see 
 Julius CcKsar, in. i. 24. Compare 
 Holland's Plinie, xxviii. 9 : " Drusus 
 . . . dranke (as it is reported) goat's 
 bloud, to make himselfe looke pale and 
 wan in the face, at what time as he 
 ment to charge Q. Ccepio, his enemie, 
 with giving him poyson" (p. 321, Bk. 
 ii., 1601). lago refers to the paleness 
 due to his poison.
 
 sc. m.] THE MOOR OF VENICE 
 
 151 
 
 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: 330 
 
 Look, where he comes ! 
 
 Enter OTHELLO. 
 
 Not poppy, nor mandragora, 
 
 329. act upon~\ art, upon Q I. 330. mines} mindes Q I. 331. Enter 
 
 Othello] Ff, Q i, 2, Craig ; Re-enter Othello, Globe. 
 
 327. conceits'] See line 116, above. 
 
 328. distaste} displease, disgust. Not 
 used elsewhere intransitively by Shake- 
 speare, except doubtfully in Troilus and 
 Cressida, iv. iv. 50. But it occurs 
 frequently in his contemporaries. 
 Compare Ben Jonson, Cynthia 's Revels, 
 Induction (1600): "much distasted 
 with the immodest and obscene writing 
 of many in their plays " ; and in his 
 Sad Shepherd, Prologue : ' ' Wherein if 
 we distaste or be cried down, We think 
 we therefore shall not leave the 
 town." 
 
 329. act} action, operation. See I. 
 i. 62. 
 
 330. Burn . . . sulphur] " Sulphur 
 or brimstone ... is engendred within 
 the Islands ^Jolia, which lie between 
 Italic and Sicilie ; those I meane which 
 (as I have said before) doe alwaies 
 burne by reason thereof" (Holland's 
 Plinie, xxxv. 15). Compare Greene, 
 Or!. Furioso (ed. 1874, p. 107^), 1594: 
 "Naught can serve to quench th' 
 aspiring flames That burn as do the 
 fires of Sicilie." 
 
 331. poppy] Not the poppy commonly 
 so called, which is not mentioned by 
 Shakespeare, but the opium poppy 
 (Papaver somniferum) of the druggists. 
 Spenser speaks of " Dead - sleeping 
 Poppy" (Fairie Queene, II. vii. 52). 
 Shakespeare may have remembered Ben 
 Jonson here : 
 
 "Well, read my charmes, 
 
 And, may they take that hold upon 
 thy senses, 
 
 As thou hadst snuft up hemlock, or 
 taen down 
 
 The juice of poppy and of man- 
 drakes, [ ? and mandragora] 
 
 Sleep, voluptuous Csesar," 
 
 Sejanus, III. ii. 303/5 (1603). 
 331. mandragora"] A powerful sopo- 
 rific (Mandragora officinalis} imported 
 from the south of Europe. When 
 spoken of by this name (see Antony and 
 Cleopatra, I. v. 4) the reference is, 
 perhaps invariably, to the drug as a 
 sleep producer. The commoner English 
 name, mandrake, is usually applied to 
 the plant with reference to the super- 
 stitions attached to it. A common 
 English plant, bryony, was, and is, 
 known in England as "mandrake," 
 and was largely sold as a counterfeit. 
 It is still used by a well-known empiric 
 in Yorkshire, known as the " Mandrake 
 Doctor," but not as a soporific, except 
 in the sense of a pain-queller. The 
 root is similarly forked to that of the 
 imported dried specimens, and no doubt 
 it helped to foster the folk-lore. For 
 references to the quality here men- 
 tioned, see Nares. The early herbalists 
 (Lyte, Parkinson, Gerard, etc.) deal 
 with it. See also Holland's Plinie, 
 xxv. 13. Compare Eastward Ho 
 (Bullen's Marston, iii. 114): "I have
 
 152 
 
 OTHELLO 
 
 [ACT in. 
 
 Nor all the drowsy syrups of the world, 
 
 Shall ever medicine thee to that sweet sleep 
 
 Which thou owedst yesterday. 
 
 Otk. Ha 1 ha ! false to me ? 
 
 lago. Why, how now, general ! no more of that. 335 
 
 Oth. Avaunt ! be gone ! thou hast set me on the rack : 
 
 I swear 'tis better to be much abused 
 
 Than but to know 't a little. 
 
 lago. How now, my lord ! 
 
 Oth. What sense had I of her stol'n hours of lust ? 
 
 334. to me?] Ff, to me, to me? Qq. 338. know V] know Q I, Rowe. 
 sense] sent F 2, 3 ; scent F 4, Rowe ; of her] Qq, in her Ff. 
 
 339- 
 
 stopped mine ears with shoemaker's 
 wax, and drunk Lethe and mandragora 
 to forget you." And Chester's Love's 
 Martyr, 1601 (New Sh. Soc., p. 86) : 
 " In this delightsome country there 
 
 doth grow, 
 The Mandrake called in Greeke 
 
 Mandragoras, 
 Some of his vertues if you looke to 
 
 know, 
 The juice that freshly from the 
 
 roote doth passe, 
 
 Purgeth all fleame like black 
 Helleborus : 
 
 'Tis good for paine engendred 
 
 in the eies ; 
 
 By wine made of the roote 
 doth sleepe arise." 
 
 332. drowsy} sleep causing. Cot- 
 grave has same figure of speech : 
 " Alortelle somnifique, Death's herb, 
 sleepy or deadly Nightshade." Tenny- 
 son speaks of ' ' The drowsy hours " in 
 the same sense. 
 
 333. medicine thee to] We use "doctor" 
 in this sense as a verb. Shakespeare has 
 the verb meaning simply "cure" in 
 Cymbeline, iv. ii. 243. Compare Cot- 
 grave : " To medicine, cure, heal, salve, 
 leech ; to apply a remedy ; to practise, 
 or minister Physicke." I am indebted 
 to Mr. Daniel for the following from 
 Greene's Vision (Grosart's Huth Library, 
 
 xii. p. 260) : "a harde sorrow that no 
 releefe can medicine." 
 
 334. owedst] "Owe," meaning "own," 
 has occurred already (l. i. 66). 
 
 336. Avaunt] Occurs often in Shake- 
 speare. ' ' Shortened from the F. phrase 
 en avant, forward ! on ! march ! " 
 (Skeat). It occurs as early as Lydgate, 
 circa 1430. See Craig's notes to Lear, 
 in. vi. 68. 
 
 337. abused] abused (without know- 
 ing it). " 'Tis the pleasant life to know 
 nothing : iners malorum remedium 
 ignorantia, ignorance is a downright 
 remedy of evils " (Burton, Anatomy of 
 Melancholy, u. iii. 8). 
 
 339. What sense] What perception. 
 
 Steevens quotes here two passages from 
 
 Middleton's Witch, where this thought 
 
 is developed by a jealous husband : 
 
 ' ' Oh, 'tis a paine of hell to know 
 
 one's shame ! 
 Had it been hid and done, it- had 
 
 been done happy, 
 For he that's ignorant lives long 
 
 and merry " 
 
 (Bullen's Middleton, v. p. 431). 
 And see next page for lines beginning 
 " Hadst thou been secret, then I had 
 been happy." This play, well known 
 on account of its plagiarisms from 
 Macbeth, was written probably later 
 than 1611.
 
 sc.ni.] THE MOOR OF VENICE 
 
 153 
 
 I saw't not, thought it not, it harm'd not me: 340 
 
 I slept the next night well, was free and merry ; 
 
 I found not Cassio's kisses on her lips : 
 
 He that is robb'd, not wanting what is stol'n, 
 
 Let him not know 't and he 's not robb'd at all. 
 
 I ago. I am sorry to hear this. 345 
 
 Oth. 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 350 
 
 341. night well, was'] Qq ; night well, fed well, wasFf, Rowe. 347. Pioners] 
 Pioneers F 3, 4. 350. troop] Qq, troops Ff. 
 
 341. next night] For this indication 
 of time, see note above, line 310. See 
 Introduction. 
 
 342. / . . . lips] Massinger borrows 
 this thought: "Methinks I find 
 Paulinus on her lips" (Emperor of the 
 East, iv. 5). So also does Fletcher, 
 Valentinian, iii. I : ' ' Kiss me, I find 
 no Caesar here ; these lips taste not of 
 ravisher." These parallels are cited in 
 Deighton's Othello (Macmillan, 1897). 
 It may be safely stated that all the 
 dramatists of this time (Webster, Ford, 
 and Dekker especially) have snatches 
 or reminiscences of Shakespeare's 
 plays. Illustrations from them are often 
 interesting, but seldom useful unless of 
 an earlier date than Shakespeare. 
 
 347. Pioners] So spelt and accented in 
 Hamlet, i. v. 163. Compare Ben 
 Jonson, Underwoods, xiii. : 
 
 " ramparts of defence : 
 Such as the creeping common 
 
 pioners use." 
 
 Steevens quotes the following: "A 
 soldier ought ever to retaine and keep 
 his arms in saftie and forthcoming, for 
 he is more to be detested than a coward 
 that will lose or play away, etc. . . . 
 such a one is to be dismissed with 
 punishment, or to be made some abject 
 
 pioner" (E. Davies, Art of War, 1619). 
 Hence the term is used here to express 
 the lowest of the camp. So far as the 
 accent goes it seems easier here to 
 read, as Steevens does, "pioneers." I 
 find an earlier illustration of the base- 
 ness of pioneers in Sir J. Harington's 
 " Report to Queen Elizabeth concern- 
 ing the Earle of Essex's Journey in 
 Ireland, 1599" (Nugce Antiques, ed. 
 1779, p. 58 : " Thos whiche escaped by 
 flight or by base hydinge of themselues 
 from the force of the rebelles sworde, 
 were by a Martiall Court condempned 
 (on the 3d) to be hanged on the 
 gallowes : whiche sentence was mitti- 
 gated by his Lordship's mercie, by 
 whiche euerie I Oth man was sentenced 
 onlie to die ; the reste appointed to 
 serue in the army for pioneers." 
 
 349. Fare-well] Malone quoted a 
 similar series of " Farewells " from " a 
 drama entitled Common Conditions, 
 printed about 1576." This annoyed 
 Steevens so much that he replied : "I 
 have now before me an ancient MS. 
 English Poem in which sixteen succeed- 
 ing verses begin with the word fare- 
 well!" See Lyly's Gallathea, v. 12 
 (1592), for a good parallel.
 
 154 
 
 OTHELLO 
 
 [ACT in. 
 
 That make ambition virtue ! O, farewell ! 
 Farewell the neighing steed and the shrill trump, 
 The spirit-stirring drum, the ear-piercing fife, 
 The royal banner and all quality, 
 
 Pride, pomp and circumstance of glorious war ! 355 
 And, O you mortal engines, whose rude throats 
 The immortal Jove's dread clamours counterfeit, 
 Farewell ! Othello's occupation 's gone ! 
 
 351. make] F 2, 3, 4; makes Qq, F I, Johnson ; farewell!] Steevens, Globe, 
 Craig ; farewell ; F I ; farewell, Qq, F 2, 3, 4, Rowe, Cambridge. 356. you] 
 Ff, ye Qq ; rude] Ff, wide Qq. 357. dread] Ff, great Qq ; clamours] clamor Q I. 
 
 351. ambition,virtue] Compare "am- 
 bition, the soldier's virtue, Antony 
 and Cleopatra, ill. i. 22. 
 
 352. 353- trump . . . fife] The 
 trumpet, drum, and fife were the three 
 usual military instruments at this time. 
 They are mentioned together in Burton's 
 Anatomy of Melancholy, 1621 (ll. ii. 6. 
 3) : " Soldiers when they go to fight, 
 whom terror of death cannot so much 
 affright, as the sound of trumpet, drum, 
 fife, and such like music animates." 
 Compare also Peele, Sir Clyomon and 
 Sir Clamydes (1874, p. 494), 1599 : 
 " Sound of trumpet doth each warlike 
 wight allure, And drum and fife unto 
 the fight do noble hearts procure." 
 And Hakluyt, Towersoris Second 
 Voyage (1556): "all well appointed 
 with foure Trumpets, a Drummer, and 
 a Fife." 
 
 353. ear-piercing fife] See Merchant 
 of Venice, n. v. 30. Compare Peele's 
 Farewell (1874, p. 549), 1589: "The 
 roaring cannon and the brazen trump, 
 The angry-sounding drum, the whist- 
 ling fife, The shrieks of men, the 
 princely courser's neigh." Singer 
 referred to these lines. 
 
 355.] Steevens quotes a plagiarism in 
 Davenant [no uncommon thing] from 
 this line in his Albovine, 1629. Malone 
 cites a "parody" (rather another 
 plagiarism) in Fletcher's Prophetess, 
 1622. 
 
 355. circumstance] ceremonious dis- 
 
 play. Hunter refers to " Langley's 
 Translation of Polydore Vergil, Fol. 
 122(5," where we find that the Romans 
 celebrated their dead "with great 
 pomp and circumstance." If this 
 quotation be from T. Langley's Abridge- 
 ment of Polydore Vergil, 1546, it is 
 useful ; but if it be (as it should be from 
 the reference given) from J. Langley's 
 Translation of Polydore Vergil, 1663, it 
 is worthless. Compare Ben Jonson, 
 Sejanus, I. i. 2790 : 
 
 " men do lose their shames 
 And for the empty circumstance of 
 
 life 
 
 Betray their cause of living." 
 Shakespeare uses this word in the sin- 
 gular or plural indifferently. 
 
 356. mortal] deadly. See II. i. 72. 
 357.] Compare Taming of the Shrew, 
 II. i. 205 : " heaven's artillery." And 
 Ben Jonson, Panegyre on the Entrance 
 of James /., 1603 : 
 
 " through the air was rolled 
 The lengthened shout, as when th' 
 
 artillery 
 Of heaven is discharged along the 
 
 sky" 
 
 (Cunningham's Gifford'sy"0.$v7, ii. 57 1 )- 
 Chapman has the expression "Jove's 
 artillery" in Bussy Dambois, 1607; 
 and again in his Casar and Pompey, 
 1631. 
 
 358. Othellrfs occupation 's gone /] 
 These words are a death-knell. And, 
 as the memory of one conscious of the
 
 sc.ni.] THE MOOR OF VENICE 155 
 
 I ago. Is 't possible, my lord ? 
 
 Oth. Villain, be sure thou prove my love a whore; 360 
 
 Be sure of it ; give me the ocular proof ; 
 
 Or, by the worth of mine eternal soul, 
 
 Thou hadst been better have been born a dog 
 
 Than answer my waked wrath ! 
 
 I ago. Is 't come to this ? 
 
 Oth. Make me to see't; or at the least so prove it, 365 
 
 That the probation bear no hinge nor loop 
 
 To hang a doubt on ; or woe upon thy life ! 
 lago. My noble lord, 
 Oth. If thou dost slander her and torture me, 
 
 Never pray more; abandon all remorse; 370 
 
 On horror's head horrors accumulate; 
 
 Do deeds to make heaven weep, all earth amazed ; 
 
 For nothing canst thou to damnation add 
 
 Greater than that. 
 lago. O grace ! O heaven defend me ! 
 
 Are you a man ? have you a soul or sense ? 375 
 
 God be wi' you ; take mine office. O wretched fool, 
 
 359. possible, my lord ?~\ possible ? My lord, Capell, Steevens, Malone. 360. 
 [Taking him by the throat] Capell. 362. mine'] Ff, Steevens, Malone, etc. , 
 Craig; my Q 2, 3, Capell; man's Q I, Globe, Cambridge. 368. lord, ] 
 Pope ; Lord. Qq, Ff. 374. defend] Qq, forgive Ff. 376. mine] my Q 2, 3. 
 
 immediate approach of death, sets the intensity of action and the intricacy 
 
 before his mental vision in rapid and of intrigue, imagery and words have 
 
 distinct view an instantaneous picture recently given place to devices and 
 
 of the main events of his previous life, deeds. Now a brief spell of over- 
 
 so Othello leaps from the intolerable powering melancholy replaces the 
 
 present into the happier retrospect of harrowing tortures in which he has 
 
 his past career. Othello's agony here involved his genius. lago's words 
 
 cries halt ! and ere he finally plunges recall him from his trance to the damn- 
 
 into darkness, with his devil by his side, ing reality. 
 
 he takes a last lingering look at the 370. remorse} See below, line 469. 
 
 light. Desdemona and lago are alike 376. office] good will or service, 
 
 forgotten for the moment. So, too, Common in this sense. I do not think 
 
 Shakespeare's mind seems to tarry over it has the sense given by Macmillan, 
 
 this glorious speech. Hurried along by "he resigns his post as ancient." But
 
 156 OTHELLO [ACTIII. 
 
 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 380 
 I '11 love no friend sith love breeds such offence. 
 
 Oth. Nay, stay : thou shouldst be honest. 
 
 lago. I should be wise ; for honesty 's a fool, 
 And loses that it works for. 
 
 Oth. By the world, 
 
 I think my wife be honest, and think she is not, 385 
 I think that thou art just, and think thou art not : 
 . I '11 have some proof. Her name, that was as fresh 
 V\s Dian's visage, is now begrimed and black 
 As mine own face. If there be cords, or knives, 
 Poison, or fire, or suffocating streams, 390 
 
 I '11 not endure it. Would I were satisfied ! 
 
 lago. I see, sir, you are eaten up with passion : 
 I do repent me that I put it to you. 
 You would be satisfied ? 
 
 Oth. Would ! nay, I will. 
 
 377. lives^lov'sfFt. 378. -world! Take] Ff, -world, take Qq. 381. sitK] 
 Ff, since Qq. 384-392. Oth. By . . . satisfied ! lago.] omitted Q I. 385. 
 be] is F 3, 4. 387. proof. Her] proofe : her Q 2, 3 ; proofe. My Ff, Rowe, 
 Malone. 392. sir,] Qq, omitted Ff. 394. satisfied?"] Ff, satisfied, Qq ; 
 nay, I] Qq, Nay, and I Ff, Nay, and Pope. 
 
 it may, in order rather to remind morphosed: "They should be morris- 
 Othello presently that he wished for a dancers by their gingle." 
 higher grade. Compare next scene, 384. By the world] This asseveration 
 line III. occurs again, in affected use, in Lovers 
 
 380. profif]ga.m, or benefit; "of this Labour's Lost, v. i. in. It comes in 
 experience " understood. here unexpectedly, but there is no other 
 
 381. sith] since. reading. It is not in the first Quarto. 
 
 382. shouldst] ought to, hence "must" 388. Dian's] Diana, the goddess of 
 in our sense. Compare "that should chastity. 
 
 be my handkerchief," IV. i. 164 ; i.e. 389. If there be cords, etc.] Compare 
 "ought to," but with a sense of un- Pericles, iv. ii. 1 60 (Malone). 
 certainty. And Jonson, Gipsies Meta-
 
 sc. in.] THE MOOR OF VENICE 
 
 157 
 
 And may: but, how? how satisfied, my lord? 395 
 Would you, the supervisor, grossly gape on 
 ^Behold her tupp'd ? 
 
 Oth. Death and damnation ! O ! 
 
 lago. It were a tedious difficulty, I think, 
 
 To bring them to that prospect : damn them 
 
 then, 
 
 If ever mortal eyes do see them bolster 400 
 
 More than their own ! What then ? how then ? 
 What shall I say ? Where 's satisfaction ? 
 It is impossible you should see this, 
 -Were they as prime as goats, as hot as monkeys, 
 
 396. you, the supervisor] Capell et seq. ; you, the superuisor Q i ; you the super' 
 vision Ff ; you, the supervision Q 2, 3 ; on j Dyce, Globe ; on? Ff, Steevens, 
 Cambridge ; on, Qq ; on ; Craig. 397. tupp'd] Theobald, Steevens, Craig ; 
 topt Qq ; top'd F i ; topp'd F 2, 3, 4, Rowe, Globe. 399. damn them] dam 
 em Qq ; them] F I, em Qq ; omitted F 2, 3, 4. 40x5. do] didQq. 401. their] 
 thine Gollancy (misprint ?). 404. prime] brim Singer conj. 
 
 396. supervisor] superintendent, over- 
 seer. Halliwell cites an example from 
 an old will: "And to se all thinges 
 truly doone ... I ordeyn to be myn 
 executour of my last will, with a super- 
 visour, Aleyn Malston." Shakespeare 
 has " supervise," "inspect," and "in- 
 spection " elsewhere : Love's Labour's 
 Lost, IV. ii. 135, and Hamlet, V. ii. 23. 
 
 397. tupp'd] See I. i. 89. 
 
 400. them bolster] lie on a bolster 
 (together). New Eng. Diet, has no 
 other example of this sense. Compare 
 The 7'hree Ladies of London (Hazlitt's 
 Dodsley, vi. 369), 1584: "Thou wast 
 pure (Love) and art become a monster, 
 Bolstering thyself upon the lascivious- 
 ness of Lucre. " The verb " to bolster, " 
 to back up, support (with no preposi- 
 tion), occurs early in Nashe and Chettle. 
 The following is a better example of the 
 sense in the passage ; from Peele's 
 David and Bethsdbe (ed. 1874, p. 
 478), 1599: 
 
 " the tyrant of the land, 
 Bolstering his hateful head upon 
 
 the throne 
 That God unworthily hath bless'd 
 
 him with." 
 
 404. prime] marts appetens (Halli- 
 well). Dyce refers to Cotgrave thus : 
 "Prim, Prime, forward," etc., Cot' 
 grave's French and English Dictionary, 
 and then gives " eager " for the meaning 
 in this passage. But Cotgrave only 
 refers to "position," the "etc." of Dyce 
 standing for " or first, principal, chief, 
 or soonest," which completely vitiates 
 his false quotation. Perhaps the word 
 gained this sense through confusion with 
 ' ' brim " (verb) often used by Holland of 
 swine. " More prime than goats or mon- 
 kies in their prides " is a line in Samp- 
 son's Vow Breaker, 1636 obviously a 
 reminiscence of the passage here. See 
 " Probal," above (note) II. iii. 350. 
 
 404. goats] Compare Cotgrave in v. 
 Paillard: " Paillard comme un Verrat.
 
 158 OTHELLO [ACTIII. 
 
 V/ 
 
 As salt as wolves in pride, and fools as gross 405 
 As ignorance made drunk. But yet, I say, 
 If imputation and strong circumstances, 
 Which lead directly to the door of truth, 
 Will give you satisfaction, you may have 't 
 
 Oth. Give me a living reason she 's disloyal. 410 
 
 I ago. I do not like the office : 
 
 But sith I am enter'd in this cause so far, 
 
 Prick'd to it by foolish honesty and love, 
 
 I will go on. I lay with Cassio lately, 
 
 And being troubled with a raging tooth, 415 
 
 I could not sleep. 
 
 There are a kind of men so loose of soul, 
 
 That in their sleeps will mutter their affairs : 
 
 One of this kind is Cassio : 
 
 409. may] Qq, etc. , might Ff. 412. m]Ff, intoQ(\. 413. to if\ Steevens; 
 too'tY i, 2 ; to 't Qq, F 3, 4, Globe, Cambridge. 
 
 As lecherous as a goat (say we)." Illus- in the woods . . . Semblably, thus do 
 trations of this (as well as " monkeys ") the Gaules by their dogges that are 
 may be found in Marston's Scourge of engendred of wolves." 
 Villany (i. iii.), 1598. The proverb is 410. living] lasting, enduring. Corn- 
 in Ray, ed. 1670. See Chester's Love's pare Hamlet, v. i. 320. Malone says 
 Martyr (New Sh. Soc., reprint, p. ill), "A reason founded on fact and ex- 
 1601 : "The gote-bucke is a beast perience, not on surmise and conjee - 
 lasciuious, And given much to filthie ture." Warburton says "speaking, 
 venerie." manifest." 
 
 404. monkey s\ Compare 2 Henry IV. 411. office] duty. 
 
 ii. 338. Monkeys were favourite pets, 413. Prick'd'} goaded, spurred. Com- 
 
 and their salacity is constantly alluded pare Two Gentlemen, in. i. 8. 
 
 to by the dramatists. 414. lay with Cassia] Men, even in 
 
 405. salt as wolves in pride] These the highest rank, formerly lay together, 
 are the terms in venery applied to as is common still provincially among 
 wolves. Compare Gentleman s Recrea- lower grades. See "bedfellow" in 
 tion (p. 106, ed. 1721) : "A Bitch Wolf Nares' Dictionary, and note to that 
 proud, will suffer a great many of the word in Henry V. II. ii. The custom 
 Male to follow her . . . they grow Salt is constantly mentioned. In a letter 
 but once a Year." And Pliny (Hoi- "from Trim in Ireland," Sir John 
 land's translation), viii. 40: "The In- Harington says: "In all this journey 
 dians take great pleasure to have their I was comerade to the Earl of Kildare, 
 salt bitches to be lined with tygres . . . and slept both on one pillow every night 
 when they grow proud they leave them for the most part " (Nuga Antiqutz}.
 
 SC.HI.] THE MOOR OF VENICE 159 
 
 In sleep I heard him say " Sweet Desdemona, 420 
 
 Let us be wary, let us hide our loves ; " 
 
 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 lips: then laid his leg 425 
 
 Over my thigh, and sigh'd and kiss'd, and then 
 
 Cried " Cursed fate that gave thee to the Moor ! " 
 
 Oth. O monstrous I monstrous ! 
 
 I ago. Nay, this was but his dream. 
 
 Oth. But this denoted a foregone conclusion : 
 
 'Tis a shrewd doubt, though it be but a dream. 430 
 
 lago. And this may help to thicken other proofs 
 That do demonstrate thinly. 
 
 Oth. 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 435 
 Spotted with strawberries in your wife's hand ? 
 
 Oth. I gave her such a one ; 'twas my first gift. 
 
 lago. I know not that : but such a handkerchief - 
 1 am sure it was your wife's -did I to-day 
 
 421. -wary] merry Q i. 423. Cry " O] Cry, oh Ff, cry out, Qq ; and 
 then} Qq, then Ff. 429. denoted] denoted Q I. 430, 431. 'Tis a . . . 
 dream. lago. And . . .] lag. 'Tis a . . > dreame, And . . . Q I. 433. 
 but] Qq, yet Ff. 439. wife's] Rowe ; wives Qq, Ff. 
 
 422. gripe] grasp, clasp, squeeze, in spots to represent strawberries. Corn- 
 Frequently used in the sense of "seize" pare Coriolanus, I. iii. 56: "What are 
 (not with affection) by Shakespeare, you sewing here? A fine spot." A 
 Compare Cooke's Greene's Tu Quoqite metaphor borrowed from, perhaps, or 
 (Ancient British Drama, ii. 546): equivalent to the French " mar quite" \ 
 " marry I would have you go to him, spotted, diversified or covered with 
 take him by the hand and gripe him." sundry coloured spots ; also, inlayed ; 
 
 429. foregone conclusion} previous wrought all over with small pieces of 
 trial or experience. Not our sense. sundry colours " (Cotgrave). 
 
 436. spoited-with strawt/erries]v>'orked
 
 160 OTHELLO [ACTIII. 
 
 See Cassio wipe his beard with. 
 
 Oth. If it be that, 440 
 
 I ago. If it be that, or any that was hers, 
 
 It speaks against her with the other proofs. 
 Oth. 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, I ago; 445 
 
 All my fond love thus do I blow to heaven : 
 
 J Tis gone. 
 ^""Arise, black vengeance, from thy hollow cell ! 
 
 Yield up, O love, thy crown and hearted throne 
 
 To tyrannous hate ! Swell, bosom, with thy 
 fraught, 450 
 
 440. Ifif\ Ff, Iff Qq. 441. any that w as hers] Malone, Steevens (1793) J 
 any, it was hers, Qq ; any, it was hers. F I ; any, if't was hers, F 2, 3, 4, Rowe, 
 Steevens (1785). 445. do 7] I doe Q 2, 3 ; true] time Q I. 448. thy hollow 
 cell} Qq, Johnson, Malone, Globe, Cambridge ; the hollow hell Ff, Steevens 
 (1793), Craig. 
 
 448. hollow cell] Steevens quotes " Rouse the [thee] blacke Mischiefe 
 
 from Jasper Heywood's translation, from thy ebben cell, 
 
 Seneca's Thyestes, 1 560 : ' ' Where Land in the bosome of this twin in 
 
 most prodigious ugly thinges the hoi- lust 
 
 lo we hell doth hyde." Knight callsatten- Him whose heapt-wrong calles 
 
 tion to the opposition between "hell" vengeance to be just." 
 
 in this line and " heaven " immediately Armin in this play and scene has so 
 
 preceding. Hence the Folio reading many scraps from Shakespeare that I 
 
 appears preferable, and that Milton feel sure he quotes from him here also, 
 
 approved of it appears from two passages and this confirms me in "cell"; he 
 
 quoted by Malone and Holt White : mixed it with "ebon den" off Henry 
 
 "He called so loud, that all the IV. This forms, if admitted, the 
 
 hollow deep earliest reference to Othello. See, how- 
 
 Of hell resounded " ever, note at II. ii. 144. Armin acted 
 
 (Paradise Lost, I. v. 314). in Shakespeare's plays. He is full of 
 
 "the universal host up sent such "echoes." 
 
 A shout that tore hell's concave " 449. hearted throne} throned, seated 
 (ibid., line 542). Nevertheless, in spite in the heart. See above, I. iii. 373 ; 
 of the antithesis, I prefer "cell," which compare Twelfth Night, n. iv. 21. 
 is more forcible applied to a personified 450. fraught} freight, load. Corn- 
 vice, and a constantly employed meta- pare Tempest, V. 6 1. So Cotgrave : 
 phor in such a context. I find in R. " Fret : The fraught or fraight of a 
 Armin's Two Maids of More-clacke ship." 
 (Grosart, reprint, p. 100), 1609:
 
 sc. in.] THE MOOR OF VENICE 
 
 161 
 
 For 'tis of aspics' tongues ! 
 
 lago. Yet be content. 
 
 Oth. O, blood, blood, blood ! 
 
 lago. Patience, I say ; your mind perhaps may change. 
 Oth. Never, lago. Like to the Pontic sea, 
 
 Whose icy current and compulsive course 455 
 
 Ne'er feels retiring ebb, but keeps due on 
 
 To the Propontic and the Hellespont ; 
 
 451 [he kneeles] Q i at content, at tongues Q 2, 3 ; omitted Ff ; Yef] Ff, Pray 
 Qq. 452. blood, blood, blood] Ff ; blood, lago, oioodQq, Steevens. 453. per- 
 haps} Qq, omitted Ff. 454-461. lago . . . heaven,} omitted Q i. 456. 
 feels} Q 2, 3 ; keeps Ff. 
 
 451. aspics'} This form of the word 
 occurs again in Antony and Cleopatra, 
 V. ii. 296, 354, 355. It is found also 
 in Sylvester's translation Du Bartas, 
 1603 (p. 156, ed. 1608), and in the 
 dictionaries of Palsgrave (i53) Florio, 
 and Cotgrave. Shakespeare probably 
 read it in North's Plutarch (Lives, Anto- 
 nius). Mr. Craig gives me this refer- 
 ence thereto (not in New Eng. Diet. ) : 
 " Some report that this aspick was 
 brought into her in the basket with figs. " 
 The word "swell" in the preceding 
 line is not to be taken in conjunction 
 with "asp," but as of poison generally. 
 Ceesar tells us in the last scene of Antony 
 and Cleopatra, that Cleopatra showed 
 no external swelling from the aspic's 
 sting, as would appear from "poison." 
 
 452. blood, blood, blood} The repeti- 
 tion appears to have been formerly held 
 important for emphasis. Compare 
 Lear, iv. vi. 181, "kill," etc. (five 
 times) ; and Coriolanus, v. vi. 132, 
 "kill" (five times). This latter was 
 properly a cry of soldiers, where no 
 quarter was given. See Craig's note 
 to the passage in Lear. In Ben Jon- 
 son's Fox, II. iii. 360^ occurs "Odso, 
 think [seven times], sir." And in 
 Case is Altered, III. i., 1598, Jaques says, 
 " O, so [five times], this is for gold." 
 Webster has examples in his plays. 
 
 II 
 
 454. Pontic sea} Black Sea. 
 
 455. icy current} The coldness of 
 these waters is noted by Pliny, iv. 12 : 
 "And this is all the breadth there that 
 divideth Asia from Europe : which some- 
 time is passeable over most-what on foot, 
 namely, when the Firth is frozen and all 
 an yce" (Holland's translation, 1601). 
 Of the violence of the course, there is 
 also an account in the same author 
 (vi. i) : "The Sea called Pontus Euxi- 
 nus ... it sufficed not, I say, to have 
 broken through the mountaines and so 
 to rush in, ... no nor to have let 
 Propontis gush through Hellespont, 
 and so to encroach upon the earth." 
 And again (v. xxxii. ) : " Hellespont 
 . . . where into the maine sea gusheth 
 with a mightie force and violence." 
 
 455. compulsive} " having the quality 
 of driving or forcing onwards," New 
 Eng. Diet, (quoting Culpepper, 1655, 
 in same sense). Compare Hamlet, ill. 
 iv. 86. Used here in the sense of force- 
 ful, not to be withstood. 
 
 456, 457. Ne'er feels . . . Propontic} 
 Steevens referred here, for Shakespeare's 
 authority, to Holland's Plinie, ii. 97 : 
 ' ' And the sea Pontus evermore floweth 
 and runneth out into Propontis, but the 
 sea never retireth back againe within 
 Pontus." In a later passage in the 
 same work (iv. 13), a closer resem-
 
 162 
 
 OTHELLO 
 
 [ACT in. 
 
 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 460 
 
 Swallow them up. Now, by yond marble heaven, 
 In the due reverence of a sacred vow [Kneels. 
 
 I here engage my words. 
 
 I ago. Do not rise yet. [Kneels. 
 
 Witness, you ever-burning lights above, 
 You elements that clip us round about, 465 
 
 462 [Kneels.] Rowe ; lago kneeles. Q 2 at about (line 465) ; omitted Ff, Q 3. 
 464. you] the Q 2, 3. 
 
 blance in some respects, occurs : "I 
 cannot passe by the opinion of many 
 writers, before we depart from Pontus, 
 who have thought that all the inland 
 seas or Mediteranen, arise from that 
 head, and not from the streights of 
 Gades . . . because out of Pontus the 
 sea alwaies floweth and never ebbeth 
 againe." Pope calls this simile (omitted 
 in the first Quarto) ' ' an unnatural ex- 
 cursion, "and thinks itshould be omitted. 
 Swinburne says it is "one of the most 
 precious jewels that ever the prodigal 
 afterthought of a great poet bestowed 
 upon the rapture of his readers." 
 
 457. Propontic\ The ancient name of 
 the Sea of Marmora. 
 
 461. marble heaven] Compare 
 "marble mansion," Cymbeline, v. iv. 
 87, 119; " marble pavement," Timon, 
 IV. Hi. 191; and "marble clouds," 
 Dekker, Honest Whore ( Pearson, p. 1 19 ). 
 Steevens quotes Soliman and Persida, 
 1599 : " Now by the marble face of the 
 welkin." Malone refers to Antonio and 
 Mellida, by Marston, 1602: "And 
 pleas'd the marble heavens." Hazlitt 
 refers to Milton's "pure marble air," 
 Paradise Lost, iii. 564 ; " which is used, " 
 Upton says, "in its thoroughly classic 
 sense from fjuipfuilpw, to sparke, to glow, 
 or as in the aquor marmoreum of Virgil, 
 the sea shining or resplendent like mar- 
 ble." "This, then," says Hazlitt, "is 
 
 the meaning in which, I think, it was 
 always used by Shakespeare, of course 
 without a thought, or perhaps even 
 knowledge, of its classic origin. This 
 is assuredly correct, and Schmidt's sug- 
 gestion of "everlasting," "on account 
 of their eternity," quite untenable. 
 Nevertheless the term seems to me to 
 convey the idea of stern severity, 
 whether from the hardness, coldness, 
 or inflexibility of the substance, or from 
 all combined. 
 
 465. elements'} heavens. This, I 
 think, is the sense here of a word used 
 with great latitude. Compare " by the 
 elements," in Coriolanus, I. x. 10. 
 "Heaven" or "heavens," or "sky" 
 or "skies" if it be preferred. Com- 
 pare Chester's Love's Martyr, 1601 : 
 " O Thou great maker of the firma- 
 ment, 
 That ridst upon the winged 
 
 Cherubins, 
 
 And on the glorious shining ele- 
 ment, 
 
 Hearst the sad praiers of the 
 Seraphins " 
 
 (New Shak. Soc., p. 13). 
 And again : 
 
 ' ' When early rising Birds alowd did 
 
 sing 
 And faire cleare clouds the element 
 
 did adorne " 
 (id. p. 62). While on page 12, it/em,
 
 SC.HI.] THE MOOR OF VENICE 163 
 
 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. 
 
 Oth. I greet thy love, 470 
 
 Not with vain thanks, but with acceptance bounteous, 
 
 And will upon the instant put thee to 't : 
 
 Within these three days let me hear thee say 
 
 That Cassio 's not alive. 
 lago. My friend fs dead; 'tis done at your request: 475 
 
 But let her live. 
 Oth. Damn her, lewd minx ! O, damn her ! 
 
 467. execution] excellency Q I ; hands] Ff, hand Qq. 469. be in me re- 
 morse] be remorce Q I. 470. business ever] worke so ever Qq ; work soever 
 Theobald, Steevens. 475. at your request] Ff, as you request Qq. 476. 
 
 Damn . . . minx] separate line Ff, one line Damn . . . her Qq ; 0, damn her !] 
 O, damne her, damne her. Ff (separate line). 
 
 " elemental " means heavenly. A good passage into a wonderful mash. It is 
 
 instance occurs in Hakluyt (ii. 218, well to notice here the solemn manner 
 
 rept.), 1599: " We sawe in the element, in which lago perjures his soul in this 
 
 a cloud with a long tayle, like vnto the noble adjuration of a pious loyalty, 
 
 tayle of a serpent." So also Peele, lago has already in a famous speech 
 
 Edward I. (ed. 1874, p. 383), 1593: (ill. iii. 156) assumed the garb of virtue 
 
 " Friar. What, have we a fellow dropt to his trustful chief, 
 
 out of the element ? What 's he for a 472. put thee to V] put you to the 
 
 man?" and Honour of Order of proof. Compare Coriolanus, i. i. 223, 
 
 Garter, 1593: "To whom the earth, and Measure for Measure, in. ii. 201. 
 
 the sea and elements Auspicious are" 473, 474.] This murderous order 
 
 (1874, p. 588). causes one nowadays to revolt against 
 
 465. clip] embrace closely, surround. Othello. Shakespeare's times were 
 
 The original sense was to draw closely different, and it must be remembered 
 
 together, as in the edges of a pair of the scene is in Italy, where such methods 
 
 shears. Compare Cymbeline, ii. iii. were usual. 
 
 139. And Trevisa, Bartholomew De 476. minx] "A pert, wanton 
 
 Propriet. Rev. 1397: "England is the woman" (Skeat). It occurs again 
 
 most island of Ocean, and is beclipped below, iv. i. 159; and in Twelfth 
 
 all about by the sea." Night, ill. iv. 133. The word origin- 
 
 467. execution] action, performance. ally seems to have been equivalent to 
 
 469. remorse] compunction of con- " pet." The earliest note I have is to 
 
 science (Schmidt). Hence "conscience" Udall's Erasmus (Roberts' rept., p. 
 
 simply. See above in. iii. 369. Some 143), 1542: "A little mynxe full of 
 
 of the commentators have laboured this play " (of a dog). It acquired a bad
 
 164 OTHELLO [ACTIII. 
 
 Come, go with me apart ; I will withdraw, 
 To furnish me with some swift means of death 
 For the fair devil. Now art thou my lieutenant. 
 I ago. I am your own for ever. \Exeunt. 480 
 
 SCENE IV. Before the Castle. 
 
 Enter DESDEMONA, EMILIA, and Clown. 
 
 Des. Do you know, sirrah, where Lieutenant Cassio 
 
 lies? 
 
 Clo. I dare not say he lies any where. 
 Des. Why, man ? 
 Clo. He is a soldier; and for one to say a soldier lies, 5 
 
 is stabbing. 
 
 Des. Go to : where lodges he ? 
 Clo. To tell you where he lodges, is to tell you where 
 
 I lie. 
 
 Before the Castle] The Same, Capell, Steevens ; Another Apartment in the 
 Palace Theobald. I. Lieutenant} the Lieutenant Qq. 5. Clo.] omitted 
 Q I ; He is] Qq, Steevens, etc., Craig ; He's Ff, Globe ; one'] Qq 5 mee F I, 2 ; 
 me F 3, 4. 6. is] Qq, 'tis Ff. 8-10. To tell . . . this?] omitted Q I. 
 
 sense. In Marlowe's Doctor Faustus, beginning of last Act], and was certainly 
 
 "Sloth" is addressed as " Mistres intended to be an allowed or domestic 
 
 Minx," and this prefix was frequently ' fool ' in the service of Othello and 
 
 applied, as in Guilpin's Skialetheia, Sat. Desdemona," Illustrations of Shake- 
 
 V., 1598. Compare Cotgrave : " Gogu- speare, ii. 272. 
 
 enelle : A feigned title or tearm for a 6. stabbing] Compare Dekker, Seven 
 
 wench; like our Gixie, Callat, Minx, Deadly Sinnes of London, 1606 (Arber 
 
 etc." From Bianca's use of the word reprint, p. 22) : " He that gives a soldier 
 
 below, it had evidently the worst sense the Lye, lookes to receave the stab." 
 
 in Shakespeare's mind at present. And Ben Jonson, Every Man in his 
 
 479.] lago here obtains the coveted Humour, iv. 2, 1598 : 
 
 appointment, the refusal of which he " Tib. You lie in your throat, hus- 
 
 makes his primary motive for revenge band. 
 
 at the opening of the play. Cob. How, the lie ! and in my 
 
 throat too ! do you long to be 
 
 Scene IV. stabbed, ha? 
 
 Clown] Douce says the Clown Tib. Why, you are no soldier, I 
 
 "appears but twice in the play [see hope."
 
 sc. iv.] THE MOOR OF VENICE 165 
 
 Des. Can any thing be made of this ? I o 
 
 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 ? I 5 
 
 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 in 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 I lose that handkerchief, Emilia? 
 Emil. I know not, madam. 
 Des. Believe me, I had rather have lost my purse 25 
 
 Full of crusadoes : and, but my noble Moor 
 
 12,13. lies here . . . there] lies there Qq. 13. mine own] my Q I. 19. in 
 
 bis] Qq, Steevens, Craig ; on his Ff. 21. man's wit] a man Q I. 22. / 
 
 will] I'le or lie Qq ; it] Ff ; of it Qq, Rowe. 23. that} Qq, the Ff. 25. 
 have lost] Ff, loose Qq. 
 
 13. lie . . . throat] A deep lie, not 23. should] See above, III. iii. 382 
 one " from the teeth outward. " Shake- (note). 
 
 speare has the expression frequently, - 24.] Hudson says here : " Emilia 
 
 e.g. Love's Labour's Lost, IV. iii. 12. loves her mistress deeply, but she has 
 
 Ben Jonson uses it (see last note), no moral repugnance to theft and false- 
 
 An earlier instance is in Gabriel hood, apprehends no fatal consequences 
 
 Harvey's Three Proper Letters (Gro- from the Moor's passion, and has no 
 
 sart's ed. i. 73), ante 1580: "Out soul to conceive the agony her mistress 
 
 lyar out, thou lyest abhominably in thy must suffer by the charge of infidelity ; 
 
 throate." and it is but natural that when the 
 
 14. edified] built, literally. The ap- result comes she should be the more 
 plied sense was not common, and has spirited for the very remembrance of 
 usually an affected use in Shakespeare, her own guilty part in the process " 
 See Hamlet, V. ii. 162. Compare Peele, (Furness). This puts the case as well 
 Edward I. (1874, p. 382) : " 'Tis pity, as it can be put for Emilia. 
 
 friar, but thou shouldst be Lluellen's 26. crusadoes] Portuguese coins 
 chaplain, thou edifiest so well." An stamped with a cross, current in 
 affected biblical term. England in Shakespeare's time. They
 
 166 OTHELLO [ACT m. 
 
 Is true of mind and made of no such baseness 
 
 As jealous creatures are, it were enough 
 
 To put him to ill thinking. 
 
 Emit. Is he not jealous ? 
 
 Des. Who, he? I think the sun where he was born 30 
 
 Drew all such humours from him. 
 
 Emil. Look, where he comes. 
 
 Des. I will not leave him now till Cassio 
 
 Be call'd to him. 
 
 Enter OTHELLO. 
 
 How is it with you, my lord ? 
 
 Oth. Well, my good lady. \Aside\ O, hardness to dis- 
 semble ! 
 
 How do you do, Desdemona? 
 
 Des. Well, my good lord. 3 5 
 
 Oth. Give me your hand: this hand is moist, my 
 
 lady. 
 
 Des. It yet has felt no age nor known no sorrow. 
 Oth. This argues fruiifulness and liberal heart : 
 
 Hot, hot, and moist : this hand of yours requires 
 
 32. till] Let Q I ; Enter Othello.] placed as by Dyce ; after him (line 31) Qq ; 
 after comes (line 31) F I, 2 ; after sorrow (line 37) F 3 ; after lord? (line 33) F 4, 
 Steevens. 33. is it] Qq, Theobald, Steevens (1785) ; is't Globe, Craig. 37. 
 yet has] Qq, Cambridge, Craig; hath Ff; yet hath Dyce, Globe. 39. Hot, 
 hot] Not hot Q i, Both hot Anon. MS. (in Devonshire Q I, Cambridge). 
 
 were of gold, and their value three by the ancients (Aristotle et seq. ) in four 
 
 shillings in English money. Andrew classifications in their views of nature 
 
 Borde says, in his Bake of Know- and generation. These were Cold 
 
 ledge, ch. xxix. (London rept., 1814), and Dry, Cold and Moist, Hot and 
 
 1542: "The Portingales seketh theyr Dry, Hot and Moist. " They are called 
 
 lyvynge fare by the see, theyr money the first qualities, because they slide 
 
 is brasse and fyne golde .... in first from the elements into the things 
 
 gold they have cursados worth v.s. a that be made of elements," Trevisa's 
 
 pece." Bartholomew. In Ben Jonson's 
 
 38. hot and moist] See II. i. 259. Every Man out of his Humour, v. 2 
 
 The elements were formerly combined (1599), when Sogliardo greets Savio-
 
 sc. iv.] THE MOOR OF VENICE 
 
 167 
 
 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. 
 Des. You may, indeed, say so ; 
 
 For 'twas that hand that gave away my heart. 45 
 Oth. A liberal hand : the hearts of old gave hands ; 
 
 40. prayer} {,praying Qq. 41. devout} devoted Q 3. 42. here's] there's 
 Daniel. 44. frank one] very frank one Hanmer, frank one too Capell. 
 
 46. hearts . . . hands] hands . . . hearts Hanmer, Warburton. 
 
 lina, he says, " How does my sweet 
 lady? hot and moist? beautiful and 
 lusty?" Steevens said here "Ben 
 Jonson seems to have attempted a 
 ridicule on this passage, in Every Man 
 out of his Humour." Gifford, naturally, 
 in defence of his favourite author, 
 pours out the vials of his wrath upon 
 "the whole cry of commentators." 
 Gifford bases his remonstrance on the 
 dates. 
 
 40. sequester] sequestration, seclu- 
 sion. No other example of this sub- 
 stantive has been adduced. 
 
 42.] Cupid. So Ben Jonson: "Love 
 . . . His pulse lies in her palm" 
 (quoted above, II. i. 259). 
 
 46, 47. hearts . . . hands] War- 
 burton believed this to be a reference 
 to the new order of baronets, instituted 
 by James I. in 1611. The honour con- 
 ferred (in 1612) the addition of a 
 "hand" gules to the coat of arms. 
 The fatal defect in this analogy (which 
 would otherwise seem to me to be 
 irrefutable) is the date, which is, on 
 firm grounds placed at 1604. So that 
 we should have to suppose this a later 
 insertion. Warburton and others took 
 this passage as a landmark for the date 
 of the play. This natural remark, con- 
 sidering the expression "new heraldry," 
 called forth torrents of condemnation. 
 Steevens calls it an absurdity for 
 
 Shakespeare to " sneer " at this badge 
 of honours. It is a very mild ' ' sneer, " 
 and if one considers the manner in 
 which James' knighthood creations are 
 "sneered" at by the dramatists, it 
 would be strange if this should pass un- 
 noticed. Malone thinks it possible 
 that Warburton is right. Dyce calls it 
 "a ridiculous idea." I at first agreed, 
 although insertions are extremely unwel- 
 come suggestions, with White (ed. 2), 
 who says, ' ' This seems to be the ' new 
 heraldry ' Othello speaks of ; but in 
 that case the passage was probably 
 added after the first production of the 
 play." The words "new heraldry" 
 are too explicit to be explained away. 
 Malone, supposing the words to be 
 figuratively used, compares Tempest, 
 III. i. 90. He also quotes the follow- 
 ing from Sir William Cornwallis' 
 Essays, 1601, Essay 28, "Of Compli- 
 ments" : "They [our forefathers] had 
 wont to give their handes and their 
 hearts together ; but we thinke it a finer 
 grace to looke a squint, our hand look- 
 ing one way and our heart another." 
 May not Othello's words at " of old" 
 be a recollection of Burleigh's advice to 
 Elizabeth upon taxation : " Win hearts, 
 and you have their hands and purses. 1 
 See Disraeli, Curiosities of Lit., iii. 
 199, ed. 1858. I have failed to verify 
 this, and so also has Dr. Dowden.
 
 168 
 
 OTHELLO 
 
 [ACT in. 
 
 But our new heraldry is hands, not hearts. 
 Des. I cannot speak of this. Come now, your promise. 
 Oth. What promise, chuck? 
 
 Des. I have sent to bid Cassio come speak with you. 
 Oth. I have a salt and sorry rheum offends me ; 
 
 Lend me thy handkerchief. 
 
 Des. Here, my lord. 
 
 Oth. That which I gave you. 
 Des. I have it not about me. 
 
 48. Come now,] Globe, Cambridge; Come, now Ff; Come now Q 2, 3, 
 Steevens; Come, come Q I. 51. sorry} Ff, sullen Qq. 52-55. Lend me 
 . . . That handkerchief] arranged as by Steevens (1793), Globe, Craig ; each 
 speech separate line (seven lines) in old editions, etc., Cambridge. 52. hand- 
 kerchief] handkercher Q I (and elsewhere). 
 
 But Disraeli is explicit. The figurative 
 use, illustrated from the Tempest by 
 Malone, is probably frequent. Greene 
 has it in James the Fourth, 1598 (1874, 
 p. 190): 
 
 ' ' For thy false heart dissenting from 
 
 thy hand, 
 Misled by love, hath made another 
 
 choice." 
 
 But Peele has a heraldic reference in 
 another place, which serves perhaps 
 to remove any necessity for a recent 
 allusion. But it needs explanation 
 itself. It is in Polyhymnia, the de- 
 scription of the tilting before the 
 Queen in 1590. One of the tillers 
 was (ed. 1874, p. 571) 
 
 "Anthony Cooke, a man of noble 
 
 mind, 
 For arms and courtship equal to 
 
 the best : 
 Valour and Virtue sat upon his 
 
 helm, 
 Whom Love and lowering Fortune 
 
 led along, 
 And Life and Death he portray'd 
 
 in his show ; 
 
 A liberal Hand, badge of nobility, 
 A Heart that in his mistress' 
 honour vows 
 
 To task his hand in witness of his 
 
 heart 
 Till age shake off war's rough 
 
 habliments." 
 
 This seems to be a direct allusion to 
 the quotation attributed to Burleigh. 
 And the " liberal Hand " identifies it 
 with Shakespeare's thought. The 
 Polyhymnia passage is also heraldic, 
 each combatant being equipped with 
 badge and impress.! 
 
 49. chuck} term of endearment often 
 used by Shakespeare, as well as 
 Marston and Jonson. It does not 
 commonly occur in such a serious 
 situation as here, but compare Macbeth, 
 in. ii. 45. The word is a variant of 
 "chick." 
 
 51. sorry} wretched, distressing. 
 Compare Macbeth, II. ii. 21 ; 2 Henry 
 VI. I. iv. 69. "Salt rheum" occurs 
 again in Comedy of Errors, in. ii. 131. 
 51. rheum} Lyly tells us this was a 
 " courtly term." In Mydas, v. ii. 
 (1592), Petullussays to Motto : "belike 
 if thou shouldst spit often, thou wouldst 
 call it rheume. Motto, in men of re- 
 putation and credit it is the rheume ; in 
 such mechanicall mushrumpes, it is a 
 catarre, a pose, the water evill."
 
 sc. iv.] THE MOOR OF VENICE 169 
 
 Oth. Not? 
 
 Des. No, indeed, my lord. 
 
 Oth. That is a fault. 
 
 That handkerchief 5 5 
 
 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 
 
 Or made a gift of it, my father's eye 
 Should hold her loathed and his spirits should hunt 
 After new fancies : she dying gave it me, 
 And bid me, when my fate would have me wive, 
 To give it her. I did so: and take heed on 't ; 65 
 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? 
 
 54. Not ?] Ff, Not. Qq ; indeea] faith Q I ; That is} Steevens, etc. ; That 's Qq, 
 Ff. 59. and} omitted F 2, 3, 4. 62. loathed] lot hely Q I, loathly Steevens. 
 64. apnwjQq, wzWFf. 67. lose'f\ Theobald, etc.; loose' t Ff ; loose Q I, 2 ; 
 lose Q 3, Steevens (1793). 
 
 56. Egyptian} Gipsies were com- Upon your grannam's grave . . . 
 
 monly called so in full, in the many each spell 
 
 enactments passed against them in She stitched in the work, and knit it 
 
 Shakespeare's time and earlier. Hunter well. " 
 
 thinks the ' ' mention of ' mummy ' and If Jonson remembered here his friend 
 
 other points in the passage, guide us to Shakespeare's lines, he interprets the 
 
 the true Egyptians, neighbours of the word Egyptian "gipsy." 
 
 Moors." Steevens says this passage is 59. amiable} lovable, to be loved, 
 
 imitated in Ben Jonson's Sad Shepherd, Compare Midsummer Nighfs Dream, 
 
 it. ii : iv. i. 2. See Cotgrave : "Aimable : as 
 
 " where'er you spy amiable', also, loveable." Burton uses 
 
 This browdered belt with characters, the word in this sense : "for as Pro- 
 
 'tis I. clus holds, Omne pulchrum amabile, 
 
 A Gypsan lady and a right beldame, every fair thing is amiable " (p. 472, ed. 
 
 Wrought it by moonshine for me, and 1854), 1621. New Eng. Diet, cites this 
 
 starlight passage, and refers to Coverdale, 1535.
 
 170 
 
 OTHELLO 
 
 [ACT in. 
 
 Oth. Tis true : there 's magic in the 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? 75 
 
 71. The sun to course} Ff, Q 2, 3 ; The sun to make Q I, Malone, Steevens 
 ( I 793)- 74- which} -with Q I, 3. 75. Conserved] Consent 1 d Ff, Conserues 
 Q I, Concerue Q 2 ; Indeed] 1 faith Q I. 
 
 70. sibyf] prophetess. Shakespeare 
 elsewhere alludes to the age of " Sibyl," 
 which he uses sometimes as a proper 
 name. Compare " As old as Sibyl," 
 Taming of the Shrew, I. ii. 70 ; and 
 "As old as Si\)y\\a.," Merchant of Venice, 
 I. ii. 95. Shakespeare is in harmony 
 with his contemporary Lyly, who has 
 in Sapho and Phao (1584) the character 
 "Sibylla, an aged Soothsayer," who 
 consented to the suit of Phcebus, " if 
 she might live as many years as there 
 were grains in a handfull of sand" 
 (II. i.). See Holland's Plinie, vii. 33. 
 
 71.] Johnson says, " The expression is 
 not very infrequent ; we say, I counted 
 the clock to strike four ; so she numbered 
 the sun to course, to run, two hundred," 
 etc. Warburton remarks : " That is, 
 number'd the sun's courses : badly ex- 
 pressed " (Furness). Compare " my 
 life is run his compass, "Julius Ccesar, 
 v. ii. 25. 
 
 72. prophetic Jury] Hunter says, 
 " The phrase may have presented it- 
 self to Shakespeare in the writings 
 of Sylvester, where it is frequent" 
 (Furness). It occurs in Cotgrave : 
 "Fanatique: Mad, franticke . . .; 
 also, ravished, or inspired, with a Pro- 
 phetical fury." 
 
 73. The worms were hallow'd] Com- 
 pare A Description of China (Hakluyt 
 (1810), ii. -572), 1599 : "in China . . . 
 the women doe employ a great part of 
 their time in preseruing of Silke-wormes, 
 
 and in keeming and weauing of Silke. 
 Hence it is that euery yeere the King 
 and Queene with great solemnitie come 
 foorth into a publique place, the one 
 of them touching a plough, and the 
 other a Mulberie tree, with the leaues 
 whereof Silke-wormes are nourished : 
 . . . otherwise, all the whole yeere 
 throughout, no man besides the prin- 
 cipall magistrates may once attaine to 
 the sight of the King." 
 
 74. mummy] "There are two kinds 
 of it, the one is digged out of the 
 graves, in Arabia and Syria, of those 
 bodies that were embalmed, and is 
 called Arabian Mummy. The second 
 kind is onely an equal mixture of the 
 Jews Lime and Bitumen, in Greek 
 Pissiphaltum," Blount's Glossographia, 
 ed. 1670. The translator of Vigo's 
 Chirurgerie (1543) says, " Mumie is 
 the flesh of a dead bodye that is em- 
 bawmed." A medicinal preparation, 
 supposed to be derived from " mummy," 
 was formerly of great fame. Sir Thomas 
 Browne (Urn Burial} says, " Mummie 
 is become merchandize . . . and 
 Pharaoh is sold for balsams." Shake- 
 speare refers again to the magical 
 qualities in Macbeth, IV. i. 23. Steevens 
 cites from The Microcosmus of John 
 Davies of Hereford (1603, p. 77, ed. 
 Grosart) "That's Mummey made of 
 the mere heart of Love." 
 
 75. Conserved'] prepared as a con- 
 serve, or as we say "preserve." The
 
 sc. iv.] THE MOOR OF VENICE 171 
 
 Oth. Most veritable ; therefore look to 't well. 
 Des. Then would to God that I had never seen it ! 
 Oth. Ha ! wherefore ? 
 
 Des. Why do you speak so startingly and rash? 
 Oth. Is 't lost ? is 't gone ? speak, is it out o' the 
 way ? 80 
 
 Des. Heaven bless us ! 
 Oth. Say you ? 
 
 Des. It is not lost ; but what an if it were ? 
 Oth. How! 
 
 Des. I say, it is not lost. 
 
 Oth. Fetch 't, let me see it. 
 
 Des. Why, so I can, sir, but I will not now. 85 
 
 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. 
 Des. Come, come ; 
 
 You '11 never meet a more sufficient man. 90 
 
 Oth. The handkerchief ! 
 
 Des. I pray, talk me of Cassio. 
 
 Oth. The handkerchief! 
 Des. A man that all his time 
 
 Hath founded his good fortunes on your love, 
 
 77. to God} Qq, etc.; to Heaven F ; the Heaven F 2, 3, 4. 79. startingly'] 
 staringly F 3, 4 ; rash] rashly Q I. 8l. Heaven] Q I ; omitted Q 2, 3, Ff. 
 82. an if"] Theobald (ed. 2), etc.; andi/Qq, Ff. 83. How .'] Globe, How? 
 Ff, Ha. Qq, Ha! Steevens. 85. sir,] Qq, omitted Ff. 87. Pray you] Ff, 
 Globe; I pray Qq, Steevens. 88. the] Ff, that Qq. 91, 92. Des. / 
 
 pray . . . handkerchief ' !] omitted Ff, Q 2, 3. 
 
 substantive is still in use. Ben Jonson further search would discover what she 
 
 speaks of a " conserve for sea-sickness," valued so highly. Emilia, indeed, lies 
 
 " conserve of roses," etc. abominably about it, and it is the worst 
 
 82. lost] Desdemona does not believe thing against her that she is present 
 
 it is lost. She would not, probably, during this scene, 
 admit to herself it was lost, but that
 
 OTHELLO [ACT in. 
 
 Shared dangers with you, 
 
 Oth. The handkerchief! 
 
 Des. In sooth, you are to blame. 95 
 
 Oth. Awayl [Exit. 
 
 Emit. Is not this man jealous ? 
 
 Des, I ne'er saw this before. 
 
 Sure there's some wonder in this handkerchief: 
 
 I am most unhappy in the loss of it! 100 
 
 Emit. 'Tis not a year or two shows us a man : 
 
 They are all but stomachs and we all but food ; 
 They eat us hungerly, and when they are full 
 They belch us. Look you, Cassio and my husband. 
 
 Enter CASSIO and lAGO. 
 
 I ago. There is no other way; 'tis she must do't: 105 
 
 And, lo, the happiness ! go and importune her. 
 
 Des. How now, good Cassio ! what 's the news with you ? 
 
 Cas. Madam, my former suit : I do beseech you 
 That by your virtuous means I may again 
 Exist, and be a member of his love 1 10 
 
 Whom I with all the office of my heart 
 Entirely honour : I would not be delayed. 
 If my offence be of such mortal kind, 
 
 94. you, ] Globe ; you: Steevens (1793) j you. Qq, Ff. 95. In sooth} 
 If ait h Q i. 96. Away !] Zouns. Q I . 100. the loss of it] this losse or the losse 
 Q I. in. office"} duty Q i, Steevens. 
 
 103. hungerly] hungrily. Compare some time wedded. Compare "a 
 
 Timon, I. i. 262. This is the only hundred times," ill. iii. 293. 
 
 form in Sherwood's Index to Cotgrave, 106. importune] so accented in 
 
 1672. But Cotgrave has "hungrily" Hamlet, I. iii. no, and elsewhere, 
 
 in v. avidement, and elsewhere. Clarke 109. virtuous] powerful, efficacious, 
 
 notices that this speech, coupled with as in Measure for Measure, II. ii. 168, 
 
 " I ne'er saw this before," gives us the and Midsummer Nighfs Dream, in. 
 
 impression of Desdemona's having been ii. 367.
 
 sc. iv.] THE MOOR OF VENICE 173 
 
 That nor my service past nor present sorrows 
 Nor purposed merit in futurity 115 
 
 Can ransom me into his love again, 
 But to know so must be my benefit ; 
 So shall I clothe me in a forced content 
 And shut myself up in some other course 
 To fortune's alms. 
 
 Des. Alas, thrice-gentle Cassio ! 1 20 
 
 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 125 
 
 And stood within the blank of his displeasure 
 
 114. nor my] F I ; not my Q 2, F 2, Q 3, F 3, 4 ; neither Q i, Steevens, 
 Malone. 119. shut . . . in] skoote myselfe up in Q I, Johnson. 126. 
 stood] stoop Q 3. 
 
 117.] It will be an act of kindness advocation for us" (1630). New Eng. 
 
 for me but to know so, i.e. even the Diet, has no other early examples, 
 knowledge of the worst would be 121. in tune] the pegs that made her 
 
 better than being delayed. music are set down. However Desde- 
 
 119. shut . . . course] confine my- mona may have tried us by her 
 self to some other course of life. Com- unlucky iteration on Cassio's behalf, she 
 pare Afacbeth, II. i. 16 : "shut up In comes back to one's heart wholly by 
 measureless content " ; and see Troilus this most beautiful and pathetic speech. 
 and Cressida, I. iii. 58, and Timon, IV. 125. my best] to the best of my 
 iii. 279. This is Steevens's interpreta- power, in my best way. Compare 
 tion. Several unwarrantable altera- Hamlet, I. ii. 120, and Lyly, Mother 
 tions have been suggested. "Shape," JBcmbie, I. iii., 1594 : "Well then, this 
 "set," "shift," and "suit" have all is our best, seeing we know each other's 
 been through the mill. minde, to devise to governe our own 
 
 1 20. To fortune's alms] To the children." 
 
 mercy of fortune's alms. Malone refers 126. -within the blank] within the 
 
 to Lear, i. i. 277, where the expression aim or range. "Blank " was the white 
 
 " At fortune's alms" occurs in the same mark in the centre of the target ; the word 
 
 sense. still lives in "point-blank " (i.e. direct 
 
 120. thrice-gentle] See note at I. iii. or level aim, not "ranging" or "rov- 
 232. m g")- The " blank" wasusually the head 
 
 121. advocation] pleading. Webster of the "pin," painted white, holding up 
 gives one example of this rare word the target through its centre. Perhaps 
 from Bishop Taylor : "The holy Jesus no metaphor is so common as this in 
 . . . sits in heaven in a perpetual Elizabethan writers, the present term
 
 174 OTHELLO [ACTIII. 
 
 For my free speech ! You must awhile be patient : 
 What I can do I will ; and more I will 
 Than for myself I dare : let that suffice you. 
 
 lago. Is my lord angry? 
 
 Emit. He went hence but now, 130 
 
 And certainly in strange unquietness. 
 
 lago. Can he be angry? I have seen the cannon, 
 When it hath blown his ranks into the air, 
 And, like the devil, from his very arm 
 Puff 'd his own brother ; and can he be angry ? 135 
 Something of moment then : I will go meet him : 
 There 's matter in 't indeed if he be angry. 
 
 Des. I prithee, do so. [Exit lago. 
 
 Something sure of state, 
 
 Either from Venice or some unhatch'd practice 
 Made demonstrable here in Cyprus to him, 140 
 
 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 
 
 135. can he be] Qq, etc., is he Ff. 143. Though} Ff; Tho Q i, 2; The 
 Q 3 ; their] Ff, the Qq. 144. indues] endues Qq, Ff ; subdues Johnson conj. 
 
 havingfor synonyms "pin," "clout" (Fr. 140. demonstrable"] Abbott ( (Jr. 492) 
 
 clou), "prick," " mark," " white," and gives several examples from Shake- 
 
 " centre." SeeZ#zr,i.iv. 159, and Craig's speare of "words in which the accent 
 
 note ; and Hamlet, iv. i. 42. The word is was nearer the beginning than with us." 
 
 rare outside Shakespeare, but out of This play received a small meed of 
 
 many senses for Blanc in Cotgrave, it Abbott's attention. This adjective is 
 
 stands second: "Blanc: A blank, not used elsewhere in Shakespeare, 
 
 white, whitenesse, or white thing: the 141. puddled] Compare "muddied," 
 
 white or mark of a pair of butts," Hamlet, iv. v. 81. Shakespeare uses 
 
 etc. the word " puddled " literally in Comedy 
 
 135.] Something is understood after of Errors, v. i. 173. 
 
 brother. Malone supplies " cool and 144. finger ache] Compare the pro- 
 unruffled"; Booth, "and yet he stood verb "When the head aketh all the 
 unmoved." body is the worse" (Camden). The 
 
 139. unhatch'd practice] undeveloped proverb has the merit of truth. Per- 
 
 plot. haps ladies find this true also.
 
 sc.iv.] THE MOOR OF VENICE 175 
 
 Our other healthful members even to that sense 145 
 
 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, 
 
 I was, unhandsome warrior as I am, 
 
 Arraigning his unkindness with my soul; 150 
 
 But now I find I had suborn'd the witness, 
 
 And he's indicted falsely. 
 
 Emit. Pray heaven it be state-matters, as you think, 
 And no conception nor no jealous toy 
 Concerning you. 155 
 
 Des. Alas the day, I never gave him cause ! 
 
 Emil. But jealous souls will not be answer'd so ; 
 They are not ever jealous for the cause, 
 But jealous for they are jealous : 'tis a monster 
 Begot upon itself, born on itself. 160 
 
 Des. Heaven keep that monster from Othello's mind ! 
 
 145. even to that sense] Qq, even to a sense Ff, with a sense Pope. 147. 
 observancy] observancie F I; observances Qq, Steevens (1793), etc., Globe; 
 observance F 2, 3, 4. 152. indicted] Collier ; indited Qq, Ff. 161. that] 
 Qq, the Ff. 
 
 144. indues] endows. A corruption sailant (Johnson). See n. i. 182, and 
 
 of "endue," which was an older spelling I. iii. 163 (note). Compare the senti- 
 
 of " endow." Skeat says this word is ment here with Sonnet 49 : 
 
 totally distinct from " indue," to invest, " And this my hand against myself 
 
 clothe or supply with. (See Spenser's uprear, 
 
 Faerie Queene, in. vi. 35. ) He goes on To guard the lawful reasons on 
 
 to say "some of our best writers seem to thy part." 
 
 have much confused them. For instance 157-160.] Emilia and lago both 
 
 see Shakespeare's Twelfth Night, I. v. speak so feelingly of the horrors of this 
 
 105, Othello, III. iv. 146 [the present passion, that there can be little doubt 
 
 passage], etc. ; Spenser, Faerie Queene, lago's jealousy was a very living thing 
 
 II. ii. 6. See Todd's Johnson." in their domestic life, whether cause- 
 
 147. observancy] observance, duty, fully or not (and she was fully capable 
 
 respect. Not elsewhere in Shake- of giving cause) we are not told. See 
 
 speare. For observance, see As You note at III. iii. 298 ; and compare her 
 
 Like It, V. ii. 102 ; Merry Wives, n. ii. speech at IV. iii. 85. 
 
 203; and Chaucer, Annel. and Arc. ,21%. 159. monster] See above, III. iii. 
 
 149. unhandsome -warrior] unfair as- 167.
 
 176 OTHELLO [ACTIH. 
 
 Emit. Lady, amen. 
 
 Des. 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. 165 
 
 Cas. I humbly thank your ladyship. 
 
 [Exeunt Desdemona and Emilia. 
 
 Enter BlANCA. 
 
 Bian. Save you, friend Cassio ! 
 
 Cas. What make you from home ? 
 
 How is it with you, my most fair Bianca ? 
 
 I' faith, sweet love, I was coming to your house. 
 Bian. And I was going to your lodging, Cassio. 170 
 
 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, Bianca : 
 
 1 have this while with leaden thoughts been press'd ; 
 But I shall in a more continuate time 176 
 
 169. r faitK\ Ifaith Q i, Indeed the rest. 172. lovers'] Theobald, etc. 
 lovers Qq, F I ; loves 2, 3, 4. 174. O] NoQ I, Oh the rest. 175. leaden] 
 laden Q I. 176. continuate time] Ff, Q 2; convenient time Q I ; continuate : of 
 time Q 3. 
 
 167. make'] do. See I. ii. 49. earlier than Othello. " Continuate 
 171. week] This brings in the con- goodness" in Timon, I. i. n, is ex- 
 fusion of " time " again. Coupling this plained "lasting," "chronic." The 
 with "leaden thoughts" below, it word seems to mean here "frequently 
 would need to be a week at least since recurring, assiduous," and is exactly 
 Cassio was cashiered. illustrated by the following passage 
 176. conlinuate] New Eng. Diet, in Burton's Anatomy of Melancholy (ii. 
 quotes this passage, explaining the iii. 8) : " yet they have lucida inter- 
 word " continuous in order of time, valla, sometimes well and sometimes 
 uninterrupted in duration." It gives ill; orifmorefontinua/e, as the Vejenfes 
 two other examples (both "continuate were to the Romans, 'tis hostis majis 
 history"), one of which, from Godwin's assiduus quam gravis (Livius), a more 
 Bishops of England, 1601 (p. 136), is durable enemy than dangerous." The
 
 sc.iv.] THE MOOR OF VENICE 177 
 
 Strike off this score of absence. Sweet Bianca, 
 
 [Giving' her Desdemona's handkerchief, 
 Take me this work out. 
 
 Bian. O Cassio, whence came this ? 
 
 This is some token from a newer friend : 
 To the felt absence now I feel a cause : 1 80 
 
 Is 't come to this ? Well, well. 
 
 Cas. Go to, woman ! 
 
 Throw your vile guesses in the devil's teeth, 
 From whence you have them. You are jealous now 
 That this is from some mistress, some remembrance : 
 No, by my faith, Bianca. 
 
 Bian. Why, whose is it ? 1 8 $ 
 
 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 : 
 Take it, and do 't ; and leave me for this time. 
 
 Bian. Leave you ! wherefore ? 1 90 
 
 Cas. I do attend here on the general ; 
 
 And think it no addition, nor my wish, 
 To have him see me woman'd. 
 
 181. Well, well} omitted Q I. 185. by my faith] Q I, in good troth the 
 rest ; whose] Q 2, 3, F 3, 4 ; who's Q i, F I, 2. 186. sweet] Qq, neither Ff 
 (ending line). 188. I' Id] Pde Qq, I -would Ff. 
 
 meaning is paraphrased by such words as "What act, though ne'er so strange 
 
 "times more (nearly) joined together." and insolent, 
 
 Burton has " a continuate cough " in But that addition will at least bear 
 
 another place, meaning "chronic." out, 
 
 178. Take . . . out] copy. See be- If t do not expiate ?" 
 
 loW, lirie 189, and III. iii. 297, for note 193. -woman d} accompanied by a 
 
 on expression. woman. Abbott says (Grammar, 290), 
 
 184. remembrance] keepsake. See "it may be said that any noun or 
 
 III. iii. 392. adjective could be converted into a verb 
 
 186. / know not] See note at in. by the Elizabethan authors, generally 
 
 iii. 298. in an active signification." He culls a 
 
 192. addition] credit, outward honour, number of examples from Shakespeare, 
 
 Compare Jonson's Sejanus, ii. I, 1601 : but omits this remarkable one. 
 
 12
 
 OTHELLO [ACT iv. 
 
 Bian, Why, I pray you ? 
 
 Cas. Not that I love you not. 
 
 Bian. But that you do not love me. 
 
 I pray you, bring me on the way a little ; 195 
 
 And say if I shall see you soon at night. 
 
 Cas. 'Tis but a little way that I can bring you ; 
 For I attend here : but I '11 see you soon. 
 
 Bian. 'Tis very good ; I must be circumstanced. 
 
 \Exeunt. 
 
 ACT IV 
 
 SCENE I. Cyprus. Before the Castle. 
 Enter OTHELLO and lAGO. 
 
 I ago. Will you think so ? 
 Oth. Think so, lago ! 
 
 I ago. What, 
 
 To kiss in private ? 
 
 J 93 J 94' Why . , . nof\ omitted Q I. 196. night.} Qq, night? Ff. 
 Act IV. Scene I. 
 
 Cyprus. Before the Castle] The Same Capell ; A Room of State Rowe j 
 A Court before the Palace Theobald. I, 2. What . . . private?] arranged 
 as by Capell, one line Ff, Qq ; continued to Othello Lettsom conj. 
 
 195. bring] accompany. The ex- Index to Cotgrave. The phrase occurs 
 pression "bring one in the way " occurs in Dekker (Satiromastix) and Jonson 
 in Measure for Measure, I. i. 62 ; (Eastward Ho}. The expression also 
 Winter's Tale, IV. iii. 122. occurs in the Play of Stucley (line 989), 
 
 196. soon at night] Schmidt's ex- circa 1598. 
 
 planation must be quoted " = this very 199. circumstanced] agreeable to 
 night, so early as to-day in the even- circumstances, made a ' ' thing " of. 
 ing." These words occur half a dozen Spoken no doubt, bitterly, as the pre- 
 times in Shakespeare, with whom the ceding words are. Compare Cotgrave : 
 expression seems to have been a " Circonstancit : Circumstanced; fur- 
 favourite. See Merry Wives, I. iv. 8. nished with circumstances ; or com- 
 " Soon" means presently, quickly ; "at passed, as with circumstances." See 
 night " = to-night in our sense. " Soon " woman'd," line 193, above. 
 at night: tan tost au soir," Sherwood's
 
 sc.i.] THE MOOR OF VENICE 179 
 
 Oth. An unauthoriz'd kiss. 
 
 lago. Or to be naked with her friend a-bed 
 
 An hour or more, not meaning any harm ? 
 Oth. Naked in bed, lago, and not mean harm ! 5 
 
 It is hypocrisy against the devil : 
 
 They that mean virtuously and yet do so, 
 
 The devil their virtue tempts and they tempt heaven. 
 lago. So they do nothing, 'tis a venial slip : 
 
 But if I give my wife a handkerchief I o 
 
 Oth. What then ? 
 lago. Why, then, 'tis hers, my lord ; and being hers, 
 
 She may, I think, bestow 't on any man. 
 Oth. She is protectress of her honour too : 
 
 May she give that ? 15 
 
 lago. Her honour is an essence that 's not seen ; 
 
 They have it very oft that have it not : 
 
 But for the handkerchief 
 Oth. By heaven, I would most gladly have forgot it : 
 
 Thou said'st O, it comes o'er my memory, 20 
 
 As doth the raven o'er the infected house, 
 
 3. a-bed] abed Qq, Steevens, Craig ; in bed Ff, Globe. 9. So they] Qq, 
 Steevens, Globe; If they Ff, Craig. 14. too] to Q I. 21. infected] QQ; 
 infectious Ff, Rowe. 
 
 2. unautkorizd] Walker insists that that do so are seduced in the end by 
 
 the accent here is on the penult ; and the devil, and they provoke heaven. 
 
 Abbott (491) gives a similar- sound- 17.] " People often have honour (i.e. 
 
 ing to the word in Macbeth, in. iv. are honoured) who are devoid of 
 
 66 : " Author | iz'd by | her gran | dam honour." But if the two senses of the 
 
 Shame | itself." I am sceptical in both word be not allowed here, the passage 
 
 passages, and prefer the accent as now, must mean, if it can mean " They seem 
 
 which was at this time unfixed. In to have it, that have it not." 
 
 Lover's Compt. 104 (quoted by Abbott) 19.] The poison, so skilfully adminis- 
 
 it must be so situated, but I disagree with tered, has taken such a hold of Othello, 
 
 him again in Sonnet xxxv : ' ' Authoriz- that the results have almost obliterated 
 
 ing thy trespass with compare." the memory of how it was administered. 
 
 6-8.] It is dissimulation to the devil 21. raven] Compare Kingjohn t IV. 
 
 to act wickedly in outward appearances, iii. 153. The raven, besides fore- 
 
 and yet ' ' mean virtuously " ; and those telling death to the sick, was believed
 
 180 OTHELLO [ACT iv. 
 
 Boding to all he had my handkerchief. 
 I ago. Ay, what of that ? 
 
 Oth. That 's not so good now. 
 
 I ago. What, 
 
 If I had said I had seen him do you wrong ? 
 
 Or heard him say as knaves be such abroad, 25 
 
 Who having, by their own importunate suit, 
 
 Or voluntary dotage of some mistress, 
 
 Convinced or supplied them, cannot choose 
 
 But they must blab. 
 
 Oth. Hath he said anything? 
 
 lago. He hath, my lord; but be you well assured, 30 
 
 No more than he '11 unswear. 
 
 Oth. What hath he said ? 
 
 lago. Faith, that he did I know not what he did. 
 Oth. What? what? 
 
 25. heard~\heareY2 ; hearY 3, 4. 27. Or] Or by the Q I. 28. Convinced} 
 F 2, 3, 4 ; Conuinced Q I (Devonsh. and Chip.) F I ; Concured O I (Capell), 
 
 2 ; Conjured Q 3. 29. blab.~\ Qq, Ff; blab: Capell; blab Jennens, 
 lobe, Cambridge. 32. Faith'] Q I, Why (the rest). 33. What? ivhat?\ 
 Ff ; But what? Q I ; What? Q 2, 3. 
 
 to carry infection on his wings. See fied their wants. For "convinced," 
 
 Tempest, I. ii. 322. Marlowe has both compare Cymbeline, i. iv. 104 ; for 
 
 these superstitions in one passage in the "supplied," see Measure for Measure, 
 
 Jew of Malta, often quoted. Compare V. i. 212, and Macbeth, I. vii. 64. "Con- 
 
 Peele, Loves of David, etc., "Like as vince" more commonly means "con- 
 
 the fatal raven, that in his voice carries vict " in writers of this time, but the 
 
 the dreadful summons of our deaths" present use occurs twice in the Triallof 
 
 (p. 469, ed. 1874, 1599). And Treasure (Haz. Dods. pp. 267, 268), 
 
 Guilpin's Skialetheia, 1598: "Like to 1567. Compare also B. Jonson, Barth. 
 
 the fatall ominous raven, which tolls Fair, i. I, 1614: "Win! this cap does 
 
 the sick man's dirge within his hollow convince " (overpowers by its beauty), 
 
 beak" (To Deloney, p. 5, rept.). This 29. blab] tell what ought to be kept 
 
 unluckiness of the raven is not borne secret, as in Venus and Adonis, 126. 
 
 out by ancient writers. The word (verb and substantive) was 
 
 27. dotage} excessive fondness formerly in good usage, abundantly. 
 (Schmidt). Compare Much Ado, n. It is now mainly provincial. So sedate 
 iii. 175, 274, and Antony and Cleopatra, a writer as Milton uses it in Comus and 
 I. i. I and I. ii. 121. Samson Agonistes. 
 
 28. Convinced or supplied} overcome 30.] For a similar bit of casual malice, 
 them by means of importunacy, or satis- see II. iii. 240.
 
 sc. i.] THE MOOR OF VENICE 
 
 181 
 
 lago. Lie 
 
 Oth. With her ? 
 
 lago. With her, on her ; what you will. 
 
 Oth. Lie with her ! lie on her ! We say lie on her, 3 5 
 when they belie her. Lie with her ! that 's 
 fulsome ! Handkerchief- confessions handker- 
 chief ! To confess, and be hanged for his labour. 
 First, to be hanged, and then to confess ; I 
 tremble at it. Nature would not invest herself 40 
 in such shadowing passion without some instruc- 
 tion. It is not words that shake me thus. 
 Pish ! Noses, ears and lips. Is 't possible ? 
 Confess? Handkerchief? O devil! 
 
 \Falls in a trance. 
 
 36. her ! that 's] her, Zouns, that 's Q I , Cambridge. 37. confessions'] Ff, 
 confession Qq. 38-44- To confess . . . devil!] omitted Q I. 41, 42. 
 
 instruction] induction Warburton. 
 
 35-44.] Abbott (Gram. 511) says, 
 "The highest passion of all expresses 
 itself in prose, as in the fearful frenzy 
 of Othello [this passage], and Lear, IV. 
 vi. 130." But the lines here are rather 
 the disjointed ravings of one on the 
 confines of insanity. 
 
 38. confess, and be hanged} An old 
 saying. Steevens refers to Marlowe, 
 Jew of Afalta, iv. 2 : " Blame not us 
 but the proverb, Confess and be 
 hanged; pull hard." It occurs in 
 Dekker, Honest Whore, Pt. II. ; and 
 in Sharpham's Cupid's Whirligig, Act 
 v. As late as 1689, in Pitman's Rela- 
 tion, etc. (Arber's English Garner, vii. 
 337), I find: "That common saying, 
 confess and be hanged." 
 
 41. shadowing passion] passion over- 
 spreading and intensifying itself with 
 gloom. In the sense of "hide" (as 
 with a cloud), the verb occurs in Mac- 
 beth, V. iv. 5 ; and compare Ben Jonson, 
 Every Man in His Humour, I. ii. gb, 
 "to conceal such real ornaments as 
 
 these, and shadow their glory." It is 
 used in the sense of intensifying a gloom 
 by Armin, Foole upon Foole (Grosart, p. 
 6): " lacke seeing they were sad, had 
 this writ in simplicitie to shaddow it " 
 (make it worse for them). Johnson 
 explains the sentence : " This passion, 
 which spreads its clouds over me, is 
 the effect of some agency more than 
 the operations of words ; it is one of 
 those notices which men have, of unseen 
 calamities." Hanmer here adopted 
 Warburton's emendation confidently 
 put forth : " The ridiculous blunder of 
 writing instruction for induction (for so 
 it should be read) has indeed sunk it 
 into arrant nonsense " ( !) 
 
 43. Pish /] See n. i. 268. Steevens 
 refers, at " noses, ears, and lips," 
 images conjured up by Othello in his 
 agony, to Winter's Tale I. ii. 285. 
 Othello pictures to himself the enact- 
 ments of his supposed faithless wife 
 with Cassio.
 
 182 OTHELLO [ACT iv. 
 
 I ago. Work on, 45 
 
 My medicine, work ! Thus credulous fools are 
 
 caught : 
 
 And many worthy and chaste dames even thus, 
 All guiltless, meet reproach. What, ho ! my lord ! 
 My lord, I say ! Othello ! 
 
 Enter CASSIO. 
 
 How now, Cassio ! 
 
 Cas. What 's the matter ? 50 
 
 lago. My lord is fallen into an epilepsy : 
 
 This is his second fit ; he had one yesterday. 
 
 Cas. Rub him about the temples. 
 
 lago. No, forbear; 
 
 The lethargy must have his quiet course : 
 If not, he foams at mouth, and by and by 55 
 
 Breaks out to savage madness. Look, he stirs : 
 Do you withdraw yourself a little while, 
 He will recover straight : when he is gone, 
 
 45-49. Work on . . . Othello!'} as in Ff, prose in Qq. " 46. medicine, 
 work .'] Theobald, etc. ; medicine worke : Qq ; medicine workes (or works) Ff, 
 Rowe. 53. No, forbear ;] omitted Ff. 
 
 46-48.] These lines show the un- ordained for the lethargy ... for 
 
 reality of lago's motives with which he surely they are knowne to bee very 
 
 formerly pretended to salve his con- proper against that drowsinesse, which 
 
 science. He finds that he can ruin the is occasioned by the venome of the 
 
 happiness of innocent people. He can Aspis." This part of Othello's attack 
 
 do it causelessly, and he is triumphant, is more in harmony with the aspic than 
 
 He rejoices not only at his skill, but with epilepsy, in which the heaviness 
 
 because he finds such actions as his are follows the violent spasms. The 
 
 in themselves delightful. See II. iii. Roman plays were in Shakespeare's 
 
 372. mind at this time. See below, line 119. 
 
 54. lethargy} Perhaps Shakespeare 57.] It was natural to suggest that 
 
 recalls here the poison, "the fraught Cassio should withdraw, as he knows 
 
 of Aspicks' tongues" (ill. iii. 451), of Othello is angry with him and might 
 
 which lethargy was known to be the be made worse. lago has his own 
 
 result, ending in death. Thus Pliny, reasons, lest there should arise ex- 
 
 xxix. 4 : " those medicines which are planations. See V. i. 21.
 
 c.i.] THE MOOR OF VENICE 183 
 
 I would on great occasion speak with you. 
 
 {Exit Cassio. 
 How is it, general ? have you not hurt your head ? 60 
 
 Oth. Dost thou mock me? 
 
 lago. I mock you ! no, by heaven. 
 
 Would you would bear your fortune like a man ! 
 
 Oth. 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. 65 
 
 Oth. 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. 70 
 
 O, 'tis the spite of hell, the fiend's arch-mock, 
 
 To lip a wanton in a secure couch, 
 
 60. head] hand 2, 3, 4. 6l. thou] omitted Q 3 ; you ! no, by] Steevens 
 (1793) et seq.; you? no by Q I, 2 ; you not, by Ff. 62. fortune] Ff, fortunes 
 Qq ; like] life F 2. 66. it] omitted Qq ; Good sir] God sir Q I (Capell). 
 69. lie] lyes Q I. 70. case] Qq, F I ; cause F 2, 3, 4, Rowe. 
 
 60, 61. hurt your head . . . mock] sense "indecent." The word is not 
 
 No doubt a malicious reference to the used elsewhere by Shakespeare ; and 
 
 horns of cuckoldom by lago, on pur- "improper" (unbecoming) only once, 
 
 pose to torture him. Othello takes it in Lear, v. iii. 221. 
 so. And lago deals with it as an 70. peculiar] private, one's own. 
 
 accepted fact. In Jonson's Every Man See I. i. 60. 
 
 in His Humour, n. ii. 193, Kitely 72. lip] kiss. See Antony and Cleo- 
 
 makes the same allusion in his jealousy : patra, II. v. 30. It occurs in a song 
 
 "Troth my head akes extremely on a in Lyly's Mother Bombie (v. 3), 1594, 
 
 sudden." See above, in. iii. 285. and in Eastward Ho, I. i. (Bullen's 
 
 63,64. horned man . . . city] Com- Marston, iii. p. 21) : "Be you two 
 
 pare Jonson, Every Man in His better acquainted. Lip her, lip her, 
 
 Humour, v. i. : "See what a drove of knave." 
 
 horns fly in the air ... watch where 72. secure] free from care. lago 
 
 they fall, See, see ! on heads that think here seems to be combating Othello ; s 
 
 they have none at all." And see views at in. iii. 340-350. Possibly he 
 
 quotation below at V. ii. 284 (note). wishes to disarm a return of the physical 
 
 69. unproper] not peculiarly their violence he probably experienced at 
 
 own ; with perhaps a play on the III. iii. 360.
 
 184 OTHELLO [ACTIV. 
 
 And to suppose her chaste ! No, let me know ; 
 And knowing what I am, I know what she shall be. 
 
 Oth. O, thou art wise ; 'tis certain. 
 
 lago. Stand you awhile apart ; 7 5 
 
 Confine yourself but in a patient list. 
 Whilst you were here o'erwhelmed with your grief 
 A passion most unsuiting such a man 
 Cassio came hither : I shifted him away, 
 And laid good 'scuse upon your ecstasy ; 80 
 
 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 ; 
 
 77- overwhelmed] ere while mad Q I, Steevens. 78. unsuiting] Theobald, 
 etc.; unsuting Q * (Devonsh.) ; unfitting Q I (Capell), Q 2, 3, Dyce (ed. 3) ; 
 resulting Ff, Rowe. 80. 'scuse upon] scuse, ttpon Qq ; senses upon F I ; 
 
 scuses on F 2, 3, 4. 8l. Bade~\ Bid Q I, Bad (the rest); return] retire Qq. 
 82. Do] omitted Qq ; encave'] Ff, incaue Qq. 83. fleers'} leeres Q I 
 
 (Devonsh.); geeres Q I (Capell), Qq ; gibes'] libes Q I. 
 
 76. in a patient list] within the verb "to fleer" occurs four times in 
 
 bounds of patience. For "list," see Shakespeare, and the same number of 
 
 Hamlet, iv. v. 98. times in Ben Jonson, but the sub- 
 
 79. shifted] removed, changed. stantive only here. See Palsgrave, 
 
 80. 'scuse] The dropping of prefixes 1530, quoted in Halliwell, for the 
 was very frequently indulged in, for verb. The earliest example of the 
 the sake of metre, by writers of this substantive in New Eng. Diet., after 
 period. See Abbott, 460. The present the present, is from Fuller's Two 
 example occurs again in Merchant of Sermons, 1654. It is alive in Scotch 
 Venice, IV. i. 34. dialect. Mr. Craig, however, sends 
 
 80. ecstasy] trance, fit, swoon. Not me from The Puritan, Act IV., 1607: 
 
 used elsewhere by Shakespeare in this " I have took note of thy fleers a good 
 
 sense. Compare Cotgrave : " Extase: while." 
 
 An extasie, or trance ; a ravishment, 84. region of his face] Compare 
 
 or transportation of the spirit, by "region of my breast," Henry VIII. 
 
 passion," etc. n. iv. 184, and Lear, I. i. 145, "region 
 
 82. encave] hide, as in a cave. See of my heart," where Craig quotes the 
 II. i. 18, 87. This is the sole example latter words from Ford's Lady's Trial 
 in New Eng. Diet. At "incave" in. iii. 27 (1639). Compare Holland's 
 (the Quartos' reading here), several Pliny, beginning the 8th chapter of 
 examples of a later date are quoted, Book xxx. (1601): "For them that 
 all, however, referring literally to a are troubled with the stone, it is good 
 "cave." to anoint the region of the bellie 
 
 83. fleers'} looks of contempt. The with Mouse dung." Hence, perhaps,
 
 sc.i.] THE MOOR OF VENICE 185 
 
 For I will make him tell the tale anew, 85 
 
 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. 
 
 Oth. Dost thou hear, lago? 90 
 
 I will be found most cunning in my patience ; 
 But dost thou hear ? most bloody. 
 
 lago. 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 95 
 
 Buys herself bread and clothes : it is a creature 
 
 96. clothes} Steevens (1793) et seq>, cloathes Qq, cloath Ff. 
 
 Shakespeare took it ; or it may be an 89. all in all] An expression of 
 
 earlier term amongst the physicists, mere enforcement for "all " (Schmidt). 
 
 It was applied by them to the divisions It occurs as early as Tyndale's Treatises, 
 
 of the atmosphere. But it seems to be circa 1530; and several times in 
 
 of French origin. Cotgrave has " La Shakespeare, as in Hamlet, I. ii. 187. 
 
 region du cceur. The site or seat of the 89. spleen} A fit of passion (Schmidt), 
 
 heart. " Burton (Anatomy of Melancholy, " A hare-brained Hotspur, governed by 
 
 I. I. ii. 4, 1621) divides the body into a spleen," 1 Henry IV. v. ii. 19. 
 
 the upper, middle, and lower regions. Gifford, in a note to Ford's Love's 
 
 Steevens gave no instance, but makes a Sacrifice, I. ii., says: "The spleen 
 
 reference, unusually weak for him, to a seems to have been considered as the 
 
 play by Congreve ! Another instance source of any sudden or violent ebul- 
 
 occurs in Pliny, xxxiv. 18 : "the loines lition, whether of mirth or of anger." 
 
 and region of the reines." Laughter and melancholy came especi- 
 
 87. cope] have to do with. ally within its control. Pliny tells us 
 
 88. gesture] expression, outward that the spleen " being taken away, 
 mien or manner, especially of the laughter is gone." See iv. hi. 93 
 face. See again lines 103, 139, below ; (note). 
 
 and note at "favour," I. iii. 346. See 93. keep time] keep measure, act 
 
 Cotgrave, "Geste: Gesture, fashion, without hurry. 
 
 behaviour . . . also, a making of signs 95. housewife} See II. i. 1 12 (note), 
 
 or countenances," etc. Compare also lago's account of Bianca seems worse 
 
 Holland's Plinie, xxxv. 10 : "hee first than she merits. That is the usual 
 
 exactly kept the sundrie habits and tendency of his descriptions. See 
 
 gestures of the countenance." below, line 156 (note).
 
 186 OTHELLO [ACTIV. 
 
 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. I oo 
 
 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? 
 
 Cas. The worser that you give me the addition 105 
 
 Whose want even kills me. 
 
 lago. Ply Desdemona well, and you are sure on 't. 
 Now, if this suit lay in Bianca's power, 
 
 99. refrain] Qq et seq.; restraine Ff, Rowe. 102. construe} conster Qq, 
 
 conserue Ff. 103. behaviour} Qq, behaviours Ff. 104. now] Qq, omitted 
 
 Ff. 105. give] Qq, F I ; gave F 2, 3, 4. 108. power] Qq, dowre Ff. 
 
 98. beguile . . . beguiled] This is the to please, he sneers at Cassio for the 
 
 latest use I have met with of a very one extreme, and now at Othello for 
 
 early proverb. Compare Chaucer, the other. I presume a ' ' nonce- 
 
 fteve's Tale, line 399 : " And therefore word." Fuller (Worthies, Northamp- 
 
 this proverb is seyd fulsooth, Him that ton) has a similar term " unbook- 
 
 nat wene wel that yvel dooth ; A gylour learned." This word has escaped all 
 
 shal himself bigyled be." Romant of dictionaries I have referred to (Halli- 
 
 the Rose, 5759: " Begyled is the gyler well, Nares, etc.). There are notes 
 
 thanne." Gower, Conf. Amant. iii. 47 upon its meaning by Furness, White, 
 
 (bk. vi.), circa 1393: "For often he and Walker in the former's edition of 
 
 that will beguile, Is guiled with the this play, which appear to me ludicrously 
 
 same guile, And thus the guiler is be- far-fetched. Walker regrets the lack of 
 
 guiled." Caxton's &sop. ii. 12 (Jacob's Books of Jealousy, to which Shakespeare 
 
 ed. i. 50), "He that begyleth other is might here refer, but there were such 
 
 ofthyme begyled himself." See Skeat's books. Benedetto Varchi's Blazon of 
 
 note in Chaucer, and to Piers Plow- Jealousy (translated by Tofte, 1615) 
 
 man, ch. xxxi. 166. The sentiment is was written long before this; it appears 
 
 common enough (Psalms vii. 16 and to have been popular in the original, 
 
 ix. 15), but the words identify the line which, I suppose, Othello "must con- 
 
 with the old proverb, old enough to strue " ! But I am sceptical of any such 
 
 have escaped all the collections. allusion. 
 
 IO2. unbookish] ignorant, block- 105. addition] title. See IV. ii. 163, 
 
 headed. Literally "unlettered." below. See Hamlet, I. iv. 20, and 
 
 " Bookish" has already occurred in the Dowden's note, 
 normal sense (l. i. 24). lago is hard
 
 sc.i.] THE MOOR OF VENICE 187 
 
 How quickly should you speed ! 
 
 Cas. Alas, poor caitiff! 
 
 Oth. Look, how he laughs already ! no 
 
 lago. I never knew woman love man so. 
 Cas. Alas, poor rogue ! I think, i' faith, she loves me. 
 Oth. Now he denies it faintly and laughs it out. 
 lago. Do you hear, Cassio? 
 Oth. Now he importunes him 
 
 To tell it o'er : go to ; well said, well said. 1 1 5 
 
 lago. She gives it out that you shall marry her : 
 
 Do you intend it? 
 Cas. Ha, ha, ha ! 
 
 Oth. Do you triumph, Roman ? do you triumph ? 
 Cas. I marry her! what, a customer! I prithee, 120 
 
 bear some charity to my wit ; do not think it 
 
 so unwholesome. Ha, ha, ha ! 
 Oth. So, so, so, so : they laugh that win. 
 
 no.] Marked "Aside" by Theobald, Steevens (1793), etc. (This applies to 
 all Othello's speeches to "Exit Bianca," line 161.) in. woman'] Ff, Globe, 
 Craig; a woman Qq, Steevens, etc., Cambridge. 1 12. f faith\ ifaith Q I, 
 indeed (the rest). 115. it o'er] it on Q I, 2 ; it out Q 3; well said, well 
 said] Ff, well said Qq. 119. you . . . you] Qq, ye . . . you Ff ; Roman] 
 rogue Warburton. 120. / marry her!] Steevens (1793), / marry her? Qq, / 
 marry. Ff; what, a customer!] what? a customer ; Ff, Q 2 ; omitted Q I ; / 
 prithee] I prethee Qq ; prythee F I, 2 ; prethee F 3 ; prithee F 4. 1 23. So, so, so, 
 so.] So, so : F 3, 4, Rowe ; they] omitted Q I ; win] F 4; wins Qq, F I, 2, 3 (winnes). 
 
 109. caitiff] wretch. Used pitifully, studying for the Roman plays about 
 
 but not abusively. Compare Venus this time. He had been studying Pliny 
 
 and Adonis, 914 : " she finds a hound, (Holland, 1601), who enters largely 
 
 And asks the weary caitiff for his upon such matters, 
 
 master." I am indebted to Mr. Craig 120. customer] See All's Well, V. iii. 
 
 for this good parallel from Bernard's 287. There were many such synonyms. 
 
 Terence in English (p. 435, ed. 1607). Compare S. Rowlands, Letting of 
 
 Phormio, I. i. 1598: "What shall I Humour's Blood, etc., Epigr. 29, 1600: 
 
 do, whom shall I find to be my friend "a punk, or else one of the dealing 
 
 poor caitiff." trade"; an expression which occurs 
 
 115. well said] well done. See II. again in Time's Whistle, 1615. 
 
 i. 167; and below, V. i. 98. 122. unwholesome] Compare Hamlet, 
 
 119. triumph, Roman] Purnell here IV. v. 52. 
 remarks that Shakespeare had been
 
 188 OTHELLO [ACT iv. 
 
 I ago. Faith, the cry goes that you shall marry her. 
 
 Ca$. Prithee, say true. 125 
 
 I ago. I am a very villain else. 
 
 Oth. Have you scored me ? Well. 
 
 Cas. This is the monkey's own giving out : she is 
 persuaded I will marry her, out of her own love 
 and flattery, not out of my promise. 130 
 
 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 1 3 5 
 comes this bauble, and, by this hand, she falls 
 me thus about my neck ; 
 
 Oth. Crying " O dear Cassio ! " as it were : his 
 gesture imports it. 
 
 124. Faith] Q I, Why the rest ; that] omitted Q I ; shall] omitted F i, 2. 127. 
 scored me ? Well] F I, Q 2, 3 ; stor'd me well. Q I ; scoar'd me ; -well. F 2, 3, 4. 
 131. beckons] Qq, F 3, 4 ; becomes F I ; becons F 2. 136. this] Qq, Jennens, 
 etc., Craig; the Ff, Globe. 136, 137. and, by this hand, she falls me thus] 
 Collier, Globe ; by this hand she falls thus Q I, Steevens ; and falls me thiis Ff ; 
 fals me tfws Q 2, 3. 
 
 124. you shall marry her] See note me"? i.e. "got the better of me." 
 
 at I. i. 21. White (ed. 2) says here : And if it can mean to mark down a set 
 
 " Both lago and Cassio are led by the won at anything here, it means the 
 
 occasion to make out Bianca worse, or same at All's Well, IV. iii. 253. The 
 
 at least lower in condition, than she commentators endeavour to extract the 
 
 was" (Furness). See my note at line sense, as Johnson says, "Have you 
 
 95, above. made my reckoning?" But they do 
 
 127. scored] marked, branded. Com- not notice the possibility of there being 
 pare Antony and Cleopatra, "let us a reference hereto what lago tells us 
 score their backs" (iv. vii. 12). Halli- was Cassio's former trade, an account- 
 well gives a reference to Lydgate's ant, one who registers debits and 
 Minor Poems, p. 255: "Of the yeerde credits, one who "scores." 
 sometyme I stood in awe, To be 135. sea-bank] seashore, coast. See 
 scooryd, that was al my dreede." Merchant of Venice, V. II. 
 Branding in the forehead was a legal 136. bauble] plaything, toy. 
 punishment, and this is probably the 136. by this hand] occurs in most 
 allusion. Could it be made equivalent of Shakespeare's plays, 
 to the modern semi-slang "scored off
 
 sc.i.] THE MOOR OF VENICE 
 
 189 
 
 Cas. So hangs and lolls and weeps upon me ; so 140 
 
 hales and pulls me : ha, ha, ha ! 
 Oth. Now he tells how she plucked him to my 
 
 chamber. O, I see that nose of yours, but not 
 
 that dog I shall throw it to. 
 
 Cas. Well, I must leave her company. 145 
 
 I ago. Before me ! look, where she comes. 
 Cas. 'Tis such another fitchew ! marry, a perfumed 
 
 one. 
 
 140. lolls] tolls Q 2, jolh Q 3. 141. hales] Q 1, 2; shakes Ff. 146. 
 Before . . . conies] continued to Cassio Q 2, 3. 147, 148. 'Tis . . . one] 
 part of lago's speech Q I, 2 ; Jitchew] ficho Q I ; marry, a ... one.] marry 
 a . . one? F I. 
 
 141. hales] drags, hauls. " Hale " is 
 a mere variant of " haul." 
 
 143, 144. nose . . . throw it to] 
 Mutilating the nose was an old and 
 savage form of vengeance or punish- 
 ment, and the reference is something 
 more than a mere threat. Compare 
 Taming of the Shrew, " I'll slit the vil- 
 lain's nose" (v. i. 134), and Chapman's 
 Humerous Day's Mirth ( Pearson, i. 98), 
 1 599 : ' ' swearing to slit your nose if 
 she can catch you." In Pepys' Diary 
 (March 6, 1699), Sir W. Coventry says 
 "that he would cause his [Tom Killi- 
 grew's] nose to be slit," and a note by 
 Lord Braybrooke states that "a year 
 afterwards . . . Sir John Coventry was 
 maimed in the very same way, his nose 
 being slit to the bone by a party of 
 hired assassins." See also note to 
 Pepys, July 27, 1667. Cutting off a 
 person's nose (from jealousy) is part 
 of one of the favourite Tales of Bidpai 
 (North's trans. 1570, Jacob's ed. p. 72). 
 It was a judicial punishment at this 
 time in several European countries. 
 
 146. Before me] occurs again in 
 Twelfth Night, II. iii. 194 ; Coriolanus, 
 i. i. 124. After the "Act against 
 Swearing " (see I. i. 4, note), both 
 author and player introduced all sorts 
 of "perfumed oaths" on the stage, 
 
 partly because swearing was so neces- 
 sary an accomplishment, and partly in 
 mockery of, or pretended respect for, 
 the edict. 
 
 147. such another] Compare Troilus, 
 I. ii. 282, 296 ; Merry Wives, I. iv. 
 1 60, etc. Used endearingly. 
 
 147. fitchew} polecat, so called from 
 the smell. It occurs again in Shake- 
 speare in Lear, iv. vi. 124, and Troilus 
 and Cressida, V. i. 67. In Beaumont 
 and Fletcher, Bonduca and Scornful 
 Lady it is spelt " fitchock." And in 
 Cotgrave in v. "pitois" and in v. 
 "fissau," it is "fitch." The allusion 
 here, as in Lear, is to its amorous 
 qualities ; an allusion to which is to be 
 found in Haughton's Woman will have, 
 etc. (Haz. Dods. x. 551): "Heere'san 
 old ferret, polecat." Steevens, without 
 proof, said this was "one of the cant 
 terms for a strumpet." 
 
 147, 148. marry, a . . . one] The 
 reading of the first Folio is : " marry a 
 perfum'd one ? " This gives a wholly 
 different signification which does not 
 seem to have been thought worthy of 
 notice. But it may have been what 
 Shakespeare intended, i.e. a sarcastic 
 ejaculation of Cassio's equivalent to 
 "the idea of my marrying a perfum'd 
 one ! " The sign (?) in the Folio, except
 
 190 OTHELLO [ACT iv. 
 
 Enter BlANCA. 
 
 What do you mean by this haunting of me ? 
 
 Bian. Let the devil and his dam haunt you! What 150 
 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 155 
 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 ! how now ! how 
 
 now ! 1 60 
 
 Oth. By heaven, that should be my handkerchief! 
 
 153. the work} the whole worke Q I, Steevens. 155. not know} Qq, know 
 not Ff. 157. your] Ff, the Qq. 
 
 on a very few exceptional occasions, schall I now doo?" (circa 1400). I 
 represents also our(!). This would be find it in Roy, G. Harvey, T. Hey- 
 a natural continuation of his remark wood, Greene, but nowhere so corn- 
 above (line 120) "I marry her!" monly as in Shakespeare. 
 " Perfumed " here may be taken liter- 153. takeout] See in. iii. 297 (note), 
 ally, which "fitchew" supports, or it 156. minx] See in. iii. 476. Bianca's 
 may have the affected use of the time, use of the word here is a clue to 
 "fashionable," "mincing," "affected." Othello's use of it. Bianca, in this 
 Gabriel Harvey has "perfumed speech, puts lago's views of her out of 
 brains"; Drayton, " reperfumed court. So does her whole demeanour 
 words"; Jonson, "perfumed terms"; in V. i. 
 
 Sharpham, "perfumed phrases," etc. 157. hobby-horse] Schmidt rightly 
 As the reading stands, " marry" is the says, "a term of contempt for a loose 
 common asseveration. and frivolous person, either male or 
 150. the devil and his dam] This female." For the latter, see Winter's 
 expression belongs to Shakespeare's Tale, I. ii. 276 ; and for the former, 
 earlier plays, the last in which it Love's Labour's Lost, in. i; 32. See also 
 appears being Merry Wives (circa Ben Jonson, The Silent Woman, IV. ii. 
 1598). It is derived from a mediaeval 4400: "What a neighing hobby- 
 legend (Wright, Domestic Manners, horse is this?" The simile is by no 
 p. 4), and seems to have become obso- means common. Dyce's notes ( Glos- 
 lete about this time. It occurs in York sary) to this word are misleading. 
 Mystery Plays fed. Toulmin Smith, p. 161. shmild be] See in. iii. 382 
 300) : "What J>e deuyll and his dame (note).
 
 sc. i.] THE MOOR OF VENICE 191 
 
 Bian. An you '11 come to supper to-night, you may ; 
 an you will not, come when you are next pre- 
 pared for. [Exit. 
 
 I ago. After her, after her. 165 
 
 Cas. Faith, I must ; she '11 rail in the street else. 
 
 lago. Will you sup there? 
 
 Cas. Faith, I intend so. 
 
 lago. Well, I may chance to see you ; for I would 
 
 very fain speak with you. 170 
 
 Cas. Prithee, come ; will you ? 
 
 lago. Go to ; say no more. [Exit Cassio. 
 
 Oth. [Advancing} How shall I murder him, lago? 
 
 lago. Did you perceive how he laughed at his vice ? 
 
 Oth. O lago! 175 
 
 lago. And did you see the handkerchief? 
 
 Oth. Was that mine? 
 
 lago. Yours, by this hand : and to see how he prizes 
 the foolish woman your wife ! she gave it him, 
 and he hath given it his whore. 1 80 
 
 Oth. I would have him nine years a-killing. A fine 
 woman ! a fair woman ! a sweet woman ! 
 
 162, 163. An] Qq, If Ff. 166. Faith} Q I, omitted (the rest) ; in the] 
 Ff, Globe, Craig ; i ' the Qq, Cambridge ; street} Qq, streets Ff. 167. Will . . . 
 there?] You sup there. Q 2, 3. 168. Faith] Q I, Yes the rest. 178-181. 
 lago. Yours, by . . . Oth.] omitted Qq. 
 
 163, 164. when you are next prepared 181. nine years a-killing] Compare 
 for] Never. Webster, White Devil (Routledge, ed. 
 
 170. fain] Properly an adjective 1877, p. 150), "let her lie. Some twenty 
 
 signifying "glad," "eager." Always months a dying." Where it was desir- 
 
 used adverbially by Shakespeare, and able to express a considerable "number" 
 
 with the auxiliary " would." of anything, "nine " and "twenty" were 
 
 1 80.] It suits lago to belittle Bianca, favourite and established selections. 
 
 to enhance the enormity of Cassio's They occur in numerous sayings, equiva- 
 
 ofifence, and to lower Othello's self- lent to " many." 
 respect, which he revels in doing.
 
 192 OTHELLO [ACT tv, 
 
 lago. Nay, you must forget that. 
 
 Oth. Ay, let her rot, and perish, and be damned to- 
 night ; for she shall not live : no, my heart is 185 
 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. 
 
 lago. Nay, that 's not your way. 1 90 
 
 Oth. Hang her ! I do but say what she is : so deli- 
 cate with her needle : an admirable musician : 
 O, she will sing the savageness out of a bear : 
 of so high and plenteous wit and invention ! 
 
 lago. She 's the worse for all this. 195 
 
 Oth. O, a thousand, a thousand times : and then, of 
 so gentle a condition ! 
 
 lago. Ay, too gentle. 
 
 Oth. Nay, that 's certain : but yet the pity of it, lago ! 
 
 O lago, the pity of it, lago ! 200 
 
 lago. If you are so fond over her iniquity, give her 
 
 183. that.] Ff ; that Q 2, 3 ; omitted Q I. 184. Ay,] 7, Ff, And Qq. 186, 
 stone] a stone Q 2, 3. 191. but] not Q 2, 3. 194. and] a F 2, 3, 4 ; 
 invention !] Craig ; invention, Qq, invention ? Ff ( = /) ; invention ! Rowe, 
 Steevens, etc. ; invention: Dyce, Globe, Cambridge. 196. 0, ] omitted Qq ; 
 thousand, a thousand] Ff, Steevens, Craig ; thousand thousand Qq, Globe. 199. 
 Nay,]IQ I. 200. O lago . . . lago!] the pitty Q I ; Oh the pitty Q 2, 3, 
 20 1. are] Ff, be Qq. 
 
 185, 186. heart ... stone] Steevens here) dignified and poetical, more nearly 
 
 quotes Antony and Cleopatra, IV. ix. replaced by our " creation." In the latter 
 
 16; with the severe introductory words: sense, compare Tempest, i, ii. 7, etc* 
 
 " This thought, as often as it occurs to 194. invention] imagination. See 
 
 Shakespeare, is sure to be received, above, n. i. 125. 
 
 and as often counteracts his pathos." 197. condition] disposition. See II. 
 
 Steevens's inward knowledge of Shake- i. 254. 
 
 speare is often very amusing. 20 1, 202. give . . . patent] Chalmers 
 
 187,188. creature] Shakespeare's use (quoted by Furness) found here an 
 
 of this word might be divided into two allusion, calculated to "electrify the 
 
 classes, the one commonplace, of any audience," to "the patents of monopoly 
 
 created thing or person ; the other (as which Queen Elizabeth and King James
 
 sc. i.] THE MOOR OF VENICE 193 
 
 patent to offend; for, if it touch not you, it 
 
 comes near nobody. 
 
 Oth. I will chop her into messes. Cuckold me ! 
 I ago. O, 'tis foul in her. 205 
 
 Oth. With mine officer ! 
 I ago. That's fouler. 
 Oth. Get me some poison, lago ; this night. I '11 
 
 not expostulate with her, lest her body and 
 
 beauty unprovide my mind again: this night, 210 
 
 lago. 
 lago. Do it not with poison, strangle her in her bed, 
 
 even the bed she hath contaminated. 
 Oth. Good, good : the justice of it pleases : very 
 
 good. 215 
 
 lago. And for Cassio, let me be his undertaker : you 
 
 shall hear more by midnight. 
 Oth. Excellent good. [A trumpet within^\ What 
 
 trumpet is that same ? 
 lago. Something from Venice, sure. 'Tis Lodovico 220 
 
 Come from the duke : and, see, your wife is with him. 
 
 202. toucA]Ff, touches Qq. 208. night. I'll] night. //<; Ff ; night He 
 Qq; night: I'll, Steevens, Globe, Craig. 
 
 had so frequently granted, and so often patten to take up all the shields i 1 
 
 retracted. He couples this with the th' country." In The Merie Tales 
 
 "hand and hearts passage" (in. iv. of Skelton (1566), the fourth tale is 
 
 46), in giving a late date to Othello. " Howe the Welshman dyd desyre 
 
 Compare Ben Jonson, Every Man Skelton to ayde hym in hys sute to the 
 
 in His Humour, in. ii., 1598 (32^): Kynge for a patent to sell drynke . . . 
 
 "Fore God, not I, an I might have Some doth get of the Kyng by patent 
 
 been joined patten with one of the a castell, and some a parke, and some 
 
 seven wise masters for knowing him." a forest, and some one fee, and some 
 
 (The passage is not noticed by Gifford, another, " etc. 
 
 and wrongly explained by Wheatley 210. unprovide~\ weaken, " unpre- 
 
 " joined patentee" occurs elsewhere pare." His fatal resolve shook at line 
 
 in Jonson. ) And again in Trial of 200; to this " again " refers. 
 
 Chevalry, Bullen's Old Plays, hi. 329, 216. undertaker} take up his business. 
 
 1605 : " Zounds, I think he has a See note at II. iii. 341.
 
 194 OTHELLO [ACTIV. 
 
 Enter LODOVICO, DESDEMONA, and Attendants, 
 
 Lod. God save you, worthy general ! 
 
 Oth. With all my heart, sir. 
 
 Lod. The duke and senators of Venice greet you. 
 
 [Gives him a packet. 
 Oth. I kiss the instrument of their pleasures. 
 
 \0pens the packet \ and reads. 
 
 Des. And what 's the news, good cousin Lodovico ? 225 
 I ago. I am very glad to see you, signior ; 
 
 Welcome to Cyprus. 
 
 Lod. I thank you. How does Lieutenant Cassio ? 
 I ago. Lives, sir. 
 Des. Cousin, there's fall'n between him and my lord 230 
 
 An unkind breach : but you shall make all well. 
 Oth. Are you sure of that ? 
 Des. My lord ? 
 
 Oth. [Reads'] " This fail you not to do, as you will " 
 Lod. He did not call ; he's busy in the paper. 235 
 
 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. 
 Oth. Fire and brimstone ! 
 
 222. God save you,] Malone, etc., Craig ; Save you Q 2, 3, F I, 2 ; Save you, F 
 3, 4, Globe ; Godsave the Q I, etc., Cambridge. 223. senators} Qq, the senators 
 Ff; [Gives . . . packet] Steevens (1793), Craig; Gives . . . letter Rowe, etc., 
 Globe ; omitted Qq, Ff. 224. [Opens . . .] Steevens, Craig ; Opens the letter, 
 and reads Rowe, etc., Globe. 233, 239, 243. lord?'} Ff, lord. Qq. 236. 
 
 'twixt my] betweene thy Q I. 238. To atone] T attorn Ff, To at f one Qq. 
 
 222. With all my heart] may be taken uses these words as an execration in 
 
 either as a reply to a salutation, or as a Twelfth Night, II. v. 56. Compare 
 
 salutation. Compare Lear, iv. vi. 32, "sulphur," above, ill. iii. 330; and 
 
 and Timon, in. vi. 27 (Clarke). below, v. u. 277. "Brimstone" and 
 
 238. atone] reconcile. The verb is " sulphur " conveyed the idea of eternal 
 formed by the union of the two words. torments, as in the "sulphurous pit" 
 
 239. Fire and brimstone !] Sir Toby in Lear } iv. vi. 130.
 
 sc. i.] THE MOOR OF VENICE 195 
 
 Des. My lord? 
 
 Oth. Are you wise ? 
 
 Des. What, is he angry? 
 
 Lod. May be the letter moved him ; 240 
 
 For, as I think, they do command him home, 
 
 Deputing Cassio in his government. 
 Des. By my troth, I am glad on 't. 
 Oth. Indeed ! 
 
 Des. My lord ? 
 
 Oth. I am glad to see you mad. 
 
 Des. Why, sweet Othello ? 
 
 Oth. Devil! {Striking her. 245 
 
 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. 
 Oth. O devil, devil ! 
 
 If that the earth could teem with woman's tears, 250 
 
 Each drop she falls would prove a crocodile. 
 
 243. By my froth] Q I, Trust me (the rest). 244. you mad] you glad 
 Anon. conj. 244. Why] Ff, How Qq ; Othello?] Qq, Ff; Othello, Dyce, 
 Globe; [Striking her.] Theobald et seq.; omitted Qq, Ff. 250. woman's] 
 womans Ff, womens Qq. 
 
 244. glad] said in suppressed fury at ing, the most harrowing incident in the 
 her use of "glad." Clarke's suggested whole of this terrible play. We are 
 transposition of the words "glad" and duly prepared for the remaining horrors. 
 ' ' mad " mentioned by Furness is un- This is an appalling shock, and sends 
 worthy of such an acute critic. "Mad" one's thoughts back in revolt to Bra- 
 refers back to " wise, " above, bantio's worst words about Othello. 
 
 244.] Furness says here : "That lago has turned Othello to the devil 
 Theobald added the proper stage-di- he once called him. 
 rection here there can be, unfortunately, 250. teem] breed, as in Lear, I. iv. 302. 
 no doubt. This blow is the menace- 251. falls] lets fall. So in Lucrece, 
 able blot in Othello's history, which 1551: "every tear he falls." 
 leaves, upon me at least, a more pain- 250, 251. tears . . . crocodile] Com- 
 ful impression than even the smother- pare 1 Henry VI. in. i. 226. This 
 ing. This is simply the rage of a myth may be found in Trevisa's trans- 
 coward ; that is an act of supposed lationof Bartholomew De Prof <rietatibus 
 justice." It is certainly, to my think- Rerum (1397), which was written about
 
 196 OTHELLO [ACT iv. 
 
 Out of my sight ! 
 
 Des. I will not stay to offend you. [Going. 
 
 Lod. Truly, an obedient lady : 
 
 I do beseech your lordship, call her back. 
 
 Oth. Mistress ! 255 
 
 Des. My lord? 
 
 Oth. What would you with her, sir ? 
 
 Lod. Who, I, my lord ? 
 
 Oth. 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; 260 
 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 ; 
 I '11 send for you anon. Sir, I obey the mandate, 265 
 And will return to Venice. Hence, avaunt ! 
 
 [Exit Desdemona. 
 
 Cassio shall have my place. And, sir, to-night, 
 I do entreat that we may sup together : 
 You are welcome, sir, to Cyprus. Goats and monkeys ! 
 
 [Exit. 
 
 253. an] Qq, omitted Ff. 264. home.] here Ql. 269. Cyprus.} Cypres, 
 Qi. 
 
 1250. A better account is given in (Payne's edition, 1880, p. 34). The 
 
 Sparke's Narrative of Hawkins 1 Second fable speedily passed into the hands 
 
 Voyage, 1565 (Hakluyt) : " His [croco- of the poets, as Lodge, Humphrey 
 
 dile's] nature is ever when he would Gifford, Ben Jonson (Sejanus, ii. 3), 
 
 have his prey, to cry and sob like a etc. It is generally set to Pliny's 
 
 Christian body, to provoke them to credit, but 1 do not find it there, 
 
 come to him, and then he snatcheth at although he has much fabulous matter 
 
 them, and thereupon came this proverb concerning the crocodile, 
 
 that is applied unto women when they 269. Goats and monkeys] Othello's 
 
 weep, lachryma crocodili, the meaning maddened imagination recalls lago's 
 
 whereof is that as the crocodile . . . words (in. iii. 404), and accepts the 
 
 so doth a woman when she weeps" situation.
 
 sc. i.] THE MOOR OF VENICE 197 
 
 Lod. Is this the noble Moor whom our full senate 270 
 
 Call all in all sufficient? Is this the nature 
 Whom passion could not shake ? whose solid virtue 
 The shot of accident nor dart of chance 
 Could neither graze nor pierce ? 
 
 I ago. He is much changed. 
 
 Lod. Are his wits safe? is he not light of brain ? 275 
 
 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? 280 
 
 Or did the letters work upon his blood, 
 And new-create this fault ? 
 
 lago. Alas, alas ! 
 
 It is not honesty in me to speak 
 
 What I have seen and known. You shall observe him, 
 And his own courses will denote him so 285 
 
 That I may save my speech : do but go after, 
 
 271. Is this the nature] Ff, Globe ; This the noble nature Qq, Steevens ; This 
 the nature Pope, Capell, Cambridge ; is this the noble nature Craig. 275. light 
 f~\ Qq> F x 5 of light F 2, 3, 4, Rowe. 276. censure.'} Ff, Steevens, Craig; 
 censure, Qq ; censure Jennens, Cambridge. 277.] Punctuation as in Steevens 
 (1793) 5 & e > ifi what] be, if as Q I ; be, if what Q 2, 3 ; be : if what Ff, Jennens, 
 Globe ; be, if, what Craig. 282. this] Qq ; his Ff, Rowe. 284. him] omitted 
 Q 2, 3. 286. after] after him Q 2, 3. 
 
 271. all in all] See above, line 89. 276. censure] opinion. See II. iii. 
 
 273.] This line recalls the "slings 198. 
 
 and arrows of outrageous fortune" in 282. new-create] Shakespeare has 
 
 Hamlet. close upon a half hundred such combin- 
 
 274.] Malone says: "As 'pierce' ations in "new." They are mostly un- 
 
 relates to 'the dart of chance,' so hyphened in the old editions. "New- 
 
 ' graze ' is referred to ' the shot of create " occurs again in Tempest, I. ii. 
 
 accident."' 8l, and Henry VIII. V. v. 42.
 
 198 OTHEiLLO [ACTIV. 
 
 And mark how he continues. 
 Lod. I am sorry that I am deceived in him. \Exeunt. 
 
 SCENE II. A Room in the Castle. 
 
 Enter OTHELLO and EMILIA. 
 
 Oth. You have seen nothing, then? 
 
 Emit. Nor ever heard, nor ever did suspect. 
 
 Oth. Yes, you have seen Cassio and she together. 
 
 Emit. But then I saw no harm, and then I heard 
 
 Each syllable that breath made up between them. 5 
 Oth. What, did they never whisper ? 
 Emit. Never, my lord. 
 
 Oth. Nor send you out o' the way? 
 Emit. Never. 
 Oth. To fetch her fan, her gloves, her mask, nor 
 
 nothing ? 
 
 Emit. Never, my lord. 10 
 
 Oth. That 's strange. 
 Emit. I durst, my lord, to wager she is honest, 
 
 3. Yes,} Ff, Yes, and Qq ; she] Qq, Ff ; her Pope, Keightley. 9. her gloves, 
 her mask} Ff, her mask, her gloves Qq. 
 
 Mai one says here : " There are great the same time, as the outside and in- 
 
 difficulties in ascertaining the place of side of a house" (Furness). 
 
 this Scene " ; and calls attention to the 3. she} Compare Antony and Cleo- 
 
 words " go in, and weep not " (line 172), patra, in. xiii. 98 : " so saucy with the 
 
 pointing to a place outside the castle ; hand of she here what 's her name ? " 
 
 and to "shut the door" (line 28), and And see Troilus and Cressida,u. iii. 25. 
 
 the subsequent address to Emilia, which 12. to} There was much inconsist- 
 
 decisively leads us to suppose a room ency, at this time, as to which verbs 
 
 inside. Malone continues : "The truth required the sign of the infinitive and 
 
 is that our poet and his audience, in which did not. The change in the 
 
 this instance as in many others, were language from which this arose is 
 
 content, from want of scenery, to con- well explained by Abbott (Grammar, 
 
 sider the very same spot, at one and 349).
 
 SC.H.] THE MOOR OF VENICE 199 
 
 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, 1 5 
 
 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. 
 
 Oth. Bid her come hither : go. \Exit Emilia. 
 
 She says enough; yet she's a simple bawd 20 
 
 That cannot say as much. This is a subtle whore, 
 A closet lock and key of villanous secrets : 
 And yet she '11 kneel and pray ; I have seen her do 't. 
 
 Re-enter EMILIA with DESDEMONA. 
 
 Des. My lord, what is your will ? 
 
 Oth. Pray, chuck, come hither. 
 
 Des. What is your pleasure ? 
 
 Oth. Let me see your eyes ; 2 5 
 
 Look in my face. 
 
 Des. What horrible fancy 's this ? 
 
 Oth. [To Emilia] Some of your function, mistress, 
 
 Leave procreants alone and shut the door ; 
 
 15. have} F I, 2 ; ha Qq ; hath F 3, 4. 16. heaven] heavens Q I ; requite} 
 Q I, F 2, 3, 4 ; requit F i ; require Q 2, 3. 18. their wives'] for Sex Q I. 
 24. Pray] Qq, Pray you Ff. 
 
 13. other] otherwise. See again, line expression of the time, "hold," "keep," 
 
 169 below ; and compare All's Well, or "shut" the door, is referred to here, 
 
 III. vi. 27: "Suppose no other," and or at least is implied. Compare Troi- 
 
 Macbeth, i. vii. 77, etc. lus and Cressida, V. x. 52, and Pericles, 
 
 16. serpents curse] See Genesis iii. 14. iv. vi. 126, 175. And Breton's 
 20. simple'} foolish, stupid. Pasquih Fooles Cappe: "Let her not 
 
 24. chuck] See in. iv. 455. thinke, but such a shut the doore, Is 
 
 25. Let me see your eyes'] Compare halfe a foole, and if she be no more." 
 Much Ado, V. i. 69 : " which is the Poor Emilia does not deserve this foul 
 villain ? Let me see his eyes." imputation, but she has earned no 
 
 28. shut the door] A very common sympathy. Her punishment has begun.
 
 200 OTHELLO [ACT iv. 
 
 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. 
 Oth. Why, what art thou ? 
 
 Des. Your wife, my lord ; your true and loyal wife. 3 5 
 
 Oth. 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. 
 
 Oth. Heaven truly knows that thou art false as hell. 40 
 Des. To whom, my lord ? with whom ? how am I 
 
 false ? 
 
 Oth. Ah, Desdemon ! Away ! away ! away ! 
 Des. Alas the heavy day ! Why do you weep ? 
 
 Am I the motive of these tears, my lord ? 
 
 If haply you my father do suspect 45 
 
 An instrument of this your calling back, 
 
 Lay not your blame on me : if you have lost him, 
 
 Why, I have lost him too. 
 
 31. knees] Qq, knee Ff ; doth} Ff, does Qq. 33. But . . . words] omitted 
 in Ff. 33-36. But . . . thyself} arranged as in Qq and Cambridge ; three 
 lines ending words, true, thyself Steevens (1793), Globe, Craig. 38. seize} cease 
 Qq ; ceaze F I, 2 ; ceise F 3. 42. Ah, Desdemon!} Ff, O Desdemona, Qq, 
 Desdemona I Globe, Cambridge. 44. motive} Ff, occasion Qq ; these} Ff, 
 those Qq. 48. Why} Qq, omitted Ff. 
 
 30. mystery} profession, occupation. 43. heavy} woful, sorrowful. Com- 
 
 " Function," three lines above, has the pare "heavy hour," below, V. ii. 97, 
 
 same meaning. Both are paraphrased and Romeo and Juliet, iv. v. 18, etc. 
 
 by the phrase "shut the door," or " Heavy time" is found in King John, 
 
 " hold the door." iv. i. 47.
 
 sc.ii.] THE MOOR OF VENICE 
 
 201 
 
 Oth. Had it pleased heaven 
 
 To try me with affliction ; had they rain'd 
 All kinds of sores and shames on my bare head, 50 
 Steep'd me in poverty to the very lips, 
 Given to captivity me and my utmost hopes, 
 I should have found in some part of my soul 
 A drop of patience : but, alas, to make me 
 The fixed figure for the time of scorn / 5 5 
 
 To point his slow and moving finger at ! 
 
 49. they] Ff, he Qq, it Hanmer; rain'd] ram'dQ I. 50. kinds] Qq, kitid 
 Ff. 52. Given] Give Q 3 ; utmost} omitted Qq. 53. parf] Qq, Steevens 
 
 (1793), Craig ; place Ff, Globe. 55. The fixed figure} Ff, Dyce (ed. 2), Craig ; 
 A fixed figure, Qq, etc., Globe ; time of scorn} scorn of time Malone conj. 56. 
 slow and moving finger] Ff, Theobald, etc. , Craig ; slow unmoving fingers Qq 
 (finger Q 2, 3), Steevens, Globe ; slowly moving Mason conj., Collier (ed. 2) ; 
 at!} Globe, at. Ff ; at Rowe, Dyce (ed. i) ; at oh, oh, Qq, Steevens, Malone 
 (putting O! O ! as separate line). 
 
 49. they} refers to "heaven " used as 
 plural. Compare Hamlet, in. iv. 173, 
 175, and Macbeth, n. i. 4. Instances 
 of the same use have been adduced by 
 Walker from other dramatists of the 
 time. 
 
 49> SO- rain'd . . . bare head] Com- 
 pare with this the opening speech in Act 
 iv. Scene ii. of Tancred and Gismund 
 (Hazlitt's Dodsley, vii. 61, 62), 1591 : 
 "Gods ! are ye guides of justice and 
 
 revenge ? 
 O thou great Thunderer ! dost thou 
 
 behold 
 
 With watchful eyes the subtle 
 scapes of men. 
 
 If thou spare them, rain then upon 
 
 my head 
 The fulness of thy plagues with 
 
 deadly ire, 
 
 To reave this youthful soul." 
 54, 55-] These lines have caused 
 much dispute. The meaning may per- 
 haps be paraphrased thus: "Alas, to 
 make me a perpetual object for all 
 scornful time to point at with his slowly 
 moving finger." The Quarto's reading 
 
 "slow unmoving" was probably a 
 mere error, which has increased the con- 
 fusion ; the Folio corrected it. "Slow 
 and moving" in the sense of "slowly 
 moving " is quite Shakespearian. Com- 
 pare "fatal and neglected English," 
 Henry V. II. iv. 13, and see Schmidt's 
 Lexicon in v. and. ' ' Time of scorn " 
 may be taken as a redundant ex- 
 pression for Scorn as a personified and 
 lasting quality, as lasting as time itself. 
 White (ed. i) says it is a phrase like 
 " the day of sorrow," "the hour of joy," 
 ' ' the day of progress. " Were it not for 
 the various lections, and for Steevens's 
 note, so much criticism would not have 
 exercised itself over this passage, the 
 meaning of which seems perfectly clear. 
 But Steevens was the cuttle-fish who 
 set these floods of ink abroach. He 
 said Shakespeare took his idea from 
 a clock, and in endeavouring to recon- 
 cile "fingers" with hands of a dial, 
 and "time" with his effigy in such 
 constructions, and both these with 
 numerous supposed parallel passages 
 (such as Sonnet civ.) relating to clocks, 
 the difficulties become hopeless.
 
 202 
 
 OTHELLO 
 
 [ACT iv. 
 
 Yet could I bear that too ; well, very well : 
 But there, where I have garner'd up my heart, 
 Where either I must live or bear no life, 
 The fountain from the which my current runs, 60 
 Or else dries up ; to be discarded thence ! 
 Or keep it as a cistern for foul toads 
 To knot and gender in ! Turn thy complexion there ; 
 Patience, thou young and rose-lipp'd cherubin, 
 I here look grim as hell ! 65 
 
 Des, I hope my noble lord esteems me honest. 
 
 64. thou] Ff, thy Qq. 65. I here] Qq, F 3, 4 ; / heere F I, 2; Ay, 
 there, Theobald et seq. t Globe, Cambridge, Craig. 66. noble} omitted 
 
 F 2, 3, 4. 
 
 58. garner'd] Johnson says here, 
 " the garner and the fountain are im- 
 properly conjoined," to which Rolfe 
 replied, ' ' a succession of metaphors is 
 not a fault like the mixing of them." 
 But "garner'd" established the trans- 
 ference, and Johnson's remark is just, 
 though hypercritical. " Garner'd " 
 merely means "treasured," "stored." 
 
 64. rose-lipped cherubiri\ The cherub 
 (or " cherubin " as it was usually called) 
 was depicted with a red face. Com- 
 pare Chaucer : "a fyr-reed cherubinnes 
 face," Prologue to Canterbury Tales 
 (line 624). Cotgravehas " rouge comme 
 tin cherubin : having a fierie facies 
 [pun of old standing] like a cherubin. " 
 Johnson explains this passage thus 
 (reading "Ay, there"); "At such 
 an object do thou, patience, thyself 
 change colour ; at this, do thou, even 
 thou, rosy cherub as thou art, look 
 as grim as hell." The opposite to 
 this metaphor occurs in Richard II. 
 III. iii. 98 : 
 
 " Change the complexion of her maid- 
 pale peace, 
 
 To scarlet indignation." 
 Johnson's paraphrase gives a certain 
 sense, but I am quite dissatisfied with 
 it. Place Johnson's paragraph in the 
 midst of the context, and then read 
 
 through continuously, and it is abrupt to 
 violence. I do not see that we have 
 any right to accept Theobald's altera- 
 tion. It seems to me impossible that 
 Shakespeare could personify Patience 
 as a "rose-lipped cherubin." Else- 
 where he calls her "a tired mare" 
 (Henry V. II. i. 26) ; and he sets her 
 "on a monument, smiling at grief" 
 (Twelfth Night, II. v. 83); and in 
 Troilus and Cressida, I. i. 26, he says : 
 " Patience herself, what goddess e'er 
 she be, Doth lesser blench at sufferance 
 than I do." It is an impossibility that 
 Patience can be so addressed. I read 
 here as the Quartos and Folios, and 
 explain Othello's meaning thus: "do 
 you change colour at these horrible 
 reflections, young and rose - lipped 
 cherub? have patience, look here at 
 me. I am black and grim as the 
 devil." He compares her angelic 
 beauty with his loathed blackness like 
 hell. Surely a dramatic touch. He 
 had begun to hate his appearance, 
 since lago noted to him the "foul dis- 
 proportion." His words "Haply for 
 I am black " are fujl of pathos. Not 
 only does this sense seem to me prefer- 
 able, but it is the only reading. 
 
 66.] Compare Troilus and Cressida, 
 II. iii. 170.
 
 sc. ii.] THE MOOR OF VENICE 203 
 
 Oth. O, ay ; as summer flies are in the shambles, 
 
 That quicken even with blowing. O thou weed, 
 Who art so lovely fair and smell'st so sweet 
 That the sense aches at thee, would thou hadst ne'er 
 been born ! 70 
 
 Des. Alas, what ignorant sin have I committed ? 
 
 Oth. Was this fair paper, this most goodly book, 
 
 Made to write " whore " upon ? What committed ! 
 
 Committed ! O thou public commoner ! 
 
 I should make very forges of my cheeks, 75 
 
 That would to cinders burn up modesty, 
 
 Did I but speak thy deeds. What committed ! 
 
 Heaven stops the nose at it, and the moon winks ; 
 
 The bawdy wind, that kisses all it meets, 
 
 Is hush'd within the hollow mine of earth, 80 
 
 And will not hear it. What committed ! 
 
 Impudent strumpet ! 
 
 Des. By heaven, you do me wrong. 
 
 67. summer flies'] Sommer Flyes F I, summers flies Qq. 68. thou] Ff, thou 
 blocks Qq. 69. Who] Ff, Why Qq ; and] Ff, Thou Qq. 70. aches] akes Qq, 
 F I ; askes F 2 ; asks F 3, 4. 73. upon] on Q I. 74~77- Committed! . . . 
 committed /] omitted Q I. 81. What committed!] What committed? Ff, Rowe ; 
 What committed, Qq. 82. Impudent strumpet I] as in Capell, at end of 
 previous line Qq, omitted in Ff. 
 
 68. blowing] "fouling" (Schmidt), (with reference to Lear), and gave 
 Literally swelled, as from the eggs of examples of the use from Dekker, and 
 flies. The word lives in " fly-blown," from Sir Thomas Overbury Characters, 
 etc. Compare Love's Labour's Lost, v. A Very Woman, 1614. 
 
 ii. 409: "these summer flies Have 74. commoner] See All's Well, V. iii. 
 
 blown me full of maggot ostentation." 174. 
 
 For the use of a figure, by its converse, 79. bawdy wind] Compare Merchant 
 
 see note II. i. 50. of Venice, n. vi. 16: "strumpet wind." 
 
 73. committed] To commit, used in- "As wanton as the wind" was a com- 
 
 transitively, had the special sense of mon simile. So Lyly, Woman in the 
 
 "act the sin of incontinence." Othello Moone, iii. 2: "as pleasant as the 
 
 distorts her sense into this meaning, western winde, That kisses flowers and 
 
 See Lear, in. iv. 84, and Craig's wantons with their leaves." 
 references. Malone first noticed this
 
 204 OTHELLO [ACT iv. 
 
 Oth. Are not you a strumpet? 
 
 Des. No, as I am a Christian : 
 
 If to preserve this vessel for my lord 
 
 From any other foul unlawful touch 85 
 
 Be not to be a strumpet, I am none. 
 Oth. What, not a whore? 
 
 Des. No, as I shall be saved. 
 
 Oth. Is't possible? 
 Des. O, heaven forgive us ! 
 Oth. I cry you mercy then : 
 
 I took you for that cunning whore of Venice 90 
 
 That married with Othello. You, mistress, 
 
 That have the office opposite to Saint Peter, 
 
 And keep the gate of hell ! 
 
 Re-enter EMILIA. 
 
 You, you, ay, you ! 
 We have done our course ; there 's money for your 
 
 pains : 
 
 I pray you, turn the key, and keep our counsel. 95 
 
 \Exit. 
 Emit. Alas, what does this gentleman conceive ? 
 
 How do you, madam ? how do you, my good 
 
 lady? 
 
 Des. Faith, half asleep. 
 Emit. Good madam, what 's the matter with my lord ? 
 
 85. other] hated Q l, 89. forgive us\forgivenesse Q I ; then} omitted Q I. 
 91.] Globe et seq. insert as stage-direction after Othello, the words [Raising his 
 voice] ; omitted Qq, Ff, Craig. 93. keep] Rowe ; keepes Qq, Ff; gate of] Ff, 
 gates in Qq ; You, you, ay, you /] /, you, you, you ; Q I. 
 
 91. married with] occurs frequently 92. to Saint Peter] "to Saint 
 in Shakespeare, but "married to" is Peter's," or "to that of Saint Peter." 
 
 commoner.
 
 sc.ii.] THE MOOR OF VENICE 205 
 
 Des. With who ? i oo 
 
 Emit. Why, with my lord, madam. 
 
 Des. Who is thy lord ? 
 
 Emit. 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 105 
 Lay on my bed my wedding sheets : remember ; 
 And call thy husband hither. 
 
 Emit. 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 ? no 
 
 Re-enter EMILIA, with lAGO. 
 
 lago. What is your pleasure, madam ? How is 't with you ? 
 
 Des. I cannot tell. Those that do teach young babes 
 Do it with gentle means and easy tasks : 
 He might have chid me so ; for, in good faith, 
 I am a child to chiding. 
 
 lago. What 's the matter, lady ? 115 
 
 Emit. Alas, lago, my lord hath so bewhored her, 
 
 100. who?] -whom F 2, 3, 4. 102. Des. Who . . . lady] omitted Q I. 
 104. answer] Qq, answers Ff. 106. my wedding] our wedding Q I. 107. 
 Here's] Here is Qq. 108. very meet] very well Q I. no. least misuse] 
 greatest abuse Q i; great' st abuse Johnson, Steevens. 112. young] Qq, yong 
 F i ; your F 2, 3, 4. 115. to] at Q i, Jennens ; What 's] F 4 et seq. ; What is 
 
 Qq, F i, 2, 3 . 
 
 105. water] tears. This seems now 109, no. stick . . . misuse] place 
 
 a forced expression, but the word was the slightest censure on my smallest 
 
 commonly used so. Compare Corio- misconduct. Johnson preferred the 
 
 lanus, v. ii. 78 ; 1 Henry IV. in. i. 94, Quarto's reading "great'st abuse." 
 etc. Steevens quoted a similar conceit 
 from Dekker's Wonderful I Yeare, 1603.
 
 206 OTHELLO [ACTIV. 
 
 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. 120 
 
 Emit. He call'd her whore : a beggar in his drink 
 
 Could not have laid such terms upon his callat, 
 lago. Why did he so ? 
 
 Des. I do not know : I am sure I am none such. 
 lago. Do not weep, do not weep. Alas the day ! 125 
 
 Emit. Has 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 wretched fortune. 
 lago. Beshrew him for it ! 
 
 How comes this trick upon him ? 
 
 Des. Nay, heaven doth know. 130 
 
 Emit. I will be hang'd, if some eternal villain, 
 
 118. As} Qq, That Ff; bear.} Qq, bear it. Ff. 120. says] Qq, ; said'Ff, 
 Staunton. 126. Has} Qq, Steevens (1793), e tc -> Craig; Hath Ff, Globe. 
 127. and her friends] all her friends Q I. 129. for it~\ Qq, Steevens, 
 Craig; for't Ff, Globe. 
 
 119. What name} It is a part "minx" (ill. iii. 476), quoting Cot- 
 of lago's brutality to endeavour to grave. 
 
 make Desdemona repeat the word; 131 et seq.~\ "There is no intended 
 
 as it is likewise characteristic of reference here to lago, of whom Emilia 
 
 Emilia to play the part of eaves- has not the smallest suspicion" (Clarke), 
 
 dropper, as she just shows she has "Witness her incredulity in the last 
 
 done. scene when Othello tells her it was her 
 
 122. callat} a low and lewd woman ; husband who first told him Desdemona 
 
 a trull. It occurs, in its worst sense, was false" (Furness). This may be so, 
 
 in Cock Lorets Bote, circa 1500. and probably must be so ; but it makes 
 
 Compare "shameless callat," 3 Henry the presence of line 133 unnatural if 
 
 VI. II. ii. 145. " Calliagh" is a com- it is merely a chance conjecture, 
 
 mon Anglo-Irish word in several senses, 131. eternal} Schmidt says, "ex- 
 
 the primary one being "hag." Hence presses extreme abhorrence," referring 
 
 " callat " is probably of Celtic origin, also to Julius Casar, I. ii. 160, and 
 
 See Ben Jonson's Fox, iv. I, and Hamlet, v. ii. 376. In all cases, "last- 
 
 Gifford's note. See also note above at ing to eternity," "immeasurable," "per-
 
 sc. ii.] THE MOOR OF VENICE 207 
 
 Some busy and insinuating rogue, 
 
 Some cogging, cozening slave, to get some office, 
 
 Have not devised this slander ; I '11 be hang'd else. 
 
 I ago. Fie, there is no such man ; it is impossible. 135 
 
 Des. If any such there be, heaven pardon him ! 
 
 Emit. A halter pardon him ! and hell gnaw his bones ! 
 
 Why should he call her whore? who keeps her 
 
 company ? 
 
 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. 141 
 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. 145 
 
 134. Have] Qq, F ; Has F 2, 3, 4. 136. be] are Q 2, 3. 139. form} for 
 me Q I, forme the rest. 140. most villanous~\ outragiousQ I. 142. heaven] 
 Qq, Heavens Ff. 144. rascals'] Rascal Is F I ; rascals Globe, Craig, 
 
 etc. ; rascall Qq, F 2, 3, 4, Steevens (1793). 145. door] dores Qq, Jennens. 
 
 durable" seems to me preferable and something different from what they 
 sufficient. The word is commonly intend to express." This smooths 
 used as here in Ireland without any away an apparent anomaly, but it is 
 further sense than an intensitive, and tantamount to an accusation of "by- 
 might be replaced by "unmitigated." play " or " audience-addressing," a sin 
 Such a use fits Emilia's language better, that Shakespeare is freer from than his 
 whose thoughts and words, like her contemporaries. I don't believe in the 
 husband's, are frequently of a vulgar " confidence trick " here, 
 type. Johnson gives " eternal " = " un- 142. companions] contemptible fel- 
 changeable," with a reference to lows. So in Ben Jonson's Every Man 
 Dryden. in His Humour, I. i. : "good my saucy 
 140.] Macmillan says here : " It is companion " ; and Lyly, Mydas, v. ii. : 
 a common dramatic artifice thus to " Now every base companion, being in 
 make the knowledge possessed by the his muble -rubles, says he is melan- 
 audience give additional meaning to choly." 
 
 what is said by the characters in the 145. Speak within door] "donotcla- 
 
 play, so that they express more by their mour so as to be heard beyond the 
 
 words than they know themselves, or house " (Johnson).
 
 208 OTHELLO [ACT iv. 
 
 EmiL O, fie upon them ! Some such squire he was 
 That turn'd your wit the seamy side without, 
 And made you to suspect me with the Moor. 
 
 lago. You are a fool ; go to. 
 
 Des. O good lago, 
 
 What shall I do to win my lord again ? 150 
 
 Good friend, go to him ; for, by this light of heaven, 
 
 I know not how I lost him. Here I kneel : 
 
 If e'er my will did trespass 'gainst his love 
 
 Either in discourse of thought or actual deed, 
 
 Or that mine eyes, mine ears, or any sense, 155 
 
 Delighted them in any other form, 
 
 Or that I do not yet, and ever did, 
 
 And ever will, though he do shake me off 
 
 To beggarly divorcement, love him dearly, 
 
 Comfort forswear me ! Unkindness may do much ; 
 
 And his unkindness may defeat my life, 161 
 
 But never taint my love. I cannot say " whore " : 
 
 It doth abhor me now I speak the word ; 
 
 146. them] Ff, Globe ; himQ<\. 149. good] Qq, Alas Ff. 152-165. Here 
 . . . make me.] omitted in Q I. 154. discourse of thought} discursive thought 
 Jackson conj. ; of thought] Ff, Steevens (1793) et seq. ; or thought Q 2, 3, Jennens. 
 156. them in] Q 2, 3, etc. ; them: or Ff. 158, 159. though . . . divorcement] 
 in brackets old edd. 163. doth] Q 2, 3 ; do's Ff. 
 
 147. seamy side without] Compare ness has a lengthy and inconclusive 
 above, n. iii. 54 : " Whom love hath note, or collection of notes, on the 
 turn'd almost the wrong side out." passage. 
 
 154. discourse of thought] course of 161. defeat] destroy. Compare 
 
 thought, thought. Several examples of Sonnet, Ixi. II. 
 
 "discourse" meaning "course" are 163. It doth abhor me] it is abhorrent 
 
 given in New Eng. Diet. As in Elyot, to me, it disgusts me. In Hamlet, v. 
 
 1540-1541: " The naturall discourse of i. 206, the Folio reading is: "how 
 
 the sunne " ; and Greene's Pandosto : abhorred my imagination is. " Schmidt 
 
 " discourse of Fortune," 1588 ; Udall's cites this as a similar use. Compare 
 
 Erasmus, "discourse of Things," 1548. the same scene in Hamlet (Q I reading) : 
 
 This sense of the word being estab- " Here hung those lippes . . . now 
 
 lished, it seems applicable here. Fur- they abhorre me."
 
 sc.ii.] THE MOOR OF VENICE 209 
 
 To do the act that might the addition earn 
 
 Not the world's mass of vanity could make me. 165 
 
 I ago. 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, 
 
 I ago. 'Tis but so, I warrant. {Trumpets. 
 
 Hark, how these instruments summon to supper ! 170 
 The messengers of Venice stay the meat : 
 Go in, and weep not ; all things shall be well. 
 
 [Exeunt Desdemona and Emilia. 
 
 Enter RODERIGO. 
 
 How now, Roderigo ! 
 
 Rod. I do not find that thou dealest justly with me* 
 I ago. What in the contrary ? 175 
 
 168. And . . . you] Qq, omitted Ff (previous line ending offence.). 169. 
 other, ] Steevens (1793) ; other. Qq, Ff ; warrant] Ff, warrant you Qq. 170. 
 summon] Ff, stimmon you Qq. 171. The . . . meat] Knight et seq. ; The 
 messengers of Venice states the meate, F I ; The messenger of Venice staies the 
 meate F 2, 3, 4 ; And the Great Messengers of Venice stay, Q I, Johnson, Steevens ; 
 The meate, great messengers of Venice stay ; Q 2, 3. 
 
 164. addition] See IV; i* 105 (note). to Beaumont and Fletcher, Scornful 
 
 168. chide with] quarrel with. Lady, II. i., and their Woman-Hater, 
 
 Sonnet cxi. begins : II. i. This ostentation was allowed 
 
 " O for my sake do you with For- only to persons of rank, and at a later 
 
 tune chide, date (December 28, 1668), Pepys com- 
 
 The guilty goddess of my harmful plains of the expense he was put to by 
 
 deeds." these things. Compare The Christmas 
 
 171. stay the meat] wait for supper. Prince (ed. 1816, p. 64), 1608: "By 
 
 Compare Richard III. III. ii. 122 : this time supper was ready, and the 
 
 '"Tis like enough, for I stay dinner sewer called to the dresser, whereupon 
 
 there," an expression by no means the Butler's bell was presently rung, as 
 
 obsolete. it uses to be at other ordinary meales, 
 
 1 70. instruments] trumpets. A besides the trumpet was sounded at the 
 
 dinner, supper, or carouse in state was kitchen hatch to call the wayters to- 
 
 always announced with trumpets. So gether." Cotgrave has a proverb of 
 
 much did this custom prevail that to hard or homely fair : " A pain & 
 
 dine (or sup) with or without trumpets, oignon, trotnpette ne clairon." 
 
 was quasi-proverbial for doing so well 175. in the contrary] Compare Henry 
 
 or otherwise. Reference may be made VIII, in. ii. 182: "Every day "in 
 
 14
 
 210 OTHELLO [ACTIV. 
 
 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 per- 180 
 suaded to put up in peace what already I have 
 foolishly suffered. 
 
 lago. Will you hear me, Roderigo? 
 
 Rod. Faith, I have heard too much ; for your words 
 
 and performances are no kin together. 185 
 
 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 1 90 
 has received them and returned me expectations 
 and comforts of sudden respect and acquaint- 
 ance; but I find none. 
 
 176. daffest] Dyce, Globe ; doffest Q I ; doff'st Steevens, etc. ; duffs F I 
 dofts F 2, 3, 4 ; device F 2, 3, 4 ; devise Fi, Qq. 177. me now,] me, thou Q I. 
 178. than] Rowe; then Qq, F I, 2, 3; thou F 4. 184. Faith} Q I ; Sir 
 
 Q 2, 3 ; omitted Ff ; for} Qq, and Ff. 185. performances} Ff, perform- 
 
 ance Qq. 187. With . . . truth} omitted Q I. 188. my} omitted Qq. 
 
 189. deliver to} Qq, deliver Ff. 191. has} Qq, hath Ff ; expectations} Ffj 
 
 expectation Qq. 192, 193. acquaintance} Ff, Q 2 ; acquittance Q I, Theobald, 
 Steevens (1793). 
 
 the next line gives again the impression iSl. put up} "put up with" in 
 
 of " long time." They have been only modern language; It occurs again in 
 
 one day in Cyprus. So again "the Titus Andronicus, I. i. 433. So G. 
 
 other day," iv. i. 134, above; and Harvey (Grosart, i. 113), Letter-Book, 
 
 "yesterday," line 52, in the same scene. 1573-80 : " putte up these and twentye 
 
 See in. iv. 103, in. iii. 293, and Introd. such odious speaches." And Ben Jon- 
 
 176. daffest} Daff is a mere variant of son, Every Man in His Humour, V. i. : 
 
 doff, to do off, to put]off. See 1 Henry ' ' Here, take my armour off quickly 
 
 IV. iv. i. 96. The two spellings occur ... he is not fit to look on it, that 
 
 about equally often in Shakespeare. will put up a blow." It occurs as late 
 
 178. conveniency} convenience, oppor- as Dryden's Wild Gallant (IV. i.), 
 
 tunity (of seeing Desdemona). See 1669. 
 
 Merchant of Venice, IV. i. 82. 192. respect} notice.
 
 8c.ii.] THE MOOR OF VENICE 211 
 
 lago. Well ; go to ; very well. 
 
 Rod. Very well! go to ! I cannot go to, man; nor 195 
 'tis not very well : by this hand, I say 'tis very 
 scurvy, and begin to find myself Topped in it. 
 
 lago. Very well. 
 
 Rod. I tell you 'tis not very well. I will make 
 
 myself known to Desdemona : if she will return 200 
 me my jewels, I will give over my suit and 
 repent my unlawful solicitation; if not, assure 
 yourself I will seek satisfaction of you. 
 
 lago. You have said now. 
 
 Rod. Ay, and said nothing but what I protest intend- 205 
 ment of doing. 
 
 lago. Why, now I see there 's mettle in thee ; and 
 even from this instant do build on thee a better 
 opinion than ever before. Give me thy hand, 
 Roderigo: thou hast taken against me a most 210 
 
 194. very well] very good Q I. 195, 196. nor 'tis] it is Q I. 196, tyj. 
 by . . . scurvy] Q I ; Nay, I think it is scurvy Ff ; I say f is very scurvy Q 2, 3. 
 197. fopped] fopt Qq, Ff ; fobd Rowe ; fobbd Steevens ; fobbed Varior, Craig, 
 etc. 199. / tell you 'tis] Ff, I say it is Qq. 205. and] and I have Q i 
 205, 206. intendmenf] entendment Qq. 208. instant} time Q I. 
 
 I 97 fopped] fooled. There is no the tooth paine, either to have patience, 
 authority for the reading "fobbed" or to pull them out." The word (noun 
 except Rowe's conjecture. For "fop" and verb) is exactly equivalent to our 
 = fool, see Lear, i. ii. 14, and Craig's "swindle," in use. 
 note. The verb occurs in Skelton's writ- 199,200. make myself known] re- 
 ings, where it seems to mean "played ferring to his disguised appearance, 
 the fool." See Dyce's ed., i. p. 213, line " with an usurped beard." 
 120. " Foppery," meaning "dupery" 205. intendmenf] intention, to which 
 (Schmidt), occurs in Merry Wives, V. word it was gradually giving place. It 
 v. 131. I find it in Chettle's Kind- occurs only in Jonson's earlier plays, 
 kartes Dreame (New Sh. Soc. p. 59), and is used very frequently by Gabriel 
 1592 : "This rare secret is much used, Harvey. Compare As You Like It, I. i. 
 and not smally lyked. Sundry other 140; and Ben Jonson, Every Man in 
 could I set downe, practised by our His Humour, in. ii. : " I, spying his 
 banner-bearers, but all is foppery ; for intendment, discharged my petronel in 
 this I find to be the only remedy for his bosom " (260).
 
 212 OTHELLO [ACTIV. 
 
 just exception ; but yet, I protest, I have dealt 
 most directly in thy affair. 
 
 Rod. It hath not appeared. 
 
 I ago. I grant indeed it hath not appeared, and your 
 
 suspicion is not without wit and judgement. 215 
 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 220 
 with treachery and devise engines for my life. 
 
 Rod. Well, what is it? is it within reason and com- 
 pass? 
 
 lago. Sir, there is especial commission come from 
 
 Venice to depute Cassio in Othello's place. 225 
 
 Rod. Is that true? why then Othello and Desdemona 
 return again to Venice. 
 
 lago. O, no ; he goes into Mauritania, and takes away 
 with him the fair Desdemona, unless his abode 
 be lingered here by some accident: wherein 230 
 
 211. exception] Ff, conception Qq. 212. affair] affaires Q 1. 216. in 
 thee] Ff ; within thee Qq, Steevens. 220. enjoy] Ff ; enjoyest Qq, Jennens, 
 Steevens. 222. -what is it ?] Ff, omitted Qq. 224. commission] command Q i. 
 228. takes] Qq ; taketh Ff, Rowe. 
 
 221. devise engines for my life] make 228. Mauritania] Othello's supposed 
 
 any plans you choose against my life, native country. The term in Shake- 
 
 lago refers here to Roderigo's threat speare's time often included Ethiopia, 
 
 above, " I will seek satisfaction." But See note at "sooty," I. ii. 70. Theo- 
 
 lago's meaning goes deeper ; he is him- bald remarks, "This is only a lie, of 
 
 self, at this very instant, since Roderigo lago's own invention, to carry a point 
 
 announced his "intendment "of making with Roderigo" (who would thereby 
 
 himself known to Desdemona, consider- lose Desdemona finally), 
 
 ing the best way to dispose of him. 230. lingered] prolonged, protracted, 
 
 lago is indulging in "close dilations." See Midsummer Night's Drtam, i. i. 4. 
 
 In his next speech, the sudden begin- Cotgrave and Sherwood both have it as 
 
 ning, as of a mind that has solved a a synonym for "delay." 
 problem, announces that his plan is 
 formulated "it is engendered.
 
 sc. ii.] THE MOOR OF VENICE 213 
 
 none can be so determinate as the removing of 
 Cassio. 
 
 Rod. How do you mean, removing of him ? 
 
 lago. Why, by making him uncapable of Othello's 
 
 place; knocking out his brains. 235 
 
 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 fortune. If you will watch his 240 
 going thence, which I will fashion to fall out 
 between twelve and one, you may take him at 
 your pleasure : I will be near to second your 
 attempt, and he shall fall between us. Come, 
 stand not amazed at it, but go along with me; 245 
 I will show you such a necessity in his death 
 
 233. of] Qq, omitted Ff. 236. do ?] Pope ; do Qq, Ff. 237. if] Ff, and 
 */Qq. 238. harlotry] harlot Q I. 
 
 233. removing] Roderigo espies lago's from Peele's Arraignment of Paris, iv. 
 hidden meaning. Compare 2 Henry iii., 1584 (Routledge, 1874, p. 364^): 
 VI. I. ii. 64 : "Were I a man, a duke, " Vulcan. A harlotry, I warrant her. 
 and next of blood, I would remove these Bacchus. A peevish elvish shroe." 
 tedious stumbling-blocks, And smooth But instances in support of lago may be 
 my way upon their headless necks." given. I find in North's translation of 
 
 234. ttncapable] occurs again, Mer- Donf s Philosophic (Jacob's ed., p. 190), 
 chant of Venice, IV. i. 5. "Incapable" 1570: "out on her, whoore, quoth 
 is the form elsewhere in Shakespeare, shee, kill hir yll favoured harlottry " ; 
 For the French Oncapable, Cotgrave and in G. Harvey's Pierce 's Supereroga- 
 gives only "uncapable: unable to tion (Grosart, ii. 228), "the state of a 
 receive or conceive. " harlotrie," is unmistakable. Neither 
 
 238. harlotry'] harlot. There can be of these latter examples are in New 
 
 no doubt lago uses the word in its Eng. Diet., although they appear to be 
 
 worst sense, from his already expressed requisite to support the meaning here, 
 
 opinion of Bianca. Shakespeare has which is given in that work with Peele's 
 
 the word again in Romeo and Juliet, passage as earliest authority, 
 
 iv. ii. 14, and in 1 Henry IV. III. i. 245. amazed} bewildered. "To stand 
 
 198. In both these passages, Dowden amazed" was a phrase in common use. 
 
 says, it is "used much as 'slut' might See King John, n. i. 356; Romeo and 
 
 be used at a later date." The same Juliet, III. i. 139. 
 remark applies to the following example
 
 214 OTHELLO [ACT iv. 
 
 that you shall think yourself bound to put it on 
 him. It is now high supper-time, and the night 
 grows to waste : about it, 
 
 Rod. I will hear further reason for this. 250 
 
 lago. And you shall be satisfied. [Exeunt. 
 
 SCENE III. Another Room in the Castle. 
 
 Enter OTHELLO, LODOVICO, DESDEMONA, EMILIA, 
 and Attendants. 
 
 Lod. I do beseech you, sir, trouble yourself no further. 
 
 Oth. O, pardon me; 'twill do me good to walk. 
 
 Lod. Madam, good night ; I humbly thank your ladyship. 
 
 Des. Your honour is most welcome. 
 
 Oth. Will you walk, sir? 
 
 O, Desdemona, 5 
 
 Des. My lord ? 
 
 Oth. 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. 
 
 2. 'twill] it shall Qq. 5. 0,] Capell, O Qq, Oh Ff; Desdemona,] 
 Capell ; Desdemona Qq, Ff. 6. lord?] Capell; lord. Qq, Ff; lord! Hanmer. 
 7. on the] on tK Ff, o' the Qq. 8. dismiss] disfatch Qq. 
 
 248. high supper-time] "high" is Courtezan, i. i; "high dinner-time" 
 
 still used of time, in the expression is in Edwards' Damon and Pithias, 
 
 "high time," i.e. full, complete, urgent. 1571; Nashe has "high midnight," 
 
 See Comedy of Errors, III. ii. 162. Pierce Pennilesse (Grosart, ii. 15). 
 " High time" is a very early expression. 249. grows to waste] grows to a con- 
 
 " High noon " occurs ante 1350 (Percy sumption; "is wasting away," as in 
 
 Folio Ballads, ed. Furnivall, iii. 28); the expression "waste of time." 
 Marston has "high night," Dutch
 
 sc. in.] THE MOOR OF VENICE 215 
 
 Des. He says he will return incontinent : 
 
 He hath commanded me to go to bed, 
 
 And bade me to dismiss you. 
 Emit. Dismiss me ! 
 
 Des. It was his bidding ; therefore, good Emilia, i 5 
 
 Give me my nightly wearing, and adieu : 
 
 We must not now displease him. 
 Emit. I would you had never seen him I 
 Des. So would not I : my love doth so approve him, 1 9 
 
 That even his stubbornness, his checks, his frowns, 
 
 Prithee, unpin me, have grace and favour in them, 
 Emil. I have laid those sheets you bade me on the bed. 
 Des. All 's one. Good faith, how foolish are our minds ! 
 
 If I do die before thee, prithee, shroud me 
 
 In one of those same sheets. 
 
 Emil. Come, come, you talk. 25 
 
 Des. My mother had a maid call'd Barbara ; 
 
 She was in love ; and he she loved proved mad 
 
 13. He hath} Qq, And hath Ff. 14. bade} Q 2, 3 ; 6adQ I ; bidYL 18. 
 / would} Q i, F 2, 3, 4 ; /, would F I ; Would Q 2, 3. 20. his frowns} 
 and frownes Qq. 21. in them} omitted Ff. 22. those} these Q I ; bade} 
 Q I, bad (the rest). 23. one. Good faith,} Dyce et seq. ; one good faith : Q i; 
 one : good Father, Ff ; one, good father ; Q 2, 3 ; one : good Father ! Rowe ; one : 
 Good father ! Steevens. 24. thee} omitted F i. 25. those} Qq, these Ff. 
 26. Barbara} Barbary Qq, Barbaric F i. 27. mad} bad Capell (Theobald 
 conj.). 
 
 12. incontinent} immediately. See Much Ado, v. i. 49. But "no matter," 
 
 note at I. iii. 305. Compare Richard "never mind," in which sense Shake- 
 
 //. V. vi. 48. speare uses it also, is perhaps more con- 
 
 16. wearing} apparel, wear. "Swain's sonant with her misery, 
 
 wearing " occurs in Winter's Tale, IV. 25. you talk} you talk idly, you 're 
 
 iv. 9. talking nonsense. Compare Macbeth, 
 
 20. stubbornness} harshness, rough- IV. ii. 64: "Poor prattler, how thou 
 
 ness. Compare As You Like It, n. i. talk'st." The sense in the old proverb, 
 
 19: "translate the stubbornness of " Give losers leave to talk. " 
 
 fortune Into so quiet and so sweet a 27. proved mad} became mad. 
 
 style." Compare "prove bankrupt," Lucrcce, 
 
 23. All^s one} Very well. Compare 140.
 
 216 OTHELLO [ACTIV. 
 
 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, 
 
 Emit. Shall I go fetch your night-gown ? 
 
 Des. No, unpin me here, 
 
 This Lodovico is a proper man. 35 
 
 EmiL A very handsome man. 
 
 Des. He speaks well. 
 
 Emit. I know a lady in Venice would have walked 
 barefoot to Palestine for a touch of his nether 
 lip. 40 
 
 Des. \Singing\ 
 
 The poor soul sat sighing by a sycamore tree, 
 Sing all a green willow ; 
 
 28. had] has Q I ; willow] willough F I, 2 (and elsewhere in these editions). 
 31-53. I have ... next.] omitted Q i. 33. Barbara] Barbarie F I ; Bar- 
 bary Q 2, 3. "39. barefoot] barefooted Q 2, Q (1695) > nether] neither Q 2, F 
 2, 3. 41 . Des. [Singing] Rowe et seq. ; Desdemona sings Qq ; Des. Ff, Craig ; 
 sighing] Q 2, Capell, etc. ; singing Ff, Rowe. 
 
 29. An old thing] The burden hag Egyptian sycomore of Pliny, correctly 
 been traced to as early as 1 530. See so spelt, and is so applied by Cotgrave 
 note below, line 42. and Blount, and even down to N. 
 
 31, 32. much to do But] I can hardly Bailey's time (1766). The name was 
 
 prevent myself from, etc. transferred by a mistake. Folkard 
 
 35. proper] handsome. See I. iii. says: "In Sicily, it is known as the 
 
 399 (note). Tree of Patience, and is regarded as 
 
 39. nether] lower, opposed to upper, emblematic of a wife's infidelity and a 
 
 See below, v. ii, 43, and in 1 Henry IV. husband's patience." 
 II. iv. 47. 42, all a green willow] This song, 
 
 41. sycamore] Our sycamore, or Great originally for a~ man, is found in a MS. 
 
 Maple, was introduced to Britain per- collection of songs, with accompani- 
 
 haps as early as the fourteenth century, ment for the lute, in the British 
 
 The Oriental sycamore (Ficus syca- Museum (Addit. MSS., 15,117). The 
 
 morus], mentioned in the Bible, or the transcript has been dated about 1600, 
 
 fig mulberry, is a wholly different tree, and slightly differs from Shakespeare's, 
 
 It was highly appreciated as a shade- with additional stanzas. A consider- 
 
 giving tree, and was the subject of ably longer ballad, developed out of 
 
 both legend and poetry. This is the this, is in Percy's Reliques (i. 199,
 
 sc. in.] THE MOOR OF VENICE 217 
 
 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 ; 45 
 
 Sing willow, willow, willow ; 
 Her salt tears fell from her, and soften'd the stones ; 
 
 Lay by these : 
 
 Sing willow, willow, willow ; 
 
 Prithee, hie thee ; he '11 come anon : 50 
 
 Sing all a 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 ? 
 Emit. It is the wind. 
 
 46, 56. willow, willow, willow] Q 2, 3 ; willotigh, etc. F I, 2, 3 ; willow, etc. 
 F 4. 47. and] -which Q 2, 3. 48-50. Lay . . . anon] arranged as by 
 Capell, etc., Globe. 48, 49. Lay . . . willow] Sing willow, etc. (Lay by 
 these) willow, willow Q 2 ; Sing willough, etc. (Lay by these} willough 
 willough F i, 2, 3, 4 (the last three Folios misprinted Lady for Lay, corrected 
 by Rowe). 48. Lay by these] omitted Pope, Theobald ; in parenthesis old 
 editions, Rowe, Johnson ; Giving her her jewels Capell, Jennens. 50. Prithee 
 . . . anon] separate line Q 2, 3, Capell et seq. ; following burthen line willough, 
 willough Ff ; hie\ Qq, high Ff. 53. who is V that} Ff, who 's that Qq. 54. 
 It is] Q i, Jennens, Steevens, Craig ; It's Ff, Globe ; Tis Q 2, 3. 
 
 ed. 1887). Chappell (Popular Music, "All of greene willow, willow, willow, 
 
 i. 206) reprints the British Museum song willow, Sit he all of greene willow 
 
 with the music. The music is found in shall be my garland." "To wear the 
 
 Dallas's MS. Lute-Book under the name willow " was a proverbial expression, 
 
 of "All a greane willow," which book, hardly obsolete, applied to a bachelor 
 
 dated 1583, is in Trinity College or disappointed lover. It is alluded to 
 
 Library, Dublin. "Willow, willow" again by Shakespeare in Much Ado, II. 
 
 was a favourite burden for songs in the i. 194, and by Spenser, Fae.rie Queene, 
 
 sixteenth century. The earliest known I. i. 9. Earlier it occurs in T. Howell, 
 
 is in a collection by John Heywood, Newe Sonets (Grosart, ii. 128), 1568 : 
 
 about 1530, which has for burden, "All "I saw of late a wofull wight, That 
 
 a grene wyllow, wyllow, wyllow, All a willo wandes did winde to weare." It 
 
 grene wyllow is my garland." The is very common in Shakespearian 
 
 words of the song itself are wholly writers. Douce thinks the willow may 
 
 different from Shakespeare's. Another have been chosen from the Psalms 
 
 with the same burden, adding the word (cxxxvii. 2). As Folkard says, " The 
 
 "sing," is quoted by Steevens from A willow has been from the remotest 
 
 Gorgious Gallery of Gallant Inventions, times considered a funereal tree and an 
 
 1578. Another early song and ballad emblem of grief," Plant Lore, 1884. 
 
 is in Howell's Devises (Grosart rept. Folkard supports this statement by 
 
 ii. 183), 1581, which has for burden, references to classical authors.
 
 218 OTHELLO [ACT iv. 
 
 Des. 
 
 I call'd my love false love ; but what said he then ? 55 
 
 Sing willow, willow, willow : 
 If I court moe women, you '11 couch with moe men. 
 
 So get thee gone ; good night. Mine eyes do itch ; 
 
 Doth that bode weeping? 
 
 Emit. 'Tis neither here nor there. 
 
 Des. I have heard it said so. O, these men, these men ! 60 
 
 Dost thou in conscience think, tell me, Emilia, 
 
 That there be women do abuse their husbands 
 
 In such gross kind? 
 
 Emit. There be some such, no question. 
 
 Des. Wouldst thou do such a deed for all the world ? 
 Emit. Why, would not you ? 
 Des. No, by this heavenly light ! 65 
 
 55. (and above, lines 49, 51) the direction [singing] repeated from line 41 
 Globe ; omitted throughout early editions, Craig ; at first line (41) Steevens (see 
 above). S5~S7- / . men] omitted Q i. 55. false love] false Q 2, 3. 
 57. moe] mo Ff, Q 2, 3 (no women F 3, 4) spelt moe Globe et seq. ; moe women] 
 more women Jennens, Steevens (1785, mo 1793) > moe tnen] more men Rowe, etc. 
 (in parallels with moe women). 58. So] Now Q I. 59. Doth] Ff, Does Qq. 
 60-63. Des. I have . . . question] omitted Q I. 63. kind] kindes Q 2, 3. 
 64. deed] thing Q 2, 3. 
 
 57. couch] Compare Much Ado, III. tokens joyful laughter ; or the seeing 
 
 1. 46: "as fortunate a bed As ever of one's love. The itching of the left 
 
 Beatrice shall couch upon" ; and eye, on the other hand, was a sign of 
 
 Merchant of Venice, V. 305. good luck according to Dryden (Love 
 
 57. moe] more. The old form occurs Triumphant, i. i), 1694; and Swift 
 
 frequently in the early editions, but is in his Polite Conversation records the 
 
 usually modernised throughout the plays same omen. The superstition in the 
 
 by the later Folios and modern editors, north of Ireland agrees with the latter 
 
 This stanza is not in the versions re- to-day, the itchiness of the right eye 
 
 ferred to at line 42 (note). Walker being a sign of crying. But I find in 
 
 asks, "Why write moe" (in modern MacGregor's Folklore of North -East 
 
 editions)? meaning why write it here, Scotland that "An itching in the eyes 
 
 and not elsewhere ? I would reply, indicated tears and sorrow." One has 
 
 because Desdemona's description "an to be accurate nowadays, 
 old thing 'twas " harmonises with it. 65. by this heavenly light] "by this 
 
 58-60. 'eyes . . . said so] Since the good light " occurs in Tempest, n. 
 
 time of Theocritus folklorists have held ii. 147, and Winters Tale, II. iii. 82. 
 
 that the itching of the right eye be- Without the adjective it is a common
 
 sc.ni.] THE MOOR OF VENICE 219 
 
 Emit. Nor I neither by this heavenly light ; 
 I might do 't as well i' the dark. 
 
 Des. Wouldst thou do such a deed for all the world ? 
 
 Emit. The world is a huge thing : 'tis a great price 
 For a small vice. 
 
 Des. In troth, I think thou wouldst not. 70 
 
 Emit. In troth, I think I should ; and undo 't when I 
 had done. Marry, I would not do such a thing 
 for a joint-ring, nor for measures of lawn, nor for 
 gowns, petticoats, nor caps, nor any petty exhibi- 
 tion ; but, for the whole world, why, who would 75 
 not make her husband a cuckold to make him a 
 monarch? I should venture purgatory for't. 
 
 Des. Beshrew me, if I would do such a wrong 
 
 67. do 't as well f the] Ff ; doe it as -well in Q i ; as well doe it in Q 2, 3. 
 68. Wouldst] Would Q i ; deed} thing Q I. 69, 70. The . . . vice] asinQq, 
 first line ends thing: Ff. 69. world is] Qq Steevens, etc., Craig ; world's Ff, 
 Globe ; 'tis] Steevens, etc., Craig ; it is Ff, Qq, Dyce, Globe. 70. In troth] 
 Good troth Q I. 71. In troth] By my troth Q I, Malone. 72. done] done 
 it Qq. 73. nor for measures] or for measures Qq, for omitted Craig 
 (misprint ? corrected ed. 2). 74. petticoats'] or Petticotes Q I ; nor caps] or 
 Caps Q 2, 3 ; petty] such Q I. 75. the whole] Qq, all the whole Ff; 
 
 world, ] Capell et seq.; world? Q I ; world: Ff, Q 2, 3 ; world! Hanmer ; 
 why] vds pitty Q I. IT for 't] Ff ; for it Qq, Jennens. 78,79. Beshrew 
 . . . world.] prose Jennens, Steevens (1793). 78. a wrong] wrong Q 2, 3. 
 
 oath. Compare Interlude of Four Ele- to Cotgrave, I find " A gemmew ring : 
 
 ments: "Thou art a mad gest, be this Souvenance." And " Souvenance : 
 
 light !" circa 1510. " Slight " which is Memory, remembrance; also, ja ring 
 
 commoner, is of different origin. with many hoops, whereof a man lets 
 
 69, 70. a great price For a small vice] one hang down when he would be put 
 
 Dyce says "a quotation evidently," in mind of a thing " (Cotgrave). This 
 
 and prints as a distich. explains a passage in Lingua, 1607, 
 
 73. joint-ring] Thii was probably iv. 2 (Hazlitt's Dodsley, ix. 372), where 
 
 the same as the gimmal or double ring, Memory's Page enters with "a gimmal 
 
 constructed of two or, later, more ring with one link hanging." Steevens 
 
 pieces let into one another by a joint, quotes from Dryden's Don Sebastian, 
 
 Compare Herrick, Hesperides (1648): 1690, where in Act V. an account is 
 
 " Thou sentst to me a true-love knot ; given of such a ring, used as mentioned 
 
 but I return a ring of jimmals to imply by Herrick, and "wrought with joints." 
 thy love had one knot, mine a triple 74, 75. petty exhibition] trifling allow- 
 
 tye." Hollyband (1596) spells it ance. See I. iii. 238. 
 "gemmew." In the Index (Sherwood)
 
 220 OTHELLO [ACT iv. 
 
 For the whole world. 
 
 Emit. Why, the wrong is but a wrong i' the world ; 80 
 and having the world for your labour, 'tis a 
 wrong in your own world, and 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 85 
 would store the world they played for. 
 But I do think it is their husbands' faults 
 If wives do fall : say that they slack their duties 
 And pour our treasures into foreign laps, 
 Or else break out in peevish jealousies, 90 
 
 Throwing restraint upon us, or say they strike us, 
 Or scant our former having in despite, 
 Why, we have galls, and though we have some grace, 
 Yet have we some revenge. Let husbands know 
 
 87-104. But . . . so\ omitted Q I. 89. our] out Rolfe. 
 
 79.] One of the jests of Scogin here only the dark foil to Desdemona's 
 
 (Hazlitt rept. p. 120) is " How Scogin snow-white purity." This criticism 
 
 desired of the Queene, to know whether soars over Emilia's head. 
 Riches would not tempt Men and 92. scant . . . having] restrict our 
 
 especially Women." After suggesting allowance of expense. So Johnson 
 
 various ' ' stones and dignity " to tempt and all commentators explain it. May 
 
 women to fall to "lechery and folly," it not mean "make little of our 
 
 Scogin says, " What if a man did give previous estate" (prior to marriage)? 
 
 you this house full of gold? The Until I read the notes, this sense 
 
 Queene said : a woman would doe satisfied me, conveying the idea of a 
 
 much for that." very prevalent sort of recrimination in 
 
 85. to the vantage] to boot, over and such a troubled home as Emilia's 
 
 above (Steevens). Compare Cotgrave : appears to have been. 
 " Suradjouster : To give vantage, add 93. galls] The bile, source of rancour 
 
 more, put more over." or anger in man, according to the old 
 
 87 et seq.~\ See note at III. iv. 167. physiology. "Some men ween, that 
 
 Furness says here: "The noble, self- the milt is cause of laughing. For by 
 
 forgetting music in which Emilia dies, the splean we are moved to laugh, by 
 
 goes far to drive away the shadow that the gall we are wroth, by the heart 
 
 envelops her theft . . . But no ex- we are wise, by the brain we feel, 
 
 cuses can be suggested for her here, by the liver we love." Translation 
 
 Her insidious references to Lodovico, of Bartholomew's De Proprietatibus 
 
 and her allusions to Othello's blow . . . Rerum (from Medieval Lore, ed. Steele, 
 
 stone our hearts, and we can see in her 1893, P- 66), 1397.
 
 sc. in.] THE MOOR OF VENICE 221 
 
 Their wives have sense like them : they see and smell 9 5 
 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 ? i oo 
 
 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. 104 
 
 Des. Good night, good night : heaven me such usage send, 
 Not to pick bad from bad, but by bad mend ! 
 
 [Exeunt, 
 
 ACT V 
 
 SCENE I. Cyprus. A Street. 
 
 Enter IAGO and RODERIGO. 
 
 I ago. Here, stand behind this bulk ; straight will he come : 
 Wear thy good rapier bare, and put it home : 
 
 104. so] F I, Q 2, 3 5 to F 2, 3, 4, Jennens, Steevens (1793) 5 too Rowe (ed. i), 
 105. heaven] God Q I ; usage] Q I, Johnson, Steevens, Craig; uses Ff, Q 2, 3, 
 Globe ; issues Collier (ed. 2) conj. 
 
 Act V. Scene /. 
 I. bulk] Qq ; barke F I, 2 ; bark F 3, 4. 
 
 95. sense] sensation, feelings. Act V. Scene I. 
 
 104.] Compare Burton, Anat, of 
 
 Melan. (3, 3, 4, i), p. 648, ed. 1854: I. bulk] The stall of a shop, jutting 
 
 ' ' It may be 'tis his own fault, and he out into the street. See Coriolanus, 
 
 hath no reason to complain, 'tis quid II. i. 226 ; and compare Lyly, Pappe 
 
 pro quo, she is bad, he is worse : . . . with an Hatchett, 1589 : "Ah (quoth a 
 
 And therefore, as well adviseth Sira- Martinist sitting on a bulke in Cheap- 
 
 cides," cap. ix. i; "teach her not an side), he is a knave I warrant you." 
 
 evil lesson against thyself," ... for as In Beaumont and Fletcher, Wit with- 
 
 the old saying is, "a good husband out Money, iii. I, Valentin ian asks why 
 
 makes a good wife." the streets should be troubled with
 
 222 OTHELLO [ACTV. 
 
 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, 5 
 
 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 has given me satisfying reasons : 
 
 'Tis but a man gone, Forth, my sword : he dies. I o 
 
 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, 
 Every way makes my gain : live Roderigo, 
 He calls me to a restitution large 1 5 
 
 Of gold and jewels that I bobb'd from him, 
 As gifts to Desdemona : 
 It must not be : if Cassio do remain, 
 He has a daily beauty in his life 
 That makes me ugly; and besides, the Moor 20 
 
 4. on] Ff, of Qq. 5. most] more Q 2, 3. 7. be bold] Qq, F I ; behold 
 F 2, 3, 4; stand] sword Q I, Steevens, etc. 8. deed] dead Q I. 9. has] 
 Qq, Steevens (1793), Craig ; hath Ff, Globe. II. quat] gnat Q I, knot Theo- 
 bald, quab Hanmer, quail Upton. 12. angry. Now,] Ff, angry now: Q I. 
 14. gain] F 3, 4 ; gaine F I, 2 ; game Qq, Jennens, Rolfe. 1 6. Of] Ff, For 
 Qq. 19. has] Qq, hath Ff. 
 
 Lady Heartwell's coach and four, "till by Steevens. Nares quotes a passage 
 
 the learned lawyers with their fat bags, from Laughan's Garden of Health, 
 
 Are thrust against the bulks. " p. 153 (1579), containing the words, 
 
 II. quat] a pimple, literally, and " cholericke sores or quats. " 
 
 hence like "scab," a vulgar term for 16. bobtfd] cheated, humbugged, 
 
 a low fellow. Still in use in both Compare Troilus and Cressida, ill. i. 
 
 senses in the Midland dialects in Eng- 75. It occurs in Beaumont and 
 
 land. See Wise's Glossary of War- Fletcher, Loyal Subject, iii. I : " What 
 
 wickshire Words (Furness). Compare are we bobbed thus still, colted and 
 
 Dekker, Gut s Hornbook, ch. vii., 1609 : casted";and Spanish Curate, v. I. 
 
 "A yong quat of the first yeares The substantive is, however, much 
 
 revennew"; and Webster's DeviFs commoner, in the sense of a "bitter 
 
 Law Case, ii. I. Both these are cited mock" or "gird."
 
 sc.i.] THE MOOR OF VENICE 223 
 
 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 : 2 5 
 
 I will make proof of thine. 
 
 \DrawS) and wounds Roderigo. 
 Rod. O, I am slain ! 
 
 \Iago from behind wounds Cassio in the leg, and exit. 
 Cas. I am maim'd for ever. Help, ho 1 murder ! murder I 
 
 [Falls. 
 
 Enter OTHELLO. 
 
 Oth. The voice of Cassio : I ago keeps his word, 
 
 Rod. O, villain that I am ! 
 
 Oth. It is even so. 
 
 Cas. O, help, ho ! light ! a surgeon ! 30 
 
 Oth, 'Tis he. O brave lago, honest and just, 
 
 That hast such noble sense of thy friend's wrong ! 
 
 21. much} omitted Q I. 22. Be^t so.] Qq, But so, Ff, Be it so, Pope; hear] 
 heard F I. 24. mine] Ff, my Qq. 25. know'st] think'st Q i. 27. 
 
 maim'd] maindQ I ; Help] light Qq, Capell ; murder ! murder!] murder, Q 2. 
 Enter Othello.] Qq, Ff, Globe ; Enter Othello, above at a window Rowe ; 
 Enter Othello, at a distance Steevens, Craig. 29. It is] Ff, Harke tis] Qq. 
 
 25. coat] I suppose a "privy coat" coat, " Webster, Devifs Law Case, ii. i; 
 
 is intended, which was worn under the and Shirley, The Politician, iv. 5 : 
 
 outer garments. It is written "private "were you not wounded? . . . I pre- 
 
 coat" in Dekker's AfafcA Mee in London, pared a privy coat." Hence lago's 
 
 Act v. Compare "I wear a privy wound in the "leg," in Theobald's 
 
 coat," Beaumont and Fletcher, Cure stage - direction, and implied by 
 
 for a Cuckold, Hi. I ; "without a privy "maim'd."
 
 224 OTHELLO ( ACTV - 
 
 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: 35 
 
 Thy bed lust-stain'd shall with lust's blood be 
 
 spotted. \Exit* 
 
 Enter LODOVICO and GRATIANO. 
 
 Cas. What, ho ! no watch ? no passage ? murder 1 
 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 in to the cry without more help. 
 
 Rod. Nobody come? then shall I bleed to death. 45 
 
 Lod. Hark ! 
 
 34. unblest fate hies :] Q 2, 3, Globe; unblest fate highes T?f;fate hies apace 
 Q I, Steevens. 35. Forth of] Qq, Johnson et seq.; For of Ff (off F 2, 3, 4)* 
 36. bed lust-stain' d] bed-lest- stained F 3, 4. 38. cry] Qq, Steevens, etc.; voice 
 Ff, Rowe. 42. groan] fi(groane F I, 2), Globe; grones Qq (groans), Pope, 
 Steevens, Craig ; it is a] Qq, ' Tis Ff. 44. in to] Capell, etc. ; into Qq, Ff, 
 Rowe. 45. come ?] Theobald, come, Qq, come : Ff. 
 
 33-36. Minion . . . spotted] Furness Abbott, 156. Compare Ben Jonson, 
 
 quotes Ingleby's belief that Shake- Sejanus, III. i. ^ooa : 
 
 speare did not intend Othello to speak " Natta. To this I subscribe ; 
 
 at all in this scene, and that he did And forth a world of more parti- 
 
 not write these lines, which he calls culars, 
 
 "atrocious stuff." Shakespeare has else- Instance in only one." 
 
 where the compounds " lust-breathed," 37. no passage?] nobody passing 
 
 "lust-dieted," " lust-wearied." along? Compare Cotgrave, " PassJe : 
 
 34. unblest] accursed. See II. iii. A passage, course, passing along." 
 316. See Comedy of Errors, III. i. 99. 
 
 35. Forth of] out of. Several in- 42. heavy] black. Compare Venus 
 stances occur in Shakespeare. See and Adonis, 182.
 
 so. i.] THE MOOR OF VENICE 225 
 
 Re-enter I AGO, with 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 ? 
 
 Cas. Here, here ! for heaven's sake, help me ! 
 lago. What 's the matter ? 5 o 
 
 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. 5 5 
 
 lago. O me, lieutenant ! what villains have done this ? 
 Cas. I think that one of them is hereabout, 
 
 And cannot make away. 
 lago. O treacherous villains? 
 
 What are you there ? come in and give some help. 
 
 [To Lodovico and Gratiano. 
 
 46. Re-enter . . .] Dyce (after line 47) ; Enter lago with a light. Qq (after 
 line 45) Steevens. 47. light} Ff, lights Qq. 48. on~\ Qq, F I ; out F 2, 3, 
 4, Rowe. 49. We] Ff ; / Qq, Jennens ; Did~\ Qq, Do Ff. 50. heaven's 
 sake] heaven sake Qq, heavens sake Ff. 54. lago ?] lago, Qq. 56. me,'] my 
 Q I. 57. that one} Ff, the one Qq. 59. [To . . . Gratiano] Theobald 
 et seq. 
 
 48. cries on murder] calls out mur- but it is not in the extant edition. This 
 
 der. Compare Cotgrave, "Hue: part of Jonson's Poetaster is dealing 
 
 Hooted or showted after ; exclaimed or with that play. The quotations serve 
 
 cried out upon." And Hamlet, V. ii. to show the exact sense of the words 
 
 375 : "This quarry cries on havock." In in Othello. They may have been even 
 
 Marston's Eastward Ho, ii. I, this line in Shakespeare's thoughts, since this 
 
 occurs, " Who cries on murther ? Lady, play was made a common laughing- 
 
 was it you?" And in Ben Jonson's stock of. For " cry on " before a per- 
 
 Poet 'aster, ii. I, at an earlier date (1601) son's name, see Troilus and Cressida, 
 
 occurs, "Who cries out murther, lady v. v. 35, and Romeo and Juliet, in. 
 
 was it you?" The line is evidently a iii. 101. 
 quotation from the old play otjeronymo, 
 
 15
 
 226 OTHELLO [ACTV. 
 
 Rod. O, help me here ! 60 
 
 Cas. That 's one of them. 
 
 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 ? 65 
 
 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 it, 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 ? 75 
 
 Bian. O my dear Cassio ! my sweet Cassio ! 
 
 O Cassio, Cassio, Cassio ! 
 lago. O notable strumpet ! Cassio, may you suspect 
 
 60. here!] Qq, etc., there Ff. 61. [Stabs Roderigo] Thrusts him in. Q 2, 
 3 ; omitted Q I, Ff ; lago stabs him. Rowe ; lago stabs Roderigo Steevens (1793). 
 62. dog /] Ff, dog, o, o, o. Qq ; [gives up ye gost.] Anon. MS. (apud Cam- 
 bridge) ; Dies. Hanmer. 63. men] him Q i ; these] Ff, those Qq. 71. is 
 it] Qq, Steevens, etc., Craig ; is't Ff, Globe. 
 
 69. cry you mercy] beg your pardon. (1519) ; and I find it as late as Ravens- 
 See below, line 94. This expression croft's Canterbury Guests^ v, v. (1697). 
 occurs as early as The Four Elements
 
 sc.i.] THE MOOR OF VENICE 227 
 
 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 85 
 
 To be a party in this injury. 
 
 Patience awhile, good Cassio. Come, come ; 
 
 Lend me a light. Know we this face or no ? 
 
 Alas, my friend and my dear countryman 
 
 Roderigo ? no : yes, sure : O heaven ! Roderigo. 
 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. 95 
 
 lago. How do you, Cassio ? O, a chair, a chair ? 
 
 79. have thus} Ff, thus have Qq. 82, 83. lago. Lend . . . hence /] omitted 
 Q I ; prose Q z, 3. 86. be a party'] bears a part Qq ; injury'] omitted Q I. 
 90. O heaven .'] Q I ; Yes, 'tis F I ; yes, 'tis Q 2, 3 ; Yea, tis F z, 3, 4. 93. 
 you] Qq, your Ff. 
 
 79. should] See in. iv. 23. mercy," above, line 69. It seems to 
 
 85. trash] worthless creature. See occur only here in Shakespeare. Simi- 
 
 II. i. 311 (note). Observe the prompt larly Jonson has it once in Fox, IV. ii. : 
 
 manner in which lago seizes upon Bian- " I cry your pardons, I fear I have for- 
 
 ca's unexpected appearance, to the ad- gettingly transgrest Against the dignity 
 
 vantage of his schemes. of the court." 
 
 89. countryman] Steevens remarks 96. a chair] In Wright's History of 
 
 that this proves incontestably that lago Domestic Manners (1862), p. 497, may 
 
 was a Venetian. be seen a drawing of a " litter " from an 
 
 93. cry you . . . pardon] beg your album preserved among the Sloane 
 
 gentle (merciful) pardon. This form MSS. (No. 341 5) in the British Museum, 
 
 was much less used than "cry you containing dates 1608 to 1638. It
 
 228 OTHELLO [ACTV. 
 
 Gra. Roderigo ! 
 
 lago. He, he, 'tis he. O, that 's well said ; the chair : 
 
 [A chair brought in. 
 
 Some good man bear him carefully from hence ; 
 I'll fetch the general's surgeon. [To Bianco} For 
 you, mistress, 100 
 
 Save you your labour. He that lies slain here, Cassio, 
 Was my dear friend : what malice was between you ? 
 Cas. None in the world ; nor do I know the man. 
 lago. \To Bianco] What, look you pale? O, bear him out 
 o' the air. [Cassio and Roderigo are borne off. 
 
 Stay you, good gentlemen. Look you pale, mistress ? 
 Do you perceive the gastness of her eye? 106 
 
 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 
 
 98. He, he] Ff, He, Qq ; the] Ff, a Qq. 102. between] betwixt Qq. 105. 
 gentlemen] Ff ; gentlewoman Qq, Malone, Variorum. 106. gastness] ieastures 
 Q I, 2 ; jestures Q 3. 107. if you stare] Ff, an you stir re Qq ; hear] 
 
 have Qq. 
 
 figures a lady of rank carried in her pany Cassio, to render him assistance," 
 
 chair. Ladies, and especially persons he says, and Boswell added that "lago 
 
 suffering from illness, were often so stops Bianca under a pretended sus- 
 
 carried, sometimes in horse - litters, picion that she would try to escape." 
 
 Chair, at this time, applied to more But, as Reed says, it was more proper 
 
 cumbrous or stately furniture than now. for the two gentlemen to leave with lago 
 
 They would need, as lago says, a good to assist him. It is not, to my mind, 
 
 man to carry, with a person. " Man," the language that lago would have used 
 
 indeed, would read better in the plural, to Bianca at present, and he has already 
 
 especially as two are borne off. secured her attendance by his remarks. 
 98. well said] See IV. i. 115, etc. 106. gastness] ghastliness. It occurs 
 
 101. Save you your labour] don't in Chaucer's Boethius. The adjective 
 
 interfere. She is attending to her "gaste"istobemetwith. Gerrard Leigh 
 
 lover. says of the Dragon : " For as all beastes 
 
 105. gentlemen] Malone supported most feare him : so tremble they at his 
 
 the Qq reading "gentle woman." "Bian- gaste countenance " (Folio 134). 
 ca would naturally endeavour to accom-
 
 sc.i.] THE MOOR OF VENICE 229 
 
 Enter EMILIA. 
 
 Emit. 'Las, what 's the matter ? what 's the matter, hus- 
 band? 
 I ago. Cassio hath here been set on in the dark 
 
 By Roderigo, and fellows that are 'scaped : 
 
 He 's almost slain, and Roderigo dead. 
 Emit. Alas, good gentleman ! alas, good Cassio ! 115 
 
 lago. This is the fruits 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 
 
 Emit. Fie, fie upon thee, strumpet ! 
 Bian. I am no strumpet ; but of life as honest 
 
 As you that thus abuse me. 
 
 Emit. 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. 125 
 
 Emilia, run you to the citadel, 
 
 And tell my lord and lady what hath happ'd. 
 
 III. ''Las, what's . . . vvhat's . . . husband?} Qq, Alas, what is . . . What is 
 . . . husband.] Ff (in two lines). 114. dead] Qq, quite deadFf. ll'6. fruits'} 
 Ff, Rowe ; fruite Qq, Steevens, etc., Globe, Cambridge; Prithee} Pray Q i. 
 118, 119. that? He supp'd} that? -why, you know, He supped Steevens conj. (ed. 
 1793, not you well know, as stated in Furness, Cambridge). 121. Fie, fie] Q i ; 
 Fie Q 2, 3 ; Oh fie Ff. 123. foh ! fie] Capell ; faugh,, fie Q I, Jennens; now fie 
 Q 2, 3 ; Fie Ff, Rowe. 127. hath] has Qq, Steevens (1793). 
 
 117. know of] learn of. Compare sheeps eie at a fie for shame"; and 
 
 Twelfth Night, in. iv. 278 : "I be- Richard Carew in Camderfs Remains 
 
 seech you to know of the knight what (p. 33, ed. 1623), 1595 : " In detesta- 
 
 my offence to him is." tion wee say Phy, as if therewithall wee 
 
 121. Fie, fie upon thee] Emilia ser- should spit." 
 
 vilely echoes her husband's epithets. 123. foh] Emilia is very indignant, 
 
 The ejaculation is proper. Compare and her terms become stronger. See 
 
 Armin's Choice, Chance, and Change III. iii. 232 (note). 
 (Grosart, p. 62), 1606: "And cast a
 
 230 
 
 OTHELLO 
 
 fACT V. 
 
 Will you go on afore? [Aside] This is the night 
 That either makes me or fordoes me quite. [Exeunt. 
 
 SCENE II. A Bedchamber in the Castle: DESDEMONA 
 in bed asleep ; a light burning. 
 
 Enter OTHELLO. 
 
 Oth. It is the cause, it is the cause, my soul : 
 
 Let me not name it to you, you chaste stars ! 
 
 128. on afore?} Ff, Craig ; on ? I pray Qq, Globe. 
 
 Scene II. 
 
 129. makes] markes Q I. 
 
 A Bedchamber . . . a light burning. Enter Othello.] Globe; Enter Othello 
 with a light. Q I ; Enter Othello with a light, and Desdemona in her bed. Q 2, 
 3 ; Enter Othello, and Desdemona in her bed. Ff ; A Bedchamber : Des- 
 demona in bed asleep. A light burning. Enter Othello. Steevens. 
 
 129. fordoes} undoes. See Hamlet, 
 II. i. 103, and Lear, V. iii. 255, and 
 notes at the two places. Compare 
 Caxton, Reynard the Fox (Arber, p. 
 38), ' ' how I myght breke and fordo 
 my fadirs fals counseyl. " The word is 
 commoner in the stronger sense of 
 " destroy." 
 
 Scene //. 
 
 I. It is the cause] " The abruptness 
 of this soliloquy makes it obscure. The 
 meaning, I think, is this : I am here 
 (says Othello in his mind) overwhelmed 
 with horror. What is the reason of 
 this perturbation ? Is it want of resolu- 
 tion to do justice ? Is it the dread of 
 shedding blood? No. It is not the 
 action that shocks me, but it is the 
 cause, it is the cause, my soul " (John- 
 son). Steevens takes the words to 
 mean that Othello seeks to justify him- 
 self, by dwelling upon the cause, that 
 is to say, the greatness of the provoca- 
 tion he had received ; or he may merely 
 mean, "It is the cause of virtue I 
 maintain." I prefer Johnson's inter- 
 pretation. Othello, in the depth of his 
 anguish, has no room for compunction 
 
 or any thought save the one, the " it " 
 that he cannot name, the cause, the 
 unforgivable and unmentionable thing 
 that she has done. The more trivial 
 idea of justification comes as an after- 
 thought at the words, " Yet she must 
 die " ; merely to be glanced at. Fur- 
 ness has a long and deeply interesting 
 note on the various views of actors 
 upon the staging of this scene. 
 
 2. you chaste stars] Othello's identi- 
 fication of the stars with chastity shows 
 the frame of mind he is in. He is 
 thinking only of chastity, or its loss, 
 and identifies the stars with that one 
 virtue. Whatsoever frame of mind a 
 man was in, or whatever calamity had 
 befallen him, he attributes that mood, 
 not necessarily as caused by, but as 
 existing in, and harmonized with by the 
 stars. The use of this word "chaste" 
 bears out the sense given above to the 
 word ' ' cause. " Othello feels himself 
 "chaste." The stars are "chaste." 
 The other thing he cannot name. 
 Every human frame of mind is attributed 
 to the stars, in one place or another, in 
 Shakespeare, according to the condition 
 uppermost at the occasion.
 
 sc.ii.] THE MOOR OF VENICE 
 
 231 
 
 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. 5 
 
 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, 
 
 5. alabaster] F 4, alablaster the rest; [Takes off his sword] Steevens. 7.] 
 Regarded as a stage-direction [Takes off his sword and then puts out the 
 light.] Goldwin Smith, Cambridge) ; light, . . . light :] Qq, Ff, Steevens, Globe, 
 etc. ; light, and, then, . . . the light ; Theobald ; light : and then put out thy 
 light. Hanmer ; light, and then Put out the light ? Warburton, Jennens ; 
 light, and then Put out the light ! Capell, Rolfe. (Several other almost im- 
 perceptible variations occur.) 
 
 4. whiter] For the transposition of 
 the adjective, see many examples 
 collected in Abbott, 419. A re- 
 markable one occurs in 1 Henry VI. 
 IV. v. 5 (not in Abbott) : 
 
 " When sapless age and weak unable 
 
 limbs, 
 
 Should bring thy father to his 
 drooping chair." 
 
 5. alabaster] Compare Richard III. 
 IV. iii. ii ; and Lucrece, 419, "ala- 
 baster skin." The " monumental " use 
 is referred to in Merchant of Venice, 
 I. i. 84 : " Sit like his grandsire cut in 
 alabaster " ; it gives the sense of 
 "polished." Compare Burton's Ana- 
 tomy of Melancholy (Bk. II. ii. 2), ed. 
 1854, p. 516 : "A high brow like unto 
 the bright heavens . . . white and 
 smooth like the polished alabaster." 
 Gabriel Harvey has the metaphor in 
 Pierces Supererogation (Gros. ii. 285), 
 "alabaster necke, corall bracelets 
 [arms], ruby lips" (1593). 
 
 6. betray more men] ruin others (as 
 she has done me). The line comes in 
 inharmoniously. It recalls the last line 
 of the ballad, in an awkward fashion. 
 
 7. put out the light] Hanmer suggested 
 "thy light" at the second use; and 
 others have taken various liberties with 
 the text. It may seem "strange that 
 the mind when fraught with a passion 
 so intense " should trifle, but the line is 
 only to be explained by a play upon 
 
 words, a "cold conceit," as one of the 
 commentators calls it. The obvious 
 sense, ' ' put out the taper, and then 
 extinguish the light of life," is enforced 
 to a certainty in the following lines. 
 Examples of "put out the light," 
 meaning to "kill," have been adduced 
 from several contemporary authors by 
 Steevens and Farmer. And Malone 
 refers to Lucrece (178), a poem which 
 has several times served to illustrate 
 this play. Compare also 3 Henry VI. 
 II. vi. I, and Macbeth, v. v. 23, where 
 a candle is the symbol of life. The 
 words "monumental alabaster " might 
 themselves have suggested the in- 
 verted and extinguished torch, emblem 
 of death. For the use of the phrase 
 compare Beaumont and Fletcher's 
 Maid's Tragedy, iv. I : " 'Tis a justice 
 ... To put the light out of such base 
 offenders." Steevens says this phrase 
 is used twice in Sidney's Arcadia for 
 killing a lady, pp. 460 and 470, ed. 
 1633. The expression is still in use in 
 criminal life in London. (See Farmer 
 and Henley, Slang and its Analogues.} 
 Compare Greene's Groaf s-worth of Wit 
 (at the end) : " Remember, gentlemen, 
 your lives are like so many light tapers 
 that are with care deliuered to you all 
 to maintaine : these with wind-puft 
 wrath may be extinguished, with 
 drunkennesse put out, with negligence 
 may fall." The metaphor is trite.
 
 232 OTHELLO [ACTV. 
 
 I can again thy former light restore, 
 
 Should I repent me : but once put out thy light, i o 
 
 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 
 
 thy rose, 
 
 I cannot give it vital growth again, 
 It must needs wither : I '11 smell it on the tree. 1 5 
 
 [Kissing her. 
 
 O 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 ? 
 
 IO. thy light} f; thine Qq, Steevens (1793). II. cunning'st] cunning Q i. 
 13. relume] Malone et seq. ; re-lume Ff; returne Q I ; relumine Q 2, 3 ; thy 
 rose] Ff, Malone ; the rose Qq, Globe, Craig. 15. must needs} Qq, Globe ; 
 needs must Ff, Steevens, etc., Craig; it] Qq, thee Ff; [Kissing her.] Kisses 
 her. Q 2, 3 (at line 19 Q i); omitted Ff. 16. O balmy} Steevens, etc., 
 Craig; Oh Balmy Ff; A balmy Qq ; Ah, balmy Globe, etc. ; dost almost} Ff, 
 doth almost Qq. 17. Justice'] lustice her selfe Qq, Jennens ; sword! One 
 
 . . . more:] sword. One more, one more: Ff; sword once more, Q I ; sword: 
 one more; Q 2, 3 ; sword. Once more Jennens. 19. one] once Q i; and 
 this] Qq, etc. ; and that's Ff, Rowe, Dyce ; [He kisses her] Q I. 22. where] 
 when Q i; doth} Ff, does Qq ; She wakes.] stage - direction ; Anon, conj., 
 reading It . . . Othello ? as one line (apud Cambridge). 
 
 12. Promethean heat} Compare does not occur elsewhere in 
 " Promethean fire," Love's Labour's Shakespeare (nor elsewhere earlier, 
 Lost, IV. iii. 351. Peele has the image so far as I am aware). Both 
 in England's Holidays (Routledge, terms are in Bailey's Dictionary. 
 p. 5970) : "like Prometheus' life- Pope has: "Relumed her ancient 
 infusing fire" (1595). light, not kindled new" (Web- 
 
 13. relume] "to light anew, to re- ster). Compare French allumer 
 kindle," N. Bailey, ed. 1766. This, (Cotgrave). 
 
 like "illume" of Hamlet, I. i. 37,
 
 sc. ii.] THE MOOR OF VENICE 233 
 
 Oth. Ay, Desdemona. 
 
 Des. Will you come to bed, my lord ? 
 
 Oth. Have you pray'd to-night, Desdemona ? 
 
 Des. Ay, my, lord. 25 
 
 Oth. 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 ? 
 Oth. Well, 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 ? 
 Oth. Ay, I do. 
 
 Des. Then heaven 
 
 Have mercy on me ! 
 
 Oth. Amen, with all my heart ! 
 
 Des. If you say so, I hope you will not kill me. 35 
 
 Oth. Hum! 
 Des. 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. 
 Oth. Think on thy sins. 
 
 29. Alas'] Qq, Alack Ff; may] Q I, Ff ; doe Q 2, 3. 32. heaven] Qq, 
 heavens Ff. 33, 34. Talk . . . heard] arranged as by Capell, etc., Globe, 
 Craig ; each speech a separate line inQq, Ff, Cambridge. 35. so] omitted F I. 
 
 30. by] aside. would appear to have been usual in the 
 32. forfend] forbid, as below, at line time of Shakespeare. A tragic scene 
 
 182. almost requires them. Expressions 
 
 36.] Compare Coriolanus' treatment such as "gnaw the lip," or "bite the 
 
 of Cominius when he rejects his inter- thumbj" or "nails, till the blood 
 
 cession : came," were so common that they must 
 
 ' ' Yet, to bite his lip, have reference to actual practices. 
 
 And hum at good Cominius, much They are still to be found, though 
 
 unhearts me." decreasing in quantity since the eigh- 
 
 (v. i. 49, 50). teenth century, in works of fiction. 
 These outward displays of passion
 
 234 OTHELLO [ACTV. 
 
 Des. They are loves I bear to you. 40 
 
 Oth. Ay, and for that thou diest. 
 
 Des. That death 's unnatural that kills for loving. 
 
 Alas, why gnaw you so your nether lip ? 
 
 Some bloody passion shakes your very frame : 
 
 These are portents ; but yet I hope, I hope, 45 
 
 They do not point on me. 
 
 Oth. Peace, and be still ! 
 
 Des. I will so. What 's the matter ? 
 Oth. That handkerchief which I so loved and gave thee, 
 
 Thou gavest to Cassio. 
 Des. No, by my life and soul ! 
 
 Send for the man, and ask him. 
 Oth. Sweet soul, take heed, 50 
 
 Take heed of perjury ; thou art on thy death-bed. 
 Des. Ay, but not yet to die. 
 Oth. Yes, presently : 
 
 Therefore confess thee freely of thy sin ; 
 
 For to deny each article with oath 
 
 Cannot remove nor choke the strong conception 5 5 
 
 That I do groan withal. Thou art to die. 
 Des. Then Lord have mercy on me ! 
 Oth. I say, amen. 
 
 Des. And have you mercy too ! I never did 
 
 Offend you in my life ; never loved Cassio 
 
 40. loves'] Qq, F I ; love F 2, 3, 4. 41. Ay] omitted Qq. 4$. I hope t I 
 Aope]Ff, I hopefy\. 47. will so. What's] Johnson, Globe; will, so, what's 
 Q I, 2; wi!! so: What's Ff, Capell, Steevens. 52. Yes] Qq, omitted Ff. 
 55. conception'] conceit Q I, Jennens. 57. Then Lord\ Qq, etc. ; Heaven 
 Ff, Rowe. 
 
 43. nether lip] See above, IV. iii. 39. 46. point on] Compare Troilus and 
 Compare Lyly *s Mydas, III. ii., 1592 : Cressida, I. iii. 31, "find Hector's 
 "all my nether teeth are loose." purpose Pointing on him."
 
 sc. ii.] THE MOOR OF VENICE 235 
 
 But with such general warranty of heaven 60 
 
 As I might love : I never gave him token. 
 Oth. By heaven, I saw my handkerchief in his hand. 
 
 perjured woman ! thou dost stone my heart, 
 And makest me call what I intend to do 
 
 A murder, which I thought a sacrifice : 65 
 
 1 saw the handkerchief. 
 
 Des. He found it then ; 
 
 I never gave it him : send for him hither ; 
 
 Let him confess a truth. 
 
 Oth. He hath confess'd. 
 
 Des. What, my lord ? 
 Oth. That he hath used thee. 
 
 Des. How ? unlawfully ? 70 
 
 Oth. Ay. 
 
 Des. He will not say so. 
 
 Oth. No, his mouth is stopp'd ; 
 
 Honest lago hath ta'en order for't. 
 Des. O, my fear interprets ! what, is he dead ? 
 Oth. Had all his hairs been lives, my great revenge 
 
 Had stomach for them all. 75 
 
 Des. Alas, he is betray'd, and I undone ! 
 Oth. Out, strumpet ! weep'st thou for him to my face ? 
 
 62. in his] Qq, Jennens, Steevens ; zn's Ff, Globe. 63. my\ thy Q I. 
 64. makest] makes F I. 68. Let] And let Q I. 70. hath used thee.'} Ff, 
 hath uds death. Q I. 73. 0, . . . interprets !] Q\o\)Q, Ok, . . . interprets. 
 Ff. 77. Out] O Qq. 
 
 72. to! en order] taken measures, of thy life as many as the haires on thy 
 
 arranged. Compare Richard II. v. i. head?" A similar expression occurs 
 
 53, and Measure for Measure, II. i. 246. in Macbeth, V. viii. 48. Steevens 
 
 74. hairs been lives\ Compare Lyly's quotes from two later plays, where the 
 
 My das, I. i., 1592 : " Desirest thou to same thought occurs ; both are perhaps 
 
 be fortunate in thy love, or in thy echoes of Othello's words in this famous 
 
 victories famous, or to have the yeeres scene.
 
 236 OTHELLO [ACT v. 
 
 Des. O, banish me, my lord, but kill me not ! 
 
 Oth. Down, strumpet ! 
 
 Des. Kill me to-morrow ; let me live to-night ! 80 
 
 Oth. Nay, if you strive, 
 
 Des. But half an hour ! 
 
 Oth. Being done, there is no pause. 
 
 Des. But while I say one prayer ! 
 
 Oth. It is too late. \He smothers her. 
 
 Emit. [ Within} My lord, my lord! what, ho! my lord, my lord! 
 
 Oth. What noise is this ? Not dead ? not yet quite dead ? 8 5 
 
 I that am cruel am yet merciful; 
 
 I would not have thee linger in thy pain : 
 
 So, so. 
 
 Emit. [ Within] What, ho ! my lord, my lord ! 
 Oth. Who 's there ? 
 
 Emil. [ Within] O, good my lord, I would speak a word 
 with you ! 
 
 81. if} Ff, an Qq. 82, 83. Oth. Being . . . pause. Des.] omitted Q i, 
 reading Des. But halfe an houre, but while I say one prayer, followed by Pope, 
 Hanmer. 83. It is too] Ff, Tis too Q I ; [He smothers her] Smothers her Ff, 
 He stifles her Qq (after prayer). 83, 84. late . . . Emil.] late. Des. O Lord, 
 Lord, Lord. Em. Q i, Jennens. 84. Emil. [Within]] Steevens, etc., Emillia 
 calls within Qq (after omitted Lord Q I, after late Q 2, 3), Emilia at the door. Ff. 
 85. noise} Ff, voyce Qq. 88. [Stabbing her.] Rann ; [Within]] Ff, omitted Qq. 
 89, IOO. [Within]] Malone, Steevens (1793) et seq. ; omitted Qq, Ff. 
 
 82. Being done} " Now that it is comprehensible, and (from the drawing 
 being done, there can be no pause." of blood) natural if the stab takes place. 
 
 88. So, so] Rann ( 1 794) inserted here This, at least, was the opinion of several 
 
 the stage-direction ' ' stabbing her " ; editors. To Furness we are indebted 
 
 Steevens made the suggestion in his for the views of some eminent medical 
 
 ed. 1793, though he does not insert men, the majority of whose evidence 
 
 the words. But Furness quotes from is against the necessity of this further 
 
 Francis Gentleman {Dramatic Censor, horror. We have no reason to suppose 
 
 i. 148, 1770), who justifies the stage that Shakespeare thought of it, but we 
 
 practice ; presumably that of Garrick. have Othello's words to the contrary. 
 
 The difficulty arises from Desdemona's Nevertheless it has been adopted on 
 
 partial recovery, and subsequent death the stage by such important actors as 
 
 without further violence, which is an Booth and Fechter. 
 unnatural result from suffocation ; while
 
 sc. ii.] THE MOOR OF VENICE 237 
 
 Oth. Yes : 'tis Emilia. By and by. She 's dead. 90 
 
 'Tis like she comes to speak of Cassio's death. 
 
 The noise was high. Ha ! no more moving ? 
 
 Still as the grave. Shall she come in ? were 't 
 good? 
 
 I think she stirs again. No. What 's best to do ? 
 
 If she come in, she'll sure speak to my wife: 95 
 
 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 
 
 Should yawn at alteration. 
 Emit. [ Withiri\ I do beseech you I oo 
 
 That I may speak with you, O, good my lord ! 
 Oth. I had forgot thee: O, come in, Emilia. 
 
 92. high~\ Ff, Steevens, Dyce, Craig ; here Qq, Jennens, Globe. 94. best to 
 do] the best Qq, Steevens. 96. -what wife ?] my wife ; Q I. IOO. Should] 
 Qq, Did Ff. 101. That] omitted Qq, reading / . . . lord one line ; 0] 
 
 omitted Q i. 102. forgot] forgotten Q 2, 3 ; 0] omitted Q 2, 3. 
 
 90. by and by] presently. See II. i. tempests are asleepe and laid to rest. 
 
 290. . . . They [earthquakes] fortune also 
 
 92. high] Probably refers to the to be when the Sune and Moone are 
 
 attack upon Cassio, where there was eclipsed." Here we have alterations 
 
 undoubtedly much noise. indeed, and a vividly poetical descrip- 
 
 97. heavy] See IV. ii. 43. tion of them, coupled with chawmes 
 
 98-100. eclipse . . . yawn at altera- [yawns, or chasms] of the globe, as it 
 
 tion] The chaos that Othello foretells "travelleth and waggeth to and fro," 
 
 for himself "when I love thee not," and eclipses of sun and moon. Theo- 
 
 should now be here. See in. iii. 93. bald accuses Shakespeare of profanity 
 
 For the connection between eclipses in this passage, an accusation which 
 
 and earthquakes, to us a meaningless (though obviously just to him) seems 
 
 one, Shakespeare had his authority in quite groundless, even apart from the 
 
 Holland's Plinie. In Book ii. ch. 80, extract from Pliny. Eclipses, like 
 
 " Of the Gaping Chinkes of the Earth," comets, have at all times been con- 
 
 Ifind: " In one place the walls of cities nected with mundane calamities by 
 
 are laid along: in another they be superstition. See Lear, I. ii. in et seq. 
 
 swallowed up in a deep and wide I see no occasion to deem that Shake- 
 
 chawme : here are cast up mightie speare refers here to the Crucifixion 
 
 heapes of earth : there are let out rivers (Matt, xxvii. ), as Theobald finds neces- 
 
 of water, because in those times all sary.
 
 238 OTHELLO [ACT v. 
 
 Soft ; by and by. Let me the curtains draw. 
 Where art thou ? [ Unlocks the door. 
 
 Enter EMILIA. 
 
 What 's the matter with thee now ? 
 
 Emit. O, my good lord, yonder 's foul murders done ! 105 
 Oth. What, now ? 
 
 Emit. But now, my lord. 
 
 Oth. It is the very error of the moon ; 
 
 She comes more near the earth than she was wont 
 
 And makes men mad. 
 Emit. Cassio, my lord, has kill'd a young Venetian no 
 
 Call'd Roderigo. 
 Oth. Roderigo kill'd ! 
 
 And Cassio kill'd ! 
 
 Emit. No, Cassio is not kill'd. 
 
 Otk. Not Cassio kill'd ! then murder 's out of tune, 
 
 And sweet revenge grows harsh. 
 Des. O, falsely, falsely murder'd ! 
 
 Emit. Alas, what cry is that ? 115 
 
 Oth. That! what? 
 Emil. Out, and alas ! that was my lady's voice. 
 
 Help ! help, ho ! help ! O lady, speak again ! 
 
 Sweet Desdemona ! O sweet mistress, speak ! 
 Des. A guiltless death I die. 1 20 
 
 104. [Unlocks the door.] Theobald et seq. 105. murders} Qq, Globe; 
 murthers Ff ; murder (or murther) Steevens, etc., Craig. 106. What,] Q i, 
 What ? the rest. 108. near the~\ Qq, Steevens, Craig ; nearer Ff, Globe. 
 115. Alas] O Lord Qq. 117. that was~\ Ff ; it is Q I ; it was Q 2, 3. 
 
 107. error] aberration, deviation from journey, his error by sea, the sack of 
 
 her right path. See "erring," above, Troy, are put ... as episodes of the 
 
 I. Hi. 362. Compare Ben Jonson, argument. 
 Discoveries, (424^): "The rest of his
 
 sc.li.] THE MOOR OF VENICE 239 
 
 Emit. O, who hath done this deed ? 
 Des. Nobody ; I myself. Farewell : 
 
 Commend me to my kind lord : O, farewell ! [Dies. 
 Oth. Why, how should she be murder'd ? 
 Emil. Alas, who knows ? 
 
 Oth. You heard her say herself, It was not I. 125 
 
 Emil. She said so : I must needs report the truth. 
 Oth. She 's like a liar gone to burning hell : 
 
 Twas I that kill'd her. 
 Emil. O, the more angel she, 
 
 And you the blacker devil ! 
 
 Oth. She turn'd to folly, and she was a whore. 130 
 
 Emil. Thou dost belie her, and thou art a devil. 
 Oth. She was false as water. 
 Emil. Thou art rash as fire, to say 
 
 That she was false : O, she was heavenly true ! 
 Oth. Cassio did top her ; ask thy husband else. 
 
 O, I were damn'd beneath all depth in hell, 135 
 
 But that I did proceed upon just grounds 
 
 To this extremity. Thy husband knew it all. 
 Emil. My husband ! 
 Oth. Thy husband. 
 
 Emil. That she was false to wedlock? 140 
 
 Oth. Ay, with Cassio. Nay, had she been true, 
 
 123. [Dies] She dies Qq, omitted Ff. 125. heard] Qq, hear Ff. 126. 
 the truth] Ff, a truth Qq. 132. art rash] as rash Q i. 141. Nay] Qq, 
 
 omitted Ff. 
 
 130. folly] See n. i. 137 (note). some suspicions seem to have flashed 
 138. My husband!] Emilia's repeated across her, but were not attended to in 
 astonishment at lago's complicity is the her desire to please lago. Her con- 
 argument in favour of her not having science was torpidity itself. When it is 
 suspected him to be the " eternal aroused, she acts nobly out of sudden 
 villain." See note at iv. ii. 131. On grief, and love for her mistress, 
 the other hand (see line 191, below),
 
 240 OTHELLO [ACTV. 
 
 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 ! 
 Oth. Ay, 'twas he that told me first : 145 
 
 An honest man he is, and hates the slime 
 
 That sticks on filthy deeds. 
 Emit. My husband ! 
 
 Oth. What needs this iteration ? woman, I say thy 
 
 husband. 
 EmiL O mistress, villany hath made mocks with love ! 
 
 My husband say that she was false ! 
 Oth. He, woman ; 150 
 
 I say thy husband : dost understand the word ? 
 
 My friend, thy husband, honest, honest I ago. 
 EmiL If he say so, may his pernicious soul 
 
 145. mefirsf\ Qq, mean her first Ff. 148. iteration ? woman, /] Qq, Jennens, 
 Globe; itterance, woman? I Ff, Steevens (1793), Craig. 149-152. Emil. O 
 . . . Iago\ omitted Q I. 150. that] Q 2, 3 ; omitted Ff. 
 
 143. chrysolite] "A kind of iasper of Naxos." The perfection of the 
 stone . . . Chrysolith" J. Rider, metaphor only can be appreciated from 
 Biblioth. Schol., 1589. " A chrysolite ; this passage. This precious stone was 
 a kind of Jasper of a golden lustre, or the costliest, the largest, and the only 
 colour " (Cotgrave). We must have re- one that could be polished for noble 
 course again to Pliny, xxxvii. 8 : "The persons, and made to a required shape. 
 Topaze or Chrysolith, hath a singular Peele, at the beginning of David and 
 greene colour by it selfe, for which it is Bethsabe {ante 1599), speaks of "rubies, 
 esteemed very rich; and when it was sapphires, chrysolites," as the most 
 first found, it surpassed all others in precious pebbles. The chrysolite of 
 price ; they were discovered first in an the ancients is believed to be the peri- 
 Isle of Arabia called Chitis. . . . Of dote of moderns. 
 
 which Chrysolite, Ptolomseus Phila- 148. iteration} repetition. Not used 
 
 delphus, king of Egypt, caused the elsewhere by Shakespeare in this sense, 
 
 statue of his wife Arsinoe to be made, Compare Lyly, Woman in Moone, IV. 
 
 foure cubits long . . . of all pretious L, 1597: " Learchus [reading] 
 
 stones it is the largest : this propertie it ' Learchus, my love, Learchus ! ' 
 
 hath above all other gems, That only it O the iteration of my name argues 
 
 commeth under the file to be polished affection." 
 
 for noble men; whereas all others be I49-] " Villany has taken advantage 
 
 scoured with grindstones coming out to play upon the weakness of passion."
 
 sc. ii.] THE MOOR OF VENICE 241 
 
 Rot half a grain a day ! he lies to the heart : 
 
 She was too fond of her most filthy bargain, 155 
 
 Oth. Ha! 
 
 Emit. Do thy worst : 
 
 This deed of thine is no more worthy heaven 
 Than thou wast worthy hen 
 
 Oth. Peace, you were best. 
 
 Emit. Thou hast not half the power to do me harm 1 66 
 As I have to be hurt. O gull ! O dolt ! 
 As ignorant as dirt ! thou hast done a deed* 
 I care not for thy sword ; I '11 make thee known, 
 Though I lost twenty lives. Help ! help, ho ! help ! 
 The Moor has kill'd my mistress! Murder! murder! 
 
 Enter MONTANO, GRATIANO, lAGO, and others. 
 
 Mon. What is the matter ? How now, general ! 1 66 
 
 Emit. O, are you come, I ago ? you have done well, 
 That men must lay their murders on your neck. 
 
 160. the} Qq,Steevens, etc., Craig ; that Ff, Globe. 163. I . , . sivord~\ in 
 parenthesis Ff ; known'} know Qq. 164. ho ! help /] 0, helpe ; Qq. 165. has] 
 Qq, Steevens, etc., Craig; hath Ff, Globe. 
 
 I S9- y u were best] An old idiom But in the lawe do ever wry the 
 
 retained from Chaucer's time. See I. and wrest, 
 
 ii. 30, above, and Abbott's Grammar, And wyll not fall to ony agree- 
 
 230. ment, 
 
 1 60, 1 6 1.] "I have in this cause more Tyll in theyr neckes is lay'd by 
 
 power to endure than thou hast power jugement 
 
 to inflict" (Johnson). Malone parallels The costes and charge's, and so are 
 
 the sentiment from Henry VIII. III. ii. made full bare." 
 
 387, and 2 Henry VI. IV. i. 130. "Neck" is used in several other ob- 
 
 168. lay . . . on your neck] hold solete phrases, where we would say 
 
 you responsible, lay it to your charge, "back." Here, perhaps the metaphor 
 
 An expression not elsewhere in Shake- is from laying the yoke on the neck of 
 
 speare. I find it in The Hye Way to beasts of burthen. Another example of 
 
 the Spyttal Hous (circa 1535), Haz- the above phrase occurs in Udall's 
 
 litt's Early Popular Poetry, iv. 53 : Erasmus (Roberts' rept. p. 327), 1542 : 
 
 " Selfwylled people, that can not be "The mistristfulnesse of the Byzancian 
 
 in rest, he layed on the necke of the Charetes." 
 
 16
 
 242 OTHELLO [ACT v. 
 
 Gra. What is the matter? 
 
 Emil. Disprove this villain, if thou be'st a man : 1 70 
 
 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. 
 
 1 ago. I told him what I thought, and told no more 
 
 Than what he found himself was apt and true. 175 
 Emil. But did you ever tell him she was false ? 
 lago. I did. 
 Emil. You told a lie, an odious, damned lie ; 
 
 Upon my soul, a lie, a wicked lie ! 
 
 She false with Cassio ! Did you say with Cassio ? 1 80 
 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. 
 AIL O heavens for fend ! 
 
 Emil. And your reports have set the murder on. 185 
 
 Oth. Nay, stare not, masters : it is true indeed. 
 Gra, 'Tis a strange truth. 
 Mon. O monstrous act ! 
 Emil. Villany, villany, villany ! 
 
 I think upon 't : I think : I smell 't : O villany ! 
 
 I thought so then : I '11 kill myself for grief: 190 
 
 169. Gra.] All Q I. 172. thou'rf] Ff, thou art Qq. 183-191. My . . . 
 villany !} omitted Q I. 183. bed.~\ Ff, Q 2, Steevens, etc., Craig ; bed, Dyce, 
 Globe. 185. murder] murther (spelling indiscriminate, as 183, etc.). 189. 
 smell 't : O villany] smell a villany Q 2, 3. 
 
 181. charm your tongue'] be silent, as as in Jonson's Bart. Fair, ii. I: 
 
 if by enchantment. A common expres- "Justice Overdo : he is the man must 
 
 sion in Shakespeare and Jonson. Com- charm you." 
 
 pare Taming of the Shrew, I. i. 214, and 190. I thought so then] See note at 
 
 2 Henry VI. IV. i. 64; idem (3) V. v. line 138, above, and at "Be not acknown 
 31. Sometimes "tongue" is omitted, on't," ill. iii. 320, which latter speech
 
 sc. ii.] THE MOOR OF VENICE 243 
 
 villany, villany ! 
 
 lago. 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. 195 
 
 Oth. O ! O ! O ! [Falling on the bed. 
 
 Emit. Nay, lay thee down and roar ; 
 
 For thou hast kill'd the sweetest innocent 
 
 That e'er did lift up eye. 
 Oth. [Rising] O, she was foul ! 
 
 1 scarce did know you, uncle : there lies your niece, 
 Whose breath indeed these hands have newly 
 
 stopp'd ! 200 
 
 I know this act shows horrible and grim. 
 Gra. Poor Desdemon ! 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, 205 
 Yea, curse his better angel from his side, 
 And fall to reprobation. 
 
 195. Perchance} Q i, Ff ; Perhaps Q 2, 3. 196. [Falling . . .] Oth. fals 
 on the bed Qq (falls Q 2, 3) ; omitted Ff. 198. [Rising]] Theobald et seq. ; 
 omitted Qq, Ff. 202. Desdemon] F I, 2, Dyce, Staunton, Delius ; Desdernona 
 Qq, F 3, 4. 204. in twain] atwane Q I. 207. reprobation] Qq, etc.; repro- 
 dance Ff, Dyce, Rolfe. 
 
 was no doubt accompanied with a need- 207. reprobation} perdition. Shake- 
 
 ful scowl. Clarke and Rolfe believe speare does not use this word again. The 
 
 "then" refers to Emilia's "eternal Folios have it " reprobance," as they 
 
 villain" speech at iv. ii. 131. That have also " iterance for " iteration " at 
 
 seems hardly a sufficient signification. line 148, above. " Iteration " is in Cot- 
 
 202. ] Delius says Desdemona's uncle, grave ( 1 6 1 1 ), " reprobation " is not, and 
 Gratiano, appears to have come to the present is perhaps its first appear- 
 Cyprus to bring her news of her father's ance. " Reprobate " (adj. ) is in Love's 
 death. Labour's Lost, I. ii. 64 (1590), and in 
 
 203. mortal} deadly. See II. i. 72 Rider's Dictionary (subst. ), 1589. 
 (note).
 
 244 OTHELLO [ACTV. 
 
 Oth. Tis pitiful ; but yet lago knows 
 
 That she with Cassio hath the act of shame 
 
 A thousand times committed ; Cassio confess'd it : 210 
 
 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. 215 
 
 Emit. O heaven ! O heavenly powers ! 
 
 lago. Come, hold your peace. 
 
 Emit. 'Twill out, 'twill out, I peace ! 
 
 No, I will speak as liberal as the north : 
 
 209. /4oM]Qi,Ff; hadQz, 3. 212. that]theQl. 216. O . . .powers!} 
 O God, O heavenly God. Q i. 217. Come] Zouns Q I, Cambridge; 'Twill 
 out, 'twill out. ] Twill out, twill: Q I. 217, 218. I peace! No,] I peace? No, 
 Ff, Theobald, Globe ; / hold my peace sir, no, Qq (ending line no), Steevens, 
 Craig. 218. / . . . north] Ff, Globe, Cambridge ; lie be in speaking, 
 liberal! as the north Q 2, 3 ; Fie be in speaking, liberall as the ayre Q i. 
 
 210.] Jonson says here: "This is I. iii. 36: " the tyrannous breathing of 
 
 another passage which seems to suppose the north." The first Quarto reads 
 
 a longer space comprised in the action " air," of which see below. I believe 
 
 of this play than the scenes include." the reference to be to the north coun- 
 
 See note at in. iii. 293. try, and the freedom of their (northerns') 
 
 212. recognizance] recognition, ac- speech, especially in asseverations, 
 
 knowledgment. Properly a legal term, Emilia, in the next line, uses their 
 
 as old as Chaucer's time, and occurring favourite invocation at this time, to 
 
 in Hamlet, v. i. 113. Lyly introduced && devil. Greene introduces " Bohan, 
 
 the term in Mother Bombie, iv. 3 : a Scot," in \iisjames IV., expressly, 
 
 " Your eloquence passes my recog- apparently, to swear by the deil. 
 
 noscence. Lucio. I never heard that Howell says in a noble protest against 
 
 before" (1594). swearing, Letters, iv. 12, 1628: "The 
 
 215.] Othello would appear here to Irishman swears by his five wounds, the 
 
 have forgotten his original statement Scot bids the Devil hale his soul, yet 
 
 in III. iv. ; but Steevens thinks this a for variety of oaths the English roarer 
 
 proof of Shakespeare's art. The ori- puts down all " ; and Ram Alley, v. 
 
 ginal account was purposely ostenta- 1611 : "The devil take my soul, etc., 
 
 tious, to alarm his wife the more. . . . That oath doth show thou art a 
 
 Here the truth suffices. northern knight " ; and Massinger, 
 
 218. liberal] free spoken. See II. City Madam, ii. 2: "May the great 
 
 i. 164 (note). fiend, etc., . . . as the Scotchman says." 
 
 2 1 8. as the north] Commentators Compare, too, Andrew Borde, Boke 
 
 have explained this to mean north of Knowledge, ch. iv., 1542, speaking 
 
 wind, with a reference to Cymbeline, of "the natural disposition of a Scotyshe
 
 sc.ii.] THE MOOR OF VENICE 245 
 
 Let heaven and men and devils, let them all, 
 
 All, all, cry shame against me, yet I '11 speak, 220 
 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, 225 
 
 More than indeed belong'd to such a trifle, 
 
 He begg'd of me to steal it. 
 
 lago. Villanous whore ! 
 
 Emil. She give it Cassio ! no, alas, I found it, 
 
 And I did give't my husband. 
 lago. Filth, thou liest ! 
 
 223. of\ Ff, on Qq. 228. give] Ff, gave Qq. 
 
 man," he says: "And what worde I was written at or about the time of 
 do speake, be it in myrth or in borde, James' accession, who very speedily put 
 The foule evyl shalbe at the end of my a stop to uncomplimentary allusions to 
 worde." These extracts bear upon the the North amongst the dramatists, by 
 mode of speech. But so much was the the suppression of Eastward Hoe in 
 north held in dislike that it gave rise 1605, and the severe punishment, or 
 to several proverbs. "Out of the contemplated punishment, of the writers. 
 North all ill comes forth " is as old as Hence this suggestion has a most in- 
 Hakluyt, 1599, and much older in teresting bearing upon the text, since 
 Latin. North came to mean bad, the probability is that the first Folio 
 coarse, clownish, broad. Compare comes nearest to Shakespeare's words, 
 Beaumont and Fletcher's Mons, while the first Quarto (reading " air } 
 Thomas, i. 3: "Some northern toy, was printed from an independent stage- 
 a little broad " ; and in Nice Valour, copy, containing various alterations, 
 i. I (Dyce's Beaumont and Fletcher, x. I advance the above suggestion with 
 301), "a northern fellow" is a "coarse" fear and trembling. It appears to me to 
 fellow. See also Middleton's Mich, give sense, where the north wind was 
 Tern. i. I (1607). I imagine this is the little less than an absurdity, 
 sense of Emilia's simile. She does not, 229. Filth} harlot. Compare Timon, 
 fortunately, have time to indulge much IV. i. 6. Cotgrave has : "fi lie perdue : 
 in "profane" language, but she felt a desperate filth," etc. Mr. Craig sup- 
 equal to it, in quantities. This play plied me with the following from North's
 
 246 OTHELLO [ACTV. 
 
 Emil. By heaven, I do not, I do not, gentlemen. 230 
 
 O murderous coxcomb ! what should such a fool 
 Do with so good a wife ? 
 
 Of A. Are there no stones in heaven 
 
 But what serve for the thunder ? Precious villain ! 
 
 \He runs at lago : lago 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. 235 
 
 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 : 
 Come, guard the door without ; let him not pass, 
 But kill him rather. I '11 after that same villain, 240 
 For 'tis a damned slave. 
 
 [Exeunt Montana and Gratiano. 
 
 Oth. I am not valiant neither, 
 
 But every puny whipster gets my sword. 
 
 232. wife] Ff, woman Qq. 233. Precious] Ff ; pretious Q I ; pernitious 
 Q 2, 3 ; [He . . . exit.] Globe ("from behind" after lago), Craig; The Moore 
 runs at lago, lago kills his wife Qq, after woman ? (wife ?), line 232 ; lago stabs 
 Emilia, then runs out. Steevens (1793), Dyce (ed. 2); omitted Ff. 235. 
 [Exit lago, Qq]. 237. you this] Ff, your Qq. 238. here'] Qq, omitted Ff. 
 241. [Exeunt . . . Gratiano] Qq et seq. t Globe, Craig; Exeunt all but Othello 
 and Emilia. Cambridge ; Exit. Ff. 
 
 Plutarch, Comp. between Aristides 237. notorious'] See above, IV. ii. 141. 
 
 and Cato, ed. 1595, p. 391 : "because "Egregious, notable" (Schmidt), 
 
 his sonne could not abide his filth," 238. recover'd] obtained, gained, 
 
 and five lines lower, "a young harlatry A word used by the early navigators, 
 
 filth." as it is in Tempest, in. ii. 16, and Two 
 
 232.] Can heaven not spare one bolt Gentlemen of Verona, v. i. 12. Com- 
 
 for this villain? Is it all needed for pare Best's Narrative of Frobisher's 
 
 thunder? Shakespeare has " thunder- Second Voyage (Payne, ed. 1880, p. 
 
 stone " mjulius Cczsar, I. iii. 49, and in 75), 1577: "we passed up into the 
 
 Cymbeline, IV. ii. 271. Nares quotes country about two English miles, and 
 
 "Jove's fell thunder-stone " from Chap- recovered the top of a high hill." 
 
 man's Homer's Iliad, bk. xv. (1598). 242. whipster] a contemptible fellow. 
 
 233. Precious'] perfect, selected ; as The term was used by Gabriel Harvey 
 
 if priceless, exquisite. Stronger than similarly, in Pierces Supererogation 
 
 irony. (Grosart, ii. 63), 1593 ; and in The
 
 sc. ii.] THE MOOR OF VENICE 
 
 247 
 
 But why should honour outlive honesty ? 
 
 Let it go all. 
 Emil. What did thy song bode, lady ? 
 
 Hark, canst thou hear me ? I will play the swan, 245 
 
 And die in music. \Singing\ Willow, willow, willow. 
 
 Moor, she was chaste ; she loved thee, cruel Moor ; 
 
 So come my soul to bliss, as I speak true ; 
 
 So speaking as I think, I die, I die. \She dies. 
 
 Oth. I have another weapon in this chamber; 250 
 
 It is a sword of Spain, the ice-brook's temper. 
 
 244-246. What . . . willow.} omitted Q I. 246. [Singing] Dyce et seq. ; 
 omitted Qq, Ff, Craig ; Willow . . . willow'} in italics Qq, Ff (willough Ff), 
 Steevens, etc. 249. / die, I die] Qq ; alas, I die Ff ; [She dies] Qq ; omitted 
 Ff; Dies Steevens, Globe, etc. 251. It is] Qq, It was Ff; the ice-brook's'] 
 the Ice brookes F I, 2 ; the Ice brooks F 3, 4 ; the Isebrookes Qq ; the libra's 
 Pope, Theobald, Capell. 
 
 Passionate Morrice (New Sh. Soc. p. 
 81, 1877) of a loose girl (1593). Dry- 
 den applies it to a "padder" (thief), 
 Sir Martin Marall, iv. i., 1667. Grose 
 defines it later, "a sharp, subtle fellow." 
 There are several old terms similarly 
 employed, beginning with "whip." 
 Sometimes they relate to "whipping" 
 off drinks, more often to flogging, either 
 of the human body, or the town-top. 
 
 244-249.] Whatever view Shake- 
 speare desires us to take of Emilia, 
 and how we are to apportion the good 
 and the bad in her seemingly incon- 
 gruous disposition, he certainly intended 
 us to forgive her everything in her 
 dying scene. At line 88, above at the 
 dreadful words "So, so" Johnson 
 said: "I am glad that I have ended 
 my revisal of this dreadful scene. It 
 is not to be endured." So true are 
 these words that they need no com- 
 ment, save that the suffering of sym- 
 pathy in the reader is practically 
 exhausted by Desdemona's murder, 
 and there is none left for the ensuing 
 horrors. Were there a morsel left, 
 Emilia earns it at last. 
 
 245. flay the swan] Shakespeare re- 
 
 fers to this myth several times. See 
 King John, v. vii. 21, and Merchant of 
 Venice, in. ii. 44. The earliest refer- 
 ence I have noted is in Gascoyne's 
 Life (Arber, p. 22), 1577: "The swan 
 in songs doth knoll her passing bell." 
 See also Arber's English Garner, vii. 
 330, for an early reference. The 
 legend is contradicted by Pliny : 
 " Some say that the swans sing lament- 
 ably a little before their death, but 
 untruly I suppose : for experience in 
 many hath shewed the contrarie" 
 (Holland's Translation, x. 23). The 
 editors of Clarendon Press edition 
 of Merchant of Venice quote it from 
 Ovid, Heroides, vii. i. Steevens and 
 Douce refer it back to Plato. Sir 
 Thomas Brown supposed the idea 
 originated from the belief that Orpheus, 
 after his death, became a swan 
 (Popular Errors). 
 
 251. sword of Spain] either a Toledo 
 or a Bilbao, which were equally famous 
 at this time. Lyly mentions ' ' the 
 Spanish rapier" as early as 1579 
 (Euphues, Arber, p. 152). 
 
 251. ice-brook's temper] steel tem- 
 pered in icy - cold water. Steevens
 
 248 OTHELLO [ACTV. 
 
 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. 
 Oth. Look in upon me then, and speak with me, ^ r j 255 
 
 Or, naked as I am, I will assault thee. 
 
 Re-enter GRATIANQ. 
 
 Gra. What is the matter ? . 
 
 Oth. Behold, I have a weapon ; 
 
 A better never did itself sustain 
 Upon a soldier's thigh : I have seen the day 
 That with this little arm and this good sword 260 
 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 265 
 
 And very sea-mark of my utmost sail. 
 Do you go back dismay'd ? 'tis a lost fear : 
 
 255. with] Ff, to Qq. 262. your] you Q I, 264-270. Be , , . wench!'} 
 omitted Q I. 266. And] Ff ; The Q 2, 3. 
 
 thought a special " brook " was referred 264. weapon' d\ armed- Mai one says 
 
 to here, and cites classical authorities, this uncommon participle occurs in 
 
 He does not, however, mention Pliny, Sidney's Arcadia. But see quotations 
 
 who says (Holland, xxxiv. 14): at "officers of night," I. i. 183, from 
 
 " Water only which in some places is Contareno's Venice. And compare 
 
 better, in other worse, hath ennobled Hakluyt, ii. 291 (reprint), 1599: "Some 
 
 many places for the excellent yron that of his gard had smal stanes, & most of 
 
 commeth from them, as namely, Bil- them were weaponed with bowes and 
 
 bilis in Spaine . . . Comus also in arrowes." 
 
 Italic . . . Setting aside these two 266. sea-mar&] beacon, perch, etc. 
 
 countries, I know not where there be See Coriolanvs, v. iii. 73. And East- 
 
 anie bars or gads tempered of fine and ward Ho, iv. i : " the farthest seeing 
 
 pure steele." sea-mark of the world." Captain Smith 
 
 263. Who can control his fate ?] Des- ( Virginia, Arber, p. 922) has a pretty 
 
 demona's words "It is my wretched little ode to "The Sea-Marke," 1630. 
 
 fortune " are recalled. 267. lost] wasted, useless.
 
 sc. ii.] THE MOOR OF VENICE 249 
 
 Man but a rush against Othello's breast, 
 And he retires. Where should Othello go ? 
 Now, how dost thou look now? O ill-starr'd 
 wench ! 270 
 
 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, cursed slave! Whip me, ye devils, 275 
 From the possession of this heavenly sight ! 
 Blow me about in winds ! roast me in sulphur ! 
 Wash me in steep-down gulfs of liquid fire ! 
 O Desdemona ! Desdemona ! dead ! 
 Oh! Oh! Oh! 280 
 
 Enter LODOVICO, MONTANO, CASSIO carried in a chair, 
 and Officers with lAGO, prisoner. 
 
 Lod. Where is this rash and most unfortunate man ? 
 Oth. That 's he that was Othello : here I am. 
 
 270. Now, how] Now: how Ff; How Q 2, 3. 271. compf] count Q I. 
 275. cursed, cursed} Ff, cursed Qq ; ye] Ff, you Qq. 278. steep-down] 
 
 hyphen omitted Qq. 279, 280. O Desdemona! . . . Ok!] Q I, 2, Collier 
 (in one line), in two lines Globe, Cambridge ; Oh Desdemon ! dead Desdemon ; 
 dead. Oh, Oh ! Ff (Desdemona F 2, 3) in one line ; in two lines, the first as here, 
 the second reading Dead! Oh! oh! oh! Steevens, Rann, etc. 280. Enter . . . 
 prisoner] Rowe and Capell (nearly), Malone, Steevens (1793) et seq. ; Enter 
 Lodouico, Montano, lago, and officers, Cassio in a Chaire Qq ; lago omitted Q 2, 
 3 ; Enter Lodovico, Cassio, Montano, and lago, with Officers Ff. 
 
 268. rush] a thing of no force. 271. compf] day of judgment. 
 Compare As You Like It, in. v. 22. 276, 277.] Compare this with Mea- 
 
 269. should] denotes destiny, futurity, sure for Measure, in. i. 122: 
 Compare Greene's James IV. (2o6a): " To bathe in fiery floods, . . . 
 "What should I do? ah poor unhappy To be imprisoned in the viewless 
 queen." Used as a cry of extreme winds, 
 
 misery. And blown with restless violence 
 
 270. wench] used affectionately often round about 
 
 by Shakespeare. Seeabove, in. Hi. 314. The pendent world."
 
 250 OTHELLO [ACTV. 
 
 Lod. Where is that viper ? bring the villain forth. 
 Oth. I look down towards his feet : but that 's a fable. 
 
 If that thou be'st a devil, I cannot kill thee. 285 
 
 [ Wounds lago. 
 
 Lod. Wrench his sword from him. 
 
 lago. I bleed, sir, but not kill'd. 
 
 Oth. I am not sorry neither : I 'Id have thee live ; 
 
 For, in my sense, 'tis happiness to die. 
 Lod. O thou Othello, that wert once so good, 
 
 Fall'n in the practice of a damned slave, 290 
 
 What shall be said to thee ? 
 Oth. 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? 295 
 
 Oth. Ay. 
 
 Cas. Dear general, I never gave you cause. 
 Oth. I do believe it, and I ask your pardon. 
 
 283. that} Ff, this Q I. 285. that} omitted Q I. 286. Wrench] Wring 
 Q I. 289. wert} Qq, was Ff. 290. damned] Qq, cursed Ff. 293. did 
 I in] Qq J Ididinl,2,3. 297. never gave]^i; did never give Qq, Jennens. 
 298. your} Ff ; you Qq, Globe, Rolfe. 
 
 284. a fable] The devil's cloven foot The reference to "viper" in the pre- 
 became a very common vulgar belief vious line is to another fable, whence 
 later. Perhaps from stage representa- vipers were made the types of ingrati- 
 tions. Ben Jonson and Massinger both tude ; not the least of lago's many 
 refer to it. I find it in Greene's Looking- unpardonable sins. Othello means 
 Glass for London (Routledge, p. 138), that since lago has not cloven feet, the 
 1594 : belief is untrue. " Some are so carnal- 
 
 " Devil. Thou hast never a shoe fit lie minded that a spirit is no sooner 
 
 for me. spoken of, but immediately they thinke 
 
 Adam. Why, sir, we shoe horned of a blacke man with cloven feet, a 
 
 beasts, as well as you. [Aside} paire of homes, a taile, clawes, and eies 
 
 O good Lord ! let me sit down as broad as a bason," Scot's Discoverie 
 
 and laugh; hath never a cloven of Witchcraft (rept. p. 426), 1584. 
 
 foot ; a devil, quoth he ! ... 289. so good] an important testimony 
 
 [Beats him." to Othello's earlier repute.
 
 sc.ii.] THE MOOR OF VENICE 251 
 
 Will you, I pray, demand that demi-devil 
 
 Why he hath thus ensnared my soul and body? 300 
 
 lago. 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. 
 
 Oth. Well, thou dost best. 
 
 Lod. Sir, you shall understand what hath befall'n, 305 
 
 Which, as I think, you know not. Here is a letter 
 Found in the pocket of the slain Roderigo, 
 And here another : the one of them imports 
 The death of Cassio to be undertook 
 By Roderigo. 310 
 
 Oth. 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 315 
 
 Came in and satisfied him. 
 
 299. 7] omitted Q I. 309, 310. undertook By] undertooke by Qq. 
 
 315. interim} niche Q I. 
 
 299. demi-devif] worse than a devil, tator, and are therefore "suspected." 
 
 lago is human in form, but he is a But Othello has asked for information ; 
 
 bastard, with a devil for one parent. lago will not give it ; why should he not 
 
 A genuine devil is a higher order of be satisfied ? How otherwise is Cassio 
 
 being. So of Caliban, at the end of to be fully restored to his rightful place 
 
 The Tempest: "this demi-devil For in Othello's estimation before all is 
 
 he's a bastard one" (Dowden). over? Were these remarks to close 
 
 312 et seq.~\ Macmillan quotes the drama, they would appear trivial, 
 
 Brandes (agreeing with him) that but as a circumstantial preliminary, to 
 
 " these remarks of Lodovico are nerve- give one breath for the final deed, they 
 
 less and feeble and detract from the are wholly appropriate, 
 
 effect of the scene. This passage is 315. belike} probably. 
 
 not Shakespeare's and ought to be 315. in the interim] Ben Jonson used 
 
 expunged." Macmillan's objection is this phrase a little earlier, Cynthia's 
 
 that they give information already Revels, in. i., 1600: " In the interim, 
 
 possessed by the reader and the spec- you may."
 
 252 OTHELLO [ACTV. 
 
 Oth. O the pernicious caitiff! 
 
 How came you, Cassio, by that handkerchief 
 That was my wife's ? 
 
 Cas. I found it in my chamber : 
 
 And he himself confess'd but even now 
 That there he dropp'd it for a special purpose 320 
 Which wrought to his desire. 
 
 Oth. O fool ! fool ! fool ! 
 
 Cas, There is besides in Roderigo's letter, 
 
 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 325 
 
 After long seeming dead, lago hurt him, 
 
 lago set him on. 
 
 Lod. You must forsake this room, and go with us : 
 Your power and your command is taken off, 
 And Cassio rules in Cyprus. For this slave, 330 
 
 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 nature of your fault be known 
 To the Venetian state. Come, bring away. 335 
 
 Oth. Soft you ; a word or two before you go. 
 
 I have done the state some service, and they know 't. 
 No more of that. I pray you, in your letters, 
 When you shall these unlucky deeds relate, 
 Speak of me as I am ; nothing extenuate, 340 
 
 316. OtAe]Qq, Oh thou Ff. 317. thaf] a Qq. 318. wife's] -wifes Qq, 
 wives Ff. 319. but] it Q i ; it but Ff, Q 2, 3. 335. bring] Ff, Steevens 
 (1793), Dyce, Cambridge ; bring him Qq, Globe, Craig. 336. before you go] 
 omitted Q I. 340. me as I am] of them as they are Q I, Jennens. 
 
 325. cast] dismissed. See I. i. 150, and I. i. 31.
 
 8c.ii.] THE MOOR OF VENICE 
 
 253 
 
 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 345 
 
 Richer than all his tribe ; of one whose subdued eyes, 
 
 341. then must you] then you must Q 2, 3. 345. Indian] Qq, F 2, 3, 4 ; 
 ludean F I, Johnson, Steevens ; Judian Theobald, Globe, Cambridge, etc. 
 
 344. Perplex'd] This word had a 
 stronger meaning than it now has. In 
 Skeat's Dictionary I find it "em- 
 barrassed." Cotgrave explains it "at 
 his wit's end." It meant as much as 
 our word " distracted " or " in despair." 
 Compare Cymbeline, iv. iii. 9 ; and the 
 following lines from Chloris, by Wm. 
 Smith (Grosart reprint, p. 11), 1596: 
 
 " I seeing my love in perplexed 
 
 plight, 
 
 A sturdy bat from of an oke I rest, 
 And with the ravishour continue 
 
 fight 
 
 Till," etc., 
 
 where the maiden is at her last extrem- 
 ity ; and compare Peele, Edward I. 
 (ed. 1874, p. 406), 1593: "Ah didst 
 thou know how Mary is perplex'd, 
 Soon woulds thou come to Wales and 
 rid me of this pain ; But, O, I die . . . 
 [Dies " (in torture). 
 
 345. Indian . . . pearl] If we are 
 to judge by the space used in notes 
 of commentators, this passage stands 
 fourth in the list of difficult passages 
 in Othello. The first Folio reading 
 "Judean" increases the difficulty. The 
 Folio reading is not to be rejected with- 
 out serious thought. What appears to 
 me most in its favour is that which 
 Halliwell urged, and which Furness 
 believed to be the true explanation. 
 The epithet " base " appears to support 
 "ludean," which, if correct, notwith- 
 standing that the idea has been ridiculed 
 [by Coleridge], probably refers to Judas 
 Iscariot. And Furness adds, " Is there 
 not, may I be permitted to add, sugges- 
 
 tion even in the identity of the two first 
 syllables, Judas, and /ttdfean?" This 
 explanation requires the word "base" 
 to be used in that worst sense, in which 
 I cannot conceive it possible that 
 Othello would use it, even indirectly, 
 of himself. That is an objection. I 
 find no difficulty in the " verse " accent, 
 since if it be laid on Judean, as we 
 should do, the first foot of the line is 
 Like the base | , and scans harmoniously 
 enough. Or it may be pronounced as 
 " Herculean," " Epicurean," etc. But 
 the fact of the word "Judean " being in 
 the Folio text is the strongest argument 
 in its support, and were it not for the 
 superior value attached thereto, no 
 hesitation would be felt in discarding it. 
 My hesitation was finally removed by a 
 passage in Ben Jonson's Discoveries^ 
 which refers to such a fable as the 
 simile requires. True, it does not con- 
 tain the word Indian, but it was so 
 universally the custom to connect pearls 
 with Indians, that the one term would 
 inevitably suggest the other. Numerous 
 examples of "Indian" plus "pearl" 
 are assembled in Furness's note, and as 
 many more might be adduced. The 
 passage only shows that there was such 
 a fable, and expels the word "Judean." 
 It is in Ben Jonson's Explorata, or 
 Discoveries (first published in 1641), 
 Periodi, etc. (4153): "Whatsoever 
 loseth the grace and clearness, converts 
 into a riddle : the obscurity is marked, 
 but not the value. That perisheth, and 
 is passed by, like the pearl in the fable." 
 Passages adduced from Habington and
 
 254 
 
 OTHELLO 
 
 [ACT v. 
 
 Albeit unused to the melting mood, 
 Drop tears as fast as the Arabian trees 
 Their medicinal gum. Set you down this ; 
 And say besides, that in Aleppo once, 
 
 350 
 
 348. Drop] Drops Q I, F I. 349. medicinal] medicinall QQ, medicinable Ff. 
 
 Howard, Carew and Glapthorne, seem 
 to me not only to refer to Othello's 
 words, but also to announce the fact 
 that they had nothing to add, no fresh 
 data to give, to the "fable." After 
 all "Judean" maybe merely a misprint 
 for Indian, obviously a likely one. 
 "India" is actually misprinted Judah 
 in the Quarto of Peele's Battle of 
 Alcazar, iii. I. Nothing less than an 
 apologue, a legend, or an established 
 historical anecdote would satisfy the 
 reading here. Of passages earlier 
 than Othello, showing the ignorance 
 of the base Indian in preferring 
 useful to ornamental articles, two 
 may be selected as the best of those 
 in Furness. Collier quoted Drayton, 
 Legend of Matilda, 1594 (Spenser Soc. 
 ed. Poems, 1888, p. 453): "The 
 wretched Indian spumes the golden 
 ore." The other was given by " H. K." 
 in Notes and Queries from Nashe's 
 Pierce Pennilesse> 1593: "like the 
 Indians that have store of gold and 
 precious stones and yet are ignorant of 
 their value." Macmillan's two apposite 
 quotations (of late date) were previously 
 cited by Boswell. For the barter of 
 pearls by Indians, see Pliny ', xxxiv. ch. 
 1 7. The fable must deal with a blunder 
 or an accident to be fully acceptable. 
 This is a strong argument against the 
 above interpretation of the "Judean" 
 reading, since Othello is the Indian, 
 and the treachery belongs to lago. An 
 example may be quoted, though un- 
 fortunately of a Tartarian, not of an 
 Indian : " In the storie of Pachymerius 
 the Greeke ... I remember he telleth 
 to the same purpose of one Nogas a 
 Tartarian captaine . . . who refused a 
 present of Pearle and other iewels sent 
 unto him from Michael Palaeologus : 
 asking withall for what use they served, 
 
 and whether they were good to keepe 
 away sicknesse, death, or other mis- 
 fortune of this life, or no," Giles 
 Fletcher, Russe Common Wealth, 1588 
 (Hakluyt, i. p. 553, reprint 1809), 
 
 1599- 
 
 348. 349.] The metaphor here seems 
 to be from Holland's Plinie, with some 
 modifications (xii. ch. 14, 15). In 
 ch. 1 5, speaking of ' ' Myrrhe and the 
 trees that yield it," we are told they 
 are found " in many quarters of Arabia 
 . . . they sweate out of themselves a 
 certaine liquor called stacte, which is 
 very good Myrrhe." But the words of 
 Othello come nearest to the account of 
 the liquor called Opobalsamum "that 
 goeth beyond all others" from Jewry. 
 ' ' This feat [of incision] being wrought, 
 there issueth out of the wound a certaine 
 juice or liquor, which they call opobal- 
 samum ... it commeth forth by small 
 drops : and as it thus weepeth, the teares 
 ought to be received in wooll." A little 
 lower we are told that ' ' it entreth into 
 many medicinable confections." In 
 the same chapter is an account of the 
 "gums" called Storax, Galbanum, and 
 Sagapenum. The .first of these is that 
 called "Maujoin" in Cotgrave; "the 
 Arabian gum called Benine." 
 
 349. medicinal] Elsewhere in Shake- 
 speare, except in Winter's Tale, II. iii. 
 37, the word is "medicinable," as the 
 Folio reads in the present instance. 
 The form "medicinable" is frequent in 
 Holland's Plinie. Cotgrave gives both 
 forms, both in French and English, 
 and distinguishes between the separate 
 words as active and passive ; i.e. " heal- 
 ing, curing," and "healable, curable." 
 No such distinction occurs in Shake- 
 speare. 
 
 350. Aleppo] The Venetians had a 
 monopoly, practically, of trade in
 
 sc.li.] THE MOOR OF VENICE 
 
 Where a malignant and a turban'd Turk 
 
 Beat a Venetian and traduced the state, 
 
 I took by the throat the circumcised dog 
 
 And smote him, thus. [Stabs himself. 
 
 Lod. O bloody period ! 
 
 Gra. All that is spoke is marr'd. 355 
 
 Oth. I kiss'd thee ere I kill'd thee : no way but this, 
 
 [Falling- upon Desdemona. 
 Killing myself, to die upon a kiss. [Dies. 
 
 Cas. This did I fear, but thought he had no weapon ; 
 For he was great of heart. 
 
 Lod. [To Iago\ O Spartan dog, 
 
 More fell than anguish, hunger, or the sea! 360 
 
 Look on the tragic loading of this bed ; 
 
 354. [Stabs himself] He stabs himselfe Qq, omitted Ff. 355. that is] Ff, 
 Malone, Staunton ; that's Qq, etc. 356. [Falling . . .] Johnson, Steevens, 
 etc., Craig ; Throwing himself by his Wife Capell ; omitted Globe, Cambridge. 
 357. [Dies.] Dyes Ff; He dies. Qq ; Dies Steevens, etc. ; Falls on the bed, 
 and dies Globe, Cambridge. 361, loading] Ff, lodging Qq. 
 
 Aleppo with the Turks and Armenians, where, in the notes of Clarendon Press 
 to the great annoyance of London mer- edition, references are given to Sophocles, 
 Chants. "There is a city in Syria Virgil, Ovid, etc. The classical refer- 
 flamed Aleppo, wherein continually are ences relate to swiftness and quickness 
 many Venetians dwelling, besides others of scent, Ben Jonson refers to them as 
 that come yeerely," Hakluyt's Voyages, bloodhounds in Every Man Out, iv. iv. 
 i. 402 (reprint 1809), 1598. And see 1150: "There's a fellow now looks 
 again pp. 441, 442. In Sir Antony like one of the patricians of Sparta 
 Sherley's 7"ravels (p. 32, ed, 1825), ... a good bloodhound, a close-mouthed 
 X 599) he says: "they have a law in dog." Day speaks of them as blood- 
 Turkey, that if a Christian do strike a thirsty in his lie of Gulls : "the fleshing 
 Turk, he must either turn Turk or lose of a couple of Spartan hounds in the 
 his right arm." wasting bloud of the spent deere." 
 
 356,357.] Steevens quotes from Mar- Jonson speaks of them again in his 
 
 lowe's Tamburlaine, Pt. II., 1590: Satyr, 1603. Some commentators find 
 
 " Yet let me kiss my lord before I a reference here to the Spartan virtue 
 
 dye, of fortitude and silence under suffering. 
 
 And let me dye with kissing of my At the present juncture reference to 
 
 lord." lago in any sort of admiration seems 
 
 359. Spartan dog] The hounds of unlikely. It is easier to regard lago as 
 
 Sparta held a high place in poetry from the close-mouthed bloodhound who 
 
 classical times. They are mentioned in " fleshed himself in the wasting blood 
 
 Midsummer Night's Dream, iv. i. 113, of the spent stag, Othello."
 
 
 256 OTHELLO [ACTV. sc. n. 
 
 This is thy work : the object poisons sight ; 
 Let it be hid. Gratiano, keep the house, 
 And seize upon the fortunes of the Moor, 364 
 
 For they 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 
 This heavy act with heavy heart relate. \Exeunt> 
 
 365. onyou\~$i; to you Qq, Rowe, Steevens, 

 
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