The RSC Shakespeare

Edited by Jonathan Bate and Eric Rasmussen

Chief Associate Editors: Héloïse Sénéchal and Jan Sewell

Associate Editors: Trey Jansen, Eleanor Lowe, Lucy Munro, Dee Anna Phares

Othello

Textual editing: Dee Anna Phares

Introduction and “Shakespeare’s Career in the Theater”: Jonathan Bate

Commentary: Héloïse Sénéchal

Scene-by-Scene Analysis: Esme Miskimmin

In Performance: Karin Brown (RSC stagings), Jan Sewell (overview)

The Director’s Cut (interviews by Jonathan Bate and Kevin Wright):

Trevor Nunn and Michael Attenborough

Playing Iago: Antony Sher

Editorial Advisory Board

Gregory Doran, Chief Associate Director, Royal Shakespeare Company

Jim Davis, Professor of Theatre Studies, University of Warwick, UK

Charles Edelman, Senior Lecturer, Edith Cowan University, Western Australia

Lukas Erne, Professor of Modern English Literature, Université de Genève, Switzerland

Akiko Kusunoki, Tokyo Woman’s Christian University, Japan

Jacqui O’Hanlon, Director of Education, Royal Shakespeare Company

Ron Rosenbaum, author and journalist, New York, USA

James Shapiro, Professor of English and Comparative Literature, Columbia University, USA

Tiffany Stern, Professor of English, University of Oxford, UK

CONTENTSIntroduction

Venice

“The Moor”

Iago and OthelloAbout the TextKey FactsThe Tragedy of Othello, the Moor of VeniceTextual NotesQuarto Passages That Do Not Appear in the FolioScene-by-Scene AnalysisOthello in Performance: The RSC and Beyond

Four Centuries of Othello: An Overview

At the RSC

The Director’s Cut: Interviews with Trevor Nunn and Michael Attenborough

Antony Sher on Playing IagoShakespeare’s Career in the Theater

Beginnings

Playhouses

The Ensemble at Work

The King’s ManShakespeare’s Works: A ChronologyThe History Behind the Tragedies: A ChronologyFurther Reading and ViewingReferencesAcknowledgments and Picture Credits

INTRODUCTION

VENICEFor Shakespeare’s original audience, the title The Tragedy of Othello, the Moor of Venice would have instantly suggested a meeting of the familiar and the strange, of East and West. “Venice” was synonymous with European sophistication, “Moor” with the atmosphere of the Orient. Yet the short Italian novel on which the play is based makes little of the Moor’s status as an outsider. Written by Giraldi Cinthio, it was one of a series of exemplary stories concerning marital infidelity. Its purpose was to show how “it sometimes happens that without any fault at all, a faithful and loving lady, through the insidious plots of a villainous mind, and the frailty of one who believes more than he need, is murdered by her faithful husband.” In Venice, a Moor, dear to the Senate because he has served the interests of the republic in battle, marries a virtuous lady called Disdemona. The Venetian lords decide to change the guard in Cyprus and the Moor is chosen as commandant. Disdemona insists on going with him; they arrive safely in Cyprus (no storm, no Turks). The Moor’s ensign or standard-bearer falls in love with Disdemona, who does not reciprocate. The ensign assumes that this is because she is in love with his superior, the corporal. His love for Disdemona turns to hate and he decides that if he cannot have her, nor should the Moor. He accordingly plots to make the Moor jealous of the corporal, thus destroying them both.Venice was notorious for the number and openness of its courtesans, and the laxness of its wives. It was the pleasure capital of Europe, a city of sexual tourism. Cinthio’s Disdemona, however, is “impelled not by female appetite but by the Moor’s good qualities”: she is an atypical Venetian woman. Shakespeare intends his Desdemona to be regarded in the same way, even as the men in the play exploit the stereotypical image of Venetian women. Iago pumps up Rodorigo’s desire on the quayside with talk of female lechery and he plays on Othello’s fear that his wife might revert to type, reminding the Moor that Venetian women are habitual sexual deceivers:I know our country disposition well:

In Venice they do let heaven see the pranks

They dare not show their husbands: their best conscience

Is not to leave’t undone, but kept unknown.Visiting Venice in the 1590s, Sir Henry Wotton remarked on the difficulty of distinguishing between whores and virtuous wives on the streets. The presence in the play of Bianca the courtesan (“A housewife that by selling her desires / Buys herself bread and cloth”) is telling in this regard. In the overhearing scene, Othello fails to make exactly the distinction as to which woman, his wife or the courtesan, Iago and Cassio are talking about. Iago’s seemingly casual references to Desdemona’s “appetite” and “will,” his view of Venetian women as sexual beasts, soon cause Othello to be convinced that his wife’s hand is hot and moist, traditional signs of sexual license. The division between wife and whore is horribly dissolved in the fourth act, where home is turned to brothel, and Desdemona twice called “strumpet” and thrice “whore,” culminating in the savage lines “I took you for that cunning whore of Venice / That married with Othello.” Only when he has killed her does he rediscover the true coldness of her chastity—though just because Othello speaks of Desdemona thus, we should not regard her as the icy maiden of Petrarchan poetic tradition. In the scene before Othello’s arrival in Cyprus she proves herself adept in feisty and sexually knowing banter with her male interlocutors. And at the very beginning of the play she has shown extraordinary strength of character in going against her father’s will, eloping with Othello and then insisting on accompanying him to the frontier zone of Cyprus.

“THE MOOR”Othello is ill at ease with Iago’s language of double entendre because he is an “extravagant and wheeling stranger” who works within a very different poetic register. His verbal sphere is rich in allusion to an exotic other world filled with Arabian trees and turbaned Turks in Aleppo, not to mention “the Anthropophagi and men whose heads / Grew beneath their shoulders.” “Valiant Othello, we must straight employ you / Against the general enemy Ottoman,” says the Duke of Venice early in the play. The audience hears a consonance between the names of the captain-general “Othello” and the general enemy “Ottoman.” This would have been especially apparent if, as is likely, the original pronunciation of the hero’s name was Italianized as “Otello.” Othman was the name of the founder of the mighty Ottoman or Turkish empire, the great rival civilization to Christianity. Othello’s name suggests his origin in the Ottoman territories, against which he is now fighting. The clash of Christian against Turk was one of Shakespeare’s major additions to his source.To Shakespeare and his contemporaries, Turk, Arab, and Moor all represented the Islamic “other,” but they were not necessarily homogenized into a single image of generic “barbarianism.” Arabic culture was frequently associated with learning and civilization, in contrast to the prevailing images of Turk and Saracen. A Barbar could be “brave” rather than “barbarous”: George Peele’s Battle of Alcazar in Barbary, a play based on real recent historical events, has both “a barbarous Moor, / The negro Muly Hamet” and a “brave Barbarian Lord Muly Molocco.” A Moor could help you out in your war against the Turk—or, for that matter, the Spaniard. How you judged the Islamic “other” depended not only on ideological stereotype but also on the particularities of diplomatic liaison and changing allegiance in a world of superpower rivalry. At the end of Alcazar, the evil Moor Muly Mahamet is defeated. The throne of Barbary goes to Abdelmelec’s virtuous brother, who is also called Muly Mahamet and who was a real historical figure. His ambassador, Abd el-Oahed ben Messaoud, visited the Elizabethan court in 1600 in order to explore the possibility of forming an alliance to conquer Spain with a mixture of the English navy and African troops. Shakespeare’s company played at court that Christmas, so he may have seen the Barbarian delegation in the flesh. The surviving portrait of the ambassador is perhaps the best image we have of what Shakespeare intended Othello to look like.Peele’s play mingled historical matter with a more general sense of the barbarian, the other, the devilish—bad Muly Mahamet surrounds himself with demonic and underworld associations. Audiences would have come to The Moor of Venice with the expectation of something similar, but witnessed a remarkable inversion whereby a sophisticated Venetian is the one who comes to be associated with the devil and damnable actions. So evil is Iago’s behavior that at the end of the play, Othello not only calls him a “demi-devil” but half expects him to have the cloven foot of Lucifer.1. A noble Moor: the Barbary ambassador painted in London, 1600.

Othello is initially referred to (by Rodorigo and Iago) not by his name, but as “him” and then “his Moorship” and then “the Moor.” Depriving someone of their name and referring to them solely in terms of their ethnic origin is a classic form of racism. In Shakespeare’s other Venetian play, something similar happens with “the Jew.” In early modern English, however, the primary usage of the term “Moor” was as a religious, not a racial, identification: Moor meant “Mohammedan,” that is to say Muslim. The word was frequently used as a general term for “not one of us,” non-Christian. To the play’s original audience, the opposite of “the Moor” would have been not “the white man” but “the Christian.”One of the most striking things about the figure of Othello would accordingly have been that he is a committed Christian. The ground of the play is laid out in the first scene, when Iago trumpets his own military virtues, in contrast to Cassio’s “theoretical” knowledge of the art of war (Cassio comes from Florence, home of such theorists of war as Machiavelli):And I — of whom his eyes had seen the proof

At Rhodes, at Cyprus and on others’ grounds,

Christened and heathen…These lines give an immediate sense of confrontation between Christian and heathen dominions, with Rhodes and Cyprus as pressure points. Startlingly, though, the Moor is fighting for the Christians, not the heathens.Again, consider Othello’s response to the drunken brawl in Cyprus:Are we turned Turks, and to ourselves do that

Which heaven hath forbid the Ottomites?

For Christian shame, put by this barbarous brawl!Such Christian language in the mouth of a Moor, a Muslim, is inherently a paradox. It suggests that Othello would have been assumed to be a convert. The “baptism” that Iago says he will cause Othello to renounce would have taken place not at birth but at conversion. The action of the play reconverts Othello from Christianity, through the machinations of Iago. In this sense, it is fitting that Iago appeals to a “Divinity of hell” and that Othello acknowledges at the end of the play that he is bound for damnation.The notion of conversion was crucial in the Elizabethan perception of the relationship between European Christianity and the Ottoman empire. The phrase to “turn Turk” entered the common lexicon. Islam was as powerful an alien force to Europeans in the sixteenth century as communism was to Americans in the twentieth. To turn Turk was to go over to the other side. It could happen in a number of different ways: some travelers converted by a process of cultural assimilation, others who had been captured and enslaved did so in the belief that they would then be released. It is easy to forget how many English privateers became Ottoman slaves—on one occasion, two thousand wives petitioned King James and Parliament for help in ransoming their husbands from Muslim captivity.If Shakespeare read all the way through Richard Knolles’ General History of the Turks, one of the books to which he seems to have turned during his preparation for the writing of Othello, he would have learned that once every three years the Turks levied a tax on the Christians living in the Balkans: it took the form of ten to twelve thousand children. They were deported and converted (circumcised), then trained up to become soldiers. They formed a highly feared cadre in the Turkish army known as the Janissaries—there is an elite guard of them in The Battle of Alcazar, while Bajazet’s army in Christopher Marlowe’s Tamburlaine the Great combines “circumcisèd Turks / And warlike bands of Christians renegade.” Othello is a Janissary in reverse: not a Christian turned Muslim fighting against Christians, but a Muslim turned Christian fighting against Muslims. Although the captain-general of the Venetian army was always a “stranger,” conversion in Othello’s direction, from Muslim to Christian, was much rarer than the opposite turn.The second Elizabethan sense of the word “Moor” was specifically racial and geographical: it referred to a native or inhabitant of Mauretania, a region of north Africa corresponding to parts of present-day Morocco and Algeria. This association is invoked when Iago falsely tells Rodorigo toward the end of the play that Othello “goes into Mauritania and taketh away with him the fair Desdemona.” Ethnic Moors were members of a Muslim people of mixed Berber and Arab descent. In the eighth century they had conquered Spain. This may be the association suggested by Othello’s second weapon, his sword of Spain.Given that the Spanish empire was England’s great enemy, there would have been a certain ambivalence about the Moors—they may have overthrown Christianity, but at least it was Spanish Catholic Christianity. Philip II’s worst fear was an uprising of the remaining Moors in Granada synchronized with a Turkish invasion, just as Elizabeth I’s worst fear was an uprising of the Irish synchronized with a Spanish invasion. As it was, the Turks took a different turn: in 1570, shortly after the end of the Morisco uprising and Philip’s ethnic cleansing of Granada, they attacked Cyprus.The alliance of European Christians against the Ottomans was uneasy because of post-Reformation divisions in Europe itself. Independent lesser powers such as Venice and England found themselves negotiating for footholds in the Mediterranean theater. Hence the diplomatic maneuvering that brought the Barbary ambassadors to London—and hence also the blow to Venice caused by the loss of Cyprus in 1571. Shakespeare changes history. He sees off the Turk and implies instead that the real danger to the isle comes from the internal collapse of civil society. Venice regarded Cyprus as a key Christian outpost against the Turk, but what happens in the play is that it is turned heathen from within rather than without. There is deep irony in Iago’s “Nay, it is true, or else I am a Turk,” for it is Iago who does the Turkish work of destroying the Christian community. All three major characters invert audience expectation: Othello is a counter-Janissary, Desdemona is—contrary to ethnic stereotyping—a Venetian lady who is not lascivious, and Christian Iago is a functional Turk.Othello dies on a kiss, an embrace of black and white, perhaps a symbolic reconciliation of the virtues of West and East, Europe and Orient, but the public image he wants to be remembered by in the letter back to Venice is of confrontation between Christian and Turk, with himself as the defender of Christianity in Aleppo, a point of eastern extremity in Syria. In smiting himself, Othello recognizes that he has now become the Turk. By killing Desdemona he has renounced his Christian civility and damned himself. He symbolically takes back upon himself the insignia of Islam—turban, circumcision—that he had renounced when he turned Christian. He has beaten a Venetian wife and traduced the state. He has been turned Turk. Not, however, by the general Ottoman but by the supersubtle Venetian, the “honest” Iago.

IAGO AND OTHELLOAs Shakespeare adds the Turkish context to the story that was his source, so he takes away the simple motivation of being in love with Disdemona that Cinthio gave the ensign. Jealousy over the matter of promotion is sufficient explanation for the first part of Iago’s plot, whereby Cassio’s weakness for the bottle leads to his being cashiered. But why does Iago then go so much further, utterly destroying the general on whose patronage he depends? Othello asks the question at the end of the play: “Will you, I pray, demand that demi-devil / Why he hath thus ensnared my soul and body?” But Iago refuses to answer: “Demand me nothing. What you know, you know. / From this time forth I never will speak word.” It sounds like a deliberate challenge to the audience to work it out for themselves.No one has risen to that challenge better than the early nineteenth-century critic William Hazlitt, who regarded the love of playacting as the key to Iago’s procedure (“Othello,” Characters of Shakespear’s Plays, 1817):Iago in fact belongs to a class of character, common to Shakespeare and at the same time peculiar to him; whose heads are as acute and active as their hearts are hard and callous… [He] plots the ruin of his friends as an exercise for his ingenuity, and stabs men in the dark to prevent ennui… He is an amateur of tragedy in real life; and instead of employing his invention on imaginary characters, or long-forgotten incidents, he takes the bolder and more desperate course of getting up his plot at home, casts the principal parts among his nearest friends and connections, and rehearses it in downright earnest, with steady nerves and unabated resolution.Exactly because he is scriptwriter, director, and stage villain rolled into one, Iago is an astonishingly compelling presence in the theater. And he is given the largest part. It would have been easy for him to dwarf the other characters, as the bad brother Edmund sometimes seems to dwarf his good brother Edgar in King Lear. Shakespeare’s challenge was to make Othello rise far above Iago’s other dupe, Rodorigo. To be reduced to a gibbering idiot over the matter of a misplaced handkerchief is to be duped indeed. But the mesmerizing effect of the poetic writing is such that we never think of Othello as foolish or laughable, not even in the temptation scene of the third act in which Iago twists every word, every detail, to the advantage of his plot. Instead, we turn the Moor’s own phrase back on to him: “But yet the pity of it, Iago! O, Iago, the pity of it, Iago!”Desdemona inspires our pity not because she is pitiful, but because her courage in going against her father’s will, in following her husband to the far frontier of the Venetian empire in Cyprus, and in generously speaking out for Cassio, becomes the cause of her death. Othello inspires our pity because he also inspires our awe, above all through his soaring language. For the Renaissance, the twin powers of rational thought and persuasive language, oratio and ratio, were what raised humankind above the level of the beasts. The tragedy of Othello is that Iago’s persuasive but specious reasoning (you’re black, you’re getting on in years, Venetian women are notoriously fickle…) transforms Othello from great orator to savage beast.According to the critic A. C. Bradley, in his highly influential book Shakespearean Tragedy (1904), Othello’s description of himself as “one not easily jealous, but being wrought, / Perplexed in the extreme” is perfectly just: “His tragedy lies in this—that his whole nature was indisposed to jealousy, and yet was such that he was unusually open to deception, and, if once wrought to passion, likely to act with little reflection, with no delay, and in the most decisive manner conceivable.” This is not to say that susceptibility to manipulation is Othello’s “tragic flaw.” For Shakespeare and his contemporaries, to call a play “the tragedy of” such and such a character was to make a point about the direction of their journey, not the hardwiring of their psychology. “Tragedie,” wrote Geoffrey Chaucer, father of English verse, “is to seyn a certeyn storie, / As olde bookes maken us memorie, / Of hym that stood in greet prosperitee, / And is yfallen out of heigh degree / Into myserie, and endeth wrecchedly.” The higher they climb, the harder they fall: tragedy is traditionally about heroes and kings and generals, larger-than-life figures who rise to the top of fortune’s wheel and are then toppled off.It is a structure saturated with irony: the very quality that is the source of a character’s greatness is also the cause of his downfall. This is why talk of a “tragic flaw” is misleading. The theory of the flaw arises from a misunderstanding of Aristotle’s influential account of ancient Greek tragedy. For Aristotle, hamartia, the thing that precipitates tragedy, is not a psychological predisposition but an event—not a character trait but a fatal action. In several famous cases in Greek tragedy, the particular mistake is to kill a blood relative in ignorance of their identity. So too in Shakespeare, it is action (in Othello’s case, over-precipitate action) that determines character, and not vice versa.In Shakespearean tragedy, the time is out of joint and the lead character is out of his accustomed role. Hamlet the scholar is happy to be presented with an intellectual puzzle, but unsure how to proceed when presented with a demand to kill. Othello the courageous soldier, by contrast, relishes decisive action but is insecure among “the wealthy curlèd darlings” of the Venetian state. Imagine Othello in Hamlet’s situation. He would have needed no second prompting. On hearing the ghost’s story about his father’s murder, he would have gone straight down from the battlements and throttled King Claudius with his bare hands. There would have been no tragedy. Now imagine Hamlet in Othello’s situation. He would have questioned every witness, arranged for Desdemona to see a play about adultery and watched for a guilty reaction. Her innocence would have become obvious and, again, there would be no tragedy. The tragedy comes not from some inherent flaw but from the mismatch of character and situation.The audience’s sense of the reckless speed of Othello’s action is heightened by the play’s clever “double-time” scheme. Looked at from one point of view, the action is highly compressed. The first act takes place in a single night in Venice, as the Senate sits in emergency session upon hearing the news of the Turkish fleet’s sailing toward Cyprus. There is then an imagined lapse of time to cover the sea voyage. The second act begins with the arrival in Cyprus and proceeds to the evening’s celebration of the evaporation of the Turkish threat, during which Cassio gets disastrously drunk. Othello and Desdemona have their second interrupted night in the marital bedroom. The third and fourth acts, during which Cassio intercedes with Desdemona and Iago persuades Othello of his wife’s infidelity, occupy another day, and then the fifth act brings the catastrophe on the third and last night. But looked at from another point of view, the action must take much longer: there has to be opportunity for the supposed adultery, for the business of the handkerchief, and for Lodovico’s sea voyage from Venice. The audience watching a strong production in the theater does not, however, notice the inconsistency implied by this double-time scheme, such is their intense absorption in the rapid unfolding of the plot.In an essay called “Shakespeare and Stoicism of Seneca,” published in 1927, the poet and critic T. S. Eliot took a very different view of Othello from A. C. Bradley’s:I have always felt that I have never read a more terrible exposure of human weakness—of universal human weakness—than the last great speech of Othello… What Othello seems to me to be doing in this speech is cheering himself up. He is endeavouring to escape reality, he has ceased to think of Desdemona, and is thinking about himself. Humility is the most difficult of all virtues to achieve; nothing dies harder than the desire to think well of oneself. Othello succeeds in turning himself into a pathetic figure, by adopting an aesthetic rather than a moral attitude, dramatising himself against his environment. He takes in the spectator, but the human motive is primarily to take in himself.In the classical tragedy of ancient Greece and Rome, the hero often reaches a state of supreme self-awareness just before the moment of his death. Aristotle called this anagnorisis, recognition. This final clarity brings a strange and unworldly sense of satisfaction to the protagonist as he or she faces the end. For Eliot, Othello by contrast remains deluded. His self-dramatization is an evasion that substitutes for the recognition that he has in fact been all too “easily jealous.”According to this view, Othello is the victim of the very linguistic facility that has won him Desdemona. A contemporary of Eliot’s, the spiritually minded critic G. Wilson Knight, coined the phrase “the Othello music” to describe the unsurpassed lyricism of the Moor’s language. “Rude am I in my speech,” he says back in the first act as he launches into some of the least plain, most richly textured speeches in the English language. Far from being “round unvarnished,” as he claims they are, Othello’s poetic tales “Of moving accidents by flood and field, / Of hair-breadth scapes i’th’imminent deadly breach” constitute the very “witchcraft” that makes Desdemona fall in love with him. “I think this tale would win my daughter too,” remarks the Duke admiringly. Iago’s sinister art is to reduce Othello from this loquacity to the degenerate outbursts of invective that pollute his mouth in the fourth act (“Goats and monkeys!… Lie with her? Lie on her?… Pish! Noses, ears and lips!… Confess? Handkerchief? O devil!”). In the fifth act, however, Othello’s language recovers its former beauty. It is in this sense that Eliot detected something disturbingly “aesthetic” about Othello’s last speeches.The forms of Shakespeare’s verse loosened and became more flexible as he matured as a writer. His early plays have a higher proportion of rhyme and a greater regularity in rhythm, the essential pattern being that of iambic pentameter (ten syllables, five stresses, the stress on every second syllable). In the early plays, lines are very frequently end-stopped: punctuation marks a pause at the line ending, meaning that the movement of the syntax (the grammatical construction) falls in with that of the meter (the rhythmical construction). In the later plays, there are far fewer rhyming couplets (sometimes rhyme only features as a marker to indicate that a scene is ending) and the rhythmic movement has far greater variety, freedom, and flow. Mature Shakespearean blank (unrhymed) verse is typically not end-stopped but “run on” (a feature known as “enjambment”). Instead of pausing heavily at the line ending, the speaker hurries forward, the sense demanded by the grammar working in creative tension against the holding pattern of the meter. The heavier pauses migrate to the middle of the lines, where they are known as the “caesura” and where their placing varies. A single line of verse is shared between two speakers much more frequently than in the early plays. And the pentameter itself becomes a more subtle instrument. The iambic beat is broken up, there is often an extra (“redundant”) unstressed eleventh syllable at the end of the line (this is known as a “feminine ending”). There are more modulations between verse and prose. Occasionally the verse is so loose that neither the original typesetters of the plays when they were first printed nor the modern editors of scholarly texts can be entirely certain whether verse or prose is intended. Iambic pentameter is the ideal medium for dramatic poetry in English because its rhythm and duration seem to fall in naturally with the speech patterns of the language. In its capacity to combine the ordinary variety of speech with the heightened precision of poetry, the supple mature Shakespearean “loose pentameter” is perhaps the most expressive vocal instrument ever given to the actor.Othello’s speech at the beginning of the murder scene offers a brilliant controlled combination of the patterns of repetition and variation that are typical of early Shakespearean rhetoric and the mellifluous imagistic invention, expanding from clause to clause, that is characteristic of his mature style:It is the cause, it is the cause, my soul:

Let me not name it to you, you chaste stars:

It is the cause. Yet I’ll not shed her blood,

Nor scar that whiter skin of hers than snow,

And smooth as monumental alabaster:

Yet she must die, else she’ll betray more men.

Put out the light, and then put out the light.

If I quench thee, thou flaming minister,

I can again thy former light restore,

Should I repent me: but once put out thy light,

Thou cunning’st pattern of excelling nature,

I know not where is that Promethean heat

That can thy light relume….These beautiful words are being used to justify the ugly impending act of suffocation, the extirpation of that very thing—human breath—which makes beautiful speech possible. It is an extreme example of tragedy’s troubling juxtaposition of violence and the aesthetic, made doubly painful by the cultural associations now attached to the image of a powerful and athletic black man killing his white wife out of sexual resentment.Shakespeare’s Venetian world is suffused with sexual as well as racial prejudice. Each of the three women in the play is viewed at some point—in Bianca’s case, at all points—as a sexual commodity. And yet the female characters are never passive. They express themselves with vigor and take action into their own hands. Desdemona only becomes a victim when she lies vulnerably asleep. The play does not necessarily replicate the prejudices of its male characters. In a remarkable passage in the Folio text,* Emilia lucidly articulates an argument that skewers the double standard of her society:… Let husbands know

Their wives have sense like them: they see and smell

And have their palates both for sweet and sour,

As husbands have. What is it that they do

When they change us for others? Is it sport?

I think it is. And doth affection breed it?

I think it doth. Is’t frailty that thus errs?

It is so too. And have not we affections?

Desires for sport? And frailty, as men have?

Then let them use us well: else let them know,

The ills we do, their ills instruct us so.In Gregory Doran’s 2004 production for the Royal Shakespeare Company, Emilia appeared to have lived by what she preached. Desdemona describes Lodovico as a “proper” man. The adjective simultaneously suggests handsome, accomplished, and decent; Emilia responds by emphasizing the “handsome” and then says “I know a lady in Venice would have walked barefoot to Palestine for a touch of his nether lip.” In rehearsal for Doran’s production, the actors explored the possibility that the lady is Emilia herself. Could her words here and some part of Iago’s behavior in the play be explained by the hypothesis that she has had an affair with Lodovico?It is a matter of debate as to how seriously we should take Iago’s claims that both Cassio and Othello have cuckolded him. For Samuel Taylor Coleridge, this was “the motive-hunting of motiveless malignity.” But it was the convention in Shakespeare’s theater that characters addressing the audience in soliloquy speak the truth. Iago is no respecter of convention, yet a sense of his own sexual insecurity may well be one of his driving motives. He says of Cassio, “He hath a daily beauty in his life / That makes me ugly.” This is one of the keys to Iago’s character: Cassio’s good nature tortures him because it exposes his own moral and social deficiencies, just as the very beauty of Othello and Desdemona’s love for each other is something that he cannot bear to witness and that he accordingly feels compelled to destroy.His method of doing so is revealed in the linguistic echo chamber of the gripping temptation scene in the third act. “Alas,” says Othello, “thou echo’st me, / As if there were some monster in thy thought / Too hideous to be shown”: in the course of the dialogue, with its pattern of suggestion and repetition, the monster of envy that resides within Iago is transferred into the jealous fit that brings down Othello. It is an extraordinary performance on Iago’s part, in which—A. C. Bradley’s phrase again—“absolute evil [is] united with supreme intellectual power.” Where Othello’s poetry is one of the great embodiments of Shakespeare’s lyrical art, Iago’s prose and his plotting take us straight to his inventor’s supreme intellectual power.

ABOUT THE TEXTShakespeare endures through history. He illuminates later times as well as his own. He helps us to understand the human condition. But he cannot do this without a good text of the plays. Without editions there would be no Shakespeare. That is why every twenty years or so throughout the last three centuries there has been a major new edition of his complete works. One aspect of editing is the process of keeping the texts up to date—modernizing the spelling, punctuation, and typography (though not, of course, the actual words), providing explanatory notes in the light of changing educational practices (a generation ago, most of Shakespeare’s classical and biblical allusions could be assumed to be generally understood, but now they can’t).But because Shakespeare did not personally oversee the publication of his plays, editors also have to make decisions about the relative authority of the early printed editions. Half of the sum of his plays only appeared posthumously, in the elaborately produced First Folio text of 1623, the original “Complete Works” prepared for the press by Shakespeare’s fellow actors, the people who knew the plays better than anyone else. The other half had appeared in print in his lifetime, in the more compact and cheaper form of “Quarto” editions, some of which reproduced good quality texts, others of which were to a greater or lesser degree garbled and error-strewn. In the case of a few plays there are hundreds of differences between the Quarto and Folio editions, some of them far from trivial.Othello is a classic example of a “two text” Shakespeare play. The Folio includes about 150 lines that are not in the Quarto, and there are about a thousand verbal variants between the two texts. Even tiny variants can be dramatically telling: in Quarto, Desdemona asks Emilia to put “our” wedding sheets on the bed, whereas in Folio she asks for “my” wedding sheets. Though there is not a scholarly consensus on the matter, it seems that the extra 150 lines in Folio are theatrically purposeful additions to the original script. A minority of scholars believe, to the contrary, that the Quarto preserves a cut text.The Folio seems closer to playhouse practice. Its additions include an extra expository speech in the opening scene concerning the Moor’s marriage (1.1.128–47), which serves to clarify matters for the audience, and a new extended simile for Othello at the climax of the temptation scene (“Like to the Pontic Sea… ”), which serves to convert Iago’s oath to the stars and elements into a cruel parody of Othello’s rhetoric. It is possible that the experience of symmetrical staging, with both characters kneeling, required a rewrite creating symmetrical speeches. Most interestingly, the Folio strengthens the female roles. The willow song is not in the original version; it is a Folio addition, which adds immeasurably to the pathos of Desdemona’s tragedy. Three further passages (4.3.87–106, 5.2.176–79, 5.2.217–20) considerably flesh out the character of Emilia. Most powerful is the extraordinary defense of woman in Act 4 Scene 3:But I do think it is their husbands’ faults

If wives do fall…

… And have not we affections?

Desires for sport? And frailty, as men have?The introduction of this plea for recognition of female bodily desire and for an end to the double standard over adultery makes an enormous difference to the play. That Shakespeare seems to have written it not in his first draft but in response to theatrical need is most revealing.If you look at printers’ handbooks from the age of Shakespeare, you quickly discover that one of the first rules was that, whenever possible, compositors were recommended to set their type from existing printed books rather than manuscripts. This was the age before mechanical typesetting, where each individual letter had to be picked out by hand from the compositor’s case and placed on a stick (upside down and back to front) before being laid on the press. It was an age of murky rush-light and of manuscripts written in a secretary hand that had dozens of different, hard-to-decipher forms. Printers’ lives were a lot easier when they were reprinting existing books rather than struggling with handwritten copy. Easily the quickest way to have created the First Folio would have been simply to reprint those eighteen plays that had already appeared in Quarto and only work from manuscript on the other eighteen.But that is not what happened. Whenever Quartos were used, playhouse “promptbooks” were also consulted and stage directions copied in from them. And in the case of several major plays where a reasonably well-printed Quarto was available, the Folio printers were instructed to work from an alternative, playhouse-derived manuscript. This meant that the whole process of producing the first complete Shakespeare took months, even years, longer than it might have done. But for the men overseeing the project, John Hemings and Henry Condell, friends and fellow actors who had been remembered in Shakespeare’s will, the additional labor and cost were worth the effort for the sake of producing an edition that was close to the practice of the theater. They wanted all the plays in print so that people could, as they wrote in their prefatory address to the reader, “read him and again and again,” but they also wanted “the great variety of readers” to work from texts that were close to the theater life for which Shakespeare originally intended them. For this reason, the RSC Shakespeare, in both Complete Works and individual volumes, uses the Folio as base text wherever possible. Significant Quarto variants are, however, noted in the Textual Notes and Quarto-only passages are appended after the text of Othello.The following notes highlight various aspects of the editorial process and indicate conventions used in the text of this edition:

Lists of Parts are supplied in the First Folio for only six plays, one of which is Othello, so the list at the beginning of the play is reproduced from the First Folio with minor editorial adjustments. Capitals indicate that part of the name which is used for speech headings in the script (thus OTHELLO, the Moor).

Locations are provided by the Folio for only two plays. Eighteenth-century editors, working in an age of elaborately realistic stage sets, were the first to provide detailed locations. Given that Shakespeare wrote for a bare stage and often an imprecise sense of place, we have relegated locations to the explanatory notes at the foot of the page, where they are given at the beginning of each scene where the imaginary location is different from the one before. We have emphasized broad geographical settings (Venice and Cyprus) rather than specifics of the kind that suggest anachronistically realistic staging. We have therefore avoided such niceties as “another room in the palace.”

Act and Scene Divisions were provided in the Folio in a much more thoroughgoing way than in the Quartos. Sometimes, however, they were erroneous or omitted; corrections and additions supplied by editorial tradition are indicated by square brackets. Five-act division is based on a classical model, and act breaks provided the opportunity to replace the candles in the indoor Blackfriars playhouse which the King’s Men used after 1608, but Shakespeare did not necessarily think in terms of a five-part structure of dramatic composition. The Folio convention is that a scene ends when the stage is empty. Nowadays, partly under the influence of film, we tend to consider a scene to be a dramatic unit that ends with either a change of imaginary location or a significant passage of time within the narrative. Shakespeare’s fluidity of composition accords well with this convention, so in addition to act and scene numbers we provide a running scene count in the right margin at the beginning of each new scene, in the typeface used for editorial directions. Where there is a scene break caused by a momentary bare stage, but the location does not change and extra time does not pass, we use the convention running scene continues. There is inevitably a degree of editorial judgment in making such calls, but the system is very valuable in suggesting the pace of the plays.

Speakers’ Names are often inconsistent in Folio. We have regularized speech headings, but retained an element of deliberate inconsistency in entry directions, in order to give the flavor of Folio.

Verse is indicated by lines that do not run to the right margin and by capitalization of each line. The Folio printers sometimes set verse as prose, and vice versa (either out of misunderstanding or for reasons of space). We have silently corrected in such cases, although in some instances there is ambiguity, in which case we have leaned toward the preservation of Folio layout. Folio sometimes uses contraction (“turnd” rather than “turned”) to indicate whether or not the final “-ed” of a past participle is sounded, an area where there is variation for the sake of the five-beat iambic pentameter rhythm. We use the convention of a grave accent to indicate sounding (thus “turnèd” would be two syllables), but would urge actors not to overstress. In cases where one speaker ends with a verse half line and the next begins with the other half of the pentameter, editors since the late eighteenth century have indented the second line. We have abandoned this convention, since the Folio does not use it, nor did actors’ cues in the Shakespearean theater. An exception is made when the second speaker actively interrupts or completes the first speaker’s sentence.

Spelling is modernized, but older forms are occasionally maintained where necessary for rhythm or aural effect.

Punctuation in Shakespeare’s time was as much rhetorical as grammatical. “Colon” was originally a term for a unit of thought in an argument. The semicolon was a new unit of punctuation (some of the Quartos lack them altogether). We have modernized punctuation throughout, but have given more weight to Folio punctuation than many editors, since, though not Shakespearean, it reflects the usage of his period. In particular, we have used the colon far more than many editors: it is exceptionally useful as a way of indicating how many Shakespearean speeches unfold clause by clause in a developing argument that gives the illusion of enacting the process of thinking in the moment. We have also kept in mind the origin of punctuation in classical times as a way of assisting the actor and orator: the comma suggests the briefest of pauses for breath, the colon a middling one, and a full stop or period a longer pause. Semi-colons, by contrast, belong to an era of punctuation that was only just coming in during Shakespeare’s time and that is coming to an end now: we have accordingly used them only where they occur in our copy texts (and not always then). Dashes are sometimes used for parenthetical interjections where the Folio has brackets. They are also used for interruptions and changes in train of thought. Where a change of addressee occurs within a speech, we have used a dash preceded by a period (or occasionally another form of punctuation). Often the identity of the respective addressees is obvious from the context. When it is not, this has been indicated in a marginal stage direction.

Entrances and Exits are fairly thorough in Folio, which has accordingly been followed as faithfully as possible. Where characters are omitted or corrections are necessary, this is indicated by square brackets (e.g. “[and Attendants]”). Exit is sometimes silently normalized to Exeunt and Manet anglicized to “remains.” We trust Folio positioning of entrances and exits to a greater degree than most editors.

Editorial Stage Directions such as stage business, asides, indications of addressee and of characters’ position on the gallery stage are only used sparingly in Folio. Other editions mingle directions of this kind with original Folio and Quarto directions, sometimes marking them by means of square brackets. We have sought to distinguish what could be described as directorial interventions of this kind from Folio-style directions (either original or supplied) by placing them in the right margin in a different typeface. There is a degree of subjectivity about which directions are of which kind, but the procedure is intended as a reminder to the reader and the actor that Shakespearean stage directions are often dependent upon editorial inference alone and are not set in stone. We also depart from editorial tradition in sometimes admitting uncertainty and thus printing permissive stage directions, such as an Aside? (often a line may be equally effective as an aside or a direct address—it is for each production or reading to make its own decision) or a may exit or a piece of business placed between arrows to indicate that it may occur at various different moments within a scene.

Line Numbers in the left margin are editorial, for reference and to key the explanatory and textual notes.

Explanatory Notes at the foot of each page explain allusions and gloss obsolete and difficult words, confusing phraseology, occasional major textual cruces, and so on. Particular attention is given to non-standard usage, bawdy innuendo, and technical terms (e.g. legal and military language). Where more than one sense is given, commas indicate shades of related meaning, slashes alternative or double meanings.

Textual Notes at the end of the play indicate major departures from the Folio. They take the following form: the reading of our text is given in bold and its source given after an equals sign, with “Q” indicating that it derives from the First Quarto of 1622, “Q2” from the Second Quarto of 1630, “F” from the First Folio of 1623, “F2” a reading that derives from the Second Folio of 1632, “F3” from the Third Folio of 1663–64, “F4” from the Fourth Folio of 1685, and “Ed” that it derives from the subsequent editorial tradition. The rejected Folio (“F”) reading is then given. A selection of Quarto variants and plausible unadopted editorial readings is also included. Thus, for example: at “5.2.390, Judean = F. Q, F2 = Indian.” This indicates that at Act 5 Scene 2 Line 390 we have retained the Folio reading “Judean” and that “Indian” is an interestingly different reading in the Quarto and Second Folio.

KEY FACTS

MAJOR PARTS: (with percentage of lines/number of speeches/scenes on stage) Iago (31%/272/12), Othello (25%/274/12), Desdemona (11%/165/9), Cassio (8%/110/9), Emilia (7%/103/8), Brabantio (4%/30/3), Rodorigo (3%/59/7), Lodovico (2%/33/4), Duke of Venice (2%/25/1), Montano (2%/24/3).

LINGUISTIC MEDIUM: 80% verse, 20% prose.

DATE: 1604. Performed at court, November 1604; apparently uses Knolles’ Historie of the Turkes, published late 1603; probably post-dates the period when theaters were closed due to the plague from May 1603 to April 1604. The Turkish wars in the eastern Mediterranean were of interest to King James, who had written a poem about the 1571 naval battle of Lepanto, which was reprinted in 1603, the year of his accession to the English throne. Some scholars, however, argue for a slightly earlier date.

SOURCES: Based on a novella in Giovanni Battista Giraldi Cinthio’s Gli Hecatommithi (1565), perhaps read in a 1584 French translation by Gabriel Chappuys. Context probably provided by Richard Knolles, The Generall Historie of the Turkes (1603), Sir Lewis Lewkenor’s translation of Gasparo Contarini’s The Commonwealth and Government of Venice (1599), and John Pory’s translation of Leo Africanus’ Geographical Historie of Africa (1600).

TEXT: There are two early texts, markedly different from each other: a Quarto published in 1622 and the First Folio of 1623. The Folio contains over 150 lines that are not in the Quarto. The Quarto has fuller stage directions, a handful of lines that are absent from the Folio, and a large number of oaths that were watered down or omitted in the Folio, as a result of the prohibition on stage swearing. In all, there are about a thousand verbal variants. The two texts seem to derive from different theatrical manuscripts, the Folio possibly having being set from a transcript by Ralph Crane, scribe to the King’s Men. Scholars are divided as to whether the Folio-only passages, which include Othello’s “Pontic sea” speech and Desdemona’s willow song, are theatrically purposeful additions or theatrically pragmatic cuts. We respect the integrity of the Folio text, but in correcting its manifest errors—which are many, largely due to the presence of “Compositor E,” the apprentice who was the poorest of the Folio’s typesetters—we have been greatly helped by the existence of the Quarto.

THE TRAGEDY OF

OTHELLO,

THE MOOR OF VENICE

LIST OF PARTS

OTHELLO, the Moor (a general in the military service of Venice)BRABANTIO (a senator) father to DesdemonaCASSIO, an honourable lieutenantIAGO, a villain (Othello’s flagbearer)RODORIGO, a gulled gentlemanDUKE of VeniceSENATORSMONTANO, Governor of CyprusLODOVICO, noble Venetian (kinsmen of Brabantio)GRATIANO, noble Venetian (kinsmen of Brabantio)SAILORSCLOWN (servant to Othello)DESDEMONA (daughter of Brabantio) wife to OthelloEMILIA, wife to IagoBIANCA, a courtesan(Officers, Messenger, Herald, Musicians and Attendants)

Act 1 Scene 1running scene 1

Location: Venice (street)

Enter Rodorigo and IagoRODORIGO Never tell me!¹ I take it much unkindly

That thou, Iago, who hast had my purse

As if the strings were thine, shouldst know of this³.IAGO But you’ll not hear me: if ever I did dream

Of such a matter, abhor me.RODORIGO Thou told’st me

Thou didst hold him⁷ in thy hate.IAGO Despise me

If I do not. Three great ones⁹ of the city,

In personal suit¹⁰ to make me his lieutenant,

Off-capped¹¹ to him, and by the faith of man,

I know my price, I am worth no worse a place:

But he, as loving his own pride and purposes,

Evades them with a bombast circumstance¹⁴

Horribly stuffed with epithets of war¹⁵,

Nonsuits my mediators¹⁶. For ‘Certes’, says he,

‘I have already chose my officer.’

And what was he?

Forsooth¹⁹, a great arithmetician,

One Michael Cassio, a Florentine²⁰ —

A fellow almost damned in a fair wife²¹ —

That never set a squadron²² in the field

Nor the division of a battle knows²³

More than a spinster²⁴, unless the bookish theoric,

Wherein the toga’d consuls²⁵ can propose

As masterly as he. Mere prattle²⁶ without practice

Is all his soldiership. But he, sir, had th’election²⁷;

And I — of whom his²⁸ eyes had seen the proof

At Rhodes²⁹, at Cyprus and on others’ grounds,

Christened³⁰ and heathen — must be beleed and calmed

By debitor and creditor³¹: this counter-caster,

He — in good time³² — must his lieutenant be,

And I — bless the mark³³! — his Moorship’s ancient.RODORIGO By heaven, I rather would have been his hangman.IAGO Why, there’s no remedy: ’tis the curse of service³⁵;

Preferment³⁶ goes by letter and affection,

And not by old gradation³⁷, where each second

Stood heir to th’first. Now, sir, be judge yourself

Whether I in any just term³⁹ am affined

To love the Moor.RODORIGO I would not follow⁴¹ him then.IAGO O, sir, content you:

I follow him to serve my turn⁴³ upon him.

We cannot all be masters, nor all masters

Cannot be truly⁴⁵ followed. You shall mark

Many a duteous and knee-crooking⁴⁶ knave

That — doting on his own obsequious bondage —

Wears out his time⁴⁸, much like his master’s ass,

For nought but provender⁴⁹, and when he’s old, cashiered:

Whip me⁵⁰ such honest knaves. Others there are

Who, trimmed⁵¹ in forms and visages of duty,

Keep yet their hearts attending on⁵² themselves,

And throwing but shows of service on their lords,

Do well thrive by them,

And when they have lined their coats⁵⁵

Do themselves homage⁵⁶: these fellows have some soul,

And such a one do I profess myself. For, sir,

It is as sure as you are Rodorigo,

Were I the Moor, I would not be Iago⁵⁹:

In following him, I follow but myself.

Heaven is my judge, not I for⁶¹ love and duty,

But seeming so, for my peculiar⁶² end,

For when my outward action doth demonstrate⁶³

The native⁶⁴ act and figure of my heart

In compliment extern⁶⁵, ’tis not long after

But I will wear my heart upon my sleeve

For daws⁶⁷ to peck at: I am not what I am.RODORIGO What a full⁶⁸ fortune does the thick-lips owe

If he can carry’t⁶⁹ thus!IAGO Call up her father:

Rouse him, make after⁷¹ him, poison his delight,

Proclaim⁷² him in the streets, incense her kinsmen,

And though⁷³ he in a fertile climate dwell,

Plague him with flies: though that⁷⁴ his joy be joy,

Yet throw such chances⁷⁵ of vexation on’t

As it may⁷⁶ lose some colour.RODORIGO Here is her father’s house, I’ll call aloud.IAGO Do, with like timorous accent⁷⁸ and dire yell

As when, by night and negligence, the fire

Is spied in populous cities.RODORIGO What, ho, Brabantio! Signior Brabantio, ho!IAGO Awake! What, ho! Brabantio, thieves, thieves!

Look to your house, your daughter and your bags⁸³!

Thieves, thieves!BRABANTIO What is the reason of this terrible summons?Above⁸⁵

At a window

What is the matter there?RODORIGO Signior, is all your family within?IAGO Are your doors locked?BRABANTIO Why? Wherefore⁸⁹ ask you this?IAGO Sir, you’re robbed. For shame, put on your gown⁹⁰!

Your heart is burst, you have lost half your soul:

Even now, now, very now, an old black ram⁹²

Is tupping⁹³ your white ewe. Arise, arise!

Awake the snorting⁹⁴ citizens with the bell,

Or else the devil⁹⁵ will make a grandsire of you.

Arise, I say!BRABANTIO What, have you lost your wits?RODORIGO Most reverend⁹⁸ signior, do you know my voice?BRABANTIO Not I: what are you?RODORIGO My name is Rodorigo.BRABANTIO The worser welcome.

I have charged¹⁰² 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 distemp’ring draughts¹⁰⁵ —

Upon malicious knavery dost thou come

To start¹⁰⁷ my quiet.RODORIGO Sir, sir, sir—BRABANTIO But thou must needs be sure

My spirits and my place¹¹⁰ have in their power

To make this bitter to thee.RODORIGO Patience, good sir.BRABANTIO What tell’st thou me of robbing?

This is Venice: my house is not a grange¹¹⁴.RODORIGO Most grave¹¹⁵ Brabantio,

In simple¹¹⁶ and pure soul I come to you.IAGO Sir, you are one of those that will not serve God if

the devil bid you. Because we come to do you service and you

think we are ruffians, you’ll have your daughter covered¹¹⁹

with a Barbary horse¹²⁰: you’ll have your nephews neigh to

you: you’ll have coursers¹²¹ for

cousins and jennets for germans¹²².BRABANTIO What profane¹²³ wretch art thou?IAGO I am one, sir, that comes to tell you your daughter

and the Moor are making the beast with two backs¹²⁵.BRABANTIO Thou art a villain.IAGO You are a senator.BRABANTIO This thou shalt answer¹²⁸. I know thee, Rodorigo.RODORIGO Sir, I will answer anything. But I beseech you

If’t be your pleasure¹³⁰ and most wise consent —

As partly I find it is — that your fair daughter,

At this odd-even¹³² and dull watch o’th’night,

Transported with¹³³ no worse nor better guard

But with¹³⁴ a knave of common hire, a gondolier,

To the gross¹³⁵ clasps of a lascivious Moor:

If this be known to you and your allowance¹³⁶

We then have done you bold and saucy¹³⁷ wrongs:

But if you know not this, my manners tell me

We have your wrong rebuke. Do not believe

That, from¹⁴⁰ the sense of all civility,

I thus would play and trifle with your reverence¹⁴¹.

Your daughter — if you have not given her leave¹⁴² —

I say again, hath made a gross¹⁴³ revolt,

Tying her duty, beauty, wit¹⁴⁴ and fortunes

In¹⁴⁵ an extravagant and wheeling stranger

Of here and everywhere. Straight¹⁴⁶ satisfy yourself:

If she be in her chamber or your house,

Let loose on me the justice of the state

For thus deluding you.BRABANTIO Strike on the tinder¹⁵⁰, ho!

Give me a taper¹⁵¹! Call up all my people!

This accident¹⁵² is not unlike my dream:

Belief of it oppresses me already.

Light, I say, light!Exit [above]

IAGO Farewell, for I must leave you:

It seems not meet¹⁵⁶ nor wholesome to my place

To be producted¹⁵⁷ — as, if I stay, I shall —

Against the Moor, for I do know the state,

However this may gall¹⁵⁹ him with some check,

Cannot with safety cast¹⁶⁰ him, for he’s embarked

With such loud reason¹⁶¹ to the Cyprus wars,

Which even now stands in act¹⁶², that, for their souls,

Another of his fathom¹⁶³ they have none,

To lead their business: in which regard,

Though I do hate him as I do hell-pains.

Yet for necessity of present life¹⁶⁶

I must show out a flag and sign¹⁶⁷ of love,

Which is indeed but sign. That¹⁶⁸ you shall surely find him,

Lead to the Sagittary¹⁶⁹ the raisèd search,

And there will I be with him. So farewell.Exit

Enter Brabantio with Servants and torchesBRABANTIO It is too true an evil: gone she is,

And what’s to come of my despisèd time¹⁷²

Is nought but bitterness. Now, Rodorigo,

Where didst thou see her?— O, unhappy¹⁷⁴ girl!—

With the Moor, say’st thou?— Who would be a father?—

How didst thou know ’twas she?— O, she deceives me

Past thought¹⁷⁷!— What said she to you?— Get more tapers:

Raise all my kindred.— Are they married, think you?RODORIGO Truly, I think they are.BRABANTIO O heaven! How got she out? O treason of the blood¹⁸⁰!

Fathers, from hence trust not your daughters’ minds

By what you see them act. Is there not charms¹⁸²

By which the property¹⁸³ of youth and maidhood

May be abused? Have you not read, Rodorigo,

Of some such thing?RODORIGO Yes, sir, I have indeed.BRABANTIO Call up my brother.—

O, would you had had her!—To Rodorigo

Some one way, some another.— Do you know

Where we may apprehend her and the Moor?RODORIGO I think I can discover¹⁹⁰ him, if you please

To get good guard and go along with me.BRABANTIO Pray you lead on. At every house I’ll call:

I may command¹⁹³ at most.— Get weapons, ho!

And raise some special officers of might.—

On, good Rodorigo: I will deserve your pains¹⁹⁵.Exeunt

Act 1 Scene 2running scene 2

Location: Venice (outside the Sagittary)

Enter Othello, Iago, Attendants with torchesIAGO Though in the trade¹ of war I have slain men,

Yet do I hold it very stuff² o’th’conscience

To do no contrived³ murder: I lack iniquity

Sometime to do me service. Nine or ten times

I had thought t’have yerked⁵ him here under the ribs.OTHELLO ’Tis better as it is.IAGO Nay, but he prated⁷

And spoke such scurvy⁸ and provoking terms

Against your honour

That with the little godliness I have

I did full hard forbear him¹¹. But I pray you, sir,

Are you fast¹² married? Be assured of this,

That the magnifico¹³ is much beloved,

And hath in his effect¹⁴ a voice potential

As double as the duke’s: he will divorce you,

Or put upon you what¹⁶ restraint or grievance

The law — with all his might to enforce it on —

Will give him cable¹⁸.OTHELLO Let him do his spite;

My services which I have done the signiory²⁰

Shall out-tongue his complaints. ’Tis yet to know²¹ —

Which, when I know that boasting is an honour,

I shall promulgate²³ — I fetch my life and being

From men of royal siege²⁴, and my demerits

May speak, unbonneted²⁵, to as proud a fortune

As this that I have reached. For know, Iago,

But that I love the gentle Desdemona,

I would not my unhousèd²⁸ free condition

Put into circumscription and confine²⁹

For the sea’s worth³⁰. But look, what lights come yond?

Enter Cassio [and Officers] with torchesIAGO Those are the raisèd³¹ father and his friends:

You were best go in.OTHELLO Not I: I must be found.

My parts³⁴, my title and my perfect soul

Shall manifest me rightly. Is it they?IAGO By Janus³⁶, I think no.OTHELLO The servants of the duke’s? And my lieutenant?—

The goodness of the night upon you, friends!

What is the news?CASSIO The duke does greet you, general,

And he requires your haste-post-haste⁴¹ appearance

Even on the instant.OTHELLO What is the matter⁴³, think you?CASSIO Something from Cyprus, as I may divine⁴⁴.

It is a business of some heat⁴⁵: the galleys

Have sent a dozen sequent⁴⁶ 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 called for:

When, being not at your lodging to be found,

The senate hath sent about three several quests⁵¹

To search you out.OTHELLO ’Tis well I am found by you.

I will but spend a word here in the house

And go with you.[Exit]

CASSIO Ancient, what makes he⁵⁶ here?IAGO Faith⁵⁷, he tonight hath boarded a land caract:

If it prove lawful prize, he’s made for ever.CASSIO I do not understand.IAGO He’s married.CASSIO To who?IAGO Marry⁶², to—[Enter Othello Come, captain, will you go?OTHELLO Have with you⁶³.CASSIO Here comes another troop to seek for you.Enter Brabantio, Rodorigo, with Officers and torches And weapons

IAGO It is Brabantio. General, be advised⁶⁵:

He comes to⁶⁶ bad intent.OTHELLO Holla⁶⁷, stand there!RODORIGO Signior, it is the Moor.BRABANTIO Down with him, thief!They draw

IAGO You, Rodorigo? Come, sir, I am for you.OTHELLO Keep up⁷¹ your bright swords, for the dew will rust

them.

Good signior, you shall more command with years

Than with your weapons.BRABANTIO O thou foul⁷⁴ thief,

Where hast thou stowed⁷⁵ my daughter?

Damned as thou art, thou hast enchanted her,

For I’ll refer me to⁷⁷ all things of sense —

If she in chains of magic were not bound —

Whether a maid so tender⁷⁹, fair and happy,

So opposite⁸⁰ to marriage that she shunned

The wealthy curlèd⁸¹ dearling of our nation,

Would ever have — t’incur a general mock⁸² —

Run from her guardage⁸³ to the sooty bosom

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

Judge me the world⁸⁵ if ’tis not gross in sense

That thou hast practised on⁸⁶ her with foul charms,

Abused her delicate youth with drugs or minerals⁸⁷

That weakens motion⁸⁸: I’ll have’t disputed on:

’Tis probable and palpable to thinking.

I therefore apprehend and do attach⁹⁰ thee

For an abuser of the world, a practiser

Of arts inhibited and out of warrant⁹².—

Lay hold upon him: if he do resist,

Subdue him at his peril.OTHELLO Hold⁹⁵ your hands,

Both you of my inclining⁹⁶ and the rest:

Were it my cue to fight, I should have known it

Without a prompter.— Whither will you that I⁹⁸ go

To answer this your charge?BRABANTIO To prison, till fit time

Of law and course of direct session¹⁰¹

Call thee to answer.OTHELLO What if I do obey?

How may the duke be therewith satisfied,

Whose messengers are here about my side

Upon some present¹⁰⁶ business of the state

To bring me to him?OFFICER ’Tis true, most worthy signior:

The duke’s in council and your noble self,

I am sure, is sent for.BRABANTIO How? The duke in council?

In this time of the night? Bring him away;

Mine’s not an idle cause: the duke himself,

Or any of my brothers of the state¹¹⁴,

Cannot but feel this wrong as ’twere their own:

For if such actions may have passage free¹¹⁶,

Bond-slaves and pagans shall our statesmen be.Exeunt

Act 1 Scene 3running scene 3

Location: Venice (duke’s residence/council chamber)

Enter Duke, Senators and OfficersWith torches

They sit at a table

DUKE There’s no composition¹ in this news

That gives them² credit.FIRST SENATOR Indeed, they are disproportioned³;

My letters say a hundred and seven galleys.DUKE And mine a hundred forty.SECOND SENATOR And mine two hundred:

But though they jump⁷ not on a just account —

As in these cases where the aim⁸ 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 secure¹² me in the error

But the main article I do approve

In fearful sense.SAILOR What ho, what ho, what ho!Within

Enter SailorOFFICER A messenger from the galleys.DUKE Now? What’s the business?SAILOR The Turkish preparation¹⁸ makes for Rhodes:

So was I bid report here to the state

By Signior Angelo.[Exit Sailor]

DUKE How say you by²¹ this change?FIRST SENATOR This cannot be

By no assay²³ of reason: ’tis a pageant,

To keep us in false gaze²⁴. When we consider

Th’importancy²⁵ of Cyprus to the Turk,

And let ourselves again but understand

That as it more concerns the Turk than Rhodes,

So may he with more facile question bear it²⁸,

For that²⁹ it stands not in such warlike brace,

But altogether lacks th’abilities³⁰

That Rhodes is dressed in³¹: if we make thought of this,

We must not think the Turk is so unskilful

To leave that latest³³ which concerns him first,

Neglecting an attempt³⁴ of ease and gain

To wake and wage³⁵ a danger profitless.DUKE Nay, in all confidence, he’s not for Rhodes.OFFICER Here is more news.

Enter a MessengerMESSENGER The Ottomites³⁸, reverend and gracious,

Steering with due course toward the isle of Rhodes,

Have there injointed them⁴⁰ with an after fleet.FIRST SENATOR Ay, so I thought. How many, as you guess?MESSENGER Of thirty sail: and now they do restem⁴²

Their backward course, bearing with frank⁴³ appearance

Their purposes toward Cyprus. Signior Montano,

Your trusty and most valiant servitor⁴⁵,

With his free⁴⁶ duty recommends you thus,

And prays you to believe him.[Exit Messenger]

DUKE ’Tis certain then for Cyprus.

Marcus Luccicos, is not he in town?FIRST SENATOR He’s now in Florence.DUKE Write from us to him: post-post-haste⁵¹, dispatch!FIRST SENATOR Here comes Brabantio and the valiant Moor.

Enter Brabantio, Othello, Cassio, Iago, Rodorigo and OfficersDUKE Valiant Othello, we must straight employ you

Against the general enemy Ottoman⁵⁴.—To Brabantio

I did not see you: welcome, gentle⁵⁵ signior,

We lacked your counsel and your help tonight.BRABANTIO So did I yours. Good your grace, pardon me:

Neither my place⁵⁸ nor aught I heard of business

Hath raised me from my bed, nor doth the general care⁵⁹

Take hold on me, for my particular⁶⁰ grief

Is of so floodgate⁶¹ and o’erbearing nature

That it engluts⁶² and swallows other sorrows

And it is still itself⁶³.DUKE Why? What’s the matter?BRABANTIO My daughter! O, my daughter!SENATORS Dead?BRABANTIO Ay, to me:

She is abused⁶⁸, stol’n from me and corrupted

By spells and medicines bought of mountebanks⁶⁹;

For nature so prepost’rously⁷⁰ to err —

Being not deficient, blind, or lame of sense⁷¹ —

Sans⁷² witchcraft could not.DUKE Whoe’er he be that in this foul proceeding⁷³

Hath thus beguiled⁷⁴ your daughter of herself,

And you of her, the bloody⁷⁵ book of law

You shall yourself read in the bitter letter

After your own sense⁷⁷: yea, though our proper son

Stood in your action⁷⁸.BRABANTIO Humbly I thank your grace.

Here is the man: this Moor, whom now it seems

Your special mandate for the state affairs

Hath hither brought.ALL We are very sorry for’t.To OthelloDUKE What, in your own part, can you say

to this?BRABANTIO Nothing, but⁸⁵ this is so.OTHELLO Most potent, grave⁸⁶ and reverend signiors,

My very noble and approved⁸⁷ 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 front⁹⁰ of my offending

Hath this extent, no more. Rude⁹¹ am I in my speech,

And little blessed with the soft phrase of peace;

For since these arms of mine had seven years’ pith⁹³,

Till now some nine moons wasted⁹⁴, they have used

Their dearest⁹⁵ action in the tented field,

And little of this great world can I speak

More than pertains to feats of broils⁹⁷ and battle,

And therefore little shall I grace my cause

In speaking for myself. Yet, by your gracious patience,

I will a round¹⁰⁰ unvarnished tale deliver

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

What conjuration¹⁰² and what mighty magic —

For such proceeding I am charged withal¹⁰³ —

I won his daughter.BRABANTIO A maiden never bold,

Of spirit so still and quiet that her motion¹⁰⁶

Blushed at herself: and she, in spite of nature,

Of years¹⁰⁸, of country, credit, everything,

To fall in love with what she feared to look on!

It is a judgement maimed and most imperfect

That will confess perfection so could err

Against all rules of nature, and must be driven

To find out practices¹¹³ of cunning hell

Why this should be. I therefore vouch¹¹⁴ again

That with some mixtures¹¹⁵ pow’rful o’er the blood,

Or with some dram¹¹⁶, conjured to this effect,

He wrought¹¹⁷ upon her.DUKE To vouch this is no proof,

Without more wider and more overt test¹¹⁹

Than these thin habits¹²⁰ and poor likelihoods

Of modern seeming¹²¹ do prefer against him.FIRST SENATOR But, Othello, speak:

Did you by indirect¹²³ and forcèd courses

Subdue and poison this young maid’s affections?

Or came it by request and such fair question¹²⁵

As soul to soul affordeth¹²⁶?OTHELLO I do beseech you,

Send for the lady to the Sagittary

And let her speak of me before her father:

If you do find me foul in her report,

The trust, the office¹³¹ I do hold of you

Not only take away, but let your sentence

Even fall upon my life.DUKE Fetch Desdemona hither.OTHELLO Ancient, conduct them: you best knowTo Iago

the place.—[Exeunt Iago and Attendants]

And, till she come, as truly as to heaven

I do confess the vices of my blood¹³⁷,

So justly¹³⁸ to your grave ears I’ll present

How I did thrive in this fair lady’s love,

And she in mine.DUKE Say it, Othello.OTHELLO Her father loved me, oft invited me,

Still¹⁴³ questioned me the story of my life

From year to year: the battle, sieges, fortune,

That I have passed¹⁴⁵.

I ran it through, even from my boyish days

To th’very moment that he bade me tell it,

Wherein I spoke of most disastrous¹⁴⁸ chances,

Of moving¹⁴⁹ accidents by flood and field,

Of hair-breadth scapes¹⁵⁰ i’th’imminent deadly breach,

Of being taken by the insolent¹⁵¹ foe

And sold to slavery, of my redemption thence,

And portance¹⁵³ in my traveller’s history,

Wherein of antres¹⁵⁴ vast and deserts idle,

Rough quarries, rocks, hills whose head touch heaven,

It was my hint¹⁵⁶ to speak: such was my process.

And of the cannibals that each other eat,

The Anthropophagi¹⁵⁸ and men whose heads

Grew beneath their shoulders: these things to hear

Would Desdemona seriously¹⁶⁰ incline,

But still the house-affairs would draw her thence,

Which ever as she could with haste dispatch,

She’d come again, and with a greedy ear

Devour up my discourse: which I observing,

Took once a pliant¹⁶⁵ hour, and found good means

To draw from her a prayer of earnest heart

That I would all my pilgrimage¹⁶⁷ dilate,

Whereof by parcels¹⁶⁸ she had something heard,

But not intentively¹⁶⁹. I did consent,

And often did beguile her of¹⁷⁰ her tears,

When I did speak of some distressful stroke¹⁷¹

That my youth suffered. My story being done,

She gave me for my pains a world of kisses¹⁷³:

She swore, ‘In faith ’twas strange, ’twas passing¹⁷⁴ strange,

’Twas pitiful, ’twas wondrous pitiful!’

She wished she had not heard it, yet she wished

That heaven had made her¹⁷⁷ such a man. She thanked me,

And bade me, if I had a friend that loved her,

I should but teach him how to tell my story,

And that would woo her. Upon this hint¹⁸⁰ I spake:

She loved me for the dangers I had passed,

And I loved her that she did pity them.

This only is the witchcraft I have used.

Here comes the lady: let her witness¹⁸⁴ it.

Enter Desdemona, Iago, AttendantsDUKE I think this tale would win my daughter too.

Good Brabantio,

Take up this mangled matter at the best¹⁸⁷:

Men do their broken weapons rather use

Than their bare hands.BRABANTIO I pray you hear her speak:

If she confess that she was half the wooer,

Destruction on my head if my bad¹⁹² blame

Light on the man!— Come hither, gentleTo Desdemona mistress.

Do you perceive in all this noble company

Where most you owe obedience?DESDEMONA My noble father,

I do perceive here a divided duty.

To you I am bound for life and education¹⁹⁸:

My life and education both do learn¹⁹⁹ me

How to respect you. You are the lord of duty,

I am hitherto²⁰¹ your daughter. But here’s my husband,

And so much duty as my mother showed

To you, preferring²⁰³ you before her father,

So much I challenge²⁰⁴ that I may profess

Due to the Moor my lord.BRABANTIO God be with you! I have done.

Please it²⁰⁷ your grace, on to the state affairs.

I had rather to adopt a child than get²⁰⁸ it.

Come hither, Moor:

I here do give thee that with all my heart

Which but²¹¹ thou hast already, with all my heart

I would keep from thee.— For your sake²¹², jewel,To Desdemona I am glad at soul I have no other child,

For thy escape²¹⁴ would teach me tyranny,To the Duke To hang clogs²¹⁵ on them.— I have done, my lord.DUKE Let me speak like yourself²¹⁶, and lay a sentence

Which, as a grise²¹⁷ or step, may help these lovers.

When remedies are past²¹⁸, the griefs are ended

By seeing the worst, which late²¹⁹ on hopes depended.

To mourn a mischief²²⁰ that is past and gone

Is the next²²¹ way to draw new mischief on.

What cannot be preserved when fortune takes²²²,

Patience her injury a mock’ry makes²²³.

The robbed that smiles steals something from the thief:

He robs himself that spends²²⁵ a bootless grief.BRABANTIO So let the Turk of Cyprus us beguile²²⁶,

We lose it not, so long as we can smile.

He bears the sentence well that nothing bears²²⁸

But the free²²⁹ comfort which from thence he hears:

But he bears both the sentence and the sorrow

That, to pay grief, must of poor patience borrow²³¹.

These sentences, to sugar or to gall,²³²

Being strong on both sides, are equivocal.

But words are words: I never yet did hear

That the bruisèd²³⁵ heart was pierced through the ears.

I humbly beseech you proceed to th’affairs of state.DUKE The Turk with a most mighty preparation makes for

Cyprus. Othello, the fortitude²³⁸ of the place is best known to

you, and though we have there a substitute of most allowed²³⁹

sufficiency, yet opinion²⁴⁰, a more sovereign mistress of effects,

throws a more safer voice on you²⁴¹: you must therefore be

content to slubber²⁴² the gloss of your new fortunes with this

more stubborn²⁴³ and boisterous expedition.OTHELLO The tyrant custom, most grave senators,

Hath made the flinty²⁴⁵ and steel couch of war

My thrice-driven²⁴⁶ bed of down: I do agnize

A natural and prompt alacrity²⁴⁷

I find in hardness²⁴⁸, and do undertake

This present wars against the Ottomites.

Most humbly therefore bending to your state²⁵⁰,

I crave fit disposition²⁵¹ for my wife,

Due reference of place and exhibition²⁵²,

With such accommodation²⁵³ and besort

As levels with²⁵⁴ her breeding.DUKE Why, at her fathers.BRABANTIO I will not have it so.OTHELLO Nor I.DESDEMONA Nor would I there reside,

To put my father in impatient thoughts

By being in his eye²⁶⁰. Most gracious duke,

To my unfolding²⁶¹ lend your prosperous ear,

And let me find a charter²⁶² in your voice

T’assist my simpleness²⁶³.DUKE What would you, Desdemona?DESDEMONA That I love the Moor to live with him,

My downright violence²⁶⁶ and storm of fortunes

May trumpet to the world. My heart’s subdued²⁶⁷

Even to the very quality²⁶⁸ of my lord.

I saw Othello’s visage in his mind,

And to his honours and his valiant parts²⁷⁰

Did I my soul and fortunes consecrate²⁷¹:

So that, dear lords, if I be left behind

A moth²⁷³ of peace, and he go to the war,

The rites²⁷⁴ for why I love him are bereft me,

And I a heavy interim shall support

By his dear²⁷⁶ absence. Let me go with him.OTHELLO Let her have your voice²⁷⁷.

Vouch²⁷⁸ with me, heaven, I therefore beg it not

To please the palate of my appetite,

Nor to comply with heat²⁸⁰ — the young affects

In my defunct and proper satisfaction²⁸¹—

But to be free²⁸² and bounteous to her mind:

And heaven²⁸³ defend your good souls that you think

I will your serious and great business scant²⁸⁴

When she is with me. No, when light-winged toys²⁸⁵

Of feathered²⁸⁶ Cupid seel with wanton dullness

My speculative and officed instrument²⁸⁷,

That²⁸⁸ my disports corrupt and taint my business,

Let housewives make a skillet²⁸⁹ of my helm,

And all indign²⁹⁰ and base adversities

Make head²⁹¹ against my estimation!DUKE Be it as you shall privately determine,

Either for her stay or going: th’affair cries²⁹³ haste,

And speed must answer it.A SENATOR You must away tonight.OTHELLO With all my heart.DUKE At nine i’th’morning here we’ll meet again.

Othello, leave some officer behind,

And he shall our commission bring to you,

And such things else of quality and respect³⁰⁰

As doth import³⁰¹ you.OTHELLO So please your grace, my ancient:

A man he is of honesty and trust:

To his conveyance³⁰⁴ I assign my wife,

With what else needful your good grace shall think

To be sent after me.DUKE Let it be so.

Goodnight to everyone.— And, noble signior,To Brabantio If virtue no delighted³⁰⁹ beauty lack,

Your son-in-law is far more fair³¹⁰ than black.A SENATOR Adieu, brave Moor: use Desdemona well.BRABANTIO Look to her, Moor, if thou hast eyes to see:

She has deceived her father, and may thee.Exeunt [Duke, Senators and Officers]OTHELLO My life upon her faith! Honest³¹⁴ Iago,

My Desdemona must I leave to thee:

I prithee let thy wife attend on her,

And bring them after in the best advantage³¹⁷.

Come, Desdemona, I have but an hour

Of love, of worldly matter and direction³¹⁹

To spend with thee: we must obey the time³²⁰.

Exeunt [Othello and Desdemona]RODORIGO Iago—IAGO What say’st thou, noble heart³²²?RODORIGO What will I do, think’st thou?IAGO Why, go to bed and sleep.RODORIGO I will incontinently³²⁵ drown myself.IAGO If thou dost, I shall never love thee after. Why, thou

silly gentleman?RODORIGO It is silliness to live when to live is torment: and then

have we a prescription³²⁹ to die when death is our physician.IAGO O villainous! I have looked upon the world for four

times seven years, and since I could distinguish betwixt a

benefit and an injury, I never found man that knew how to

love himself. Ere³³³ I would say I would drown myself for the

love of a guinea-hen³³⁴, I would change my humanity with a

baboon³³⁵.RODORIGO What should I do? I confess it is my shame to be so

fond³³⁷, but it is not in my virtue to amend it.IAGO Virtue? A fig!³³⁸ ’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, set³⁴⁰

hyssop³⁴¹ and weed up thyme, supply it with one gender of

herbs or distract³⁴² it with many, either to have it sterile with

idleness or manured with industry, why, the power and

corrigible authority³⁴⁴ of this lies in our wills. If the beam of

our lives had not one scale of reason to poise³⁴⁵ another of

sensuality, the blood³⁴⁶ and baseness of our natures would

conduct us to most preposterous³⁴⁷ conclusions: but we have

reason to cool our raging motions³⁴⁸, our carnal stings, our

unbitted³⁴⁹ lusts, whereof I take this that you call love to be a

sect or scion³⁵⁰.RODORIGO It cannot be.IAGO It is merely a lust of

the blood and a permission of the will³⁵³. Come, be a man. Drown thyself? Drown cats and

blind puppies. I have professed me thy friend and I confess

me knit³⁵⁵ to thy deserving with cables of perdurable

toughness: I could never better stead³⁵⁶ thee than now. Put

money in thy purse: follow thou the wars: defeat thy favour³⁵⁷

with an usurped beard: I say, put money in thy purse. It

cannot be long that Desdemona should continue her love to

the Moor. Put money in thy purse. Nor he his to her: it was

a violent commencement in her, and thou shalt see an

answerable sequestration³⁶². 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 locusts³⁶⁴

shall be to him shortly as bitter as coloquintida³⁶⁵. She must

change for youth³⁶⁶: when she is sated with his body, she will

find the errors of her choice: therefore put money in thy

purse. If thou wilt needs damn thyself, do it a more delicate³⁶⁸

way than drowning. Make³⁶⁹ all the money thou canst. If

sanctimony³⁷⁰ and a frail vow betwixt an erring barbarian and

supersubtle³⁷¹ Venetian be not too hard for my wits and all

the tribe of hell, thou shalt enjoy her. Therefore make money. A

pox of³⁷³ drowning thyself! It is clean out of the way: seek thou

rather to be hanged in³⁷⁴ compassing thy joy than to be

drowned and go without her.RODORIGO Wilt thou be fast³⁷⁶ to my hopes if I depend on the

issue³⁷⁷?IAGO Thou art³⁷⁸ sure of me. Go, make money. I have told

thee often, and I re-tell thee again and again, I hate the

Moor: my cause is hearted³⁸⁰; thine hath no less reason. Let us

be conjunctive³⁸¹ in our revenge against him: if thou canst

cuckold him³⁸², thou dost thyself a pleasure, me a sport. There

are many events in the womb of time which will be delivered.

Traverse³⁸⁴, go, provide thy money. We will have more of this

tomorrow. Adieu.RODORIGO Where shall we meet i’th’morning?IAGO At my lodging.RODORIGO I’ll be with thee betimes³⁸⁸.IAGO Go to³⁸⁹, farewell. Do you hear,As Rodorigo leaves Rodorigo?RODORIGO I’ll sell all my land.Exit

IAGO Thus do I ever make my fool my purse,

For I mine own gained knowledge should profane³⁹²,

If I would time expend with such a snipe³⁹³

But³⁹⁴ for my sport and profit. I hate the Moor:

And it is thought abroad³⁹⁵ that ’twixt my sheets

He has done my office³⁹⁶: I know not if’t be true,

But I, for mere suspicion in that kind³⁹⁷,

Will do as if for surety³⁹⁸. He holds me well,

The better shall my purpose work on him.

Cassio’s a proper⁴⁰⁰ man. Let me see now:

To get his place and to plume up⁴⁰¹ my will

In double knavery. How, how? Let’s see:

After some time, to abuse Othello’s ears

That he⁴⁰⁴ is too familiar with his wife.

He hath a person⁴⁰⁵ and a smooth dispose

To be suspected, framed⁴⁰⁶ to make women false.

The Moor is of a free⁴⁰⁷ and open nature,

That thinks men honest that but seem to be so,

And will as tenderly⁴⁰⁹ be led by th’nose

As asses are.

I have’t: it is engend’red⁴¹¹: hell and night

Must bring this monstrous⁴¹² birth to the world’s light.[Exit]

Act 2 Scene 1running scene 4

Location: a port in Cyprus

Enter Montano and two GentlemenMONTANO What from the cape¹ can you discern at sea?FIRST GENTLEMAN Nothing at all: it is a high-wrought flood²:

I cannot, ’twixt the heaven and the main³,

Descry⁴ a sail.MONTANO Methinks the wind hath spoke aloud at land:

A fuller blast ne’er shook our battlements.

If it hath ruffianed⁷ so upon the sea,

What ribs⁸ of oak, when mountains melt on them,

Can hold the mortise⁹? What shall we hear of this?SECOND GENTLEMAN A segregation¹⁰ of the Turkish fleet:

For do but stand upon the foaming shore,

The chidden¹² billow seems to pelt the clouds:

The wind-shaked surge, with high and monstrous mane¹³,

Seems to cast water on the burning bear¹⁴

And quench the guards¹⁵ of th’ever-fixèd pole.

I never did like molestation¹⁶ view

On the enchafèd¹⁷ flood.MONTANO If that the Turkish fleet

Be not ensheltered and embayed¹⁹, they are drowned:

It is impossible to bear it out.

Enter a [Third] GentlemanTHIRD GENTLEMAN News, lads! Our wars are done:

The desperate tempest hath so banged the Turks

That their designment²³ halts. A noble ship of Venice

Hath seen a grievous wreck and sufferance²⁴

On most part of their fleet.MONTANO How? Is this true?THIRD GENTLEMAN The ship is here put in,

A Veronesa²⁸. Michael Cassio,

Lieutenant to the warlike Moor Othello,

Is come on shore: the Moor himself at sea,

And is in full commission here³¹ for Cyprus.MONTANO I am glad on’t: ’tis a worthy governor.THIRD GENTLEMAN But this same Cassio, though he speak of comfort

Touching³⁴ the Turkish loss, yet he looks sadly

And pray³⁵ the Moor be safe; for they were parted

With foul and violent tempest.MONTANO Pray heavens he be,

For I have served him, and the man commands

Like a full³⁹ 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 th’aerial blue⁴²

An indistinct regard.THIRD GENTLEMAN Come, let’s do so;

For every minute is expectancy

Of more arrivancy⁴⁶.

Enter CassioCASSIO Thanks, you the valiant of the warlike isle,

That so approve⁴⁸ the Moor. O, let the heavens

Give him defence against the elements,

For I have lost him on a dangerous sea.MONTANO Is he well shipped?CASSIO His bark⁵² is stoutly timbered, and his pilot

Of very expert and approved allowance⁵³;

Therefore my hopes, not surfeited to death,⁵⁴

Stand in bold cure.[VOICES] A sail, a sail, a sail!Within

CASSIO What noise?GENTLEMAN The town is empty: on the brow o’th’sea⁵⁸

Stand ranks of people, and they cry ‘A sail!’CASSIO My hopes do shape him for⁶⁰ the

governor.A shot is heard

GENTLEMAN They do discharge their shot of courtesy⁶¹:

Our friends at least.CASSIO I pray you, sir, go forth

And give us truth who ’tis that is arrived.GENTLEMAN I shall.Exit

MONTANO But, good lieutenant, is your general wived?CASSIO Most fortunately: he hath achieved⁶⁷ a maid

That paragons⁶⁸ description and wild fame,

One that excels the quirks⁶⁹ of blazoning pens,

And in th’essential vesture of creation⁷⁰

Does tire the engineer⁷¹.

Enter Gentleman How now? Who has put in⁷²?GENTLEMAN ’Tis one Iago, ancient to the general.CASSIO He’s had most favourable and happy speed⁷⁴:

Tempests themselves, high seas and howling winds,

The guttered⁷⁶ rocks and congregated sands,

Traitors ensteeped⁷⁷ to enclog the guiltless keel,

As⁷⁸ having sense of beauty, do omit

Their mortal⁷⁹ natures, letting go safely by

The divine Desdemona.MONTANO What is she?CASSIO She that I spake of, our great captain’s captain,

Left in the conduct of⁸³ the bold Iago,

Whose footing⁸⁴ here anticipates our thoughts

A sennight’s⁸⁵ speed. Great Jove, Othello guard,

And swell his sail with thine own powerful breath,

That he may bless this bay with his tall⁸⁷ ship,

Make love’s quick⁸⁸ pants in Desdemona’s arms,

Give renewed fire to our extincted⁸⁹ spirits—

Enter Desdemona, Iago, Rodorigo and Emilia [with Attendants] O, behold,

The riches of the ship is come on shore!Kneels

You men of Cyprus, let her have your knees.—

Hail to thee, lady! And the grace of heaven,

Before, behind thee, and on every hand

Enwheel⁹⁵ thee round!Rises

DESDEMONA I thank you, valiant Cassio.

What tidings can you tell of my lord?CASSIO He is not yet arrived, nor know I aught

But that he’s well and will be shortly here.DESDEMONA O, but I fear. How lost you company?CASSIO The great contention of sea and skies

Parted our fellowship¹⁰².— But, hark! A sail.[VOICES] A sail, a sail!Within

A shot is heard

GENTLEMAN They give this greeting to the citadel¹⁰⁴:

This likewise is a friend.CASSIO See for the news. [Exit Gentleman]

Good ancient, you are welcome.— Welcome, mistress.—

Let it not gall¹⁰⁸ your patience, good Iago,

That I extend my manners: ’tis my breeding¹⁰⁹

That gives me this bold show of courtesy. Kisses Emilia

IAGO Sir, would she give you so much of her lips

As of her tongue¹¹² she oft bestows on me,

You would have enough.DESDEMONA Alas, she has no speech¹¹⁴.IAGO In faith, too much:

I find it still¹¹⁶, when I have leave to sleep.

Marry, before¹¹⁷ your ladyship, I grant,

She puts her tongue a little in her heart

And chides¹¹⁹ with thinking.EMILIA You have little cause to say so.IAGO Come on, come on: you are pictures¹²¹ out of door,

bells¹²² in your parlours, wild-cats in your kitchens, saints in

your injuries, devils being offended, players¹²³ in your

housewifery¹²⁴, and housewives in your beds.DESDEMONA O, fie upon thee, slanderer!IAGO Nay, it is true, or else I am a Turk¹²⁶:

You rise to play¹²⁷ and go to bed to work.EMILIA You shall not write my praise.IAGO No, let me not.DESDEMONA What wouldst write of me, if thou shouldst praise

me?IAGO O gentle lady, do not put me to’t,

For I am nothing if not critical.DESDEMONA Come on assay¹³³. There’s one gone to the harbour?IAGO Ay, madam.DESDEMONA I am not merry, but I do beguile¹³⁵

The thing I am by seeming otherwise.

Come, how wouldst thou praise me?IAGO I am about it, but indeed my invention¹³⁸

Comes from my pate¹³⁹ as birdlime does from frieze,

It plucks out brains and all. But my muse¹⁴⁰ labours,

And thus she is delivered:

‘If she be fair¹⁴² and wise, fairness and wit,

The one’s for use, the other useth it¹⁴³.’DESDEMONA Well praised! How if she be black¹⁴⁴ and witty?IAGO ‘If she be black, and thereto¹⁴⁵ have a wit,

She’ll find a white¹⁴⁶ that shall her blackness fit.’DESDEMONA Worse and worse.EMILIA How if fair and foolish?IAGO ‘She never yet was foolish that was fair,

For even her folly¹⁵⁰ helped her to an heir.’DESDEMONA These are old fond¹⁵¹ paradoxes to make fools laugh

i’th’ale-house. What miserable praise hast thou for her

that’s foul¹⁵³ and foolish?IAGO ‘There’s none so foul and foolish thereunto¹⁵⁴,

But does foul pranks¹⁵⁵ which fair and wise ones do.’DESDEMONA O heavy¹⁵⁶ ignorance! Thou praisest the worst best.

But what praise couldst thou bestow on a deserving woman

indeed, one that, in the authority of her merit, did justly put ¹⁵⁸

on the vouch of very malice itself?IAGO ‘She that was ever fair and never proud,

Had tongue¹⁶¹ at will and yet was never loud,

Never lacked gold and yet went never gay¹⁶²,

Fled from her wish and yet said “Now I may¹⁶³”,

She that being ang’red, her revenge being nigh,

Bade her wrong stay and her displeasure fly,

She that in wisdom never was so frail

To change the cod’s head for the salmon’s tail¹⁶⁷,

She that could think and ne’er disclose her mind,

See suitors following and not look behind,

She was a wight¹⁷⁰, if ever such wights were—’DESDEMONA To do what?IAGO ‘To suckle¹⁷² fools and chronicle small beer.’DESDEMONA O, most lame and impotent conclusion! Do not

learn of him, Emilia, though he be thy husband. How say

you, Cassio? Is he not a most profane and liberal¹⁷⁵ counsellor?CASSIO He speaks home¹⁷⁶, madam: you may relish him more in the soldier than in the scholar.Cassio takes Desdemona’s hand and they converse apart

IAGO He takes her by the palm: ay, well said,Aside¹⁷⁷

whisper. With as little a web as this will I ensnare as great a

fly as Cassio. Ay, smile upon her, do: I will gyve¹⁸⁰ thee in thine

own courtship¹⁸¹. 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 fingers¹⁸³ so oft, which now

again you are most apt to play the sir¹⁸⁴ in. Very good: well

kissed, and excellent courtesy¹⁸⁵! ’Tis so, indeed. Yet again your

fingers to your lips? Would they were clyster-pipes¹⁸⁶ for your

sake!—The Moor! I know his trumpet.Trumpet within

CASSIO ’Tis truly so.DESDEMONA Let’s meet him and receive him.CASSIO Lo¹⁹⁰, where he comes!

Enter Othello and AttendantsOTHELLO O my fair warrior!DESDEMONA My dear Othello!OTHELLO It gives me wonder great as my content

To see you here before me. O my soul’s joy!

If after every tempest come such calms,

May the winds blow till they have wakened death!

And let the labouring bark¹⁹⁷ climb hills of seas

Olympus-high¹⁹⁸ and duck again as low

As hell’s from heaven! If it were now to die¹⁹⁹,

’Twere now to be most happy, for I fear

My soul hath her content so absolute

That not another comfort like to this

Succeeds²⁰³ in unknown fate.DESDEMONA The heavens forbid

But that our loves and comforts should increase,

Even as our days do grow!OTHELLO Amen to that, sweet powers!

I cannot speak enough of this content:

It stops²⁰⁹ me here: it is too much of joy.

And this, and this, the greatest discords beKisses her

That e’er our hearts shall make!IAGO O, you are well tuned now!Aside

But I’ll set down²¹³ the pegs that make this music,

As honest as I am.OTHELLO Come, let us to the castle.—To Desdemona

News, friends: our wars are done, the Turks are drowned.

How does my old acquaintance of this isle?—

Honey, you shall be well desired in Cyprus:

I have found great love amongst them. O my sweet,

I prattle²²⁰ out of fashion, and I dote

In mine own comforts²²¹. I prithee, good Iago,

Go to the bay and disembark my coffers²²².

Bring thou the master²²³ to the citadel:

He is a good one, and his worthiness

Does challenge²²⁵ much respect.— Come, Desdemona,

Once more, well met at Cyprus.Exeunt Othello and Desdemona

[with Attendants. Iago and Rodorigo remain]

IAGO Do thou meet me presently at theTo an Attendant

harbour.—as he exits

Come hither. If thou be’st valiant — as they sayTo Rodorigo

base²²⁹ men being in love have then a nobility in their natures

more than is native to them — list²³⁰ me: the lieutenant tonight

watches on the court of guard²³¹ is on duty at the guardhouse. First, I must tell thee this:

Desdemona is directly²³² in love with him.RODORIGO With him? Why, ’tis not possible.IAGO Lay thy finger thus²³⁴, and let thy soul be instructed.

Mark me²³⁵ with what violence she first loved the Moor, but for

bragging and telling her fantastical lies. To love him still for

prating²³⁷? 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 dull²³⁹ with the act of sport, there

should be a game²⁴⁰ to inflame it and to give satiety a fresh

appetite, loveliness in favour²⁴¹, sympathy in years, manners

and beauties, all which the Moor is defective in. Now,

for want of these required conveniences²⁴³, her delicate

tenderness will find itself abused, begin to heave the gorge²⁴⁴,

disrelish²⁴⁵ and abhor the Moor: very nature will instruct her in

it and compel her to some second choice. Now, sir, this

granted — as it is a most pregnant²⁴⁷ and unforced position—

who stands so eminent in the degree²⁴⁸ of this fortune as Cassio

does? A knave very voluble²⁴⁹, no further conscionable than

in putting on the mere form of civil and humane²⁵⁰ seeming

for the better compass²⁵¹ of his salt and most hidden loose

affection? Why, none, why, none. A slipper²⁵² and subtle knave,

a finder of occasion²⁵³, that has an eye can stamp and

counterfeit advantages²⁵⁴, though true advantage never

present itself: a devilish knave. Besides, the knave is

handsome, young, and hath all those requisites in him that

folly²⁵⁷ and green minds look after. A pestilent complete knave,

and the woman hath found him already.RODORIGO I cannot believe that in her: she’s full of most

blessed condition²⁶⁰.IAGO Blessed fig’s-end! The wine she drinks is made of ²⁶¹

grapes. If she had been blessed, she would never have loved

the Moor. Blessed pudding²⁶³! Didst thou not see her paddle

with the palm of his hand? Didst not mark that?RODORIGO Yes, that I did, but that was but courtesy.IAGO Lechery, by this hand: an index²⁶⁶ and obscure

prologue to the history of lust and foul thoughts. They met

so near with their lips that their breaths embraced together.

Villainous thoughts, Rodorigo! When these mutabilities²⁶⁹ so

marshal the way, hard²⁷⁰ at hand comes the master and main

exercise²⁷¹, th’incorporate conclusion. Pish! But, sir, be you

ruled by me: I have brought you from Venice. Watch you²⁷²

tonight: for the command, I’ll lay’t upon you²⁷³. Cassio knows

you not. I’ll not be far from you. Do you find some occasion

to anger Cassio, either by speaking too loud, or tainting his ²⁷⁵

discipline, or from what other course you please, which the

time shall more favourably minister²⁷⁷.RODORIGO Well.IAGO Sir, he’s rash and very sudden in choler²⁷⁹, and haply

may strike at you: provoke him that he may, for even out

of that will I cause these²⁸¹ of Cyprus to mutiny, whose

qualification shall come into no true taste again but by the

displanting²⁸³ of Cassio. So shall you have a shorter journey to

your desires by the means I shall then have to prefer²⁸⁴ them,

and the impediment most profitably removed, without the

which there were no expectation of our prosperity²⁸⁶.RODORIGO I will do this, if you can bring it to any opportunity²⁸⁷.IAGO I warrant²⁸⁸ thee. Meet me by and by at the citadel: I

must fetch his²⁸⁹ necessaries ashore. Farewell.RODORIGO Adieu.Exit

IAGO That Cassio loves her, I do well believe’t:

That she loves him, ’tis apt²⁹² and of great credit.

The Moor — howbeit that I endure him not²⁹³ —

Is of a constant, loving, noble nature,

And I dare think he’ll prove to Desdemona

A most dear²⁹⁶ husband. Now, I do love her too,

Not out of absolute lust — though peradventure²⁹⁷

I stand accountant²⁹⁸ for as great a sin —

But partly led to diet²⁹⁹ my revenge,

For that³⁰⁰ I do suspect the lusty Moor

Hath leaped into³⁰¹ my seat, the thought whereof

Doth — like a poisonous mineral — gnaw my inwards:

And nothing can or shall content my soul

Till I am evened with him, wife for wife,

Or failing so, yet that I put the Moor

At least into a jealousy so strong

That judgement cannot cure. Which thing to do,

If this poor trash of Venice³⁰⁸, whom I trace

For³⁰⁹ his quick hunting, stand the putting on,

I’ll have our Michael Cassio on the hip³¹⁰,

Abuse him to the Moor in the right garb³¹¹ —

For I fear Cassio with my night-cap³¹² too —

Make the Moor thank me, love me and reward me

For making him egregiously³¹⁴ an ass

And practising upon³¹⁵ his peace and quiet

Even to madness. ’Tis here³¹⁶, but yet confused:

Knavery’s plain face is never seen till used.Exit

Act 2 Scene 2running scene 5

Location: Cyprus

Enter Othello’s Herald with a proclamationHERALD It is Othello’s pleasure, our noble and valiant

general, that upon certain tidings now arrived, importing

the mere perdition³ of the Turkish fleet, every man put

himself into triumph⁴: some to dance, some to make bonfires,

each man to what sport and revels his addition⁵ leads him, for

besides these beneficial news, it is the celebration of his

nuptial. So much was his pleasure should be proclaimed. All

offices⁸ are open, and there is full liberty of feasting from this

present hour of five till the bell have told⁹ eleven. Bless the isle

of Cyprus and our noble general Othello!Exit

[Act 2 Scene 3]running scene 6

Location: Cyprus (the citadel)

Enter Othello, Desdemona, Cassio and AttendantsOTHELLO Good Michael, look you to the guard tonight:

Let’s teach ourselves that honourable stop²

Not to outsport discretion³.CASSIO Iago hath direction what to do,

But notwithstanding, with my personal eye

Will I look to’t.OTHELLO Iago is most honest.

Michael, goodnight: tomorrow with your earliest⁸

Let me have speech with you.—

Come, my dear love,To Desdemona

The purchase made, the fruits are to ensue¹⁰:

That profit’s yet to come ’tween me and you.—

Goodnight.Exeunt [Othello, Desdemona and Attendants]

Enter IagoCASSIO Welcome, Iago: we must to the watch.IAGO Not this hour, lieutenant: ’tis not yet ten o’th’clock.

Our general cast¹⁵ us thus early for the love of his Desdemona,

who let us not therefore blame: he hath not yet made

wanton¹⁷ the night with her, and she is sport for Jove.CASSIO She’s a most exquisite¹⁸ lady.IAGO And, I’ll warrant her, full of game¹⁹.CASSIO Indeed, she’s a most fresh and delicate²⁰ creature.IAGO What an eye she has! Methinks it sounds a parley²¹ to

provocation.CASSIO An inviting eye, and yet methinks right modest.IAGO And when she speaks, is it not an alarum²³ to love?CASSIO She is indeed perfection.IAGO Well, happiness to their sheets! Come, lieutenant, I

have a stoup²⁶ of wine, and here without are a brace of Cyprus

gallants²⁷ that would fain have a measure to the health of

black Othello.CASSIO Not tonight, good Iago: I have very poor and

unhappy³⁰ brains for drinking: I could well wish courtesy

would invent some other custom of entertainment.IAGO O, they are our friends. But one cup: I’ll drink for

you.CASSIO I have drunk but one cup tonight, and that was

craftily qualified³⁴ too, and behold what innovation it makes

here: I am infortunate³⁵ in the infirmity and dare not task my

weakness with any more.IAGO What, man? ’Tis a night of revels: the gallants

desire it.CASSIO Where are they?IAGO Here at the door. I pray you call them in.CASSIO I’ll do’t, but it dislikes me⁴⁰.Exit

IAGO If I can fasten but one cup upon him,

With that which he hath drunk tonight already,

He’ll be as full of quarrel and offence⁴³

As my young mistress’ dog⁴⁴. Now, my sick fool Rodorigo,

Whom love hath turned almost the wrong side out,

To Desdemona hath tonight caroused⁴⁶

Potations pottle-deep⁴⁷; and he’s to watch:

Three else of Cyprus, noble swelling⁴⁸ spirits —

That hold their honours in a wary distance⁴⁹,

The very elements⁵⁰ of this warlike isle —

Have I tonight flustered⁵¹ with flowing cups,

And they watch⁵² too. Now, ’mongst this flock of drunkards

Am I to put our Cassio in some action⁵³

That may offend the isle.— But here they come:

Enter Cassio, Montano and GentlemenServants following with wine

If consequence do but approve⁵⁵ my dream,

My boat sails freely, both with wind and stream⁵⁶.CASSIO ’Fore heaven, they have given me a rouse⁵⁷ already.MONTANO Good faith, a little one, not past a pint, as I am a

soldier.IAGO Some wine, ho!Sings

And let me the cannikin⁶⁰ clink, clink, And let me the cannikin clink.

A soldier’s a man,

O, man’s life’s but a span⁶³:Why, then, let a soldier drink.

Some wine, boys!CASSIO ’Fore heaven, an excellent song.IAGO I learned it in England, where indeed they are most potent ⁶⁷

in potting: your Dane, your German, and

your swag-bellied⁶⁸ Hollander— Drink, ho!— are nothing to your

English.CASSIO Is your Englishman so exquisite in his drinking?IAGO Why, he drinks⁷²

you with facility, your Dane dead drunk: he sweats not to overthrow your Almain⁷³: he gives

your Hollander a vomit ere the next pottle⁷⁴ can be filled.CASSIO To the health of our general!MONTANO I am for it, lieutenant, and I’ll do you justice⁷⁶.IAGO O sweet England!Sings

King Stephen⁷⁸ was and-a worthy peer,His breeches cost him but a crown⁷⁹:He held⁸⁰ them sixpence all too dear,With that he called the tailor lown⁸¹.He was a wight of high renown,And thou art but of low degree:’Tis pride that pulls the country down:

Then take thy auld⁸⁵ cloak about thee.

Some wine, ho!CASSIO Why, this is a more exquisite song than the other.IAGO Will you hear’t again?CASSIO No, for I hold him to be unworthy of his place that

does those things. Well, heav’n’s above all, and there be souls

must be saved, and there be souls must not be saved.IAGO It’s true, good lieutenant.CASSIO For mine own part — no offence to the general, nor

any man of quality⁹⁴ — I hope to be saved.IAGO And so do I too, lieutenant.CASSIO Ay, but, by your leave, not before me: the lieutenant

is to be saved before the ancient. Let’s have no more of this:

let’s to our affairs. Forgive us our sins! Gentlemen, let’s look

to our business. Do not think, gentlemen, I am drunk: this is

my ancient, this is my right hand, and this is my left. I am not

drunk now: I can stand well enough, and I speak well

enough.GENTLEMEN Excellent well.CASSIO Why, very well then: you must not think then, that I

am drunk.Exit

MONTANO To th’platform¹⁰⁶, masters. Come, let’s set the watch.Starts to leave

[Exeunt Gentlemen?]

IAGO You see this fellow that is gone before:To Montano

He’s a soldier fit to stand by Caesar

And give direction. And do but see his vice:

’Tis to his virtue a just equinox¹¹⁰,

The one as long as th’other. ’Tis pity of¹¹¹ him.

I fear the trust Othello puts him in

On some odd time of his infirmity

Will shake this island.MONTANO But is he often thus?IAGO ’Tis evermore his prologue to his sleep:

He’ll watch the horologe a double set¹¹⁷,

If drink rock not his cradle.MONTANO It were well

The general were put in mind of it.

Perhaps he sees it not, or his good nature

Prizes the virtue that appears in Cassio

And looks not on his evils: is not this true?

Enter RodorigoIAGO How now, Rodorigo?Aside to Rodorigo

I pray you, after the lieutenant, go.[Exit Rodorigo]

MONTANO And ’tis great pity that the noble Moor

Should hazard such a place as his own second¹²⁷

With one of an ingraft¹²⁸ infirmity:

It were an honest action to say so

To the Moor.IAGO Not I, for this fair island:

I do love Cassio well and would do much

To cure him of this evil.—Cry within

But, hark! What noise?

Enter Cassio pursuing RodorigoCASSIO You rogue! You rascal!MONTANO What’s the matter, lieutenant?CASSIO A knave¹³⁶ teach me my duty?

I’ll beat the knave into a twiggen bottle¹³⁷.RODORIGO Beat me?CASSIO Dost thou prate, rogue?Strikes Rodorigo

MONTANO Nay, good lieutenant:Stops him

I pray you, sir, hold¹⁴¹ your hand.CASSIO Let me go, sir,

Or I’ll knock you o’er the mazzard¹⁴³.MONTANO Come, come, you’re drunk.CASSIO Drunk?They fight

IAGO Away, I say: go out and cry aAside to Rodorigo

mutiny.—[Exit Rodorigo]

Nay, good lieutenant— Alas, gentlemen—

Help, ho!— Lieutenant— Sir Montano— Sir—

Help, masters¹⁴⁹!— Here’s a goodly watch indeed!Bell rings

Who’s that which rings the bell¹⁵⁰?— Diablo, ho!

The town will rise¹⁵¹. Fie, fie, lieutenant!

You’ll be ashamed¹⁵² for ever.

Enter Othello and AttendantsWith weapons

OTHELLO What is the matter here?MONTANO I bleed still: I am hurt to th’death. He dies!Attacks Cassio?

OTHELLO Hold, for your lives!IAGO Hold, ho! Lieutenant— Sir Montano— Gentlemen,

Have you forgot all sense of place¹⁵⁷ and duty?

Hold! The general speaks to you. Hold, for shame!OTHELLO Why, how now, ho! From whence ariseth this?

Are we turned Turks¹⁶⁰, and to ourselves do that

Which heaven hath forbid the Ottomites?

For Christian shame, put by this barbarous brawl!

He that stirs next to carve¹⁶³ for his own rage

Holds his soul light¹⁶⁴: he dies upon his motion.—

Silence that dreadful¹⁶⁵ bell: it frights the isle

From her propriety¹⁶⁶.— What is the matter, masters?

Honest Iago, that looks dead with grieving¹⁶⁷,

Speak: who began this? On thy love¹⁶⁸, I charge thee.IAGO I do not know. Friends all but now, even now,

In quarter¹⁷⁰ and in terms like bride and groom

Devesting them¹⁷¹ for bed: and then, but now —

As if some planet had unwitted men¹⁷² —

Swords out, and tilting¹⁷³ one at other’s breasts

In opposition bloody. I cannot speak

Any beginning to this peevish odds¹⁷⁵,

And would¹⁷⁶ in action glorious I had lost

Those legs that brought me to a part of it!OTHELLO How comes it, Michael, you are thus forgot¹⁷⁸?CASSIO I pray you pardon me: I cannot speak.OTHELLO Worthy Montano, you were wont¹⁸⁰ to be civil:

The gravity and stillness¹⁸¹ of your youth

The world hath noted, and your name is great

In mouths of wisest censure¹⁸³. What’s the matter

That you unlace¹⁸⁴ your reputation thus

And spend your rich opinion¹⁸⁵ for the name

Of a night-brawler? Give me answer to it.MONTANO Worthy Othello, I am hurt to danger:

Your officer, Iago, can inform you —

While I spare speech, which something now offends¹⁸⁹ me —

Of all that I do know, nor know I aught¹⁹⁰

By me that’s said or done amiss this night,

Unless self-charity be sometimes a vice,

And to defend ourselves it be a sin

When violence assails us.OTHELLO Now, by heaven,

My blood¹⁹⁶ begins my safer guides to rule,

And passion — having my best judgement collied¹⁹⁷ —

Assays¹⁹⁸ to lead the way: if I once stir,

Or do but lift this arm, the best of you

Shall sink in my rebuke. Give me to know

How this foul rout²⁰¹ began, who set it on,

And he that is approved²⁰² in this offence,

Though he had twinned with me, both at a birth²⁰³,

Shall lose me. What, in a town of war²⁰⁴

Yet wild²⁰⁵, the people’s hearts brim-full of fear,

To manage²⁰⁶ private and domestic quarrel?

In night, and on the court and guard of safety²⁰⁷?

’Tis monstrous²⁰⁸. Iago, who began’t?MONTANO If partially affined, or leagued in office²⁰⁹,To Iago

Thou dost deliver more or less than truth,

Thou art no soldier.IAGO Touch²¹² me not so near:

I had rather have this tongue cut from my mouth

Than it should do offence to Michael Cassio,

Yet, I persuade myself, to speak the truth

Shall nothing wrong him. This it is, general:

Montano and myself being in speech,

There comes a fellow crying out for help,

And Cassio following him with determined sword²¹⁹

To execute upon him. Sir, this gentlemanIndicates Montano

Steps in to Cassio and entreats his pause²²¹:

Myself the crying fellow did pursue,

Lest by his clamour — as it so fell out —

The town might fall in fright: he, swift of foot,

Outran my purpose, and I returned then rather²²⁵

For that I heard the clink and fall of swords

And Cassio high in oath²²⁷, which till tonight

I ne’er might say before. When I came back —

For this was brief — I found them close together

At blow and thrust, even as again they were

When you yourself did part them.

More of this matter cannot I report.

But men are men: the best sometimes forget²³³:

Though Cassio did some little wrong to him²³⁴,

As men in rage strike those that wish them best,

Yet surely Cassio, I believe, received

From him that fled some strange indignity²³⁷,

Which patience could not pass²³⁸.OTHELLO I know, Iago,

Thy honesty and love doth mince²⁴⁰ 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.

I’ll make thee an example.DESDEMONA What is the matter, dear?OTHELLO All’s well, sweeting²⁴⁶:Come away to bed.— Sir, for your hurts,To Montano

Myself will be your surgeon²⁴⁸.— Lead him off.[Exeunt some with Montano]

Iago, look with care about the town

And silence those whom this vile brawl distracted²⁵⁰.—

Come, Desdemona: ’tis the soldiers’ life

To have their balmy²⁵² slumbers waked with strife. Exeunt[all but Iago and Cassio]IAGO What, are you hurt, lieutenant?CASSIO Ay, past all surgery.IAGO Marry, heaven forbid!CASSIO Reputation, reputation, reputation! O, I have lost

my reputation! I have lost the immortal part of myself, and

what remains is bestial. My reputation, Iago, my reputation!IAGO As I am an honest man, I had thought you had

received some bodily wound; there is more sense²⁶⁰ in that

than in reputation. Reputation is an idle²⁶¹ and most false

imposition²⁶²: oft got without merit and lost without deserving:

you have lost no reputation at all, unless you repute yourself

such a loser. What, man, there are more ways to recover²⁶⁴

the general again: you are but now cast in his mood²⁶⁵ — a

punishment more in policy than in malice — even so as one

would beat his offenceless dog to affright an imperious lion.

Sue to²⁶⁸ him again and he’s yours.CASSIO I will rather sue to be despised than to deceive

so good a commander with so slight²⁷⁰, so drunken and

so indiscreet²⁷¹ an officer. Drunk? And speak parrot? And

squabble? Swagger? Swear? And discourse fustian²⁷² with one’s

own shadow? O thou invisible spirit of wine, if thou hast no

name to be known by, let us call thee devil!IAGO What²⁷⁵ was he that you followed with your sword?

What had he done to you?CASSIO I know not.IAGO Is’t possible?CASSIO I remember a mass of things, but nothing distinctly:

a quarrel, but nothing wherefore²⁸⁰. O, that men should put an

enemy in their mouths to steal away their brains! That we

should, with joy, pleasance²⁸², revel and applause transform

ourselves into beasts!IAGO Why, but you are now well enough: how came you

thus recovered?CASSIO It hath pleased the devil drunkenness to give place

to the devil wrath: one unperfectness shows me another, to

make me frankly²⁸⁸ despise myself.IAGO Come, you are too severe a moraler²⁸⁹. As the time, the

place and the condition of this country stands, I could

heartily wish this had not befallen: but since it is as it is,

mend it²⁹² for your own good.CASSIO I will ask him for my place again: he shall tell me I

am a drunkard! Had I as many mouths as Hydra²⁹⁴, such an

answer would stop²⁹⁵ them all. To be now a sensible man, by

and by a fool, and presently a beast! O, strange! Every

inordinate²⁹⁷ cup is unblessed, and the ingredient is a devil.IAGO Come, come, good wine is a good familiar²⁹⁸ creature,

if it be well used: exclaim no more against it. And, good

lieutenant, I think you think I love you.CASSIO I have well approved it³⁰¹, sir. I drunk?IAGO You or any man living may be drunk at a time³⁰²,

man. I tell you what you shall do. Our general’s wife is now

the general: I may say so in this respect, for that³⁰⁴ he hath

devoted and given up himself to the contemplation, mark, ³⁰⁵

and denotement of her parts³⁰⁶ and graces: confess yourself

freely to her, importune³⁰⁷ her help to put you in your place

again. She is of so free³⁰⁸, so kind, so apt, so blessed a

disposition, she holds it a vice in her goodness not to do more

than she is requested. This broken joint between you and her

husband entreat her to splinter³¹¹, and, my fortunes against

any lay³¹² worth naming, this crack of your love shall grow

stronger than it was before.CASSIO You advise me well.IAGO I protest³¹⁵, in the sincerity of love and honest

kindness.CASSIO I think it freely³¹⁷, and betimes in the morning I will

beseech the virtuous Desdemona to undertake³¹⁸ for me: I am

desperate of³¹⁹ my fortunes if they check me.IAGO

You are in the right. Goodnight, lieutenant: I must

to the watch.CASSIO Goodnight, honest Iago.Exit Cassio

IAGO And what’s he then that says I play the villain?

When this advice is free³²⁴ I give, and honest,

Probal³²⁵ to thinking, and indeed the course

To win the Moor again? For ’tis most easy

Th’inclining³²⁷ Desdemona to subdue

In any honest suit: she’s framed as fruitful³²⁸

As the free elements. And then for her

To win the Moor — were’t to renounce his baptism,

All seals³³¹ and symbols of redeemèd sin —

His soul is so enfettered³³² to her love

That she may make, unmake, do what she list³³³,

Even as her appetite³³⁴ shall play the god

With his weak function³³⁵. How am I then a villain

To counsel Cassio to this parallel³³⁶ course

Directly to his good? Divinity³³⁷ of hell!

When devils will the blackest sins put on³³⁸,

They do suggest³³⁹ at first with heavenly shows,

As I do now. For whiles this honest fool

Plies³⁴¹ Desdemona to repair his fortune,

And she for him pleads strongly to the Moor,

I’ll pour this pestilence³⁴³ into his ear,

That she repeals him³⁴⁴ for her body’s lust,

And by how much she strives to do him good,

She shall undo her credit³⁴⁶ with the Moor.

So will I turn her virtue into pitch³⁴⁷,

And out of her own goodness make the net

That shall enmesh them all.—

Enter RodorigoHow now, Rodorigo?RODORIGO I do follow here in the chase³⁵⁰, not like a hound that

hunts, but one that fills up the cry³⁵¹. My money is almost

spent; I have been tonight exceedingly well cudgelled³⁵², and I

think the issue³⁵³ will be I shall have so much experience for my

pains, and so, wit³⁵⁴h no money at all and a little more wit,

return again to Venice.IAGO How poor are they that have not patience!

What wound did ever heal but by degrees?

Thou know’st we work by wit, and not by witchcraft,

And wit depends on dilatory³⁵⁹ time.

Does’t not go well? Cassio hath beaten thee,

And thou, by that small hurt, hath cashiered³⁶¹ Cassio.

Though other things grow fair against³⁶² the sun,

Yet fruits that blossom first will first be ripe³⁶³.

Content thyself awhile. In troth³⁶⁴, ’tis morning;

Pleasure and action make the hours seem short.

Retire thee: go where thou art billeted.

Away, I say! Thou shalt know more hereafter.

Nay, get thee gone.Exit Rodorigo

Two things are to be done:

My wife must move³⁷⁰ for Cassio to her mistress:

I’ll set her on:

Myself the while³⁷² to draw the Moor apart

And bring him jump³⁷³ when he may Cassio find

Soliciting his wife: ay, that’s the way.

Dull not device³⁷⁵ by coldness and delay.Exit

Act 3 Scene 1running scene 7

Location: Cyprus (governor’s residence/citadel)

Enter Cassio, Musicians, ClownCASSIO Masters, play here: I will content your pains¹:

Something that’s brief, and bid ‘Good morrow,Music

general.’CLOWN Why masters, have your instruments been in

Naples⁴, that they speak i’th’nose thus?MUSICIAN How⁵, sir? How?CLOWN Are these, I pray you, wind instruments?MUSICIAN Ay, marry, are they, sir.CLOWN O, thereby hangs a tail⁸.MUSICIAN Whereby hangs a tale, sir?CLOWN Marry, sir, by many a wind instrument¹⁰ that I know.

But, masters, here’s money for you: and theGives money

general so likes your music that he desires you, for love’s¹²

sake, to make no more noise¹³ with it.MUSICIAN Well, sir, we will not.CLOWN If you have any music that may not be heard, to’t

again: but, as they say, to hear music the general does not

greatly care.MUSICIAN We have none such, sir.CLOWN Then put up¹⁹ your pipes in your bag, for I’ll away: go,

vanish into air, away!Exeunt Musicians

CASSIO Dost thou hear me, mine honest friend?CLOWN No, I hear not your honest friend: I hear you.CASSIO Prithee keep up thy quillets²³. There’s aGives money

poor piece of gold for thee: if the gentlewoman²⁴ that attends

the general be stirring²⁵, tell her there’s one Cassio entreats

her a little favour of speech: wilt thou do this?CLOWN She is stirring, sir: if she will stir hither, I shall seem²⁷

to notify unto her.Exit Clown

Enter IagoCASSIO In happy time²⁹, Iago.IAGO You have not been a-bed, then?CASSIO Why, no: the day had broke

Before we parted. I have made bold, Iago,

To send in to your wife: my suit to her

Is that she will to virtuous Desdemona

Procure me some access.IAGO I’ll send her to you presently³⁶,

And I’ll devise a mean³⁷ to draw the Moor

Out of the way, that your converse and business

May be more free.Exit

CASSIO I humbly thank you for’t.— I never knew

A Florentine⁴¹ more kind and honest.

Enter EmiliaEMILIA Good morrow, good Lieutenant: I am sorry

For your displeasure⁴³, but all will sure be well.

The general and his wife are talking of it,

And she speaks for you stoutly: the Moor replies

That he you hurt is of great fame⁴⁶ in Cyprus

And great affinity⁴⁷, and that in wholesome wisdom

He might not but refuse you: but he protests he loves you

And needs no other suitor⁴⁹ but his likings

To bring you in again.CASSIO Yet, I beseech you,

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

Give me advantage of⁵³ some brief discourse

With Desdemon alone.EMILIA Pray you come in:

I will bestow you where you shall have time

To speak your bosom⁵⁷ freely.CASSIO I am much bound to you.[Exeunt]

Act 3 Scene 2running scene 7 continues

Enter Othello, Iago and GentlemenOTHELLO These letters give, Iago, to the pilot,Gives him letters

And by him do my duties² to the senate:

That done, I will be walking on the works³.

Repair⁴ there to me.IAGO Well, my good lord, I’ll do’t.OTHELLO This fortification, gentlemen, shall we see’t?GENTLEMEN We’ll wait upon your lordship.Exeunt

Act 3 Scene 3running scene 7 continues

Enter Desdemona, Cassio and EmiliaDESDEMONA Be thou assured, good Cassio, I will do

All my abilities in thy behalf.EMILIA Good madam, do: I warrant³ it grieves my husband

As if the cause were his.DESDEMONA O, that’s an honest fellow. Do not doubt, Cassio,

But I will have my lord and you again

As friendly as you were.CASSIO Bounteous madam,

Whatever shall become of Michael Cassio,

He’s never anything but your true servant.DESDEMONA I know’t: I thank you. You do love my lord:

You have known him long, and be you well assured

He shall in strangeness¹³ stand no further off

Than in a politic¹⁴ distance.CASSIO Ay, but, lady,

That policy may either last so long,

Or feed upon such nice and waterish¹⁷ diet,

Or breed itself so out of circumstances¹⁸,

That I being absent and my place supplied¹⁹,

My general will forget my love and service.DESDEMONA Do not doubt²¹ that: before Emilia here

I give thee warrant²² of thy place. Assure thee,

If I do vow a friendship, I’ll perform it

To the last article: my lord shall never rest,

I’ll watch him tame²⁵ and talk him out of patience;

His bed shall seem a school, his board a shrift²⁶:

I’ll intermingle everything he does

With Cassio’s suit. Therefore be merry, Cassio,

For thy solicitor²⁹ shall rather die

Than give thy cause away³⁰.

Enter Othello and IagoEMILIA Madam, here comes my lord.CASSIO Madam, I’ll take my leave.DESDEMONA Why, stay and hear me speak.CASSIO Madam, not now: I am very ill at ease,

Unfit for mine own purposes.DESDEMONA Well, do your discretion³⁶.Exit Cassio

IAGO Ha? I like not that.OTHELLO What dost thou say?IAGO Nothing, my lord; or if — I know not what.OTHELLO Was not that Cassio parted from my wife?IAGO Cassio, my lord? No, sure, I cannot think it,

That he would steal away so guilty-like,

Seeing your coming.OTHELLO I do believe ’twas he.DESDEMONA How now, my lord?

I have been talking with a suitor⁴⁶ here,

A man that languishes in your displeasure.OTHELLO Who is’t you mean?DESDEMONA Why, your lieutenant, Cassio. Good my lord,

If I have any grace⁵⁰ or power to move you,

His present reconciliation take⁵¹,

For if he be not one that truly loves you,

That errs in ignorance and not in cunning⁵³,

I have no judgement in an honest face.

I prithee call him back.OTHELLO Went he hence now?DESDEMONA Ay, sooth⁵⁷; so humbled

That he hath left part of his grief with me

To suffer with him. Good love, call him back.OTHELLO Not now, sweet Desdemon: some other time.DESDEMONA But shall’t be shortly?OTHELLO The sooner, sweet, for you.DESDEMONA Shall’t be tonight at supper?OTHELLO No, not tonight.DESDEMONA Tomorrow dinner⁶⁵, then?OTHELLO I shall not dine at home:

I meet the captains at the citadel.DESDEMONA Why then, tomorrow night, on 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 trespass⁷², in our common reason —

Save that they say the wars must make example

Out of her best⁷⁴ — is not almost a fault

T’incur a private check⁷⁵. When shall he come?

Tell me, Othello: I wonder in my soul

What you would ask me that I should deny,

Or stand so mamm’ring⁷⁸ 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 brin⁸²g him in! Trust me, I could do much—OTHELLO Prithee, no more: let him come when he will:

I will deny thee nothing.DESDEMONA Why, this is not a boon⁸⁵:

’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 peculiar⁸⁸ profit

To your own person: nay, when I have a suit

Wherein I mean to touch⁹⁰ your love indeed,

It shall be full of poise⁹¹ and difficult weight,

And fearful to be granted.OTHELLO I will deny thee nothing:

Whereon⁹⁴, I do beseech thee, grant me this,

To leave me but a little to myself.DESDEMONA Shall I deny you? No. Farewell, my lord.OTHELLO Farewell, my Desdemona, I’ll come to thee straight⁹⁷.DESDEMONA Emilia, come.— Be as your fancies⁹⁸ teach you:

Whate’er you be, I am obedient.Exeunt [Desdemona and Emilia]

OTHELLO Excellent wretch! Perdition¹⁰⁰ catch my soul,

But I do love thee! And when I love thee not,

Chaos is come again.IAGO My noble lord—OTHELLO What dost thou say, Iago?IAGO Did Michael Cassio, when you wooed my lady,

Know of your love?OTHELLO He did, from first to last: why dost thou ask?IAGO But for a satisfaction of my thought,

No further harm.OTHELLO Why of thy thought, Iago?IAGO I did not think he had been acquainted with her.OTHELLO O, yes, and went between us very oft.IAGO Indeed?OTHELLO Indeed? Ay, indeed. Discern’st thou aught¹¹⁴ in that?

Is he not honest?IAGO Honest, my lord?OTHELLO Honest, ay, honest.IAGO My lord, for aught I know.OTHELLO What dost thou think?IAGO Think, my lord?OTHELLO ‘Think, my lord?’ Alas, thou echo’st me,

As if there were some monster in thy thought

Too hideous to be shown. Thou dost mean something.

I heard thee say even now, thou lik’st not that,

When Cassio left my wife: what didst not like?

And when I told thee he was of my counsel¹²⁶

Of my whole course of wooing, thou cried’st ‘Indeed?’

And didst contract and purse¹²⁸ thy brow together

As if thou then hadst shut up in thy brain

Some horrible conceit¹³⁰: if thou dost love me,

Show me thy thought.IAGO My lord, you know I love you.OTHELLO I think thou dost,

And for¹³⁴ I know thou’rt full of love and honesty,

And weigh’st thy words before thou giv’st them breath,

Therefore these stops¹³⁶ of thine fright me the more,

For such things in a false¹³⁷ disloyal knave

Are tricks of custom¹³⁸, but in a man that’s just

They’re close dilations¹³⁹, working from the heart

That passion cannot rule¹⁴⁰.IAGO For Michael Cassio,

I dare be sworn I think that he is honest.OTHELLO I think so too.IAGO Men should be what they seem,

Or those that be not, would they might seem none¹⁴⁵.OTHELLO Certain, men should be what they seem.IAGO Why then, I think Cassio’s an honest man.OTHELLO Nay, yet there’s more in this!

I prithee speak to me as to thy thinkings,

As thou dost ruminate, and give thy worst of thoughts

The worst of words.IAGO Good my lord, pardon me:

Though I am bound to every act of duty,

I am not bound to that all slaves are free¹⁵⁴.

Utter my thoughts? Why, say they are vile and false,

As where’s that palace whereinto foul things

Sometimes intrude not? Who has that breast so pure,

Where no uncleanly¹⁵⁸ apprehensions

Keep leets¹⁵⁹ and law-days and in sessions sit

With¹⁶⁰ meditations lawful?OTHELLO Thou dost conspire against thy friend¹⁶¹, Iago,

If thou but think’st him wronged and mak’st his ear

A stranger to thy thoughts.IAGO I do beseech you,

Though I perchance am vicious¹⁶⁵ in my guess —

As I confess it is my nature’s plague

To spy into abuses, and oft my jealousy¹⁶⁷

Shapes faults that are not — that your wisdom,

From one that so imperfectly conceits¹⁶⁹,

Would take no notice, nor build yourself a trouble

Out of his scattering¹⁷¹ and unsure observance.

It were not for your quiet nor your good,

Nor for my manhood, honesty and wisdom,

To let you know my thoughts.OTHELLO What dost thou mean?IAGO Good name in man and woman, dear my lord,

Is the immediate¹⁷⁷ jewel of their souls.

Who steals my purse steals trash, ’tis something, nothing;

’Twas mine, ’tis his, and has been slave to thousands:

But he that filches from me my good name

Robs me of that which not enriches him

And makes me poor indeed.OTHELLO I’ll know thy thoughts.IAGO You cannot, if¹⁸⁴ my heart were in your hand,

Nor shall not, whilst ’tis in my custody.OTHELLO Ha?IAGO O, beware, my lord, of jealousy:

It is the green-eyed monster which doth mock¹⁸⁸

The meat it feeds on. That cuckold¹⁸⁹ lives in bliss

Who, certain of his fate, loves not his wronger¹⁹⁰:

But, O, what damnèd minutes tells¹⁹¹ he o’er

Who dotes, yet doubts, suspects, yet soundly loves!OTHELLO O misery!IAGO Poor and content is rich and rich enough,

But riches fineless¹⁹⁵ is as poor as winter

To him that ever fears he shall be poor.

Good heaven, the souls of all my tribe defend

From jealousy!OTHELLO Why? Why is this?

Think’st thou I’d make a life of jealousy,

To follow still the changes of the moon²⁰¹

With fresh suspicions? No: to be once in doubt

Is to be resolved. Exchange me for a goat²⁰³

When I shall turn the business of my soul

To such exsufflicate²⁰⁵ and blowed surmises

Matching thy inference²⁰⁶. ’Tis not to make me jealous

To say my wife is fair, feeds well, loves company,

Is free of speech, sings, plays and dances:

Where virtue is, these are more virtuous:

Nor from mine own weak merits²¹⁰ will I draw

The smallest fear or doubt of her revolt²¹¹,

For she had eyes, and chose me. No, Iago,

I’ll see before I doubt; when I doubt, prove;

And on the proof, there is no more but this:

Away at once with love or jealousy.IAGO I am glad of this, for now I shall have reason

To show the love and duty that I bear you

With franker spirit: therefore, as I am bound,

Receive it from me. I speak not yet of proof:

Look to your wife, observe her well with Cassio,

Wear your eyes thus, not jealous nor secure²²¹.

I would not have your free and noble nature,

Out of self-bounty²²³, be abused: look to’t.

I know our country²²⁴ disposition well:

In Venice they do let heaven see the pranks²²⁵

They dare not show their husbands: their best conscience

Is not to leave’t undone²²⁷, but kept unknown.OTHELLO Dost thou say so?IAGO She did deceive her father, marrying you:

And when she seemed to shake and fear your looks,

She loved them most.OTHELLO And so she did.IAGO Why, go to²³³ then:

She that so young could give out such a seeming,

To seel²³⁵ 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.OTHELLO I am bound²³⁹ to thee for ever.IAGO I see this hath a little dashed your spirits.OTHELLO Not a jot, not a jot.IAGO Trust me, I fear it has.

I hope you will consider what is spoke

Comes from your love²⁴⁴. But I do see you’re moved:

I am to pray you not to strain my speech

To grosser²⁴⁶ issues nor to larger reach

Than to suspicion²⁴⁷.OTHELLO I will not.IAGO Should you do so, my lord,

My speech should fall into such vile success²⁵⁰

Which my thoughts aimed not. Cassio’s my worthy friend.

My lord, I see you’re moved.OTHELLO No, not much moved:

I do not think but Desdemona’s honest²⁵⁴.IAGO Long live she so; and long live you to think so!OTHELLO And yet, how nature erring from itself—IAGO Ay, there’s the point: as — to be bold with you —

Not to affect²⁵⁸ many proposèd matches

Of her own clime, complexion and degree²⁵⁹,

Whereto we see in all things nature tends—

Foh, one may smell in such a will²⁶¹ most rank,

Foul²⁶² disproportions, thoughts unnatural.

But pardon me: I do not in position²⁶³

Distinctly²⁶⁴ speak of her, though I may fear

Her will, recoiling to her better judgement,

May fall to match you with her country forms²⁶⁶

And happily²⁶⁷ repent.OTHELLO Farewell, farewell.

If more thou dost perceive, let me know more:

Set on thy wife to observe. Leave me, Iago.IAGO My lord, I take my leave.Starts to leave

OTHELLO Why did I marry? This honest creature doubtless

Sees and knows more, much more, than he unfolds.IAGO My lord, I would I might entreat your honourReturns

To scan²⁷⁵ this thing no further: leave it to time.

Although ’tis fit that Cassio have his place²⁷⁶,

For sure he fills it up with great ability,

Yet, if you please to put him off awhile,

You shall by that perceive him and his means²⁷⁹.

Note, if your lady strain his entertainment²⁸⁰

With any strong or vehement importunity,

Much will be seen in that. In the meantime,

Let me be thought too busy²⁸³ in my fears —

As worthy cause I have to fear I am —

And hold her free²⁸⁵, I do beseech your honour.OTHELLO Fear not my government²⁸⁶.IAGO I once more take my leave.Exit

OTHELLO This fellow’s of exceeding honesty,

And knows all quantities²⁸⁹, with a learnèd spirit,

Of human dealings²⁹⁰. If I do prove her haggard,

Though that her jesses²⁹¹ were my dear heartstrings,

I’d whistle her off and let her down the wind²⁹²

To prey at fortune²⁹³. Haply, for I am black

And have not those soft parts of conversation²⁹⁴

That chamberers²⁹⁵ have, or for I am declined

Into the vale of years — yet that’s not much —

She’s gone. I am abused²⁹⁷, and my relief

Must be to loathe her. O curse of marriage!

That we can call these delicate²⁹⁹ creatures ours

And not their appetites! I had rather be a toad

And live upon the vapour of a dungeon

Than keep a corner³⁰² in the thing I love

For others’ uses³⁰³. Yet, ’tis the plague to great ones,

Prerogatived³⁰⁴ are they less than the base:

’Tis destiny unshunnable, like death:

Even then this forkèd plague³⁰⁶ is fated to us

When we do quicken³⁰⁷. Look where she comes:

If she be false, heaven mocked³⁰⁸ itself!

I’ll not believe’t.

Enter Desdemona and EmiliaDESDEMONA How now, my dear Othello?

Your dinner, and the generous³¹¹ islanders

By you invited, do attend³¹² your presence.OTHELLO I am to blame.DESDEMONA Why do you speak so faintly?

Are you not well?OTHELLO I have a pain upon my forehead³¹⁶ here.DESDEMONA Why, that’s with watching³¹⁷. ’Twill away again:

Let me but bind it hard, within this hourOffers her handkerchief

It will be well.OTHELLO Your napkin³²⁰ is too little:He pushes away the handkerchief and it drops

Let it alone. Come, I’ll go in with you.Exit

DESDEMONA I am very sorry that you are not well.Following him

EMILIA I am glad I have found this napkin:Picks up the handkerchief

This was her first remembrance³²⁴ from the Moor:

My wayward husband hath a hundred times

Wooed³²⁶ me to steal it, but she so loves the token —

For he conjured her³²⁷ she should ever keep it —

That she reserves³²⁸ it evermore about her

To kiss and talk to. I’ll have the work ta’en out³²⁹,

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

Heaven knows, not I:

I nothing³³² but to please his fantasy.

Enter IagoIAGO How now? What do you here alone?EMILIA Do not you chide: I have a thing for you.IAGO You have a thing for me? It is a common³³⁵ thing—EMILIA Ha?IAGO To have a foolish wife.EMILIA O, is that all? What will you give me now

For the same handkerchief?IAGO What handkerchief?EMILIA What handkerchief?

Why, that the Moor first gave to Desdemona,

That which so often you did bid me steal.IAGO Hast stol’n it from her?EMILIA No, but she let it drop by negligence.

And, to th’advantage³⁴⁶, I, being here, took’t up.

Look, here ’tis.IAGO A good wench: give it me.EMILIA What will you do with’t, that you have been

So earnest to have me filch it?IAGO Why, what is that to you?Snatches it

EMILIA If it be not for some purpose of import,

Give’t me again: poor lady, she’ll run mad

When she shall lack³⁵⁴ it.IAGO Be not acknown on’t³⁵⁵: I have use for it.

Go, leave me.Exit Emilia

I will in Cassio’s lodging loose this napkin

And let him find it. Trifles light as air

Are to the jealous confirmations strong

As proofs of holy writ³⁶⁰: this may do something.

The Moor already changes with my poison:

Dangerous conceits³⁶² are in their natures poisons,

Which at the first are scarce found to distaste³⁶³,

But with a little act³⁶⁴ upon the blood,

Burn like the mines of sulphur. I did say so:

Enter OthelloAt a distance

Look, where he comes! Not poppy³⁶⁶, nor mandragora,

Nor all the drowsy syrups of the world

Shall ever medicine thee to that sweet sleep

Which thou owed’st³⁶⁹ yesterday.OTHELLO Ha, ha, false to me?IAGO Why how now, general? No more of that.OTHELLO Avaunt³⁷², be gone! Thou hast set me on the rack:

I swear ’tis better to be much abused

Than but to know’t a little.IAGO How now, my lord?OTHELLO What sense had I in her stol’n hours of lust?

I saw’t not, thought it not, it harmed not me:

I slept the next night well, fed well, was free³⁷⁸ and merry:

I found not Cassio’s kisses on her lips.

He that is robbed, not wanting³⁸⁰ what is stol’n,

Let him not know’t and he’s not robbed at all.IAGO I am sorry to hear this.OTHELLO I had been happy, if the general camp,

Pioneers³⁸⁴ and all, had tasted her sweet body,

So³⁸⁵ I had nothing known. O, now, for ever

Farewell the tranquil mind; farewell content;

Farewell the plumèd³⁸⁷ troops and the big wars

That makes ambition virtue! O, farewell!

Farewell the neighing steed and the shrill trump³⁸⁹,

The spirit-stirring drum, th’ear-piercing fife³⁹⁰,

The royal banner, and all quality³⁹¹,

Pride³⁹², pomp and circumstance of glorious war!

And, O, you mortal engines³⁹³, whose rude throats

Th’immortal Jove’s dread clamours³⁹⁴ counterfeit,

Farewell! Othello’s occupation’s gone.IAGO Is’t possible, my lord?OTHELLO Villain, be sure thou prove my love a whore;Grabs him

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!IAGO Is’t come to this?OTHELLO Make me to see’t, or at the least so prove it

That the probation⁴⁰⁴ bear no hinge nor loop

To hang a doubt on, or woe upon thy life!IAGO My noble lord—OTHELLO If thou dost slander her and torture me,

Never pray more: abandon all remorse⁴⁰⁸,

On horror’s head horrors accumulate,

Do deeds to make heaven weep, all earth amazed⁴¹⁰,

For nothing canst thou to damnation add

Greater than that.IAGO O grace! O heaven forgive me!

Are you a man? Have you a soul? Or sense?

God b’wi’you⁴¹⁵, take mine office. O wretched fool,

That lov’st to make thine honesty a vice!

O monstrous world! Take note, take note, O world,

To be direct and honest is not safe.

I thank you for this profit⁴¹⁹, and from hence

I’ll love no friend, sith⁴²⁰ love breeds such offence.OTHELLO Nay, stay: thou shouldst be⁴²¹ honest.IAGO I should be⁴²² wise, for honesty’s a fool

And loses that⁴²³ it works for.OTHELLO By the world,

I think my wife be honest and think she is not:

I think that thou art just and think thou art not.

I’ll have some proof. My name, that was as fresh

As Dian⁴²⁸’s visage, is now begrimed and black

As mine own face. If there be cords, or knives,⁴²⁹

Poison, or fire, or suffocating streams,

I’ll not endure it. Would I were satisfied!IAGO I see you are eaten up with passion:

I do repent me that I put it to you.

You would be satisfied?OTHELLO Would? Nay, and I will.IAGO And may: but, how? How satisfied, my lord?

Would you the supervision⁴³⁷ grossly gape on?

Behold her topped⁴³⁸?OTHELLO Death and damnation! O!IAGO It were a tedious difficulty, I think,

To bring them to that prospect⁴⁴¹: damn them then,

If ever mortal eyes do see them bolster⁴⁴²

More⁴⁴³ than their own. What then? How then?

What shall I say? Where’s satisfaction⁴⁴⁴?

It is impossible you should see this,

Were they as prime⁴⁴⁶ as goats, as hot as monkeys,

As salt⁴⁴⁷ as wolves in pride, and fools as gross

As ignorance made drunk. But yet, I say,

If imputation and strong circumstances⁴⁴⁹

Which lead directly to the door of truth

Will give you satisfaction, you might have’t.OTHELLO Give me a living reason she’s disloyal.IAGO I do not like the office,

But sith I am entered in this cause so far —

Pricked⁴⁵⁵ to’t by foolish honesty and love —

I will go on. I lay⁴⁵⁶ with Cassio lately,

And being troubled with a raging tooth

I could not sleep. There are a kind of men

So loose of soul that in their sleeps will mutter

Their affairs: one of this kind is Cassio.

In sleep I heard him say, ‘Sweet Desdemona,

Let us be wary, let us hide our loves’:

And then, sir, would he grip and wring my hand,

Cry ‘O sweet creature!’ then kiss me hard,

As if he plucked up kisses by the roots

That grew upon my lips, laid his leg

O’er my thigh, and sigh⁴⁶⁷, and kiss, and then

Cry, ‘Cursèd fate that gave thee to the Moor!’OTHELLO O monstrous! Monstrous!IAGO Nay, this was but his dream.OTHELLO But this denoted a foregone conclusion⁴⁷¹:

’Tis a shrewd doubt⁴⁷², though it be but a dream.IAGO And this may help to thicken other proofs

That do demonstrate thinly.OTHELLO I’ll tear her all to pieces.IAGO Nay, yet be wise: yet we⁴⁷⁶ see nothing done,

She may be honest yet. Tell me but this:

Have you not sometimes seen a handkerchief

Spotted with strawberries in your wife’s hand?OTHELLO I gave her such a one: ’twas my first gift.IAGO I know not that, but such a handkerchief —

I am sure it was your wife’s — did I today

See Cassio wipe his beard with.OTHELLO If it be that—IAGO If it be that, or any it was hers,

It speaks against her with the other proofs.OTHELLO O, that the slave⁴⁸⁷ had forty thousand lives:

One is too poor, too weak for my revenge.

Now do I see ’tis true. Look here, Iago,

All my fond⁴⁹⁰ love thus do I blow to heaven.

’Tis gone.

Arise, black vengeance, from thy hollow hell!

Yield up, O love, thy crown and hearted⁴⁹³ throne

To tyrannous hate! Swell, bosom, with thy fraught⁴⁹⁴,

For ’tis of aspics⁴⁹⁵’ tongues!IAGO Yet be content.OTHELLO O, blood, blood, blood!IAGO Patience, I say: your mind may change.OTHELLO Never, Iago. Like to the Pontic sea⁴⁹⁹,

Whose icy current and compulsive⁵⁰⁰ course

Ne’er feels retiring ebb, but keeps due on

To the Propontic⁵⁰² and the Hellespont,

Even so my bloody thoughts with violent pace

Shall ne’er look back, ne’er ebb to humble love,

Till that a capable⁵⁰⁵ and wide revenge

Swallow them up. Now, by yond marble⁵⁰⁶ heaven,Kneels

In the due reverence of a sacred vow

I here engage⁵⁰⁸ my words.Attempts to rise

IAGO Do not rise yet.Kneels

Witness, you ever-burning lights above,

You elements that clip⁵¹¹ us round about,

Witness that here Iago doth give up

The execution⁵¹³ of his wit, hands, heart,

To wronged Othello’s service! Let him command,

And to obey shall be in me remorse⁵¹⁵,

What bloody business ever⁵¹⁶.They rise

OTHELLO I greet thy love,

Not with vain thanks, but with acceptance bounteous,

And will upon the instant put thee to’t⁵¹⁹:

Within these three days let me hear thee say

That Cassio’s not alive.IAGO My friend is dead:

’Tis done at your request. But let her live.OTHELLO Damn her, lewd minx⁵²⁴! O, damn her, damn her!

Come, go with me apart: I will withdraw

To furnish me with some swift means of death

For the fair devil. Now art thou my lieutenant.IAGO I am your own for ever.Exeunt

Act 3 Scene 4running scene 8

Location: Cyprus (presumably outside the citadel)

Enter Desdemona, Emilia and ClownDESDEMONA Do you know, sirrah¹, where Lieutenant Cassio lies?CLOWN I dare not say he lies² anywhere.DESDEMONA Why, man?CLOWN He’s a soldier, and for me to say a soldier lies, ’tis

stabbing⁵.DESDEMONA Go to: where lodges he?CLOWN To tell you where he lodges is to tell you where I lie.DESDEMONA Can anything be made of this?CLOWN I know not where he lodges, and for me to devise a

lodging and say he lies here or he lies there, were to lie¹⁰

in mine own throat.DESDEMONA Can you inquire him out, and be edified¹² by report?CLOWN I will catechize¹³ the world for him, that is, make questions,

and by them answer.DESDEMONA Seek him, bid him come hither: tell him I have

moved¹⁶ my lord on his behalf and hope all will be well.CLOWN To do this is within the compass of man’s wit, and

therefore I will attempt the doing it.Exit Clown

DESDEMONA Where should I lose the handkerchief, Emilia?EMILIA I know not, madam.DESDEMONA Believe me, I had rather have lost my purse

Full of crusadoes²²: and but my noble Moor

Is true of mind and made of no such baseness

As jealous creatures are, it were enough

To put him to ill thinking.EMILIA Is he not jealous?DESDEMONA Who, he? I think the sun where he was born²⁷

Drew all such humours²⁸ from him.EMILIA Look where he comes.

Enter OthelloDESDEMONA I will not leave him now till Cassio

Be called to him.— How is’t with you, my lord?OTHELLO Well, my good lady.— O, hardness toAside

dissemble³²!—

How do you, Desdemona?DESDEMONA Well, my good lord.OTHELLO Give me your hand. This hand is moist, my lady.DESDEMONA It hath felt no age nor known no sorrow.OTHELLO This argues fruitfulness³⁷ and liberalPartially aside?heart:

Hot, hot, and moist. This hand of yours requires

A sequester³⁹ from liberty, fasting and prayer,

Much castigation⁴⁰, exercise devout,

For here’s a young and sweating devil here

That commonly rebels. ’Tis a good hand,

A frank⁴³ one.DESDEMONA You may, indeed, say so,

For ’twas that hand that gave away my heart.OTHELLO A liberal hand: the hearts of old gave hands⁴⁶,

But our new heraldry is hands, not hearts.DESDEMONA I cannot speak of this. Come now, your promise.OTHELLO What promise, chuck⁴⁹?DESDEMONA I have sent to bid Cassio come speak with you.OTHELLO I have a salt and sorry rheum⁵¹ offends me:

Lend me thy handkerchief.DESDEMONA Here, my lord.Offers him a handkerchief

OTHELLO That which I gave you.DESDEMONA I have it not about me.OTHELLO Not?DESDEMONA No, indeed, my lord.OTHELLO That’s a fault. That handkerchief

Did an Egyptian to my mother give:

She was a charmer, and could almost read

The thoughts of people: she told her, while she kept it,

’Twould make her amiable⁶² and subdue my father

Entirely to her love, but if she lost it

Or made a gift of it, my father’s eye

Should hold her loathèd and his spirits should hunt

After new fancies⁶⁶: she, dying, gave it me,

And bid me, when my fate would have me wived,

To give it her⁶⁸: I did so; and take heed on’t,

Make it a darling like your precious eye:

To lose’t or give’t away were such perdition

As nothing else could match.DESDEMONA Is’t possible?OTHELLO ’Tis true. There’s magic in the web⁷³ of it:

A sibyl⁷⁴, that had numbered in the world

The sun to course two hundred compasses⁷⁵,

In her prophetic fury⁷⁶ sewed the work:

The worms were hallowed⁷⁷ that did breed the silk,

And it was dyed in mummy⁷⁸ which the skilful

Conserved of⁷⁹ maidens’ hearts.DESDEMONA Indeed? Is’t true?OTHELLO Most veritable: therefore look to’t well.DESDEMONA Then would to heaven that I had never seen’t!OTHELLO Ha? Wherefore?DESDEMONA Why do you speak so startingly and rash⁸⁴?OTHELLO Is’t lost? Is’t gone? Speak, is’t out o’th’way⁸⁵?DESDEMONA Bless us!OTHELLO Say you?DESDEMONA It is not lost, but what an if⁸⁸ it were?OTHELLO How?⁸⁹DESDEMONA I say it is not lost.OTHELLO Fetch’t, let me see’t.DESDEMONA Why, so I can, but I will not now.

This is a trick to put me from my suit:

Pray you let Cassio be received again.OTHELLO Fetch me the handkerchief: my mind misgives⁹⁵.DESDEMONA Come, come,

You’ll never meet a more sufficient⁹⁷ man.OTHELLO The handkerchief.DESDEMONA A man that all his time

Hath founded his good fortunes on your love,

Shared dangers with you—OTHELLO The handkerchief.DESDEMONA In sooth¹⁰³, you are to blame.OTHELLO Away!Exit OthelloEMILIA Is not this man jealous?DESDEMONA I ne’er saw this before.

Sure, there’s some wonder¹⁰⁷ in this handkerchief:

I am most unhappy¹⁰⁸ in the loss of it.EMILIA ’Tis not a year or two shows us a man:

They are all but stomachs, and we all but food:

They eat us hungerly¹¹¹, and when they are full

They belch¹¹² us.

Enter Iago and Cassio Look you, Cassio and my husband.IAGO There is no other way: ’tis she must do’t.

And, lo, the happiness¹¹⁵! Go and importune her.DESDEMONA How now, good Cassio, what’s the news with you?CASSIO Madam, my former suit: I do beseech you

That by your virtuous¹¹⁸ means I may again

Exist, and be a member of his love

Whom I with all the office¹²⁰ of my heart

Entirely honour. I would not be delayed.

If my offence be of such mortal¹²² kind

That nor¹²³ my service past, nor present sorrows,

Nor purposed merit in futurity¹²⁴,

Can ransom me into his love again,

But¹²⁶ to know so must be my benefit:

So shall I clothe me in a forced content,

And shut myself up in¹²⁸ some other course,

To fortune’s alms¹²⁹.DESDEMONA Alas, thrice-gentle Cassio,

My advocation¹³¹ is not now in tune;

My lord is not my lord; nor should I know him,

Were he in favour¹³³ as in humour altered.

So help me every spirit sanctified

As I have spoken for you all my best

And stood within the blank¹³⁶ of his displeasure

For my free speech! You must awhile be patient:

What I can do I will, and more I will

Than for myself I dare: let that suffice¹³⁹ you.IAGO Is my lord angry?EMILIA He went hence but now,

And certainly in strange unquietness.IAGO Can he be angry? I have seen the cannon

When it hath blown his ranks¹⁴⁴ into the air,

And like the devil from his very arm

Puffed his own brother¹⁴⁶: and is he angry?

Something of moment¹⁴⁷ then. I will go meet him:

There’s matter in’t indeed, if he be angry.Exit

DESDEMONA I prithee do so. Something, sure, of state¹⁴⁹,

Either from Venice, or some unhatched practice¹⁵⁰

Made demonstrable here in Cyprus to him,

Hath puddled¹⁵² 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 indues¹⁵⁵

Our other healthful members¹⁵⁶ even to a sense

Of pain. Nay, we must think men are not gods,

Nor of them look for such observancy¹⁵⁸

As fits the bridal. Beshrew¹⁵⁹ me much, Emilia,

I was — unhandsome¹⁶⁰ warrior as I am —

Arraigning¹⁶¹ his unkindness with my soul,

But now I find I had suborned the witness¹⁶²,

And he’s indicted falsely.EMILIA Pray heaven it be state matters, as you think,

And no conception nor no jealous toy¹⁶⁵

Concerning you.DESDEMONA Alas the day! I never gave him cause.EMILIA But jealous souls will not be answered so;

They are not ever jealous for the cause,

But jealous for they’re jealous: it is a monster

Begot upon¹⁷¹ itself, born on itself.DESDEMONA Heaven keep the monster from Othello’s mind!EMILIA Lady, amen.DESDEMONA I will go seek him.— Cassio, walk hereabout:

If I do find him fit, I’ll move your suit

And seek to effect it to my uttermost.Exeunt [Desdemona and Emilia]

CASSIO I humbly thank your ladyship.

Enter BiancaBIANCA Save¹⁷⁸ you, friend Cassio!CASSIO What make you¹⁷⁹ from home?

How is’t with you, my most fair Bianca?

Indeed, sweet love, I was coming to your house.BIANCA And I was going to your lodging, Cassio.

What, keep a week away? Seven days and nights?

Eight score eight¹⁸⁴ hours? And lovers’ absent hours

More tedious than the dial¹⁸⁵ eight score times?

O weary reck’ning¹⁸⁶!CASSIO Pardon me, Bianca: I have this while with leaden thoughts been pressed:

But I shall, in a more continuate¹⁸⁹ time,

Strike off this score¹⁹⁰ of absence. Sweet Bianca,Gives her

Desdemona’s handkerchief

Take me this work out¹⁹¹.BIANCA O Cassio, whence came this?

This is some token from a newer friend¹⁹³:

To the felt absence now I feel a cause¹⁹⁴.

Is’t come to this? Well, well.CASSIO Go to, woman!

Throw your vile guesses in the devil’s teeth,

From whence you have them. You are jealous now

That this is from some mistress, some remembrance;

No, in good troth, Bianca.BIANCA Why, whose is it?CASSIO I know not, neither: I found it in my chamber.

I like the work well. Ere it be demanded²⁰³ —

As like enough it will — I would have it copied:

Take it, and do’t, and leave me for this time.BIANCA Leave you? Wherefore?CASSIO I do attend here on the general,

And think it no addition, nor my wish,

To have him see me womaned²⁰⁹.BIANCA Why, I pray you?CASSIO Not that I love you not.BIANCA But that you do not love me.

I pray you bring²¹³ me on the way a little,

And say if I shall see you soon at night²¹⁴.CASSIO ’Tis but a little way that I can bring you,

For I attend here: but I’ll see you soon.BIANCA ’Tis very good: I must be circumstanced²¹⁷.Exeunt

Act 4 Scene 1running scene 8 continues

Enter Othello and IagoIAGO Will you think so?OTHELLO Think so, Iago?IAGO What, to kiss in private?OTHELLO An unauthorized kiss!IAGO Or to be naked with her friend in bed

An hour or more, not meaning any harm?OTHELLO Naked in bed, Iago, and not mean harm?

It is hypocrisy against the devil⁸:

They that mean virtuously, and yet do so,

The devil their virtue tempts, and they tempt heaven.IAGO If they do nothing, ’tis a venial¹¹ slip:

But if I give my wife a handkerchief—OTHELLO What then?IAGO Why, then, ’tis hers, my lord, and being hers,

She may, I think, bestow’t on any man.OTHELLO She is protectress of her honour too:

May she give that?IAGO Her honour is an essence that’s not seen:

They have it very oft that have it not¹⁹.

But, for the handkerchief—OTHELLO By heaven, I would most gladly have forgot it.

Thou said’st — O, it comes o’er my memory

As doth the raven²³ o’er the infectious house,

Boding²⁴ to all — he had my handkerchief.IAGO Ay, what of that?OTHELLO That’s not so good now.IAGO What if I had said I had seen him do you wrong?

Or heard him say — as knaves be such abroad²⁸,

Who having by their own importunate²⁹ suit,

Or voluntary dotage³⁰ of some mistress,

Convincèd³¹ or supplied them, cannot choose

But they must blab—OTHELLO Hath he said anything?IAGO He hath, my lord, but be you well assured,

No more than he’ll unswear.OTHELLO What hath he said?IAGO Why, that he did³⁷: I know not what he did.OTHELLO What? What?IAGO Lie—OTHELLO With her?IAGO With her? On her: what you will.OTHELLO Lie with her? Lie on her⁴²? We say ‘Lie on her’ when

they belie⁴³ her. Lie with her! That’s fulsome: handkerchief —

confessions — handkerchief! To confess and be hanged for

his labour: first to be hanged and then to confess: I tremble at

it. Nature would not invest herself in such shadowing

passion without some instruction⁴⁶. It is not words that shakes

me thus. Pish! Noses⁴⁸, ears and lips. Is’t possible? Confess?

Handkerchief? O devil!Falls in a trance

IAGO Work on,

My medicine⁵¹ works! Thus credulous fools are caught,

And many worthy and chaste dames even thus,

All guiltless, meet reproach⁵³.— What, ho? My lord?

My lord, I say! Othello!—

Enter CassioHow now, Cassio?CASSIO What’s the matter?IAGO My lord is fall’n into an epilepsy.

This is his second fit: he had one yesterday.CASSIO Rub him about the temples.IAGO The lethargy⁵⁹ must have his quiet course:

If not, he foams at mouth and by and by

Breaks out to savage madness. Look he stirs:

Do you withdraw yourself a little while,

He will recover straight. When he is gone,

I would on great occasion⁶⁴ speak with you.[Exit Cassio]

How is it, general? Have you not hurt your head?OTHELLO Dost thou mock me⁶⁶?IAGO I mock you not, by heaven.

Would you would bear your fortune like a man!OTHELLO A hornèd⁶⁹ man’s a monster and a beast.IAGO There’s many a beast then in a populous city,

And many a civil⁷¹ monster.OTHELLO Did he confess it?IAGO Good sir, be a man.

Think every bearded⁷⁴ fellow that’s but yoked

May draw⁷⁵ with you: there’s millions now alive

That nightly lie in those unproper⁷⁶ beds

Which they dare swear peculiar⁷⁷: your case is better.

O, ’tis the spite of hell, the fiend’s arch-mock,

To lip⁷⁹ a wanton in a secure couch

And to suppose her chaste! No, let me know,

And knowing what I am, I know what she shall be.OTHELLO O, thou art wise: ’tis certain.IAGO Stand you awhile apart,

Confine yourself but in a patient list⁸⁴.

Whilst you were here o’erwhelmèd with your grief —

A passion most unsuiting such a man —

Cassio came hither: I shifted him away⁸⁷,

And laid good ’scuses upon your ecstasy⁸⁸,

Bade him anon⁸⁹ return and here speak with me,

The which he promised. Do but encave⁹⁰ yourself

And mark the fleers⁹¹, the gibes and notable scorns

That dwell in every region of his face,

For I will make him tell the tale anew,

Where, how, how oft, how long ago and when

He hath and is again to cope⁹⁵ your wife.

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

Or I shall say you’re all in all in spleen⁹⁷,

And nothing of a man.OTHELLO Dost thou hear, Iago?

I will be found most cunning in my patience,

But — dost thou hear? — most bloody.IAGO That’s not amiss,

But yet keep time¹⁰³ in all. Will you withdraw?Othello withdraws

Now will I question Cassio of Bianca,

A housewife¹⁰⁵ that by selling her desires

Buys herself bread and cloth: it is a creature

That dotes on Cassio — as ’tis the strumpet¹⁰⁷’s plague

To beguile¹⁰⁸ many and be beguiled by one.

He, when he hears of her, cannot restrain¹⁰⁹

From the excess of laughter. Here he comes.

Enter Cassio As he shall smile, Othello shall go mad,

And his unbookish¹¹² jealousy must conster

Poor Cassio’s smiles, gestures and light¹¹³ behaviours

Quite in the wrong.— How do you, lieutenant?CASSIO The worser that you give me the addition¹¹⁵

Whose want¹¹⁶ even kills me.IAGO Ply Desdemona well, and you areLowers his voice

sure on’t¹¹⁷.

Now, if this suit lay in Bianca’s power,

How quickly should you speed¹¹⁹!CASSIO Alas, poor caitiff¹²⁰!He laughs

OTHELLO Look how he laughs already!IAGO I never knew woman love man so.CASSIO Alas, poor rogue, I think, indeed, she loves me.OTHELLO Now he denies it faintly¹²⁴, and laughs it out.IAGO Do you hear, Cassio?OTHELLO Now he importunes him

To tell it o’er: go to, well said¹²⁷, well said.IAGO She gives it out that you shall marry her:

Do you intend it?CASSIO Ha, ha, ha!OTHELLO Do ye triumph¹³¹, Roman? Do you triumph?CASSIO I marry? What? A customer?¹³² Prithee bear some

charity to my wit: do not think it so unwholesome¹³³. Ha,

ha, ha!OTHELLO So, so, so, so: they laugh that wins.IAGO Why, the cry¹³⁶ goes that you marry her.CASSIO Prithee say true.IAGO I am a very villain else¹³⁸.OTHELLO Have you scored me¹³⁹? Well.CASSIO This is the monkey’s own giving out: she is

persuaded I will marry her, out of her own love and flattery¹⁴¹,

not out of my promise.OTHELLO Iago beckons me: now he begins the story.CASSIO She was here even now: she haunts¹⁴⁴ me in every

place. I was the other day talking on the sea-bank¹⁴⁵ with

certain Venetians, and thither comes the bauble¹⁴⁶, and falls

me thus about my neck—Embraces him

OTHELLO Crying, ‘O dear Cassio!’ as it were: his gesture

imports¹⁴⁹ it.CASSIO So hangs and lolls and weeps upon me, so shakes

and pulls me. Ha, ha, ha!OTHELLO Now he tells how she plucked¹⁵² him to my chamber.

O, I see that nose¹⁵³ of yours, but not that dog I shall throw it to.CASSIO Well, I must leave her company.IAGO Before me, look where she comes.

Enter BiancaCASSIO ’Tis such another¹⁵⁶ fitchew! Marry, a perfumed

one!— What do you mean by this haunting of me?BIANCA Let the devil and his dam¹⁵⁸ haunt you! What did you

mean by that same handkerchief you gave me even now? I

was a fine fool to take it. I must take out the work? A likely

piece of work¹⁶¹, that you should find it in your chamber and

know not who left it there. This is some minx¹⁶²’s token, and I

must take out the work? There, give it your hobby-horse¹⁶³:

wheresoever you had it, I’ll take out no work

on’t.She gives him

the handkerchief

CASSIO How now, my sweet Bianca? How now? How now?OTHELLO By heaven, that should¹⁶⁷ be my handkerchief!BIANCA If you’ll come to supper¹⁶⁸ tonight, you may: if you

will not, come when you are next prepared for.Exit

IAGO After her, after her.CASSIO I must: she’ll rail¹⁷¹ in the streets else.IAGO Will you sup there?CASSIO Yes, I intend so.IAGO Well, I may chance to see you, for I would very fain

speak with you.CASSIO Prithee come. Will you?IAGO Go to: say no more.[Exit Cassio]

OTHELLO How shall I murder him, Iago?Comes forward

IAGO Did you perceive how he laughed at his vice?OTHELLO O, Iago!IAGO And did you see the handkerchief?OTHELLO Was that mine?IAGO Yours by this hand: and to see how he prizes the

foolish¹⁸⁴ woman your wife! She gave it him, and he hath giv’n

it his whore.OTHELLO I would have him nine years a-killing. A fine

woman! A fair woman! A sweet woman!IAGO Nay, you must forget that.OTHELLO Ay, let her rot and perish, and be damned tonight,

for she shall not live. No, my heart is turned to stone: I strike

it, and it hurts my hand. O, the world hath not a sweeter

creature: she might lie by an emperor’s side and command

him tasks.IAGO Nay, that’s not your way¹⁹⁴.OTHELLO Hang her! I do but say what she is: so delicate with