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 CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 THIS BOOK IS ONE OF A 
 COLLECTION MADE BY 
 
 BENNO LOEWY 
 1854-1919 
 
 AND BEQUEATHED TO 
 CORNELL UNIVERSITY 
 
Cornell University Library 
 
 PR 2829.M39 
 
 The Othello of Tommaso Salvini, 
 
 3 1924 013 141 779 
 
The original of tiiis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924013141779 
 
THE 
 
 OTHELLO 
 
 OF 
 
 TOMMASO SALVINI 
 
 DESCRIBED BY 
 
 EDWARD TUCKERMAN MASON 
 
 WITH PORTRAITS BY 
 
 ROBERT FREDERICK BLUM 
 
 NEW YORK AND LONDON 
 
 P. PUTNAM'S SONS 
 a;^e lintchttbothct f^xtm 
 1890 
 
 c0 
 
M3f 
 
 COPYRIGHT BY 
 
 EDWARD TUCKERMAN MASON 
 
 ■0 ^' 
 
 U6e IRnicIiecbocIiei frees, mew JSorl! 
 
 Electrotyped, Printed, and Bound by 
 G. P. Putnam's Sons 
 
TO 
 
 THE GOOD FRIEND 
 
 WHO HAS CHEERED AND HELPED ME FROM THE BEGINNING TO 
 THE END OF MV WORK 
 
 I GRATEFULLY AND AFFECTIONATELY 
 
 INSCRIBE THIS BOOK 
 
PREFACE. 
 
 The aim of tHs book is to describe, fully and 
 accurately, a great theatrical performance — ^per- 
 haps tlie greatest of our time. As Shakespeare 
 is to other dramatists, so is Salvini to other 
 actors; and thei'efore I have tried to tell how 
 he plays Othello. The work is purely descrip- 
 tive, and makes no claim to literary or critical 
 worth. As far as possible, I have withheld all 
 expression of personal opinion, and have simply 
 told what I saw and heard ; for my only object 
 has been to secure fulness, clearness, and accu- 
 racy of statement. 
 
 The value of the book depends wholly upon 
 its authenticity : thus it is necessary to tell, at 
 greater length than would otherwise be war- 
 rantable, how the work has been done. 
 
 In May, 1881, I began to make notes of the 
 impersonation ; and, after having seen it several 
 times, in November, 1882, I wrote down my 
 impressions, for future use. My object was to 
 make a full record, by the aid of which I could 
 afterwards prepare a careful description. These 
 notes were translated into Italian, and were 
 
VI PREFACE. 
 
 then submitted to Signor Salvini, by a friend 
 of his. They were returned to this friend, in 
 March, 1883, enriched by many valuable com- 
 ments, together with a letter in which Signor 
 Salvini said : 
 
 "I have finished amending the few inexact 
 things I found in the analysis of the character 
 of Othello as represented by me. I do not 
 know if I have done well or ill, but I have 
 thought to benefit the task, not a light one, 
 undertaken by your friend. ... If there were 
 many persons in the world who occupied them- 
 selves with the unhappy art of acting, little 
 cared for, and ill appreciated by many, it would 
 be very much the better for it ! " 
 
 There the matter rested for several years. In 
 the autumn of 1889, after having seen the per- 
 formance several times, I wrote an account of 
 it, adding largely to my original notes, and 
 availing myself of Signor Salvini's criticisms, 
 which I either incorporated into my text, or 
 inserted as foot-notes. It must be understood 
 that Signor Salvini's sanction does not cover 
 the whole of my work, as now printed — ^for his 
 comments refer only to the notes of 1882. Be- 
 lieving that my manuscript was now nearly 
 ready for the press, I took it to my friend, Mr. 
 Greorge Becks, whose thorough knowledge and 
 
PREFACE. vii 
 
 large experience render Mni an authority upon 
 all matters pertaining to the stage. Mr. Becks 
 went through the manuscript with me, line by 
 line, and the work was greatly benefited by his 
 searching criticism. During Signor Salvini's re- 
 cent engagements in Brooklyn and New York, I 
 saw the performance three times, and gathered 
 a great deal of fresh material. I then made a 
 final revision of my work, and put it into the 
 form in which it now appears. 
 
 The description is, probably, free from serious 
 errors of misstatement ; but as I write — one 
 week after the great actor's last performance in 
 New York — that majestic presence is again be- 
 fore me, and I am dissatisfied with all I have 
 done. For I know how slight and inadequate 
 must be every attempt to describe a consum- 
 mate work of art. Many details will always 
 elude observation or memory, and many deli- 
 cate and subtle beauties cannot be described. 
 I can only plead that I have done what I could, 
 and have not grudged time or labor. It has 
 been a work of love, and I hope it may be 
 useful to students and lovers of theatrical art. 
 
 E. T. M. 
 
 March 22, 1890. 
 
THE OTHELLO OF TOMMASO SALVINL 
 
 ACT I. 
 
 Scene I.* — Venice. A Street. Full stage. 
 
 Enter Othello and Iago right upper entrance. (lago enters first, 
 and crosses, left, coming half-way down the stage. Othello follows 
 him, appearing on the stage when Iago has reached the centre. 
 Othello stands, right centre, Veil up the stage.) 
 
 Iago. Though in the trade of war I have slain men. 
 Yet do I hold it very stuff o' the conscience 
 To do no contrived murder : I lack iniquity 
 Sometimes to do me service : nine or ten times 
 I had thought to have yerk'd him here under the ribs. 
 
 Oth, 'T is better as it is. 
 
 Iago, Nay, but he prated. 
 
 And spoke such scurvy and provoking terms 
 Against your honour 
 That, with the little godliness I have, 
 I did full hard forbear him. But, I pray you, sir. 
 Are you fast married ? Be assured of this. 
 That the magnifico is much beloved, 
 And hath in his effect a voice potential 
 As double as the duke's : he will divorce you ; 
 Or put upon you what restraint and grievance 
 The law, with all his might to enforce it on, 
 Will give him cable. 
 
 * The text of the play is that used upon the stage. There are 
 many variations from the original. 
 
 I 
 
2 THE OTHELLO OF TOMMASO SALVINI. 
 
 When lago says " Are you fast married ? " 
 Othello smiles, showing well-assured confidence 
 in the strength and safety of his own position. 
 
 Oth. Let hira do his spite : 
 
 My services which I have done the signiory 
 Shall out-tongue his complaints. 'T is yet to know, — 
 Which, when I know that boasting is an honour, 
 I shall promulgate — I fetch my life and being 
 From men of royal siege, and my demerits 
 May speak unbonneted to as proud a fortune 
 As this that I have reach'd : for know, lago, 
 , But that I love the gentle Desdemona, 
 I would not my unhoused free condition 
 Put into circumscription and confine 
 For the sea's worth. 
 
 Othello crosses, right, and comes down the 
 stage, and turns, facing left, before saying, 
 
 But, look ! what lights come yond ? 
 
 lago. Those are the raised father and his friends : 
 You were best go in. 
 
 Oih. Not I ; I must be found : 
 
 My parts, my title, and my perfect soul 
 Shall manifest me rightly. Is it they ? 
 
 lago. By Janus, I think no. 
 
 Enter Cassio, and certain Officers with torches, left upper entrance. 
 They cross to right centre, coming down the stage to Othello. 
 
 Cas. The duke does greet you, general, 
 
 And he requires your haste-post-haste appearance, 
 Even on the instant. 
 
 Oth. What is the matter, think you ? 
 
 Cas. Something from Cyprus, as I may divine : 
 It is a business of some heat : you have been hotly called for ; 
 When, being not at your lodging to be found. 
 The senate hath sent about three several quests 
 To search you out. 
 
THE OTHELLO OF TOM MA SO SALVINI. 3 
 
 0th. 'T is well I am found by you. 
 
 •Cas. Here comes another troop to seek for you. 
 lago. It is Brabantio. General, be advised ; 
 He comes to bad intent. 
 
 Enter BraBANTIO, Roderigo, and Officers with torches and weap- 
 ons, left upper entrance. 
 
 Oth. Holla ! stand there ! 
 
 Rod. Signior, it is the Moor. 
 
 Bra. Down with him, thief ! 
 
 [ They draw on both sides, 
 lago. You, Roderigo ! come, sir, I am for you. 
 Oth. Keep up your bright swords, for the dew will rust 
 them. 
 Good signior, you shall more command with years 
 Than with your weapons. 
 
 Othello leaves Cassio and the officers, and 
 crosses up the stage, from right to centre, say- 
 ing, in a loud tone of command, " Keep up your 
 bright swords " ; then, standing centre, between 
 the opposing parties, after a slight pause, and 
 with a smile, "for the dew will rust them." 
 Then, advancing a few steps toward Brabantio, 
 left centre, " Good signior, you shall more com- 
 mand," etc. 
 
 Bra. O thou foul thief , where hast thou stow'd my daughter ? 
 Damn'd as thou art, thou hast enchanted her ; 
 For I '11 refer me to all things of sense, 
 If she in chains of magic were not bound, 
 Whether a maid so tender, fair, and happy, 
 So opposite to marriage that she shunn'd 
 The wealthy curled darlings of our nation 
 Would ever have, to incur a general mock. 
 Run from her guardage to the sooty bosom 
 Of such a thing as thou, to fear, not to delight. 
 
4 THE OTHELLO OF TOM MA SO SALVINI. 
 
 Judge me the world, if 't is not gross in sense 
 
 That thou hast practised on her with foul charms, • 
 
 Abused her delicate youth with drugs or minerals 
 
 That weaken motion : I '11 have 't disputed on ; 
 
 'T is probable and palpable to thinking. 
 
 I therefore apprehend and do attach thee 
 
 For an abuser of the world, a practiser 
 
 Of arts inhibited and out of warrant. 
 
 Lay hold upon him : if he do resist. 
 
 Subdue him at his peril. |- y,^^ advance on both sides. 
 
 Throughout Brabantio's speech, Othello stands 
 left of Brabaatio, profile to the audience ; lago is 
 near Othello, on his left, and a little behind him. 
 At Brabantio's accusation — " thou has practised 
 on her," etc., Othello smiles disdainfully, and 
 turns toward lago, whose hand he clasps — 
 lago's right hand in Othello's left hand. At the 
 end of Brabantio's speech, both parties advance 
 toward each other, and Othello crosses from left 
 to centre, so as to stand between them.* 
 
 * On several occasions I have seen a variation at this point, Othello 
 remaining at centre during Brabantio's speech, the situation being thus : 
 
 ^ Othello 
 ^ Casssio 
 ^ lago ^ Brabantio 
 
 and the followers of Cassio and Brabantio standing on either side 
 near their respective leaders. 
 
THE OTHELLO OF TOMMASO SALVINI. 5 
 
 0th. Hold your hands. 
 
 Were it my cue to fight, I should have known it 
 Without a prompter. Where will you that I go 
 To answer this your charge ? 
 
 Bra. To prison, till fit time 
 
 Of law and course of direct session 
 Call thee to answer. 
 
 Oih. What if I do obey ? 
 
 How may the duke be therewith satisfied. 
 Whose messengers are here about my side. 
 Upon some present business of the state 
 To bring me to him ? 
 
 Bra. 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 state, 
 Cannot but feel this wrong, as 't were their own ; 
 For if such actions may have passage free. 
 Bond-slaves and pagans shall our statesmen be. \Exeunt. 
 
 As Othello says " Hold your hands," he does 
 not move from his position at centre, but re- 
 strains the opposing parties by an imperious 
 gesture, extending his arms, and looking first at 
 the one leader, then at the other. Brabantio 
 and his followers exeunt, left upper entrance; 
 Cassio, lago, and the officers remaining, right ; 
 Othello, centre. Upon Brabantio's exit with 
 his party, lago starts forward, as if to attack 
 them, but is restrained by Othello, who lays his 
 hand upon lago's arm, and then motions him, 
 and the rest, to follow him to the council- 
 chamber, and exit, left upper entrance. 
 
6 THE OTHELLO OF TOMMASO SALVINI. 
 
 Scene 2.* — Venice. A Council-chamber. The Duke and nine 
 Senators discovered, seated, right — Officers and Attendants. 
 
 Duke. There is no composition in these news 
 That gives them credit. 
 
 * * » * * « *t 
 
 Enter Brabantio, Othello, Iago, Roderigo, ««(/ Officers, left 
 lower entrance. Othello stands a little left of centre, facing the Duke. 
 Iago, left, behind Othello, and farther down the stage. Brabantio 
 crosses right, and seats himself at the council-table. 
 
 * The full stage having been used in the first scene, the curtain is 
 dropped, in order to set the council-chamber. 
 
 f The scene continues, substantially as in the original, until Othello's 
 entrance. 
 
THE OTHELLO OF TO MM A SO SALVINI. 7 
 
 Duke. Valiant Othello, we must straight employ you 
 Against the general enemy Ottoman. 
 
 [ To Brabaniio\ I did not see you ; welcome, gentle signior ; 
 We lack'd your counsel and your help to-night. 
 
 Bra. So did I yours. Good your grace, pardon me ; 
 Neither my place nor aught I heard of business 
 Hath raised me from my bed, nor doth the general care 
 Take hold on me, for my particular grief 
 Is of so flood-gate and o'erbearing natilre 
 That it engluts and swallows other sorrows 
 And it is still itself. 
 
 Duke. Why, what 's the matter ? 
 
 Bra. My daughter ! O, my daughter ! 
 
 Duke and Sen. Dead ? 
 
 Bra. Ivj^ to me ; 
 
 She is abused, stol'n from me, and corrupted 
 By spells and medicines bought of mountebanks ; 
 For nature so preposterously to err, 
 Being not deficient, blind, or lame of sense. 
 Sans witchcraft could not. 
 
 During Brabantio's complaint, " She is abused," 
 etc., Othello, standing as before, shows impa- 
 tience. He sighs, and turns slightly to the left, 
 wearied and disgusted. The action is very 
 slight, not emphasized. 
 
 Duke. Whoe'er he be that in this foul proceeding 
 Hath thus beguiled your daughter of herself 
 And you of her, the bloody book of law 
 You shall yourself read in the bitter letter 
 After your own sense, yea, though our proper son 
 Stood in your action. 
 
 Bra. Humbly I thank your grace. 
 
 Here is the man, this Moor, whom now, it seems. 
 Your special mandate for the state-affairs 
 Hath hither brought. 
 
8 THE OTHELLO OF TOM MA SO SALVINI. 
 
 Duke and Sen. We are very sorry for 't. 
 
 Duke ITo Othello\. What, in your own part, can you say to 
 
 this? 
 Bra. Nothing, but this is so. 
 
 Upon the Duke's question, " What, in your 
 own part, can you say to this ? " Othello essays 
 to speak, but is interrupted by Brabantio's 
 " Nothing, but this is so." Othello restrains 
 himself courteously, without glancing toward 
 Brabantio, and awaits his opportunity to speak, 
 standing as before. 
 
 Oth. Most potent, grave, and reverend signiors. 
 My very noble and approved good masters. 
 That I have ta'en away this old man's daughter. 
 It is most true ; true, I have married her : 
 The very head and front of my offending 
 Hath this extent, no more. Rude am I in my speech, 
 And little bless'd with the soft phrase of peace : 
 For since these arms of mine had seven years' pith. 
 Till now some nine moons wasted, they have used 
 Their dearest action in the tented field. 
 And little of this great world can I speak, 
 More than pertains to feats of broil and battle. 
 And therefore little shall I grace my cause 
 In speaking for myself. Yet, by your gracious patience, 
 I will a round unvarnish'd tale deliver 
 Of my whole course of love ; what drugs, what charms. 
 What conjuration, and what mighty magic. 
 For such proceeding I am charg'd withal, 
 I won his daughter. 
 
 " Bude am I in my speech," he delivers with 
 a slight smile, and in a very smooth and melo- 
 dious manner, using the finest and most musical 
 
THE OTHELLO OF TOM MA SO SALVINI. g 
 
 tones of his voice. Othello makes a slight 
 pause between the several phrases, " what 
 drugs, what charms, what conjuration " ; smiling 
 good-naturedly; expressing lofty indifference 
 and amused contempt in regard to Brabantio's 
 accusations. 
 
 Bra. A maiden never bold ; 
 
 Of spirit so still and quiet, that her motion 
 Blush'd at herself ; and she, in spite of nature, 
 Of years, of country, credit, every thing. 
 To fall in love with what she feared to look on ! 
 It is a judgment maim'd and most imperfect 
 That will confess perfection so could err 
 Against all rules of nature. 
 I therefore vouch again 
 
 That with some mixtures powerful o'er the blood, 
 Or with some dram conjur'd to this effect, 
 He wrought upon her. 
 
 Duke. To vouch this, is no proof. 
 
 First Sen. Othello, speak. 
 
 Otk. I do beseech you. 
 
 Send for the lady to the Sagittary, 
 And let her speak of me before her father : 
 If you do find me foul in her report. 
 The trust, the office I do hold of you. 
 Not only take away, but let your sentence 
 Even fall upon my life. 
 
 As Brabantio reiterates his charges, " I there- 
 fore vouch again," etc., Othello shows increased 
 impatience and deprecation of the charges. His 
 face and manner denote sadness, weariness, in- 
 dignation, and scorn. These feelings grow upon 
 him, until they find expression in the words, 
 
lO THE OTHELLO OF TOM MA SO SALVINL 
 
 " I do beseecli you, send for the lady," etc., 
 whicli lie delivers quietly, but with great 
 intensity; passion held in check; suppressed 
 vehemence. 
 
 Duke. Fetch Desdemona hither. 
 
 0th. Ancient, conduct them : you best know the place. 
 
 \_Exeunt lago and Attendants , left. 
 
 As he says " Ancient, conduct them," Othello, 
 for the first time, changes the position which he 
 took at the beginning of the scene. He turns 
 and crosses left, to lago, whom he dismisses ; 
 then returns to his former position, left centre, 
 as he says : 
 
 And, till she come, as truly as to heaven 
 I do confess the vices of my blood, 
 So justly to your grave ears I '11 present 
 How I did thrive in this fair lady's love. 
 And she in mine. 
 
 Duke. Say it, Othello. 
 
 0th. Her father loved me ; oft invited me ; 
 Still question'd me the story of my life. 
 From year to year, the battles, sieges, fortunes, 
 That I have pass'd. 
 
 I ran it through, even from my boyish days. 
 To the very moment that he bade me tell it ; 
 Wherein I spake' of most disastrous chances, 
 Of moving accidents by flood and field. 
 Of hair-breadth 'scapes i' the imminent deadly breach. 
 Of being taken by the insolent foe 
 And sold to slavery, of my redemption thence 
 And portance in my travels' history : 
 Wherein of antres vast and deserts idle. 
 Rough quarries, rocks and hills, whose heads touch heaven. 
 
THE OTHELLO OF TOMMASO SALVINI. II 
 
 It was my hint to speak, — such was the process ; 
 
 And of the Cannibals that each other eat, 
 
 The Anthropophagi, and men whose heads 
 
 Do grow beneath their shoulders. This to hear 
 
 Would Desdemona seriously incline : 
 
 But still the house-afifairs would draw her thence : 
 
 Which ever as she could with haste dispatch, 
 
 She 'd come again, and with a greedy eaf 
 
 Devour up my discourse ; which I observing, 
 
 Took once a pliant hour, and found good means 
 
 To draw from her a prayer of earnest heart 
 
 That I would all my pilgrimage dilate, 
 
 Whereof by parcels she had something heard. 
 
 But not intentively : I did consent. 
 
 And often did beguile her of her tears. 
 
 When I did speak of some distressful stroke 
 
 That my youth suffer'd. My story being done. 
 
 She gave me for my pains a world of sighs : 
 
 She swore, in faith, 'twas strange, 'twas passing strange, 
 
 'T was pitiful, 'twas wonflrous pitiful : 
 
 She wish'd she had not heard it, yet she wish'd 
 
 That heaven had made her such a man ; she thank'd me. 
 
 And bade me, if I had a friend that loved her, 
 
 I should but teach him how to tell my story. 
 
 And that would woo her. Upon this hint I spake : 
 
 She loved me for the dangers I had pass'd, 
 
 And I loved her that she did pity them. 
 
 This only is the witchcraft I have used : 
 
 Here comes the lady ; let her witness it. 
 
 Enter Desdemona, I ago, Cassio, and, Attendants, left. 
 
 As Othello says " Her father loved me," he 
 looks at Brabantio, and pauses ; he then con- 
 tinues, "oft invited me," etc., lopking at the 
 Duke. His delivery of 
 
 " the battles, sieges, fortunes. 
 That I have pass'd," 
 
12 THE OTHELLO OF TOM MA SO SALVINI. 
 
 expresses modesty as to his own achievements ; 
 his manner is deprecatory, as if unwilling to 
 dwell upon his actions in an egotistic way. 
 
 " Wherein I spake of most disastrous chances," etc. 
 
 In these seven lines he expresses the act of 
 recalling the various adventures. He makes 
 several pauses, for consideration and remem- 
 brance. The particulars are not all present be- 
 fore his mind, so that he can recite them glibly, 
 like a speech learned for declamation. 
 
 " Wherein of antres vast and deserts idle," etc. 
 
 Heretofore, in this speech, he has stood, mo- 
 tionless, facing the Duke. Now he begins to 
 use illustrative action ; spreading out his arms, 
 with a sweeping gesture, to suggest the deserts ; 
 pointing upward to the hills. As he tells of 
 the cannibals, he turns to the left, expressing 
 horror by his face, and by a gesture with both 
 hands, as if repelling the man-eaters. He sug- 
 gests the appearance of the " men whose heads 
 do grow beneath their shoulders," by a very 
 graceful action, touching his own head with 
 both hands, and lowering his hands to his 
 breast. This pictorical treatment of the text 
 continues until the lines, 
 
 ' ' This to hear 
 Would Desdemona seriously incline,'' 
 
THE OTHELLO OF TOMMASO SALVINL I3 
 
 when he resumes the tone and manner of quiet 
 narration. 
 
 't was strange, 't was passing strange, 
 
 'T was pitiful, 't was wondrous pitiful : " 
 
 In these lines he personates Desdemona, and 
 speaks in a feminine tone of voice. 
 
 " I should but teach him how to tell my story \pause\. 
 And that would woo her." 
 
 He is still personating Desdemona. After the 
 pause, he speaks the last words in a low tone, 
 and with bashfulness. Then his whole manner 
 changes, and he utters his own passionate Joy in 
 " Upon this hint I spake." His voice becomes 
 loud and exultant. This exultant tone continues 
 through the two following lines. Then, drawing 
 himself up to his full height, he turns toward 
 Brabantio ; his manner changing to haughtiness, 
 and stern self-assertion, as he says, loudly, " This 
 only is the witchcraft I have used." It is his 
 final vindication of himself. He then turns to the 
 left, and sees Desdemona approaching, and says : 
 " Here comes the lady ; let her witness it," in a 
 perfectly colloquial manner, simple, and unde- 
 clamatory. Desdemona enters, left. Othello 
 meets her, leads her to centre, and then retires, 
 left, taking his position beside lago, at lago's 
 
14 THE OTHELLO OF TOM MA SO SALVINL 
 
 right hand. Here he stands, watching Desde- 
 mona; his \)Y(Mb toward the audienc*;.* 
 
 />a/6^ I think thi» tale would win my daughter t/x., 
 G'/'^l Brabantio, 
 
 Take op thi« mangled matter at the be»t : 
 Men do their broken weapon* rather tmc 
 Than their bare hand*. 
 
 ^ra. I pray yon, hear her tpeak : 
 
 If she eontef/i that -.he was half the wooer, 
 Destruaion on my head, if my bad blame 
 Light on the man ! Come hither, gentle mi*tre»« ; 
 Do you perceive in all thin noble company 
 Where mo«t yon owe obedience? 
 
 //#;. My noble father, 
 
 I do perceive here a divided doty ; 
 To you I am bound for life and clucation ; 
 My life and education both do learn me 
 How to respect you ; you are the lord ot duty ; 
 I am hitherto your daughter ; but here '» ray boeband. 
 And to much doty a» my mothtr ihovi'd 
 To yon, preferring you before her fadier, 
 So much I challenge that I may profe** 
 Due to the Mo'/r my lord. 
 
 Throughout Desdemona's speech, '* My noble 
 father," etc., Othello standn, as above indicated ; 
 at first, grave, anxious; growing rrxore and more 
 happy as Desdemona continuf-s ; turning with 
 
 ♦ At recent performances there ha* been this variation -, At " Hew 
 comes the lady," etc., Othello t-^rr,*, left, a* fxrfore, and tee* Desde- 
 mona coming. Afvrr a rivyrt f-aiue, Cassio bnngs in Desdemona, at 
 1',-ft lo-zrer entrance, leads K':r to centre, present* her to the Duke, and 
 retire-;, left. lago follc/v,* them, ar,d stands, left, v/ell down the stage. 
 Othello cro«£i«s. left, bowing to Ivetdemona, and gazing raptazowif 
 upon her, with smiles of delimit, and takes his position at lago's rig^ 
 hand. 
 
THE OTHELLO OF TOM MA SO SALVINI. IS 
 
 glad smiles toward lago, claiming his sympathy 
 with the delight caused by Desdemona's loyalty. 
 At the end of Desdemona's speech, Othello goes 
 to her, and leads her, left. 
 
 Bra. God be wi' you ! I have done. 
 Come hither, Moor : 
 
 I here do give thee that with all my heart 
 Which, but thou hast already, with all my heart 
 I would keep from thee. 
 I humbly beseech you, proceed to the affairs of state. 
 
 Upon Brabantio's words, " Come hither, 
 Moor," Othello leaves Desdemona, crosses, right, 
 pausing to bow to the Duke, and goes to Bra- 
 bantio, right, before whom he stands, grave and 
 attentive, his right hand upon his breast. Bra- 
 bantio continues, " I here do give thee that with 
 all my heart " — Othello instantly responds to 
 what he deems magnanimity upon Brabantio's 
 part. He bends toward him, extending his 
 right hand, and uttering a low sound expressive 
 of gratitude and affection. All this is at once 
 repressed when Brabantio continues, "Which, 
 but thou hast already," etc. Othello draws 
 himself up to his full height, gazes a moment 
 at Brabantio with grief and indignation ; then 
 turns from him, crossing, left, dignified and self- 
 sustained, though deeply hurt, and rejoins Des- 
 demona. 
 
1 6 THE OTHELLO OF TOM MA SO SALVINL 
 
 Duke. The Turk with a most mighty preparation makes for Cy- 
 prus. Othello, the fortitude of the place is best known to you ; you 
 must therefore be content to slubber the gloss of your new fortunes 
 with this more stubborn and boisterous expedition. 
 
 Oth. The tyrant custom, most grave senators. 
 Hath made the flinty and steel couch of war 
 My thrice-driven bed of down : I do agnize 
 A natural and prompt alacrity 
 I find in hardness, and do undertake 
 These present wars against the Ottomites. 
 Most humbly therefore bending to your state, 
 I crave fit disposition for my wife, 
 Due reference of place and exhibition, 
 With such accommodation and besort 
 As levels with her breeding. 
 
 Duke, If you please, 
 
 Be 't at her father's. 
 
 Bra. I '11 not have it so. 
 
 Des. Nor I ; I would not there reside. 
 To put my father in impatient thoughts 
 By being in his eye. Most gracious duke, \^She kneels\ 
 To my unfolding lend your prosperous ear ; 
 And let me iind a charter in your voice, 
 To assist my simpleness. 
 
 Duke. What would you, Desdemona ? 
 
 Des. That I did love the Moor to live with him. 
 My downright violence and storm of fortunes 
 May trumpet to the world : my heart 's subdued 
 Even to the very quality of my lord : 
 I saw Othello's visage in his mind, 
 And to his honours and his valiant parts 
 Did I my soul and fortunes consecrate. 
 So that, dear lords, if I be left behind, 
 A moth of peace, and he go to the war. 
 The rites for which I love him are bereft me. 
 And I a heavy interim shall support 
 By his dear absence. Let me go with him. 
 
 Desdemona crosses from left to centre, as she 
 
THE OTHELLO OF TOMMASO SALVINJ. If 
 
 says " Nor I ; I would not there reside," facing 
 the Duke. Othello remains, left, beside lago. 
 At " Most gracious duke," Desdemona kneels. 
 At the beginning of Desdemona's speech, " That 
 I did love the Moor," etc., Othello's manner 
 and expression are grave, wondering, gradually 
 changing to Joyful. When Desdemona says 
 "I saw Othello's visage in his mind," Othello 
 turns to lago with a smile, seeking his sym- 
 pathy. (This indication of the warmth of 
 Othello's nature, and of his affectionate confi- 
 dence in lago, as his "heart's friend," is very 
 strongly and beautifully emphasized through- 
 out this scene.) Othello's joy increases through- 
 out Desdemona's speech, and at its close he goes 
 rapidly and impulsively to her, raising her from 
 her knees, and encircling her with his arm, as he 
 turns to the Duke. 
 
 Oth. Your voices, lords : — 'beseech you let her -vrill 
 Have a free vi-ay. 
 
 Vouch with me, heaven, I therefore beg it not, 
 To please the palate of my appetite, 
 Nor to comply with heat — the young affects 
 In me defunct — and proper satisfaction. 
 But to be free and bounteous to her mind : 
 And heaven defend your good souls, that you thiiik 
 I will your serious and great business scant 
 For she is with me ; no, when light-wing'd toys 
 Of feather'd Cupid seel with wanton dullness 
 My speculative and officed instruments. 
 That my disports corrupt and taint my business, 
 
1 8 THE OTHELLO OF TO MM A SO SALVINI. 
 
 Let housewives make a skillet of my helm, 
 And all indign and base adversities 
 Make head against my estimation ! 
 
 Standing, centre, with his arm around Desde- 
 mona, lie delivers " Your voices, lords : — 'be- 
 seech you," etc., with passionate vehemence. 
 His manner changes to grave, even solemn, pro- 
 test at " Youch with me, heaven," etc.,* when he 
 releases Desdemona (who crosses, left, to lago), 
 and turns to address himself more forcibly to 
 the Duke and the Senators. His earnestness 
 increases throughout his speech, and he ends 
 at with a burst of passionate vehemence. 
 
 Duke. Be it as you shall privately determine. 
 Either for her stay or going : the affair cries haste, 
 And speed must answer it ; you must hence to-night. 
 
 Des. To-night, my lord ? 
 
 Desdemona crosses from left to centre. 
 Othello stands farther up the stage, a little 
 right of centre. He is painfully surprised at 
 the Duke's command ; he turns toward Des- 
 demona, and restrains himself from protesting 
 against the abruptness of his departure.' 
 
 Duke. This night. Othello, leave some officer behind, 
 And he shall our commission bring to you ; 
 With such things else of quality and respect 
 As doth import you. 
 
 * Signor Salvini added this comment in regard to this change of 
 manner : " Since he (O.) reflects that his vehement and impassioned 
 action toward Desdemona is unseemly, he being in the presence of 
 the Council of Ten." 
 
THE OTHELLO OF TOM MA SO SALVINI. 1 9 
 
 0th. \crossing left and bringing lago a little forward\. 
 So please your grace, my ancient : 
 A man he is of honesty and trust : 
 To his conveyance I assign my wife. 
 
 Duke, Let it be so. 
 Good night to every one. 
 
 [ The Duke and Senators rise\ And, noble signior [ To Bra.\, 
 If virtue no delighted beauty lack. 
 Your son-in-law is far more fair than black. 
 
 First Sen. Adieu, brave Moor ; use Desdemona well. 
 
 \jExeunt, left. 
 
 The Duke and Senators exeunt, left, Othello bowing low to the 
 
 Duke in recognition of his compliment. Brabantio crosses, left, after 
 
 the rest. Ashe passes Desdemona, she appeals to him, in action ; he 
 
 repulses her, and goes to Othello. 
 
 ^ Brabantio 
 ^ Othello 
 
 ^ Desdemona 
 
 Bra. Look to her. Moor, if thou hast eyes to see : 
 She 'has deceived her father, and may thee. 
 
 \Exit, left upper entrance. 
 Oih. My life upon her faith ! 
 Come, Desdemona ; I have but an hour 
 Of love, of wordly matters and direction, 
 To spend with thee ; we must obey the time. 
 
 \Exeunt Desdemona and Othello, left upper entrance. 
 
 At Brabantio's warning, " Look to Iter," etc., 
 Othello starts back, with both hands raised. 
 
20 THE OTHELLO OF TOMMASO SALVINI. 
 
 Brabantio goes up the stage, and exit, left. 
 After a short pause, Othello rapidly follows 
 him up the stage, as he says " My life upon her 
 faith ! " He again pauses an instant, utters an 
 indignant exclamation, and makes a threatening 
 gesture toward Brabantio, who has passed out 
 of sight. He then turns, and comes rapidly 
 down the stage, right, to Desdemona. He 
 stands close beside her, a little right of centre, 
 and near the front, as he delivers the lines, 
 " Come, Desdemona ; I have but an hour," etc. 
 At the end of the speech, which he delivers with 
 deep tenderness, he pauses, gazes upon her, then, 
 impulsively, and with great ardor, he embraces 
 her, and, gazing rapturously into her face, leads 
 her away, his right arm around her. Exeunt, 
 left upper entrance.* 
 
 ACT II. 
 
 Scene I. — A Seaport in Cyprus. An open place near the quay. 
 Full stage, A stone quay across the back of the scene, with several 
 steps leading to the stage. Castle, right, with entrance up a flight of 
 steps, MoNTANO and Officers discovered. 
 
 Mon. What from the cape can you discern at sea ? 
 ****** *j. 
 
 Enter OTHELLO and Attendants. 
 0th, O my fair warrior ! 
 Des. My dear Othello ! 
 
 * Signer Salvini comments upon this exit : " Transported and de- 
 lighted, legally to possess his treasure." 
 
 f The scene proceeds, substantially as in the original, until 
 Othello's entrance. 
 
THE OTHELLO OF TOM MA SO SALVINI. 21 
 
 Oih. O my soul's joy ! 
 If after every tempest come such calms, 
 May the winds blow till they have waken'd death ! 
 And let the labouring bark climb hills of seas 
 Olympus high and duck again as low 
 As hell 's from heaven ! If it were now to die, 
 'T were now to be most happy ; for, I fear. 
 My soul hath her content so absolute 
 That not another comfort like to this 
 Succeeds in unknown fate. 
 
 Des. The heavens forbid 
 
 But that our loves and comforts should increase, 
 Even as our days do grow ! 
 
 This entrance is arranged quite elaborately. 
 First, a cannon is discliarged, outside. Then 
 shouts and martial music, to welcome the gen- 
 eral on shore, are heard, as if at some distance. 
 These sounds grow louder and louder, and pres- 
 ently the quay is filled with natives of Cyprus, 
 and with soldiers and sailors, cheering, and 
 waving their caps. At the height of this tri- 
 umphal clamor, with the loud clang of cymbals . 
 and blare of trumpets, Othello appears, in full 
 armor, upon the quay. He enters rapidly, from 
 the left. He stops for a moment at the top of 
 the flight of steps, where, seeing Desdemona, he 
 speaks the line, " O my fair warrior ! " extend- 
 ing his arms toward her. He then comes quickly 
 down the steps to Desdemona, embraces her, and 
 leads her down to the front, centre. Holding 
 her in his arms, he delivers the lines, " O my 
 soul's joy," etc. This speech is given with 
 
22 THE OTHELLO OF TOMMASO SALVINI. 
 
 rapid, impetuous utterance ; it is wholly exul- 
 tant; the possible "fear" is not permitted to 
 affect his present Joy. There is no gloomy pre- 
 monition of the tragedy to come. Othello and 
 Desdemona stand in profile to the audience; 
 Othello, left ; Desdemona, right. 
 
 Oik. Amen to that, sweet powers ! 
 
 I cannot speak enough of this content ; 
 It stops me here ; it is too much of joy. 
 
 lago [Aside]. O, you are well tuned now ! 
 But I '11 set down the pegs that make this music. 
 As honest as I am. 
 
 As Othello says " It stops me here," he lays 
 his left hand upon his throat, speaking the words, 
 and those which follow, as if short of breath. 
 The Italian is, " Essa il respir mi tronca " — ■" It 
 cuts off my hreathr At the end of the speech 
 he embraces Desdemona more closely, kisses her, 
 and stands with his lips pressed to hers, during 
 lago's lines, " O, you are well tuned," etc. 
 
 Oth. Come, let us to the castle. 
 
 News, friends, our wars are done, the Turks are drown'd. 
 How does my old acquaintance of this isle ? 
 Honey, you shall be well desired in Cyprus ; 
 I have found great love amongst them. O my sweet, 
 I prattle out of fashion, and I dote 
 In mine own comforts. I prithee, good lago, 
 Go to the bay and disembark my coffers : 
 Come, Desdemona. 
 
 \Exeunt Othello^ Desdemona, and Attendants, right. 
 
,THE OTHELLO OF TOMMASO SALVINL 23 
 
 " Come, let us to tlie castle." He releases 
 Desdemona, and turns his back to the audience, 
 going up the stage ; Desdemona following him. 
 " How does our old acquaintance," etc. ; cross- 
 ing, right, near the entrance to the castle, he 
 shakes hands, heartily, with an officer, whom 
 he presents to Desdemona, as he says " Honey, 
 you shall be well desired," etc. At " O my 
 sweet, I prattle," etc., he again embraces Desde- 
 mona, turning, left, toward lago, with his right 
 arm around Desdemona, as he says " I prithee, 
 good lago," etc. He then takes Desdemona 
 into the castle, right. The order to lago, and 
 the words " Come, Desdemona," are spoken 
 in a colloquial manner, without any trace of 
 tragic declamation. 
 
 ******* 
 
 Pe-enter Othello and Attendants. 
 
 0th. What is the matter here ? 
 
 Mon. 'Zounds, I bleed still ; I am hurt to the death. 
 
 0th. Hold, for your lives ! 
 For Christian shame, put by this barbarous brawl : 
 He that stirs next to carve for his own rage 
 Holds his soul light ; he dies upon his motion. 
 Honest lago, that look'st dead with grieving, 
 Speak, who began this ? 
 
 Othello speaks " What is the matter here ? " 
 outside, right. He enters rapidly, with drawn 
 sword, makes a momentary pause at the top of 
 
24 THE OTHELLO OF TO MM A SO SALVim. 
 
 the steps ; then descends quickly, and goes be- 
 tween the fighting Montano and Cassio, and 
 parts them with his sword. The lines, "For 
 Christian shame," etc., down to "who began 
 this ? " are spoken very rapidly, and with action 
 and expression showing impatience and increas- 
 ing anger. The situation is thus : 
 
 Quay 
 
 Steps 
 
 Officers and attendants disposed about 
 the stage 
 
 Entrance to castle 
 
 ^ Othello 
 
 ♦ lago 
 
 ♦ 
 ^ Montano, ^ Cassio 
 
 ^ supported by two officers 
 
 lago. I do not know : friends all but now, even now, 
 In quarter, and in terms like bride and groom 
 Devesting them for bed ; and then, but now — 
 As if some planet had unwitted men — 
 Swords out, and tilting one at other's breast. 
 In opposition bloody. I cannot speak 
 Any beginning to this peevish odds ; 
 And would in action glorious I had lost 
 Those legs that brought me to a part of it 1 
 
THE OTHELLO OF TOMMASO SALVINI. 25 
 
 0th. How comes it, Michael, you are thus forgot ? 
 
 Othello crosses, left, to Cassio, and stands 
 close beside him. 
 
 Cas. I pray you, pardon me, I cannot speak. 
 
 Othello turns angrily from Cassio, and I'e- 
 crosses to right centre. 
 
 Oth. Worthy Montano, you were wont be civil ; 
 The gravity and stillness of your youth 
 The world hath noted, and your name is great 
 In mouths of wisest censure : what 's the matter, 
 That you unlace your reputation thus 
 And spend your rich opinion for the name 
 Of a night-brawler ? give me answer to it. 
 
 Mo7%. Worthy Othello, I am hurt to danger : 
 Your officer, lago, can inform you, — 
 
 While I spare speech, which something now offends me, — 
 Of all that I do know ; nor know I aught 
 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 shows increasing anger during Mon- 
 tano's speech, expressing it by an inarticulate 
 sound, as Montano says " Unless self -charity," 
 etc. 
 
 Oth. Now, by heaven. 
 
 My blood begins my safer guides to rule. 
 Give me to know how this foul rout began. 
 What ! in a town of war. 
 Yet wild, the people's hearts brimful of fear. 
 To manage private and domestic quarrel. 
 In night, and on the court and guard of safety ! 
 'T is monstrous, lago, who began 't ? 
 
26. THE OTHELLO OF TOMMASO SALVINI. 
 
 These lines are spoken very rapidly, with 
 vehemence and passion. 
 
 Mon. If partially affin'd, or leagu'd in office. 
 Thou dost deliver more or less than truth, 
 Thou art no soldier. 
 
 lago. Touch me not so near : 
 
 I had rather have this tongue cut from my mouth 
 Than it should do offence to Michael Cassio ; 
 'Yet, I persuade myself, to speak the truth 
 Shall nothing wrong him. 
 
 Othello nods impatiently, as if he would 
 
 say " Yes, yes, go on ! " 
 
 Thus it is, general. 
 Montano and myself being in speech, 
 There comes a fellow crying out for help, 
 And Cassio following him with determined sword. 
 To execute upon him. Sir, this gentleman 
 Steps in to Cassio, and entreats his pause : 
 Myself the crying fellow did pursue. 
 Lest by his clamour — as it so fell out — 
 The town might fall in fright : he, swift of foot, 
 Outran my purpose ; and I return'd the rather 
 For that I heard the clink and fall of swords, 
 And Cassio high in oath ; 
 
 [Othello shakes his head, regretfully ; and 
 looks reproachingly at Cassio.] 
 
 which till to-night 
 I ne'er might say before. When I came back — 
 For this was brief — I found them close together, 
 At blow and thrust ; even as again they were ' 
 
 When you yourself did part them. 
 More of this matter cannot I report : 
 
THE OTHELLO OF TOM MA SO SALVINI. 2J 
 
 But men are men ; the best sometimes forget : 
 Though Cassio did some little wrong to him, 
 As men in rage strike those that wish them best. 
 Yet surely Cassio, I believe, received 
 From him that fled some strange indignity, 
 Which patience could not pass. 
 
 Othello shakes his head, inci-edulously, and 
 lays his hand npon lago's shoulder, as he says, 
 
 Oth. I know, lago. 
 
 Thy honesty and love doth mince this matter. 
 Making it light to Cassio. 
 
 lago makes a gesture of protest, interceding 
 for Cassio. Othello puts him aside, with a 
 decisive shake of the head, and with an imperi- 
 ous gesture, and crosses, left, to Cassio, saying, 
 in a low tone, and rapidly, 
 
 Cassio, I love thee ; 
 But never more be officer of mine. 
 
 Re-enter Desdemona, attended. 
 Look, if my gentle love be not raised up ! 
 I '11 make thee an example. 
 
 After saying " Cassio, I love thee," Othello 
 pauses for a moment, and Cassio advances to 
 him, with hands stretched out in supplication. 
 Othello repulses him by a quick gesture, with 
 his left arm, as he says " But never more," etc. 
 Othello then turns away from Cassio, and sees 
 Desdemona, entering, right. He goes hastily to 
 
I ( 
 
 28 THE OTHELLO OF TOM MA SO SALVHSfl. 
 
 her, centre, and then turns again toward Cassio, 
 in quick, hot Avrath, saying, with a gesture of 
 menace, " I '11 make thee an example." 
 
 Des. What 's the matter ? 
 
 0th. All 's well now. 
 
 Sir, for your hurts, myself will be your surgeon : 
 Lead him off. [ To Montana, who is led off. 
 
 lago, look with care about the town, 
 And silence those whom this vile brawl distracted. 
 Come, Desdemona : 't is the soldiers' life 
 To have their balmy slumbers waked with strife. 
 
 \_Exeunt all but lago and Cassio. 
 
 This speech is given with great rapidity ; his 
 interest being centred in Desdemona, whom he 
 wraps tenderly in his loose cloak, which he has 
 worn throughout the scene, shielding her from 
 the night air, and from the observation of the 
 crowd. • As he takes her back into the castle, 
 he turns once more, left, upon Cassio, with 
 a threatening, angry aspect — ^regarding him as 
 the prime cause of all the trouble. His manner 
 toward Desdemona is that of tender solicitude 
 and reassurance. Exeunt, right. 
 
TOMMASO SALVIXI AS OTHELLO. 
 
 This portrait of Signor Salvini was drawn from life by Mr. Blum, 
 and was published in The Cenhiry of November, 1881. It is here 
 reprinted by the courtesy of the Century Company. 
 
THE OTHELLO OF TOM MA SO SALVINI. 29 
 
 ACT III.' 
 
 Scene. Cyprus. A room in the Castle. Desdemona, Cassio. 
 and Emilia discovered. 
 
 ^ Chair 
 
 Window 
 
 ^ Cliair 
 
 Table 
 
 Open door 
 
 Large double-doors, open 
 
 to 
 
 ^ Chair 
 
 ^ Chair 
 Open door 
 
 Des. Be thou assured, good Cassio, I will do 
 All my abilities in thy behalf. 
 
 4: :>! # * H< Ht 
 
 't 
 
 £mil. Madam, here comes my lord. 
 Cas. Madam, I '11 take my leave. 
 Des. Why, stay, and hear me speak. 
 Cas. Madam, not now : I am very ill at ease. 
 Unfit for mine own purposes. 
 
 Des. Well, do your discretion. [Exit Cassio. 
 
 Enter Othello and Iago. 
 lago. Ha ! I like not that. 
 Otk. What dost thou say ? 
 
 f The scene proceeds as in the original. 
 
2i^ TIIF. OTHELLO OF TOMMASO SALVINI. 
 
 lago. Nothing, my lord : or if — I know not what. 
 
 0th. Was not that Cassio parted from my wife ? 
 
 Lago. Cassio, my lord ! No, sure, I cannot think it, 
 That he would steal away so guilty-like. 
 Seeing you coming. 
 
 Olh. I do believe 't was he. 
 
 At the beginning of the scene, Desdemona is 
 discovered seated at the left end of the table, 
 Cassio standing before her. She rises, and 
 crosses to centre, as she says "Why, stay, and 
 hear me speak." Cassio makes his exit, centre, 
 going off, right. As he disappears, lago enters, 
 left, followed by Othello. lago goes up the 
 stage, right, looking off at the departing Cassio, 
 as he says, " Ha ! I like not that." Othello 
 follows lago, saying " Was not that Cassio ? " 
 etc. He goes still farther, and looks off, right 
 (to satisfy himself), before saying " I do believe 
 't was he." He then turns, and comes down the 
 stage, centre, to Desdemona, and stands at her 
 left. He shows no anxiety ; only simple, natural 
 curiosity. 
 
 Des. How now, my lord ! 
 I have been talking with a suitor here, 
 A man that languishes in your displeasure. 
 
 OtM. Who is 't you mean ? 
 
 Des. Why, your lieutenant, Cassio. 
 
 Othello says " Who is 't you mean ? " with- 
 out any uneasiness or suspicion of evil. When 
 
THE OTHELLO OF TOM MA SO SAL VINT. 31 
 
 Desdemona replies "Why, your lieutenant, 
 Cassio," Othello turns, left, toward lago, with a 
 nod and a smile, as much as to say, " I told you 
 so — ^that it was Cassio — you see I was right." 
 There has been a difference of opinion between 
 them, and Othello has proved that he was right. 
 Desdemona continues. 
 
 Good my lord, 
 If I have any grace or power to move you, 
 His present reconciliation take ; 
 For if he be not one that truly loves you. 
 That errs in ignorance and not in cunning, 
 I have no judgement in an honest face : 
 I prithee, call him back. 
 
 During these lines, Othello, still standing, 
 centre, Avith Desdemona, expresses, in a very 
 gentle way, his unwillingness to grant her 
 request. 
 
 Otk. Went he hence novf ? 
 
 Des. Ay, sooth : so humbled 
 That he hath left part of his grief with me. 
 To suffer with him. Good love, call hira back. 
 
 0th. Not now, sweet Desdemona ; some other time. 
 
 He crosses, right, toward the table ; Desde- 
 mona following him, closely. 
 
 Des. But shall 't be shortly ? 
 
 Olh. The sooner, sweet, for you. 
 
 Othello smiles iipon Desdemona, and seats 
 himself at the left side of the table. He takes 
 
32 THE OTHELLO OF TOM MA SO SALVINI. 
 
 a pen, and begins to write. Desdemona reclines 
 beside him, resting upon one knee, and leaning 
 upon his knee. 
 
 Des. Shall 't be to-night at supper ? 
 0th. No, not to-night. 
 
 Des. To-morrow dinner, then ? 
 
 0th. I shall not dine at home : 
 
 I meet the captains at the citadel. 
 
 He continues to write, or to attempt to do 
 so, answering Desdemona's questions lialf-me- 
 chanically, until she takes the pen from his 
 hand, as she says " To-morrow dinner, then ? " 
 
 Des. Why, then, to-morrow night ; or Tuesday mom ; 
 On Tuesday noon, or night ; on Wednesday mom : 
 I prithee, name the time, but let it not 
 Exceed three days : in faith, ie 's penitent ; 
 When shall he come ? 
 Tell me, Othello : I wonder in my soul. 
 What you would ask me, that I should deny, 
 Or stand so mammering on. What ! Michael Cassio, 
 That came a-wooing with you, and so many a time, 
 When I have spoke of you dispraisingly. 
 Hath ta'en your part ; to have so much to do 
 To bring him in ! Trust me, I could do much. — 
 
 He pauses in his work, turns partly toward 
 her, and listens with a pleasant smile, as one 
 might attend to the prattle of a fa,vorite child. 
 He embraces her at the end of the speech, in- 
 terrupting her, impulsively, with 
 
 Oth. Prithee, no more : let him come when he will ; 
 I will deny thee nothing. 
 
THE OTHELLO OF TOMMASO SALVINI. 33 
 
 His manner througliout this part of the scene 
 is very playful and deeply aifectionate. 
 
 -0«. Why, this is not a boon ; 
 
 'T is as I should entreat you wear your gloves, 
 Or feed on nourishing dishes, or keep you warm. 
 Or sue to you to a peculiar profit 
 To your own person : nay, when I have a suit 
 Wherein I mean to touch your love indeed. 
 It shall be full of poise and difficult weight 
 And fearful to be granted. 
 
 Desdemona rises, and goes to centre. Othello, 
 remaining seated, but turning toward her, be- 
 comes grave, as he listens to her. At the end 
 of her speech, he rises, and goes quickly to her, 
 centre, standing at her right. 
 
 Oih. I will deny thee nothing ; 
 
 Whereon, I do beseech thee, grant me this. 
 To leave me but a little to myself. 
 
 Des. Shall I deny you ? no : farewell, my lord. 
 
 0th. Farewell, my Desdemona : I '11 come to thee straight. 
 
 Des. Emilia, come. Be as your fancies teach you ; 
 Whate'er you be, I am obedient. 
 
 \Exeunt Desdemona and Emilia^ right. 
 
 His voice and manner, as he says " I will 
 deny thee nothing," are serious, deprecatory, 
 reassuring. He pauses a moment, and his man- 
 ner changes to playfulness, as he continues, with 
 a smile, " Whereon, I do beseech thee," etc. 
 Desdemona crosses, right, after saying " I am 
 obedient." Othello follows her, quickly ; throws 
 
34 THE OTHELLO OF TOMMASO SALVJNI. 
 
 Ms arm impulsively around her, drawing lier to 
 him, and is about to kiss her, when, looking 
 over Desdemona's shoulder, he sees Emilia ; he 
 then turns his head, and sees lago. He pauses,* 
 shrugs his shoulders, and dismisses Desdemona, 
 with a manner as much as to say, " There are 
 too many spectators here — we must wait until 
 some other time ! " The situation is thus : 
 
 c^ 
 
 □■ 
 
 ♦ lago 
 
 ^ Emilia 
 
 ^ Desdemona 
 ^ Othello 
 
 Oth. Excellent wretch ! Perdition catch my soul, 
 But I do love thee ! and when I love thee not, 
 Chaos is come again. 
 
 He stands, right centre, looking off at Des- 
 demona. Having relieved his mind by the apos- 
 trophe to Desdemona, he dismisses the thought 
 of her, assumes a business-like air, and, reseat- 
 ing himself at the table, he takes up his pen 
 again, ready to go to work in earnest. He be- 
 gins to write. 
 
 * Signor Salvini has added, here, " from modesty." 
 
THE OTHELLO OF TOMMASO SALVINI. 35 
 
 lago. My noble lord, — 
 
 0th. What dost thou say, lago ? 
 
 lago. Did Michael Cassio, when you woo'd my lady. 
 Know of your love ? 
 
 0th. He did, from first to last : why dost thou ask ? 
 
 lago. But for a satisfaction of my thought, 
 No further harm. 
 
 0th. Why of thy thought, lago ? 
 
 lago. I did not think he had been acquainted with her. 
 
 0th. O, yes ; and went between us very oft. 
 
 lago. Indeed ! 
 
 lago stands, centre, at Othello's back. Upon 
 lago's saying "My noble lord," Othello pauses 
 in his writing, expressing annoyance that he 
 should be again interrupted in his work. This 
 manner he continues through lago's following 
 four speeches : he is bothered, bored, teased ; 
 anxious to get on with his own work, and im- 
 patient of the interruption. 
 
 Olh, Indeed ! ay, indeed : discem'st thou aught in that ? 
 Is he not honest ? 
 
 Still seated, and still holding his pen, he turns 
 left toward lago, at whom he looks for the first 
 time. He makes the first " Indeed " an ironical 
 imitation of lago's manner, the second " indeed," 
 an emphatic reassertion of his own previous 
 statement. 
 
 lago. Honest, my lord ! 
 
 0th. Honest ! ay, honest 1 
 
 lago. My lord, for aught I know. 
 
 Oih. What dost thou think ? 
 
36 THE OTHELLO OF TOMMASO SALVINI. 
 
 lago. Think, my lord ! 
 
 Oth. Think, my lord ! 
 
 By heaven, he echoes me, 
 As if there were some monster in his thought 
 Too hideous to be shown. Thou dost mean something : 
 I heard thee say even now, thou lik'dst not that. 
 When Cassio left my wife : what didst not like ? 
 And when I told thee he was of my counsel 
 In my whole course of wooing, thou criedst ' ' Indeed ! " 
 And didst contract and purse thy brow together. 
 As if thou then hadst shut up in thy brain 
 Some horrible conceit : if thou dost love me. 
 Show me thy thought. 
 
 Othello for the first time shows grave anxiety, 
 at lago's " Think, my lord ! " After the words, 
 " Too hideous to be shown," he throws down 
 his pen, rises, and crosses, left, to lago, saying, 
 " Thou dost mean something." 
 
 lago. My lord, you know I love you. 
 
 Otk. I think thou dost ; 
 
 Othello takes lago's hand in both his own, 
 clasping it warmly, and releasing it as he con- 
 tinues : 
 
 And, for I know thou 'rt full of love and honesty. 
 And weigh'st thy words before thou givest them breath, 
 Therefore these stops of thine fright me the more : 
 For such things in a false disloyal knave 
 Are tricks of custom, but in a man that 's just 
 They are close delations, working from the heart 
 That passion cannot rule. 
 
 lago. For Michael Cassio, 
 
 I dare be sworn I think that he is honest. 
 
THE OTHELLO OF TOM MA SO SALVJNI. 37 
 
 Men should be what they seem ; 
 Or those that be not, would they might seem none ! 
 0th. Certain, men should be what they seem. 
 
 Othello delivers " Certain, men stould," etc., 
 as if lie would say, " This is the veriest truism 
 — every one admits it — why do you inflict it 
 upon me ? " 
 
 Jago. Why, then, I think Cassio 's an honest man. 
 
 0th. 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. 
 
 After lago's words, "Why, then, I think," 
 etc., there is a long pause. Othello regards 
 lago with searching scrutiny. They stand, left 
 centre, Othello at lago's right. After a moment 
 of keen scrutiny of lago's face, Othello smiles, 
 shakes his head, and waves his hand slightly, 
 deprecating lago's lack of frankness, and per- 
 suading him to out-spoken sincerity. This ac- 
 tion precedes the words, "Nay, yet there 's 
 more," etc.* 
 
 Iigo. Good my lord, pardon me : 
 
 Though I am bound to every act of duty, 
 
 * Upon one occasion I saw a variation at this point. After scruti- 
 nizing lago's face, as if he would read his very soul, and slowly 
 shaking his head, he advanced to lago, laid his hands upon lago's 
 shoulders, and shook him, very slightly ; then laughed, before saying, 
 ' ' Nay, yet there 's more, "etc. He then moved back a little from 
 lago, as he continued, ' ' I prithee, speak to me, " etc. 
 
38 THE OTHELLO OF TOM MA SO SALVINI. 
 
 I am not bound to that all slaves are free to. 
 Utter my thoughts ? Why, say they are vile and false ; 
 As where 's that palace whereinto foul things 
 Sometimes intrude not ? 
 
 Olh. Thou dost conspire against thy friend, lago, 
 If thou but think'st him wrong'd and makest his ear 
 A stranger to thy thoughts. 
 
 lago. I do beseech you — 
 
 Though I perchance am vicious in ray guess, 
 As, I confess, it is my nature's plague 
 To spy into abuses, and oft my jealousy 
 Shapes faults that are not — that your wisdom yet. 
 From one that so imperfectly conceits, 
 Would take no notice, nor build yourself a trouble 
 Out of his scattering and unsure observance. 
 It were not for your quiet nor your good. 
 Nor for my manhood, honesty, or wisdom. 
 To let you know my thoughts. 
 
 Oth. What dost thou mean ? 
 
 Jago. Good name in man and woman, dear my lord, 
 , Is the immediate jewel of their souls : 
 Who steals my purse steals trash ; 't is something, nothing ; 
 'T was mine, 't is his, and has been slave to thousands ; 
 But he that filches from me my good name 
 Robs me of that which not enriches him 
 And makes me poor indeed. 
 
 Oth. By heaven, I '11 know thy thoughts. 
 
 lago. You cannot, if my heart were in your hand ; 
 Nor shall not, whilst 't is in my custody 
 
 Oth. Ha ! 
 
 During the delivery of these speeches, Othello 
 and lago stand facing each other, about half- 
 way up the stage : Othello, right ; lago, left. 
 As Othello says " Ha ! " he turns from lago, 
 conies down the stage, and stands right cen- 
 tre, near the front, turned away from lago. 
 
THE OTHELLO OF TOMMASO SALVINI. 39, 
 
 Throughout these four speeches of lago's, and 
 throughout the next speech, " O, beware, my 
 lord," etc., Othello shows no personal feeling 
 stronger than that of impatience at his friend's 
 reticence. 
 
 lago. O, beware, my lord, of jealousy ; 
 It is the green-eyed monster which doth mock 
 The meat it feeds on ; that cuckold lives in bliss 
 Who, certain of his fate, loves not his wronger ; 
 But, O, what damned minutes tells he o'er 
 Who dotes, yet doubts, suspects, yet strongly loves ! 
 
 0th. O misery ! 
 
 As Othello, standing, right centre, listens to 
 lago's description of jealousy, his face indicates 
 sympathetic interest ; and he delivers " O mis- 
 ery ! " merely as an expression of sympathy 
 with any poor wretch in such a plight as lago 
 has described. The words have no reference to 
 himself. 
 
 lago. Poor and content is rich and rich enough. 
 But riches fineless is as poor as winter 
 To him that ever fears he shall be poor. 
 Good heaven, the souls of all my tribe defend 
 From jealousy ! 
 
 Pause. Othello turns, and crosses, left, going 
 up the stage. He stands well up the stage, left 
 centre, during the following lines. lago stands, 
 left, well down the stage. 
 
 Oth. Why, why is this ? 
 
 Think'st thou \ 'd make a life of jealousy ; 
 
40 THE OTHELLO OF TOM MA SO SALVINI. 
 
 To follow still the changes of the moon 
 
 With fresh suspicions ? No ; to be once in doubt 
 
 Is once to be resolved : exchange me for a goat, 
 
 When I shall turn the business of my soul 
 
 To such ejfsufflicate and blown surmises, 
 
 Matching thy inference. 'T is not to make me jealous 
 
 To say my wife is fair, feeds well, loves company, 
 
 Is free of speech, sings, plays, and dances well ; 
 
 Where virtue is, these are more virtuous : 
 
 Nor from mine own weak merits will I draw 
 
 The smallest fear or doubt of her revolt ; 
 
 For she had eyes, and chose me. No, lago ; 
 
 I '11 see before I doubt ; when I doubt, prove ; 
 
 And on the proof, there is no more but this, — 
 
 Away at once with love or jealousy ! 
 
 In this speech, "he first recognizes tlie fact tliat 
 lago's harping upon jealousy may have some 
 reference to himself ; but he repels the sugges- 
 tion, and quite dismisses the thought of his 
 having any personal concern in the matter. As 
 he says "No, lago," etc., he comes down the 
 stage^ left, to lago, and stands close beside him. 
 At the end of the speech, he turns from lago, 
 crosses, right, and stands near the front, about 
 in line with the table, his body being turned to 
 the right. lago follows him, and stands close 
 behind him, at Othello's left hand. 
 
 lago. 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 eye thus ; not jealous nor secure : 
 
THE OTHELLO OF TOM MA SO SALVINI. 4 1 
 
 I would not have your free and noble nature, 
 Out of self-bounty, be abused ; look to 't : 
 I know our country disposition well : 
 In Venice they do let heaven see the pranks 
 They dare not show their husbands. 
 
 0th. Dost thou say so ? 
 
 lago. She did deceive her father, marrying you ; 
 And when she seem'd to shake and fear your looks, 
 She loved them most. 
 
 Olh. And so she did. 
 
 Othello does not turn toward lago, or look at 
 him ; but stands motionless ; only his face show- 
 ing the workings of his mind. When lago says 
 "I speak not yet of proof," Othello shrugs his 
 shoulders, and laughs, incredulously. At " Look 
 to your wife," Othello becomes gravely atten- 
 tive. At " observe her well with Cassio," he 
 starts, shakes his head in angry negative, and 
 half turns toward lago. He represses himself, 
 and remains as before. Othello says " Dost 
 thou say so ? " in a low, anxious tone. He says 
 " And so she did," in a still lower tone, scarcely 
 audible. His voice and the expression of his 
 face show great perturbation, apprehension, and 
 troubled doubt. 
 
 lago. Why, go to, then ; 
 
 She that, so young, could give out such a seeming, 
 To seel her father's eyes up close as oak — 
 He thought 't was witchcraft — but I am much to blame ; 
 I humbly do beseech you of your pardon 
 For too much loving you. 
 
 0th, I am bound to thee for ever. 
 
42 THE OTHELLO OF TOMMASO SALVINI. 
 
 When lago says " He tliought 't was witch- 
 craft," Othello turns his eyes, threateningly, 
 toward lago, without turning his head, and 
 moves his hand toward the sword which he 
 wears in his girdle. He immediately restrains 
 this wrathful impulse, and stands, motionless. 
 At the end of lago's speech, there is a pause ; 
 then, in a very low tone, tremulous with sup- 
 pressed emotion, Othello says " I am bound to 
 thee for ever." He tries to assume a tone of 
 commonplace courtesy, in order to hide his I'eal 
 feelings. It is as if he said " I 'm greatly obliged 
 to you." The Italian is " Obbligo eterno anzi 
 a te deggio " — " I owe even an eternal obligation 
 to thee.'''' 
 
 lago. I see this hath a little dash'd your spirits. 
 Oth. Not a jot, not a jot. 
 
 Othello, unwilling to have shown the least 
 disturbance of mind at lago's words, recovering 
 himself, says, in an indifferent tone, " Not a Jot, 
 not a jot." * He then turns wholly away from 
 
 * Signor Salvini is the author of this description, which he substituted 
 for mine. I had described the situation thus : Othello at first essays 
 to speak, but cannot find his voice ; then, half turning toward lago, 
 with a ghastly smile, and a tremulous waving of his hands, he delivers, 
 " Not a jot, not a jot ! " in a tone scarcely audible, husky with hardly 
 repressed passion. 
 
 I deem it best to append my description (despite Signor Salvini's 
 disapproval of it), because it still impresses me as accurate, after hav- 
 ing again seen the performance several times. 
 
THE OTHELLO OF TOM MA SO SALVINI. 43 
 
 lago, and slowly paces across tlie stage, right, 
 and up the stage to the window, before which 
 he stands, looking upward at the sky. 
 
 Othello 
 
 ♦ lago 
 
 ^ 
 
 Othello 
 
 lago goes up the stage, and stands opposite 
 the left side of the table, at some little distance 
 from it. After Othello has looked out of the 
 window for a moment, lago says, 
 
 lago. Trust me, I fear it has. 
 I hope you will consider what is spoke 
 Comes from my love. But I do see you 're moved : 
 I am to pray you not to strain my speech 
 To grosser issues nor to larger reach 
 Than to suspicion. Cassio 's my worthy friend — 
 My lord, I see you 're moved. 
 
 During lago's speech, Othello leaves the win- 
 dow, and crosses left. At the end of this speech, 
 Othello stands, centre, well up the stage. His 
 face and manner show strong perturbation, which 
 he struggles to hide. 
 
44 THE OTHELLO OF TOMMASO SALVINI. 
 
 Olh. No, not much moved : 
 
 I do not think but Desdemona 's honest. 
 lago. Long live she so ! and long live you to think so ! 
 
 Othello crosses, right, goes to the chair in 
 which he had been seated, and leans upon the 
 back of it, his figure partly turned from lago, 
 
 as he says, 
 
 Oth. And yet, how nature erring from itself, — 
 
 lago. Ay, there 's the point ; as — to be bold with you — 
 
 Not to affect many proposed matches 
 
 Of her own clime, complexion, and degree. 
 
 Whereto we see in all things nature tends — 
 
 Foh ! one may smell in such a will most rank. 
 
 Foul disproportion, thoughts unnatural. 
 
 But pardon me ; I do not in position 
 
 Distinctly speak of her ; though I may fear 
 
 Her will, recoiling to her better judgement, 
 
 May fall to match you with her country forms, 
 
 And, happily, repent. 
 
 As lago says " Foh ! one may smell," etc., 
 Othello's anger is again aroused, and his hand 
 again seeks his sword ; he restrains himself, and 
 does not change his position, or turn his head 
 toward lago. At the end of lago's speech, there 
 is a long pause. Then Othello turns, and goes 
 a few steps, left, toward lago, as if to speak to 
 him ; he changes his mind, and returns to the 
 chair, where he stands for a moment, irresolute, 
 his back to lago ; he then turns again, left, tow- 
 ard lago. 
 
THE OTHELLO OF TOM MA SO SALVINI. 45 
 Oih. Farewell, farewell : 
 
 Othello reseats himself at the table, and con- 
 tinues : ^~ ~~' " 
 
 If more thou dost perceive, let me know more : 
 Set on thy wife to observe : leave me, lago. 
 
 Jago. \Going\ My lord, I take my leave, 
 
 Oth. Why did I marry ? This honest creature doubtless 
 Sees and knows more, much more, than he unfolds. 
 
 lago. \Returning\ My lord, I would I might entreat your 
 honour 
 To scan this thing no further ; leave it to time : 
 Though it be fit that Cassio have his place. 
 For, sure, he fills it up with great ability. 
 Yet, if you please to hold him off awhile. 
 You shall by that perceive him and his means : 
 Note, if your lady strain his entertainment 
 With any strong or vehement importunity ; 
 Much will be seen in that. In the mean time, 
 Let me be thought too busy in my fears — 
 As worthy cause I have to fear I am — 
 And hold her free, I do beseech your honour. 
 
 Oth. Fear not my government. 
 
 lago. I once more take my leave. 
 
 [Exii, left. 
 
 lago does not leave the stage ; as he says " I 
 take my leave," he goes to the left entrance, 
 where he stands. After Othello's speech, " "Why 
 did I marry ? " etc., lago crosses, right, to Othello, 
 and stands close beside his chair, as he says " My 
 lord, I would," etc. Othello does not look at 
 him. 
 
 Oth. This fellow 's of exceeding honesty. 
 And knows all qualities, with a learned spirit. 
 
46 THE OTHELLO OF TO MM A SO SALVINI. 
 
 Of human dealings. If I do prove her h^ard, 
 
 Though that her jesses were ray dear heart-strings, 
 
 I 'd whistle her ofl and let her down the wind, 
 
 To prey at fortune. Haply, for I am black 
 
 And have not those soft parts of conversation 
 
 That chamberers have, or for I am.declined 
 
 Into the vale of years, — yet that 's not much — 
 
 She 's gone. I am abused ; and my relief 
 
 Must be to loathe her. O curse of marriage, 
 
 That we can call these delicate creatures ours, 
 
 And not their appetites ! I had rather be a toad, 
 
 And live upon the vapour of a dungeon, 
 
 Than keep a comer in the thing I love. 
 
 For others' uses. Yet, 't is the plague of great ones ; 
 
 Prerogatived are they less than the base ; 
 
 'T is destiny unshnnnable, like death : 
 
 Even then this forked plague is fated to us. 
 
 When we do quicken. Desdemona comes : 
 
 If she be false, O, then heaven mocks itself ! 
 
 I '11 not believe 't. 
 
 Re-enter Desdemoxa and Emilia, right, first entrance. 
 
 Othello remains seated at the table, after 
 lago's exit. After speaking the first sentence, 
 " This fellow 's of exceeding," etc., he takes up 
 his pen, and tries to busy himself with his work, 
 but cannot. After the lines, " If I do prove her 
 * * * To prey at fortune," he again tries 
 to write ; but again his troubled thoughts will 
 not allow him to go on with his work, and after 
 writing mechanically for a moment, he again 
 stops, and continues the line of thought from 
 which he can in nowise escape — " Haply, for I 
 am black," etc. At " O curse of marriage," he 
 
THE OTHELLO OF TOMMASO SALVINI. 47 
 
 dashes the pen upon the table, strikes the table 
 with his fist, rises from the chair, crosses, left, 
 and paces about during the rest of the speech. 
 At "Yet, 't is the plague of great ones," he 
 laughs, a short, bitter laugh. As he says 
 "When we do quicken," he stands near the 
 front, left ; he turns toward the right, and looks 
 off through the right entrance, as he says " Des- 
 demona comes." He gazes at her a moment ; 
 his face brightening ; and then clasps his hands 
 vehemently, raising them a little higher than his 
 face, as he says " If she be false, O, then heaven 
 mocks itself ! " Pie pauses, still gazing at her ; 
 then turns full front to the audience, and comes 
 a step forward, with emphatic action of his 
 clenched hand, and shaking his head, as he 
 says " I '11 not believe 't." After this, Des- 
 demona and Emilia enter, right. 
 
 Des. How now, my dear Othello ! 
 
 Your dinner, and the generous islanders 
 By you invited, do attend your presence. 
 
 0th. I am to blame ! 
 
 Dis. Why do you speak s8 faintly ? 
 
 Are you not well ? 
 
 0th. I have a pain upon my forehead here. 
 
 Des. 'Faith, that 's with watching ; 't will away again : 
 Let me but bind it hard, within this hour 
 It will be well. 
 
 0th. Your napkin is too little : 
 
 [He puts the handkerchief from him ; and it drops. 
 Let it alone. Come, I '11 go in with you. 
 
4? THE OTHELLO OF TOM MA SO SALVINI. 
 
 Des. I am very sorry that you are not well. 
 
 \Exeuni Othello and Desdemona, right. 
 
 Desdemona and , Othello meet, left centre. 
 Othello says "I am to blame," in a very low 
 tone, with faint utterance. As he says " I have 
 a pain," etc. (spoken in a low tone), he touches 
 his forehead with his right hand, then with 
 both hands, and goes a few steps, right. Des- 
 demona goes, left, so that when she says " Faith, 
 that 's with watching," etc., their relative posi- 
 tions are changed — Othello, right ; Desdemona, 
 left. He refuses the handkerchief offered by 
 Desdemona, and shows her that it is too small 
 to go around his head. He returns, it to her, as 
 he says "Let it alone," and Desdemona, think- 
 ing that she has replaced the handkerchief in 
 a satchel which hangs at her side, lets it drop 
 upon the floor. In all these speeches, Othello's 
 voice is very low, and his utterance faint and 
 slow.* They cross, right, together, very slowly. 
 Othello makes a slight action of reassurance to 
 Desdemona, upon her expression of anxiety 
 about him. After Desdemona's exit, Othello 
 stands for a moment in the door- way, right, look- 
 ing after her. He then sighs heavily, and fol- 
 
 * Signer Salvini has added — " Showing the doubt of an infidelity, 
 which he does not think possible, but which torments him. " 
 
THE OTHELLO OF TOMMASO SALVINI. 49 
 
 lows her at a slow pace, witli downcast looks, 
 his head bowed upon his breast. 
 
 The scene proceeds, as in the original, until 
 Othello's re-entrance. 
 
 Oih. Ha ! ha ! false to me ? 
 
 lago. Why, how now, general ! no more of that. 
 
 Oih. Avaunt ! be gone ! thou hast set me on the rack : 
 I swear 't is better to be much abused 
 Than but to know 't a little. 
 
 Othello enters, right, turns in the door-way, 
 and stands looking back toward Desdemona, 
 whom he has left ; and then says " Ha ! ha ! 
 false to me ? " His tone is low, and deeply sad ; 
 his appearance, dejected. He is not at ^vehe- 
 ment or loudly passionate. Upon hearing lago's 
 voice, lago standing, centre, Othello turns, and 
 goes up the stage, left, toward lago, saying, 
 "Avaunt, be gone," etc.* 
 
 lago. How now, my lord ! 
 
 Oih. What sense had I of her stol'n hours of lust ? 
 I saw 't not, thought it not, it harm'd not me : 
 I slept the next night well, was free and merry ; 
 I found not Cassio's kisses on her lips : 
 He that is robb'd, not wanting what is stol'n. 
 Let him not know 't, and he 's not robb'd at all. 
 
 /ago. I am sorry to hear this. 
 
 At the end of the speech, " What sense had 
 I," etc., Othello comes down the stage, right, 
 
 * Signor Salvini makes this comment : "In the words he pronounces, 
 ' Vanne, fuggi ' (Avaunt, be gone), he shows grief and rage toward 
 lago, who destroys his illusion of the chaste affection of Desdemona." 
 4 
 
50 THE OTHELLO OF TOMMASO SALVINI. 
 
 and stands near tlie chair, lago remains at 
 centre. 
 
 Oih. Yesterday I was still happy ! * 
 O, now, forever 
 
 Farewell the tranquil mind ! farewell content ! 
 Farewell the plumed troop, and the big wars. 
 That make ambition virtue ! O, farewell ! 
 Farewell the neighing steed, and the shrill trump, 
 The spirit-stirring drum, the ear-piercing fife, 
 The royal banner, and all quality. 
 Pride, pomp and circumstance of glorious war ! 
 And, O you mortal engines, whose rude throats 
 The immortal Jove's dread clamours counterfeit, 
 Farewell ! Othello's occupation 's gone ! 
 
 He says " Yesterday I was," etc., in a loud 
 tone of passionate grief, clasping Ms hands 
 atove his head, and then extending them wildly, 
 as he goes to the chair. He begins, " O, now, 
 forever farewell," etc., leaning with his right 
 hand upon the back of the chair, partly turned 
 away from lago. As he says "farewell con- 
 tent ! " he sinks into the chair. The first lines, 
 including " That make ambition virtue ! O, fare- 
 well ! " are spoken low, tearfully, with great 
 pathos. At " Farewell the neigting steed," his 
 voice grows louder, and his manner more impas- 
 sioned. He delivers the description of the can- 
 non with loud and vehement declamation. The 
 
 * There is a variation from the original text, here. The Italian 
 version is: " lo m'era ancor felice jeri." " Yesterday I was still 
 
THE OTHELLO OF TOMMASO SALVINI. 51 
 
 Italian version differs materially at this point, 
 from tlie original text : it is — ■ 
 
 " E voi, di morte 
 And you, of death 
 Bocche tonanti, nunzii di \ittoria — 
 Mouths thundering, messengers of victory — 
 Addio ! " 
 Farewell ! 
 
 As lie says " nunzii di vittoria " lie rises to 
 his feet, uttering the words with the full force 
 and volume of his voice. Then, as he says 
 " Farewell ! Othello's occupation 's gone ! " he 
 bursts into passionate weeping, throws himself 
 back into the chair, falls forward upon the 
 table, and lies there, sobbing, his head upon his 
 outstretched arms. There is quite a long pause, 
 before lago speaks. 
 
 lago. Is 't possible, my lord ? 
 
 0th. Villain, be sure thou prove my love a whore. 
 Be sure of it ; give me the ocular proof ; 
 Or, by the worth of mine eternal soul. 
 Thou hadst been better have been bom a dog 
 Than answer my waked wrath ! 
 
 lago. Is 't come to this ? 
 
 0th. Make me to see 't ; or, at the least, so prove it. 
 That the probation bear no hinge nor loop 
 To hang a doubt on ; or woe upon thy life ! 
 
 lago. My noble lord, — 
 
 0th. If thou dost slander her and torture me, 
 Never pray more ; abandon all remorse ; 
 On horror's head horrors accumulate ; 
 Do deeds to make heaven weep, all earth amazed ; 
 
52 THE OTHELLO OF TOMMASO SALVINI. 
 
 For nothing canst thou to damnation add 
 Greater than that. 
 
 On hearing anew the voice of lago, Othello 
 gradually recovers himself. Sitting upright, 
 and convulsively grasping the arms of the chair, 
 he turns upon lago, who stands, left of centre, 
 near the front. Seated thus, and shaking his 
 head like an angiy lion, he utters " Villain ! " 
 (" Sciagurato .^ ") in a low voice, expressing the 
 extreme of deadly menace — the fi rst muttering 
 of the storm which is about to^ break. Still 
 leated, and somewhat louder, with increasing 
 intensity, he says " be sure thou prove," etc. ; 
 then, starting from the chair, as he continues, 
 " Be sure of it," etc., he rushes upon lago, 
 clutches him by the throat, and forces him 
 down upon his knees. The rest of this speech, 
 and the following two speeches, he delivers 
 holding lago by the throat, at times menacing 
 him with his clenched right hand while he 
 holds him with his left hand, at times seeming 
 almost to twist lago's head from his body. 
 These speeches are given with the utmost ra- 
 pidity of utterance, and very loudly. At the 
 end, " For nothing canst thou,^' etc., he twists 
 lago violently from left to right, and flings him 
 prostrate upon the stage, lago lying upon his 
 back, with his head toward the right. Then, 
 
THE OTHELLO OF TOM MA SO SALVINi: 53 
 
 with clenched hands upraised, with distended 
 eyes, and passion-contorted face, he raises one 
 foot, as if to stamp out lago's life. He re- 
 strains himself, perceiving that he has gone too 
 far,* and retires a few steps backward, raising 
 his hands, and exclaiming " O, no, no, no ! " 
 He then advances again, quickly, to the pros- 
 trate lago, who raises his left hand, as if to 
 ward off a fresh attack upon him. Othello 
 grasps_ lago's hand, and raises him to his feet, 
 with an inarticulate sound, expressive of grief, 
 shame, regret, and then staggers blindly up the 
 stage to the lounge, upon which he throws him- 
 self, exhausted.f (Upon one or two occasions 
 there was a slight variation in the business 
 at this point-— Othello going up the stage, right, 
 after raising lago, and standing with his back 
 to lago during the lines, " O grace ! O heaven," 
 etc., then turning to lago, and crossing, left, to 
 the lounge,, seating himself upon it, as he says 
 "Nay, stay; thou shouldst be honest"). 
 
 *The words, "perceiving that he has gone too far," were inserted 
 by Signer Salvini. 
 
 f This is, perhaps, the greatest display of physical force in Signer 
 Salvini's "'Othello,'' and, consequently, produces the greatest effect 
 upon the audience. It is the perfection of acting of this kind — over- 
 whelmingly powerful, without a vestige of rant or of " tearing the 
 passion to tatters." Yet, to my mind, the actor is still greater in some 
 of his other effects, such as the " Not a jot, not a jot," and the dia- 
 bolical irony of the scenes with Desdemona, after he has become 
 convinced of her guilt. 
 
Ueoto 
 
 54 THE OTHELLO OF TOMMASO SALVINI. 
 
 lago. O grace ! O heaven forgive me ! 
 
 Are you a man ? have you a soul or sense ? 
 God be wi' you ; take mine office. O vcretched fool, 
 That livest to make thine honesty a vice ! 
 
 monstrous world ! Take note, take note, O world. 
 To be direct and honest is not safe. 
 
 1 thank you for this profit ; and from hence 
 
 I '11 love no friend, sith love breeds such offence. 
 
 Oih. Nay, stay : thou shouldst be honest. 
 
 lago. I should be wise, for honesty 's a fool 
 And loses that it works for. 
 
 While lago delivers " O grace ! O heaven," 
 etc., Othello gradually recovers himself, regain- 
 ing composure, and raising himself to a sitting 
 posture, facing left. Thus he detains lago, 
 who is about to make his exit, left, with the 
 words "Nay, stay," etc. 
 
 Oth. By the world, 
 
 I think my wife be honest, and think she is not ; 
 I think thou art just, and think thou art not. 
 I '11 have some proof. Her name, that was as fresh 
 As Dian's visage, is now begrimed and black 
 As mine own face. If there be cords, or knives. 
 Poison, or fire, or suffocating streams, 
 I '11 not endure it. Would I were satisfied ! 
 
 Seated upon the lounge, looking at lago, who 
 stands left, Othello delivers the first three lines 
 very slowly: "I think my wife be honest 
 [pause], and think she is not." After .another 
 pause, and looking with the utmost intentness 
 at lago — "I think thou art just [pause], and 
 think thou art not." At "I '11 have some 
 
THE OTHELLO OF TOMMASO SALVINI. 55 
 
 proof," he rises. His voice and manner become 
 passionate in the following lines. At " If there 
 be cords," etc., he crosses right, comes down, 
 and stands near the table, turned away from 
 lago, as he says " Would I were satisfied ! " 
 
 lago. I see, sir, you are eaten up with passion : 
 I do repent me that I put it to you. 
 You would be satisfied ? 
 
 Oth. Would ! nay, I will. 
 
 Othello turns quickly, left, going toward 
 lago, and delivers the words with great passion ; 
 then turns again right, and goes away from 
 lago. 
 
 lago. And may : but, how ! how satisfied, my lord ? 
 Would you, the supervisor, grossly gape on — 
 Behold her — 
 
 Oth. Death and damnation ! O ! O ! 
 
 Before lago can finish what he would say, 
 Othello turns fiercely upon him, crossing, left, to 
 him, very fast, as he says " Death and damna- 
 tion ! O ! O ! " His manner is that of a wounded 
 wild beast," and he gives the words as a shrill, 
 sharp cry of dreadful menace. The fury which 
 made him ready to trample lago to death is 
 reawakened ; another instant, and he may tear 
 him limb from limb. But as sudden as the 
 wild impulse, is the restraint placed upon 
 it. He controls himself; smiles a death-like 
 
56 THE OTHELLO OF TOMMASO SALVINI. 
 
 smile of reassurance — as if he said " Don't be 
 frightened, I will not kill you ! " — ^and returns 
 to the chair, in which he seats himself to listen 
 to lago's story.* 
 
 lago. I do not like the office : 
 But, sith I am enter'd in this cause so far, 
 Prick'd to 't by foolish honesty and love, 
 I will go on. I lay with Cassio lately ; 
 And being troubled with a raging tooth, 
 I could not sleep. 
 
 There are a kind of men so loose of soul, 
 That in their sleeps will mutter their affairs : 
 One of this kind is Cassio : 
 In sleep I heard him say ' ' Sweet Desdemona, 
 Let us be wary, let us hide our loves '' ; 
 And then, sir, would he gripe and wring my hand. 
 Cry " O sweet creature ! " and then, 
 " Cursed fate that gave thee to the Moor ! " 
 
 Oth. O monstrous ! monstrous ! 
 
 Throughout lago's speech, Othello remains 
 seated, holding himself in check with the great- 
 est difficulty, likely at any instant to spring 
 upon lago, and blot him out. He is torn by 
 conflicting passions ; he grasps the arms of the 
 chair, bracing himself against its back ; then he 
 draws the cloth upon the table into a crumpled 
 
 * The last time I saw the performance, there was a variation here. 
 The words " Death and damnation ! " were spoken as before ; but 
 Othello said " O ! O !"-as he returned to the table, and gave the 
 exclamations in a tone, and with facial expression, of horror and dis- 
 gust. His manner also suggested a reproach to lago for his gross 
 proposition. 
 
THE OTHELLO OF TOM MA SO SALVINI. 57 
 
 mass. He is a man upon the rack — a volcano, 
 whicli may suddenly break forth in fire. At 
 the end of lago's speech he utters "0 mon- 
 strous ! monstrous ! " in a very low, sibilant 
 tone, and with a horrible smile — he can scarcely 
 speak. 
 
 lago. Nay, this was but his dream. 
 
 Otk. But this denoted a foregone conclusion : 
 'T is a shrewd doubt, though it be but a dream. 
 
 lago. And this may help to thicken other proofs 
 That do demonstrate thinly. 
 
 0th. I'll tear her all to pieces. 
 
 Still seated, Othello gives " I '11 tear her," 
 etc., in a very low tone, of intense ferocity, and 
 with a rapid action of tearing apart, with both 
 his hands. 
 
 lago. Nay, but be wise : yet we see nothing done ; 
 She may be honest yet. Tell me but this. 
 Have you not sometimes seen a handkerchief 
 Spotted with strawberries in your wife's hand ? 
 
 0th. I gave her such a one ; 't was my first gift. 
 
 lago, I know not that : but such a handkerchief — 
 I am sure it was your wife's — did I to-day 
 See Cassio wipe his beard with. 
 
 0th. If it be that, — 
 
 Othello rises, and crosses, left, to centre, as he 
 says "If it be that,— " 
 
 lago. If it be that, or any that was hers, 
 It speaks against her with the other proofs. 
 
 0th. O, that the slave had forty thousand lives ! 
 One is too poor, too weak for my revenge. 
 
58 THE OTHELLO OF TOM MA SO SALVINI. 
 
 Now do I see 't is true. Look here, lago ; 
 
 All my fond love thus do I blow to heaven. 
 
 'T is gone. 
 
 Arise, black vengeance, from thy hollow cell ! 
 
 Yield up, O love, thy crown and hearted throne 
 
 To tyrannous hate ! Swell, bosom, with thy fraught, 
 
 For 't is of aspics' tongues ! 
 
 Othello speaks these lines standing at cen- 
 tre, well up the stage ; lago, as throughout the 
 scene, at Othello's left. After speaking the first 
 two lines, he pauses, and then delivers " Now 
 do I see 't is true," with a sudden cry of anguish, 
 as if pierced by a sword. He is fully convinced, 
 and hope is quite abandoned. 
 
 lago. Yet be content. 
 
 0th. O, blood, blood, blood ! 
 
 Othello crosses, left, to lago, as he says " O, 
 blood," etc. 
 
 lago. Patience, I say : your mind perhaps may change. 
 
 0th. Never, lago. Like to the Pontic sea. 
 Whose icy current and compulsive course 
 Ne'er feels retiring ebb, 
 
 Even so my bloody thoughts, with violent pace, 
 Shall ne'er look back, ne'er ebb to humble love. 
 Till that a capable and wide revenge 
 Swallow them up. Now, by yond marble heaven, 
 ♦ ^KneelsY In the due reverence of a sacred vow 
 I here engage my words. 
 
 lago. Do not rise yet. 
 
 J \Kneels\ Witness, you ever-burning lights above. 
 You elements that clip us round about, 
 Witness that here lago doth give up 
 The execution of his wit, hands, heart, 
 
THE OTHELLO OF TOMMASO SALVINI. 5g 
 
 To WTong'd Othello's service ! Let him command. 
 And to obey shall be in me remorse, 
 What bloody business ever. 
 
 Oih. I greet thy love, 
 
 Not with vain thanks, but, with acceptance bounteous, 
 And will upon the instant put thee to 't : 
 Within these three days let me hear thee say 
 That Cassio 's not alive. 
 
 At the beginning of lago's speech, "Do not 
 rise," etc., Othello continues his own oath, 
 extending his arms upward, gazing upward, 
 uttering vehement but inarticulate sounds of 
 passionate confirmation of his oath. As lago 
 says "here lago doth give up," etc., Othello 
 turns, and looks at him with a smile of ap- 
 proval. When lago says " Let him command," 
 Othello rises from his knees, and grasps lago's 
 right hand mth his own left hand, lago still 
 kneeling. lago remains kneeling, Othello hold- 
 ing his hand throughout the speech, " I greet 
 thy love," etc., at the end of which Othello 
 raises lago to his feet. They stand left, not far 
 from the left entrance. Othello goes a few 
 steps, right, from lago. 
 
 lago. My friend is dead ; 't is done at your request : 
 But let her live. 
 
 Oih. Damn her, lewd minx ! O, damn her ! 
 
 Come, go with me apart ; I will withdraw, 
 
 To furnish me with some swift means of death 
 
 For the fair devil. Now art thou my lieutenant. 
 
 lago. I am your own for ever. 
 
 \Exeunl, left. 
 
60 THE OTHELLO OF TOMMASO SALVINI. 
 
 Tte Italian version of "Damn her, lewd 
 minx ! O, damn her," permits an effect, which 
 would be quite impossible to an actor using the 
 English words. The Italian is : 
 
 ' ' Oh ! dannata, dannata, 
 La cortigiana vile ! " 
 
 Othello stands at lago's right, a short distance 
 from him, a little -farther up the stage. Upon 
 lago's saying "But let her live," Othello starts, 
 violently, and utters " Oh ! " as a cry of passion- 
 ate protest, loudly, making an almost impercep- 
 tible pause after it; then coming left, toward 
 lago, and emphasizing the- words with a vehe- 
 ment action of his clenched right hand, he utters 
 "Dannata, dannata," not loudly, but in a high, 
 piercing tone of voice, and with the utmost in- 
 tensity of hatred and abhorrence. As he says 
 "Come, go with me," etc., he crosses left, be- 
 hind lago. At " Now art thou," etc., he turns 
 toward lago (who is now for the first time at 
 Othello's right), and extending his right hand 
 toward him, utters the words in a loud, exultant 
 tone. He then turns, and exit left, followed by 
 lago. 
 
 I have been much impressed by two distinctive 
 features of Salvini's art, features which distinguish 
 him from all other actors whom I have seen. 
 
 1. He is never afraid to be colloquial, when 
 
THE OTHELLO OF TOM MA SO SALVINI. 6l 
 
 the situation demands colloquial treatment. 
 Where other actors declaim, lie talks. For 
 instance — in the scene of Othello's, arrival at 
 Cyprus (Act II. Scene 1) actors are wont to 
 declaim the very simple order, 
 
 " I prithee, good lago. 
 Go to the bay, and disembark my coffers " ; 
 
 and I can still hear the voice of a famous Ameri- 
 can actor, saying " Come, Desdemona," with 
 solemn, sonorous declamation, as though he were 
 leading her oif to instant execution — ^instead of 
 taking her in to supper. When Salvini is collo- 
 quial, it is seen to be right, and true to nature 
 that he should be so. There is not the least 
 sense of wealcness or incongruity ; no lowering 
 of the general tone of the perfprmance ; no sense 
 of a painful transition. 
 
 2. When the situation wan-ants, he introduces 
 exquisite high-comedy effects ; and this in places 
 where no other tragedian, whom I have seen, 
 would dream of doing such a thing. Witness 
 his treatment of Desdemona at the opening of 
 the third act. It is, perhaps, not too much to 
 say, that in the first three acts of this play, be- 
 fore Othello's suspicion is aroused, Salvini gives 
 more of the essential spirit of high comedy than 
 could be found in the " Mercutio " of some noted 
 actors who have played that part. 
 
62 THE OTHELLO OF TOMMASO SALVINI. 
 
 ACT IV. 
 
 Scene. — Cyprus. A room in the castle. (The scene is precisely 
 as in the third act.) 
 
 Enter DesdemonA and Emilia, right. 
 
 Des. Where should I lose that handkerchief, Emilia ? 
 
 Emil. I know not, madam. 
 
 Des. Believe me, I had rather have lost my purse 
 Full of crusadoes : and, but my noble Moor 
 Is true of mind and made of no such baseness 
 As jealous creatures are, it virere enough 
 To put him to ill thinking. 
 
 Emil. Is he not jealous ? 
 
 Des. Who, he ? I think the sun where he was bom 
 Drew all such humours from him. 
 
 Emil. Look, where he comes. 
 
 Des. I will not leave him now till Cassio 
 Be call'd to him. 
 
 Enter Othello. 
 
 How is 't with you, my lord ? 
 Oih. Well, my good lady. [Aside] O, hardness to dis- 
 semble ! — 
 Give me your hand : this hand is moist. 
 
 At Othello's entrance, Desdemona stands, 
 centre, near the front. Othello enters, left, 
 walking fast, with bowed head, in a gloomy 
 reverie. When he has come forward about 
 five paces, he sees Desdemona, and stops. He 
 stands left of centre as he says, "Well, my 
 good lady," with a forced smile. He turns 
 slightly aside, left, as he says, " O, hardness to 
 dissemble ! " Then he comes down to Desde- 
 mona, at " Give me your hand." They stand, 
 
THE OTBELLO OF TOMMASO SALVINI. 63 
 
 centre : Othello, left ; Desdemona, right. Othello 
 takes her hand in both his own hands. 
 
 Des. It yet hath felt no age nor known no sorrow. 
 
 Olh. This argues fruitfulness and liberal heart : 
 Hot, hot, and moist : this hand of yours requires 
 A sequester from liberty, fasting and prayer, 
 Much castigation, exercise devout ; 
 For here 's a young and sweating devil here, 
 That commonly rebels. 'T is a good hand, 
 A frank one. 
 
 Des. You may, indeed, say so ; 
 
 For 't was that hand that gave away my heart. 
 
 0th. A liberal hand ; the hearts of old gave hands ; 
 But our new heraldry is hands, not hearts. 
 
 He delivers these lines very slowly and de- 
 liberately, still holding Desdemona's hand. He 
 holds it in his left hand, and points to it with 
 his right hand, as he says " this hand of yours 
 requires," etc. He is evidently putting a strong 
 restraint upon himself. As Desdemona says 
 " 't was that hand which gave," etc., Othello's 
 face shows pain — he is thinking of Cassio — he 
 sighs, deeply, and then, after a considerable 
 pause, slowly moving his head up and down, he 
 says, with suppressed irony, " A liberal hand." 
 He pauses again, and continues, " the hearts of 
 old gave hands," etc. At the end of the speech, 
 he releases Desdemona's hand, and turns from 
 her, a step left, facing front. 
 
64 THE OTHELLO OF TOM MA SO SALVINI. 
 
 Des. I cannot speak of this. Come now, your promise. 
 0th. What promise, chuck ? 
 
 Des. I have sent to bid Cassio come speak with you. 
 0th. I have a salt and sorry rheum offends me ; 
 Lend me thy handkerchief. 
 
 As Ottello liears Cassio's name, he turns to 
 the left, clasping Lis hands. He goes a few 
 steps left, then turns, and crosses, right, going a 
 little up' the stage. Desdemona crosses, left, so 
 that their relative positions are changed. This 
 action, while Othello is saying, " I have a salt," 
 etc. 
 
 Des. Here, my lord. 
 
 0th. That which I gave you. 
 
 Des. I have it not about me. 
 
 0th. Not ? 
 
 Des. No, indeed, my lord. 
 
 0th. That is a fault. 
 
 That handkerchief 
 
 Did an Egyptian to my mother give ; 
 She was a charmer, and could almost read 
 The thoughts of people : she told her, while she kept it, 
 'T would make her amia.ble 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 loathed and his spirits should hunt 
 After new fancies : she, dying, gave it me ; 
 And bid me, when my fate would have me wive. 
 To give it her. I did so : and take heed on 't ; 
 Make it a darling like your precious eye ; 
 To lose 't or give 't away were such perdition 
 As nothing else could match. 
 
 Des. Is 't possible ? 
 
 0th. 'Tis true : there 's magic in the web of it : 
 A sibyl, that had number'd in the world 
 
THE OTHELLO- OF TOMMA SO SALVJNI. 6$ 
 
 The sun to course two hundred compasses. 
 
 In her prophetic fury sew'd the work ; 
 
 The worms were hallow'd that did breed the silk ; 
 
 And it was dyed in mummy which the skilful 
 
 Conserved of maidens' hearts. 
 
 Des. Indeed ! is 't true ? 
 
 0th. Most veritable ; therefore look to 't well. 
 
 Des. Then would to God that I had never seen 't ! 
 
 0th. Ha ! wherefore ? 
 
 Des. Why do you speak so startingly and rash ? 
 
 The same positions are kept during these 
 speeches : Othello, right centre, half-way up the 
 stage ; Desdemona, left centre, nearer the front. 
 The speeches about the handkerchief are treated 
 in a grave, quiet manner. 
 
 Oih. Is 't lost ? is 't gone ? speak, is it out o' the way ? 
 
 Des. Heaven bless us ! 
 
 Oth. Say you ? 
 
 Des. It is not lost ; but what an if it were ? 
 
 Oth. How ! 
 
 Des. I say, it is not lost. 
 
 OtheUo comes left, toward Desdemona, at 
 " Is 't lost," etc. ; but not close to her. These 
 speeches are delivered with the greatest rapid- 
 ity. After Desdemona says, " I say, it is not 
 lost," there is a pause, Othello regarding her in- 
 tently, before he says, 
 
 Oth. Fetch 't, let me see 't. 
 
 He gives the words in a sharp tone of impera- 
 tive command, still standing, left centre, up the 
 stage from Desdemona. 
 
66 THE OTHELLO OF TOMMASO SALVINI. 
 
 Des. Why, so I can, sir, but I will not now. 
 This is a trick to put me from my suit : 
 Pray you, let Cassio be received again. 
 
 Desdemona pauses, after she has said "Why, 
 so I can, sir." Othello is vaguely hopeful, long- 
 ing to see some ground for hope. He shows 
 this by facial expression, during the pause, be- 
 fore Desdemona continues, " but I will not 
 now." Upon this, he laughs scornfully, and 
 regards her with open contempt. As Desde- 
 mona says, " Why, so I can, sir," she crosses, 
 right, as if going to fetch the handkerchief. 
 She stops, as she says, "but I will not now," 
 and turns, left, toward Othello, as she says, 
 " This is a trick," etc. The positions are now : 
 Desdemona, right ; Othello, left, and a little 
 farther up the stage. 
 
 Oth. Fetch me the handkerchief ; my mind misgives. 
 Des. Come, come ; 
 You '11 never meet a more sufficient man. 
 Otlf^. The handkerchief ! 
 
 Des. I pray, talk me of Cassio. 
 
 Oth. The handkerchief ! * 
 
 Des. A man that all his time 
 
 Hath founded his good fortunes on your love, 
 Shared dangers with you, — 
 
 Oth. The handkerchief ! * 
 
 As Othello says, "Fetch me the," etc., he 
 turns, left, away from Desdemona. At "The 
 
 * The Italian version is : " II dono mio" — " My gift." 
 
THE OTHELLO OF TOM MA SO SALVINI. 6'j 
 
 handkerchief ! " he again turns toward her, 
 quickly and fiercely. The three speeches, " The 
 handkerchief!" "My gift!" "My gift!" are 
 uttered in a tone of bitter irony, with mocking 
 smiles, and hands extended toward Desdemona. 
 His passion deepens as Desdemona continues to 
 plead for Cassio, and each repetition of the de- 
 mand for the handkerchief becomes more in- 
 tense in expression. Meanwhile, Desdemona 
 has been coming closer and closer .to him, in 
 her earnest entreaties for Cassio ; so that at last 
 they stand close together, left centre : Desde- 
 mona, right, facing Othello ; Othello, left, full 
 front to the audience. 
 
 Des. In sooth, you are to blame. 
 
 Oth. Away ! [Exit, left. 
 
 As Desdemona speaks, she throws her arms 
 around Othello's neck. He snatches her arms, 
 thrusts them away, and violently repels the 
 embrace, starting back from her as he says 
 " Away ! " Her touch is hateful to him. He 
 not only hates, but also loathes her. He re- 
 treats, backward, from her, until he stands, left 
 centre, a little above the left entrance. Desde- 
 mona goes, left, to the chair, in which she sinks, 
 weeping. Emilia stands, centre. As Othello 
 stops, he observes Emilia. He pauses a moment. 
 
68 THE OTHELLO OF TOMMASO SAL VINT. 
 
 ^ 
 
 □■ 
 
 Emilia ♦ Othello ^ gj 
 
 Desdemona 
 
 He sees tlie handkerchief, which, lie has 
 dropped upon the floor ; he poinfe to it, and 
 goes, impulsively, a step or two, toward Emilia, 
 extending his right hand toward her, and say- 
 ing, " All ! — " as if about to question her. He 
 thinks better of this ; shakes his head ; again 
 pauses ; turns full front to the audience ; looks 
 wrathfuUy at both the women ; utters a scorn- 
 ful exclamation ; and then turns left, and stalks 
 moodily away, shaking his bowed head, and 
 muttering inarticulately, with a sound like the 
 rumbling of distant thunder. Exit left. 
 
 Emil. Is not this man jealous ? 
 
 Des. I ne'er saw this before. 
 Sure, there 's some wonder in this handkerchief : 
 I am most unhappy in the loss of it. 
 Something, sure, of state, 
 
 Either froip Venice, or some unhatch'd practice 
 Made demonstrable here in Cyprus to him. 
 Hath puddled his clear spirit : and in such cases 
 Men's natures wrangle with inferior things. 
 Though great ones are their object. ' 
 
THE OTHELLO OF TOM MA SO SALVINI. 69 
 
 Emil. Pray heaven it be state-matters, as you think, 
 And no conception nor no jealous toy 
 Concerning you. 
 
 Des. Alas the day ! I never gave him cause. 
 
 Emil. But jealous souls will not be answer'd so ; 
 They are not ever jealous for the cause, 
 But jealous for they are jealous : 't is a monster 
 Begot upon itself, born on itself. 
 
 Des. Heaven keep that monster from Othello's mind ! 
 
 Emil. Lady, amen. \Exeunt, right. 
 
 Enter Othello and Iago. 
 
 lago. Will you think so ? 
 
 0th. Think so, Iago ! 
 
 ^"S"- What, 
 
 To kiss in private 7 
 
 0th. An unauthorized kiss. 
 
 Othello enters, left, rapidly, followed by Iago. 
 H« crosses, right, to the table, and seats himself, 
 looking off through the right entrance as he sits 
 at the table. There is a short pause before Iago 
 speaks, standing centre. 
 
 Iago. Or to be with her friend alone 
 An hour or more, not meaning any harm. 
 
 Oth. Without bad purpose ! Close to a friend, Iago ! * 
 It is hypocrisy against the devil : 
 They that mean virtuously, and yet do so. 
 The devil their virtue tempts, and they tempt heaven. 
 
 Iago. So they do nothing, 't is a venial slip : 
 But if I give my wife a handkerchief, — 
 
 Oth. What then ? 
 
 Iago. Why, then, 't is hers, my lord ; and, being hers. 
 She may, I think, bestow 't on any man. 
 
 * lago's speech, and the first line of Othello's speech, vary from the 
 original text. The Italian is : " Otel. Senza fin reo, presso amico," 
 of which I give a translation, above. 
 
^Q THE OTHELLO OF TOM MA SO SALVIIfl. 
 
 0th. She is protectress of her honour too : 
 May she give that ? 
 
 lago. Her honour is an essence that 's not seen ; 
 But, for the handkerchief, — 
 
 0th. By heaven, I would most gladly have forgot it. 
 Thou said'st — O, it comes o'er my memory, 
 As doth the raven o'er the infected house, 
 Boding to all — he had my handkerchief. 
 
 lago. What, 
 
 If I had said I had seen him do you wrong ? 
 Or heard him say, — as knaves be such abroad, 
 Who having, by their own importunate suit. 
 Or voluntary dotage of some mistress. 
 Convinced or supplied them, cannot choose 
 But they must blab — 
 
 0th. Hath he said any thing ? 
 
 , Puring these speeclies Othello remains seated, 
 his body turned left, toward lago, at whom he 
 looks. As Othello says "Hath he said any 
 thing ? " he rises, and quickly crosses, left, 
 toward lago. 
 
 lago. He hath, my lord ; but be you well assured, 
 No more than he '11 unswear. 
 
 0th. ' What hath he said ? 
 
 lago. 'Faith, that he did — I know not what he did. 
 0th. What ? what ? * 
 
 lago. That he was — I know not how to say it. 
 
 Oih. With her? 
 
 lago. With her — in her chamber — what you vrill. 
 
 Oth. He? With her? With her? O, infamy ! 
 
 * The variations from the original text, from this line, and on to 
 the entrance of " Lodovico," are so many, and of so radical a kind, 
 that I have not attempted to indicate them, but have simply printed 
 the yersion used by Signor Salvini. Compare with the original. Act 
 IV., Scene I. 
 
THE OTHELLO OF TOMMASO SALVINI. 71 
 
 lago. Work on, 
 My medicine, work ! Thus credulous fools are caught ; 
 And many worthy and chaste dames even thus, 
 All guiltless, meet reproach. What, ho ! my lord ! 
 My lord, I say ! 
 
 Ottello delivers tliese speeches with rapid, 
 vehement utterance and action. He must know 
 all, instantly. The culmination is reached at 
 the words, "He? With her? With her?" 
 which are uttered with the utmost intensity of 
 frenzied questioning ; then " O, infamy ! " is 
 given as a cry of heart-broken anguish. He 
 turns from lago, hiding his face with his left 
 arm, weeping aloud, crosses, right, flings himself 
 upon the chair, and throws himself forward 
 upon the table, hiding his face as he groans and 
 sobs. He remains thus, through lago's speech, 
 " Work on," etc. When lago says " What, ho ! 
 my lord ! " Othello slowly recovers himself, and 
 sits upright, still weeping. 
 
 Oth. My heart is turned to stone ; I strike it, and it hurts my 
 hand. O, tKe world hath not a sweeter creature ! Get me some 
 poison, lago ; this night ! I '11 not expostulate with her, lest her 
 body and beauty unprovide my mind again. This night, lago ! 
 
 Othello delivers the first part of this speech, 
 still weeping, facing full front, without looking 
 at lago. As he says " Get me some poison," he 
 turns, left, in the chair, so as to face lago, who 
 has come, right, and now stands close beside 
 the chair. 
 
^2 THE OTHELLO OF TOMMASO SALVINI. 
 
 lago. Do it not with poison, strangle her in her bed, even the bed 
 she hath contaminated. 
 
 0th. Good, good : the justice of it pleases ; very good. 
 
 lago. And for Cassio, let me be his undertaker ; you shall hear 
 more by midnight. [Trumpet without. 
 
 0th. What trumpet is that same ? 
 
 lago. Something from Venice, sure. 'T is Lodovico 
 Come from the duke : and, see, your wife is with him. 
 
 Othello utters " Good, good : " etc., rapidly, 
 "with homble exultation, and with a smile of 
 truly infernal glee. At the end of lago's speech, 
 Othello strikes the table impatiently, rises, and 
 goes, left, to meet Lodovico, who enters, left. 
 
 Enter Desdemona, right ; Lodovico a»</ Attendants, left. 
 
 Lod. The duke and senators of Venice greet you. 
 
 [Gives him a letter, 
 
 0th. I kiss the instrument of their pleasures. 
 
 [Opens the letter, and reads. 
 
 Des. And what 's the news, good cousin Lodovico ? 
 
 lago. I am very glad to see you, signior ; 
 Welcome to Cyprus. 
 
 Lod. I thank you. How does Lieutenant Cassio? 
 
 lago. Lives, sir. 
 
 Des. Cousin, there 's fall'n between him and my lord 
 An unkind breach : but you shall make all well. 
 
 Upon the entrance of Lodovico and Desde- 
 mona, Othello represses all show of emotion, and 
 receives the letter with grave, bland courtesy, 
 bowing respectfully as he kisses the letter. He 
 meets Lodovico at centre, and then comes down 
 near the front, unrolling the letter, and examin- 
 ing it. Lodovico crosses, right, behind Othello, 
 
THE OTH:elLO of TOMMASO SALVINI. 73 
 
 and salutes Desdemona, wlio has come nearly to 
 centre. They stand at some little distance back 
 of Othello. The situation is thus : 
 
 ♦ lago 
 Desdemona ^ ^ Lodovico 
 ^ Othello 
 
 Othello's attention is drawn from the letter 
 by hearing Cassio's name. He raises his head, 
 and, at the end of Desdemona's speech, says, 
 very low, his back still turned to the others, 
 
 Oth. Are you sure of that ? 
 
 Des. My Lord ? 
 
 Oth. \Reads\ " This fail you not to do, as you will — " 
 
 When Desdemona speaks, he quickly turns 
 his attention to the letter, and reads, mechani- 
 cally, evidently without any knowledge of the 
 import of the words, " This fail you not," etc. 
 His mind is wholly engaged in the conversation 
 between Desdemona and Lodovico. 
 
74 THE OTHELLO OF TOM MA SO SALVINI. 
 
 Lod. He did not call ; he 's busy in the paper. 
 Is there division 'twixt my lord and Cassio ? 
 
 Des. A most unhappy one : I would do much 
 To atone them, for the love I bear to Cassio. 
 
 0th. Fire and brimstone ! 
 
 Des. My lord ? 
 
 Oth. Are you wise ? Now who would say it ? 
 
 Des. Say what ? 
 
 Oth. Indeed ! 
 
 Des. Why, sweet Othello, — 
 
 Oth. Devil ! 
 
 Upon Othello's vehement cry, "Fire and 
 brimstone ! " Desdemona comes quickly down 
 the stage toward him. She goes to his right 
 hand, standing about ten feet from him. The 
 remaining speeches Othello utters with the 
 greatest rapidity, vehemently enraged. These 
 speeches follow each other so swiftly as to seem 
 like one continuous speech, scarcely interrupted 
 by Desdemona's wondering questions. As O- 
 thello says, " Devil ! " he starts toward Desde- 
 mona, striking her * on the head with the letter, 
 which he still holds in his hand — he does not 
 touch her with his hand, f He then turns 
 slightly aside, showing shame and regret. 
 Desdemona crosses, right, weeping ; Lodovico 
 crosses, left. 
 
 Des. I have not deserved this. 
 
 ♦"Almost involuntarily"; f " and repents of this base action 
 immediately " — are Signor Salvini's comments. 
 
THE OTHELLO OF TOM MA SO SALVINI. 75 
 
 Lod. My lord, this would not be believed in Venice, 
 Though I should swear I saw 't ; 't is very much : 
 Make her amends ; she weeps. 
 
 0th. Out of my sight ! 
 
 Othello crosses, right, to Desdemona, and, 
 standing close beside her, sternly whispers in 
 her ear, " Via ! " (" Out of my sight ! ") He 
 then turns from her, returns toward Lodovico, 
 and stands, right centre. 
 
 Des. I will not stay to offend yotu \Gaing. 
 
 Lod. Truly, an obedient lady : 
 I do beseech your lordship, call her back. 
 
 0th. Mistress ! 
 
 Des. ybf lord ? 
 
 0th. What would you with her, sir ? 
 
 Lod. Who, I, my lord ? 
 
 0th. Ay ; you did wish that I would make her turn : 
 Sir, she can turn, and turn, and yet go on. 
 And turn again ; and she can weep, sir, and weep ; 
 And she 's obedient, as you say, obedient, 
 . Very obedient. Proceed you in your tears. 
 Concerning this, sir, — O well-painted passion ! — 
 I am commanded home. Get you away ; 
 I '11 send for you anon. Sir, I obey the mandate. 
 And will return to Venice. Hence, avaunt ! 
 
 \Exil Desdemona, right, 
 Cassio shall have my place. And, sir, to-night, 
 I do entreat that we may sup together : 
 You are welcome, sir, to Cyprus. — Goats and monkeys ! 
 
 \Exit, right. 
 
 Othello stands, right centre, facing Lodovico, 
 as Lodovico says " Truly, an obedient," etc., 
 and half turns toward Desdemona (who is re- 
 tiring, right), as he calls her back. As Desde- 
 
•j6 THE OTHELLO OF TOM MA SO SALVINI. 
 
 mona comes quickly to him, hoping for a 
 reconciliation, he turns coldly from her, front- 
 ing Lodovico, and motioning toward Desde- 
 mona, who stands at his back, right, as he says 
 " What would you with her, sir ? " His tone is 
 that of icy politeness ; he has no possible inter- 
 est in the matter, save to comply with Lodo- 
 vico's request. The next speech, " Ay ; you did 
 wish," etc., he delivers in the same tone, and in 
 the same position, speaking slowly and deliber- 
 ately, with forced courtesy, and intense irony ; 
 irony which is the more bitter because it is par- 
 tially veiled. He speaks the asides to Desde- 
 mona, in a very low tone of repressed anger, 
 without looking at her ; turning his head from 
 Lodovico, but not turning far enough to see 
 Desdemona; speaking over his right shoulder, 
 Desdemona standing close behind him, weeping. 
 As he says, to Lodovico, " Cassio shall have my 
 place," Desdemona makes her exit, right, weep- 
 ing. After Othello says " You are welcome, 
 sir, to Cyprus," he bows, turns from Lodovico, 
 and goes a few steps,, right, looking off, as if 
 watching Desdemona. He pauses, and utters 
 " O, shame ! O, rottenness !" * in a low tone, and 
 with facial expression showing utter scorn and 
 
 * The Italian version of " Goats and monkeys ! " 
 
THE OTHELLO OF TOM MA SO SALVINI. yj 
 
 loathing — not so much anger, as disgust. Then 
 lie half turns again toward Lodovico, who is 
 still standing, left centre, and salutes him with 
 a wave of the hand, a low inclination of the 
 body, and a horrible smile.* He hopes to hide 
 his feelings under a disguise of obsequious cour- 
 tesy. He then turns, and goes slowly, right, a 
 few steps, and stops — and then the storm breaks ; 
 the pent-up passion, which he has repressed with 
 so much difficulty, breaks loose, and he makes 
 his exit, right, with loud cries of anguish, wring- 
 ing his hands wildly above his head, f 
 
 Lod. Is this the noble Moor whom our full senate 
 Call all in all sufficient ! Is this the nature 
 Whom passion could not shake ? whose solid virtue 
 The shot of accident, nor dart of chance, 
 Could neither graze nor pierce ? 
 
 lago. He is much changed. 
 
 * It is a significant fact — a suggestive indication of the power and 
 the peculiar quality of this actor's artistic methods, that he produces 
 some of his most profoundly tragic effects by means of smiles and 
 laughter. Many of his strongest expressions of mental suffering, of 
 agony too deep for words, are accomplished by means of smiles and 
 laughter. By them he suggests the utmost conceivable depth of hu- 
 man anguish. Thus, in the " Not a jot ! " the " Death and damna- 
 tion I " and the " O, monstrous ! monstrous ! " of the third act ; in 
 the instance just recorded, and in several parts of the scene with Des- 
 demona at the end of the fourth act (Act 4, Scene 2, of the original). 
 In this respect, so far as my experience goes, Signer Salvini stands 
 alone among actors. 
 
 f On two occasions I have observed a variation at this point — 
 Othello making his exit quickly, immediately after the obsequious 
 salute to Lodovico ; omitting the outburst of passion. 
 
78 THE OTHELLO OF TOMMASO SALVINI. 
 
 Lod. Are his wits safe ? is he not light of brain ? 
 
 lago. He 's that he is ; I may not breathe my censure 
 What he might be : if what he might he is not, 
 I would to heaven he were ! 
 
 Lod. What, strike his wife ! 
 
 lago. 'Faith, that was not so well ; yet would I knew 
 That stroke would prove the worst ! 
 
 Ij)d. Is it his use ? 
 
 Or did the letters work upon his blood, 
 And new-create this fault ? 
 
 lago. Alas, alas ! 
 
 It is not honesty in me to speak 
 
 ^Vhat I have seen and known. You shall observe him, 
 And his own courses will denote him so 
 That I may save my speech : do but go after, 
 And mark how he continues. 
 
 Lod. I am sorry that I am deceived in him. 
 
 \Exeunt, left. 
 
 Enter Desdemona and Emilia, right. 
 
 Desdemona runs on, and stands at centre, 
 looking back in affright, as if fleeing from 
 Othello. Emilia follows her. 
 
 Emil. Alas, what does this gentleman conceive ? 
 How do you, madam ? how do you, my good lady? 
 Good madam, what 's the matter with my lord ? 
 
 (Compare with the original text, and note the transpositions. The 
 scene proceeds, substantially as in the original, to the exit of lago 
 and Roderigo.) 
 
 Enter Othello and Emilia, right. 
 
 0th. You have seen nothing, then ? 
 Emil. Nor ever heard, nor ever did suspect. 
 0th. Yes, you have seen Cassio and she together. 
 Emil. But then I saw no harm. 
 
THE OTHELLO OF TOM MA SO SALVINI. yg 
 
 0th. What, did they never whisper 7 
 
 Emil. Never, my lord. 
 
 Oih. Nor send you out o' the vi^ay ? 
 
 Emil. Never. 
 
 Oih. To fetch her fan, her gloves, her mask, nor nothing ? 
 
 Emil. Never, my lord. 
 
 Oih. That 's strange. 
 
 Emil. I durst, my lord, to wager she is honest, 
 Lay down my soul at stake : if you think other, 
 Remove your thought ; it doth abuse your bosom. 
 If any wretch have put this in your head, 
 Let heaven requite it with the serpent's curse ! 
 For, if she be not honest, chaste, and true, 
 There 's no man happy ; the purest of their vdves 
 Is foul as slander. 
 
 Oih. Bid her come hither : go. [Exit Emilia. 
 
 She says enough ; yet she 's a simple bawd 
 That cannot say as much. This is a subtle whore, 
 A closet lock and key of villainous secrets : 
 And yet she '11 kneel and pray ; I have seen her do 't. 
 
 Othello and Emilia enter, slowly, right. 0- 
 thello advances to the right of the table, near 
 which he stands ; Emilia stands nearer the right 
 entrance. He delivers these speeches in a low 
 tone, and with slow deliberateness of manner. 
 After Emilia says " IsTever, my lord," Othello 
 makes rather a long pause, before speaking, and 
 as he says " That 's strange," he turns partly 
 from Emilia, and so stands during her speech, 
 " I durst," my lord," etc. At the end he turns 
 sternly toward her, right, and dismisses her, 
 with a peremptor}'^ gesture. He then crosses, 
 left, behind the table, as he says "She says 
 
80 THE OTHELLO OF TOMMASO SALVINI. 
 
 enough," etc. As lie says "And yet, she '11 
 kneel," etc., lie stands, centre ; and then comes 
 part way down the stage, left, and turns right, 
 before Desdemona's entrance. 
 
 Enter Desdemona •with Emilia, right. 
 
 Des. My lord, what is your will ? 
 
 Oih. Pray, chuck, come hither. 
 
 Des. What is your pleasure ? 
 
 Otk. Let me see your eyes ; 
 
 Look in my face. 
 
 Des. What horrible fancy 's this ? 
 
 Otk. [To Emilia\. Some of your function, mistress ; 
 Leave procreants alone and shut the door ; 
 Cough, or cry " hem," if any body come : 
 Your mystery, your mystery : nay, dispatch. 
 
 [Exit Emilia, right. 
 
 Desdemona and Emilia enter, right, and re- 
 main right of centre, well down the stage. 
 After Othello says, with a forced smile, " Pray, 
 chuck," etc., Desdemona still remains with 
 Emilia. After saying " Let me see your eyes," 
 Othello continues, suddenly and vehemently, 
 " Look in my face," and goes quickly and threat- 
 eningly to Desdemona, seizing her arm roughly 
 and angrily. Emilia interposes herself between 
 Desdemona and Othello. Othello releases Des- 
 demona's arm, steps back a pace or two, ad- 
 dresses Emilia in a tone of bitter irony, and 
 dismisses her, sharply and peremptorily. Exit 
 
THE OTHELLO OF TOM MA SO SALVINI. 8 1 
 
 Emilia, right. Desdemona kneels, right, and 
 Othello stands over her, left. 
 
 Des. Upon my knees, what doth your speech import ? 
 I understand a fury in your words, 
 But not the words. 
 
 Olh. Why, what art thou ? 
 
 Des. Yonr wife, my lord ; your true 
 
 And loyal wife. 
 
 Oth. Come, swear it, damn thyself ; 
 
 Lest, being like one of heaven, the devils themselves 
 Should fear to seize thee : therefore be double damn'd : 
 Swear thou art honest. 
 
 As Desdemona says " Your wife, my lord," 
 etc., Othello turns from her, with a cry of an- 
 guish, clasping his hands violently above his 
 head : he turns to the right, without going up 
 the stage. He turns again toward her, bending 
 over her, as he says " Come, swear it," etc. 
 
 Des. Heaven doth truly know it. 
 
 Oth. Heaven truly knows that thou art false as hell. 
 
 Des. To whom, my lord ? with whom ? how am I false ? 
 
 Oth. O Desdemona ! away ! away ! away ! 
 
 Des. Alas the heavy day ! Why do you weep ? 
 Am I the motive of these tears, my lord ? 
 If haply you my father do suspect 
 An instrument of this your calling back. 
 Lay not your blame on me ; if you have lost him. 
 Why, I have lost him too. 
 
 As Othello says " Heaven doth truly know," 
 etc., he moves backward a little from Desdemona, 
 still facing her. Desdemona rises, as she says 
 
82 THE OTHELLO OF TOMMASO SALVINI. 
 
 "To whom, my lord ? " etc., approaching Othello, 
 beseechingly, and trying to embrace him. O- 
 thello starts back from her, violently, repelling 
 the embrace, and retreating backward up the 
 stage, left, toward the chair which stands above 
 the left entrance, as he says " O Desdemona ! 
 away ! away ! away ! " The Italian is : 
 
 ' ' Vanne lunge, 
 Desdemona, da me — lasciami, vanne ! " 
 
 " Fly far, 
 Desdemona, from me — leave me, fly ! " 
 
 The first two words are tittered as a wild 
 repulse to Desdemona, as he retreats from her ; 
 she must not even touch him. At " lasciami, 
 vanne," his voice breaks, he bursts into passion- 
 ate weeping, and falls upon the chair, turning 
 to the left, away from the audience, weeping 
 and sobbing convulsively during Desdemona's 
 speech, " Alas the heavy day ! " etc. 
 
 OlA. Had it pleased heaven 
 
 To try me with affliction ; had they rain'd 
 All kind of sores and shames on my bare head, 
 Steep'd me in poverty to the very lips, 
 Given to captivity me and my utmost hopes, 
 I should have found in some place of my soul 
 A drop of patience : but, alas, to make me 
 A fixed figure for the time of scorn 
 To point his slow unmoving finger at ! 
 Yet could I bear that too ; well, very well : 
 But there, where I have gamer'd up my heart, 
 
THE OTHELLO OF TOMMASO SALVINI. 83 
 
 Where either I must live, or bear no life ; 
 
 The fountain from the which my current runs, 
 
 Or else dries up ; to be discarded thence ! 
 
 Or keep it as a cistern for foul toads 
 
 To knot and gender in ! Turn thy complexion there, 
 
 Patience, thou young and rose-lipp'd cherubin, — 
 
 Ay, there, look grim as hell ! 
 
 Othello delivers this speech, still seated. The' 
 chair is placed at the extreme left, about half- 
 way up the stage, above the left entrance. He 
 rises after saying " Yet could I bear that too," 
 and comes down the stage, right, toward Des- 
 demona, pointing to her as he says " But there, 
 where I have," etc. Desdemona is still stand- 
 ing, right of centre. 
 
 Des. I hope my noble lord esteems me honest. 
 
 0th. O thou weed. 
 Who art so lovely fair and smell'st so sweet 
 That the sense aches at thee, would thou hadst ne'er been bom ! 
 
 Des. Alas, what ignorant sin have I committed ? 
 
 0th. Was this fair paper, this most goodly book. 
 Made to write " whore " upon ? What committed ! 
 Committed ! O thou public commoner ! 
 I should make very forges of my cheeks. 
 That would to cinders burn up modesty. 
 Did I but speak thy deeds. What committed ! 
 Heaven stops the nose at it and the moon winks, 
 The bawdy wind that kisses all it meets 
 Is hush'd within the hollow mine of earth, 
 And will not hear it. What committed ! 
 Impudent strumpet ! 
 
 As Desdemona says " I hope my noble lord," 
 
84 THE OTHELLO OF TOM MA SO SALVJNI. 
 
 etc., Othello stands, nearly centre, rather more 
 than half-way down the stage ; Desdemona 
 stands farther down, near the table. As O- 
 thello says " O thou weed," he goes quickly, and 
 stands close beside Desdemona. The Italian 
 version is " Vituperata " (" Disgraced one "), 
 which he utters in a loud whisper, hissing it 
 into Desdemona's ear. He utters " What com- 
 mitted ! " with a devilish smile — a grin, rather 
 — and in a tone of the bitterest irony. He in- 
 creases and still further emphasizes this effect, 
 when he says " What committed ! " the second 
 time. As he says " Impudent strumpet ! " he 
 turns from Desdemona, and goes right, a few 
 steps. 
 
 Des. By heaven, you do me wrong. 
 
 Oth. Are not you a strumpet ? 
 
 Des. No, as I am a Christian. 
 
 Oth. What ? 
 
 Des. No, as I shall be saved. 
 
 Oth. Is 't possible ? 
 
 As he says " Are not you ? " etc., Othello re- 
 turns, left, to Desdemona, passes behind her, 
 and stands close to her, at her left, a step far- 
 ther up the stage. Desdemona kneels, as she 
 says " No, as I am a Christian." Othello utters 
 the three questions with vehement rapidity. 
 
 Des. O, heaven forgive us ! 
 
 Oth. I cry you mercy, then : 
 
THE OTHELLO OF TOMMASO SALVINI. 85 
 
 I took you for that cunning whore of Venice * 
 That married with Othello. 
 
 Re-enter EMILIA. 
 
 And you, who 
 Have fulfilled your prudent, honest 
 Office, in such a perfect manner — 
 Here 's gold for you. Keep our counsel ! 
 
 [Exii, right. 
 
 There is a slight pause after Desdemona says 
 " O, Heaven forgive us ! " and then Othello 
 continues, with deliberation and with studied 
 politeness, bending over the kneeling Desde- 
 mona, " I cry you mercy," etc. They are right 
 of centre — De?.%^- As he says "married 
 with Othello," Desdemona starts to her feet 
 with a cry, and runs past him, up the stage, 
 left, and Emilia enters, right, confronting 
 Othello. Othello knits his fingers together, 
 holding his hands downward, and bows very 
 low to Emilia, inclining his whole body, and 
 bending his head, smiling at her — a picture of 
 the most obsequious mock-politeness — as he 
 addresses her. He maintains this manner 
 throughout the speech to Epiilia. As he says 
 " Here 's gold for you," he takes a purse from 
 his girdle and holds it up, jingling the money. 
 
 * A line is introduced here, in the Italian version : " Che per amor 
 lascio il patemo tetto," etc. ( Who, for love, left the paternal roof, 
 a»(/ married with Othello.") 
 
86 THE OTHELLO OF TOMMASO SALVINI. 
 
 At this, Emilia crosses, left, behind Othello, 
 going up the stage toward Efesdemona, refusing 
 to take the purse. Othello follows her, saying 
 "Keep our counsel," and still proffering the 
 purse. She still refuses it, and he throws it 
 upon the table. He pauses an instant, looks at 
 Emilia, laughs, picks up the purse from the 
 table, goes close to Emilia, seizing her right 
 arm roughly with his left hand, and furiously 
 dashes the purse at her feet, motioning to her 
 tof take it. 
 
 C^ 
 
 I n 
 
 , ^ Desdemona 
 ^Emilia 
 ^ Othello 
 
 He laughs again, loudly and bitterly, and 
 turns, right, utters a loud cry of anguish, ex- 
 tending his hands above his head, and so makes 
 his exit, right. 
 
THE OTHELLO OF TOM MA SO SALVINI. 87 
 
 ACT v.* 
 
 Scene. — Desdemona's bedchamber. An alcove at the back, con- 
 cealed by curtains, with bed. A dressing-table, right centre, on which 
 a lamp is burning. The stage is dimly lighted. Wind and distant 
 thunder as the curtain rises, continuing at intervals throughout the 
 scene between Desdemona and EMILIA. 
 
 
 
 
 Bed 
 
 
 Curtains 
 
 
 High window 
 
 
 
 Table 
 
 
 Chair 
 
 ■ 
 
 Practicable door 
 
 Desdemona and Emilia discovered ; Desdemona seated at the 
 table ; Emilia attending her. 
 
 Emil. How goes it now ? he looks gentler than he did. 
 Des. He says he will return incontinent : 
 
 * The scene between Desdemona and Emilia, in the Italian version, 
 is the third scene of the fourth act in the original. There are many- 
 variations from the original text in the fifth act. Compare with the 
 original. 
 
88 THE OTHELLO OF TOMMASO SALVINI. 
 
 He hath commanded me to go to bed, 
 And bade me to dismiss you. 
 
 The scene proceeds, substantially as in the 
 original, to 
 
 Des. Good night, good night : heaven me such uses send. 
 Not to pick bad from bad, but by bad mend ! 
 
 Emilia makes her exit, left. Desdemona goes 
 up the stage, and draws aside the curtains, dis- 
 closing the alcove, which is lighted from within. 
 The outer room is dusky, dimly lighted by the 
 lamp upon the table. Desdemona enters the 
 alcove, drawing the curtains together after her. 
 There is a long pause, with muttering of distant 
 thunder, before Othello's entrance. 
 
 Enter Othello. 
 0th. It is the cause, it is the cause, my soul, — 
 Let me not name it to you, you chaste stars ! — 
 It is the cause. Yet I '11 not shed her blood ; 
 Nor scar that whiter skin of hers than snow, 
 And smooth as monumental alabaster. 
 Yet she must die, else she '11 betray more men. 
 Put out the light, and then put out the light : 
 If I quench thee, thou flaming minister, 
 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. When I have pluck'd the rose, 
 I cannot give it vital growth again. 
 It must needs wither : I '11 smell it on the tree. 
 
 \Kissing her. 
 Ah, balmy breath, that dost almost persuade 
 
THE OTHELLO OF TOM MA SO SALVINI. 89 
 
 Justice to break her sword ! I must weep. 
 
 But they are cruel tears : this sorrow s heavenly ; 
 
 It strikes where it doth love. She wakes. 
 
 Othello enters very slowly, left, in deep 
 thought. He advances a step or two; then 
 turns, closes the door, locks it, and stands for a 
 moment with bowed head, still deeply medita- 
 tive. He then begins in a tone so low as to be 
 barely audible — he is continuing the train of 
 his thought. Thus he delivers, 
 
 " It is the cause, it is the cause, my soul — 
 
 Let me not name it to you, you chaste stars ! — ■ 
 It is the cause." 
 
 Then he arouses from his meditation, and pre- 
 pares for instant action. He throws his long 
 red mantle (which he carried, hanging on his 
 arm, at his entrance) upon a chair, which stands 
 near the door ; he draws his sword, and goes 
 quickly and decisively up the stage, right, to the 
 curtained alcove, and partly opens the curtains; 
 but hardly has he seen Desdemona asleep on her 
 bed,* when he stops, and says " Yet I '11 not 
 shed her blood," etc. As he delivers these 
 words he goes down to the table, upon which 
 he lays his sword. In the Italian the words 
 "I '11 not" come last, and as he says them 
 
 * These words, ' ' but hardly has he seen Desdemona asleep on her 
 bed," were inserted by Signer Salvini. 
 
90 THE OTHELLO OF TOMMASO SALVINI. 
 
 (" Non v6 ! ") lie lays down the sword. There 
 is a considerable pause. He seems almost to 
 repent of his purpose. Then he continues, 
 " Yet she must die," etc. He is still standing 
 beside the table. As he says "Put out the 
 light," he moTOS toward it, as if to do so, but 
 does not. His mind turns at once to the other 
 " light " to be put out, and the lesser purpose 
 is lost in the greater. As he says " I '11 smell 
 it on the tree," he goes behind the curtains, 
 closing them after him. He begins " O, balmy 
 breath," etc., behind the curtains, half-hidden 
 from the audience (he is opening the curtains, 
 stiU looking at Desdemona, before returning), 
 and he continues, " that dost almost persuade," 
 etc., as he returns to the outer room. His voice 
 is broken, and he is weeping — ^not weeping 
 loudly and vehemently, as in the earlier scenes. 
 It is the still grief, from which passion has de- 
 parted ; the despairing sorrow of a heart-broken 
 man who has lost all hope. He stands outside 
 the curtains (which again entirely conceal the 
 alcove), close to them, facing right, as he says 
 " I must weep. But they are cruel tears." His 
 speech is interrupted by the storm -without ; a 
 vivid flash of lightning is seen through the 
 window, followed by a loud burst of thunder. 
 He starts toward the window, right, and down 
 
THE OTHELLO OF TO MM A SO SALVINI. 9 1 
 
 the stage, watching the lightning, and, as the 
 sound of the thunder subsides, he says "This 
 sorrow 's heavenly ; it strikes where it doth 
 love." At the end of this speech he stands by 
 the window, facing right. He hears Desdemona 
 rising from her bed, and turns, full front, and 
 comes down the stage. He stands near the 
 front, at the extreme right, as he says "She 
 wakes." 
 
 Des. Who 's there ? Othello ? 
 
 Oih. Ay, Desdemona. 
 
 Des. Will you come to bed, my lord ? 
 
 Oth. Have you pray'd to-night, Desdemona ? 
 
 Des. Ay, my lord. 
 
 Oth. If you bethink yourself of any crime 
 Unreconciled as yet to heaven and grace, 
 Solicit for it straight. 
 
 Des. Alas, my lord, what do you mean by that ? 
 
 Oth. Well do it, and be brief ; 
 I would not kill thy unprepared spirit ; 
 No ; heaven forefend ! I would not kill thy soul. 
 
 Des. Talk you of killing ? 
 
 Oth. Ay, I do. 
 
 Des. Then heaven 
 
 Have mercy on me ! 
 
 Oth. Amen, with all my heart ! 
 
 Desdemona opens the curtains, holds them 
 apart, and stands between them, leaning for- 
 ward toward Othello. As she says " Will you 
 come to bed, my lord ? " Othello shows his feel- 
 ing of strong abhorrence by facial expression, 
 and by a muttered, inarticulate sound, before 
 
92 THE OTHELLO OF TOM MA SO SALVINI. 
 
 he says " Have you prayed," etc. Desdemona 
 stands between tlie curtains until Othello says 
 "Solicit for it straight," when she conies down 
 the stage, right, to Othello. The curtains fall 
 together behind Desdemona, and again hide the 
 alcove. During these speeches Othello stands 
 mo^tionless, facing front, at the extreme right. 
 He does not look at Desdemona, His voice 
 is low, and his utterance slow and deliberate. 
 As he says " Amen, with all my heart ! " he 
 clasps his hands, and utters the words with 
 strong emotion. He then turns, right, goes up 
 the stage to the back, and paces to and fro at 
 the back of the stage. 
 
 Des. If you say so, I hope you will not kill me. 
 
 0th. Hum ! 
 
 Des. And yet I fear you ; for you are fatal then 
 When your eyes roll so : why I should fear I know not, 
 Since guiltiness I know not ; but yet I feel I fear. 
 
 0th. Think on thy sins. 
 
 Des. They are loves I bear to you. 
 
 0th. Ay, and for that thou diest. 
 
 Des. That death 's unnatural that kills for loving. 
 Alas, why gnaw you so your nether lip ? 
 Some bloody passion shakes your very frame : 
 These are portents ; but yet I hope, I hope. 
 They do not point on me. 
 
 During these speeches Othello is pacing to 
 and fro across the stage at the back. He stalks 
 about with long strides, like a caged lion, his 
 
THE OTHELLO OF TO MM A SO SALVINI. 93 
 
 head sunk upon his breast, except twice, when 
 he raises it to glare at Desdemona with fury. 
 He continues thus until, 
 
 Oih. Peace, and be still ! 
 
 Des. I will so. What 's the matter ? 
 
 0th. That handkerchief which I so loved and gave thee 
 Thou gavest to Cassio. 
 
 Des. No, by my life and soul ! 
 
 Send for the man, and ask him. 
 
 0th. Sweet soul, take heed. 
 
 Take heed of perjury ; thou art on thy death-bed. 
 
 Des. Ay, but not yet to die. 
 
 0th. Yes, presently : 
 
 Therefore confess thee freely of thy sin ; 
 For to deny each article with oath 
 Cannot remove nor choke the strong conception 
 That I do groan withal. Thou art to die. 
 
 Des. Then Lord have mercy on me ! 
 And have you mercy too ! I never did 
 Offend you in my life ; never loved Cassio 
 But with such general warranty of heaven 
 As I might love ; I never gave him token. 
 
 0th. By heaven, I saw my handkerchief in 's hand. 
 
 perjured woman ! thou dost stone ray heart. 
 And makest me call what I intend to do 
 
 A murder, which I thought a sacrifice ; 
 
 1 saw the handkerchief. 
 
 Des. He found it then ; 
 
 I never gave it him : send for him hither ; 
 Let him confess a truth. 
 
 0th. He hath confess'd. 
 
 Des. What, my lord ? 
 
 0th. That he hath used thee. 
 
 Des. He will not say so. 
 
 0th. No, his mouth is stopp'd : 
 
 Honest lago hath ta'en order for 't. 
 
 Des. Oh ! my fear interprets : what, is he dead ? 
 
94 THE OTHELLO OF TOMMASO SALVINI. 
 
 0th. Had all his hairs been lives, my great revenge 
 Had stomach for them all. 
 
 Des. Alas ! he is betray'd, and I undone. 
 
 0th. Weep'st thou for him to my face ? 
 
 Des. O, banish me, my lord, but kill me not ! 
 
 Oih. Down, strumpet ! 
 
 Des. Kill me to-morrow ; let me live to-night ! 
 
 0th. Nay, if you strive — 
 
 Des. But half an hour ! 
 
 0th. Being done, there is no pause. 
 
 Des. But while I say one prayer ! 
 
 0th. It is too late. 
 
 As Othello says " Peace, and be still ! " lie 
 comes down tlie stage, more than half-way, and 
 stands near Desdemona, centre, during the 
 speeches which follow : Desdemona, right ; 
 Othello, left, a little farther up the stage. 
 Othello's manner, from the moment of Desde- 
 mona's entrance, has shown strong self-restraint ; 
 a settled purpose to " make what he intends to 
 do " a judicial sacrifice in the interest of justice : 
 he will repress passion, and act with calm, 
 deadly deliberation, as the passive instrument 
 of fate. In the speeches following " Peace, and 
 be still ! " this purpose of self-restraint is still 
 manifest. He holds his passion in check, as a 
 giant might hold a raging tiger. Gradually it 
 becomes evident that this restraint cannot last, 
 and that the wild beast must break loose. As 
 Desdemona says " Then Lord have mercy," etc., 
 she kneels. Her repeated denials of her guUt 
 
THE OTHELLO OF TOMMASO SALVINI. 95 
 
 exasperate him, until they make " his heart too 
 great for what contains it." Finally, her words, 
 "Alas! he is betrayed, and I undone," and 
 her weeping, fairly madden him — the tiger is 
 loose, free, beyond all control — and the remain- 
 ing speeches are uttered in wild, headlong fury, 
 and with lightning rapidity. After saying 
 " "Weep'st thou for him," etc., he drags her to 
 her feet, as she kneels, facing him ; he then 
 clutches her right arm with his right hand, and 
 grasps her neck and head with his left hand, 
 knotting his fingers in her loose hair, and pull- 
 ing back her head, as if to break her neck. 
 Holding her thus, he swiftly forces her up the 
 stage, and through the curtains, which close be- 
 hind them, concealing the alcove.* Muffled 
 sounds of the last fatal act are heard. Then 
 there is silence, and a long pause. 
 
 Emil. [ Within] My lord, my lord ! what, ho ! my lord, 
 
 my lord ! 
 0th. What noise is this ? 
 Emil. [fVithin] O, good my lord, I would speak >i word 
 
 with you ! 
 Oih. Who's there? Yes : 't is Emilia. By and by. She's 
 dead. 
 'T is like she comes to speak of Cassio's death. — 
 The noise was high. Ha ! no more moving ? 
 
 * When Signor Salvini played in New York, with his own Italian 
 company, in 1873, he used to take up Desdemona bodily in his arms, 
 and carry her off behind the curtains. 
 
f^ THE OTHELLO OF TOMMASO SALVim. 
 
 Still as the grave. Shall she come in ? were 't good ? — 
 I think she stirs again : — no. What 's best to do ? 
 If she come in, she '11 sure to speak to itiy wife : 
 My wife ! my wife ! what wife ? I have no wife : 
 O, insupportable ! O heavy hour ! 
 Methinks it should be now a huge eclipse 
 Of sun and moon, and that the affrighted globe 
 Should yawn at alteration. 
 
 Emit. [ Within\ I do beseech you 
 
 That I may speak with you, O, good my lord ! 
 
 0th. I had forgot thee : 0_ come in, Emilia : 
 Where art thou ? [ Unlocks the door. 
 
 Enter EnllLlA. 
 
 Emilia knocks several times before Othello 
 takes any notice of Ler ; then he thrusts his 
 head through the curtains, his face distorted by 
 wild passion, and, after a slight pause, says 
 " What noise is this ? " in a low tone (soliloquy, 
 not addressed to Emilia). Throughout the 
 next speech, Othello, by turns, goes toward the 
 door, left, where Emilia is knocking, and returns 
 behind the curtains ; at times moving irreso- 
 lutely toward the door, and then darting sud- 
 denly back to the bed. 
 
 Emil. O, my good lord, yonder 's foul murders done ! 
 Cassio, my lord, hath kill'd a young Venetian, 
 Called Roderigo. 
 
 0th. What? now? 
 
 Des. Oh, oh, oh ! 
 
 Emil. Alas, what cry is that ? 
 
 Des. Oh, falsely, falsely murdered ! 
 
 Emil. Out, and alas ! that was my lady's voice. 
 Help ! help, ho ! help ! O lady, speak again ! 
 
THE OTHELLO OF TOM MA SO SALVINI. 9/ 
 
 Sweet Desdemona ! O sweet mistress, speak ! 
 Dcs. A guiltless death I die. 
 Emil. O, who hath done this deed ? 
 
 Des. Nobody ; I myself. Farewell : commend me to my 
 kind lord : O, farewell ! [Dies. 
 
 Emilia crosses, right, to centre ; as she hears 
 Desdemona's second cry, " Oh, falsely," etc., she 
 runs to the alcove, and draws apart the curtains, 
 which, remain open, showing Desdemona on the 
 bed. Desdemona is now seen for the first time 
 since she was taken behind the curtains. Othello 
 follows Emilia up the stage, and stands at the 
 right side of the alcove, outside. 
 
 Oth. Why, how should she be murder'd ? 
 
 Emil. Alas, who knows ? 
 
 Oth. You heard her say herself, it was not I. 
 
 Emil. She said so : I must needs report the truth. 
 
 Olh.. She 's, like a liar, gone to burning hell . 
 'T was I that kill'd her. 
 
 Emil. O, the more angel she. 
 
 And you the blacker devil ! 
 
 Othello delivers these three speeches, stand- 
 ing at the right of the alcove, close to the curtains, 
 which have been drawn open. 
 
 Oth. She turned to folly, and she was a whore. 
 Emil. Thou dost belie her. 
 Oth. She was false as water. 
 Emil. O, she was heavenly true ! 
 Oth. She was lost. Thy husband knew it all. 
 Emil. My husband ! 
 Oth. Thy husband. 
 7 
 
98 THE OTHELLO OF TOM MA SO SALVINI. 
 
 Emil. That she was false to wedlock ? 
 
 0th. Ay, 't was he that told me first : 
 An honest man he is, and hates the slime 
 That sticks on filthy deeds. 
 
 Emit. My husband"! 
 
 0th. What needs this iteration, woman ? I say thy hus- 
 band. 
 
 Emil. O mistress, villany hath made mocks with love ! 
 My husband say that she was false ! 
 
 0th, He, woman ; 
 
 I say thy husband : dost understand the word ? 
 My friend, thy husband, honest, honest lago. 
 
 Emil. If he say so, may his pernicious soul ■ 
 Rot half a grain a day ! he lies to the heart : 
 She was too fond of her most filthy bargain. 
 
 0th. Ha ! 
 
 Otliello and Emilia come down the stage — he, 
 right; she, left, — and pace about the stage. As 
 Othello says " He, woman ; I say thy husband," 
 etc., he seats himself at the table, turning away 
 from Emilia. As Emilia says " her most filthy 
 bargain," Othello, still seated, turns threaten- 
 ingly toward her, left. 
 
 Emil. Do thy worst : 
 This deed of thine is no more worthy heaven 
 Than thou wast worthy her. O gull ! O dolt ! 
 As ignorant as dirt ! thou hast done a deed — 
 I care not for thy sword ; I '11 make thee known, 
 Though I lost twenty lives. — Help ! help, ho ! help ! 
 The Moor hath kill'd my mistress ! Murder ! murder ! 
 
 As Emilia says " O gull ! O dolt ! " OtheUo 
 turns toward the table, snatches up his sword, 
 
THE OTHELLO OF TOMMASO SALVINI. 99 
 
 Tinsheatlies it, leaving the slieatli on the table, 
 and springs to his feet, going swiftly to Emilia, 
 who stands, centre. He repents of his impulse 
 to kill her, and returns to the table, upon which 
 he throws the naked sword ; reseating himself, 
 whUe Emilia arouses the house. 
 
 Enter MONTANO, Gratiano, Iago, and others. 
 
 Man. What is the matter ? 
 
 Emil. O, are you come, Iago ? you have done well. 
 That men must lay their murders on your neck. 
 Disprove this villain, if thou be'st a man : 
 He says thou told'st him that his wife was false : 
 I know thou didst not, thou 'rt not such a villain. 
 
 Iago, I told him what I thought, and told no more 
 Than what he found himself was apt and true. 
 
 Emil, You told a lie ; an odious, damned lie ; 
 Upon my soul, a lie, a wicked lie. 
 I am bound to speak : 
 My mistress here lies murder'd in her bed, — 
 
 All, O heavens forfend ! 
 
 Emil, And your reports have set the murder on. 
 
 Iago, ^Vhat, are you mad ? I charge you, get you home. 
 
 Emil, 'T will out, 't will out : I peace ! 
 No, I will speak as liberal as the north : 
 Let heaven and men and devils, let them all, 
 All, all, cry shame against me, yet I '11 speak. 
 
 thou dull Moor ! that handkerchief thou speak'st of 
 
 1 found by fortune and did give my husband ; 
 For often, with a solemn earnestness. 
 
 More than indeed belong'd to such a trifle. 
 He begg'd of me to steal it. 
 
 Oth. Say on ! 
 
 Iago.'\ fCome, hold your peace ! 
 
 Oth, I ^^'^^^"S <^' i^e ^""'^ '^^^Isay on ! 
 
 Emil. I will not. 
 
 Oth, Well? 
 
lOO THE OTHELLO OF TOMMASO SALVINI. 
 
 Upon the entrance of Montano, Gratiano, and 
 tlie rest, left, the lights are turned up. Hitherto, 
 in this scene, the stage has been dimly lighted. 
 Othello remains seated at the table, facing front. 
 At first he looks at lago, as if to say " You 
 see — it is all over ! " When lago says " I told 
 him what I thought," etc., Othello nods, in con- 
 firmation of lago's words. When Emilia says 
 "You told a lie," etc., Othello's expression 
 changes ; he becomes anxious ; he watches and 
 listens, eagerly, gradually beginning to suspect 
 the truth, and growing more and more excited 
 as the scene proceeds. When Emilia says " He 
 begg'd of me to steal it," Othello springs to 
 his feet, and rushes toward Emilia, centre, say- 
 ing " Say on ! " lago, who has stood left, rushes 
 to Emilia, and Othello and lago speak together 
 (as indicated above, in the text). Othello in- 
 terposes between lago and Emilia, shielding 
 her, and passing her to the right as he says 
 " Well ? " and lago retires, left, and down the 
 stage ; Emilia being now on Othello's right, and 
 a little farther down the stage. 
 
 Emil. She give it Cassio ! no, alas ! I found it, 
 And I did give 't my husband. 
 
 0th. Are there no stones in heaven 
 But what serve for the thunder ? 
 O Desdemona ! Desdemona ! dead ! 
 Oh ! Oh ! Oh ! 
 
THE OTHELLO OF TOMMASO SALVINI. lOI 
 
 Othello leans forward toward Emilia, listen- 
 ing breathlessly to her words. Then he starts 
 back, with a loud cry, and utters " Are there 
 no stones," etc., with the full power of his 
 voice. His arms are stretched upward ; his 
 head is thrown back ; his aspect is Titanic. He 
 stands, centre, rather more than half-way up the 
 stage. This outburst is the expression of utter 
 desperation, reckless of heaven or hell.* Then 
 he turns, and goes up the stage, as he says " O 
 Desdemona ! " etc., and, with loud cries of 
 lamentation (" Ahi ! Ahi ! "), he throws him- 
 self down, beside and upon the bed, clasping 
 Desdemona's body. Thus he lies, weeping and 
 groaning. 
 
 Emil. Nay, lay thee down and roar ; 
 Moor, she was chaste ; she loved thee, cruel Moor. 
 
 Lod. Bring the villain forth. 
 
 0th. I look down toward his feet ; but that 's a fable. 
 If that thou be'st a devil, I cannot kill thee, f 
 
 * The Italian version is : 
 
 " E fiammi 
 Non ha pii il Ciel ? La folgore a che giova ? " 
 " And has Heaven no more flames ? Of ivhai tise is the thunder ? " 
 f The Italian version is : 
 
 , " E un uomo costui ? — 
 II sue sguardo awelena, arde il sua tocco — 
 La sua vita k una fola. Oh ! se un demone 
 Tu sei, morte non temi." 
 "Is that a man ? — His look poisons, — his touch burns, — his life is a 
 He. 0, if thou art a devil, thou dost not fear death." 
 
I02 THE OTHELLO OF TOMMASO SALVINI. 
 
 Lodovico's words refer to lago, who is at 
 once seized by two of the attendants. Othello 
 raises his head, half-rises from the bed, and, 
 kneeling upon one knee, he turns, left, toward 
 lago, at whom he glares with deadly hatred. 
 Thus he utters "I look down," etc. At the 
 end of the speech he rushes down, left, to lago, 
 snatching Montano's sword from its scabbard 
 as he passes him, and wounds lago. The situa- 
 tion is thus : 
 
 
 w^^m 
 
 
 
 
 
 
 lia 
 
 ^ Othello 
 
 \ 
 
 \ 
 \ 
 
 ^ Em 
 
 
 
 
 ^ Montano 
 
 
 
 ^ Lodovico 
 
 
 
 - 
 
 o. 
 
 
 ^Attendant 
 ^Attendant 
 
 • 
 
 Gratiano and the crowd of attendants stand 
 near Montano and Lodovico, 
 
THE OTHELLO OF TOM MA SO SALVTNI. IO3 
 
 lago. I bleed, sir ; but not killed. 
 Lod. Wrench his sword from him. 
 
 After wounding lago, Othello turns, crosses 
 right to centre, and turns, facing left, holding 
 the sword (Montano's sword) in his hand. Lo- 
 dovico goes a step or two toward Othellp, as he 
 says " Wrench his sword from him." 
 
 Oth. An instant, pray ! 
 Will you, I pray, demand that demi-devil 
 Why he hath thus ensnared my soul and body ? 
 
 Jago. Demand me nothing : what you know, you know. 
 From this time forth I never will speak word. 
 
 Enter Cassio. 
 
 As Othello says " An instant," etc., he crosses, 
 left, menacing lago with his sword. Lpdovico 
 and the attendants place themselves in front 
 of lago, shielding him from Othello. Othello 
 comes close to them, trying to reach lago. After 
 lago's speech, Othello utters an inarticulate 
 sound of wrath ; he turns, crosses right, throw- 
 ing down the sword, and sinks into the 
 chair, beside the table. While lago is saying 
 "Demand me nothing:" etc., Cassio enters, left, 
 goes up the stage, behind the crowd, and looks 
 at the dead body of Desdemona. 
 
 Lod. Torments will ope your lips. \ExU lago. 
 
 Cas. Dear general, I never gave you cause 
 
 Oth. That 's he that was Othello : 
 Give me your hand, your pardon. 
 
I04 THE OTHELLO OF TOMMASO SALVINI. 
 
 lago'is forced off tie stage by two attend- 
 ants. Cassio then comes down from tlie alcove 
 to Othello, and stands close beside him. Othello 
 does not look at Cassio. He says " That 's he 
 that was," etc., in a very low tone, and gives his 
 left hand to Cassio, who clasps it, and then 
 retires, left, and joins the other characters, who 
 all stand, left. 
 
 Lod. O thou Othello, that wert once so good, 
 Fall'ii in the practice of a damned slave. 
 What shall be said to thee ? 
 
 Olh. Soft you ; a word or two before you go. 
 I have done the state some service, and they know 't. 
 No more of that. I pray you, in your letters, 
 When you shall these unlucky deeds relate. 
 Speak of me as I am ; nothing extenuate. 
 Nor set down aught in malice : then must you speak 
 Of one that loved not wisely but too well ; 
 Of one not easily jealous, but being wrought 
 Perplex'd in the extreme ; of one whose hand. 
 Like the base Indian, threw a pearl away 
 Richer than all his tribe ; of one whose subdued eyes. 
 Albeit unused to the melting mood. 
 Drop tears as fast as the Arabian trees 
 Their medicinal gum. Set you down this ; 
 And say besides, that in Aleppo once, 
 Where a malignant and a turban'd Turk 
 Beat a Venetian and traduced the state, 
 I took by the throat the circumcised dog, 
 And smote him, thus. 
 
 Othello remains seated at the table, facing 
 right, regarding no one. As Lodovico ends his 
 speech, he and the others prepare to withdraw, 
 
THE OTHELLO OF TOMMASO SALVINI. IO5 
 
 left. Othello turns, still seated, toward them, 
 and says, in a low tone, " Soft you — " trying to 
 detain them. They continue to withdraw, 
 slowly ; — " a word or two " — tone and action of 
 entreaty ; Lodovico and the others still move 
 away ; — " before you go " — in a more earnest 
 tone of entreaty. He makes very slight pauses 
 between these phrases, and utters them in a 
 subdued, pleading tone, and with outstretched 
 hands. Finding that this is of no avail, and 
 that they are determined to leave him, Othello 
 chano-es. his tone and manner. Drawinsx himself 
 up, with dignity (still seated), he says, in aloud 
 voice, " I have done the state some service " 
 (Alcun servigio lo resi alia repuhblicaP^ — as 
 though he said, " If you will not stay at my 
 personal entreaty, have respect for my official 
 rank, and for my past career of honor and 
 patriotism." It is the last gleam of the hero's 
 pride. They stop. He at once drops the tone 
 of proud self-assertion ; he turns from them 
 again and faces front, as he says, very quietly, 
 "and they know 't. No more of that." The 
 lines which follow are uttered with a broken 
 voice ; he weeps copiously, still seated, not look- 
 ing at Lodovico and the others. After saying 
 "their medicinal gum," he pauses, half -turned 
 toward the table, with bowed head and half- 
 
I06 THE OTHELLO OF TOMMASO SALVINL 
 
 closed eyes ; his whole body relaxed and nerve- 
 less. He is completely prostrated by his grief. 
 Suddenly his eyes fall upon the curved sword,* 
 which lies where he had laid it, on the table. 
 Life and energy return to him. His eyes dilate, 
 he starts to his feet, strikes the table with 
 the palm of his right hand, and says, in a sharp, 
 decisive tone, " Set you down this." There 
 is a slight pause ; and then, leaning against 
 the table, with his back to it, and facing 
 left, he continues, in a loud tone, ^'And say 
 besides," etc. The account of the scene in 
 Aleppo is given loudly, with great energy, 
 and with powerfully graphic illustrative ac- 
 tion. As he says " I took by the throat," he 
 snatches the naked sword from the table, and 
 goes quickly to centre. He takes the Turk by 
 the throat, with his left hand, and shows how 
 he cut that throat. At the words, " And smote 
 him," he cuts the Turk's throat. He stands, 
 thereafter, for a moment, with both arms ex- 
 tended : the left, clutching the Turk ; the I'ight, 
 holding the sword. There is a momentary 
 pause, as of irresolution — the instinctive shrink- 
 ing of a strong man brought face to face with 
 
 * Othello wears this sword throughout the play, in his girdle. It is 
 the short sword, with a curved, broad blade, known as a hanger. The 
 scabbard is gilded and richly ornamented. 
 
THE OTHELLO OF TOMMASO SALVINI. 10/ 
 
 •death. Then, Avith arms still extended, he 
 glances hastily around at the group behind him 
 (to his left), and steps a pace or two backward. 
 Then he seizes the point of the curved sword 
 with his left hand, grasps the blade, just 
 below the hilt, with his right hand, and, lean- 
 ing backward as he says " thus " (" cosi "), he 
 draws it violently across his throat, sawing 
 backward and forward. His head falls back, 
 as if move than half-severed from his body ; he 
 drops the sword and staggers backward (bis full 
 front to the audience) toward the alcove ; but 
 before he can reach the bed, he falls backward, 
 and dies, in strong convulsions of the body and 
 the legs. Quick cui-tain. 
 
 THE END. 
 
'.'".:-''.;',~r1itt 
 
 ■-r-'irit 
 
 "fifii