THE YALE 
 SHAKESPEARE 
 
 OTHELLO 
 THE MOOR 
 OF VENICE 
 
 Edited by 
 
 Lawrence Mason 
 
 Yale University 
 Press 
 
DUKE 
 
 UNIVERSITY 
 
 LIBRARY 
 
Digitized by the Internet Archive 
 in 2017 with funding from 
 Duke University Libraries 
 
 https://archive.org/details/tragedyofothello02shak 
 
THE YALE SHAKESPEARE 
 
 Edited by 
 
 Wilbur L. Cross Tucker Brooke 
 
 Willard Higley Durham 
 
 Published under the Direction 
 of the 
 
 Department of English, Yale University 
 on the Fund 
 
 Given to the Yale University Press in 1917 
 by the Members of the 
 Kingsley Trust Association 
 To Commemorate the Seventy-Fifth Anniversary 
 of the Founding of the Society 
 
• ! 77he 7 ale Shakespeare \ • 
 
 THE TRAGEDY OF OTHELLO 
 
 THE MOOR OF VENICE 
 
 EDITED BY 
 
 LAWRENCE MASON 
 
 NEW HAVEN • YALE UNIVERSITY PRESS 
 LONDON • HUMPHREY MILFORD 
 OXFORD UNIVERSITY PRESS 
 
Copyright, 1918 
 By Yale University Press 
 Printed in the United States of America 
 
 First published, January, 1918 
 Second printing, October, 1920 
 Third printing, August, 1925 
 Fourth printing, October, 1929 
 
TABLE OF CONTENTS 
 
 
 
 Page 
 
 The Text 
 
 . 
 
 1 
 
 Notes 
 
 . 
 
 132 
 
 Appendix A. 
 
 Sources of the Play 
 
 144 
 
 Appendix B. 
 
 The History of the Play 
 
 150 
 
 Appendix C. 
 
 The Text of the Present Edi- 
 
 
 
 tion .... 
 
 156 
 
 Appendix D. 
 
 Suggestions for Collateral Read- 
 
 
 
 ing .... 
 
 158 
 
 Index of Words Glossed .... 
 
 160 
 
The facsimile opposite represents the title-page of 
 the Elizabethan Club copy of the first quarto edition. 
 Thirteen copies of this edition are known to survive. 
 
THE 
 
 Tragoedy of Othello, 
 
 The Moore of Venice. 
 
 <i£s it hath heene diuerfe times acted at the 
 Globe , and at the Black-Friers , by 
 
 hit Maiejlies Serums. 
 
 Written by William Shakefpeare. 
 
 LONDON , 
 
 Printed by N. 0 . for Thomas v/alkley .^ nd are to be fold at bis 
 ihop, at the Eagle and Child, in Brittans Burfle. 
 
 16 22, 
 
[DRAMATIS PERSONvE.] 
 
 Othello, the Moor 
 Brabantio, Father to Desdemona 
 Cassio, an honourable Lieutenant 
 Iago, a villain [Ancient to Othello ] 
 
 Roderigo, a gulled gentleman 
 Duke of Venice 
 Senators. 
 
 Montano, Governor of Cyprus [before Othello ] 
 Gentlemen of Cyprus 
 
 Lodovico and ) two noble Venetians [kinsman and 
 Gratiano ) brother, respectively, to Brabantio ] 
 Sailors 
 
 Clown, [in Othello’s retinue ] 
 
 Desdemona, wife to Othello [and daughter to 
 Brabantio ] 
 
 Emilia, wife to lago [and maid-in-waiting to Desde- 
 mona ] 
 
 Bianca, a courtesan [in love with Cassio ] 
 
 [Messenger, Herald, Officers, Musicians, and 
 Attendants] 
 
 [Scene: Act I, at Venice ; Acts II-V, at a sea-port 
 in Cyprus .] 
 
The Tragedy of 
 Othello, the Moor of Venice 
 
 ACT FIRST 
 
 Scene One 
 [Venice. A Street ] 
 
 Enter Roderigo and Iago. 
 
 Rod. Tush! Never tell me; I take it much un- 
 kindly 
 
 That thou, Iago, who hast had my purse 
 
 As if the strings were thine, shouldst know of this. 
 
 Iago. ’Sblood, but you will not hear me: 4 
 
 If ever I did dream of such a matter. 
 
 Abhor me. 
 
 Rod. Thou told’st me thou didst hold him in thy 
 hate. 
 
 Iago. Despise me if I do not. Three great ones 
 of the city, 8 
 
 In personal suit to make me his lieutenant, 
 
 Off-capp’d to him ; and, by the faith of man, 
 
 I know my price, I am worth no worse a place ; 
 
 But he, as loving his own pride and purposes, 12 
 Evades them, with a bombast circumstance 
 Horribly stuff’d with epithets of war; 
 
 And, in conclusion, 
 
 Nonsuits my mediators ; for, ‘Certes,’ says he, 16 
 
 ‘I have already chose my officer.’ 
 
 4 ’Sblood; cf. n. 10 Off-capp’d: doffed their caps 
 
 13 bombast circumstance: inflated circumlocution ; cf. n. 
 
 16 Nonsuits: rebuffs Certes: certainly 
 
2 
 
 The Tragedy of Othello 
 
 And what was he ? 
 
 Forsooth, a great arithmetician. 
 
 One Michael Cassio, a Florentine, 20 
 
 A fellow almost damn’d in a fair wife; 
 
 That never set a squadron in the field. 
 
 Nor the division of a battle knows 
 More than a spinster; unless the bookish theoric, 
 Wherein the toged consuls can propose 25 
 
 As masterly as he: mere prattle, without practice, 
 
 Is all his soldiership. But he, sir, had the election; 
 And I — of whom his eyes had seen the proof 28 
 At Rhodes, at Cyprus, and on other grounds 
 Christian and heathen— must be be-lee’d and calm’d 
 By debitor and creditor; this counter-caster, 
 
 He, in good time, must his lieutenant be, 32 
 
 And I — God bless the mark ! — his Moorship’s ancient. 
 Rod. By heaven, I rather would have been his 
 hangman. 
 
 I ago. Why, there’s no remedy: ’tis the curse of 
 service, 
 
 Preferment goes by letter and affection, 30 
 
 Not by the old gradation, where each second 
 Stood heir to the first. Now, sir, be judge yourself, 
 Whether I in any just term am affin’d 
 To love the Moor. 
 
 Rod. I would not follow him then. 40 
 
 I ago. O ! sir, content you ; 
 
 19 Cf. n. on line 31 _ 21 Cf. n. 
 
 23 division . . . battle: section of a battalion, or disposition of a 
 battle-line 
 
 24 unless: except, unless you count bookish theoric: book-taught 
 
 theory 
 
 25 toged consuls: councillors in their togas or robes of peace pro- 
 
 pose: converse, discourse 
 
 30 be-lee’d and calm’d; cf. n. 31 Cf. n. 
 
 32 in good time: ( phrase of contempt) forsooth 
 
 33 God . . . mark; cf.n. ancient: ensign; cf. n. 
 
 36 letter : commendatory letter, favor 39 in any . . . affin’d; cf. n. 
 
The Moor of Venice , I. i 
 
 3 
 
 I follow him to serve my turn upon him; 
 
 We cannot all be masters, nor all masters 
 
 Cannot be truly follow’d. You shall mark 44 
 
 Many a duteous and knee-crooking knave. 
 
 That, doting on his own obsequious bondage. 
 
 Wears out his time, much like his master’s ass. 
 
 For nought but provender, and when he’s old, 
 cashier’d; 48 
 
 Whip me such honest knaves. Others there are 
 Who, trimm’d in forms and visages of duty. 
 
 Keep yet their hearts attending on themselves, 
 
 And, throwing but shows of service on their lords, 52 
 Do well thrive by them, and when they have lin’d 
 their coats 
 
 Do themselves homage : these fellows have some soul ; 
 And such a one do I profess myself. For, sir, 
 
 It is as sure as you are Roderigo, 66 
 
 Were I the Moor, I would not be Iago: 
 
 Id following him, I follow but myself ; 
 
 Heaven is my judge, not I for love and duty. 
 
 But seeming so, for my peculiar end: 60 
 
 For when my outward action doth demonstrate 
 
 The native act and figure of my heart 
 
 In complement extern, ’tis not long after 
 
 But I will wear my heart upon my sleeve 64 
 
 For daws to peck at: I am not what I am. 
 
 Rod. What a full fortune does the thick-lips owe. 
 If he can carry ’t thus ! 
 
 Iago. Call up her father; 67 
 
 Rouse him, make after him, poison his delight, 
 
 50 visages: outward semblances 
 53 lin’d their coats: filled their pockets 
 60 peculiar: own particular, private 
 
 62 act: action, operation figure: configuration 
 
 63 complement: counterpart (?); cf. n. 
 
 66 owe: own 
 
4 
 
 The Tragedy of Othello, 
 
 Proclaim him in the streets, incense her kinsmen, 
 And, though he in a fertile climate dwell, 
 
 Plague him with flies; though that his joy be joy. 
 Yet throw such chances of vexation on ’t 72 
 
 As it may lose some colour. 
 
 Rod. Here is her father’s house; I’ll call aloud. 
 Iago. Do; with like timorous accent and dire yell 
 As when, by night and negligence, the fire 76 
 
 Is spied in populous cities. 
 
 Rod. What, ho! Brabantio ! Signior Brabantio, ho! 
 Iago. Awake ! what, ho ! Brabantio ! thieves ! 
 thieves ! thieves ! 
 
 Look to your house, your daughter, and your 
 bags ! 80 
 
 Thieves ! thieves ! 
 
 Brabantio [ appears ] above at a window. 
 
 Bra. What is the reason of this terrible summons? 
 What is the matter there? 
 
 Rod. Signior, is all your family within? 84 
 
 Iago. Are your doors lock’d? 
 
 Bra. Why? wherefore ask you this? 
 
 Iago. ’Zounds! sir, you’re robb’d; for shame, put 
 on your gown ; 
 
 Your heart is burst, you have lost half your soul; 
 Even now, now, very now, an old black ram 88 
 
 Is tupping your white ewe. Arise, arise! 
 
 Awake the snorting citizens with the bell. 
 
 Or else the devil will make a grandsire of you. 
 
 Arise, I say. 
 
 Bra. What! have you lost your wits? 92 
 
 Rod. Most reverend signior, do you know my 
 voice ? 
 
 86 ’Zounds; cf. n. on line 4 
 
 90 snorting: snoring 
 
The Moor of Venice, I. i 
 
 5 
 
 Bra. Not I, what are you? 
 
 Rod. My name is Roderigo. 
 
 Bra. The worser welcome: 
 
 I have charg’d thee not to haunt about my doors : 96 
 
 In honest plainness thou hast heard me say 
 My daughter is not for thee; and now, in madness. 
 Being full of supper and distempering draughts. 
 Upon malicious knavery dost thou come 100 
 
 To start my quiet. 
 
 Rod. Sir, sir, sir ! 
 
 Bra. But thou must needs be sure 
 
 My spirit and my place have in them power 
 To make this bitter to thee. 
 
 Rod. Patience, good sir. 104 
 
 Bra. What tell’st thou me of robbing? this is 
 Venice; 
 
 My house is not a grange. 
 
 Rod. Most grave Brabantio, 
 
 In simple and pure soul I come to you. 107 
 
 Iago. ’Zounds ! sir, you are one of those that 
 will not serve God if the devil bid you. Because 
 we come to do you service and you think we are 
 ruffians, you’ll have your daughter covered with 
 a Barbary horse; you’ll have your nephews neigh 
 to you; you’ll have coursers for cousins and 
 gennets for germans. 114 
 
 Bra. W T hat profane wretch art thou? 
 
 Iago. I am one, sir, that comes to tell you, 
 your daughter and the Moor are now making 
 the beast with two backs. 
 
 101 star t: disturb 106 grange: lonely farmhouse 
 
 112 Barbary: a country on the north coast of Africa nephews: any 
 
 lineal descendants 
 
 113 coursers: swift and spirited horses 
 
 114 gennets: small Spanish horses germans: near relatives 
 
6 
 
 The Tragedy of Othello 
 
 Bra. Thou art a villain. 
 
 I ago. You are — a senator. 
 
 Bra. This thou shalt answer; I know thee, 
 Roderigo. 120 
 
 Rod. Sir, I will answer any thing. But, I beseech 
 you, 
 
 If ’t be your pleasure and most wise consent, — 
 
 As partly, I find, it is, — that your fair daughter. 
 
 At this odd-even and dull watch o’ the night, 
 Transported with no worse nor better guard 
 But with a knave of common hire, a gondolier. 
 
 To the gross clasps of a lascivious Moor, — 
 
 If this be known to you, and your allowance, 
 
 We then have done you bold and saucy wrongs ; 
 
 But if you know not this, my manners tell me 
 We have your wrong rebuke. Do not believe 
 That, from the sense of all civility, 
 
 I thus would play and trifle with your reverence: 
 Your daughter, if you have not given her leave, 
 
 I say again, hath made a gross revolt; 
 
 Tying her duty, beauty, wit and fortunes 
 In an extravagant and wheeling stranger 
 Of here and everywhere. Straight satisfy yourself: 
 If she be in her chamber or your house, 
 
 Let loose on me the justice of the state 140 
 
 For thus deluding you. 
 
 Bra. Strike on the tinder, ho! 
 
 Give me a taper ! call up all my people ! 
 
 This accident is not unlike my dream; 
 
 Belief of it oppresses me already. 144 
 
 Light, I say ! light ! Exit. 
 
 124 
 
 127 
 
 132 
 
 136 
 
 124 Cf.n. 128 your allowance: what you approve of 
 
 132 from . . . all: deprived of all regard for 
 
 137 extravagant and wheeling: vagabond and itinerant; cf. n. 
 
The Moor of Venice , I. i 
 
 7 
 
 Iago. Farewell, for I must leave you: 
 
 It seems not meet nor wholesome to my place 
 To be produc’d, as, if I stay, I shall. 
 
 Against the Moor; for, I do know the state, 148 
 
 However this may gall him with some check. 
 
 Cannot with safety cast him; for he’s embark’d 
 With such loud reason to the Cyprus wars, — 
 
 Which even now stand in act, — that, for their 
 souls, 152 
 
 Another of his fathom they have none, 
 
 To lead their business; in which regard. 
 
 Though I do hate him as I do hell-pains. 
 
 Yet, for necessity of present life, 156 
 
 I must show out a flag and sign of love, 
 
 Which is indeed but sign. That you shall surely find 
 him, 
 
 Lead to the Sagittary the raised search; 
 
 And there will I be with him. So, farewell. 160 
 
 Exit. 
 
 Enter [below, ~\ Brabantio, with Servants and torches. 
 
 Bra. It is too true an evil: gone she is, 
 
 And what’s to come of my despised time 
 Is nought but bitterness. Now, Roderigo, 
 
 Where didst thou see her ? O, unhappy girl ! 
 
 With the Moor, sayst thou? Who would be a 
 father ! 165 
 
 How didst thou know ’twas she? O, she deceives me 
 Past thought. What said she to you? Get more 
 tapers ! 
 
 147 produc’d: brought forward as witness 149 check: rebuke 
 
 150 cast: dismiss embark’d: engaged, committed 
 
 151 loud reason: pressing necessity Cyprus wars; cf. n. 
 
 152 stand in act: are actually under way 153 fathom: capacity 
 
 159 Sagittary : an inn 160 S. d. torches: torch-bearers 
 
 162 what’s . . . time: the remainder of my wretched life 
 
8 
 
 The Tragedy of Othello, 
 
 Raise all my kindred ! Are they married, think 
 you ? 168 
 
 Rod. Truly, I think they are. 
 
 Bra. O heaven! How got she out? O, treason of 
 the blood: 
 
 Fathers, from hence trust not your daughters’ minds 
 By what you see them act. Are there not charms 
 By which the property of youth and maidhood 
 May be abus’d? Have you not read, Roderigo, 
 
 Of some such thing? 
 
 Rod. Yes, sir, I have indeed. 
 
 Bra. Call up my brother. O! that you had had 
 her. 176 
 
 Some one way, some another ! Do you know 
 Where we may apprehend her and the Moor? 
 
 Rod. I think I can discover him, if you please 
 To get good guard and go along with me. 180 
 
 Bra. Pray you, lead on. At every house I’ll call; 
 I may command at most. Get weapons, ho ! 
 
 And raise some special officers of night. 
 
 On, good Roderigo; I’ll deserve your pains. 184 
 
 Exeunt. 
 
 Scene Two 
 [ Another Street ] 
 
 Enter Othello, Iago, and Attendants, with torches. 
 
 Iago. Though in the trade of war I have slain men. 
 Yet do I hold it very stuff o’ the conscience 
 To do no contriv’d murder: I lack iniquity 
 Sometimes to do me service. Nine or ten times 4 
 I had thought to have yerk’d him here under the ribs. 
 
 173 property: nature 
 3 contriv’d: premeditated 
 
 2 stuff : substance, essence 
 5 yerk’d: struck ( with dagger) 
 
The Moor of Venice , I . ii 
 
 9 
 
 Oth. ’Tis 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, sir. 
 
 Are you fast married? Be assur’d of this. 
 
 That the magnifico is much belov’d. 
 
 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. 
 
 Oth. Let him do his spite: 
 
 My services which I have done the signiory 
 Shall out-tongue his complaints. ’Tis yet 
 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, Iago, 
 
 But that I love the gentle Desdemona, 
 
 I would not my unhoused free condition 
 
 Put into circumscription and confine 
 
 For the sea’s worth. But, look! what lights c 
 
 ts come 
 28 
 
 friends : 
 
 Iago. Those are the raised father and his 
 You were best go in. 
 
 8 
 
 12 
 
 16 
 
 Oth. 
 
 12 magnifico: title of Venetian nobles 
 17 give . . . cable: permit 
 22 siege: rank demerits: deserts 
 26 unhoused: cf. n. 
 
 13, 14 Cf. n. 
 18 signiory: governing body 
 23 Cf. n. 
 27 confine: confinement 
 
10 
 
 The Tragedy of Othello 
 
 My parts, my title, and my perfect soul 
 Shall manifest me rightly. Is it they? 32 
 
 I ago. By Janus, I think no. 
 
 Enter Cassio, with Officers, and torches. 
 
 Oth. The servants of the duke, and my lieutenant. 
 The goodness of the night upon you, friends ! 
 
 What is the news? 
 
 Cas. The duke does greet you, general, 36 
 
 And he requires your haste-post-haste appearance. 
 Even on the instant. 
 
 Oth. What is the matter, think you? 
 
 Cas. Something from Cyprus, as I may divine. 
 
 It is a business of some heat ; the galleys 40 
 
 Have sent a dozen sequent messengers 
 This very night at one another’s heels, 
 
 And many of the consuls, rais’d and met, 
 
 Are at the duke’s already. You have been hotly call’d 
 for; 44 
 
 When, being not at your lodging to be found, 
 
 The senate hath sent about three several quests 
 To search you out. 
 
 C Oth. ’Tis well I am found by you. 
 
 I will but spend a word here in the house, 48 
 
 And go with you. [Exit.'] 
 
 Cas. Ancient, what makes he here? 
 
 I ago. Faith, he to-night hath boarded a land 
 carrack; 
 
 If it prove lawful prize, he’s made for ever. 
 
 Cas. I do not understand. 
 
 Iago. He’s married. 
 
 Cas. To who? 52 
 
 33 Janus: two-faced Roman god of beginnings 40 heat: urgency 
 
 41 sequent: successive 
 
 43 consuls: senators SO carrack: large merchant vessel 
 
The Moor of Venice , I. ii 
 
 11 
 
 Iago. Marry, to — 
 
 [Enter Othello .] 
 
 Come, captain, will you go? 
 Oth. Have with you. 
 
 Cas. Here comes another troop to seek for you. 
 Iago. It is Brabantio. General, be advis’d; 
 
 He comes to bad intent. 
 
 Enter Brabantio, Roderigo, with Officers, and torches. 
 
 Oth. Holla ! stand there ! 56 
 
 Rod. Signior, it is the Moor. 
 
 Bra. Down with him, thief! 
 
 [ They draw on both sides .] 
 Iago. You, Roderigo! come, sir, I am for you. 
 
 Oth. Keep up your bright swords, for the dew will 
 rust them. 
 
 Good signior, you shall more command with years 60 
 Than with your weapons. 
 
 Bra. O thou foul thief! where hast thou stow’d my 
 daughter ? 
 
 Damn’d as thou art, thou hast enchanted her; 
 
 For I’ll refer me to all things of sense, 64 
 
 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, 68 
 
 Would ever have, to incur a general mock. 
 
 Run from her guardage to the sooty bosom 
 Of such a thing as thou ; jo fear, not to delight. 
 
 Judge me the world, if ’tis not gross in sense 72 
 
 That thou hast practis’d on her with foul charms, 
 
 59 Keep up: keep sheathed, put up 64 of sense: capable of judgment 
 70 guardage: guardian's shelter 
 
 72 Judge . . . world: let the world judge gross in sense: manifest 
 to the reason 
 
12 
 
 The Tragedy of Othello , 
 
 Abus’d her delicate youth with drugs or minerals 
 That weaken motion: I’ll have ’t disputed on; 
 
 ’Tis probable, and palpable to thinking. 76 
 
 I therefore apprehend and do attach thee 
 For an abuser of the world, a practiser 
 Of arts inhibited and out of warrant. 
 
 Lay hold upon him : if he do resist, 80 
 
 Subdue him at his peril. 
 
 Oth. Hold your hands. 
 
 Both you of my inclining, and the rest: 
 
 Were it my cue to fight, I should have known it 
 Without a prompter. Where will you that I go 
 To answer this your charge? 
 
 Bra. To prison; till fit time 85 
 
 Of law and course of direct session 
 Call thee to answer. 
 
 Oth. What if I do obey? 
 
 How may the duke be therewith satisfied, 88 
 
 Whose messengers are here about my side. 
 
 Upon some present business of the state 
 To bring me to him? 
 
 Off. ’Tis true, most worthy signior; 
 
 The duke’s in council, and your noble self, 92 
 
 I am sure, is sent for. 
 
 Bra. How! the duke in council! 
 
 In this time of the night! Bring him away. 
 
 Mine’s not an idle cause: the duke himself, 
 
 Or any of my brothers of the state, 96 
 
 Cannot but feel this wrong as ’twere their own; 
 
 For if such actions may have passage free, 
 Bond-slaves and pagans shall our statesmen be. 
 
 Exeunt. 
 
 75 motion: self-control (?) ; cf. n. 79 out of warrant: unwarranted 
 86 course . . . session: due order of special procedure 98,99 Cf.n. 
 
The Moor of V enice, I. Hi 
 
 13 
 
 Scene Three 
 [A Council Chamber ] 
 
 Enter Duke, and Senators set at a table, with lights 
 and attendants. 
 
 Duke. There is no composition in these news 
 That gives them credit. 
 
 First Sen. Indeed, they are disproportion^ ; 
 
 My letters say a hundred and seven galleys. 
 
 Duke. And mine, a hundred forty. 
 
 Sec. Sen. And mine, two hundred: 4 
 
 But though they jump not on a just account, — 
 
 As in these cases, where the aim reports, 
 
 ’Tis oft with difference, — yet do they all confirm 
 A Turkish fleet, and bearing up to Cyprus. 8 
 
 Duke. Nay, it is possible enough to judgment: 
 
 I do not so secure me in the error. 
 
 But the main article I do approve 
 In fearful sense. 
 
 Sailor within. What, ho ! what, ho ! what, ho ! 12 
 
 Off. A messenger from the galleys. 
 
 Enter Sailor. 
 
 Duke. Now, what’s the business? 
 
 Sail. The Turkish preparation makes for Rhodes; 
 So was I bid report here to the state 
 By Signior Angelo. 16 
 
 Duke. How say you by this change? 
 
 First Sen. This cannot be, 
 
 By no assay of reason; ’tis a pageant 
 
 Scene Three S. d. Enter . . . attendants; cf. n. 
 
 1 composition: consistency 5 jump: agree just: exact 
 
 6 aim: conjecture, rough estimate 10-12 Cf. n. 
 
 18 assay of reason: reasonable test pageant: pretense 
 
14 
 
 The Tragedy of Othello 
 
 To keep us in false gaze. When we consider 
 The importancy of Cyprus to the Turk, 20 
 
 And let ourselves again but understand, 
 
 That as it more concerns the Turk than Rhodes, 
 
 So may he with more facile question bear it, 
 
 For that it stands not in such warlike brace, 24 
 
 But altogether lacks the abilities 
 
 That Rhodes is dress’d in : if we make thought of this, 
 
 We must not think the Turk is so unskilful 
 
 To leave that latest which concerns him first, 28 
 
 Neglecting an attempt of ease and gain. 
 
 To wake and wage a danger profitless. 
 
 DuJce. Nay, in all confidence, he’s not for Rhodes. 
 
 Off. Here is more news. 32 
 
 Enter a Messenger. 
 
 Mess. The Ottomites, reverend and gracious. 
 Steering with due course toward the isle of Rhodes, 
 Have there injointed them with an after fleet. 
 
 First Sen. Ay, so I thought. How many, as you 
 guess ? 36 
 
 Mess. Of thirty sail; and now they do re-stem 
 Their backward course, bearing with frank appear- 
 ance 
 
 Their purposes toward Cyprus. Signior Montano, 
 Your trusty and most valiant servitor, 40 
 
 With his free duty recommends you thus, 
 
 And prays you to believe him. 
 
 Duke. ’Tis certain then, for Cyprus. 
 
 Marcus Luccicos, is not he in town? 44 
 
 First Sen. He’s now in Florence. 
 
 19 in false gaze: looking in the wrong direction 
 
 23 with . . . it: carry it with less effort 24 brace: readiness 
 
 35 after : additional, reserve 41 recommends: informs 
 
The Moor of Venice, I. in 
 
 15 
 
 Duke. Write from us to him; post-post-haste dis- 
 patch. 
 
 First Sen. Here comes Brabantio and the valiant 
 Moor. 
 
 Enter Brabantio, Othello, Cassio, Iago, Roderigo, 
 and Officers. 
 
 Duke. Valiant Othello, we must straight employ 
 you 48 
 
 Against the general enemy Ottoman. 
 
 [To Brabantio.] 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 ; 52 
 
 Neither my place nor aught I heard of business 
 Hath rais’d me from my bed, nor doth the general 
 care 
 
 Take hold of me, for my particular grief 
 Is of so flood-gate and o’erbearing nature 56 
 
 That it engluts and swallows other sorrows 
 And it is still itself. 
 
 Duke. Why, what’s the matter? 
 
 Bra. My daughter! O! my daughter. 
 
 Sen. Dead? 
 
 Bra. Ay, to me; 
 
 She is abus’d, stol’n from me, and corrupted 60 
 
 By spells and medicines bought of mountebanks ; 
 For nature so preposterously to err. 
 
 Being not deficient, blind, or lame of sense. 
 
 Sans witchcraft could not. 64 
 
 Duke. Whoe’er he be that in this foul proceeding 
 
 56 flood-gate: torrential 
 
 61 mountebanks: itinerant vendors of nostrums 
 
 64 Sans: without 
 
16 
 
 The Tragedy of Othello . 
 
 Hath thus beguil’d your daughter of herself 
 
 And you of her, the bloody book of law 
 
 You shall yourself read in the bitter letter 68 
 
 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, 72 
 
 Hath hither brought. 
 
 All. We are very sorry for it. 
 
 Duke. [To Othello.] What, in your own part, can 
 you say to this ? 
 
 Bra. Nothing, but this is so. 
 
 Oth. Most potent, grave, and reverend signiors, 76 
 My very noble and approv’d good masters, 
 
 That I have ta’en away this old man’s daughter. 
 
 It is most true; true, I have married her: 
 
 The very head and front of my offending 80 
 
 Hath this extent, no more. Rude am I in my speech, 
 And little 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 us’d 
 Their dearest action in the tented field; 85 
 
 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 88 
 
 In speaking for myself. 1 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, 92 
 
 69 proper: own 70 Stood . . . action: were involved by your charge 
 74 part: behalf 77 approv’d: tested and demonstrated 
 
 80 front: brow, forehead 84 wasted: past, ago 
 
 91*94 what . . . won: with what drugs, etc., I won 
 
The Moor of Venice , I. in 
 
 17 
 
 For such proceeding I am charg’d withal, 
 
 I won his daughter. 
 
 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, everything, 97 
 
 To fall in love with what she fear’d to look on! 
 
 It is a judgment maim’d and most imperfect 
 That will confess perfection so could err 100 
 
 Against all rules of nature, and must be driven 
 To find out practices of cunning hell. 
 
 Why this should be. I therefore vouch again 
 That with some mixtures powerful o’er the blood, 104 
 Or with some dram conjur’d to this effect, 
 
 He wrought upon her. 
 
 Duke. To vouch this, is no proof. 
 
 Without more certain and more overt test 
 Than these thin habits and poor likelihoods 108 
 
 Of modern seeming do prefer against him. 
 
 First Sen. But, Othello, speak: 
 
 Did you by indirect and forced courses 
 Subdue and poison this young maid’s affections ; 119 
 
 Or came it by request and such fair question 
 As soul to soul affordeth? 
 
 Oth. I do beseech you, 
 
 Send for the lady to the Sagittary, 
 
 And let her speak of me before her father: 116 
 
 If you do find me foul in her report, 
 
 The trust, the office I do hold of you, 
 
 Not only take away, but let your sentence 
 Even fall upon my life. 
 
 Duke. Fetch Desdemona hither. 
 
 93 withal : wit h 95 motion; cf. n. 103 vouch: assert 
 
 108 thin habits: insubstantial appearances 109 modern : mere, trivial 
 111 forced: violent 113 question: conversation 
 
18 
 
 The Tragedy of Othello . 
 
 Oth. Ancient, conduct them; you best know the 
 place. 121 
 
 [ Exeunt Iago and Attendants .] 
 And, till she come, as truly as to heaven 
 I do confess the vices of my blood, 
 
 So justly to your grave ears I’ll present 124 
 
 How I did thrive in this fair lady’s love. 
 
 And she in mine. 
 
 Duke. Say it, Othello. 
 
 Oth. Her father lov’d me; oft invited me; 
 
 Still question’d me the story of my life 129 
 
 From year to year, the battles, sieges, fortunes 
 That I have pass’d. 
 
 I ran it through, even from my boyish days 132 
 
 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, 136 
 
 Of being taken by the insolent foe 
 And sold to slavery, of my redemption thence 
 And portance in my travel ler’s history; 
 
 Wherein of antres vast and deserts idle, 140 
 
 Rough quarries, rocks and hills whose heads touch 
 heaven, 
 
 It was my hint to speak, such was the process ; 
 
 And of the Cannibals that each other eat. 
 
 The Anthropophagi, and men whose heads 144 
 
 Do grow beneath their shoulders. This to hear 
 Would Desdemona seriously incline; 
 
 But still the house-affairs would draw her thence; 
 Which ever as she could with haste dispatch, 
 
 129 Still: always 
 140 antres: caves 
 
 139 portance: behavior 
 142 hint: cue 
 
The Moor of Venice , I. Hi 
 
 19 
 
 She’d come again, and with a greedy ear 149 
 
 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 152 
 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, 156 
 
 When I did speak of some distressful stroke 
 That my youth suffer’d. (~My story being done, 
 
 She gave me for my pains a world of sighs : 
 
 She swore, in faith, ’twas strange, ’twas passing 
 strange ; 160 
 
 'Twas pitiful, ’twas wondrous pitiful: 
 
 She wish’d she had not heard it, yet she wish’d 
 That heaven had made her such a man; she thank’d 
 me, 
 
 And bade me, if I had a friend that lov’d her, 
 
 I should but teach him how to tell my story, 165 
 
 And that would woo her. Upon this hint I spake: 
 She lov’d me for the dangers I had pass’d. 
 
 And I lov’d her that she did pity them. 168 
 
 This only is the witchcraft I have us’d: 
 
 Here comes the lady; let her witness it. 
 
 Enter Desdemona, Iago, and Attendants. 
 
 DuJce. I think this tale would win my daughter too. 
 Good Brabantio, 172 
 
 Take up this mangled matter at the best; 
 
 Men do their broken weapons rather use 
 Than their bare hands. 
 
 Bra. I pray you, hear her speak: 
 
 151 pliant: suitable 153 dilate: re late in full 
 
 154 by parcels: piecemeal 
 
 155 intentively : with undistracted attention 166 hint: opportunity 
 
20 
 
 The Tragedy of Othello 
 
 If she confess that she was half the wooer, 176 
 
 Destruction on my head, if my bad blame 
 
 Light on the man ! Come hither, gentle mistress : 
 
 Do you perceive in all this noble company 
 Where most you owe obedience? 
 
 Des. My noble father, 
 
 I do perceive here a divided duty: 181 
 
 To you I am bound for life and education; 
 
 My life and education both do learn me 
 How to respect you ; you are the lord of duty, 
 
 I am hitherto your daughter: but here’s my hus- 
 band; 185 
 
 And so much duty as my mother show’d 
 To you, preferring you before her father. 
 
 So much I challenge that I may profess 188 
 
 Due to the Moor my lord. 
 
 Bra. God be with you ! I have done. 
 
 Please it your Grace, on to the state affairs: 
 
 I had rather to adopt a child than get it. 
 
 Come hither, Moor: 192 
 
 I here do give thee that with all my heart 
 Which, but thou hast already, with all my heart 
 I would keep from thee. For your sake, jewel, 
 
 I am glad at soul I have no other child ; 196 
 
 For thy escape would teach me tyranny. 
 
 To hang clogs on them. I have done, my lord. 
 
 Duke. Let me speak like yourself and lay a sen- 
 tence. 
 
 Which as a grise or step, may help these lovers 
 Into your favour. 201 
 
 When remedies are past, the griefs are ended 
 By seeing the worst, which late on hopes depended. 
 
 183 learn: teach 
 
 197 escape: transgression 
 
 191 get: beget 
 200 grise: stair 
 
The Moor of Venice, I. in 
 
 21 
 
 To mourn a mischief that is past and gone 204 
 
 Is the next way to draw new mischief on. 
 
 What cannot be preserv’d when Fortune takes, 
 Patience her injury a mockery makes. 
 
 The robb’d that smiles steals something from the 
 thief ; 208 
 
 He robs himself that spends a bootless grief. 
 n b ra. S o let the Turk of Cy prus us beguile ; <- 
 We lose it not so long as we can smile. 
 
 He bears the sen tence well that nothing bears 212 
 But the free comfort which from thence he hears; 
 But he bears both the sentence and the sorrow 
 That, to pay grief, must of poor patience borrow. 
 These sentences, to sugar, or to gall, 216 
 
 1 Being strong on both sides, are equivocal: 
 
 But words are words; I neve r yet did hear 
 That The bruis’d h eart was pierced through the ear. 
 -* I humbly beseech you, proceed to the affairs of 
 state. 220 
 
 Duke. The Turk with a most mighty prepara- 
 tion makes for Cyprus. Othello, the fortitude of 
 the place is best known to you; and though 
 we have there a substitute of most allowed 
 sufficiency, yet opinion, a sovereign mistress of 
 effects, throws a more safer voice on you: you 
 must therefore be content to slubber the gloss of 
 your new fortunes with this more stubborn and 
 boisterous expedition. 229 
 
 Oth. The tyrant custom, most grave senators. 
 Hath made the flinty and steel c ouch, of war 
 My thrice-driven bed of down: I do agnize 232 
 
 205 next: nearest 209 bootless: unavailing 212-217 Cf. n. 
 
 219 pierced: touched, healed (?) 
 
 225 opinion . . . effects: your reputation, a great producer of results 
 227 slubber: sully 232 driven : sifted agnize: acknowledge 
 
22 
 
 The Tragedy of Othello 
 
 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, 237 
 
 Due reference of place and exhibition, 
 
 With such accommodation and besort 
 As levels with her breeding. 
 
 Duke. If you please, 240 
 
 Be ’t at her father’s. 
 
 Bra. I’ll not have it so. 
 
 Oth. Nor I. 
 
 Des. Nor I ; I would not there reside. 
 
 To put my father in impatient thoughts 244 
 
 By being in his eye. Most gracious duke, 
 
 To my unfolding lend your gracious ear; 
 
 And let me find a charter in your voice 
 To assist my simpleness. 248 
 
 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 subdu’d 
 Even to the very quality of my lord; 253 
 
 I saw Othello’s visage in his mind. 
 
 And to his honour s a nd his valiant parts 
 
 Did T my soul and fortunes cons ecrate. 256 
 
 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 260 
 
 233 alacrity: eagerness _ _ 234 hardness: hardship 
 
 238 reference: assign ment exhibition: allowance, awarded means of 
 
 support . 
 
 239 besort: suitable retinue 247 charter: official sanction 
 
 251 Cf.n. 253 quality: profession (?) 258 moth, etc.; cf. n. 
 
The Moor of V enice, I. Hi 
 
 23 
 
 By his dear absence. Let me go with him. 
 
 Oth. Let her have your voices. 
 
 Vouch with me, heaven, I therefore beg it not 
 To please the palate of my appetite, 264 
 
 Nor to comply with heat, — the young affects 
 In me defunct, — and proper satisfaction, 
 
 But to be free and bounteous to her mind; 
 
 And heaven defend your good souls that you 
 think 268 
 
 I will your serious and great business scant 
 For she is with me. No, when light-wing’d toys 
 Of feather’d Cupid seel with wanton dulness 
 My speculative and offic’d instruments, 272 
 
 That my disports corrupt and taint my business. 
 
 Let housewives make a skillet of my helm. 
 
 And all indign and base adversities 
 Make head against my estimation ! 276 
 
 Duke. Be it as you shall privately determine, 
 
 Either for her stay or going. The affair cries haste, 
 And speed must answer it. 
 
 Sen. You must away to-night. 
 
 Oth. With all my heart. 280 
 
 Duke. At nine i’ the morning here we’ll meet again. 
 Othello, leave some officer behind, 
 
 And he shall our commission bring to you; 
 
 With such things else of quality and respect 284 
 As doth import you. 
 
 Oth. So please your Grace, my ancient; 
 
 A man he is of honesty and trust: 
 
 265 young affects: passions of youth 265,266 Cf.n. 
 
 268 defend: forbid 
 
 270 For: because toys: trifles 271 seel; c/. n. 
 
 272 My visual and mental faculties when officially commissioned (?) 
 
 274 skillet: kettle helm: helmet 275 indign : unworthy 
 
 276 Make head: take arms estimation: reputation 
 285 import: concern 
 
24 
 
 The Tragedy of Othello 
 
 To his conveyance I assign my wife, 
 
 With what else needful your good grace shall 
 think 288 
 
 To be sent after me. 
 
 Duke. Let it be so. 
 
 Good night to every one. [To Brabantio .] And, noble 
 signior, 
 
 If virtue no delighted beauty lack. 
 
 Your son-in-law is far more fair than black. 292 
 Sen. Adieu, brave Moor! use Desdemona well. 
 Bra. Look to her, Moor, if thou hast eyes to see: 
 She has deceiv’d her father, and may thee. 
 
 Exit [ with Duke, Senators, Officers, <fyc.]. 
 Oth. My life upon her faith! Honest Iago, 
 
 My Desdemona must I leave to thee: 297 
 
 I prithee, let thy wife attend on her ; 
 
 And bring them after in the best advantage. 
 
 Come, Desdemona; I have but an hour 300 
 
 Of love, of worldly matters and direction, 
 
 To spend with thee: we must obey the time. 
 
 Exit [ with Desdemona']. 
 
 Rod. Iago! 
 
 Iago. What sayst thou, noble heart? 304 
 
 Rod. What will I do, think’st thou? 
 
 Iago. Why, go to bed, and sleep. 
 
 Rod. I will incontinently drown myself. 
 
 Iago. Well, if thou dost, I shall never love 
 thee after. Why, thou silly gentleman! 309 
 
 Rod. It is silliness to live when to live is 
 torment; and then have we a prescription to die 
 when death is our physician. 312 
 
 Iago. O ! villainous ; I have looked upon the 
 world for four times seven years, and since I 
 
 291 delighted : delighting 307 incontinently: immediately 
 
The Moor of V enice, I. in 
 
 25 
 
 could distinguish betwixt a benefit and an 
 injury, I never found man that knew how to 
 love himself. Ere I would say, I would drown 
 myself for the love of a guinea-hen, I would 
 change my humanity with a baboon. 319 
 
 Rod. What should I do? I confess it is my 
 shame to be so fond; but it is not in my virtue 
 to amend it. 322 
 
 Iago. Virtue ! a fig ! ’tis in ourselves that we 
 are thus, or thus. O ur bodies are our gardens, 
 t o the which our^ wills are gardeners ; so that if we 
 will plant nettles or sow lettuce, set hyssop and 
 weed up thyme, supply it with one gender of herbs 
 or distract it with many, either to have it sterile 
 with idleness or manured with industry, why, 
 the power and corrigible authority of this lies in 330 
 our wills. If the balance of our lives had not 
 one scale of reason to poise another of sensual- 
 ity, the blood and baseness of our natures would 
 conduct us to most preposterous conclusions ; 
 but we have reason to cool our raging motions, 
 our carnal stings, our unbitted lusts, whereof I 
 take this that you call love to be a sect or scion. 
 Rod. It cannot be. 338 
 
 Iago. It is merely a lust of the blood and a 
 permission of the will. Come, be a man. Drown 
 thyself ! drown cats and blind puppies. I have 
 professed me thy friend, and I confess me knit 
 to thy deserving with cables of perdurable tough- 
 ness; I could never better stead thee than now. 
 Put money in thy purse; follow these wars; 
 
 319 change: exchange 
 
 330 corrigible authority : correcting control 
 335 motions: impulses 337 sect: variety 
 
 343 perdurable: most durable 
 
 327 gender: kind 
 
 scion: off-shoot 
 344 stead: aid 
 
26 
 
 The Tragedy of Othello, 
 
 defeat thy favour wi 1 ’ >ed beard; I say. 
 
 put money in thy 
 
 cannot be that 
 
 Desdemona should long continue her love to the 
 Moor, — put money in thy purse, — nor he his to 
 her. It was a violent commencement in her, 350 
 and thou shalt see an answerable sequestration; 
 put but money in thy purse. These Moors are 
 changeable in their wills ; — fill thy purse with 
 money: — the food that to him now is as luscious 
 as locusts, shall be to him shortly as bitter as 
 coloquintida. (She must change for youth: when 
 she is sated with his body, she will find the error 
 of her choice. She must have change, she must: 
 therefore put money in thy purse. If thou wilt 
 needs damn thyself, do it a more delicate way 360 
 than drowning. Make all the money thou canst. 
 
 If sanctimony and a frail vow betwixt an erring 
 barbarian and a super subtle Venetian be not too 
 hard for my wits and all the tribe of hell, thou 
 shalt enjoy her; therefore make money. A pox 
 of drowning thyself! it is clean out of the way: 
 seek thou rather to be hanged in compassing 
 thy joy than to be drowned and go without her. 
 
 Rod. Wilt thou be fast to my hopes, if I 
 depend on the issue? 370 
 
 Iago. Thou art sure of me: go, make money. 
 
 [ I have told thee often, and I re-tell thee again 
 and again, I hate the Moor : my cause is hearted: 
 thine hath no less reas on. Le t us be conjunc- 
 tive in our revenge against him; if thou canst 
 
 346 defeat thy favour: disguise thy face usurped: false 
 351 answerable sequestration: similarly hasty parting 
 356 coloquintida: an intensely bitter drug 
 362 erring: roving ; cf. n. on I. i. 137 
 
 373 hearted: deep-seated in the heart 
 
 374 conjunctive: united 
 
The Moor of Venice, I. in 
 
 27 
 
 cuckold him, thou dost thyself a pleasure, me a 
 sport. There are many events in the womb of 
 time which will be delivered. Traverse; go: 
 provide thy money. We will have more of this 
 to-morrow. Adieu. 380 
 
 Rod. Where shall we meet i’ the morning? 
 
 Iago. At my lodging. 
 
 Rod. I’ll be with thee betimes. 
 
 Iago. Go to; farewell. Do you hear, Roderi- 
 go ? 384 
 
 Rod. What say you? 
 
 Iago. No more of drowning, do you hear? 
 
 Rod. I am chang’d. I’ll go sell all my land. Exit. 
 Iago. Thus do I ever make my fool my purse; 389 
 For I mine own gain’d knowledge should profane. 
 
 If I would time expend with such a snipe 
 
 But for my sport and profit. I hate t he Moor, 392 
 
 And it is thought abroad that ’twixt mv sheets 
 
 He has done my office : I know not if ’t be true, 
 
 But I, for mere suspicion in that kind. 
 
 Will do as if for surety. He holds me well; 396 
 The better shall my purpose work on him. 
 
 Cassio’s a proper man; let me see now: 
 
 To get his place; and to plume up my will 
 In double knavery; how, how? jLet’s see: 400 
 
 After some time to abuse Othello’s ear 
 That he is too familiar with his wife: 
 
 He hath a person and a smooth dispose 
 To be suspected; fram’d to make women false. 
 
 The Moor is of a free and open nature, 405 
 
 That thinks men honest that but seem to be so, 
 
 376 cuckold him: seduce his wife 378 Traverse: march 
 
 384 Go to: come, come ! 39 5 in that kind: of that sort 
 
 398 proper: fine, good-looking 399 plume up: glorify 
 
 401 abuse: deceive 403 dispose: manner 
 
28 
 
 The Tragedy of Othello . 
 
 And will as tenderly be led by the nose 
 
 As asses are. 408 
 
 I have ’t; it is engender’d: hell and night 
 
 Must bring this monstrous birth to the world’s light. 
 
 [ Ex it. - ] 
 
 ACT SECOND 
 Scene One 
 
 [A Sea-port Town in Cyprus. An open place near 
 the Quay ] 
 
 Enter Montano and two Gentlemen. 
 
 Mon. What from the cape can you discern at sea? 
 First Gent. Nothing at all: it is a high-wrought 
 flood; 
 
 I cannot ’twixt the heaven and the main 
 Descry a sail. 4 
 
 Mon. Methinks the wind hath spoke aloud at land; 
 A fuller blast ne’er shook our battlements ; 
 
 If it hath ruffian’d so upon the sea. 
 
 What ribs of oak, when mountains melt on them, 
 
 Can hold the mortise ? what shall we hear of this ? 9 
 
 Sec. Gent. A segregation of the Turkish fleet; 
 
 For do but stand upon the foaming shore, 
 
 The chidden billow seems to pelt the clouds; 12 
 
 The wind-shak’d surge, with high and monstrous 
 mane, 
 
 Seems to cast water on the burning bear 
 And quench the guards of the ever-fixed pole: 
 
 3 main : ocean 9 hold the mortise: remain unshattered 
 
 10 segregation: dispersal 
 
 IS guards: two stars in Ursa Minor pole: pole-star 
 
The Moor of V enice, II. i 
 
 29 
 
 I never did like molestation view 16 
 
 On the enchafed flood. 
 
 Mon. If that the Turkish fleet 
 
 Be not enshelter’d and embay’d, they are drown’d; 
 
 It is impossible they bear it out. 
 
 Enter a [third] Gentleman. 
 
 Third Gent. News, lads ! our wars are done. 20 
 The desperate tempest hath so bang’d the Turks 
 That their designment halts ; a noble ship of Venice 
 Hath seen a grievous wrack and sufferance 
 On most part of their fleet. 24 
 
 Mon. How! is this true? 
 
 Third Gent. The ship is here put in, 
 
 A Veronesa; Michael Cassio, 
 
 Lieutenant to the warlike Moor Othello, 
 
 Is come on shore: the Moor himself’s at sea, 28 
 
 And is in full commission here for Cyprus. 
 
 Mon. I am glad on ’t; ’tis a worthy governor. 
 
 Third Gent. But this same Cassio, though he speak 
 of comfort 
 
 Touching the Turkish loss, yet he looks sadly 32 
 And prays the Moor be safe; for they were parted 
 With foul and violent tempest. 
 
 Mon. Pray heaven he be; 
 
 For I have serv’d him, and the man commands 
 Like a full soldier. Let’s to the sea-side, ho ! 36 
 
 As well to see the vessel that’s come in 
 As to throw out our eyes for brave Othello, 
 
 Even till we make the main and the aerial blue 
 An indistinct regard. 
 
 Third Gent. Come, let’s do so; 40 
 
 16 molestation: disturbance 22 designment: enterprise 
 
 23 sufferance: disaster 26 Veronesa; cf. n. 36 full: thorough 
 39, 40 till the sea and sky become indistinguishable 
 
30 
 
 The Tragedy of Othello 
 
 For every minute is expectancy 
 Of more arrivance. 
 
 Enter Cassio. 
 
 Cas. Thanks, you the valiant of this warlike isle. 
 That so approve the Moor. O ! let the heavens 
 Give him defence against the elements, 45 
 
 For I have lost him on a dangerous sea. 
 
 Mon. Is he well shipp’d? 
 
 Cas. His bark is stoutly timber’d, and his pilot 48 
 Of very expert and approv’d allowance; 
 
 Therefore my hopes, not surfeited to death. 
 
 Stand in bold cure. 
 
 [Cry] within . ‘A sail! — a sail! — a sail!’ 
 Enter [ another Gentleman ]. 
 
 Cas. What noise? 52 
 
 Gent. The town is empty ; on the brow o’ the sea 
 Stand ranks of people, and they cry, ‘A sail !’ 
 
 Cas. My hopes do shape him for the governor. 
 
 [ Guns heard.'] 
 
 Gent. They do discharge their shot of cour- 
 tesy; 66 
 
 Our friends, at least. 
 
 Cas. I pray you, sir, go forth. 
 
 And give us truth who ’tis that is arriv’d. 
 
 Gent. I shall. Exit. 
 
 Mon. But, good lieutenant, is your general 
 
 wiv’d? 60 
 
 Cas. Most fortunately: he hath achiev’d a maid 
 That paragons description and wild fame; 
 
 One that excels the quirks of blazoning pens, 
 
 42 more arrivance: further arrivals 
 49 Of very allowed and approved expertness 
 50, 51 Cf. n. 
 
 63 quirks: subtleties blazoning: extolling 
 
 62 paragons: surpasses 
 
The Moor of Venice , II. i 
 
 31 
 
 And in th’ essential vesture of creation 64 
 
 Does tire the ingener. 
 
 Enter Gentleman. 
 
 How now ! who has put in ? 
 Gent. ’Tis one Iago, ancient to the general. 
 
 Cas. He has had most favourable and happy speed: 
 Tempests themselves, high seas, and howling 
 winds, 68 
 
 The gutter’d rocks, and congregated sands, 
 
 Traitors ensteep’d to clog the guiltless keel, 
 
 As having sense of beauty, do omit 
 
 Their mortal natures, letting go safely by 72 
 
 The divine Desdemona. 
 
 Mon. What is she? 
 
 Cas. She that I spake of, our great captain’s 
 captain, 
 
 Left in the conduct of the bold Iago, 
 
 Whose footing here anticipates our thoughts 76 
 
 A se’nnight’s speed. Great Jove, Othello guard, 
 
 And swell his sail with thine own powerful breath. 
 That he may bless this bay with his tall ship, 
 
 Make love’s quick pants in Desdemona’s arms. 
 
 Give renew’d fire to our extincted spirits, 81 
 
 And bring all Cyprus comfort! 
 
 Enter Desdemona, Iago, Roderigo, and Emilia [with 
 Attendants ]. 
 
 O! behold. 
 
 The riches of the ship is come on shore. 
 
 Ye men of Cyprus, let her have your knees. 84 
 
 64 in her mere unadorned natural qualities 
 
 65 ingener: eulogist; cf. n. 
 
 70 ensteep’d: submerged 
 75 conduct: escort 
 
 69 gutter’d: jagged 
 72 mortal : deadly 
 84 knees: obeisance 
 
32 
 
 The Tragedy of Othello 
 
 Hail to thee, lady ! and the grace of heaven. 
 
 Before, behind thee, and on every hand, 
 
 Enwheel thee round! 
 
 Des. I thank you, valiant Cassio. 
 
 What tidings can you tell me of my lord? 88 
 
 Cas. He is not yet arriv’d; nor know I aught 
 But that he’s well, and will be shortly here. 
 
 Des. O! but I fear — How lost you company? 
 
 Cas. The great contention of the sea and skies 92 
 Parted our fellowship. But hark ! a sail. 
 
 [Crj] within. ‘A sail! — a sail!’ [ Guns heard.] 
 Gent. They give their greeting to the citadel: 
 
 This likewise is a friend. 
 
 Cas. See for the news ! 
 
 [Exit Gentleman .] 
 Good ancient, you are welcome. [ To Emilia.'] Wel- 
 come, mistress : 96 
 
 Let it not gall your patience, good Iago, 
 
 That I extend my manners ; ’tis my breeding 
 That gives me this bold show of courtesy. 
 
 [Kissing her.] 
 
 Iago. Sir, would she give you so much of her 
 lips 100 
 
 As of her tongue she oft bestows on me, 
 
 You’d have enough. 
 
 Des. Alas ! she has no speech. 
 
 Iago. In faith, too much; 
 
 I find it still when I have list to sleep: 104 
 
 Marry, before your ladyship, I grant. 
 
 She puts her tongue a little in her heart. 
 
 And chides with thinking. 
 
 Emil. You have little cause to say so. 108 
 
 87 Enwheel: encircle 98 extend: show 104 list: inclination 
 
The Moor of V enice, II. i 
 
 33 
 
 Iago. Come on, come on; you are pictures out of 
 doors. 
 
 Bells in your parlours, wild cats in your kitchens. 
 Saints in your injuries, devils being offended. 
 
 Players in your housewifery, and housewives in your 
 beds. 112 
 
 Des. O ! fie upon thee, slanderer. 
 
 Iago. Nay, it is true, or else I am a Turk: 
 
 You rise to play and go to bed to work. 
 
 Emil. You shall not write my praise. 
 
 Iago. No, let me not. 116 
 
 Des. What wouldst thou write of me, if thou 
 shouldst praise me? 
 
 Iago. O gentle lady, do not put me to ’t. 
 
 For I am nothing if not critical. 
 
 Des. Come on; assay. There’s one gone to the 
 harbour ? 120 
 
 Iago. Ay, madam. 
 
 Des. I am not merry, but I do beguile 
 The thing I am by seeming otherwise. 
 
 Come, how wouldst thou praise me? 124 
 
 Iago. I am about it; but indeed my invention 
 Comes from my pate as birdlime does from frize; 
 
 It plucks out brains and all: but my muse labours. 
 And thus she is deliver’d. 128 
 
 If she be fair and wise, fairness and wit. 
 
 The one’s for use, the other useth it. 
 
 Des. Well prais’d! How if she be black and witty? 
 Iago. If she be black, and thereto have a wit, 132 
 She’ll find a white that shall her blackness fit. 
 
 109 pictures: i.c., paint your faces 110 Bells: janglers 
 
 111 Saints . . . injuries: adopt saintly air when saying spiteful 
 things 
 
 112 housewifery, housewives; cf. n. 123 The . . . am: my real feeling 
 
 125 invention : imagination 126 frize: rough woolen cloth 
 
 131 black: dark complexioned, brunette 133 white: quibble on 'wight' 
 
34 
 
 The Tragedy of Othello . 
 
 Des. Worse and worse. 
 
 Emil. How if fair and foolish? 
 
 Iago. She never yet was foolish that was fair. 
 
 For even her folly help’d her to an heir. 137 
 
 Des. These are old fond paradoxes to make 
 fools laugh i’ the alehouse. What miserable 
 praise hast thou for her that’s foul and foolish? 
 Iago. There’s none so foul and foolish there- 
 unto 141 
 
 But does foul pranks which fair and wise ones do. 
 Des. O heavy ignorance ! thou praisest the 
 worst best. But what praise couldst thou be- 
 stow on a deserving woman indeed, one that, 
 in the authority of her merit, did justly put on 
 the vouch of very malice itself? 
 
 Iago. She that was ever fair and never proud. 
 Had tongue at will and yet was never loud, 149 
 
 Never lack’d gold and yet went never gay, 
 
 Fled from her wish and yet said ‘Now I may’: 
 
 She that being anger’d, her revenge being nigh, 
 
 Bade her wrong stay and her displeasure fly: 153 
 
 She that in wisdom never was so frail 
 To change the cod’s head for the salmon’s tail: 
 
 She that could think and ne’er disclose her mind. 
 
 See suitors following and not look behind: 157 
 
 She was a wight, if ever such wight were, — 
 
 Des. To do what? 
 
 Iago. To suckle fools and chronicle small beer. 
 
 Des. O most lame and impotent conclusion ! 
 Do not learn of him, Emilia, though he be thy 
 husband. How say you, Cassio? is he not a 
 most profane and liberal counsellor? 164 
 
 140 foul: ugly 146 put on: challenge 147 vouch: testimony 
 
 155 As to mistake show for substance (?) ; cf. n. 
 
 160 chronicle, etc. : keep petty accounts 164 liberal: licentious 
 
The Moor of Venice, II. i 
 
 35 
 
 Cas. He speaks home, madam; you may 
 relish him more in the soldier than in the 
 scholar. 167 
 
 Iago. [Aside.] He takes her by the palm; ay, 
 well said, whisper; with as little a web as this 
 will I ensnare as great a fly as Cassio. Ay, smile 
 upon her, do; I will gyve thee in thine own 
 courtship. You say true, ’tis so, indeed. If 
 such tricks as these strip you out of your 
 lieutenantry, it had been better you had not 174 
 kissed your three fingers so oft, which now 
 again you are most apt to play the sir in. 
 Very good; well kissed! an excellent courtesy! 
 ’tis so, indeed. Yet again your fingers to your 
 lips ? would they were clyster-pipes for your 
 sake ! [ A trumpet heard.] The Moor ! I know 
 his trumpet. 181 
 
 Cas. ’Tis truly so. 
 
 Des. Let’s meet him and receive him. 
 
 Cas. Lo ! where he comes. 184 
 
 Enter Othello and Attendants. 
 
 Oth. O my fair warrior! 
 
 Des. My dear Othello! 
 
 Oth. It gives me wonder great as my content 
 To see you here before me. O my soul’s joy! 
 
 If after every tempest come such calms, 188 
 
 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, 192 
 ’Twere now to be most happy, for I fear 
 
 166 in the: in the character of 169 said: done 171 gyve: ensnare 
 172 courtship: courtliness 176 sir: courtier, gallant 
 
 179 clyster-pipes: tubes for injections 
 
36 
 
 The Tragedy of Othello . 
 
 My soul hath her content so absolute 
 That not another comfort like to this 
 Succeeds in unknown fate. 
 
 Des. The heavens forbid 196 
 
 But that our loves and comforts should increase 
 Even as our days do grow ! 
 
 Oth. Amen to that, sweet powers ! 
 
 I cannot speak enough of this content; 
 
 It stops me here; it is too much of joy: 200 
 
 And this, and this, [ Kissing her ] the greatest discords 
 be 
 
 That e’er our hearts shall make ! 
 
 Iago. [Aside.] O! you are well tun’d now, 
 
 But I’ll set down the pegs that make this music, 
 
 As honest as I am. 
 
 Oth. Come, let us to the castle. 204 
 
 News, friends; our wars are done, the Turks are 
 drown’d. 
 
 How does my old acquaintance of this isle? 
 
 Honey, you shall be well desir’d in Cyprus; 
 
 I have found great love amongst them, 
 sweet, 
 
 I prattle out of fashion, and I dote 
 In mine own comforts. I prithee, good Iago, 
 
 Go to the bay and disembark my coffers. 
 
 Bring thou the master to the citadel; 
 
 He is a good one, and his worthiness 
 Does challenge much respect. Come, Desdemona, 
 Once more well met at Cyprus. 
 
 Exeunt Othello and Desdemona, [with 
 attendants, etc.] 
 
 Iago. Do thou meet me presently at the 
 
 O my 
 208 
 
 212 
 
 203 set . . . pegs: untune the strings by loosening 
 
 207 desir’d: beloved 212 master: ship’s captain 
 
The Moor of Venice, II. i 
 
 37 
 
 harbour. Come hither. If thou be’st valiant, 
 as they say base men being in love have then 
 a nobility in their natures more than is native to 
 them, list me. The lieutenant to-night watches 
 on the court of guard: first, I must tell thee this, 
 Desdemona is directly in love with him. 
 
 Rod. With him! why, ’tis not possible. 223 
 
 Iago. Lay thy finger thus, and let thy soul 
 be instructed. /Mark me with what violence she 
 first loved the Moor but for bragging and telling 
 her fantastical lies ; and will she love him still 
 for prating? let not thy discreet heart think it. 
 Her eye must be fed; and what delight shall 
 she have to look on the devil? When the blood 
 is made dull with the act of sport, there should 
 be, again to inflame it, and to give satiety a 
 fresh appetite, loveliness in favour, sympathy 
 in years, manners, and beauties; all which the 
 Moor is defective in. Now, for want of these 235 
 required conveniences, her delicate tenderness 
 will find itself abused, begin to heave the gorge, 
 disrelish and abhor the Moor; very nature will 
 instruct her in it, and compel her to some 
 second choice. Now, sir, this granted, as it is a 
 most pregnant and unforced position, who stands 
 so eminently in the degree of this fortune as 
 Cassio does? a knave very voluble, no further 
 conscionable than in putting on the mere form 
 of civil and humane seeming, for the better 
 compassing of his salt and most hidden loose 246 
 affection? why, none; why, none: a slipper and 
 subtle knave, a finder-out of occasions, that has 
 
 220 list: hear 221 court: post 237 heave the gorge : be nauseated 
 
 241 pregnant: obvious, plausible 243 voluble : variable, fickle 
 
 244 conscionable : conscientious 246 salt : lewd 247 slipper : slippery 
 
38 
 
 The Tragedy of Othello 
 
 an eye can stamp and counterfeit advantages, 
 though true advantage never present itself; a 
 devilish knave ! Besides, the knave is handsome, 
 young, and hath all those requisites in him that 
 folly and green minds look after; a pestilent 
 complete knave ! and the woman hath found 
 him already. 255 
 
 Rod. I cannot believe that in her; she is full 
 of most blessed condition. 
 
 Jago. Blessed fig’s end ! the wine she drinks 
 is made of grapes ; if she had been blessed she 
 would never have loved the Moor; blessed pud- 
 ding! Didst thou not see her paddle with the 
 palm of his hand? didst not mark that? 
 
 Rod. Yes, that I did; but that was but cour- 
 tesy. 264 
 
 Iago. Lechery, by this hand! an index and 
 obscure prologue to the history of lust and foul 
 thoughts. They met so near with their lips, that 
 their breaths embraced together. Villainous 
 thoughts, Roderigo ! When these mutualities so 269 
 marshal the way, hard at hand comes the master 
 and main exercise, the incorporate conclusion. 
 Pish! But, sir, be you ruled by me: I have 
 brought you from Venice. Watch you to-night; 
 for the command, I’ll lay ’t upon you: Cassio 
 knows you not. I’ll not be far from you: do you 
 find some occasion to anger Cassio, either by 
 speaking too loud, or tainting his discipline; 
 or from what other course you please, which 
 the time shall more favourably minister. 
 
 254 found him: recognized his qualities 
 257 condition: quality 
 270 marshal: lead 
 277 tainting: disparaging 
 
 269 mutualities: intimacies 
 271 incorporate: carnal 
 279 minister : provide 
 
The Moor of Venice , II. i 
 
 39 
 
 Rod. Well. 280 
 
 Iago. Sir, he is rash and very sudden in 
 choler, and haply may strike at you: provoke 
 him, that he may; for even out of that will I 
 cause these of Cyprus to mutiny, whose quali- 
 fication shall come into no true taste again but 
 by the displanting of Cassio. So shall you have 
 a shorter journey to your desires by the means 
 I shall then have to prefer them; and the im- 
 pediment most profitably removed, without the 
 which there were no expectation of our pros- 
 perity. 291 
 
 Rod. I will do this, if I can bring it to any 
 opportunity. 
 
 Iago. I warrant thee. Meet me by and by at 
 the citadel: I must fetch his necessaries ashore. 
 Farewell. 296 
 
 Rod. Adieu. Exit. 
 
 Iago. That Cassio loves her, I do well believe it; 
 That she loves him, ’tis apt, and of great credit: 
 
 The Moor, howbeit that I endure him not, 300 
 
 Is of a constant, loving, noble nature; 
 
 And I dare think he’ll prove to Desdemona 
 A most dear husband. Now, I do love her too; 
 
 Not out of absolute lust, — though peradventure 
 I stand accountant for as great a sin, — 305 
 
 But partly led to diet my revenge. 
 
 For that I do jmspect the lusty Moor 
 Hath leap’d into mv seat: t he thought wher eof 
 Doth lik e a pois onous mineral gnaw my inwards ; 309 
 
 And nothing can or shall content my soul 
 
 281,282 in choler •.when enraged 284 qualification: pacification 
 
 285 true taste: satisfactory state 288 prefer: promote 
 
 299 apt . . . credit: natural and very credible 
 
 305 accountant: accountable 306 diet: glut 309 mineral: drug 
 
40 
 
 The Tragedy of Othello 
 
 Till I am even'd with him . wifp_for wife ; 
 
 Or failing so, yet that I put the Moor 312 
 
 At least into a jealousy so strong 
 
 That judgment cannot cure. Which thing to do, 
 
 If this poor trash of Venice, whom I trace 
 For his quick hunting, stand the putting-on. 
 
 I’ll have our Michael Cassio on the hip; 317 
 
 Abuse him to the Moor in the rank garb, — 
 
 For I fear Cassio with my night-cap too, — 
 
 Make the Moor thank me, love me, and reward 
 me 320 
 
 For making him egregiously an ass 
 And practising upon his peace and quiet 
 Even to madness. ’Tis here, but yet confus’d: 
 Knavery’s plain face is never seen till us’d. 324 
 
 Exit. 
 
 Scene Two 
 [ A Street ] 
 
 Enter Othello’s Herald, with a proclamation. 
 
 [ People following .] 
 
 Her. It is Othello's pleasure, our noble and 
 valiant general, that, upon certain tidings now 
 arrived, importing the mere perdition of the 
 Turkish fleet, every man put himself into tri- 
 umph; some to dance, some to make bonfires, 5 
 each man to what sport and revels his addiction 
 leads him; for, besides these beneficial news, it 
 is the celebration of his nuptial. So much was 
 
 315 Cf.n. 318 rank garb: grossest fashion 
 
 322 practising upon : using wiles against 
 
 323 to madness: to the point of driving him mad 
 
 3 mere perdition: complete destruction 
 
 4 put . . . triumph : give himself up to celebrating the occasion 
 
 6 addiction: inclination 
 
The Moor of V enice, II. in 
 
 41 
 
 his pleasure should be proclaimed. All offices 9 
 are open, and there is full liberty of feasting 
 from this present hour of five till the bell have 
 told eleven. Heaven bless the isle of Cyprus 
 and our noble general Othello! Exeunt. 
 
 [Scene Three 
 A Hall in the Castle ] 
 
 Enter Othello, Desdemona, Cassio, and Attendants. 
 
 Oth. Good Michael, look you to the guard to-night: 
 Let’s teach ourselves that honourable stop. 
 
 Not to outsport discretion. 
 
 Cas. Iago hath direction what to do; 4 
 
 But, notwithstanding, with my personal eye 
 WiH I look to ’t. 
 
 Oth. Iago is most honest. 
 
 Michael, good night ; to-morrow with your earliest 
 Let me have speech with you. 
 
 [To Desdemona .] Come, my dear love, 8 
 The purchase made, the fruits are to ensue; 
 
 That profit’s yet to come ’twixt me and you. 
 
 Good night. 
 
 Exit [with Desdemona and Attendants ]. 
 Enter Iago. 
 
 Cas. Welcome, Iago; we must to the watch. 12 
 Iago. Not this hour, lieutenant; ’tis not yet 
 ten o’ the clock. Our general cast us thus early 
 for the love of his Desdemona, who let us not 
 therefore blame; he hath not yet made wanton 
 the night with her, and she is sport for Jove. 17 
 Cas. She’s a most exquisite lady. 
 
 9 offices : storerooms, kitchens, in the castle 
 
 Scene Three; cf . «. 
 
42 
 
 The Tragedy of Othello 
 
 Iago. And, I’ll warrant her, full of game. 
 
 Cas. Indeed, she is a most fresh and delicate 
 creature. 21 
 
 Iago. What an eye she has ! methinks it 
 sounds a parley of provocation. 
 
 Cas. An inviting eye; and yet methinks right 
 modest. 25 
 
 Iago. And when she speaks, is it not an 
 alarum to love? 
 
 Cas. She is indeed perfection. 28 
 
 Iago. Well, happiness to their sheets! Come, 
 lieutenant, I have a stoup of wine, and here 
 without are a brace of Cyprus gallants that 
 would fain have a measure to the health of black 
 Othello. 33 
 
 Cas. Not to-night, good Iago: I have very 
 poor and unhappy brains for drinking: I could 
 well wish courtesy would invent some other 
 custom of entertainment. 37 
 
 Iago. O! they are our friends; but one cup: 
 I’ll drink for you. 
 
 Cas. I have drunk but one cup to-night, and 
 that was craftily qualified too, and, behold, 
 what innovation it makes here: I am unfor- 
 tunate in the infirmity, and dare not task my 
 weakness with any more. 44 
 
 Iago. What, man ! ’tis a night of revels ; the 
 gallants desire it. 
 
 Cas. Where are they? 
 
 Iago. Here at the door; I pray you, call 
 them in. 49 
 
 27 alarum: summons 
 41 qualified: diluted 
 
 23 parley: trumpet-call 
 30 stoup : two-quart measure 
 42 innovation : disturbance 
 
 here : in my head 
 
The Moor of Venice, II. Hi 
 
 43 
 
 Cas. I’ll do’t; but it dislikes me. Exit. 
 
 Iago. If I can fasten but one cup upon him. 
 
 With that which he hath drunk to-night already, 
 He’ll be as full of quarrel and offence 53 
 
 As my young mistress’ dog. Now, my sick fool 
 Roderigo, 
 
 Whom love has turn’d almost the wrong side out. 
 
 To Desdemona hath to-night carous’d 56 
 
 Potations pottle-deep; and he’s to watch. 
 
 Three lads of Cyprus, noble swelling spirits. 
 
 That hold their honours in a wary distance. 
 
 The very elements of this warlike isle, 60 
 
 Have I to-night fluster’d with flowing cups. 
 
 And they watch too. Now, ’mongst this flock of 
 drunkards, 
 
 Am I to put our Cassio in some action 
 
 That may offend the isle. But here they come. 
 
 If consequence do but approve my dream, 65 
 
 My boat sails freely, both with wind and stream. 
 
 Enter Cassio, Montano, and Gentlemen. [ Servants 
 following with wine.] 
 
 Cas. 'Fore God, they have given me a rouse 
 already. 68 
 
 Mon. Good faith, a little one; not past a 
 pint, as I am a soldier. 
 
 Iago. Some wine, ho ! 
 
 [Sing's] 
 
 ‘And let me the canakin clink, clink; 72 
 
 And let me the canakin clink: 
 
 A soldier’s a man; 
 
 A life’s but a span; 
 
 50 it dislikes me: it is distasteful to me 
 
 57 pottle-deep: to the bottom of the tankard 59 Cf. «. 
 
 60 elements: typical representatives 67 rouse: bumper 72 Cf.n. 
 
44 
 
 The Tragedy of Othello 
 
 Why then let a soldier drink.’ 76 
 
 Some wine, boys ! 
 
 Cas. ’Fore God, an excellent song. 
 lago. I learned it in England, where indeed 
 they are most potent in potting; your Dane, 
 your German, and your swag-bellied Hollander, 
 
 — drink, ho! — are nothing to your English. 
 
 Cas. Is your Englishman so expert in his 
 drinking ? 84 
 
 lago. Why, he drinks you with facility your 
 Dane dead drunk; he sweats not to overthrow 
 your Almain; he gives your Hollander a vomit 
 ere the next pottle can be filled. 88 
 
 Cas. To the health of our general ! 
 
 Mon. I am for it, lieutenant; and I’ll do you 
 justice. 
 
 lago. O sweet England! 92 
 
 ‘King Stephen was a worthy peer. 
 
 His breeches cost him but a crown ; 
 
 He held them sixpence all too dear. 
 
 With that he call’d the tailor lown. 96 
 
 He was a wight of high renown. 
 
 And thou art but of low degree: 
 
 'Tis pride that pulls the country down, 
 
 Then take thine auld cloak about thee.’ 100 
 
 Some wine, ho! 
 
 Cas. Why, this is a more exquisite song than 
 the other. 
 
 lago. Will you hear ’t again? 104 
 
 Cas. No; for I hold him to be unworthy of 
 his place that does those things. Well, God’s 
 
 80 potent in potting: mighty in drinking 
 
 81 swag-bellied : fat-paunched 87 Almain : German 
 
 90 do you justice: keep pace with you in drinking 96 lown: loon, lout 
 
The Moor of Venice, II. in 
 
 45 
 
 above all; and there be souls must be saved, and 
 there be souls must not be saved. 108 
 
 Iago. It’s true, good lieutenant. 
 
 Cos. For mine own part, — no offence to the 
 general, nor any man of quality, — I hope to be 
 saved. 112 
 
 Iago. And so do I too, lieutenant. 
 
 Cas. Ay; but, by your leave, not before me; 
 the lieutenant is to be saved before the ancient. 
 Let’s have no more of this ; let’s to our affairs. 
 God forgive us our sins ! Gentlemen, let’s look 
 to our business. Do not think, gentlemen, I am 
 drunk: this is my ancient; this is my right 
 hand, and this is my left hand. I am not drunk 
 now; I can stand well enough, and speak well 
 enough. 122 
 
 All. Excellent well. 
 
 Cas. Why, very well, then; you must not 
 think then that I am drunk. Exit. 
 
 Mon. To the platform, masters; come, let’s set the 
 watch. 
 
 Iago. You see this fellow that is gone before; 
 
 He is a soldier fit to stand by Caesar 128 
 
 And give direction; and do but see his vice; 
 
 ’Tis to his virtue a just equinox, 
 
 The one as long as the other; ’tis pity of him. 
 
 I fear the trust Othello puts him in, 182 
 
 On some odd time of his infirmity, 
 
 Will shake this island. 
 
 Mon. But is he often thus? 
 
 Iago. ’Tis evermore the prologue to his sleep: 
 
 126 platform : rampart 
 
 130 just equinox: exact counterpart 
 
46 
 
 The Tragedy of Othello, 
 
 He’ll watch the horologe a double set. 
 If drink rock not his cradle. 
 
 136 
 
 Mon. 
 
 It were well 
 
 The general were put in mind of it. 
 
 Perhaps he sees it not; or his good nature 
 Prizes the virtue that appears in Cassio, 
 
 And looks not on his evils. Is not this true? 
 
 140 
 
 Enter Roderigo. 
 
 Iago. [Aside to him.] How now, Roderigo! 
 I pray you, after the lieutenant ; go. 
 
 Exit Roderigo. 
 
 Mon. And ’tis great pity that the noble Moor 144 
 Should hazard such a place as his own second 
 With one of an ingraft infirmity; 
 
 It were an honest action to say 
 So to the Moor. 
 
 Iago. Not I, for this fair island: 148 
 
 I do love Cassio well, and would do much 
 To cure him of this evil. But hark! what noise? 
 
 [Cry] within. ‘Help! Help!’ 
 
 Enter Cassio, pursuing Roderigo. 
 
 Cas. You rogue, you rascal! 
 
 Mon. What’s the matter, lieutenant? 
 
 Cas. A knave teach me my duty ! 152 
 
 I’ll beat the knave into a twiggen bottle. 
 
 Rod. Beat me ! 
 
 Cas. Dost thou prate, rogue? 
 
 [Striking Roderigo.] 
 
 Mon. [Staying him.] Nay, good lieutenant; 
 
 I pray you, sir, hold your hand. 
 
 136 Cf. n. 146 ingraft: firmly rooted 153 Cf. n. 
 
The Moor of Venice, II. in 
 
 47 
 
 Cas. Let me go, sir, 156 
 
 Or I’ll knock you o’er the mazzard. 
 
 Mon. Come, come; you’re drunk. 
 
 Cas. Drunk! They fight. 
 
 Iago. [Aside to Roderigo.\ Away, I say! go out, 
 and cry a mutiny. Exit Roderigo. 
 
 Nay, good lieutenant ! God’s will, gentlemen ! 160 
 
 Help, ho ! Lieutenant ! sir ! Montano ! sir ! 
 
 Help, masters ! Here’s a goodly watch indeed ! 
 
 Bell rings. 
 
 Who’s that that rings the bell? Diablo, ho! 
 
 The town will rise: God’s will! lieutenant, hold! 
 
 You will be sham’d for ever. 
 
 Enter Othello and Attendants. 
 
 Oth. What is the matter here ? 165 
 
 Mon. ’Zounds ! I bleed still ; I am hurt to the death. 
 Oth. Hold, for your lives ! 
 
 Iago. Hold, ho, lieutenant ! Sir ! Montano ! gentle- 
 men ! 168 
 
 Have you forgot all sense of place and duty? 
 
 Hold ! the general speaks to you ; held for shame ! 
 
 Oth. Why, how now, ho ! from whence ariseth this ? 
 Are we turn’d Turks, and to ourselves do that 
 Which heaven hath forbid the Ottomites? 173 
 
 For Christian shame put by this barbarous brawl; 
 He that stirs next to carve for his own rage 
 Holds his soul light; he dies upon his motion. 
 
 Silence that dreadful bell ! it frights the isle 177 
 
 From her propriety. What is the matter, masters? 
 Honest Iago, that look’st dead with grieving, 
 
 Speak, who began this? on thy love, I charge 
 thee. 180 
 
 157 mazzard: head 
 
 163 Diablo; cf. n. 
 
 175 carve for : satisfy 
 
48 
 
 The Tragedy of Othello , 
 
 I ago. 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, — 184 
 
 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 188 
 
 Those legs that brought me to a part of it ! 
 
 Oth. How comes it, Michael, you are thus forgot? 
 
 Cas. I pray you, pardon me; I cannot speak. 
 
 Oth. Worthy Montano, you were wont be civil; 192 
 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 196 
 
 And spend your rich opinion for the name 
 Of a night-brawler ? give me answer to it. 
 
 Mon. Worthy Othello, I am hurt to danger; 
 
 Your officer, Iago, can inform you, 200 
 
 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, 204 
 
 And to defend ourselves it be a sin 
 When violence assails us. 
 
 Oth. Now, by heaven. 
 
 My blood begins my safer guides to rule. 
 
 And passion, having my best judgment collied, 
 Assays to lead the way. If I once stir, 209 
 
 Or do but lift this arm, the best of you 
 
 182 In . • . terms: on a footing 187 odds: quarrel 
 
 195 censure: judgment 196 unlace: undo 197 opinion: good name 
 201 something: somewhat offends : harms 208 collied: darkened 
 
The Moor of V enice, II. in 
 
 49 
 
 Shall sink in my rebuke. Give me to know 
 
 How this foul rout began, who set it on; 212 
 
 And he that is approv’d in this offence. 
 
 Though he had twinn’d with me — both at a birth — 
 Shall lose me. What ! in a town of war. 
 
 Yet wild, the people’s hearts brimful of fear, 216 
 To manage private and domestic quarrel. 
 
 In night, and on the court and guard of safety ! 
 
 ’Tis monstrous. Iago, who began ’t? 
 
 Mon. If partially affin’d, or leagu’d in office. 
 
 Thou dost deliver more or less than truth, 221 
 
 Thou art no soldier. 
 
 Iago. Touch me not so near; 
 
 I had rather have this tongue cut from my mouth 
 Than it should do offence to Michael Cassio; 224 
 Yet, I persuade myself, to speak the truth 
 Shall nothing wrong him. Thus it is, general. 
 Montano and myself being in speech, 
 
 There comes a fellow crying out for help, 228 
 
 And Cassio following with determin’d sword 
 To execute upon him. Sir, this gentleman 
 Steps in to Cassio, and entreats his pause; 
 
 Myself the crying fellow did pursue, 232 
 
 Lest by his clamour, as it so fell out. 
 
 The town might fall in fright; he, swift of foot. 
 Outran my purpose, and I return’d the rather 
 For that I heard the clink and fall of swords. 
 
 And Cassio high in oath, which till to-night 237 
 
 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 240 
 When you yourself did part them. 
 
 212 rout: riot 213 approv’d: convicted 217 mana ge: set on foot 
 218 on . . . safety; cf. n. 220 partially affin’d: bound by partiality 
 
50 
 
 The Tragedy of Othello, 
 
 More of this matter can I not report: 
 
 But men are men; the best sometimes forget: 
 
 Though Cassio did some little wrong to him, 244 
 As men in rage strike those that wish them best, 
 
 Yet, surely Cassio, I believe, receiv’d 
 From him that fled some strange indignity, 
 
 Which patience could not pass. 
 
 Oth. I know, Iago, 248 
 
 Thy honesty and love doth mince this matter, 
 
 Making it light to Cassio. Cassio, I love thee; 
 
 But never more be officer of mine. 
 
 Enter Desdemona, attended. 
 
 Look, if my gentle love be not rais’d up ! 252 
 
 [To Cassio.] I’ll make thee an example. 
 
 Des. What’s the matter? 
 
 Oth. All’s well now, sweeting; come away to bed. 
 Sir, for your hurts, myself will be your surgeon. 
 
 Lead him off. [ Montano is led off.~\ 
 
 Iago, look with care about the town, 257 
 
 And silence those whom this vile brawl distracted. 
 Come, Desdemona; ’tis the soldiers’ life, 
 
 To have their balmy slumbers wak’d with strife. 
 
 Exit [ with Desdemona and attendants ]. 
 Iago. What! are you hurt, lieutenant? 261 
 
 Cas. Ay; past all surgery. 
 
 Iago. Marry, heaven forbid ! 
 
 Cas. Reputation, reputation, reputation ! O ! 
 
 I have lost my reputation. I have lost the im- 
 mortal part of myself, and what remains is 
 bestial. My reputation, Iago, my reputation ! 
 
 Iago. As I am an honest man, I thought you 
 had received some bodily wound; there is more 
 
 244 him: i.e., Montano 
 
The Moor of Venice , II. Hi 
 
 51 
 
 sense in that than in reputation. Reputation 
 is an idle and most false imposition; oft got 
 without merit, and lost without deserving: you 
 have lost no reputation at all, unless you repute 
 yourself such a loser. What, man ! there are 274 
 ways to recover the general again; you are but 
 now cast in his mood, a punishment more in 
 policy than in malice; even so as one would beat 
 his offenceless dog to affright an imperious lion. 
 Sue to him again, and he is yours. 279 
 
 Cas. I will rather sue to be despised than to 
 deceive so good a commander with so slight, so 
 drunken, and so indiscreet an officer. Drunk! 
 and speak parrot! and squabble, swagger, swear, 
 and discourse fustian with one’s own shadow! 
 
 O thou invisible spirit of wine ! if thou hast no 
 name to be known by, let us call thee devil ! 
 
 Iago. What was he that you followed with 
 your sword? What had he done to you? 288 
 
 Cas. I know not. 
 
 Iago. Is ’t possible? 
 
 Cas. I remember a mass of things, but no- 
 thing distinctly; a quarrel, but nothing where- 
 fore. O God ! that men should put an enemy in 
 their mouths to steal away their brains ; that 
 we should, with joy, pleasance, revel, and ap- 
 plause, transform ourselves into beasts. 296 
 
 Iago. Why, but you are now well enough; 
 how came you thus recovered? 
 
 Cas. It hath pleased the devil drunkenness to 
 give place to the devil wrath; one unperfectness 
 
 271 imposition: adjunct 276 mood: temporary feeling 
 
 283 speak parrot: use words without being rationally self-conscious 
 
 284 discourse fustian: talk nonsense 
 
52 
 
 The Tragedy of Othello . 
 
 shows me another, to make me frankly despise 
 myself. 302 
 
 Iago. Come, you are too severe a moraler. 
 
 As the time, the place, and the condition of this 
 country stands, I could heartily wish this had 
 not befallen, but since it is as it is, mend it for 
 your own good. 307 
 
 Cas. I will ask him for my place again; he 
 shall tell me I am a drunkard ! Had I as many 
 mouths as Hydra, such an answer would stop 
 them all. To be now a sensible man, by and by 
 a fool, and presently a beast ! O strange ! Every 
 inordinate cup is unblessed and the ingredient is 
 a devil. 314 
 
 Iago. Come, come ; good wine is a good 
 familiar creature if it be well used; exclaim no 
 more against it. And, good lieutenant, I think 
 you think I love you. 318 
 
 Cas. I have well approved it, sir. I drunk ! 
 Iago. You or any man living may be drunk 
 at some time, man. I’ll tell you what you shall 
 do. Our general’s wife is now the general: I 
 may say so in this respect, for that he hath de- 
 voted and given up himself to the contemplation, 
 mark, and denotement of her parts and graces : 325 
 confess yourself freely to her; importune her; 
 she’ll help to put you in your place again. She 
 is of so free, so kind, so apt, so blessed a disposi- 
 tion, that she holds it a vice in her goodness not 
 to do more than she is requested. This broken 
 joint between you and her husband entreat her 
 to splinter; and my fortunes against any lay 
 
 303 moraler: moralizer 310 Hydra; cf. n. 
 
 316 familiar: serviceable 325 denotement: observation 
 
 332 splinter: bind with splints lay : wager 
 
The Moor of V enice, II. in 
 
 £3 
 
 worth naming, this crack of your love shall 
 grow stronger than it was before. 334 
 
 Cas. You advise me well. 
 
 Iago. I protest, in the sincerity of love and 
 honest kindness. 337 
 
 Cas. I think it freely; and betimes in the 
 morning I will beseech the virtuous Desdemona 
 to undertake for me. I am desperate of my 
 fortunes if they check me here. 341 
 
 Iago. You are in the right. Good night, 
 lieutenant ; I must to the watch. 
 
 Cas. Good night, honest Iago! Exit Cassio. 
 Iago. And what’s he then that says I play the 
 villain ? 345 
 
 When this advice is free I give and honest, 
 
 Probal to thinking and indeed the course 
 
 To win the Moor again? For ’tis most easy 348 
 
 The inclining Desdemona to subdue 
 
 In any honest suit ; she’s fram’d as fruitful 
 
 As the free elements. And then for her 
 
 To win the Moor, were ’t to renounce his baptism, 352 
 
 All seals and symbols of redeemed sin. 
 
 His soul is so en fetter’d to iler love, 
 
 That jshe may make, unmake, do what she lis t. 
 
 Even a s her appetite sha ll play the god 356 
 
 With his weak f unction. How am I then a villain 
 To counsel Cassio to this parallel course. 
 
 Directly to his good? Divinity of hell! 
 
 When devils will the blackest sins put on, 360 
 
 They do suggest at first with heavenly shows. 
 
 As I do now ; for while this honest fool 
 Plies Desdemona to repair his fortunes, 
 
 347 Probal: probable 
 357 function: character 
 360 put on: instigate 
 
 350 fruitful: bountiful 
 358 parallel: straight (?) 
 361 suggest: tempt 
 
54 
 
 The Tragedy of Othello, 
 
 \ And she for him pleads strongly to the Moor, 364 
 I’ll pour this pestilence into his ear 
 That she repeals him for her body’s lust; 
 
 And, by how much she strives to do him good, 
 
 She shall undo her credit with the Moor. 368 
 
 So will I turn her virtue into pitch, 
 
 And out of her own goodness make the net 
 That shall enmesh them all. 
 
 Enter Roderigo. 
 
 How now, Roderigo ! 
 Rod. I do follow here in the chase, not like a 372 
 hound that hunts, but one that fills up the cry. 
 My money is almost spent; I have been to-night 
 exceedingly well cudgelled; and I think the issue 
 will be, I shall have so much experience for my 
 pains ; and so, with no money at all and a little 
 more wit, return again to Venice. 
 
 Iago. How poor are they that have not patience! 
 What wound did ever heal but by degrees ? 380 
 
 Thou know’st we work by wit and not by witchcraft. 
 And wit depends on dilatory time. 
 
 Does ’t not go well? Cassio hath beaten thee. 
 
 And thou by that small hurt hast cashiered 
 Cassio. 384 
 
 Though other things grow fair against the sun. 
 
 Yet fruits that blossom first will first be ripe: 
 
 Content thyself awhile. By the mass, ’tis morning; 
 Pleasure and action make the hours seem short. 
 Retire thee; go where thou art billeted: 389 
 
 Away, I say; thou shalt know more hereafter: 
 
 Nay, get thee gone. Exit Roderigo. 
 
 Two things are to be done, 
 
 366 repeals: recalls to favor 
 
 372, 373 Cf. n. 
 
The Moor of Venice, III. i 55 
 
 My wife must move for Cassio to her mistress; 
 
 I’ll set her on; 393 
 
 Myself the while to draw the Moor apart, 
 
 And bring him jump when he may Cassio find 
 Soliciting his wife: ay, that’s the way: 396 
 
 Dull not device by coldness and delay. Exit. 
 
 ACT THIRD 
 
 Scene One 
 [ Before the Castle ] 
 
 Enter Cassio with Musicians. 
 
 Cas. Masters, play here, I will content your pains ; 
 Something that’s brief; and bid ‘Good morrow, 
 general.’ 
 
 They play, and enter the Clown. 
 Clo. Why, masters, have your instruments 
 been in Naples, that they speak i’ the nose thus? 
 First Mus. How, sir, how? 5 
 
 Clo. Are these, I pray you, wind-instruments ? 
 First Mus. Ay, marry, are they, sir. 
 
 Clo. O ! thereby hangs a tail. 8 
 
 First Mus. Whereby hangs a tale, sir? 
 
 Clo. Marry, sir, by many a wind-instrument 
 that I know. But, masters, here’s money for 
 you; and the general so likes your music, that 
 he desires you, for love’s sake, to make no more 
 noise with it. 14 
 
 First Mus. Well, sir, we will not. 
 
 Clo. If you have any music that may not be 
 
 395 jump: precisely 2 S. d. Clown; cf. n. 
 
 10 Marry: originally an invocation of the Virgin 
 
 3, 4 Cf. n. 
 
56 
 
 The Tragedy of Othello 
 
 heard, to ’t again ; but, as they say, to hear 
 music the general does not greatly care. 18 
 
 First Mus. We have none such, sir. 
 
 Clo. Then put up your pipes in your bag, for 
 I’ll away. Go ; vanish into air ; away ! 21 
 
 Exeunt Musicians. 
 
 Cas. Dost thou hear, mine honest friend? 
 
 Clo. No, I hear not your honest friend; I 
 hear you. 24 
 
 Cas. Prithee, keep up thy quillets. There’s a 
 poor piece of gold for thee. If the gentlewoman 
 that attends the general’s wife be stirring, tell 
 her there’s one Cassio entreats her a little 
 favour of speech : wilt thou do this ? 29 
 
 Clo. She is stirring, sir: if she will stir hither, 
 
 I shall seem to notify unto her. 
 
 Cas. Do, good my friend. Exit Clown. 
 
 Enter Iago. 
 
 In happy time, Iago. 82 
 Iago. You have not been a-bed, then? 
 
 Cas. Why, no; the day had broke 
 Before we parted. I have made bold, Iago, 
 
 To send in to your wife; my suit to her 36 
 
 Is, that she will to virtuous Desdemona 
 Procure me some access. 
 
 Iago. I’ll send her to you presently; 
 
 And I’ll devise a mean to draw the Moor 
 Out of the way, that your converse and business 40 
 May be more free. 
 
 Cas. I humbly thank you for ’t. [Exit IagoJ\ 
 
 25 quillets: quibbles 27 stirring: up and dressed (in the morning) 
 
 32 In . . . time: well met 38 presently : immediately 
 
The Moor of Venice , III. ii 
 
 57 
 
 I never knew 
 
 A Florentine more kind and honest. 
 
 Enter Emilia. 
 
 Emil. Good morrow, good lieutenant: I am 
 sorry 44 
 
 For your displeasure; but all will soon be well. 
 
 The general and his wife are talking of it, 
 
 And she speaks for you stoutly: the Moor replies 
 That he you hurt is of great fame in Cyprus 48 
 
 And great affinity, and that in wholesome wisdom 
 He might not but refuse you ; but he protests he loves 
 you. 
 
 And needs no other suitor but his likings 
 
 To take the saf’st occasion by the front 62 
 
 To bring you in again. 
 
 Cas. Yet, I beseech you, 
 
 If you think fit, or that it may be done. 
 
 Give me advantage of some brief discourse 
 With Desdemona alone. 
 
 Emil. Pray you, come in: 68 
 
 I will bestow you where you shall have time 
 To speak your bosom freely. 
 
 Cas. I am much bound to you. 
 
 [. Exeunt .] 
 
 Scene Two 
 
 [A Room in the Castle ] 
 
 Enter Othello, Iago, and Gentlemen. 
 
 Oth. These letters give, Iago, to the pilot. 
 And by him do my duties to the senate; 
 
 43 Florentine; cf. n. 
 
 49 affinity : family connection 
 58 bosom: private thoughts and feelings 
 
 45 displeasure: loss of favor 
 52 Cf. n. 
 
58 
 
 The Tragedy of Othello 
 
 That done, I will be walking on the works ; 
 
 Repair there to me. 
 
 Iago. Well, my good lord, I’ll do ’t. 4 
 
 Oth. This fortification, gentlemen, shall we see’t? 
 Gent. We’ll wait upon your lordship. Exeunt. 
 
 Scene Three 
 
 [27ie garden of the Castle ] 
 
 Enter Desdemona, Cassio, and Emilia. 
 
 Des. Be thou assur’d, good Cassio, I will do 
 All my abilities in thy behalf. 
 
 Emil. Good madam, do: I warrant it grieves my 
 husband, 
 
 As if the case were his. 4 
 
 Des. O ! that’s an honest fellow. Do not doubt, 
 Cassio, 
 
 But I will have my lord and you again 
 As friendly as you were. 
 
 Cas. Bounteous madam, 
 
 Whatever shall become of Michael Cassio, 8 
 
 He’s never anything but your true servant. 
 
 Des. I know ’t; I thank you. You do love my lord; 
 You have known him long; and be you well assur’d 
 He shall in strangeness stand no further off 12 
 
 Than in a politic distance. 
 
 Cas. Ay, but, lady, 
 
 That policy may either last so long, 
 
 Or feed upon such nice and waterish diet, 
 
 Or breed itself so out of circumstance, 16 
 
 That, I being absent and my place supplied, 
 
 My general will forget my love and service. 
 
 12 strangeness: estrangement 
 
 IS nice: finical waterish: watered, thin 
 
 14-16 Cf. n. 
 
The Moor of Venice, III. Hi 
 
 59 
 
 Des. Do not doubt that; before Emilia here 
 I give thee warrant of thy place. Assure thee, 20 
 If I do vow a friendship, I’ll perform it 
 To the last article ; my lord shall never rest ; 
 
 I’ll watch him tame, and talk him out of patience; 
 
 His bed shall seem a school, his board a shrift; 24 
 
 I’ll intermingle everything he does 
 
 With Cassio’s suit. Therefore be merry, Cassio; 
 
 For thy solicitor shall rather die 
 
 Than give thy cause away. 28 
 
 Enter Othello and Iago [ at a distance ]. 
 
 Emil. Madam, here comes my lord. 
 
 Cas. Madam, I’ll 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. 33 
 
 Des. Well, do your discretion. Exit Cassio. 
 
 Iago. Ha ! I like not that. 
 
 Oth. What dost thou say? 
 
 I'lgo. Nothing, my lord: or if — I know not 
 what. 36 
 
 Oth. Was not that Cassio parted from my wife? 
 Iago. Cassio, my lord? No, sure, I cannot think it 
 That he would steal away so guilty-like. 
 
 Seeing you coming. 
 
 Oth. I do believe ’twas he. 40 
 
 Des. How now, my lord ! 
 
 I have been talking with a suitor here, 
 
 A man that languishes in your displeasure. 
 
 Oth. Who is ’t you mean? 44 
 
 Des. Why, your lieutenant, Cassio. Good my lord, 
 
 19 doubt: fear 23 watch him tame; cf. n. 24 shrift: confessional 
 34 do . . . discretion: do what seems to you discreet 
 
60 
 
 The Tragedy of Othello 
 
 If I have any grace or power to move you. 
 
 His present reconciliation take; 
 
 For if he be not one that truly loves you, 48 
 
 That errs in ignorance and not in cunning, 
 
 I have no judgment in an honest face. 
 
 I prithee call him back. 
 
 Oth. Went he hence now? 
 
 Des. Ay, sooth; so humbled, 52 
 
 That he hath left part of his grief with me, 
 
 To suffer with him. Good love, call him back. 
 
 Oth. Not now, sweet Desdemona; some other time. 
 Des. But shall ’t be shortly? 
 
 Oth. The sooner, sweet, for you. 56 
 
 Des. Shall ’t be to-night at supper ? 
 
 Oth. No, not to-night. 
 
 Des. To-morrow dinner then? 
 
 Oth. I shall not dine at home; 
 
 I meet the captains at the citadel. 
 
 Des. Why then, to-morrow night; or Tuesday 
 morn ; 60 
 
 On Tuesday noon, or night; on Wednesday morn: 
 
 I prithee name the time, but let it not 
 Exceed three days: in faith, he’s penitent; 
 
 And yet his trespass, in our common reason, — 
 
 Save that they say, the wars must make examples 65 
 Out of their best, — is not almost a fault 
 To incur a private check. When shall he come ? 
 
 Tell me, Othello: I wonder in my soul, 68 
 
 What you could ask me that I should deny, 
 
 Or stand so mammering on. Wha t ! Michael Cassi o. 
 That came a wooing with you, and so many a time. 
 
 When I have spoke of you dispra isingly, 72 
 
 66 not almost: almost not, scarcely 
 
 70 mammering: hesitating 
 
The Moor of Venice, III. Hi 
 
 61 
 
 Hath^ ta’en yourjD&EkLtoJiave so much to do 
 To bringHmin ! T rust me, I could dcTmuch — 
 
 Oth. Prithee, no more; let him come when he will; 
 I will deny thee nothing. 
 
 Des. Why, this is not a boon; 
 
 ’Tis as I should entreat you wear your gloves. 
 
 Or feed on nourishing dishes, or keep you warm, 
 
 Or sue to you to do a peculiar profit 
 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. 
 
 76 
 
 80 
 
 Oth. I will deny thee nothing: 
 
 Whereon, I do beseech thee, grant me this, 84 
 
 To leave me but a little to myself. 
 
 Des. Shall I deny you? no: farewell, my lord. 
 
 Oth. Farewell, my Desdemona: I’ll come to thee 
 straight. 
 
 Des. Emilia, come. Be as your fancies teach 
 you ; 88 
 
 Whate’er you be, I am obedient. 
 
 Exit [ with Emilia ]. 
 
 Oth. Excellent wretch ! Perdition catch my soul 
 But I do love thee ! and when I love thee not. 
 
 Chaos is come again. 92 
 
 Iago. My noble lord, — 
 
 Oth. What dost thou say, Iago? 
 
 (~ Iago. Did Michael Cassio, when you woo’d my 
 lady, 
 
 Know of your love? j 
 
 Oth. He did, from first to last: why dost thou 
 ask? 96 
 
 74 in: into favor 82 poise: equipoise, uncertainty 
 
 90 wretch: expression of utmost fondness 
 
62 
 
 The Tragedy of Othello 
 
 Iago. But for a satisfaction of my thought; 
 
 No further harm. 
 
 Oth. Why of thy thought, Iago? 
 
 Iago. I did not think he had been acquainted with 
 her. 
 
 Oth. O! yes; and went between us very oft. 
 
 Iago. Indeed! 101 
 
 Oth. Indeed! ay, indeed; discern’st thou aught in 
 that ? 
 
 /is he not honest ?j 
 
 Iago. Honest, my lord? 
 
 Oth. Honest! ay, honest. 
 
 Iago. My lord, for aught I know. 104 
 
 Oth. What dost thou think? 
 
 Iago. Think, my lord! 
 
 Oth. Think, my lord! 
 
 By heaven, he echoes me, 
 
 As if there were some monster in his thought 
 Too hideous to be shown. Thou dost mean some- 
 thing: 108 
 
 I heard thee say but now, thou lik’dst not that, 
 [jWhen Cassio left my wife;lwhat didst not like? 
 
 And when I told thee he was of my counsel 
 In my whole course of wooing, thou criedst, 
 
 ‘Indeed!’ 112 
 
 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. lie 
 
 Iago. My lord, you know I love you. 
 
 Oth. I think thou dost; 
 
 And, for I know thou art full of love and honesty. 
 
 111 of my counsel : in my confidence 
 
 115 conceit: idea 
 
The Moor of Venice, III. Hi 
 
 63 
 
 And weigh’st thy words before thou giv’st them 
 breath, 
 
 Therefore these stops of thine fright me the 
 more ; 120 
 
 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. 
 
 I ago. For Michael Cassi o, 124 
 
 I dare be sworn I think that he is honest. 
 
 Oth. I think so too. 
 
 lago. Men should b e what they seem ; 
 
 Or those that be not, would th ey might seem none ! 
 Oth. Certain, men should be what they seem. 
 
 Iago. Why then, I_ think Cassio’s an _honest 
 man. 129 
 
 Oth. Nay, yet there’s more in this. 
 
 I pray thee, speak to me as to thy thinkings. 
 
 As thou dost ruminate, and give thy worst of 
 thoughts 132 
 
 The worst of words. 
 
 Iago. Good my lord, pardon me; 
 
 Though I am bound to every act of duty, 
 
 I am not bound to that all slaves are free to. 
 
 Utter my thoughts? Why, say they are vile and 
 false ; 136 
 
 As where’s that palace whereinto foul things 
 Sometimes intrude not? who has a breast so pure 
 But some uncleanly apprehensions 
 Keep leets and law-days, and in session sit 140 
 
 With meditations lawful? 
 
 120 stops: pauses , reticences 122 tricks of custom: customary tricks 
 
 123 close delations: covert , involuntary accusations 
 
 139 But: but therein 
 
 140 leets: synonymous with * law-days ' ’ (keep leet: hold court') 
 
64 
 
 The Tragedy of Othello, 
 
 Oth. Thou dost conspire against thy friend, Iago, 
 If thou but think’st him wrong’d, and mak’st his ear 
 A stranger to thy thoughts. 
 
 Iago. I do beseech you, 144 
 
 Though I perchance am vicious in my guess, — 
 
 As, I confess, it is my nature’s plague 
 To spy into abuses, and oft my jealousy 
 Shapes faults that are not, — that your wisdom 
 yet, 148 
 
 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, 152 
 
 Nor for my manhood, honesty, or wisdom, 
 
 To let you know my thoughts. 
 
 Oth. What dost thou mean? 
 
 Iago. Good name in man and woman, dear my lord, 
 Is the immediate jewel of their souls: 156 
 
 Who steals my purse steals trash; ’tis something, 
 nothing ; 
 
 'Twas mine, ’tis his, and has been slave to thousands ; 
 But he that filches from me my good name 
 Robs me of that which not enriches him, 160 
 
 And makes me poor indeed. 
 
 Oth. By heaven, I’ll know thy thoughts. 
 
 Iago. You cannot, if my heart were in your hand; 
 Nor shall not, whilst ’tis in my custody. 164 
 
 Oth. Ha! 
 
 Iago. QJ. beware, myjord, of jealousy; 
 
 1 1 is the green-ey’d monster w h ich doth mock 
 T he meat it feeds on : t hat cuckold lives in bl iss 
 Who* ce rtain of his fate , l oves not his wrong er ; 
 
 145 Though: supposing, granting that vicious: wrong 
 
 149 conceits: imagines 151 scattering: random 
 
 166, 167 mock . . . feeds on: tantalizes its victim 
 
The Moor of Venice, III. Hi 
 
 65 
 
 But, O ! what damned minutes tells he o’er 169 
 
 Who dotes, yet doubts ; suspects, yet strongly loves ! 
 Oth. O misery ! 
 
 I ago. Poor and content is rich, and rich 
 enough, 172 
 
 But riches fineless is as poor as winter 
 To him that ever fears he shall be poor. 
 
 Good heaven, the souls of all my tribe defend 
 From jealousy. 
 
 Oth. Why, why is this? 176 
 
 Think’st thou I’d make a life of jealousy. 
 
 To follow still the changes of the moon 
 With fresh suspicions? No; to be once in doubt 
 Is once to be resolv’d. Exchange me for a goat 
 When I shall turn the business of my soul 181 
 
 To such exsufflicate and blown surmises. 
 
 Matching thy inference. ’Tis not to make me jealous 
 To say my wife is fair, feeds well, loves com- 
 pany, 184 
 
 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; 188 
 
 For she had eyes, and chose me. No, Iago; 
 
 I’ll see before I doubt ; when I doubt, prove ; 
 
 And, on the proof, there is no more but this. 
 
 Away at once with love or j ealousy ! 192 
 
 Iago. I am glad of it ; for now I shall have reason 
 To show the love and duty that I bear you 
 With franker spirit; therefore, as I am bound, 
 Receive it from me ; I speak not yet of proof. 196 
 Look to your wife ; observe her well with Cassio ; 
 
 173 fineless: endless 180 resolv’ d: freed from uncertainty 
 
 182 exsufflicate: puffed up, empty 
 
66 
 
 The Tragedy of Othello 
 
 Wear your eye thus, not jealous nor secure: 
 
 I would not have your free and noble nature 
 
 Out of self-bounty be abus’d; look to’t: 200 
 
 I know our country disposition well; 
 
 In Venice they do let heaven see the pranks 
 They dare not show their husbands; their best con- 
 science 
 
 Is not to leave ’t undone, but keep ’t unknown. 
 
 Oth. Dost thou say so? 205 
 
 I ago. She did deceive her father, marrying you: 
 And when she seem’d to shake and fear your looks. 
 She lov’d them most. 
 
 Oth. And so she did. 
 
 I ago. Why, go to, then ; 20 S 
 
 She that so young could give out such a seeming, 
 
 To seel her father’s eyes up close as oak, 
 
 He thought ’twas witchcraft — but I am much to 
 blame : 
 
 I humbly do beseech you of your pardon 212 
 
 For too much loving you. 
 
 Oth. I am bound to thee for ever. 
 
 Iago. I see, this hath a little dash’d your spirits. 
 Oth. Not a jot, not a jot. 
 
 Iago. I’ faith, I fear it has. 
 
 I hope you will consider what is spoke 216 
 
 Comes from my love. But, I do see you’re mov’d; 
 
 I am to pray you not to strain my speech 
 To grosser issues nor to larger reach 
 Than to suspicion. 220 
 
 Oth. I will not. 
 
 Iago. Should you do so, my lord, 
 
 My speech should fall into such vile success 
 
 2 n 0 self-bounty: inherent generosity 
 201 country : native, national 
 
 222 success: consequences 
 
The Moor of Venice , III. in 
 
 67 
 
 As my thoughts aim not at. Cassio’s my worthy 
 friend — 
 
 My lord, I see you’re mov’d. 
 
 Oth. No, not much mov’d: 224 
 
 I do not think but Desdemona’s honest. 
 
 Iago. Long live she so ! and long live you to think 
 so ! 
 
 Oth. And, yet, how nature erring from itself, — 
 Iago. Ay, there’s the point: as, to be bold with 
 you, 228 
 
 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. 233 
 
 But pardon me; I do not in position 
 Distinctly speak of her, though I may fear 
 Her will, recoiling to her better judgment, 236 
 
 May fall to match you with her country forms 
 And happily repent. 
 
 Oth. Farewell, farewell: 
 
 If more thou dost perceive, let me know more; 
 
 Set on thy wife to observe. Leave me, Iago. 240 
 Iago. My lord, I take my leave. [Going.] 
 
 Oth. Why did I marry? This honest creature, 
 doubtless, 
 
 Sees and knows more, much more, than he unfolds. 
 Iago. [ Returning .] My lord, I would I might 
 entreat your honour 244 
 
 To scan this thing no further; leave it to time. 
 Although ’tis fit that Cassio have his place. 
 
 For sure he fills it up with great ability, 
 
 225 honest: virtuous 
 
 236 recoiling to: falling bacR upon 
 
 237 fall: chance, begin 
 
 234 position: formal logical thesis 
 238 happily : perhaps 
 
68 
 
 The Tragedy of Othello 
 
 Yet, if you please to hold him off awhile, 248 
 
 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, 252 
 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. 250 
 
 Iago. I once more take my leave. Exit. 
 
 Oth. This fellow’s of exceeding honesty. 
 
 And knows all qualities, with a learned spirit, 
 
 Of human dealings ; if I do prove her haggard, 
 Though that her jesses were my dear heart- 
 strings, 261 
 
 I’d whistle her off and let her down the wind. 
 
 To prey at fortune. Haply , for I am black . 
 
 And have not those soft parts of conversation 
 
 That chamberers have, or, for I am declin’d 265 
 
 Into the va le of years — yet that’s not much — 
 
 She’s gone, I am abus’d; and my relief 
 
 Must be to loathe her. O curse of marriage! 208 
 
 That we can call these delicate creatures ours. 
 
 And not their appetites. I had rather be a toad, 
 
 And live upon the vapour of a dungeon, 
 
 Than keep a corner in the thing I love 272 
 
 For others’ uses. Yet, ’tis the plague of great ones; 
 Prerogativ’d are they less than the base; 
 
 ’Tis destiny unshunnable, like death: 
 
 250 strain his entertainment: urge his reinstatement 
 256 government: behavior 
 
 259,260 knows . . . Of: understands, learnedly, all kinds of 
 260-263 Cf. n. 
 
 264 soft . . . conversation: effeminate talents in social intercourse 
 
 265 chamberers: wanton courtiers 
 274 Prerogativ’d: privileged, protected 
 
The Moor of V enice. III. Hi 
 
 69 
 
 Even then this forked plague is fated to us 276 
 
 When we do quicken. 
 
 Look ! where she comes. 
 
 If she be false, O ! then heaven mocks itself. 
 
 I’ll not believe it. 
 
 Enter Desdemona and Emilia. 
 
 Des. How now, my dear Othello ! 
 
 Your dinner and the generous islanders 280 
 
 By you invited, do attend your presence. 
 
 Oth. I am to blame. 
 
 Des. Why do you speak so faintly? 
 
 Are you not well? 
 
 Oth. I have a pain upon my forehead here. 284 
 Des. Faith, that’s with watching; ’twill away 
 again : 
 
 Let me but bind it hard, within this hour 
 It will be well. 
 
 Oth. Your napkin is too little: 
 
 [He puts the handkerchief from him; and it drops.~\ 
 Let it alone. Come, I’ll go in with you. 288 
 
 Des. I am very sorry that you are not well. 
 
 Exeunt Othello and Desdemona. 
 Emil. I am glad I have found this napkin; 
 
 This was her first remembrance from the Moor; 
 
 My wayward husband hath a hundred times 292 
 
 Woo’d me to steal it, but she so loves the token, 
 
 For he conjur’d her she should ever keep it. 
 
 That she reserves it evermore about her 
 To kiss and talk to. I’ll have the work ta’en out. 
 
 And give ’t Iago: 297 
 
 276 forked plague: cuckold’s horns 
 
 277 When . . . quicken : in prenatal life 
 
 280 generous: noble, of gentle birth 285 watching: lack of sleep 
 
 287 napkin: handkerchief 296 work ta’en out: embroidery copied 
 
70 
 
 The Tragedy of Othello 
 
 What he will do with it heaven knows, not I ; 
 
 I nothing but to please his fantasy. 
 
 Enter Iago. 
 
 I ago. How now ! what do you here alone ? 300 
 
 Emil. Do not you chide; I have a thing for you. 
 Iago. A thing for me? It is a common thing — 
 Emil. Ha ! 
 
 Iago. To have a foolish wife. 304 
 
 Emil. O! is that all? What will you give me now 
 For that same handkerchief? 
 
 Iago. What handkerchief? 
 
 Emil. What handkerchief! 
 
 Why, that the Moor first gave to Desdemona: 
 
 That which so often you did bid me steal. 309 
 
 Iago. Hast stol’n it from her? 
 
 Emil. No, faith; she let it drop by negligence. 
 And, to the advantage, I, being there, took ’t up. 
 
 Look, here it is. 
 
 Iago. A good wench ; give it me. 313 
 
 Emil. What will you do with ’t, that you have been 
 so earnest 
 
 To have me filch it? 
 
 Iago. Why, [ Snatching if] what’s that to you? 
 Emil. If it be not for some purpose of import 317 
 Give ’t me again; poor lady! she’ll run mad 
 When she shall lack it. 
 
 Iago. Be not acknown on ’t; I have use for it. 320 
 Go, leave me. Exit Emilia. 
 
 I will in Cassio’s lodging lose this napkin. 
 
 And let him find it; trifles light as air 
 
 Are to the jealous confirmations strong 324 
 
 As proofs of holy writ; this may do something. 
 
 320 Be . . . on’t: avouch no knowledge of it 
 
The Moor of V enice. III. Hi 
 
 71 
 
 The M oor alr eady change s with my poison: Sli* 
 Dangerous conceits are in their natures poisons, 
 
 Which at the first are scarce found to distaste. 
 
 But with a litt le act upon the blood, 329 
 
 B urn like the mines of sulphur. I did say so: 
 
 Look ! where he comes ! 
 
 Enter Othello. 
 
 Not poppy, nor mandragora, 
 Nor all the drowsy syrups of the world, 332 
 
 Shall ever medicine thee to that sweet sleep 
 Which thou ow’dst yesterday. 
 
 Oth. Ha! ha! false to me? 
 
 lago. Why, how now, general ! no more of that. 
 Oth. Avaunt! be gone! thou hast set me on the 
 rack; 336 
 
 I swear ’tis better to be much abus’d 
 Than but to know ’t a little. 
 
 Iago. How now, my lord ! 
 
 Oth. What sense had I of her stol’n hours of 
 lust ? 339 
 
 I saw ’t not, thought it not, it harm’d not me ; 
 
 I slept the next night well, was free and merry ; 
 
 I found not Cassio’s kisses on her lips; 
 
 He that is robb’d, not wanting what is stol’n. 
 
 Let him not know ’t and he’s not robb’d at all. 
 
 Iago. I am sorry to hear this. 345 
 
 Oth. I had been happy, if the general camp, 
 Pioners and all, had tasted her sweet body. 
 
 So I had nothing known. O ! now, for ever 348 
 
 Farewell the tranquil mind; farewell content! 
 Farewell the plumed troop and the big wars 
 
 331 mandragora: mandrake, a narcotic 
 
 343 wanting: missing 347 Pioners : miners, military menials 
 
72 
 
 The Tragedy of Othello . 
 
 That make ambition virtue ! O, farewell ! 
 
 Farewell the neighing steed, and the shrill 
 trump, 352 
 
 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, 357 
 Farewell! Othello’s occupation’s gone! 
 
 I ago. Is it possible, my lord? 
 
 Oth. Villain, be sure thou prove my love a 
 whore, 360 
 
 Be sure of it; give me the ocular proof; 
 
 Or, by the worth of mine eternal soul. 
 
 Thou hadst been better have been born a dog 
 Than answer my wak’d wrath. 
 
 I ago. Is ’t come to this? 
 
 Oth. Make me to see’t; or, at the least, so prove 
 it, 365 
 
 That the probation bear no hinge nor loop 
 To hang a doubt on; or woe upon thy life! 
 
 Iago. My noble lord, — 36S 
 
 Oth. 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 amaz’d; 372 
 For nothing canst thou to damnation add 
 Greater than that. 
 
 Iago. O grace ! O heaven forgive me ! 
 
 Are you a man ! have you a soul or sense? 
 
 God be wi’ you ; take mine office. O wretched 
 fool ! 376 
 
 355 circumstance: ceremony 356 engines: cannon 
 
 366 probation: proof hinge nor loop: pivot nor strap 
 
The 3Ioor of Venice, III. in 
 
 78 
 
 That liv’st to make thine honesty a vice. 
 
 0 monstrous world! Take note, take note, O world! 
 To be direct and honest is not safe. 
 
 1 thank you for this profit, and, from hence 380 
 I’ll love no friend, sith love breeds such offence. 
 
 Oth. Nay, stay; thou shouldst be honest. 
 
 Iago. I should be wise; for honesty’s a fool. 
 
 And loses that it works for. 
 
 Oth. By the world, 384 
 
 I think my wife be honest and think she is not ; 
 
 I think that thou art just and think thou art not. 
 
 I’ll have some proof. Her name, that was as fresh 
 As Dian’s visage, is now begrim’d and black 388 
 
 As mine own face. If there be cords or knives. 
 Poison or fire or suffocating streams, 
 
 I’ll not endure it. Would I were satisfied! 
 
 Iago. I see, sir, you are eaten up with passion. 392 
 I do repent me that I put it to you. 
 
 You would be satisfied? 
 
 Oth. Would! nay, I will. 
 
 Iago. And may; but how? how satisfied, my lord? 
 Would you, the supervisor, grossly gape on; 396 
 
 Behold her tupp’d? 
 
 Oth. Death and damnation ! O ! 
 
 Iago. It were a tedious difficulty, I think. 
 
 To bring them to that prospect; damn them then. 
 
 If ever mortal eyes do see them bolster 400 
 
 More than their own ! What then ? how then ? 
 
 What shall I say? Where’s satisfaction? 
 
 It .is impossible you should see this, 
 
 Were they as prime as goats, as hot as monkeys. 
 
 As salt as wolves in pride, and fools as gross 405 
 
 380 profit: profitable lesson 
 400 bolster: bed ( together ) 
 
 381 sith: since 
 
 387 Her; cf. n. 
 404 prime: ardent 
 
74 
 
 The Tragedy of Othello , ' 
 
 As ignorance made drunk ; but yet, I say, 
 
 If imputation, and strong circumstances, 
 
 Which lead directly to the door of truth, 408 
 
 Will give you satisfaction, you may have it, 
 
 Oth. Give me a living reason she’s disloyal. 
 
 Iago. I do not like the office; 
 
 But, sith I am enter’d in this cause so far, 412 
 
 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. 416 
 
 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, 420 
 Let us be wary, let us hide our loves !’ 
 
 And then, sir, would he gripe and wring my hand. 
 Cry, ‘O, sweet creature !’ and then kiss me hard, 
 
 As if he pluck’d up kisses by the roots, 424 
 
 That grew upon my lips ; then laid his leg 
 Over my thigh, and sigh’d, and kiss’d ; and then 
 Cried, ‘Cursed fate, that gave thee to the Moor !’ 
 
 Oth. O monstrous ! monstrous ! 
 
 Iago. Nay, this was but his dream. 
 
 Oth. But this denoted a foregone conclusion: 420 
 ’Tis a shrewd doubt, though it be but a dream. 
 
 Iago. And this may help to thicken other proofs 
 That do demonstrate thinly. 
 
 Oth. I’ll tear her all to pieces. 432 
 
 Iago. Nay, but be wise ; yet we see nothing done ; 
 
 407 imputation . . . circumstances: opinion based on strong circum- 
 stantial evidence 
 410 living: real, not sham 
 
 429 a . . . conclusion : a previous experience 
 
 430 shrewd doubt: ground for dire suspicion 
 
The Moor of V enice. III. in 
 
 75 
 
 She may be honest yet. Tell me but this: 
 
 Have you not sometimes seen a handkerchief 
 Spotted with strawberries in your wife’s hand? 
 
 Oth. I gave her such a one; ’twas my first gift. 437 
 Iago. I know not that; but such a handkerchief — 
 I am sure it was your wife’s— did I to-day 
 See Cassio wipe his beard with. 
 
 Oth. If it be that, — 440 
 
 Iago. If it be that, or any that was hers. 
 
 It speaks against her with the other proofs. 
 
 Oth. O! that the slave had forty thousand lives; 
 One is too poor, too weak for my revenge. 444 
 
 Now do I see ’tis true. Look here, Iago; 
 
 All my fond love thus do I blow to heaven : 
 
 ’Tis gone. 447 
 
 Arise, black vengeance, from the hollow hell! 
 
 Yield up, O love ! thy crown and hearted throne 
 To tyrannous hate. Swell, bosom, with thy fraught. 
 For ’tis of aspics’ tongues! 
 
 Iago. Yet be content. 
 
 Oth. O ! blood, blood, blood ! 452 
 
 Iago. Patience, I say; your mind, perhaps, may 
 change. 
 
 Oth. Never, Iago. Like to the Pontic sea, 
 
 Whose icy current and compulsive course 
 
 Ne’er feels retiring ebb, but keeps due on 456 
 
 To the Propontic and the Hellespont, 
 
 Even so my bloody thoughts, with violent pace. 
 
 Shall ne’er look back, ne’er ebb to humble love. 
 
 Till that a capable and wide revenge 460 
 
 Swallow them up. [Kneels.'] 
 
 Now, by yond marble heaven. 
 
 450 fraught: freight, burden 451 aspics asps’ , venomous snakes* 
 
 454-461 Cf.n. 460 capable : comprehensive 461 marble: shining 
 
76 
 
 The Tragedy of Othello 
 
 In the due reverence of a sacred vow 
 I here engage my words. 
 
 Iago. Do not rise yet. Kneels. 
 
 Witness, you ever-burning lights above! 464 
 
 You elements that clip us round about! 
 
 Witness, that here Iago doth give up 
 The execution of his wit, hands, heart. 
 
 To wrong’d Othello’s service! Let him com- 
 mand, 468 
 
 And to obey shall be in me remorse, 
 
 What bloody business ever. [They rise.] 
 
 Oth. I greet thy love, 
 
 Not with vain thanks, but with acceptance bounteous, 
 And will upon the instant put thee to ’t: 472 
 
 Within these three days let me hear thee say 
 That Cassio’s not alive. 
 
 Iago. My friend is dead; ’tis done at your request; 
 But let her live. 
 
 Oth. Damn her, lewd minx ! O, damn her ! 
 
 Come, go with me apart ; I will withdraw 477 
 
 To furnish me with some swift means of death 
 For the fair devil. Now art thou my lieutenant. 
 Iago. I am your own for ever. Exeunt. 
 
 Scene Four 
 [Before the Castle ] 
 
 Enter Desdemona, Emilia, and Clown. 
 
 Des. Do you know, sirrah, where Lieutenant 
 Cassio lies? 
 
 Clo. I dare not say he lies anywhere. 
 
 Des. Why, man? 4 
 
 465 clip: embrace, enclose 
 467 execution: exercise 
 
 469 remorse: conscience 
 
The Moor of Venice, III. iv 
 
 77 
 
 Clo. He is a soldier; and for one to say a 
 soldier lies, is stabbing. 
 
 Des. Go to; where lodges he? 
 
 Clo. To tell you where he lodges is to tell you 
 where I lie. 9 
 
 Des. Can anything be made of this? 
 
 Clo. I know not where he lodges, and for me 
 to devise a lodging, and say he lies here or he 
 lies there, were to lie in mine own throat. 13 
 
 Des. Can you inquire him out, and be edified 
 by report? 
 
 Clo. I will catechize the world for him; that 
 is, make questions, and by them answer. 17 
 
 Des. Seek him, bid him come hither; tell 
 him I have moved my lord in his behalf, and 
 hope all will be well. 20 
 
 Clo. To do this is within the compass of 
 man’s wit, and therefore I will attempt the 
 doing it. Exit Clown. 
 
 Des. Where should I lose that handkerchief, 
 Emilia ? 24 
 
 Emil. I know not, madam. 
 
 Des. Believe me, I had rather have lost my purse 
 Full of cruzadoes ; and, but my noble Moor 
 Is true of mind, and made of no such baseness 28 
 As jealous creatures are, it were enough 
 To put him to ill thinking. 
 
 Emil. Is he not jealous? 
 
 Des. Who ! he ? I think the sun where he was 
 born 
 
 Drew all such humours from him. 
 
 Emil. Look ! where he comes. 
 
 27 cruzadoes: Portuguese gold coins 
 
78 
 
 The Tragedy of Othello 
 
 Des. I will not leave him now till Cassio 33 
 
 Be call’d to him. 
 
 Enter Othello. 
 
 How is ’t with you, my lord? 
 
 Oth. Well, my good lady. [ Aside .] Oh hardness 
 to dissemble ! — 
 
 How do you, Desdemona ? 
 
 Des. Well, my good lord. 
 
 Oth. Give me your hand. This hand is moist, my 
 lady. 37 
 
 Des. It yet has felt no age nor known no sorrow. 
 Oth. This argues fruitfulness and liberal heart; 
 Hot, hot, and moist ; this hand of yours requires 40 
 A sequester from liberty, fasting and prayer. 
 
 Much castigation, exercise devout; 
 
 For here’s a young and sweating devil here. 
 
 That commonly rebels. ’Tis a good hand, 44 
 
 A frank one. 
 
 Des. You may, indeed, say so; 
 
 For ’twas that hand that gave away my heart. 
 
 Oth. A liberal hand; the hearts of old gave hands. 
 But our new heraldry is hands not hearts. 48 
 
 Des. I cannot speak of this. Come now, your 
 promise. 
 
 Oth. What promise, chuck? 
 
 Des. I have sent to bid Cassio come speak with 
 you. 
 
 Oth. I have a salt and sorry rheum offends me. 52 
 Lend me thy handkerchief. 
 
 Des. Here, my lord. 
 
 Oth. That which I gave you. 
 
 41 sequester : separation 
 
 50 chuck: chick (term of endearment) 
 
 52 sorry rheum: distressing discharge (of eye or nose ) 
 
 47, 48 Cf. n. 
 
The Moor of V enice. III. iv 
 
 79 
 
 Des. 
 
 Oth. Not? 
 
 Des. No, 
 
 Oth. 
 
 I have it not about me. 
 
 No, indeed, my lord. 
 
 That handkerchief 
 
 That is a fault. 
 
 56 
 
 Did an Egyptian to my mother give; 
 
 She was a charmer, and could almost read 
 The thoughts of people; she told her, while she kept 
 it, 
 
 ’Twould make her amiable and subdue my father 60 
 
 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; 61 
 
 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 68 
 As nothing else could match. 
 
 Des. Is ’t possible? 
 
 Oth. ’Tis true; there’s magic in the web of it; 
 
 A sibyl, that had number’d in the world 
 
 The sun to course two hundred compasses, 72 
 
 In her prophetic fury sew’d the work; 
 
 The worms were hallow’d that did breed the silk. 
 And it was dy’d in mummy which the skilful 
 Conserv’d of maidens’ hearts. 
 
 Des. Indeed! is ’t true? 76 
 
 Oth. Most veritable; therefore look to ’t well. 
 
 Des. Then would to heaven that I had never seen 
 it ! 
 
 Oth. Ha! wherefore? 
 
 58 charmer: witch 71 sibyl: inspired prophetess 
 
 72 course . . . compasses: make . . . revolutions 
 75 mummy: drug made from embalmed bodies 
 
80 
 
 The Tragedy of Othello 
 
 Des. Why do you speak so startingly and 
 
 rash? 80 
 
 Oth. 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 ! 84 
 
 Des. I say, it is not lost. 
 
 Oth. Fetch ’t, let me see ’t. 
 
 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 receiv’d again. 88 
 
 Oth. Fetch me the handkerchief ; my mind misgives. 
 Des. Come, come; 
 
 You’ll never meet a more sufficient man. 
 
 Oth. The handkerchief ! 
 
 Des. I pray, talk me of Cassio. 92 
 
 Oth. The handkerchief ! 
 
 Des. A man that all his time 
 
 Hath founded his good fortunes on your love. 
 
 Shar’d dangers with you, — 
 
 Oth. The handkerchief ! 
 
 Des. In sooth you are to blame. 96 
 
 Oth. Away! Exit Othello. 
 
 Emil. Is not this man jealous? 
 
 Des. I ne’er saw this before. 
 
 Sure, there’s some wonder in this handkerchief ; loo 
 I am most unhappy in the loss of it. 
 
 Emil. ’Tis not a year or two shows us a man; 
 
 They are all but stomachs, and we all but food; 
 
 They eat us hungerly, and when they are full 
 They belch us. Look you ! Cassio and my 
 band. 
 
 hus- 
 
 105 
 
The Moor of Venice, III. iv 
 
 81 
 
 Enter Iago and Cassio. 
 
 I ago. There is no other way; ’tis she must do ’t: 
 And, lo! the happiness: go and importune her. 
 
 Des. How now, good Cassio ! what’s the news with 
 you ? 108 
 
 Cas. Madam, my former suit: I do beseech you 
 That by your virtuous means I may again 
 Exist, and be a member of his love 
 Whom I with all the office of my heart 112 
 
 Entirely honour ; I would not be delay’d. 
 
 If my offence be of such mortal kind 
 
 That nor my service past, nor present sorrows, 
 
 Nor purpos’d merit in futurity, 116 
 
 Can ransom me into his love again. 
 
 But to know so must be my benefit ; 
 
 So shall I clothe me in a forc’d content. 
 
 And shut myself up in some other course 120 
 
 To fortune’s alms. 
 
 Des. Alas ! thrice-gentle Cassio ! 
 
 My advocation is not now in tune; 
 
 My lord is not my lord ; nor should I know him, 
 
 Were he in favour as in humour alter’d. 124 
 
 So help me every spirit sanctified, 
 
 As I have spoken for you all my best 
 And stood within the blank of his displeasure 
 For my free speech. You must awhile be 
 patient ; 128 
 
 What I can do I will, and more I will 
 Than for myself I dare: let that suffice you. 
 
 Iago. Is my lord angry? 
 
 107 happiness •. fortunate happening 118 But: merely 
 
 120 shut . . . in: confine myself to 
 
 121 To . . . alms: in pursuit of fortune's favor 
 
 124 humour: disposition 127 blank: range {literally, target ) 
 
82 
 
 The Tragedy of Othello 
 
 Emil. He went hence but now. 
 
 And certainly in strange unquietness. 132 
 
 I ago. Can he be angry ? I have seen the cannon. 
 When it hath blown his ranks into the air. 
 
 And, like the devil, from his very arm 135 
 
 Puff’d his own brother ; and can he be angry ? 
 Something of moment then ; I will go meet him ; 
 There’s matter in ’t indeed, if he be angry. 
 
 Des. I prithee, do so. [Exit Iago.~\ Something, 
 sure, of state, 
 
 Either from Venice, or some unhatch’d practice 
 Made demonstrable here in Cyprus to him, 141 
 
 Hath puddled his clear spirit; and in such cases 
 Men’s natures wrangle with inferior things, 
 
 Though great ones are their object. ’Tis even so; 
 For let our finger ache, and it indues 145 
 
 Our other healthful members ev’n to that sense 
 Of pain. Nay, we must think men are not gods, 
 
 Nor of them look for such observancy 148 
 
 As fits the bridal. Beshrew me much, Emilia, 
 
 I was — unhandsome warrior as I am — 
 
 Arraigning his unkindness with my soul; 
 
 But now I find I had suborn’d the witness, 152 
 
 And he’s indicted falsely. 
 
 Emil. Pray heaven it be state-matters, as you 
 think, 
 
 And no conception, nor no jealous toy 
 Concerning you. 156 
 
 Des. Alas the day ! I never gave him cause. 
 
 Emil. But jealous souls will not be answer’d so; 
 
 140 unhatch’d practice: undeveloped plot 
 
 142 puddled: muddied, disturbed 145 indues: brings 
 
 148 observancy: tender devotion 149 Beshrew: a mild imprecation 
 150 unhandsome warrior: unfair assailant ( cf . II. i. 185 ) 
 
 155 conception: mere fancy toy: whim 
 
The Moor of Venice, III. iv 
 
 83 
 
 They are not ever jealous for the cause. 
 
 But jealous for they are jealous; ’tis a monster 
 Begot upon itself, born on itself. 161 
 
 Des. Heaven keep that monster from Othello’s 
 mind ! 
 
 Emil. Lady, amen. 
 
 Des. I will go seek him. Cassio, walk here- 
 about; 164 
 
 If I do find him fit, I’ll move your suit 
 And seek to effect it to my uttermost. 
 
 Cas. I humbly thank your ladyship. 
 
 Exeunt Desdemona and Emilia. 
 
 Enter Bianca. 
 
 Bian. ’Save you, friend Cassio! 
 
 Cas. What make you from home? 
 
 How is it with you, my most fair Bianca? 169 
 
 I’ faith, sweet love, I was coming to your house. 
 
 Bian. And I was going to your lodging, Cassio. 
 What ! keep a week away ? seven days and 
 nights ? 172 
 
 Eight score eight hours? and lovers’ absent hours, 
 More tedious than the dial eight score times? 
 
 0 weary reckoning! 
 
 Cas. Pardon me, Bianca, 
 
 1 have this while with leaden thoughts been 
 
 press’d, 176 
 
 But I shall, in a more continuate time. 
 
 Strike off this score of absence. Sweet Bianca, 
 
 [Giving her Desdemona’ s handkerchief .] 
 Take me this work out. 
 
 168 ’Save: God save, preserve in health 
 
 172 keep a week away; cf. n. 177 continuate: uninterrupted 
 
84 
 
 The Tragedy of Othello , 
 
 Bian. O Cassio ! whence came this? 
 
 This is some token from a newer friend; 180 
 
 To the felt absence now I feel a cause; 
 
 Is ’t come to this? Well, well. 
 
 Cas. Go to, woman ! 
 
 Throw your vile guesses in the devil’s teeth, 
 
 From whence you have them. You are jealous 
 now 184 
 
 That this is from some mistress, some remembrance: 
 No, in good troth, Bianca. 
 
 Bian. Why, whose is it? 
 
 Cas. I know not, sweet; I found it in my chamber. 
 I like the work well; ere it be demanded, — 188 
 
 As like enough it will, — I’d have it copied; 
 
 Take it and do ’t; and leave me for this time. 
 
 Bian. Leave you! wherefore? 
 
 Cas. I do attend here on the general, 192 
 
 And think it no addition nor my wish 
 To have him see me woman’d. 
 
 Bian. Why, I pray you? 
 
 Cas. Not that I love you not. 
 
 Bian. But that you do not love me. 
 
 I pray you, bring me on the way a little 196 
 
 And say if I shall see you soon at night. 
 
 Cas. ’Tis but a little way that I can bring you, 
 
 For I attend here; but I’ll see you soon. 
 
 Bian. ’Tis very good; I must be circumstanc’d. 
 
 Exeunt. 
 
 193 no . . . -wish', neither honorable nor desirable 
 
 194 woman’d: accompanied by a woman 
 200 be circumstanc’d: yield to circumstances 
 
The Moor of Venice , IV. i 
 
 85 
 
 ACT FOURTH 
 
 Scene One 
 [ Before the Castle ] 
 
 Enter Othello and Iago. 
 
 lago. Will you think so? 
 
 Oth. Think so, Iago ! 
 
 Iago. What ! 
 
 To kiss in private? 
 
 Oth. An unauthoriz’d kiss. 
 
 Iago. Or to be naked with her friend in bed 
 An hour or more, not meaning any harm? 4 
 
 Oth. Naked in bed, Iago, and not mean harm? 
 
 It is hypocrisy against the devil: 
 
 They that mean virtuously, and yet do so. 
 
 The devil their virtue tempts, and they tempt 
 
 heaven. 8 
 
 Iago. If they do nothing, ’tis a venial slip; 
 
 But if I give my wife a handkerchief, — 
 
 Oth. What then? 
 
 Iago. Why, then, ’tis hers, my lord; and, being 
 
 hers, 12 
 
 She may, I think, bestow ’t on any man. 
 
 Oth. She is protectress of her honour too; 
 
 May she give that? 
 
 Iago. Her honour is an essence that’s not 
 
 seen ; 16 
 
 They have it very oft that have it not: 
 
 But for the handkerchief, — 
 
 Oth. By heaven, I would most gladly have forgot 
 it: — 
 
 6 Cf. n. 
 
 17 Cf. «. 
 
86 
 
 The Tragedy of Othello 
 
 Thou said’st, — O ! it comes o’er my memory, 20 
 
 As doth the raven o’er the infected house, 
 
 Boding to all, — he had my handkerchief. 
 
 Iago. Ay, what of that? 
 
 Oth. That’s not so good now. 
 
 Iago. What, 
 
 If I had said I had seen him do you wrong? 24 
 
 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 28 
 
 But they must blab, — 
 
 Oth. Hath he said any thing? 
 
 Iago. He hath, my lord; but be you well assur’d. 
 No more than he’ll unswear. 
 
 Oth. What hath he said? 
 
 Iago. Faith, that he did — I know not what he 
 
 did. 32 
 
 Oth. What? what? 
 
 Iago. Lie — 
 
 Oth. With her? 
 
 Iago. With her, on her; what you will. 
 
 Oth. Lie with her! lie on her! We say, lie on 
 her, when they belie her. Lie with her ! that’s 
 fulsome. Handkerchief, — confessions, — hand- 
 
 kerchief ! To confess, and be hanged for his 
 labour. First, to be hanged, and then to confess: 
 
 I tremble at it. Nature would not invest herself 
 in such shadowing passion without some instruc- 
 tion. It is not words that shake me thus. Pish ! 
 Noses, ears, and lips. Is it possible? — Confess! 
 
 — Handkerchief! — O devil! Falls in a trance. 
 
 28 Convinced: overcome (those who needed importuning) supplied: 
 
 satisfied ( those who doted voluntarily ) 
 
 35-44 Cf.n. 
 
The Moor of Venice, IV. i 
 
 87 
 
 I ago. Work on, 45 
 
 My medicine, work! Thus credulous fools are 
 caught ; 
 
 And many worthy and chaste dames even thus, 
 
 All guiltless; meet reproach. What, ho ! my lord ! 48 
 
 My lord, I say ! Othello ! 
 
 Enter Cassio. 
 
 How now, Cassio! 
 
 Cas. What’s the matter? 
 
 I ago. My lord is fallen into an epilepsy; 
 
 This is his second fit; he had one yesterday. 52 
 
 Cas. Rub him about the temples. 
 
 Iago. No, forbear; 
 
 The lethargy must have his quiet course. 
 
 If not he foams at mouth, and by and by 
 Breaks out to savage madness. Look ! he stirs ; 
 
 Do you withdraw yourself a little while, 57 
 
 He will recover straight; when he is gone, 
 
 I would on great occasion speak with you. 
 
 [Exit Cassio.~\ 
 
 How is it, general? have you not hurt your head? 60 
 Oth. Dost thou mock me? 
 
 Iago. I mock you ! no, by heaven. 
 
 Would you would bear your fortune like a man! 
 
 Oth. A horned man’s a monster and a beast. 
 
 Iago. There’s many a beast then, in a populous 
 city, 64 
 
 And many a civil monster. 
 
 Oth. Did he confess it? 
 
 Iago. Good sir, be a man; 
 
 Think every bearded fellow that’s but yok’d 
 May draw with you; there’s millions now alive 68 
 
 54 his: its 
 
 63 horned man: a deceived husband 
 
 65 civil: civilian 
 
88 
 
 The Tragedy of Othello 
 
 That nightly lie in those unproper beds 
 
 Which they dare swear peculiar; your case is better. 
 
 O ! ’tis the spite of hell, the fiend’s arch-mock, 
 
 To lip a wanton in a secure couch, 72 
 
 And to suppose her chaste. No, let me know; 
 
 And knowing what I am I know what she shall be. 
 Oth. O ! thou art wise; ’tis certain. 
 
 I ago. Stand you awhile apart; 
 
 Confine yourself but in a patient list. 76 
 
 Whilst you were here o’erwhelmed with your grief, — 
 A passion most unsuiting such a man, — 
 
 Cassio came hither; I shifted him away. 
 
 And laid good ’scuse upon your ecstasy; 80 
 
 Bade him anon return and here speak with me; 
 
 The which he promis’d. Do but encave yourself. 
 
 And mark the fleers, the gibes, and notable scorns, 
 That dwell in every region of his face ; 84 
 
 For I will make him tell the tale anew, 
 
 Where, how, how oft, how long ago, and when 
 He hath, and is again to cope your wife: 
 
 I say, but mark his gesture. Marry, patience; 
 
 Or I shall say you are all in all in spleen, 89 
 
 And nothing of a man. 
 
 Oth. Dost thou hear, Iago? 
 
 I will be found most cunning in my patience ; 
 
 But — dost thou hear? — most bloody. 
 
 Iago. That’s not amiss ; 92 
 
 But yet keep time in all. Will you withdraw? 
 
 [ Othello goes apart . ] 
 Now will I question Cassio of Bianca, 
 
 69 unproper: not their own 70 peculiar: their own 
 
 72 lip: kiss secure: care-free 
 
 76 in . . . list: within the bounds of patience 
 
 80 ecstasy: fit 82 encave: conceal 87 cope: encounter 
 
 89. 90 all . . . man; cf. n. 93 keep time: proceed fittingly 
 
The Moor of Venice , IV. i 
 
 89 
 
 A housewife that by selling her desires 
 Buys herself bread and clothes ; it is a creature 
 That dotes on Cassio ; as ’tis the strumpet’s plague 97 
 To beguile many and be beguil’d by one. 
 
 He, when he hears of her, cannot refrain 
 From the excess of laughter. Here he comes: 
 
 Enter Cassio. 
 
 As he shall smile, Othello shall go mad; 101 
 
 And his unbookish j ealousy must construe 
 Poor Cassio’s smiles, gestures, and light behaviour 
 Quite in the wrong. How do you now, lieu- 
 tenant ? 104 
 
 Cas. The worser that you give me the addition 
 Whose want even kills me. 
 
 Iago. Ply Desdemona well, and you are sure on ’t. 
 [Speaking lower .] Now, if this suit lay in Bianca’s 
 power, 108 
 
 How quickly should you speed ! 
 
 Cas. Alas ! poor caitiff ! 
 
 Oth. Look! how he laughs already! 
 
 Iago. I never knew woman love man so. 
 
 Cas. Alas ! poor rogue, I think, i’ faith, she loves 
 me. 112 
 
 Oth. Now he denies it faintly, and laughs it out. 
 Iago. Do you hear, Cassio? 
 
 Oth. Now he importunes him 
 
 To tell it o’er: go to; well said, well said. 
 
 Iago. She gives it out that you shall marry 
 her; 116 
 
 Do you intend it? 
 
 Cas. Ha, ha, ha! 
 
 102 unbookish: unskilled 105 addition: title 
 
 109 speed '.prosper caitiff: wretch fused pityingly) 110 Cf. n. 
 
90 
 
 The Tragedy of Othello, ' 
 
 Oth. Do you triumph, Roman? do you tri- 
 umph ? 119 
 
 Cas. I marry her! what? a customer? I 
 prithee, bear some charity to my wit; do not 
 think it so unwholesome. Ha, ha, ha ! 
 
 Oth. So, so, so, so. They laugh that win. 
 
 I ago. Faith, the cry goes that you shall 
 marry her. 125 
 
 Cas. Prithee, say true. 
 
 Iago. I am a very villain else. 
 
 Oth. Have you scored me? Well. 128 
 
 Cas. This is the monkey’s own giving out: 
 she is persuaded I will marry her, out of her 
 own love and flattery, not out of my promise. 
 
 Oth. Iago beckons me; now he begins the 
 story. 133 
 
 Cas. She was here even now; she haunts me 
 in every place. I was the other day talking on 
 the sea bank with certain Venetians, and thither 
 comes this bauble, and, by this hand, she falls 
 me thus about my neck; — 
 
 Oth. Crying, ‘O dear Cassio!’ as it were; his 
 gesture imports it. 140 
 
 Cas. So hangs and lolls and weeps upon me; 
 so hales and pulls me ; ha, ha, ha ! 
 
 Oth. Now he tells how she plucked him to 
 my chamber. O ! I see that nose of yours, but 
 not the dog I shall throw it to. 145 
 
 Cas. Well, I must leave her company. 
 
 Iago. Before me ! look, where she comes. 
 
 119 Roman: used metaphorically , in association with ‘ triumph ’ 
 
 120 customer : prostitute 121 wit: intelligence 
 
 122 unwholesome: unsound 128 scored me: taken my measure ( ?) 
 
 131 flattery: self-flattery, delusion 
 
 137 bauble: plaything, trifle 147 Before me!; cf. n. on I. i. 4 
 
The Moor of Venice, IV. i 
 
 91 
 
 Cas. ’Tis such another fitchew ! marry, a 
 perfumed one. 149 
 
 Enter Bianca. 
 
 What do you mean by this haunting of me? 
 
 Bian. Let the devil and his dam haunt you! 
 What did you mean by that same handkerchief 
 you gave me even now ? I was a fine fool to take 
 it. I must take out the work ! A likely piece of 
 work, that you should find it in your chamber, 
 and not know who left it there ! This is some 
 minx’s token, and I must take out the work! 
 There, give it your hobby-horse; wheresoever 
 you had it I’ll take out no work on ’t. 
 
 Cas. How now, my sweet Bianca ! how now, 
 how now ! 161 
 
 Oth. By heaven, that should be my handker- 
 chief ! 
 
 Bian. An you’ll come to supper to-night, you 
 may; an you will not, come when you are next 
 prepared for. Exit. 
 
 Iago. After her, after her. 
 
 Cas. Faith, I must; she’ll rail in the street 
 else. 169 
 
 Iago. Will you sup there? 
 
 Cas. Faith, I intend so. 
 
 Iago. Well, I may chance to see you, for I 
 would very fain speak with you. 173 
 
 Cas. Prithee, come; will you? 
 
 Iago. Go to; say no more. [Exit Cassio.~\ 
 
 Oth. [ Advancing ] How shall I murder him, 
 Iago? 177 
 
 148 such another: a patronizingly fond intensive, like modern 'such 
 
 a’ fitchew: amorous creature ( literally , polecat ) 
 
 1S8 hobby-horse: low person, of either sex 164 An: if 
 
92 
 
 The Tragedy of Othello 
 
 logo. Did you perceive how he laughed at 
 his vice? 
 
 Oth. O ! Iago ! iso 
 
 Iago. And did you see the handkerchief? 
 
 Oth. Was that mine? 
 
 Iago. Yours, by this hand; and to see how he 
 prizes the foolish woman your wife ! she gave it 
 him, and he hath given it his whore. 185 
 
 Oth. I would have him nine years a-killing. 
 
 A fine woman! a fair woman! a sweet woman! 
 Iago. Nay, you must forget that. 1S8 
 
 Oth. Ay, let her rot, and perish, and be 
 damned to-night; for she shall not live. No, my 
 heart is turned to stone; I strike it, and it hurts 
 my hand. O ! the world hath not a sweeter 
 creature; she might lie by an emperor’s side and 
 command him tasks. 
 
 Iago. Nay, that’s not your way. 195 
 
 Oth. Hang her! I do but say what she is. 
 So delicate with her needle ! An admirable 
 musician! O, she will sing the savageness out 
 of a bear. Of so high and plenteous wit and 
 invention ! 200 
 
 Iago. She’s the worse for all this. 
 
 Oth. O ! a thousand, a thousand times. And 
 then, of so gentle a condition ! 
 
 Iago. Ay, too gentle. 204 
 
 Oth. Nay, that’s certain; — but yet the pity of 
 it, Iago ! O ! Iago, the pity of it, Iago ! 
 
 Iago. If you are so fond over her iniquity, 
 give her patent to offend; for, if it touch not 
 you, it comes near nobody. 209 
 
 195 your way: the way for you (to think of her ) 208 patent: license 
 
The Moor of Venice , IV. i 
 
 98 
 
 Oth. I will chop her into messes. Cuckold 
 me ! 
 
 Iago. O ! ’tis foul in her. 212 
 
 Oth. With mine officer! 
 
 Iago. That’s fouler. 
 
 Oth. Get me some poison, Iago; this night: 
 I’ll not expostulate with her, lest her body and 
 beauty unprovide my mind again. This night, 
 Iago. 218 
 
 Iago. Do it not with poison, strangle her in 
 her bed, even the bed she hath contaminated. 
 
 Oth. Good, good; the justice of it pleases; 
 very good. 
 
 Iago. And for Cassio, let me be his under- 
 taker ; you shall hear more by midnight. 224 
 
 Oth. Excellent good. [A trumpet within .] 
 
 What trumpet is that same? 
 
 Iago. Something from Venice, sure. ’Tis Lodovico, 
 Come from the duke; and see, your wife is with 
 him. 228 
 
 Enter Lodovico, Desdemona, and Attendants. 
 
 Lod. God save you, worthy general ! 
 
 Oth. With all my heart, sir. 
 
 Lod. The duke and senators of Venice greet you. 
 
 [ Gives him a letter .] 
 
 Oth. I kiss the instrument of their pleasures. 
 
 [ Opens the letter, and reads.\ 
 Des. And what’s the news, good cousin Lodo- 
 vico? 232 
 
 Iago. I am very glad to see you, signior; 
 
 Welcome to Cyprus. 
 
 Lod. I thank you. How does Lieutenant Cassio? 
 
 217 unprovide : unfit, weaken 
 
 223 undertaker: caretaker (i.e., settle him) 
 
94 
 
 The Tragedy of Othello 
 
 lago. Lives, sir. 236 
 
 Des. Cousin, there’s fall’n between him and my 
 lord 
 
 An unkind breach; but you shall make all well. 
 
 Oth. Are you sure of that? 
 
 Des. My lord? 240 
 
 Oth. [.Reads] ‘This fail you not to do, as you 
 will’ — 
 
 Lod. He did not call ; he’s busy in the paper. 
 
 Is there division twixt my lord and Cassio? 
 
 Des. A most unhappy one; I would do much 
 To atone them, for the love I bear to Cassio. 245 
 Oth. Fire and brimstone ! 
 
 Des. My lord? 
 
 Oth. Are you wise? 
 
 Des. What! is he angry? 
 
 Lod. May be the letter mov’d him ; 
 
 For, as I think, they do command him home, 
 Deputing Cassio in his government. 249 
 
 Des. Trust me, I am glad on’t. 
 
 Oth. Indeed! 
 
 Des. My lord? 
 
 Oth. I am glad to see you mad. 
 
 Des. Why, sweet Othello? 
 
 Oth. Devil! [ Strikes her .] 
 
 Des. I have not deserved this. 252 
 
 Lod. My lord, this would not be believ’d in Venice, 
 Though I should swear I saw ’t: ’tis very much; 
 
 Make her amends, she weeps. 
 
 Oth. O devil, devil ! 
 
 If that the earth could teem with woman’s tears. 
 
 Each drop she falls would prove a crocodile. 257 
 
 245 atone: reconcile 
 
 256 teem with: be impregnated by 
 
 249 government: office 
 257 falls: lets fall 
 
The Moor of V enice, IV. i 
 
 95 
 
 Out of my sight! 
 
 Des. I will not stay to offend you. 
 
 [Going.] 
 
 Lod. Truly, an obedient lady; 
 
 I do beseech your lordship, call her back. 260 
 
 Oth. Mistress ! 
 
 Des. My lord ? 
 
 Oth. What would you with her, sir? 
 
 Lod. Who, I, my lord? 
 
 Oth. Ay; you did wish that I would make her turn: 
 Sir, she can turn, and turn, and yet go on, 264 
 
 And turn again ; and she can weep, sir, weep ; 
 
 And she’s obedient, as you say, obedient, 
 
 Very obedient. Proceed you in your tears. 
 Concerning this, sir, — O well-painted passion ! — 
 
 I am commanded home. Get you away; 269 
 
 I’ll send for you anon. Sir, I obey the mandate, 
 
 And will return to Venice. Hence! avaunt! 
 
 [Exit Desdemona.] 
 
 Cassio shall have my place. And, sir, to-night, 
 
 I do entreat that we may sup together ; 273 
 
 You are welcome, sir, to Cyprus. Goats and monkeys ! 
 
 Exit. 
 
 Lod. Is this the noble Moor whom our full senate 
 Call all-in-all sufficient? is this the noble nature 
 Whom passion could not shake? whose solid 
 
 virtue 277 
 
 The shot of accident nor dart of chance 
 Could neither graze nor pierce? 
 
 Iago. He is much chang’d. 
 
 Lod. Are his wits safe? is he not light of 
 brain ? 280 
 
 268 painted passion: simulated emotion 
 
96 
 
 The Tragedy of Othello, 
 
 lago. He’s that he is; I may not breathe my cen- 
 sure. 
 
 What he might be, if, what he might, he is not, 
 
 I would to heaven he were ! 
 
 Lod. What ! strike his wife ! 
 
 Iago. Faith, that was not so well; yet would I 
 knew 284 
 
 That stroke would prove the worst ! 
 
 Lod. Is it his use? 
 
 Or did the letters work upon his blood. 
 
 And new-create this fault? 
 
 Iago. Alas, alas ! 
 
 It is not honesty in me to speak 288 
 
 What I have seen and known. You shall observe 
 him. 
 
 And his courses will denote him so 
 That I may save my speech. Do but go after 
 And mark how he continues. 292 
 
 Lod. I am sorry that I am deceiv’d in him. 
 
 Exeunt. 
 
 Scene Two 
 
 \_A Room in the Castle~\ 
 
 Enter Othello and Emilia. 
 
 Oth. You have seen nothing, then? 
 
 Emil. Nor ever heard, nor ever did suspect. 
 
 Oth. Yes, you have seen Cassio and her together. 
 Emil. But then I saw no harm, and then I heard 4 
 Each syllable that breath made up between them. 
 Oth. What! did they never whisper? 
 
 Emil. Never, my lord. 
 
 Oth. Nor send you out o’ the way? 
 
 282, 283 Cf. n. 
 
 28S use: custom 
 
The Moor of V enice, IV. ii 
 
 97 
 
 Emil. Never. 
 
 Oth. To fetch her fan, her gloves, her mask, nor 
 nothing ? 8 
 
 Emil. Never, my lord. 
 
 Oth. That’s strange. 
 
 Emil. I durst, my lord, to wager she is honest, 11 
 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, 16 
 
 There’s no man happy ; the purest of their wives 
 Is foul as slander. 
 
 Oth. Bid her come hither; go. 
 
 Exit Emilia. 
 
 She says enough; yet she’s a simple bawd 
 
 That cannot say as much. This is a subtle whore, 20 
 
 A closet lock and key of villainous secrets ; 
 
 And yet she’ll kneel and pray ; I have seen her do ’t. 
 
 Enter Desdemona and Emilia. 
 
 Des. My lord, what is your will ? 
 
 Oth. Pray, chuck, come hither. 
 
 Des. What is your pleasure? 
 
 Oth. Let me see your eyes; 24 
 
 Look in my face. 
 
 Des. What horrible fancy’s this? 
 
 Oth. [To Emilia.] Some of your function, mistress; 
 Leave procreants alone and shut the door; 
 
 Cough or cry ‘hem’ if anybody come; 28 
 
 Your mystery, your mystery; nay, dispatch. 
 
 Exit Emilia. 
 
 12 other: otherwise 15 serpent’s curse; cf. Genesis 3 . 14 
 
 21 closet lock and key: complete storeroom 
 
 26 function: profession (i.e., of procuress) 29 mystery : trade 
 
98 
 
 The Tragedy of Othello 
 
 Des. Upon my knees, what doth your speech im- 
 port? 
 
 I understand a fury in your words. 
 
 But not the words. 32 
 
 Oth. Why, what art thou? 
 
 Des. Your 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 ; 36 
 
 Swear thou art honest. 
 
 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. Ah ! Desdemona ; away, away, away ! 40 
 
 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, 44 
 
 Lay not your blame on me; if you have lost him, 
 Why, I have lost him too. 
 
 Oth. Had it pleas’d heaven 
 
 To try me with affliction, had they rain’d 
 All kinds of sores, and shames, on my bare head, 48 
 Steep’d me in poverty to the very lips, 
 
 Given to captivity me and my utmost hopes, 
 
 I should have found in some part of my soul 
 A drop of patience; but, alas! to make me 52 
 
 The fixed figure for the time of scorn 
 To point his slow unmoving finger at! 
 
 S3, 54 Cf. n. 
 
The Moor of Venice, IV. ii 
 
 99 
 
 Yet could I bear that too; well, very well: 
 
 But there, where I have garner’d up my heart, 
 
 Where either I must live or bear no life, 57 
 
 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 60 
 
 To knot and gender in! Turn thy complexion there. 
 Patience, thou young and rose-lipp’d cherubin; 
 
 Ay, there, look grim as hell ! 
 
 Des. I hope my noble lord esteems me honest. 64 
 Oth. O! ay; as summer flies are in the shambles. 
 That quicken even with blowing. O thou weed ! 
 
 Who art so lovely fair and smell’st so sweet 
 That the sense aches at thee, would thou hadst ne’er 
 been born. 68 
 
 Des. Alas! what ignorant sin have I committed? 
 Oth. Was this fair paper, this most goodly book. 
 Made to write ‘whore’ upon ? What committed ! 
 Committed ! O thou public commoner ! 72 
 
 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 77 
 
 Is hush’d within the hollow mine of earth, 
 
 And will not hear it. What committed! 
 
 Impudent strumpet ! 
 
 Des. By heaven, you do me wrong. 80 
 
 Oth. Are not you a strumpet? 
 
 Des. No, as I am a Christian. 
 
 If to preserve this vessel for my lord 
 
 61 gender: engender, multiply Turn . . . complexion: change 
 
 color, grow pale 
 
 62 cherubin; cf. n. 66 quicken . . . blowing; cf. n. 
 
100 
 
 The Tragedy of Othello 
 
 From any other foul unlawful touch 
 Be not to be a strumpet, I am none. 84 
 
 Oth. What! not a whore? 
 
 Des. No, as I shall be sav’d. 
 
 Oth. Is it possible? 
 
 Des. O ! heaven forgive us. 
 
 Oth. I cry you mercy, then; 
 
 I took you for that cunning whore of Venice 88 
 
 That married with Othello. You, mistress. 
 
 That have the office opposite to Saint Peter, 
 
 And keep the gate of hell ! 
 
 Enter Emilia. 
 
 You, you, ay, you! 
 
 We have done our course; there’s money for your 
 pains. 92 
 
 I pray you, turn the key and keep our counsel. 
 
 Exit. 
 
 Emil. Alas! what does this gentleman conceive? 
 How do you, madam? how do you, my good lady? 
 Des. Faith, half asleep. 96 
 
 Emil. Good madam, what’s the matter with my 
 lord? 
 
 Des. With who? 
 
 Emil. Why, with my lord, madam. 
 
 Des. Who is thy lord ? 
 
 Emil. He that is yours, sweet lady, loo 
 
 Des. I have none; do not talk to me, Emilia; 
 
 T cannot weep, nor answer have I none, 
 
 But what should go by water. Prithee, to-night 
 Lay on my bed my wedding sheets: remember: 
 
 And call thy husband hither. 
 
 87 cry you mercy: ask your pardon 
 103 go by water: express itself in tears 
 
The Moor of V enice , IV. ii 
 
 101 
 
 Emil. Here is a change indeed! 105 
 
 Exit. 
 
 Des. ’Tis meet I should be us’d so, very meet. 
 
 How have I been behav’d, that he might stick 
 
 The small’st opinion on my least misuse? 108 
 
 Enter Iago and Emilia. 
 
 I ago. What is your pleasure, madam? How 
 is it with you ? 
 
 Des. I cannot tell. Those that do teach young 
 babes 
 
 Do it with gentle means and easy tasks ; 112 
 
 He might have chid me so; for, in good faith, 
 
 I am a child to chiding. 
 
 Iago. What’s the matter, lady? 
 
 Emil. Alas ! Iago, my lord hath so bewlior’d her, 
 Thrown such despite and heavy terms upon her. 
 
 As true hearts cannot bear. 117 
 
 Des. Am I that name, Iago? 
 
 Iago. What name, fair lady? 
 
 Des. Such as she says my lord did say I was. 
 
 Emil. He call’d her whore; a beggar in his 
 drink 120 
 
 Could not have laid such terms upon his callat. 
 
 Iago. Why did he so? 
 
 Des. I do not know ; I am sure I am none such. 
 Iago. Do not weep, do not weep. Alas the 
 day ! 124 
 
 Emil. Has she forsook so many noble matches, 
 Her father and her country and her friends. 
 
 To be call’d whore? would it not make one weep? 
 Des. It is my wretched fortune. 
 
 107, 108 stick . . . misuse: place the least censure on my slightest 
 misdeed 
 
 121 callat: basest of low women 
 
102 
 
 The Tragedy of Othello 
 
 Iago. Beshrew him for it! 128 
 
 How comes this trick upon him? 
 
 Des. Nay, heaven doth know. 
 
 Emil. I will be hang’d, if some eternal villain. 
 Some busy and insinuating rogue. 
 
 Some cogging, cozening slave, to get some office, 132 
 Have not devis’d this slander; I’ll be hang’d else. 
 Iago. Fie! there is no such man; it is impossible. 
 Des. If any such there be, heaven pardon him! 
 Emil. A halter pardon him, and hell gnaw his 
 bones ! 136 
 
 Why should he call her whore? who keeps her com- 
 pany? 
 
 What place ? what time ? what form ? what likelihood ? 
 The Moor’s abus’d by some most villainous knave. 
 Some base notorious knave, some scurvy fellow. 
 
 0 heaven ! that such companions thou’dst unfold, 141 
 And put in every honest hand a whip 
 
 To lash the rascals naked through the world, 
 
 Even from the east to the west ! 
 
 Iago. Speak within door. 144 
 
 Emil. O ! fie upon them. Some such squire he was 
 That turn’d your wit the seamy side without. 
 
 And made you to suspect me with the Moor. 
 
 Iago. You are a fool; go to. 
 
 Des. O good Iago, 148 
 
 What shall I do to win my lord again? 
 
 Good friend, go to him ; for, by this light of heaven, 
 
 1 know not how I lost him. Here I kneel: 
 
 If e’er my will did trespass ’gainst his love, 152 
 
 Either in discourse of thought or actual deed, 
 
 129 trick: vagary 132 cogging, cozening: deceiving, cheating 
 
 140 notorious: egregious, preeminent 
 
 141 companions: base fellows unfold: expose 
 144 within door, quietly, not from the house-tops 
 153 discourse: process (?) 
 
The Moor of Venice, IV. ii 
 
 103 
 
 Or that mine eyes, mine ears, or any sense, 
 
 Delighted them in any other form; 
 
 Or that I do not yet, and ever did, 156 
 
 And ever will, though he do shake me off 
 To beggarly divorcement, love him dearly, 
 
 Comfort forswear me ! Unkindness may do much ; 
 And his unkindness may defeat my life, 160 
 
 But never taint my love. I cannot say ‘whore’ : 
 
 It does abhor me now I speak the word; 
 
 To do the act that might the addition earn 
 Not the world’s mass of vanity could make me. 
 
 Iago. I pray you be content, ’tis but his 
 humour; 165 
 
 The business of the state does him offence, 
 
 And he does chide with you. 
 
 Des. If ’twere no other, — 
 
 Iago. ’Tis but so, I warrant. [Trumpets •within.'] 
 Hark ! how these instruments summon to supper ; 169 
 
 The messengers of Venice stay the meat: 
 
 Go in, and weep not; all things shall be well. 
 
 Exeunt Desdemona and Emilia. 
 
 Enter Roderigo. 
 
 How now, Roderigo ! 172 
 
 Rod. I do not find that thou dealest justly 
 with me. 
 
 Iago. What in the contrary? 
 
 Rod. Every day thou daffest me with some 
 device, Iago; and rather, as it seems to me now, 
 keepest from me all conveniency, than suppliest 
 
 154 that : if 159 Comfort . . . me: may happiness forsake me 
 
 160 defeat: destroy 162 abhor : fill with abhorrence 
 
 164 vanity: finery {or, vain mass, futile hulk?) 
 
 167 chide with: quarrel with, ‘ take it out on ’ 
 
 170 stay the meat: are waiting for supper 
 
 175 What evidence have you against me? 
 
 176 daffest me : puttest me off 178 conveniency : opportunity 
 
104 
 
 The Tragedy of Othello 
 
 me with the least advantage of hope. I will in- 
 deed no longer endure it, nor am I yet persuaded 
 to put up in peace what already I have foolishly 
 suffered. 182 
 
 Iago. Will you hear me, Roderigo? 
 
 Rod. Faith, I have heard too much, for your 
 words and performances are no kin together. 
 
 Iago. You charge me most unjustly. 186 
 
 Rod. With nought but truth. I have wasted 
 myself out of my means. The jewels you have 
 had from me to deliver to Desdemona would 
 half have corrupted a votarist; you have told 
 me she has received them, and returned me 
 expectations and comforts of sudden respect 
 and acquaintance, but I find none. 193 
 
 Iago. Well; go to; very well. 
 
 Rod. Very well! go to! I cannot go to, man; 
 nor ’tis not very well: by this hand, I say, it is 
 very scurvy, and begin to find myself fopped in it. 
 Iago. Very well. 198 
 
 Rod. I tell you ’tis not very well. I will make 
 myself known to Desdemona; if she will return 
 me my jewels, I will give over my suit and re- 
 pent my unlawful solicitation ; if not, assure 
 yourself I will seek satisfaction of you. 
 
 Iago. You have said now. 204 
 
 Rod. Ay, and said nothing but what I pro- 
 test intendment of doing. 
 
 Iago. Why, now I see there’s mettle in thee, 
 and even from this instant do build on thee a 
 better opinion than ever before. Give me thy 
 
 179 advantage: increase, furthering 
 
 181 put up : accept 190 votarist: religious devotee, nun 
 
 1 92 sudden respect : immediate notice 197 fopped: swindled 
 
The Moor of V enice , IV. ii 
 
 105 
 
 hand, Roderigo; thou hast taken against me a 
 most just exception; but yet, I protest, I have 
 dealt most directly in thy affair. 212 
 
 Rod. It hath not appeared. 
 
 Iago. I grant indeed it hath not appeared, 
 and your suspicion is not without wit and judg- 
 ment. But, Roderigo, if thou hast that in thee 
 indeed, which I have greater reason to believe 
 now than ever, I mean purpose, courage, and 
 valour, this night show it: if thou the next 
 night following enjoy not Desdemona, take me 
 from this world with treachery and devise 
 engines for my life. 
 
 Rod. Well, what is it? is it within reason and 
 compass? 224 
 
 Iago. Sir, there is especial commission come 
 from Venice to depute Cassio in Othello’s place. 
 
 Rod. Is that true? why, then Othello and 
 Desdemona return again to Venice. 228 
 
 Iago. O, no ! he goes into Mauritania, and 
 takes away with him the fair Desdemona, un- 
 less his abode be lingered here by some accident; 
 wherein none can be so determinate as the re- 
 moving of Cassio. 233 
 
 Rod. How do you mean, removing of him? 
 Iago. Why, by making him uncapable of 
 Othello’s place; knocking out his brains. 
 
 Rod. And that you would have me do? 237 
 
 Iago. Ay; if you dare do yourself a profit 
 and a right. He sups to-night with a harlotry, 
 and thither will I go to him; he knows not yet 
 of his honourable fortune. If you will watch 
 
 212 directly : straightforwardly 222 engines for: plots against 
 
 229 Mauritania: supposed land of the Moors; cf. n. 
 
 231 lingered: prolonged 232 determinate: decisive 
 
106 
 
 The Tragedy of Othello 
 
 his going thence,— which I will fashion to fall 
 out between twelve and one, — you may take 
 him at your pleasure; I will be near to second 
 your attempt, and he shall fall between us. 
 Come, stand not amazed at it, but go along 
 with me; I will show you such a necessity in his 
 death that you shall think yourself bound to put 
 it on him. It is now high supper-time, and the 
 night grows to waste; about it. 250 
 
 Rod. I will hear further reason for this. 
 lago. And you shall be satisfied. Exeunt. 
 
 Scene Three 
 
 [ Another Room in the Castle ] 
 
 Enter Othello, Lodovico, Desdemona, Emilia, and 
 Attendants. 
 
 Lod. I do beseech you, sir, trouble yourself no 
 further. 
 
 Oth. O ! pardon me; ’twill do me good to walk. 
 Lod. Madam, good night; I humbly thank your 
 ladyship. 
 
 Des. Your honour is most welcome. 
 
 Oth. Will you walk, sir? 
 
 O ! Desdemona, — 5 
 
 Des. My lord? 
 
 Oth. Get you to bed on the instant; I will be 
 returned forthwith; dismiss your attendant 
 there; look it be* done. 9 
 
 Des. I will, my lord. 
 
 Exit [Othello, with Lodovico and Attendants ]. 
 Emil. How goes it now? he looks gentler than he 
 did. 
 
 2S0 grows to waste: is wasting away 
 
The Moor of Venice, IV. iii 
 
 107 
 
 Des. He says he will return incontinent; 12 
 
 He hath commanded me to go to bed. 
 
 And bade me to dismiss you. 
 
 Emil. Dismiss me ! 
 
 Des. It was his bidding; therefore, good Emilia, 
 Give me my nightly wearing, and adieu: 16 
 
 We must not now displease him. 
 
 Emil. I would you had never seen him. 
 
 Des. So would not I ; my love doth so approve him, 
 That even his stubbornness, his checks and 
 frowns, — 20 
 
 Prithee, unpin me, — have grace and favour in them. 
 Emil. I have laid those sheets you bade me on the 
 bed. 
 
 Des. All’s one. Good faith! how foolish are our 
 minds ! 
 
 If I do die before thee, prithee, shroud me 24 
 
 In one of those same sheets. 
 
 Emil. Come, come, you talk. 
 
 Des. My mother had a maid call’d Barbara; 
 
 She was in love, and he she lov’d prov’d mad 
 And did forsake her ; she had a song of ‘willow’ ; 28 
 
 An old thing ’twas, but it express’d her fortune. 
 
 And she died singing it; that song to-night 
 Will not go from my mind ; I have much to do 
 But to go hang my head all at one side, 32 
 
 And sing it like poor Barbara. Prithee, dispatch. 
 Emil. Shall I go fetch your night-gown? 
 
 Des. No, unpin me here. 
 
 This Lodovico is a proper man. 
 
 Emil. A very handsome man. 36 
 
 Des. He speaks well. 
 
 12 incontinent: immediately 
 25 talk: talk idly 
 32 But to: not to 
 
 23 All’s one: no matter 
 27 prov’d : became, went 
 34 night-gown: dressing-gown 
 
108 
 
 The Tragedy of Othello , 
 
 Emil. I know a lady in Venice would have 
 walked barefoot to Palestine for a touch of his 
 nether lip. 40 
 
 Des. [i Singing] 
 
 ‘The poor soul sat sighing by a sycamore tree. 
 
 Sing all a green willow; 
 
 Her hand on her bosom, her head on her knee. 
 
 Sing willow, willow, willow: 44 
 
 The fresh streams ran by her, and murmur’d her 
 moans ; 
 
 Sing willow, willow, willow: 
 
 Her salt tears fell from her, and soften’d the 
 stones ;’ — 
 
 Lay by these. — 48 
 
 [Singing'] ‘Sing willow, willow, willow:’ — 
 
 Prithee, hie thee; he’ll come anon.— 
 
 [Singing] 
 
 ‘Sing all a green willow must be my garland. 
 Let nobody blame him, his scorn I approve,’ — 52 
 
 Nay, that’s not next. Hark! who is it that 
 knocks ? 
 
 Emil. It is the wind. 
 
 Des. [Singing] 
 
 ‘I call’d my love false love ; but what said he then? 56 
 Sing willow, willow, willow: 
 
 If I court moe women, you’ll couch with moe men.’ 
 
 So, get thee gone; good night. Mine eyes do itch; 
 Doth that bode weeping? 
 
 Emil. ’Tis neither here nor there. 
 
 Des. I have heard it said so. O ! these men, these 
 men ! 61 
 
 41 The poor soul, etc.; cf. ft. 
 50 hie thee: make haste 
 
 58 moe: more, other 
 
The Moor of Venice , IV. Hi 
 
 109 
 
 Dost tliou in conscience think, tell me, Emilia, 
 
 That there be women do abuse their husbands 
 In such gross kind? 
 
 Emil. There be some such, no question. 
 
 Des. Wouldst thou do such a deed for all the 
 world ? 65 
 
 Emil. Why, would not you? 
 
 Des. No, by this heavenly light! 
 
 Emil. Nor I neither by this heavenly light; 
 
 I might do ’t as well i’ the dark. 68 
 
 Des. Wouldst thou do such a deed for all the 
 world ? 
 
 Emil. The world is a huge thing; ’tis a great price 
 For a small vice. 
 
 Des. In troth, I think thou wouldst not. 
 
 Emil. In troth, I think I should, and undo ’t 
 when I had done. Marry, I would not do such 
 a thing for a joint-ring, nor measures of lawn, 74 
 nor for gowns, petticoats, nor caps, nor any petty 
 exhibition; but for the whole world, who would 
 not make her husband a cuckold to make him 
 a monarch ? I should venture purgatory for ’t. 
 Des. Beshrew me, if I would do such a wrong 
 For the whole world. 80 
 
 Emil. Why, the wrong is but a wrong i’ the 
 world; and having the world for your labour, 
 ’tis a wrong in your own world, and you might 
 quickly make it right. 84 
 
 Des. I do not think there is any such woman. 
 Emil. Yes, a dozen; and as many to the 
 vantage, as would store the world they played 
 for. 88 
 
 72,73 undo’t . . . done : see lines 81-84 
 74 joint-ring: ring made in interlocking halves 
 86,87 to . . . vantage: to boot, in addition 
 
110 
 
 The Tragedy of Othello 
 
 But I do think it is their husbands’ faults 
 If wives do fall. Say that they slack their duties, 
 And pour our treasures into foreign laps. 
 
 Or else break out in peevish jealousies, 92 
 
 Throwing restraint upon us ; or, say they strike us. 
 Or scant our former having in despite; 
 
 Why, we have galls, and though we have some grace. 
 Yet have we some revenge. Let husbands know 
 Their wives have sense like them; they see and 
 smell, 97 
 
 And have their palates both for sweet and sour, 
 
 As husbands have. What is it that they do 
 When they change us for others? Is it sport? 
 
 I think it is; and doth affection breed it? 101 
 
 I think it doth ; is ’t frailty that thus errs ? 
 
 It is so too ; and have not we affections, 
 
 Desires for sport, and frailty, as men have? 104 
 
 Then, let them use us well ; else let them know, 
 
 The ills we do, their ills instruct us so. 
 
 Ties. Good night, good night; heaven me such uses 
 send, 
 
 Not to pick bad from bad, but by bad mend ! 108 
 
 Exeunt. 
 
 ACT FIFTH 
 Scene One 
 
 [ A Street near Bianca’s lodging ] 
 
 Enter Iago and Roderigo. 
 
 I ago. Here, stand behind this bulk; straight will 
 he come: 
 
 94 having: allowance, pin-money despite: spite 
 
 95 galls: spirit to resent injury 97 sense: sensations, feelings 
 
 101 affection : inclination 107 uses: ways of conducting myself 
 
 108 Cf.n. 1 bulk: projecting shelter 
 
The Moor of Venice , V. i 
 
 ill 
 
 Wear thy good rapier bare, and put it home. 
 
 Quick, quick; fear nothing; I’ll be at thy elbow. 
 
 It makes us, or it mars us ; think on that, 4 
 
 And fix most firm thy resolution. 
 
 Rod. Be near at hand; I may miscarry in ’t. 
 
 Iago. Here, at thy hand: be bold, and take thy 
 stand. [ Retires .] 
 
 Rod. I have no great devotion to the deed; 8 
 
 And yet he has given me satisfying reasons: 
 
 ’Tis but a man gone: forth, my sword; he dies. 
 
 Iago. I have rubb’d this young quat almost to the 
 sense. 
 
 And he grows angry. Now, whether he kill 
 Cassio, 12 
 
 Or Cassio him, or each do kill the other. 
 
 Every way makes my gain: live Roderigo, 
 
 He calls me to a restitution large 
 
 Of gold and jewels that I bobb’d from him, 16 
 
 As gifts to Desdemona; 
 
 It must not be : if Cassio do remain. 
 
 He hath a daily beauty in his life 
 That makes me ugly ; and, besides, the Moor 20 
 
 May unfold me to him ; there stand I in much peril. 
 No, he must die. But so — I hear him coming. 
 
 Enter Cassio. 
 
 Rod. I know his gait; ’tis he. Villain, thou diest! 
 
 [Makes a pass at Cassio .] 
 Cas. That thrust had been mine enemy indeed 24 
 But that my coat is better than thou know’st; 
 
 I will make proof of thine. 
 
 [Draws, and wounds Roderigo."] 
 
 II quat: pimple (cf. modern ‘scab’) sense: quick 
 16 bobb’d from him: cheated him out of 
 
 25 coat: i.e., he wore defensive armor under his outer garments 
 
112 
 
 The Tragedy of Othello 
 
 Rod. O! I am slain. [ Falls .] 
 
 [ Iago from behind wounds Cassio in the leg, and exit .] 
 Cas. I am maim’d for ever. Help, ho ! murder ! 
 murder! [Falls.] 
 
 Enter Othello [at a distance ]. 
 
 Oth. The voice of Cassio: Iago keeps his word. 
 Rod. O! villain that I am! 
 
 Oth. It is e’en so. 29 
 
 Cas. O, help, ho ! light ! a surgeon ! 
 
 Oth. ’Tis he: O brave Iago, honest and just, 
 
 That hast such noble sense of thy friend’s wrong, 32 
 Thou teachest me. Minion, your dear lies dead, 
 
 And your unblest fate hies; strumpet, I come! 
 
 Forth of my heart those charms, thine eyes, are 
 blotted ; 
 
 Thy bed lust-stain’d shall with lust’s blood be spotted. 
 
 Exit Othello. 
 
 Enter Lodovico and Gratiano [at a distance ]. 
 
 Cas. What ho! no watch? no passage? murder! 
 
 murder ! 37 
 
 Gra. ’Tis some mischance; the cry is very direful. 
 Cas. O, help ! 
 
 Lod. Hark ! 40 
 
 Rod. O wretched villain! 
 
 Eod. Two or three groan: it is a heavy night; 
 These may be counterfeits ; let’s think ’t unsafe 
 To come in to the cry without more help. 44 
 
 Rod. Nobody come? then shall I bleed to death. 
 Lod. Hark! 
 
 Enter Iago, with a light. 
 
 33 Minion : hussy 37 passage : passers-by 42 heavy : thick, cloudy 
 
The Moor of V enice, V. i 
 
 113 
 
 Gra. Here’s one comes in his shirt, with light and 
 weapons. 
 
 Iago. Who’s there ? whose noise is this that cries on 
 murder ? 48 
 
 Lod. We do not know. 
 
 Iago. Did not you hear a cry? 
 
 Cas. Here, here ! for heaven’s sake, help me. 
 
 Iago. What’s the matter? 
 
 Gra. This is Othello’s ancient, as I take it. 
 
 Lod. The same indeed ; a very valiant fellow. 
 
 Iago. What are you here that cry so griev- 
 ously ? 53 
 
 Cas. Iago ? O ! I am spoil’d, undone by villains ! 
 Give me some help. 
 
 Iago. O me, lieutenant ! what villains have done 
 this ? 56 
 
 Cas. I think that one of them is hereabout, 
 
 And cannot make away. 
 
 Iago. O treacherous villains ! 
 
 [To Lodovico and Gratiano.\ What are you there? 
 come in, and give some help. 
 
 Rod. O ! help me here. 60 
 
 Cas. That’s one of them. 
 
 Iago. O murderous slave ! O villain ! 
 
 Roderigo.] 
 
 Rod. O damn’d Iago! O inhuman dog! 
 
 Iago. Kill men i’ the dark ! Where be these bloody 
 thieves ? 
 
 How silent is this town ! Ho ! murder ! murder ! 
 
 What may you be ? are you of good or evil ? 65 
 
 Lod. As you shall prove us, praise us. 
 
 Iago. Signior Lodovico? 
 
 Lod. He, sir. 68 
 
 48 cries on: cries out, calls 
 
 66 praise: appraise, estimate 
 
114 
 
 The Tragedy of Othello, 
 
 Iago. I cry you mercy. Here’s Cassio hurt by 
 villains. 
 
 Gra. Cassio! 
 
 Iago. How is it, brother? 
 
 Cas. My leg is cut in two. 
 
 Iago. Marry, heaven forbid! 72 
 
 Light, gentlemen; I’ll bind it with my shirt. 
 
 Enter Bianca- 
 
 Bian. What is the matter, ho? who is ’t that cried? 
 Iago. Who is ’t that cried ! 
 
 Bian. O my dear Cassio ! my sweet Cassio ! 76 
 
 O Cassio, Cassio, Cassio! 
 
 Iago. O notable strumpet ! Cassio, may you suspect 
 Who they should be that have thus mangled you ? 
 
 Cas. No. 80 
 
 Gra. I am sorry to find you thus ; I have been to 
 seek you. 
 
 Iago. Lend me a garter. So. O ! for a chair. 
 
 To bear him easily hence! 
 
 Bian. Alas ! he faints ! O Cassio, Cassio, Cas- 
 sio ! 84 
 
 Iago. Gentlemen all, I do suspect this trash 
 To be a party in this injury. 
 
 Patience awhile, good Cassio. Come, come. 
 
 Lend me a light. Know we this face, or no ? 88 
 
 Alas ! my friend and my dear countryman, 
 
 Roderigo? no: yes, sure, O heaven! Roderigo. 
 
 Gra. What! of Venice? 
 
 Iago. Even he, sir: did you know him? 
 
 Gra. Know him! ay. 92 
 
 Iago. Signior Gratiano? I cry you gentle pardon; 
 
 82 chair: sedan-chair, litter 
 
The Moor of Venice , V. i 
 
 115 
 
 These bloody accidents must excuse my manners, 
 That so neglected you. 
 
 Gra. I am glad to see you. 
 
 Iago. How do you, Cassio ? Ola chair, a 
 chair ! 96 
 
 Gra. Roderigo ! [A chair brought in.] 
 
 Iago. He, he, ’tis he. — O! that’s well said; the 
 chair : 
 
 Some good men bear him carefully from hence; 
 
 I’ll fetch the general’s surgeon. [To Bianca.~\ For you, 
 mistress, loo 
 
 Save you your labour. He that lies slain here, Cassio, 
 Was my dear friend. What malice was between you? 
 Cas. None in the world; nor do I know the man. 
 Iago. [To Bianca.'] What! look you pale? O! bear 
 him out o’ the air. 104 
 
 [Cassio and Roderigo are borne off.] 
 
 Stay you, good gentlemen. Look you pale, mis- 
 tress ? — 
 
 Do you perceive the gastness of her eye? 
 
 Nay, if you stare, we shall hear more anon. 
 
 Behold her well; I pray you, look upon her: 108 
 
 Do you see, gentlemen ? nay, guiltiness will speak 
 Though tongues were out of use. 
 
 Enter Emilia. 
 
 Emil. ’Las! what’s the matter? what’s the matter, 
 husband ? 
 
 Iago. Cassio hath here been set on in the dark 112 
 By Roderigo and fellows that are ’scaped: 
 
 He’s almost slain, and Roderigo dead. 
 
 Emil. Alas! good gentleman; alas! good Cassio! 
 
 106 gastness: ghastliness 
 
116 
 
 The Tragedy of Othello 
 
 Iago. This is the fruit of whoring. Prithee, 
 Emilia, lie 
 
 Go know of Cassio where he supp’d to-night. 
 
 What ! do you shake at that ? 
 
 Bian. He supp’d at my house; but I therefore 
 shake not. 
 
 Iago. O ! did he so ? I charge you, go with me. 
 Emil. Fie, fie upon thee, strumpet! 121 
 
 Bian. I am no strumpet, but of life as honest 
 As you that thus abuse me. 
 
 Emil. As I! foh ! fie upon thee! 
 
 Iago. Kind, gentlemen, let’s go see poor Cassio 
 dress’d. 124 
 
 Come, mistress, you must tell ’s another tale. 
 
 Emilia, run you to the citadel. 
 
 And tell my lord and lady what hath happ’d. 
 
 Will you go on afore? [ Aside .] This is the night 
 That either makes me or fordoes me quite. 129 
 
 Exeunt. 
 
 Scene Two 
 
 \_A Bedchamber in the Castle ] 
 
 Enter Othello with a light, and Desdemona in 
 her bed. 
 
 Oth. It is the cause, it is the cause, my soul; 
 
 Let me not name it to you, you chaste stars ! 
 
 It is the cause. Yet I’ll not shed her blood, 
 
 Nor scar that whiter skin of hers than snow, 4, 
 
 And smooth as monumental alabaster. 
 
 Yet she must die, else she’ll betray more men. 
 
 Put out the light, and then put out the light: 
 
 117 know: learn 129 fordoes: unmakes, destroys 
 
 Scene Two S. d. Enter . . . bed; cf. n. 
 
The Moor of Venice , V. ii 
 
 117 
 
 If I quench thee, thou flaming minister, 8 
 
 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 12 
 
 That can thy light relume. When I have pluck’d the 
 rose, 
 
 I cannot give it vital growth again, 
 
 It needs must wither: I’ll smell it on the tree. 
 
 Kisses her. 
 
 0 balmy breath, that dost almost persuade lfi 
 
 Justice to break her sword ! One more, one more. 
 
 Be thus when thou art dead, and I will kill thee, 
 
 And love thee after. One more, and this the last: 
 
 So sweet was ne’er so fatal. I must weep, 20 
 
 But they are cruel tears; this sorrow’s heavenly. 
 
 It strikes where it doth love. She wakes. 
 
 Des. Who’s there? Othello? 
 
 Oth. Ay, Desdemona. 
 
 Des. Will you come to bed, my lord? 24 
 
 Oth. Have you pray’d to-night, Desdemona? 
 
 Des. Ay, my lord. 
 
 Oth. If you bethink yourself of any crime 
 Unreconcil’d as yet to heaven and grace. 
 
 Solicit for it straight. 28 
 
 Des. Alas ! my lord, what may you mean by that ? 
 Oth. Well, do it, and be brief; I will walk by: 
 
 1 would not kill thy unprepared spirit; 
 
 No; heaven forfend ! I would not kill thy soul. 
 
 Des. Talk you of killing? 
 
 Oth. Ay, I do. 
 
 12 Promethean heat: divine fire ; cf. n. 
 27 grace : God’s mercy 
 30 by: aside , apart 
 
 13 relume: rekindle 
 28 Solicit: pray 
 32 forfend: forbid 
 
118 
 
 The Tragedy of Othello 
 
 Des. Then heaven 33 
 
 Have mercy on me ! 
 
 Oth. Amen ! with all my heart. 
 
 Des. If you say so, I hope you will not kill me. 
 Oth. Hum! 36 
 
 Des. And yet I fear you ; for you are fatal then 
 When your eyes roll so. Why I should fear I know 
 not. 
 
 Since guiltiness I know not; but yet I feel I fear. 
 
 Oth. Think on thy sins. 
 
 Des. They are loves I bear to you. 40 
 
 Oth. Ay, and for that thou diest. 
 
 Des. That death’s unnatural that kills for loving. 
 Alas ! why gnaw you so your nether lip ? 
 
 Some bloody passion shakes your very frame; 44 
 These are portents, but yet, I hope, I hope 
 They do not point on me. 
 
 Oth. Peace, and be still! 
 
 Des. I will so. What’s the matter? 
 
 Oth. That handkerchief which I so lov’d and gave 
 thee 48 
 
 Thou gav’st to Cassio. 
 
 Des. No, by my life and soul ! 
 
 Send for the man and ask him. 
 
 Oth. Sweet soul, take heed. 
 
 Take heed of per j ury ; thou’rt on thy death-bed. 
 
 Des. Ay, but not yet to die. 
 
 Oth. Yes, presently; 52 
 
 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. 56 
 
 Des. Then Lord have mercy on me ! 
 
 Oth. I say, amen. 
 
The Moor of Venice , V. ii 
 
 119 
 
 Des. And have you mercy too ! I never did 
 Offend you in my life; never lov’d Cassio 
 But with such general warranty of heaven 60 
 
 As I might love ; I never gave him token. 
 
 Oth. By heaven, I saw my handkerchief in’s hand. 
 
 0 perjur’d woman ! thou dost stone my heart. 
 
 And mak’st me call what I intend to do 64 
 
 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. 
 
 Oth. He hath confess’d. 68 
 
 Des. What, my lord? 
 
 Oth. That he hath us’d thee. 
 
 Des. How ? unlawfully ? 
 
 Oth. Ay. 
 
 Des. He will not say so. 
 
 Oth. No; his mouth is stopp’d: 
 
 Honest Iago hath ta’en order for ’t. 72 
 
 Des. O! my fear interprets. What! is he dead? 
 Oth. Had all his hairs been lives, my great revenge 
 Had stomach for them all. 
 
 Des. Alas ! he is betray’d and I undone. 76 
 
 Oth. Out, strumpet! Weep’st thou for him to my 
 face ? 
 
 Des. O ! banish me, my lord, but kill me not! 
 
 Oth. Down, strumpet! 
 
 Des. Kill me to-morrow ; let me live to-night ! 
 
 Oth. Nay, if you strive, — 81 
 
 Des. But half an hour ! 
 
 Oth. Being done, there is no pause. 
 
 60 general . . . heaven: permission granted by heaven to all 
 63 stone: make stony 72 order: measures 
 
 75 stomach: appetite 82 Being . . . pause; cf. n. 
 
120 
 
 The Tragedy of Othello 
 
 Des. But while I say one prayer! 
 
 Oth. It is too late. Smothers her. 
 
 Emilia at the door. 
 
 Emil. [ within .] My lord, my lord! what, ho! my 
 lord, my lord! 84 
 
 Oth. What noise is this? Not dead? not yet quite 
 dead? 
 
 I that am cruel am yet merciful; 
 
 I would not have thee linger in thy pain. 
 
 So, so. 
 
 Emil, within. What, ho ! ray lord, my lord ! 
 
 Oth. Who’s there? 88 
 
 Emil, [within.'] O ! good my lord, I would speak 
 a word with you ! 
 
 Oth. Yes; ’tis Emilia: by and by. She’s dead. 
 
 ’Tis like she comes to speak of Cassio’s death; 
 
 The noise was high. Ha! no more moving? 92 
 
 Still as the grave. Shall she come in? Were ’t good? 
 I think she stirs again: no. What’s best to do? 
 
 If she come in she’ll sure speak to my wife: 
 
 My wife! my wife! what wife? I have no wife: 
 
 O, insupportable ! O heavy hour ! 9T 
 
 Methinks it should be now a huge eclipse 
 Of sun and moon, and that the affrighted globe 
 Should yawn at alteration. 
 
 Emil, [within.] I do beseech you loo 
 
 That I may speak with you, O good my lord. 
 
 Oth. I had forgot thee: O! come in, Emilia: 
 
 Soft, by and by: let me the curtains draw. 
 
 Where art thou? [Unlocks the door.] 
 
 Enter Emilia. 
 
 92 The . . . high; cf. n. 
 
 100 yawn at alteration; cf. n. 
 
 103 Soft: stop, wait 
 
The Moor of Venice, V. ii 
 
 121 
 
 What’s the matter with thee now? 104 
 Emil. O ! my good lord, yonder’s foul murder done. 
 Oth. What! now? 
 
 Emil. But now, my lord. 
 
 Oth. It is the very error of the moon; 
 
 She comes more near the earth than she was 
 wont, 108 
 
 And makes men mad. 
 
 Emil. Cassio, my lord, has kill’d a young Venetian 
 Call’d Roderigo. 
 
 Oth. Roderigo kill’d! 
 
 And Cassio kill’d? 
 
 Emil. No, Cassio is not kill’d 112 
 
 Oth. Not Cassio kill’d! then murder’s out of tune. 
 And sweet revenge grows harsh. 
 
 Des. O! falsely, falsely murder d. 
 
 Emil. Alas! what cry is that? 
 
 Oth. That! what? 116 
 
 Emil. Out, and alas! that was my lady’s voice: 
 Help ! Help, ho ! help ! O lady, speak again ! 
 
 Sweet Desdemona ! O ! sweet mistress, speak. 
 
 Des. A guiltless death I die. 120 
 
 Emil. O ! who hath done this deed? 
 
 Des. Nobody; I myself; farewell: 
 
 Commend me to my kind lord. O ! farewell ! 
 
 [Dies.] 
 
 Oth. Why, how should she be murder’d? 
 
 Emil. Alas! who knows? 124 
 
 Oth. You heard her say herself it was not I. 
 
 Emil. She said so; I must needs report the truth. 
 Oth. She’s like a liar gone to burning hell; 
 
 Twas I that kill’d her. 
 
 106 But: just 
 
 107 error: aberration, deviation 
 
122 
 
 The Tragedy of Othello, 
 
 Emil. O ! the more angel she. 
 
 And you the blacker devil. 129 
 
 Oth. She turn’d to folly, and she was a whore. 
 Emil. Thou dost belie her, and thou art a devil. 
 Oth. She was false as water. 
 
 Emil. Thou art rash as fire to say 
 
 That she was false : O ! she was heavenly true. 133 
 Oth. Cassio did tup her; ask thy husband else. 
 
 O ! I were damn’d beneath all depth in hell 
 
 But that I did proceed upon just grounds 136 
 
 To this extremity. Thy husband knew it all. 
 
 Emil. My husband! 
 
 Oth. Thy husband. 
 
 Emil. That she was false to wedlock? 140 
 
 Oth. Ay, with Cassio. Nay, had she been true, 
 
 If heaven would make me such another world 
 Of one entire and perfect chrysolite, 
 
 I’d not have sold her for it. 144 
 
 Emil. My husband! 
 
 Oth. Ay, ’twas he that told me first: 
 
 An honest man he is, and hates the slime 
 That sticks on filthy deeds. 
 
 Emil. My husband! 
 
 Oth. What needs this iterance, woman? I say thy 
 husband. 148 
 
 Emil. O mistress ! villainy hath made mocks with 
 love. 
 
 My husband say that she was false ! 
 
 Oth. He, woman; 
 
 I say, thy husband: dost understand the word? 
 
 My friend, thy husband, honest, honest Iago. 152 
 Emil. If he say so, may his pernicious soul 
 
 130 folly: unchastity 142 such another: another such 
 
 143 chrysolite : a precious stone 148 iterance: repetition 
 
 149 made mocks with: made a dupe of 
 
The Moor of Venice , V. ii 
 
 123 
 
 Rot half a grain a day ! he lies to the heart: 
 
 She was too fond of her most filthy bargain. 
 
 Oth. Ha! 156 
 
 Emil. Do thy worst: 
 
 This deed of thine is no more worthy heaven 
 Than thou wast worthy her. 
 
 Oth. Peace ! you were best. 
 
 Emil. Thou hast not half the power tu do me 
 harm 160 
 
 As I have to be hurt. O gull ! O dolt ! 
 
 As ignorant as dirt ! thou hast done a deed, — 
 
 I care not for thy sword ; I’ll make thee known. 
 Though I lost twenty lives. Help ! help, ho ! 
 
 help ! 164 
 
 The Moor has kill’d my mistress ! Murder ! murder ! 
 
 Enter Montano, Gratiano, and Iago [ with 
 Attendants ]. 
 
 Mon. What is the matter? How now, general! 
 Emil. O! are you come, Iago? you have done well, 
 That men must lay their murders on your neck. 
 
 Gra. What is the matter ? 169 
 
 Emil. Disprove this villain if thou be’st a man: 
 
 He says thou told’st him that his wife was false. 
 
 I know thou didst not, thou’rt not such a villain. 
 Speak, for my heart is full. 173 
 
 Iago. I told him what I thought, and told no more 
 Than what he found himself was apt and true. 
 
 Emil. But did you ever tell him she was false? 176 
 Iago. I did. 
 
 Emil. You told a lie, an odious damned lie; 
 
 Upon my soul, a lie, a wicked lie. 
 
 She false with Cassio ! Did you say with Cassio? 
 
 161 gull: fool 
 
124 
 
 The Tragedy of Othello, 
 
 Iago. With Cassio, mistress. Go to, charm your 
 tongue. 181 
 
 Emil. I will not charm my tongue; I am bound to 
 speak. 
 
 My mistress here lies murder’d in her bed. 
 
 All. O heavens forfend! 184 
 
 Emil. And your reports have set the murder on. 
 Oth. Nay, stare not, masters; it is true, indeed. 
 Gra. ’Tis a strange truth. 
 
 Mon. O monstrous act! 
 
 Emil. Villainy! villainy! villainy! 
 
 I think upon ’t, I think, I smell ’t ; O villainy ! 189 
 
 I thought so then; I’ll kill myself for grief. 
 
 0 ! villainy, villainy ! 
 
 Iago. What ! are you mad ? I charge you, get you 
 home. 192 
 
 Emil. Good gentlemen, let me have leave to speak: 
 ’Tis proper I obey him, but not now. 
 
 Perchance, Iago, I will ne’er go home. 
 
 Oth. Oh ! Oh ! Oh ! Othello falls on the bed. 
 
 Emil. Nay, lay thee down and roar. 
 
 For thou hast kill’d the sweetest innocent 197 
 
 That e’er did lift up eye. 
 
 Oth. O ! she was foul. 
 
 1 scarce did know you, uncle. There lies your niece. 
 
 Whose breath, indeed, these hands have newly 
 
 stopp’d: 200 
 
 I know this act shows terrible and grim. 
 
 Gra. Poor Desdemona ! I am glad thy father’s 
 dead. 
 
 Thy match was mortal to him, and pure grief 
 Shore his old thread in twain : did he live now, 204 
 
 181 charm: silence, as if by a magic spell 
 
 204 Shore: cut 
 
The Moor of Venice, V. ii 
 
 125 
 
 This sight would make him do a desperate turn, 
 
 Yea, curse his better angel from his side, 
 
 And fall to reprobation. 
 
 Oth. ’Tis pitiful; but yet Iago knows 208 
 
 That she with Cassio hath the act of shame 
 A thousand times committed; Cassio confess’d it: 
 
 And she did gratify his amorous works 
 
 With that recognizance and pledge of love 212 
 
 Which I first gave her. I saw it in his hand: 
 
 It was a handkerchief, an antique token 
 My father gave my mother. 
 
 Emil. O heaven! O heavenly powers! 
 
 Iago. Come, hold your peace. 
 
 Emil. 'Twill out, ’twill out; I hold my peace, sir? 
 no; 217 
 
 No, I will speak as liberal as the north; 
 
 Let heaven and men and devils, let them all, 
 
 All, all, cry shame against me, yet I’ll speak. 220 
 Iago. Be wise, and get you home. 
 
 Emil. I will not. 
 
 [ Iago threatens to stab Emilia.\ 
 Gra. Fie! 
 
 Your sword upon a woman? 
 
 Emil. O thou dull Moor! that handkerchief thou 
 speak’st of 
 
 I found by fortune and did give my husband; 
 
 For often, with a solemn earnestness, 225 
 
 More than, indeed, belong’d to such a trifle, 
 
 He begg’d of me to steal it. 
 
 Iago. Villainous whore ! 
 
 Emil. She give it Cassio ! no, alas ! I found it, 228 
 And I did give ’t my husband. 
 
 205 do . . . turn: commit some desperate deed 
 
 207 reprobation: damnation 212 recognizance: token _ 215 Cf. n. 
 
 218 as . . . north: as freely and strongly as the north wind 
 
126 
 
 The Tragedy of Othello 
 
 Iago. Filth, thou liest! 
 
 Emil. By heaven, I do not, I do not, gentlemen. 
 
 O murderous coxcomb ! what should such a fool 231 
 Do with so good a wife? 
 
 Oth. Are there no stones in heaven 
 
 But what serve for the thunder? Precious villain! 
 [He runs at Iago. Iago stabs Emilia, and exit.'] 
 Gra. The woman falls: sure, he has kill’d his wife. 
 Emil. Ay, ay; O ! lay me by my mistress’ side. 
 
 Gra. He’s gone; but his wife’s kill’d. 236 
 
 Mon. ’Tis a notorious villain. Take ,you this 
 weapon, 
 
 Which I have here recover’d from the Moor. 
 
 Come, guard the door without; let him not pass. 
 
 But kill him rather. I’ll after that same villain, 
 
 For ’tis a damned slave. Exit [with Gratiano]. 
 
 Oth. I am not valiant neither, 241 
 
 But every puny whipster gets my sword. 
 
 But why should honour outlive honesty? 
 
 Let it go all. 
 
 Emil. What did thy song bode, lady? 244 
 
 Hark, canst thou hear me? I will play the swan, 
 And die in music: [Singing] 
 
 ‘Willow, willow, willow.’ — 
 
 Moor, she was chaste; she lov’d thee, cruel Moor; 
 
 So come my soul to bliss as I speak true; 249 
 
 So speaking as I think, I die, I die. [Dies.] 
 
 Oth. I have another weapon in this chamber; 
 
 It is a sword of Spain, the ice brook’s temper. 
 
 O ! here it is. Uncle, I must come forth. 253 
 
 232 stones: bolts 238 recover’d: taken 
 
 242 whipster: (cf. modern whipper-snapper) stripling 
 
 243 honour: mere dignity honesty : fundamental righteousness 
 2S2 the . . . temper : tempered in icy water ; cf. n. 
 
The Moor of Venice, V. ii 
 
 127 
 
 Gra. [within.] If thou attempt it, it will cost thee 
 dear: 
 
 Thou hast no weapon, and perforce must suffer. 
 
 Oth. Look in upon me then, and speak with 
 me, 256 
 
 Or, naked as I am, I will assault thee. 
 
 [Enter Gratiano.] 
 
 Gra. What is the matter? 
 
 Oth. Behold! I have a weapon; 
 
 A better never did itself sustain 
 
 Upon a soldier’s thigh: I have seen the day, 260 
 
 That with this little arm, and this good sword, 
 
 I have made my way through more impediments 
 Than twenty times your stop : but. O vain boast ! 
 Who can control his fate? ’tis not so now. 264 
 
 Be not afraid, though you do see me weapon’d; 
 
 Here is my journey’s end, here is my butt, 
 
 And very sea-mark of my utmost sail. 
 
 Do you go back dismay’d? ’Tis a lost fear; 268 
 
 Man but a rush against Othello’s breast. 
 
 And he retires. Where should Othello go? 
 
 Now how dost thou look now? O ill-starr’d wench! 
 Pale as thy smock ! when we shall meet at compt, 272 
 This look of thine will hurl my soul from heaven, 
 And fiends will snatch at it. Cold, cold, my girl ! 
 Even like thy chastity. 
 
 O ! cursed, cursed slave. Whip me, ye devils, 276 
 From the possession of this heavenly sight! 
 
 Blow me about in winds ! roast me in sulphur ! 
 
 Wash me in steep-down gulfs of liquid fire ! 
 
 257 naked : unarmed (as Gratiano supposed) 
 
 263 stop: power of prevention 266 butt: goal (literally , target) 
 
 267 sea-mark: beacon, limit 268 lost : wasted, unnecessary 
 
 269 Man: wield 272 compt: reckoning, on the Judgment Day 
 
 277 possession: flaunting obsession 
 
128 
 
 The Tragedy of Othello, 
 
 O Desdemona! Desdemona! dead! 280 
 
 Oh! Oh! Oh! 
 
 Enter Lodovico, Montano, Iago [prisoner], and 
 Officers, Cassio in a chair. 
 
 Lod. Where is this rash and most unfortunate man ? 
 Oth. That’s he that was Othello; here I am. 
 
 Lod. Where is that viper? bring the villain 
 forth. 284 
 
 Oth. I look down towards his feet; but that’s a 
 fable. 
 
 If that thou be’st a devil, I cannot kill thee. 
 
 [ Wounds Iago .] 
 
 Lod. Wrench his sword from him. 
 
 Iago. I bleed, sir; but not kill’d. 
 
 Oth. I am not sorry neither; I’d have thee 
 live ; 288 
 
 For, in my sense, ’tis happiness to die. 
 
 Lod. O thou Othello ! that wert once so good, 
 Fall’n in the practice of a damned slave. 
 
 What shall be said to thee? 
 
 Oth. Why, any thing: 292 
 
 An honourable murderer, if you will; 
 
 For nought did I in hate, but all in honour. 
 
 Lod. This wretch hath part confess’d his villainy: 
 Did you and he consent in Cassio’s death? 296 
 
 Oth. Ay. 
 
 Cas. Dear general, I never gave you cause. 
 
 Oth. I do believe it, and I ask your pardon. 
 
 Will you, I pray, demand that demi-devil 300 
 
 Why he hath thus ensnar’d my soul and body? 
 
 Iago. Demand me nothing: what you know, you 
 know: 
 
 285 I look for the devil’s outward sign, a cloven hoof 
 
The Moor of Venice, V. ii 
 
 129 
 
 From this time forth I never will speak word. 
 
 Lod. What ! not to pray ? 
 
 Gra. Torments will ope your lips. 
 
 Oth. Well, thou dost best. 305 
 
 Lod. Sir, you shall understand what hath befall’n, 
 Which, as I think, you know not. Here is a letter 
 Found in the pocket of the slain Roderigo, 308 
 
 And here another ; the one of them imports 
 The death of Cassio to be undertook 
 By Roderigo. 311 
 
 Oth. O villain ! 
 
 Cas. Most heathenish and most gross ! 
 
 Lod. Now here’s another discontented paper. 
 Found in his pocket too; and this, it seems, 
 
 Roderigo meant to have sent this damned villain. 
 
 But that, belike, Iago in the interim 316 
 
 Came in and satisfied him. 
 
 Oth. O the pernicious caitiff! 
 
 How came you, Cassio, by that handkerchief 
 That was my wife’s? 
 
 Cas. I found it in my chamber; 
 
 And he himself confess’d but even now 320 
 
 That there he dropp’d it for a special purpose 
 Which wrought to his desire. 
 
 Oth. O fool! fool! fool! 
 
 Cas. There is besides in Roderigo’s letter 
 How he upbraids Iago that he made him 324 
 
 Brave me upon the watch; whereon it came 
 That I was cast: and even but now he spake. 
 
 After long seeming dead, Iago hurt him, 
 
 Iago set him on. 328 
 
 Lod. You must forsake this room and go with us; 
 Your power and your command is taken off, 
 
 330 taken off: taken away 
 
130 
 
 The Tragedy of Othello, 
 
 And Cassio rules in Cyprus. For this slave, 
 
 If there be any cunning cruelty 332 
 
 That can torment him much and hold him long, 
 
 It shall be his. You shall close prisoner rest. 
 
 Till that the nature of your fault be known 
 To the Venetian state. Come, bring him away. 
 
 Oth. Soft you; a word or two before you go. 337 
 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, 340 
 
 Speak of me as I am; nothing extenuate, 
 
 Nor set down aught in malice: then must you speak 
 Of one that lov’d not wisely but too well; 343 
 
 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 subdu’d eyes, 
 Albeit unused to the melting mood, 348 
 
 Drop tears as fast as the Arabian trees 
 Their medicinable gum. Set you down this; 
 
 And say besides, that in Aleppo once. 
 
 Where a malignant and a turban’d Turk 352 
 
 Beat a Venetian and traduc’d the state, 
 
 I took by the throat the circumcised dog, 
 
 And smote him thus. Stabs himself. 
 
 Lod. O bloody period! 
 
 Gra. All that’s spoke is marr’d, 
 
 Oth. I kiss’d thee ere I kilTcl thee ; no way but 
 this, [ Falling upon Desdemona .] 
 
 Killing myself to die upon a kiss. Dies. 
 
 Cas. This did I fear, but thought he had no 
 weapon ; 
 
 344 wrought: wrought upon, worked up 
 
 345 Perplex’d: desperately troubled 
 
 346 Indian; cf. n. 356 period : ending, close 
 
The Moor of Venice , V. ii 
 
 131 
 
 For he was great of heart. 
 
 Lod. [To Iago.~\ O Spartan dog! 360 
 
 More fell than anguish, hunger, or the sea. 
 
 Look on the tragic loading of this bed; 
 
 This is thy work; the object poisons sight; 
 
 Let it be hid. Gratiano, keep the house, 364 
 
 And seize upon the fortunes of the Moor, 
 
 For they succeed on you. To you, lord governor, 
 Remains the censure of this hellish villain, 
 
 The time, the place, the torture ; O ! enforce it. 
 
 Myself will straight aboard, and to the state 369 
 
 This heavy act with heavy heart relate. Exeunt. 
 
 360 Spartan: for fierceness and taciturnity 361 fell : deadly 
 
 365 seize upon: take legal possession of 
 367 censure: judicial sentencing 
 
 FINIS. 
 
NOTES 
 
 I. i. 4. ’Sblood. An oath, contracted from ‘God’s 
 blood’ ; as ’Zounds, line 86 below, is a contraction 
 from ‘God’s wounds,’ — the reference in both cases 
 being to Christ (as of one substance with God) on 
 the cross. In 1605 the superstitiously pious King 
 James caused an Act to be passed forbidding swear- 
 ing, blasphemy, etc., on the stage, and accordingly 
 these oaths are omitted in the 1623 edition of the 
 play, while other similar expressions throughout are 
 either omitted or softened; cf. Iago’s mild ejaculation 
 in IV. i. 147. 
 
 I. i. 13. bombast circumstance. Bombast was a 
 cheap kind of cotton stuff used for padding Elizabe- 
 than garments ; the obvious metaphorical use was very 
 common. 
 
 I. i. 21. Here, on the very threshold, is a serious 
 stumbling-block. Cassio has no wife, in the play. 
 This may be an accidental echo of Shakespeare’s 
 source, for Cassio’s prototype has a wife in Cinthio’s 
 novel (cf. Appendix A) ; or it may be a mere trick, 
 an effective line put in for the moment, regardless of 
 the later inconsistency, relying upon the audience’s 
 inability to apply to the play the minute cross- 
 examination possible in the study. (If any emenda- 
 tion be adopted, Tyrwhitt’s suggestion of ‘life’ for 
 ‘wife’ seems most plausible: the sense then being ‘too 
 civil by half,’ ‘too good to be true,’ etc., in keeping 
 with Iago’s later criticism in V. i. 18-20.) 
 
 I. i. 30. belee’d and calm’d. A nautical metaphor, 
 meaning ‘Have the wind (of Othello’s favor) taken 
 from my sails: be superseded by this interloper.’ 
 
 I. i. 31. By debitor and creditor. ‘By a dealer in 
 irrelevant technicalities.’ 
 
The Moor of V enice 
 
 133 
 
 counter-caster. ‘One who casts accounts, or reckons 
 by counters’; cf. Iago’s earlier term, arithmetician, 
 line 19 above. These expressions are all intended to 
 cast contempt on Cassio as a man of books and figures, 
 not of warlike deeds. 
 
 I. i. 33. God bless the mark! Originally this was 
 a pious formula to avert the consequences of an evil 
 omen ; then, by ironical inversion, it came to be a con- 
 temptuous interjection equivalent to ‘forsooth’ or a 
 mild oath. 
 
 ancient. This spelling represents the way in which 
 the word ‘ensign’ was pronounced. Cassio and Iago 
 were of much higher rank than their titles indicate, 
 for they were staff-officers, the commander-in-chief’s 
 immediate aides. 
 
 I. i. 39. in any . . . affin’d. ‘Am on any such 
 footing (terms) with him as to be bound’; or ‘in any 
 just sentence (opinion, manner of speaking) am 
 bound.’ 
 
 I. i. 63. complement. In spite of the unanimity of 
 all the Quartos and Folios on this point, most editors 
 have followed Rowe in spelling and interpreting this 
 word as compliment, ‘outward ceremony’; but in its 
 original form the word may mean ‘a completing 
 accessory or adjunct’ (N. E. D.), a corresponding 
 indication, or counterpart, which would make better 
 sense here. 
 
 I. i. 124. The tedious time about midnight; a 
 ‘toss-up,’ indeterminate odd or even, as to whether it 
 be the last moments of one day or the first of the 
 next. 
 
 I. i. 137. There is a reference here to Othello’s 
 being a ‘soldier of fortune,’ not a native of Venice. 
 Venetian law required that the commander-in-chief 
 of Venetian forces should be a politically disqualified 
 alien, so that no political ambition might distract him 
 from the strict performance of his military duties and 
 jeopardize the welfare of the state. 
 
134 
 
 The Tragedy of Othello . 
 
 I. i. 151. Cyprus wars. The historical date at 
 which the action of the play took place has usually 
 been given as 1570, on the strength of Reed’s asser- 
 tion that in that year ‘Mustapha, Selymus’ general, 
 attacked Cyprus,’ after having effected a junction 
 with another Turkish fleet at Rhodes. But in the 
 play (1) the Turks did not ‘attack’ Cyprus, and 
 (2) they were reported (I. iff. 14-31) as intending to 
 ‘attack’ Rhodes — which had been in their hands since 
 1522. The date of the action of the play must there- 
 fore be placed between 1471, the year in which the 
 Venetians assumed virtual sovereignty of Cyprus, and 
 1522, the year in which the Turks became masters 
 of Rhodes. The Turkish expedition described in the 
 play must then have been either too abortive for 
 record in history, or entirely fictitious: for none such 
 is known, between those dates [according to Malone 
 and Reed (Furness, 357) ; but the ‘hypothetical 
 attack’ cited in Appendix A ( 1 ) as ‘meditated, accord- 
 ing to report’ in 1508 (Furness, 374) would satisfy 
 all Shakespeare’s requirements], 
 
 I. ii. 13, 14. ‘And has, in actual effect (though not 
 by law), an influence as weighty as the Duke’s 
 own.’ Iago was simply ‘talking big’ in order to alarm 
 Othello by exaggerating Brabantio’s importance. 
 
 I. ii. 23. The word ‘unbonneted’ cannot be cer- 
 tainly explained, but the general sense of the passage 
 is clear: Othello, unknown to Brabantio, is of royal 
 descent and may therefore properly enter, without 
 sign or sense of inferiority, even upon the high es- 
 tate of matrimonial alliance with Brabantio’s family. 
 
 I. ii. 26. unhoused. Possibly merely ‘unmarried’ ; 
 but probably ‘unhampered,’ free as the open air; just 
 the opposite of ‘cabin’d, cribb’d, confin’d,’ Macbeth 
 III. iv. 24. 
 
 I. ii. 75. motion. The commentators are uncertain 
 here. Perhaps ‘motion’ means ‘power of motion’ (as 
 in Romeo and Juliet III. ii. 59), and thus ‘self- 
 
The Moor of Venice 
 
 135 
 
 control.’ Cf. our modern phrase ‘of one’s own 
 motion,’ which dates back to 1426, according to the 
 Oxford Dictionary. — Ritson paraphrases: ‘impair the 
 faculties.’ 
 
 I. ii. 98, 99. ‘If Othello is allowed to commit such 
 an outrage with impunity, Venice may just as well 
 give over the governing power outright to him and 
 his kind (slaves and aliens).’ 
 
 I. iii. S. d. Enter . . . attendants. A typical 
 specimen of the quaint stage directions frequent in 
 early plays. 
 
 I. iii. 10-12. ‘I do not feel so reassured by the 
 mere discrepancy in detail as not to credit, with 
 dreadful apprehensions, the underlying main point.’ 
 
 I. iii. 95. motion. The commentators suggest 
 ‘impulse,’ ‘natural desires,’ etc. ; yet the usual modern 
 meaning of the word is not impossible: ‘so still and 
 pure by nature that the mere physical incidents of 
 any action or exertion put her to the blush.’ 
 
 I. iii. 212-217. ‘Anyone can bear well the sentence 
 which inflicts a grievous penalty if he is not per- 
 sonally concerned in anything but the moral consola- 
 tions freely bestowed by the judge on such occasions; 
 but the poor condemned man must both pay the pen- 
 alty and suffer the sorrow, if he has no hope of re- 
 dress beyond mere silent endurance. All these moral- 
 izing adages are equivocal and worthless, however, 
 for they work equally well both ways — whether for 
 gratifying or embittering one’s feelings.’ Brabantio’s 
 sententious couplets are uttered in scornful ridicule 
 of the Duke’s stilted Senecan platitudes. 
 
 I. iii. 251. ‘My storming, forcing, daring of For- 
 tune’s apportionments.’ Perhaps the First Quarto’s 
 ‘scorne of Fortunes’ is the better reading. 
 
 I. iii. 258. moth, etc. A concentrated metaphor. 
 It suggests the futile fluttering of a moth, its con- 
 fined sphere indoors, and its triviality; while there 
 is also implied the sharp contrast between the dis- 
 
136 
 
 The Tragedy of Othello 
 
 carded, idle garments which are the moth’s prey, and 
 the apparel in active (military) use far removed from 
 the moth’s depredations. 
 
 I. iii. 265, 266. ‘Not to gratify mere lust and my 
 normal marital right, — for the wanton passions of 
 youth are dead in me.’ Othello is simply recipro- 
 cating Desdemona’s high-minded utterance above, 
 lines 254-256. 
 
 I. iii. 271. seel. Literally, a hawking term, mean- 
 ing to sew the lids of a falcon’s eyes together in order 
 to restrict the sight while the bird was being trained ; 
 thence used metaphorically in a variety of senses, 
 such as to blind, cover, conceal, restrain, fetter, etc. 
 
 II. i. 26. Veronesa. ‘Verennessa,’ Folio 1 ; ‘Vero- 
 nesso,’ Folios 2, 3, 4; ‘Veronessa,’ Quartos 1, 2; and 
 all these early editions have a colon after ‘put in,’ 
 and a comma after the disputed word, — which would 
 make ‘Veronesa’ refer to Cassio (whom we know to 
 be a Florentine). The emended punctuation adopted 
 in the text makes ‘Veronesa’ refer to the ship which 
 has just arrived, with the explanation that Verona, 
 though an inland town, might tit out a ship as part 
 of her tribute to Venice; and Sir Edward Sullivan, 
 in The Nineteenth Century for August, 1908, has 
 added probability to this interpretation by showing 
 that Verona was considered a maritime town in the 
 sixteenth century owing to the navigability of the 
 Adige. 
 
 II. i. 50, 51. ‘Therefore, while not foolishly over- 
 confident, I am emboldened to hope for the best.’ A 
 condensed figure almost incapable of precise literal 
 paraphrase. 
 
 II. i. 65. A much disputed, much emended pas- 
 sage. The gloss here and in the preceding line at- 
 tempts only a free version of one possible interpreta- 
 tion, based on the supposition that Cassio intended, 
 
The Moor of Venice 
 
 137 
 
 not a climactic advance in idea over line 63, but an 
 emphatic re-statement of the same idea. 
 
 II. i. 112. housewifery, housewives. Pronounced 
 ‘huzzifry,’ ‘huzzivs.’ The modern ‘hussy’ (merely a 
 phonetic transcription of ‘housewife’) shows the slur 
 intended. 
 
 II. i. 155. Probably some cant saying or ‘double 
 entendre/ now lost, gave point to this line in Shake- 
 speare’s day. No entirely satisfactory interpretation 
 has been brought forward, but one plausible expla- 
 nation is this: to exchange the seemingly best part of 
 a worthless thing for the seemingly worst part of a 
 really good thing. 
 
 II. i. 315. ‘If this poor wretch, whom I stoop to 
 follow up for the sake of utilizing his eagerness in 
 this hunt, has manhood enough to carry out my in- 
 structions about entrapping Cassio, why then I’ll 
 have Cassio on the hip.’ It should be stated that this 
 interpretation rejects Steevens’ emendation, almost 
 universally adopted by modern editors, of ‘trash’ 
 (hunting term, meaning to check a too forward dog 
 by fastening a weight about its neck) for ‘trace.’ The 
 interpretation of Steevens’ reading is this: ‘If this 
 worthless wretch of Venice, whom I have to restrain 
 because of his too great eagerness in pursuing Des- 
 demona.’ But no one unfamiliar with the rest of the 
 play could possibly extract this meaning from the 
 words ‘trash for his quick hunting,’ for up to this 
 point Iago has welcomed (not ‘checked’) Roderigo’s 
 eagerness and in fact has found it insufficient (cf. 
 I. iii. 340-392, and II. i. 217-220) ; and it is not until 
 two scenes later, at the very end of this act (II. iii. 
 372-391), that there is the least indication that Iago 
 is embarrassed by Roderigo’s over-eagerness. 
 
 II. iii. There was no new scene necessary here, on 
 the Elizabethan stage, and none is indicated in the 
 Folios or Quartos. Theobald first assigned a new 
 
138 
 
 The Tragedy of Othello . 
 
 location for the action after the Herald’s departure, 
 and Capell first added the caption ‘Scene iii.’ 
 
 II. iii. 59. ‘That keep their honor constantly in 
 mind’ (and are quick to construe anything as an insult 
 and to quarrel on slight grounds). 
 
 II. iii. 72. This song like the next (line 93) need 
 not necessarily be credited to Iago’s invention, or to 
 Shakespeare’s. The first was quite possibly an Eliza- 
 bethan tavern catch, and the second was certainly an 
 old English ballad. 
 
 II. iii. 136. ‘He’ll see the hour-hand of the clock 
 make two complete revolutions’ ; i.e., stay awake for 
 twenty-four hours at a stretch, get no sleep all night 
 long. 
 
 II. iii. 153. Either ‘slash him till he resembles a 
 Chianti bottle covered with straw net-work’ (Booth), 
 or ‘beat him till he runs to hide himself in one of the 
 wicker flasks we’ve just been using’ (Hart). Cf. also 
 Much Ado About Nothing I. i. 267: ‘Hang me in a 
 bottle like a cat And shoot at me,’ and the note 
 thereon. 
 
 II. iii. 163. Diablo. Oath or exclamation of ex- 
 citement: ‘the Devil!’ A typical Elizabethan affecta- 
 tion of elegance was this garnishing of the speech 
 with scraps of Spanish. 
 
 II. iii. 218. on . . . safety. ‘Guard-post estab- 
 lished to secure the general safety.’ Hendiadys for 
 ‘court of guard’ (cf. II. i. 221). 
 
 II. iii. 310. Hydra. A monster with several heads, 
 one of them immortal ; but whenever one of the others 
 was cut off, several new ones replaced it. The de- 
 struction of the Lernsean Hydra was the second of 
 the Twelve Labors of Hercules. 
 
 II. iii. 372, 373. ‘I seem to be hunting, not for any 
 spoils that I may gain, but merely for sound and 
 effect.’ To ‘fill up a cry’ was to contribute a needed 
 note in the harmonious barking of a pack of hounds — 
 
The Moor of V enice 
 
 139 
 
 which had nothing to do with the actual killing of the 
 quarry. 
 
 III. i. 2. S. d. Clown. The Clown here must have 
 been a licensed jester, like Touchstone, in Othello’s 
 train: cf. III. iv. 1-23. 
 
 III. i. 3, 4. The Neapolitans spoke Italian with a 
 marked nasal twang. 
 
 III. i. 43. Iago was a Venetian, Cassio a Floren- 
 tine; the latter merely means to say, ‘I never expe- 
 rienced more honesty and kindness even in one of 
 my own countrymen than in this man.’ (Malone.) 
 
 III. i. 52. Opportunity, in the fable, had no hair 
 on the back of the head and hence must be grasped 
 by the fore-lock. (Cf. I. iii. 80, and gloss.) 
 
 III. iii. 14-16. ‘He may either of himself think 
 it politic to keep me out of office so long, or he may 
 be satisfied with such slight reasons, or so many acci- 
 dents may’ arise to postpone from time to time his 
 intended re-instatement of me, ‘that I may be quite 
 forgotten.’ (Johnson.) 
 
 III. iii. 23. watch him tame. A metaphor drawn 
 from falconry: hawks were tamed, i.e., their fierce 
 spirit of resistance was broken, by deprivation of 
 sleep. 
 
 III. iii. 260-263. An elaborate metaphor drawn 
 from falconry. A ‘haggard’ was a wild hawk caught 
 when mature and often found to be irreclaimable, 
 unamenable to discipline; a word with such a mean- 
 ing readily lent itself to use as a term of reproach 
 applied to a loose woman. ‘Jesses’ were leather leg- 
 straps by which the hawk was fastened to the leash. 
 ‘The falconers always let the hawk fly [‘whistle her 
 off’ = start her] against the wind; if she flies with 
 the wind behind her, she seldom returns. If there- 
 fore a hawk was for any reason to be dismissed, she 
 was “let down the wind,” and from that time shifted 
 for herself and “preyed at fortune.” ’ (Johnson.) 
 
140 
 
 The Tragedy of Othello, 
 
 III. iii. 387. Her. This reading, ‘Her,’ is based 
 on Quartos 2, 3, and has been uniformly adopted in 
 standard modern editions; but the reading ‘My,’ of 
 the Folios and Quarto 1, may yet come to be consid- 
 ered superior. 
 
 III. iii. 454-461. Steevens cites Holland’s trans- 
 lation of Pliny’s Natural History, 1601, as the prob- 
 able source of Shakespeare’s assertion about the cur- 
 rent of the Pontic or Black Sea (the ancient Pontus 
 Euxinus). 
 
 III. iv. 47, 48. The commentators have brought 
 to light sufficient early plays on the words ‘hearts’ 
 and ‘hands’ (to which might be added Herrick’s 
 Panegerick to Sir Lewis Pemberton, lines 35-43) to 
 show that this was a favorite quibble. The full mean- 
 ing here is not readily grasped (even by Desdemona: 
 cf. line 49), but one reasonable interpretation of the 
 main drift is the following: ‘The joining of hands 
 in marriage formerly meant the giving of hearts also, 
 but nowadays we have a formal outward union of 
 hands without any accompanying inward union of 
 hearts’; i.e., he accuses Desdemona of secretly loving 
 Cassio instead of her husband. 
 
 III. iv. 172. keep a week away. This passage, 
 Lodovico’s arrival with the message from the Senators 
 presupposing their receipt of a report from Othello 
 about the Turks’ discomfiture (IV. i. 229 ff.), Rode- 
 rigo’s ‘Every day thou daffest me’ (IV. ii. 176), and 
 various other points in the play would seem to imply 
 that many days must have elapsed since Othello’s 
 arrival in Cyprus; yet an unbroken sequence of time- 
 indications can be cited to show that he landed Sat- 
 urday afternoon and killed Desdemona Sunday night. 
 In this dilemma (which arises, of course, only in close 
 study of the play, never in witnessing a performance) 
 Professor John Wilson, in 1850, proposed the theory 
 that Shakespeare consciously or unconsciously em- 
 ployed ‘Double Time,’ i.e.. Dramatic or Short Time 
 
The Moor of V enice 
 
 141 
 
 and Historic or Long Time: ‘Short for maintaining 
 the tension of the passion. Long for a thousand gen- 
 eral needs ; . . . one for our sympathy with Othello’s 
 tempest of heart, one for the verisimilitude of the 
 transaction.’ The question is ably handled in several 
 works listed in Appendix D. 
 
 IV. i. 6. ‘It is dissimulation towards the devil to 
 act wickedly in outward appearances and yet “mean 
 virtuously.” ’ (Hart.) 
 
 IV. i. 17. ‘People often have honor (receive out- 
 ward respect) who have no honor (possess no inward 
 virtue)’; or, more simply: ‘Often some people seem 
 to be honorable who really are not so.’ 
 
 IV. i. 35-44. These are the disjointed ejaculations 
 of an agonized mind on the verge of collapse. There 
 are few phrases in it where the reference is not fairly 
 clear. 
 
 IV. i. 89, 90. all . . . man. ‘Altogether given 
 over to mere passionate impulse, and not a real man.’ 
 
 IV. i. 110. This line and all Othello’s speeches 
 down to line 176 are supposed to be spoken in his 
 hiding-place, where he is both visible and audible to 
 the audience but neither visible nor audible to Cassio 
 and Iago. 
 
 IV. i. 282, 283. ‘I devoutly wish that he were his 
 true self — if indeed (but far be it from me to assert 
 that such is the case) he really is anything less than 
 what we had hoped he might be.’ A purposely in- 
 volved and guarded utterance: lines 288, 289 give 
 Iago’s professed motive for his reticence; and cf. his 
 similar tactics in III. iii. 133-154. 
 
 IV. ii. 53, 54. A much-discussed crux, capable 
 only of some such tentative explanation as the fol- 
 lowing: ‘The pilloried target for all scornful Time to 
 pass slowly by and point his seemingly unmoving 
 finger at.’ Othello shudders at his prospective un- 
 enviable immortality as a proverbial bv-word or 
 
142 
 
 The Tragedy of Othello, 
 
 synonym for a deceived husband. The Folios read 
 ‘slow, and moving,’ defensible as hendiadys for 
 ‘slowly moving’ : but this reduces the vividly imagina- 
 tive paradox of the Quarto reading to tame matter- 
 of-fact prose. 
 
 IV. ii. 62. cherubin. A plural form used with a 
 singular signification, by a common mistake. That 
 the cherub was traditionally painted with a scarlet 
 countenance is vouched for by Chaucer’s phrase, ‘a 
 fyr-reed cherubinnes face’ ( Prologue , 624). 
 
 IV. ii. 66. quicken . . . blowing. The reference 
 is to the blow-fly, which lays its eggs on meat — cf. 
 shambles — and ‘again becomes pregnant [quicken] 
 the very instant it has laid a batch of eggs [blow- 
 ing].’ (Deighton.) 
 
 IV. ii. 229. Mauritania. It is on such expressions 
 as this and Iago’s ‘Barbary’ (I. i. 112) that those 
 rely who wish to prove that Shakespeare thought of 
 Othello as a bronze-colored Moor, while those who 
 maintain that he conceived of him as a jet-black full- 
 blooded negro cite I. i. 66, I. ii. 70, III. iii. 388, 389, 
 etc. The modern stage practice, of presenting 
 Othello as light brown or bronzed, dates only from 
 Edmund Kean’s innovation; see Appendix B. This 
 problem is fully discussed in some of the works listed 
 in Appendix D. 
 
 IV. iii. 41. The poor soul, etc. This is an old 
 ballad, preserved in various versions with various 
 musical settings. Shakespeare has altered it, appar- 
 ently, for in the version in Percy’s Reliques the for- 
 saken lover is a man. 
 
 IV. iii. 108. ‘Not to make ill-treatment an excuse 
 for bad conduct, but to improve under adversity.’ 
 
 V. ii. S. d. Enter . . . bed. Another interesting 
 stage direction, taken from the Quartos. On the 
 Elizabethan stage Othello would enter and, drawing 
 
The Moor of Venice 
 
 143 
 
 the curtain before the innermost rear stage, under 
 the balcony, reveal Desdemona in bed asleep. 
 
 V. ii. 12. Promethean heat. Prometheus, in classi- 
 cal mythology, stole from heaven the sacred element 
 of fire, originally unobtainable on the earth. Othello 
 means here that the spark of life, once extinguished, 
 cannot be rekindled without some superhuman agency. 
 
 V. ii. 82. Being . . . pause. A disputed line. 
 ‘While it is being done, there must be no pause’ (re- 
 ferring to lines 85-88, below) ; or, ‘The agony of un- 
 certainty being over now and my decision made, the 
 mere carrying out of my determination gives me no 
 pause’ (referring to III. iii. 190-192). 
 
 V. ii. 92. The . . . high. Probably referring to 
 the outcry resulting from the attack on Cassio; 
 Othello is accounting to himself for Emilia’s disturb- 
 ing presence outside. 
 
 V. ii. 100. yawn at alteration. ‘Crack open at 
 this monstrous change.’ Earthquakes were believed 
 to accompany or follow eclipses. These lines, 96- 
 100, recall Othello’s earlier saying. III. iii. 91, 92. 
 
 V. ii. 215. This statement is inconsistent with 
 III. iv. 56, 57, though perhaps reconcilable by 
 casuistry. 
 
 V. ii. 252. the ice brook’s temper. The gloss gives 
 the usual interpretation; but ‘temper’ here may also 
 mean ‘temperature’ (cf. N. E. D., s. v., 7). The 
 sense of the phrase then would be ‘cold and ruthless 
 as ice.’ 
 
 V. ii. 346. Indian. This is the reading of Folios 
 2, 3, 4, and all the Quartos, as well as of practically 
 all modern editions. The First Folio alone gives 
 ‘Iudean’ (i.e., Judean), which has been defended by 
 few modern critics. 
 
APPENDIX A 
 
 Sources of the Play 
 
 Furness cites two actual historical personages who 
 have been named as possible models for Shakespeare’s 
 Othello. (1) Christopher Moro [the latter word 
 signifying in Italian either mulberry or blackamoor], 
 a heroic Venetian general, returned to Venice in 1508 
 from the lord-lieutenancy of Cyprus, after the failure 
 of ‘an hypothetical’ or threatened Turkish attack 
 on the island, in mourning for his recently deceased 
 wife. (2) San Pietro di Bastelica, an Italian adven- 
 turer of great distinction in the service of France, in 
 1563 returned abruptly from a mission to Constan- 
 tinople (to beg assistance for the Corsicans from the 
 Turks) because of artfully circulated reports of his 
 innocent wife’s infidelity; thereupon, after a scene 
 of mingled tenderness and ferocity on his part and 
 gentle submission on hers, he asked pardon upon his 
 knees for the deed he was about to commit and 
 then deliberately strangled her with her handkerchief. 
 The stories of both these personages may well have 
 been retailed in England within Shakespeare’s hear- 
 ing and so may have influenced him; but the chief 
 accepted source for the play remains a prose tale by 
 Cinthio. 
 
 Giovanbattista Giraldi, called Cinthio, was a 
 sixteenth-century novelist, poet, dramatist, and 
 university professor of Ferrara who compiled, and 
 published at Monteregale, Sicily, in 1565, an edify- 
 ing ‘philosophical’ work wherein ten moral virtues 
 or their opposites are illustrated by ten appropriate 
 tales apiece, — thence entitled Hecatommithi ( The 
 Hundred Fables). The seventh novel of the third 
 decade is the source of Othello; but Shakespeare, 
 
The Moor of V enice 
 
 145 
 
 unless we credit him with a knowledge of Italian or 
 French (a French translation appeared in 1583) or 
 Spanish (a Spanish translation appeared in 1590), 
 seemingly gained his acquaintance with the Hecatom- 
 mithi at second hand, for no English translation of 
 the work in the sixteenth or seventeenth centuries is 
 known to us. 
 
 Cinthio gives a name to none of his prototypes of 
 Shakespeare’s characters except the heroine, who is 
 called ‘Disdemona’; Othello is simply ‘the Moor,’ 
 Iago ‘the Ensign,’ Cassio ‘the Captain of the troop’ 
 or ‘the Captain,’ Emilia ‘the Ensign’s wife,’ and 
 Bianca ‘a courtesan,’ while Brabantio, Lodovico, 
 Gratiano, Montano, Roderigo, the Duke, and the 
 Clown do not appear, and on the other hand ‘the 
 Captain of the troop’ is provided with an unnamed 
 wife. Cinthio’s narrative may be summarized thus, 
 for the sake of the instructive lesson it affords in 
 Shakespeare’s method of plot-construction: — 
 
 Despite parental opposition, Disdemona loved and 
 married a valiant Moor who had rendered distin- 
 guished military service to the Venetian state, and 
 the two lived happily together in Venice for some 
 time, till the Senate appointed the Moor to the com- 
 mand of the troops being sent out as a new garrison 
 for Cyprus. Rather than be separated from her 
 husband, Disdemona insisted upon sharing the perils 
 of the voyage. They accordingly set sail and in due 
 time ‘with a perfectly tranquil sea arrived safely at 
 Cyprus .’ 1 Now a wicked Ensign among the soldiery, 
 of whose wife Disdemona became very fond, fell pas- 
 sionately in love with the Moor’s wife and ‘bent all his 
 thoughts to achieve his conquest ; . . . but she, whose 
 every wish was centred in the Moor, had no thought 
 for this Ensign more than for any other man.’ The 
 
 i The quotations are taken from Taylor’s translation, 
 1855, as reprinted by Furness. 
 
14-6 
 
 The Tragedy of Othello_ 
 
 Ensign, ascribing his failure to a certain Captain of 
 a troop to whom Disdemona had always shown great 
 kindness, because of the Moor’s affection for him, 
 determined to revenge himself by bringing about the 
 death of the Captain and destroying the Moor’s love 
 for the lady. ‘Not long afterwards it happened that 
 the Captain, having drawn his sword upon a soldier 
 of the guard, and struck him,’ was punished by being 
 deprived of his rank; Disdemona’s impulsive inter- 
 cession thereupon, out of mere friendliness and con- 
 cern lest her husband should ‘lose so dear a friend,’ 
 gave the wicked Ensign a hint upon which he 
 promptly acted by dexterously insinuating to the 
 Moor, ‘after feigning at first great reluctance to say 
 aught that might displease,’ that the lady sought the 
 Captain’s restoration to favor for her own sake, ‘and 
 all the more since she has taken an aversion to your 
 blackness.’ The enraged husband’s demand for posi- 
 tive proof was temporarily satisfied by lies and 
 promises, and afterwards ‘the villain resolved on a 
 new deed of guilt. 
 
 ‘Disdemona often used to go to visit the Ensign’s 
 wife, and remained with her a good part of the day. 
 Now the Ensign observed that she carried about 
 with her a handkerchief, which he knew the Moor 
 had given her, finely embroidered in the Moorish 
 fashion. Then he conceived the plan of taking this 
 kerchief from her secretly, and thus laying the snare 
 for her final ruin. The Ensign had a little daughter, 
 a child three years of age, who was much loved by 
 Disdemona, and one day, when the unhappy lady 
 had gone to pay a visit at the house of this vile man, 
 he took the little child up in his arms and carried 
 her to Disdemona, who took her and pressed her to 
 her bosom; whilst at the same instant this traitor, 
 who had extreme dexterity of hand, drew the kerchief 
 from her sash so cunningly that she did not notice 
 him.’ 
 
The Moor of V enice 
 
 147 
 
 After this ‘it seemed as if fate conspired with the 
 Ensign to work the death of the unhappy Disdemona.’ 
 The handkerchief was dropped in the Captain’s 
 apartment and found by him; the Moor was made 
 to witness a conversation in which the Ensign’s 
 pantomime seemed to indicate that the Captain was 
 confessing everything; Disdemona naturally failed 
 to produce the handkerchief when it was called for; 
 and the Moor, wholly convinced now, ‘fell to medi- 
 tating how he should put his wife to death, and like- 
 wise the Captain, so that their death should not be 
 laid to his charge.’ ‘The Ensign’s wife, who knew 
 the whole truth, but dared not, from fear of her 
 husband, disclose a single circumstance,’ tried to 
 warn Disdemona indirectly, but the Ensign pointed 
 out to the Moor the Captain’s wife ‘standing at a 
 window, where she could be seen by all the passers-by 
 in the street,’ with the handkerchief in her posses- 
 sion, and the doom of the two innocent victims was 
 sealed. ‘After much entreating and being richly 
 paid,’ the Ensign finally overcame his fears and one 
 dark night assaulted the Captain, who was ‘on his 
 way to visit a courtesan,’ and with one blow cut off 
 his right leg at the thigh; only the wounded man’s 
 vigorous sword-play and the speedy response to his 
 cries for assistance saved his life. 
 
 Then the Ensign and the Moor ‘consulted of one 
 means and another — poison and daggers — to kill poor 
 Disdemona, but could resolve on nothing. At length 
 the Ensign said, “A plan comes to my mind, which 
 will give you satisfaction and raise cause for no sus- 
 picion. It is this: the house in which you live is very 
 old, and the ceiling of your chamber has many cracks ; 
 I propose we take a stocking filled with sand, and 
 beat Disdemona with it till she dies ; thus will her 
 body bear no signs of violence. When she is dead we 
 can pull down a portion of the ceiling, and thus make 
 it seem as if a rafter falling on her head had killed 
 
148 
 
 The Tragedy of Othello, 
 
 the lady. Suspicion cannot rest on you, since all men 
 will impute her death to accident.” This cruel counsel 
 pleased the Moor, and he only waited for a fitting 
 time to execute the plot. One night, when he and 
 Disdemona had retired to bed, the Ensign, whom the 
 Moor had concealed in a closet which opened into the 
 chamber, raised a noise in the closet, according to a 
 concerted plan; whereat the Moor said to his wife, 
 “Did you not hear that noise?” 
 
 ‘ “Indeed I heard it,” she replied. 
 
 ‘ “Rise,” said the Moor, “and see what ’tis.” 
 
 ‘The unhappy Disdemona rose from bed, and the 
 instant she approached the closet, out rushed the 
 Ensign, and being strong and of stout nerve, he beat 
 her cruelly with the bag of sand across her back ; 
 upon which Disdemona fell to the ground, scarce able 
 to draw her breath; but with the little voice she had 
 left, she called upon the Moor for aid. But the Moor, 
 leaping from bed, exclaimed, “Thou wickedest of 
 women, thus has thy falseness found its just re- 
 ward.” . . . The wretched lady, hearing these words, 
 and feeling that she was near her end (for the 
 Ensign had given her another blow), appealed to the 
 justice of Heaven, since justice here had failed her, 
 in proof of her fidelity and truth ; and as she was thus 
 calling Heaven to witness, the wicked Ensign in- 
 flicted a third blow, under which she sank lifeless on 
 the floor. Then the Ensign and the Moor, laying 
 Disdemona on the bed and wounding her head, pulled 
 down part of the ceiling of the chamber as they had 
 arranged; whereupon the Moor began to call aloud 
 for help, exclaiming that the house was falling. 
 Hearing this uproar, the neighbors all came running 
 up, and there found Disdemona lying dead beneath 
 a rafter, — a sight which, from the good life of that 
 poor lady, did fill all hearts with sorrow.’ 
 
 The two murderers escaped detection for the time 
 being, but remorse finally caused the Moor so to hate 
 
The Moor of Venice 
 
 149 
 
 his accomplice that, kept from slaying him by fear of 
 consequences, he deprived him of his rank and dis- 
 missed him. In revenge the Ensign told the Captain, 
 now going about on a wooden leg, that it was the 
 Moor who had cut off his leg and killed Disdemona; 
 they both repeated these charges before the Senate; 
 and the Moor was thereupon brought pinioned to 
 Venice, tortured, imprisoned, and ‘condemned to per- 
 petual banishment, in which he was eventually slain 
 by the kinsfolk of Disdemona, as he merited. The 
 Ensign returned to his own country, and following 
 up his wonted villainy,’ lodged a false accusation 
 against a companion, for which he was tortured so 
 violently to make him prove his charges that ‘his body 
 ruptured’ and ‘he died a miserable death. Thus did 
 Heaven avenge the innocence of Disdemona.’ 
 
APPENDIX B 
 
 The History of the Play 
 
 On the strength of Malone’s assertion, backed by 
 a now generally credited reference in the Revels 
 Books, the composition of Othello is assigned to the 
 year 1604; but no printed version is known to have 
 appeared for eighteen years after that time, until 
 the First Quarto was published by Thomas Walklev, 
 in 1622, having been licensed October 6, 1621. This 
 is the latest in date of all Shakespearean quarto first 
 editions of single plays before the appearance of the 
 famous collected edition of the plays by Heminge 
 and Condell, known as the First Folio, in 1623; and 
 indeed Walkley’s advance knowledge of the forth- 
 coming folio publication probably accounts for this 
 quarto issue as an attempt to make something out of 
 his single holding while there was yet time. The 
 texts of the First Quarto and the First Folio are 
 presumably based on two different playhouse copies ; 
 but, though the former is probably the earlier (for it 
 contains in full the oaths forbidden by the Act 
 against Swearing on the Stage, 1605, and duly 
 expurgated in the Folio; cf. note on I. i. 4), the latter 
 is unquestionably the better and more authoritative 
 text. The Folio contains about 160 lines lacking in 
 the Quarto, many of them absolutely essential, while 
 the Quarto contains only about a dozen peculiar to 
 itself, few of them important. The Folio includes 
 all the modern divisions into acts and scenes but one 
 (cf. note on II. iii.), while the Quarto records only 
 three such divisions. The Folio gives the list of 
 Dramatis Personas, as reproduced in the present 
 edition, while the Quarto does not. And in the great 
 majority of cases where the two versions differ 
 
The Jloor of Venice 
 
 151 
 
 verbally, the Folio gives the better reading (cf. 
 Evans’ introduction to Praetorius’ facsimile reprint 
 of the First Quarto). The later Quartos (1630, 1655, 
 1681, 1687, 1695) and Folios (1632, 1663-4, 1685-6) 
 possess little or no independent authority. 
 
 The disputed reference in the Revels Books gives 
 the earliest accepted date for a performance of 
 Othello, viz., November 1 , 1604, ‘in the Banketinge 
 house at Whithall.’ Richard Burbage, the leading 
 tragedian of Shakespeare’s company, ■won great fame 
 in the role of Othello, as attested by tributes in verse 
 upon his death, in 1619. The title-page of the First 
 Quarto assures us that the play had ‘been diverse 
 times acted at the Globe, and at the Black Friers, by 
 his Maiesties Servants,’ but the Shakspere Allusion 
 Book records only two performances between 1604 
 and 1622: one before the German Ambassador, at the 
 Globe, April 30, 1610, and the other before ‘the 
 Princes Hignes the Lady Elizabeth and the Prince 
 Pallatyne Elector,’ presumably at Whitehall, in 1613. 
 Three other performances can be definitely dated 
 before the closing of the theatres, in 1642; viz., No- 
 vember 22, 1629; May 6, 1635, ‘att the bla: ffryers’; 
 and December 8, 1636, before the King and Queen at 
 Hampton Court; but other references show that the 
 play’s popularity was far greater than these meagre 
 accounts would indicate. In the Allusion Book’s 
 ‘List of Shakspere’s Works, arranged according to 
 the number of allusions to each’ during the period 
 from 1591 to 1700, Hamlet leads with 95 references, 
 and Othello stands fifth with 56. 
 
 The modern era on the English stage begins with 
 the reopening of the theatres at the Restoration, when 
 actresses and painted scenery were first introduced 
 as regular features of public performances. Here 
 Othello figures conspicuously, for on the eighth of 
 December, 1660, at the Red Bull, the first woman to 
 appear on the public stage in England played the 
 
152 
 
 The Tragedy of Othello 
 
 part of Desdemona. The experiment was under- 
 taken with some misgivings, as Jordan’s defensive 
 prologue shows: 
 
 In this reforming age 
 We have intents to civilize the Stage. 
 
 Our ‘women’ are defective, and so siz’d 
 
 You’d think they were some of the Guard disguiz’d; 
 
 For (to speak truth) men act, that are between 
 Forty and fifty, Wenches of fifteen; 
 
 With bone so large, and nerve so incomplyant. 
 
 When you call Desdemona, enter Giant. 
 
 As might be expected, Pepys has some interesting 
 remarks on Restoration performances of Othello: 
 ‘1660, October 11. — To the Cockpitt to see “The 
 Moore of Venice,” which was well done. Burt acted 
 the Moore ; by the same token, a very pretty lady that 
 sat by me, called out, to see Desdemona smothered.’ 
 ‘1669, February 6. — To the King’s playhouse, and 
 there in an upper box . . . did see “The Moor of 
 Venice”: but ill acted in most parts; Mohun, which 
 did a little surprize me, not acting Iago’s part by 
 much so well as Clun used to do : nor another. Hart’s 1 
 which was Cassio’s; nor indeed, Burt doing the 
 Moor’s so well as I once thought he did.’ These 
 actors belonged to Sir William Davenant’s 2 Drury 
 Lane company; in one cast in 1663, with the above 
 named, Cartwright, a great Falstaff, played Brabantio 
 and Mrs. Hughes Desdemona. 
 
 Othello remained a particular favorite throughout 
 the Restoration and Queen Anne periods, largely 
 owing to the genius of the great Thomas Betterton 
 (1635 P-1710). Steele’s tribute in the Tatler to 
 Betterton’s ‘wonderful agony’ in the last three acts, 
 is familiar, and Colley Cibber’s summary often 
 quoted: ‘Betterton was an actor as Shakespeare was 
 an author, both without competitors, formed for the 
 
 1 Shakespeare’s grandnephew. 
 
 2 Shakespear e’s godson (?). 
 
The Moor of Venice 
 
 153 
 
 mutual assistance and illustration of each other’s 
 genius’ (Genest I, 492). Genest’s record shows that 
 Othello was produced practically every season during 
 the period covered, 1660-1830, and, what is more 
 significant still, produced in its original form, when 
 almost every other Shakespearean or Elizabethan 
 play was presented only in some mutilated ‘adapta- 
 tion’ or ‘revision.’ 
 
 Betterton’s mantle descended upon Barton Booth 
 (1681-1733), whose Othello was considered by Colley 
 Cibber his best role. Like Betterton, he probably 
 played the part in the court-dress of the period. His 
 successor, Quin, who dominated, the stage till Gar- 
 rick’s triumphal entry in 1741, appeared in an 
 English military uniform, a large powdered wig, and 
 white gloves ; when the latter were removed, the 
 sudden disclosure of his blackened hands made 
 emphatic Othello’s alien race. David Garrick (1717- 
 1779) made one of his few failures when he attempted 
 the role of Othello, in spite of his great success as 
 Hamlet, Macbeth, and Lear, and wisely avoided the 
 part. Barry’s splendid impersonation of the Moor, 
 and Macklin’s and Henderson’s of Iago, save the 
 credit of the performances of this period. Even 
 Kemble failed to costume Othello properly, while his 
 wonderful sister, Mrs. Siddons, was a far better Lady 
 Macbeth than Desdemona. Edmund Kean won from 
 all critics the most complete and superlative approval 
 ever accorded any interpreter of Othello’s part; the 
 descriptions of his performance make one wonder 
 at the change that has come over actors (or 
 audiences ?) in our own time. As is well known, Kean 
 fell stricken upon the shoulder of his son Charles 
 (playing Iago) during what was to have been his 
 farewell appearance at Covent Garden, March 25, 
 1833, and died a few weeks later. He was the first 
 to present Othello as a light brown or bronzed Moor 
 instead of as. a jet-black negro; and he was also a 
 
154 
 
 The Tragedy of Othello, 
 
 very fine Iago. Junius Brutus Booth played Iago 
 to Kean’s Othello in a notable competitive perform- 
 ance at Drury Lane, February 20, 1817, and later, 
 chiefly in America, created an interesting if not 
 wholly convincing interpretation of the Moor as a 
 case of Oriental racial characteristics slowly over- 
 coming an artificial Christian civilization. William 
 C. Macready (1793-1873), who was the first to 
 costume Othello with complete correctness, was 
 really greater as Iago. Sir Henry Irving’s first 
 appearance as Othello, February 14, 1876, at the 
 London ‘Lyceum,’ was too untrammeled by tradition 
 to be appreciated; but on May 2, 1881, he began a 
 brilliantly successful engagement at the ‘Lyceum’ 
 with Edwin Booth, the two actors alternating the 
 roles of Othello and Iago at successive performances, 
 to the Desdemona of Ellen Terry, the Cassio of 
 William Terriss, and the Roderigo of Arthur Wing 
 Pinero. Booth’s Othello far surpassed Irving’s, but 
 the two were perhaps evenly matched as Iago. The 
 famous Italian actor, Tommaso Salvini, was also 
 thrilling audiences in Europe and America in the ’70’s 
 and ’80’s by the almost animal passionateness of his 
 interpretation of Othello’s jealousy. Sir Johnston 
 Forbes-Robertson essayed Othello in 1898, and 
 again, with Gertrude Elliott as Desdemona, in May, 
 1913; but his Othello is vastly inferior to his Hamlet. 
 Sir Herbert Beerbohm Tree produced Othello in 
 London, in April, 1912, witli his usual scenic elabora- 
 tion, Laurence Irving playing the part of Iago and 
 Phyllis Neilson-Terry Desdemona. 
 
 America may claim at least two very great per- 
 formers of the two roles (for most great Othellos 
 have also been great Iagos), in Edwin Forrest (1806- 
 1872) and Edwin Booth (1833-1893), while John 
 Edward McCullough (1837-1885) was also successful. 
 Richard Mansfield steadily declined to attempt the 
 part, on the ground that he could add nothing to 
 
The Moor of Venice 
 
 155 
 
 Salvini’s performance. E. H. Sothern appeared 
 early in his career as Roderigo in one of McCul- 
 lough’s last performances, but since then has confined 
 himself for his chief undertakings to Shakespeare’s 
 other plays. William Faversham gave a deserving 
 but unsuccessful performance, in 1913. Robert 
 Bruce Mantell has always included Othello in his 
 Shakespearean repertory, and with some success; but 
 his performances latterly have lacked inspiration and 
 insight, while his supporting company has usually 
 been very weak. 
 
APPENDIX C 
 
 The Text of the Present Edition 
 
 The text of the present volume is, by permission 
 of the Oxford University Press, that of the Oxford 
 Shakespeare, edited by the late W. J. Craig, except 
 for the following deviations: 
 
 1. The stage directions of the early editions have 
 been restored as far as possible, with necessary 
 modern additions in square brackets. 
 
 2. The spelling of a few words — such as vil- 
 lainous, everywhere, Pontic, and deserts — has been 
 normalized. 
 
 3. Since the Oxford text is admittedly eclectic, 
 no violation of principle seemed involved in making 
 several departures from it in punctuation and word- 
 ing, — usually in the direction of a return to the First 
 Folio. In the following list of verbal departures, the 
 readings adopted in the present text precede the 
 colon, while Craig’s readings follow it; and the folio 
 or quarto authority is given wherever involved: 
 
 [Dramatis Personae] FI (spelling modernized): Dramatis 
 Personae (wholly modern) 
 
 I. i. 35 of service Ff, Qq: of the service 
 39 Whether Ff, Qq: Whe’r 
 63 complement Ff, Qq: compliment 
 72 chances Ff: changes Qq 
 
 ii. 53 Iago. Marry, to — [Enter Othello.]: [Re- 
 
 enter Othello.] Iago. Marry, to — 
 
 iii. 4 hundred forty Ff : hundred and forty Qq F4 
 
 139 traveller’s Ff: travels’ Qq 
 
 200 grise Ff: grize 
 
 387 chang’d Qq: changed 
 
 I’ll go seU Q 2, 3: I’ll sell Ff 
 
 388 (Omitted. Ff): Go to; farewell! put 
 
 money enough in your purse. Q1 
 
The Moor of Venice 
 
 157 
 
 II. i. 201 
 
 315 
 iii. 270 
 
 III. iii. 170 
 180 
 237 
 
 316 
 
 IV. i. 3, 5 
 
 137 
 ii. 47 
 54 
 
 197 
 iii. 107 
 
 V. ii. 350 
 
 [Kissing her ] the greatest discords be: the 
 greatest discords be, [Kissing her. 
 trace Ff, Qq: trash 
 sense Ff: offence Qq 
 strongly Qq: soundly Ff 
 resolv’d Ff, Qq: resolved 
 fall Ff, Qq: fail (misprint?) 
 
 Why, [Snatching it ] : you? [Snatches it.] 
 
 what’s that Qq: what is that Ff 
 
 in bed Ff: a-bed 
 
 comes Ff, Qq: come (misprint) 
 
 they Ff: he Qq 
 
 unmoving Qq: and moving Ff, (substan- 
 tially) 
 
 fopped Ff, Qq: fobbed 
 uses Ff, Qq 2, 3: usage Q1 
 medicinable Ff: med’cinable 
 
APPENDIX D 
 
 Suggestions for Collateral Reading 
 
 Thomas Rymer: A Short View of Tragedy . . . 
 with some Reflections on Shakespear. London, 
 1692-3. (A curiosity of literary criticism. Chapter 
 vii, covering pages 86-146, is devoted to coarse abuse 
 of Othello ; it is faithfully reprinted in J. E. Spin- 
 garn’s Critical Essays of the Seventeenth Century, 
 II. 219-256. Oxford, 1908.) 
 
 Charles Lamb: On the Tragedies of Shakespeare, 
 considered with reference to their fitness for stage 
 representation. London, 1811. 
 
 William Hazlitt: Characters of Shakespear’ s Plays. 
 London, 1817. 
 
 Mrs. Anna Jameson: Characteristics of Women, 
 Moral, Poetical and Historical. London, 1833. 
 
 Samuel Taylor Coleridge: Specimens of the Table 
 Talk. London, 1835. The Literary Remains in 
 Prose and Verse. 4 vols. London, 1836-1839. 
 
 Henry Norman Hudson: Lectures on Shakespeare. 
 New York, 1848. 
 
 Helena Faucit, Lady Martin: On Some of Shake- 
 speare’s Female Characters. London, 1885. 
 
 William Robertson Turnbull: Othello: A Critical 
 Study. Edinburgh, 1892. (The merits of this rather 
 pretentiously elaborate work are almost entirely offset 
 by its fulsome absurdities.) 
 
 Andrew Cecil Bradley: Shakespearean Tragedy. 
 London, 1904. (The finest contribution, in its field, 
 in recent years.) 
 
 Walter Raleigh: Shakespeare. (English Men of 
 Letters Series.) London, 1907. (Contains an un- 
 usually satisfying brief analysis of the tragic appeal 
 of Othello .) 
 
The Moor of V enice 
 
 159 
 
 Algernon Charles Swinburne: Three Plays of 
 Shakespeare. New York, 1909. (The extreme of 
 impressionistic appreciation. See also his A Study 
 of Shakespeare, London, 1879, for further rhapsody.) 
 
 E. E. Stoll: Othello: An Historical and Compara- 
 tive Study. Minneapolis, 1915. (The extreme of 
 rationalistic depreciation.) 
 
 H. H. Furness: A New Variorum Edition of 
 Shakespeare. Vol. VI: Othello. Philadelphia, 1886. 
 (Indispensable.) 
 
INDEX OF WORDS GLOSSED 
 
 (Figures in full-faced type refer to page-numbers) 
 
 abhor: 103 (IV. ii. 162) 
 abuse: 27 (I. iii. 401) 
 accountant: 39 (II. i. 305) 
 acknown on’t: 70 (III. iii. 
 320) 
 
 act: 3 (I. i. 62) 
 addiction: 40 (II. ii. 6) 
 addition: 89 (IV. i. 105) 
 advantage: 104 (IV. ii. 179) 
 affection: 110 (IV. iii. 101) 
 affin’d: 2 (I. i. 39) 
 affinity: 57 (III. i. 49) 
 after: 14 (I. iii. 35) 
 agnize: 21 (I. iii. 232) 
 aim: 13 (I. iii. 6) 
 alacrity: 22 (I. iii. 233) 
 alarum: 42 (II. iii. 27) 
 all in spleen, etc.: 88 (IV. 
 i. 89, 90) 
 
 allowance, your: 6 (I. i. 
 
 128) 
 
 all’s one: 107 (IV. iii. 23) 
 Almain: 44 (II. iii. 87) 
 an: 91 (IV. i. 164) 
 ancient: 2 (I. i. 33) 
 answerable sequestration: 26 
 (I. iii. 351) 
 antres: 18 (I. iii. 140) 
 approv’d (tested) : 16 (I. 
 
 iii. 77) 
 
 approv’d (convicted) : 49 
 
 (II. iii. 213) 
 
 apt . . . credit: 39 (II. i. 
 299) 
 
 'arithmetician: 2 (I. i. 19) 
 as . . . north: 125 (V. ii. 
 
 I 218 > 
 
 'aspics: 75 (III. iii. 451) 
 
 assay of reason: 13 (I. iii. 
 18) 
 
 atone: 94 (IV. i. 245) 
 
 Barbary: 5 (I. i. 112) 
 bauble: 90 (IV. i. 137) 
 be circumstanc’d : 84 (III. 
 iv. 200) 
 
 before me!: 90 (IV. i. 147) 
 being . . . pause: 119 (V. 
 
 ii. 82) 
 
 be-lee’d and calm’d: 2 (1. i. 
 30) 
 
 bells: 33 (II. i. 110) 
 beshrew: 82 (III. iv. 149) 
 besort: 22 (I. iii. 239) 
 black: 33 (II. i. 131) 
 blank: 81 (III. iv. 127) 
 blazoning: 30 (II. i. 63) 
 bobb’d from him: 111 (V. 
 i. 16) 
 
 bold cure: 30 (II. i. 51) 
 bolster: 73 (III. iii. 400) 
 bombast circumstance: 1 (I. 
 i. 13) 
 
 bookish theoric: 2 (I. i. 24) 
 bootless: 21 (I. iii. 209) 
 bosom: 57 (III. i. 58) 
 brace: 14 (I. iii. 24) 
 bulk: 110 (V. i. 1) 
 but: 63 (III. iii. 139) 
 but (just) : 121 (V. ii. 106) 
 but (merely): 81 (III. iv. 
 118) 
 
 but to: 107 (IV. iii. 32) 
 butt: 127 (V. ii. 266) 
 by: 117 (V. ii. 30) 
 
The Moor of Venice 
 
 161 
 
 caitiff: 89 (IV. i. 109) 
 callat: 101 (IV. ii. 121) 
 capable: 75 (III. iii. 460) 
 carrack: 10 (I. ii. 50) 
 carve for: 47 (II. iii. 175) 
 cast: 7 (I. i. 150) 
 censure: 48 (II. iii. 195); 
 
 131 (V. ii. 367) 
 certes: 1 (I. i. 16) 
 chair: 114 (V. i. 82) 
 chamberers: 68 (III. iii. 
 265) 
 
 change: 25 (I. iii. 319) 
 charm: 124 (V. ii. 181) 
 charmer: 79 (III. iv. 58) 
 charter: 22 (I. iii. 247) 
 check: 7 (I.i. 149) 
 cherubin: 99 (IV. ii. 62) 
 chide with: 103 (IV. ii. 167) 
 chronicle: 34 (II. i. 160) 
 chrysolite: 122 (V. ii. 143) 
 chuck: 78 (III. iv. 50) 
 circumstance: 72 (III. iii. 
 3551 
 
 civil: 87 (IV. i. 65) 
 clip: 76 (III. iii. 465) 
 close delations: 63 (III. iii. 
 123) 
 
 closet lock and key: 97 (IV. 
 ii. 21) 
 
 Clown: 55 (III. i. 2) 
 clyster-pipes: 35 (II. i. 179) 
 coat: 111 (V. i. 25) 
 cod’s head, etc.: 34 (II. i. 
 155) 
 
 cogging, cozening: 102 (IV. 
 ii. 132) 
 
 collied : 48 (II. iii. 208) 
 coloquintida : 26 (I. iii. 356) 
 comfort forswear me: 103 
 (IV. ii. 159) 
 
 companions: 102 (IV. ii. 
 141) 
 
 complement: 3 (I. i. 63) 
 composition: 13 (I. iii. 1) 
 compt: 127 (V. ii. 272) 
 conceit: 62 (III. iii. 115) 
 
 conceits (vb.) : 64 (III. iii. 
 149) 
 
 conception: 82 (III. iv. 155) 
 condition: 38 (II. i. 257) 
 conduct: 31 (II. i. 75) 
 confine: 9 (I. ii. 27) 
 conjunctive: 26 (I. iii. 374) 
 conscionable: 37 (II. i. 244) 
 consuls: 10 (I. ii. 43) 
 continuate: 83 (III. iv. 177) 
 contriv’d: 8 (I. ii. 3) 
 conveniency: 103 (IV. ii. 
 178) 
 
 convinced: 86 (IV. i. 28) 
 cope: 88 (IV. i. 87) 
 corrigible authority: 25 (I. 
 iii. 330) 
 
 counter-caster: 2 (I. i. 31) 
 country: 66 (III. iii. 201) 
 course . . . compasses: 79 
 (III. iv. 72) 
 
 course . . . session: 12 (I. ii. 
 
 86 ) 
 
 coursers: 5 (I. i. 113) 
 court: 37 (II. i. 221) 
 courtship: 35 (II. i. 172) 
 cries on: 113 (V. i. 48) 
 cruzadoes: 77 (III. iv. 27) 
 cry you mercy: 100 (IV. ii. 
 87) 
 
 cuckold (vb.) : 27 (I. iii. 
 376) 
 
 customer: 90 (IV. i. 120) 
 Cyprus wars: 7 (I. i. 151) 
 
 daffest me: 103 (IV. ii. 176) 
 defeat (destroy): 103 (IV. 
 ii. 160) 
 
 defeat (disguise) : 26 (I. iii. 
 346) 
 
 defend: 23 (I. iii. 268) 
 delighted: 24 (I. iii. 291) 
 demerits: 9 (I. ii. 22) 
 denotement: 52 (II. iii. 325) 
 designment: 29 (II. i. 22) 
 desir’d: 36 (II. i. 207) 
 
162 
 
 The Tragedy of Othello, 
 
 despite: 110 (IV. iii. 94) 
 determinate: 105 (IV. ii. 
 232) 
 
 Diablo: 47 (II. iii. 163) 
 diet: 39 (II. i. 306) 
 dilate: 19 (I. iii. 153) 
 directly: 105 (IV. ii. 212) 
 discourse: 102 (IV. ii. 153) 
 discourse fustian: 51 (II. iii. 
 284) 
 
 displeasure: 57 (III. i. 45) 
 dispose (n.): 27 (I. iii. 403) 
 division . . . battle: 2 (I.i. 
 23) 
 
 do a desperate turn: 125 (V. 
 
 ii. 205) 
 
 do . . . discretion: 59 (III. 
 
 iii. 34) 
 
 do you justice: 44 (II. iii. 
 90) 
 
 double, etc.: 9 (I. ii. 14) 
 doubt: 59 (III. iii. 19) 
 driven: 21 (I. iii. 232) 
 
 ecstasy: 88 (IV. i. 80) 
 elements: 43 (II. iii. 60) 
 embark’d: 7 (I. i. 150) 
 encave: 88 (IV. i. 82) 
 engines: 72 (III. iii. 356) 
 engines for: 105 (IV. ii. 
 222 ) 
 
 ensteep’d: 31 (II. i. 70) 
 enwheel: 32 (II. i. 87) 
 erring: 26 (I. iii. 362) 
 error: 121 (V. ii. 107) 
 escape: 20 (I. iii. 197) 
 essential vesture, etc.: 31 
 (II. i. 64) 
 
 estimation: 23 (I. iii. 276) 
 execution: 76 (III. iii. 467) 
 exhibition: 22 (I. iii. 238) 
 expert . . . allowance: 30 
 (II. i. 49) 
 
 exsufflicate : 65 (III. iii. 182) 
 extend: 32 (II. i. 98) 
 extravagant: 6 (Li. 137) 
 
 facile question: 14 (I. iii. 
 23) 
 
 fall: 67 (III. iii. 237) 
 falls: 94 (IV. i. 257) 
 familiar: 52 (II. iii. 316) 
 fathom: 7 (I. i. 153) 
 favour: 26 (I. iii. 346) 
 fell: 131 (V. ii. 361) 
 figure: 3 (I. i. 62) 
 fills up the cry: 54 (II. iii. 
 373) 
 
 fineless: 65 (III. iii. 173) 
 fitchew: 91 (IV. i. 148) 
 fixed figure . . . unmoving 
 finger: 98 (IV. ii. 53, 54) 
 flattery: 90 (IV. i. 131) 
 flood-gate: 15 (I. iii. 56) 
 Florentine: 57 (III. i. 43) 
 folly: 122 (V. ii. 130) 
 fopped: 104 (IV. ii. 197) 
 for (because) : 23 (I. iii. 
 
 270) 
 
 forced: 17 (I. iii. Ill) 
 fordoes: 116 (V. i. 129) 
 foregone conclusion: 74 (III. 
 iii. 429) 
 
 forfend: 117 (V. ii. 32) 
 forked plague: 69 (III. iii. 
 276) 
 
 foul: 34 (II. i. 140) 
 found him: 38 (II. i. 254) 
 fraught: 75 (III. iii. 450) 
 frize: 33 (II. i. 126) 
 front: 16 (I. iii. 80) 
 fruitful: 53 (II. iii. 350) 
 full: 29 (II. i. 36) 
 function (character) : 53 (II. 
 iii. 357) 
 
 function (profession): 97 
 (IV. ii. 26) 
 
 galls: 110 (IV. iii. 95) 
 gastness: 115 (V. i. 106) 
 gender (n.) : 25 (I. iii. 327) 
 gender (vb.) : 99 (IV. ii. 
 61) 
 
The Moor of Venice 
 
 163 
 
 general . . . heaven: 119 (V. 
 ii. 60) 
 
 generous: 69 (III. iii. 280) 
 gennets: 5 (I. i. 114) 
 germans: 5 (I. i. 114) 
 get: 20 (I. iii. 191) 
 give . . . cable: 9 (I. ii. 17) 
 go by water: 100 (IV. ii. 
 103) 
 
 go to: 27 (I. iii. 384) 
 
 God bless the mark: 2 (I. i. 
 33) 
 
 government (behavior) : 68 
 (III. iii. 256) 
 
 government (office) : 94 (IV. 
 i. 249) 
 
 grace: 117 (V. ii. 27) 
 grange: 5 (I. i. 106) 
 grise: 20 (I. iii. 200) 
 grows to waste: 106 (IV. ii. 
 250) 
 
 guardage: 11 (I. ii. 70) 
 guards: 28 (II. i. 15) 
 gull: 123 (V. ii. 161) 
 gutter’d: 31 (II. i. 69) 
 gyve: 35 (II. i. 171) 
 
 haggard, jesses, etc.: 68 
 (III. iii. 260-263) 
 happily: 67 (III. iii. 238) 
 happiness: 81 (III. iv. 107) 
 hardness: 22 (I. iii. 234) 
 have it . . . have it not: 85 
 (IV. i. 17) 
 
 having: 110 (IV. iii. 94) 
 hearted: 26 (I. iii. 373) 
 hearts, hands: 78 (III. iv. 
 47, 48) 
 
 heat: 10 (I. ii. 40) 
 heave tbe gorge: 37 (II. i. 
 237) 
 
 heavy: 112 (V. i. 42) 
 helm: 23 (I. iii. 274) 
 hie thee: 108 (IV. iii. 50) 
 hinge nor loop: 72 (III. iii. 
 366) 
 
 ■hint (cue) : 18 (I. iii. 142) 
 
 hint (opportunity) : 19 (I. 
 iii. 166) 
 
 his: 87 (IV. i. 54) 
 hobby-horse: 91 (IV. i. 158) 
 honest: 67 (III. iii. 225) 
 honour, honesty: 126 (V. ii. 
 243) 
 
 horned man: 87 (IV. i. 63) 
 housewifery, housewives: 33 
 (II. i. 112) 
 
 humour: 81 (III. iv. 124) 
 Hydra: 52 (II. iii. 310) 
 hypocrisy . . . devil: 85 (IV. 
 i. 6) 
 
 I look . . . fable: 128 (V. ii. 
 
 285) 
 
 ice brook’s temper, the: 126 
 (V. ii. 252) 
 
 import: 23 (I. iii. 285) 
 imposition: 51 (II. iii. 271) 
 imputation . . . circum- 
 stances: 74 (III. iii. 407) 
 in: 61 (III. iii. 74) 
 in choler: 39 (II. i. 281, 282) 
 in false gaze: 14 (I. iii. 19) 
 in good time: 2 (I. i. 32) 
 in happy time: 56 (III. i. 
 32) 
 
 in . . . terms: 48 (II. iii. 182) 
 in that kind: 27 (I. iii. 395) 
 in the: 35 (II. i. 166) 
 incontinent: 107 (IV. iii. 12) 
 incontinently 24 (I. iii. 307) 
 incorporate: 38 (II. i. 271) 
 Indian: 130 (V. ii. 346) 
 indign: 23 (I. iii. 275) 
 indistinct regard: 29 (II. i. 
 40) 
 
 indues: 82 (III. iv. 145) 
 ingener: 31 (II. i. 65) 
 ingraft: 46 (II. iii. 146) 
 innovation: 42 (II. iii. 42) 
 intentively: 19 (I. iii. 155) 
 invention: 33 (II. i. 125) 
 it dislikes me: 43 (II. iii. 50) 
 iterance: 122 (V. ii. 148) 
 
164. 
 
 The Tragedy of Othello , 
 
 Janus: 10 (I. ii. 33) 
 joint-ring: 109 (IV. iii. 74) 
 judge . . . world: 11 (I. ii. 
 72) 
 
 jump (agree) : 13 (I. iii. 5) 
 jump (precisely): 55 (II. 
 
 iii. 395) 
 
 just: 13 (I. iii. 5) 
 
 just equinox: 45 (II. iii. 130) 
 
 keep a week away: 83 (III. 
 
 iv. 172) 
 
 keep time: 88 (IV. i. 93) 
 keep up: 11 (I. ii. 59) 
 knees: 31 (II. i. 84) 
 know: 116 (V. i. 117) 
 knows all qualities, etc.: 68 
 (III. iii. 259, 260) 
 
 lay (n.) : 52 (II. iii. 332) 
 learn: 20 (I. iii. 183) 
 leets, keep leet: 63 (III. iii. 
 140) 
 
 letter: 2 (I. i. 36) 
 liberal: 35 (II. i. 164) 
 lin’d their coats: 3 (I. i. 53) 
 lingered: 105 (IV. ii. 231) 
 lip: 88 (IV. i. 72) 
 list: 32 (II. i. 104) 
 list (vb.): 37 (II. i. 220) 
 living: 74 (III. iii. 410) 
 lost: 127 (V. ii. 268) 
 loud reason: 7 (I. i. 151) 
 lown: 44 (II. iii. 96) 
 
 made mocks with: 122 (V. 
 ii. 149) 
 
 magnifico: 9 (I ii. 12) 
 main: 28 (II. i. 3) 
 main article: 13 (I. iii. 11) 
 make head: 23 (I. iii. 276) 
 mammering: 60 (III. iii. 70) 
 man (vb.): 127 (V. ii. 269) 
 manage: 49 (II. iii. 217) 
 mandragora: 71 (III. iii. 
 331) 
 
 marble: 75 (III. iii. 461) 
 marry: 55 (III. i. 10) 
 marshal: 38 (II. i. 270) 
 master: 36 (II. i. 212) 
 Mauritania: 105 (IV. ii. 
 229) 
 
 mazzard: 47 (II. iii. 157) 
 mere perdition: 40 (II. ii. 
 3) 
 
 mineral: 39 (II. i. 309) 
 minion: 112 (V. i. 33) 
 minister: 38 (II. i. 279) 
 mock . . . feeds on: 64 (III. 
 iii. 166, 167) 
 
 modern: 17 (I. iii. 109) 
 moe: 108 (IV. iii. 58) 
 molestation: 29 (II. i. 16) 
 mood: 51 (II. iii. 276) 
 moraler: 52 (II. iii. 303) 
 more arrivance: 30 (II. i. 
 42) 
 
 mortal: 31 (II. i. 72) 
 mortise, hold the: 28 (II. i. 
 
 9) 
 
 moth: 22 (I. iii. 258) 
 motion (self-control?): 12 
 (I. ii. 75) 
 
 motion (action ?) : 17 (I. iii. 
 95) 
 
 motions (impulses) : 25 (I. 
 iii. 335) 
 
 mountebanks: 15 (I. iii. 61) 
 mummy: 79 (III. iv. 75) 
 mutualities: 38 (II. i. 269) 
 mystery: 97 (IV. ii. 29) 
 
 naked: 127 (V. ii. 257) 
 napkin: 69 (III. iii. 287) 
 nephews: 5 (I. i. 112) 
 next: 21 (I. iii. 205) 
 nice: 58 (III. iii. 15) 
 night-gown: 107 (IV. iii. 34) 
 no . . . wish: 84 (III. iv. 193) 
 nonsuits: 1 (I. i. 16) 
 not almost: 60 (III. iii. 66) 
 notorious: 102 (IV. ii. 140) 
 
The Moor of V enice 
 
 165 
 
 observance : 82 (III. iv. 
 
 148) 
 
 odd-even: 6 (I. i. 124) 
 odds: 48 (II. iii. 187) 
 of my counsel: 62 (III. iii. 
 Ill) 
 
 off-capp’d: 1 (I. i. 10) 
 offends: 48 (II. iii. 201) 
 offices: 41 (II. ii. 9) 
 on . . . safety: 49 (II. iii. 
 218) 
 
 opinion . . . effects: 21 (I. 
 iii. 225) 
 
 opinion (good name) : 48 
 (II. iii. 197) 
 order: 119 (V. ii. 72) 
 other: 97 (IV. ii. 12) 
 out of warrant: 12 (I. ii. 79) 
 owe: 3 (I. i. 66) 
 
 pageant: 13 (I. iii. 18) 
 painted passion: 95 (IV. i. 
 268) 
 
 paragons: 30 (II. i. 62) 
 parallel: 53 (II. iii. 358) 
 parcels, by: 19 (I. iii. 154) 
 parley: 42 (II. iii. 23) 
 part: 16 (I. iii. 74) 
 partially affin’d: 49 (II. iii. 
 220 ) 
 
 passage: 112 (V. i. 37) 
 patent: 92 (IV. i. 208) 
 patient list: 88 (IV. i. 76) 
 peculiar (own): 88 (IV. i. 
 70) 
 
 peculiar (private): 3 (I. i. 
 60) 
 
 perdurable: 25 (I. iii. 343) 
 period: 130 (V. ii. 356) 
 perplex’d: 130 (V. ii. 345) 
 pick bad from bad: 110 
 (IV. iii. 108) 
 pictures: 33 (II. i. 109) 
 pierced: 21 (I. iii. 219) 
 pioners: 71 (III. iii. 347) 
 platform: 45 (II. iii. 126) 
 pliant: 19 (I. iii. 151) 
 
 plume up: 27 (I. iii. 399) 
 poise: 61 (III. iii. 82) 
 pole: 28 (II. i. 15) 
 
 Pontic: 75 (III. iii. 454) 
 portance: 18 (I. iii. 139) 
 position: 67 (III. iii. 234) 
 possession: 127 (V. ii. 277) 
 potent in potting: 44 (II. 
 iii. 80) 
 
 pottle-deep: 43 (II. iii. 57) 
 practising upon: 40 (II. i. 
 
 322) 
 
 praise: 113 (V. i. 66) 
 prefer: 39 (II. i. 288) 
 pregnant: 37 (II. i. 241) 
 prer^gativ’d: 68 (III. iii 
 274) 
 
 presently: 56 (III. i. 38) 
 prime: 73 (III. iii. 404) 
 probal: 53 (II. iii. 347) 
 probation: 72 (III. iii. 366) 
 produc’d: 7 (I. i. 147) 
 profit: 73 (III. iii. 380) 
 Promethean heat: 117 (V„ 
 ii. 12) 
 
 proper (fine) : 27 (I. iii. 
 
 398) 
 
 proper (own): 16 (I. iii. 69) 
 property: 8 (I. i. 173) 
 propose: 2 (I. i. 25) 
 prov’d: 107 (IV. iii. 27) 
 puddled: 82 (III. iv. 142) 
 put . . . triumph: 40 (II. iL 
 4) 
 
 put on (challenge) : 34 (II. 
 
 i. 146) 
 
 put on: 53 (II. iii. 360) 
 put up: 104 (IV. ii. 181) 
 
 qualification: 39 (II. i. 284) 
 qualified: 42 (II. iii. 41) 
 quality: 22 (I. iii. 253) 
 quat: 111 (V. i. 11) 
 question: 17 (I. iii. 113) 
 quicken: 69 (III. iii. 277) 
 quicken . . . blowing: 99 (IV, 
 
 ii. 66) 
 
166 
 
 The Tragedy of Othello 
 
 quillets: 56 (III. i. 25) 
 quirks: 30 (II. i. 63) 
 
 rank garb: 40 (II. i. 318) 
 recognizance: 125 (V. ii. 
 
 212 ) 
 
 recoiling to: 67 (III. iii. 
 
 236) 
 
 recommends: 14 (I. iii. 41) 
 recover’d: 126 (Y. ii. 238) 
 reference: 22 (I. iii. 238) 
 relume: 117 (V. ii. 13) 
 remorse: 76 (III. iii. 469) 
 repeals: 54 (II. iii. 366) 
 reprobation: 125 (V. ii. 207) 
 resolv’d: 65 (III. iii. 180) 
 Roman: 90 (IV. i. 119) 
 rouse: 43 (II. iii. 67) 
 rout: 49 (II. iii. 212) 
 
 Sagittary: 7 (I. i. 159) 
 said: 35 (II. i. 169) 
 saints . . . injuries: 33 (II. 
 i. Ill) 
 
 salt: 37 (II. i. 246) 
 sans: 15 (I. iii. 64) 
 
 ’save: 83 (III. iv. 168) 
 ’Sblood: 1 (I. i. 4) 
 scattering: 64 (III. iii. 151) 
 scion: 25 (I. iii. 337) 
 scored me: 90 (IV. i. 128) 
 sea-mark: 127 (V. ii. 267) 
 sect: 25 (I. iii. 337) 
 secure (adj.): 88 (IV. i. 72) 
 secure (vb.): 13 (I. iii. 10) 
 seel: 23 (I. iii. 271) 
 segregation: 28 (II. i. 10) 
 seize upon: 131 (V. ii. 365) 
 self-bounty: 66 (III. iii. 200) 
 sense (quick) : 111 (V. i. 11) 
 sense (sensations): 110 (IV. 
 iii. 97) 
 
 sense, fearful (apprehen- 
 sion): 13 (I, iii. 12) 
 sense, gross in (reason) : 11 
 (I. ii. 72) 
 
 sense, of (judgment): 11 (I. 
 ii. 64) 
 
 sense of all, from the (re- 
 gard): 6 (I. i. 132) 
 sequent: 10 (I. ii. 41) 
 sequester: 78 (III. iv. 41) 
 serpent’s curse: 97 (IV. ii. 
 15) 
 
 set . . . pegs: 36 (II. i. 203) 
 shore (vb.) : 124 (V. ii. 204) 
 shrewd doubt: 74 (III. iii. 
 430) 
 
 shrift: 59 (III. iii. 24) 
 shut ... in: 81 (III. iv. 120) 
 sibyl: 79 (III. iv. 71) 
 siege: 9 (I. ii. 22) 
 signiory: 9 (I. ii. 18) 
 sir: 35 (II. i. 176) 
 sith: 73 (III. iii. 381) 
 skillet: 23 (I. iii. 274) 
 slipper: 37 (II. i. 247) 
 slubber: 21 (I. iii. 227) 
 snorting: 4 (I. i. 90) 
 soft: 120 (V. ii. 103) 
 soft . . . conversation: 68 
 (III. iii. 264) 
 solicit: 117 (V. ii. 28) 
 something: 48 (II. iii. 201) 
 sorry rheum: 78 (III. iv. 52) 
 Spartan: 131 (V. ii. 360) 
 speak i’ the nose: 55 (III. 
 
 i. 4) 
 
 speak parrot: 51 (II. iii. 
 283) 
 
 speculative . . . instruments: 
 
 23 (I. iii. 272) 
 speed: 89 (IV. i. 109) 
 splinter: 52 (II. iii. 332) 
 stand in act: 7 (I. i. 152) 
 start: 5 (I. i. 101) 
 stay the meat: 103 (IV. ii. 
 170) 
 
 stead: 25 (I. iii. 344) 
 stick . . . misuse: 101 (IV* 
 
 ii. 107, 108) 
 still: 18 (I. iii. 129) 
 stirring: 56 (III. i. 27) 
 
The Moor of Venice 
 
 167 
 
 stomach: 119 (V. ii. 75) 
 stone: 119 (V. ii. 63) 
 stones: 126 (V. ii. 232) 
 stood . . . action: 16 (I. iii. 
 70) 
 
 stop: 127 (V. ii. 263) 
 stops: 63 (III. iii. 120) 
 storm of fortunes, etc.: 22 
 (I. iii. 251) 
 stoup: 42 (II. iii. 30) 
 strain his entertainment: 68 
 (III. iii. 250) 
 
 strangeness: 58 (III. iii. 12) 
 stuff: 8 (I. ii. 2) 
 success: 66 (III. iii. 222) 
 such another (another such) : 
 
 122 (V. ii. 142) 
 such another (such a) : 91 
 (IV. i. 148) 
 
 sudden respect: 104 (IV. ii. 
 192) 
 
 sufferance: 29 (II. i. 23) 
 suggest: 53 (II. iii. 361) 
 supplied: 86 (IV. i. 28) 
 swag-bellied: 44 (II. iii. 81) 
 
 tainting: 38 (II. i. 277) 
 take . . . front: 57 (III. i. 
 
 52) 
 
 taken off: 129 (V. ii. 330) 
 talk: 107 (IV. iii. 25) 
 teem with: 94 (IV. i. 256) 
 term: 2 (I. i. 39) 
 that (if): 103 (IV. ii. 154) 
 thin habits: 17 (I. iii. 108) 
 thing I am, the: 33 (II. i. 
 123) 
 
 though: 64 (III. iii. 145) 
 to fortune’s alms: 81 (III. 
 iv. 121) 
 
 to madness: 40 (II. i. 323) 
 to the vantage: 109 (IV. iii. 
 86, 87) 
 
 toged consuls: 2 (I. i. 25) 
 torches: 7 (I. i. 160, S. d.) 
 toy: 82 (III. iv. 155) 
 toys: 23 (I. iii. 270) 
 
 trash . . . trace: 40 (II. i. 
 315) 
 
 traverse: 27 (I. iii. 378) 
 trick: 102 (IV. ii. 129) 
 tricks of custom: 63 (III. 
 iii. 122) 
 
 true taste: 39 (II. i. 285) 
 turn . . . complexion: 99 (IV. 
 
 ii. 61) 
 
 twiggen bottle: 46 (II. iii. 
 153) 
 
 unbonneted, etc.: 9 (I. ii. 
 
 23) 
 
 unbookish: 89 (IV. i. 102) 
 undertaker: 93 (IV. i. 223) 
 undo’t . . . done: 109 (IV. 
 
 iii. 72, 73) 
 
 unfold: 102 (IV. ii. 141) 
 unhandsome warrior: 82 
 (III. iv. 150) 
 
 unhatch’d practice: 82 (III. 
 
 iv. 140) 
 
 unhoused: 9 (I. ii. 26) 
 unlace: 48 (II. iii. 196) 
 unless: 2 (I. i. 24) 
 unproper: 88 (IV. i. 69) 
 unprovide: 93 (IV. i. 217) 
 unwholesome: 90 (IV. i. 122) 
 use (n.): 96 (IV. i. 285) 
 uses (n.): 110 (IV. iii. 107) 
 usurped: 26 (I. iii. 346) 
 
 vanity: 103 (IV. ii. 164) 
 Veronesa: 29 (II. i. 26) 
 vicious: 64 (III. iii. 145) 
 visages: 3 (I. i. 50) 
 voice potential, etc.: 9 (I. ii. 
 13) 
 
 voluble: 37 (II. i. 243) 
 votarist: 104 (IV. ii. 190) 
 vouch (assert) : 17 (I. iii. 
 103) 
 
 vouch (testimony): 34 (II. 
 i. 147) 
 
 wanting: 71 (III. iii. 343) 
 
168 
 
 The Tragedy of Othello 
 
 wary distance: 43 (II. iii. 
 59) 
 
 wasted: 16 (I. iii. 84) 
 watch . . . double set: 46 
 (II. iii. 136) 
 
 watch him tame: 59 (III. 
 iii. 23) 
 
 watching: 69 (III. iii. 285) 
 waterish: 58 (III. iii. 15) 
 what . . . won: 16 (I. iii. 91- 
 94) 
 
 what he might be, etc.: 96 
 (IY. i. 282, 283) 
 what in the contrary?: 103 
 (IV. ii. 175) 
 
 what’s . . . time: 7 (I. i. 162) 
 wheeling: 6 (I. i. 137) 
 whipster: 126 (V. ii. 242) 
 
 white: 33 (II. i. 133) 
 wit: 90 (IY. i. 121) 
 withal: 17 (I. iii. 93) 
 within door: 102 (IV. ii. 
 144) 
 
 woman’d: 84 (III. iv. 194) 
 work ta’en out: 69 (III. iii. 
 296) 
 
 wretch: 61 (III. iii. 90) 
 wrought: 130 (V. ii. 344) 
 
 yawn at alteration: 120 (V. 
 ii. 100) 
 
 yerk’d: 8 (I. ii. 5) 
 
 young affects: 23 (I. iii. 265) 
 
 your way: 92 (IV. i. 195) 
 
 ’Zounds: 4 (I. i. 86)