Othello (19 page)

4.1.43
Lie…That’s
= F. Q = lye with her, Zouns, that’s
84
list.
= Q. F = List,
86
unsuiting
= Q
(corrected)
. F = resulting
112
conster
= Q. F = conserue
114
you, lieutenant
= F. Q = you now Leiutenant
118
power
= Q. F = dowre
132
I marry
= F. Q = I marry her
143
beckons
= Q. F = becomes
146
and falls me
= F. Q = by this hand she fals
170
I
= F. Q = Faith I
220
I…Venice
= F. Q = Something from
Venice
sure,
221
Lodovico: this comes
= Ed. F =
Lodouico
, this, comes
223
Save you
= F. Q = God saue the
263
an obedient
= Q. F = obedient
300
denote
= Q. F
(corrected)
= deonte. F
(uncorrected)
= deuote

4.2.34
nay
= Ed. F = May
49
haply
spelled
happely
in
F
(and elsewhere)
52
I
= F. Q = Why I
70
Ay
spelled
I
in
F
173
form,
= Ed. F = Forme.
193
daff’st
spelled
dafts
in
F
200
I
= F. Q = Faith I
231
the
= Q. F = rhe
234
within
= Q. F = within,

4.3.19
I
= Q. F = I,
21
favour
= F. Q = fauour in them
24
before,
= F. Q = before thee,
34
Barbary
spelled Brabarie
in
F
42
singing
= F
(corrected)
. F
(uncorrected)
= sining
45
Sing…willow
= Ed. F =
Sing Willough, &c. (and elsewhere)

5.1.1
bulk
= Q. F = Barke
46
in to
= Ed. F = into
115
him out
= Q. F = him

5.2.39
say
= F. Q = say so
61
Presently
= F. Q = Yes, presently
184
worst
= Q. F = wotst
274
have
= F. Q = haue here
347
not. Here
= Ed. F = not) heere
361
wife’s
= Q. F = wiues
390
Judean
= F. Q, F2 = Indian

Following 1.3.367 (after
“errors of her choice”): she must have change, she must.

Following 1.3.388:

RODORIGO
    What say you?

IAGO
    No more of drowning, do you hear?

RODORIGO
    I am changed:

Following 2.1.89:
And bring all Cyprus comfort!

Following 3.1.25:

CASSIO
    Do, good my friend.

Following 3.1.48:
To take the safest occasion by the front

Following 3.4.98:

DESDEMONA
    I pray, talk me of Cassio.

OTHELLO
    The handkerchief!

Following 4.2.185:
And he does chide with you.

Following 5.2.100:

DESDEMONA
     O, lord, lord, lord!

ACT 1 SCENE 1

Lines 1–84:
The action begins
in medias res
, establishing the pace of the play. As Iago and Rodorigo hurry along, they reveal events prior to this point. The audience is initially excluded from some key information, however, establishing the themes of secrecy and misunderstanding: Rodorigo complains that, although he has been giving Iago money, Iago has not told him “of this,” although we are not told what “this” is. He claims that Iago said that he hated someone, referred to by both of them as “him,” and, later, “the Moor”; no one refers to Othello by name in the first scene: he is identified chiefly by his racial “otherness,” and “labeled” by pronouns or epithets, creating a negative sense of his identity (another theme) and establishing the power of language. The latter is particularly significant to Iago, who manipulates others through his linguistic skills, evident in his placation of the gullible Rodorigo and description of his hatred for Othello. Iago claims that he is bitter because Othello promoted Cassio to be his lieutenant and made Iago his ensign. Iago complains that he is an experienced soldier, while Cassio’s “soldiership” is “Mere prattle without practice,” creating tension between words and action. Rodorigo comments that if he were Iago he would not continue to follow Othello, but Iago explains that he is doing it so that he can get his revenge. He explains that he is only “trimmed in forms and visages of duty,” establishing the themes of deception and appearance versus reality. Iago declares his false nature: “I am not what I am,” a paradoxical statement that emphasizes the ambiguity of his identity. Despite this, Rodorigo continues to trust him, showing his lack of perception.

They arrive at Brabantio’s house and Iago instructs Rodorigo to rouse the sleeping household, establishing that it is nighttime. This reinforces the sense of secrecy and introduces the recurring image of darkness, part of the structure of oppositions that run through the play, including dark/light, black/white, words/actions, good/evil, and male/female. Both men shout to wake Brabantio, but Iago’s language is more dramatic, alarmist, and effective.

Lines 85–195:
Brabantio appears above, demanding to know “the reason of this terrible summons.” Rodorigo politely inquires whether all Brabantio’s family “is within,” but Iago takes over, warning Brabantio that “an old black ram / Is tupping [his] white ewe.” His sustained use of base sexual imagery further dehumanizes Othello and enrages Brabantio. Rodorigo identifies himself, but Iago remains anonymous, secretly manipulating events as both “actor” and “director.” Rodorigo has previously tried to court Brabantio’s daughter, Desdemona, and Brabantio accuses him of coming full of “distempering draughts” to see her. With inflammatory interjections from Iago, Rodorigo explains to Brabantio that they have come to warn him that Desdemona has eloped with “a lascivious Moor.” Brabantio rouses his household and Iago leaves, explaining that he cannot appear to be against Othello. Brabantio confirms that Desdemona is missing. His disjointed speech reflects his distress and anger as he suggests that magic has been used on her. Rodorigo offers to take him to Othello and Desdemona.

ACT 1 SCENE 2

Lines 1–64:
Iago, feigning loyalty to Othello, expresses concern that Brabantio will try to force a divorce, but Othello assures him that he will “out-tongue” Brabantio’s complaints, emphasizing the theme of language. He assures Iago that he genuinely loves “the gentle Desdemona.” They see torches approaching and assume that Brabantio has come. Iago urges Othello to go indoors, but Othello is not afraid, reminding Iago of his “parts,” “title,” and “perfect soul,” introducing another opposition in the play, that of the physical versus the spiritual. It is not Brabantio, however, but Cassio and his officers, who have come to tell Othello that the Duke wishes to see him “haste-post-haste” on military business. Othello leaves briefly to “spend a word” in the house and Iago informs Cassio that Othello is married, again describing the event through coarse sexual innuendo. Brabantio and Rodorigo arrive.

Lines 65–117:
Brabantio accuses Othello of being a “foul thief” who has “enchanted” Desdemona. He dehumanizes Othello, referring to him as “a thing,” and tries to arrest him as a “practiser” of illegal magic. Othello explains that the Duke has summoned him, and Brabantio decides that he will go as well, certain that the Duke will sympathize with his complaint against Othello.

ACT 1 SCENE 3

Lines 1–134:
The Duke and his senators discuss reports that the Turkish fleet is heading for Cyprus. A sailor brings news that they now appear to be traveling toward Rhodes, although a Senator suggests that “’tis a pageant, / To keep us in false gaze,” emphasizing the theme of deception. A Messenger reports that the Turkish fleet has united with reinforcements and that they are once again heading for Cyprus. Brabantio and Othello arrive, accompanied by Iago, Cassio, and Rodorigo. The Duke assumes that Brabantio is there to discuss the urgent military business, but Brabantio is concerned with his own worries, creating tension between political and personal concerns. He tells the Duke that his daughter has been “stolen” and “corrupted / By spells and medicines.” The Duke promises that whoever is involved in “this foul proceeding” will be punished.

Brabantio names Othello. Othello admits that he has “ta’en away” Desdemona and married her, but insists that this is his only offense. He offers to explain, warning that he is “Rude” in his speech, being only a soldier, and can only tell “a round unvarnished tale,” but his claims that he is “little blessed with the soft phrase of peace” are belied by his careful and persuasive arguments. Brabantio maintains that Desdemona was “never bold” and of a “still” spirit, reinforcing the passivity evoked by Othello’s description of her as “gentle Desdemona” in the previous scene and emphasizing the play’s concern with the way identity can be created by others, through repeated use of words and phrases in association with a character. Othello sends for Desdemona so that she may speak for herself.

Lines 135–320:
Othello describes how Brabantio used to invite him to his house and how he would tell Brabantio tales of “moving accidents by flood and field” and “hair-breadth scapes i’th’imminent deadly breach.” He tells them that Desdemona loved him “for the dangers” he had undergone and that, in turn, he loved her because “she did pity them.” He claims that his words are the only “witchcraft” that he has used, again emphasizing the power of language. The Duke urges Brabantio to make the best of the situation. Desdemona arrives, and Brabantio asks her, of all the assembled “noble company,” whom she owes the most obedience to. Desdemona answers that she has a “divided duty” between her father and husband, but points out that, like her mother before her, she must put her husband first. While this speech emphasizes that Desdemona is subject to male authority, it also shows that she is confident and articulate. Brabantio unhappily resigns himself and the Duke tries to encourage him, saying that “To mourn a mischief that is past and gone / Is the next way to draw new mischief on,” reminding us of Iago’s desire for revenge.

The discussion turns to the military situation and the Duke tells Othello that he must go to Cyprus, suggesting that Desdemona return to Brabantio’s home. In a moving speech, Desdemona requests to be allowed to go with Othello. The Duke agrees and leaves with the senators and Brabantio. Othello assigns Iago to escort Desdemona to Cyprus, believing him to be a man “of honesty and trust,” a comment that shows Othello’s lack of perception and introduces the motif of honesty. Othello and Desdemona leave to prepare for his departure.

Lines 321–390:
Rodorigo melodramatically claims that his life is “torment” now that he has lost Desdemona. Iago argues that it “cannot be long that Desdemona should continue her love to the Moor” and claims that Othello will soon tire of Desdemona because “These Moors are changeable in their wills,” reinforcing the popular opinion of Othello’s otherness (although it is uncertain whether Iago believes this, or is merely using the idea to his own ends). Constantly urging Rodorigo to “put money in thy purse,” he claims that he can destroy the “frail vow” between “an erring barbarian and supersubtle Venetian” and promises that Rodorigo will soon “enjoy” Desdemona. His references to money and sex show Iago’s preoccupation with the physical rather than spiritual aspects of human existence. He suggests that Rodorigo “cuckold” Othello. They arrange to meet the next day.

Lines 391–412:
Alone, Iago reveals his contempt for Rodorigo, commenting: “Thus do I ever make my fool my purse.” He reiterates his hatred for Othello and reveals another possible motive: he believes that Othello has slept with his wife, Emilia, although he is not sure. He is willing to act on “mere suspicion,” however, suggesting that Iago’s desire to destroy Othello is based on something more complex and inherent than simple revenge. Iago outlines his plan to convince Othello that Cassio is having an affair with Desdemona and comments that Othello’s “free and open nature” makes him gullible.

ACT 2 SCENE 1

Lines 1–187:
In Cyprus, Montano and two gentlemen discuss the storm at sea, a metaphor for the turmoil that Iago is about to create. News arrives that the storm has destroyed the Turkish fleet and that Cassio has arrived, but that his ship was parted from Othello’s. Cassio arrives and starts to report when cries of “a sail!” are heard. He sends to find out if Othello has arrived and begins to tell Montano of Othello’s marriage, clearly showing his admiration for Desdemona,“a maid / that paragons description.” Iago enters with Desdemona, Rodorigo, and Emilia, and Cassio immediately kneels before Desdemona, chivalrously greeting her as “The riches of the ship.” Desdemona thanks him briefly, but is more concerned for the safety of her husband. As he describes how they were parted, another ship is sighted and Cassio sends once more for news. As they wait, everyone talks lightheartedly. Iago shows his quick wit but, even though the tone is light, his negative, perhaps aggressive, attitude toward women is revealed, particularly his own wife, whom he does not hesitate to criticize in public. Desdemona makes it clear that she is joining in out of politeness and demonstrates her own wit, but her chief concern is Othello. Cassio draws her apart and they talk, observed by Iago. He is pleased at the attention that Cassio pays to Desdemona: although Cassio is only being courteous, Iago reveals that “with as little a web as this” he will “ensnare as great a fly as Cassio.” The use of aside emphasizes the secrecy and deception of his character, and the change in language is also interesting as he shifts into prose. He is interrupted by the trumpet announcing Othello’s arrival.

Lines 188–290:
Othello and Desdemona are reunited. Othello ironically sends “good Iago” (who is plotting aside how he will destroy their happiness) to oversee the disembarking of his ship. Alone with Rodorigo, Iago tells him directly that Desdemona is in love with Cassio. Again shifting into prose and using coarse sexual imagery, Iago argues that Desdemona is already tiring of “the Moor” and is looking for a younger “second choice” in Cassio. Rodorigo is skeptical at first, but Iago easily convinces him and reveals a plan to destroy Cassio. He tells Rodorigo to find Cassio when he is on watch that night and to “find some occasion to anger” him. He claims that Cassio is “rash” and will “strike at” Rodorigo, which will give Iago the weapon he needs against him.

Lines 291–317:
Iago’s soliloquy reiterates his hatred for Othello and his suspicions that Othello has slept with Emilia. He declares that he will be revenged,“wife for wife.” He also suspects Cassio of sleeping with Emilia, suggesting a jealous and irrational side to his character. He intends to disturb Othello’s “peace and quiet / Even to madness.”

ACT 2 SCENE 2

The Herald announces a feast in celebration of Othello’s marriage.

ACT 2 SCENE 3

Lines 1–152:
Othello places Cassio in charge of “the guard” and leads Desdemona away to bed, observing that they have yet to consummate their marriage (a fact that undermines Iago’s repeated representations of their relationship as purely sexual). Iago suggests that they drink Othello’s health. Cassio is reluctant, explaining that he has “unhappy brains for drinking,” but Iago skillfully persuades him and sends Cassio to call in the gallants with the wine. Iago reveals his intention to ply Cassio with alcohol, making him “full of quarrel and offence.” He observes that Rodorigo and three other watchers are already very drunk, having been “flustered with flowing cups” by himself. Cassio returns, having been given a drink by Montano. Iago encourages him to have more, feigning cheery drunkenness on his own part. Cassio’s increasingly confused speech shows his growing inebriation, as do his repeated, comic denials that he is drunk. He leaves, and Iago observes to Montano that Cassio is a great soldier, but his “vice” of drinking is worrying. Rodorigo arrives, and Iago sends him after Cassio. There is a cry within and Rodorigo rushes back, pursued by an angry Cassio. Montano tries to stop Cassio and tells him that he is drunk. Cassio and Montano begin to fight, and Iago, still in control, sends Rodorigo to “cry a mutiny,” before beginning to call out for help.

Lines 153–252:
Othello arrives and stops the fight, assisted by Iago who is now playing the role of his loyal follower. Othello asks “Honest Iago” who began the fight, but Iago claims he does not know. Cassio “cannot speak” and Montano claims that he was acting in self-defense. Frustrated, Othello claims that his “blood” begins to “rule” his reason, showing that he can be moved to anger. He demands to know from Iago “who began it.” Feigning reluctance and appearing to defend Cassio, Iago blames him. Othello ironically praises Iago’s “honesty and love” in defending Cassio and strips Cassio of his officership. Desdemona interrupts them, and Othello’s soldierly tone is contrasted with his loving reassurances to his “sweeting” as he leads her back indoors.