Othello, Act I, Scene 1 :|: Open Source Shakespeare Roderigo . Tush! never tell me; I take it much unkindly 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: 5 If ever I did dream of such a matter, Abhor me. Roderigo . Thou told'st me thou didst hold him in thy hate. Iago . Despise me, if I do not. Three great ones of the city, In personal suit to make me his lieutenant, Off-capp'd to him: and, by the faith of man, 10 I know my price, I am worth no worse a place: But he; as loving his own pride and purposes, Evades them, with a bombast circumstance Horribly stuff'd with epithets of war; And, in conclusion, 15 Nonsuits my mediators; for, 'Certes,' says he, 'I have already chose my officer.' And what was he?

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 practise, Is all his soldiership. But he, sir, had the election: And I, of whom his eyes had seen the proof At Rhodes, at Cyprus and on other grounds Christian and heathen, must be be-lee'd and calm'd 30 By debitor and creditor: this counter-caster, He, in good time, must his lieutenant be, And I—God bless the mark!—his Moorship's ancient. Roderigo . By heaven, I rather would have been his hangman. Iago . Why, there's no remedy; 'tis the curse of service, 35 Preferment goes by letter and affection, And not by old gradation, where each second Stood heir to the first. Now, sir, be judge yourself, Whether I in any just term am affined To love the Moor.

40 Roderigo . I would not follow him then. Iago . O, sir, content you; I follow him to serve my turn upon him: We cannot all be masters, nor all masters Cannot be truly follow'd. You shall mark 45 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: Whip me such honest knaves. Others there are 50 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, Do well thrive by them and when they have lined their coats 55 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, Were I the Moor, I would not be Iago: In following him, I follow but myself; 60 Heaven is my judge, not I for love and duty, But seeming so, for my peculiar end: For when my outward action doth demonstrate The native act and figure of my heart In compliment extern, 'tis not long after 65 But I will wear my heart upon my sleeve For daws to peck at: I am not what I am. Roderigo . What a full fortune does the thicklips owe If he can carry't thus! Iago . Call up her father, 70 Rouse him: make after him, poison his delight, 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 changes of vexation on't, 75 As it may lose some colour. Roderigo . 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 Is spied in populous cities. 80 Roderigo . What, ho, Brabantio! Signior Brabantio, ho! Iago . Awake! what, ho, Brabantio! thieves! thieves! thieves! Look to your house, your daughter and your bags! Thieves! thieves! I have charged thee not to haunt about my doors: In honest plainness thou hast heard me say 105 My daughter is not for thee; and now, in madness, Being full of supper and distempering draughts, Upon malicious bravery, dost thou come To start my quiet. Roderigo . Sir, sir, sir,— 110 Brabantio . But thou must needs be sure My spirit and my place have in them power To make this bitter to thee. Roderigo . Patience, good sir. Brabantio . What tell'st thou me of robbing? this is Venice; 115 My house is not a grange. Roderigo . Most grave Brabantio, In simple and pure soul I come to you. Iago .

'Zounds, sir, you are one of those that will not serve God, if the devil bid you. Because we come to 120 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. Brabantio . What profane wretch art thou? 125 Iago . I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs. Brabantio . Thou art a villain. Iago . You are—a senator. Brabantio . This thou shalt answer; I know thee, Roderigo. 130 Roderigo . 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 135 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 140 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; 145 Tying her duty, beauty, wit and fortunes In an extravagant and wheeling stranger Of here and every where. Straight satisfy yourself: If she be in her chamber or your house, Let loose on me the justice of the state 150 For thus deluding you. Brabantio . 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. 155 Light, I say! light! Shakespeare's Othello - Act 1 scene 1 Roderigo and Iago discuss their hatred for Othello Explanatory Notes for Act 1, Scene 1 From Othello. Ed. Brainerd Kellogg. New York: Clark & Maynard. Abbreviations. � A.-S. = Anglo-Saxon: M.E. = Middle English (from the 13th to the 15th century) ; Fr. = French ; Ger. = German ; Gr. = Greek ; Cf. = compare (Lat. confer) ; Abbott refers to the excellent Shakespearean Grammar of Dr. Abbott; Schmidt, to Dr. Schmidt's invaluable Shakespeare Lexicon. ____ 4. 'Sblood, for God's blood, as 'swounds, or zounds, for God's wounds. In 1606 the use of bad language on the stage was checked by Act of Parliament. 10. Off-capped, took off their cap to him. 11. I am qualified to be at least lieutenant, 13.

Them, lago's supporters. Bombast, cotton padding, hence affected language. Circumstance, the opposite of a straightforward answer. 14. The hemistich (half-line), as in line 18, enables the actor to make a more effective pause. 20. The commercial tone of Florence is contrasted with warlike Venice. 21. Cassio has almost decided to ruin himself by marrying Bianca, a courtezan. 23. Battle, battalion. 24. Bookish theoric, object of knows. The theory of war, learnt from reading treatises, opposed to practice. 25. Toged; the toga is symbolic of peace. Propose, speak. 27. He was chosen. 30. Be-le'd, having the wind taken out of the sails. 31. By a mere book-keeper, who adds up counters; i.e., money. 33. God bless the mark, used to avert the evil omen in using strong language. Ancient, corruption of ensign, a flag-bearer. 35. sq. We cannot help it. Promotion goes not, as in former times, by seniority, but by influence and partiality.

39. In any reasonable way. Affin'd, related, so well disposed to. 41. lago would not serve Othello, but that he sees a chance of revenge. 45. Knave, German Knabe, boy. 46. Doting on, growing foolish over. 49. Me. Ethic dative. More common in French. But cf. sc. 2, 72; Hamlet, ii. 2, 601, "Who does me this?" 50. Visages. Like Latin visus, looks. 60. So, loving and duteous. 61, sq. For lago to give the key-note to his real character is a touch of genius. 66. Owe, own. 68. The second him refers to Othello. 69. Proclaim him as an offender against the public peace. 71. Allusion to one of the plagues of Egypt. 72. Metaphor from the artist's mixmg colors. 73. As, for that. 91. Worser, the double comparative � common in Shakespeare.

Three double superlatives � most unkindest, most worst, and most boldest � are also found. 96. Upon, for the purpose of. 99. I am annoyed at your joke, and have power to make you regret it. 102. Grange, a farm-house. 111. Odd-even and dull watch. Odd-even is interpreted to mean the interval between midnight and one a.m. The hyphen not in earliest copies. 113. But, than or except. 115. Allowance, approval. 116. Saucy, insolent, outrageous. "Full of sauce, pungent." � Skeat. 117. I am sure you are wrong in abusing us. 119. From, away from. OTHELLO, Act 1 Scene 1 7 Thou told'st me thou didst hold him in thy hate. IAGO 8 Despise me, if I do not. Three great ones of the city, 9 In personal suit to make me his lieutenant, 10.

Off-capp'd to him: Took off their caps to him, i.e., Othello 10 Off-capp'd to him: and, by the faith of man, 11 I know my price, I am worth no worse a place. 12 But he, as loving his own pride and purposes, 13. bombast circumstance: wordy rigmarole. Bombast was cotton stuffing used in padded clothing. 14. epithets of war: military jargon. 13 Evades them, with a bombast circumstance 14 Horribly stuff'd with epithets of war; 15 And, in conclusion, 16. Nonsuits: rejects, refuses. Certes: certainly. 16 Nonsuits my mediators; for, "Certes," says he, 17 "I have already chose my officer." 18 And what was he? 19. arithmetician: i.e., one adept at figures, not at fighting; implying that Cassio's knowledge of war is purely theoretical, based on books of tactics. 21. almost damn'd in a fair wife: We never hear another mention of Cassio's wife, and when the scene . . .

more 23. division: arrangement. battle: battalion. 24. spinster: i.e., housewife (one of whose duties was spinning). theoric: theory. 25. toged: wearing togas (dressed for the council-chamber, not the battlefield). consuls: senators. propose: discuss, talk. 19 Forsooth, a great arithmetician, 20 One Michael Cassio, a Florentine, 21 A fellow almost damn'd in a fair wife, 22 That never set a squadron in the field, 23 Nor the division of a battle knows 24 More than a spinster; unless the bookish theoric, 25 Wherein the toged consuls can propose 26 As masterly as he. Mere prattle, without practise, 27 Is all his soldiership. But he, sir, had the election: 28. his eyes: i.e., Othello's eyes. 28 And I, of whom his eyes had seen the proof 29 At Rhodes, at Cyprus and on other grounds 30.

be be-lee'd and calm'd: have the wind taken out of my sails and be left becalmed. 31. debitor and creditor: i.e., bookkeeper. counter-caster: accountant; . . . more 32. in good time: Ironic, i.e., forsooth. 33. ancient: ensign, standard-bearer. 30 Christian and heathen, must be be-lee'd and calm'd 31 By debitor and creditor  this counter-caster, 32 He, in good time, must his lieutenant be, 33 And I  God bless the mark!  his Moorship's ancient. RODERIGO 34. his hangman: the one to hang him. 34 By heaven, I rather would have been his hangman. IAGO 35 Why, there's no remedy; 'tis the curse of service, 36. Preferment: advancement. letter and affection: private recommendation and favoritism. 37. old gradation: seniority, as in the good old days.

36 Preferment goes by letter and affection, 37 And not by old gradation, where each second 38 Stood heir to the first. Now, sir, be judge yourself, 39. term: respect. affined: bound. 39 Whether I in any just term am affined 40 To love the Moor. RODERIGO 40 I would not follow him then. IAGO 41. content you: calm yourself. 41 O, sir, content you; 42 I follow him to serve my turn upon him. 43 We cannot all be masters, nor all masters 44 Cannot be truly follow'd. You shall mark 45 Many a duteous and knee-crooking knave, 46 That, doting on his own obsequious bondage, 47 Wears out his time, much like his master's ass, 48. cashier'd: dismissed from service. 48 For nought but provender, and when he's old, cashier'd: 49 Whip me such honest knaves. Others there are 50.

trimm'd in forms and visages of duty: wearing the manners and countenance of humble service. 50 Who, trimm'd in forms and visages of duty, 51 Keep yet their hearts attending on themselves, 52 And, throwing but shows of service on their lords, 53 Do well thrive by them and when they have lin'd their coats 54 Do themselves homage. These fellows have some soul; 55 And such a one do I profess myself. For, sir, 56 It is as sure as you are Roderigo, 57 Were I the Moor, I would not be Iago. 58 In following him, I follow but myself; 59 Heaven is my judge, not I for love and duty, 60. peculiar: particular, personal, private. 60 But seeming so, for my peculiar end: 61 For when my outward action doth demonstrate 62. figure: shape. 62 The native act and figure of my heart 63. compliment extern: external show corresponding to these hidden motives.

63 In compliment extern, 'tis not long after 64 But I will wear my heart upon my sleeve 65 For daws to peck at: I am not what I am. RODERIGO 66. thick-lips: i.e., Othello (Elizabethans often applied the term "Moor" to Blacks). owe: own. 67. carry't thus: carry this off. 66 What a full fortune does the thick-lips owe 67 If he can carry't thus! IAGO 67 Call up her father, 68 Rouse him: make after him, poison his delight, 69 Proclaim him in the streets; incense her kinsmen, 70. though he in a fertile climate dwell: i.e., though his general situation is a fortunate one. Climate = region, country. 71. flies: i.e., petty annoyances. . . . more 72. changes of vexation: vexatious changes. 73. may lose some color: i.e., may lose some of its fresh gloss or appearance (of happiness).

70 And, though he in a fertile climate dwell, 71 Plague him with flies: though that his joy be joy, 72 Yet throw such changes of vexation on't, 73 As it may lose some color. RODERIGO 74 Here is her father's house; I'll call aloud. IAGO 75 Do, with like timorous accent and dire yell 76. by night and negligence: at night and as the result of negligence. 76 As when, by night and negligence, the fire 77 Is spied in populous cities. RODERIGO 78 What, ho, Brabantio! Signior Brabantio, ho! IAGO 79 Awake! what, ho, Brabantio! thieves! thieves! thieves! 80 Look to your house, your daughter and your bags! [Enter BRABANTIO] above [at a window]. BRABANTIO 82 What is the reason of this terrible summons? 83 What is the matter there? RODERIGO 84 Signior, is all your family within? IAGO 85 Are your doors lock'd?

BRABANTIO 85 Why, wherefore ask you this? IAGO 86. 'Zounds: by God's (Christ's) wounds. 86 'Zounds, sir, you're robb'd; for shame, put on your gown; 87 Your heart is burst, you have lost half your soul; 88 Even now, now, very now, an old black ram 89. tupping: copulating with (said of sheep). 89 Is tupping your white ewe. Arise, arise; 90. snorting: snoring. 90 Awake the snorting citizens with the bell, 91 Or else the devil will make a grandsire of you: 92 Arise, I say. 92 What, have you lost your wits? RODERIGO 93 Most reverend signior, do you know my voice? BRABANTIO 94 Not I; what are you? RODERIGO 95 My name is Roderigo.

BRABANTIO 96 I have charged thee not to haunt about my doors: 97 In honest plainness thou hast heard me say 98 My daughter is not for thee; and now, in madness, 99. distempering: disordering, intoxicating. 99 Being full of supper and distempering draughts, 100. Upon malicious bravery: with hostile intent to defy me. 101. start: disrupt, startle. 100 Upon malicious bravery, dost thou come 101 To start my quiet. RODERIGO 128 We then have done you bold and saucy wrongs; 129 But if you know not this, my manners tell me 130 We have your wrong rebuke. Do not believe 131. from the sense of all civility: contrary to all sense of decency.

131 That, from the sense of all civility, 132 I thus would play and trifle with your reverence: 133 Your daughter, if you have not given her leave, 134 I say again, hath made a gross revolt; 135 Tying her duty, beauty, wit and fortunes 136. extravagant: expatriate; literally, wandering beyond his limits. wheeling: roving. stranger: foreigner. 137. Straight: straightway. 136 In an extravagant and wheeling stranger 137 Of here and every where. Straight satisfy yourself: 138 If she be in her chamber or your house, 139 Let loose on me the justice of the state 140 For thus deluding you. BRABANTIO 171 By what you see them act. Is there not charms 172. property: special quality, nature. s 172 By which the property of youth and maidhood 173. abused: deceived. 173 May be abused? Have you not read, Roderigo, 174 Of some such thing?

RODERIGO 174 Yes, sir, I have indeed. BRABANTIO 175 Call up my brother. O, would you had had her! 176 Some one way, some another. Do you know 177 Where we may apprehend her and the Moor? RODERIGO 178. discover: uncover, bring to light. 178 I think I can discover him, if you please, 179 To get good guard and go along with me. BRABANTIO 180 Pray you, lead on. At every house I'll call; 181. I may command at most: i.e., I can be sure of help from most of them. 181 I may command at most. Get weapons, ho! 182 And raise some special officers of night. 183. deserve: i.e., show gratitude for, reward. 183 On, good Roderigo: I'll deserve your pains. Exeunt. No Fear Shakespeare: Othello: Act 1, Scene 1 No Fear Shakespeare Home → No Fear Shakespeare → Othello → Act 1, Scene 1 Othello Tush!

Never tell me. I take it much unkindly That thou, Iago, who hast had my purse As if the strings were thine, shouldst know of this. RODERIGO Come on, don’t tell me that. I don’t like it that you knew about this, Iago. All this time I’ve thought you were such a good friend that I’ve let you spend my money as if it was yours. IAGO 'Sblood, but you’ll not hear me! If ever I did dream of such a matter, abhor me. IAGO Damn it, you’re not listening to me! I never dreamed this was happening—if you find out I did, you can go ahead and hate me. RODERIGO Thou didst hold him in thy hate. RODERIGO You told me you hated him. 10 If I do not. Three great ones of the city (In personal suit to make me his lieutenant) Off-capped to him, and by the faith of man I know my price, I am worth no worse a place. But he (as loving his own pride and purposes) Evades them with a bombast circumstance Horribly stuffed with epithets of war, And in conclusion Nonsuits my mediators.

For “Certes,” says he, “I have already chose my officer.” And what was he? One Michael Cassio, a Florentine (A fellow almost damned 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, IAGO They\’re talking about Othello, though they never mention his name. him , I swear. Three of Venice’s most important noblemen took their hats off to him and asked him humbly to make me his lieutenant, the second in command. And I know my own worth well enough to know I deserve that position. But he wants to have things his own way, so he sidesteps the issue with a lot of military talk and refuses their request. “I’ve already chosen my lieutenant,” he says. And who does he choose? A guy who knows more about numbers than fighting! This guy from Florence named Michael Cassio. He has a pretty wife but he can’t even control her. And he’s definitely never commanded men in battle.

He’s got no more hands-on knowledge of warfare than an old woman—unless you count what he’s read in books, William Shakespeare "Othello" But he, as loving his own pride and purposes, Evades them, with a bombast circumstance Horribly stuff'd with epithets of war. What accusations does Iago throw at the absent Othello in these lines? (4) [Need help?] Iago accuses Othello of being arrogant and egotistical. Othello is full of his own self-importance, regaling the patriarchs with all the stories of his great heroics on the battlefield. Comment on the image Iago puts forward with the words "bombast" and "stuffed". (4) [Need help?] "Bombast" was a type of cottonwool that was used in the stuffing of quilts. The word was derived from the medieval French word "bombace". It became synonymous with pomp and conceit, puffed up with arrogance. So Othello was "stuffed" with "bombast", conceited like a stuffed quilt by his exploits in war. And what was he?

One Michael Cassio, a Florentine, 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. Iago is derisive of Michael Cassio whom Othello has chosen as his lieutenant. Why does he speak of him as "a great arithmetician"? (4) [Need help?] Michael Cassio came from the wealthy city-state of Florence, known for being at the centre of trade. Iago claims that Florence was able to produce only traders -- "arithmetician" or person who could add up money but could not produce soldiers. Napoleon Bonaparte would use a similar insult against the British whom he called "a nation of shopkeepers" -- although he soon discovered that the British could indeed put up a mean fight! Explain the link that Iago appears to make between Michael Cassio's ability to lead an army and marriage. (4) [Need help?] Iago resorts often to crudity in his invective against his perceived enemy. In this case he claims that Michael Cassio can no more fight in a battle than make keep a woman happy in bed.

Iago is apparently the holder of a medieval belief that women were the unfaithful partners in marriage. A spinster would be a non-married woman who was supposed to be a virgin but Iago claims that it would be impossible for Michael Cassio to find such a woman -- i.e. find a virgin -- just as it was impossible for him to fight heroically in battle. One has to be of a somewhat warped mind to make such a comparison! And I, of whom his eyes had seen the proof 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. Explain Iago's imagery of his being "be-lee'd and calm'd" by "debitor and creditor, this counter-caster". (4) [Need help?] Iago counterbalances nautical terminology with merchandising terms. He sees himself as the intrepid captain of a naval ship but one whose ship cannot move because it has become "be-lee'd and calm'd", i.e. his ship is becalmed with no wind in its sails.

The cause of this situation is the fact that Michael Cassio, a trader and not a sailor, has usurped him as lieutenant. Iago has not been defeated by soldiers but by merchants -- "debitor and creditor" or a "counter-caster" who counts coins. Indeed, the word "counter" means a place in a shop where coins are counted. A "counter-caster" is therefore someone who counts coins on a counter. By heaven, I rather would have been his hangman. Comment on the irony of this expression by Roderigo. (2) [Need help?] Othello will end up being sentenced to be hanged for the murder of his wife (although he does, of course, commit suicide by stabbing himself). It is better, says Roderigo, to be Othello's hangman than to serve him. And it is indeed Iago who becomes his metaphorical hangman! "O, sir, content you, I follow him to serve my turn upon him." Explain how these words sum up Iago's character. (2) [Need help?] Iago's whole aim in life is to use people for his own ends.

It might appear that he is friendly with someone, or that he is allowing that person to lead him, but the reality will always be that Iago has an end in mind and that the person is merely a pawn in his plotting. Unfortunately, Roderigo could not see that even though the evidence was there in abundance that he himself was being used by Iago. "It is as sure as you are Roderigo, Were I the Moor, I will not be Iago. In following him, I follow but myself." What does Iago mean when he says, "Were I the Moor, I will not be Iago"? (4) [Need help?] It's not fully certain what Iago means because Iago's meanings are often obscured by his plotting. It could, however, mean that if he were Othello, then he would be the leader and not the follower. On the other hand, it could also be that, if he were Othello, he would destroy Iago immediately before Iago has a chance to destroy him. What is the significance of making the leading character (i.e. Othello) a Moor?

How would the Shakespearian audience react to the idea of a Moor as the centre of the plot? (6) [Need help?] During the early middle ages, the Moslems of North Africa conquered Spain where they would rule for centuries before Christendom reconquered the territory and forced the Moslems to convert to Christianity. The remnant of the Moslem population became known as the "Moors", probably as a derivation of the name "Moslems". They were different from the others of the Spanish population, however, because they were dark skinned and it was never certain whether or not their conversion to Christianity was complete. As a result, the Moors always tended to be treated with suspicion. Indeed, during the later Spanish Inquisition, the Catholic Church undertook a persecution of the Moors, often rounding them up and burning them at the stake for witchcraft. The Shakespearian audience would therefore be suspicious of a Moor. When Othello eventually behaved very badly in murdering his wife merely on suspicion of her unfaithfulness, the audience would probably not have been at all surprised.

Othello Speeches Othello Speeches IAGO This first speech by Iago explains the reasons for his resentment toward his superior officer, the Moorish general Othello: Othello has given the position of lieutenant to Michael Cassio, a man, unlike Iago, with no combat experience. Three great ones of the city, 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, Evades them, with a bombast circumstance Horribly stuff'd with epithets of war; And, in conclusion, Nonsuits my mediators; for, 'Certes,' says he, 'I have already chose my officer.' And what was he? One Michael Cassio, a Florentine, 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 As masterly as he: mere prattle, without practise, Is all his soldiership.

But he, sir, had the election: And I, of whom his eyes had seen the proof At Rhodes, at Cyprus and on other grounds 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, And I--God bless the mark!--his Moorship's ancient. 1. What do this character’s words reveal about his attitude and ideas? 2. List the points Iago makes supporting why he believes he should have Cassio’s job. 3. Why does Iago dismiss Cassio’s as “almost damn’d in a fair wife”? What does this choice of insult say about Iago’s attitude and ideas? IAGO, Part II After Iago’s associate Roderigo says “I would not follow him [Othello] then,” Iago responds with this speech in which he explains himself further. O, sir, content you; I follow him to serve my turn upon him: We cannot all be masters, nor all masters Cannot be truly follow'd.

You shall mark Many a duteous and knee-crooking knave, 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: 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, Do well thrive by them and when they have lined their coats Do themselves homage: these fellows have some soul; And such a one do I profess myself. For, sir, It is as sure as you are Roderigo, Were I the Moor, I would not be Iago: In following him, I follow but myself; Heaven is my judge, not I for love and duty, But seeming so, for my peculiar end: For when my outward action doth demonstrate The native act and figure of my heart In compliment extern, 'tis not long after But I will wear my heart upon my sleeve For daws to peck at: I am not what I am. 1. What do this character’s words in this speech reveal about his attitude and ideas?

2. What does Iago mean by “I am not what I am”? How does this statement make us (the audience) feel about Iago from now on? 3. Why is he telling Roderigo – and us – this information? OTHELLO When Othello elopes with Desdemona, the daughter of Venetian senator Brabantio, Brabantio is outraged and calls Othello before the Duke of Venice and the senators to explain himself, accusing Othello of having bewitched Desdemona into marrying him. In this speech, Othello defends himself against the charge and explains how it was that he and Desdemona happened to fall in love. But still the house-affairs would draw her thence: Which ever as she could with haste dispatch, She'ld come again, and with a greedy ear Devour up my discourse: which I observing, Took once a pliant hour, and found good means To draw from her a prayer of earnest heart That I would all my pilgrimage dilate, Whereof by parcels she had something heard, But not intentively: I did consent, And often did beguile her of her tears, When I did speak of some distressful stroke That my youth suffer'd.

My story being done, She gave me for my pains a world of sighs: She swore, in faith, twas strange, 'twas passing strange, '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 loved her, I should but teach him how to tell my story. And that would woo her. Upon this hint I spake: She loved me for the dangers I had pass'd, And I loved her that she did pity them. This only is the witchcraft I have used: Here comes the lady; let her witness it. 1. What do this character’s words reveal about his attitude and ideas? 2. In one word, how would you characterize Othello’s speech here? Label it. 3. Why does Shakespeare make Othello speak with so few figures of speech or “poetic” language? 4. What is the basis of Othello’s and Desdemona’s love for each other? Is this a good marriage?

DESDEMONA and EMILIA In this conversation late in the play, Desdemona asks her friend Emilia, the wife of Iago, if she thinks there really are women out there who cheat on their husbands. Yes, a dozen; and as many to the vantage as would store the world they played for. But I do think it is their husbands' faults If wives do fall: say that they slack their duties, And pour our treasures into foreign laps, Or else break out in peevish jealousies, 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 And have their palates both for sweet and sour, As husbands have. What is it that they do When they change us for others? Is it sport? I think it is: and doth affection breed it? I think it doth: is't frailty that thus errs? It is so too: and have not we affections, Desires for sport, and frailty, as men have?

Then let them use us well: else let them know, The ills we do, their ills instruct us so. 1. In what ways do Desdemona and Emilia differ on the issue of fidelity in marriage? 2. What points does Emilia make in her speech explaining why women cheat? 3. Why does she confide this information to Desdemona? 4. What does this speech suggest about Emilia’s marriage to Iago? 5. What words or lines help you understand Desdemona best? Emilia best?

Question: In Othello, of whom does Iago say "Forsooth, a great arithmetician"?
Answer: Cassio