OTHELLO

OTHELLO Othello was given before James I in the Banqueting House at Whitehall on I November 1604. Information about the Turkish invasion of Cyprus appears to derive from Richard Knolles’s History of the Turks, published no earlier than 30 September 1603, so Shakespeare probably completed his play some time between that date and the summer of 1604. It first appeared in print in a quarto of 1622; the version printed in the 1623 Folio is about 160 lines longer, and has over a thousand differences in wording. It seems that Shakespeare partially revised his play, adding, for example, Desdemona’s willow song (4.3) and building up Emilia’s role in the closing scenes. We base our text on the Folio as that seems to represent Shakespeare’s second thoughts. Shakespeare’s decision to make a black man a tragic hero was bold and original: by an ancient tradition, blackness was associated with sin and death; and blackamoors in plays before Shakespeare are generally villainous (as is Aaron in Titus Andronicus). The story of a Moorish commander deluded by his ensign (standard-bearer) into believing that his young wife has been unfaithful to him with another soldier derives from a prose tale by the Italian Giambattista Cinzio Giraldi first published in 1565 in a collection of linked tales, Gli Ecatommiti (The Hundred Tales). Shakespeare must have read it either in Italian or in a French translation of 1584, he may have looked at both. Giraldi tells the tale in a few pages of compressed, matter-of-fact narrative interspersed with brief conversations. His main characters are a Moor of Venice (Othello), his Venetian wife (Desdemona), his ensign (Iago), his ensign’s wife (Emilia), and a corporal (Cassio) ‘who was very dear to the Moor’. Only Desdemona is named. Shakespeare’s invented characters include Roderigo, a young, disappointed suitor of Desdemona, and Brabanzio, Desdemona’s father, who opposes her marriage to Othello. Bianca, Cassio’s mistress, is developed from a few hints in the source. Shakespeare also introduces the military action between Turkey and Venice—infidels and Christians—which gives especial importance to Othello’s posting to Cyprus, a Venetian protectorate which the Turks attacked in 1570 and conquered in the following year. In the source, Othello and Desdemona are already happily settled into married life when they go to Cyprus; Shakespeare compresses the time-scheme and makes many changes to the narrative. Othello, a great success in Shakespeare’s time, was one of the first plays to be acted after the reopening of the theatres in 1660, and since that time has remained one of the most popular plays on the English stage. THE PERSONS OF THE PLAY OTHELLO, the Moor of Venice DESDEMONA, his wife Michael CASSIO, his lieutenant BIANCA, a courtesan, in love with Cassio IAGO, the Moor’s ensign EMILIA, Iago’s wife A CLOWN, a servant of Othello The DUKE of Venice BRABANZIO, Desdemona’s father, a Senator of Venice GRAZIANO, Brabanzio’s brother LODOVICO, kinsman of Brabanzio SENATORS of Venice RODERIGO, a Venetian gentleman, in love with Desdemona MONTANO, Governor of Cyprus A HERALD A MESSENGER Attendants, officers, sailors, gentlemen of Cyprus, musicians

The Tragedy of Othello the Moor of Venice

Atto 1, Scena 1

Speaker	Line
(didascalia)	Enter Iago and Roderigo
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’ll not hear me! 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-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, Nonsuits my mediators; for ‘Certes,’ says he, ‘I have already chose my officer.’ And what was he? Forsooth, a great arithmetician, 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, Wherein the togaed consuls can propose As masterly as he. Mere prattle without practice Is all his soldiership; but he, sir, had th’election, And I—of whom his eyes had seen the proof At Rhodes, at Cyprus, and on other grounds Christened and heathen—must be beleed and calmed By debitor and creditor. This counter-caster, He in good time must his lieutenant be, And I—God bless the mark!—his Moorship’s ensign.
RODERIGO	By heaven, I rather would have been his hangman.
IAGO	Why, there’s no remedy. ’Tis the curse of service. Preferment goes by letter and affection, And not by old gradation, where each second Stood heir to th’ first. Now, sir, be judge yourself Whether I in any just term am affined To love the Moor.
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 followed. 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 naught but provender, and when he’s old, cashiered. Whip me such honest knaves. Others there are Who, trimmed 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 ‘em, 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.
RODERIGO	What a full fortune does the thick-lips owe If he can carry’t thus!
IAGO	Call up her father, 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 chances of vexation on’t 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.
RODERIGO	(calling) What ho, Brabanzio, Signor Brabanzio, ho!
IAGO	(calling) Awake, what ho, Brabanzio, thieves, thieves, thieves! Look to your house, your daughter, and your bags. Thieves, thieves!
(didascalia)	Enter Brabanzio in his nightgown at a window above
BRABANZIO	What is the reason of this terrible summons? What is the matter there?
RODERIGO	Signor, is all your family within?
IAGO	Are your doors locked?
BRABANZIO	Why, wherefore ask you this?
IAGO	’Swounds, sir, you’re robbed. 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 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.
BRABANZIO	What, have you lost your wits?
RODERIGO	Most reverend signor, do you know my voice?
BRABANZIO	Not I. What are you?
RODERIGO	My name is Roderigo.
BRABANZIO	The worser welcome. I have charged thee not to haunt about my doors. In honest plainness thou hast heard me say My daughter is not for thee, and now in madness, Being full of supper and distempering draughts, Upon malicious bravery dost thou come To start my quiet.
RODERIGO	Sir, sir, sir.
BRABANZIO	But thou must needs be sure My spirits and my place have in their power To make this bitter to thee.
RODERIGO	Patience, good sir.
BRABANZIO	What tell’st thou me of robbing? This is Venice. My house is not a grange.
RODERIGO	Most grave Brabanzio, In simple and pure soul I come to you.
IAGO	(to Brabanzio) ’Swounds, 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 jennets for germans.
BRABANZIO	What 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.
BRABANZIO	Thou art a villain.
IAGO	You are a senator.
BRABANZIO	This thou shalt answer. I know thee, Roderigo.
RODERIGO	Sir, I will answer anything. 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’th’ 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 For thus deluding you.
BRABANZIO	(calling) 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. Light, I say, light!
(didascalia)	Exit
IAGO	Farewell, for I must leave you. It seems not meet nor wholesome to my place To be producted—as, if I stay, I shall— Against the Moor, for I do know the state, However this may gall him with some check, Cannot with safety cast him, for he’s embarked With such loud reason to the Cyprus wars, Which even now stands in act, that, for their souls, 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 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. Exit
(didascalia)	Enter below Brabanzio in his nightgown, and
IAGO	servants with torches
BRABANZIO	It is too true an evil. Gone she is, And what’s to come of my despised time Is naught but bitterness. Now, Roderigo, Where didst thou see her?—O unhappy girl!— With the Moor, sayst thou?—Who would be a father?— How didst thou know ’twas she?—O, she deceives me Past thought!—What said she to you? (To servants) Get more tapers, Raise all my kindred.
(didascalia)	Exit one or more
BRABANZIO	(To Roderigo) Are they married, think you?
RODERIGO	Truly, I think they are.
BRABANZIO	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. Is there not charms By which the property of youth and maidhood May be abused? Have you not read, Roderigo, Of some such thing?
RODERIGO	Yes, sir, I have indeed.
BRABANZIO	(to servants) Call up my brother. (To Roderigo) O, would you had had her. (To servants) Some one way, some another.
(didascalia)	Exit one or more
BRABANZIO	(To Roderigo) Do you know Where we may apprehend her and the Moor?
RODERIGO	I think I can discover him, if you please To get good guard and go along with me.
BRABANZIO	Pray you lead on. At every house I’ll call; I may command at most. (Calling) Get weapons, ho, And raise some special officers of night. On, good Roderigo. I will deserve your pains. Exeunt

Atto 1, Scena 2

Speaker	Line
(didascalia)	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’th’ conscience To do no contrived murder. I lack iniquity, Sometime, to do me service. Nine or ten times I had thought to’ve yerked him here, under the ribs.
OTHELLO	’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 you, sir, Are you fast married? Be assured of this: That the magnifico is much beloved, And hath in his effect a voice potential As double as the Duke’s. He will divorce you, Or put upon you what restraint or grievance The law, with all his might to enforce it on, Will give him cable.
OTHELLO	Let him do his spite. My services which I have done the signory Shall out-tongue his complaints. ’Tis yet to know— Which, when I know that boasting is an honour, I shall promu]gate—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 reached. For know, Iago, But that I love the gentle Desdemona I would not my unhousèd free condition Put into circumscription and confine For the seas’ worth.
(didascalia)	Enter Cassio and officers, with torches
OTHELLO	But look, what lights come yond?
IAGO	Those are the raised father and his friends. You were best go in.
OTHELLO	Not I. I must be found. My parts, my title, and my perfect soul Shall manifest me rightly. Is it they?
IAGO	By Janus, I think no.
OTHELLO	The servants of the Duke, and my lieutenant! The goodness of the night upon you, friends. What is the news?
CASSIO	The Duke does greet you, general, And he requires your haste-post-haste appearance Even on the instant.
OTHELLO	What is the matter, think you?
CASSIO	Something from Cyprus, as I may divine; It is a business of some heat. The galleys Have sent a dozen sequent messengers This very night at one another’s heels, And many of the consuls, raised and met, Are at the Duke’s already. You have been hotly called for, When, being not at your lodging to be found, The senate sent about three several quests To search you out.
OTHELLO	’Tis well I am found by you. I will but spend a word here in the house And go with you. Exit
CASSIO	Ensign, what makes he here?
IAGO	Faith, he tonight hath boarded a land-carrack. If it prove lawful prize, he’s made for ever.
CASSIO	I do not understand.
IAGO	He’s married.
CASSIO	To who?
(didascalia)	Enter
CASSIO	Brabanzio, Roderigo, and officers, with lights and weapons
IAGO	Marry, to—
(didascalia)	Enter Othello
IAGO	(To Othello) Come, captain, will you go?
OTHELLO	Have with you.
CASSIO	Here comes another troop to seek for you.
IAGO	It is Brabanzio. General, be advised. He comes to bad intent.
OTHELLO	Holla, stand, there!
RODERIGO	(to Brabanzio) Signor, it is the Moor.
BRABANZIO	Down with him, thief!
IAGO	(drawing his sword) You, Roderigo? Come, sir, I am for you.
OTHELLO	Keep up your bright swords, for the dew will rust ’em. (To Brabanzio) Good signor, you shall more command with years Than with your weapons.
BRABANZIO	O thou foul thief, where hast thou stowed my daughter? Damned as thou art, thou hast enchanted her, For I’ll refer me to all things of sense, If she in chains of magic were not bound, Whether a maid so tender, fair, and happy, So opposite to marriage that she shunned The wealthy curled darlings of our nation, Would ever have, t‘incur a general mock, Run from her guardage to the sooty bosom Of such a thing as thou—to fear, not to delight. Judge me the world if ’tis not gross in sense That thou hast practised on her with foul charms, Abused her delicate youth with drugs or minerals That weakens motion. I’ll have’t disputed on. ’Tis probable, and palpable to thinking. I therefore apprehend and do attach thee For an abuser of the world, a practiser Of arts inhibited and out of warrant. (To officers) Lay hold upon him. If he do resist, Subdue him at his peril.
OTHELLO	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. Whither will you that I go To answer this your charge?
BRABANZIO	To prison, till fit time Of law and course of direct session Call thee to answer.
OTHELLO	What if I do obey? How may the Duke be therewith satisfied, Whose messengers are here about my side Upon some present business of the state To bring me to him?
OFFICER	(to Brabanzio) ’Tis true, most worthy signor. The Duke’s in council, and your noble self, I am sure, is sent for.
BRABANZIO	How, the Duke in council? In this time of the night? Bring him away. Mine’s not an idle cause. The Duke himself, Or any of my brothers of the state, Cannot but feel this wrong as ’twere their own; For if such actions may have passage free, Bondslaves and pagans shall our statesmen be. Exeunt

Atto 1, Scena 3

Speaker	Line
(didascalia)	Enter the Duke and Senators set at a table, with lights and officers
DUKE	There is no composition in these news That gives them credit.
FIRST SENATOR	Indeed, they are disproportioned. My letters say a hundred and seven galleys.
DUKE	And mine a hundred-forty.
SECOND SENATOR	And mine two hundred. 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.
DUKE	Nay, it is possible enough to judgement. 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!
(didascalia)	Enter a Sailor
OFFICER	A messenger from the galleys.
DUKE	Now, what’s the business?
SAILOR	The Turkish preparation makes for Rhodes. So was I bid report here to the state By Signor Angelo.
DUKE	(to Senators) How say you by this change?
FIRST SENATOR	This cannot be, By no assay of reason—’tis a pageant To keep us in false gaze. When we consider The importancy of Cyprus to the Turk, And let ourselves again but understand That, as it more concerns the Turk than Rhodes, So may he with more facile question bear it, For that it stands not in such warlike brace, But altogether lacks th’abilities That Rhodes is dressed in—if we make thought of this, We must not think the Turk is so unskilful To leave that latest which concerns him first, Neglecting an attempt of ease and gain To wake and wage a danger profitless.
DUKE	Nay, in all confidence, he’s not for Rhodes.
OFFICER	Here is more news.
(didascalia)	Enter a Messenger
MESSENGER	The Ottomites, reverend and gracious, Steering with due course toward the Isle of Rhodes, Have there injointed them with an after fleet.
FIRST SENATOR	Ay, so I thought. How many, as you guess?
MESSENGER	Of thirty sail, and now they do restem Their backward course, bearing with frank appearance Their purposes toward Cyprus. Signor Montano, Your trusty and most valiant servitor, 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?
FIRST SENATOR	He’s now in Florence.
DUKE	Write from us to him post-post-haste. Dispatch.
(didascalia)	Enter Brabanzio, Othello, Roderigo, Iago, Cassio, and officers
FIRST SENATOR	Here comes Brabanzio and the valiant Moor.
DUKE	Valiant Othello, we must straight employ you Against the general enemy Ottoman. (To Brabanzio) I did not see you. Welcome, gentle signor. We lacked your counsel and your help tonight.
BRABANZIO	So did I yours. Good your grace, pardon me. Neither my place, nor aught I heard of business, Hath raised me from my bed, nor doth the general care Take hold on me; for my particular grief Is of so floodgate and o’erbearing nature That it engluts and swallows other sorrows, And it is still itself.
DUKE	Why, what’s the matter?
BRABANZIO	My daughter, O, my daughter!
SENATORS	Dead?
BRABANZIO	Ay, to me. She is abused, stol’n from me, and corrupted By spells and medicines bought of mountebanks. For nature so preposterously to err, Being not deficient, blind, or lame of sense, Sans witchcraft could not.
DUKE	Whoe’er he be that in this foul proceeding Hath thus beguiled your daughter of herself And you of her, the bloody book of law You shall yourself read in the bitter letter After your own sense, yea, though our proper son Stood in your action.
BRABANZIO	Humbly I thank your grace. Here is the man, this Moor, whom now it seems Your special mandate for the state affairs Hath hither brought.
SENATORS	We are very sorry for’t.
DUKE	(to Othello) What in your own part can you say to this?
BRABANZIO	Nothing but this is so.
OTHELLO	Most potent, grave, and reverend signors, My very noble and approved good masters, That I have ta’en away this old man’s daughter, It is most true, true I have married her. The very head and front of my offending Hath this extent, no more. Rude am I in my speech, And little blessed with the soft phrase of peace, For since these arms of mine had seven years’ pith Till now some nine moons wasted, they have used Their dearest action in the tented field, And little of this great world can I speak More than pertains to feats of broils and battle. And therefore little shall I grace my cause In speaking for myself. Yet, by your gracious patience, I will a round unvarnished tale deliver Of my whole course of love, what drugs, what charms, What conjuration and what mighty magic— For such proceeding I am charged withat— I won his daughter.
BRABANZIO	A maiden never bold, Of spirit so still and quiet that her motion Blushed at hersetf—and she in spite of nature, Of years, of country, credit, everything, To fall in love with what she feared to look on! It is a judgement maimed and most imperfect That will confess perfection so could err Against all rules of nature, and must be driven To find out practices of cunning hell Why this should be. I therefore vouch again That with some mixtures powerful o’er the blood, Or with some dram conjured to this effect, He wrought upon her.
DUKE	To vouch this is no proof Without more wider and more overt test Than these thin habits and poor likelihoods Of modern seeming do prefer against him. A SENATOR But Othello, speak. Did you by indirect and forced courses Subdue and poison this young maid’s affections, Or came it by request and such fair question As soul to soul affordeth?
OTHELLO	I do beseech you, Send for the lady to the Sagittary, And let her speak of me before her father. If you do find me foul in her report, The trust, the office I do hold of you Not only take away, but let your sentence Even fall upon my life.
DUKE	(to officers) Fetch Desdemona hither.
OTHELLO	Ensign, conduct them. You best know the place.
(didascalia)	Exit Iago with two or three officers
OTHELLO	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 How I did thrive in this fair lady’s love And she in mine.
DUKE	Say it, Othello.
OTHELLO	Her father loved me, oft invited me, Still questioned me the story of my life From year to year, the battles, sieges, fortunes That I have passed. I ran it through even from my boyish days To th’ very moment that he bade me tell it, Wherein I spoke of most disastrous chances, Of moving accidents by flood and field, Of hair-breadth scapes i‘th’ imminent deadly breach, Of being taken by the insolent foe And sold to slavery, of my redemption thence, And portance in my traveller’s history, Wherein of antres vast and deserts idle, Rough quarries, rocks, and hills whose heads touch heaven, It was my hint to speak. Such was my process, And of the cannibals that each other eat, The Anthropophagi, and men whose heads Do grow beneath their shoulders. These things to hear Would Desdemona seriously incline, But still the house affairs would draw her thence, Which ever as she could with haste dispatch She’d come again, and with a greedy ear Devour up my discourse; which I observing, Took once a 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 suffered. My story being done, She gave me for my pains a world of kisses. She swore in faith ’twas strange, ‘twas passing strange, ’Twas pitiful, ’twas wondrous pitiful. She wished she had not heard it, yet she wished That heaven had made her such a man. She thanked me, And bade me, if I had a friend that loved her, I should but teach him how to tell my story, And that would woo her. Upon this hint I spake. She loved me for the dangers I had passed, And I loved her that she did pity them. This only is the witchcraft I have used.
(didascalia)	Enter Desdemona, Iago, and attendants
OTHELLO	Here comes the lady. Let her witness it.
DUKE	I think this tale would win my daughter, too.— Good Brabanzio, Take up this mangled matter at the best. Men do their broken weapons rather use Than their bare hands.
BRABANZIO	I pray you hear her speak. If she confess that she was half the wooer, 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?
DESDEMONA	My noble father, I do perceive here a divided duty. 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 husband, And so much duty as my mother showed To you, preferring you before her father, So much I challenge that I may profess Due to the Moor my lord.
BRABANZIO	God b‘wi’you, I ha’ done. Please it your grace, on to the state affairs. I had rather to adopt a child than get it. Come hither, Moor. I here do give thee that with all my heart Which, but thou hast already, with all my heart I would keep from thee. (To Desdemona) For your sake, jewel, I am glad at soul I have no other child, For thy escape would teach me tyranny, To hang clogs on ’em. I have done, my lord.
DUKE	Let me speak like yourself, and lay a sentence Which, as a grece or step, may help these lovers Into your favour. When remedies are past, the griefs are ended By seeing the worst which late on hopes depended. To mourn a mischief that is past and gone Is the next way to draw new mischief on. What cannot be preserved when fortune takes, Patience her injury a mockery makes. The robbed that smiles steals something from the thief; He robs himself that spends a bootless grief.
BRABANZIO	So let the Turk of Cyprus us beguile, We lose it not so long as we can smile. He bears the sentence well that nothing bears 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, Being strong on both sides, are equivocal. But words are words. I never yet did hear That the bruised heart was pierced through the ear. I humbly beseech you proceed to th’affairs of state.
DUKE	The Turk with a most mighty preparation 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 more 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.
OTHELLO	The tyrant custom, most grave senators, Hath made the flinty and steel couch of war My thrice-driven bed of down. I do agnize A natural and prompt alacrity I find in hardness, and do undertake This present wars against the Ottomites. Most humbly therefore bending to your state, I crave fit disposition for my wife, Due reference of place and exhibition, With such accommodation and besort As levels with her breeding.
DUKE	Why, at her father’s!
BRABANZIO	I will not have it so.
OTHELLO	Nor I.
DESDEMONA	Nor would I there reside, To put my father in impatient thoughts By being in his eye. Most gracious Duke, To my unfolding lend your prosperous ear, And let me find a charter in your voice T’assist my simpleness.
DUKE	What would you, Desdemona?
DESDEMONA	That I did love the Moor to live with him, My downright violence and storm of fortunes May trumpet to the world. My heart’s subdued Even to the very quality of my lord. I saw Othello’s visage in his mind, And to his honours and his valiant parts Did I my soul and fortunes consecrate; So that, dear lords, if I be left behind, A moth of peace, and he go to the war, The rites for why I love him are bereft me, And I a heavy interim shall support By his dear absence. Let me go with him.
OTHELLO	(to the Duke) Let her have your voice. Vouch with me heaven, I therefor beg it not To please the palate of my appetite, Nor to comply with heat—the young affects In me defunct—and proper satisfaction, But to be free and bounteous to her mind; And heaven defend your good souls that you think I will your serious and great business scant When she is with me. No, when light-winged toys Of feathered Cupid seel with wanton dullness My speculative and officed instruments, 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.
DUKE	Be it as you shall privately determine, Either for her stay or going. Th’affair cries haste, And speed must answer it. A SENATOR (to Othello) You must away tonight.
DESDEMONA	Tonight, my lord?
DUKE	This night.
OTHELLO	With all my heart.
DUKE	At nine i’th’ morning here we’ll meet again. Othello, leave some officer behind, And he shall our commission bring to you, And such things else of quality and respect As doth import you.
OTHELLO	So please your grace, my ensign. A man he is of honesty and trust. To his conveyance I assign my wife, With what else needful your good grace shall think To be sent after me.
DUKE	Let it be so. Good night to everyone. (To Brabanzio) And, noble signor, If virtue no delighted beauty lack, Your son-in-law is far more fair than black. A SENATOR Adieu, brave Moor. Use Desdemona well.
BRABANZIO	Look to her, Moor, if thou hast eyes to see. She has deceived her father, and may thee.
(didascalia)	Exeunt Duke, Brabanzio, Cassio, Senators, and officers
OTHELLO	My life upon her faith. Honest Iago, My Desdemona must I leave to thee. I prithee let thy wife attend on her, And bring them after in the best advantage. Come, Desdemona. I have but an hour Of love, of worldly matter and direction To spend with thee. We must obey the time.
(didascalia)	Exeunt Othello and Desdemona
RODERIGO	Iago.
IAGO	What sayst thou, noble heart?
RODERIGO	What will I do, think’st thou?
IAGO	Why, go to bed and sleep.
RODERIGO	I will incontinently drown myself.
IAGO	If thou dost, I shall never love thee after. Why, thou silly gentleman!
RODERIGO	It is silliness to live when to live is torment; and then have we a prescription to die when death is our physician.
IAGO	O, villainous! I ha’ looked upon the world for four times seven years, and since I could distinguish betwixt a benefit and an injury I never found man that knew how to love himself. Ere I would say I would drown myself for the love of a guinea-hen, I would change my humanity with a baboon.
RODERIGO	What should I do? I confess it is my shame to be so fond, but it is not in my virtue to amend it.
IAGO	Virtue? A fig! ’Tis in ourselves that we are thus or thus. Our bodies are our gardens, to the which our wills are gardeners; so that if we will plant nettles or sow lettuce, 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 our wills. If the beam of our lives had not one scale of reason to peise another of sensuality, 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.
RODERIGO	It cannot be.
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 toughness. I could never better stead thee than now. Put money in thy purse. Follow thou the wars, defeat thy favour with an usurped beard. I say, put money in thy purse. It cannot be long that Desdemona should continue her love to the Moor—put money in thy purse—nor he his to her. It was a violent commencement in her, and thou shalt see an answerable 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. Therefore put money in thy purse. If thou wilt needs damn thyself, do it a more delicate way 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 o’ 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.
RODERIGO	Wilt thou be fast to my hopes if I depend on the issue?
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 reason. Let us be conjunctive in our revenge against him. If thou canst 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 tomorrow. Adieu.
RODERIGO	Where shall we meet i’th’ morning?
IAGO	At my lodging.
RODERIGO	I’ll be with thee betimes.
IAGO	Go to, farewell— Do you hear, Roderigo?
RODERIGO	I’ll sell all my land.
(didascalia)	Exit
IAGO	Thus do I ever make my fool my purse— For I mine own gained knowledge should profane If I would time expend with such a snipe But for my sport and profit. I hate the Moor, And it is thought abroad that ’twixt my 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: 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? Let’s see. After some time to abuse Othello’s ears That he is too familiar with his wife; He hath a person and a smooth dispose To be suspected, framed to make women false. The Moor is of a free and open nature, That thinks men honest that but seem to be so, And will as tenderly be led by th’ nose As asses are. I ha’t. It is ingendered. Hell and night Must bring this monstrous birth to the world’s light.
(didascalia)	Exit

Atto 2, Scena 1

Speaker	Line
(didascalia)	Enter below Montano, Governor of Cyprus; two other gentlemen above
MONTANO	What from the cape can you discern at sea?
FIRST GENTLEMAN	Nothing at all. It is a high-wrought flood. I cannot ’twixt the heaven and the main Descry a sail.
MONTANO	Methinks the wind hath spoke aloud at land. A fuller blast ne’er shook our battlements. If it ha’ ruffianed so upon the sea, What ribs of oak, when mountains melt on them, Can hold the mortise? What shall we hear of this?
SECOND GENTLEMAN	A segregation of the Turkish fleet; For do but stand upon the foaming shore, The chidden billow seems to pelt the clouds, The wind-shaked surge with high and monstrous mane Seems to cast water on the burning Bear And quench the guards of th’ever-fixèd Pole. I never did like molestation view On the enchafèd flood.
MONTANO	If that the Turkish fleet Be not ensheltered and embayed, they are drowned. It is impossible to bear it out.
(didascalia)	Enter a third Gentleman
THIRD GENTLEMAN	News, lads! Our wars are done. The desperate tempest hath so banged the Turks That their designment halts. A noble ship of Venice Hath seen a grievous wrack and sufferance On most part of their fleet.
MONTANO	How, is this true?
THIRD GENTLEMAN	The ship is here put in, A Veronessa. Michael Cassio, Lieutenant to the warlike Moor Othello, Is come on shore; the Moor himself at sea, And is in full commission here for Cyprus.
MONTANO	I am glad on’t; ’tis a worthy governor.
THIRD GENTLEMAN	But this same Cassio, though he speak of comfort Touching the Turkish loss, yet he looks sadly, And prays the Moor be safe, for they were parted With foul and violent tempest.
MONTANO	Pray heavens he be, For I have served him, and the man commands Like a full soldier. Let’s to the sea-side, ho!— As well to see the vessel that’s come in As to throw out our eyes for brave Othello, Even till we make the main and th’aerial blue An indistinct regard.
THIRD GENTLEMAN	Come, let’s do so, For every minute is expectancy Of more arrivance.
(didascalia)	Enter Cassio
CASSIO	Thanks, you the valiant of this warlike isle That so approve the Moor! O, let the heavens Give him defence against the elements, For I have lost him On a dangerous sea.
MONTANO	Is he well shipped?
CASSIO	His barque is stoutly timbered, and his pilot Of very expert and approved allowance. Therefore my hopes, not surfeited to death, Stand in bold cure.
VOICES	(within) A sail, a sail, a sail!
CASSIO	What noise? A GENTLEMAN The town is empty. On the brow o‘th’ sea Stand ranks of people, and they cry ‘A sail!’
CASSIO	My hopes do shape him for the governor. A shot A GENTLEMAN They do discharge their shot of courtesy— Our friends, at least.
CASSIO	I pray you, sir, go forth, And give us truth who ’tis that is arrived. A GENTLEMAN I shall.
(didascalia)	Exit
MONTANO	But, good lieutenant, is your general wived?
CASSIO	Most fortunately. He hath achieved a maid That paragons description and wild fame, One that excels the quirks of blazoning pens, And in th’essential vesture of creation Does tire the engineer.
(didascalia)	Enter Gentleman
CASSIO	How now, who has put in?
GENTLEMAN	’Tis one Iago, ensign to the general.
CASSIO	He’s had most favourable and happy speed. Tempests themselves, high seas, and howling winds, The guttered rocks and congregated sands, Traitors ensteeped to enclog the guiltless keel, As having sense of beauty do omit Their mortal natures, letting go safely by The divine Desdemona.
MONTANO	What is she?
CASSIO	She that I spake of, our great captain’s captain, Left in the conduct of the bold Iago, Whose footing here anticipates our thoughts A sennight’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 renewed fire to our extincted spirits, And bring all Cyprus comfort.
(didascalia)	Enter Desdemona, Iago, Emilia, and Roderigo
CASSIO	O, behold, The riches of the ship is come on shore! You men of Cyprus, let her have your knees. Montano and the Gentlemen make curtsy to Desdemona Hail to thee, lady, and the grace of heaven Before, behind thee, and on every hand Enwheel thee round!
DESDEMONA	I thank you, valiant Cassio. What tidings can you tell me of my lord?
CASSIO	He is not yet arrived, nor know I aught But that he’s well and will be shortly here.
DESDEMONA	O, but I fear—how lost you company?
CASSIO	The great contention of the sea and skies Parted our fellowship.
VOICES	(within) A sail, a sail!
CASSIO	But hark, a sail. A shot A GENTLEMAN They give their greeting to the citadel. This likewise is a friend.
CASSIO	See for the news.
(didascalia)	Exit Gentleman
CASSIO	Good ensign, you are welcome. (Kissing Emilia) Welcome, mistress. Let it not gall your patience, good Iago, That I extend my manners. ’Tis my breeding That gives me this bold show of courtesy.
IAGO	Sir, would she give you so much of her lips As of her tongue she oft bestows on me, You would have enough.
DESDEMONA	Alas, she has no speech!
IAGO	In faith, too much. I find it still when I ha’ leave to sleep. Marry, before your ladyship, I grant, She puts her tongue a little in her heart, And chides with thinking.
EMILIA	You ha’ little cause to say so.
IAGO	Come on, come on. You are pictures out of door, Bells in your parlours; wildcats in your kitchens, Saints in your injuries; devils being offended, Players in your housewifery, and hussies in your beds.
DESDEMONA	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.
EMILIA	You shall not write my praise.
IAGO	No, let me not.
DESDEMONA	What wouldst write of me, if thou shouldst praise me?
IAGO	O, gentle lady, do not put me to’t, For I am nothing if not critical.
DESDEMONA	Come on, essay—there’s one gone to the harbour?
IAGO	Ay, madam.
DESDEMONA	I am not merry, but I do beguile The thing I am by seeming otherwise. Come, how wouldst thou praise me?
IAGO	I am about it, but indeed my invention Comes from my pate as birdlime does from frieze— It plucks out brains and all. But my muse labours, And thus she is delivered: If she be fair and wise, fairness and wit, The one’s for use, the other useth it.
DESDEMONA	Well praised! How if she be black and witty?
IAGO	If she be black and thereto have a wit, She’ll find a white that shall her blackness fit.
DESDEMONA	Worse and worse.
EMILIA	How if fair and foolish?
IAGO	She never yet was foolish that was fair, For even her folly helped her to an heir.
DESDEMONA	These are old fond paradoxes, to make fools laugh i’th’ alehouse. What miserable praise hast thou for her That’s foul and foolish?
IAGO	There’s none so foul and foolish thereunto, But does foul pranks which fair and wise ones do.
DESDEMONA	O heavy ignorance! Thou praisest the worst best. But what praise couldst thou bestow on a deserving woman indeed—one that, in the authority of her merit, did justly put 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, Never lacked gold and yet went never gay, Fled from her wish, and yet said ‘Now I may’; She that, being angered, her revenge being nigh, Bade her wrong stay and her displeasure fly; She that in wisdom never was so frail To change the cod’s head for the salmon’s tail; She that could think and ne’er disclose her mind, See suitors following, and not look behind— She was a wight, if ever such wights were—
DESDEMONA	To do what?
IAGO	To suckle fools, and chronicle small beer.
DESDEMONA	O most lame and impotent conclusion! Do not learn of him, Emilia, though he be thy husband. How say you, Cassio, is he not a most profane and liberal counsellor?
CASSIO	He speaks home, madam. You may relish him more in the soldier than in the scholar. Cassio and Desdemona talk apart
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 kissed your three fingers so oft, which now again you are most apt to play the sir in. Very good, well kissed, an excellent curtsy, ’tis so indeed; yet again your fingers to your lips? Would they were clyster-pipes for your sake.
(didascalia)	Trumpets within
IAGO	(Aloud) The Moor—I know his trumpet.
CASSIO	’Tis truly so.
DESDEMONA	Let’s meet him and receive him.
CASSIO	Lo where he comes!
(didascalia)	Enter Othello and attendants
OTHELLO	(to Desdemona) O my fair warrior!
DESDEMONA	My dear Othello.
OTHELLO	It gives me wonder great as my content To see you here before me. O my soul’s joy, If after every tempest come such calms, May the winds blow till they have wakened death, And let the labouring barque climb hills of seas Olympus-high, and duck again as low As hell’s from heaven. If it were now to die ’Twere now to be most happy, for I fear My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate.
DESDEMONA	The heavens forbid But that our loves and comforts should increase Even as our days do grow.
OTHELLO	Amen to that, sweet powers! I cannot speak enough of this content. It stops me here, it is too much of joy. And this, (they kiss) and this, the greatest discords be That e’er our hearts shall make.
IAGO	(aside) O, you are well tuned now, But I’ll set down the pegs that make this music, As honest as I am.
OTHELLO	Come, let us to the castle. News, friends: our wars are done, the Turks are drowned. How does my old acquaintance of this isle?— Honey, you shall be well desired in Cyprus, I have found great love amongst them. O my sweet, I 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!
(didascalia)	Exeunt Othello and Desdemona with all but lago and Roderigo
IAGO	(to an attendant as he goes out) Do thou meet me presently at the harbour. (To Roderigo) Come hither. If thou beest 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 tonight watches on the court of guard. First, I must tell thee this: Desdemona is directly in love with him.
RODERICO	With him? Why, ’tis not possible!
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. To 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 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 eminent 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 compass of his salt and most hidden loose affection. Why, none; why, none—a slipper and subtle knave, a finder of occasion, that has 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.
RODERIGO	I cannot believe that in her. She’s full of most blessed condition.
IAGO	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 pudding! Didst thou not see her paddle with the palm of his hand? Didst not mark that? 255
RODERIGO	Yes, that I did, but that was but courtesy.
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 marshal the way, hard at hand comes the master and main exercise, th’incorporate conclusion. Pish! But, sir, be you ruled by me. I have brought you from Venice. Watch you tonight. 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.
RODERIGO	Well.
IAGO	Sir, he’s 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 qualification 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 impediment most profitably removed, without the which there were no expectation of our prosperity.
RODERIGO	I will do this, if you 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.
RODERIGO	Adieu.
(didascalia)	Exit
IAGO	That Cassio loves her, I do well believe it. That she loves him, ‘tis apt and of great credit. The Moor—howbe’t that I endure him not— 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— But partly led to diet my revenge For that I do suspect the lusty Moor Hath leapt into my seat, the thought whereof Doth, like a poisonous mineral, gnaw my inwards; And nothing can or shall content my soul Till I am evened with him, wife for wife— Or failing so, yet that I put the Moor At least into a jealousy so strong That judgement cannot cure, which thing to do, If this poor trash of Venice whom I trace For his quick hunting stand the putting on, I’ll have our Michael Cassio on the hip, Abuse him to the Moor in the rank garb— For I fear Cassio with my nightcap, too— Make the Moor thank me, love me, and reward me For making him egregiously an ass, And practising upon his peace and quiet Even to madness. ’Tis here, but yet confused. Knavery’s plain face is never seen till used.
(didascalia)	Exit

Atto 2, Scena 2

Speaker	Line
(didascalia)	Enter Othello’s Herald reading a proclamation
HERALD	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 triumph: some to dance, some to make bonfires, 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 his pleasure should be proclaimed. All offices 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! Exit

Atto 2, Scena 3

Speaker	Line
(didascalia)	Enter Othello, Desdemona, Cassio, and attendants
OTHELLO	Good Michael, look you to the guard tonight. Let’s teach ourselves that honourable stop Not to outsport discretion.
CASSIO	Iago hath direction what to do, But notwithstanding, with my personal eye Will I look to’t.
OTHELLO	Iago is most honest. Michael, good night. Tomorrow with your earliest Let me have speech with you. (To Desdemona) Come, my dear love, The purchase made, the fruits are to ensue. That profit’s yet to come ’tween me and you. (To Cassio) Good night.
(didascalia)	Exeunt Othello, Desdemona, and attendants
(didascalia)	Enter Iago
CASSIO	Welcome, Iago. We must to the watch.
IAGO	Not this hour, lieutenant; ‘tis not yet ten o’th’ 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.
CASSIO	She’s a most exquisite lady.
IAGO	And I’ll warrant her full of game.
CASSIO	Indeed, she’s a most fresh and delicate creature.
IAGO	What an eye she has! Methinks it sounds a parley to provocation.
CASSIO	An inviting eye, and yet, methinks, right modest.
IAGO	And when she speaks, is it not an alarum to love?
CASSIO	She is indeed perfection.
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.
CASSIO	Not tonight, good Iago. I have very poor and unhappy brains for drinking. I could well wish courtesy would invent some other custom of entertainment.
IAGO	O, they are our friends! But one cup. I’ll drink for you.
CASSIO	I ha’ drunk but one cup tonight, and that was craftily qualified, too, and behold what innovation it makes here! I am infortunate in the infirmity, and dare not task my weakness with any more.
IAGO	What, man, ’tis a night of revels, the gallants desire it!
CASSIO	Where are they?
IAGO	Here at the door. I pray you call them in.
CASSIO	I’ll do’t, but it dislikes me.
(didascalia)	Exit
IAGO	If I can fasten but one cup upon him, With that which he hath drunk tonight already He’ll be as full of quarrel and offence As my young mistress’ dog. Now my sick fool Roderigo, Whom love hath turned almost the wrong side out, To Desdemona hath tonight caroused Potations pottle-deep, and he’s to watch. Three else of Cyprus—noble swelling spirits That hold their honours in a wary distance, The very elements of this warlike isle— Have I tonight flustered 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.
(didascalia)	Enter Montano, Cassio, Gentlemen, [and servants] with wine
IAGO	But here they come. If consequence do but approve my dream, My boat sails freely both with wind and stream.
CASSIO	Fore God, they have given me a rouse already.
MONTANO	Good faith, a little one; not past a pint, As I am a soldier.
IAGO	Some wine, ho! (Sings) And let me the cannikin clink, clink, And let me the cannikin clink. A soldier’s a man, O, man’s life’s but a span, Why then, let a soldier drink. Some wine, boys!
CASSIO	Fore God, an excellent song.
IAGO	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.
CASSIO	Is your Englishman so exquisite in his drinking?
IAGO	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.
CASSIO	To the health of our general!
MONTANO	I am for it, lieutenant, and I’ll do you justice.
IAGO	O sweet England! (Sings) King Stephen was and a worthy peer, His breeches cost him but a crown; He held them sixpence all too dear, With that he called the tailor lown. He was a wight of high renown, And thou art but of low degree. ’Tis pride that pulls the country down, Then take thy auld cloak about thee. Some wine, ho!
CASSIO	Fore God, this is a more exquisite song than the other.
IAGO	Will you hear’t again?
CASSIO	No, for I hold him to be unworthy of his place that does those things. Well, God’s above all, and there be souls must be saved, and there be souls must not be saved.
IAGO	It’s true, good lieutenant.
CASSIO	For mine own part—no offence to the general, nor any man of quality—I hope to be saved.
IAGO	And so do I too, lieutenant.
CASSIO	Ay, but, by your leave, not before me. The lieutenant is to be saved before the ensign. Let’s ha’ 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 ensign, this is my right hand, and this is my left. I am not drunk now. I can stand well enough, and I speak well enough.
GENTLEMEN	Excellent well.
CASSIO	Why, very well then. You must not think then that I am drunk.
(didascalia)	Exit
MONTANO	To th’ platform, masters. Come, let’s set the watch.
(didascalia)	Exeunt Gentlemen
IAGO	You see this fellow that is gone before— He’s a soldier fit to stand by Caesar And give direction; and do but see his vice. ‘Tis to his virtue a just equinox, The one as long as th’other. ’Tis pity of him. I fear the trust Othello puts him in, On some odd time of his infirmity, Will shake this island.
MONTANO	But is he often thus?
IAGO	’Tis evermore his prologue to his sleep. He’ll watch the horologe a double set If drink rock not his cradle.
MONTANO	It were well The general were put in mind of it. Perhaps he sees it not, or his good nature Prizes the virtue that appears in Cassio, And looks not on his evils. Is not this true?
(didascalia)	Enter Roderigo
IAGO	[aside] How now, Roderigo! I pray you after the lieutenant, go.
(didascalia)	Exit Roderigo
MONTANO	And ’tis great pity that the noble Moor Should hazard such a place as his own second With one of an engraffed infirmity. It were an honest action to say so To the Moor.
IAGO	Not I, for this fair island! I do love Cassio well, and would do much To cure him of this evil.
VOICES	(within) Help, help!
IAGO	But hark, what noise?
(didascalia)	Enter Cassio, driving in Roderigo
CASSIO	’Swounds, you rogue, you rascal!
MONTANO	What’s the matter, lieutenant?
CASSIO	A knave teach me my duty?—I’ll beat the knave into a twiggen bottle.
RODERIGO	Beat me?
CASSIO	Dost thou prate, rogue?
MONTANO	Nay, good lieutenant, I pray you, sir, hold your hand.
CASSIO	Let me go, sir, or I’ll knock you o’er the mazard.
MONTANO	Come, come, you’re drunk.
CASSIO	Drunk? They fight
IAGO	(to Roderigo) Away, I say. Go out and cry a mutiny.
(didascalia)	Exit Roderigo
IAGO	Nay, good lieutenant. God’s will, gentlemen! Help, ho! Lieutenant! Sir! Montano! Sir! Help, masters. Here’s a goodly watch indeed. A bell rung Who’s that which rings the bell? Diablo, ho! The town will rise. God’s will, lieutenant, hold. You’ll be ashamed for ever.
(didascalia)	Enter Othello and attendants, with weapons
OTHELLO	What is the matter here?
MONTANO	’Swounds, I bleed still. I am hurt to th’ death. (Attacking Cassio) He dies.
OTHELLO	Hold, for your lives!
IAGO	Hold, ho, lieutenant, sir, Montano, gentlemen! Have you forgot all place of sense and duty? Hold, the general speaks to you. Hold, hold, for shame.
OTHELLO	Why, how now, ho? From whence ariseth this? Are we turned Turks, and to ourselves do that Which heaven hath forbid the Ottomites? 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 belt—it frights the isle From her propriety.
(didascalia)	Bell stops
OTHELLO	What is the matter, masters? Honest Iago, that looks dead with grieving, Speak. Who began this? On thy love I charge thee.
IAGO	I do not know. Friends all but now, even now, In quarter and in terms like bride and groom Devesting them for bed; and then but now— As if some planet had unwitted men— Swords out, and tilting one at others’ breasts In opposition bloody. I cannot speak Any beginning to this peevish odds, And would in action glorious I had lost Those legs that brought me to a part of it.
OTHELLO	How comes it, Michael, you are thus forgot?
CASSIO	I pray you pardon me. I cannot speak.
OTHELLO	Worthy Montano, you were wont be civil. The gravity and stillness of your youth The world hath noted, and your name is great In mouths of wisest censure. What’s the matter, That you unlace your reputation thus, And spend your rich opinion for the name Of a night-brawler? Give me answer to it.
MONTANO	Worthy Othello, I am hurt to danger. 1 Your officer Iago can inform you, While I spare speech—which something now offends me— Of all that I do know; nor know I aught By me that’s said or done amiss this night, Unless self-charity be sometimes a vice, And to defend ourselves it be a sin When violence assails us.
OTHELLO	Now, by heaven, My blood begins my safer guides to rule, And passion, having my best judgement collied, Essays to lead the way. ‘Swounds, if I stir, Or do but lift this arm, the best of you Shall sink in my rebuke. Give me to know How this foul rout began, who set it on, And he that is approved in this offence, Though he had twinned with me, both at a birth, Shall lose me. What, in a town of war Yet wild, the people’s hearts brimful of fear, To manage private and domestic quarrel In night, and on the court and guard of safety! ’Tis monstrous. Iago, who began’t?
MONTANO	(to Iago) If partially affined or leagued in office Thou dost deliver more or less than truth, Thou art no soldier.
IAGO	Touch me not so near. I had rather ha’ this tongue cut from my mouth Than it should do offence to Michael Cassio. Yet I persuade myself to speak the truth Shall nothing wrong him. This it is, general. Montano and myself being in speech, There comes a fellow crying out for help, And Cassio following him with determined sword To execute upon him. Sir, this gentleman Steps in to Cassio, and entreats his pause. Myself the crying fellow did pursue, Lest by his clamour, as it so fell out, The town might fall in fright. He, swift of foot, Outran my purpose, and I returned, the rather For that I heard the clink and fall of swords And Cassio high in oath, which till tonight I ne’er might say before. When I came back— For this was brief—I found them close together At blow and thrust, even as again they were When you yourself did part them. More of this matter cannot I report, But men are men. The best sometimes forget. Though Cassio did some little wrong to him, As men in rage strike those that wish them best, Yet surely Cassio, I believe, received From him that fled some strange indignity Which patience could not pass.
OTHELLO	I know, Iago, Thy honesty and love doth mince this matter, Making it light to Cassio. Cassio, I love thee, But never more be officer of mine.
(didascalia)	Enter Desdemona, attended
OTHELLO	Look if my gentle love be not raised up. I’ll make thee an example.
DESDEMONA	What is the matter, dear?
OTHELLO	All’s well now, sweeting. Come away to bed. (To Montano) Sir, for your hurts Myself will be your surgeon. (To attendants) Lead him off.
(didascalia)	Exeunt attendants with Montano
OTHELLO	Iago, look with care about the town, And silence those whom this vile brawl distracted. Come, Desdemona. ’Tis the soldier’s life To have their balmy slumbers waked with strife.
(didascalia)	Exeunt all but Iago and Cassio
IAGO	What, are you hurt, lieutenant?
CASSIO	Ay, past all surgery.
IAGO	Marry, God forbid.
CASSIO	Reputation, reputation, reputation—O, I ha’ lost my reputation, I ha’ lost the immortal 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 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 more 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’s yours.
CASSIO	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?
CASSIO	I know not.
IAGO	Is’t possible?
CASSIO	I remember a mass of things, but nothing distinctly; a quarrel, but nothing wherefore. O God, that men should put an enemy in their mouths to steal away their brains! That we should with joy, pleasance, revel, and applause transform ourselves into beasts!
IAGO	Why, but you are now well enough. How came you thus recovered?
CASSIO	It hath pleased the devil drunkenness to give place to the devil wrath. One unperfectness shows me another, to make me frankly despise myself.
IAGO	Come, you are too severe a moraller. 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.
CASSIO	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.
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.
CASSIO	I have well approved it, sir—I drunk?
IAGO	You or any man living may be drunk at a 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 devoted and given up himself to the contemplation, mark, and denotement of her parts and graces. Confess yourself freely to her. Importune her help to put you in your place again. She is of so free, so kind, so apt, so blessed a disposition, she holds it a vice in her goodness not to do more than she is requested. This broken joint between you and her husband entreat her to splinter, and, my fortunes against any lay worth naming, this crack of your love shall grow stronger than it was before.
CASSIO	You advise me well.
IAGO	I protest, in the sincerity of love and honest kindness.
CASSIO	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.
IAGO	You are in the right. Good night, lieutenant. I must to the watch.
CASSIO	Good night, honest Iago.
(didascalia)	Exit
IAGO	And what’s he then that says I play the villain, 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 Th’inclining Desdemona to subdue In any honest suit. She’s framed as fruitful As the free elements; and then for her To win the Moor, were’t to renounce his baptism, All seals and symbols of redeemed sin, His soul is so enfettered to her love That she may make, unmake, do what she list, Even as her appetite shall play the god With his weak function. 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, They do suggest at first with heavenly shows, As I do now; for whiles this honest fool Plies Desdemona to repair his fortune, And she for him pleads strongly to the Moor, 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. So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh them all.
(didascalia)	Enter Roderigo
IAGO	How now, Roderigo?
RODERIGO	I do follow here in the chase, not like a hound that hunts, but one that fills up the cry. My money is almost spent, I ha’ been tonight 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 ha’ not patience! What wound did ever heal but by degrees? Thou know‘st we work by wit and not by witchcraft, And wit depends on dilatory time. Does’t not go well? Cassio hath beaten thee, And thou by that small hurt hast cashiered Cassio. Though other things grow fair against the sun, Yet fruits that blossom first will first be ripe. Content thyself a while. By the mass, ’tis morning. Pleasure and action make the hours seem short. Retire thee. Go where thou art billeted. Away, I say. Thou shalt know more hereafter. Nay, get thee gone.
(didascalia)	Exit Roderigo
IAGO	Two things are to be done. My wife must move for Cassio to her mistress. I’ll set her on. Myself a while to draw the Moor apart, And bring him jump when he may Cassio find Soliciting his wife. Ay, that’s the way. Dull not device by coldness and delay.
(didascalia)	Exit

Atto 3, Scena 1

Speaker	Line
(didascalia)	Enter Cassio with Musicians
CASSIO	Masters, play here—I will content your pains— Something that’s brief, and bid ‘Good morrow, general’.
(didascalia)	Music. Enter Clown
CLOWN	Why, masters, ha’ your instruments been in Naples, that they speak i’th’ nose thus?
MUSICIAN	HOW, sir, how?
CLOWN	Are these, I pray you, wind instruments?
MUSICIAN	Ay, marry are they, sir.
CLOWN	O, thereby hangs a tail.
MUSICIAN	Whereby hangs a tale, sir?
CLOWN	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.
MUSICIAN	Well, sir, we will not.
CLOWN	If you have any music that may not be heard, to’t again; but, as they say, to hear music the general does not greatly care.
MUSICIAN	We ha’ none such, sir.
CLOWN	Then put up your pipes in your bag, for I’ll away. Go, vanish into air, away. Exeunt Musicians
CASSIO	Dost thou hear, my honest friend?
CLOWN	No, I hear not your honest friend, I hear you.
CASSIO	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?
CLOWN	She is stirring, sir. If she will stir hither, I shall seem to notify unto her.
CASSIO	Do, good my friend. Exit Clown
(didascalia)	Enter Iago
CASSIO	In happy time, Iago.
IAGO	You ha’ not been abed, then.
CASSIO	Why, no. The day had broke Before we parted. I ha’ made bold, Iago, To send in to your wife. My suit to her Is that she will to virtuous Desdemona Procure me some access.
IAGO	I’ll send her to you presently, And I’ll devise a mean to draw the Moor Out of the way, that your converse and business May be more free.
CASSIO	I humbly thank you for’t.
(didascalia)	Exit Iago
CASSIO	I never knew a Florentine more kind and honest.
(didascalia)	Enter Emilia
EMILIA	Good morrow, good lieutenant. I am sorry For your displeasure, but all will sure be well. The general and his wife are talking of it, And she speaks for you stoutly. The Moor replies That he you hurt is of great fame in Cyprus, 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 To bring you in again.
CASSIO	Yet I beseech you, If you think fit, or that it may be done, Give me advantage of some brief discourse With Desdemon alone.
EMILIA	Pray you come in. I will bestow you where you shall have time To speak your bosom freely.
CASSIO	I am much bound to you.
(didascalia)	Exeunt

Atto 3, Scena 2

Speaker	Line
(didascalia)	Enter Othello, Iago, and Gentlemen
OTHELLO	These letters give, Iago, to the pilot, And by him do my duties to the senate. That done, I will be walking on the works. Repair there to me.
IAGO	Well, my good lord, I’ll do’t.
(didascalia)	Exit
OTHELLO	This fortification, gentlemen—shall we see’t? A GENTLEMAN We’ll wait upon your lordship.
(didascalia)	Exeunt

Atto 3, Scena 3

Speaker	Line
(didascalia)	Enter Desdemona, Cassio, and Emilia
DESDEMONA	Be thou assured, good Cassio, I will do All my abilities in thy behalf.
EMILIA	Good madam, do. I warrant it grieves my husband As if the cause were his.
DESDEMONA	O, that’s an honest fellow. Do not doubt, Cassio, But I will have my lord and you again As friendly as you were.
CASSIO	Bounteous madam, Whatever shall become of Michael Cassio He’s never anything but your true servant.
DESDEMONA	I know’t. I thank you. You do love my lord. You have known him long, and be you well assured He shall in strangeness stand no farther off Than in a politic distance.
CASSIO	Ay, but, lady, That policy may either last so long, Or feed upon such nice and wat’rish diet, Or breed itself so out of circumstance, That, I being absent and my place supplied, My general will forget my love and service.
DESDEMONA	Do not doubt that. Before Emilia here I give thee warrant of thy place. Assure thee, If I do vow a friendship I’ll perform it To the last article. My lord shall never rest. I’ll watch him tame, and talk him out of patience. His bed shall seem a school, his board a shrift. 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.
(didascalia)	Enter Othello and Iago
EMILIA	Madam, here comes my lord.
CASSIO	Madam, I’ll take my leave.
DESDEMONA	Why, stay, and hear me speak.
CASSIO	Madam, not now. I am very ill at ease, Unfit for mine own purposes.
DESDEMONA	Well, do your discretion.
(didascalia)	Exit Cassio
IAGO	Ha! I like not that.
OTHELLO	What dost thou say?
IAGO	Nothing, my lord. Or if, I know not what.
OTHELLO	Was not that Cassio parted from my wife?
IAGO	Cassio, my lord? No, sure, I cannot think it, That he would steal away so guilty-like Seeing your coming.
OTHELLO	I do believe ’twas he.
DESDEMONA	How now, my lord? I have been talking with a suitor here, A man that languishes in your displeasure.
OTHELLO	Who is’t you mean?
DESDEMONA	Why, your lieutenant, Cassio; good my lord, If I have any grace or power to move you, His present reconciliation take; For if he be not one that truly loves you, That errs in ignorance and not in cunning, I have no judgement in an honest face. I prithee call him back.
OTHELLO	Went he hence now?
DESDEMONA	Yes, faith, so humbled That he hath left part of his grief with me To suffer with him. Good love, call him back.
OTHELLO	Not now, sweet Desdemon. Some other time.
DESDEMONA	But shall’t be shortly?
OTHELLO	The sooner, sweet, for you.
DESDEMONA	Shall’t be tonight at supper?
OTHELLO	No, not tonight.
DESDEMONA	Tomorrow dinner, then?
OTHELLO	I shall not dine at home. I meet the captains at the citadel.
DESDEMONA	Why then, tomorrow night, or Tuesday morn, On Tuesday noon, or night, on Wednesday morn— I prithee name the time, but let it not Exceed three days. In faith, he’s penitent, And yet his trespass, in our common reason— Save that, they say, the wars must make example Out of her best—is not almost a fault T‘incur a private check. When shall he come? Tell me, Othello. I wonder in my soul What you would ask me that I should deny, Or stand so mamm’ring on? What, Michael Cassio, That came a-wooing with you, and so many a time When I have spoke of you dispraisingly Hath ta‘en your part—to have so much to-do To bring him in? By’r Lady, I could do much.
OTHELLO	Prithee, no more. Let him come when he will. I will deny thee nothing.
DESDEMONA	Why, this is not a 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.
OTHELLO	I will deny thee nothing, Whereon I do beseech thee grant me this: To leave me but a little to myself.
DESDEMONA	Shall I deny you? No. Farewell, my lord.
OTHELLO	Farewell, my Desdemona. I’ll come to thee straight.
DESDEMONA	Emilia, come. (To Othello) Be as your fancies teach you. Whate’er you be, I am obedient.
(didascalia)	Exeunt Desdemona and Emilia
OTHELLO	Excellent wretch! Perdition catch my soul But I do love thee, and when I love thee not, Chaos is come again.
IAGO	My noble lord.
OTHELLO	What dost thou say, Iago?
IAGO	Did Michael Cassio, when you wooed my lady, Know of your love?
OTHELLO	He did, from first to last. Why dost thou ask?
IAGO	But for a satisfaction of my thought, No further harm.
OTHELLO	Why of thy thought, Iago?
IAGO	I did not think he had been acquainted with her.
OTHELLO	O yes, and went between us very oft.
IAGO	Indeed?
OTHELLO	Indeed? Ay, indeed. Discern’st thou aught in that? Is he not honest?
IAGO	Honest, my lord?
OTHELLO	Honest? Ay, honest.
IAGO	My lord, for aught I know.
OTHELLO	What dost thou think?
IAGO	Think, my lord?
OTHELLO	‘Think, my lord?’ By heaven, thou echo‘st me As if there were some monster in thy thought Too hideous to be shown! Thou dost mean something. I heard thee say even now thou liked’st not that, When Cassio left my wife. What didst not like? And when I told thee he was of my counsel In my whole course of wooing, thou cried‘st ‘Indeed?’ And didst contract and purse thy brow together As if thou then hadst shut up in thy brain Some horrible conceit. If thou dost love me, Show me thy thought.
IAGO	My lord, you know I love you.
OTHELLO	I think thou dost, And for I know thou‘rt full of love and honesty, And weigh’st thy words before thou giv’st them breath, Therefore these stops of thine fright me the more; For such things in a false disloyal knave Are tricks of custom, but in a man that’s just, They’re close dilations, working from the heart That passion cannot rule.
IAGO	For Michael Cassio, I dare be sworn I think that he is honest.
OTHELLO	I think so too.
IAGO	Men should be what they seem, Or those that be not, would they might seem none.
OTHELLO	Certain, men should be what they seem.
IAGO	Why then, I think Cassio’s an honest man.
OTHELLO	Nay, yet there’s more in this. I prithee speak to me as to thy thinkings, As thou dost ruminate, and give thy worst of thoughts The worst of words.
IAGO	Good my lord, pardon me. Though I am bound to every act of duty, I am not bound to that all slaves are free to. Utter my thoughts? Why, say they are vile and false, As where’s that palace whereinto foul things Sometimes intrude not? Who has that breast so pure But some uncleanly apprehensions Keep leets and law-days, and in sessions sit With meditations lawful?
OTHELLO	Thou dost conspire against thy friend, Iago, If thou but think‘st him wronged and mak’st his ear A stranger to thy thoughts.
IAGO	I do beseech you, Though I perchance am 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 then, From one that so imperfectly conceits, Would take no notice, nor build yourself a trouble Out of his scattering and unsure observance. It were not for your quiet nor your good, Nor for my manhood, honesty, and wisdom, To let you know my thoughts.
OTHELLO	What dost thou mean?
IAGO	Good name in man and woman, dear my lord, Is the immediate jewel of their souls. Who steals my purse steals trash; ‘tis something, nothing; ’Twas mine, ’tis his, and has been slave to thousands. But he that filches from me my good name Robs me of that which not enriches him And makes me poor indeed.
OTHELLO	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.
OTHELLO	Ha!
IAGO	O, beware, my lord, of jealousy. It is the green-eyed monster which doth mock The meat it feeds on. That cuckold lives in bliss Who, certain of his fate, loves not his wronger. But O, what damned minutes tells he o’er Who dotes yet doubts, suspects yet fondly loves!
OTHELLO	O misery!
IAGO	Poor and content is rich, and rich enough, But riches fineless is as poor as winter To him that ever fears he shall be poor. Good God the souls of all my tribe defend From jealousy!
OTHELLO	Why, why is this? Think‘st thou I’d make a life of jealousy, To follow still the changes of the moon With fresh suspicions? No, to be once in doubt Is once to be resolved. Exchange me for a goat When I shall turn the business of my soul To such exsufflicate and blowed surmises Matching thy inference. ’Tis not to make me jealous To say my wife is fair, feeds well, loves company, Is free of speech, sings, plays, and dances well. Where virtue is, these are more virtuous, Nor from mine own weak merits will I draw The smallest fear or doubt of her revolt, For she had eyes and chose me. No, Iago, I’ll see before I doubt; when I doubt, prove; And on the proof, there is no more but this: Away at once with love or jealousy.
IAGO	I am glad of this, for now I shall have reason To show the love and duty that I bear you With franker spirit. Therefore, as I am bound, Receive it from me. I speak not yet of proof. Look to your wife. Observe her well with Cassio. Wear your eyes thus: not jealous, nor secure. I would not have your free and noble nature Out of self-bounty be abused. Look to’t. I know our country disposition well. In Venice they do let God see the pranks They dare not show their husbands; their best conscience Is not to leave’t undone, but keep’t unknown.
OTHELLO	Dost thou say so?
IAGO	She did deceive her father, marrying you, And when she seemed to shake and fear your looks She loved them most.
OTHELLO	And so she did.
IAGO	Why, go to, then. 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 For too much loving you.
OTHELLO	I am bound to thee for ever.
IAGO	I see this hath a little dashed your spirits.
OTHELLO	Not a jot, not a jot.
IAGO	I’faith, I fear it has. I hope you will consider what is spoke Comes from my love. But I do see you’re moved. I am to pray you not to strain my speech To grosser issues, nor to larger reach Than to suspicion.
OTHELLO	I will not.
IAGO	Should you do so, my lord, My speech should fall into such vile success Which my thoughts aimed not. Cassio’s my worthy friend. My lord, I see you’re moved.
OTHELLO	No, not much moved. I do not think but Desdemona’s honest.
IAGO	Long live she so, and long live you to think so!
OTHELLO	And yet how nature, erring from itself—
IAGO	Ay, there’s the point; as, to be bold with you, Not to 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 disproportions, thoughts unnatural! But pardon me. I do not in position Distinctly speak of her, though I may fear Her will, recoiling to her better judgement, May fall to match you with her country forms And happily repent.
OTHELLO	Farewell, farewell. If more thou dost perceive, let me know more. Set on thy wife to observe. Leave me, Iago.
IAGO	(going) My lord, I take my leave.
OTHELLO	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 To scan this thing no farther. Leave it to time. Although ’tis fit that Cassio have his place— For sure he fills it up with great ability— Yet, if you please to hold him off a while, You shall by that perceive him and his means. Note if your lady strain his entertainment With any strong or vehement importunity. Much will be seen in that. In the mean time, Let me be thought too busy in my fears— As worthy cause I have to fear I am— And hold her free, I do beseech your honour.
OTHELLO	Fear not my government.
IAGO	I once more take my leave.
(didascalia)	Exit
OTHELLO	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 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 declined Into the vale of years—yet that’s not much— She’s gone. I am abused, and my relief Must be to loathe her. O curse of marriage, That we can call these delicate creatures ours And not their appetites! I had rather be a toad And live upon the vapour of a dungeon Than keep a corner in the thing I love For others’ uses. Yet ‘tis the plague of great ones; Prerogatived are they less than the base. ’Tis destiny unshunnable, like death. Even then this forked plague is fated to us When we do quicken.
(didascalia)	Enter Desdemona and Emilia
OTHELLO	Look where she comes. If she be false, O then heaven mocks itself! I’ll not believe’t.
DESDEMONA	How now, my dear Othello? Your dinner, and the generous islanders By you invited, do attend your presence.
OTHELLO	I am to blame.
DESDEMONA	Why do you speak so faintly? Are you not well?
OTHELLO	I have a pain upon my forehead here.
DESDEMONA	Faith, that’s with watching. ’will away again. Let me but bind it hard, within this hour It will be well.
OTHELLO	Your napkin is too little. He puts the napkin from him. It drops. Let it alone. Come, I’ll go in with you.
DESDEMONA	I am very sorry that you are not well.
(didascalia)	Exeunt Othello and Desdemona
EMILIA	(taking up the napkin) I am glad I have found this napkin. This was her first remembrance from the Moor. My wayward husband hath a hundred times Wooed me to steal it, but she so loves the token— For he conjured her she should ever keep it— That she reserves it evermore about her To kiss and talk to. I’ll ha’ the work ta’en out, And give’t Iago. What he will do with it, Heaven knows, not I. I nothing, but to please his fantasy.
(didascalia)	Enter Iago
IAGO	How now, what do you here alone?
EMILIA	Do not you chide. I have a thing for you.
IAGO	You have a thing for me? It is a common thing.
EMILIA	Ha?
IAGO	To have a foolish wife.
EMILIA	O, is that all? What will you give me now For that same handkerchief?
IAGO	What handkerchief?
EMILIA	What handkerchief? Why, that the Moor first gave to Desdemona, That which so often you did bid me steal.
IAGO	Hast stol’n it from her?
EMILIA	No, faith, she let it drop by negligence, And to th‘advantage I, being here, took’t up. Look, here ’tis.
IAGO	A good wench! Give it me.
EMILIA	What will you do with it, that you have been so earnest To have me filch it?
IAGO	Why, what is that to you? He takes the napkin
EMILIA	If it be not for some purpose of import, 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. Go, leave me.
(didascalia)	Exit Emilia
IAGO	I will in Cassio’s lodging lose this napkin, And let him find it. Trifles light as air Are to the jealous confirmations strong As proofs of holy writ. This may do something. The Moor already changes with my poison. Dangerous conceits are in their natures poisons, Which at the first are scarce found to distaste, But, with a little act upon the blood, Burn like the mines of sulphur.
(didascalia)	Enter Othello
IAGO	I did say so. Look where he comes. Not poppy nor mandragora Nor all the drowsy syrups of the world Shall ever medicine thee to that sweet sleep Which thou owedst yesterday.
OTHELLO	Ha, ha, false to me?
IAGO	Why, how now, general? No more of that.
OTHELLO	Avaunt, be gone. Thou hast set me on the rack. I swear ’tis better to be much abused Than but to know’t a little.
IAGO	How now, my lord?
OTHELLO	What sense had I of her stol’n hours of lust? I saw’t not, thought it not; it harmed not me. I slept the next night well, fed well, was free and merry. I found not Cassio’s kisses on her lips. He that is robbed, not wanting what is stol’n, Let him not know’t and he’s not robbed at all.
IAGO	I am sorry to hear this.
OTHELLO	I had been happy if the general camp, Pioneers and all, had tasted her sweet body, So I had nothing known. O, now for ever Farewell the tranquil mind, farewell content, Farewell the plumèd troops and the big wars That makes ambition virtue! O, farewell, Farewell the neighing steed and the shrill trump, The spirit-stirring drum, th‘ear-piercing fife, The royal banner, and all quality, Pride, pomp, and circumstance of glorious war! And O, you mortal engines whose rude throats Th’immortal Jove’s dread clamours counterfeit, Farewell! Othello’s occupation’s gone.
IAGO	Is’t possible, my lord?
(didascalia)	OTHELLO taking Iago by the throat
IAGO	Villain, be sure thou prove my love a whore. Be sure of it. Give me the ocular proof, Or, by the worth of mine eternal soul, Thou hadst been better have been born a dog Than answer my waked wrath.
IAGO	Is’t come to this?
OTHELLO	Make me to see’t, or at the least so prove it That the probation bear no hinge nor loop To hang a doubt on, or woe upon thy life.
IAGO	My noble lord.
OTHELLO	If thou dost slander her and torture me, Never pray more; abandon all remorse, On horror’s head horrors accumulate, Do deeds to make heaven weep, all earth amazed, 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 buy you, take mine office. O wretched fool, That lov’st to make thine honesty a vice! O monstrous world, take note, take note, O world, To be direct and honest is not safe! I thank you for this profit, and from hence I’ll love no friend, sith love breeds such offence.
OTHELLO	Nay, stay. Thou shouldst be honest.
IAGO	I should be wise, for honesty’s a fool, And loses that it works for.
OTHELLO	By the world, I think my wife be honest, and think she is not. I think that thou art just, and think thou art not. I’ll have some proof. My name, that was as fresh As Dian’s visage, is now begrimed and black As mine own face. If there be cords, or knives, Poison, or fire, or suffocating streams, I’ll not endure it. Would I were satisfied!
IAGO	I see, sir, you are eaten up with passion. I do repent me that I put it to you. You would be satisfied?
OTHELLO	Would? Nay, and I will.
IAGO	And may. But how, how satisfied, my lord? Would you, the supervisor, grossly gape on, Behold her topped?
OTHELLO	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 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 As ignorance made drunk. But yet I say, If imputation, and strong circumstances Which lead directly to the door of truth, Will give you satisfaction, you might ha’t.
OTHELLO	Give me a living reason she’s disloyal.
IAGO	I do not like the office, But sith I am entered in this cause so far, Pricked to’t by foolish honesty and love, I will go on. I lay with Cassio lately, And being troubled with a raging tooth, I could not sleep. There are a kind of men So loose of soul that in their sleeps Will mutter their affairs. One of this kind is Cassio. In sleep I heard him say ‘Sweet Desdemona, Let us be wary, let us hide our loves’, And then, sir, would he grip and wring my hand, Cry ‘O, sweet creature!’, then kiss me hard, As if he plucked up kisses by the roots, That grew upon my lips, lay his leg o‘er my thigh, And sigh, and kiss, and then cry ‘Cursèd fate, That gave thee to the Moor!’
OTHELLO	O, monstrous, monstrous!
IAGO	Nay, this was but his dream.
OTHELLO	But this denoted a foregone conclusion.
IAGO	’Tis a shrewd doubt, though it be but a dream, And this may help to thicken other proofs That do demonstrate thinly.
OTHELLO	I’ll tear her all to pieces.
IAGO	Nay, yet be wise; yet we see nothing done. She may be honest yet. Tell me but this: Have you not sometimes seen a handkerchief Spotted with strawberries in your wife’s hand?
OTHELLO	I gave her such a one. ’Twas my first gift.
IAGO	I know not that, but such a handkerchief— I am sure it was your wife’s—did I today See Cassio wipe his beard with.
OTHELLO	If it be that—
IAGO	If it be that, or any that was hers, It speaks against her with the other proofs.
OTHELLO	O that the slave had forty thousand lives! One is too poor, too weak for my revenge. Now do I see ‘tis true. Look here, Iago. All my fond love thus do I blow to heaven—’tis gone. Arise, black vengeance, from the hollow hell. Yield up, O love, thy crown and hearted throne To tyrannous hate! Swell, bosom, with thy freight, For ’tis of aspics’ tongues.
IAGO	Yet be content.
OTHELLO	O, blood, blood, blood!
IAGO	Patience, I say. Your mind may change.
OTHELLO	Never, Iago. Like to the Pontic Sea, Whose icy current and compulsive course Ne‘er knows retiring ebb, but keeps due on 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 Swallow them up.
(didascalia)	He kneels
OTHELLO	Now, by yon marble heaven, In the due reverence of a sacred vow I here engage my words.
IAGO	Do not rise yet. Iago kneels Witness you ever-burning lights above, You elements that clip us round about, Witness that here Iago doth give up The execution of his wit, hands, heart To wronged Othello’s service. Let him command, And to obey shall be in me remorse, What bloody business ever.
(didascalia)	They rise
OTHELLO	I greet thy love, Not with vain thanks, but with acceptance bounteous, And will upon the instant put thee to’t.
(didascalia)	Within these three days let me hear thee say
OTHELLO	That Cassio’s not alive.
IAGO	My friend is dead. ’Tis done at your request; but let her live.
OTHELLO	Damn her, lewd minx! O, damn her, damn her! Come, go with me apart. I will withdraw To furnish me with some swift means of death For the fair devil. Now art thou my lieutenant.
IAGO	I am your own for ever.
(didascalia)	Exeunt

Atto 3, Scena 4

Speaker	Line
(didascalia)	Enter Desdemona, Emilia, and the Clown
DESDEMONA	Do you know, sirrah, where Lieutenant Cassio lies?
CLOWN	I dare not say he lies anywhere.
DESDEMONA	Why, man?
CLOWN	He’s a soldier, and for me to say a soldier lies, ’tis stabbing.
DESDEMONA	Go to. Where lodges he?
CLOWN	To tell you where he lodges is to tell you where I lie.
DESDEMONA	Can anything be made of this?
CLOWN	I know not where he lodges, and for me to devise a lodging and say he lies here, or he lies there, were to lie in mine own throat.
DESDEMONA	Can you enquire him out, and be edified by report?
CLOWN	I will catechize the world for him; that is, make questions, and by them answer.
DESDEMONA	Seek him, bid him come hither, tell him I have moved my lord on his behalf, and hope all will be well.
CLOWN	To do this is within the compass of man’s wit, and therefore I will attempt the doing it.
(didascalia)	Exit
DESDEMONA	Where should I lose the handkerchief, Emilia?
EMILIA	I know not, madam.
DESDEMONA	Believe me, I had rather have lost my purse Full of crusadoes, and but my noble Moor Is true of mind, and made of no such baseness As jealous creatures are, it were enough To put him to ill thinking.
EMILIA	Is he not jealous?
DESDEMONA	Who, he? I think the sun where he was born Drew all such humours from him.
(didascalia)	Enter Othello
EMILIA	Look where he comes.
DESDEMONA	I will not leave him now till Cassio Be called to him. How is’t with you, my lord?
OTHELLO	Well, my good lady. (Aside) O hardness to dissemble!— How do you, Desdemona?
DESDEMONA	Well, my good lord.
OTHELLO	Give me your hand. This hand is moist, my lady.
DESDEMONA	It hath felt no age, nor known no sorrow.
OTHELLO	This argues fruitfulness and liberal heart. Hot, hot and moist—this hand of yours requires A sequester from liberty; fasting, and prayer, Much castigation, exercise devout, For here’s a young and sweating devil here That commonly rebels. ’Tis a good hand, A frank one.
DESDEMONA	You may indeed say so, For ’twas that hand that gave away my heart.
OTHELLO	A liberal hand. The hearts of old gave hands, But our new heraldry is hands, not hearts.
DESDEMONA	I cannot speak of this. Come now, your promise.
OTHELLO	What promise, chuck?
DESDEMONA	I have sent to bid Cassio come speak with you.
OTHELLO	I have a salt and sorry rheum offends me. Lend me thy handkerchief.
DESDEMONA	(offering a handkerchief) Here, my lord.
OTHELLO	That which I gave you.
DESDEMONA	I have it not about me.
OTHELLO	Not?
DESDEMONA	No, faith, my lord.
OTHELLO	That’s a fault. That handkerchief Did an Egyptian to my mother give. She was a charmer, and could almost read The thoughts of people. She told her, while she kept it ’Twould make her amiable, and subdue my father Entirely to her love; but if she lost it, Or made a gift of it, my father’s eye Should hold her loathèd, and his spirits should hunt After new fancies. She, dying, gave it me, And bid me, when my fate would have me wived, To give it her. I did so, and take heed on’t. Make it a darling, like your precious eye. To lose’t or give’t away were such perdition As nothing else could match.
DESDEMONA	Is’t possible?
OTHELLO	’Tis true. There’s magic in the web of it. A sibyl that had numbered in the world The sun to course two hundred compasses In her prophetic fury sewed the work. The worms were hallowed that did breed the silk, And it was dyed in mummy, which the skilful Conserved of maidens’ hearts.
DESDEMONA	I’faith, is’t true?
OTHELLO	Most veritable. Therefore look to’t well.
DESDEMONA	Then would to God that I had never seen it!
OTHELLO	Ha, wherefore?
DESDEMONA	Why do you speak so startingly and rash?
OTHELLO	Is’t lost? Is’t gone? Speak, is’t out o’th’ way?
DESDEMONA	Heaven bless us!
OTHELLO	Say you?
DESDEMONA	It is not lost, but what an if it were?
OTHELLO	HOW?
DESDEMONA	I say it is not lost.
OTHELLO	Fetch’t, let me see’t.
DESDEMONA	Why, so I can, sir, but I will not now. This is a trick to put me from my suit. Pray you let Cassio be received again.
OTHELLO	Fetch me the handkerchief. My mind misgives.
DESDEMONA	Come, come, you’ll never meet a more sufficient man.
OTHELLO	The handkerchief.
DESDEMONA	I pray, talk me of Cassio.
OTHELLO	The handkerchief.
DESDEMONA	A man that all his time Hath founded his good fortunes on your love, Shared dangers with you—
OTHELLO	The handkerchief.
DESDEMONA	I’faith, you are to blame.
OTHELLO	’Swounds! Exit
EMILIA	Is not this man jealous?
DESDEMONA	I ne’er saw this before. Sure there’s some wonder in this handkerchief. I am most unhappy in the loss of it.
EMILIA	’Tis not a year or two shows us a man. They are all but stomachs, and we all but food. They eat us hungrily, and when they are full, They belch us.
(didascalia)	Enter Iago and Cassio
EMILIA	Look you, Cassio and my husband.
IAGO	(to Cassio) There is no other way. ‘Tis she must do’t, And lo, the happiness! Go and importune her.
DESDEMONA	How now, good Cassio? What’s the news with you?
CASSIO	Madam, my former suit. I do beseech you That by your virtuous means I may again Exist and be a member of his love Whom I, with all the office of my heart, Entirely honour. I would not be delayed. If my offence be of such mortal kind That nor my service past, nor present sorrows, Nor purposed merit in futurity Can ransom me into his love again, But to know so must be my benefit. So shall I clothe me in a forced content, And shut myself up in some other course To fortune’s alms.
DESDEMONA	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 altered. 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 a while be patient. What I can do I will, and more I will Than for myself I dare. Let that suffice you.
IAGO	Is my lord angry?
EMILIA	He went hence but now, And certainly in strange unquietness.
IAGO	Can he be angry? I have seen the cannon When it hath blown his ranks into the air, And, like the devil, from his very arm Puffed his own brother; and is he angry? Something of moment then. I will go meet him. There’s matter in’t indeed, if he be angry.
DESDEMONA	I prithee do so.
(didascalia)	Exit Iago
DESDEMONA	Something sure of state, Either from Venice or some unhatched practice Made demonstrable here in Cyprus to him, Hath puddled his clear spirit; and in such cases Men’s natures wrangle with inferior things, Though great ones are their object. ’Tis even so; For let our finger ache and it indues Our other, healthful members even to a sense Of pain. Nay, we must think men are not gods, Nor of them look for such observancy 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 suborned the witness, And he’s indicted falsely.
EMILIA	Pray heaven it be State matters, as you think, and no conception Nor no jealous toy concerning you.
DESDEMONA	Alas the day, I never gave him cause.
EMILIA	But jealous souls will not be answered so. They are not ever jealous for the cause, But jealous for they’re jealous. It is a monster Begot upon itself, born on itself.
DESDEMONA	Heaven keep the monster from Othello’s mind.
EMILIA	Lady, amen.
DESDEMONA	I will go seek him. Cassio, walk here about. If I do find him fit I’ll move your suit, And seek to effect it to my uttermost.
CASSIO	I humbly thank your ladyship.
(didascalia)	Exeunt Desdemona and Emilia
(didascalia)	Enter Bianca
BIANCA	Save you, friend Cassio.
CASSIO	What make you from home? How is’t with you, my most fair Bianca? I’faith, sweet love, I was coming to your house.
BIANCA	And I was going to your lodging, Cassio. What, keep a week away? Seven days and nights, Eightscore-eight hours, and lovers’ absent hours More tedious than the dial eightscore times! O weary reckoning!
CASSIO	Pardon me, Bianca, I have this while with leaden thoughts been pressed, But I shall in a more continuate time Strike off this score of absence. Sweet Bianca, Take me this work out. He gives her Desdemona’s napkin
BIANCA	O Cassio, whence came this? This is some token from a newer friend. To the felt absence now I feel a cause. Is’t come to this? Well, well.
CASSIO	Go to, woman. Throw your vile guesses in the devil’s teeth, From whence you have them. You are jealous now That this is from some mistress, some remembrance. No, by my faith, Bianca.
BIANCA	Why, whose is it?
CASSIO	I know not, neither. I found it in my chamber. I like the work well. Ere it be demanded— As like enough it witt—I would have it copied. Take it, and do’t, and leave me for this time.
BIANCA	Leave you? Wherefore?
CASSIO	I do attend here on the general, And think it no addition, nor my wish, To have him see me womaned.
BIANCA	Why, I pray you?
CASSIO	Not that I love you not.
BIANCA	But that you do not love me. I pray you bring me on the way a little, And say if I shall see you soon at night.
CASSIO	’Tis but a little way that I can bring you, For I attend here; but I’ll see you soon.
BIANCA	’Tis very good. I must be circumstanced. Exeunt

Atto 4, Scena 1

Speaker	Line
(didascalia)	Enter Iago and Othello
IAGO	Will you think so?
OTHELLO	Think so, Iago?
IAGO	What, to kiss in private?
OTHELLO	An unauthorized kiss.
IAGO	Or to be naked with her friend in bed An hour or more, not meaning any harm?
OTHELLO	Naked in bed, Iago, and not mean harm? It is hypocrisy against the devil. They that mean virtuously and yet do so, The devil their virtue tempts, and they tempt heaven.
IAGO	If they do nothing, ’tis a venial slip. But if I give my wife a handkerchief—
OTHELLO	What then?
IAGO	Why then, ’tis hers, my lord, and being hers, She may, I think, bestow’t on any man.
OTHELLO	She is protectress of her honour, too. May she give that?
IAGO	Her honour is an essence that’s not seen. They have it very oft that have it not. But for the handkerchief—
OTHELLO	By heaven, I would most gladly have forgot it. Thou said‘st—O, it comes o’er my memory As doth the raven o’er the infectious house, Boding to all!—he had my handkerchief.
IAGO	Ay, what of that?
OTHELLO	That’s not so good now.
IAGO	What if I had said I had seen him do you wrong, Or heard him say—as knaves be such abroad, Who having by their own importunate suit Or voluntary dotage of some mistress Convinced or supplied them, cannot choose But they must blab—
OTHELLO	Hath he said anything?
IAGO	He hath, my lord. But, be you well assured, No more than he’ll unswear.
OTHELLO	What hath he said?
IAGO	Faith, that he did—I know not what he did.
OTHELLO	What, what?
IAGO	Lie—
OTHELLO	With her?
IAGO	With her, on her, what you will.
OTHELLO	Lie with her? Lie on her? We say ‘lie on her’ when they belie her. Lie with her? ’Swounds, that’s fulsome! Handkerchief—confessions—hankerchief. 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 instruction. It is not words that shakes me thus. Pish! Noses, ears, and lips! Is’t possible? Confess? Handkerchief? O devil! He falls down in a trance
IAGO	Work on; my medicine works. Thus credulous fools are caught, And many worthy and chaste dames even thus, All guiltless, meet reproach. What ho, my lord! My lord, I say. Othello!
(didascalia)	Enter Cassio
IAGO	How now, Cassio?
CASSIO	What’s the matter?
IAGO	My lord is fall’n into an epilepsy. This is his second fit. He had one yesterday.
CASSIO	Rub him about the temples.
IAGO	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, He will recover straight. When he is gone I would on great occasion speak with you.
(didascalia)	Exit Cassio
IAGO	How is it, general? Have you not hurt your head?
OTHELLO	Dost thou mock me?
IAGO	I mock you not, by heaven. Would you would bear your fortune like a man.
OTHELLO	A hornèd man’s a monster and a beast.
IAGO	There’s many a beast then in a populous city, And many a civil monster.
OTHELLO	Did he confess it?
IAGO	Good sir, be a man. Think every bearded fellow that’s but yoked May draw with you. There’s millions now alive 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 And to suppose her chaste! No, let me know, And knowing what I am, I know what she shall be.
OTHELLO	O, thou art wise, ’tis certain.
IAGO	Stand you a while apart. Confine yourself but in a patient list. Whilst you were here, o‘erwhelmèd with your grief— A passion most unsuiting such a man— Cassio came hither. I shifted him away, And laid good ’scuse upon your ecstasy, Bade him anon return and here speak with me, The which he promised. Do but encave yourself, And mark the fleers, the gibes and notable scorns That dwell in every region of his face. For I will make him tell the tale anew, Where, how, how oft, how long ago, and when He hath and is again to cope your wife. I say, but mark his gesture. Marry, patience, Or I shall say you’re all-in-all in spleen, And nothing of a man.
OTHELLO	Dost thou hear, Iago? I will be found most cunning in my patience, But—dost thou hear?—most bloody.
IAGO	That’s not amiss, But yet keep time in all. Will you withdraw? Othello stands apart Now will I question Cassio of Bianca, A hussy that by selling her desires Buys herself bread and cloth. It is a creature That dotes on Cassio—as ’tis the strumpet’s plague To beguile many and be beguiled by one. He, when he hears of her, cannot restrain From the excess of laughter.
(didascalia)	Enter Cassio
IAGO	Here he comes. As he shall smile, Othello shall go mad; And his unbookish jealousy must conster Poor Cassio’s smiles, gestures, and light behaviours Quite in the wrong. How do you now, lieutenant?
CASSIO	The worser that you give me the addition Whose want even kills me.
IAGO	Ply Desdemona well and you are sure on’t. Now, if this suit lay in Bianca’s power, How quickly should you speed!
CASSIO	(laughing) Alas, poor caitiff!
OTHELLO	(aside) Look how he laughs already.
IAGO	I never knew a woman love man so.
CASSIO	Alas, poor rogue! I think i’faith she loves me.
OTHELLO	(aside) Now he denies it faintly, and laughs it out.
IAGO	Do you hear, Cassio?
OTHELLO	(aside) 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. Do you intend it?
CASSIO	Ha, ha, ha!
OTHELLO	(aside) Do ye triumph, Roman, do you triumph?
CASSIO	I marry! What, a customer? Prithee, bear some charity to my wit—do not think it so unwholesome. Ha, ha, ha!
OTHELLO	(aside) So, so, so, so. They laugh that wins.
IAGO	Faith, the cry goes that you marry her.
CASSIO	Prithee, say true.
IAGO	I am a very villain else.
OTHELLO	(aside) Ha’ you scored me? Well. 125
CASSIO	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.
OTHELLO	(aside) Iago beckons me. Now he begins the story. Othello draws closer
CASSIO	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 the bauble, and falls me thus about my neck.
OTHELLO	(aside) Crying ‘O dear Cassiol’ as it were. His gesture imports it.
CASSIO	So hangs and lolls and weeps upon me, so shakes and pulls me—ha, ha, ha!
OTHELLO	(aside) Now he tells how she plucked him to my chamber. O, I see that nose of yours, but not that dog I shall throw it to!
CASSIO	Well, I must leave her company.
(didascalia)	Enter Bianca
IAGO	Before me, look where she comes.
CASSIO	’Tis such another fitchew! Marry, a perfumed one. (To Bianca) What do you mean by this haunting of me?
BIANCA	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 whole work—a likely piece of work, that you should find it in your chamber and know not who left it there. This is some minx’s token, and I must take out the work. There, give it your hobby-horse. (Giving Cassio the napkin) Wheresoever you had it, I’ll take out no work on’t.
CASSIO	How now, my sweet Bianca, how now, how now?
OTHELLO	(aside) By heaven, that should be my handkerchief.
BIANCA	An you’ll come to supper tonight, you may. An you will not, come when you are next prepared for.
(didascalia)	Exit
IAGO	After her, after her.
CASSIO	Faith, I must, she’ll rail in the streets else.
IAGO	Will you sup there?
CASSIO	Faith, I intend so.
IAGO	Well, I may chance to see you, for I would very fain speak with you.
CASSIO	Prithee, come, will you?
IAGO	Go to, say no more.
(didascalia)	Exit Cassio
OTHELLO	How shall I murder him, Iago?
IAGO	Did you perceive how he laughed at his vice?
OTHELLO	O Iago!
IAGO	And did you see the handkerchief?
OTHELLO	Was that mine?
IAGO	Yours, by this hand. And to see how he prizes the foolish woman your wife. She gave it him, and he hath given it his whore.
OTHELLO	I would have him nine years a-killing. A fine woman, a fair woman, a sweet woman.
IAGO	Nay, you must forget that.
OTHELLO	Ay, let her rot and perish, and be damned tonight, for she shall not live. No, my heart is turned to stone; I strike it, and it hurts my hand. O, the world hath not a sweeter creature! She might lie by an emperor’s side, and command him tasks.
IAGO	Nay, that’s not your way.
OTHELLO	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.
IAGO	She’s the worse for all this.
OTHELLO	O, a thousand, a thousand times! And then of so gentle a condition.
IAGO	Ay, too gentle.
OTHELLO	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.
OTHELLO	I will chop her into messes. Cuckold me!
IAGO	O, ’tis foul in her.
OTHELLO	With mine officer.
IAGO	That’s fouler.
OTHELLO	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.
IAGO	Do it not with poison. Strangle her in her bed, even the bed she hath contaminated.
OTHELLO	Good, good, the justice of it pleases, very good.
IAGO	And for Cassio, let me be his undertaker. You shall hear more by midnight.
OTHELLO	Excellent good. A trumpet What trumpet is that same?
IAGO	I warrant, something from Venice.
(didascalia)	Enter Lodovico, Desdemona, and attendants
IAGO	’Tis Lodovico. This comes from the Duke. See, your wife’s with him.
LODOVICO	God save the worthy general.
OTHELLO	With all my heart, sir.
LODOVICO	(giving Othello a letter) The Duke and the senators of Venice greet you.
OTHELLO	I kiss the instrument of their pleasures. He reads the letter
DESDEMONA	And what’s the news, good cousin Lodovico?
IAGO	(to Lodovico) I am very glad to see you, signor. Welcome to Cyprus.
LODOVICO	I thank you. How does Lieutenant Cassio?
IAGO	Lives, sir.
DESDEMONA	Cousin, there’s fall’n between him and my lord An unkind breach. But you shall make all well.
OTHELLO	Are you sure of that?
DESDEMONA	My lord.
OTHELLO	(reads) ‘This fail you not to do as you will’—
LODOVICO	He did not call, he’s busy in the paper. Is there division ’twixt my lord and Cassio?
DESDEMONA	A most unhappy one. I would do much T’atone them, for the love I bear to Cassio.
OTHELLO	Fire and brimstone!
DESDEMONA	My lord?
OTHELLO	Are you wise?
DESDEMONA	What, is he angry?
LODOVICO	Maybe the letter moved him, For, as I think, they do command him home, Deputing Cassio in his government.
DESDEMONA	By my troth, I am glad on’t.
OTHELLO	Indeed!
DESDEMONA	My lord?
OTHELLO	(to Desdemona) I am glad to see you mad.
DESDEMONA	Why, sweet Othello!
OTHELLO	Devil! He strikes her
DESDEMONA	I have not deserved this.
LODOVICO	My lord, this would not be believed in Venice, Though I should swear I saw’t. ’Tis very much. Make her amends, she weeps. OTHELLOO, devil, devil! If that the earth could teem with woman’s tears, Each drop she falls would prove a crocodile. Out of my sight!
DESDEMONA	(going) I will not stay to offend you.
LODOVICO	Truly, an obedient lady. I do beseech your lordship call her back.
OTHELLO	Mistress!
DESDEMONA	(returning) My lord?
OTHELLO	(to Lodovico) What would you with her, sir?
LODOVICO	Who, I, my lord?
OTHELLO	Ay, you did wish that I would make her turn. Sir; she can turn and turn, and yet go on And turn again, and she can weep, sir, weep, And she’s obedient, as you say, obedient, Very obedient. (To Desdemona) Proceed you in your tears. (To Lodovico) Concerning this, sir—(To Desdemona) O well painted passion! (To Lodovico) I am commanded home. (To Desdemona) Get you away. I’ll send for you anon. (To Lodovico) Sir, I obey the mandate, And will return to Venice. (To Desdemona) Hence, avaunt!
(didascalia)	Exit Desdemona
OTHELLO	(To Lodovico) Cassio shall have my place, and, sir, tonight I do entreat that we may sup together. You are welcome, sir, to Cyprus. Goats and monkeys!
(didascalia)	Exit
LODOVICO	Is this the noble Moor whom our full senate Call all-in-all sufficient? Is this the nature Whom passion could not shake, whose solid virtue The shot of accident nor dart of chance Could neither graze nor pierce?
IAGO	He is much changed.
LODOVICO	Are his wits safe? Is he not light of brain?
IAGO	He’s that he is. I may not breathe my censure What he might be. If what he might he is not, I would to heaven he were.
LODOVICO	What, strike his wife!
IAGO	Faith, that was not so well. Yet would I knew That stroke would prove the worst.
LODOVICO	Is it his use, Or did the letters work upon his blood And new-create his fault? IAGOAlas, alas. It is not honesty in me to speak What I have seen and known. You shall observe him, And his own courses will denote him so That I may save my speech. Do but go after, And mark how he continues.
LODOVICO	I am sorry that I am deceived in him.
(didascalia)	Exeunt

Atto 4, Scena 2

Speaker	Line
(didascalia)	Enter Othello and Emilia
OTHELLO	You have seen nothing then?
EMILIA	Nor ever heard, nor ever did suspect.
OTHELLO	Yes, you have seen Cassio and she together.
EMILIA	But then I saw no harm, and then I heard Each syllable that breath made up between ’em.
OTHELLO	What, did they never whisper?
EMILIA	Never, my lord.
OTHELLO	Nor send you out o’th’ way?
EMILIA	Never.
OTHELLO	To fetch her fan, her gloves, her mask, nor nothing?
EMILIA	Never, my lord.
OTHELLO	That’s strange.
EMILIA	I durst, my lord, to wager she is honest, Lay down my soul at stake. If you think other, Remove your thought; it doth abuse your bosom. If any wretch ha’ put this in your head, Let heaven requite it with the serpent’s curse, For if she be not honest, chaste, and true, There’s no man happy; the purest of their wives Is foul as slander.
OTHELLO	Bid her come hither. Go.
(didascalia)	Exit Emilia
OTHELLO	She says enough, yet she’s a simple bawd That cannot say as much. This is a subtle whore, A closet lock and key of villainous secrets, And yet she’ll kneel and pray—I ha’ seen her do’t.
(didascalia)	Enter Desdemona and Emilia
DESDEMONA	My lord, what is your will?
OTHELLO	Pray you, chuck, come hither.
DESDEMONA	What is your pleasure?
OTHELLO	Let me see your eyes. Look in my face.
DESDEMONA	What horrible fancy’s this?
OTHELLO	(to Emilia) Some of your function, mistress. Leave procreants alone, and shut the door, Cough or cry ‘Hem’ if anybody come. Your mystery, your mystery—nay, dispatch.
(didascalia)	Exit Emilia
DESDEMONA	Upon my knees, what doth your speech import? I understand a fury in your words, But not the words.
OTHELLO	Why, what art thou?
DESDEMONA	Your wife, my lord, your true and loyal wife.
OTHELLO	Come, swear it, damn thyself, Lest, being like one of heaven, the devils themselves Should fear to seize thee. Therefore be double-damned: Swear thou art honest.
DESDEMONA	Heaven doth truly know it. 40
OTHELLO	Heaven truly knows that thou art false as hell.
DESDEMONA	To whom, my lord? With whom? How am I false?
OTHELLO	(weeping) Ah, Desdemon, away, away, away!
DESDEMONA	Alas, the heavy day! Why do you weep? Am I the motive of these tears, my lord? If haply you my father do suspect An instrument of this your calling back, Lay not your blame on me. If you have lost him, I have lost him too.
OTHELLO	Had it pleased God To try me with affliction; had He rained All kind of sores and shames on my bare head, Steeped me in poverty to the very lips, Given to captivity me and my utmost hopes, I should have found in some place of my soul A drop of patience. But, alas, to make me The fixed figure for the time of scorn To point his slow and moving finger at— Yet could I bear that too, well, very well. But there where I have garnered up my heart, Where either I must live or bear no life, The fountain from the which my current runs Or else dries up—to be discarded thence, Or keep it as a cistern for foul toads To knot and gender in! Turn thy complexion there, Patience, thou young and rose-lipped cherubin, Ay, here look grim as hell.
DESDEMONA	I hope my noble lord esteems me honest.
OTHELLO	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!
DESDEMONA	Alas, what ignorant sin have I committed?
OTHELLO	Was this fair paper, this most goodly book, Made to write ‘whore’ upon? What committed? Committed? O thou public commoner, I should make very forges of my cheeks, That would to cinders burn up modesty, Did I but speak thy deeds. What committed? Heaven stops the nose at it, and the moon winks; The bawdy wind, that kisses all it meets, Is hushed within the hollow mine of earth And will not hear’t. What committed?
DESDEMONA	By heaven, you do me wrong.
OTHELLO	Are not you a strumpet?
DESDEMONA	No, as I am a Christian. If to preserve this vessel for my lord From any other foul unlawful touch Be not to be a strumpet, I am none.
OTHELLO	What, not a whore?
DESDEMONA	No, as I shall be saved.
OTHELLO	Is’t possible?
DESDEMONA	O heaven forgive us!
OTHELLO	I cry you mercy then. I took you for that cunning whore of Venice That married with Othello. (Calling) You, mistress, That have the office opposite to Saint Peter And keeps the gate of hell,
(didascalia)	Enter Emilia
OTHELLO	you, you, ay, you. We ha’ done our course. (Giving money) There’s money for your pains. I pray you, turn the key and keep our counsel.
(didascalia)	Exit
EMILIA	Alas, what does this gentleman conceive? How do you, madam? How do you, my good lady?
DESDEMONA	Faith, half asleep.
EMILIA	Good madam, what’s the matter with my lord?
DESDEMONA	With who?
EMILIA	Why, with my lord, madam.
DESDEMONA	Who is thy lord?
EMILIA	He that is yours, sweet lady.
DESDEMONA	I ha’ none. Do not talk to me, Emilia. I cannot weep, nor answers have I none But what should go by water. Prithee tonight Lay on my bed my wedding sheets, remember. And call thy husband hither.
EMILIA	Here’s a change indeed.
(didascalia)	Exit
DESDEMONA	‘Tis meet I should be used so, very meet. How have I been behaved, that he might stick The small’st opinion on my least misuse?
(didascalia)	Enter Iago and Emilia,
IAGO	What is your pleasure, madam? How is’t with you?
DESDEMONA	I cannot tell. Those that do teach young babes Do it with gentle means and easy tasks. He might ha’ chid me so, for, in good faith, I am a child to chiding.
IAGO	What is the matter, lady?
EMILIA	Alas, Iago, my lord hath so bewhored her, Thrown such despite and heavy terms upon her, That true hearts cannot bear it.
DESDEMONA	Am I that name, Iago?
IAGO	What name, fair lady?
DESDEMONA	Such as she said my lord did say I was.
EMILIA	He called her whore. A beggar in his drink Could not have laid such terms upon his callet.
IAGO	Why did he so?
DESDEMONA	I do not know. I am sure I am none such.
IAGO	Do not weep, do not weep. Alas the day!
EMILIA	Hath she forsook so many noble matches, Her father and her country and her friends, To be called whore? Would it not make one weep?
DESDEMONA	It is my wretched fortune.
IAGO	Beshrew him for’t. How comes this trick upon him?
DESDEMONA	Nay, heaven doth know.
EMILIA	I will be hanged if some eternal villain, Some busy and insinuating rogue, Some cogging, cozening slave, to get some office, Have not devised this slander. I will be hanged else.
IAGO	Fie, there is no such man. It is impossible.
DESDEMONA	If any such there be, heaven pardon him.
EMILIA	A halter pardon him, and hell gnaw his bones! Why should he call her whore? Who keeps her company? What place, what time, what form, what likelihood? The Moor’s abused by some most villainous knave, Some base, notorious knave, some scurvy fellow. O heaven, that such companions thou’dst unfold, And put in every honest hand a whip To lash the rascals naked through the world, Even from the east to th’ west!
IAGO	Speak within door.
EMILIA	O, fie upon them. Some such squire he was That turned your wit the seamy side without, And made you to suspect me with the Moor.
IAGO	You are a fool. Go to.
DESDEMONA	O God, Iago, What shall I do to win my lord again? Good friend, go to him; for by this light of heaven, I know not how I lost him. She kneels Here I kneel. If e‘er my will did trespass ’gainst his love, Either in discourse of thought or actual deed, Or that mine eyes, mine ears, or any sense Delighted them in any other form, Or that I do not yet, and ever did, 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, But never taint my love. [She rises] 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. The business of the state does him offence, And he does chide with you.
DESDEMONA	If ’twere no other!
IAGO	It is but so, I warrant.
(didascalia)	Flourish within
IAGO	Hark how these instruments summon you to supper. The messengers of Venice stays the meat. Go in, and weep not. All things shall be well.
(didascalia)	Exeunt Desdemona and Emilia
(didascalia)	Enter Roderigo
IAGO	How now, Roderigo?
RODERIGO	I do not find that thou deal’st justly with me.
IAGO	What in the contrary?
RODERIGO	Every day thou daff‘st me with some device, Iago, and rather, as it seems to me now, keep’st from me all conveniency than suppliest me with the least advantage of hope. I will indeed no longer endure it, nor am I yet persuaded to put up in peace what already I have foolishly suffered.
IAGO	Will you hear me, Roderigo?
RODERIGO	Faith, I have heard too much, for your words and performances are no kin together.
IAGO	You charge me most unjustly.
RODERIGO	With naught but truth. I have wasted myself out of my means. The jewels you have had from me to deliver Desdemona would half have corrupted a votarist. You have told me she hath received ’em, and returned me expectations and comforts of sudden respect and acquaintance, but I find none. 195
IAGO	Well, go to, very well.
RODERIGO	‘Very well’, ‘go to’! I cannot go to, man, nor ’tis not very well. Nay, I think it is scurvy, and begin to find myself fopped in it.
IAGO	Very well.
RODERIGO	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 repent my unlawful solicitation. If not, assure yourself I will seek satisfaction of you.
IAGO	You have said now.
RODERIGO	Ay, and said nothing but what I protest 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 hand, Roderigo. Thou hast taken against me a most just exception, but yet I protest I have dealt most directly in thy affair.
RODERIGO	It hath not appeared.
IAGO	I grant, indeed, it hath not appeared, and your suspicion is not without wit and judgement. But, Roderigo, if thou hast that in thee indeed which I have greater reason to believe now than ever—I mean purpose, courage, and vatour—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.
RODERIGO	Well, what is it? Is it within reason and compass?
IAGO	Sir, there is especial commission come from Venice to depute Cassio in Othello’s place.
RODERIGO	Is that true? Why then, Othello and Desdemona return again to Venice.
IAGO	O no, he goes into Mauritania, and takes away with him the fair Desdemona, unless his abode be lingered here by some accident, wherein none can be so determinate as the removing of Cassio.
RODERIGO	How do you mean‘removing’ of him?
IAGO	Why, by making him uncapable of Othello’s place—knocking out his brains.
RODERIGO	And that you would have me to do.
IAGO	Ay, if you dare do yourself a profit and a right. He sups tonight with a harlotry, and thither will I go to him. He knows not yet of his honourable fortune. If you will watch 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.
RODERIGO	I will hear further reason for this.
IAGO	And you shall be satisfied.
(didascalia)	Exeunt

Atto 4, Scena 3

Speaker	Line
(didascalia)	Enter Othello, Desdemona, Lodovico, Emilia, and attendants
LODOVICO	I do beseech you, sir, trouble yourself no further.
OTHELLO	O, pardon me, ’twill do me good to walk.
LODOVICO	(to Desdemona) Madam, good night. I humbly thank your ladyship.
DESDEMONA	Your honour is most welcome.
OTHELLO	Will you walk, sir? O, Desdemona!
DESDEMONA	My lord?
OTHELLO	Get you to bed on th’instant. I will be returned forthwith. Dismiss your attendant there. Look’t be done.
DESDEMONA	I will, my lord.
(didascalia)	Exeunt Othello, Lodovico, and attendants
EMILIA	How goes it now? He looks gentler than he did.
DESDEMONA	He says he will return incontinent. He hath commanded me to go to bed, And bid me to dismiss you.
EMILIA	Dismiss me?
DESDEMONA	It was his bidding. Therefore, good Emilia, Give me my nightly wearing, and adieu. is We must not now displease him.
EMILIA	I would you had never seen him.
DESDEMONA	So would not I. My love doth so approve him That even his stubbornness, his checks, his frowns— Prithee unpin me—have grace and favour in them. Emilia helps Desdemona to undress
EMILIA	I have laid those sheets you bade me on the bed.
DESDEMONA	All’s one. Good faith, how foolish are our minds! If I do die before thee, prithee shroud me In one of these same sheets.
EMILIA	Come, come, you talk.
DESDEMONA	My mother had a maid called Barbary. She was in love, and he she loved proved mad And did forsake her. She had a song of willow. An old thing ’twas, but it expressed her fortune, And she died singing it. That song tonight Will not go from my mind. I have much to do But to go hang my head all at one side And sing it, like poor Barbary. Prithee, dispatch.
EMILIA	Shall I go fetch your nightgown?
DESDEMONA	No. Unpin me here. This Lodovico is a proper man.
EMILIA	A very handsome man.
DESDEMONA	He speaks well.
EMILIA	I know a lady in Venice would have walked barefoot to Palestine for a touch of his nether lip.
DESDEMONA	(sings) ‘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. The fresh streams ran by her and murmured her moans, Sing willow, willow, willow. Her salt tears fell from her and softened the stones, Sing willow’— Lay by these.— ‘willow, willow.’ Prithee, hie thee. He’ll come anon. ‘Sing all a green willow must be my garland. ‘Let nobody blame him, his scorn I approve’— Nay, that’s not next. Hark, who is’t that knocks?
EMILIA	It’s the wind.
DESDEMONA	(sings) ‘I called my love false love, but what said he then? Sing willow, willow, willow. If I court more women, you’ll couch with more men.’ So, get thee gone. Good night. Mine eyes do itch. 56 Doth that bode weeping?
EMILIA	’Tis neither here nor there.
DESDEMONA	I have heard it said so. O, these men, these men! Dost thou in conscience think—ten me, Emilia— That there be women do abuse their husbands In such gross kind? EMILIAThere be some such, no question.
DESDEMONA	Wouldst thou do such a deed for all the world?
EMILIA	Why, would not you?
DESDEMONA	No, by this heavenly light.
EMILIA	Nor I neither, by this heavenly light. I might do’t as well i’th’ dark.
DESDEMONA	Wouldst thou do such a deed for all the world?
EMILIA	The world’s a huge thing. It is a great price for a small vice.
DESDEMONA	In truth, I think thou wouldst not.
EMILIA	In truth, I think I should, and undo’t when I had done. Marry, I would not do such a thing for a joint ring, nor for measures of lawn, nor for gowns, petticoats, nor caps, nor any petty exhibition; but for all the whole world? Ud’s pity, who would not make her husband a cuckold to make him a monarch? I should venture purgatory for’t.
DESDEMONA	Beshrew me if I would do such a wrong For the whole world.
EMILIA	Why, the wrong is but a wrong i‘th’ world, and having the world for your labour, ’tis a wrong in your own world, and you might quickly make it right.
DESDEMONA	I do not think there is any such woman.
EMILIA	Yes, a dozen, and as many To th’ 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.
DESDEMONA	Good night, good night. God me such uses send Not to pick bad from bad, but by bad mend! Exeunt

Atto 5, Scena 1

Speaker	Line
(didascalia)	Enter Iago and Roderigo
IAGO	Here, stand behind this bulk. Straight will he come. 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, And fix most firm thy resolution.
RODERIGO	Be near at hand. I may miscarry in’t.
IAGO	Here at thy hand. Be bold, and take thy stand.
RODERIGO	(aside) I have no great devotion to the deed, And yet he hath given me satisfying reasons. ’Tis but a man gone. Forth my sword—he dies!
IAGO	(aside) I have rubbed this young quat almost to the sense, And he grows angry. Now, whether he kill Cassio 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 bobbed from him 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 May unfold me to him-there stand I in much peril. No, he must die. But so, I hear him coming.
(didascalia)	Enter Cassio
RODERIGO	I know his gait, ’tis he. (Attacking Cassio) Villain, thou diest.
CASSIO	That thrust had been mine enemy indeed, But that my coat is better than thou know’st. I will make proof of thine. He stabs Roderigo, who falls
RODERIGO	O, I am slain! Iago wounds Cassio in the leg from behind. Exit Iago
CASSIO	(falling) I am maimed for ever. Help, ho, murder, murder!
(didascalia)	Enter Othello [above]
OTHELLO	The voice of Cassio. Iago keeps his word.
RODERIGO	O, villain that I am!
OTHELLO	It is even so.
CASSIO	O, help, ho! Light, a surgeon!
OTHELLO	’Tis he. O brave Iago, honest and just, That hast such noble sense of thy friend’s wrong— Thou teachest me. Minion, your dear lies dead, And your unblessed fate hies. Strumpet, I come. Forth of my heart those charms, thine eyes, are blotted. Thy bed, lust-stained, shall with lust’s blood be spotted.
(didascalia)	Exit
(didascalia)	Enter Lodovico and Graziano
CASSIO	What ho, no watch, no passage? Murder, murder!
GRAZIANO	’Tis some mischance. The voice is very direful.
CASSIO	O, help!
LODOVICO	Hark.
RODERIGO	O wretched villain!
LODOVICO	Two or three groan. ’Tis heavy night. These may be counterfeits. Let’s think’t unsafe To come into the cry without more help.
RODERIGO	Nobody come? Then shall I bleed to death.
(didascalia)	Enter Iago with a light
LODOVICO	Hark.
GRAZIANO	Here’s one comes in his shirt, with light and weapons.
IAGO	Who’s there? Whose noise is this that cries on murder?
LODOVICO	We do not know.
IAGO	Do not you hear a cry?
CASSIO	Here, here. For heaven’s sake, help me.
IAGO	What’s the matter?
GRAZIANO	(to Lodovico) This is Othello’s ensign, as I take it.
LODOVICO	The same indeed, a very valiant fellow.
IAGO	(to Cassio) What are you here that cry so grievously?
CASSIO	Iago—O, I am spoiled, undone by villains. Give me some help.
IAGO	O me, lieutenant, what villains have done this?
CASSIO	I think that one of them is hereabout And cannot make away.
IAGO	O treacherous villains! (To Lodovico and Graziano) What are you there? Come in and give some help.
RODERIGO	O, help me there!
CASSIO	That’s one of ’em.
IAGO	(stabbing Roderigo) O murderous slave! O villain!
RODERIGO	O damned Iago! O inhuman dog!
IAGO	Kill men i’th’ dark? Where be these bloody thieves? How silent is this town! Ho, murder, murder! (To Lodovico and Graziano) What may you be? Are you of good or evil?
LODOVICO	As you shall prove us, praise us.
IAGO	Signor Lodovico.
LODOVICO	He, sir.
IAGO	I cry you mercy. Here’s Cassio hurt by villains.
GRAZIANO	Cassio?
IAGO	How is’t, brother?
CASSIO	My leg is cut in two.
IAGO	Marry, heaven forbid! Light, gentlemen. I’ll bind it with my shirt.
(didascalia)	Enter Bianca
BIANCA	What is the matter, ho? Who is’t that cried?
IAGO	Who is’t that cried?
BIANCA	O my dear Cassio, My sweet Cassio, O, Cassio, Cassio!
IAGO	O notable strumpet! Cassio, may you suspect Who they should be that have thus mangled you? 80
CASSIO	No.
GRAZIANO	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!
BIANCA	Alas, he faints. O, Cassio, Cassio, Cassio!
IAGO	Gentlemen all, I do suspect this trash To be a party in this injury. Patience a while, good Cassio. Come, come, Lend me a light. (Going to Roderigo) Know we this face or no? Alas, my friend, and my dear countryman. Roderigo? No—yes, sure—O heaven, Roderigo!
GRAZIANO	What, of Venice?
IAGO	Even he, sir. Did you know him?
GRAZIANO	Know him? Ay.
IAGO	Signor Graziano, I cry your gentle pardon. These bloody accidents must excuse my manners That so neglected you.
GRAZIANO	I am glad to see you.
IAGO	How do you, Cassio? O, a chair, a chair!
GRAZIANO	Roderigo.
IAGO	He, he, ’tis he.
(didascalia)	Enter attendants with a chair
IAGO	O, that’s well said, the chair! Some good man bear him carefully from hence. I’ll fetch the general’s surgeon. (To Bianca) For you, mistress, Save you your labour. He that lies slain here, Cassio, Was my dear friend. What malice was between you?
CASSIO	None in the world, nor do I know the man.
IAGO	(to Bianca) What, look you pale? (To attendants) O, bear him out o’th’ air. (To Lodovico and Graziano) Stay you, good gentlemen.
(didascalia)	Exeunt attendants with Cassio in the chair [and with Roderigo’s body]
IAGO	(To Bianca) Look you pale, mistress? (To Lodovico and Graziano) Do you perceive the ghastness of her eye? (To Bianca) Nay, an you stare we shall hear more anon. (To Lodovico and Graziano) Behold her well; I pray you look upon her. Do you see, gentlemen? Nay, guiltiness Will speak, though tongues were out of use.
(didascalia)	Enter Emilia
EMILIA	Alas, what is the matter? What is the matter, husband?
IAGO	Cassio hath here been set on in the dark By Roderigo and fellows that are scaped. He’s almost slain, and Roderigo dead.
EMILIA	Alas, good gentleman! Alas, good Cassio!
IAGO	This is the fruits of whoring. Prithee, Emilia, Go know of Cassio where he supped tonight. (To Bianca) What, do you shake at that?
BIANCA	He supped at my house, but I therefore shake not.
IAGO	O, did he so? I charge you go with me.
EMILIA	(to Bianca) O, fie upon thee, strumpet!
BIANCA	I am no strumpet, but of life as honest As you that thus abuse me.
EMILIA	As I? Fough, fie upon thee!
IAGO	Kind gentlemen, let’s go see poor Cassio dressed. (To Bianca) Come, mistress, you must tell’s another tale. Emilia, run you to the citadel And tell my lord and lady what hath happed. Will you go on afore?
(didascalia)	Exit Emilia
IAGO	(Aside) This is the night That either makes me or fordoes me quite. Exeunt

Atto 5, Scena 2

Speaker	Line
(didascalia)	Enter Othello with a light. He draws back a curtain, revealing Desdemona asleep in her bed
OTHELLO	It is the cause, it is the cause, my soul. Let me not name it to you, you chaste stars. It is the cause. Yet I’ll not shed her blood, Nor scar that whiter skin of hers than snow, And smooth as monumental alabaster. Yet she must die, else she’ll betray more men. Put out the light, and then put out the light. If I quench thee, thou flaming minister, I can again thy former light restore Should I repent me; but once put out thy light, Thou cunning‘st pattern of excelling nature, I know not where is that Promethean heat That can thy light relume. When I have plucked thy rose I cannot give it vital growth again. It needs must wither. I’ll smell thee on the tree. [He kisses her] O balmy breath, that dost almost persuade 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 that’s the last. He kisses her So sweet was ne’er so fatal. I must weep, But they are cruel tears. This sorrow’s heavenly, It strikes where it doth love. She wakes.
DESDEMONA	Who’s there? Othello?
OTHELLO	Ay, Desdemona.
DESDEMONA	Will you come to bed, my lord? OTHELLOHave you prayed tonight, Desdemon?
DESDEMONA	Ay, my lord.
OTHELLO	If you bethink yourself of any crime Unreconciled as yet to heaven and grace, Solicit for it straight.
DESDEMONA	Alack, my lord, what may you mean by that?
OTHELLO	Well, do it, and be brief. I will walk by. I would not kill thy unprepared spirit. No, heavens forfend! I would not kill thy soul.
DESDEMONA	Talk you of killing?
OTHELLO	Ay, I do.
DESDEMONA	Then heaven Have mercy on me.
OTHELLO	Amen, with all my heart.
DESDEMONA	If you say so, I hope you will not kill me.
OTHELLO	Hum!
DESDEMONA	And yet I fear you, for you’re 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.
OTHELLO	Think on thy sins.
DESDEMONA	They are loves I bear to you.
OTHELLO	Ay, and for that thou diest.
DESDEMONA	That death’s unnatural that kills for loving. Alas, why gnaw you so your nether lip? Some bloody passion shakes your very frame. These are portents, but yet I hope, I hope They do not point on me.
OTHELLO	Peace, and be still.
DESDEMONA	I will so. What’s the matter?
OTHELLO	That handkerchief Which I so loved and gave thee, thou gav’st to Cassio.
DESDEMONA	No, by my life and soul. Send for the man And ask him.
OTHELLO	Sweet soul, take heed, take heed of perjury. Thou art on thy deathbed.
DESDEMONA	Ay, but not yet to die.
OTHELLO	Presently. Therefore confess thee freely of thy sin, For to deny each article with oath Cannot remove nor choke the strong conception That I do groan withal. Thou art to die.
DESDEMONA	Then Lord have mercy on me.
OTHELLO	I say amen.
DESDEMONA	And have you mercy, too. I never did Offend you in my life, never loved Cassio But with such general warranty of heaven As I might love. I never gave him token.
OTHELLO	By heaven, I saw my handkerchief in’s hand. O perjured woman! Thou dost stone my heart, And makes me call what I intend to do A murder, which I thought a sacrifice. I saw the handkerchief.
DESDEMONA	He found it, then. I never gave it him. Send for him hither. Let him confess a truth.
OTHELLO	He hath confessed.
DESDEMONA	What, my lord?
OTHELLO	That he hath used thee.
DESDEMONA	How, unlawfully?
OTHELLO	Ay.
DESDEMONA	He will not say so. OTHELLONo, his mouth is stopped. Honest Iago hath ta’en order for’t.
DESDEMONA	O, my fear interprets! What, is he dead?
OTHELLO	Had all his hairs been lives, my great revenge Had stomach for em all.
DESDEMONA	(weeping) Alas, he is betrayed, and I undone.
OTHELLO	Out, strumpet! Weep’st thou for him to my face?
DESDEMONA	O, banish me, my lord, but kill me not.
OTHELLO	(attacking her) Down, strumpet.
DESDEMONA	Kill me tomorrow; let me live tonight.
OTHELLO	Nay, an you strive—
DESDEMONA	But half an hour.
OTHELLO	Being done, there is no pause.
DESDEMONA	But while I say one prayer.
OTHELLO	It is too late. He smothers her
DESDEMONAO	Lord, Lord, Lord! Emilia at the door
EMILIA	(within) My lord, my lord, what ho, my lord, my lord!
OTHELLO	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.
EMILIA	(within) What ho, my lord, my lord! OTHELLOWho’s there?
EMILIA	(within) O, good my lord, I would speak a word with you.
OTHELLO	(calling) Yes.—‘Tis Emilia. (Calling) By and by!—She’s dead. ’Tis like she comes to speak of Cassio’s death. The noise was high. Ha! No more moving. 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 ha’ no wife. O insupportable, O heavy hour! Methinks it should be now a huge eclipse Of sun and moon, and that th’affrighted globe Should yawn at alteration.
EMILIA	(within) I do beseech you That I may speak with you. O, good my lord!
OTHELLO	I had forgot thee.—O, come in, Emilia.— Soft, by and by. Let me the curtains draw. He closes the bed-curtains Where art thou? He opens the door. Enter Emilia What’s the matter with thee now?
EMILIA	O my good lord, yonder’s foul murder’s done.
OTHELLO	What, now?
EMILIA	But now, my lord.
OTHELLO	It is the very error of the moon, She comes more nearer earth than she was wont, And makes men mad.
EMILIA	Cassio, my lord, hath killed a young Venetian Called Roderigo.
OTHELLO	Roderigo killed And Cassio killed?
EMILIA	No, Cassio is not killed.
OTHELLO	Not Cassio killed? Then murder’s out of tune, And sweet revenge grows harsh.
DESDEMONA	O, falsely, falsely murdered!
EMILIA	O Lord, what cry is that?
OTHELLO	That? What?
EMILIA	Out and alas, that was my lady’s voice!
(didascalia)	She opens the bed-curtains
EMILIA	Help, help, ho, help ! O lady, speak again! Sweet Desdemona, O sweet mistress, speak!
DESDEMONA	A guiltless death I die.
EMILIA	O, who hath done this deed?
DESDEMONA	Nobody, I myself. Farewell. Commend me to my kind lord. O, farewell! She dies
OTHELLO	Why, how should she be murdered?
EMILIA	Alas, who knows?
OTHELLO	You heard her say herself it was not I.
EMILIA	She said so, I must needs report the truth.
OTHELLO	She’s like a liar gone to burning hell. ’Twas I that killed her.
EMILIA	O, the more angel she, and you the blacker devil!
OTHELLO	She turned to folly, and she was a whore.
EMILIA	Thou dost belie her, and thou art a devil.
OTHELLO	She was false as water.
EMILIA	Thou art rash as fire To say that she was false. O, she was heavenly true!
OTHELLO	Cassio did top her. Ask thy husband else. O, I were damned beneath all depth in hell But that I did proceed upon just grounds To this extremity! Thy husband knew it all.
EMILIA	My husband?
OTHELLO	Thy husband.
EMILIA	That she was false to wedlock?
OTHELLO	Ay, with Cassio. 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.
EMILIA	My husband?
OTHELLO	Ay, ’twas he that told me on her first. An honest man he is, and hates the slime That sticks on filthy deeds.
EMILIA	My husband?
OTHELLO	What needs this iterance? Woman, I say thy husband.
EMILIA	O mistress, villainy hath made mocks with love. My husband say she was false?
OTHELLO	He, woman. I say thy husband. Dost understand the word? My friend, thy husband, honest, honest Iago.
EMILIA	If he say so, may his pernicious soul Rot half a grain a day. He lies to th’ heart. She was too fond of her most filthy bargain.
OTHELLO	Ha?
EMILIA	Do thy worst. This deed of thine is no more worthy heaven Than thou wast worthy her.
OTHELLO	Peace, you were best.
EMILIA	Thou hast not half that power to do me harm 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, hot Help! The Moor hath killed my mistress. Murder, murder!
(didascalia)	Enter Montano, Graziano, and Iago
MONTANO	What is the matter? How now, general?
EMILIA	O, are you come, Iago? You have done well, That men must lay their murders on your neck.
GRAZIANO	What is the matter?
EMILIA	(to Iago) Disprove this villain if thou beest 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.
IAGO	I told him what I thought, and told no more Than what he found himself was apt and true.
EMILIA	But did you ever tell him she was false?
IACO	I did.
EMILIA	You told a lie, an odious, damnèd lie, Upon my soul a lie, a wicked lie. She false with Cassio? Did you say with Cassio?
IAGO	With Cassio, mistress. Go to, charm your tongue.
EMILIA	I will not charm my tongue. I am bound to speak. My mistress here lies murdered in her bed.
(didascalia)	MONTANO and GRAZIANO O heavens forfend!
EMILIA	(to Iago) And your reports have set the murder on.
OTHELLO	Nay, stare not, masters. It is true indeed.
GRAZIANO	’Tis a strange truth.
MONTANO	O monstrous act!
EMILIA	Villainy, villainy, villainy! I think upon’t, I think. I smell’t. O villainy! I thought so then. I’ll kill myself for grief. O villainy, villainy!
IAGO	What, are you mad? I charge you get you home.
EMILIA	Good gentlemen, let me have leave to speak. ‘Tis proper I obey him, but not now. Perchance, Iago, I will ne’er go home.
OTHELLO	O, O, O! Othello falls on the bed
EMILIA	Nay, lay thee down and roar, For thou hast killed the sweetest innocent That e’er did lift up eye.
(didascalia)	OTHELLO rising O, she was foul!
EMILIA	(To Graziano) I scarce did know you, uncle. There lies your niece, Whose breath indeed these hands have newly stopped. I know this act shows horrible and grim
GRAZIANO	Poor Desdemon, 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 This sight would make him do a desperate turn, Yea, curse his better angel from his side, And fall to reprobance.
OTHELLO	’Tis pitiful. But yet Iago knows That she with Cassio hath the act of shame A thousand times committed. Cassio confessed it, And she did gratify his amorous works With that recognizance and pledge of love Which I first gave her. I saw it in his hand. It was a handkerchief, an antique token My father gave my mother.
EMILIA	O God! O heavenly God!
IAGO	’Swounds, hold your peace!
EMILIA	‘Twill out, ’twill out. I peace? No, I will speak as liberal as the north. Let heaven, and men, and devils, let ’em all, All, all cry shame against me, yet I’ll speak.
IAGO	Be wise and get you home.
EMILIA	I will not. Iago draws his sword
GRAZIANO	(to Iago) Fie, your sword upon a woman?
EMILIA	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— More than indeed belonged to such a trifle— He begged of me to steal’t.
IAGO	Villainous whore!
EMILIA	She give it Cassio? No, alas, I found it, And I did give’t my husband.
IAGO	Filth, thou liest.
EMILIA	By heaven I do not, I do not, gentlemen. O murderous coxcomb! What should such a fool Do with so good a wife?
OTHELLO	Are there no stones in heaven But what serves for the thunder? Precious villain! The Moor runs at lago. Montano disarms Othello. Iago wounds his wife
GRAZIANO	The woman falls. Sure he hath killed his wife.
EMILIA	Ay, ay. O, lay me by my mistress’ side!
(didascalia)	Exit lago
GRAZIANO	He’s gone, but his wife’s killed.
MONTANO	‘Tis a notorious villain. Take you this weapon Which I have here recovered 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. Exeunt Montano and Graziano
OTHELLO	I am not valiant neither, But every puny whipster gets my sword. But why should honour outlive honesty? Let it go all.
EMILIA	What did thy song bode, lady? Hark, canst thou hear me? I will play the swan, And die in music. (Sings) ‘Willow, willow, willow.’— Moor, she was chaste. She loved thee, cruel Moor. So come my soul to bliss as I speak true. So, speaking as I think, alas, I die. She dies
OTHELLO	I have another weapon in this chamber. It was a sword of Spain, the ice-brook’s temper. O, here it is. (Calling) Uncle, I must come forth.
GRAZIANO	(within) If thou attempt it, it will cost thee dear. Thou hast no weapon, and perforce must suffer.
OTHELLO	Look in upon me then, and speak with me, Or, naked as I am, I will assault thee.
(didascalia)	Enter Graziano
GRAZIANO	What is the matter?
OTHELLO	Behold, I have a weapon; A better never did itself sustain Upon a soldier’s thigh. I have seen the day 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. Be not afraid, though you do see me weaponed. Here is my journey’s end, here is my butt And very sea-mark of my utmost sail. Do you go back dismayed? ’Tis a lost fear. Man but a rush against Othello’s breast And he retires. Where should Othello go? (To Desdemona) Now, how dost thou look now? O ill- starred wench, Pale as thy smock! When we shall meet at count This look of thine will hurl my soul from heaven, And fiends will snatch at it.
(didascalia)	He touches her
OTHELLO	Cold, cold, my girl, Even like thy chastity. O cursed, cursed slavel Whip me, ye devils, 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! O Desdemon! Dead Desdemon! Dead! 0! 0!
(didascalia)	Enter Lodovico, Montano, Iago guarded by officers, with Cassio in a chair
LODOVICO	Where is this rash and most unfortunate man?
OTHELLO	That’s he that was Othello. Here I am.
LODOVICO	Where is that viper? Bring the villain forth.
OTHELLO	I look down towards his feet, but that’s a fable. (To Iago) If that thou beest a devil I cannot kill thee. He wounds Iago
LODOVICO	Wrench his sword from him. Officers disarm Othello
IAGO	I bleed, sir, but not killed.
OTHELLO	I am not sorry, neither. I’d have thee live, For in my sense ’tis happiness to die.
LODOVICO	O thou Othello, that was once so good, Fall’n in the practice of a cursed slave, What shall be said to thee?
OTHELLO	Why, anything; An honourable murderer, if you will, For naught I did in hate, but all in honour.
LODOVICO	This wretch hath part confessed his villainy. Did you and he consent in Cassio’s death?
OTHELLO	Ay.
CASSIO	Dear general, I never gave you cause.
OTHELLO	I do believe it, and I ask your pardon. Will you, I pray, demand that demi-devil Why he hath thus ensnared my soul and body?
IAGO	Demand me nothing. What you know, you know. From this time forth I never will speak word.
LODOVICO	(to Iago) What, not to pray?
GRAZIANO	(to Iago) Torments will ope your lips.
OTHELLO	Well, thou dost best.
LODOVICO	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, And here another. The one of them imports The death of Cassio, to be undertook By Roderigo.
OTHELLO	O villain!
CASSIO	Most heathenish and most gross.
LODOVICO	Now here’s another discontented paper Found in his pocket too, and this it seems Roderigo meant to’ve sent this damned villain, But that, belike, Iago in the interim Came in and satisfied him.
OTHELLO	(to Iago) O thou pernicious caitiff! How came you, Cassio, by that handkerchief That was my wife’s?
CASSIO	I found it in my chamber, And he himself confessed it, but even now, That there he dropped it for a special purpose Which wrought to his desire.
OTHELLO	O fool, fool, fool!
CASSIO	There is besides in Roderigo’s letter How he upbraids Iago, that he made him 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.
LODOVICO	(to Othello) You must forsake this room and go with us. Your power and your command is taken off, And Cassio rules in Cyprus. For this slave, If there be any cunning cruelty 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. (To officers) Come, bring away.
OTHELLO	Soft you, a word or two before you go. I have done the state some service, and they know’t. No more of that. I pray you, in your letters, When you shall these unlucky deeds relate, Speak of me as I am. Nothing extenuate, Nor set down aught in malice. Then must you speak Of one that loved not wisely but too well, Of one not easily jealous but, being wrought, Perplexed in the extreme; of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe; of one whose subdued eyes, Albeit unused to the melting mood, Drops 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 turbaned Turk Beat a Venetian and traduced the state, I took by th’ throat the circumcised dog And smote him thus. He stabs himself
LODOVICO	O bloody period!
GRAZIANO	All that is spoke is marred.
OTHELLO	(to Desdemona) I kissed thee ere I killed thee. No way but this: Killing myself, to die upon a kiss. He kisses Desdemona and dies
CASSIO	This did I fear, but thought he had no weapon, For he was great of heart.
LODOVICO	(to Iago) O Spartan dog, 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.
(didascalia)	They close the bed-curtains
LODOVICO	Graziano, keep the house, And seize upon the fortunes of the Moor, For they succeed on you. (To Cassio) 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 This heavy act with heavy heart relate.
(didascalia)	Exeunt with Emilia’s bodyl
THE HISTORY OF KING	LEAR
THE QUARTO TEXT	King Lear first appeared in print in a quarto of 1608. A substantially different text appeared in the 1623 Folio. Until the first appearance of the Oxford text, editors, assuming that each of these early texts imperfectly represented a single play, conflated them. But research conducted mainly during the 1970s and 1980s confirms an earlier view that the 1608 quarto represents the play as Shakespeare originally wrote it, and the 1623 Folio as he substantially revised it. He revised other plays, too, but usually by making many small changes in the dialogue and adding or omitting passages, as in Hamlet, Troilus and Cressida, and Othello. For these plays we print the revised text in so far as it can be ascertained. But in King Lear revisions are not simply local but structural, too; conflation, as Harley Granville-Barker wrote, ‘may make for redundancy or confusion’, so we print an edited version of each text. The first, printed in the following pages, represents the play as Shakespeare first conceived it, probably before it was performed. The story of a king who, angry with the failure of his virtuous youngest daughter (Cordelia) to respond as he desires in a love-test, divides his kingdom between her two malevolent sisters (Gonoril and Regan), had been often told; Shakespeare would have come upon it in Holinshed’s Chronicles and in A Mirror for Magistrates while reading for his plays on English history. It is told also (though briefly) in Edmund Spenser’s Faerie Queene (Book 2, canto 10), and had been dramatized in a play of unknown authorship—The True Chronicle History of King Leir and his three daughters—published in 1605, but probably written some fifteen years earlier. This play particularly gave Shakespeare much, including suggestions for the characters of Lear’s loyal servant, Kent, and of Gonoril’s husband, Albany, and her steward, Oswald; for the storm; for Lear’s kneeling to Cordelia; and for many details of language. Nevertheless, his play is a highly original creation. Lear’s madness and the harrowing series of disasters in King Lear’s final stages are of Shakespeare’s invention, and he complicates the plot by adding the story (based on an episode of Sir Philip Sidney’s Arcadia) of Gloucester and his two sons, Edmund and Edgar. Edgar’s love and loyalty to the father who, failing to see the truth, has rejected him in favour of the villainous Edmund makes him a counterpart to Cordelia; and the horrific blinding of Gloucester brought about by Edmund creates a physical parallel to Lear’s madness which reaches its consummation in the scene (Sc. 20) at Dover Cliff when the mad and the blind old men commune together. The clear-eyed intensity of Shakespeare’s tragic vision in King Lear has been too much for some audiences, and Nahum Tate’s adaptation, which gave the play a happy ending, held the stage from 1681 to 1843; since then, increased understanding of Shakespeare’s stagecraft along with a greater seriousness in theatre audiences has assisted in the rehabilitation of a play that is now recognized as one of the profoundest of all artistic explorations of the human condition. In the text which follows, the Quarto scene numbers are followed by the equivalent Folio act and scene numbers in parentheses. There is no equivalent to Sc. 17 in the Folio.
THE PERSONS OF THE	PLAY LEAR, King of Britain GONORIL, Lear’s eldest daughter Duke of ALBANY, her husband REGAN, Lear’s second daughter Duke of CORNWALL, her husband CORDELIA, Lear’s youngest daughter Earl of KENT, later disguised as Caius Earl of GLOUCESTER EDGAR, elder son of Gloucester, later disguised as Tom o’ Bedlam EDMUND, bastard son of Gloucester
OLD	MAN, a tenant of Gloucester CURAN, Gloucester’s retainer Lear’s FOOL OSWALD, Gonoril’s steward Three SERVANTS of Cornwall DOCTOR, attendant on Cordelia Three CAPTAINS A HERALD A KNIGHT A MESSENGER Gentlemen, servants, soldiers, followers, trumpeters, others

Speaker	Line
(didascalia)	Enter Iago and Roderigo
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’ll not hear me! 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-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, Nonsuits my mediators; for ‘Certes,’ says he, ‘I have already chose my officer.’ And what was he? Forsooth, a great arithmetician, 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, Wherein the togaed consuls can propose As masterly as he. Mere prattle without practice Is all his soldiership; but he, sir, had th’election, And I—of whom his eyes had seen the proof At Rhodes, at Cyprus, and on other grounds Christened and heathen—must be beleed and calmed By debitor and creditor. This counter-caster, He in good time must his lieutenant be, And I—God bless the mark!—his Moorship’s ensign.
RODERIGO	By heaven, I rather would have been his hangman.
IAGO	Why, there’s no remedy. ’Tis the curse of service. Preferment goes by letter and affection, And not by old gradation, where each second Stood heir to th’ first. Now, sir, be judge yourself Whether I in any just term am affined To love the Moor.
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 followed. 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 naught but provender, and when he’s old, cashiered. Whip me such honest knaves. Others there are Who, trimmed 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 ‘em, 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.
RODERIGO	What a full fortune does the thick-lips owe If he can carry’t thus!
IAGO	Call up her father, 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 chances of vexation on’t 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.
RODERIGO	(calling) What ho, Brabanzio, Signor Brabanzio, ho!
IAGO	(calling) Awake, what ho, Brabanzio, thieves, thieves, thieves! Look to your house, your daughter, and your bags. Thieves, thieves!
(didascalia)	Enter Brabanzio in his nightgown at a window above
BRABANZIO	What is the reason of this terrible summons? What is the matter there?
RODERIGO	Signor, is all your family within?
IAGO	Are your doors locked?
BRABANZIO	Why, wherefore ask you this?
IAGO	’Swounds, sir, you’re robbed. 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 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.
BRABANZIO	What, have you lost your wits?
RODERIGO	Most reverend signor, do you know my voice?
BRABANZIO	Not I. What are you?
RODERIGO	My name is Roderigo.
BRABANZIO	The worser welcome. I have charged thee not to haunt about my doors. In honest plainness thou hast heard me say My daughter is not for thee, and now in madness, Being full of supper and distempering draughts, Upon malicious bravery dost thou come To start my quiet.
RODERIGO	Sir, sir, sir.
BRABANZIO	But thou must needs be sure My spirits and my place have in their power To make this bitter to thee.
RODERIGO	Patience, good sir.
BRABANZIO	What tell’st thou me of robbing? This is Venice. My house is not a grange.
RODERIGO	Most grave Brabanzio, In simple and pure soul I come to you.
IAGO	(to Brabanzio) ’Swounds, 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 jennets for germans.
BRABANZIO	What 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.
BRABANZIO	Thou art a villain.
IAGO	You are a senator.
BRABANZIO	This thou shalt answer. I know thee, Roderigo.
RODERIGO	Sir, I will answer anything. 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’th’ 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 For thus deluding you.
BRABANZIO	(calling) 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. Light, I say, light!
(didascalia)	Exit
IAGO	Farewell, for I must leave you. It seems not meet nor wholesome to my place To be producted—as, if I stay, I shall— Against the Moor, for I do know the state, However this may gall him with some check, Cannot with safety cast him, for he’s embarked With such loud reason to the Cyprus wars, Which even now stands in act, that, for their souls, 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 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. Exit
(didascalia)	Enter below Brabanzio in his nightgown, and
IAGO	servants with torches
BRABANZIO	It is too true an evil. Gone she is, And what’s to come of my despised time Is naught but bitterness. Now, Roderigo, Where didst thou see her?—O unhappy girl!— With the Moor, sayst thou?—Who would be a father?— How didst thou know ’twas she?—O, she deceives me Past thought!—What said she to you? (To servants) Get more tapers, Raise all my kindred.
(didascalia)	Exit one or more
BRABANZIO	(To Roderigo) Are they married, think you?
RODERIGO	Truly, I think they are.
BRABANZIO	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. Is there not charms By which the property of youth and maidhood May be abused? Have you not read, Roderigo, Of some such thing?
RODERIGO	Yes, sir, I have indeed.
BRABANZIO	(to servants) Call up my brother. (To Roderigo) O, would you had had her. (To servants) Some one way, some another.
(didascalia)	Exit one or more
BRABANZIO	(To Roderigo) Do you know Where we may apprehend her and the Moor?
RODERIGO	I think I can discover him, if you please To get good guard and go along with me.
BRABANZIO	Pray you lead on. At every house I’ll call; I may command at most. (Calling) Get weapons, ho, And raise some special officers of night. On, good Roderigo. I will deserve your pains. Exeunt

Chi parla	Battuta
(didascalia)	Entrano Iago e Roderigo
RODERIGO	Bah, non dirmelo! Molto mi duole che tu, Iago, che hai avuto la mia borsa come se i cordoni fossero tuoi, sapessi di questo.
IAGO	Sangue di Dio, ma voi non volete ascoltarmi! Se mai ho sognato cosa simile, aborritemi.
RODERIGO	Mi dicesti che lo tenevi nel tuo odio.
IAGO	Disprezzatemi se non è così. Tre grandi della città, in personale supplica perché mi facesse suo luogotenente, si scappellarono a lui; e per la fede d’uomo conosco il mio prezzo, non valgo un posto peggiore. Ma egli, innamorato del proprio orgoglio e dei propri disegni, li elude con un gonfio giro di parole orribilmente imbottito d’epiteti di guerra, e respinge i miei mediatori; ché ‘Certo,’ dice, ‘ho già scelto il mio ufficiale.‘ E chi era costui? In fede, un grande aritmetico, un certo Michael Cassio, fiorentino, un tale quasi dannato in una bella moglie, che mai schierò uno squadrone in campo né la divisione d’una battaglia conosce più d’una filatrice—se non la teorica dei libri, in cui i consoli togati sanno discorrere da maestri quanto lui. Mera ciancia senza pratica è tutta la sua milizia; ma lui, signore, ebbe l’elezione, e io—di cui i suoi occhi videro la prova a Rodi, a Cipro, e su altri terreni cristiani e pagani—devo restare sottovento e in bonaccia per un dare e avere. Questo contabile, lui a buon tempo dev’essere il suo luogotenente, e io—Dio mi perdoni!—alfiere di Sua Moreria.
RODERIGO	Per il cielo, avrei preferito essere il suo boia.
IAGO	Ebbene, non c’è rimedio. È la maledizione del servizio. L’avanzamento va per lettera e per favore, e non per antica gradazione, dove ogni secondo era erede del primo. Ora, signore, giudicate voi stesso se io per qualche giusto titolo sia tenuto ad amare il Moro.
RODERIGO	Allora io non lo seguirei.
IAGO	Oh signore, acquietatevi. Lo seguo per servirmene a mio vantaggio. Non possiamo tutti essere padroni, né tutti i padroni possono essere fedelmente seguiti. Osserverete più d’un servo ossequioso e piegatore di ginocchia che, innamorato della propria obbediente schiavitù, consuma il suo tempo come l’asino del padrone per null’altro che il foraggio, e quando è vecchio, congedato. Frustatemi simili onesti servi. Ve ne sono altri che, agghindati in forme e sembianze di dovere, serbano tuttavia il cuore attento a se stessi, e, gettando ai loro signori solo apparenze di servizio, prosperano bene a loro spese, e quando hanno foderato le loro vesti, rendono omaggio a se stessi. Costoro hanno un po’ d’anima, e tale mi professo io—giacché, signore, è certo come è certo che voi siete Roderigo, che se io fossi il Moro non vorrei essere Iago. Seguendo lui non seguo che me stesso. Il cielo mi è giudice: non per amore e dovere, ma così sembrando per il mio particolare fine. Ché quando la mia azione esteriore dimostrasse l’atto nativo e la figura del mio cuore in esterna apparenza, non passerà molto e porterò il mio cuore sulla manica perché le cornacchie lo becchino. Io non sono quel che sono.
RODERIGO	Che piena fortuna possiede quel labbrone se può spuntarla così!
IAGO	Chiamate suo padre, svegliatelo, inseguitelo, avvelenate la sua gioia, proclamatelo per le strade; aizzate i parenti di lei, e, per quanto egli dimori in fertile clima, tormentatelo con le mosche. Benché la sua gioia sia gioia, gettatevi sopra tali occasioni di molestia che ne perda un poco il colore.
RODERIGO	Ecco la casa di suo padre. Chiamerò forte.
IAGO	Fatelo, con tale accento pauroso e urlo tremendo come quando, di notte e per negligenza, il fuoco è avvistato nelle popolose città.
RODERIGO	(chiamando) Olà, Brabanzio, signor Brabanzio, olà!
IAGO	(chiamando) Svegliatevi, olà, Brabanzio, ladri, ladri, ladri! Badate alla vostra casa, a vostra figlia e ai vostri sacchi. Ladri, ladri!
(didascalia)	Entra Brabanzio in veste da notte a una finestra in alto
BRABANZIO	Qual è la ragione di questo terribile richiamo? Che cosa succede laggiù?
RODERIGO	Signore, è tutta in casa la vostra famiglia?
IAGO	Le vostre porte sono chiuse a chiave?
BRABANZIO	Perché, a che scopo lo chiedete?
IAGO	Per le piaghe di Cristo, signore, siete derubato. Vergogna, indossate la vostra veste. Il vostro cuore è scoppiato, avete perduto metà della vostra anima. Proprio ora, ora, in questo istante, un vecchio montone nero sta montando la vostra bianca pecora. Alzatevi, alzatevi! Destate col campanone i cittadini che russano, o il diavolo farà di voi un nonno. Alzatevi, vi dico.
BRABANZIO	Come, avete perduto il senno?
RODERIGO	Reverendissimo signore, conoscete la mia voce?
BRABANZIO	Io no. Chi siete voi?
RODERIGO	Il mio nome è Roderigo.
BRABANZIO	Tanto peggio accolto. Ti ho ingiunto di non aggirarti intorno alle mie porte. Con onesta franchezza mi hai udito dire che mia figlia non è per te, e ora in follia, pieno di cena e di bevande sregolate, per maligna spavalderia tu vieni a turbare la mia quiete.
RODERIGO	Signore, signore, signore.
BRABANZIO	Ma devi ben esser certo che il mio animo e il mio grado hanno in loro potere di rendertela amara.
RODERIGO	Pazienza, buon signore.
BRABANZIO	Che mi vieni a dire di ruberie? Questa è Venezia. La mia casa non è una cascina.
RODERIGO	Molto grave Brabanzio, con anima semplice e pura vengo a voi.
IAGO	(a Brabanzio) Per le piaghe di Cristo, signore, voi siete uno di quelli che non servirebbero Dio se fosse il diavolo a comandarlo. Poiché veniamo a rendervi un servizio e voi ci credete dei furfanti, avrete vostra figlia coperta da un cavallo barbaresco, avrete nipoti che vi nitriranno, avrete corsieri per cugini e ginnetti per parenti.
BRABANZIO	Che sciagurato profano sei tu?
IAGO	Sono uno, signore, che viene a dirvi che vostra figlia e il Moro stanno ora facendo la bestia a due schiene.
BRABANZIO	Tu sei un furfante.
IAGO	Voi siete un senatore.
BRABANZIO	Di questo risponderai. Ti conosco, Roderigo.
RODERIGO	Signore, risponderò di tutto. Ma vi supplico, se è vostro piacere e sapientissimo consenso— come in parte trovo che sia—che la vostra bella figlia, in questa incerta e sorda vigilia della notte, sia trasportata con non peggiore né migliore scorta che un ribaldo preso a nolo, un gondoliere, ai grossolani amplessi d’un lascivo Moro— se ciò vi è noto e col vostro permesso, allora vi abbiamo fatto torti arditi e insolenti. Ma se non lo sapete, le mie maniere mi dicono che a torto ci rimproverate. Non crediate che, fuori d’ogni senso di civiltà, io voglia così scherzare e trastullarmi con la vostra reverenza. Vostra figlia, se non le avete dato licenza, lo ripeto, ha compiuto una grossolana rivolta, legando il suo dovere, la bellezza, l’ingegno e le fortune a uno straniero errabondo e vagante di qui e d’ogni dove. Accertatevene subito. Se ella è nella sua camera o nella vostra casa, scatenate su di me la giustizia dello stato per avervi così ingannato.
BRABANZIO	(chiamando) Battete l’acciarino, olà! Datemi una candela, chiamate tutta la mia gente. Questo caso non è dissimile dal mio sogno; il crederlo già mi opprime. Luce, dico, luce!
(didascalia)	Esce
IAGO	Addio, ché devo lasciarvi. Non pare conveniente né salubre al mio grado essere prodotto come testimone—come, se resto, sarò— contro il Moro; ché io conosco lo stato, per quanto ciò possa irritarlo con qualche rimprovero, non può senza pericolo destituirlo, ché egli è imbarcato con così alta ragione nelle guerre di Cipro, che proprio ora sono in atto, sicché, per le loro anime, un altro della sua statura non ne hanno per condurre i loro affari; sotto tal riguardo— benché io lo odii come le pene infernali— pure per necessità della vita presente devo esibire una bandiera e un segno d’amore, che invero è solo segno. Affinché di certo troviate lui, conducete al Saettario la squadra levata in cerca, e là io sarò con lui. Dunque addio. Esce
(didascalia)	Entra sotto Brabanzio in veste da notte, e
IAGO	servitori con torce
BRABANZIO	È un male troppo vero. Se n’è andata, e ciò che resta del mio spregiato tempo non è che amarezza. Ora, Roderigo, dove la vedesti?—Oh sciagurata fanciulla!— Col Moro, dici?—Chi vorrebbe essere padre?— Come sapesti ch’era lei?—Oh, mi inganna oltre ogni pensiero!—Che vi disse? (Ai servitori) Prendete altre candele, svegliate tutti i miei parenti.
(didascalia)	Esce uno o più
BRABANZIO	(A Roderigo) Sono sposati, credete?
RODERIGO	In verità, credo di sì.
BRABANZIO	Oh cielo, come è uscita? Oh, tradimento del sangue! Padri, d’ora innanzi non fidatevi della mente delle vostre figlie per ciò che le vedete fare. Non vi sono incantesimi per cui la natura della giovinezza e della verginità possa essere corrotta? Non avete letto, Roderigo, di qualche cosa simile?
RODERIGO	Sì, signore, invero l’ho letto.
BRABANZIO	(ai servitori) Chiamate mio fratello. (A Roderigo) Oh, l’aveste avuta voi. (Ai servitori) Chi da una parte, chi dall’altra.
(didascalia)	Esce uno o più
BRABANZIO	(A Roderigo) Sapete voi dove possiamo catturare lei e il Moro?
RODERIGO	Credo di poterlo scovare, se vi piace di prendere buona scorta e venire con me.
BRABANZIO	Vi prego, fate strada. A ogni casa busserò; posso comandare quasi ovunque. (Chiamando) Armi, olà, e svegliate alcuni ufficiali speciali della notte. Avanti, buon Roderigo. Meriterò le vostre fatiche. Escono

Speaker	Line
(didascalia)	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’th’ conscience To do no contrived murder. I lack iniquity, Sometime, to do me service. Nine or ten times I had thought to’ve yerked him here, under the ribs.
OTHELLO	’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 you, sir, Are you fast married? Be assured of this: That the magnifico is much beloved, And hath in his effect a voice potential As double as the Duke’s. He will divorce you, Or put upon you what restraint or grievance The law, with all his might to enforce it on, Will give him cable.
OTHELLO	Let him do his spite. My services which I have done the signory Shall out-tongue his complaints. ’Tis yet to know— Which, when I know that boasting is an honour, I shall promu]gate—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 reached. For know, Iago, But that I love the gentle Desdemona I would not my unhousèd free condition Put into circumscription and confine For the seas’ worth.
(didascalia)	Enter Cassio and officers, with torches
OTHELLO	But look, what lights come yond?
IAGO	Those are the raised father and his friends. You were best go in.
OTHELLO	Not I. I must be found. My parts, my title, and my perfect soul Shall manifest me rightly. Is it they?
IAGO	By Janus, I think no.
OTHELLO	The servants of the Duke, and my lieutenant! The goodness of the night upon you, friends. What is the news?
CASSIO	The Duke does greet you, general, And he requires your haste-post-haste appearance Even on the instant.
OTHELLO	What is the matter, think you?
CASSIO	Something from Cyprus, as I may divine; It is a business of some heat. The galleys Have sent a dozen sequent messengers This very night at one another’s heels, And many of the consuls, raised and met, Are at the Duke’s already. You have been hotly called for, When, being not at your lodging to be found, The senate sent about three several quests To search you out.
OTHELLO	’Tis well I am found by you. I will but spend a word here in the house And go with you. Exit
CASSIO	Ensign, what makes he here?
IAGO	Faith, he tonight hath boarded a land-carrack. If it prove lawful prize, he’s made for ever.
CASSIO	I do not understand.
IAGO	He’s married.
CASSIO	To who?
(didascalia)	Enter
CASSIO	Brabanzio, Roderigo, and officers, with lights and weapons
IAGO	Marry, to—
(didascalia)	Enter Othello
IAGO	(To Othello) Come, captain, will you go?
OTHELLO	Have with you.
CASSIO	Here comes another troop to seek for you.
IAGO	It is Brabanzio. General, be advised. He comes to bad intent.
OTHELLO	Holla, stand, there!
RODERIGO	(to Brabanzio) Signor, it is the Moor.
BRABANZIO	Down with him, thief!
IAGO	(drawing his sword) You, Roderigo? Come, sir, I am for you.
OTHELLO	Keep up your bright swords, for the dew will rust ’em. (To Brabanzio) Good signor, you shall more command with years Than with your weapons.
BRABANZIO	O thou foul thief, where hast thou stowed my daughter? Damned as thou art, thou hast enchanted her, For I’ll refer me to all things of sense, If she in chains of magic were not bound, Whether a maid so tender, fair, and happy, So opposite to marriage that she shunned The wealthy curled darlings of our nation, Would ever have, t‘incur a general mock, Run from her guardage to the sooty bosom Of such a thing as thou—to fear, not to delight. Judge me the world if ’tis not gross in sense That thou hast practised on her with foul charms, Abused her delicate youth with drugs or minerals That weakens motion. I’ll have’t disputed on. ’Tis probable, and palpable to thinking. I therefore apprehend and do attach thee For an abuser of the world, a practiser Of arts inhibited and out of warrant. (To officers) Lay hold upon him. If he do resist, Subdue him at his peril.
OTHELLO	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. Whither will you that I go To answer this your charge?
BRABANZIO	To prison, till fit time Of law and course of direct session Call thee to answer.
OTHELLO	What if I do obey? How may the Duke be therewith satisfied, Whose messengers are here about my side Upon some present business of the state To bring me to him?
OFFICER	(to Brabanzio) ’Tis true, most worthy signor. The Duke’s in council, and your noble self, I am sure, is sent for.
BRABANZIO	How, the Duke in council? In this time of the night? Bring him away. Mine’s not an idle cause. The Duke himself, Or any of my brothers of the state, Cannot but feel this wrong as ’twere their own; For if such actions may have passage free, Bondslaves and pagans shall our statesmen be. Exeunt

Chi parla	Battuta
(didascalia)	Entrano Otello, Iago e servitori con torce
IAGO	Benché nel mestiere della guerra io abbia ucciso uomini, pure ritengo cosa propria della coscienza non commettere omicidio premeditato. Mi manca l’iniquità, talvolta, per rendermi servizio. Nove o dieci volte avevo pensato di trafiggerlo qui, sotto le costole.
OTELLO	È meglio così com’è.
IAGO	No, ma egli cianciava, e usava termini così vili e provocanti contro il vostro onore che, con la poca pietà che ho, a gran fatica lo risparmiai. Ma vi prego, signore, siete saldamente sposato? Siate certo di questo: che il magnifico è molto amato, e ha in effetto una voce potente doppia quanto quella del Duca. Vi farà divorziare, o vi imporrà quali costrizioni o gravami la legge, con tutta la sua forza per applicarla, gli darà agio.
OTELLO	Sfoghi pure il suo dispetto. I servigi che ho reso alla Signoria parleranno più alto delle sue lagnanze. Resta ancora da sapersi— e quando saprò che vantarsi è un onore, lo promu]gherò—che traggo vita ed essere da uomini di regale seggio, e i miei meriti possono parlare a capo scoperto a fortuna tanto superba quanto questa cui sono giunto. Ché sappi, Iago, se non fosse che io amo la gentile Desdemona, non vorrei la mia libera condizione senza dimora porre in circoscrizione e confine per tutto il tesoro dei mari.
(didascalia)	Entrano Cassio e ufficiali, con torce
OTELLO	Ma guarda, che luci vengono laggiù?
IAGO	Sono il padre destato e i suoi amici. Fareste meglio a rientrare.
OTELLO	Io no. Devo essere trovato. Le mie doti, il mio titolo e la mia perfetta anima mi mostreranno per quel che sono. Sono loro?
IAGO	Per Giano, credo di no.
OTELLO	I servitori del Duca, e il mio luogotenente! La bontà della notte sia con voi, amici. Quali notizie?
CASSIO	Il Duca vi saluta, generale, e richiede la vostra comparsa in tutta fretta, proprio all’istante.
OTELLO	Di che si tratta, credete?
CASSIO	Qualcosa da Cipro, per quanto posso indovinare; è un affare di qualche ardore. Le galee hanno inviato una dozzina di messaggeri l’un dopo l’altro proprio questa notte, uno alle calcagna dell’altro, e molti dei consoli, destati e riuniti, sono già dal Duca. Siete stato ardentemente chiamato a gran voce, e, non trovandovi al vostro alloggio, il senato ha mandato in giro tre distinte squadre a cercarvi.
OTELLO	Bene che siate voi a trovarmi. Spenderò solo una parola qui nella casa e verrò con voi. Esce
CASSIO	Alfiere, che fa costui qui?
IAGO	In fede, stanotte ha abbordato una caracca di terraferma. Se si rivela preda legittima, è fatto per sempre.
CASSIO	Non capisco.
IAGO	Si è sposato.
CASSIO	Con chi?
(didascalia)	Entrano
CASSIO	Brabanzio, Roderigo e ufficiali, con lumi e armi
IAGO	Perbacco, con—
(didascalia)	Entra Otello
IAGO	(A Otello) Venite, capitano, volete andare?
OTELLO	Vengo con voi.
CASSIO	Ecco un’altra schiera che viene a cercarvi.
IAGO	È Brabanzio. Generale, state in guardia. Viene con cattive intenzioni.
OTELLO	Olà, fermi, là!
RODERIGO	(a Brabanzio) Signore, è il Moro.
BRABANZIO	Addosso a lui, ladro!
IAGO	(sguainando la spada) Voi, Roderigo? Venite, signore, sono a vostra disposizione.
OTELLO	Rinfoderate le vostre lucide spade, ché la rugiada le arrugginirà. (A Brabanzio) Buon signore, comanderete di più con gli anni che con le vostre armi.
BRABANZIO	Oh turpe ladro, dove hai nascosto mia figlia? Dannato come sei, tu l’hai stregata, ché mi rimetto a ogni cosa di senno: se non fosse stata legata in catene di magia, come mai una fanciulla così tenera, bella e felice, tanto avversa al matrimonio da rifuggire i ricchi e inanellati vagheggini della nostra nazione, avrebbe mai, per incorrere in un generale scherno, fuggito dalla sua tutela al petto fuligginoso di una cosa quale tu sei—da far temere, non dilettare. Mi giudichi il mondo se non è palese al senno che tu l’hai adescata con turpi incantesimi, corrotta la sua delicata giovinezza con droghe o minerali che indeboliscono la volontà. Voglio che se ne disputi. È probabile, e palpabile al pensiero. Perciò ti arresto e ti pongo sotto accusa come corruttore del mondo, praticante di arti proibite e fuori d’ogni licenza. (Agli ufficiali) Mettetegli le mani addosso. Se resiste, sottomettetelo a suo rischio.
OTELLO	Fermate le mani, voi della mia parte e gli altri del pari. Se fosse mia battuta il combattere, l’avrei saputo senza suggeritore. Dove volete che io vada a rispondere a questa vostra accusa?
BRABANZIO	In prigione, finché il debito tempo della legge e il corso di regolare udienza ti chiamino a rispondere.
OTELLO	E se io obbedisco? Come potrà il Duca esserne soddisfatto, i cui messaggeri sono qui al mio fianco per qualche urgente affare dello stato a condurmi a lui?
UFFICIALE	(a Brabanzio) È vero, degnissimo signore. Il Duca è in consiglio, e la vostra nobile persona, ne sono certo, è stata mandata a chiamare.
BRABANZIO	Come, il Duca in consiglio? In questo tempo della notte? Conducetelo via. La mia non è causa oziosa. Il Duca stesso, o qualunque dei miei fratelli dello stato, non può non sentire questo torto come fosse proprio; ché se simili azioni hanno libero corso, schiavi e pagani saranno i nostri uomini di stato. Escono

Speaker	Line
(didascalia)	Enter the Duke and Senators set at a table, with lights and officers
DUKE	There is no composition in these news That gives them credit.
FIRST SENATOR	Indeed, they are disproportioned. My letters say a hundred and seven galleys.
DUKE	And mine a hundred-forty.
SECOND SENATOR	And mine two hundred. 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.
DUKE	Nay, it is possible enough to judgement. 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!
(didascalia)	Enter a Sailor
OFFICER	A messenger from the galleys.
DUKE	Now, what’s the business?
SAILOR	The Turkish preparation makes for Rhodes. So was I bid report here to the state By Signor Angelo.
DUKE	(to Senators) How say you by this change?
FIRST SENATOR	This cannot be, By no assay of reason—’tis a pageant To keep us in false gaze. When we consider The importancy of Cyprus to the Turk, And let ourselves again but understand That, as it more concerns the Turk than Rhodes, So may he with more facile question bear it, For that it stands not in such warlike brace, But altogether lacks th’abilities That Rhodes is dressed in—if we make thought of this, We must not think the Turk is so unskilful To leave that latest which concerns him first, Neglecting an attempt of ease and gain To wake and wage a danger profitless.
DUKE	Nay, in all confidence, he’s not for Rhodes.
OFFICER	Here is more news.
(didascalia)	Enter a Messenger
MESSENGER	The Ottomites, reverend and gracious, Steering with due course toward the Isle of Rhodes, Have there injointed them with an after fleet.
FIRST SENATOR	Ay, so I thought. How many, as you guess?
MESSENGER	Of thirty sail, and now they do restem Their backward course, bearing with frank appearance Their purposes toward Cyprus. Signor Montano, Your trusty and most valiant servitor, 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?
FIRST SENATOR	He’s now in Florence.
DUKE	Write from us to him post-post-haste. Dispatch.
(didascalia)	Enter Brabanzio, Othello, Roderigo, Iago, Cassio, and officers
FIRST SENATOR	Here comes Brabanzio and the valiant Moor.
DUKE	Valiant Othello, we must straight employ you Against the general enemy Ottoman. (To Brabanzio) I did not see you. Welcome, gentle signor. We lacked your counsel and your help tonight.
BRABANZIO	So did I yours. Good your grace, pardon me. Neither my place, nor aught I heard of business, Hath raised me from my bed, nor doth the general care Take hold on me; for my particular grief Is of so floodgate and o’erbearing nature That it engluts and swallows other sorrows, And it is still itself.
DUKE	Why, what’s the matter?
BRABANZIO	My daughter, O, my daughter!
SENATORS	Dead?
BRABANZIO	Ay, to me. She is abused, stol’n from me, and corrupted By spells and medicines bought of mountebanks. For nature so preposterously to err, Being not deficient, blind, or lame of sense, Sans witchcraft could not.
DUKE	Whoe’er he be that in this foul proceeding Hath thus beguiled your daughter of herself And you of her, the bloody book of law You shall yourself read in the bitter letter After your own sense, yea, though our proper son Stood in your action.
BRABANZIO	Humbly I thank your grace. Here is the man, this Moor, whom now it seems Your special mandate for the state affairs Hath hither brought.
SENATORS	We are very sorry for’t.
DUKE	(to Othello) What in your own part can you say to this?
BRABANZIO	Nothing but this is so.
OTHELLO	Most potent, grave, and reverend signors, My very noble and approved good masters, That I have ta’en away this old man’s daughter, It is most true, true I have married her. The very head and front of my offending Hath this extent, no more. Rude am I in my speech, And little blessed with the soft phrase of peace, For since these arms of mine had seven years’ pith Till now some nine moons wasted, they have used Their dearest action in the tented field, And little of this great world can I speak More than pertains to feats of broils and battle. And therefore little shall I grace my cause In speaking for myself. Yet, by your gracious patience, I will a round unvarnished tale deliver Of my whole course of love, what drugs, what charms, What conjuration and what mighty magic— For such proceeding I am charged withat— I won his daughter.
BRABANZIO	A maiden never bold, Of spirit so still and quiet that her motion Blushed at hersetf—and she in spite of nature, Of years, of country, credit, everything, To fall in love with what she feared to look on! It is a judgement maimed and most imperfect That will confess perfection so could err Against all rules of nature, and must be driven To find out practices of cunning hell Why this should be. I therefore vouch again That with some mixtures powerful o’er the blood, Or with some dram conjured to this effect, He wrought upon her.
DUKE	To vouch this is no proof Without more wider and more overt test Than these thin habits and poor likelihoods Of modern seeming do prefer against him. A SENATOR But Othello, speak. Did you by indirect and forced courses Subdue and poison this young maid’s affections, Or came it by request and such fair question As soul to soul affordeth?
OTHELLO	I do beseech you, Send for the lady to the Sagittary, And let her speak of me before her father. If you do find me foul in her report, The trust, the office I do hold of you Not only take away, but let your sentence Even fall upon my life.
DUKE	(to officers) Fetch Desdemona hither.
OTHELLO	Ensign, conduct them. You best know the place.
(didascalia)	Exit Iago with two or three officers
OTHELLO	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 How I did thrive in this fair lady’s love And she in mine.
DUKE	Say it, Othello.
OTHELLO	Her father loved me, oft invited me, Still questioned me the story of my life From year to year, the battles, sieges, fortunes That I have passed. I ran it through even from my boyish days To th’ very moment that he bade me tell it, Wherein I spoke of most disastrous chances, Of moving accidents by flood and field, Of hair-breadth scapes i‘th’ imminent deadly breach, Of being taken by the insolent foe And sold to slavery, of my redemption thence, And portance in my traveller’s history, Wherein of antres vast and deserts idle, Rough quarries, rocks, and hills whose heads touch heaven, It was my hint to speak. Such was my process, And of the cannibals that each other eat, The Anthropophagi, and men whose heads Do grow beneath their shoulders. These things to hear Would Desdemona seriously incline, But still the house affairs would draw her thence, Which ever as she could with haste dispatch She’d come again, and with a greedy ear Devour up my discourse; which I observing, Took once a 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 suffered. My story being done, She gave me for my pains a world of kisses. She swore in faith ’twas strange, ‘twas passing strange, ’Twas pitiful, ’twas wondrous pitiful. She wished she had not heard it, yet she wished That heaven had made her such a man. She thanked me, And bade me, if I had a friend that loved her, I should but teach him how to tell my story, And that would woo her. Upon this hint I spake. She loved me for the dangers I had passed, And I loved her that she did pity them. This only is the witchcraft I have used.
(didascalia)	Enter Desdemona, Iago, and attendants
OTHELLO	Here comes the lady. Let her witness it.
DUKE	I think this tale would win my daughter, too.— Good Brabanzio, Take up this mangled matter at the best. Men do their broken weapons rather use Than their bare hands.
BRABANZIO	I pray you hear her speak. If she confess that she was half the wooer, 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?
DESDEMONA	My noble father, I do perceive here a divided duty. 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 husband, And so much duty as my mother showed To you, preferring you before her father, So much I challenge that I may profess Due to the Moor my lord.
BRABANZIO	God b‘wi’you, I ha’ done. Please it your grace, on to the state affairs. I had rather to adopt a child than get it. Come hither, Moor. I here do give thee that with all my heart Which, but thou hast already, with all my heart I would keep from thee. (To Desdemona) For your sake, jewel, I am glad at soul I have no other child, For thy escape would teach me tyranny, To hang clogs on ’em. I have done, my lord.
DUKE	Let me speak like yourself, and lay a sentence Which, as a grece or step, may help these lovers Into your favour. When remedies are past, the griefs are ended By seeing the worst which late on hopes depended. To mourn a mischief that is past and gone Is the next way to draw new mischief on. What cannot be preserved when fortune takes, Patience her injury a mockery makes. The robbed that smiles steals something from the thief; He robs himself that spends a bootless grief.
BRABANZIO	So let the Turk of Cyprus us beguile, We lose it not so long as we can smile. He bears the sentence well that nothing bears 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, Being strong on both sides, are equivocal. But words are words. I never yet did hear That the bruised heart was pierced through the ear. I humbly beseech you proceed to th’affairs of state.
DUKE	The Turk with a most mighty preparation 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 more 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.
OTHELLO	The tyrant custom, most grave senators, Hath made the flinty and steel couch of war My thrice-driven bed of down. I do agnize A natural and prompt alacrity I find in hardness, and do undertake This present wars against the Ottomites. Most humbly therefore bending to your state, I crave fit disposition for my wife, Due reference of place and exhibition, With such accommodation and besort As levels with her breeding.
DUKE	Why, at her father’s!
BRABANZIO	I will not have it so.
OTHELLO	Nor I.
DESDEMONA	Nor would I there reside, To put my father in impatient thoughts By being in his eye. Most gracious Duke, To my unfolding lend your prosperous ear, And let me find a charter in your voice T’assist my simpleness.
DUKE	What would you, Desdemona?
DESDEMONA	That I did love the Moor to live with him, My downright violence and storm of fortunes May trumpet to the world. My heart’s subdued Even to the very quality of my lord. I saw Othello’s visage in his mind, And to his honours and his valiant parts Did I my soul and fortunes consecrate; So that, dear lords, if I be left behind, A moth of peace, and he go to the war, The rites for why I love him are bereft me, And I a heavy interim shall support By his dear absence. Let me go with him.
OTHELLO	(to the Duke) Let her have your voice. Vouch with me heaven, I therefor beg it not To please the palate of my appetite, Nor to comply with heat—the young affects In me defunct—and proper satisfaction, But to be free and bounteous to her mind; And heaven defend your good souls that you think I will your serious and great business scant When she is with me. No, when light-winged toys Of feathered Cupid seel with wanton dullness My speculative and officed instruments, 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.
DUKE	Be it as you shall privately determine, Either for her stay or going. Th’affair cries haste, And speed must answer it. A SENATOR (to Othello) You must away tonight.
DESDEMONA	Tonight, my lord?
DUKE	This night.
OTHELLO	With all my heart.
DUKE	At nine i’th’ morning here we’ll meet again. Othello, leave some officer behind, And he shall our commission bring to you, And such things else of quality and respect As doth import you.
OTHELLO	So please your grace, my ensign. A man he is of honesty and trust. To his conveyance I assign my wife, With what else needful your good grace shall think To be sent after me.
DUKE	Let it be so. Good night to everyone. (To Brabanzio) And, noble signor, If virtue no delighted beauty lack, Your son-in-law is far more fair than black. A SENATOR Adieu, brave Moor. Use Desdemona well.
BRABANZIO	Look to her, Moor, if thou hast eyes to see. She has deceived her father, and may thee.
(didascalia)	Exeunt Duke, Brabanzio, Cassio, Senators, and officers
OTHELLO	My life upon her faith. Honest Iago, My Desdemona must I leave to thee. I prithee let thy wife attend on her, And bring them after in the best advantage. Come, Desdemona. I have but an hour Of love, of worldly matter and direction To spend with thee. We must obey the time.
(didascalia)	Exeunt Othello and Desdemona
RODERIGO	Iago.
IAGO	What sayst thou, noble heart?
RODERIGO	What will I do, think’st thou?
IAGO	Why, go to bed and sleep.
RODERIGO	I will incontinently drown myself.
IAGO	If thou dost, I shall never love thee after. Why, thou silly gentleman!
RODERIGO	It is silliness to live when to live is torment; and then have we a prescription to die when death is our physician.
IAGO	O, villainous! I ha’ looked upon the world for four times seven years, and since I could distinguish betwixt a benefit and an injury I never found man that knew how to love himself. Ere I would say I would drown myself for the love of a guinea-hen, I would change my humanity with a baboon.
RODERIGO	What should I do? I confess it is my shame to be so fond, but it is not in my virtue to amend it.
IAGO	Virtue? A fig! ’Tis in ourselves that we are thus or thus. Our bodies are our gardens, to the which our wills are gardeners; so that if we will plant nettles or sow lettuce, 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 our wills. If the beam of our lives had not one scale of reason to peise another of sensuality, 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.
RODERIGO	It cannot be.
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 toughness. I could never better stead thee than now. Put money in thy purse. Follow thou the wars, defeat thy favour with an usurped beard. I say, put money in thy purse. It cannot be long that Desdemona should continue her love to the Moor—put money in thy purse—nor he his to her. It was a violent commencement in her, and thou shalt see an answerable 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. Therefore put money in thy purse. If thou wilt needs damn thyself, do it a more delicate way 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 o’ 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.
RODERIGO	Wilt thou be fast to my hopes if I depend on the issue?
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 reason. Let us be conjunctive in our revenge against him. If thou canst 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 tomorrow. Adieu.
RODERIGO	Where shall we meet i’th’ morning?
IAGO	At my lodging.
RODERIGO	I’ll be with thee betimes.
IAGO	Go to, farewell— Do you hear, Roderigo?
RODERIGO	I’ll sell all my land.
(didascalia)	Exit
IAGO	Thus do I ever make my fool my purse— For I mine own gained knowledge should profane If I would time expend with such a snipe But for my sport and profit. I hate the Moor, And it is thought abroad that ’twixt my 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: 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? Let’s see. After some time to abuse Othello’s ears That he is too familiar with his wife; He hath a person and a smooth dispose To be suspected, framed to make women false. The Moor is of a free and open nature, That thinks men honest that but seem to be so, And will as tenderly be led by th’ nose As asses are. I ha’t. It is ingendered. Hell and night Must bring this monstrous birth to the world’s light.
(didascalia)	Exit

Chi parla	Battuta
(didascalia)	Entrano il Duca e i Senatori seduti a un tavolo, con lumi e ufficiali
DUCA	Non c’è concordanza in queste notizie che dia loro credito.
PRIMO SENATORE	In verità, sono discordanti. Le mie lettere dicono centosette galee.
DUCA	E le mie centoquaranta.
SECONDO SENATORE	E le mie duecento. Ma sebbene non concordino in un computo esatto— come, in questi casi, dove si riferisce per congettura spesso accade con differenza—pure tutte confermano una flotta turca, che fa rotta verso Cipro.
DUCA	Anzi, ciò è assai possibile al giudizio. Non mi rassicuro tanto nell’errore da non ammettere il punto principale in senso pauroso.
MARINAIO	(da dentro) Olà, olà, olà!
(didascalia)	Entra un Marinaio
UFFICIALE	Un messaggero dalle galee.
DUCA	Orbene, di che si tratta?
MARINAIO	L’armamento turco fa rotta per Rodi. Così mi fu ordinato di riferire qui allo stato dal Signor Angelo.
DUCA	(ai Senatori) Che dite di questo mutamento?
PRIMO SENATORE	Questo non può essere, per nessun saggio di ragione—è una finzione per tenerci lo sguardo ingannato. Quando consideriamo l’importanza di Cipro per il Turco, e ci facciamo di nuovo intendere che, come essa gli preme più di Rodi, così egli può conquistarla con più facile contesa, poiché non è cinta di tanto apparato guerriero, ma manca del tutto di quelle difese di cui Rodi è rivestita—se pensiamo a questo, non dobbiamo credere il Turco così inesperto da lasciare per ultimo ciò che gli sta primo a cuore, trascurando un’impresa d’agio e di guadagno per destare e affrontare un pericolo senza profitto.
DUCA	No, in tutta certezza, egli non va per Rodi.
UFFICIALE	Ecco altre notizie.
(didascalia)	Entra un Messaggero
MESSAGGERO	Gli Ottomani, reverendi e graziosi signori, dirigendo la debita rotta verso l’isola di Rodi, vi si sono congiunti con una flotta di rincalzo.
PRIMO SENATORE	Sì, così pensavo. Quante, a vostro parere?
MESSAGGERO	Di trenta vele, e ora rifanno la rotta all’indietro, volgendo con aperta evidenza i loro disegni verso Cipro. Il Signor Montano, vostro fido e valorosissimo servitore, con libero dovere così vi avverte, e vi prega di prestargli fede.
DUCA	È certo dunque per Cipro. Marcus Luccicos, non è in città?
PRIMO SENATORE	Ora è a Firenze.
DUCA	Scrivetegli da parte nostra in tutta fretta. Spedite.
(didascalia)	Entrano Brabanzio, Otello, Roderigo, Iago, Cassio, e ufficiali
PRIMO SENATORE	Ecco venire Brabanzio e il valoroso Moro.
DUCA	Valoroso Otello, dobbiamo impiegarvi subito contro il comune nemico Ottomano. (A Brabanzio) Non vi avevo visto. Benvenuto, gentile signore. Ci sono mancati il vostro consiglio e il vostro aiuto stanotte.
BRABANZIO	E a me il vostro. Vostra grazia, perdonatemi. Né la mia carica, né cosa alcuna udita degli affari m’ha levato dal letto, né la generale cura fa presa su me; ché il mio particolare dolore è di natura così straripante e soverchiante che inghiotte e ingoia ogni altro affanno, e resta pur sempre sé stesso.
DUCA	Ebbene, che cosa accade?
BRABANZIO	Mia figlia, oh, mia figlia!
SENATORI	Morta?
BRABANZIO	Sì, per me. È stata ingannata, rubata a me, e corrotta con incantesimi e filtri comprati da ciarlatani. Perché la natura erri così mostruosamente, non essendo manchevole, cieca o inferma di senno, senza stregoneria non potrebbe.
DUCA	Chiunque egli sia che in questo turpe procedere ha così frodato vostra figlia di sé stessa e voi di lei, il sanguinoso libro della legge voi stesso leggerete nella lettera più amara secondo il vostro senso, sì, foss’anche nostro figlio a stare sotto la vostra accusa.
BRABANZIO	Umilmente ringrazio vostra grazia. Ecco l’uomo, questo Moro, che ora pare il vostro speciale mandato per gli affari di stato abbia qui condotto.
SENATORI	Ce ne duole assai.
DUCA	(a Otello) Che potete dire da parte vostra a questo?
BRABANZIO	Nulla, se non che così è.
OTELLO	Potentissimi, gravi e reverendi signori, miei nobilissimi e comprovati buoni padroni, che io abbia portato via la figlia di questo vecchio, è verissimo, vero è che l’ho sposata. Il capo stesso e la fronte del mio fallo ha questa estensione, non più. Rozzo son io nel parlare, e poco benedetto dalle molli frasi della pace, ché da quando queste mie braccia ebbero sette anni di vigore fino ad ora, tolte nove lune, esse hanno usato la loro azione più cara nel campo attendato, e poco di questo gran mondo io so dire oltre ciò che attiene a fatti di zuffe e battaglie. E però poco onore renderò alla mia causa parlando per me stesso. Pure, con la vostra graziosa pazienza, esporrò un racconto schietto e senza fronzoli di tutto il corso del mio amore, con quali droghe, quali incanti, quale scongiuro e quale possente magia— ché di tale procedere sono accusato— io vinsi sua figlia.
BRABANZIO	Una fanciulla mai ardita, di spirito così quieto e tranquillo che ogni suo moto arrossiva di sé stessa—ed ella a dispetto della natura, degli anni, del paese, della fama, d’ogni cosa, prendere amore per ciò che temeva di guardare! È un giudizio mutilo e imperfettissimo quello che ammetterà che la perfezione così potesse errare contro ogni regola di natura, e dev’essere spinto a cercare le pratiche dell’astuto inferno per spiegare il perché. Io dunque affermo di nuovo che con qualche mistura potente sul sangue, o con qualche dramma evocata a questo effetto, egli operò su di lei.
DUCA	Affermarlo non è prova senza saggio più ampio e più manifesto di queste tenui apparenze e povere verosimiglianze d’usuale sembianza che si adducono contro di lui. UN SENATORE Ma Otello, parla. Con vie indirette e forzate hai tu soggiogato e avvelenato gli affetti di questa giovane, o venne per richiesta e per quell’onesto colloquio che anima ad anima concede?
OTELLO	Io vi supplico, mandate per la signora al Saettario, e lasciate che parli di me innanzi a suo padre. Se mi trovate turpe nella sua relazione, la fiducia, l’ufficio che da voi ricevo non solo toglietemi, ma la vostra sentenza cada perfino sulla mia vita.
DUCA	(agli ufficiali) Conducete qui Desdemona.
OTELLO	Alfiere, guidali. Tu conosci meglio il luogo.
(didascalia)	Esce Iago con due o tre ufficiali
OTELLO	E finché ella venga, con la stessa verità con cui al cielo confesso i vizi del mio sangue, così fedelmente ai vostri gravi orecchi esporrò come io prosperassi nell’amore di questa bella signora ed ella nel mio.
DUCA	Dillo, Otello.
OTELLO	Suo padre m’amava, spesso m’invitava, sempre m’interrogava sulla storia della mia vita d’anno in anno, le battaglie, gli assedi, le fortune che ho attraversato. La percorsi tutta fin dai giorni fanciulleschi al momento stesso in cui mi chiese di narrarla, dove parlai di casi disastrosissimi, di commoventi accidenti per acque e per campi, di scampi per un capello nell’imminente breccia mortale, d’essere stato preso dal nemico insolente e venduto in schiavitù, del mio riscatto di là, e del mio contegno nella mia storia di viaggiatore, dove di antri vasti e deserti oziosi, aspre cave, rupi e colli le cui cime toccano il cielo, ebbi occasione di parlare. Tale era il mio racconto, e dei cannibali che si divorano l’un l’altro, gli Antropofagi, e uomini le cui teste crescono sotto le spalle. A udire queste cose Desdemona seriamente inclinava, ma pur le faccende di casa la traevano altrove, e sempre, come poteva sbrigarle in fretta, tornava di nuovo, e con orecchio avido divorava il mio discorso; il che osservando, colsi una volta un’ora propizia, e trovai buon modo di trarre da lei una preghiera di cuore sincero che le narrassi tutto il mio pellegrinaggio, di cui a brani ella aveva udito qualcosa, ma non per intero. Acconsentii, e spesso la frodai delle sue lacrime quando parlavo di qualche colpo doloroso che la mia giovinezza patì. Finita la mia storia, ella mi diede per mia pena un mondo di baci. Giurò in fede ch’era strano, ch’era oltremodo strano, ch’era pietoso, ch’era mirabilmente pietoso. Avrebbe voluto non averlo udito, pure desiderava che il cielo l’avesse fatta tale uomo. Ella ringraziò me, e mi disse che, se avessi un amico che l’amasse, dovrei solo insegnargli a narrare la mia storia, e ciò l’avrebbe corteggiata. Su questo cenno io parlai. Ella m’amò per i pericoli che avevo passato, e io l’amai perché ne aveva pietà. Questa sola è la stregoneria che ho usato.
(didascalia)	Entrano Desdemona, Iago, e servitori
OTELLO	Ecco venire la signora. Lasciate che ne testimoni.
DUCA	Penso che questo racconto vincerebbe anche mia figlia.— Buon Brabanzio, prendete per il meglio questa faccenda malconcia. Gli uomini usano piuttosto le armi spezzate che le nude mani.
BRABANZIO	Vi prego, uditela parlare. Se confessa d’essere stata per metà corteggiatrice, distruzione sul mio capo se il mio biasimo ingiusto cade sull’uomo! Vieni qua, gentile signora. Discernete in tutta questa nobile compagnia a chi più dovete obbedienza?
DESDEMONA	Mio nobile padre, io discerno qui un dovere diviso. A voi sono legata per la vita e l’educazione. La mia vita e la mia educazione entrambe m’insegnano come rispettarvi. Voi siete il signore del dovere, io fin qui son vostra figlia. Ma ecco mio marito, e quanto dovere mia madre mostrò a voi, preferendo voi a suo padre, altrettanto io rivendico di poter professare dovuto al Moro mio signore.
BRABANZIO	Dio sia con voi, ho finito. Piaccia a vostra grazia, agli affari di stato. Preferirei adottare un figlio che generarlo. Vieni qua, Moro. Qui ti do con tutto il cuore ciò che, se già non l’avessi, con tutto il cuore ti terrei lontano. (A Desdemona) Per causa tua, gioiello, son lieto nell’anima di non aver altro figlio, ché la tua fuga m’insegnerebbe la tirannia, a metter loro i ceppi. Ho finito, mio signore.
DUCA	Lasciate ch’io parli come voi, e ponga una sentenza che, come gradino o scalino, possa aiutare questi amanti a entrare nel vostro favore. Quando i rimedi son passati, i dolori han fine col vedere il peggio che poc’anzi dalle speranze pendeva. Piangere un male che è passato e andato è la via più breve per attirarne di nuovo. Ciò che non si può serbare quando la fortuna toglie, la pazienza fa dell’ingiuria di lei una beffa. Il derubato che sorride ruba qualcosa al ladro; ruba a sé stesso chi spende un dolore inutile.
BRABANZIO	Così il Turco ci frodi di Cipro, non la perdiamo finché possiamo sorridere. Sopporta bene la sentenza chi nulla sopporta se non il libero conforto che da essa ode, ma sopporta e la sentenza e il dolore colui che, per pagare il duolo, deve dalla povera pazienza prendere a prestito. Queste sentenze, o zucchero o fiele, essendo forti da entrambi i lati, sono equivoche. Ma parole son parole. Non ho ancora mai udito che il cuore ferito fosse trafitto attraverso l’orecchio. Umilmente vi supplico di procedere agli affari di stato.
DUCA	Il Turco con potentissimo armamento fa rotta per Cipro. Otello, la fortezza del luogo vi è nota meglio che a ogni altro, e sebbene vi abbiamo un sostituto di riconosciutissima sufficienza, pure l’opinione, sovrana più assoluta degli effetti, getta su di voi un voto più sicuro. Dovete dunque contentarvi d’offuscare il lustro delle vostre nuove fortune con questa più aspra e tumultuosa spedizione.
OTELLO	La tiranna abitudine, gravissimi senatori, ha fatto del selcioso e acciaioso giaciglio di guerra il mio letto di piuma tre volte battuta. Io riconosco una naturale e pronta alacrità che trovo nella durezza, e intraprendo questa presente guerra contro gli Ottomani. Umilissimamente dunque inchinandomi al vostro stato, chiedo conveniente sistemazione per mia moglie, debito riguardo di dimora e di mantenimento, con quell’alloggio e quel séguito che si adeguino alla sua nascita.
DUCA	Ebbene, in casa di suo padre!
BRABANZIO	Non lo voglio.
OTELLO	Né io.
DESDEMONA	Né io vi vorrei dimorare, per mettere mio padre in pensieri d’impazienza stando sotto i suoi occhi. Graziosissimo Duca, al mio esporre prestate il vostro benigno orecchio, e lasciate ch’io trovi un privilegio nella vostra voce ad assistere la mia semplicità.
DUCA	Che vorreste, Desdemona?
DESDEMONA	Che io abbia posto amore nel Moro per vivere con lui, la mia schietta violenza e tempesta di fortune possano bandirlo al mondo. Il mio cuore è soggiogato fin proprio alla natura del mio signore. Io vidi il volto di Otello nel suo animo, e ai suoi onori e alle sue valorose doti consacrai la mia anima e le mie fortune; sicché, cari signori, se io son lasciata indietro, farfalla di pace, ed egli va alla guerra, i riti per cui io l’amo mi sono tolti, e un grave intervallo dovrò sopportare per la sua cara assenza. Lasciate ch’io vada con lui.
OTELLO	(al Duca) Le sia concesso il vostro voto. Il cielo mi sia testimone, non lo chiedo perciò per compiacere il palato del mio appetito, né per assecondare l’ardore—i giovani affetti in me defunti—e la propria soddisfazione, ma per esser libero e generoso verso il suo animo; e il cielo protegga le vostre buone anime dal pensare che io trascurerò i vostri seri e grandi affari quando ella sia con me. No, quando i trastulli dalle lievi ali del piumato Cupido accechino di lasciva mollezza i miei strumenti speculativi e d’ufficio, sì che i miei diporti corrompano e guastino il mio dovere, facciano le massaie una pentola del mio elmo, e ogni indegna e vile avversità muova assalto alla mia reputazione.
DUCA	Sia come privatamente determinerete, o per il suo restare o per l’andare. L’affare grida fretta, e la prestezza deve rispondervi. UN SENATORE (a Otello) Dovete partire stanotte.
DESDEMONA	Stanotte, mio signore?
DUCA	Questa notte.
OTELLO	Con tutto il cuore.
DUCA	Alle nove del mattino qui ci ritroveremo. Otello, lasciate qui qualche ufficiale, ed egli vi recherà la nostra commissione, e quant’altro di qualità e di riguardo a voi importi.
OTELLO	Se piace a vostra grazia, il mio alfiere. È uomo d’onestà e di fiducia. Alla sua scorta affido mia moglie, con quant’altro di necessario vostra buona grazia riterrà di mandarmi appresso.
DUCA	Così sia. Buona notte a tutti. (A Brabanzio) E, nobile signore, se alla virtù non manca la bellezza che diletta, vostro genero è assai più candido che nero. UN SENATORE Addio, prode Moro. Tratta Desdemona bene.
BRABANZIO	Guardala bene, Moro, se hai occhi per vedere. Ha ingannato suo padre, e può ingannare te.
(didascalia)	Escono il Duca, Brabanzio, Cassio, i Senatori e gli ufficiali
OTELLO	La mia vita sulla sua fede. L’onesto Iago, la mia Desdemona devo affidare a te. Ti prego, che tua moglie l’assista, e conducile poi appresso col miglior comodo. Vieni, Desdemona. Non ho che un’ora d’amore, di cose mondane e di disposizioni da spendere con te. Dobbiamo obbedire al tempo.
(didascalia)	Escono Otello e Desdemona
RODERIGO	Iago.
IAGO	Che dici, nobile cuore?
RODERIGO	Che farò, credi tu?
IAGO	Ma va’ a letto e dormi.
RODERIGO	Mi annegherò all’istante.
IAGO	Se lo fai, non ti amerò mai più. Ma via, sciocco gentiluomo!
RODERIGO	È sciocchezza vivere quando il vivere è tormento; e allora abbiamo la prescrizione di morire, quando la morte è il nostro medico.
IAGO	Oh, scelleratezza! Ho guardato il mondo per quattro volte sette anni, e da quando so distinguere fra un beneficio e un’offesa non ho mai trovato uomo che sapesse amare sé stesso. Prima di dire che mi annegherei per l’amore di una gallinella, muterei la mia umanità con quella d’un babbuino.
RODERIGO	Che dovrei fare? Confesso che è mia vergogna essere così infatuato, ma non è nella mia virtù correggerlo.
IAGO	Virtù? Un fico! Sta in noi stessi l’essere così o così. I nostri corpi sono i nostri giardini, dei quali le nostre volontà sono i giardinieri; sicché, se vogliamo piantare ortiche o seminare lattuga, mettere issopo o sarchiare il timo, fornirlo d’una sola specie d’erbe o distrarlo con molte, o averlo sterile per pigrizia o concimato per industria, ebbene, il potere e la correggibile autorità di ciò stanno nelle nostre volontà. Se la bilancia delle nostre vite non avesse un piatto di ragione a contrappesarne un altro di sensualità, il sangue e la bassezza delle nostre nature ci condurrebbero a conclusioni mostruosissime. Ma abbiamo la ragione a raffreddare i nostri moti furiosi, i nostri pungoli carnali, le nostre voglie sfrenate; di cui io ritengo che questo che voi chiamate amore sia un rampollo o un innesto.
RODERIGO	Non può essere.
IAGO	È soltanto una libidine del sangue e una concessione della volontà. Su, sii uomo. Annegarti? Annega i gatti e i cuccioli ciechi. Mi son professato tuo amico, e mi confesso legato al tuo merito con gomene d’inesauribile tenacia. Non potrei mai giovarti meglio d’ora. Metti denaro nella tua borsa. Segui le guerre, sfigura il tuo volto con una barba posticcia. Ti dico, metti denaro nella tua borsa. Non può durare a lungo che Desdemona continui il suo amore per il Moro—metti denaro nella tua borsa—né egli il suo per lei. Fu un violento cominciamento in lei, e vedrai una separazione corrispondente—metti solo denaro nella tua borsa. Questi Mori sono mutevoli nelle loro voglie—riempi la tua borsa di denaro. Il cibo che ora gli è dolce come carrube fra poco gli sarà amaro come coloquintide. Ella deve mutare per la giovinezza. Quando sarà sazia del suo corpo, scoprirà l’errore della sua scelta. Perciò metti denaro nella tua borsa. Se proprio vuoi dannarti, fallo in modo più delicato che annegandoti. Fa’ tutto il denaro che puoi. Se la santimonia e un fragile voto fra un barbaro errante e una sottilissima veneziana non sono troppo duri per il mio ingegno e per tutta la tribù dell’inferno, tu la godrai; dunque fa’ denaro. Al diavolo l’annegarti—è affatto fuori strada. Cerca piuttosto d’essere impiccato conseguendo la tua gioia, che d’essere annegato e restare senza di lei.
RODERIGO	Sarai saldo alle mie speranze, se mi affido all’esito?
IAGO	Sei sicuro di me. Va’, fa’ denaro. Te l’ho detto spesso, e te lo ridico ancora e ancora, odio il Moro. La mia causa è radicata nel cuore, la tua non ha minor ragione. Siamo congiunti nella nostra vendetta contro di lui. Se puoi farlo becco, fai a te stesso un piacere, a me uno spasso. Vi sono molti eventi nel grembo del tempo, che verranno alla luce. In marcia, va’, procurati il denaro. Ne riparleremo domani. Addio.
RODERIGO	Dove ci incontreremo al mattino?
IAGO	Al mio alloggio.
RODERIGO	Sarò da te di buon’ora.
IAGO	Va’ pure, addio— Mi udite, Roderigo?
RODERIGO	Venderò tutta la mia terra.
(didascalia)	Esce
IAGO	Così faccio sempre del mio sciocco la mia borsa— ché profanerei il sapere da me acquistato se spendessi tempo con un tal beccaccino se non per mio spasso e profitto. Odio il Moro, e si vocifera in giro che fra le mie lenzuola egli abbia fatto il mio ufficio. Non so se sia vero, ma io, per il solo sospetto di tal genere, agirò come per certezza. Egli mi stima bene: tanto meglio opererà su di lui il mio disegno. Cassio è un bell’uomo. Vediamo ora, prendere il suo posto, e impennacchiare il mio volere in doppia furfanteria—come, come? Vediamo. Dopo qualche tempo, abusare gli orecchi di Otello ch’egli è troppo familiare con sua moglie; ha una persona e un modo così soave da esser sospettato, fatto apposta per render false le donne. Il Moro è di natura libera e aperta, che crede onesti gli uomini che solo paion tali, e si lascerà menare per il naso con la stessa docilità degli asini. Ce l’ho. È generato. L’inferno e la notte devono portare questo parto mostruoso alla luce del mondo.
(didascalia)	Esce

Speaker	Line
(didascalia)	Enter below Montano, Governor of Cyprus; two other gentlemen above
MONTANO	What from the cape can you discern at sea?
FIRST GENTLEMAN	Nothing at all. It is a high-wrought flood. I cannot ’twixt the heaven and the main Descry a sail.
MONTANO	Methinks the wind hath spoke aloud at land. A fuller blast ne’er shook our battlements. If it ha’ ruffianed so upon the sea, What ribs of oak, when mountains melt on them, Can hold the mortise? What shall we hear of this?
SECOND GENTLEMAN	A segregation of the Turkish fleet; For do but stand upon the foaming shore, The chidden billow seems to pelt the clouds, The wind-shaked surge with high and monstrous mane Seems to cast water on the burning Bear And quench the guards of th’ever-fixèd Pole. I never did like molestation view On the enchafèd flood.
MONTANO	If that the Turkish fleet Be not ensheltered and embayed, they are drowned. It is impossible to bear it out.
(didascalia)	Enter a third Gentleman
THIRD GENTLEMAN	News, lads! Our wars are done. The desperate tempest hath so banged the Turks That their designment halts. A noble ship of Venice Hath seen a grievous wrack and sufferance On most part of their fleet.
MONTANO	How, is this true?
THIRD GENTLEMAN	The ship is here put in, A Veronessa. Michael Cassio, Lieutenant to the warlike Moor Othello, Is come on shore; the Moor himself at sea, And is in full commission here for Cyprus.
MONTANO	I am glad on’t; ’tis a worthy governor.
THIRD GENTLEMAN	But this same Cassio, though he speak of comfort Touching the Turkish loss, yet he looks sadly, And prays the Moor be safe, for they were parted With foul and violent tempest.
MONTANO	Pray heavens he be, For I have served him, and the man commands Like a full soldier. Let’s to the sea-side, ho!— As well to see the vessel that’s come in As to throw out our eyes for brave Othello, Even till we make the main and th’aerial blue An indistinct regard.
THIRD GENTLEMAN	Come, let’s do so, For every minute is expectancy Of more arrivance.
(didascalia)	Enter Cassio
CASSIO	Thanks, you the valiant of this warlike isle That so approve the Moor! O, let the heavens Give him defence against the elements, For I have lost him On a dangerous sea.
MONTANO	Is he well shipped?
CASSIO	His barque is stoutly timbered, and his pilot Of very expert and approved allowance. Therefore my hopes, not surfeited to death, Stand in bold cure.
VOICES	(within) A sail, a sail, a sail!
CASSIO	What noise? A GENTLEMAN The town is empty. On the brow o‘th’ sea Stand ranks of people, and they cry ‘A sail!’
CASSIO	My hopes do shape him for the governor. A shot A GENTLEMAN They do discharge their shot of courtesy— Our friends, at least.
CASSIO	I pray you, sir, go forth, And give us truth who ’tis that is arrived. A GENTLEMAN I shall.
(didascalia)	Exit
MONTANO	But, good lieutenant, is your general wived?
CASSIO	Most fortunately. He hath achieved a maid That paragons description and wild fame, One that excels the quirks of blazoning pens, And in th’essential vesture of creation Does tire the engineer.
(didascalia)	Enter Gentleman
CASSIO	How now, who has put in?
GENTLEMAN	’Tis one Iago, ensign to the general.
CASSIO	He’s had most favourable and happy speed. Tempests themselves, high seas, and howling winds, The guttered rocks and congregated sands, Traitors ensteeped to enclog the guiltless keel, As having sense of beauty do omit Their mortal natures, letting go safely by The divine Desdemona.
MONTANO	What is she?
CASSIO	She that I spake of, our great captain’s captain, Left in the conduct of the bold Iago, Whose footing here anticipates our thoughts A sennight’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 renewed fire to our extincted spirits, And bring all Cyprus comfort.
(didascalia)	Enter Desdemona, Iago, Emilia, and Roderigo
CASSIO	O, behold, The riches of the ship is come on shore! You men of Cyprus, let her have your knees. Montano and the Gentlemen make curtsy to Desdemona Hail to thee, lady, and the grace of heaven Before, behind thee, and on every hand Enwheel thee round!
DESDEMONA	I thank you, valiant Cassio. What tidings can you tell me of my lord?
CASSIO	He is not yet arrived, nor know I aught But that he’s well and will be shortly here.
DESDEMONA	O, but I fear—how lost you company?
CASSIO	The great contention of the sea and skies Parted our fellowship.
VOICES	(within) A sail, a sail!
CASSIO	But hark, a sail. A shot A GENTLEMAN They give their greeting to the citadel. This likewise is a friend.
CASSIO	See for the news.
(didascalia)	Exit Gentleman
CASSIO	Good ensign, you are welcome. (Kissing Emilia) Welcome, mistress. Let it not gall your patience, good Iago, That I extend my manners. ’Tis my breeding That gives me this bold show of courtesy.
IAGO	Sir, would she give you so much of her lips As of her tongue she oft bestows on me, You would have enough.
DESDEMONA	Alas, she has no speech!
IAGO	In faith, too much. I find it still when I ha’ leave to sleep. Marry, before your ladyship, I grant, She puts her tongue a little in her heart, And chides with thinking.
EMILIA	You ha’ little cause to say so.
IAGO	Come on, come on. You are pictures out of door, Bells in your parlours; wildcats in your kitchens, Saints in your injuries; devils being offended, Players in your housewifery, and hussies in your beds.
DESDEMONA	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.
EMILIA	You shall not write my praise.
IAGO	No, let me not.
DESDEMONA	What wouldst write of me, if thou shouldst praise me?
IAGO	O, gentle lady, do not put me to’t, For I am nothing if not critical.
DESDEMONA	Come on, essay—there’s one gone to the harbour?
IAGO	Ay, madam.
DESDEMONA	I am not merry, but I do beguile The thing I am by seeming otherwise. Come, how wouldst thou praise me?
IAGO	I am about it, but indeed my invention Comes from my pate as birdlime does from frieze— It plucks out brains and all. But my muse labours, And thus she is delivered: If she be fair and wise, fairness and wit, The one’s for use, the other useth it.
DESDEMONA	Well praised! How if she be black and witty?
IAGO	If she be black and thereto have a wit, She’ll find a white that shall her blackness fit.
DESDEMONA	Worse and worse.
EMILIA	How if fair and foolish?
IAGO	She never yet was foolish that was fair, For even her folly helped her to an heir.
DESDEMONA	These are old fond paradoxes, to make fools laugh i’th’ alehouse. What miserable praise hast thou for her That’s foul and foolish?
IAGO	There’s none so foul and foolish thereunto, But does foul pranks which fair and wise ones do.
DESDEMONA	O heavy ignorance! Thou praisest the worst best. But what praise couldst thou bestow on a deserving woman indeed—one that, in the authority of her merit, did justly put 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, Never lacked gold and yet went never gay, Fled from her wish, and yet said ‘Now I may’; She that, being angered, her revenge being nigh, Bade her wrong stay and her displeasure fly; She that in wisdom never was so frail To change the cod’s head for the salmon’s tail; She that could think and ne’er disclose her mind, See suitors following, and not look behind— She was a wight, if ever such wights were—
DESDEMONA	To do what?
IAGO	To suckle fools, and chronicle small beer.
DESDEMONA	O most lame and impotent conclusion! Do not learn of him, Emilia, though he be thy husband. How say you, Cassio, is he not a most profane and liberal counsellor?
CASSIO	He speaks home, madam. You may relish him more in the soldier than in the scholar. Cassio and Desdemona talk apart
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 kissed your three fingers so oft, which now again you are most apt to play the sir in. Very good, well kissed, an excellent curtsy, ’tis so indeed; yet again your fingers to your lips? Would they were clyster-pipes for your sake.
(didascalia)	Trumpets within
IAGO	(Aloud) The Moor—I know his trumpet.
CASSIO	’Tis truly so.
DESDEMONA	Let’s meet him and receive him.
CASSIO	Lo where he comes!
(didascalia)	Enter Othello and attendants
OTHELLO	(to Desdemona) O my fair warrior!
DESDEMONA	My dear Othello.
OTHELLO	It gives me wonder great as my content To see you here before me. O my soul’s joy, If after every tempest come such calms, May the winds blow till they have wakened death, And let the labouring barque climb hills of seas Olympus-high, and duck again as low As hell’s from heaven. If it were now to die ’Twere now to be most happy, for I fear My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate.
DESDEMONA	The heavens forbid But that our loves and comforts should increase Even as our days do grow.
OTHELLO	Amen to that, sweet powers! I cannot speak enough of this content. It stops me here, it is too much of joy. And this, (they kiss) and this, the greatest discords be That e’er our hearts shall make.
IAGO	(aside) O, you are well tuned now, But I’ll set down the pegs that make this music, As honest as I am.
OTHELLO	Come, let us to the castle. News, friends: our wars are done, the Turks are drowned. How does my old acquaintance of this isle?— Honey, you shall be well desired in Cyprus, I have found great love amongst them. O my sweet, I 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!
(didascalia)	Exeunt Othello and Desdemona with all but lago and Roderigo
IAGO	(to an attendant as he goes out) Do thou meet me presently at the harbour. (To Roderigo) Come hither. If thou beest 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 tonight watches on the court of guard. First, I must tell thee this: Desdemona is directly in love with him.
RODERICO	With him? Why, ’tis not possible!
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. To 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 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 eminent 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 compass of his salt and most hidden loose affection. Why, none; why, none—a slipper and subtle knave, a finder of occasion, that has 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.
RODERIGO	I cannot believe that in her. She’s full of most blessed condition.
IAGO	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 pudding! Didst thou not see her paddle with the palm of his hand? Didst not mark that? 255
RODERIGO	Yes, that I did, but that was but courtesy.
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 marshal the way, hard at hand comes the master and main exercise, th’incorporate conclusion. Pish! But, sir, be you ruled by me. I have brought you from Venice. Watch you tonight. 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.
RODERIGO	Well.
IAGO	Sir, he’s 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 qualification 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 impediment most profitably removed, without the which there were no expectation of our prosperity.
RODERIGO	I will do this, if you 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.
RODERIGO	Adieu.
(didascalia)	Exit
IAGO	That Cassio loves her, I do well believe it. That she loves him, ‘tis apt and of great credit. The Moor—howbe’t that I endure him not— 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— But partly led to diet my revenge For that I do suspect the lusty Moor Hath leapt into my seat, the thought whereof Doth, like a poisonous mineral, gnaw my inwards; And nothing can or shall content my soul Till I am evened with him, wife for wife— Or failing so, yet that I put the Moor At least into a jealousy so strong That judgement cannot cure, which thing to do, If this poor trash of Venice whom I trace For his quick hunting stand the putting on, I’ll have our Michael Cassio on the hip, Abuse him to the Moor in the rank garb— For I fear Cassio with my nightcap, too— Make the Moor thank me, love me, and reward me For making him egregiously an ass, And practising upon his peace and quiet Even to madness. ’Tis here, but yet confused. Knavery’s plain face is never seen till used.
(didascalia)	Exit

Chi parla	Battuta
(didascalia)	Entra sotto Montano, Governatore di Cipro; due altri gentiluomini sopra
MONTANO	Che si discerne dal capo, laggiù sul mare?
PRIMO GENTILUOMO	Nulla, proprio nulla. È un mare in gran tumulto. Non riesco, fra il cielo e l’oceano, a scorgere una vela.
MONTANO	Mi pare che il vento abbia parlato forte a terra. Raffica più piena non scosse mai i nostri bastioni. Se ha fatto tanto il bravaccio sopra il mare, quali costole di quercia, quando le montagne si sciolgono su loro, possono tener le giunture? Che udremo di questo?
SECONDO GENTILUOMO	Una dispersione della flotta turca; ché basta star sulla riva schiumante, e l’onda flagellata par percuotere le nubi, il maroso squassato dal vento, con criniera alta e mostruosa, par gettare acqua sull’Orsa ardente e spegnere le guardie del Polo eternamente fisso. Mai vidi simile tormento sopra il flutto incollerito.
MONTANO	Se la flotta turca non è al riparo dentro qualche baia, essi sono sommersi. È impossibile resistere.
(didascalia)	Entra un terzo Gentiluomo
TERZO GENTILUOMO	Notizie, ragazzi! Le nostre guerre son finite. La disperata tempesta ha così battuto i Turchi che il loro disegno s’arresta. Una nobile nave di Venezia ha visto grave naufragio e travaglio sulla maggior parte della loro flotta.
MONTANO	Come, è vero questo?
TERZO GENTILUOMO	La nave è qui approdata, una veronese. Michael Cassio, luogotenente del bellicoso Moro Otello, è sceso a terra; il Moro stesso è in mare, e viene qui con pieni poteri per Cipro.
MONTANO	Ne son lieto; è un degno governatore.
TERZO GENTILUOMO	Ma questo stesso Cassio, benché parli di conforto quanto alla perdita turca, pure ha l’aria mesta, e prega che il Moro sia salvo, ché furon separati da immonda e violenta tempesta.
MONTANO	Voglia il cielo che lo sia, ché io l’ho servito, e quell’uomo comanda da compiuto soldato. Alla riva del mare, olà!— tanto per veder la nave ch’è approdata quanto per spinger lo sguardo in cerca del prode Otello, fin che il mare e l’azzurro dell’aria ci sian confusi in un solo sguardo.
TERZO GENTILUOMO	Venite, facciam così, ché ogni minuto è attesa di nuovi arrivi.
(didascalia)	Entra Cassio
CASSIO	Grazie a voi, prodi di quest’isola guerriera, che così approvate il Moro! Oh, concedano i cieli difesa a lui contro gli elementi, ché io l’ho perduto in un mare periglioso.
MONTANO	È bene imbarcato?
CASSIO	La sua barca è saldamente fasciata di legname, e il suo pilota è d’esperienza espertissima e provata. Perciò le mie speranze, non saziate fino alla morte, stanno in ferma guarigione.
VOCI	(di dentro) Una vela, una vela, una vela!
CASSIO	Che rumore? UN GENTILUOMO La città è vuota. Sul ciglio del mare stanno file di gente, e gridano ‘Una vela!’
CASSIO	Le mie speranze me lo figurano il governatore. Uno sparo UN GENTILUOMO Scaricano il loro colpo di cortesia— amici, almeno.
CASSIO	Vi prego, signore, andate, e dateci la verità su chi è colui ch’è giunto. UN GENTILUOMO Vado.
(didascalia)	Esce
MONTANO	Ma, buon luogotenente, il vostro generale ha preso moglie?
CASSIO	Fortunatissimamente. Ha conquistato una fanciulla che supera ogni descrizione e la fama più ardita, una che eccede i cavilli delle penne blasonanti, e nell’essenziale veste della creazione stanca l’artefice.
(didascalia)	Entra il Gentiluomo
CASSIO	Ebbene, chi è approdato?
GENTILUOMO	È un tale Iago, alfiere del generale.
CASSIO	Ha avuto corsa assai favorevole e felice. Le tempeste stesse, gli alti mari e i venti ululanti, gli scogli scanalati e le sabbie ammassate, traditori immersi per intralciare l’innocente chiglia, come avendo senso della bellezza dimettono le loro nature mortali, lasciando passare salva la divina Desdemona.
MONTANO	Chi è costei?
CASSIO	Colei di cui parlavo, capitana del nostro gran capitano, lasciata alla scorta dell’ardito Iago, il cui approdo qui previene i nostri pensieri d’una settimana di corsa. Gran Giove, proteggi Otello, e gonfia la sua vela col tuo possente fiato, ch’egli benedica questa baia con la sua alta nave, faccia i rapidi aneliti d’amore fra le braccia di Desdemona, dia fuoco rinnovato ai nostri spiriti estinti, e rechi conforto a tutta Cipro.
(didascalia)	Entrano Desdemona, Iago, Emilia e Roderigo
CASSIO	Oh, guardate, la ricchezza della nave è venuta a terra! Voi uomini di Cipro, piegatele il ginocchio. Montano e i Gentiluomini fanno riverenza a Desdemona Salute a te, signora, e la grazia del cielo innanzi, dietro a te, e d’ogni parte ti circondi in cerchio!
DESDEMONA	Vi ringrazio, valoroso Cassio. Quali notizie potete darmi del mio signore?
CASSIO	Non è ancora giunto, né so nulla se non ch’egli sta bene e sarà qui fra poco.
DESDEMONA	Oh, ma io temo—come perdeste la sua compagnia?
CASSIO	La grande contesa del mare e dei cieli separò la nostra compagnia.
VOCI	(di dentro) Una vela, una vela!
CASSIO	Ma udite, una vela. Uno sparo UN GENTILUOMO Danno il loro saluto alla cittadella. Anche questo è un amico.
CASSIO	Andate a veder le notizie.
(didascalia)	Esce il Gentiluomo
CASSIO	Buon alfiere, siate il benvenuto. (Baciando Emilia) Benvenuta, signora. Non irriti la vostra pazienza, buon Iago, ch’io estenda le mie maniere. È la mia educazione che mi dà questa ardita mostra di cortesia.
IAGO	Signore, se ella vi desse tanto delle sue labbra quanto della sua lingua spesso elargisce a me, ne avreste abbastanza.
DESDEMONA	Ahimè, ella non ha parola!
IAGO	In fede, anche troppa. Me n’avvedo sempre quando ho licenza di dormire. Certo, dinanzi a vossignoria, lo concedo, ella mette un poco la lingua nel cuore, e sgrida col pensiero.
EMILIA	Avete poca ragione di dir così.
IAGO	Suvvia, suvvia. Siete quadri fuori di casa, campane nei vostri salotti; gatte selvatiche nelle vostre cucine, sante nelle vostre offese; diavoli quando siete offese, commedianti nel governo della casa, e sgualdrine nei vostri letti.
DESDEMONA	Oh, vergogna a te, calunniatore!
IAGO	No, è vero, o son io un Turco. Vi levate per giocare e andate a letto per lavorare.
EMILIA	Non sarai tu a scrivere il mio elogio.
IAGO	No, non lasciatemelo fare.
DESDEMONA	Che scriveresti di me, se dovessi lodarmi?
IAGO	Oh, gentile signora, non costringetemi, ché non son nulla se non critico.
DESDEMONA	Su, provate—c’è qualcuno andato al porto?
IAGO	Sì, madonna.
DESDEMONA	Non sono allegra, ma inganno ciò che sono col parere altrimenti. Su, come mi loderesti?
IAGO	Ci sto pensando, ma invero la mia invenzione esce dal mio cranio come il vischio dal panno ruvido— strappa via cervello e tutto. Ma la mia musa partorisce, ed ecco ciò ch’ella dà alla luce: Se è bella e saggia, bellezza e ingegno, l’una serve all’uso, l’altro se ne vale.
DESDEMONA	Ben lodato! E se fosse bruna e arguta?
IAGO	Se è bruna e per giunta ha ingegno, troverà un bianco che al suo nero s’adatti.
DESDEMONA	Di male in peggio.
EMILIA	E se bella e sciocca?
IAGO	Non fu mai sciocca colei che fu bella, ché anche la sua follia le procurò un erede.
DESDEMONA	Questi sono vecchi e insulsi paradossi, da far ridere gli stolti nella bettola. Che misera lode hai tu per quella ch’è brutta e sciocca?
IAGO	Non v’è nessuna così brutta e per giunta sciocca che non faccia le sporche birbonate che fan le belle e le sagge.
DESDEMONA	Oh grave ignoranza! Tu lodi il peggio nel modo migliore. Ma quale lode potresti tu conferire a una donna veramente meritevole—una che, nell’autorità del suo merito, potesse a giusto titolo esigere la testimonianza della malignità stessa?
IAGO	Colei che fu sempre bella e mai superba, ebbe lingua a piacere e pur non fu mai chiassosa, mai le mancò l’oro e pur non andò mai in gala, fuggì dal suo desiderio, e pur disse ‘Ora potrei’; colei che, adirata, con la vendetta vicina, ordinò al torto di restare e al suo dispetto di volar via; colei che in saggezza non fu mai così fragile da cambiar la testa del merluzzo con la coda del salmone; colei che sapeva pensare e mai svelare la sua mente, veder seguirla i corteggiatori, e non guardarsi indietro— costei era una creatura, se mai tali creature vi furono—
DESDEMONA	Per far che?
IAGO	Per allattare sciocchi e tener conto della birra leggera.
DESDEMONA	Oh conclusione zoppa e impotente! Non imparare da lui, Emilia, benché egli sia tuo marito. Che ne dite, Cassio, non è egli un consigliere profano e licenzioso?
CASSIO	Colpisce nel segno, madonna. Potete gustarlo più nel soldato che nel dotto. Cassio e Desdemona parlano in disparte
IAGO	(a parte) Le prende la mano. Sì, ben detto—sussurrate. Con una rete piccola come questa irretirò una mosca grande come Cassio. Sì, sorridile, sorridi. Ti metterò i ceppi con la tua stessa galanteria. Dite il vero, è proprio così. Se simili astuzie vi spogliano della vostra luogotenenza, sarebbe stato meglio non baciarvi le tre dita così spesso, come di nuovo ora siete prontissimo a fare per far l’elegante. Molto bene, ben baciato, un’eccellente riverenza, è proprio così; e ancora le vostre dita alle labbra? Vorrei che fossero cannule di clistere, per il vostro bene.
(didascalia)	Trombe di dentro
IAGO	(Ad alta voce) Il Moro—conosco la sua tromba.
CASSIO	È proprio così.
DESDEMONA	Andiamogli incontro e riceviamolo.
CASSIO	Ecco dove viene!
(didascalia)	Entrano Otello e servitori
OTELLO	(a Desdemona) Oh mia bella guerriera!
DESDEMONA	Mio caro Otello.
OTELLO	Mi dà meraviglia grande quanto il mio contento vedervi qui davanti a me. Oh gioia della mia anima, se dopo ogni tempesta vengono tali bonacce, soffino i venti finché abbiano destato la morte, e la barca affannata scali colline di mari alte come l’Olimpo, e s’immerga di nuovo tanto in giù quanto è l’inferno dal cielo. Se ora dovessi morire sarebbe ora l’esser felicissimo, ché io temo che la mia anima abbia il suo contento così assoluto che nessun altro conforto simile a questo seguirà in sorte ignota.
DESDEMONA	Non voglia il cielo se non che i nostri amori e conforti crescano anche come crescono i nostri giorni.
OTELLO	Amen a questo, dolci potenze! Non so dire abbastanza di questo contento. Mi si ferma qui, è troppa gioia. E questo, (si baciano) e questo, sian le maggiori discordie che mai facciano i nostri cuori.
IAGO	(a parte) Oh, siete ben accordati ora, ma io allenterò i bischeri che fanno questa musica, onesto come sono.
OTELLO	Venite, andiamo al castello. Notizie, amici: le nostre guerre son finite, i Turchi sono annegati. Come stanno le mie vecchie conoscenze di quest’isola?— Cara, sarai ben desiderata a Cipro, ho trovato grande amore fra loro. Oh mia dolce, ciarlo fuor di misura, e vaneggio nei miei stessi conforti. Ti prego, buon Iago, va’ alla baia e sbarca i miei bauli. Conduci il capitano alla cittadella. È un brav’uomo, e il suo valore esige molto rispetto. Vieni, Desdemona.— Ancora una volta, ben trovati a Cipro!
(didascalia)	Escono Otello e Desdemona con tutti tranne lago e Roderigo
IAGO	(a un servitore che esce) Tu incontrami subito al porto. (A Roderigo) Vieni qua. Se sei valoroso—come dicono che gli uomini vili quando sono in amore hanno allora nelle loro nature una nobiltà più di quanta ne sia loro nativa—ascoltami. Il luogotenente stanotte monta la guardia al corpo di guardia. Prima di tutto, devo dirti questo: Desdemona è direttamente presa d’amore per lui.
RODERICO	Per lui? Ma via, non è possibile!
IAGO	Poni il dito così, e lascia che la tua anima sia istruita. Nota con che violenza ella dapprima amò il Moro, e ciò solo per le sue millanterie e per le fantastiche menzogne che le raccontava. E amarlo ancora per il suo cianciare?—non lo pensi il tuo cuore discreto. Il suo occhio dev’essere nutrito, e che diletto avrà a guardare il diavolo? Quando il sangue è reso ottuso dall’atto del piacere, dovrebbe esserci di nuovo, per infiammarlo e per dare alla sazietà un fresco appetito, avvenenza nell’aspetto, conformità d’anni, di maniere e di bellezze, di tutte le quali il Moro è privo. Ora, per mancanza di questi richiesti agi, la sua delicata tenerezza si troverà ingannata, comincerà a provar nausea, a disgustarsi e ad aborrire il Moro. La natura stessa gliel’insegnerà e la costringerà a qualche seconda scelta. Ora, signore, concesso questo—com’è posizione assai evidente e non forzata—chi sta così eminente nel grado di questa fortuna come vi sta Cassio?—un furfante assai sciolto di lingua, non più coscienzioso di quanto occorra a indossare la mera forma d’un civile e umano sembiante per meglio conseguire la sua salace e nascostissima sfrenata inclinazione. Ma via, nessuno; via, nessuno—un furfante sdrucciolevole e sottile, un trovatore d’occasioni, che ha un occhio capace di coniare e contraffare vantaggi, benché il vero vantaggio non si presenti mai, un furfante diabolico! Inoltre, il furfante è bello, giovane, e ha in sé tutti quei requisiti che la follia e le menti verdi vanno cercando. Un furfante pestilenziale e compiuto, e la donna l’ha già trovato.
RODERIGO	Non posso crederlo di lei. Ella è piena della più benedetta indole.
IAGO	Benedetta un corno! Il vino ch’ella beve è fatto d’uva. Se fosse stata benedetta, non avrebbe mai amato il Moro. Benedetto budino! Non l’hai vista giocherellare col palmo della sua mano? Non l’hai notato? 255
RODERIGO	Sì, questo sì, ma non era che cortesia.
IAGO	Lussuria, per questa mano; un indice e un oscuro prologo alla storia della libidine e dei pensieri immondi. S’accostarono tanto con le labbra che i loro fiati s’abbracciarono. Pensieri scellerati, Roderigo! Quando tali reciprocità aprono così la via, subito appresso viene l’esercizio principale e maestro, la conclusione carnale. Puah! Ma, signore, lasciatevi guidare da me. Vi ho condotto da Venezia. Fate la guardia stanotte. Quanto all’ordine, ve lo procurerò io. Cassio non vi conosce; io non sarò lontano da voi. Trovate voi qualche occasione per far adirare Cassio, sia parlando troppo forte, sia screditando la sua disciplina, sia con qualunque altro mezzo vi piaccia, che il tempo fornirà più propizio.
RODERIGO	Bene.
IAGO	Signore, egli è avventato e assai subitaneo nella collera, e può darsi che vi colpisca. Provocatelo perché lo faccia, ché proprio da ciò farò ammutinare questi di Cipro, la cui pacificazione non tornerà a vero sapore se non con la rimozione di Cassio. Così avrete un più breve cammino ai vostri desideri per i mezzi che allora avrò di favorirli, e l’impedimento rimosso assai proficuamente, senza di che non vi sarebbe speranza della nostra prosperità.
RODERIGO	Farò questo, se potete condurlo a qualche opportunità.
IAGO	Te l’assicuro. Trovami fra poco alla cittadella. Devo portare a terra le sue cose necessarie. Addio.
RODERIGO	Addio.
(didascalia)	Esce
IAGO	Che Cassio l’ami, lo credo bene. Che ella ami lui, è verosimile e di gran credito. Il Moro—benché io non lo sopporti— è di natura costante, amorosa, nobile, e oso pensare ch’egli si mostrerà per Desdemona un marito carissimo. Ora anch’io l’amo, non per assoluta lussuria—benché forse io risponda d’un peccato altrettanto grande— ma in parte spinto a nutrire la mia vendetta, ché sospetto che il Moro libidinoso sia balzato nel mio seggio, e il pensiero di ciò mi rode le viscere come un minerale velenoso; e nulla può o potrà contentare la mia anima finché non sia pari con lui, moglie per moglie— o, fallendo ciò, finché almeno non metta il Moro in una gelosia così forte che il giudizio non possa guarire; e per far ciò, se questo povero rifiuto di Venezia ch’io aizzo per la sua caccia veloce regge all’aizzamento, avrò il nostro Michael Cassio all’anca, lo calunnierò presso il Moro nel modo più rozzo— ché temo anche Cassio con la mia berretta da notte— farò che il Moro mi ringrazi, mi ami e mi ricompensi per averlo reso egregiamente un asino, e per aver attentato alla sua pace e quiete fino alla follia. È qui, ma ancora confuso. Il chiaro volto della furfanteria non si vede mai finché non è usato.
(didascalia)	Esce

Speaker	Line
(didascalia)	Enter Othello’s Herald reading a proclamation
HERALD	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 triumph: some to dance, some to make bonfires, 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 his pleasure should be proclaimed. All offices 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! Exit

Chi parla	Battuta
(didascalia)	Entra l’Araldo di Otello leggendo un proclama
ARALDO	È volontà di Otello—nostro nobile e valoroso generale—che, essendo ora giunte notizie certe che annunciano la totale rovina della flotta turca, ognuno si dia al trionfo: chi a danzare, chi ad accendere falò, ciascuno a quel diletto e a quei sollazzi cui la sua inclinazione lo porta; ché, oltre a queste liete nuove, si celebrano le sue nozze. Tanto egli volle fosse proclamato. Tutte le dispense sono aperte, e v’è piena libertà di banchettare da quest’ora presente delle cinque finché la campana non abbia suonato le undici. Il Cielo benedica l’isola di Cipro e il nostro nobile generale, Otello! Esce

Speaker	Line
(didascalia)	Enter Othello, Desdemona, Cassio, and attendants
OTHELLO	Good Michael, look you to the guard tonight. Let’s teach ourselves that honourable stop Not to outsport discretion.
CASSIO	Iago hath direction what to do, But notwithstanding, with my personal eye Will I look to’t.
OTHELLO	Iago is most honest. Michael, good night. Tomorrow with your earliest Let me have speech with you. (To Desdemona) Come, my dear love, The purchase made, the fruits are to ensue. That profit’s yet to come ’tween me and you. (To Cassio) Good night.
(didascalia)	Exeunt Othello, Desdemona, and attendants
(didascalia)	Enter Iago
CASSIO	Welcome, Iago. We must to the watch.
IAGO	Not this hour, lieutenant; ‘tis not yet ten o’th’ 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.
CASSIO	She’s a most exquisite lady.
IAGO	And I’ll warrant her full of game.
CASSIO	Indeed, she’s a most fresh and delicate creature.
IAGO	What an eye she has! Methinks it sounds a parley to provocation.
CASSIO	An inviting eye, and yet, methinks, right modest.
IAGO	And when she speaks, is it not an alarum to love?
CASSIO	She is indeed perfection.
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.
CASSIO	Not tonight, good Iago. I have very poor and unhappy brains for drinking. I could well wish courtesy would invent some other custom of entertainment.
IAGO	O, they are our friends! But one cup. I’ll drink for you.
CASSIO	I ha’ drunk but one cup tonight, and that was craftily qualified, too, and behold what innovation it makes here! I am infortunate in the infirmity, and dare not task my weakness with any more.
IAGO	What, man, ’tis a night of revels, the gallants desire it!
CASSIO	Where are they?
IAGO	Here at the door. I pray you call them in.
CASSIO	I’ll do’t, but it dislikes me.
(didascalia)	Exit
IAGO	If I can fasten but one cup upon him, With that which he hath drunk tonight already He’ll be as full of quarrel and offence As my young mistress’ dog. Now my sick fool Roderigo, Whom love hath turned almost the wrong side out, To Desdemona hath tonight caroused Potations pottle-deep, and he’s to watch. Three else of Cyprus—noble swelling spirits That hold their honours in a wary distance, The very elements of this warlike isle— Have I tonight flustered 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.
(didascalia)	Enter Montano, Cassio, Gentlemen, [and servants] with wine
IAGO	But here they come. If consequence do but approve my dream, My boat sails freely both with wind and stream.
CASSIO	Fore God, they have given me a rouse already.
MONTANO	Good faith, a little one; not past a pint, As I am a soldier.
IAGO	Some wine, ho! (Sings) And let me the cannikin clink, clink, And let me the cannikin clink. A soldier’s a man, O, man’s life’s but a span, Why then, let a soldier drink. Some wine, boys!
CASSIO	Fore God, an excellent song.
IAGO	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.
CASSIO	Is your Englishman so exquisite in his drinking?
IAGO	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.
CASSIO	To the health of our general!
MONTANO	I am for it, lieutenant, and I’ll do you justice.
IAGO	O sweet England! (Sings) King Stephen was and a worthy peer, His breeches cost him but a crown; He held them sixpence all too dear, With that he called the tailor lown. He was a wight of high renown, And thou art but of low degree. ’Tis pride that pulls the country down, Then take thy auld cloak about thee. Some wine, ho!
CASSIO	Fore God, this is a more exquisite song than the other.
IAGO	Will you hear’t again?
CASSIO	No, for I hold him to be unworthy of his place that does those things. Well, God’s above all, and there be souls must be saved, and there be souls must not be saved.
IAGO	It’s true, good lieutenant.
CASSIO	For mine own part—no offence to the general, nor any man of quality—I hope to be saved.
IAGO	And so do I too, lieutenant.
CASSIO	Ay, but, by your leave, not before me. The lieutenant is to be saved before the ensign. Let’s ha’ 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 ensign, this is my right hand, and this is my left. I am not drunk now. I can stand well enough, and I speak well enough.
GENTLEMEN	Excellent well.
CASSIO	Why, very well then. You must not think then that I am drunk.
(didascalia)	Exit
MONTANO	To th’ platform, masters. Come, let’s set the watch.
(didascalia)	Exeunt Gentlemen
IAGO	You see this fellow that is gone before— He’s a soldier fit to stand by Caesar And give direction; and do but see his vice. ‘Tis to his virtue a just equinox, The one as long as th’other. ’Tis pity of him. I fear the trust Othello puts him in, On some odd time of his infirmity, Will shake this island.
MONTANO	But is he often thus?
IAGO	’Tis evermore his prologue to his sleep. He’ll watch the horologe a double set If drink rock not his cradle.
MONTANO	It were well The general were put in mind of it. Perhaps he sees it not, or his good nature Prizes the virtue that appears in Cassio, And looks not on his evils. Is not this true?
(didascalia)	Enter Roderigo
IAGO	[aside] How now, Roderigo! I pray you after the lieutenant, go.
(didascalia)	Exit Roderigo
MONTANO	And ’tis great pity that the noble Moor Should hazard such a place as his own second With one of an engraffed infirmity. It were an honest action to say so To the Moor.
IAGO	Not I, for this fair island! I do love Cassio well, and would do much To cure him of this evil.
VOICES	(within) Help, help!
IAGO	But hark, what noise?
(didascalia)	Enter Cassio, driving in Roderigo
CASSIO	’Swounds, you rogue, you rascal!
MONTANO	What’s the matter, lieutenant?
CASSIO	A knave teach me my duty?—I’ll beat the knave into a twiggen bottle.
RODERIGO	Beat me?
CASSIO	Dost thou prate, rogue?
MONTANO	Nay, good lieutenant, I pray you, sir, hold your hand.
CASSIO	Let me go, sir, or I’ll knock you o’er the mazard.
MONTANO	Come, come, you’re drunk.
CASSIO	Drunk? They fight
IAGO	(to Roderigo) Away, I say. Go out and cry a mutiny.
(didascalia)	Exit Roderigo
IAGO	Nay, good lieutenant. God’s will, gentlemen! Help, ho! Lieutenant! Sir! Montano! Sir! Help, masters. Here’s a goodly watch indeed. A bell rung Who’s that which rings the bell? Diablo, ho! The town will rise. God’s will, lieutenant, hold. You’ll be ashamed for ever.
(didascalia)	Enter Othello and attendants, with weapons
OTHELLO	What is the matter here?
MONTANO	’Swounds, I bleed still. I am hurt to th’ death. (Attacking Cassio) He dies.
OTHELLO	Hold, for your lives!
IAGO	Hold, ho, lieutenant, sir, Montano, gentlemen! Have you forgot all place of sense and duty? Hold, the general speaks to you. Hold, hold, for shame.
OTHELLO	Why, how now, ho? From whence ariseth this? Are we turned Turks, and to ourselves do that Which heaven hath forbid the Ottomites? 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 belt—it frights the isle From her propriety.
(didascalia)	Bell stops
OTHELLO	What is the matter, masters? Honest Iago, that looks dead with grieving, Speak. Who began this? On thy love I charge thee.
IAGO	I do not know. Friends all but now, even now, In quarter and in terms like bride and groom Devesting them for bed; and then but now— As if some planet had unwitted men— Swords out, and tilting one at others’ breasts In opposition bloody. I cannot speak Any beginning to this peevish odds, And would in action glorious I had lost Those legs that brought me to a part of it.
OTHELLO	How comes it, Michael, you are thus forgot?
CASSIO	I pray you pardon me. I cannot speak.
OTHELLO	Worthy Montano, you were wont be civil. The gravity and stillness of your youth The world hath noted, and your name is great In mouths of wisest censure. What’s the matter, That you unlace your reputation thus, And spend your rich opinion for the name Of a night-brawler? Give me answer to it.
MONTANO	Worthy Othello, I am hurt to danger. 1 Your officer Iago can inform you, While I spare speech—which something now offends me— Of all that I do know; nor know I aught By me that’s said or done amiss this night, Unless self-charity be sometimes a vice, And to defend ourselves it be a sin When violence assails us.
OTHELLO	Now, by heaven, My blood begins my safer guides to rule, And passion, having my best judgement collied, Essays to lead the way. ‘Swounds, if I stir, Or do but lift this arm, the best of you Shall sink in my rebuke. Give me to know How this foul rout began, who set it on, And he that is approved in this offence, Though he had twinned with me, both at a birth, Shall lose me. What, in a town of war Yet wild, the people’s hearts brimful of fear, To manage private and domestic quarrel In night, and on the court and guard of safety! ’Tis monstrous. Iago, who began’t?
MONTANO	(to Iago) If partially affined or leagued in office Thou dost deliver more or less than truth, Thou art no soldier.
IAGO	Touch me not so near. I had rather ha’ this tongue cut from my mouth Than it should do offence to Michael Cassio. Yet I persuade myself to speak the truth Shall nothing wrong him. This it is, general. Montano and myself being in speech, There comes a fellow crying out for help, And Cassio following him with determined sword To execute upon him. Sir, this gentleman Steps in to Cassio, and entreats his pause. Myself the crying fellow did pursue, Lest by his clamour, as it so fell out, The town might fall in fright. He, swift of foot, Outran my purpose, and I returned, the rather For that I heard the clink and fall of swords And Cassio high in oath, which till tonight I ne’er might say before. When I came back— For this was brief—I found them close together At blow and thrust, even as again they were When you yourself did part them. More of this matter cannot I report, But men are men. The best sometimes forget. Though Cassio did some little wrong to him, As men in rage strike those that wish them best, Yet surely Cassio, I believe, received From him that fled some strange indignity Which patience could not pass.
OTHELLO	I know, Iago, Thy honesty and love doth mince this matter, Making it light to Cassio. Cassio, I love thee, But never more be officer of mine.
(didascalia)	Enter Desdemona, attended
OTHELLO	Look if my gentle love be not raised up. I’ll make thee an example.
DESDEMONA	What is the matter, dear?
OTHELLO	All’s well now, sweeting. Come away to bed. (To Montano) Sir, for your hurts Myself will be your surgeon. (To attendants) Lead him off.
(didascalia)	Exeunt attendants with Montano
OTHELLO	Iago, look with care about the town, And silence those whom this vile brawl distracted. Come, Desdemona. ’Tis the soldier’s life To have their balmy slumbers waked with strife.
(didascalia)	Exeunt all but Iago and Cassio
IAGO	What, are you hurt, lieutenant?
CASSIO	Ay, past all surgery.
IAGO	Marry, God forbid.
CASSIO	Reputation, reputation, reputation—O, I ha’ lost my reputation, I ha’ lost the immortal 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 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 more 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’s yours.
CASSIO	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?
CASSIO	I know not.
IAGO	Is’t possible?
CASSIO	I remember a mass of things, but nothing distinctly; a quarrel, but nothing wherefore. O God, that men should put an enemy in their mouths to steal away their brains! That we should with joy, pleasance, revel, and applause transform ourselves into beasts!
IAGO	Why, but you are now well enough. How came you thus recovered?
CASSIO	It hath pleased the devil drunkenness to give place to the devil wrath. One unperfectness shows me another, to make me frankly despise myself.
IAGO	Come, you are too severe a moraller. 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.
CASSIO	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.
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.
CASSIO	I have well approved it, sir—I drunk?
IAGO	You or any man living may be drunk at a 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 devoted and given up himself to the contemplation, mark, and denotement of her parts and graces. Confess yourself freely to her. Importune her help to put you in your place again. She is of so free, so kind, so apt, so blessed a disposition, she holds it a vice in her goodness not to do more than she is requested. This broken joint between you and her husband entreat her to splinter, and, my fortunes against any lay worth naming, this crack of your love shall grow stronger than it was before.
CASSIO	You advise me well.
IAGO	I protest, in the sincerity of love and honest kindness.
CASSIO	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.
IAGO	You are in the right. Good night, lieutenant. I must to the watch.
CASSIO	Good night, honest Iago.
(didascalia)	Exit
IAGO	And what’s he then that says I play the villain, 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 Th’inclining Desdemona to subdue In any honest suit. She’s framed as fruitful As the free elements; and then for her To win the Moor, were’t to renounce his baptism, All seals and symbols of redeemed sin, His soul is so enfettered to her love That she may make, unmake, do what she list, Even as her appetite shall play the god With his weak function. 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, They do suggest at first with heavenly shows, As I do now; for whiles this honest fool Plies Desdemona to repair his fortune, And she for him pleads strongly to the Moor, 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. So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh them all.
(didascalia)	Enter Roderigo
IAGO	How now, Roderigo?
RODERIGO	I do follow here in the chase, not like a hound that hunts, but one that fills up the cry. My money is almost spent, I ha’ been tonight 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 ha’ not patience! What wound did ever heal but by degrees? Thou know‘st we work by wit and not by witchcraft, And wit depends on dilatory time. Does’t not go well? Cassio hath beaten thee, And thou by that small hurt hast cashiered Cassio. Though other things grow fair against the sun, Yet fruits that blossom first will first be ripe. Content thyself a while. By the mass, ’tis morning. Pleasure and action make the hours seem short. Retire thee. Go where thou art billeted. Away, I say. Thou shalt know more hereafter. Nay, get thee gone.
(didascalia)	Exit Roderigo
IAGO	Two things are to be done. My wife must move for Cassio to her mistress. I’ll set her on. Myself a while to draw the Moor apart, And bring him jump when he may Cassio find Soliciting his wife. Ay, that’s the way. Dull not device by coldness and delay.
(didascalia)	Exit

Chi parla	Battuta
(didascalia)	Entrano Otello, Desdemona, Cassio e servitori
OTELLO	Buon Michael, badate voi alla guardia stanotte. Insegniamoci quell’onorevole misura di non spingere il festeggiare oltre la discrezione.
CASSIO	Iago ha istruzioni su quel che deve fare, ma nondimeno, col mio occhio in persona ci baderò io stesso.
OTELLO	Iago è onestissimo. Michael, buona notte. Domani al vostro primo levarvi fatemi parlare con voi. (A Desdemona) Vieni, mio caro amore, fatto l’acquisto, i frutti devono seguire. Quel profitto deve ancora venire fra me e te. (A Cassio) Buona notte.
(didascalia)	Escono Otello, Desdemona e i servitori
(didascalia)	Entra Iago
CASSIO	Benvenuto, Iago. Dobbiamo andare di guardia.
IAGO	Non a quest’ora, luogotenente; non sono ancora le dieci all’orologio. Il nostro generale ci ha congedati così presto per l’amore della sua Desdemona, e non gliene facciamo perciò colpa. Non ha ancora reso lasciva la notte con lei, e lei è diletto degno di Giove.
CASSIO	È una dama squisitissima.
IAGO	E vi garantisco che è piena di brio.
CASSIO	Davvero, è una creatura freschissima e delicata.
IAGO	Che occhio ha! Mi pare che suoni un parlamento d’invito alla provocazione.
CASSIO	Un occhio invitante, eppure, mi pare, assai modesto.
IAGO	E quando parla, non è forse una chiamata alle armi per l’amore?
CASSIO	È davvero la perfezione.
IAGO	Ebbene, felicità alle loro lenzuola. Venite, luogotenente. Ho una brocca di vino, e qui fuori ci sono un paio di galanti di Cipro che vorrebbero volentieri bere una misura alla salute del nero Otello.
CASSIO	Non stanotte, buon Iago. Ho un cervello assai povero e infelice per il bere. Potrei bene augurarmi che la cortesia inventasse qualche altra usanza di divertimento.
IAGO	Oh, sono nostri amici! Una sola coppa. Berrò io per voi.
CASSIO	Ho bevuto una sola coppa stanotte, e per giunta accortamente allungata, e guardate che rivoluzione fa qui dentro! Sono sfortunato in questa infermità, e non oso mettere alla prova la mia debolezza con altro.
IAGO	Ma via, amico, è una notte di baldoria, i galanti lo desiderano!
CASSIO	Dove sono?
IAGO	Qui alla porta. Vi prego, chiamateli dentro.
CASSIO	Lo farò, ma non mi piace.
(didascalia)	Esce
IAGO	Se riesco ad appioppargli una sola coppa, con quello che ha già bevuto stanotte sarà così pieno di litigio e d’offesa come il cane della mia giovane padrona. Ora il mio malato folle Roderigo, che l’amore ha quasi rivoltato a rovescio, ha stanotte brindato a Desdemona bevute fino in fondo al boccale, ed è di guardia. Altri tre di Cipro—nobili spiriti gonfi d’orgoglio che tengono il loro onore a guardinga distanza, i veri elementi di quest’isola guerriera— li ho stanotte accalorati con coppe traboccanti, e anche loro sono di guardia. Ora, fra questo gregge di ubriachi devo mettere il nostro Cassio in qualche azione che possa offendere l’isola.
(didascalia)	Entrano Montano, Cassio, Gentiluomini, [e servi] con vino
IAGO	Ma eccoli che vengono. Se l’esito non fa che confermare il mio sogno, la mia barca veleggia libera con vento e corrente.
CASSIO	Per Dio, mi hanno già fatto tracannare un brindisi.
MONTANO	In buona fede, uno piccolo; non più d’una pinta, com’è vero che sono un soldato.
IAGO	Del vino, olà! (Canta) E lasciate che il boccale tintinni, tintinni, e lasciate che il boccale tintinni. Un soldato è un uomo, oh, la vita dell’uomo è solo una spanna, e allora, che il soldato beva. Del vino, ragazzi!
CASSIO	Per Dio, un’eccellente canzone.
IAGO	L’ho imparata in Inghilterra, dove davvero sono potentissimi nel trincare. Il vostro danese, il vostro tedesco e il vostro olandese dal ventre pendulo—bevete, olà!—non sono nulla in confronto al vostro inglese.
CASSIO	È dunque il vostro inglese così squisito nel suo bere?
IAGO	Ma via, vi beve con facilità il vostro danese fino a stenderlo morto ubriaco. Non suda a rovesciare il vostro alemanno. Fa vomitare il vostro olandese prima che il boccale seguente si possa riempire.
CASSIO	Alla salute del nostro generale!
MONTANO	Ci sto, luogotenente, e vi renderò giustizia.
IAGO	Oh dolce Inghilterra! (Canta) Re Stefano era un degno pari, le sue braghe gli costarono solo una corona; le stimò sei pence di troppo, e per questo chiamò il sarto furfante. Era un uomo di alto rinomo, e tu non sei che di basso grado. È l’orgoglio che manda in rovina il paese, perciò tienti addosso il tuo vecchio mantello. Del vino, olà!
CASSIO	Per Dio, questa è una canzone più squisita dell’altra.
IAGO	Volete udirla di nuovo?
CASSIO	No, perché ritengo indegno del suo posto chi fa tali cose. Ebbene, Dio è sopra tutti, e ci sono anime che devono essere salvate, e ci sono anime che non devono essere salvate.
IAGO	È vero, buon luogotenente.
CASSIO	Per parte mia—senza offesa per il generale, né per alcun uomo di qualità—spero di essere salvato.
IAGO	E lo spero anch’io, luogotenente.
CASSIO	Sì, ma, col vostro permesso, non prima di me. Il luogotenente dev’essere salvato prima dell’alfiere. Non parliamone più. Torniamo ai nostri affari. Dio ci perdoni i nostri peccati. Signori, badiamo alle nostre faccende. Non crediate, signori, che io sia ubriaco. Questo è il mio alfiere, questa è la mia mano destra, e questa è la sinistra. Non sono ubriaco adesso. Sto in piedi abbastanza bene, e parlo abbastanza bene.
GENTILUOMINI	Eccellentemente bene.
CASSIO	Ebbene, molto bene allora. Non dovete dunque pensare che io sia ubriaco.
(didascalia)	Esce
MONTANO	Alla piattaforma, signori. Venite, mettiamo la guardia.
(didascalia)	Escono i Gentiluomini
IAGO	Vedete quest’uomo che se n’è andato prima— è un soldato degno di stare al fianco di Cesare e di dare ordini; e guardate solo il suo vizio. È alla sua virtù un giusto equinozio, l’uno lungo quanto l’altra. È un peccato per lui. Temo che la fiducia che Otello ripone in lui, in qualche strano tempo della sua infermità, scuoterà quest’isola.
MONTANO	Ma è spesso così?
IAGO	È sempre il suo prologo al sonno. Veglierà l’orologio per un doppio giro se il bere non gli dondola la culla.
MONTANO	Sarebbe bene che il generale ne fosse avvertito. Forse non lo vede, o la sua buona natura apprezza la virtù che appare in Cassio, e non guarda ai suoi mali. Non è forse vero?
(didascalia)	Entra Roderigo
IAGO	[a parte] Come va, Roderigo! Vi prego, andate dietro al luogotenente.
(didascalia)	Esce Roderigo
MONTANO	Ed è gran peccato che il nobile Moro arrischi un posto come quello del suo secondo con uno di così radicata infermità. Sarebbe un’azione onesta dirlo al Moro.
IAGO	Non io, neanche per quest’isola bella! Amo Cassio bene, e farei molto per guarirlo da questo male.
VOCI	(da dentro) Aiuto, aiuto!
IAGO	Ma udite, che rumore?
(didascalia)	Entra Cassio, incalzando Roderigo
CASSIO	Corpo di Dio, furfante, canaglia!
MONTANO	Che c’è, luogotenente?
CASSIO	Un briccone insegnare a me il mio dovere?—Batterò quel briccone fino a farne un fiasco impagliato.
RODERIGO	Battere me?
CASSIO	Ciarli ancora, furfante?
MONTANO	No, buon luogotenente, vi prego, signore, fermate la mano.
CASSIO	Lasciatemi andare, signore, o vi batto sulla zucca.
MONTANO	Suvvia, suvvia, siete ubriaco.
CASSIO	Ubriaco? Si battono
IAGO	(a Roderigo) Via, ti dico. Esci e grida all’ammutinamento.
(didascalia)	Esce Roderigo
IAGO	No, buon luogotenente. Per la volontà di Dio, signori! Aiuto, olà! Luogotenente! Signore! Montano! Signore! Aiuto, padroni. Ecco davvero una bella guardia. Suona una campana Chi è che suona la campana? Diablo, olà! La città insorgerà. Per la volontà di Dio, luogotenente, fermatevi. Ne sarete svergognato per sempre.
(didascalia)	Entrano Otello e servitori, con armi
OTELLO	Che cosa succede qui?
MONTANO	Corpo di Dio, sanguino ancora. Sono ferito a morte. (Assalendo Cassio) Muore.
OTELLO	Fermi, per le vostre vite!
IAGO	Fermi, olà, luogotenente, signore, Montano, signori! Avete dimenticato ogni senso del luogo e del dovere? Fermi, il generale vi parla. Fermi, fermi, per vergogna.
OTELLO	Ebbene, che c’è, olà? Da dove nasce questo? Siamo forse diventati turchi, e facciamo a noi stessi ciò che il cielo ha proibito agli ottomani? Per vergogna cristiana, cessate questa rissa barbara. Chi si muove ancora per sfogare la propria rabbia tiene a poco la sua anima. Muore al primo suo gesto. Fate tacere quella campana spaventosa—strappa l’isola alla sua natura.
(didascalia)	La campana cessa
OTELLO	Che cosa succede, signori? Onesto Iago, che sembri morto dal dolore, parla. Chi ha cominciato? Per il tuo amore te lo impongo.
IAGO	Non lo so. Amici tutti fino a un momento fa, proprio ora, in accordo e in termini come sposa e sposo che si spogliano per il letto; e poi, un attimo dopo— come se qualche pianeta avesse tolto il senno agli uomini— spade fuori, e a puntarsi al petto l’un l’altro in sanguinosa opposizione. Non so dire alcun principio di questa stizzosa contesa, e vorrei aver perduto in gloriosa azione quelle gambe che mi hanno portato a prendervi parte.
OTELLO	Come avviene, Michael, che vi siate così dimenticato di voi?
CASSIO	Vi prego, perdonatemi. Non posso parlare.
OTELLO	Degno Montano, eravate solito essere civile. La gravità e la compostezza della vostra giovinezza il mondo le ha notate, e il vostro nome è grande in bocca ai censori più saggi. Che cosa avviene, che sciogliate così la vostra reputazione, e spendiate la vostra ricca fama per il nome di attaccabrighe di notte? Datemene risposta.
MONTANO	Degno Otello, sono ferito pericolosamente. 1 Il vostro ufficiale Iago può informarvi, mentre io risparmio le parole—che ora un poco mi offendono— di tutto ciò che so; né so nulla di detto o fatto male da me in questa notte, a meno che la carità verso sé non sia talvolta un vizio, e sia peccato difenderci quando la violenza ci assale.
OTELLO	Ora, per il cielo, il mio sangue comincia a dominare le mie guide più prudenti, e la passione, avendo annerito il mio miglior giudizio, tenta di aprire la via. Corpo di Dio, se mi muovo, o solo alzo questo braccio, il migliore di voi affonderà sotto il mio rimprovero. Fatemi sapere come cominciò questa turpe rissa, chi l’accese, e colui che sarà convinto di quest’offesa, fosse pure nato gemello con me, d’un solo parto, mi perderà. Come, in una città di guerra ancora inquieta, i cuori del popolo colmi di paura, condurre una lite privata e domestica di notte, e nella corte e nel posto di guardia della sicurezza! È mostruoso. Iago, chi ha cominciato?
MONTANO	(a Iago) Se, legato da parzialità o da vincoli di servizio, tu riferisci più o meno della verità, non sei un soldato.
IAGO	Non toccatemi così da vicino. Preferirei che questa lingua mi fosse tagliata dalla bocca piuttosto che facesse offesa a Michael Cassio. Pure mi persuado che dire la verità non gli farà alcun torto. Ecco com’è, generale. Mentre Montano ed io stavamo parlando, giunge un tale gridando aiuto, e Cassio che lo inseguiva con la spada risoluta per far giustizia su di lui. Signore, questo gentiluomo si frappone a Cassio, e lo prega di fermarsi. Io stesso inseguii il tale che gridava, perché col suo clamore, come poi avvenne, la città non cadesse nello spavento. Egli, rapido di piede, superò il mio intento, e io tornai indietro, tanto più che udii il cozzare e il cadere di spade e Cassio alto nelle bestemmie, cosa che fino a stanotte non avrei mai potuto dire di lui. Quando tornai— ché fu cosa breve—li trovai stretti insieme a colpi e stoccate, proprio come di nuovo erano quando voi stesso li separaste. Di più su questa faccenda non posso riferire, ma gli uomini sono uomini. I migliori talvolta si dimenticano. Benché Cassio gli abbia fatto qualche piccolo torto, come gli uomini in furia colpiscono chi più li ama, pure certamente Cassio, io credo, ricevette da colui che fuggì qualche strana indegnità che la pazienza non poté sopportare.
OTELLO	Lo so, Iago, la tua onestà e il tuo amore attenuano la faccenda, rendendola lieve per Cassio. Cassio, ti amo, ma non sarai mai più ufficiale mio.
(didascalia)	Entra Desdemona, con seguito
OTELLO	Guardate se il mio gentile amore non è stato destato. Farò di te un esempio.
DESDEMONA	Che cosa succede, caro?
OTELLO	Tutto è bene ora, dolcezza. Vieni via, a letto. (A Montano) Signore, per le vostre ferite sarò io stesso il vostro chirurgo. (Ai servitori) Portatelo via.
(didascalia)	Escono i servitori con Montano
OTELLO	Iago, guarda con cura per la città, e fa’ tacere quelli che questa vile rissa ha sconvolti. Vieni, Desdemona. È la vita del soldato avere i suoi sonni balsamici svegliati dalla contesa.
(didascalia)	Escono tutti tranne Iago e Cassio
IAGO	Come, siete ferito, luogotenente?
CASSIO	Sì, oltre ogni chirurgia.
IAGO	Perbacco, Dio non voglia.
CASSIO	Reputazione, reputazione, reputazione—oh, ho perduto la mia reputazione, ho perduto la parte immortale di me stesso, e ciò che resta è bestiale! La mia reputazione, Iago, la mia reputazione.
IAGO	Da uomo onesto quale sono, credevo che aveste ricevuto qualche ferita corporale. C’è più senso in quella che nella reputazione. La reputazione è un’imposizione oziosa e falsissima, spesso ottenuta senza merito e perduta senza demerito. Non avete perduto reputazione alcuna, a meno che non reputiate voi stesso un tale perditore. Ma via, amico, ci sono molti modi per riconquistare il generale. Siete solo per ora respinto nel suo malumore—una punizione più di politica che di malizia, proprio come uno batterebbe il suo cane innocente per spaventare un leone imperioso. Supplicatelo di nuovo, ed è vostro.
CASSIO	Preferirò supplicare di essere disprezzato piuttosto che ingannare un così buon comandante con un ufficiale così leggero, così ubriaco e così indiscreto. Ubriaco, e parlare come un pappagallo, e attaccar briga? Spavaldeggiare, bestemmiare e discorrere ampollosamente con la propria ombra? O tu invisibile spirito del vino, se non hai nome con cui essere conosciuto, chiamiamoti diavolo.
IAGO	Chi era colui che inseguivate con la vostra spada? Che cosa vi aveva fatto?
CASSIO	Non lo so.
IAGO	È possibile?
CASSIO	Ricordo una massa di cose, ma nulla distintamente; una lite, ma nulla del perché. O Dio, che gli uomini si mettano un nemico in bocca per rubarsi il cervello! Che con gioia, piacere, baldoria e applausi ci trasformiamo in bestie!
IAGO	Ma via, ora state abbastanza bene. Come vi siete così ripreso?
CASSIO	È piaciuto al diavolo dell’ubriachezza cedere il posto al diavolo dell’ira. Un’imperfezione me ne mostra un’altra, per farmi francamente disprezzare me stesso.
IAGO	Suvvia, siete un moralista troppo severo. Stando come stanno il tempo, il luogo e la condizione di questo paese, vorrei di cuore che ciò non fosse accaduto; ma poiché è come è, rimediatevi per il vostro bene.
CASSIO	Gli chiederò di nuovo il mio posto. Mi dirà che sono un ubriacone. Avessi tante bocche quante l’Idra, una simile risposta le chiuderebbe tutte. Essere ora un uomo assennato, poco dopo un folle, e subito appresso una bestia! Oh, strano! Ogni coppa smodata è maledetta, e l’ingrediente è un diavolo.
IAGO	Suvvia, suvvia. Il buon vino è una buona creatura familiare, se è bene usato. Non inveite più contro di esso. E, buon luogotenente, credo che voi crediate che io vi ami.
CASSIO	L’ho bene sperimentato, signore—io ubriaco?
IAGO	Voi o qualunque uomo vivente potete essere ubriachi in un tempo o nell’altro, amico. Vi dirò che cosa dovete fare. La moglie del nostro generale è ora il generale. Posso dirlo sotto questo rispetto, per il fatto che egli si è dedicato e consegnato tutto alla contemplazione, all’osservazione e all’apprezzamento delle qualità e delle grazie di lei. Confessatevi liberamente a lei. Importunatela perché vi aiuti a rimettervi al vostro posto. È di disposizione così libera, così gentile, così pronta, così benedetta, che tiene per vizio della propria bontà non fare più di quanto le sia richiesto. Pregatela di rimettere in sesto questa giuntura rotta fra voi e suo marito, e, scommetto le mie fortune contro qualunque posta degna di nome, questa incrinatura del vostro amore diventerà più forte di quanto fosse prima.
CASSIO	Mi consigliate bene.
IAGO	Lo protesto, nella sincerità dell’amore e dell’onesta benevolenza.
CASSIO	Lo credo di buon grado, e domattina di buon’ora supplicherò la virtuosa Desdemona di intercedere per me. Sono disperato delle mie fortune se qui mi arrestano.
IAGO	Avete ragione. Buona notte, luogotenente. Devo andare di guardia.
CASSIO	Buona notte, onesto Iago.
(didascalia)	Esce
IAGO	E chi è dunque colui che dice che faccio il malvagio, quando questo consiglio che do è schietto, e onesto, plausibile al pensiero, e davvero la via per riconquistare il Moro? Ché è facilissimo piegare l’arrendevole Desdemona in qualunque onesta richiesta. È fatta di natura feconda come i liberi elementi; e poi, per lei, guadagnare il Moro—fosse anche a rinnegare il suo battesimo, tutti i sigilli e i simboli del peccato redento— la sua anima è così incatenata all’amore di lei ch’ella può fare, disfare, agire come le piace, proprio come il suo capriccio farà da dio alla debole facoltà di lui. Come sono io dunque un malvagio, se consiglio a Cassio questa via parallela diritta al suo bene? Divinità dell’inferno: quando i diavoli vogliono far indossare i peccati più neri, li suggeriscono dapprima con celesti apparenze, come faccio io adesso; poiché mentre questo onesto sciocco assilla Desdemona perché ripari la sua fortuna, ed ella per lui perora forte presso il Moro, io verserò questa pestilenza nell’orecchio di lui: che ella lo richiama per la lussuria del suo corpo, e quanto più ella si sforza di fargli del bene tanto più disfarà il suo credito presso il Moro. Così muterò la sua virtù in pece, e dalla sua stessa bontà farò la rete che li irretirà tutti.
(didascalia)	Entra Roderigo
IAGO	Come va, Roderigo?
RODERIGO	Seguo qui la caccia, non come un segugio che caccia, ma come uno che ingrossa il latrato. Il mio denaro è quasi speso, sono stato stanotte straordinariamente bene bastonato, e penso che l’esito sarà che avrò tanta esperienza per le mie pene: e così, senza denaro alcuno e con un po’ più di senno, tornerò a Venezia.
IAGO	Come son poveri quelli che non hanno pazienza! Quale ferita guarì mai se non a gradi? Sai che lavoriamo con l’ingegno e non con la stregoneria, e l’ingegno dipende dal tempo che indugia. Non va forse bene? Cassio ti ha battuto, e tu con quella piccola ferita hai fatto cassare Cassio. Benché altre cose crescano belle sotto il sole, pure i frutti che fioriscono per primi saranno per primi maturi. Accontentati per un poco. Per la messa, è mattino. Il piacere e l’azione fanno parer brevi le ore. Ritirati. Va’ dove sei alloggiato. Via, ti dico. Saprai di più in seguito. Su, vattene.
(didascalia)	Esce Roderigo
IAGO	Due cose sono da fare. Mia moglie deve perorare per Cassio presso la sua padrona. La aizzerò io. E io intanto trarrò in disparte il Moro, e lo condurrò giusto quando possa trovare Cassio a sollecitare sua moglie. Sì, questa è la via. Non guastare il piano con freddezza e indugio.
(didascalia)	Esce

Speaker	Line
(didascalia)	Enter Cassio with Musicians
CASSIO	Masters, play here—I will content your pains— Something that’s brief, and bid ‘Good morrow, general’.
(didascalia)	Music. Enter Clown
CLOWN	Why, masters, ha’ your instruments been in Naples, that they speak i’th’ nose thus?
MUSICIAN	HOW, sir, how?
CLOWN	Are these, I pray you, wind instruments?
MUSICIAN	Ay, marry are they, sir.
CLOWN	O, thereby hangs a tail.
MUSICIAN	Whereby hangs a tale, sir?
CLOWN	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.
MUSICIAN	Well, sir, we will not.
CLOWN	If you have any music that may not be heard, to’t again; but, as they say, to hear music the general does not greatly care.
MUSICIAN	We ha’ none such, sir.
CLOWN	Then put up your pipes in your bag, for I’ll away. Go, vanish into air, away. Exeunt Musicians
CASSIO	Dost thou hear, my honest friend?
CLOWN	No, I hear not your honest friend, I hear you.
CASSIO	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?
CLOWN	She is stirring, sir. If she will stir hither, I shall seem to notify unto her.
CASSIO	Do, good my friend. Exit Clown
(didascalia)	Enter Iago
CASSIO	In happy time, Iago.
IAGO	You ha’ not been abed, then.
CASSIO	Why, no. The day had broke Before we parted. I ha’ made bold, Iago, To send in to your wife. My suit to her Is that she will to virtuous Desdemona Procure me some access.
IAGO	I’ll send her to you presently, And I’ll devise a mean to draw the Moor Out of the way, that your converse and business May be more free.
CASSIO	I humbly thank you for’t.
(didascalia)	Exit Iago
CASSIO	I never knew a Florentine more kind and honest.
(didascalia)	Enter Emilia
EMILIA	Good morrow, good lieutenant. I am sorry For your displeasure, but all will sure be well. The general and his wife are talking of it, And she speaks for you stoutly. The Moor replies That he you hurt is of great fame in Cyprus, 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 To bring you in again.
CASSIO	Yet I beseech you, If you think fit, or that it may be done, Give me advantage of some brief discourse With Desdemon alone.
EMILIA	Pray you come in. I will bestow you where you shall have time To speak your bosom freely.
CASSIO	I am much bound to you.
(didascalia)	Exeunt

Chi parla	Battuta
(didascalia)	Entra Cassio con Musici
CASSIO	Maestri, suonate qui—compenserò la vostra fatica— qualcosa di breve, e augurate ‘Buon giorno, generale’.
(didascalia)	Musica. Entra il Buffone
BUFFONE	Ehi, maestri, sono stati a Napoli i vostri strumenti, che parlano così col naso?
MUSICO	COME, signore, come?
BUFFONE	Sono questi, di grazia, strumenti a fiato?
MUSICO	Sì, per la Madonna, lo sono, signore.
BUFFONE	Oh, e lì ci sta appesa una coda.
MUSICO	E dove ci sta appesa una storia, signore?
BUFFONE	Per la Madonna, signore, a più d’uno strumento a fiato che io conosco. Ma, maestri, ecco del denaro per voi; e al generale piace tanto la vostra musica ch’egli vi prega, per l’amore del cielo, di non far più rumore con essa.
MUSICO	Bene, signore, non ne faremo.
BUFFONE	Se avete qualche musica che non si possa udire, riprendetela pure; ma, come si dice, di udir musica il generale non si cura gran che.
MUSICO	Non ne abbiamo di simile, signore.
BUFFONE	Allora riponete le vostre canne nel sacco, ché io me ne vado. Andate, svanite nell’aria, via. Escono i Musici
CASSIO	Odi tu, mio onesto amico?
BUFFONE	No, non odo il vostro onesto amico, odo voi.
CASSIO	Ti prego, riponi i tuoi cavilli. Ecco per te un povero pezzo d’oro. Se la gentildonna che serve la moglie del generale è già in piedi, dille che c’è un tal Cassio che la supplica del piccolo favore d’un colloquio. Vuoi tu far questo?
BUFFONE	Ella è in piedi, signore. Se vorrà muoversi fin qua, farò le viste di notificarglielo.
CASSIO	Fallo, mio buon amico. Esce il Buffone
(didascalia)	Entra Iago
CASSIO	In buon tempo, Iago.
IAGO	Non siete stato a letto, dunque.
CASSIO	Ma no. Il giorno era spuntato prima che ci separassimo. Mi son preso l’ardire, Iago, di mandare a chiamar vostra moglie. La mia richiesta a lei è che mi procuri qualche accesso alla virtuosa Desdemona.
IAGO	Ve la manderò subito, e troverò un mezzo per tirare il Moro fuori di mezzo, affinché il vostro colloquio e la faccenda siano più liberi.
CASSIO	Umilmente ve ne ringrazio.
(didascalia)	Esce Iago
CASSIO	Non conobbi mai un fiorentino più gentile e onesto.
(didascalia)	Entra Emilia
EMILIA	Buon giorno, buon luogotenente. Mi duole per la vostra disgrazia, ma tutto andrà certo bene. Il generale e sua moglie ne stanno parlando, ed ella perora per voi gagliardamente. Il Moro risponde che colui che feriste è di gran fama a Cipro e di grandi parentele, e che per salutare saggezza non poteva che rifiutarvi. Ma egli protesta che vi ama, e non gli occorre altro intercessore che il proprio affetto per cogliere alla fronte la più sicura occasione di reintegrarvi.
CASSIO	Pure vi supplico, se lo stimate opportuno, o se si può fare, datemi il vantaggio d’un breve colloquio con Desdemona sola.
EMILIA	Di grazia, entrate. Vi collocherò dove avrete tempo di dire liberamente il vostro cuore.
CASSIO	Vi sono molto obbligato.
(didascalia)	Escono

Speaker	Line
(didascalia)	Enter Othello, Iago, and Gentlemen
OTHELLO	These letters give, Iago, to the pilot, And by him do my duties to the senate. That done, I will be walking on the works. Repair there to me.
IAGO	Well, my good lord, I’ll do’t.
(didascalia)	Exit
OTHELLO	This fortification, gentlemen—shall we see’t? A GENTLEMAN We’ll wait upon your lordship.
(didascalia)	Exeunt

Chi parla	Battuta
(didascalia)	Entrano Otello, Iago e Gentiluomini
OTELLO	Consegnate queste lettere, Iago, al pilota, e per suo mezzo rendete i miei ossequi al senato. Fatto ciò, sarò a passeggiare sulle fortificazioni. Raggiungetemi colà.
IAGO	Bene, mio buon signore, lo farò.
(didascalia)	Esce
OTELLO	Questa fortificazione, signori—andiamo a vederla? UN GENTILUOMO Accompagneremo vostra signoria.
(didascalia)	Escono

Speaker	Line
(didascalia)	Enter Desdemona, Cassio, and Emilia
DESDEMONA	Be thou assured, good Cassio, I will do All my abilities in thy behalf.
EMILIA	Good madam, do. I warrant it grieves my husband As if the cause were his.
DESDEMONA	O, that’s an honest fellow. Do not doubt, Cassio, But I will have my lord and you again As friendly as you were.
CASSIO	Bounteous madam, Whatever shall become of Michael Cassio He’s never anything but your true servant.
DESDEMONA	I know’t. I thank you. You do love my lord. You have known him long, and be you well assured He shall in strangeness stand no farther off Than in a politic distance.
CASSIO	Ay, but, lady, That policy may either last so long, Or feed upon such nice and wat’rish diet, Or breed itself so out of circumstance, That, I being absent and my place supplied, My general will forget my love and service.
DESDEMONA	Do not doubt that. Before Emilia here I give thee warrant of thy place. Assure thee, If I do vow a friendship I’ll perform it To the last article. My lord shall never rest. I’ll watch him tame, and talk him out of patience. His bed shall seem a school, his board a shrift. 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.
(didascalia)	Enter Othello and Iago
EMILIA	Madam, here comes my lord.
CASSIO	Madam, I’ll take my leave.
DESDEMONA	Why, stay, and hear me speak.
CASSIO	Madam, not now. I am very ill at ease, Unfit for mine own purposes.
DESDEMONA	Well, do your discretion.
(didascalia)	Exit Cassio
IAGO	Ha! I like not that.
OTHELLO	What dost thou say?
IAGO	Nothing, my lord. Or if, I know not what.
OTHELLO	Was not that Cassio parted from my wife?
IAGO	Cassio, my lord? No, sure, I cannot think it, That he would steal away so guilty-like Seeing your coming.
OTHELLO	I do believe ’twas he.
DESDEMONA	How now, my lord? I have been talking with a suitor here, A man that languishes in your displeasure.
OTHELLO	Who is’t you mean?
DESDEMONA	Why, your lieutenant, Cassio; good my lord, If I have any grace or power to move you, His present reconciliation take; For if he be not one that truly loves you, That errs in ignorance and not in cunning, I have no judgement in an honest face. I prithee call him back.
OTHELLO	Went he hence now?
DESDEMONA	Yes, faith, so humbled That he hath left part of his grief with me To suffer with him. Good love, call him back.
OTHELLO	Not now, sweet Desdemon. Some other time.
DESDEMONA	But shall’t be shortly?
OTHELLO	The sooner, sweet, for you.
DESDEMONA	Shall’t be tonight at supper?
OTHELLO	No, not tonight.
DESDEMONA	Tomorrow dinner, then?
OTHELLO	I shall not dine at home. I meet the captains at the citadel.
DESDEMONA	Why then, tomorrow night, or Tuesday morn, On Tuesday noon, or night, on Wednesday morn— I prithee name the time, but let it not Exceed three days. In faith, he’s penitent, And yet his trespass, in our common reason— Save that, they say, the wars must make example Out of her best—is not almost a fault T‘incur a private check. When shall he come? Tell me, Othello. I wonder in my soul What you would ask me that I should deny, Or stand so mamm’ring on? What, Michael Cassio, That came a-wooing with you, and so many a time When I have spoke of you dispraisingly Hath ta‘en your part—to have so much to-do To bring him in? By’r Lady, I could do much.
OTHELLO	Prithee, no more. Let him come when he will. I will deny thee nothing.
DESDEMONA	Why, this is not a 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.
OTHELLO	I will deny thee nothing, Whereon I do beseech thee grant me this: To leave me but a little to myself.
DESDEMONA	Shall I deny you? No. Farewell, my lord.
OTHELLO	Farewell, my Desdemona. I’ll come to thee straight.
DESDEMONA	Emilia, come. (To Othello) Be as your fancies teach you. Whate’er you be, I am obedient.
(didascalia)	Exeunt Desdemona and Emilia
OTHELLO	Excellent wretch! Perdition catch my soul But I do love thee, and when I love thee not, Chaos is come again.
IAGO	My noble lord.
OTHELLO	What dost thou say, Iago?
IAGO	Did Michael Cassio, when you wooed my lady, Know of your love?
OTHELLO	He did, from first to last. Why dost thou ask?
IAGO	But for a satisfaction of my thought, No further harm.
OTHELLO	Why of thy thought, Iago?
IAGO	I did not think he had been acquainted with her.
OTHELLO	O yes, and went between us very oft.
IAGO	Indeed?
OTHELLO	Indeed? Ay, indeed. Discern’st thou aught in that? Is he not honest?
IAGO	Honest, my lord?
OTHELLO	Honest? Ay, honest.
IAGO	My lord, for aught I know.
OTHELLO	What dost thou think?
IAGO	Think, my lord?
OTHELLO	‘Think, my lord?’ By heaven, thou echo‘st me As if there were some monster in thy thought Too hideous to be shown! Thou dost mean something. I heard thee say even now thou liked’st not that, When Cassio left my wife. What didst not like? And when I told thee he was of my counsel In my whole course of wooing, thou cried‘st ‘Indeed?’ And didst contract and purse thy brow together As if thou then hadst shut up in thy brain Some horrible conceit. If thou dost love me, Show me thy thought.
IAGO	My lord, you know I love you.
OTHELLO	I think thou dost, And for I know thou‘rt full of love and honesty, And weigh’st thy words before thou giv’st them breath, Therefore these stops of thine fright me the more; For such things in a false disloyal knave Are tricks of custom, but in a man that’s just, They’re close dilations, working from the heart That passion cannot rule.
IAGO	For Michael Cassio, I dare be sworn I think that he is honest.
OTHELLO	I think so too.
IAGO	Men should be what they seem, Or those that be not, would they might seem none.
OTHELLO	Certain, men should be what they seem.
IAGO	Why then, I think Cassio’s an honest man.
OTHELLO	Nay, yet there’s more in this. I prithee speak to me as to thy thinkings, As thou dost ruminate, and give thy worst of thoughts The worst of words.
IAGO	Good my lord, pardon me. Though I am bound to every act of duty, I am not bound to that all slaves are free to. Utter my thoughts? Why, say they are vile and false, As where’s that palace whereinto foul things Sometimes intrude not? Who has that breast so pure But some uncleanly apprehensions Keep leets and law-days, and in sessions sit With meditations lawful?
OTHELLO	Thou dost conspire against thy friend, Iago, If thou but think‘st him wronged and mak’st his ear A stranger to thy thoughts.
IAGO	I do beseech you, Though I perchance am 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 then, From one that so imperfectly conceits, Would take no notice, nor build yourself a trouble Out of his scattering and unsure observance. It were not for your quiet nor your good, Nor for my manhood, honesty, and wisdom, To let you know my thoughts.
OTHELLO	What dost thou mean?
IAGO	Good name in man and woman, dear my lord, Is the immediate jewel of their souls. Who steals my purse steals trash; ‘tis something, nothing; ’Twas mine, ’tis his, and has been slave to thousands. But he that filches from me my good name Robs me of that which not enriches him And makes me poor indeed.
OTHELLO	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.
OTHELLO	Ha!
IAGO	O, beware, my lord, of jealousy. It is the green-eyed monster which doth mock The meat it feeds on. That cuckold lives in bliss Who, certain of his fate, loves not his wronger. But O, what damned minutes tells he o’er Who dotes yet doubts, suspects yet fondly loves!
OTHELLO	O misery!
IAGO	Poor and content is rich, and rich enough, But riches fineless is as poor as winter To him that ever fears he shall be poor. Good God the souls of all my tribe defend From jealousy!
OTHELLO	Why, why is this? Think‘st thou I’d make a life of jealousy, To follow still the changes of the moon With fresh suspicions? No, to be once in doubt Is once to be resolved. Exchange me for a goat When I shall turn the business of my soul To such exsufflicate and blowed surmises Matching thy inference. ’Tis not to make me jealous To say my wife is fair, feeds well, loves company, Is free of speech, sings, plays, and dances well. Where virtue is, these are more virtuous, Nor from mine own weak merits will I draw The smallest fear or doubt of her revolt, For she had eyes and chose me. No, Iago, I’ll see before I doubt; when I doubt, prove; And on the proof, there is no more but this: Away at once with love or jealousy.
IAGO	I am glad of this, for now I shall have reason To show the love and duty that I bear you With franker spirit. Therefore, as I am bound, Receive it from me. I speak not yet of proof. Look to your wife. Observe her well with Cassio. Wear your eyes thus: not jealous, nor secure. I would not have your free and noble nature Out of self-bounty be abused. Look to’t. I know our country disposition well. In Venice they do let God see the pranks They dare not show their husbands; their best conscience Is not to leave’t undone, but keep’t unknown.
OTHELLO	Dost thou say so?
IAGO	She did deceive her father, marrying you, And when she seemed to shake and fear your looks She loved them most.
OTHELLO	And so she did.
IAGO	Why, go to, then. 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 For too much loving you.
OTHELLO	I am bound to thee for ever.
IAGO	I see this hath a little dashed your spirits.
OTHELLO	Not a jot, not a jot.
IAGO	I’faith, I fear it has. I hope you will consider what is spoke Comes from my love. But I do see you’re moved. I am to pray you not to strain my speech To grosser issues, nor to larger reach Than to suspicion.
OTHELLO	I will not.
IAGO	Should you do so, my lord, My speech should fall into such vile success Which my thoughts aimed not. Cassio’s my worthy friend. My lord, I see you’re moved.
OTHELLO	No, not much moved. I do not think but Desdemona’s honest.
IAGO	Long live she so, and long live you to think so!
OTHELLO	And yet how nature, erring from itself—
IAGO	Ay, there’s the point; as, to be bold with you, Not to 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 disproportions, thoughts unnatural! But pardon me. I do not in position Distinctly speak of her, though I may fear Her will, recoiling to her better judgement, May fall to match you with her country forms And happily repent.
OTHELLO	Farewell, farewell. If more thou dost perceive, let me know more. Set on thy wife to observe. Leave me, Iago.
IAGO	(going) My lord, I take my leave.
OTHELLO	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 To scan this thing no farther. Leave it to time. Although ’tis fit that Cassio have his place— For sure he fills it up with great ability— Yet, if you please to hold him off a while, You shall by that perceive him and his means. Note if your lady strain his entertainment With any strong or vehement importunity. Much will be seen in that. In the mean time, Let me be thought too busy in my fears— As worthy cause I have to fear I am— And hold her free, I do beseech your honour.
OTHELLO	Fear not my government.
IAGO	I once more take my leave.
(didascalia)	Exit
OTHELLO	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 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 declined Into the vale of years—yet that’s not much— She’s gone. I am abused, and my relief Must be to loathe her. O curse of marriage, That we can call these delicate creatures ours And not their appetites! I had rather be a toad And live upon the vapour of a dungeon Than keep a corner in the thing I love For others’ uses. Yet ‘tis the plague of great ones; Prerogatived are they less than the base. ’Tis destiny unshunnable, like death. Even then this forked plague is fated to us When we do quicken.
(didascalia)	Enter Desdemona and Emilia
OTHELLO	Look where she comes. If she be false, O then heaven mocks itself! I’ll not believe’t.
DESDEMONA	How now, my dear Othello? Your dinner, and the generous islanders By you invited, do attend your presence.
OTHELLO	I am to blame.
DESDEMONA	Why do you speak so faintly? Are you not well?
OTHELLO	I have a pain upon my forehead here.
DESDEMONA	Faith, that’s with watching. ’will away again. Let me but bind it hard, within this hour It will be well.
OTHELLO	Your napkin is too little. He puts the napkin from him. It drops. Let it alone. Come, I’ll go in with you.
DESDEMONA	I am very sorry that you are not well.
(didascalia)	Exeunt Othello and Desdemona
EMILIA	(taking up the napkin) I am glad I have found this napkin. This was her first remembrance from the Moor. My wayward husband hath a hundred times Wooed me to steal it, but she so loves the token— For he conjured her she should ever keep it— That she reserves it evermore about her To kiss and talk to. I’ll ha’ the work ta’en out, And give’t Iago. What he will do with it, Heaven knows, not I. I nothing, but to please his fantasy.
(didascalia)	Enter Iago
IAGO	How now, what do you here alone?
EMILIA	Do not you chide. I have a thing for you.
IAGO	You have a thing for me? It is a common thing.
EMILIA	Ha?
IAGO	To have a foolish wife.
EMILIA	O, is that all? What will you give me now For that same handkerchief?
IAGO	What handkerchief?
EMILIA	What handkerchief? Why, that the Moor first gave to Desdemona, That which so often you did bid me steal.
IAGO	Hast stol’n it from her?
EMILIA	No, faith, she let it drop by negligence, And to th‘advantage I, being here, took’t up. Look, here ’tis.
IAGO	A good wench! Give it me.
EMILIA	What will you do with it, that you have been so earnest To have me filch it?
IAGO	Why, what is that to you? He takes the napkin
EMILIA	If it be not for some purpose of import, 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. Go, leave me.
(didascalia)	Exit Emilia
IAGO	I will in Cassio’s lodging lose this napkin, And let him find it. Trifles light as air Are to the jealous confirmations strong As proofs of holy writ. This may do something. The Moor already changes with my poison. Dangerous conceits are in their natures poisons, Which at the first are scarce found to distaste, But, with a little act upon the blood, Burn like the mines of sulphur.
(didascalia)	Enter Othello
IAGO	I did say so. Look where he comes. Not poppy nor mandragora Nor all the drowsy syrups of the world Shall ever medicine thee to that sweet sleep Which thou owedst yesterday.
OTHELLO	Ha, ha, false to me?
IAGO	Why, how now, general? No more of that.
OTHELLO	Avaunt, be gone. Thou hast set me on the rack. I swear ’tis better to be much abused Than but to know’t a little.
IAGO	How now, my lord?
OTHELLO	What sense had I of her stol’n hours of lust? I saw’t not, thought it not; it harmed not me. I slept the next night well, fed well, was free and merry. I found not Cassio’s kisses on her lips. He that is robbed, not wanting what is stol’n, Let him not know’t and he’s not robbed at all.
IAGO	I am sorry to hear this.
OTHELLO	I had been happy if the general camp, Pioneers and all, had tasted her sweet body, So I had nothing known. O, now for ever Farewell the tranquil mind, farewell content, Farewell the plumèd troops and the big wars That makes ambition virtue! O, farewell, Farewell the neighing steed and the shrill trump, The spirit-stirring drum, th‘ear-piercing fife, The royal banner, and all quality, Pride, pomp, and circumstance of glorious war! And O, you mortal engines whose rude throats Th’immortal Jove’s dread clamours counterfeit, Farewell! Othello’s occupation’s gone.
IAGO	Is’t possible, my lord?
(didascalia)	OTHELLO taking Iago by the throat
IAGO	Villain, be sure thou prove my love a whore. Be sure of it. Give me the ocular proof, Or, by the worth of mine eternal soul, Thou hadst been better have been born a dog Than answer my waked wrath.
IAGO	Is’t come to this?
OTHELLO	Make me to see’t, or at the least so prove it That the probation bear no hinge nor loop To hang a doubt on, or woe upon thy life.
IAGO	My noble lord.
OTHELLO	If thou dost slander her and torture me, Never pray more; abandon all remorse, On horror’s head horrors accumulate, Do deeds to make heaven weep, all earth amazed, 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 buy you, take mine office. O wretched fool, That lov’st to make thine honesty a vice! O monstrous world, take note, take note, O world, To be direct and honest is not safe! I thank you for this profit, and from hence I’ll love no friend, sith love breeds such offence.
OTHELLO	Nay, stay. Thou shouldst be honest.
IAGO	I should be wise, for honesty’s a fool, And loses that it works for.
OTHELLO	By the world, I think my wife be honest, and think she is not. I think that thou art just, and think thou art not. I’ll have some proof. My name, that was as fresh As Dian’s visage, is now begrimed and black As mine own face. If there be cords, or knives, Poison, or fire, or suffocating streams, I’ll not endure it. Would I were satisfied!
IAGO	I see, sir, you are eaten up with passion. I do repent me that I put it to you. You would be satisfied?
OTHELLO	Would? Nay, and I will.
IAGO	And may. But how, how satisfied, my lord? Would you, the supervisor, grossly gape on, Behold her topped?
OTHELLO	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 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 As ignorance made drunk. But yet I say, If imputation, and strong circumstances Which lead directly to the door of truth, Will give you satisfaction, you might ha’t.
OTHELLO	Give me a living reason she’s disloyal.
IAGO	I do not like the office, But sith I am entered in this cause so far, Pricked to’t by foolish honesty and love, I will go on. I lay with Cassio lately, And being troubled with a raging tooth, I could not sleep. There are a kind of men So loose of soul that in their sleeps Will mutter their affairs. One of this kind is Cassio. In sleep I heard him say ‘Sweet Desdemona, Let us be wary, let us hide our loves’, And then, sir, would he grip and wring my hand, Cry ‘O, sweet creature!’, then kiss me hard, As if he plucked up kisses by the roots, That grew upon my lips, lay his leg o‘er my thigh, And sigh, and kiss, and then cry ‘Cursèd fate, That gave thee to the Moor!’
OTHELLO	O, monstrous, monstrous!
IAGO	Nay, this was but his dream.
OTHELLO	But this denoted a foregone conclusion.
IAGO	’Tis a shrewd doubt, though it be but a dream, And this may help to thicken other proofs That do demonstrate thinly.
OTHELLO	I’ll tear her all to pieces.
IAGO	Nay, yet be wise; yet we see nothing done. She may be honest yet. Tell me but this: Have you not sometimes seen a handkerchief Spotted with strawberries in your wife’s hand?
OTHELLO	I gave her such a one. ’Twas my first gift.
IAGO	I know not that, but such a handkerchief— I am sure it was your wife’s—did I today See Cassio wipe his beard with.
OTHELLO	If it be that—
IAGO	If it be that, or any that was hers, It speaks against her with the other proofs.
OTHELLO	O that the slave had forty thousand lives! One is too poor, too weak for my revenge. Now do I see ‘tis true. Look here, Iago. All my fond love thus do I blow to heaven—’tis gone. Arise, black vengeance, from the hollow hell. Yield up, O love, thy crown and hearted throne To tyrannous hate! Swell, bosom, with thy freight, For ’tis of aspics’ tongues.
IAGO	Yet be content.
OTHELLO	O, blood, blood, blood!
IAGO	Patience, I say. Your mind may change.
OTHELLO	Never, Iago. Like to the Pontic Sea, Whose icy current and compulsive course Ne‘er knows retiring ebb, but keeps due on 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 Swallow them up.
(didascalia)	He kneels
OTHELLO	Now, by yon marble heaven, In the due reverence of a sacred vow I here engage my words.
IAGO	Do not rise yet. Iago kneels Witness you ever-burning lights above, You elements that clip us round about, Witness that here Iago doth give up The execution of his wit, hands, heart To wronged Othello’s service. Let him command, And to obey shall be in me remorse, What bloody business ever.
(didascalia)	They rise
OTHELLO	I greet thy love, Not with vain thanks, but with acceptance bounteous, And will upon the instant put thee to’t.
(didascalia)	Within these three days let me hear thee say
OTHELLO	That Cassio’s not alive.
IAGO	My friend is dead. ’Tis done at your request; but let her live.
OTHELLO	Damn her, lewd minx! O, damn her, damn her! Come, go with me apart. I will withdraw To furnish me with some swift means of death For the fair devil. Now art thou my lieutenant.
IAGO	I am your own for ever.
(didascalia)	Exeunt

Chi parla	Battuta
(didascalia)	Entrano Desdemona, Cassio ed Emilia
DESDEMONA	Siine certo, buon Cassio, io porrò Ogni mia capacità in tuo favore.
EMILIA	Fatelo, buona signora. Certo ne duole a mio marito Come se la causa fosse sua.
DESDEMONA	Oh, è un uomo onesto. Non dubitare, Cassio, Ché farò che il mio signore e voi torniate Amici come eravate.
CASSIO	Generosa signora, Qualunque cosa avvenga di Michael Cassio Egli non sarà mai altro che vostro fedele servo.
DESDEMONA	Lo so. Vi ringrazio. Voi amate il mio signore. Lo conoscete da tempo, e siate ben certo Che nel suo distacco non starà più lontano Che a una distanza di prudenza.
CASSIO	Sì, ma, signora, Quella prudenza può durare tanto a lungo, O nutrirsi di dieta così tenue e acquosa, O tanto generarsi dalle circostanze, Che, io essendo assente e il mio posto occupato, Il mio generale scorderà il mio amore e il mio servizio.
DESDEMONA	Non ne dubitare. Qui dinanzi a Emilia Ti do garanzia del tuo posto. Sii certo, Se io giuro un’amicizia la compirò Fino all’ultimo articolo. Il mio signore non avrà requie. Lo veglierò fino a domarlo, gli parlerò fino a togliergli la pazienza. Il suo letto gli parrà una scuola, la sua mensa un confessionale. Mescolerò a tutto ciò ch’egli fa La supplica di Cassio. Perciò state allegro, Cassio, Ché la vostra avvocata morirà piuttosto Che abbandonare la vostra causa.
(didascalia)	Entrano Otello e Iago
EMILIA	Signora, ecco che viene il mio signore.
CASSIO	Signora, mi accomiaterò.
DESDEMONA	Ma no, restate, e ascoltatemi parlare.
CASSIO	Signora, non ora. Sono molto a disagio, Inetto ai miei propri fini.
DESDEMONA	Bene, fate a vostra discrezione.
(didascalia)	Esce Cassio
IAGO	Ah! Questo non mi piace.
OTELLO	Che dici?
IAGO	Nulla, mio signore. O se pure, non so che.
OTELLO	Non era Cassio quello che si è staccato da mia moglie?
IAGO	Cassio, mio signore? No, certo, non posso crederlo, Ch’egli sgusciasse via con tale aria colpevole Vedendovi venire.
OTELLO	Credo proprio che fosse lui.
DESDEMONA	Ebbene, mio signore? Ho parlato qui con un supplicante, Un uomo che languisce nel vostro disfavore.
OTELLO	Chi intendete?
DESDEMONA	Ma il vostro luogotenente, Cassio; mio buon signore, Se ho grazia o potere alcuno di commuovervi, Accogliete la sua presente riconciliazione; Ché s’egli non è uno che vi ama davvero, Che erra per ignoranza e non per astuzia, Non ho giudizio alcuno di un volto onesto. Vi prego, richiamatelo.
OTELLO	Se n’è andato di qui or ora?
DESDEMONA	Sì, in fede, così umiliato Che ha lasciato parte del suo dolore con me Perché io soffra con lui. Buon amore, richiamalo.
OTELLO	Non ora, dolce Desdemona. Un altro tempo.
DESDEMONA	Ma sarà presto?
OTELLO	Tanto più presto, dolce, per te.
DESDEMONA	Sarà stasera a cena?
OTELLO	No, non stasera.
DESDEMONA	Domani a pranzo, allora?
OTELLO	Non pranzerò a casa. Incontro i capitani alla cittadella.
DESDEMONA	E allora domani notte, o martedì mattina, Martedì a mezzogiorno, o di notte, mercoledì mattina— Vi prego, nominate il tempo, ma non sia Oltre tre giorni. In fede, egli è pentito, E tuttavia la sua colpa, secondo il comune giudizio— Salvo che, si dice, la guerra deve fare esempio Dei suoi migliori—non è quasi una colpa Da incorrere in un rimprovero privato. Quando verrà? Ditemelo, Otello. Mi meraviglio nell’anima Di che cosa mi chiedereste ch’io dovessi negare, O su cui esitassi tanto? Come, Michael Cassio, Che venne a corteggiare con voi, e tante volte Quando io parlavo di voi con biasimo Ha preso le vostre parti—e ci vuole tanto affanno Per farlo rientrare? Per la Madonna, io potrei far molto.
OTELLO	Ti prego, basta. Venga quando vuole. Non ti negherò nulla.
DESDEMONA	Ma questo non è un favore. È come se vi pregassi di portare i guanti, O di cibarvi di piatti nutrienti, o di tenervi al caldo, O vi supplicassi di fare un particolare bene Alla vostra stessa persona. No, quando avrò una supplica Con cui intenda toccare davvero il vostro amore, Sarà piena di gravità e di peso difficile, E temibile a concedersi.
OTELLO	Non ti negherò nulla, Per cui ti supplico di concedermi questo: Di lasciarmi un poco a me stesso.
DESDEMONA	Dovrei negarvi? No. Addio, mio signore.
OTELLO	Addio, mia Desdemona. Verrò da te subito.
DESDEMONA	Emilia, vieni. (A Otello) Siate come i vostri capricci v’insegnano. Qualunque cosa siate, io sono obbediente.
(didascalia)	Escono Desdemona ed Emilia
OTELLO	Eccellente creatura! Che la perdizione afferri la mia anima Se non ti amo, e quando non ti amerò più, Il caos sarà tornato.
IAGO	Mio nobile signore.
OTELLO	Che dici, Iago?
IAGO	Michael Cassio, quando corteggiavate la mia signora, Sapeva del vostro amore?
OTELLO	Sì, dal principio alla fine. Perché lo chiedi?
IAGO	Solo per soddisfazione del mio pensiero, Nessun altro male.
OTELLO	Perché del tuo pensiero, Iago?
IAGO	Non credevo che la conoscesse.
OTELLO	Oh sì, e fece spesso da tramite fra noi.
IAGO	Davvero?
OTELLO	Davvero? Sì, davvero. Scorgi qualcosa in ciò? Non è onesto?
IAGO	Onesto, mio signore?
OTELLO	Onesto? Sì, onesto.
IAGO	Mio signore, per quanto ne so.
OTELLO	Che ne pensi?
IAGO	Pensare, mio signore?
OTELLO	‘Pensare, mio signore?’ Per il cielo, tu mi fai eco Come se vi fosse qualche mostro nel tuo pensiero Troppo orrendo per mostrarsi! Tu intendi qualcosa. Ti ho udito dire poc’anzi che quello non ti piaceva, Quando Cassio lasciò mia moglie. Che cosa non ti piaceva? E quando ti dissi ch’egli era nel mio consiglio Per tutto il corso del corteggiamento, tu gridasti ‘Davvero?’ E contraesti e aggrottasti la fronte Come se allora avessi rinchiuso nel cervello Qualche orribile concetto. Se tu mi ami, Mostrami il tuo pensiero.
IAGO	Mio signore, sapete che vi amo.
OTELLO	Credo che tu lo faccia, E poiché so che sei pieno d’amore e d’onestà, E pesi le tue parole prima di dar loro fiato, Perciò queste tue esitazioni mi spaventano di più; Ché tali cose in un falso e sleale furfante Sono trucchi d’abitudine, ma in un uomo giusto Sono celate rivelazioni, che muovono dal cuore Che la passione non può governare.
IAGO	Quanto a Michael Cassio, Oso giurare ch’io lo credo onesto.
OTELLO	Anch’io lo credo.
IAGO	Gli uomini dovrebbero essere ciò che sembrano, O quelli che non lo sono, potessero non sembrare tali.
OTELLO	Certo, gli uomini dovrebbero essere ciò che sembrano.
IAGO	E allora, io credo che Cassio sia un uomo onesto.
OTELLO	No, c’è dell’altro in questo. Ti prego, parlami secondo i tuoi pensieri, Come tu rumini, e da’ al peggiore dei tuoi pensieri La peggiore delle parole.
IAGO	Mio buon signore, perdonatemi. Benché io sia tenuto a ogni atto di dovere, Non sono tenuto a ciò a cui ogni schiavo è libero. Dire i miei pensieri? Ebbene, poniamo che siano vili e falsi, Ché dov’è quel palazzo in cui cose immonde Talvolta non s’intrudano? Chi ha il petto così puro Che qualche impura apprensione Non vi tenga assise e giorni di giudizio, e non sieda in sessione Con meditazioni legittime?
OTELLO	Tu cospiri contro il tuo amico, Iago, Se solo lo credi offeso e rendi il suo orecchio Straniero ai tuoi pensieri.
IAGO	Vi supplico, Benché io forse sia vizioso nel congetturare— Ché confesso essere la piaga della mia natura Spiare gli abusi, e spesso la mia gelosia Foggia colpe che non sono—che la vostra saggezza allora, Da uno che così imperfettamente concepisce, Non prendesse nota, né si costruisse un travaglio Dalla sua sparsa e malsicura osservazione. Non sarebbe per la vostra quiete né per il vostro bene, Né per la mia virilità, onestà e saggezza, Farvi conoscere i miei pensieri.
OTELLO	Che intendi?
IAGO	Il buon nome nell’uomo e nella donna, mio caro signore, È il gioiello più immediato delle loro anime. Chi mi ruba la borsa ruba spazzatura; è qualcosa, nulla; Era mia, è sua, ed è stata schiava di migliaia. Ma chi mi sottrae il mio buon nome Mi deruba di ciò che non arricchisce lui E fa me davvero povero.
OTELLO	Per il cielo, conoscerò i tuoi pensieri.
IAGO	Non potete, foss’anche il mio cuore nella vostra mano; Né potrete finché è in mia custodia.
OTELLO	Ah!
IAGO	Oh, guardatevi, mio signore, dalla gelosia. È il mostro dagli occhi verdi che schernisce La carne di cui si nutre. Vive beato quel becco Che, certo della sua sorte, non ama chi lo offende. Ma oh, quali dannati minuti conta Chi adora eppure dubita, sospetta eppure teneramente ama!
OTELLO	Oh, miseria!
IAGO	Povero e contento è ricco, e ricco abbastanza, Ma ricchezza senza fine è povera come l’inverno Per chi sempre teme di dover essere povero. Buon Dio, difendi le anime di tutta la mia stirpe Dalla gelosia!
OTELLO	Ma perché, perché questo? Credi tu ch’io farei una vita di gelosia, Per seguire sempre le mutazioni della luna Con nuovi sospetti? No, essere una volta nel dubbio È essere una volta risoluto. Barattami con un capro Quando volgerò l’affare della mia anima A tali gonfie e vane congetture Pari alla tua illazione. Non mi fa geloso Dire che mia moglie è bella, mangia bene, ama la compagnia, È libera nel parlare, canta, suona e danza bene. Dov’è virtù, queste cose sono più virtuose, Né dai miei deboli meriti trarrò Il minimo timore o dubbio della sua rivolta, Ché aveva occhi e scelse me. No, Iago, Vedrò prima di dubitare; quando dubiterò, proverò; E sulla prova, non c’è altro che questo: Via d’un colpo amore o gelosia.
IAGO	Di ciò mi rallegro, ché ora avrò ragione Di mostrare l’amore e il dovere che vi porto Con più franco animo. Perciò, come sono tenuto, Ricevetelo da me. Non parlo ancora di prove. Badate a vostra moglie. Osservatela bene con Cassio. Portate gli occhi così: né gelosi, né sicuri. Non vorrei che la vostra libera e nobile natura Per propria generosità fosse abusata. Badateci. Conosco bene l’indole del nostro paese. A Venezia lasciano che Dio veda i giochi Che non osano mostrare ai mariti; la loro migliore coscienza Non è di lasciarlo non fatto, ma di tenerlo ignoto.
OTELLO	Dici così?
IAGO	Ella ingannò suo padre, sposando voi, E quando pareva tremare e temere i vostri sguardi Li amava di più.
OTELLO	E così fece.
IAGO	Ebbene, andiamo, dunque. Colei che così giovane seppe dare tale apparenza, Da cucire gli occhi del padre stretti come quercia, Ch’egli credette fosse stregoneria! Ma io ho gran colpa. Umilmente vi supplico del vostro perdono Per amarvi troppo.
OTELLO	Ti sono obbligato per sempre.
IAGO	Vedo che ciò vi ha un poco abbattuto lo spirito.
OTELLO	Neppure un briciolo, neppure un briciolo.
IAGO	In fede, temo di sì. Spero che considererete che ciò ch’è detto Viene dal mio amore. Ma vedo bene che siete turbato. Devo pregarvi di non forzare il mio discorso A più grossolane conseguenze, né a portata più larga Che al sospetto.
OTELLO	Non lo farò.
IAGO	Se lo faceste, mio signore, Il mio discorso cadrebbe in tanto vile esito Cui i miei pensieri non miravano. Cassio è mio degno amico. Mio signore, vedo che siete turbato.
OTELLO	No, non molto turbato. Non posso non credere che Desdemona sia onesta.
IAGO	Lungamente viva ella così, e lungamente viviate voi per crederlo!
OTELLO	E tuttavia come la natura, errando da se stessa—
IAGO	Sì, questo è il punto; poiché, per esser ardito con voi, Non gradire tanti partiti proposti Del suo stesso clima, colore e grado, Verso cui vediamo in ogni cosa tendere la natura. Puah, si può fiutare in tal volere qualcosa di rancido, Turpi sproporzioni, pensieri contro natura! Ma perdonatemi. Non intendo in tesi Parlare distintamente di lei, benché io possa temere Che il suo volere, rinculando al miglior giudizio, Possa venire a paragonarvi con le forme del suo paese E per avventura pentirsi.
OTELLO	Addio, addio. Se altro percepisci, fammi sapere di più. Metti tua moglie a osservare. Lasciami, Iago.
IAGO	(uscendo) Mio signore, mi accomiato.
OTELLO	Perché mi sposai? Questa onesta creatura senza dubbio Vede e sa di più, molto di più, di quanto svela.
IAGO	(tornando) Mio signore, vorrei poter supplicare il vostro onore Di non scrutare oltre questa cosa. Lasciatela al tempo. Benché sia giusto che Cassio abbia il suo posto— Ché certo lo riempie con grande abilità— Pure, se vi piace tenerlo discosto un poco, Da ciò potrete scorgere lui e i suoi mezzi. Notate se la vostra signora insista per il suo reintegro Con qualche forte o veemente importunità. Molto si vedrà in questo. Nel tempo di mezzo, Sia pure io creduto troppo affaccendato nei miei timori— Come ho degna ragione di temere di essere— E tenetela innocente, ve ne supplico, vostro onore.
OTELLO	Non temere del mio dominio di me.
IAGO	Ancora una volta mi accomiato.
(didascalia)	Esce
OTELLO	Costui è d’onestà eccellente, E conosce tutte le qualità con dotto spirito Delle umane relazioni. Se la provo falca selvatica, Fossero pure i suoi geti le corde care del mio cuore La fischierei via e la lascerei andare col vento A predare a caso. Forse perché sono nero, E non ho quelle morbide arti di conversazione Che hanno i damerini; o perché sono declinato Nella valle degli anni—pur non è molto— Ella è perduta. Sono ingannato, e il mio sollievo Dev’essere odiarla. Oh maledizione del matrimonio, Che possiamo dire nostre queste delicate creature E non i loro appetiti! Preferirei essere un rospo E vivere del vapore d’una segreta Che serbare un cantuccio nella cosa che amo Per l’uso altrui. Pure è la piaga dei grandi; Meno privilegiati sono essi dei vili. È destino inevitabile, come la morte. Fin d’allora questa piaga forcuta ci è fatale Quando prendiamo vita.
(didascalia)	Entrano Desdemona ed Emilia
OTELLO	Ecco che viene. S’ella è falsa, oh, allora il cielo schernisce se stesso! Non lo crederò.
DESDEMONA	Ebbene, mio caro Otello? Il vostro pranzo, e i generosi isolani Da voi invitati, attendono la vostra presenza.
OTELLO	Ho colpa.
DESDEMONA	Perché parlate così fiocamente? Non state bene?
OTELLO	Ho un dolore qui sulla fronte.
DESDEMONA	In fede, è per le veglie. Passerà. Lasciate solo ch’io lo fasci stretto, entro un’ora Sarà bene.
OTELLO	Il vostro fazzoletto è troppo piccolo. Allontana da sé il fazzoletto. Cade. Lascialo stare. Venite, entrerò con voi.
DESDEMONA	Mi dispiace molto che non stiate bene.
(didascalia)	Escono Otello e Desdemona
EMILIA	(raccogliendo il fazzoletto) Sono lieta d’aver trovato questo fazzoletto. Fu il primo ricordo che ebbe dal Moro. Il mio bizzarro marito cento volte Mi ha pregata di rubarlo, ma ella tanto ama il pegno— Ché egli le fece giurare di serbarlo sempre— Che se lo tiene sempre addosso Per baciarlo e parlargli. Ne farò copiare il ricamo, E lo darò a Iago. Che cosa ne farà, Il cielo lo sa, non io. Io nulla, se non compiacere il suo capriccio.
(didascalia)	Entra Iago
IAGO	Ebbene, che fai qui sola?
EMILIA	Non sgridarmi. Ho una cosa per te.
IAGO	Hai una cosa per me? È una cosa comune.
EMILIA	Eh?
IAGO	Avere una moglie sciocca.
EMILIA	Oh, è tutto qui? Che mi darai ora Per quel certo fazzoletto?
IAGO	Quale fazzoletto?
EMILIA	Quale fazzoletto? Ma quello che il Moro diede per primo a Desdemona, Quello che tante volte mi ordinasti di rubare.
IAGO	Gliel’hai rubato?
EMILIA	No, in fede, l’ha lasciato cadere per negligenza, E cogliendo l’occasione io, essendo qui, l’ho raccolto. Guarda, eccolo.
IAGO	Brava ragazza! Dammelo.
EMILIA	Che ne farai, tu che sei stato tanto insistente Perché io lo sgraffignassi?
IAGO	Ma che t’importa? Le toglie il fazzoletto
EMILIA	Se non è per qualche scopo d’importanza, Rendimelo. Povera signora, impazzirà Quando le mancherà.
IAGO	Non darlo a vedere. Me ne servo. Va’, lasciami.
(didascalia)	Esce Emilia
IAGO	Perderò questo fazzoletto nell’alloggio di Cassio, E lascerò che lo trovi. Inezie leggere come l’aria Sono per il geloso conferme forti Come prove della sacra scrittura. Questo può fare qualcosa. Il Moro già muta col mio veleno. I concetti pericolosi sono per natura veleni, Che sul principio a stento si trovano sgraditi, Ma, con un poco d’azione sul sangue, Bruciano come le miniere di zolfo.
(didascalia)	Entra Otello
IAGO	L’avevo detto. Ecco che viene. Né papavero né mandragora Né tutti i sonniferi sciroppi del mondo Ti daranno mai per medicina quel dolce sonno Che possedevi ieri.
OTELLO	Ah, ah, falsa con me?
IAGO	Ebbene, come, generale? Basta con questo.
OTELLO	Via, vattene. Mi hai messo alla tortura. Giuro che è meglio essere molto ingannati Che saperne appena un poco.
IAGO	Ebbene, mio signore?
OTELLO	Che sentore avevo io delle sue ore rubate di lussuria? Non lo vidi, non lo pensai; non mi fece male. Dormii bene la notte seguente, mangiai bene, ero libero e allegro. Non trovai i baci di Cassio sulle sue labbra. Chi è derubato, non sentendo il bisogno di ciò che gli è tolto, Non lo sappia e non è derubato affatto.
IAGO	Mi duole udire questo.
OTELLO	Sarei stato felice se tutto il campo, Guastatori e ogni altro, avesse gustato il suo dolce corpo, Purché io nulla avessi saputo. Oh, ora per sempre Addio mente tranquilla, addio contentezza, Addio schiere piumate e grandi guerre Che fanno virtù l’ambizione! Oh, addio, Addio destriero nitrente e squillante tromba, Il tamburo che desta lo spirito, il piffero che trafigge l’orecchio, Il regale stendardo, e ogni pregio, Orgoglio, pompa e apparato della gloriosa guerra! E oh, voi macchine mortali le cui rozze gole Contraffanno i tremendi clamori dell’immortale Giove, Addio! Il mestiere di Otello è finito.
IAGO	È possibile, mio signore?
(didascalia)	OTELLO afferrando Iago alla gola
IAGO	Scellerato, bada di provare che il mio amore è una sgualdrina. Siine certo. Dammi la prova oculare, O, per il valore della mia eterna anima, Meglio sarebbe stato per te nascere cane Che rispondere alla mia ira destata.
IAGO	Si è giunti a questo?
OTELLO	Fammelo vedere, o almeno provalo così Che la prova non porti cardine né anello Cui appendere un dubbio, o guai alla tua vita.
IAGO	Mio nobile signore.
OTELLO	Se tu la calunni e mi torturi, Non pregare mai più; abbandona ogni rimorso, Sul capo dell’orrore accumula orrori, Compi atti da far piangere il cielo, stupita tutta la terra, Ché nulla puoi aggiungere alla dannazione Di maggiore di quello.
IAGO	Oh grazia, oh cielo perdonami! Siete un uomo? Avete anima o senno? Dio v’accompagni, prendetevi il mio ufficio. Oh misero folle, Che ami far della tua onestà un vizio! Oh mondo mostruoso, prendi nota, prendi nota, oh mondo, Essere schietti e onesti non è sicuro! Vi ringrazio di questo guadagno, e d’ora innanzi Non amerò amico alcuno, poiché l’amore genera tale offesa.
OTELLO	No, resta. Tu dovresti essere onesto.
IAGO	Dovrei essere saggio, ché l’onestà è una sciocca, E perde ciò per cui si adopera.
OTELLO	Per il mondo, Credo mia moglie onesta, e credo che non lo sia. Credo che tu sia giusto, e credo che non lo sia. Voglio qualche prova. Il mio nome, che era fresco Come il volto di Diana, è ora imbrattato e nero Come il mio stesso viso. Se ci sono corde, o coltelli, Veleno, o fuoco, o correnti che soffocano, Non lo sopporterò. Fossi soddisfatto!
IAGO	Vedo, signore, che siete divorato dalla passione. Mi pento d’avervelo detto. Vorreste essere soddisfatto?
OTELLO	Vorrei? No, e lo sarò.
IAGO	E potete. Ma come, come soddisfatto, mio signore? Vorreste voi, spettatore, star lì a bocca aperta, Vederla montata?
OTELLO	Morte e dannazione! Oh!
IAGO	Sarebbe tediosa difficoltà, credo, Portarli a quella vista. Siano dannati allora Se mai occhi mortali li vedono su un guanciale Che non sia il loro! Che dunque, come dunque? Che dirò? Dov’è la soddisfazione? È impossibile che vediate questo, Fossero pure focosi come capri, caldi come scimmie, Salaci come lupe in foia, e stolti tanto grossolani Quanto l’ignoranza ubriaca. Eppure io dico, Se imputazione, e forti circostanze Che conducono dritto alla porta della verità, Vi daranno soddisfazione, potreste averla.
OTELLO	Dammi una ragione viva ch’ella è sleale.
IAGO	Non mi piace l’ufficio, Ma poiché sono entrato tanto avanti in questa causa, Spintovi da sciocca onestà e da amore, Proseguirò. Di recente dormii con Cassio, E, essendo tormentato da un dente furioso, Non potevo dormire. Vi è una specie d’uomini Così sciolti d’anima che nel sonno Mormorano i loro affari. Uno di questi è Cassio. Nel sonno l’udii dire: ‘Dolce Desdemona, Siamo cauti, nascondiamo i nostri amori’, E poi, signore, mi stringeva e torceva la mano, Gridava ‘Oh, dolce creatura!’, poi mi baciava forte, Come se strappasse i baci per le radici, Che crescevano sulle mie labbra, posava la gamba sulla mia coscia, E sospirava, e baciava, e poi gridava ‘Sorte maledetta, Che ti diede al Moro!’
OTELLO	Oh, mostruoso, mostruoso!
IAGO	No, questo era solo il suo sogno.
OTELLO	Ma questo denotava un fatto già compiuto.
IAGO	È un sospetto acuto, benché sia solo un sogno, E questo può aiutare a infittire altre prove Che dimostrano debolmente.
OTELLO	La farò a pezzi.
IAGO	No, siate ancora saggio; ancora non vediamo nulla di compiuto. Ella può essere ancora onesta. Ditemi solo questo: Non avete talvolta veduto un fazzoletto Screziato di fragole nella mano di vostra moglie?
OTELLO	Gliene diedi uno simile. Fu il mio primo dono.
IAGO	Questo non lo so, ma con un tal fazzoletto— Sono certo che era di vostra moglie—oggi Ho visto Cassio asciugarsi la barba.
OTELLO	Se è quello—
IAGO	Se è quello, o un altro che fosse suo, Parla contro di lei con le altre prove.
OTELLO	Oh, avesse quello schiavo quarantamila vite! Una è troppo povera, troppo debole per la mia vendetta. Ora vedo ch’è vero. Guarda qui, Iago. Tutto il mio folle amore così soffio al cielo—è andato. Sorgi, nera vendetta, dal cavo inferno. Cedi, oh amore, la tua corona e il trono nel cuore All’odio tirannico! Gonfiati, petto, del tuo carico, Ché è di lingue d’aspide.
IAGO	Pure, acquietatevi.
OTELLO	Oh, sangue, sangue, sangue!
IAGO	Pazienza, vi dico. La vostra mente può mutare.
OTELLO	Mai, Iago. Come il Mar Pontico, La cui gelida corrente e corso irresistibile Non conosce mai riflusso che ritorni, ma tiene diritto Verso la Propontide e l’Ellesponto, Così i miei sanguinosi pensieri con violento passo Non guarderanno mai indietro, mai rifluiranno a umile amore, Finché una capace e vasta vendetta Non li inghiotta.
(didascalia)	S’inginocchia
OTELLO	Ora, per quel marmoreo cielo, Nella dovuta reverenza d’un sacro voto Qui impegno le mie parole.
IAGO	Non alzatevi ancora. Iago s’inginocchia Siate testimoni voi luci sempre ardenti lassù, Voi elementi che ci cingete d’ogni parte, Testimoniate che qui Iago consegna L’esecuzione del suo ingegno, delle mani, del cuore Al servizio dell’offeso Otello. Ch’egli comandi, E obbedire sarà in me pietà, Qualunque sanguinosa impresa.
(didascalia)	Si alzano
OTELLO	Saluto il tuo amore, Non con vani ringraziamenti, ma con generosa accettazione, E all’istante ti metterò alla prova.
(didascalia)	Entro questi tre giorni ch’io ti oda dire
OTELLO	Che Cassio non è più vivo.
IAGO	Il mio amico è morto. È fatto a vostra richiesta; ma lasciate ch’ella viva.
OTELLO	Sia dannata, sfacciata baldracca! Oh, sia dannata, sia dannata! Vieni, appartati con me. Mi ritirerò Per procurarmi qualche rapido mezzo di morte Per il bel diavolo. Ora sei tu il mio luogotenente.
IAGO	Sono vostro per sempre.
(didascalia)	Escono

Speaker	Line
(didascalia)	Enter Desdemona, Emilia, and the Clown
DESDEMONA	Do you know, sirrah, where Lieutenant Cassio lies?
CLOWN	I dare not say he lies anywhere.
DESDEMONA	Why, man?
CLOWN	He’s a soldier, and for me to say a soldier lies, ’tis stabbing.
DESDEMONA	Go to. Where lodges he?
CLOWN	To tell you where he lodges is to tell you where I lie.
DESDEMONA	Can anything be made of this?
CLOWN	I know not where he lodges, and for me to devise a lodging and say he lies here, or he lies there, were to lie in mine own throat.
DESDEMONA	Can you enquire him out, and be edified by report?
CLOWN	I will catechize the world for him; that is, make questions, and by them answer.
DESDEMONA	Seek him, bid him come hither, tell him I have moved my lord on his behalf, and hope all will be well.
CLOWN	To do this is within the compass of man’s wit, and therefore I will attempt the doing it.
(didascalia)	Exit
DESDEMONA	Where should I lose the handkerchief, Emilia?
EMILIA	I know not, madam.
DESDEMONA	Believe me, I had rather have lost my purse Full of crusadoes, and but my noble Moor Is true of mind, and made of no such baseness As jealous creatures are, it were enough To put him to ill thinking.
EMILIA	Is he not jealous?
DESDEMONA	Who, he? I think the sun where he was born Drew all such humours from him.
(didascalia)	Enter Othello
EMILIA	Look where he comes.
DESDEMONA	I will not leave him now till Cassio Be called to him. How is’t with you, my lord?
OTHELLO	Well, my good lady. (Aside) O hardness to dissemble!— How do you, Desdemona?
DESDEMONA	Well, my good lord.
OTHELLO	Give me your hand. This hand is moist, my lady.
DESDEMONA	It hath felt no age, nor known no sorrow.
OTHELLO	This argues fruitfulness and liberal heart. Hot, hot and moist—this hand of yours requires A sequester from liberty; fasting, and prayer, Much castigation, exercise devout, For here’s a young and sweating devil here That commonly rebels. ’Tis a good hand, A frank one.
DESDEMONA	You may indeed say so, For ’twas that hand that gave away my heart.
OTHELLO	A liberal hand. The hearts of old gave hands, But our new heraldry is hands, not hearts.
DESDEMONA	I cannot speak of this. Come now, your promise.
OTHELLO	What promise, chuck?
DESDEMONA	I have sent to bid Cassio come speak with you.
OTHELLO	I have a salt and sorry rheum offends me. Lend me thy handkerchief.
DESDEMONA	(offering a handkerchief) Here, my lord.
OTHELLO	That which I gave you.
DESDEMONA	I have it not about me.
OTHELLO	Not?
DESDEMONA	No, faith, my lord.
OTHELLO	That’s a fault. That handkerchief Did an Egyptian to my mother give. She was a charmer, and could almost read The thoughts of people. She told her, while she kept it ’Twould make her amiable, and subdue my father Entirely to her love; but if she lost it, Or made a gift of it, my father’s eye Should hold her loathèd, and his spirits should hunt After new fancies. She, dying, gave it me, And bid me, when my fate would have me wived, To give it her. I did so, and take heed on’t. Make it a darling, like your precious eye. To lose’t or give’t away were such perdition As nothing else could match.
DESDEMONA	Is’t possible?
OTHELLO	’Tis true. There’s magic in the web of it. A sibyl that had numbered in the world The sun to course two hundred compasses In her prophetic fury sewed the work. The worms were hallowed that did breed the silk, And it was dyed in mummy, which the skilful Conserved of maidens’ hearts.
DESDEMONA	I’faith, is’t true?
OTHELLO	Most veritable. Therefore look to’t well.
DESDEMONA	Then would to God that I had never seen it!
OTHELLO	Ha, wherefore?
DESDEMONA	Why do you speak so startingly and rash?
OTHELLO	Is’t lost? Is’t gone? Speak, is’t out o’th’ way?
DESDEMONA	Heaven bless us!
OTHELLO	Say you?
DESDEMONA	It is not lost, but what an if it were?
OTHELLO	HOW?
DESDEMONA	I say it is not lost.
OTHELLO	Fetch’t, let me see’t.
DESDEMONA	Why, so I can, sir, but I will not now. This is a trick to put me from my suit. Pray you let Cassio be received again.
OTHELLO	Fetch me the handkerchief. My mind misgives.
DESDEMONA	Come, come, you’ll never meet a more sufficient man.
OTHELLO	The handkerchief.
DESDEMONA	I pray, talk me of Cassio.
OTHELLO	The handkerchief.
DESDEMONA	A man that all his time Hath founded his good fortunes on your love, Shared dangers with you—
OTHELLO	The handkerchief.
DESDEMONA	I’faith, you are to blame.
OTHELLO	’Swounds! Exit
EMILIA	Is not this man jealous?
DESDEMONA	I ne’er saw this before. Sure there’s some wonder in this handkerchief. I am most unhappy in the loss of it.
EMILIA	’Tis not a year or two shows us a man. They are all but stomachs, and we all but food. They eat us hungrily, and when they are full, They belch us.
(didascalia)	Enter Iago and Cassio
EMILIA	Look you, Cassio and my husband.
IAGO	(to Cassio) There is no other way. ‘Tis she must do’t, And lo, the happiness! Go and importune her.
DESDEMONA	How now, good Cassio? What’s the news with you?
CASSIO	Madam, my former suit. I do beseech you That by your virtuous means I may again Exist and be a member of his love Whom I, with all the office of my heart, Entirely honour. I would not be delayed. If my offence be of such mortal kind That nor my service past, nor present sorrows, Nor purposed merit in futurity Can ransom me into his love again, But to know so must be my benefit. So shall I clothe me in a forced content, And shut myself up in some other course To fortune’s alms.
DESDEMONA	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 altered. 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 a while be patient. What I can do I will, and more I will Than for myself I dare. Let that suffice you.
IAGO	Is my lord angry?
EMILIA	He went hence but now, And certainly in strange unquietness.
IAGO	Can he be angry? I have seen the cannon When it hath blown his ranks into the air, And, like the devil, from his very arm Puffed his own brother; and is he angry? Something of moment then. I will go meet him. There’s matter in’t indeed, if he be angry.
DESDEMONA	I prithee do so.
(didascalia)	Exit Iago
DESDEMONA	Something sure of state, Either from Venice or some unhatched practice Made demonstrable here in Cyprus to him, Hath puddled his clear spirit; and in such cases Men’s natures wrangle with inferior things, Though great ones are their object. ’Tis even so; For let our finger ache and it indues Our other, healthful members even to a sense Of pain. Nay, we must think men are not gods, Nor of them look for such observancy 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 suborned the witness, And he’s indicted falsely.
EMILIA	Pray heaven it be State matters, as you think, and no conception Nor no jealous toy concerning you.
DESDEMONA	Alas the day, I never gave him cause.
EMILIA	But jealous souls will not be answered so. They are not ever jealous for the cause, But jealous for they’re jealous. It is a monster Begot upon itself, born on itself.
DESDEMONA	Heaven keep the monster from Othello’s mind.
EMILIA	Lady, amen.
DESDEMONA	I will go seek him. Cassio, walk here about. If I do find him fit I’ll move your suit, And seek to effect it to my uttermost.
CASSIO	I humbly thank your ladyship.
(didascalia)	Exeunt Desdemona and Emilia
(didascalia)	Enter Bianca
BIANCA	Save you, friend Cassio.
CASSIO	What make you from home? How is’t with you, my most fair Bianca? I’faith, sweet love, I was coming to your house.
BIANCA	And I was going to your lodging, Cassio. What, keep a week away? Seven days and nights, Eightscore-eight hours, and lovers’ absent hours More tedious than the dial eightscore times! O weary reckoning!
CASSIO	Pardon me, Bianca, I have this while with leaden thoughts been pressed, But I shall in a more continuate time Strike off this score of absence. Sweet Bianca, Take me this work out. He gives her Desdemona’s napkin
BIANCA	O Cassio, whence came this? This is some token from a newer friend. To the felt absence now I feel a cause. Is’t come to this? Well, well.
CASSIO	Go to, woman. Throw your vile guesses in the devil’s teeth, From whence you have them. You are jealous now That this is from some mistress, some remembrance. No, by my faith, Bianca.
BIANCA	Why, whose is it?
CASSIO	I know not, neither. I found it in my chamber. I like the work well. Ere it be demanded— As like enough it witt—I would have it copied. Take it, and do’t, and leave me for this time.
BIANCA	Leave you? Wherefore?
CASSIO	I do attend here on the general, And think it no addition, nor my wish, To have him see me womaned.
BIANCA	Why, I pray you?
CASSIO	Not that I love you not.
BIANCA	But that you do not love me. I pray you bring me on the way a little, And say if I shall see you soon at night.
CASSIO	’Tis but a little way that I can bring you, For I attend here; but I’ll see you soon.
BIANCA	’Tis very good. I must be circumstanced. Exeunt

Chi parla	Battuta
(didascalia)	Entrano Desdemona, Emilia e il Buffone
DESDEMONA	Sai tu, messere, dove giace il luogotenente Cassio?
BUFFONE	Non oso dire che giaccia in nessun luogo.
DESDEMONA	E perché, brav’uomo?
BUFFONE	È un soldato, e ch’io dica che un soldato mente, è cosa da pugnalate.
DESDEMONA	Andiamo. Dove alloggia?
BUFFONE	Dirvi dov’egli alloggia sarebbe dirvi dove io mento.
DESDEMONA	Si può cavare qualcosa da tutto questo?
BUFFONE	Non so dove alloggi, e ch’io inventi un alloggio e dica che giace qui, o che giace là, sarebbe mentire per la gola.
DESDEMONA	Sapresti informarti di lui, e farti edotto per relazione altrui?
BUFFONE	Catechizzerò il mondo per lui; vale a dire, farò domande, e per mezzo loro risponderò.
DESDEMONA	Cercalo, digli che venga qui, digli che ho mosso il mio signore in suo favore, e che spero tutto andrà bene.
BUFFONE	Fare ciò rientra nella portata dell’ingegno umano, e perciò tenterò di farlo.
(didascalia)	Esce
DESDEMONA	Dove mai posso aver perduto il fazzoletto, Emilia?
EMILIA	Non lo so, madonna.
DESDEMONA	Credimi, avrei preferito perdere la mia borsa colma di crociati; e se il mio nobile Moro non fosse leale d’animo, e fatto di nessuna bassezza quale hanno le creature gelose, basterebbe a indurlo a mal pensare.
EMILIA	Non è geloso?
DESDEMONA	Chi, lui? Credo che il sole dov’egli nacque gli abbia tratto di corpo tutti codesti umori.
(didascalia)	Entra Otello
EMILIA	Guardate, eccolo che viene.
DESDEMONA	Non lo lascerò ora, finché Cassio non sia richiamato a lui. Come state, mio signore?
OTELLO	Bene, mia buona signora. (A parte) Oh, com’è duro fingere!— Come state voi, Desdemona?
DESDEMONA	Bene, mio buon signore.
OTELLO	Datemi la vostra mano. Questa mano è umida, signora.
DESDEMONA	Non ha sentito età, né conosciuto dolore.
OTELLO	Ciò argomenta fecondità e cuore generoso. Calda, calda e umida—questa vostra mano richiede un sequestro dalla libertà; digiuno e preghiera, molta mortificazione, esercizio devoto, ché qui c’è un giovane e sudante diavolo che spesso si ribella. È una buona mano, una mano franca.
DESDEMONA	Ben potete dirlo, ché fu quella mano a donare il mio cuore.
OTELLO	Una mano generosa. I cuori un tempo davano le mani, ma la nostra nuova araldica è mani, non cuori.
DESDEMONA	Non so parlare di questo. Suvvia, la vostra promessa.
OTELLO	Quale promessa, pulcina?
DESDEMONA	Ho mandato a dire a Cassio che venga a parlarvi.
OTELLO	Ho un salso e molesto raffreddore che mi tormenta. Prestami il tuo fazzoletto.
DESDEMONA	(porgendo un fazzoletto) Eccolo, mio signore.
OTELLO	Quello che vi diedi io.
DESDEMONA	Non l’ho con me.
OTELLO	No?
DESDEMONA	No, in fede mia, mio signore.
OTELLO	Questo è un fallo. Quel fazzoletto lo diede a mia madre un’egiziana. Era una maga, e sapeva quasi leggere i pensieri della gente. Le disse che, finché lo serbasse, l’avrebbe resa amabile, e avrebbe soggiogato mio padre interamente al suo amore; ma se l’avesse perduto, o ne avesse fatto dono, l’occhio di mio padre l’avrebbe tenuta in odio, e il suo spirito avrebbe dato caccia a nuove fantasie. Ella, morendo, me lo diede, e mi disse, quando il mio destino m’avesse dato moglie, di darlo a lei. Così feci, e abbine cura. Fanne il tuo tesoro, come il tuo occhio prezioso. Perderlo o donarlo sarebbe tal perdizione che nulla altro potrebbe eguagliare.
DESDEMONA	È possibile?
OTELLO	È vero. C’è magia nella sua trama. Una sibilla che aveva numerato nel mondo duecento giri del corso del sole nel suo furore profetico ne cucì il ricamo. Furono consacrati i vermi che filarono la seta, e fu tinto in mummia, che l’esperta mano conservò da cuori di vergini.
DESDEMONA	In fede mia, è vero?
OTELLO	Verissimo. Perciò custoditelo bene.
DESDEMONA	Allora volesse Dio che non l’avessi mai veduto!
OTELLO	Ah, e perché?
DESDEMONA	Perché parlate in modo così brusco e violento?
OTELLO	È perduto? È sparito? Parlate, è andato smarrito?
DESDEMONA	Il cielo ci assista!
OTELLO	Che dite?
DESDEMONA	Non è perduto; ma se pure lo fosse?
OTELLO	COME?
DESDEMONA	Dico che non è perduto.
OTELLO	Va’ a prenderlo, fammelo vedere.
DESDEMONA	Ma sì che posso, signore, ma non ora. Questo è un artificio per distogliermi dalla mia richiesta. Vi prego, che Cassio sia riaccolto.
OTELLO	Portami il fazzoletto. L’animo mi presagisce male.
DESDEMONA	Suvvia, suvvia, non troverete mai uomo più capace.
OTELLO	Il fazzoletto.
DESDEMONA	Vi prego, parlatemi di Cassio.
OTELLO	Il fazzoletto.
DESDEMONA	Un uomo che per tutto il suo tempo ha fondato le sue buone fortune sul vostro amore, ha diviso con voi i pericoli—
OTELLO	Il fazzoletto.
DESDEMONA	In fede mia, avete torto.
OTELLO	Sangue di Cristo! Esce
EMILIA	Non è geloso quest’uomo?
DESDEMONA	Non l’avevo mai visto così. Certo c’è qualche prodigio in questo fazzoletto. Sono infelicissima d’averlo perduto.
EMILIA	Non è un anno o due che ci rivela un uomo. Non sono che stomaci, e noi non siamo che cibo. Ci divorano avidamente, e quando son sazi, ci rigettano.
(didascalia)	Entrano Iago e Cassio
EMILIA	Guardate, Cassio e mio marito.
IAGO	(a Cassio) Non c’è altra via. È lei che deve farlo, ed ecco la fortuna! Va’ e importunala.
DESDEMONA	Ebbene, buon Cassio? Che nuove recate?
CASSIO	Madonna, la mia richiesta d’un tempo. Vi supplico che per i vostri virtuosi mezzi io possa di nuovo esistere ed esser parte dell’amore di colui che io, con tutto l’ufficio del mio cuore, interamente onoro. Non vorrei essere differito. Se la mia colpa è di tal mortale natura che né il mio servizio passato, né i presenti dolori, né il merito che mi propongo nel futuro possano riscattarmi nel suo amore, saperlo pur sarà mio beneficio. Così mi vestirò d’una forzata contentezza, e mi rinchiuderò in qualche altro cammino all’elemosina della fortuna.
DESDEMONA	Ahimè, tre volte gentile Cassio! La mia intercessione non è ora in accordo. Il mio signore non è il mio signore, né lo riconoscerei se fosse mutato d’aspetto come è mutato d’umore. Così mi aiuti ogni spirito santificato com’è vero che ho parlato per voi con tutte le mie forze, e mi son messa nel bersaglio del suo dispiacere per il mio libero parlare! Dovete per un poco esser paziente. Ciò che posso fare farò, e più farò di quanto per me stessa oserei. Ciò vi basti.
IAGO	Il mio signore è in collera?
EMILIA	È uscito or ora di qui, e certo in strana inquietudine.
IAGO	Può egli essere in collera? Ho visto il cannone quando ha scagliato in aria le sue file, e, come il diavolo, dal suo stesso braccio ha soffiato via il proprio fratello; ed è in collera? Qualcosa di grave, allora. Vado a incontrarlo. C’è davvero materia, se egli è in collera.
DESDEMONA	Ti prego, fallo.
(didascalia)	Esce Iago
DESDEMONA	Certo qualche affare di stato, o da Venezia o qualche trama non ancora schiusa qui a Cipro resagli manifesta, ha intorbidato il suo limpido spirito; e in tali casi le nature degli uomini contendono con cose inferiori, benché le grandi ne siano l’oggetto. È proprio così; ché basta che ci dolga un dito e ne trasmette alle altre nostre membra sane perfino un senso di dolore. No, dobbiamo pensare che gli uomini non son dèi, né aspettarci da loro quei riguardi che si convengono alle nozze. Molto mi rimprovero, Emilia, io stavo—guerriera sconveniente quale sono— accusando la sua scortesia con la mia anima; ma ora m’accorgo che avevo subornato il testimone, ed egli è incriminato falsamente.
EMILIA	Voglia il cielo che siano faccende di stato, come pensate, e non qualche fantasia né qualche geloso capriccio che vi riguardi.
DESDEMONA	Ahimè, non gliene diedi mai motivo.
EMILIA	Ma le anime gelose non si contentano di questo. Non son mai gelose per una causa, ma gelose perché son gelose. È un mostro generato da sé, nato da sé.
DESDEMONA	Il cielo tenga il mostro lontano dalla mente di Otello.
EMILIA	Signora, amen.
DESDEMONA	Andrò a cercarlo. Cassio, passeggiate qui intorno. Se lo trovo ben disposto muoverò la vostra richiesta, e cercherò di condurla a effetto con tutte le mie forze.
CASSIO	Ringrazio umilmente vostra signoria.
(didascalia)	Escono Desdemona ed Emilia
(didascalia)	Entra Bianca
BIANCA	Dio ti salvi, amico Cassio.
CASSIO	Che fai lontana da casa? Come stai, mia bellissima Bianca? In fede mia, dolce amore, stavo venendo a casa tua.
BIANCA	E io stavo andando al tuo alloggio, Cassio. Come, restar via una settimana? Sette giorni e notti, centosessantotto ore, e le ore d’assenza degli amanti più tediose del quadrante centosessanta volte! Oh, stanco computo!
CASSIO	Perdonami, Bianca, in questo tempo sono stato oppresso da plumbei pensieri, ma in un tempo più continuato salderò questo conto d’assenza. Dolce Bianca, ricopiami questo ricamo. Le dà il fazzoletto di Desdemona
BIANCA	Oh Cassio, donde viene questo? Questo è qualche pegno d’una nuova amica. All’assenza sentita ora ne sento la causa. Siamo giunti a questo? Bene, bene.
CASSIO	Andiamo, donna. Getta i tuoi vili sospetti in faccia al diavolo, donde li hai tratti. Ora sei gelosa che questo venga da qualche amante, da qualche ricordo. No, sulla mia fede, Bianca.
BIANCA	E allora di chi è?
CASSIO	Non lo so neppure io. L’ho trovato nella mia camera. Il ricamo mi piace bene. Prima che sia richiesto— com’è assai probabile che sia—vorrei che fosse copiato. Prendilo, e fallo, e lasciami per questa volta.
BIANCA	Lasciarti? E perché?
CASSIO	Attendo qui il generale, e non credo sia a mio vantaggio, né lo desidero, ch’egli mi veda in compagnia di donna.
BIANCA	E perché mai, di grazia?
CASSIO	Non che io non ti ami.
BIANCA	Ma che tu non mi ami. Ti prego, accompagnami un poco per la strada, e dimmi se ti vedrò presto questa notte.
CASSIO	È solo un breve tratto che posso accompagnarti, ché sono di servizio qui; ma ti vedrò presto.
BIANCA	Sta molto bene. Devo adattarmi alle circostanze. Escono

Speaker	Line
(didascalia)	Enter Iago and Othello
IAGO	Will you think so?
OTHELLO	Think so, Iago?
IAGO	What, to kiss in private?
OTHELLO	An unauthorized kiss.
IAGO	Or to be naked with her friend in bed An hour or more, not meaning any harm?
OTHELLO	Naked in bed, Iago, and not mean harm? It is hypocrisy against the devil. They that mean virtuously and yet do so, The devil their virtue tempts, and they tempt heaven.
IAGO	If they do nothing, ’tis a venial slip. But if I give my wife a handkerchief—
OTHELLO	What then?
IAGO	Why then, ’tis hers, my lord, and being hers, She may, I think, bestow’t on any man.
OTHELLO	She is protectress of her honour, too. May she give that?
IAGO	Her honour is an essence that’s not seen. They have it very oft that have it not. But for the handkerchief—
OTHELLO	By heaven, I would most gladly have forgot it. Thou said‘st—O, it comes o’er my memory As doth the raven o’er the infectious house, Boding to all!—he had my handkerchief.
IAGO	Ay, what of that?
OTHELLO	That’s not so good now.
IAGO	What if I had said I had seen him do you wrong, Or heard him say—as knaves be such abroad, Who having by their own importunate suit Or voluntary dotage of some mistress Convinced or supplied them, cannot choose But they must blab—
OTHELLO	Hath he said anything?
IAGO	He hath, my lord. But, be you well assured, No more than he’ll unswear.
OTHELLO	What hath he said?
IAGO	Faith, that he did—I know not what he did.
OTHELLO	What, what?
IAGO	Lie—
OTHELLO	With her?
IAGO	With her, on her, what you will.
OTHELLO	Lie with her? Lie on her? We say ‘lie on her’ when they belie her. Lie with her? ’Swounds, that’s fulsome! Handkerchief—confessions—hankerchief. 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 instruction. It is not words that shakes me thus. Pish! Noses, ears, and lips! Is’t possible? Confess? Handkerchief? O devil! He falls down in a trance
IAGO	Work on; my medicine works. Thus credulous fools are caught, And many worthy and chaste dames even thus, All guiltless, meet reproach. What ho, my lord! My lord, I say. Othello!
(didascalia)	Enter Cassio
IAGO	How now, Cassio?
CASSIO	What’s the matter?
IAGO	My lord is fall’n into an epilepsy. This is his second fit. He had one yesterday.
CASSIO	Rub him about the temples.
IAGO	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, He will recover straight. When he is gone I would on great occasion speak with you.
(didascalia)	Exit Cassio
IAGO	How is it, general? Have you not hurt your head?
OTHELLO	Dost thou mock me?
IAGO	I mock you not, by heaven. Would you would bear your fortune like a man.
OTHELLO	A hornèd man’s a monster and a beast.
IAGO	There’s many a beast then in a populous city, And many a civil monster.
OTHELLO	Did he confess it?
IAGO	Good sir, be a man. Think every bearded fellow that’s but yoked May draw with you. There’s millions now alive 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 And to suppose her chaste! No, let me know, And knowing what I am, I know what she shall be.
OTHELLO	O, thou art wise, ’tis certain.
IAGO	Stand you a while apart. Confine yourself but in a patient list. Whilst you were here, o‘erwhelmèd with your grief— A passion most unsuiting such a man— Cassio came hither. I shifted him away, And laid good ’scuse upon your ecstasy, Bade him anon return and here speak with me, The which he promised. Do but encave yourself, And mark the fleers, the gibes and notable scorns That dwell in every region of his face. For I will make him tell the tale anew, Where, how, how oft, how long ago, and when He hath and is again to cope your wife. I say, but mark his gesture. Marry, patience, Or I shall say you’re all-in-all in spleen, And nothing of a man.
OTHELLO	Dost thou hear, Iago? I will be found most cunning in my patience, But—dost thou hear?—most bloody.
IAGO	That’s not amiss, But yet keep time in all. Will you withdraw? Othello stands apart Now will I question Cassio of Bianca, A hussy that by selling her desires Buys herself bread and cloth. It is a creature That dotes on Cassio—as ’tis the strumpet’s plague To beguile many and be beguiled by one. He, when he hears of her, cannot restrain From the excess of laughter.
(didascalia)	Enter Cassio
IAGO	Here he comes. As he shall smile, Othello shall go mad; And his unbookish jealousy must conster Poor Cassio’s smiles, gestures, and light behaviours Quite in the wrong. How do you now, lieutenant?
CASSIO	The worser that you give me the addition Whose want even kills me.
IAGO	Ply Desdemona well and you are sure on’t. Now, if this suit lay in Bianca’s power, How quickly should you speed!
CASSIO	(laughing) Alas, poor caitiff!
OTHELLO	(aside) Look how he laughs already.
IAGO	I never knew a woman love man so.
CASSIO	Alas, poor rogue! I think i’faith she loves me.
OTHELLO	(aside) Now he denies it faintly, and laughs it out.
IAGO	Do you hear, Cassio?
OTHELLO	(aside) 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. Do you intend it?
CASSIO	Ha, ha, ha!
OTHELLO	(aside) Do ye triumph, Roman, do you triumph?
CASSIO	I marry! What, a customer? Prithee, bear some charity to my wit—do not think it so unwholesome. Ha, ha, ha!
OTHELLO	(aside) So, so, so, so. They laugh that wins.
IAGO	Faith, the cry goes that you marry her.
CASSIO	Prithee, say true.
IAGO	I am a very villain else.
OTHELLO	(aside) Ha’ you scored me? Well. 125
CASSIO	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.
OTHELLO	(aside) Iago beckons me. Now he begins the story. Othello draws closer
CASSIO	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 the bauble, and falls me thus about my neck.
OTHELLO	(aside) Crying ‘O dear Cassiol’ as it were. His gesture imports it.
CASSIO	So hangs and lolls and weeps upon me, so shakes and pulls me—ha, ha, ha!
OTHELLO	(aside) Now he tells how she plucked him to my chamber. O, I see that nose of yours, but not that dog I shall throw it to!
CASSIO	Well, I must leave her company.
(didascalia)	Enter Bianca
IAGO	Before me, look where she comes.
CASSIO	’Tis such another fitchew! Marry, a perfumed one. (To Bianca) What do you mean by this haunting of me?
BIANCA	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 whole work—a likely piece of work, that you should find it in your chamber and know not who left it there. This is some minx’s token, and I must take out the work. There, give it your hobby-horse. (Giving Cassio the napkin) Wheresoever you had it, I’ll take out no work on’t.
CASSIO	How now, my sweet Bianca, how now, how now?
OTHELLO	(aside) By heaven, that should be my handkerchief.
BIANCA	An you’ll come to supper tonight, you may. An you will not, come when you are next prepared for.
(didascalia)	Exit
IAGO	After her, after her.
CASSIO	Faith, I must, she’ll rail in the streets else.
IAGO	Will you sup there?
CASSIO	Faith, I intend so.
IAGO	Well, I may chance to see you, for I would very fain speak with you.
CASSIO	Prithee, come, will you?
IAGO	Go to, say no more.
(didascalia)	Exit Cassio
OTHELLO	How shall I murder him, Iago?
IAGO	Did you perceive how he laughed at his vice?
OTHELLO	O Iago!
IAGO	And did you see the handkerchief?
OTHELLO	Was that mine?
IAGO	Yours, by this hand. And to see how he prizes the foolish woman your wife. She gave it him, and he hath given it his whore.
OTHELLO	I would have him nine years a-killing. A fine woman, a fair woman, a sweet woman.
IAGO	Nay, you must forget that.
OTHELLO	Ay, let her rot and perish, and be damned tonight, for she shall not live. No, my heart is turned to stone; I strike it, and it hurts my hand. O, the world hath not a sweeter creature! She might lie by an emperor’s side, and command him tasks.
IAGO	Nay, that’s not your way.
OTHELLO	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.
IAGO	She’s the worse for all this.
OTHELLO	O, a thousand, a thousand times! And then of so gentle a condition.
IAGO	Ay, too gentle.
OTHELLO	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.
OTHELLO	I will chop her into messes. Cuckold me!
IAGO	O, ’tis foul in her.
OTHELLO	With mine officer.
IAGO	That’s fouler.
OTHELLO	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.
IAGO	Do it not with poison. Strangle her in her bed, even the bed she hath contaminated.
OTHELLO	Good, good, the justice of it pleases, very good.
IAGO	And for Cassio, let me be his undertaker. You shall hear more by midnight.
OTHELLO	Excellent good. A trumpet What trumpet is that same?
IAGO	I warrant, something from Venice.
(didascalia)	Enter Lodovico, Desdemona, and attendants
IAGO	’Tis Lodovico. This comes from the Duke. See, your wife’s with him.
LODOVICO	God save the worthy general.
OTHELLO	With all my heart, sir.
LODOVICO	(giving Othello a letter) The Duke and the senators of Venice greet you.
OTHELLO	I kiss the instrument of their pleasures. He reads the letter
DESDEMONA	And what’s the news, good cousin Lodovico?
IAGO	(to Lodovico) I am very glad to see you, signor. Welcome to Cyprus.
LODOVICO	I thank you. How does Lieutenant Cassio?
IAGO	Lives, sir.
DESDEMONA	Cousin, there’s fall’n between him and my lord An unkind breach. But you shall make all well.
OTHELLO	Are you sure of that?
DESDEMONA	My lord.
OTHELLO	(reads) ‘This fail you not to do as you will’—
LODOVICO	He did not call, he’s busy in the paper. Is there division ’twixt my lord and Cassio?
DESDEMONA	A most unhappy one. I would do much T’atone them, for the love I bear to Cassio.
OTHELLO	Fire and brimstone!
DESDEMONA	My lord?
OTHELLO	Are you wise?
DESDEMONA	What, is he angry?
LODOVICO	Maybe the letter moved him, For, as I think, they do command him home, Deputing Cassio in his government.
DESDEMONA	By my troth, I am glad on’t.
OTHELLO	Indeed!
DESDEMONA	My lord?
OTHELLO	(to Desdemona) I am glad to see you mad.
DESDEMONA	Why, sweet Othello!
OTHELLO	Devil! He strikes her
DESDEMONA	I have not deserved this.
LODOVICO	My lord, this would not be believed in Venice, Though I should swear I saw’t. ’Tis very much. Make her amends, she weeps. OTHELLOO, devil, devil! If that the earth could teem with woman’s tears, Each drop she falls would prove a crocodile. Out of my sight!
DESDEMONA	(going) I will not stay to offend you.
LODOVICO	Truly, an obedient lady. I do beseech your lordship call her back.
OTHELLO	Mistress!
DESDEMONA	(returning) My lord?
OTHELLO	(to Lodovico) What would you with her, sir?
LODOVICO	Who, I, my lord?
OTHELLO	Ay, you did wish that I would make her turn. Sir; she can turn and turn, and yet go on And turn again, and she can weep, sir, weep, And she’s obedient, as you say, obedient, Very obedient. (To Desdemona) Proceed you in your tears. (To Lodovico) Concerning this, sir—(To Desdemona) O well painted passion! (To Lodovico) I am commanded home. (To Desdemona) Get you away. I’ll send for you anon. (To Lodovico) Sir, I obey the mandate, And will return to Venice. (To Desdemona) Hence, avaunt!
(didascalia)	Exit Desdemona
OTHELLO	(To Lodovico) Cassio shall have my place, and, sir, tonight I do entreat that we may sup together. You are welcome, sir, to Cyprus. Goats and monkeys!
(didascalia)	Exit
LODOVICO	Is this the noble Moor whom our full senate Call all-in-all sufficient? Is this the nature Whom passion could not shake, whose solid virtue The shot of accident nor dart of chance Could neither graze nor pierce?
IAGO	He is much changed.
LODOVICO	Are his wits safe? Is he not light of brain?
IAGO	He’s that he is. I may not breathe my censure What he might be. If what he might he is not, I would to heaven he were.
LODOVICO	What, strike his wife!
IAGO	Faith, that was not so well. Yet would I knew That stroke would prove the worst.
LODOVICO	Is it his use, Or did the letters work upon his blood And new-create his fault? IAGOAlas, alas. It is not honesty in me to speak What I have seen and known. You shall observe him, And his own courses will denote him so That I may save my speech. Do but go after, And mark how he continues.
LODOVICO	I am sorry that I am deceived in him.
(didascalia)	Exeunt

Chi parla	Battuta
(didascalia)	Entrano Iago e Otello
IAGO	Volete pensare così?
OTELLO	Pensare così, Iago?
IAGO	Che, baciarsi in privato?
OTELLO	Un bacio non autorizzato.
IAGO	O stare nuda a letto col suo amico un’ora o più, senza intendere alcun male?
OTELLO	Nudi a letto, Iago, e non intendere male? È ipocrisia contro il diavolo. Coloro che intendono virtuosamente e pur così fanno, il diavolo tenta la loro virtù, ed essi tentano il cielo.
IAGO	Se nulla fanno, è una colpa veniale. Ma se io do a mia moglie un fazzoletto—
OTELLO	E allora?
IAGO	Ebbene allora è suo, mio signore, ed essendo suo, può, io credo, donarlo a qualunque uomo.
OTELLO	Ella è custode anche del suo onore. Può donare quello?
IAGO	Il suo onore è un’essenza che non si vede. Spesso l’hanno coloro che non l’hanno. Ma quanto al fazzoletto—
OTELLO	Per il cielo, ben volentieri l’avrei dimenticato. Tu dicesti—oh, mi torna sulla memoria come fa il corvo sulla casa infetta, presagio a tutti!—egli aveva il mio fazzoletto.
IAGO	Sì, e che importa?
OTELLO	Questo ora non è tanto bene.
IAGO	E se avessi detto che l’ho visto farvi torto, o udito dirlo—ché di tali furfanti ve n’è in giro, i quali, avendo per la propria importuna insistenza o per volontario invaghimento di qualche amante vinte o soddisfatte costoro, non possono far altro che ciarlare—
OTELLO	Ha detto qualcosa?
IAGO	L’ha detto, mio signore. Ma siatene bene certo, non più di quanto disdirà con giuramento.
OTELLO	Che ha detto?
IAGO	In fede, che egli—non so che cosa egli fece.
OTELLO	Che, che?
IAGO	Giacere—
OTELLO	Con lei?
IAGO	Con lei, su di lei, come volete.
OTELLO	Giacere con lei? Giacere su di lei? Diciamo ‘giacere su di lei’ quando la calunniano. Giacere con lei? Per le piaghe di Cristo, è ripugnante! Fazzoletto—confessioni—fazzoletto. Confessare ed essere impiccato per la sua fatica. Prima essere impiccato e poi confessare! Ne tremo. La Natura non si rivestirebbe d’una passione così ombrosa senza qualche fondamento. Non sono parole che così mi scuotono. Puah! Nasi, orecchi e labbra! È possibile? Confessare? Fazzoletto? Oh diavolo! Cade a terra in deliquio
IAGO	Opera pure; la mia medicina agisce. Così i creduli sciocchi vengono presi, e molte dame degne e caste, proprio così, tutte innocenti, incontrano il biasimo. Olà, mio signore! Mio signore, dico. Otello!
(didascalia)	Entra Cassio
IAGO	Come va, Cassio?
CASSIO	Che c’è?
IAGO	Il mio signore è caduto in un attacco d’epilessia. È il suo secondo accesso. N’ebbe uno ieri.
CASSIO	Strofinategli le tempie.
IAGO	No, astenetevi. Il letargo deve avere il suo quieto corso. Se no, schiuma alla bocca, e d’un tratto erompe in selvaggia follia. Guardate, si muove. Ritiratevi voi per un poco, si riavrà subito. Quando sarà partito vorrei parlarvi di cosa di gran momento.
(didascalia)	Esce Cassio
IAGO	Come va, generale? Non vi siete ferito il capo?
OTELLO	Ti fai gioco di me?
IAGO	Non vi schernisco, per il cielo. Volesse il cielo che portaste la vostra sorte da uomo.
OTELLO	Un uomo cornuto è un mostro e una bestia.
IAGO	Molte bestie vi sono allora in una popolosa città, e molti civili mostri.
OTELLO	L’ha confessato?
IAGO	Buon signore, siate uomo. Pensate che ogni tizio barbuto che sia aggiogato può tirare con voi. Milioni ne vivono ora che ogni notte giacciono in letti non loro che osano giurare esclusivi. Il vostro caso è migliore. Oh, è il dispetto dell’inferno, l’arcischerno del demonio, baciare una sgualdrina in un giaciglio sicuro e supporla casta! No, ch’io sappia, e sapendo ciò che sono, so ciò che ella sarà.
OTELLO	Oh, tu sei saggio, è certo.
IAGO	Statevene un poco in disparte. Contenetevi soltanto entro i confini della pazienza. Mentre eravate qui, sopraffatto dal vostro dolore— passione assai sconveniente a un tal uomo— Cassio è venuto qua. L’ho allontanato, e ho dato buona scusa alla vostra estasi, gli ho ingiunto di tornare fra poco e qui parlarmi, il che ha promesso. Voi nascondetevi soltanto, e notate i ghigni, le beffe e gli insigni scherni che dimorano in ogni regione del suo volto. Ché gli farò raccontare la storia da capo, dove, come, quante volte, quanto tempo fa, e quando ha avuto ed avrà di nuovo commercio con vostra moglie. Dico, notate solo i suoi gesti. Perbacco, pazienza, o dirò che siete tutto quanto bile, e nulla d’uomo.
OTELLO	Odi, Iago? Sarò trovato assai accorto nella mia pazienza, ma—odi?—assai sanguinario.
IAGO	Non è male, ma tenete tempo in tutto. Volete ritirarvi? Otello si tiene in disparte Ora interrogherò Cassio intorno a Bianca, una sgualdrina che vendendo i suoi desideri si compra pane e vesti. È una creatura che stravede per Cassio—ché è la piaga della meretrice illudere molti ed essere illusa da uno. Egli, quando sente parlar di lei, non sa trattenersi dall’eccesso del riso.
(didascalia)	Entra Cassio
IAGO	Eccolo che viene. Come egli sorriderà, Otello impazzirà; e la sua ignorante gelosia dovrà interpretare i sorrisi, i gesti e i leggeri modi del povero Cassio tutti a rovescio. Come state ora, luogotenente?
CASSIO	Tanto peggio, ché mi date il titolo la cui mancanza mi uccide.
IAGO	Sollecitate Desdemona bene e ne sarete certo. Ora, se questa supplica stesse in potere di Bianca, con quale prontezza riuscireste!
CASSIO	(ridendo) Ahimè, povero disgraziato!
OTELLO	(a parte) Guarda come già ride.
IAGO	Non conobbi mai donna amare un uomo a tal punto.
CASSIO	Ahimè, povero furfante! Credo in fede mia che mi ami.
OTELLO	(a parte) Ora lo nega fiaccamente, e se la ride.
IAGO	Sentite, Cassio?
OTELLO	(a parte) Ora lo importuna a raccontarlo daccapo. Via, ben detto, ben detto.
IAGO	Va dicendo che voi la sposerete. Ne avete intenzione?
CASSIO	Ah, ah, ah!
OTELLO	(a parte) Trionfi tu, Romano, trionfi?
CASSIO	Io sposarla! Che, una donnina da mercato? Ti prego, porta un po’ di carità al mio giudizio—non crederlo così malsano. Ah, ah, ah!
OTELLO	(a parte) Così, così, così, così. Ride chi vince.
IAGO	In fede, la voce corre che voi la sposiate.
CASSIO	Ti prego, di’ il vero.
IAGO	Sono un vero furfante, altrimenti.
OTELLO	(a parte) Mi avete segnato? Bene. 125
CASSIO	Questo è ciò che la scimmia va dicendo da sé. È persuasa che la sposerò per il suo proprio amore e la sua lusinga, non per una mia promessa.
OTELLO	(a parte) Iago mi fa cenno. Ora comincia la storia. Otello si avvicina
CASSIO	Era qui or ora. Mi perseguita in ogni luogo. L’altro giorno stavo parlando sulla riva del mare con certi Veneziani, ed ecco che giunge quel ninnolo, e mi si getta così al collo.
OTELLO	(a parte) Gridando ‘Oh caro Cassiol’, si direbbe. Il suo gesto lo dice.
CASSIO	Così si appende e si abbandona e piange su di me, così mi scuote e mi tira—ah, ah, ah!
OTELLO	(a parte) Ora racconta come lo trascinò nella mia camera. Oh, vedo quel vostro naso, ma non il cane a cui lo getterò!
CASSIO	Bene, devo lasciare la sua compagnia.
(didascalia)	Entra Bianca
IAGO	Per la mia vita, guarda dove viene.
CASSIO	È un’altra puzzola siffatta! Perbacco, una profumata. (A Bianca) Che intendete con questo perseguitarmi?
BIANCA	Che il diavolo e sua madre vi perseguitino. Che intendevate con quel fazzoletto che m’avete dato or ora? Fui una bella sciocca a prenderlo. Devo copiarne tutto il ricamo—bella storia davvero, che voi lo troviate nella vostra camera e non sappiate chi ve l’abbia lasciato. Questo è pegno di qualche sfacciatella, e io devo copiarne il ricamo. Ecco, datelo alla vostra cavallina. (Dando a Cassio il fazzoletto) Dovunque l’abbiate avuto, non ne copierò ricamo alcuno.
CASSIO	Come va, mia dolce Bianca, come va, come va?
OTELLO	(a parte) Per il cielo, quello dev’essere il mio fazzoletto.
BIANCA	Se volete venire a cena stasera, potete. Se non volete, venite quando sarete atteso la prossima volta.
(didascalia)	Esce
IAGO	Dietro a lei, dietro a lei.
CASSIO	In fede, devo, altrimenti strepiterà per le strade.
IAGO	Cenerete là?
CASSIO	In fede, ho tale intenzione.
IAGO	Bene, potrà darsi ch’io vi veda, ché vorrei ben volentieri parlarvi.
CASSIO	Ti prego, vieni, verrai?
IAGO	Via, non dire altro.
(didascalia)	Esce Cassio
OTELLO	Come lo ucciderò, Iago?
IAGO	Avete notato come rideva del suo vizio?
OTELLO	Oh Iago!
IAGO	E avete visto il fazzoletto?
OTELLO	Era il mio?
IAGO	Vostro, per questa mano. E vedere quanto pregia la sciocca donna che è vostra moglie. Gliel’ha dato lei, ed egli l’ha dato alla sua puttana.
OTELLO	Vorrei impiegare nove anni a ucciderlo. Una bella donna, una donna avvenente, una dolce donna.
IAGO	No, dovete dimenticare questo.
OTELLO	Sì, che marcisca e perisca, e sia dannata stanotte, ché non vivrà. No, il mio cuore s’è mutato in pietra; lo percuoto, e mi fa male alla mano. Oh, il mondo non ha creatura più dolce! Potrebbe giacere al fianco d’un imperatore, e comandargli imprese.
IAGO	No, non è questa la vostra via.
OTELLO	Che sia impiccata, io dico solo ciò che è—così delicata con l’ago, musicista ammirevole. Oh, canterebbe via la ferocia da un orso! Di così alto e copioso ingegno e inventiva.
IAGO	Tanto peggio per lei con tutto questo.
OTELLO	Oh, mille, mille volte! E poi d’indole così gentile.
IAGO	Sì, troppo gentile.
OTELLO	No, questo è certo. Eppure che pietà, Iago. Oh, Iago, che pietà, Iago!
IAGO	Se siete così tenero verso la sua iniquità, datele licenza d’offendere; ché se non tocca voi, non riguarda nessuno.
OTELLO	La farò a pezzi. Farmi becco!
IAGO	Oh, è turpe in lei.
OTELLO	Con il mio ufficiale.
IAGO	Questo è più turpe.
OTELLO	Procurami del veleno, Iago, questa notte. Non discuterò con lei, ché il suo corpo e la sua bellezza non mi disarmino di nuovo l’animo. Questa notte, Iago.
IAGO	Non farlo col veleno. Strangolatela nel suo letto, proprio il letto ch’ella ha contaminato.
OTELLO	Bene, bene, la giustizia della cosa mi piace, molto bene.
IAGO	E quanto a Cassio, lasciate ch’io sia il suo becchino. Ne saprete di più entro mezzanotte.
OTELLO	Eccellente. Una tromba Che tromba è codesta?
IAGO	Garantisco, qualcosa da Venezia.
(didascalia)	Entrano Lodovico, Desdemona e servitori
IAGO	È Lodovico. Questo viene dal Duca. Guardate, vostra moglie è con lui.
LODOVICO	Dio salvi il degno generale.
OTELLO	Con tutto il cuore, signore.
LODOVICO	(dando a Otello una lettera) Il Duca e i senatori di Venezia vi salutano.
OTELLO	Bacio lo strumento dei loro voleri. Legge la lettera
DESDEMONA	E quali sono le novità, buon cugino Lodovico?
IAGO	(a Lodovico) Sono molto lieto di vedervi, signore. Benvenuto a Cipro.
LODOVICO	Vi ringrazio. Come sta il luogotenente Cassio?
IAGO	Vive, signore.
DESDEMONA	Cugino, è caduta fra lui e il mio signore una spiacevole rottura. Ma voi farete che tutto vada bene.
OTELLO	Ne siete certa?
DESDEMONA	Mio signore.
OTELLO	(legge) ‘Non mancate di far questo come vorrete’—
LODOVICO	Non ha chiamato, è assorto nella carta. V’è divisione fra il mio signore e Cassio?
DESDEMONA	Assai infelice. Molto farei per riconciliarli, per l’amore che porto a Cassio.
OTELLO	Fuoco e zolfo!
DESDEMONA	Mio signore?
OTELLO	Siete in senno?
DESDEMONA	Che, è adirato?
LODOVICO	Forse la lettera l’ha commosso, ché, come penso, gli ordinano di tornare a casa, deputando Cassio al suo governo.
DESDEMONA	In fede mia, ne sono lieta.
OTELLO	Davvero!
DESDEMONA	Mio signore?
OTELLO	(a Desdemona) Sono lieto di vedervi folle.
DESDEMONA	Come, dolce Otello!
OTELLO	Diavolo! La colpisce
DESDEMONA	Non ho meritato questo.
LODOVICO	Mio signore, questo non sarebbe creduto a Venezia, anche se giurassi d’averlo visto. È troppo. Riparate verso di lei, ella piange. OTELLOOh, diavolo, diavolo! Se la terra potesse ingravidarsi delle lacrime di donna, ogni goccia ch’ella lascia cadere diverrebbe un coccodrillo. Fuori dalla mia vista!
DESDEMONA	(andando) Non resterò a offendervi.
LODOVICO	Davvero, una dama obbediente. Supplico vostra signoria di richiamarla.
OTELLO	Signora!
DESDEMONA	(tornando) Mio signore?
OTELLO	(a Lodovico) Che volete da lei, signore?
LODOVICO	Chi, io, mio signore?
OTELLO	Sì, voi desideravate ch’io la facessi voltare. Signore; ella sa voltarsi e voltarsi, e pur procedere e voltarsi ancora, e sa piangere, signore, piangere, ed è obbediente, come dite, obbediente, assai obbediente. (A Desdemona) Proseguite nelle vostre lacrime. (A Lodovico) Quanto a questo, signore—(A Desdemona) Oh passione ben dipinta! (A Lodovico) Sono richiamato a casa. (A Desdemona) Andatevene. Vi manderò a chiamare fra poco. (A Lodovico) Signore, obbedisco al mandato, e tornerò a Venezia. (A Desdemona) Via di qui, sparite!
(didascalia)	Esce Desdemona
OTELLO	(A Lodovico) Cassio avrà il mio posto, e, signore, stasera vi prego che possiamo cenare insieme. Siate il benvenuto, signore, a Cipro. Capre e scimmie!
(didascalia)	Esce
LODOVICO	È questo il nobile Moro che il nostro intero senato chiama in tutto e per tutto valente? È questa la natura che passione non poté scuotere, la cui solida virtù né colpo d’accidente né dardo di sorte poté sfiorare o trafiggere?
IAGO	È molto mutato.
LODOVICO	Ha il senno salvo? Non è leggero di cervello?
IAGO	Egli è quel che è. Non posso esalare il mio giudizio su ciò che potrebbe essere. Se ciò che potrebbe non è, vorrei al cielo che lo fosse.
LODOVICO	Come, colpire sua moglie!
IAGO	In fede, quello non fu tanto bene. Pur vorrei sapere che quel colpo si dimostri il peggiore.
LODOVICO	È sua abitudine, o le lettere hanno agito sul suo sangue e creato in lui questa nuova colpa? IAGOAhimè, ahimè. Non è onestà in me parlare di ciò che ho visto e saputo. Voi l’osserverete, e i suoi stessi modi lo riveleranno tanto ch’io potrò risparmiare le mie parole. Andategli solo dietro, e notate come continua.
LODOVICO	Mi duole d’essermi ingannato sul suo conto.
(didascalia)	Escono

Speaker	Line
(didascalia)	Enter Othello and Emilia
OTHELLO	You have seen nothing then?
EMILIA	Nor ever heard, nor ever did suspect.
OTHELLO	Yes, you have seen Cassio and she together.
EMILIA	But then I saw no harm, and then I heard Each syllable that breath made up between ’em.
OTHELLO	What, did they never whisper?
EMILIA	Never, my lord.
OTHELLO	Nor send you out o’th’ way?
EMILIA	Never.
OTHELLO	To fetch her fan, her gloves, her mask, nor nothing?
EMILIA	Never, my lord.
OTHELLO	That’s strange.
EMILIA	I durst, my lord, to wager she is honest, Lay down my soul at stake. If you think other, Remove your thought; it doth abuse your bosom. If any wretch ha’ put this in your head, Let heaven requite it with the serpent’s curse, For if she be not honest, chaste, and true, There’s no man happy; the purest of their wives Is foul as slander.
OTHELLO	Bid her come hither. Go.
(didascalia)	Exit Emilia
OTHELLO	She says enough, yet she’s a simple bawd That cannot say as much. This is a subtle whore, A closet lock and key of villainous secrets, And yet she’ll kneel and pray—I ha’ seen her do’t.
(didascalia)	Enter Desdemona and Emilia
DESDEMONA	My lord, what is your will?
OTHELLO	Pray you, chuck, come hither.
DESDEMONA	What is your pleasure?
OTHELLO	Let me see your eyes. Look in my face.
DESDEMONA	What horrible fancy’s this?
OTHELLO	(to Emilia) Some of your function, mistress. Leave procreants alone, and shut the door, Cough or cry ‘Hem’ if anybody come. Your mystery, your mystery—nay, dispatch.
(didascalia)	Exit Emilia
DESDEMONA	Upon my knees, what doth your speech import? I understand a fury in your words, But not the words.
OTHELLO	Why, what art thou?
DESDEMONA	Your wife, my lord, your true and loyal wife.
OTHELLO	Come, swear it, damn thyself, Lest, being like one of heaven, the devils themselves Should fear to seize thee. Therefore be double-damned: Swear thou art honest.
DESDEMONA	Heaven doth truly know it. 40
OTHELLO	Heaven truly knows that thou art false as hell.
DESDEMONA	To whom, my lord? With whom? How am I false?
OTHELLO	(weeping) Ah, Desdemon, away, away, away!
DESDEMONA	Alas, the heavy day! Why do you weep? Am I the motive of these tears, my lord? If haply you my father do suspect An instrument of this your calling back, Lay not your blame on me. If you have lost him, I have lost him too.
OTHELLO	Had it pleased God To try me with affliction; had He rained All kind of sores and shames on my bare head, Steeped me in poverty to the very lips, Given to captivity me and my utmost hopes, I should have found in some place of my soul A drop of patience. But, alas, to make me The fixed figure for the time of scorn To point his slow and moving finger at— Yet could I bear that too, well, very well. But there where I have garnered up my heart, Where either I must live or bear no life, The fountain from the which my current runs Or else dries up—to be discarded thence, Or keep it as a cistern for foul toads To knot and gender in! Turn thy complexion there, Patience, thou young and rose-lipped cherubin, Ay, here look grim as hell.
DESDEMONA	I hope my noble lord esteems me honest.
OTHELLO	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!
DESDEMONA	Alas, what ignorant sin have I committed?
OTHELLO	Was this fair paper, this most goodly book, Made to write ‘whore’ upon? What committed? Committed? O thou public commoner, I should make very forges of my cheeks, That would to cinders burn up modesty, Did I but speak thy deeds. What committed? Heaven stops the nose at it, and the moon winks; The bawdy wind, that kisses all it meets, Is hushed within the hollow mine of earth And will not hear’t. What committed?
DESDEMONA	By heaven, you do me wrong.
OTHELLO	Are not you a strumpet?
DESDEMONA	No, as I am a Christian. If to preserve this vessel for my lord From any other foul unlawful touch Be not to be a strumpet, I am none.
OTHELLO	What, not a whore?
DESDEMONA	No, as I shall be saved.
OTHELLO	Is’t possible?
DESDEMONA	O heaven forgive us!
OTHELLO	I cry you mercy then. I took you for that cunning whore of Venice That married with Othello. (Calling) You, mistress, That have the office opposite to Saint Peter And keeps the gate of hell,
(didascalia)	Enter Emilia
OTHELLO	you, you, ay, you. We ha’ done our course. (Giving money) There’s money for your pains. I pray you, turn the key and keep our counsel.
(didascalia)	Exit
EMILIA	Alas, what does this gentleman conceive? How do you, madam? How do you, my good lady?
DESDEMONA	Faith, half asleep.
EMILIA	Good madam, what’s the matter with my lord?
DESDEMONA	With who?
EMILIA	Why, with my lord, madam.
DESDEMONA	Who is thy lord?
EMILIA	He that is yours, sweet lady.
DESDEMONA	I ha’ none. Do not talk to me, Emilia. I cannot weep, nor answers have I none But what should go by water. Prithee tonight Lay on my bed my wedding sheets, remember. And call thy husband hither.
EMILIA	Here’s a change indeed.
(didascalia)	Exit
DESDEMONA	‘Tis meet I should be used so, very meet. How have I been behaved, that he might stick The small’st opinion on my least misuse?
(didascalia)	Enter Iago and Emilia,
IAGO	What is your pleasure, madam? How is’t with you?
DESDEMONA	I cannot tell. Those that do teach young babes Do it with gentle means and easy tasks. He might ha’ chid me so, for, in good faith, I am a child to chiding.
IAGO	What is the matter, lady?
EMILIA	Alas, Iago, my lord hath so bewhored her, Thrown such despite and heavy terms upon her, That true hearts cannot bear it.
DESDEMONA	Am I that name, Iago?
IAGO	What name, fair lady?
DESDEMONA	Such as she said my lord did say I was.
EMILIA	He called her whore. A beggar in his drink Could not have laid such terms upon his callet.
IAGO	Why did he so?
DESDEMONA	I do not know. I am sure I am none such.
IAGO	Do not weep, do not weep. Alas the day!
EMILIA	Hath she forsook so many noble matches, Her father and her country and her friends, To be called whore? Would it not make one weep?
DESDEMONA	It is my wretched fortune.
IAGO	Beshrew him for’t. How comes this trick upon him?
DESDEMONA	Nay, heaven doth know.
EMILIA	I will be hanged if some eternal villain, Some busy and insinuating rogue, Some cogging, cozening slave, to get some office, Have not devised this slander. I will be hanged else.
IAGO	Fie, there is no such man. It is impossible.
DESDEMONA	If any such there be, heaven pardon him.
EMILIA	A halter pardon him, and hell gnaw his bones! Why should he call her whore? Who keeps her company? What place, what time, what form, what likelihood? The Moor’s abused by some most villainous knave, Some base, notorious knave, some scurvy fellow. O heaven, that such companions thou’dst unfold, And put in every honest hand a whip To lash the rascals naked through the world, Even from the east to th’ west!
IAGO	Speak within door.
EMILIA	O, fie upon them. Some such squire he was That turned your wit the seamy side without, And made you to suspect me with the Moor.
IAGO	You are a fool. Go to.
DESDEMONA	O God, Iago, What shall I do to win my lord again? Good friend, go to him; for by this light of heaven, I know not how I lost him. She kneels Here I kneel. If e‘er my will did trespass ’gainst his love, Either in discourse of thought or actual deed, Or that mine eyes, mine ears, or any sense Delighted them in any other form, Or that I do not yet, and ever did, 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, But never taint my love. [She rises] 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. The business of the state does him offence, And he does chide with you.
DESDEMONA	If ’twere no other!
IAGO	It is but so, I warrant.
(didascalia)	Flourish within
IAGO	Hark how these instruments summon you to supper. The messengers of Venice stays the meat. Go in, and weep not. All things shall be well.
(didascalia)	Exeunt Desdemona and Emilia
(didascalia)	Enter Roderigo
IAGO	How now, Roderigo?
RODERIGO	I do not find that thou deal’st justly with me.
IAGO	What in the contrary?
RODERIGO	Every day thou daff‘st me with some device, Iago, and rather, as it seems to me now, keep’st from me all conveniency than suppliest me with the least advantage of hope. I will indeed no longer endure it, nor am I yet persuaded to put up in peace what already I have foolishly suffered.
IAGO	Will you hear me, Roderigo?
RODERIGO	Faith, I have heard too much, for your words and performances are no kin together.
IAGO	You charge me most unjustly.
RODERIGO	With naught but truth. I have wasted myself out of my means. The jewels you have had from me to deliver Desdemona would half have corrupted a votarist. You have told me she hath received ’em, and returned me expectations and comforts of sudden respect and acquaintance, but I find none. 195
IAGO	Well, go to, very well.
RODERIGO	‘Very well’, ‘go to’! I cannot go to, man, nor ’tis not very well. Nay, I think it is scurvy, and begin to find myself fopped in it.
IAGO	Very well.
RODERIGO	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 repent my unlawful solicitation. If not, assure yourself I will seek satisfaction of you.
IAGO	You have said now.
RODERIGO	Ay, and said nothing but what I protest 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 hand, Roderigo. Thou hast taken against me a most just exception, but yet I protest I have dealt most directly in thy affair.
RODERIGO	It hath not appeared.
IAGO	I grant, indeed, it hath not appeared, and your suspicion is not without wit and judgement. But, Roderigo, if thou hast that in thee indeed which I have greater reason to believe now than ever—I mean purpose, courage, and vatour—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.
RODERIGO	Well, what is it? Is it within reason and compass?
IAGO	Sir, there is especial commission come from Venice to depute Cassio in Othello’s place.
RODERIGO	Is that true? Why then, Othello and Desdemona return again to Venice.
IAGO	O no, he goes into Mauritania, and takes away with him the fair Desdemona, unless his abode be lingered here by some accident, wherein none can be so determinate as the removing of Cassio.
RODERIGO	How do you mean‘removing’ of him?
IAGO	Why, by making him uncapable of Othello’s place—knocking out his brains.
RODERIGO	And that you would have me to do.
IAGO	Ay, if you dare do yourself a profit and a right. He sups tonight with a harlotry, and thither will I go to him. He knows not yet of his honourable fortune. If you will watch 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.
RODERIGO	I will hear further reason for this.
IAGO	And you shall be satisfied.
(didascalia)	Exeunt

Chi parla	Battuta
(didascalia)	Entrano Otello ed Emilia
OTELLO	Non avete visto nulla, dunque?
EMILIA	Né mai udito, né mai sospettato.
OTELLO	Sì, avete visto Cassio e lei insieme.
EMILIA	Ma allora non vidi nulla di male, e udii ogni sillaba che il fiato formò tra loro.
OTELLO	Come, non bisbigliarono mai?
EMILIA	Mai, mio signore.
OTELLO	Né vi mandarono via di mezzo?
EMILIA	Mai.
OTELLO	A prendere il ventaglio, i guanti, la maschera, nulla?
EMILIA	Mai, mio signore.
OTELLO	È strano.
EMILIA	Oserei, signore, scommettere ch’ella è onesta, e porne in pegno la mia anima. Se pensate altrimenti, scacciate quel pensiero; esso inganna il vostro petto. Se qualche miserabile v’ha messo questo in capo, il cielo lo ripaghi con la maledizione del serpente, ché s’ella non è onesta, casta e fedele, nessun uomo è felice; la più pura delle mogli è immonda come la calunnia.
OTELLO	Ditele di venir qua. Andate.
(didascalia)	Esce Emilia
OTELLO	Dice abbastanza; eppure è mezzana da poco colei che non sa dire altrettanto. Costei è una puttana sottile, uno scrigno con chiave di segreti scellerati, e pure s’inginocchia e prega—l’ho vista farlo.
(didascalia)	Entrano Desdemona ed Emilia
DESDEMONA	Mio signore, qual è il vostro volere?
OTELLO	Vi prego, colombella, venite qua.
DESDEMONA	Qual è il vostro piacere?
OTELLO	Lasciatemi vedere i vostri occhi. Guardatemi in volto.
DESDEMONA	Che orribile fantasia è questa?
OTELLO	(a Emilia) Al vostro ufficio, padrona. Lasciate soli gli amanti, e chiudete la porta, tossite o gridate ‘Ehm’ se qualcuno viene. Il vostro mestiere, il vostro mestiere—su, spicciatevi.
(didascalia)	Esce Emilia
DESDEMONA	In ginocchio vi chiedo: che significa il vostro dire? Comprendo una furia nelle vostre parole, ma non le parole.
OTELLO	Ebbene, che cosa sei tu?
DESDEMONA	Vostra moglie, signore, la vostra vera e leale moglie.
OTELLO	Su, giuralo, dànnati, ché, somigliando tu a una del cielo, i diavoli stessi temano d’afferrarti. Sii dunque doppiamente dannata: giura d’essere onesta.
DESDEMONA	Il cielo lo sa veramente. 40
OTELLO	Il cielo sa veramente che sei falsa come l’inferno.
DESDEMONA	Verso chi, signore? Con chi? Come son io falsa?
OTELLO	(piangendo) Ah, Desdemona, via, via, via!
DESDEMONA	Ahimè, giorno funesto! Perché piangete? Son io il motivo di queste lacrime, signore? Se per caso sospettate che mio padre sia strumento di questo vostro richiamo, non gettate su me la colpa. Se l’avete perduto, l’ho perduto anch’io.
OTELLO	Fosse piaciuto a Dio provarmi con l’afflizione; avesse Egli piovuto ogni sorta di piaghe e d’onte sul mio capo nudo, immerso me nella povertà fino alle labbra, dato in schiavitù me e ogni mia più alta speranza, avrei trovato in qualche luogo della mia anima una goccia di pazienza. Ma, ahimè, farmi l’immobile figura che il tempo dello scherno addita col suo dito lento e mobile— anche questo potrei sopportare, bene, assai bene. Ma là dove ho riposto il mio cuore, dove o devo vivere o non aver vita, la fonte da cui scorre la mia corrente o altrimenti si secca—esserne scacciato, o tenerla come cisterna per rospi immondi che vi si annodino e generino! Muta là il tuo colore, Pazienza, tu giovane cherubino dalle labbra di rosa, sì, qui guarda torva come l’inferno.
DESDEMONA	Spero che il mio nobile signore mi stimi onesta.
OTELLO	Oh, sì—come le mosche d’estate nel macello, che s’animano al solo deporsi. Oh tu, erbaccia, che sei così amabilmente bella, e olezzi così dolce che i sensi ne dolgono—oh, non fossi tu mai nata!
DESDEMONA	Ahimè, quale ignaro peccato ho commesso?
OTELLO	Fu questa candida carta, questo bellissimo libro, fatto per scrivervi sopra ‘puttana’? Che ho commesso? Commesso? Oh tu, meretrice pubblica, farei fucine delle mie guance, che ridurrebbero in cenere il pudore, solo ch’io dicessi le tue azioni. Che ho commesso? Il cielo si tura il naso, e la luna chiude gli occhi; il lascivo vento, che bacia tutto ciò che incontra, tace nella cava miniera della terra e non vuole udirlo. Che ho commesso?
DESDEMONA	Per il cielo, mi fate torto.
OTELLO	Non siete voi una sgualdrina?
DESDEMONA	No, com’è vero che son cristiana. Se serbare questo vaso per il mio signore da ogni altro immondo tocco illecito non è essere una sgualdrina, io non lo sono.
OTELLO	Come, non una puttana?
DESDEMONA	No, com’è vero che sarò salvata.
OTELLO	È possibile?
DESDEMONA	Oh cielo, perdonaci!
OTELLO	Vi chiedo dunque perdono. Vi avevo presa per quell’astuta puttana di Venezia che sposò Otello. (Chiamando) Voi, padrona, che avete l’ufficio opposto a quello di San Pietro e custodite la porta dell’inferno,
(didascalia)	Entra Emilia
OTELLO	voi, voi, sì, voi. Abbiamo finito il nostro corso. (Dandole del denaro) Ecco denaro per la vostra fatica. Vi prego, girate la chiave e serbate il segreto.
(didascalia)	Esce
EMILIA	Ahimè, che cosa immagina questo signore? Come state, madonna? Come state, mia buona signora?
DESDEMONA	In fede mia, mezzo addormentata.
EMILIA	Buona madonna, che ha il mio signore?
DESDEMONA	Con chi?
EMILIA	Ma, col mio signore, madonna.
DESDEMONA	Chi è il tuo signore?
EMILIA	Colui che è il vostro, dolce signora.
DESDEMONA	Non ne ho alcuno. Non parlarmi, Emilia. Non posso piangere, né ho risposta alcuna se non quella che andrebbe per acqua. Ti prego, stanotte stendi sul mio letto le lenzuola nuziali, ricordalo. E chiama qui tuo marito.
EMILIA	Ecco davvero un mutamento.
(didascalia)	Esce
DESDEMONA	È giusto ch’io sia trattata così, molto giusto. Come mi son comportata, perch’egli potesse appuntare il minimo sospetto sul più lieve mio fallo?
(didascalia)	Entrano Iago ed Emilia,
IAGO	Qual è il vostro piacere, madonna? Come state?
DESDEMONA	Non so dirlo. Chi insegna ai bimbi piccoli lo fa con dolci modi e compiti facili. Poteva sgridarmi così, ché, in buona fede, sono una bambina quanto ai rimproveri.
IAGO	Che c’è, signora?
EMILIA	Ahimè, Iago, il mio signore l’ha così svergognata da puttana, gettandole addosso tale dispregio e parole così gravi, che i cuori sinceri non possono sopportarlo.
DESDEMONA	Sono io quel nome, Iago?
IAGO	Quale nome, bella signora?
DESDEMONA	Quello che ella dice che il mio signore disse ch’io fossi.
EMILIA	L’ha chiamata puttana. Un mendicante ubriaco non avrebbe scagliato tali parole sulla sua sgualdrina.
IAGO	Perché fece così?
DESDEMONA	Non lo so. So di certo che non son tale.
IAGO	Non piangete, non piangete. Ahimè, che giorno!
EMILIA	Ha ella lasciato tanti nobili partiti, suo padre e il suo paese e i suoi amici, per esser chiamata puttana? Non farebbe piangere?
DESDEMONA	È la mia misera sorte.
IAGO	Maledetto sia per questo. Come gli è venuto addosso questo grillo?
DESDEMONA	Ah, il cielo lo sa.
EMILIA	Ch’io sia impiccata se qualche eterno scellerato, qualche furfante intrigante e insinuante, qualche schiavo baro e truffatore, per ottenere un ufficio, non ha ordito questa calunnia. Ch’io sia impiccata, altrimenti.
IAGO	Via, non esiste un uomo simile. È impossibile.
DESDEMONA	Se alcuno ve n’è, il cielo lo perdoni.
EMILIA	Un capestro lo perdoni, e l’inferno gli roda le ossa! Perché dovrebbe chiamarla puttana? Chi le fa compagnia? Quale luogo, quale tempo, quale forma, quale verosimiglianza? Il Moro è ingannato da qualche scelleratissimo furfante, qualche vile, famigerato furfante, qualche tristo individuo. Oh cielo, che tu svelassi simili compagni, e mettessi in ogni mano onesta una frusta per flagellare quei bricconi nudi per il mondo, fin dall’oriente all’occidente!
IAGO	Parlate sottovoce.
EMILIA	Oh, vergogna su di loro. Fu un tale scudiero che vi rivoltò il senno col rovescio all’infuori, e vi fece sospettare di me col Moro.
IAGO	Siete una sciocca. Andiamo.
DESDEMONA	Oh Dio, Iago, che devo fare per riconquistare il mio signore? Buon amico, va’ da lui; ché per questa luce del cielo, non so come l’ho perduto. Ella s’inginocchia Qui m’inginocchio. Se mai il mio volere trasgredì contro il suo amore, o nel discorso del pensiero o in atto reale, o se i miei occhi, i miei orecchi, o alcun senso si compiacquero in altra forma, o s’io non l’amo ancora, e non l’amai sempre, e non l’amerò sempre—benché egli mi scuota via in mendico ripudio—amandolo teneramente, il conforto mi abbandoni. La durezza può molto, e la sua durezza può distruggere la mia vita, ma mai contaminare il mio amore. [Ella si alza] Non posso dire ‘puttana’. Mi fa orrore ora che pronuncio la parola. E a compiere l’atto che quel nome meriterebbe, non m’indurrebbe tutta la vanità del mondo.
IAGO	Vi prego, statevi tranquilla. Non è che il suo umore. Gli affari dello stato lo contrariano, ed egli sgrida voi.
DESDEMONA	Se non fosse altro!
IAGO	Non è che così, ve lo garantisco.
(didascalia)	Squilli di tromba all’interno
IAGO	Udite come questi strumenti vi chiamano a cena. I messi di Venezia attendono la mensa. Entrate, e non piangete. Tutto andrà bene.
(didascalia)	Escono Desdemona ed Emilia
(didascalia)	Entra Roderigo
IAGO	Ebbene, Roderigo?
RODERIGO	Non trovo che tu agisca lealmente con me.
IAGO	In che cosa il contrario?
RODERIGO	Ogni giorno mi scansi con qualche trovata, Iago, e piuttosto, come ora mi pare, mi tieni lontana ogni occasione anziché fornirmi il minimo vantaggio di speranza. Non lo sopporterò davvero più a lungo, né sono ancora persuaso a mandar giù in pace ciò che già stoltamente ho patito.
IAGO	Volete ascoltarmi, Roderigo?
RODERIGO	In fede mia, ho udito troppo, ché le vostre parole e i vostri atti non sono parenti fra loro.
IAGO	Mi accusate assai ingiustamente.
RODERIGO	Con null’altro che la verità. Mi sono dissanguato dei miei averi. I gioielli che avete avuto da me per consegnarli a Desdemona avrebbero corrotto a metà una monaca votata. Mi avete detto ch’ella li ha ricevuti, e mi avete riportato aspettative e conforti d’improvviso riguardo e intimità, ma non ne trovo alcuno. 195
IAGO	Bene, andiamo, molto bene.
RODERIGO	‘Molto bene’, ‘andiamo’! Non posso andare, amico, né va molto bene. Anzi, penso che sia una tristizia, e comincio a trovarmi gabbato.
IAGO	Molto bene.
RODERIGO	Vi dico che non va molto bene. Mi farò conoscere a Desdemona. Se mi restituirà i miei gioielli, rinuncerò al mio corteggiamento e mi pentirò dell’illecita sollecitazione. Altrimenti, siatene certo, cercherò soddisfazione da voi.
IAGO	Ora avete detto.
RODERIGO	Sì, e non ho detto nulla che non protesti d’aver intenzione di fare.
IAGO	Ebbene, ora vedo che c’è tempra in te, e da questo istante costruisco su di te un’opinione migliore che mai prima. Dammi la mano, Roderigo. Hai mosso contro di me un’obiezione giustissima, e tuttavia protesto d’aver agito assai lealmente nel tuo affare.
RODERIGO	Non è apparso.
IAGO	Concedo, in verità, che non è apparso, e il vostro sospetto non è privo d’ingegno e di giudizio. Ma, Roderigo, se hai davvero in te ciò che ho ora maggior ragione di credere che mai—intendo proposito, coraggio e valore—questa notte mostralo. Se la notte seguente non godrai Desdemona, toglimi da questo mondo col tradimento, e macchina ordigni per la mia vita.
RODERIGO	Bene, che cos’è? È nei limiti della ragione e della possibilità?
IAGO	Signore, è giunta una commissione speciale da Venezia per deputare Cassio al posto di Otello.
RODERIGO	È vero? Ebbene allora Otello e Desdemona tornano a Venezia.
IAGO	Oh no, egli va in Mauritania, e porta seco la bella Desdemona, a meno che il suo soggiorno qui non sia prolungato da qualche accidente, nel che nulla può essere tanto risolutivo quanto la rimozione di Cassio.
RODERIGO	Che intendete per ‘rimozione’ di lui?
IAGO	Ma, rendendolo incapace del posto di Otello—facendogli saltare le cervella.
RODERIGO	E questo vorreste che facessi io.
IAGO	Sì, se osate procurarvi un profitto e un diritto. Cena stanotte con una sgualdrina, e là andrò da lui. Non sa ancora della sua onorevole fortuna. Se vorrete spiare la sua uscita di là, che farò cadere fra le dodici e l’una, potrete coglierlo a vostro piacere. Io sarò vicino, a secondare il vostro tentativo, ed egli cadrà fra noi due. Su, non restate lì stupito, ma venite con me. Vi mostrerò tale necessità nella sua morte che vi crederete obbligato a dargliela. È ormai alto il tempo della cena, e la notte si consuma. All’opera.
RODERIGO	Voglio udire ulteriori ragioni per questo.
IAGO	E sarete soddisfatto.
(didascalia)	Escono

Speaker	Line
(didascalia)	Enter Othello, Desdemona, Lodovico, Emilia, and attendants
LODOVICO	I do beseech you, sir, trouble yourself no further.
OTHELLO	O, pardon me, ’twill do me good to walk.
LODOVICO	(to Desdemona) Madam, good night. I humbly thank your ladyship.
DESDEMONA	Your honour is most welcome.
OTHELLO	Will you walk, sir? O, Desdemona!
DESDEMONA	My lord?
OTHELLO	Get you to bed on th’instant. I will be returned forthwith. Dismiss your attendant there. Look’t be done.
DESDEMONA	I will, my lord.
(didascalia)	Exeunt Othello, Lodovico, and attendants
EMILIA	How goes it now? He looks gentler than he did.
DESDEMONA	He says he will return incontinent. He hath commanded me to go to bed, And bid me to dismiss you.
EMILIA	Dismiss me?
DESDEMONA	It was his bidding. Therefore, good Emilia, Give me my nightly wearing, and adieu. is We must not now displease him.
EMILIA	I would you had never seen him.
DESDEMONA	So would not I. My love doth so approve him That even his stubbornness, his checks, his frowns— Prithee unpin me—have grace and favour in them. Emilia helps Desdemona to undress
EMILIA	I have laid those sheets you bade me on the bed.
DESDEMONA	All’s one. Good faith, how foolish are our minds! If I do die before thee, prithee shroud me In one of these same sheets.
EMILIA	Come, come, you talk.
DESDEMONA	My mother had a maid called Barbary. She was in love, and he she loved proved mad And did forsake her. She had a song of willow. An old thing ’twas, but it expressed her fortune, And she died singing it. That song tonight Will not go from my mind. I have much to do But to go hang my head all at one side And sing it, like poor Barbary. Prithee, dispatch.
EMILIA	Shall I go fetch your nightgown?
DESDEMONA	No. Unpin me here. This Lodovico is a proper man.
EMILIA	A very handsome man.
DESDEMONA	He speaks well.
EMILIA	I know a lady in Venice would have walked barefoot to Palestine for a touch of his nether lip.
DESDEMONA	(sings) ‘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. The fresh streams ran by her and murmured her moans, Sing willow, willow, willow. Her salt tears fell from her and softened the stones, Sing willow’— Lay by these.— ‘willow, willow.’ Prithee, hie thee. He’ll come anon. ‘Sing all a green willow must be my garland. ‘Let nobody blame him, his scorn I approve’— Nay, that’s not next. Hark, who is’t that knocks?
EMILIA	It’s the wind.
DESDEMONA	(sings) ‘I called my love false love, but what said he then? Sing willow, willow, willow. If I court more women, you’ll couch with more men.’ So, get thee gone. Good night. Mine eyes do itch. 56 Doth that bode weeping?
EMILIA	’Tis neither here nor there.
DESDEMONA	I have heard it said so. O, these men, these men! Dost thou in conscience think—ten me, Emilia— That there be women do abuse their husbands In such gross kind? EMILIAThere be some such, no question.
DESDEMONA	Wouldst thou do such a deed for all the world?
EMILIA	Why, would not you?
DESDEMONA	No, by this heavenly light.
EMILIA	Nor I neither, by this heavenly light. I might do’t as well i’th’ dark.
DESDEMONA	Wouldst thou do such a deed for all the world?
EMILIA	The world’s a huge thing. It is a great price for a small vice.
DESDEMONA	In truth, I think thou wouldst not.
EMILIA	In truth, I think I should, and undo’t when I had done. Marry, I would not do such a thing for a joint ring, nor for measures of lawn, nor for gowns, petticoats, nor caps, nor any petty exhibition; but for all the whole world? Ud’s pity, who would not make her husband a cuckold to make him a monarch? I should venture purgatory for’t.
DESDEMONA	Beshrew me if I would do such a wrong For the whole world.
EMILIA	Why, the wrong is but a wrong i‘th’ world, and having the world for your labour, ’tis a wrong in your own world, and you might quickly make it right.
DESDEMONA	I do not think there is any such woman.
EMILIA	Yes, a dozen, and as many To th’ 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.
DESDEMONA	Good night, good night. God me such uses send Not to pick bad from bad, but by bad mend! Exeunt

Chi parla	Battuta
(didascalia)	Entrano Otello, Desdemona, Lodovico, Emilia e i servitori
LODOVICO	Vi supplico, signore, non incomodatevi oltre.
OTELLO	Oh, perdonatemi, mi farà bene camminare.
LODOVICO	(a Desdemona) Madonna, buona notte. Ringrazio umilmente vostra signoria.
DESDEMONA	Il vostro onore è il benvenuto.
OTELLO	Volete camminare, signore? Oh, Desdemona!
DESDEMONA	Mio signore?
OTELLO	Andate a letto sull’istante. Sarò di ritorno immediatamente. Congedate la vostra cameriera che è là. Badate che sia fatto.
DESDEMONA	Lo farò, mio signore.
(didascalia)	Escono Otello, Lodovico e i servitori
EMILIA	Come va ora? Ha l’aria più mite di prima.
DESDEMONA	Dice che tornerà immantinente. Mi ha comandato d’andare a letto, e mi ha ordinato di congedarti.
EMILIA	Congedarmi?
DESDEMONA	Fu suo ordine. Perciò, buona Emilia, dammi la mia veste da notte, e addio. is Non dobbiamo ora dispiacergli.
EMILIA	Vorrei che non l’aveste mai veduto.
DESDEMONA	Io no. Il mio amore tanto l’approva che perfino la sua ostinazione, i suoi rimproveri, i suoi cipigli— ti prego, sfibbiami—hanno in sé grazia e favore. Emilia aiuta Desdemona a svestirsi
EMILIA	Ho steso sul letto quelle lenzuola che m’avete chiesto.
DESDEMONA	Fa lo stesso. In buona fede, come sono sciocche le nostre menti! Se io morissi prima di te, ti prego, avvolgimi in una di queste stesse lenzuola.
EMILIA	Suvvia, suvvia, voi parlate a vanvera.
DESDEMONA	Mia madre aveva una serva che si chiamava Barbara. Era innamorata, e colui che amava impazzì e l’abbandonò. Ella aveva una canzone del salice. Era una cosa antica, ma esprimeva la sua sorte, ed ella morì cantandola. Quella canzone stanotte non mi vuole uscire di mente. Ho un gran daffare a non andare a reclinare il capo tutto da un lato e cantarla, come la povera Barbara. Ti prego, sbrigati.
EMILIA	Devo andare a prendere la vostra veste da notte?
DESDEMONA	No. Sfibbiami qui. Questo Lodovico è un bell’uomo.
EMILIA	Un uomo molto avvenente.
DESDEMONA	Parla bene.
EMILIA	Conosco una dama a Venezia che avrebbe camminato scalza fino in Palestina per un tocco del suo labbro inferiore.
DESDEMONA	(canta) ‘La povera anima sedeva sospirando sotto un sicomoro, cantate tutti il verde salice. La mano sul petto, il capo sul ginocchio, cantate salice, salice, salice. I freschi ruscelli le correvano accanto e mormoravano i suoi lamenti, cantate salice, salice, salice. Le sue salate lacrime cadevano da lei e ammollivano le pietre, cantate salice’— Riponi questi.— ‘salice, salice.’ Ti prego, affrettati. Verrà tra poco. ‘Cantate tutti il verde salice sia la mia ghirlanda. ‘Nessuno lo biasimi, il suo disprezzo io l’approvo’— No, non è questo che segue. Ascolta, chi è che bussa?
EMILIA	È il vento.
DESDEMONA	(canta) ‘Chiamai il mio amore falso amore, ma egli che disse allora? cantate salice, salice, salice. Se io corteggio più donne, tu giacerai con più uomini.’ Dunque, vattene. Buona notte. Mi prudono gli occhi. 56 Presagisce ciò un pianto?
EMILIA	Non significa né l’uno né l’altro.
DESDEMONA	L’ho sentito dire. Oh, questi uomini, questi uomini! Credi tu in coscienza—dimmi, Emilia— che vi siano donne che ingannano i loro mariti in modo così grossolano? EMILIACe ne sono di tali, non c’è dubbio.
DESDEMONA	Faresti tu una tale azione per tutto il mondo?
EMILIA	Come, voi non la fareste?
DESDEMONA	No, per questa luce celeste.
EMILIA	Neppure io, per questa luce celeste. Potrei farlo altrettanto bene al buio.
DESDEMONA	Faresti tu una tale azione per tutto il mondo?
EMILIA	Il mondo è cosa immensa. È un gran prezzo per un piccolo vizio.
DESDEMONA	In verità, credo che tu non lo faresti.
EMILIA	In verità, credo che lo farei, e lo disfarei dopo averlo fatto. Certo, non farei una cosa simile per un anello a incastro, né per pezze di batista, né per vesti, sottane, né cuffie, né alcun meschino donativo; ma per tutto il mondo intero? Per la pietà di Dio, chi non farebbe becco il proprio marito per farlo monarca? Rischierei il purgatorio per questo.
DESDEMONA	Ch’io sia maledetta se facessi un tal torto per il mondo intero.
EMILIA	Ma il torto non è che un torto nel mondo, e avendo il mondo per vostra fatica, è un torto nel vostro proprio mondo, e potreste presto raddrizzarlo.
DESDEMONA	Non credo che esista una donna simile.
EMILIA	Sì, una dozzina, e altrettante in soprappiù da popolare il mondo per cui giocarono. Ma io credo che sia colpa dei loro mariti se le mogli cadono. Poniamo che trascurino i loro doveri, e versino i nostri tesori in grembi stranieri, oppure scoppino in stizzose gelosie, imponendoci restrizioni; o poniamo che ci battano, o riducano per dispetto quanto prima ci davano: ebbene, noi abbiamo fiele; e sebbene abbiamo qualche grazia, pure abbiamo qualche vendetta. Sappiano i mariti che le loro mogli hanno sensi come loro. Vedono, e odorano, e hanno palato tanto per il dolce quanto per l’aspro, come l’hanno i mariti. Che cos’è che fanno quando ci cambiano con altre? È diporto? Io credo di sì. E l’affetto lo genera? Credo di sì. È fragilità che così erra? Anche questo è vero. E non abbiamo noi affetti, desideri di diporto, e fragilità, come gli uomini? Allora ci trattino bene, o sappiano che i mali che facciamo, i loro mali ce li insegnano.
DESDEMONA	Buona notte, buona notte. Dio mi mandi tali costumi non di trarre il male dal male, ma col male emendarmi! Escono

Speaker	Line
(didascalia)	Enter Iago and Roderigo
IAGO	Here, stand behind this bulk. Straight will he come. 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, And fix most firm thy resolution.
RODERIGO	Be near at hand. I may miscarry in’t.
IAGO	Here at thy hand. Be bold, and take thy stand.
RODERIGO	(aside) I have no great devotion to the deed, And yet he hath given me satisfying reasons. ’Tis but a man gone. Forth my sword—he dies!
IAGO	(aside) I have rubbed this young quat almost to the sense, And he grows angry. Now, whether he kill Cassio 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 bobbed from him 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 May unfold me to him-there stand I in much peril. No, he must die. But so, I hear him coming.
(didascalia)	Enter Cassio
RODERIGO	I know his gait, ’tis he. (Attacking Cassio) Villain, thou diest.
CASSIO	That thrust had been mine enemy indeed, But that my coat is better than thou know’st. I will make proof of thine. He stabs Roderigo, who falls
RODERIGO	O, I am slain! Iago wounds Cassio in the leg from behind. Exit Iago
CASSIO	(falling) I am maimed for ever. Help, ho, murder, murder!
(didascalia)	Enter Othello [above]
OTHELLO	The voice of Cassio. Iago keeps his word.
RODERIGO	O, villain that I am!
OTHELLO	It is even so.
CASSIO	O, help, ho! Light, a surgeon!
OTHELLO	’Tis he. O brave Iago, honest and just, That hast such noble sense of thy friend’s wrong— Thou teachest me. Minion, your dear lies dead, And your unblessed fate hies. Strumpet, I come. Forth of my heart those charms, thine eyes, are blotted. Thy bed, lust-stained, shall with lust’s blood be spotted.
(didascalia)	Exit
(didascalia)	Enter Lodovico and Graziano
CASSIO	What ho, no watch, no passage? Murder, murder!
GRAZIANO	’Tis some mischance. The voice is very direful.
CASSIO	O, help!
LODOVICO	Hark.
RODERIGO	O wretched villain!
LODOVICO	Two or three groan. ’Tis heavy night. These may be counterfeits. Let’s think’t unsafe To come into the cry without more help.
RODERIGO	Nobody come? Then shall I bleed to death.
(didascalia)	Enter Iago with a light
LODOVICO	Hark.
GRAZIANO	Here’s one comes in his shirt, with light and weapons.
IAGO	Who’s there? Whose noise is this that cries on murder?
LODOVICO	We do not know.
IAGO	Do not you hear a cry?
CASSIO	Here, here. For heaven’s sake, help me.
IAGO	What’s the matter?
GRAZIANO	(to Lodovico) This is Othello’s ensign, as I take it.
LODOVICO	The same indeed, a very valiant fellow.
IAGO	(to Cassio) What are you here that cry so grievously?
CASSIO	Iago—O, I am spoiled, undone by villains. Give me some help.
IAGO	O me, lieutenant, what villains have done this?
CASSIO	I think that one of them is hereabout And cannot make away.
IAGO	O treacherous villains! (To Lodovico and Graziano) What are you there? Come in and give some help.
RODERIGO	O, help me there!
CASSIO	That’s one of ’em.
IAGO	(stabbing Roderigo) O murderous slave! O villain!
RODERIGO	O damned Iago! O inhuman dog!
IAGO	Kill men i’th’ dark? Where be these bloody thieves? How silent is this town! Ho, murder, murder! (To Lodovico and Graziano) What may you be? Are you of good or evil?
LODOVICO	As you shall prove us, praise us.
IAGO	Signor Lodovico.
LODOVICO	He, sir.
IAGO	I cry you mercy. Here’s Cassio hurt by villains.
GRAZIANO	Cassio?
IAGO	How is’t, brother?
CASSIO	My leg is cut in two.
IAGO	Marry, heaven forbid! Light, gentlemen. I’ll bind it with my shirt.
(didascalia)	Enter Bianca
BIANCA	What is the matter, ho? Who is’t that cried?
IAGO	Who is’t that cried?
BIANCA	O my dear Cassio, My sweet Cassio, O, Cassio, Cassio!
IAGO	O notable strumpet! Cassio, may you suspect Who they should be that have thus mangled you? 80
CASSIO	No.
GRAZIANO	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!
BIANCA	Alas, he faints. O, Cassio, Cassio, Cassio!
IAGO	Gentlemen all, I do suspect this trash To be a party in this injury. Patience a while, good Cassio. Come, come, Lend me a light. (Going to Roderigo) Know we this face or no? Alas, my friend, and my dear countryman. Roderigo? No—yes, sure—O heaven, Roderigo!
GRAZIANO	What, of Venice?
IAGO	Even he, sir. Did you know him?
GRAZIANO	Know him? Ay.
IAGO	Signor Graziano, I cry your gentle pardon. These bloody accidents must excuse my manners That so neglected you.
GRAZIANO	I am glad to see you.
IAGO	How do you, Cassio? O, a chair, a chair!
GRAZIANO	Roderigo.
IAGO	He, he, ’tis he.
(didascalia)	Enter attendants with a chair
IAGO	O, that’s well said, the chair! Some good man bear him carefully from hence. I’ll fetch the general’s surgeon. (To Bianca) For you, mistress, Save you your labour. He that lies slain here, Cassio, Was my dear friend. What malice was between you?
CASSIO	None in the world, nor do I know the man.
IAGO	(to Bianca) What, look you pale? (To attendants) O, bear him out o’th’ air. (To Lodovico and Graziano) Stay you, good gentlemen.
(didascalia)	Exeunt attendants with Cassio in the chair [and with Roderigo’s body]
IAGO	(To Bianca) Look you pale, mistress? (To Lodovico and Graziano) Do you perceive the ghastness of her eye? (To Bianca) Nay, an you stare we shall hear more anon. (To Lodovico and Graziano) Behold her well; I pray you look upon her. Do you see, gentlemen? Nay, guiltiness Will speak, though tongues were out of use.
(didascalia)	Enter Emilia
EMILIA	Alas, what is the matter? What is the matter, husband?
IAGO	Cassio hath here been set on in the dark By Roderigo and fellows that are scaped. He’s almost slain, and Roderigo dead.
EMILIA	Alas, good gentleman! Alas, good Cassio!
IAGO	This is the fruits of whoring. Prithee, Emilia, Go know of Cassio where he supped tonight. (To Bianca) What, do you shake at that?
BIANCA	He supped at my house, but I therefore shake not.
IAGO	O, did he so? I charge you go with me.
EMILIA	(to Bianca) O, fie upon thee, strumpet!
BIANCA	I am no strumpet, but of life as honest As you that thus abuse me.
EMILIA	As I? Fough, fie upon thee!
IAGO	Kind gentlemen, let’s go see poor Cassio dressed. (To Bianca) Come, mistress, you must tell’s another tale. Emilia, run you to the citadel And tell my lord and lady what hath happed. Will you go on afore?
(didascalia)	Exit Emilia
IAGO	(Aside) This is the night That either makes me or fordoes me quite. Exeunt

Chi parla	Battuta
(didascalia)	Entrano Iago e Roderigo
IAGO	Qui, stai dietro questo sporto. Verrà subito. Tieni sguainato il tuo buon stocco, e vibralo a fondo. Presto, presto, non temere nulla. Sarò al tuo fianco. Ci fa o ci disfa. Pensa a questo, e rendi fermissima la tua risoluzione.
RODERIGO	Stammi vicino. Potrei fallire nell’impresa.
IAGO	Qui alla tua mano. Sii ardito, e prendi posizione.
RODERIGO	(a parte) Non ho gran devozione per l’impresa, eppure egli m’ha dato ragioni convincenti. Non è che un uomo di meno. Fuori la mia spada—muore!
IAGO	(a parte) Ho stropicciato questo giovane foruncolo quasi a vivo, ed egli s’adira. Ora, che egli uccida Cassio o Cassio lui, o che ciascuno uccida l’altro, in ogni modo è mio guadagno. viva Roderigo, egli mi richiama a una larga restituzione d’oro e di gioielli che gli ho carpito come doni per Desdemona. Non dev’essere. Se Cassio resta in vita, egli ha nella sua vita una quotidiana bellezza che mi fa brutto; e inoltre, il Moro potrebbe svelarmi a lui-là io sto in gran pericolo. No, deve morire. Ma ecco, lo sento venire.
(didascalia)	Entra Cassio
RODERIGO	Conosco il suo passo, è lui. (Attaccando Cassio) Furfante, tu muori.
CASSIO	Quel colpo sarebbe stato davvero mio nemico, se non fosse che la mia giubba è migliore di quel che credi. Farò prova della tua. Pugnala Roderigo, che cade
RODERIGO	Oh, sono ucciso! Iago ferisce Cassio alla gamba da dietro. Esce Iago
CASSIO	(cadendo) Sono storpiato per sempre. Aiuto, olà, assassinio, assassinio!
(didascalia)	Entra Otello [in alto]
OTELLO	La voce di Cassio. Iago mantiene la parola.
RODERIGO	Oh, furfante che sono!
OTELLO	È proprio così.
CASSIO	Oh, aiuto, olà! Un lume, un cerusico!
OTELLO	È lui. Oh prode Iago, onesto e giusto, che hai così nobile sentimento del torto fatto al tuo amico— tu mi ammaestri. Bamboccia, il tuo caro giace morto, e il tuo maledetto destino s’affretta. Sgualdrina, io vengo. Dal mio cuore quegl’incanti, i tuoi occhi, sono cancellati. Il tuo letto, macchiato di lussuria, sarà chiazzato del sangue della lussuria.
(didascalia)	Esce
(didascalia)	Entrano Lodovico e Graziano
CASSIO	Olà, nessuna guardia, nessun passante? Assassinio, assassinio!
GRAZIANO	È qualche sciagura. La voce è assai spaventosa.
CASSIO	Oh, aiuto!
LODOVICO	Ascoltate.
RODERIGO	Oh miserabile furfante!
LODOVICO	Due o tre gemono. È notte fonda. Potrebbero esser finzioni. Reputiamo malsicuro accorrere al grido senza maggior aiuto.
RODERIGO	Nessuno viene? Allora mi dissanguerò a morte.
(didascalia)	Entra Iago con un lume
LODOVICO	Ascoltate.
GRAZIANO	Eccone uno che viene in camicia, con lume e armi.
IAGO	Chi è là? Di chi è questo strepito che grida all’assassinio?
LODOVICO	Non lo sappiamo.
IAGO	Non udite un grido?
CASSIO	Qui, qui. Per amor del cielo, aiutatemi.
IAGO	Che c’è?
GRAZIANO	(a Lodovico) Questo è l’alfiere di Otello, se non erro.
LODOVICO	Proprio lui, un uomo assai valoroso.
IAGO	(a Cassio) Chi siete voi qui che gridate così dolorosamente?
CASSIO	Iago—oh, sono rovinato, disfatto da furfanti. Datemi aiuto.
IAGO	Ohimè, luogotenente, quali furfanti han fatto questo?
CASSIO	Credo che uno di loro sia qui intorno e non possa fuggire.
IAGO	Oh furfanti traditori! (A Lodovico e Graziano) Chi siete voi là? Venite qua e date aiuto.
RODERIGO	Oh, aiutatemi qua!
CASSIO	Quello è uno di loro.
IAGO	(pugnalando Roderigo) Oh schiavo assassino! Oh furfante!
RODERIGO	Oh dannato Iago! Oh cane disumano!
IAGO	Uccidere gli uomini al buio? Dove sono questi ladri sanguinari? Com’è silenziosa questa città! Olà, assassinio, assassinio! (A Lodovico e Graziano) Chi potreste essere? Siete del bene o del male?
LODOVICO	Come ci proverete, così lodateci.
IAGO	Signor Lodovico.
LODOVICO	Lui, signore.
IAGO	Vi chiedo perdono. Ecco Cassio ferito da furfanti.
GRAZIANO	Cassio?
IAGO	Come va, fratello?
CASSIO	La mia gamba è tagliata in due.
IAGO	Perbacco, il cielo non voglia! Un lume, signori. La fascerò con la mia camicia.
(didascalia)	Entra Bianca
BIANCA	Che c’è, olà? Chi è che ha gridato?
IAGO	Chi è che ha gridato?
BIANCA	Oh mio caro Cassio, mio dolce Cassio, oh, Cassio, Cassio!
IAGO	Oh insigne sgualdrina! Cassio, potete sospettare chi possano essere coloro che così vi hanno straziato? 80
CASSIO	No.
GRAZIANO	Mi duole trovarvi così. Sono andato a cercarvi.
IAGO	Prestatemi una giarrettiera. Così. Oh, una sedia, per portarlo via di qua agevolmente!
BIANCA	Ahimè, sviene. Oh, Cassio, Cassio, Cassio!
IAGO	Signori tutti, sospetto che questa spazzatura sia parte in questo oltraggio. Pazienza per un poco, buon Cassio. Venite, venite, prestatemi un lume. (Andando verso Roderigo) Conosciamo questo volto o no? Ahimè, il mio amico, e mio caro compatriota. Roderigo? No—sì, certo—oh cielo, Roderigo!
GRAZIANO	Che, quello di Venezia?
IAGO	Proprio lui, signore. Lo conoscevate?
GRAZIANO	Conoscerlo? Sì.
IAGO	Signor Graziano, imploro il vostro gentile perdono. Questi sanguinosi accidenti scusino i miei modi che così vi trascurarono.
GRAZIANO	Sono lieto di vedervi.
IAGO	Come state, Cassio? Oh, una sedia, una sedia!
GRAZIANO	Roderigo.
IAGO	Lui, lui, è lui.
(didascalia)	Entrano servitori con una sedia
IAGO	Oh, questo è ben detto, la sedia! Qualche buon uomo lo porti via di qua con cura. Andrò a chiamare il cerusico del generale. (A Bianca) Quanto a voi, padrona, risparmiate la vostra fatica. Colui che giace qui ucciso, Cassio, era mio caro amico. Che rancore c’era fra voi?
CASSIO	Nessuno al mondo, né conosco quell’uomo.
IAGO	(a Bianca) Che, impallidite? (Ai servitori) Oh, portatelo via dall’aria aperta. (A Lodovico e Graziano) Restate voi, buoni signori.
(didascalia)	Escono i servitori con Cassio nella sedia [e con il corpo di Roderigo]
IAGO	(A Bianca) Impallidite, padrona? (A Lodovico e Graziano) Notate lo spavento del suo occhio? (A Bianca) Suvvia, se sbarrate gli occhi udremo altro fra poco. (A Lodovico e Graziano) Osservatela bene; vi prego, guardatela. Vedete, signori? Suvvia, la colpa parlerà, anche se le lingue fossero fuori uso.
(didascalia)	Entra Emilia
EMILIA	Ahimè, che cosa succede? Che cosa succede, marito?
IAGO	Cassio è stato qui assalito nel buio da Roderigo e da compari che sono scampati. È quasi ucciso, e Roderigo è morto.
EMILIA	Ahimè, buon gentiluomo! Ahimè, buon Cassio!
IAGO	Questi sono i frutti del puttaneggiare. Ti prego, Emilia, va’ a sapere da Cassio dove ha cenato stanotte. (A Bianca) Che, tremate a questo?
BIANCA	Ha cenato a casa mia, ma non per questo tremo.
IAGO	Oh, davvero? Vi ingiungo di venire con me.
EMILIA	(a Bianca) Oh, vergogna su di te, sgualdrina!
BIANCA	Non sono una sgualdrina, ma di vita onesta quanto voi che così m’oltraggiate.
EMILIA	Quanto me? Puah, vergogna su di te!
IAGO	Gentili signori, andiamo a veder medicare il povero Cassio. (A Bianca) Venite, padrona, dovrete raccontarci un’altra storia. Emilia, corri tu alla cittadella e di’ al mio signore e alla mia signora ciò che è accaduto. Volete andare avanti?
(didascalia)	Esce Emilia
IAGO	(A parte) Questa è la notte che o mi fa o mi disfa del tutto. Escono

Speaker	Line
(didascalia)	Enter Othello with a light. He draws back a curtain, revealing Desdemona asleep in her bed
OTHELLO	It is the cause, it is the cause, my soul. Let me not name it to you, you chaste stars. It is the cause. Yet I’ll not shed her blood, Nor scar that whiter skin of hers than snow, And smooth as monumental alabaster. Yet she must die, else she’ll betray more men. Put out the light, and then put out the light. If I quench thee, thou flaming minister, I can again thy former light restore Should I repent me; but once put out thy light, Thou cunning‘st pattern of excelling nature, I know not where is that Promethean heat That can thy light relume. When I have plucked thy rose I cannot give it vital growth again. It needs must wither. I’ll smell thee on the tree. [He kisses her] O balmy breath, that dost almost persuade 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 that’s the last. He kisses her So sweet was ne’er so fatal. I must weep, But they are cruel tears. This sorrow’s heavenly, It strikes where it doth love. She wakes.
DESDEMONA	Who’s there? Othello?
OTHELLO	Ay, Desdemona.
DESDEMONA	Will you come to bed, my lord? OTHELLOHave you prayed tonight, Desdemon?
DESDEMONA	Ay, my lord.
OTHELLO	If you bethink yourself of any crime Unreconciled as yet to heaven and grace, Solicit for it straight.
DESDEMONA	Alack, my lord, what may you mean by that?
OTHELLO	Well, do it, and be brief. I will walk by. I would not kill thy unprepared spirit. No, heavens forfend! I would not kill thy soul.
DESDEMONA	Talk you of killing?
OTHELLO	Ay, I do.
DESDEMONA	Then heaven Have mercy on me.
OTHELLO	Amen, with all my heart.
DESDEMONA	If you say so, I hope you will not kill me.
OTHELLO	Hum!
DESDEMONA	And yet I fear you, for you’re 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.
OTHELLO	Think on thy sins.
DESDEMONA	They are loves I bear to you.
OTHELLO	Ay, and for that thou diest.
DESDEMONA	That death’s unnatural that kills for loving. Alas, why gnaw you so your nether lip? Some bloody passion shakes your very frame. These are portents, but yet I hope, I hope They do not point on me.
OTHELLO	Peace, and be still.
DESDEMONA	I will so. What’s the matter?
OTHELLO	That handkerchief Which I so loved and gave thee, thou gav’st to Cassio.
DESDEMONA	No, by my life and soul. Send for the man And ask him.
OTHELLO	Sweet soul, take heed, take heed of perjury. Thou art on thy deathbed.
DESDEMONA	Ay, but not yet to die.
OTHELLO	Presently. Therefore confess thee freely of thy sin, For to deny each article with oath Cannot remove nor choke the strong conception That I do groan withal. Thou art to die.
DESDEMONA	Then Lord have mercy on me.
OTHELLO	I say amen.
DESDEMONA	And have you mercy, too. I never did Offend you in my life, never loved Cassio But with such general warranty of heaven As I might love. I never gave him token.
OTHELLO	By heaven, I saw my handkerchief in’s hand. O perjured woman! Thou dost stone my heart, And makes me call what I intend to do A murder, which I thought a sacrifice. I saw the handkerchief.
DESDEMONA	He found it, then. I never gave it him. Send for him hither. Let him confess a truth.
OTHELLO	He hath confessed.
DESDEMONA	What, my lord?
OTHELLO	That he hath used thee.
DESDEMONA	How, unlawfully?
OTHELLO	Ay.
DESDEMONA	He will not say so. OTHELLONo, his mouth is stopped. Honest Iago hath ta’en order for’t.
DESDEMONA	O, my fear interprets! What, is he dead?
OTHELLO	Had all his hairs been lives, my great revenge Had stomach for em all.
DESDEMONA	(weeping) Alas, he is betrayed, and I undone.
OTHELLO	Out, strumpet! Weep’st thou for him to my face?
DESDEMONA	O, banish me, my lord, but kill me not.
OTHELLO	(attacking her) Down, strumpet.
DESDEMONA	Kill me tomorrow; let me live tonight.
OTHELLO	Nay, an you strive—
DESDEMONA	But half an hour.
OTHELLO	Being done, there is no pause.
DESDEMONA	But while I say one prayer.
OTHELLO	It is too late. He smothers her
DESDEMONAO	Lord, Lord, Lord! Emilia at the door
EMILIA	(within) My lord, my lord, what ho, my lord, my lord!
OTHELLO	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.
EMILIA	(within) What ho, my lord, my lord! OTHELLOWho’s there?
EMILIA	(within) O, good my lord, I would speak a word with you.
OTHELLO	(calling) Yes.—‘Tis Emilia. (Calling) By and by!—She’s dead. ’Tis like she comes to speak of Cassio’s death. The noise was high. Ha! No more moving. 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 ha’ no wife. O insupportable, O heavy hour! Methinks it should be now a huge eclipse Of sun and moon, and that th’affrighted globe Should yawn at alteration.
EMILIA	(within) I do beseech you That I may speak with you. O, good my lord!
OTHELLO	I had forgot thee.—O, come in, Emilia.— Soft, by and by. Let me the curtains draw. He closes the bed-curtains Where art thou? He opens the door. Enter Emilia What’s the matter with thee now?
EMILIA	O my good lord, yonder’s foul murder’s done.
OTHELLO	What, now?
EMILIA	But now, my lord.
OTHELLO	It is the very error of the moon, She comes more nearer earth than she was wont, And makes men mad.
EMILIA	Cassio, my lord, hath killed a young Venetian Called Roderigo.
OTHELLO	Roderigo killed And Cassio killed?
EMILIA	No, Cassio is not killed.
OTHELLO	Not Cassio killed? Then murder’s out of tune, And sweet revenge grows harsh.
DESDEMONA	O, falsely, falsely murdered!
EMILIA	O Lord, what cry is that?
OTHELLO	That? What?
EMILIA	Out and alas, that was my lady’s voice!
(didascalia)	She opens the bed-curtains
EMILIA	Help, help, ho, help ! O lady, speak again! Sweet Desdemona, O sweet mistress, speak!
DESDEMONA	A guiltless death I die.
EMILIA	O, who hath done this deed?
DESDEMONA	Nobody, I myself. Farewell. Commend me to my kind lord. O, farewell! She dies
OTHELLO	Why, how should she be murdered?
EMILIA	Alas, who knows?
OTHELLO	You heard her say herself it was not I.
EMILIA	She said so, I must needs report the truth.
OTHELLO	She’s like a liar gone to burning hell. ’Twas I that killed her.
EMILIA	O, the more angel she, and you the blacker devil!
OTHELLO	She turned to folly, and she was a whore.
EMILIA	Thou dost belie her, and thou art a devil.
OTHELLO	She was false as water.
EMILIA	Thou art rash as fire To say that she was false. O, she was heavenly true!
OTHELLO	Cassio did top her. Ask thy husband else. O, I were damned beneath all depth in hell But that I did proceed upon just grounds To this extremity! Thy husband knew it all.
EMILIA	My husband?
OTHELLO	Thy husband.
EMILIA	That she was false to wedlock?
OTHELLO	Ay, with Cassio. 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.
EMILIA	My husband?
OTHELLO	Ay, ’twas he that told me on her first. An honest man he is, and hates the slime That sticks on filthy deeds.
EMILIA	My husband?
OTHELLO	What needs this iterance? Woman, I say thy husband.
EMILIA	O mistress, villainy hath made mocks with love. My husband say she was false?
OTHELLO	He, woman. I say thy husband. Dost understand the word? My friend, thy husband, honest, honest Iago.
EMILIA	If he say so, may his pernicious soul Rot half a grain a day. He lies to th’ heart. She was too fond of her most filthy bargain.
OTHELLO	Ha?
EMILIA	Do thy worst. This deed of thine is no more worthy heaven Than thou wast worthy her.
OTHELLO	Peace, you were best.
EMILIA	Thou hast not half that power to do me harm 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, hot Help! The Moor hath killed my mistress. Murder, murder!
(didascalia)	Enter Montano, Graziano, and Iago
MONTANO	What is the matter? How now, general?
EMILIA	O, are you come, Iago? You have done well, That men must lay their murders on your neck.
GRAZIANO	What is the matter?
EMILIA	(to Iago) Disprove this villain if thou beest 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.
IAGO	I told him what I thought, and told no more Than what he found himself was apt and true.
EMILIA	But did you ever tell him she was false?
IACO	I did.
EMILIA	You told a lie, an odious, damnèd lie, Upon my soul a lie, a wicked lie. She false with Cassio? Did you say with Cassio?
IAGO	With Cassio, mistress. Go to, charm your tongue.
EMILIA	I will not charm my tongue. I am bound to speak. My mistress here lies murdered in her bed.
(didascalia)	MONTANO and GRAZIANO O heavens forfend!
EMILIA	(to Iago) And your reports have set the murder on.
OTHELLO	Nay, stare not, masters. It is true indeed.
GRAZIANO	’Tis a strange truth.
MONTANO	O monstrous act!
EMILIA	Villainy, villainy, villainy! I think upon’t, I think. I smell’t. O villainy! I thought so then. I’ll kill myself for grief. O villainy, villainy!
IAGO	What, are you mad? I charge you get you home.
EMILIA	Good gentlemen, let me have leave to speak. ‘Tis proper I obey him, but not now. Perchance, Iago, I will ne’er go home.
OTHELLO	O, O, O! Othello falls on the bed
EMILIA	Nay, lay thee down and roar, For thou hast killed the sweetest innocent That e’er did lift up eye.
(didascalia)	OTHELLO rising O, she was foul!
EMILIA	(To Graziano) I scarce did know you, uncle. There lies your niece, Whose breath indeed these hands have newly stopped. I know this act shows horrible and grim
GRAZIANO	Poor Desdemon, 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 This sight would make him do a desperate turn, Yea, curse his better angel from his side, And fall to reprobance.
OTHELLO	’Tis pitiful. But yet Iago knows That she with Cassio hath the act of shame A thousand times committed. Cassio confessed it, And she did gratify his amorous works With that recognizance and pledge of love Which I first gave her. I saw it in his hand. It was a handkerchief, an antique token My father gave my mother.
EMILIA	O God! O heavenly God!
IAGO	’Swounds, hold your peace!
EMILIA	‘Twill out, ’twill out. I peace? No, I will speak as liberal as the north. Let heaven, and men, and devils, let ’em all, All, all cry shame against me, yet I’ll speak.
IAGO	Be wise and get you home.
EMILIA	I will not. Iago draws his sword
GRAZIANO	(to Iago) Fie, your sword upon a woman?
EMILIA	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— More than indeed belonged to such a trifle— He begged of me to steal’t.
IAGO	Villainous whore!
EMILIA	She give it Cassio? No, alas, I found it, And I did give’t my husband.
IAGO	Filth, thou liest.
EMILIA	By heaven I do not, I do not, gentlemen. O murderous coxcomb! What should such a fool Do with so good a wife?
OTHELLO	Are there no stones in heaven But what serves for the thunder? Precious villain! The Moor runs at lago. Montano disarms Othello. Iago wounds his wife
GRAZIANO	The woman falls. Sure he hath killed his wife.
EMILIA	Ay, ay. O, lay me by my mistress’ side!
(didascalia)	Exit lago
GRAZIANO	He’s gone, but his wife’s killed.
MONTANO	‘Tis a notorious villain. Take you this weapon Which I have here recovered 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. Exeunt Montano and Graziano
OTHELLO	I am not valiant neither, But every puny whipster gets my sword. But why should honour outlive honesty? Let it go all.
EMILIA	What did thy song bode, lady? Hark, canst thou hear me? I will play the swan, And die in music. (Sings) ‘Willow, willow, willow.’— Moor, she was chaste. She loved thee, cruel Moor. So come my soul to bliss as I speak true. So, speaking as I think, alas, I die. She dies
OTHELLO	I have another weapon in this chamber. It was a sword of Spain, the ice-brook’s temper. O, here it is. (Calling) Uncle, I must come forth.
GRAZIANO	(within) If thou attempt it, it will cost thee dear. Thou hast no weapon, and perforce must suffer.
OTHELLO	Look in upon me then, and speak with me, Or, naked as I am, I will assault thee.
(didascalia)	Enter Graziano
GRAZIANO	What is the matter?
OTHELLO	Behold, I have a weapon; A better never did itself sustain Upon a soldier’s thigh. I have seen the day 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. Be not afraid, though you do see me weaponed. Here is my journey’s end, here is my butt And very sea-mark of my utmost sail. Do you go back dismayed? ’Tis a lost fear. Man but a rush against Othello’s breast And he retires. Where should Othello go? (To Desdemona) Now, how dost thou look now? O ill- starred wench, Pale as thy smock! When we shall meet at count This look of thine will hurl my soul from heaven, And fiends will snatch at it.
(didascalia)	He touches her
OTHELLO	Cold, cold, my girl, Even like thy chastity. O cursed, cursed slavel Whip me, ye devils, 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! O Desdemon! Dead Desdemon! Dead! 0! 0!
(didascalia)	Enter Lodovico, Montano, Iago guarded by officers, with Cassio in a chair
LODOVICO	Where is this rash and most unfortunate man?
OTHELLO	That’s he that was Othello. Here I am.
LODOVICO	Where is that viper? Bring the villain forth.
OTHELLO	I look down towards his feet, but that’s a fable. (To Iago) If that thou beest a devil I cannot kill thee. He wounds Iago
LODOVICO	Wrench his sword from him. Officers disarm Othello
IAGO	I bleed, sir, but not killed.
OTHELLO	I am not sorry, neither. I’d have thee live, For in my sense ’tis happiness to die.
LODOVICO	O thou Othello, that was once so good, Fall’n in the practice of a cursed slave, What shall be said to thee?
OTHELLO	Why, anything; An honourable murderer, if you will, For naught I did in hate, but all in honour.
LODOVICO	This wretch hath part confessed his villainy. Did you and he consent in Cassio’s death?
OTHELLO	Ay.
CASSIO	Dear general, I never gave you cause.
OTHELLO	I do believe it, and I ask your pardon. Will you, I pray, demand that demi-devil Why he hath thus ensnared my soul and body?
IAGO	Demand me nothing. What you know, you know. From this time forth I never will speak word.
LODOVICO	(to Iago) What, not to pray?
GRAZIANO	(to Iago) Torments will ope your lips.
OTHELLO	Well, thou dost best.
LODOVICO	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, And here another. The one of them imports The death of Cassio, to be undertook By Roderigo.
OTHELLO	O villain!
CASSIO	Most heathenish and most gross.
LODOVICO	Now here’s another discontented paper Found in his pocket too, and this it seems Roderigo meant to’ve sent this damned villain, But that, belike, Iago in the interim Came in and satisfied him.
OTHELLO	(to Iago) O thou pernicious caitiff! How came you, Cassio, by that handkerchief That was my wife’s?
CASSIO	I found it in my chamber, And he himself confessed it, but even now, That there he dropped it for a special purpose Which wrought to his desire.
OTHELLO	O fool, fool, fool!
CASSIO	There is besides in Roderigo’s letter How he upbraids Iago, that he made him 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.
LODOVICO	(to Othello) You must forsake this room and go with us. Your power and your command is taken off, And Cassio rules in Cyprus. For this slave, If there be any cunning cruelty 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. (To officers) Come, bring away.
OTHELLO	Soft you, a word or two before you go. I have done the state some service, and they know’t. No more of that. I pray you, in your letters, When you shall these unlucky deeds relate, Speak of me as I am. Nothing extenuate, Nor set down aught in malice. Then must you speak Of one that loved not wisely but too well, Of one not easily jealous but, being wrought, Perplexed in the extreme; of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe; of one whose subdued eyes, Albeit unused to the melting mood, Drops 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 turbaned Turk Beat a Venetian and traduced the state, I took by th’ throat the circumcised dog And smote him thus. He stabs himself
LODOVICO	O bloody period!
GRAZIANO	All that is spoke is marred.
OTHELLO	(to Desdemona) I kissed thee ere I killed thee. No way but this: Killing myself, to die upon a kiss. He kisses Desdemona and dies
CASSIO	This did I fear, but thought he had no weapon, For he was great of heart.
LODOVICO	(to Iago) O Spartan dog, 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.
(didascalia)	They close the bed-curtains
LODOVICO	Graziano, keep the house, And seize upon the fortunes of the Moor, For they succeed on you. (To Cassio) 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 This heavy act with heavy heart relate.
(didascalia)	Exeunt with Emilia’s bodyl
THE HISTORY OF KING	LEAR
THE QUARTO TEXT	King Lear first appeared in print in a quarto of 1608. A substantially different text appeared in the 1623 Folio. Until the first appearance of the Oxford text, editors, assuming that each of these early texts imperfectly represented a single play, conflated them. But research conducted mainly during the 1970s and 1980s confirms an earlier view that the 1608 quarto represents the play as Shakespeare originally wrote it, and the 1623 Folio as he substantially revised it. He revised other plays, too, but usually by making many small changes in the dialogue and adding or omitting passages, as in Hamlet, Troilus and Cressida, and Othello. For these plays we print the revised text in so far as it can be ascertained. But in King Lear revisions are not simply local but structural, too; conflation, as Harley Granville-Barker wrote, ‘may make for redundancy or confusion’, so we print an edited version of each text. The first, printed in the following pages, represents the play as Shakespeare first conceived it, probably before it was performed. The story of a king who, angry with the failure of his virtuous youngest daughter (Cordelia) to respond as he desires in a love-test, divides his kingdom between her two malevolent sisters (Gonoril and Regan), had been often told; Shakespeare would have come upon it in Holinshed’s Chronicles and in A Mirror for Magistrates while reading for his plays on English history. It is told also (though briefly) in Edmund Spenser’s Faerie Queene (Book 2, canto 10), and had been dramatized in a play of unknown authorship—The True Chronicle History of King Leir and his three daughters—published in 1605, but probably written some fifteen years earlier. This play particularly gave Shakespeare much, including suggestions for the characters of Lear’s loyal servant, Kent, and of Gonoril’s husband, Albany, and her steward, Oswald; for the storm; for Lear’s kneeling to Cordelia; and for many details of language. Nevertheless, his play is a highly original creation. Lear’s madness and the harrowing series of disasters in King Lear’s final stages are of Shakespeare’s invention, and he complicates the plot by adding the story (based on an episode of Sir Philip Sidney’s Arcadia) of Gloucester and his two sons, Edmund and Edgar. Edgar’s love and loyalty to the father who, failing to see the truth, has rejected him in favour of the villainous Edmund makes him a counterpart to Cordelia; and the horrific blinding of Gloucester brought about by Edmund creates a physical parallel to Lear’s madness which reaches its consummation in the scene (Sc. 20) at Dover Cliff when the mad and the blind old men commune together. The clear-eyed intensity of Shakespeare’s tragic vision in King Lear has been too much for some audiences, and Nahum Tate’s adaptation, which gave the play a happy ending, held the stage from 1681 to 1843; since then, increased understanding of Shakespeare’s stagecraft along with a greater seriousness in theatre audiences has assisted in the rehabilitation of a play that is now recognized as one of the profoundest of all artistic explorations of the human condition. In the text which follows, the Quarto scene numbers are followed by the equivalent Folio act and scene numbers in parentheses. There is no equivalent to Sc. 17 in the Folio.
THE PERSONS OF THE	PLAY LEAR, King of Britain GONORIL, Lear’s eldest daughter Duke of ALBANY, her husband REGAN, Lear’s second daughter Duke of CORNWALL, her husband CORDELIA, Lear’s youngest daughter Earl of KENT, later disguised as Caius Earl of GLOUCESTER EDGAR, elder son of Gloucester, later disguised as Tom o’ Bedlam EDMUND, bastard son of Gloucester
OLD	MAN, a tenant of Gloucester CURAN, Gloucester’s retainer Lear’s FOOL OSWALD, Gonoril’s steward Three SERVANTS of Cornwall DOCTOR, attendant on Cordelia Three CAPTAINS A HERALD A KNIGHT A MESSENGER Gentlemen, servants, soldiers, followers, trumpeters, others

Chi parla	Battuta
(didascalia)	Entra Otello con un lume. Scosta una tenda, rivelando Desdemona addormentata nel suo letto
OTELLO	È la causa, è la causa, anima mia. Ch’io non la nomini a voi, caste stelle. È la causa. Pure non verserò il suo sangue, né sfregerò quella sua pelle più bianca della neve, e liscia come alabastro di sepolcro. Pure deve morire, o tradirà altri uomini. Spegni il lume, e poi spegni la luce. Se io ti spengo, fiammeggiante ministro, posso di nuovo ridarti il tuo primo lume ove me ne penta; ma una volta spento il tuo lume, tu sapientissimo modello dell’eccellente natura, non so dove sia quel calore prometeico che possa riaccendere il tuo lume. Quando avrò colto la tua rosa non potrò ridarle vitale rigoglio. Dovrà appassire. Ti odorerò sul ramo. [La bacia] O alito balsamico, che quasi persuadi la Giustizia a spezzare la sua spada! Ancora uno, ancora uno. Sii così quando sarai morta, e io ti ucciderò e poi ti amerò. Ancora uno, e sarà l’ultimo. La bacia Mai dolcezza fu tanto fatale. Devo piangere, ma sono crudeli lacrime. Questo dolore è celeste, colpisce là dove ama. Lei si desta.
DESDEMONA	Chi è là? Otello?
OTELLO	Sì, Desdemona.
DESDEMONA	Volete venire a letto, mio signore? OTELLOAvete pregato stanotte, Desdemon?
DESDEMONA	Sì, mio signore.
OTELLO	Se vi torna in mente qualche colpa non ancora riconciliata col cielo e con la grazia, implorate subito perdono.
DESDEMONA	Ahimè, mio signore, che intendete con ciò?
OTELLO	Bene, fatelo, e siate breve. Io passeggerò qui. Non vorrei uccidere il tuo spirito impreparato. No, il cielo non voglia! Non vorrei uccidere la tua anima.
DESDEMONA	Parlate di uccidere?
OTELLO	Sì, di questo.
DESDEMONA	Allora il cielo abbia pietà di me.
OTELLO	Amen, con tutto il cuore.
DESDEMONA	Se dite così, spero che non mi ucciderete.
OTELLO	Hum!
DESDEMONA	Eppure vi temo, perché siete funesto quando gli occhi vi ruotano così. Perché debba temere non so, giacché colpa non conosco, eppure sento che temo.
OTELLO	Pensa ai tuoi peccati.
DESDEMONA	Sono gli amori che vi porto.
OTELLO	Sì, e per questo tu muori.
DESDEMONA	È innaturale quella morte che uccide per amore. Ahimè, perché vi mordete così il labbro inferiore? Qualche sanguinosa passione vi scuote tutte le membra. Sono presagi, ma pure spero, spero che non additino me.
OTELLO	Taci, e sta’ ferma.
DESDEMONA	Lo farò. Che c’è?
OTELLO	Quel fazzoletto che tanto amavo e ti donai, tu lo desti a Cassio.
DESDEMONA	No, per la mia vita e la mia anima. Mandate a chiamarlo e chiedeteglielo.
OTELLO	Dolce anima, bada, bada allo spergiuro. Sei sul tuo letto di morte.
DESDEMONA	Sì, ma non ancora per morire.
OTELLO	Or ora. Perciò confessa liberamente il tuo peccato, ché negare ogni capo d’accusa con giuramento non può rimuovere né soffocare la ferma convinzione sotto cui gemo. Tu devi morire.
DESDEMONA	Allora il Signore abbia pietà di me.
OTELLO	Io dico amen.
DESDEMONA	E abbiatene pietà anche voi. Mai in vita mia vi offesi, mai amai Cassio se non con quella generale licenza del cielo per cui mi era dato amare. Mai gli diedi pegno.
OTELLO	Per il cielo, vidi il mio fazzoletto nella sua mano. O donna spergiura! Tu mi impietrisci il cuore, e mi fai chiamare ciò che intendo fare un assassinio, che credevo un sacrificio. Vidi il fazzoletto.
DESDEMONA	Allora l’avrà trovato. Io non gliel’ho mai dato. Mandate a chiamarlo qui. Che confessi la verità.
OTELLO	Ha confessato.
DESDEMONA	Che cosa, mio signore?
OTELLO	Che ti ha posseduta.
DESDEMONA	Come, illecitamente?
OTELLO	Sì.
DESDEMONA	Non lo dirà. OTELLONo, la sua bocca è chiusa. L’onesto Iago ha provveduto.
DESDEMONA	Oh, la mia paura interpreta! Come, è morto?
OTELLO	Fossero state vite tutti i suoi capelli, la mia gran vendetta avrebbe avuto fame per tutte.
DESDEMONA	(piangendo) Ahimè, egli è tradito, e io rovinata.
OTELLO	Via, sgualdrina! Piangi per lui in faccia a me?
DESDEMONA	Oh, bandiscimi, mio signore, ma non uccidermi.
OTELLO	(aggredendola) Giù, sgualdrina.
DESDEMONA	Uccidimi domani; lasciami vivere stanotte.
OTELLO	No, se ti dibatti—
DESDEMONA	Solo mezz’ora.
OTELLO	Una volta iniziato, non c’è indugio.
DESDEMONA	Solo il tempo d’una preghiera.
OTELLO	È troppo tardi. La soffoca
DESDEMONAO	Signore, Signore, Signore! Emilia alla porta
EMILIA	(da dentro) Mio signore, mio signore, olà, mio signore, mio signore!
OTELLO	Che rumore è questo? Non morta? Non ancora del tutto morta? Io che son crudele sono pure pietoso. Non vorrei che indugiassi nel tuo dolore. Così, così.
EMILIA	(da dentro) Olà, mio signore, mio signore! OTELLOChi è là?
EMILIA	(da dentro) Oh, mio buon signore, vorrei dirvi una parola.
OTELLO	(chiamando) Sì.—È Emilia. (Chiamando) Subito!—Lei è morta. Verrà forse a parlare della morte di Cassio. Il chiasso era grande. Ah! Non si muove più. Immobile come la tomba. Deve entrare? Sarà bene? Mi pare che si agiti ancora. No. Che è meglio fare? Se entra, parlerà certo a mia moglie. Mia moglie, mia moglie! Che moglie? Non ho più moglie. Oh insopportabile, oh ora greve! Mi pare che ora dovrebbe esserci un’immensa eclisse di sole e di luna, e che il globo atterrito dovesse spalancarsi al mutamento.
EMILIA	(da dentro) Vi supplico che io possa parlarvi. Oh, mio buon signore!
OTELLO	Ti avevo dimenticata.—Oh, entra, Emilia.— Piano, subito. Ch’io tiri le cortine. Chiude le cortine del letto Dove sei? Apre la porta. Entra Emilia Che cos’hai ora?
EMILIA	Oh mio buon signore, laggiù s’è commesso un turpe assassinio.
OTELLO	Come, adesso?
EMILIA	Proprio adesso, mio signore.
OTELLO	È proprio lo sviamento della luna, che s’avvicina alla terra più del solito, e fa impazzire gli uomini.
EMILIA	Cassio, mio signore, ha ucciso un giovane veneziano chiamato Roderigo.
OTELLO	Roderigo ucciso e Cassio ucciso?
EMILIA	No, Cassio non è ucciso.
OTELLO	Cassio non ucciso? Allora l’assassinio è stonato, e la dolce vendetta si fa aspra.
DESDEMONA	Oh, ingiustamente, ingiustamente assassinata!
EMILIA	O Signore, che grido è questo?
OTELLO	Quello? Che cosa?
EMILIA	Ahimè, ahimè, quella era la voce della mia signora!
(didascalia)	Apre le cortine del letto
EMILIA	Aiuto, aiuto, olà, aiuto ! O signora, parlate ancora! Dolce Desdemona, o dolce padrona, parlate!
DESDEMONA	Muoio d’una morte innocente.
EMILIA	Oh, chi ha compiuto quest’atto?
DESDEMONA	Nessuno, io stessa. Addio. Raccomandami al mio buon signore. Oh, addio! Muore
OTELLO	Ma come potrebbe essere stata assassinata?
EMILIA	Ahimè, chi lo sa?
OTELLO	L’avete udita dire lei stessa che non fui io.
EMILIA	Così disse, devo pur riferire la verità.
OTELLO	È andata all’inferno ardente come una bugiarda. Fui io a ucciderla.
EMILIA	Oh, tanto più angelo lei, e voi tanto più nero diavolo!
OTELLO	Si volse alla lussuria, ed era una puttana.
EMILIA	Tu la calunni, e tu sei un diavolo.
OTELLO	Era falsa come l’acqua.
EMILIA	Tu sei avventato come il fuoco a dire che era falsa. Oh, era celestialmente fedele!
OTELLO	Cassio la montò. Chiedilo a tuo marito. Oh, sarei dannato sotto ogni fondo d’inferno se non avessi proceduto su giusti fondamenti a questo estremo! Tuo marito sapeva tutto.
EMILIA	Mio marito?
OTELLO	Tuo marito.
EMILIA	Che era infedele al talamo?
OTELLO	Sì, con Cassio. Fosse stata fedele, se il cielo mi facesse un altro mondo simile d’un solo crisolito intero e perfetto, non l’avrei venduta per esso.
EMILIA	Mio marito?
OTELLO	Sì, fu lui il primo a parlarmene. È un uomo onesto, e odia la melma che s’attacca alle azioni immonde.
EMILIA	Mio marito?
OTELLO	Che serve questo ripetere? Donna, dico tuo marito.
EMILIA	O padrona, la scelleratezza s’è fatta beffe dell’amore. Mio marito dice che era falsa?
OTELLO	Lui, donna. Dico tuo marito. Capisci la parola? Il mio amico, tuo marito, l’onesto, onesto Iago.
EMILIA	Se dice questo, che la sua anima perniciosa marcisca mezzo grano al giorno. Mente fino in fondo al cuore. Era troppo innamorata del suo immondissimo baratto.
OTELLO	Ah?
EMILIA	Fa’ il tuo peggio. Quest’atto tuo non è più degno del cielo di quanto tu fossi degno di lei.
OTELLO	Taci, sarà meglio per te.
EMILIA	Non hai metà del potere di farmi male che io ho di soffrirlo. O gonzo, o zuccone, ignorante come il fango! Hai compiuto un atto— non m’importa della tua spada, ti farò conoscere anche perdessi venti vite. Aiuto, aiuto, olà Aiuto! Il Moro ha ucciso la mia padrona. All’assassinio, all’assassinio!
(didascalia)	Entrano Montano, Graziano e Iago
MONTANO	Che succede? Ebbene, generale?
EMILIA	Oh, siete venuto, Iago? Avete fatto bene, se gli uomini devono addossarvi i loro assassinii.
GRAZIANO	Che succede?
EMILIA	(a Iago) Smentisci questo scellerato se sei un uomo. Dice che tu gli dicesti che sua moglie era falsa. So che non lo facesti. Non sei un tale scellerato. Parla, ché il mio cuore è colmo.
IAGO	Gli dissi ciò che pensavo, e non dissi più di quanto lui stesso trovò verosimile e vero.
EMILIA	Ma gli avete mai detto che era falsa?
IACO	L’ho fatto.
EMILIA	Avete detto una menzogna, un’odiosa, dannata menzogna, sull’anima mia una menzogna, una malvagia menzogna. Lei falsa con Cassio? Avete detto con Cassio?
IAGO	Con Cassio, signora. Suvvia, frenate la lingua.
EMILIA	Non frenerò la mia lingua. Sono tenuta a parlare. La mia padrona giace qui assassinata nel suo letto.
(didascalia)	MONTANO e GRAZIANO Il cielo non voglia!
EMILIA	(a Iago) E i vostri rapporti hanno istigato l’assassinio.
OTELLO	No, non sbarrate gli occhi, signori. È proprio vero.
GRAZIANO	È una strana verità.
MONTANO	O atto mostruoso!
EMILIA	Scelleratezza, scelleratezza, scelleratezza! Ci penso, ci penso. La fiuto. Oh scelleratezza! Lo pensai allora. Mi ucciderò dal dolore. Oh scelleratezza, scelleratezza!
IAGO	Come, siete pazza? Vi ordino di andarvene a casa.
EMILIA	Buoni signori, concedetemi di parlare. È giusto ch’io gli obbedisca, ma non ora. Forse, Iago, non tornerò mai più a casa.
OTELLO	Oh, oh, oh! Otello cade sul letto
EMILIA	Sì, sdraiati pure e ruggisci, ché hai ucciso la più dolce innocente che mai alzasse occhio.
(didascalia)	OTELLO alzandosi Oh, era immonda!
EMILIA	(A Graziano) A stento vi riconoscevo, zio. Là giace vostra nipote, il cui respiro davvero queste mani hanno or ora arrestato. So che quest’atto appare orribile e truce
GRAZIANO	Povera Desdemon, sono lieto che tuo padre sia morto. Il tuo matrimonio gli fu mortale, e il puro dolore recise in due il suo vecchio filo. Vivesse ora, questa vista gli farebbe compiere un atto disperato, sì, maledire e scacciare dal suo fianco l’angelo migliore, e cadere in dannazione.
OTELLO	È cosa pietosa. Eppure Iago sa che lei con Cassio ha compiuto l’atto vergognoso mille volte. Cassio l’ha confessato, e lei ricompensò le sue amorose opere con quel segno e pegno d’amore che io per primo le diedi. L’ho visto nella sua mano. Era un fazzoletto, un antico ricordo che mio padre diede a mia madre.
EMILIA	O Dio! O Dio celeste!
IAGO	Per le piaghe di Cristo, tacete!
EMILIA	Verrà fuori, verrà fuori. Io tacere? No, parlerò libera come il vento del nord. Che il cielo, e gli uomini, e i diavoli, che tutti, tutti, tutti gridino vergogna contro di me, pure parlerò.
IAGO	Siate savia e andatevene a casa.
EMILIA	Non lo farò. Iago sguaina la spada
GRAZIANO	(a Iago) Vergogna, la vostra spada contro una donna?
EMILIA	O tu ottuso Moro, quel fazzoletto di cui parli io lo trovai per caso e lo diedi a mio marito, ché spesso, con solenne insistenza— più di quanto invero convenisse a tal bagattella— mi supplicò di rubarlo.
IAGO	Scellerata puttana!
EMILIA	Lei darlo a Cassio? No, ahimè, io lo trovai, e lo diedi a mio marito.
IAGO	Lurida, tu menti.
EMILIA	Per il cielo non mento, non mento, signori. O assassino zerbinotto! Che se ne farebbe un tale sciocco d’una moglie così buona?
OTELLO	Non ci sono pietre in cielo se non quelle che servono al tuono? Prezioso scellerato! Il Moro si avventa su lago. Montano disarma Otello. Iago ferisce la moglie
GRAZIANO	La donna cade. Certo ha ucciso sua moglie.
EMILIA	Sì, sì. Oh, deponetemi al fianco della mia padrona!
(didascalia)	Esce lago
GRAZIANO	È fuggito, ma sua moglie è uccisa.
MONTANO	È un scellerato famigerato. Prendete quest’arma che ho qui strappata al Moro. Venite, sorvegliate la porta di fuori. Non lasciatelo passare, ma piuttosto uccidetelo. Io inseguirò quello stesso scellerato, ché è uno schiavo dannato. Escono Montano e Graziano
OTELLO	Non sono nemmeno più valoroso, ma ogni gracile spadaccino mi toglie la spada. Ma perché l’onore dovrebbe sopravvivere all’onestà? Vada tutto perduto.
EMILIA	Che presagiva la tua canzone, signora? Ascolta, puoi udirmi? Farò il cigno, e morirò in musica. (Canta) «Salice, salice, salice.»— Moro, era casta. Ti amava, crudele Moro. Così la mia anima giunga alla beatitudine com’è vero che dico il vero. Così, parlando come penso, ahimè, muoio. Muore
OTELLO	Ho un’altra arma in questa camera. Era una spada di Spagna, temprata nel ruscello gelato. Oh, eccola. (Chiamando) Zio, devo uscire.
GRAZIANO	(da dentro) Se lo tenti, ti costerà caro. Non hai arma, e per forza dovrai subire.
OTELLO	Guarda dentro allora, e parla con me, o, inerme come sono, ti assalirò.
(didascalia)	Entra Graziano
GRAZIANO	Che succede?
OTELLO	Guarda, ho un’arma; una migliore mai si posò sulla coscia d’un soldato. Ho visto il giorno in cui, con questo piccolo braccio e questa buona spada, mi son fatto strada fra più ostacoli di venti volte il vostro sbarramento. Ma oh, vano vanto! Chi può governare il proprio destino? Ora non è più così. Non temete, benché mi vediate armato. Qui è la fine del mio viaggio, qui è la mia meta e il segnale estremo della mia ultima vela. Indietreggiate sgomento? È paura sprecata. Armate un giunco contro il petto di Otello ed egli si ritira. Dove andrà Otello? (A Desdemona) Ora, come appari adesso? O sventu- rata fanciulla, pallida come la tua veste! Quando ci incontreremo al giudizio questo tuo sguardo scaglierà la mia anima dal cielo, e i demoni l’afferreranno.
(didascalia)	La tocca
OTELLO	Fredda, fredda, mia ragazza, proprio come la tua castità. O maledetto, maledetto schiavol Frustatemi, o diavoli, via dal possesso di questa celeste visione. Sbattetemi nei venti, arrostitemi nello zolfo, lavatemi in abissi a picco di fuoco liquido! O Desdemon! Desdemon morta! Morta! 0! 0!
(didascalia)	Entrano Lodovico, Montano, Iago sotto la guardia degli ufficiali, con Cassio su una sedia
LODOVICO	Dov’è quest’uomo avventato e sventuratissimo?
OTELLO	È colui che fu Otello. Eccomi.
LODOVICO	Dov’è quella vipera? Conducete avanti lo scellerato.
OTELLO	Guardo giù verso i suoi piedi, ma è una favola. (A Iago) Se sei un diavolo non posso ucciderti. Ferisce Iago
LODOVICO	Strappategli la spada. Gli ufficiali disarmano Otello
IAGO	Sanguino, signore, ma non sono ucciso.
OTELLO	E non me ne dolgo. Vorrei che tu vivessi, ché per il mio sentire è felicità morire.
LODOVICO	O tu Otello, che un tempo fosti così buono, caduto nelle trame d’uno schiavo maledetto, che ti si dovrà dire?
OTELLO	Ma, qualunque cosa; un assassino onorevole, se volete, ché nulla feci per odio, ma tutto per onore.
LODOVICO	Questo miserabile ha in parte confessato la sua scelleratezza. Foste tu e lui d’accordo sulla morte di Cassio?
OTELLO	Sì.
CASSIO	Caro generale, non ve ne diedi mai motivo.
OTELLO	Lo credo, e vi chiedo perdono. Volete, vi prego, chiedere a quel mezzo diavolo perché abbia così irretito la mia anima e il mio corpo?
IAGO	Non chiedetemi nulla. Ciò che sapete, lo sapete. Da questo momento in poi non dirò mai più parola.
LODOVICO	(a Iago) Come, nemmeno per pregare?
GRAZIANO	(a Iago) I tormenti ti apriranno le labbra.
OTELLO	Bene, fai benissimo.
LODOVICO	Signore, saprete ciò che è accaduto, e che, credo, non conoscete. Ecco una lettera, trovata nella tasca dell’ucciso Roderigo, ed eccone un’altra. Una di esse riguarda la morte di Cassio, da compiersi per mano di Roderigo.
OTELLO	O scellerato!
CASSIO	Cosa da pagani e turpissima.
LODOVICO	Ed ecco un altro foglio pieno di malcontento trovato anch’esso in tasca sua, e questo pare che Roderigo volesse mandare a questo dannato scellerato, senonché, a quanto pare, Iago nel frattempo sopraggiunse e lo soddisfece.
OTELLO	(a Iago) O tu pernicioso furfante! Come vi giunse, Cassio, quel fazzoletto che era di mia moglie?
CASSIO	Lo trovai nella mia camera, ed egli stesso l’ha confessato, proprio ora, che là lo lasciò cadere per un particolare disegno che riuscì al suo desiderio.
OTELLO	O sciocco, sciocco, sciocco!
CASSIO	C’è inoltre nella lettera di Roderigo come egli rimproveri Iago d’averlo indotto a sfidarmi durante la guardia, donde avvenne che fui destituito; e proprio ora ha parlato, dopo esser parso a lungo morto: Iago lo ferì, Iago lo aizzò.
LODOVICO	(a Otello) Dovete lasciare questa stanza e venire con noi. Il vostro potere e il vostro comando vi sono tolti, e Cassio governa a Cipro. Quanto a questo schiavo, se esiste una crudeltà ingegnosa che possa tormentarlo molto e tenerlo a lungo, sarà per lui. Voi resterete stretto prigioniero finché la natura della vostra colpa non sia nota allo stato veneziano. (Agli ufficiali) Venite, portatelo via.
OTELLO	Piano, una parola o due prima che andiate. Ho reso allo stato qualche servigio, e lo sanno. Basta con questo. Vi prego, nelle vostre lettere, quando riferirete questi infelici fatti, parlate di me quale sono. Nulla attenuate, né aggiungete nulla per malizia. Allora dovrete parlare d’uno che amò non saggiamente ma troppo bene, d’uno non facile alla gelosia ma che, una volta aizzato, si smarrì all’estremo; d’uno la cui mano, come il vile indiano, gettò via una perla più ricca di tutta la sua tribù; d’uno i cui occhi domati, benché non usi a intenerirsi, stillano lacrime rapide come gli alberi d’Arabia la loro gomma medicinale. Scrivete questo, e dite inoltre che una volta in Aleppo, dove un maligno Turco dal turbante batteva un veneziano e vituperava lo stato, presi per la gola quel cane circonciso e lo colpii così. Si pugnala
LODOVICO	O sanguinosa conclusione!
GRAZIANO	Tutto ciò che è detto è guastato.
OTELLO	(a Desdemona) Ti baciai prima di ucciderti. Non altra via che questa: uccidendo me stesso, morire su un bacio. Bacia Desdemona e muore
CASSIO	Questo temevo, ma credevo non avesse arma, ché era grande di cuore.
LODOVICO	(a Iago) O cane spartano, più crudele dell’angoscia, della fame o del mare, guarda il tragico carico di questo letto. È opera tua. L’oggetto avvelena la vista. Sia nascosto.
(didascalia)	Chiudono le cortine del letto
LODOVICO	Graziano, custodite la casa, e prendete possesso dei beni del Moro, ché a voi spettano per successione. (A Cassio) A voi, Signor Governatore, resta la condanna di questo infernale scellerato. Il tempo, il luogo, la tortura, oh, applicatela! Io stesso m’imbarcherò subito, e allo stato riferirò con cuore greve questo greve atto.
(didascalia)	Escono con il corpo di Emilial
LA STORIA DI RE	LEAR