Othello: analisi critica del testo, Schemi e mappe concettuali di Letteratura Inglese

Scarica Othello: analisi critica del testo e più Schemi e mappe concettuali in PDF di Letteratura Inglese solo su Docsity! ActI Scene I—: Venice, A Street. EnterRoderigo and lago. Tush (exclamation)! Never tell me; I take it much unkindly That thou, lago, who hast (pers. Of the verb) had my purse As if'the strings were thine, shouldst (ILp. Del verb) know of this. ‘Sblood, but you will not hear me: If ever did dream of such a matter, Abhor me. Thou told'st me thou didst hold him in thy hate. Despise me if 1 do not. Three great ones of the city, Craig1916: 8 In personal suit to make me his lieutenant, Off-capp'd to him: and, by the faith of man. I know my price, I am worth no worse a place; But he, as loving his owm pride and purposes, Craig1916: 12 Evades them, with a bombast (emphatic) circumstance Honibly stuf'd with epithets of war, And, in conclusion, Nonsuitsmy mediators: for, 'Certes,' says he, Craig1916: 16 'T have already chose my officer." And what was he? Forsooth, a great arithmetician, One Michael Cassio, in Florentine, Craig1916: 20 A fellow almost damn'd in a fair wife, That never set a squadron in the field, Nor the division of a battle knows More than a spinster; unless the bookish theoric, Wherein the toged consuls can proposeCraig1916: 25 As masterly as he: mere prattle, without practice, Is all his soldiership. But he, sir, had the election; AndI — of whom his eyes had seen the proofCraig1916: 28 At Rhodes, at Cyprus, and on other grounds Christian and heathen — must be be-lee'd and calm'd By debitor and creditor; this counter caster, He, in good time, must his lieutenant be, Craig1916: 32 AndI — God bless the mark! —His Moorship's ancient. By heaven, I rather would have been his hangman, Why, there's no remedy: 'tis the curse of the service, Preferment goes by letter and affection, Craig1916: 36 Roderigo complains to lago because he has received the bag with the money, lago has manipulated Roderigo and promised him that in exchange for money he would do something, but obviously these things did not happen, in fact Roderigo is annoyed. TUSH: it's you, IIpers sing Already from the first line of Iago with his imprecation (‘Sblood by God's Blood) for the blood of Christ), we understand the violent and negative character of Iago. See also hamlet. Let's see iago is not elegant. lago swears, therefore uses an extremely violent language, strong terms, in his language we will'find very strong references. In Iago there is a strong presence of the personal pronoun. Othello preferred to lieutenant Cassio instead of lago. lago presents the image of Cassio in a negative way: Cassio is a great foreign mathematician (he is Florentine and not Venetian like the others), he has no experience of war but knows it only from books according to lago. There is a continuous opposition of Iago between himself and the Moor (Otello) (economic imagery) I know my price ... but he and this but he also retums to verse 26), or between himself and Cassius therefore already immediately he places himself in a sort of triangle between himself, the Moor and Cassius. Iago poses as Malcontent, a figure of Elizabethan theater, a character who did not have the advancement that awaited him; he feels mocked at a good that he was entitled to, but it is something that Iago's distorted mind thought, for which it is characterized by giving its own interpretation of reality and that it is the only valid one. "Nonsuits" verb that in the judicial language that indicates to file qlks when the charges are unfounded. Greatsaid in an ironic sense. Cassio is the man who stole his place. Tago calls Otello Moor (Moorship which is a coinage of Shakespeare since this word does not exist in English and means Moorish lordship) (Moro), a rather ambiguous term that generally indicates a non-white and non- Christian, although in reality Othello is Christian. So a characteristic of Othello appears, that of being a Moor. In Good time... an expression of ironic and impatience. Rod. Iago. Rod. Iago. Rod. Iago. Not by the old gradation, where each second Stood heir to the first. Now, sir, be judge yourself, Whe'rI in any just term am affin'd To love the Moor. I would not follow him then.Craig1916: 40 OR! sir, content you; I follow him to serve my tum upon him; We cannot all be masters, nor all masters Cannot be truly follow'd. You shall markCraig1916: 44 Many a duteous and knee-crooking knave, That, doting on his own obsequious bondage, Wears out his time, much like his master's ass, Fornaught but provender, and when he's old, cashierd; Craig1916: 48 Whip me such honest knaves. Others there are Who, trimm'd in forms and visages of duty, Keep yet their hearts attending on themselves, And. throwing but shows of service on their lords, Craig1916: 52 Do well thrive by them, and when they have lin'd their coats Do themselves homage: these fellows have some soul: And such a one do profess myself. For, sir, It is as sure as you are Roderigo, Craig1916: 56 Were the Moor, I would not be lago: In following him, I follow but myself Heaven is my judge, not I for love and duty, But seeming so, for my peculiar end: Craig1916: 60 For when my outward action doth demonstrate The native act and figure of my heart In compliment extem, 'tis not long after But I will wear my heart upon my sleeveCraig1916: 64 For daws to peck at: I am not what I am. What a fill fortune does the thick-lips owe, If he can cany "thus! Call up her father, Craig1916: 67 Rouse him, make after him, poison his delight, Proclaim him in the streets, incense her kinsmen, And, though he in a fertile climate dwell, Plague him with flies: though that his joy be joy, Yet throw such changes of vexation on 'tCraig1916: 72 As it may lose some color. Here is her father's house; T'Il call aloud. Of this long line of Iago, we see some points in particular. Generally, he says he follows Othello only for his own personal gain and criticizes those zealous followers who faithfully serve the master, and for him these would deserve the whipping and not the respect, but Iago respects those followers who show the master only the appearance of service. . v.54: "They show their master only the appearance of service" (only the image of service and not the substance of the service) metaphor of hypocrisy or metaphor of acting: Iago is a metateatral character because he plays a part continuousiy, for this reason we are continually intrigued to understand what Iago really thinks, as what he often says is a liar, so he is a diabolical character. In the Bible, the devil by nature is a liar and lago has all the characteristics. lago follows Otello for his own gain, pretending to be loyal. v.56: ambiguous phrase "if I were the dark I would not be lago", which shows a projective confusion, an unstable self projection as if lago had an unstable identity, he would like to be in the place of others, so he is in an ambiguous position on the level of identity; he shows himself hypocritical, like a person who acts. Vv. 58-59: Appearance of duty and love. The contrast immediately appears between lago's essence and action, that is a person who is not what he really appears, while Othello is what he seems. v.64: Iago makes an ambiguous statement “I am not what I am”, which expresses a strong identity confusion not only in appearance, but also in substance; this statement is a kind of parody of the Exodus in which God says "I am who I am". In Iago's sentence, the overturning of the divine occurs, the formulation of its identity poses an antithesis with the divine, as something diabolical. [ago is for shak the opposite of god, almost the devil. v.65:the adjective “thicklips” has been used by critics to identify Othello (full lips) as an African and not a Moor from North Africa. England in the 1500s had many Africans, one thinks of the slave trade. v.68_: lago wants to wake up Desdemona's father for "poison his delight" (poison his joy). This verse gives us the clue about the time, that is, it is evening and we are in Venice. Othello has married Desdemona and they want to tell her father Brabantio. Rod. Iago. Rod. Iago. Rod. Let loose on me the justice ofthe stateCraig1916: 140 For thus deluding you. 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.Craig1916: 144 Light, I say! light! Farewell, for must leave you: It seems not meet nor wholesome to my place To be produc'd, as, if stay, I shall, Against the Moor; for, I do know the state, Craig1916: 148 However this may gall him with some check, Cannot with safety cast him; forhe's embark'd With such loud reason to the Cyprus wars, - Which even now stand in act, —that, for their souls, Craig1916: 152 Another of his fathom they have none, To lead their business; in which regard, Though] do hate him as I do hell-pains, Yet, for necessity of present life, Craig1916: 156 I must show out a flag and sign of love, Which is indeed but sign. That you shall surely find him, Lead to the Sagittary the raised searchi And there will I be with him. I know, farewell.Craig191 6: 160 Enter below,Brabantio, and Servants with torches. VV. 143-157: while before lago had accompanied Roderigo, now he pulls back, because he cannot testify against Othello in his position as his knight. Again, lago says that he will pretend to be a friend of the Moro (idea of fiction) — Indeed, lago is a Machiavellian character. Machiavellian characters they are manipulative characters, devoid of ethics, who act for their own benefit. lago is Machiavellian, among other things there is the word "necessity" in verse 152, and we know that necessity is the key for Machiavelli Characteristics of lago — Machiavellian, vice, devil. , from above Lago. [Exit Act Scenell.—: Another Street. It is too true an evil: gone she is, And what's to come of my despised time Is naught but bittemess. Now, Roderigo, Where did you see her? O, a happy 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? Get more tapers! Raise all my kindred! Are they married, think you? Rod. Truly, I think they are Bra. O heaven! How got she out? O, treason of the blood: Fathers, from hence trust not your daughters' minds By what you see them act. Are there not charms By which the property of youth and maidhood Mey be abus‘d? Have you not read, Roderigo, Of some such thing? Rod. Yes, sir, I have indeed. Bra. Call up my brother. OR! that you had had her.Craig1916: Some one way, some another! Do you know Where we may apprehend her and the Moor? Rod. I think I can discover him, if you please To get good guard and go along with me.Craig1916: 180 Bra. Pray you, lead on. At every house TI call; I may command at most. Get weapons, ho! And raise some special officers of night. @@ On, good Roderigo; l'Il deserve your pains.Craig1916: EnterOthello, Iago, and Attendants, with torches. Though in the trade ofwar1 have slain men, Yet do hold it very stuff'o ‘the conscience To do no contriv'd murder: I lack iniquity Sometimes to do me service. Nine or ten timesCraig1916: 4 I had thought to have yerk'd him here under the ribs. "Tis better as it is. Nay, but he prated, The blood conveys the idea of violence and the idea of passion Craig1916: 165 Craig1916: 168 176 184 lago. They set out for the place where Othello is (Sagittario's inn); in this scene Othello appears, but without being named (the reasons for [ago's hatred have never been satisfactory and obviously it cannot be born only for the military choices made by Othello). Serpieri argues that all the explanations [ago explicitly give are covers for something Iago will never say Oth We do not know what origin it has from Iago's hatred towards Otello, it is not hatred for the different, we know that in the first scene the hatred lago. towards him is for a social issue but these reasons are not satisfactory And spoke such scurvy and provoking terms Against your honorCraig191 6: 8 That, with the little godliness I have, 1 did full hard forbear him. But, I pray, sir, Are you fast married? Be assur'd of this, That the magnifico is much belov'd, Craig1916: 12 And hath in his effect a voice potential As double as the duke's; he will divorce you, Or put upon you what restraint and grievance The law — with all his might to enforce it on — Craig1916: 16 Will give him cable. Let him do his spite: My services which I have done the signiory Shall out-tongue his complaints. Tis yet to know, Craig1916: 19 Which when I know that boasting is an honor 1 shall promulgate, I fetch my life and being From men of royal siege, and my demerits May speak unbonneted to as proud a fortune As this that I have reach'd; for know, lago, Craig1916: 24 But that I love the gentle Desdemona, 1 would not my unhoused free condition Put into circumscription and boundary Forthe sea's worth. But, look! what lights come yond? Craig1916: 28 Those are the raised father and his friends: You were best go in. Not I; I must be found: My parts, my title, and my perfect soul Shall manifest me rightly. Is it they? Craig1916: 32 By Janus, I think no. VV. 1-15 Iago is in the company of Othello. Through dialogue, lago draws an image of himself different from reality, as he shows himself as a faithful knight, accusing only Roderigo of wanting to put him in a bad light with Brabantio, telling him that Roderigo had used strong terms towards Othello. From this scene comes the hypocritical and lying essence characterized by lago. Since Othello is an extremely honest person, he is unable to unmask [ago's game, so he evaluates reality as it appears, because he is as he appears (Otello is characterized by a congruence of reality and appearance) Othello's language is high, humanistic and elegant, he speaks in verse, very controlled, extremely rational. From his words it is clear that Otello is not afraid to confront Desdemona's father because he is aware of the important role he plays and of his value; in the text he tells us that he is of royal origin, he is a noble. Othello is older (45 years) than Desdemona. Otello says that if he were not really in love with Desdemona he would never have bonded with anyone and we remember that Otello was a warrior, or a man of arms who knows no restrictions. Vv. 28-32: At a certain point they see some lights and Cassio arrives and when they see the lights lago advises Otello to come back so that, by sending him away, he can manipulate him too, but Otello responds being in full control of himself, rational (but later slowly slowly Iago will make him unable to speak and to have control of himself and this underlines [ago's evil influence on Othello's mind. In fact, if at this moment he uses a courtiy language, he will gradually speak with increasingly disconnected phrases. psychologically breaks down); in this moment he is strong ‘and wants to stay, as he has nothing to be ashamed of, he has titles and a perfect soul, this will rightly show (verb manifest is important because Othello is what he seems, in fact he is not afraid to show himself) Cassio and the others arrive and tell Othello that he has been summoned by the Doge (in the council chamber) for military matters concerning the war against Cyprus. EnterCassio and certain Officers, with torches. The servants of the duke, and my lieutenant. The goodness of the night upon you, friends! What is the news? The duke does greet you, general, Craig1916: 36 And he requires your haste-post-haste appearance, By janus: exclamation of iago. Janus is the two-faced Roman god. And iago said shortly before in roderigo | am not what | seem. It is the same Oth. lago. Oth. lago. Oth. Cas. ActI Scene IIL—: What if do obey? How may the duke be therewith satisfied, Craig1916: 88 Whose messengers are here about my side, Upon some present business of the state To bring me to him? "Tis true, most worthy signior, The duke's in council, and your noble self, Craig1916: 92 I am sure, is sent for. How?! the duke in council! In this time ofthe night! Bring him away. Mine's not an idle cause: the duke himself, Or any of my brothers of the state, Craig1916: 96 Cannot but feel this wrong as' twere their own; For if such actions may have passage free, Bond-slaves and pagans shall our statesmen be. A Council Chamber. The Duke and Senators sitting at a table. Officers attending There is no composition in these news That gives them credit. Indeed, they are disproportion'd; My letters say a hundred and seven galleys. V.83 — uses theatrical term “propter” (prompter). The idea is conveyed that the next scene will have elements of theatricality, as if it were a sort of trial. Elizabethan theater is full of processes, as elements of theatricality. Bond-slaves and---: they were the slaves of the eastern coasts subject to Venice and who were used in chains to row in the galleys of the Serenissima. Pagans: itisa derogatory reference to the Ottomans, eternal enemies of Venice. The meaning is if we pass over certain actions, Venice will end up being ruled by Slavs and Turks. And mine, a hundred and forty. And mine, two hundred: Craig1916: 4 But though they jump not on a just account, - As in these cases, where the aim reports, "Tis oft with difference, —yet do they all confirm A Turkish fleet, and bearing up to Cyprus. Craig1916: 8 Nay, it is possible enough to judgment: I do not so secure me in the error, But the main article I do approve In fearfùl sense. [Within.]What, ho! what, ho! what, ho! Craig1916: 12 This first part is used by Shakespeare to suggest and show that Othello is indispensable to the Republic of Venice. News follows one another that arrives on the Turkish fleet heading towards Cyprus, then perhaps heading towards Rhodes, but it has the meaning of making it clear that the Republic of Venice is in danger and how much it needs the services of Othello. Oth. Bra. [Exeunt. Duke. First Sen Duke. Duke. Sailor. A messenger from the galleys Enter aSailor. Now, what's the business? The Turkish preparation makes for Rhodes: So was I bid report here to the state By Signior Angelo. Craig1916: 16 How say you by this change? 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, Craig1916: 20 And let ourselves again but understand, That as it more concems the Turk than Rhodes, So may he with more easy question bear it, For that it stands not in such war-like brace, Craig1916: 24 But altogether lacks the abilities That Rhodes is dress'd in: if we make thought of this, We must not think the Turk is so unskilful To leave that latest which concerns him first, Craig1916: 28 Neglecting an attempt of ease and gain, To wake and wage a danger profitless. Nay, in all confidence, he's not for Rhodes. Here is more news.Craig1916: 32 Enter aMessenger. The Ottomites, reverend and gracious, Steering with due course toward the isle of Rhodes, Have there injointed them with an after fleet. Ay, so I thought. How many, as you guess? Craig1916: 36 Of thirty sail; and now they do re-stem Their backward course, bearing with frank appearance Their purposes toward Cyprus. Mr. Montano, Duke. Sail, Duke. Duke. Off. Your trusty and most valiant servitor, Craig1916: 40 With his free duty recommends y ou thus, And prays you to believe him. "Tis certain then, for Cyprus. Marcus Luccicos, is not he in town? Craig1916: 44 He's now in Florence. ‘Write from us to him; post-post-haste dispatch. Here comes Brabantio and the valiant Moor. EnterBrabantio, Othello, lago, Roderigo, and Officers. Valiant Othello, we must straight employ youCraig1916: 48 Against the general enemy Ottoman. [To Brabantio.]I did not see you; welcome, gentle signior, We lack'd your counsel and your help to-night. So did I yours. Good your grace, pardon me; Craig1916: 52 Neither my place nor aught I heard of business Hath rais'd me from my bed, nor doth the general care Take hold of me, for my particular grief Is ofsso flood-gate and o'erbearing natureCraig1916: 56 That it engluts and swallows other sorrows Andit is still itself. Why, what's the matter? My daughter! OR! my daughter. Dead? Dead? Ay, to me; She is abus'd, stol'n from me, and corruptedCraig1916: 60 By spells and medicines bought of mounte-banks; For nature so preposterously to err, Being not deficient, blind, or lame of sense, Sans witcheraft could not.Craig1916: 64 Duke. First Sì Duke. First Sen Duke. VV. 48-: a senator calls Otello ‘Valiant Moor” (brave dark-haired man). For the first time a positive adiective is used towards Othello. Verse 49finally the name is given to Othello for the first time. So far, he has been referred to as "him" or "Moor". Not giving a name means not giving dignity to being. The Doge was the first to give the name of Othello, calling him “valient Othello”. The Doge warns him that they must use him against the Ottomans, or the Turks. Bra. Duke. Bra. Duke. Bra. Duke. Her father lov'd me: oft invited me; Still question'd me the story of my lifeCraig1916: 129 From year to year, the battles, sieges, fortunes That I have pass'd. I ran it through, even from my boyish daysCraig1 916: 132 To the very moment that he bade me tell it; Wherein I spake of most disastrous chances, Of moving accidents by flood and field, Of hair-breadth ‘scapes i' the imminent deadly breach, Craig1916: 136 Of being taken by the insolent foe And sold to slavery, of my redemption thence And portance in my travel's history; Wherein of antres vast and desarts idle, Craig1916: 140 Rough quarries, rocks and hills whose heads touch heaven, It was my hint to speak, such was the process; And of the Cannibals that each other cat, The Anthropophagi, and men whose headsCraig1916: 144 Do grow beneath their shoulders. This to hear Would Desdemona seriously inclined; 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 earCraig1916: 149 Devourup my discourse. Which observing, Took once a pliant hour, and found good means To draw from her a prayer of eamnest heartCraig1916: 152 That I would all my pilgrimage dilate, Whereof by parcels she had something heard, But not intentively: I did consent; And often did beguile her of her tears, Craig1916: 156 WhenI did speak of some distressful stroke That my youth suffer‘d. My story being done, She gave me for my pains a world of sighs: She swore, in faith, 'twas strange,' twas passing strange, Craig1916: 160 "Twas pitiful,' twas wondrous pitiful: She wish'd she had not heard it, yet she wish'd That heaven had made her such a man; she thank'd me, And bade me, if 1 had a friend that lov'd her, 1 should but teach him how to tell my story, Craig1916: 165 And that would woo her. Upon this hint I spake: She lov'd me for the dangers I had pass'd, And lov'd her that she did pity them.Craig1916: 168 This only is the witcheraft I have us: Here comes the lady; let her witness it. MV. 129-170: Otello, meanvhile, tells of the way in Which they fell in love. It is the story of a story, it is the story of when Otello tells of his life in Desdemona. Even though Brabantio addresses Othello as if he were a monster, we discover that Othello was often a guest at Brabantio's house and that it was Brabantio himself who asked him to tell about his life. (In the era in which Shakespeare writes the travel adventures begin to be more ‘and more frequent and the travel storytelling genre begins which is generally not realistic, in fact the descriptions that Othello makes are not realistic, but talks about things in general, not going into detail, but it serves to give the idea of giving a compelling life.) Otello had a compelling life, full of adventurous incidents, ‘among other things he was also sold as a slave and the slave trade begins in this period. However, he was also redeemed and this redemption has a double value, on the one hand he managed to obtain ‘emancipation, on the other hand the redemptio is a religious clue that refers to his eventual conversion to Christianity Then, in his long line, he makes some descriptions, he speaks to us of the cannibals, using a high term, of these people whose head grows below the shoulders. (The travel stories are not realistic, but they also tell the wonderful) EnterDesdemona, lago, and Attendants. 1 think this tale would win my daughter too. Good Brabantio, Craig1916: 172 Take up this mangled matter at the best, Men do their broken weapons rather use Than their bare hands. 1 pray you, hear her speak: If she confess that she was half the wooer, Craig1916: 176 Destruction on my head, ifmy bad blame Light on the man! Come hither, gentle mistress: Do you perceive in all this noble company Where most you owe obedience? My noble father, I do perceive here a divided duty: Craig1916: 181 To you I am bound for life and education: My life and education both do leam me How to respect you; you are the lord of duty, 1 am hitherto your daughter: but here's my husband; Craig1916: 185 And so much duty as my mother show'd To you, preferring you before her father, So much I challenge that I may professCraig1916: 188 Due to the Moor my lord. God be with you! I have done. Please it your Grace, on to the state affairs: I had rather to adopt a child than get it. Come hither, Moor: Craig1916: 192 I here do give thee that with all my heart Which, but thou hast already, with all my heart I would keep from thee. For your sake, jewel, 1 am glad at soul I have no other child; Craig1916: 196 For thy escape would teach me tyranny, To hang clogs on them. I have done, my lord. Let me speak like yourself and lay a sentence, Which as a grize or step, may help these lovers Into your favor.Craig1916: 201 When remedies are past, the griefs are ended By seeing the worst, which late on hopes depended. Otello tells us that Desdemona is fascinated by his story, so much so that in verse 149 we talk about "greedy ear' = synaesthesia (greedy ear) and here there is a semantic clash because ear indicates the auditory aspect, while greedy indicates the aspect of taste. In this sort of synesthesia there is the aspect of feeling ‘and incorporating something. Desdemona, in fact, devours his speech and therefore it is as if he incorporated it Desdemona in listening to Otello makes him hers, he is no longer perceived by her as a stranger, but becomes something that is part of herself, she incorporates him Othello notices her interest and tells her about his life in a more extensive way. He moves her with the stories of his misfortunes and sufferings. On the one hand Desdemona would have preferred not to have listened to her story, but on the other hand she would like to be Othello. Thus, it incorporates Othello's words so much that Desdemona desires unity with Othello. Pilgrimage: religious term to emphasize that his joumey was painful. \VV.165 - we understand that it is Desdemona who takes the first step towards him , therefore Othello understands that he can offer her his love (she loved me for the story I told her about my past life, and I loved her for compassion towards me) This love that is bom through the word (the word or she is builder with Othello or destroyer with lago). At this point, Desdemona arrives. Duke. Bra. Bra. Duke. To moum a mischief that is past and goneCraig1916: 204 Is the next way to draw new mischief on. What cannot be preserv'd when Fortune takes, Patience her injury a mockery makes. The robb'd that smiles steals something from the thief; Craig1916: 208 He robs himself that spends a bootless grief. 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 bomow. These sentences, to sugar, or to gall, Craig1916: 216 Being strong on both sides, are equivocal: But words are words; I never yet did hear That the bruis'd heart was pierced through the car. I humbly beseech you, proceed to the affairs of state. Craig1916: 220 The Turk with a most mighty preparation makes for Cyprus. Othello, the there a substitute of most allowed sufficiency, yet opinion, a sovereign mi therefore be content to slubber the gloss of your new fortunes with this ml The tyrant custom, most grave senators, Hath made the flinty and steel couch of war My thrice-driven bed of down: I do agnizeCraig1916: 232 A natural and prompt alacrity I find in hardness, and do undertake These present wars against the Ottomites. Most bumbly therefore bending to your state, chiasms The following line of the Duke, vv. 200 - 210) is almost entirely in rhyme, apart from the first two lines. These are all sententious phrases, conventional arguments to console Brabantio by saying that now it is no longer necessary to be sad about what has happened; the kissed rhyme is not very frequent in Shakespeare; it emphasizes the conventionality of the arguments and therefore parodies all the sentences sentenced by the doge. Brabantio's line is also rhyming, so he parodies all the sententious phrases of the Duke, making him understand that it has not been a comfort to him. The doge wamns Otello of the imminent danger în Cyprus; Otello is the most suitable person, because he knows the area. While the Doge speaks in prose, Otello replies in verse because he uses a courtly language in the first part of the work. Otello asks the Doge that Desdemona be assigned an accommodation suitable for her social level, since he has to leave for Cyprus, the Doge replies that she could stay with her father but she does not want to retum. Bra. Duke. bh we have Fou must #1) Oth. I crave fit disposition for my wife, Craig1916: 237 Two reference of place and exhibition, With such accommodation and besort As levels with her breeding If you please, Craig1916: 240 Be 't at her father's. TIl not have it so. Nor. Nor I; I would not there reside, To put my father in impatient thoughtsCraig1916: 244 Duke. Bra. Oth. v.318: the element of infestation retums, of the transformation of people into animals, compares Desdemona to a hen. From this we see that Well, if thou dost, I shall never love thee after Why, thou silly gentleman! Craig1916: 309 Itis silliness to live when to live is torment; and then have we a prescription to die when death is our physician.Craig1916: 312 OR! villanous; I have 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. EreI would say, I would drowm myself for the love of a guinea-hen, (donne fara| 1 would change my humanity with a baboon.Craig1916: 319 ‘What should I do? I confess it is my shame to be so fond; but it is not in my virtue to amend it. Craig1916: 322 Virtue! to 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 woed up thyme, supply it with one gender of herbs or distract it with many, citherto have it sterile with idleness or manured with industry, ‘why, the power and corrigible authority of this lies in our wills. If the balance of our lives had not one scale of reason to poise another of sensuality, the blood and baseness of our natures would conduct 329 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. It cannot be.Craig1916: 333 It is merely a lust of the blood and a permission of the will Like, be aman. Drowm thyselft drown cats and blind puppies. I have professed me thy friend, and I confess me knit to thy deserving with 336 cables of perdurable toughness; I could never better stead thee than now. Put money in thy purse; follow these wars; defeat t ly favor with a usurped beard: I say, put money in thy purse. It cannot be that Desdemona should long continue 340 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: - v.323-333: lago makes a long speech in which he compares (literary topos typical of Shakespearean texts) the body to a garden, which must be cared for because reason must have won over instincts. Men can extinguish passions and love through reason. For lago love is lust, carnal things ... ago continues to deny an ideal or clean love, it is always reduced to negative things. V.329: lust and disordered passions deny the possibility of an ideal love. It is only the lust of blood that the will allows. VV. 336-362:In this line of lago, there are several important things. Here, lago still needs Roderigo, because lago is a director who moves the other characters, so he needs to convince him. lago tells Rodrigo that he regards him as a friend. In verse 340-342 lago says that it cannot be that Desdemona's love for the Moor continues because it started with this violent passion and therefore will have a violent conclusion as well (love seen as a laxative), for which it will have a conclusion violent, as the Moors change their minds quickly. When she is satisfied with her body she will realize that she has everything wrong. For lago, wedding vows are fragile, he has no respect for the marriage bond and lago sees marriage as something superfluous, negative and fragile. Among other things, it is a fragile marriage as the vows were pronounced by a wandering barbarian and a "super subtle" (very refined) — idea of refinement that ends with decadence and being spoiled and therefore someone who gets bored immediately say something. Here, the two worlds are juxtaposed, the bearded one outside Venice and that of a super-subtle Venetian nature. In addition, we see that in the joke he always repeats the word money, to fill up with money, because on the one hand it represents the new values in a negative sense, those of the Puritan bourgeoisie that combines economic success with being favored by God to be successful. The only value lago sees is the economic value, he has an idea of economic relations. Imagery connected with economic terms. lago. Rod. lago. Rod. lago. Rod. lago. the food that to him now is as luscious as locusts, shall be to him shortly as bitter as coloquintida. She must change for youth: when she is sated with his body, she will find the error of her choice She must have change, she must: therefore put money in thy purse. If thou wilt needs damn thyself, do it a more delicate way than drowning Make all the money thou canst. If sanctimony and a frail vow betwixt an erring barbarian and a supersubtle Venetian be not too hard f ormy wits and all the tribe of hell, thou shalt enjoy her; therefore make money. A pox of drowning thyself! it is clean out of the way: seek thou rather to be hanged in compassing thy joy than to be drowned and g0 without her Wilt thou be fast to my hopes, if I depend on the issue? Craig1916: 370 Thou art sure of me: go, make money. I have told thee often, and re-tell thee again and again, I hate the Moor: my cause is hearted: thine hath no less reason. Let us be conjunctive|1099in our revenge against him; tl} f 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. Sleepers, go: provide thy money. We will have more ofthis to-morrow. Adieu. Craig1916: 380 Where shall we meet i the morning? At my lodging. TII be with thee betimes. Sanctimony: iago does not believe in desdemona's purity, nor in his fidelity Santimonia is a false ostentation of chastity and vaginal modesty Iago proposes to Roderigo to join forces in their revenge against Othello because they hate him. He advises Roderigo to make a lot of money and to be ready, because if he cuckolds Othello, Iago will be very pleased. From here, Iago's Go to; farewell. Do you hear, Roderigo? Craig1916: 384 What say you? No more of drowning, do you hear? 1 am changed. III sell all my land. Go to; farewell! put money enough in your purse. (1 monologue iago 1.3.372-392) Thus do I ever make my fool my purse; Craig1916: 3} ForI mine own gain'd knowledge should profane, IfI would time expend with such a snipe But for my sport and profit. I hate the Moor, perverse voyeurism emerges, Rod. when he evokes sexual intercourse, it is as if he takes pleasure in imagining lago. Desdemona with someone. 7 With the phrase "There are many events ... delivered" there is a metaphor that conveys the idea of a time that is creating something, that is, of time as the womb in which something is forming and the first act ends with this metaphor. Then, the two make an appointment the next morning at Iago's house and say Rod. goodbye. Idea of the conception and birth of iago's evil plan. lago. Rod. lago. Rod. lago. Rod. lago [Exit Roderigo. Fool not in a general sense. Private reasons, emilia's betrayal, iago believes that otello slept with his wife emilia. military reasons. lago is planning to destroy othello. He is envious of him, othello does not appoint iago as his lieutenant. See below. Scenesl.—: A Sea-port Town in Cyprus. An open place near the Quay. And it is thought abroad that 'twixt my sheets He has done ny office: I knownot if" be true, But I, for mere suspicion in that kind, Will do as if for surety. He holds me well; Craig1916: 396 The better shall my purpose work on him. Cassio's a proper man; let me see now: To get his place; and to plume up my will In double knavery; how, how? Let's see: Craig1916: 400 After some time to abuse Othello's ear That he is too familiar with his wife: He hath a person and a smooth dispose To be suspectedì framed to make women false. The Moor is of a free and open nature, Craig191 6: 405 That tiinks men honest that but seem to be so, And will as tenderly be led by the nose As asses are.Craig 1916: 408 I have "tit is engender'd: hell and night Must bring this monstrous birth to the world's light, The last line of the first act is lago's monologue vv 381-403: here, we understand that Iago wants to exploit Roderigo for fun and to benefit economically. Among other things, lago defines Roderigo an idiot. fool He says he hates the Moor and that people think he made him cuckold with Emilia between his sheets, in his bed. (Note that the verb to think and not to say is used. If people do not say it, he cannot know it, but he imagines, it is his projection, but mere suspicion, it raises doubts in him). In addition, lago thinks about how to take Cassio's place. Here we have two reasons for his jealousy, personal (betrayal of Emilia) and military (envy of Cassio) Thus, the themes of the tragedy are both jealousy and all-consuming and absolute envy. [ago wants to take revenge on both Othello and Cassio. lago wants to make Otello jealous of his wife, to insinuate the doubt that neither Cassio nor Desdemona are honest. On the other hand the latter is kind, beautiful and courteous, it seems made to be desired by women. Othello always thinks that all men who appear honest are honest, because that's exactly what he is. This is Iago's plan: to insinuate doubt about Cassio and Desdemona. Assess: animal imagery [Exit EnterMontano and two Gentlemen. What from the cape can you discem at sea? Nothing at all: it is a high-wrought flood; I cannot ‘twixt the heaven and the main Descry a sail.Craig1916: 4 Methinks the wind hath spoke aloud at land; A filler blast ne'er shook cur battlements: If it hath ruffian'd so upon the sea, What ribs of cak, when mountains melt on them, Can hold the mortise? what shall we hear of this? Craig1916: 9 A segregation of the Turkish fleet, For do but stand upon the foaming shore, The chidden billow seems to pelt the clouds; Craig1916: 12 The wind-shak'd surge, with high and monstrous mane, Seems to cast water on the burning bear And quench the guards of the ever-fixed pole: In the first part of the second act there is talk of a storm. The idea of the Turkish threat served to Shakespeare to [first Gent make Othello necessary for the Republic of Venice. At this point in the plot, the battle theme is no longer needed and quickly gets rid of it with the storm, which destroys the Turkish fleet and which is mentioned in the first part (L'Otello is the only Shakespearean text that does not have the sum plot, the secondary plot, but there is only one continuous plot). The first part describes. ‘Tis one Iago, ancient to the general. He has had most favorable and happy speed: Tempests themselves, high seas, and howling winds, Craig1916: 68 The gutter‘d rocks, and congregated sands, Traitors ensteep'd to clog the guiltless keel, As having sense of beauty, do omit Their mortal natures, letting go safely byCraig1916: 72 The divine Desdemona. What is she? She that I spake of, our great captain's captain, Left in the conduct of the bold lago, Whose footing here anticipates our thoughtsCraig1916: 76 A senight'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 ams, Give renew'd fire to our extinc'ed spirits, Craig1916: 81 And bring all Cyprus comfort! EnterDesdemona, Emilia, lago, Roderigo, an Theriches of the ship is come on shore, Ye men of Cyprus, let her have your knees. Craig1916: 84 Hail to thee, lady! and the grace of heaven, Before, behind thee, and on every hand, Enwheel thee round! I thank you, valiant Cassio. ‘What tidings can you tell me ofmy lord? Craig1916: 88 He is not yet arrivd; nor know I aught But that he's well, and will be shortly here. OR! but I fear — How lost you company? \.68: Cassio describes Desdemona in courteous terms because Cassio is a gentleman and refers to the value of courteous love. However, Desdemona is indicated as an almost divine, noble, virtuous creature. V.73: “The divine Desdemona”, angelic figure V.80: Cassio's description of the meeting between Othello and Desdemona is positive. Desdemona di Otello arrives first. Desdemona must almost be venerated because she is the captain's wife. Ihas put in? Cas. Cas. OR! behold, Cas. Cas. The great contention ofthe sea and skiesCraig191 6: 92 Parted our fellowship. But hark! to sail. [Cry within, ‘A sail! —A sail! Guns heard. They give their greeting to the citadel: This likewise is a friend. See for the news! Sec. Gent Cas. Good ancient, you are welcome: - [To Emilia.] Welcome, mistress. Craig1916: 96 Let it not gall your patience, good lago, That I extend my manners, ‘tis my breeding That gives me this bold show of courtesy. Sir, would she give you so much of her lipsCraig1916: 100 As of hertongue she oft bestows on me, You'd have enough. Alas! she has no speech. In faith, too much; I find it still when I have list to sleep: Craig1916: 104 Many, before your ladyship, I grant, She puts her tongue a little in her heart, And chides with thinking. You have little cause to say so.Craig1916: 108 Come on, come on; you are pictures out of doors, Bells in your parlors, wild cats in your kitchens, Saints in your injuries, devils being offended, Players in your housewifery, and housewives in your beds.Craig1 916: 112 OR! fie upon thee, slanderer (slanderer). Nay, it is true, or else I am a Turk: Yourise to play and go to bed to work. You shall not write my praise No, let me not. Craig1916: 116 [Exit Gentleman. Cassio, then, addresses Emilia (Iago's wife) with courtesy, but Iago sees this badly, he defines them as fuss. V.113: lago has negative opinions of women. Desdemona talks to lago, while they are waiting for Otello, and she tells him that he is a slanderer, she is not happy with these words. lago is one who criticizes women, fails to give praise to women, always uses sexual elements. In fact, he says that women only know how to work in bed. Obviously, Desdemona accuses him of being a liar since she was not happy with his words about women. lago always sees women in a negative sense, they always have to do with sexual elements and always with lowering [Kissing her. lago. lago. lago. lago. Emil. lago. 1101 ‘What wouldst thou write of me, if thou shouldst praise me? O gentle lady, do not put me to 't, ForI am nothing if not critical. Come on; assay. There's one gone to the harbor? Craig1916: 120 Ay, madam. 1 am not merry, but do beguile The thing I am by seeming otherwise. How, how wouldst thou praise me? Craig1916: 124 1 am about it; but indeed my invention Comes from my pate as birdlime does from frize; It plucks out brains and all: but my muse labors, And thus she is deliver'd.Craig1916: 128 If she be fair and wise, fairness and wit, The one's for use, the other useth it. Well prais‘d! How if she be black and witty? If she be black, and thereto have a wit, Craig1916: 132 Shell find a white that shall her blackness fit. Worse and worse. How if fair and foolish? She never yet was foolish that was fair, For even her folly help'd her to an heir.Craig1916: 137 These are old fond paradoxes to make fools laugh i ‘the alehouse. What miserable praise hast thou for her that's foul and foolish? There's none so foul and foolish thereuntoCraig1916: 141 But does foul pranks which fair and wise ones do. O heavy ignorance! thou praisest the worst best. But what praise couldst thou bestow on a deserving ‘woman indeed, one that, in the authority ofher merit, The English here plays on the double meaning of fair which is beautiful but also blonde (as opposed to brunette). And this sense justifies desdemona's question “if she black and witty?”. The black or sorry complexion of the woman was the greatest sign of female ugliness for the English. lago. lago. lago. lago. Emil. lago. lago. Does challenge much respect. How, Desdemona, Once more well met at Cyprus. Do thou meet me presently at the harbor. Come hither Ifthou best valiant, as they say base men being in love have then a nobility in their natures more than is native to them, listme. The licutenant to-night watches] on the court of guard: first, I must tell thee this, Desdemona is directly in love with him. [Exeunt all except lago and Roderigo. lago. Rod. iago With him! why, 'tis not possible. Craig1916: 223 Lay thy finger thus, and let thy soul be instructed. Mark me with 224 ‘what violence she first loved the Moor but for bragging and telling her fantastica lies: and will she love him still for prating? let not thy discreet heart think it. Her eye must be fed;223 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 from physical aspects) a fresh appetite (images of food), loveliness in favor, sympathy in years, manners, and beauties; all which the Moor is defective in. Now, for want of these required conveniences, her delicate tendemess will find itself abused, begin to heave the gorge, disrelish and abhor the Moor, very nature will instruct her in it, and compel her to some second choice. Now, sir, this granted, as it is a most pregnant and unforced position, ‘who stands so eminently in the degree of this fortune as Cassio does? a knave very voluble, no further conscionable than in putting on the mere form of civil and humane seeming, for the better compassing of his salt Vv. 224: lago gives Roderigo a Puritan-style sermon ‘Lay thy finger thus, and let thy soul be instructed Iago is lowering Otello and says that she will not be able to continue to love him for the chatter, for the Iying things he has told her. Verse 223there is a synaesthesia “her eye must be fed”: beauty is appreciated through the eyes, the eye is a sense considered higher than taste. lago, combining taste with sight while talking about Desdemona, lowers it continuousiy. His eye must be nourished, and the metaphor of nourishment ‘soon turns into a metaphor of violent expulsion. While now her food (Othello) seems tasty to her, sooner or later she will have enough of it to be nauseous. So what pleasure will it have in looking at the devil? Othello becomes diabolical in Iago's eyes. (Iago is diabolical and reflects his own characteristics on others). He says he'Il need someone more similar to her in race, social and cultural level, because he won't like the Moor anymore. A more suitable male person similar to Desdemona is Cassio. So, Iago begins to demean Cassio calling him a scoundre! who has only beauty as a positive aspect, but is modest, deceitful. This beauty and courtesy of Cassio could please Desdemona according to lago. [ago has this ability to create a parallel and distorted reality around him where everything is negative, illusory and lascivious. Obviousiy, Roderigo cannot believe that a lady like Desdemona, so virtuous and brilliant, can change her mind. 231: once again love is lust and lust is seen in terms of food, nutrition and appetite. and most hidden loose affection? why, none; why, none: a slipper and subtle knave, a finder-out of occasions, that has an eye can stamp and counterfeit advantages, though true advantage never present itself; to 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.Craig1916: 255 I cannot believe that in her, she is full of most blessed condition. 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? Yes, that I did; but that was but courtesy.Craig1916: 264 lago reveals that in his opinion Desdemona is not very virtuous and asks him if he did not notice when the lady in question took Cassio's hand. Here, lago is really twisting reality, because it was Cassio with his courteous manner who took Desdemona's hand. Through rhetorical manipulation, lago wants to make believe that it Rod. lago. was Desdemona who took the first step. continua Rod. lago. 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. Villanous thoughts, Roderigo! ‘when these mutualities so marshal the way, hard at hand comes the master and main exercise, the incorporate conclusion. Pish! But, sir, be you ruled by me: I have brought you from Venice. Watch you to-night; for the command, III lay 't upon you: Cassio knows you not. III not be far from you: do you find some occasion to anger Cassio, either by speaking too loud, ortainting his discipline; or from what other course you please, which the time shall more favorably minister. Well.Craig1916: 280 Sir, he is rash and very sudden in choler, and haply may strike at you: provoke him, that he may; for even out ofthat willI 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 joumey 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.Craig1916: 291 1 will do this, if I can bring it to any opportunity. I warrant thee. Meet me by and by at the citadel: I must fetch his necessaries ashore. Farewell.Craig1916: 296 Adieu. (2.1 276-303 Monologist ofiago) That Cassio loves her, I do well believe it; That she loves him, ‘tis apt, and of great credit: The Moor, howbeit that I endure him not, Craig1916: 300 Is ofa constant, loving, noble nature; And! 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, —305economic images and terms But partly led to diet my revenge, For that I do suspect the lusty Moor Hath leap'd into my seat; the thought whereof Doth like a poisonous mineral gnaw my inwards; Craig1916: 309 And nothing can or shall content my soul W. 225-268: lago wants to transform a harmless scene into an erotic and shameless image, saying that the gesture of the hand actually hid a strong erotic desire and that the lips of the two had almost touched the mouths of both. This is the beginning of the dark plot of lago who wants to make Cassio lose his role as lieutenant and exploits Rodrigo, inviting him to behave badly to provoke Cassio enough to make him react and, thus, to create a fight between Othello and Cassio ; he wants to create a night fight to disturb Othello's harmony especially on his wedding night. Here, there is the usual principle of the triangle consisting of Othello, Cassio, Iago, the latter acts as a wedge. lago wants Cassio to be degraded. There are two ways of reading Iago's motivations, one of which | f°% was used by Coleridge, which consists in considering Iago the principle of absolute evil, so lago. words and actions serve to show this character in his diabolical role. Serpieri thinks that the obvious reasons actually hide a main reason. V.297: lago's monologue — lago always projects his own motivations onto others, he says that Cassio is in love with Desdemona but in reality Cassio has a lover, who is called Bianca. lago believes that Cassio loves Desdemona and that she also reciprocates. Even if lago hates the Moor, he defines him as having a good disposition and therefore an excellent husband for the lady. Moreover, in verse 289 lago himself says he loves Desdemona, even ifhe does not dwell on this theme, as if there was a denial of the matter or a Freudian repression, when we want to remember something, but we cannot do it, as if he had some sort of of censorship. He admits that he loves her not in a lustful way, but he loves her out of revenge. In fact, lago thinks that the Moor has betrayed him with his wife, Emilia. However, lago is not jealous of Emilia, so much so that she is not even mentioned, but of the fact that he may have been replaced by Otello. And only the idea poisons him, an almost physically tangible poisoning, which corrodes him inside. His jealousy is so strong that it is no longer controlled by reason. However, not being able to have a relationship with Desdemona, lago wants to make the dark- haired man mad with jealousy so as to stop him from thinking and, thus, ruin their relationship. In addition, with this game, he will be able to make Cassio degrade too, slandering him in Othello's ear, giving him a lewd being. In verse 305, lago fears that they have all replaced him with Emilia. These are all fantasies of lago that indicate that he is obsessed with dirty sexuality, but somehow he wants to deny this obsession of his and projects it onto others. He will make sure that Othello loves him and makes him his best friend. “Ass” = donkey is repeated several times as if iago thought that behaving well is stupid. Act Il Scene I.1—: Act II Scene IIL—: A Hall in the Castle. Till Lam even'd with him, wife for wife; Or failing so, yet that I put the MoorCraig1916: 312 At least into a jealousy so strong That judgment cannot cure. Which thing to do, If this poor trash of Venice, whom] trash Forhis quick hunting, stand the putting on, T'Il have our Michael Cassio on the hip; Craig1916: 317 Abuse him to the Moor in the rank gard, ForI fear Cassio with my night-cap too, Make the Moor thank me, love me, and reward meCraig1916: 320 For making him egregiously an ass And practicing upon his peace and quiet Even to madness. is here, but yet confus'd: Knavery's plain face is never seen till us‘d. Craig1916: 324 A Street. Enter aHerald with a proclamation; People following everyone must participate. Othello has a feast of his wedding proclaimed, in which It is Othello's pleasure, our noble and valiant general, that, upon certain tidings now] 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 [Exit Her. arrived, importing the mere perdition of the proclaimed. AII 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! EnterOthello, Desdemona, Cassio, and Attendants. Good Michael, look you to the guard to-night: Let's teach ourselves that honorable stop, Not to outsport discretion. Iago hath direction what to do; Craig1916: 4 But, notwithstanding, with my personal eye Will I look to . Tago is most honest. Michael, good night; to-morrow with your earliest [Exeunt. Long scene of sequences: 1) vv. 1-11: preparation of Othello and Desdemona, who perhaps consume the marriage. Oth. Cas. Oth. Let me have speech with you. [To Desdemona.] Come, my dear love, Craig1916: 8 The purchase made, the fivits are to ensue; 11 your swag-bellied Hollander, —drink, ho! —are nothing to your English. Is your Englishman so expert in his drinking? Craig1916: 84 Why, he drinks you with facility your Dane dead drunk; he sweats not to overthirow your Almain; he gives your Hollander a vomit ere the next pottle can be filled.Craig1916: 88 To the health of our general! 1 am for it, lieutenant; and Il do you justice O sweet England! Craig1916: 92 King Stephen was a worthy peer, His breeches cost him but a crown; He held them sixpence all too dear, With that he call'à the tailor lown.Craig1916: 96 He was a wight of high renown, And thou art but of low degree: ‘Tis pride that pulls the country down, Then take thine auld cloak about thee. Craig1916: 100 Some wine, ho! Why, this is a more exquisite song than the other. Will you hear 't again? Craig1916: 104 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.Craig1916: 108 It's true, good lieutenant. Formine own part, —no offense to the general, nor any man of quality, —I hope to be saved.Craig1916: 112 And so do I too, lieutenant. Ay: but, by your leave, not before me; the lieutenant is to be saved before the ancient. Let's have no more of this; let's to our affairs. God forgive us our sins! Gentlemen, lets look to our business. Do not think, gentlemen, I am drunk: this is my ancient; t his is my right hand, and this is my left hand. I am not drunk now, Cas. lago. Cas. lago. Cas. lago. Cas. V.106-107. there is the whole Puritan ethic of predestination and salvation. Cassio says (God is above all, some will be saved others but no Puritan idea.) lago. Cas. lago. Cas. Vv. 114: Cassius says he is a higher rank as he is lieutenant, while lago is only standard bearer, so he must be saved before him. I can stand well enough, and speak well enough.Craig1916: 122 Excellent well. Why, very well, then, you must not think then that I am drunk. To the platform, masters; come, let's set the watch. You see this fellow that is gone before; He is a soldier fit to stand by CaesarCraig1916: 128 And give direction; and do but see his vice; "Tis to his virtue a just equinox, The one as long as the other, ‘tis pity of him. I fear the trust Othello puts him in, Craig1916: 132 On some odd time of his infimity, Will shake this island. But is he often thus? "Tis evermore the prologue to his sleep: He'll watch the horologe a double set, Craig1916: 136 If drink rock not his cradle. 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, Craig1916: 140 And looks not on his evils. Is not this true? EnterRoderigo. [Aside to him.]How now, Roderigo! 1 pray you, after the lieutenant; go. And 'tis great pity that the noble Moor Should hazard such a place as his own second With one of an ingraft infirmity; It were an honest action to say So to the Moor. NotI, for this fair island: Craig1916: 148 Cas. lago. lago. lago. [Exit Roderigo. lago. I do love Cassio well, and would do much To cure him of this evil. But hark! what noise? [Cry within, Help! Help! ' Re-enterCassio, driving in Rodrigo. Cas. You rogue! you rascal! What's the matter, lieutenant? Cas. A knave teach me my duty! Craig1916: 152 T'Il beat the knave into a twiggen bottle. Rod. Beat me! Cas. Dost thou prate, rogue? [Striking Roderigo. [Staying him.]Nay, good lieutenant; 1 pray you, sir, hold your hand. Cas. Let me go, sir, Craig1916: 156 Or TTIl knock you o'er the mazzard. How how, youre drunk. Cas. Drunk! [They fight. lago. [Aside to Roderigo.]Away, I say! go out, and cry a mutiny.15: After the fight, Iago orders Roderigo to leave verse 153 and to raise the alarm in [Exit Roderigo. Nay, good licutenant! God's will, gentlemen! the city. The bells are rung and Otello is awakened because he has to intervene. Help, ho! Lieutenant! sir! Mountain! sir! Help, masters! Here's a goodly watch indeed! [Bell rings Who's that that rings the bell? Diablo, I have! The town will rise: God's will! licutenant, hold! You will be sham'd for ever. Re-enterOthello and Attendants. Oth. ‘What is the matter here? Craig1916: 165 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 wereCraig1916: 240 When you yourself did part them. More of this matter can I not report: But men are men; the best sometimes forget: Though Cassio did some little wrong to him, Craig1916: 244 As men in rage strike those that wish them best, Yet, surely Cassio, I believe, receiv'd From him that fled some strange indignity, Which patience could not pass I know, lago, Craig1916: 248 Thy honesty and love doth mince this matter, Making it light to Cassio. Cassio, I love thee; But never more be officer ofmine. EnterDesdemona, attended. Look! if my gentle love be not rais'd up; Craig1916: 252 [To Cassio. ]Ill make thee an example. ‘What's the matter? All's well now, sweeting; come away to bed. Sir, for your hurts, myself will be your surgeon. Lead him off. Tago, look with care about the town, Craig1916: 257 And silence those whom this vile brawl distracted. Like, Desdemona; 'tis the soldiers' life, To have their balmy slumbers wak'd with strife. What! are you hurt, lieutenant? Craig1916: 261 Ay; past all surgery. Many, heaven forbid! Reputation, reputation, reputation! OR! I have lost my reputation. I have lost the immortal part of myself, and what remains is bestial My reputation, lago, my reputation! VV. 245-247: here, lago's first plot takes shape with the degradation of Cassio. Desdemona arrives curious to know what happens. Oth. Oth. [Montano is led off. vv. 264: Cassio passes the hangover and is desperate and lago pretends to be his friend. Cassius is interested in his reputation, the highest and most noble part of him, but Iago minimizes by saying that reputation is nothing compared to a wound, he says that his reputation is of no importance, that the latter is a prejudice that it is often obtained without merit and often removed without fault. lago advises him to appeal to Othello's good heart to have his favors again. t Tago and Cassio. lago. Cas. lago. Cas. 110€ As I am an honest man, I thought y ou had received some bodily wound; there is more offense in that than in reputation. Reputation is an idle and most false imposition; oft got without merit, and | ost without deserving: you have lost no reputation at all, unless you repute yourself such a loser What! man; there are 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 afffright an imperious lion Sue to him again, and he is yours.Craig1916: 279 1 will rather sue to be despised than to deceive so good a commander with so slight, so dnunken, 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! What was he that you followed with your sword? ‘What had he done to you? Craig1916: 288 I know not. Is't possible? 1 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.Craig1916: 296 Why, but you are now well enough; how came you thus recovered? It hath pleased the devil drunkenness to give place to the devil wrath; one unperfectness shows me another, to make me frankly despise myself. Craig1916: 302 Come, you are too severe a moraler. As the time, the place, and the condition of this country stands, I could heartily ‘wish this had not befallen, but since it is as its, mend it for your own good.Craig1916: 307 VV. 280: Cassio is a decent person who would beg Otello to despise him rather than mock him. Cassio despises himself and blames his drunkenness. Cassio continues to call himself drunkard and despair, while lago pretends to want to find a remedy in the name of their friendship. lago. Cas. lago. Cas. lago. Cas. lago. Cas. lago. 1 will ask him for my place again; he shall tell me 1 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.Craig1916: 314 How how. 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.Craig1 916: 318 I have well approved it, sir. The drunks! You or any man living may be drunk at some time, man. 320 TI tell you what you shall do. Our general's wife is now the general: 1 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, she'll help to put you in your place again. She is of so free, so kind, so apt, so blessed a disposition, that she holds it a vice in her goodness not to do more than she is requested. This broken joint between you and her husband entreat her to splinter, and my fortunes against any lay worth naming, this crack of your love shall grow stronger than it was before. 334 You advise me well. 1 protest, in the sincerity of love and honest kindness.Craig1916: 337 I think it freely; and betimes in the morning I will beseech the virtuous Desdemona to undertake for me. 1 am desperate of my fortunes if they check me here.Craig1916: 341 You are in the right. Good night, lieutenant; I must to the watch. Good night, honest lago! (3 monologue act 2.3 321 And what's he then that says I play the villain? Crai| 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 Craig1916: 348 Cas. \.320: Iago convinces Cassio to turn to Desdemona, tells him to turn to her to be put back in his place, because now she is in charge of the duke. The terms "Confess", "contemplation" belong to the religious sphere, as if lago were telling Cassia to turn to Desdemona as if she were the Virgin Mary, so that she could intercede. In the end, Cassio is convinced. 345 “I play the villain” = here we have metateatric irony reminiscent of richard III “Free ..” lago continues to play with the various meanings of these keywords. Here, free means generous, honest, innocent. What iago says is in a certain sense true even if the reasons that lead him to say what he says are anything but benevolent. 350-51 she fram'd as a...: it is framed as much as the free elements. On the one hand this could mean that she is generous and free, but there is an idea of being equated with a sexually luxuriant being. Being free as elements means being sexually free so the relationship that iago has with women is ambiguous xk from 1 side he sees desd as an open, generous nature but this becomes synonymous with sexual purpose. of course, the food imagery that iago uses is linked to the animal imagery as if he were saying that, since human beings are only animals, love also boils down to a basic animal need. lago. Cas. lago. Cas. lago. Cas. lago. Cas. (Exit lago. If you have any music that may not be heard, t o 'tagain; but, as they say, to hear music the general does not greatly care. Craig1916: 18 We have none such, sir. Then put up your pipes in your bag, for I'Il away. Go; vanish into air, away! Craig1916: 21 Dost thou hear, mine honest friend? No, I hear not your honest friend; I hear you.Craig1916: 24 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 favor of speech: wilt thou do this? Craig1916: 29 She is stirring, sir: if she will stir hither, I shall seem to notify unto her. Do, good my friend. Enterlago. You have not been a-bed, then? Why, no; the day had broke Before we parted. I have made bold, lago, To send in to your wife; my suit to herCraig1916: 36 Is, that she will to virtuous Desdemona Procure me some access, T'Il send her to you presently; And Il devise a mean to draw the Moor Out of the way, that your converse and business May be more free.Craig1916: 41 I humbly thank you for 't. First Mus. [Exeunt Musicians. Cas. Cas. Cas. [Exit Clowm. In happy time, Iago.Craig1916: 32 lago. Cas. lago. in florentine...: iago is not Florentine, he is Venetian. Fiorentino is Cassius and this sentence must be understood as if he were saying to himself and, of course to the Cas public, that among all his fellow citizens of Florence, he has never found a more courteous and honest person than Igo [Exit lago. Act IN Scene IL—: A Room in the Castli A Florentine more kind and honest. EnterEnilia. Good morrow, good lieutenant: I am sorry Craig1916: 44 For your displeasure; but all will soon be well The general and his wife are talking of it, And she speaks for you stoutly: the Moor replies That he you hurt is of great fame in CyprusCraig1916: 48 And great aff'inity, 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 frontCraig1916: 52 To bring you in again. Yet, I beseech you, If you think fit, or that it may be done, Give me advantage of some brief discourse With Desdemona alone. Pray you, as in: Craig1916: 56 I will bestow you where you shall have time To speak your bosom freely. I am much bound to you. in florentine...: iago is not Florentine, he is Venetian. Fiorentino is Cassius and this sentence must be understood as if he were saying to himself and, of course to the public, that among all his fellow citizens of Florence, he has never found a more courteous and honest person than lago EnterOthello, lago, and Gentlemen These letters give, lago, 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. Well, my good lord, Il do t.Craig1916: 4 This fortification, gentlemen, shall we see 't? Well wait upon your lordship. Scene II is relevant only because it informs us that letters are arriving from Venice I never knew Emil. Cas. Emil. Cas. [Exeunt. Oth. lago. Oth. Act INI Scene I —: Before the Castle. EnterDesdemona, Cassio, and Emilia. Be thou assur‘d, good Cassio, I will do AII my abilities in thy behalf Good madam, do: I warrant it grieves my husband, As ifthe case were his. Craig1916: 4 OR! that's an honest fellow. Do not doubt, Cassio, But I will have my lord and you again As friendly as you were. Bounteous madam, ‘Whatever shall become of Michael Cassio, Craig1916: 8 He's never anything but your true servant. I know tt; I thank you. You do love my lord; You have known him long; and be you well assur'd He shall in strangeness stand no further offCraig1916: 12 Than in a politic distance. 13 Ay, but, lady, That policy may either last so long, Or feed upon such nice and waterish diet, Or breed itself so out of circumstance, Craig1916: 16 That, I being absent and my place supplied, My general will forget my love and service. Do not doubt that; before Emilia here I give thee warrant of thy place. Assure thee, Craig1916: 20 IfI do vow a friendship, Il perform it To the last article; my lord shall never rest; T'Il watch him tame, and talk him out of patience; His bed shall seem a school, his board a shrift; Craig1916: 24 T'Il intermingle every thing he does With Cassio's suit. Therefore be merry, Cassio; For thy solicitor shall rather die Than give thy cause away.Craig1916: 28 It begins with a tragic irony: a procedure through which circumstances contradicted by the drama occur (example: Othello calls lago “honest” and this is tragically ironic). Desdemona wants to help Cassio, but doing it persistently arouses suspicion in Othello. Vv 13: Politic is always a term that indicates doubt în this historical period. Desdemona tells Cassio that hers is only a temporary situation, just to set a good example for the population, so she will soon retum to Othello's favor. Cassio, however, is doubtful that he fears that Otello will forget him, but Desdemona reassures him by telling him that she herself will act as guarantor and that she will not give Othello respite and the public already perceives the tragic nature of this desire, because we know that Otello will perceive it in another way. way. In verses 26-28 there is tragic irony, Desdemona would rather die than give away her cause and that will be exactly what will happen in the end. In this scene there is a continuous dialectic between what appears and what is, so it is truly metateatral because lago will produce a parallel reality for Otello, as happens in the theater. The audience is aware that the interpretation of reality depends on our point of view and sees that Othello is unable to interpret the true reality because of lago. EnterOthello, and lago at a distance. Emil. Cas. Cas. Emil. It shall be full of poise and difficult weight, And fearfùl to be granted. 1 will deny thee nothing: 83 Whereon, I do beseech thee, grant me this, Craig1916: 84 To leave me but a little to myself. Shall I deny you? no: farewell, my lord. Farewell, my Desdemona: III come to thee straight. Emilia, like. Be as your fancies teach you; Craig1916: 88 Whiate'er you be, I am obedient Excellent wretch! Perdition catch my soul 90 But I do love thee! and when I love thee not, Chaos is come again.Craig1916: 92 My noble lord, - What dost thou say, lago? Did Michael Cassio, when you woo'd my lady, Know of your love? He did, from first to last: why dost thou ask? Craig1916: 96 But for a satisfaction of my thought; No further ham. Why of thy thought, lago? 99 I did not think he had been acquainted with her. OR! yes; and went between us very oft Indeed! 101 Indeed! ay, indeed: discem'st thou aught in that? Is he not honest? Honest, my lord? Desdemona is annoyed by this but obeys. Wretch" (silly or wretched) both negative and positive; speaking now in ambiguous terms of Desdemona, he makes us understand that Iago's poison is already circulating in Othello's body. If the love of the two spouses created harmony, fecundity when this harmony is destroyed, he will not only lose his wife, but he himself will feel lost, damned. If the love between the two ends, chaos will break out, hell. lago suggests always denying everything and with suspensions of meaning; lago asks Otello if Cassio was going with him to court Desdemona and that he is asking him not out of malice, but out of simple curiosity. Iago suggests that there is always something wrong through denials. 90.Excellent... come again: the opposite view of love is important. lago does not believe in love and for him it is lust. Othello's idea of love is much richer. Love is what creates order in the world. VV.101-110 : mirror mode or echo of Othello, who, repeating what lago said, becomes more and more suspicious. V.99-110: the idea of the monstrous is present in the text, he thinks Iago's thoughts are so monstrous that his standard bearer is afraid to show them. Othello asks him to show him his thoughts. Otello interprets Iago's linguistic and expressive signs because he is perfectly aware that lago is suggesting something to him and that this something is too horrible to be said openly. Oth. Oth. Emilia. Oth. lago. Oth. lago. Oth. lago. Oth. lago. Oth. lago. Oth. lago. Honest! ay, honest. My lord, for aught I know.Craig1916: 104 What dost thou think? Think, my lord! Think, my lord! By heaven, he echoes me, As if'there were some monster in his thought Toohideous to be shown. Thou dost mean something: Craig1916: 108 I heard thee say but now, thou lik'dst not that, When Cassio left my wife; what didst not like? 110 And whenI told thee he was of my counsel In my whole course of wooing, thou criedst, ‘indeed!’ Craig1916: 112 And didst contract and purse thy brow together, As if'thou then hadst shut up in thy brain Some honible conceit. If thou dost love me, Show me thy though V.v. 116 My lord, you know I love you. I think thou dost; And, for I know thou art 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; Craig1916: 120 For such things in a false disloyal knave Are tricks of custom, but in a man that's just They are close delations, working from the heart That passion cannot rule. For Michael Cassio, Craig1916: 124 I dare be sworn I think that he is honest. I think so too. Men should be what they seem; Or those that be not, would they might seem none! Certain, men should be what they seem. In verse 116 "show me thy thought" is an ambiguous phrase because a thought cannot be shown, but said. But we know that lago through hypoty posis shows and dramatizes a scene, for which he is able. y.117: parodic reprise of a Gospel sentence when Jesus asks Peter if he loves him and he answers yes. In Shakespeare's time everyone knows this phrase and in this context it sounds sinister because the meaning is not quite clear. v.120: Othello's only mistake is to think that [ago loves him. Otello thinks that Iago is someone who weighs the words before speaking, that's why hearing him speak like this scares him. Othello correctly reads Iago's rhetorical aspects, but he cannot read lago. Otello tells lago that if he were dishonest, his rhetorical skills would all be fake, but he knows that lago loves them and that is why he interprets them as they are. v.124: lago says that Cassio is honest, but in fact he is stating the opposite; it distances the affirmation through rhetorical procedures that make it delayed. V.129-130: lago is saying that men should be what they seem and those who are not should not look like it — lago is talking about himself, but he is pointing to Cassio as dishonest. Wv 131: yet it is repeated many times. Othello asks lago to tell him his thoughts. He realizes that iago is hiding something. y.133-135: lago replies to Othello that thoughts are intimate and he is not obliged to tell him, no one can enter into people's hearts. y.137: there is the image of the soul as a palace where negative things sometimes creep in; VW 138 Iago says that even the purest souls have negative and obscene thoughts (referring indirectly to Desdemona). v.142: Othello says that Iago is not his friend if he knows something negative he does not tell him. Othello swears, speaks like Iago, same syntax, words; lago's poison transforms Othello's mind. Oth. lago. Oth. lago. Oth. lago. Oth. lago. Oth. lago. Oth. Why then, I think Cassio 's an honest man.Craig1916: 129 Nay, yet there's more in this. I pray thee, speak to me as to thy thinkings, As thou dost ruminate, and give thy worst ofthoughtsCraig1916: 137 The worst of words. Good my lord, pardon me; Though I am bound to every act of duty, 1 am not bound to that all slaves are free to. Utter my thoughts? Why, say they are vile and false; Craig1916: 136 As where's that palace whereinto foul things Sometimes intrude not? who has a breast so as well But some uncleanly apprehensions Keep lets and law days, and in session sitCraig1916: 140 With meditations lawful? Thou dost conspire against thy friend, lago, If thou but think'st him wrong'd, and mak'st his ear A stranger to thy thoughts. I do beseech you, Craig1916: 144 Though I perchance am vicious in my guess, - As, I confess, it is my nature's plague To spy into abuses, and oft my jealousy Shapes faults that are not, —That your wisdom yet, Craig1916: 14 From one that so imperfectly conceits, Would take no notice, nor build yourself a trouble Out ofhis scattering and unsure observance. It were not for your quiet nor your good, Craig1916: 152 Nor for my manhood, honesty, or wisdom, To let you know my thoughts. ‘What dost thou mean? Good name in man and woman, dear my lord, Is the immediate jewel of their souls: Craig1916: 156 Who steals my purse steals trash; 'tis something, nothing; "Twas mine,' tis his, and has been slave to thousands, But he that filches from me my good name Robs me of that which not enriches him, Craig1916: 160 And makes me poor indeed. v.147: Iago, for the first time he is saying something true, that is, he is confessing his jealousy which leads him to attribute negative things to others. Outline process that confuses Othello because it is difficult to follow the thought. lago tells Othello that for his sake it is better not to know his thoughts. 148: again iago alludes to the false. lago is stating that there are untruths and says that this fake could be imaginary but in reality, he is constructing an image of a crime being committed. It's like he's saying not to say anything but he has proof. Yet repeats itself and it means that iago is building a trap. V152: he says his thoughts can destroy everything and it's not good for him to talk. Then there are two further steps in the following part. The first step in Othello's seduction is denial. V.156: second step, iago mentions good name in men.Neil recalls that in the previous scene, iago denied the fact that good name is important when cassio repeats reputation. Now he says the opposite. For casio, otello and desdemona, the good name is important as they believe in spiritual values, honor. When iago tells othello a good name, iago would never say steal my bag, but iago represents otello's worldview, he borrows othello's values to insinuate themselves into his mind W. 160: lago says that whoever is stealing his bag is not stealing anything from him because material things are nothing, but whoever steals his thoughts, his reputation, makes him poor forever. Tago contradicts himself because in the previous dialogue with Cassio when the latter says he lost his reputation as he got drunk and caused damage with Othello, but Iago tells him that losing his reputation is nothing. Depending on who he talks to, lago wears a different mask. V.166: lago begins to give him a series of information. The word "jealousy" meant zeal (thoughtfulness) and not jealousy, but the term was introduced, but here ît is classic jealousy. Jealousy is the green- eyed monster that makes fun of what it eats. The cuckold who no longer loves the woman who betrayed him lives unhappy, and who is the tormented one? lago suggests that Othello is devoured by jealousy because he is suspicious of something. The third step announces the idea of jealousy. Otello reacts and shows us that he is not the kind of jealous man but becomes us because iago gives him strong reasons to be. 170: chiasmus: dotes and ama strongly, they share the same meaning "doubts and suspicions" = chiasmus balances words or phrases with similar but not identical meanings. lago. Oth. lago. Oth. lago. Oth. lago. 1111 As my thoughts aim not at. Cassio's my worthy friend— My lord, I see youtre mov'd. No, not much mov'd: Craig1916: 224 I do not think but Desdemona's honest. Longlive she so! and long live you to think so! And. yet, how nature erring from itself, - Ay, there's the point: as, to be bold with you, Craig1916: 228 Not to affect many proposed matches Of her own clime, complexion, and degree, ‘Whereto, we see, in all things nature tends; Foh! one may smell in such, a will most rank, Foul disproportion, thoughts unnatural. Craig1916: 233 But pardon me; I do not in position Distinetly speak of her, though I may fear Her will, recoiling to her better judgment, Craig1916: 236 May fail to match you with her country forms And happily repent. Farewell, farewell: If more thou dost perceive, let me know more; Set on thy wife to observe. Leave me, Iago.Craig1916: 240 My lord, I take my leave Why did I marry? This honest creature, doubiless, Sees and knows more, much more, than he unfolds. [Retuming ]My lord, I would I might entreat your honorCraig1916: 24 To scan this thing no further, leave it to time. Although ‘tis fit that Cassio have his place, For, sure he fills it up with great ability, Yet, if you please to hold him off'awhile, Craig1916: 248 You shall by that perceive him and his means: Note if your lady strain his entertainment ‘With any strong or vehement importunity; Much will be seen in that. In the mean time, Craig1916: 252 Let me be thought too busy in my fears, VV. 232-242: ‘Again, lago plays on Othello's racial insecurity. lago says that Desdemona was very brazen having chosen him as her husband since she had rejected all people belonging to the Venetian Republic. According to lago Desdemona, he violated three codes: Grade code social — Othello is not a noble of the Republic he is a mercenary soldier, while she is; Culture code — why she refused to marry Venetians; Breed code — because she married a black man; she married Othello who is inferior to her in social level, race and culture. 233: idea of something hideous that gives off a bad smell when it is rotten, so there is something unnatural about Desdemona. Women are seen as something sinful, as tempting men. Now, the cultural code to which Iago belongs is the Puritan one, based on the repression of instincts. In fact, Iago's obsession with sex is the typical reaction of the repressed Puritan. By removing sex and censoring it completely, and having repression there, the psyche makes it re-emerge in negative terms. VV. 240: Othello thinks lago knows more than he says. In fact, it's the exact opposite. : Iago pretends to have forgotten to tell him something and suggests to Othello not to recover Cassio immediately, but to first see how Desdemona behaves, if he insists so much with Cassio's story. lago always separates everyone. VV. 260-281: Beastly images begin to come out of Othello's mouth. The Bad but correct interpretation of lago — Otello says that lago knows the inner workings of people. Description of Desdemona by Othello: Desdemona is an untamed falconry (Haggard = term of falconty) therefore wild, who is tied to Othello's heart with laces, but Othello perhaps thinks of leaving her free to look for the prey he wants (the hawks hunt alone without bringing back the prey) Oth. lago. Oth. lago. Oth. lago. [Going Oth. lago. As worthy cause have to fear lam, And hold her free, I do beseech your honor. Fear not my government. Craig1916: 256 1 once more take my leave. This fellow” of exceeding honesty, (Othello monologue) And knows all qualities, with a learned spirit, Of human dealings: if 1 do prove her haggard, Though that her jesses were my dear heartstrings, Craig1916: 261 T'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, forI am declin'dCraig1916: 265 Into the vale of years — yet that's not much— She's gone, I am abus'd; and my relief Must be to loafhe her. O curse of marriage! Craig1916: 268 That we can call these delicate creatures ours, And not their appetites. I had rather be a toad, And live upon the vapor of a dungeon, Than Keep a corner in the thing I loveCraig1916: 272 For others' uses. Yet, ‘is he plague of great ones; Prerogativid are they less than the base; "Tis destiny unshunnable, like death: Even then this forked plague is fated to usCraig1916: 276 When we do quicken. If she be false, O! then heaven mocks itself. TII not believe it. Re-enterDesdemona and Emilia. How now, my dear Othello! Your dinner and the generous islandersCraig1916: 280 By you invited, do attend your presence. I amto blame. Why do you speak so faintly? Are you not well? Oth. lago. [Exit It transforms itself from a bestial image to a strongly erotic image in saying that Desdemona is looking for her prey. Othello thinks that Desdemona no longer loves him because he is black, he does not have a great rhetorical ability and because he is older than her. In reality, Desdemona doesn't care about any of this and it was Othello's word that made her fall in love, but now Othello is beginning to doubt even his verbal ability. Othello's degradation can be understood from his language which becomes lower and lower and forms increasingly disconnected sentences; he is convinced that she has betrayed him. v.270: “appetites”: Iago uses it. Othello says he would rather be a toad, giving a horrible image of himself, rather than staying in the corner of the thing I love while others abuse it. Bestial images transfer from the language of iago to that of othello. In verse 272: "Thing": has two meanings: Reference to the female sex (he would be in a comer because he would share Desdemona's intimate parts with others) Any object. Othello explains that when he sees her he thinks it is impossible for her to be fake, but at the same time he cannot see her as before. Desdemona sees that Othello is upset, but attributes his malaise to the headache forked..: allusion to the horns of the betrayed husband. It means being a cuckold. The bifurcated animal is an anticipation of re lear. The idea of forked animals is always present in Shakespeare. The forked animal does not only indicate the homed but is the man Vv288: Then, Desdemona offers to bandage his head with a handkerchief (v.290: “napkin” (handkerchief)). Desdemona inadvertently drops it, making a big mistake. Oth. Oth. I have a pain upon my forehead here.Craig1916: 284 Faith, that's with watching; ‘twill away again: Let me but bind it hard, within this hour It willbe well Your napkin is too little: Let it alone. Come, TIl go in with you.Craig1916: 288 I am very sorry that you are not well. 1 am glad have found this napkin; This was her first remembrance from the Moor, My wayward husband hath a hundred timesCraig1916: 292 Woo'd me to steal it, but she so loves the token, Forhe conjur‘d her she should everkeep it, That she reserves it evermore about her To kiss and talk to. l'Il have the work ta'en out, And give 't lago: Craig1916: 297 What he will do with it heaven knows, not I; I nothing but to please his fantasy. Enterlago. How now! what do you here alone? Craig1916: 300 Do not you chide; I have a thing for you. A thing for me? It is a common thing— Has! To have a foolish wife.Craig1916: 304 OR! is that all? What will you give me now For that same handkerchief? What handkerchief? What handkerchief! Why, that the Moor first gave to Desdemona: Oth. [She drops her handkerchief. [Exeunt Othello and Desdemona, vv. 290-299: Emilia finds it and is happy because her husband lago has asked her many times to steal this handkerchief (it is the first. gift that Il Moro had given to Desdemona and she was very fond of that gift); Emilia does not know what she wants to do with it, but gives it to her only to please her husband's whim. Emil. Vv304: Later, there is the meeting between lago and Emilia, where he treats her badly and lowers her, so much Vv: 306 “common thing” lago almost calls his wife a whore. She hands him the handkerchief, and when Emilia leaves, lago reveals what she wants to do. Handkerchief is the objective correlative. lago. Emil. lago. Emil. lago. Emil. lago. Emil. Make me to see ‘t; or, at the least, so prove it, Craig1916: 365 That the probation bear no hinge nor loop To hang a doubt on; or woe upon thy life! My noble lord, —_Craig1916: 368 If thou dost slander her and torture me, Never pray more; abandon all remorse; On horror's head horrors accumulated; Do deeds to make heaven weep, all earth amaz‘di Craig1916: 372 For nothing canst thou to damnation add Greater than that. O grace! O heaven forgive mel Are you a man! have you a soul or sense? God be wi ‘you; take mine office. O wretched fool! Craig1916: 376 That liv'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 tank you for this profit, and, from henceCraig191 6: 380 T'Il love no friend, sith love breeds such offense. Nay, stay; thou shouldst be honest. I should be wise; for honesty's a fool, And loses that it works for. By the world, Craig1916: 384 I think my wife be honest and think she is not, I think that thou art just and think thou art not. T'Il have some proof. Her name, that was as fresh As Dian's visage, is now begrim'd and blackCraig1916: 388 As mine own face. Ifthere be cords or knives, Poison or fire or suffocating streams, TII not endure it. Would I were satisfied! I see, sir, you are eaten up with passion.Craig1916: 392 I do repent me that I put it to you. You would be satisfied? Would! nay, I will 395 And may; but how? how satisfied, my lord? VV..375-383 : lago therefore begins to play the victim because his honesty is now putting him in danger, he worries about himself and Otello, afraid that lago will go away, asks him to stay. VV. 386-393: Otello oscillates between two hypotheses both still possible: - Desdemona is honest (reality) - Desdemona is dishonest (fiction) Othello will end up hanging on the wrong side. Vv388: Lowering of Desdemona, also by OthelloCI from white and candid she became black v.395: Othello wants proof of this betrayal and Iago replies that he will show him a scene of this betrayal. v.398: he is evoking the same term he had evoked in the first act lago. Oth. lago. Oth. lago. Oth. lago. Oth. lago. Would you, the supervisor, grossly gape on; Craig1916: 396 Behold her tupp'd? Death and damnation! OR! It were a tedious difficulty, I think, To bring them to that prospect; damn them then, If ever mortal eyes do see them bolsterCraig191 6: 400 More than their own! What then? how then? ‘What shall I say? Where's satisfaction? Itis impossible you should see this, Were they as prime as goats, as hot as monkeys, As salt as wolves in pride, and fools as grossCraig1916: 405 As ignorance made drunk; but yet, 1 say, If imputation, and strong circumstances, Which lead directly to the door of truth, Craig1916: 408 Will give you satisfaction, you may have it. Give me a living reason she's disloyal. 410 I do not like the office; But, sith I am enter'd in this cause so far, Craig1916: 412 Prick'd to 't by foolish honesty and love, 1 will go on. I lay with Cassio lately; And. being troubled with a raging tooth, I could not sleep.Craig1916: 416 There are a kind of men so loose of soul That in their sleeps will mutter their affairs, One of this kind is Cassio. In sleep I heard him say, 'Sweet Desdemona, Craig1916: 420 Let us be wary, let us hide our loves! ' And then, sir, would he gripe and wring my hand, Cry, 'O, sweet creature!’ and then kiss me hard, As if he pluck'd up kisses by the roots, Craig1916: 424 ‘That grew upon my lips; then laid his leg Over my thigh, and sigh'd, and kiss'd; and then Cried, 'Cursed fate, that gave thee to the Moor!' O monstrous! monstrous! Nay, this was but his dream. v.395: Othello wants proof of this betrayal and ago replies that he will show him a scene of this betrayal. v.398: he is evoking the same term he had evoked in the first act 64 images related to hell of which: 18 the lago pronouncements (14 in the first and second act) 26 the pronunciation Othello (24 in the third, fourth and fifth act) Thus, there is a transfer of the infernal images from Iago to Otello. v.398: “Death and Damnation”, through hypotyposis shows infernal and obscene images. VV. 400 - 411: In these verses, lago is giving an animalistic and bestial image of Cassio and Desdemona (he defines them as animals in heat); Iago tells Othello that he could never see them, but there is indirect evidence that he will show Othello. Vv 410 Otello asks for a “living reason”: concrete proof. WV. 411-428: lago makes a completely invented story, through which he wants to believe that Cassio spent the night with Desdemona; we note that it is unrealistic because they arrived in Cyprus the day before and could never sleep with Cassio. However, he says that Cassio, speaking in his sleep, mentions the name of Desdemona and that he exchanges lago with the girl so as to evoke a homosexual scene in which Iago takes the place of Desdemona, not only in the relationship with Othello but also with Cassio. A masterpiece of direction by iago as it will create a whole false speech and this is a frightening metateatral effect. Through his performance, iago creates false evidence on the relationship between cassio and desdemona. Iago tells this grotesque dream. He pretends to have slept with cassio. The dream is grotesque because even though both heterosexuals, it evokes a sort of homosexual scene (like the fake ceremony between iago and othello). Oth. lago. Oth. lago. Oth. lago. Oth. But this denoted a foregone conclusion: ‘Tis a shrewd doubt, though it be but a dream. And this may help to thicken other proofs That do demonstrate thinly. I'll tear her all to pieces.Craig1916: 432 Nay, but be wise; yet we see nothing done; She may be honest yet. Tell me but this: Have you not sometimes seen a handkerchief Spotted with strawberries in your wife's hand? I gave her such a one, ‘twas my first gift. Craig1916: 437 I know not that; but such a handkerchief— 1 am sure it was your wife's — did I to-day See Cassio wipe his beard with. If it be that, —_Craig1916: 440 Ifit be that, or any that was hers, It speaks against her with the other proofs. OR! that the slave had forty thousand lives; One is too poor, too weak for my revenge.Craig1916: 444 Now do1 see 'tis true. Look here, lago; AII ny fond love thus do I blow to heaven: "Tis gone.Craig1916: 447 Arise, black vengeance, from the hollow hell! Yield up, O love! thy crown and hearted throne To tyrannous hate. Swell, bosom, with thy fraught, 450 For 'tis of aspics' tongues! Yet be content. OR! blood, blood, blood! Craig1916: 452 Patience, I say; your mind, perhaps, may change Never, lago. Like to the Pontick sea, Whose icy current and compulsive course Ne'er feels retiring ebb, but keeps due onCraig1916: 456 v.434: Othello wants to tear Desdemona to pieces, he is tuming into a beast. lago has done everything to make Othello believe that she is not honest but still maintains an ambiguous position. Vv438-440 He says he saw Cassio wiping his beard with this handkerchief and the absence of the handkerchief in Desdemona will be proof that she is dishonest. The handkerchief is significant for Othello and the fact that Cassius uses it to clean his beard is terrible. Vv: 440 Otello nevertheless cannot doubt, he is drawing conclusions from what he has heard lago presents him with circumstantial evidence, which is the famous handkerchief. V.445: Othello exclaims "Nw do I see 'tis true" (now I see clearly), but in reality he is not seeing anything. Tragedy of the wrong interpretation of signs, Othello is convinced that he is seeing, when he is seeing nothing. w.450: again infernal images that transform love into hate; presence of vipers, evoked by Othello. Let's see how Othello's language becomes shorter and more fragmented, repetitions, it is no longer sophisticated. Othello kneels to take a sort of oath but it will take other forms. lago. Oth. lago. Oth. lago. Oth. lago. Oth. lago. Oth. lago. Oth. Look! where he comes. I will not leave him now till CassioCraig191.6: 33 Be call'd to him. EnterOthello. Well, my good lady. [Aside.] O! hardness to dissemble. How do you, Desdemona? Well, my good lord. Give me your hand. This hand is moist, my lady. Craig1916: 37 It yet has felt no age nor known no sorrow. This argues fiuitfulness and liberal heart; Hot, hot, and moist; this hand of yours requiresCraig191 6: 40 A sequester from liberty, fasting and prayer, Much castigation, exercise devout; For here's a young and sweating devil here, That commonly rebels. ‘Tis a good hand, Craig1916: 44 To frank one. You may, indeed, say so; For 'twas that hand that gave away my heart. A liberal hand; the hearts of old gave hands, But our new heraldry is hands not hearts. Craig191 6: 48 I cannot speak of this. Come now, your promise. What promise, chuck? I have sent to bid Cassio come speak with you. I have a salt and sorry rbeum offends me.Craig1916: 52 Lend me thy handkerchief Here, my lord. That which I gave you. v.37-48: Othello reads Desdemona's hand but sees negative signs because he finds it moist and warm — indicates fertility and a too generous heart. Therefore, he interprets it negatively. Communication gap between Othello and Desdemona; Othello is increasingly obsessed with the handkerchief and Desdemona who Keeps talking to him about Cassio, unaware of everything. v.52: Otello asks Desdemona about the handkerchief but Vv56: she tells her she doesn't have it with her. How is' t with you, my lord? Oth. Oth. Oth. Oth. Oth. Oth. Oth. I have it not about me. 56 Not? No, indeed, my lord. That is a fault That handkerchiefCraig1916: 56 Did an Egyptian to my mother give; She was a charmer, and could almost read The thoughts of people; she told her, while she kept it, "Twould make her amiable and subdue my fatherCraig1916: 6 Entirely to her love, but if'she lost it Or made a gift of it, my father!s eye Should hold her loathed, and his spirits should hunt After new fancies. She dying gave it me; Craig1916: 64 And bid me, when my fate would have me wive, To give it her. I did so: and take heed on 't Make it a darling like your precious eye; To lose'tor givett away, were such perditionCraig1916: 68 As nothing else could match. Is't possible? "Tis true; there's magic in the web of it; A sibyl, that had number'd in the world The sun to course two hundred compasses, Craig1916: 72 In her prophetic fury sew'd the work; The worms were hallow'd that did breed the silk, And it was dy'd in mummy which the skilful Conserv'd of maidens' hearts. Indeed! is' t true? Craig1916: 76 Most veritable; therefore look to 'twell. Then would to heaven that I had never seen it! Has! wherefore? Why do you speak so startingly and rash? Craig1916: 80 W. 56-69: in the sources there is no magic element of the handkerchief, the handkerchief is an invention of Shakespeare, through which he shows us the pagan side of Othello. This handkerchief has magical properties: - it was given by a sorceress who read people's minds, and it was given to Othello's mother and she had to keep it, she didn't have to lose it otherwise it would have negative consequences on her marriage. Once the mother dies, this handkerchief is given to Othello, who then has to deliver it to his wife and, by doing this, he would have protected himself from the misfortunes of marriage. - the texture of the handkerchief is magical - the sorceress who wove the handkerchief, her name was Sibyl, was 200 years old, and she wove it in fury. - was dyed in a liquid extracted from the corpses, considered magical (Mummy). Desdemona is reluctant to believe this because she has a Christian culture, she does not have a pagan culture like Othello had. ‘When Otello uses images from the web, he refers to the handkerchief and uses it in a romantic way. Oth. Oth. Oth. Oth. Oth. Oth. 1s't lost? is' t gone? speak, is it out or ‘the way? Heaven bless us! Say you? It is not lost: but what an if'it were? How! Craig1916: 84 I say, it is not lost. Fetch 't, let me see' t. Why, so I can, sir, but I will not now. This is a trick to put me from my suit: Pray you let Cassio be receiv'd again. Craig1 916: 88 Fetch me the handkerchief, my mind misgives. How how, You'll never meet a more sufficient man. The handkerchief! I pray, talk me of Cassio.Craig1916: 92 The handkerchief! A man that all his time Hath founded his good fortunes on your love, Shar'd dangers with you, - The handkerchief! In sooth you are to blame. Craig1916: 96 Away! Is not this man jealous? I ne'er saw this before. Vvv94: Othello wants Desdemona to go get the handkerchief, as she is losing her mind. Here we see Othello's psychic fragmentation because he is freaking out. Othello goes away uttering a blasphemyD) it is not his typical language, but it is typical of now because Othello has changed. Desdemona had told Emilia in the past that Otello was immune to jealousy. Oth. Oth. Oth. Oth. Oth. Oth. Oth. Oth. [Exit Emil. 1116 And seek to effect itto my uttermost. I humbly thank your ladyship. EnterBianca. Save you, friend Cassio! ‘What make you from home? How is it with you, my most fair Bianca? Craig1916: 169 I ‘faith, sweet love, I was coming to your house. AndI was going to your lodging, Cassio. What! keep a week away? seven days and nights? Craig1916: 172 Eight score eight hours? and lovers' absent hours, More tedious than the dial eight score times? O weary reckoning! Pardon me, Bianca, I have this while with leaden thoughts been press'd, Craig1 916: 176 But I shall, in a more continue time, Strike off this score of absence. Sweet Bianca. Take me this work out. O Cassius! whence came this? This is some token from a newer friend; Craig1916: 180 To the felt absence now I feel a cause; Is't come to this? Well, well. Go to, woman! Throw your vile guesses in the devil's teeth, From whence you have them. You are jealous nowCraig1916: 184 That this is from some mistress, some remembrance: No, in good troth, Bianca. Why, whose is it? I know not, sweet; I found it in my chamber. I like the work well; ere it be demanded, —_Craig1916: 188 As like enough it will, —Td have it copied; Cas. [Exeunt Desdemona and Emilia Bianca — Cassio's prostitute and lover. She is Jealous of Cassio because she found the handkerchief in his room and thinks that some woman has given it to him. Cassio denies Bianca having received it but looking at it he sees the drawing and tells Bianca to make a copy of it for this reason. The theme of jealousy and the triangle continues to emerge. Cas. Cas. irchief. Bian. Cassio dismisses Bianca because Othello is coming and thinks it's better if he doesn't see him with a woman. This is tragic irony again because if Othello had seen Cassio with a woman, his doubts would have lessened. Cas. Bian. Cas. Scenesl.—: Cyprus. Before the Castle Take it and do 't; and leave me for this time. Leave you! wherefore? I do attend here on the general, Craig1916: 192 And think it no addition nor my wish To have him see me woman'd. Why, I pray you? Not that I love you not. But that you do not love me. I pray you, bring me on the way a littleCraig1916: 196 And say if I shall see you soon at night. "Tis but a little way that can bring you, Forl attend here; but Il see you soon. "Tis very good; I must be circumstanc'd. EnterOthello and lago. Will you think 50? Think so, lago! What! To kiss in private? An unauthoriz'd kiss. Or to be naked with her friend a-bed An hour or more, not meaning any harm? Craig1916: 4 Naked a-bed, lago, and not mean harm? Itis hypocrisy against the devil: Cas. Bian. Cas. Cas. [Exeunt. It begins in medias-res, from the fragment of dialogue started offstage; on stage there are lago and Otello and they talk about Desdemona's guilt. lago is projecting voyeuristic images to Otello, diabolical images — idea of the innocent two in bed that was used a lot in comedies: the husband discovers his wife in bed with another man, but they were there by chance but there is no element comic because everything is declined in tragic We see that lago is tormenting Otello with the story of the handkerchief. Here, the handkerchief becomes a sort of objective correlative, that is, it becomes Desdemona; the subject is no longer the handkerchief, metaphorically we are talking about Desdemona. lago. Oth. lago. Oth. lago. Oth. They that mean virtuously, and yet do so, The devil their virtue tempts, and they tempt heaven.Craig1 916: 8 If they do nothing, 'tis a venial slip; But if 1 give my wife a handkerchief, - ‘What then? Why, then, 'tis hers, my lord; and, being hers, Craig1916: 12 She may, I think, bestow 't on any man. She is protectress of her honor too; May she give that? Her honor is an essence that's not seen; Craig1916: 16 They have it very oft that have it not: But for the handkerchief, - By heaven, I would most gladly have forgot it: - Thou said'st, —O! it comes o'er my memory, Craig1916: 20 As doth the raven o'er the infected house, Boding to all, —he had my handkerchief. Ay, what of that? That's not so good now. What, IfI had said I had seen him do you wrong? Craig1916: 24 Or heard him say, as knaves be such abroad, ‘Who having, by their own importunate suit, Or voluntary dotage of some mistress, Convinced or supplied them, cannot chooseCraig1916: 28 But they must blab. Hath he said any thing? He hath, my lord; but be you well assurd, No more than he'Il unswear. ‘What hath he said? Faith, that he did — I know not what he did.Craig1916: 32 VV. 12-13: In this sentence, we speak metaphorically of the handkerchief. Phantasmic tale it is a formulation of Serpieri and he calls the fable that Lago proposes to Othello is not real but to Othello it seems real. Cassio is a man who, when he seduces a woman, tells everyone about it. Vv30 Iago, a typical rhetorical procedure of barring meaning, that is, he begins to say something but then stops, so that Otello can understand what is missing. V.34: "Lie": two possible interpretations (polysemic word): Lie with somebody (Lie with her) Tell someone lies (Lie on her) However this lie is ambiguous. The words lago uses are ambiguous. Othello falls apart. WV. 37-44: Othello's language corresponds to his identity fragmentation, Otello no longer even has logic, we have a kind of incoherent being. Eventually Otello faints and lago is happy because with this system, the credulous are made fools and many honest women are punished. Ears, lips, connected with the lower senses. lago. Oth. lago. Oth. lago. Oth. lago. Oth lago. Oth. lago. Oth. lago. 1 will be found most cunning in my patience; But — dost thou hear? —Most bloody, That's not amiss; Craig1916: 92 But yet keep time in all. Will you withdraw? Now will I question Cassio of Bianca, A housewife that by selling her desires Buys herself bread and clothes; it is a creature That dotes on Cassio; as'tis the stumpet's plagueCraig1916: 97 To beguile many and be beguil'd by one. He, when he hears of her, cannot refrain From the excess of laughter. Here he comes: Re-enterCassius. As he shall smile, Othello shall go mad; Craig1916: 101 And his unbookish jealousy must constue Poor Cassio's smiles, gestures, and light behavior Quite in the wrong. How do you now, lieutenant? Craig1916: 104 The worshiper that you give me the addition Whose want even kills me. Ply Desdemona well, and you are sure on ‘i [Speaking lower.]Now, if this suit lay in Bianca's power, Craig1916: 108 How quickly should you speed! Alas! poor caitiff! Look! how he laughs already! I never knew woman love man so. Alas! poor rogue, I think, i ‘faith, she loves me.Craig1916: 112 Now he denies it faintly, and laughs it out. Do you hear, Cassio? Now he importunes him To tell it o'er: go to; well said, well said. lago. goes apart. Cas. lago. Cas. Oth. lago. Cas. Oth. lago. Oth. She gives it out that you shall marry her; Craig1916: 116 Do you intend it? Ha, ha, ha! Do you triumph, Roman? do you triumph? Craig1916: 119 1 marty her! what? to customer? I prithee, bear some charity to my wit; do not think it so unwholesome. Ha, ha, ha! I know, I know, I know, I know. They laugh that win. Faith, the cry goes that you shall many her.Craig1 916: 125 Prithee, say true Tama very villain else. Have you scored me? Well.Craig1916: 128 This is the monkey's own giving out: she is persuaded 1 will marty her, out of her own love and flattery, not out ofmy promise. Iago beckons me; now he begins the story.Craig1916: 133 She was here even now, she haunts me in every place. 1 was {he other day talking on the sea bank with certain Venetians, and thither come this bauble, and, by this hand, she falls me thus about my neck; - Crying, 'O dear Cassio!" as it were; his gesture imports it. Craig191.6: 140 So hangs and lolls and weeps upon me; so hales and pulls me; ha, ha, ha! Now he tells how she plucked him to my chamber. OR! I see that nose ofyours, but not the dog shall throw it to.Craig1916: 145 Well, I must leave her company. Before me! look, where she comes. "Tis such another fitchew! many, a perfimed one.Craig1916: 149 lago has a very short line in which he speaks to the audience: the public, but not Otello, knows that lago will ask Cassio about Bianca and not about Desdemona. The public therefore expects to see a false representation of reality, but that Othello will interpret it in another way. Here is the problematic relationship between what is true and what appears. The public will be able to question reality by seeing Otello, what happened to him. Every time we talk about Bianca, Cassio feels like smiling. In this scene we must bear in mind a double interpretation: How Cassio, the public, lago interpret it How Othello interprets it. Otello comments on his interpretation and what he feels. When he talks about Bianca lago he lowers his voice, but when he talks about Desdemona, he lowers it. Vv129: “monkey” -> referring to Bianca, but Othello believes it refers to Desdemona. Othello also interprets Cassio's gestures, as lago had suggested. VV. 140-142: Image of dismemberment. Cassio's nose will be fed to the dogs. Enter white and there's a coup de théatre or coup de théatre: lago. Cas. Oth. Cas. Oth. lago. Cas. lago. Oth. Cas. Oth. Cas. Oth. Cas. Oth. Cas. lago. Cas 1118 EnterBianca. What do you mean by this haunting of me? Let the devil and his dam haunt you! What did you mean by that same handkerchief you gave me even now? I was fine fool to take it. Imust take out the work! A likely piece of work, that you should find it in your chamber, and not know who left it there! This is some minxs token, and I must take out the work! There, give it your hobby-horse; wheresoever you had it T'Il take out no work ont ‘How now, my sweet Bianca! how now, how now! Craig1916: 161 By heaven, that should be my handkerchief! An you'll come to super to-night, you may; an you will not, come when you are next prepared for After her, after her. Faith, I must; she'Il rail in the street else.Craig1916: 169 Will you sup there? Faith, I mean I know. Well, I may chance to see you, forI would very fain speak with you.Craig1916: 173 Prithee, like; will you? Go to; say no more. [Advancing.]How shall I murder him, lago? Craig1916: 177 Did you perceive how he laughed at his vice? OR! Iago! Craig1916: 180 Bian. .. Bianca enters carrying the handkerchief; Othello thinks that, once he received the handkerchief from Desdemona, Cassio gave it to a prostitute. Scene of jealousy between Cassio and Bianca e VV. 147-154: Bianca accuses Cassio of being unfaithful to her and of having received the handkerchief from another lover. Cassio chases Bianca, who otherwise would have made a scene over Cyprus. In classical tragedies destiny plays an important role, here it is as if the idea of destiny as something guided is missing. There are small accidents that contribute to the classic tragedy, but they are not the cause. This event, of Bianca's entry with the handkerchief, is like a joke, it is not destiny. Iago takes the opportunity to bring Cassio out of the scene. ago and Otello are alone 1.167: Othello is desperate, he continues to feel sorry for Desdemona. Cas. Oth. [Exit lago. Cas. lago. Cas. lago. Cas. lago. Exit Cassio. Oth. lago. Oth. Are you sure of that? My lord? Craig1916: 240 This fail you not to do, as you will- He did not call; he's busy in the paper. Is there division 'twixt my lord and Cassio? A most unhappy one; I would do much To atone them, forthe love I bear to Cassio. Craig1916: 245 Fire and brimstone! My lord? Areyou wise? What! is he angry? May be the letter mov'd him; For, as I think, they do command him home, Deputing Cassio in his govemment.Craig1916: 249 Trust me, I am glad on‘ Indeed! My lord? 1 am glad to see you mad. Why, sweet Othello? Devil! I have not deserved this.Craig1 916: 252 My lord, this would not be believ'd in Venice, Though should swear I saw 't: tis very muchi Make her amends, she weeps Othello cannot control himself and the element of his disturbance appears. v.242: Desdemona tells Lodovico that there is a rift between Cassio and Othello and this does nothing but exacerbate Othello and she would do anything to make them reconcile. Desdemona innocentiy speaks of her affection she has for Cassio. Desdemona is happy that Otello has been called back to Venice because here in Cyprus she thinks something is happening that disturbs Othello's tranquility, as she sees him different in his behavior, but Otello misinterprets Desdemona's happiness because he thinks she is happy for Cassio, and for the fact that he is taking his place. V.251: Othello slaps Desdemona and calls her "devil" — first physical violence between Othello and Desdemona. Lodovico cannot believe his eyes because Othello's attitude is inappropriate in public. Oth. Lod. Oth. Oth. Lod. Oth. Oth. Oth. [Strikes her Des Lod. O devil, devil! If that the earth could teem with woman's tears, Each drop she falls would prove a crocodile.Craig1916: 257 Out of my sight! 1 will not stay to offend you. Truly, an obedient lady; 1 do beseech your lordship, call her back.Craig1916: 260 Mistress! My lord? What would you with her, sir? Who, I, my lord? Ay; you did wish that I would make her tum: Sir, she can tum, and tum, and yet go on, Craig1 916: 264 And tum again; and she can weep, sir, weep; And she's obedient, as you say, obedient, Very obedient. Proceed you in your tears. Conceming this, sir, —O well-painted passion! - 1 am commanded home. Get you away; Craig1916: 269 T'I1 send for you anon. Sir, I obey the mandate, And will retum to Venice. Hence! avaunt! V261:bestial image of Othello, he calls Desdemona “mistress”, a term that indicates lady, but which is normally used to indicate lovers. Othello treats her as if she were a prostitute, like a puppet, whereas before there was an almost divine harmony. Oth. [Going Lod. Oth. Oth. Lod. Oth. \esdemona. Cassio shall have my place. And, sir, to-night, I do entreat that we may sup together; Craig1916: 273 You are welcome, sir, to Cyprus. Goats and monkeys! Is this the noble Moor whom our full senate Call all-in-all sufficient? is this the noble nature \Vv272-274: Iago was obsessed with the usurpation of the place, while now Othello is. Otello (when he goes to Cyprus he is the governor, now the place passes to Cassio) returns for a moment to take on his public role again by inviting Lodovico to dinner [Exit Lod. ‘Whom passion could not shake? whose solid virtueCraig191 6: 277 The shot of accident nor dart of chance Could neither graze nor pierce? He is much chang'd. lago. Lod. Act IV Scene IL—: A Room in the Castl Are his wits safe? is he not light of brain? Craig1 916: 280 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! What! strike his wife! Faith, that was not so well; yet would I knewCraig1916: 284 That stroke would prove the worst! Is it his use? Or did the letters work upon his blood, And new-create this fault? Alas, alas! It is not honesty in me to speakCraig1916: 288 ‘What I have seen and known. You shall observe him, And his own courses will denote him so That Imay save my speech. Do but go after And mark how he continues. Craig1916: 292 1 am sorry that I am deceiv'd in him. v.280: This verse makes Lodovico wonder if Il Moro is stable in mind and Iago obviously points out that he has changed. \VV.287-292: ambiguous construction of the sentence, typical of lago. After sowing doubts in Lodovico, he tells him that he has changed. EnterOthello and Emilia. You have seen nothing, then? Nor ever heard, nor ever did suspect. Yes, you have seen Cassio and her together. But then I saw no harm, and then I heardCraig1916: 4 Each syllable that breath made up between them What! did they never whisper? Never, my lord. Nor send you out o the way? It opens with a dialogue between Otello and Emilia. We must know that at that time women could not walk around the city alone, they had to go out in company. Othello thinks that Emilia should know everything about Desdemona, wherever she goes Emilia knows and for this reason Othello is questioning her. Emilia replies that she has not seen anything inappropriate, but he does not believe her and she replies that she could put the love in it for how honest she is. lago. Lod. lago. Lod. lago. Lod. Oth. Emil. Oth. Emil. Oth. Oth. The fountain from the which my current nns Or else dries up; to be discarded thence! Or keep it as a cistem for foul toadsCraig191 6: 60 To knot and gender in! Tum thy complexion there, Patience, thou young and rose-lipp'd cherubin; Ay, there, look grim as hell! I hope my noble lord esteems me honest.Craig1916: 64 OR! ay; as summerflies 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 bom.Craig191.6: 6; Alas! what ignorant sin have I committed? Waas this fair paper (bella carta, synonym of whore), this most g0odly book, Made to write ‘whore' upon? What committed! Committed! O thou public commoner! Craig1916: 72 1 should make very forges of my cheeks, That would to cinders bum up modesty, Did1 but speak thy deeds. What committed! Heaven stops the nose at it and the moon winks, The bawdy wind that kisses all it meetsCraig1916: 77 Is hush'd within the hollow mine of earth, And will not hear it. What committed! Impudent strumpet! By heaven, you do me wrong Craig1 916: 80 Are not you a strumpet? No, as I am a Christian. If to preserve this vessel for my lord From any other foul unlawfuùl touch Be not to be a strumpet, I am none.Craig1916: 84 What! not a whore? No, as I shall be sav‘d. Is it possible? v.65, flies: terrible animal image and, oxymoron black / fair (equo). V.82: “vessel”: Desdemona tells Othello that she has kept a vase (sexual image) allowed only to him. We have seen the triangles: ® Otello, Cassio, lago— triangle of a social type ® lago, Emilia, Moro ® lago, Emilia, Cassio ® Cassio, lago, Desdemona Infinite, continuous and elusive triangles. Serpieri hypothesis: the motivation of Iago's puritanic attitude towards eroticism (negative terms for eros), is the great removal of all that is positive in a physical relationship Hideous images emerge in Othello's words, like orgies between frogs. Desdemona is innocent and tries to find a reason for her behavior. VV. 87-91: here, again there is the image that lago had evoked of the Venetian ones. it is attested that in certain historical periods the Venetians passed periods of prostitution image of lago that we find in Otello. If Desdemona is guilty, he thinks Emilia is guilty too; idea of Emilia as keeper of the brothel, who has the keys to hell (the bridal chamber = much evoked in the text, but which we will see only at the end). v.96: "half asleep": Desdemona feels annulled by these accusations, almost as if she is no longer in control of herself and her own mind. She is almost dizzy and asleep. v.97: “my lord”: with this Emilia is referring to Othello. However, being a way to indicate husbands, Desdemona is confused because she does not understand who she is referring to, it could also be lago. Oth. Oth. Oth. Oth. Oth. OR! heaven forgive us. I cry you mercy, then; I took you for that cunning whore of VeniceCraigl That married with Othello. You, mistress, That have the office opposite to Saint Peter, And keep the gate of hell! Oth. 916: 88 Re-enterEmilia. You, you, ay, you! We have done our course; there's money for your pains. Craig1916: 92 1 pray you, tum the key and keep our counsel. 1121 Alas! what does this gentleman conceive? How do you, madam? how do you, my good lady? Faith, half asleep.Craig1916: 96 Good madam, what's the matter with my lord? With who? Why, with my lord, madam. Who is thy lord? He that is yours, sweet lady.Craig1916: 100 I have none; do not talk to me, Emilia; I cannot weep, nor answer have I none, But what should go by water. Prithee, to-night Lay on my bed my wedding sheets: remember: And call thy husband hither. Here is a change indeed! Craig1916: 105 "Tis meet I should be ustd so, very meet, How have I been behav'd, that he might stick VV.101-109: Desdemona no longer has anyone; Desdemona had abandoned her father, the Venetian society, she had gone against everyone to be with Emil Otello and now if she were to lose Otello she would no longer have anyone. Desdemona asks Des Emilia to put on the wedding sheets, those of the first night. Perhaps he does it to remind Othello that they are husband Emil. and wife. "Sheets": it is a premonitionDI she herself will transform them Des into a shroud; Desdemona asks Emilia to wrap her inside like a shroud if she dies before Emilia. Emil. The small'st opinion on my least misuse? Craig1916: 108 Re-enterEmilia, with lago. What is your pleasure, madam? How is it with you? I cannot tell. Those that do teach young babes Do it with gentle means and easy tasks; Craig1916: 112 He might have chid me so; for, in good faith, Tama child to chiding. What's the matter, lady? Alas! lago, my lord hath so bewhor'd her, Thrown such despite and heavy terms upon her, As true hearts cannot bear.Craig1 916: 117 AmI that name, lago? What name, fair lady? Such as she says my lord did say I was. He call'd her whore; a beggar in his drinkCraig1916: 120 Could not have laid such terms upon his callat. Why did he so? I do not know; I am sure I am none such. Do not weep, do not weep. Alas the day! Craig1916: 124 Has she forsook so many noble matches, Her father and her country and her friends, To be call'd whore? would it not make one weep? It is my wretched fortune. Beshrew him for it! Craig1916: 128 How comes this trick upon him? Nay, heaven doth know. v.111: Desdemona thinks it's right to be treated like this because she thinks she has done something. Childhood regression in Desdemona, she is smaller than Othello, she feels regressed. Desdemona is scolded, she doesn't know why but she thinks Othello is right and it's the same behavior that children have. lago enters and again we have the tragic irony, because Desdemona asks lago for help. VV. 113: Desdemona herself regresses, she feels treated like a child. y.116: “Bewhored"” (whore): Emilia thinks that Othello used terms towards Desdemona that she didn't deserve. Desdemona cannot pronounce the word prostitute. Tago does not answer Desdemona's question. V.125: Emilia is very clear about Desdemona's situation, she has abandoned everyone to be with a person who insults her. W. 145: stroke of genius to Shakespeare. Emilia says he was certainly a gentleman like the person who put it into Iago's head that she betrayed him with the Moor. lago. lago. Emil. lago. Emil. lago. lago. Emil. lago. Very well! go to! I cannot go to, man; nor 'tis not very well: by this hand, I say, it is very scurvy, and begin t or find myself fobbed in it. Very well.Craig1916: 198 I tell you ‘tis not very well. I will make myself known to Desdemona; if she will return me my jewels, 1 will give over my suit and repent my unlawfùl solicitation; if not, assure yourself I will seek satisfaction of you. You have said now.Craig1916: 204 Ay, and said nothing, but what I protest int amendment of doing 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.Craig1916: 212 It hath not appeared. 1 grant indeed it hath not appeared, and your suspicion is not without wit and judgment. But, Roderigo, if thou hast that in thee indeed, which I have greater reason to believe now than ever, I mean purpose, courage, and valor, 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. Well, what is it? is it within reason and compass? Craig1916: 224 Sir, there is especial commission come from V enice to depute Cassio in Othello's place Is that true? why, then Othello and Desdemona retum again to Venice. Craig1916: 228 Or not! 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 Now Iago has the problem of eliminating Rodrigo. With his verbal ability he manages to convince Rodrigo by telling him that by eliminating Cassio he will finally have eliminated his rival and will be able to enjoy Desdemona. v.226: Cassio is the new govemor of Cyprus, and lago tells Rodrigo that, having become governor of Cyprus, Othello and Desdemona must return to Venice, but if he eliminates Cassio, Desdemona will remain in Cyprus, so he manages to convince Rodrigo. 38: lago is like a preacher, he structs him, tells Roderigo that Cassio's death is necessary and Iago will explain the reasons along the way. Rod. lago. Rod. lago. Rod. lago. Rod. lago. Rod. lago. Rod. lago. determined as the removing of Cassio.Craig1916: 233 How do you mean, removing of him? Why, by making him uncapable of Othello's place; knocking out his brains. And that you would have me do? Craig1916: 237 Ay; if you give do yourselfa profit and a right. He sups to-night with a harlotry, and thither will I go to him; he knows not yet of his honorable 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.Craig1916: 250 I will hear further reason for this. And you shall be satisfied. Act IV Scenelll —: Another Room in the Castle. EnterOthello, Lodovico, Desdemona, Emilia, and Attendants. I do beseech you, sir, trouble yourself no further. OR! pardon me; twill do me good to walk. Madam, good night; I humbly thank your ladyship Your honor is most welcome. Will you walk, sir? OR! Desdemona, —Craig1916: 5 My lord? Get you to bed on the instant; I will be retumed forthwith; dismiss your attendant there; look it be done.Craig1916: 9 Rod. lago. Rod. lago. Rod. lago. [Exeunt. It starts when dinner is already over (very tight times). Othello tells Desdemona that he has to go to his room because he and Lodovico are going for a walk. He tells her this because he wants to kill her. Only Emilia and Desdemona remain. Desdemona thinks that Othello has calmed down. Emilia is not very happy, Desdemona is very scared, she must be obedient to him. Emilia has never approved the marriage between Othello and Desdemona, so she is happy that things between the two are not going well because she hopes that Desdemona will return to Venice and have a better marriage. Lod. Oth. Lod. Oth. Oth. 1123 1 will, my lord. How goes it now? he looks gentler than he did. He says he will retum incontinent; Craig1916: 12 He hath commanded me to go to bed, And bade me to dismiss you. Dismiss me! It was his bidding; therefore, good Emilia, Give me my nightly wearing, and adiew: Craig1916: 16 We must not now displease him I would you had never seen him. So would not Li my love doth so approve him, That even his stubbomness, his checks and frowns, —_Craig1916: 20 Prithee, unpin me, —have grace and favor in them. I have laid those sheets you bade me on the bed. All's one. Good faith! how foolish are our minds! If1 do die before thee, prithee, shroud meCraig1916: 24 In one of those same sheets. Like, like, you talk. My mother had a maid call'd Barbara; She was in love, and he she lov‘d prov'd mad And did forsake her; she had a song of ‘willow;' Craig1916: 28 An old thing twas, but it express'd her fortune, And she died singing it; that song to-night Will not go from my mind; I have much to do But to go hang my head all at one side, Craig1916: 32 And sing it like poor Barbara. Prithee, dispatch. Shall I go fetch your night-g0wn? No, unpin me here. This Lodovico is a proper man. WV. 17-21: Desdemona, on the other hand, thinks that even her roughness doesn't mind her and always tries to justify it. Here, there is a psychological reality why women tend to justify their men's rough manners. Attendants. W. 22-25: Premonition of death: the sheets will soon tum into a funeral shroud. v.35: The line ‘This Lodovico is a proper man” is attributed to Desdemona in some versions. In that case, Desdemona thinks that if she hadn't married Othello, she would now be in another situation. Desdemona begins to sing the song of the willow. x.51: it seems that this verse is not present in the original song "’of the willow", but Desdemona added it, she tries to justify Othello. At the end of the song he begins to make a speech with Emilia with some proto-feminist ideas. Emilia is a commoner, she has more common sense. W. 41-49: scene between Emilia and Desdemona. In this scene Desdemona sings a song, but it is hypothesized that this part was omitted in some editions as the playwrights wrote according to who was to play the characters and, in that period, women were played by young boys. "": According to the critics Desdemona was raised by a black servant, and for this reason Desdemona is less hostile towards black people. This servant always sang the song "of the willow" and one day, singing this song, she dies. Emilia will also die singing this song. Emil. Emil. Emil. Emil. Emil. Emil. Scenesl.—: Cyprus. A Street, 112. I think it is; and doth afffection breed it? Craig1916: 101 I think it doth: is't frailty that thus errs? It is so too; and have not we affections, Desires for sport, and frailty, as men have? Craig1916: 104 Then, let them use us well; else let them know, The ills we do, their ills instruct us so. Good night, good night; heaven me such usage send, Notto pick bad from bad, but by bad mend! Craig1916: 108 Enterlago and Roderigo. Here, stand behind this bulk; straight will he like: Wear thy good rapier bare, and put it home Quick, quick; fear nothing; Il be at thy elbow. It makes us, or it mars us; think on that, Craig1916: 4 And fix most firm thy resolution. Be near at hand; I may miscany int Here, at thy hand: be bold, and take thy stand. I have no great devotion to the ded; Craig1916: 8 And yet he has given me satisfying reasons: "Tis but a man gone: forth, my sword: he dies. I have rubb'd this young quat almost to {he sense, And he grows angry. Now, whether he kill Cassio, Craig1916: 12 Or Cassio him, or each do kill the other, Every way makes my gain: live Roderigo, He calls me to a restitution large Of gold and jewels that I bobb'd from him, Craig1916: 16 As gifts to Desdemona; It must not be: if Cassio do remain, He hath a daily beauty in his life That makes me ugly; and, besides, the MoorCraig1916: 20 It starts with lago and Rodrigo who are ambushing Cassio and Iago's words have convinced Rodrigo. VV. 11-22: Iago's monologue towards the audience. Eventually Rodrigo retires. For lago if Rodrigo kills Cassio, or if Cassio kills Rodrigo or if they both killed each other it was the same, it was okay anyway, because if Rodrigo dies, he doesn't have to retum the jewels, if Cassio stays alive it wouldn't suit him, because he he is a gentleman, handsome, of good manners, his life is beautiful and he is successfulD) from here we understand that ago is envious of Cassio. The fact that his intrigue can come out is a minor motivation, his real motivation is beauty, success, an enviable life that he can never achieve. lago's life is bad compared to Cassio's. Battle scene: Rodrigo is a coward, he wants lago to be close to him. Rodrigo attacks Cassio, but he has protection and in the end ... [Exeunt. lago. Rod. lago. Retires. Rod. lago. May unfold me to him: there stand I in much peril No, he must die. But I know; I hear him coming. EnterCassius. I know his gait; 'tis he. Villain, thou diest! That thrust had been mine enemy indeedCraig1916: 24 But that my coat is better than thou know'st; 1 will make proof of thine. OR! I am slain. Rod. Cassio wounds Rodrigo. Othello hears sounds and misinterprets what's going on. Cassio is Wounded Cas by Iago from behind. Othello misinterprets what is happening, he thinks Tago killed Cassio and this makes him even more convinced that he has to kill Desdemona. It starts at night and ends at night. ass at Cassio. igo. Rod. [lago from behind wounds Cassio in the leg, and exit. 1 am maim'd for ever. Help, ho! murder! murder! Cas. [Falls EnterOthello, at a distance. The voice of Cassio: lago keeps his word. OR! villain that I am! It is e'en so.Craig1916: 29 O, help, ho! light! to surgeon! "Tis he: O brave lago, honest and just! That hast such noble sense of thy friend's wrong; Craig1916: 32 Thou teachest me. Minion, your dear lies dead, And your unblest fate hies; strumpet, I like! Forth of my heart those chanms, thine eyes, are blotted; Thy bed lust-stain'd shall with lust's blood be spotted. EnterLodovico and Gratiano, at ‘What ho! no watch? no passage? murder! murder! Craig1916: 37 "Tis some mischance; the cry is very direfùl Oth. Rod. Oth. Cas. Oth. [Exit Cas. Gra Cas. O, help! Hark! Craig1916: 40 O wretched villain! Two or three groan: it is a heavy night, These may be counterfeits; let's think 't unsafe To come in to the cry without more help.Craig1916: 44 Nobody how? then shall I bleed to death. Hark! Re-enterlago, with a light. Here's one comes in his shirt, with light and weapons. Who's there? whose noise is this that cries on murder? Craig1916: 48 We do not know. Did not you hear a cry? Here, here! for heaven's sake, help me. ‘What's the matter? This is Othello's ancient, as I take it. The same indeed: a very valiant fellow. ‘What are you here that cry so grievously? Craig1916: 53 lago? OR! I am spoil'd, undone by villains! Give me some help. O me, lieutenant! what villains have done this? Craig1916: 56 I think that one of them is hereabout, And cannot make away. O treacherous villains! Lod. Rod. Lod. Rod. Lod. Gra lago. Lod. lago. Cas. lago. Gra Lod. lago. Cas. lago. Cas. lago.