Shakespeare in Plain English
Othello · Tragedy · c. 1603

Othello Act 2 Scene 1

A storm destroys the Turkish fleet, which ends the war before it starts — and strands everyone on an island with nothing to do. Cassio greets Desdemona with elaborate courtesy; Iago, watching, decides that courtesy will be the rope. Othello and Desdemona are reunited so happily that Iago says outright he'll untune the music. Then he convinces Roderigo that Desdemona already wants Cassio, and admits alone that he doesn't believe a word of it.

Othello Act 2 Scene 1

Cyprus. A seaport, and near the harbour.
The Original
Plain Modern English
Enter Montano, Governor of Cyprus, and two Gentlemen.
Montano
What from the cape can you discern at sea?
Montano
What can you make out at sea from the headland?
First Gentleman
Nothing at all. It is a high-wrought flood.
I cannot 'twixt the heaven and the main
Descry a sail.
First Gentleman
Nothing at all. The sea is whipped right up.
Between the sky and the water I can't
spot a single sail.
Montano
Methinks the wind hath spoke aloud at land.
A fuller blast ne'er shook our battlements.
If it hath ruffianed so upon the sea,
What ribs of oak, when mountains melt on them,
Can hold the mortise? What shall we hear of this?
Montano
The wind has been shouting on land, I think.
A stronger gust never shook our walls.
If it's been that violent out at sea,
what oak timbers, with mountains of water crashing down,
could hold their joints together? What news will we get of this?
Second Gentleman
A segregation of the Turkish fleet.
For do but stand upon the foaming shore,
The chidden billow seems to pelt the clouds,
The wind-shaked surge, with high and monstrous mane,
Seems to cast water on the burning Bear
And quench the guards of th' ever-fixèd pole.
I never did like molestation view
On the enchafèd flood.
Second Gentleman
A scattering of the Turkish fleet.
Just stand on the foaming shore:
the beaten waves seem to hurl themselves at the clouds,
the wind-driven swell, with its huge monstrous mane,
seems to throw water on the burning Great Bear
and put out the stars that guard the pole star.
I've never seen such violence
on an enraged sea.
Montano
If that the Turkish fleet
Be not ensheltered and embayed, they are drowned.
It is impossible to bear it out.
Montano
If the Turkish fleet
hasn't found shelter in some bay, they've drowned.
It's impossible to ride that out. (The war ends in the first twenty lines. Everything after this happens because there is nothing left to do.)
Enter a third Gentleman.
Third Gentleman
News, lads! Our wars are done.
The desperate tempest hath so banged the Turks
That their designment halts. A noble ship of Venice
Hath seen a grievous wrack and sufferance
On most part of their fleet.
Third Gentleman
News, lads! Our war is over.
The savage storm has battered the Turks so badly
that their campaign has stalled. A fine Venetian ship
witnessed terrible wreckage and damage
across most of their fleet.
Montano
How? Is this true?
Montano
What? Is this true?
Third Gentleman
The ship is here put in,
A Veronesa. Michael Cassio,
Lieutenant to the warlike Moor Othello,
Is come on shore; the Moor himself at sea,
And is in full commission here for Cyprus.
Third Gentleman
The ship has docked here —
a Verona vessel. Michael Cassio,
lieutenant to the warlike Moor Othello,
has come ashore. The Moor is still at sea,
with full authority to govern Cyprus.
Montano
I am glad on 't. 'Tis a worthy governor.
Montano
I'm glad of it. He's a worthy governor.
Third Gentleman
But this same Cassio, though he speak of comfort
Touching the Turkish loss, yet he looks sadly
And prays the Moor be safe, for they were parted
With foul and violent tempest.
Third Gentleman
But this Cassio, though he brings good news
about the Turkish losses, looks grim
and prays the Moor is safe. They were separated
by the foul, violent storm.
Montano
Pray heaven he be;
For I have served him, and the man commands
Like a full soldier. Let's to the seaside, ho!
As well to see the vessel that's come in
As to throw out our eyes for brave Othello.
Montano
Heaven grant he is.
I've served under him, and the man commands
like a complete soldier. — To the shore, everyone!
Both to see the ship that's docked
and to look out for brave Othello.
Third Gentleman
Come, let's do so;
For every minute is expectancy
Of more arrivance.
Third Gentleman
Yes, let's.
Every minute brings the expectation
of more arrivals.
Enter Cassio.
Cassio
Thanks, you the valiant of this warlike isle,
That so approve the Moor! O, let the heavens
Give him defense against the elements,
For I have lost him on a dangerous sea.
Cassio
Thank you, brave men of this warlike island,
for thinking so well of the Moor. May heaven
protect him from the elements —
I lost him on a dangerous sea.
Montano
Is he well shipped?
Montano
Is his ship a good one?
Cassio
His bark is stoutly timbered, and his pilot
Of very expert and approved allowance;
Therefore my hopes, not surfeited to death,
Stand in bold cure.
Cassio
His vessel is strongly built, and his navigator
is highly skilled and well regarded.
So my hopes, not yet worn out,
stand a good chance of being answered.
Voices cry within: 'A sail, a sail, a sail!' Enter a Messenger.
Cassio
What noise?
Cassio
What's that noise?
Messenger
The town is empty; on the brow o' th' sea
Stand ranks of people, and they cry 'A sail!'
Messenger
The town's emptied out. On the clifftop
rows of people are standing, shouting 'A sail!'
Cassio
My hopes do shape him for the Governor.
Cassio
My hopes make it out to be the Governor.
A shot.
Second Gentleman
They do discharge their shot of courtesy.
Our friends, at least.
Second Gentleman
They're firing a courtesy salute.
Friends, at any rate.
Cassio
I pray you, sir, go forth,
And give us truth who 'tis that is arrived.
Cassio
Please, sir, go and see,
and tell us for certain who's arrived.
Second Gentleman
I shall.
Second Gentleman
I will.
Montano
But, good lieutenant, is your general wived?
Montano
But, lieutenant — is your general married?
Cassio
Most fortunately. He hath achieved a maid
That paragons description and wild fame,
One that excels the quirks of blazoning pens,
And in th' essential vesture of creation
Does tire the ingener.
Cassio
Most fortunately. He's won a woman
who outdoes description and extravagant rumour,
who surpasses the flourishes of praising poets,
and in the essential fabric of her being
exhausts the artist trying to capture her. (Cassio's language about Desdemona is extravagant, courtly and entirely innocent. Iago will use every word of it.)
Enter Second Gentleman.
Cassio
How now? Who has put in?
Cassio
Well? Who's docked?
Second Gentleman
'Tis one Iago, ancient to the General.
Second Gentleman
It's one Iago, the General's ensign.
Cassio
'Has had most favorable and happy speed!
Tempests themselves, high seas, and howling winds,
The guttered rocks and congregated sands
(Traitors ensteeped to clog the guiltless keel),
As having sense of beauty, do omit
Their mortal natures, letting go safely by
The divine Desdemona.
Cassio
He's had a remarkably fast and fortunate crossing!
Storms themselves, high seas and howling winds,
the jagged rocks and massed sandbanks —
treacherous things submerged to snag an innocent hull —
as though they had a sense of beauty, set aside
their deadly natures and let pass safely
the divine Desdemona.
Montano
What is she?
Montano
Who is she?
Cassio
She that I spake of, our great captain's captain,
Left in the conduct of the bold Iago,
Whose footing here anticipates our thoughts
A sennight's speed. Great Jove, Othello guard,
And swell his sail with thine own powerful breath,
That he may bless this bay with his tall ship,
Make love's quick pants in Desdemona's arms,
Give renewed fire to our extincted spirits,
And bring all Cyprus comfort!
Cassio
The woman I mentioned — our great captain's captain,
left in the care of the bold Iago,
whose arrival here beats our expectations
by a week. — Great Jupiter, guard Othello
and swell his sail with your own powerful breath,
so he can bless this bay with his tall ship,
gasp with love in Desdemona's arms,
give fresh fire to our dampened spirits
and bring all Cyprus comfort!
Enter Desdemona, Iago, Roderigo, and Emilia.
Cassio
O, behold,
The riches of the ship is come on shore!
You men of Cyprus, let her have your knees.
Cassio
Look —
the treasure of the ship has come ashore!
Men of Cyprus, kneel to her.
He kneels.
Cassio
Hail to thee, lady, and the grace of heaven,
Before, behind thee, and on every hand
Enwheel thee round.
Cassio
Hail to you, lady — and may the grace of heaven,
before you, behind you and on every side,
circle you round.
Desdemona
I thank you, valiant Cassio.
What tidings can you tell of my lord?
Desdemona
Thank you, brave Cassio.
What news can you give me of my husband? (Her first words on land are about Othello. Her second, third and fourth thoughts are too.)
Cassio
He is not yet arrived, nor know I aught
But that he's well and will be shortly here.
Cassio
He hasn't arrived yet, and I know nothing
except that he's well and will be here soon.
Desdemona
O, but I fear—How lost you company?
Desdemona
But I'm afraid — how did you lose contact?
Cassio
The great contention of sea and skies
Parted our fellowship.
Cassio
The great battle between sea and sky
separated our ships.
Within: 'A sail, a sail!' A shot.
Cassio
But hark, a sail!
Cassio
But listen — a sail!
Second Gentleman
They give their greeting to the citadel.
This likewise is a friend.
Second Gentleman
They're saluting the fortress.
This one's a friend too.
Cassio
See for the news.
Cassio
Go and find out.
Cassio
Good ancient, you are welcome. Welcome, mistress.
Cassio
Welcome, ensign. — Welcome, madam.
He kisses Emilia.
Cassio
Let it not gall your patience, good Iago,
That I extend my manners. 'Tis my breeding
That gives me this bold show of courtesy.
Cassio
Don't let it irritate you, good Iago,
that I take this liberty. It's my upbringing
that makes me so forward with courtesy. (He kisses another man's wife in greeting and explains that it's good manners. Iago is watching.)
Iago
Sir, would she give you so much of her lips
As of her tongue she oft bestows on me,
You would have enough.
Iago
Sir, if she gave you as much of her lips
as she gives me of her tongue,
you'd have had quite enough.
Desdemona
Alas, she has no speech!
Desdemona
But she hardly says a word!
Iago
In faith, too much.
I find it still when I have list to sleep.
Marry, before your Ladyship, I grant,
She puts her tongue a little in her heart
And chides with thinking.
Iago
Honestly, far too much.
I discover that whenever I want to sleep.
In front of your Ladyship, I admit,
she keeps her tongue tucked away in her heart
and scolds by thinking.
Emilia
You have little cause to say so.
Emilia
You've little reason to say that.
Iago
Come on, come on! You are pictures out of door, bells in your parlors, wildcats in your kitchens, saints in your injuries, devils being offended, players in your huswifery, and huswives in your beds.
Iago
Oh come on! You women are paintings out of doors, alarm bells in your sitting rooms, wildcats in your kitchens, saints when you injure someone, devils when you're offended, idlers at housekeeping, and hussies in bed.
Desdemona
Oh, fie upon thee, slanderer.
Desdemona
Shame on you, you slanderer.
Iago
Nay, it is true, or else I am a Turk.
You rise to play, and go to bed to work.
Iago
It's true, or I'm a Turk.
You get up to play and go to bed to work.
Emilia
You shall not write my praise.
Emilia
You won't be writing my praises.
Iago
No, let me not.
Iago
No — don't let me.
Desdemona
What wouldst write of me if thou shouldst praise me?
Desdemona
What would you write about me, if you had to praise me?
Iago
O, gentle lady, do not put me to 't,
For I am nothing if not critical.
Iago
Gentle lady, don't put me to it —
I'm nothing if not critical.
Desdemona
Come on, assay.—There's one gone to the harbor?
Desdemona
Go on, try. — Has someone gone to the harbour?
Iago
Ay, madam.
Iago
Yes, madam.
Desdemona
I am not merry, but I do beguile
The thing I am by seeming otherwise.—
Come, how wouldst thou praise me?
Desdemona
(aside) I'm not in a cheerful mood — I'm distracting myself
from what I am by pretending otherwise. —
Come on: how would you praise me? (She is sick with worry and performing lightness in public. Nobody notices that either.)
Iago
I am about it, but indeed my invention comes from my pate as birdlime does from frieze: it plucks out brains and all. But my muse labors, and thus she is delivered:
If she be fair and wise, fairness and wit,
The one's for use, the other useth it.
Iago
I'm working on it — but my inventiveness comes out of my head like glue off rough cloth: it pulls out brains and everything with it. But my muse is in labour, and here's what she's delivered:
If she's beautiful and clever, then beauty and brains —
one's there to be used, and the other uses it.
Desdemona
Well praised! How if she be black and witty?
Desdemona
Well praised! And if she's dark and clever?
Iago
If she be black, and thereto have a wit,
She'll find a white that shall her blackness hit.
Iago
If she's dark and has brains as well,
she'll find a fair man to match her darkness. (A crude joke on 'white' as both a colour and a target's bullseye. Desdemona keeps him talking anyway.)
Desdemona
Worse and worse.
Desdemona
Worse and worse.
Emilia
How if fair and foolish?
Emilia
And if she's beautiful and stupid?
Iago
She never yet was foolish that was fair,
For even her folly helped her to an heir.
Iago
No beautiful woman was ever stupid,
since even her foolishness got her a child.
Desdemona
These are old fond paradoxes to make fools laugh i' th' alehouse. What miserable praise hast thou for her that's foul and foolish?
Desdemona
These are stale old paradoxes for making fools laugh in the pub. What miserable praise have you got for the woman who's ugly and stupid?
Iago
There's none so foul and foolish thereunto,
But does foul pranks which fair and wise ones do.
Iago
There's no woman so ugly and stupid with it
that she doesn't get up to the same filthy tricks as the beautiful, clever ones.
Desdemona
O heavy ignorance! Thou praisest the worst best. But what praise couldst thou bestow on a deserving woman indeed, one that in the authority of her merit did justly put on the vouch of very malice itself?
Desdemona
What crass ignorance! You praise the worst best. But what praise could you give a genuinely deserving woman — one whose obvious merit could fairly claim approval even from malice itself?
Iago
She that was ever fair and never proud,
Had tongue at will and yet was never loud,
Never lacked gold and yet went never gay,
Fled from her wish, and yet said 'Now I may,'
She that being angered, her revenge being nigh,
Bade her wrong stay and her displeasure fly,
She that in wisdom never was so frail
To change the cod's head for the salmon's tail,
She that could think and ne'er disclose her mind,
See suitors following and not look behind,
She was a wight, if ever such wight were—
Iago
A woman always beautiful and never vain,
who could talk freely and yet was never loud,
never short of money and yet never showy,
who denied herself even when she could have indulged,
who, when angered and with revenge in reach,
held on to the injury and let go of the anger,
who was never so weak in judgment
as to swap something good for something worthless,
who could think and never reveal her thoughts,
who could have admirers following and never look back —
she was a creature, if such a creature ever existed—
Desdemona
To do what?
Desdemona
To do what?
Iago
To suckle fools and chronicle small beer.
Iago
To breastfeed babies and keep track of the household accounts. (Twelve lines building the perfect woman, and the punchline is that she's fit for nothing.)
Desdemona
O, most lame and impotent conclusion!
—Do not learn of him, Emilia, though he be thy husband.—How say you, Cassio? Is he not a most profane and liberal counselor?
Desdemona
What a feeble, useless conclusion!
Don't learn from him, Emilia, even if he is your husband. — What do you say, Cassio? Isn't he a thoroughly foul-mouthed and coarse adviser?
Cassio
He speaks home, madam. You may relish him more in the soldier than in the scholar.
Cassio
He speaks bluntly, madam. You'll enjoy him more as a soldier than as a scholar.
Cassio takes Desdemona's hand.
Iago
He takes her by the palm. Ay, well said, whisper. With as little a web as this will I ensnare as great a fly as Cassio. Ay, smile upon her, do. I will gyve thee in thine own courtship. You say true, 'tis so indeed. If such tricks as these strip you out of your lieutenantry, it had been better you had not kissed your three fingers so oft, which now again you are most apt to play the sir in. Very good; well kissed; an excellent courtesy! 'Tis so, indeed. Yet again your fingers to your lips? Would they were clyster pipes for your sake!
Iago
(aside) He's taking her hand. Yes, that's it — whisper. With a web this small I'll trap a fly as big as Cassio. Yes, smile at her, go on. I'll shackle you with your own good manners. — Quite right, that's exactly so. — If tricks like these strip you of your lieutenancy, you'd have done better not to have kissed your fingers so often — which you're doing again now, playing the gentleman. Very good. Well kissed! An excellent bow! — Yes, quite so. — There go your fingers to your lips again. I wish they were enema tubes, for your sake. (He is building a case out of ordinary politeness, in real time, in front of us.)
Trumpets within.
Iago
The Moor. I know his trumpet.
Iago
The Moor. I know his trumpet call.
Cassio
'Tis truly so.
Cassio
So it is.
Desdemona
Let's meet him and receive him.
Desdemona
Let's go and meet him.
Cassio
Lo, where he comes!
Cassio
Look — here he comes!
Enter Othello and Attendants.
Othello
O, my fair warrior!
Othello
My fair warrior!
Desdemona
My dear Othello!
Desdemona
My dear Othello!
Othello
It gives me wonder great as my content
To see you here before me. O my soul's joy!
If after every tempest come such calms,
May the winds blow till they have wakened death,
And let the laboring bark climb hills of seas
Olympus high, and duck again as low
As hell's from heaven! If it were now to die,
'Twere now to be most happy, for I fear
My soul hath her content so absolute
That not another comfort like to this
Succeeds in unknown fate.
Othello
It astonishes me as much as it delights me
to find you here ahead of me. Oh, joy of my soul!
If calm like this follows every storm,
then let the winds blow until they wake the dead,
and let the struggling ship climb hills of water
as high as Olympus and plunge as low
as hell is from heaven. If I had to die now,
this would be the happiest moment for it — because I'm afraid
my soul is so completely content
that no other happiness like this one
is waiting anywhere in my future. (He says he would like to die now. Two acts later he will get his wish, and not like this.)
Desdemona
The heavens forbid
But that our loves and comforts should increase
Even as our days do grow!
Desdemona
Heaven forbid
that our love and happiness shouldn't grow
exactly as our years do.
Othello
Amen to that, sweet powers!
I cannot speak enough of this content.
It stops me here; it is too much of joy.
Othello
Amen to that, sweet powers above!
I can't find words enough for this happiness.
It chokes me here. It's too much joy.
They kiss.
Othello
And this, and this, the greatest discords be
That e'er our hearts shall make!
Othello
And may this, and this, be the worst discord
our hearts ever make.
Iago
O, you are well tuned now,
But I'll set down the pegs that make this music,
As honest as I am.
Iago
(aside) You're beautifully in tune now —
but I'll loosen the pegs that make this music,
as honest a man as I am. (Everyone in this play calls him honest. He has now started doing it himself.)
Othello
Come. Let us to the castle.—
News, friends! Our wars are done. The Turks are drowned.
How does my old acquaintance of this isle?—
Honey, you shall be well desired in Cyprus.
I have found great love amongst them. O, my sweet,
I prattle out of fashion, and I dote
In mine own comforts.—I prithee, good Iago,
Go to the bay and disembark my coffers.
Bring thou the master to the citadel.
He is a good one, and his worthiness
Does challenge much respect.—Come, Desdemona.
Once more, well met at Cyprus.
Othello
Come — let's go up to the castle. —
News, friends! Our war is over. The Turks are drowned.
How are my old friends on this island? —
Sweetheart, you'll be very welcome in Cyprus.
I've found great affection among them. — My sweet,
I'm babbling out of turn, doting
on my own happiness. — Please, good Iago,
go down to the harbour and unload my chests.
Bring the ship's captain up to the fortress.
He's a good man, and his quality
deserves real respect. — Come, Desdemona.
Once more — well met in Cyprus.
Exeunt all but Iago and Roderigo.
Iago
Do thou meet me presently at the harbor.
Come hither. If thou be'st valiant—as they say base men being in love have then a nobility in their natures more than is native to them—list me. The Lieutenant tonight watches on the court of guard. First, I must tell thee this: Desdemona is directly in love with him.
Iago
(to a departing attendant) Meet me at the harbour shortly.
(to Roderigo) Come here. If you're brave — as they say low-born men in love acquire a nobility beyond their nature — listen to me. The lieutenant is on guard duty tonight. First, I have to tell you this: Desdemona is straightforwardly in love with him.
Roderigo
With him? Why, 'tis not possible.
Roderigo
With him? That's not possible.
Iago
Lay thy finger thus, and let thy soul be instructed.
Mark me with what violence she first loved the
Moor but for bragging and telling her fantastical lies. And will she love him still for prating? Let not thy discreet heart think it. Her eye must be fed. And what delight shall she have to look on the devil?
When the blood is made dull with the act of sport, there should be, again to inflame it and to give satiety a fresh appetite, loveliness in favor, sympathy in years, manners, and beauties, all which the Moor is defective in. Now, for want of these required conveniences, her delicate tenderness will find itself abused, begin to heave the gorge, disrelish and abhor the Moor. Very nature will instruct her in it and compel her to some second choice. Now, sir, this granted—as it is a most pregnant and unforced position—who stands so eminent in the degree of this fortune as Cassio does? A knave very voluble, no further conscionable than in putting on the mere form of civil and humane seeming for the better compassing of his salt 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; a devilish knave!
Besides, the knave is handsome, young, and hath all those requisites in him that folly and green minds look after. A pestilent complete knave, and the woman hath found him already.
Iago
Put your finger to your lips and let me educate you.
Notice how violently she first fell for the
Moor — purely for boasting and telling her fantastical lies. Will she keep loving him for chattering? Don't let your sensible heart believe it. Her eye needs feeding. And what pleasure is there in looking at the devil?
When passion is dulled by sex, there needs to be something to inflame it again and give satisfaction a fresh appetite: good looks, closeness in age, manners and beauty — all of which the Moor lacks. Now, for want of these necessary comforts, her delicate feelings will find themselves cheated. She'll start to feel sick, lose her taste for the Moor and loathe him. Nature itself will teach her that and force her to a second choice. Now, sir, granting that — and it's an obvious, natural conclusion — who stands better placed for it than Cassio? A very smooth-talking rogue, no more conscientious than it takes to put on the outward appearance of civility and decency, the better to satisfy his lecherous and well-hidden loose desires. Nobody, nobody at all! A slippery, cunning rogue, an opportunist, with an eye that can forge and counterfeit an opening when no real one exists. A devilish rogue!
Besides, the man is handsome, young, and has everything that foolishness and inexperienced minds look for. A thoroughly poisonous rogue — and the woman has spotted him already. (Every word of this describes Iago, not Cassio. He is giving his own portrait and attaching another man's name.)
Roderigo
I cannot believe that in her. She's full of most blessed condition.
Roderigo
I can't believe that of her. She's full of the most blessed qualities.
Iago
Blessed fig's end! The wine she drinks is made of grapes. If she had been blessed, she would never have loved the Moor. Blessed pudding! Didst thou not see her paddle with the palm of his hand? Didst not mark that?
Iago
Blessed nonsense! The wine she drinks is made of grapes like anyone else's. If she'd been blessed she'd never have loved the Moor. Blessed rubbish! Didn't you see her stroking the palm of his hand? Didn't you notice?
Roderigo
Yes, that I did. But that was but courtesy.
Roderigo
Yes, I did. But that was only politeness.
Iago
Lechery, by this hand! An index and obscure prologue to the history of lust and foul thoughts.
They met so near with their lips that their breaths embraced together. Villainous thoughts, Roderigo!
When these mutualities so marshal the way, hard at hand comes the master and main exercise, th' incorporate conclusion. Pish! But, sir, be you ruled by me. I have brought you from Venice. Watch you tonight. For the command, I'll lay 't upon you.
Cassio knows you not. I'll not be far from you. Do you find some occasion to anger Cassio, either by speaking too loud, or tainting his discipline, or from what other course you please, which the time shall more favorably minister.
Iago
Lechery, I swear it! An opening chapter and a dark prologue to a whole history of lust and filthy thinking.
Their lips came so close that their breath mingled. Wicked thoughts, Roderigo!
When intimacies like that lead the way, the main event follows close behind — the physical conclusion. Bah! — But, sir, be guided by me. I brought you from Venice. Stand watch tonight — I'll get you assigned to it.
Cassio doesn't know you. I'll be close by. Find some excuse to anger Cassio — by talking too loudly, or criticising his command, or by any other means you like, whichever the moment most conveniently offers.
Roderigo
Well.
Roderigo
All right.
Iago
Sir, he's rash and very sudden in choler, and haply may strike at you. Provoke him that he may, for even out of that will I cause these of Cyprus to mutiny, whose qualification shall come into no true taste again but by the displanting of Cassio. So shall you have a shorter journey to your desires by the means I shall then have to prefer them, and the impediment most profitably removed, without the which there were no expectation of our prosperity.
Iago
Sir, he's hot-headed and quick to anger, and he may well hit you. Provoke him into it — because from that I'll get the people of Cyprus to riot, and they won't be calmed again except by Cassio's removal. That way you'll get what you want sooner, through the influence I'll then have to advance your case, and the obstacle usefully removed — without which there'd be no hope of success for us.
Roderigo
I will do this, if you can bring it to any opportunity.
Roderigo
I'll do it, if you can arrange an opportunity.
Iago
I warrant thee. Meet me by and by at the citadel. I must fetch his necessaries ashore. Farewell.
Iago
I guarantee it. Meet me shortly at the fortress. I have to bring his belongings ashore. Goodbye.
Roderigo
Adieu.
Roderigo
Goodbye.
Exit Roderigo.
Iago
That Cassio loves her, I do well believe 't.
That she loves him, 'tis apt and of great credit.
The Moor, howbeit that I endure him not,
Is of a constant, loving, noble nature,
And I dare think he'll prove to Desdemona
A most dear husband. Now, I do love her too,
Not out of absolute lust (though peradventure
I stand accountant for as great a sin)
But partly led to diet my revenge
For that I do suspect the lusty Moor
Hath leaped into my seat—the thought whereof
Doth, like a poisonous mineral, gnaw my inwards,
And nothing can or shall content my soul
Till I am evened with him, wife for wife,
Or, failing so, yet that I put the Moor
At least into a jealousy so strong
That judgment cannot cure. Which thing to do,
If this poor trash of Venice, whom I trace
For his quick hunting, stand the putting on,
I'll have our Michael Cassio on the hip,
Abuse him to the Moor in the rank garb
(For I fear Cassio with my nightcap too),
Make the Moor thank me, love me, and reward me
For making him egregiously an ass
And practicing upon his peace and quiet
Even to madness. 'Tis here, but yet confused.
Knavery's plain face is never seen till used.
Iago
That Cassio loves her — I well believe it.
That she loves him is likely enough and very credible.
The Moor — much as I can't stand him —
has a steady, loving, noble nature,
and I dare say he'll prove
a most devoted husband to Desdemona. — Now, I love her too,
not purely out of lust — though possibly
I've as great a sin to answer for —
but partly to feed my revenge,
because I suspect the lustful Moor
has jumped into my place. The thought of it
gnaws at my insides like a corrosive poison,
and nothing can or will satisfy my soul
until I'm even with him — wife for wife.
Or failing that, until I've put the Moor
into a jealousy so powerful
that reason can't cure it. To do it,
if this Venetian rubbish, whom I'm keeping on a leash
for his eagerness, holds up under pressure,
I'll have Michael Cassio at my mercy,
slander him to the Moor in the foulest terms
(because I suspect Cassio with my wife as well),
and make the Moor thank me, love me and reward me
for making a monstrous fool of him
and working on his peace of mind
until it turns to madness. It's here in my head, but still tangled.
Villainy's true face is never seen until it's used. (A third motive now, and a suspicion about Cassio too. He tries on grievances until one fits.)
Exit.