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Updated: May 19, 2025
The libretto was prepared by the accomplished Italian scholar and musician, Arrigo Boito, and closely follows the story of the Shakspearian tragedy. The curtain rises upon a scene in Cyprus. A storm is raging, and a crowd, among them Iago, Cassio, and Roderigo, watch the angry sea, speculating upon the fate of Othello's vessel, which finally arrives safely in port amid much rejoicing.
The uproar aroused Othello, who, on learning its cause, said, "Cassio, I love thee, but never more be officer of mine." On Cassio and Iago being alone together, the disgraced man moaned about his reputation. Iago said reputation and humbug were the same thing. "O God," exclaimed Cassio, without heeding him, "that men should put an enemy in their mouths to steal away their brains!"
Iago hated Cassio, and he hated Othello, as well for favouring Cassio, as for an unjust suspicion, which he had lightly taken up against Othello, that the Moor was too fond of Iago's wife Emilia. From these imaginary provocations, the plotting mind of Iago conceived a horrid scheme of revenge, which should involve both Cassio, the Moor, and Desdemona in one common ruin.
Iago, affecting to make light of it, said, that he, or any man living, might be drunk upon occasion; it remained now to make the best of a bad bargain; the general's wife was now the general, and could do anything with Othello; that he were best to apply to the lady Desdemona to mediate for him with her lord; that she was of a frank, obliging disposition, and would readily undertake a good office of this sort, and set Cassio right again in the general's favour; and then this crack in their love would be made stronger than ever.
Among the objects, as we saw in considering 'Othello believes that Desdemona loves Cassio', one must be a relation in this instance, the relation 'loving'. But this relation, as it occurs in the act of believing, is not the relation which creates the unity of the complex whole consisting of the subject and the objects.
In his obvious though silent suffering at the disgrace and dismissal of Cassio; in the dazed, forlorn agony that blended with his more active passion throughout the scene of Iago's wicked conquest of his credulity; in his occasional quick relapses into blind and sweet fidelity to the old belief in Desdemona; in his unquenchable tenderness for her, through the delirium and the sacrifice; and in the tone of soft, romantic affection always spiritualised, never sensual that his deep and loving sincerity diffused throughout the work, was shown the grand unity of the embodiment; a unity based on the simple passion of love.
On the other hand, when a belief is false, there is no such complex unity composed only of the objects of the belief. If Othello believes falsely that Desdemona loves Cassio, then there is no such complex unity as 'Desdemona's love for Cassio'. Thus a belief is true when it corresponds to a certain associated complex, and false when it does not.
Iago begged pardon for having moved him; but Othello, assuming an indifference, while he was really shaken with inward grief at Iago's words, begged him to go on, which Iago did with many apologies, as if unwilling to produce anything against Cassio, whom he called his friend: he then came strongly to the point, and reminded Othello how Desdemona had refused many suitable matches of her own clime and complexion, and had married him, a Moor, which showed unnatural in her, and proved her to have a headstrong will; and when her better judgment returned, how probable it was she should fall upon comparing Othello with the fine forms and clear white complexions of the young Italians her countrymen.
Iago begged pardon for having moved him; but Othello, assuming an indifference, while he was really shaken with inward grief at Iago's words, begged him to go on, which Iago did with many apologies, as if unwilling to produce anything against Cassio, whom he called his friend: he then came strongly to the point, and reminded Othello how Desdemona had refused many suitable matches of her own clime and complexion, and had married him, a Moor, which showed unnatural in her, and proved her to have a headstrong will; and when her better judgment returned, how probable it was she should fall upon comparing Othello with the fine forms and clear white complexions of the young Italians her countrymen.
The man that wrongs his master and his friend, What can he come to but a shameful end? Mr Hallam Will delineate a young and thoughtless officer who is traduced by Mr. Allyn, and, getting drunk, loses his situation and his generals esteem. All young men whatsoever, take example from Cassio. The ill effects of drinking would you see Be warned and fly from evil company.
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