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Updated: June 4, 2025
Had I been able I should have imitated his voice also, so closely did that splendid Moor represent to me the true type of the Shakespearian hero. Othello must have been a son of Mauritania, if we can argue from Iago's words to Roderigo: "He goes into Mauritania"; for what else could the author have intended to imply but that the Moor was returning to his native land?
Up, and to the office, where all the morning, and thence after dinner to the King's playhouse, and there, in an upper box, where come in Colonel Poynton and Doll Stacey, who is very fine, and, by her wedding-ring, I suppose he hath married her at last, did see "The Moor of Venice:" but ill acted in most parts; Mohun, which did a little surprise me, not acting Iago's part by much so well as Clun used to do; nor another Hart's, which was Cassio's; nor, indeed, Burt doing the Moor's so well as I once thought he did.
The result was that Othello, who was a strict observer of discipline, was compelled to take away Cassio's place of lieutenant from him. Thus did Iago's first artifice succeed completely; he had now undermined his hated rival and thrust him,out of his place; but a further use was hereafter to be made of the adventure of this disastrous night.
The result was, that Othello, who was a strict observer of discipline, was compelled to take away Cassio's place of lieutenant from him. Thus did Iago's first artifice succeed completely; he had now undermined his hated rival, and thrust him out of his place: but a further use was hereafter to be made of the adventure of this disastrous night.
The result was, that Othello, who was a strict observer of discipline, was compelled to take away Cassio's place of lieutenant from him. Thus did Iago's first artifice succeed completely; he had now undermined his hated rival, and thrust him out of his place: but a further use was hereafter to be made of the adventure of this disastrous night.
Coleridge describes Iago's hatred of Othello as the hatred which a base nature instinctively feels for a noble one, and his assignment of motives for his acts as the mere "motive-hunting of a motiveless malignity."
You thus read in the newspapers that the persons who murder their sweethearts are generally from two to six and twenty; and persons who murder from other motives than love that is, from revenge, avarice, or ambition are generally about twenty-eight, Iago's age. Twenty-eight is the usual close of the active season for getting rid of one's fellow-creatures; a prize-fighter falls off after that age.
Torn to pieces with these distracting thoughts, he once laid hold on Iago's throat and demanded proof of Desdemona's guilt, or threatened instant death for his having belied her. Iago, feigning indignation that his honesty should be taken for a vice, asked Othello if he had not sometimes seen a handkerchief spotted with strawberries in his wife's hand.
Sometimes he thought his wife honest, and at times he thought her not so; sometimes he thought Iago just, and at times he thought him not so; then he would wish that he had never known of it; he was not the worse for her loving Cassio, so long as he knew it not: torn to pieces with these distracting thoughts, he once laid hold on Iago's throat, and demanded proof of Desdemona's guilt, or threatened instant death for his having belied her.
His suspicions are freshly aroused when Desdemona intercedes in Cassio's behalf, and are changed to conviction by the handkerchief episode and Iago's artful insinuation that Cassio mutters the name of Desdemona in his sleep; at which the enraged Moor clutches him by the throat and hurls him to the ground.
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