Othello



Othello and the Power of LanguageIntroductionDespite the truth of Iago's confession to Rodrigo that he is not what he appears to be, his gullible sidekick continues to trust this two-faced "confidante" who swears?"by Janus,"?and who sows doubt, destruction and despair in the paths of all he encounters. How? How is Iago able to convince one and all that he is, as he is constantly called,?"honest Iago"?Much of the answer must lie in Iago's skillful manipulation of rhetorical skills. A puppeteer of the psyche, Iago pulls the strings of those who should know better with a battery of verbal weapons. In his soliloquies and dialogues he reveals himself to the audience to be a master of connotative and metaphoric language, inflammatory imagery, emotional appeals, well-placed silences, dubious hesitations, leading questions, meaningful repetition, and sly hints. Indeed, Iago is so good at lying that he is able to convince even himself that he has the soundest of reasons to destroy Othello, Desdemona, and Cassio.Iago's convincing rhetoric clearly reveals what a powerful-and dangerous-tool language can be, especially when used by the eloquent, but unscrupulous, individual. We will be exploring the basis of Iago's persuasive power by analyzing his astonishing command of rhetoric and figurative language. Guiding QuestionsHow does Iago use language to deceive others? How does Iago convince Othello that Cassio is a drunk, disloyal soldier, or that Desdemona is a cunning whore? Why does Iago use his rhetoric and acting skills to destroy others? What drives him? Who and what is Iago?Terms Intimation:connotative languageleading questions.Context to UnderstandOthello as a stranger in a strange land: In order to understand how and why Iago's rhetoric might work so effectively against Othello, you should be aware of the powerful general's vulnerability: he is a Moor in an alien society, first in the city of Venice and then on the isle of Cyprus. In short, Othello is an "other," and the fact that he is a Moor surrounded by Italians and Cypriots only emphasizes his difference.Read the following article:A CULTURAL CONTEXT FOR OTHELLO by KRISTIN JOHNSEN-NESHATIScholars disagree as to when Shakespeare finished writing Othello, but we can date the play from its first performance by the King's Men on November 1, 1604, at the court of James I. Multiple productions followed at the Globe and Blackfriars theatres, and the play was mounted at court again in 1612–1613 in honor of Princess Elizabeth's wedding. Shakespeare's principal source for the plot was a short story by the Italian writer Cinthio Giambattista Giraldi (1504-1574), who included it in a collection of 100 domestic stories titled Hecatommithi, published in Venice in 1566. No English translation is believed to have existed before 1753, so Shakespeare may have read it in either the original Italian or in a French translation published in 1584. A handful of lines from Shakespeare's text recall phrases from the Italian and French versions, suggesting that he may have read it in both languages.The plot of Cinthio's story centers on four characters, all of whom Shakespeare borrowed for his tragedy: the Moor, the Ensign, the Captain and the Moor's wife, Disdemona. The events and key players are similar, but important differences emerge with respect to the characters' actions and each author's intent. Cinthio's Moor reflects certain racial stereotypes of the day, such as a proclivity toward jealousy and passion, whereas Shakespeare takes pains to establish Othello's heroic qualities alongside his blind spots. Disdemona offers a moral later in the original story, urging Italian women to obey their parents when they forbid them to marry foreigners. In Shakespeare's telling, however, Desdemona takes no such stand, opting not to implicate Othello, even when Emilia asks her dying mistress, “O, who has done this deed?” Cinthio's Ensign and Moor conspire to kill Disdemona, while Shakespeare assigns the murderous act to Othello alone. Cinthio's Moor refuses to confess his guilt, but in Shakespeare's version, Othello earns his place as a tragic hero by recognizing his tragic mistake and atoning for it magnificently.Early17th-century English attitudes toward non-Europeans were largely shaped by the government's diplomatic policies and, to a lesser extent, by exotic stories brought back by travelers overseas. The term “moor” was derived from the name of the country Mauritania but was used to refer to North Africans, West Africans or, even more loosely, for non-whites or Muslims of any origin. North and West Africans living in Elizabethan England were frequently singled out for their unusual dress, behavior and customs and were commonly referred to as “devils” or “villains.” Moors were commonly stereotyped as sexually overactive, prone to jealousy and generally wicked. The public associated “blackness” with moral corruption, citing examples from Christian theology to support the view that whiteness was the sign of purity, just as blackness indicated sin.Although Queen Elizabeth granted the Moors “full diplomatic recognition” out of gratitude for their help in conquering Spain, in 1601 she deported them, citing concerns about their irregular behavior and a fear that allowing them to stay in England would lead to overpopulation. Blacks were not typically associated with slavery at that time, since the slave trade would not be fully established until the late 17th century. Instead, the Elizabethan portrait of the dark-skinned “other” clearly established him as a bestial force, dangerous because of his sexuality, temper and magical powers.In his adaptation, Shakespeare incorporates these racial stereotypes into the dialogue, assigning them to characters like Iago, Roderigo and Brabantio at the top of the play. Their slurs and accusations provide the backdrop against which viewers must formulate impressions of a man they do not know. Once Othello enters, however, the audience must judge him—his calculated actions and eloquent speech—not in the abstract, but in person. Through the theatrical medium, Shakespeare helps the public see his protagonist in three dimensions: the Moor from Cinthio's story transformed from an exotic and passionate stereotype into a tragic figure in flesh and blood. The play's action reveals the depth of affection shared by Othello and Desdemona, the enchanting power of the general's poetry and, finally, Iago's easy manipulations of collegial and marital trust. Through the treachery of a surprising white devil, Shakespeare challenges his audiences to spot the true color of villainy.Some scholars have speculated that Shakespeare wrote Othello to please James I, who had a keen interest in the history of the Turks and their defeat by the Christians in the Battle of Lepantoin 1571. In assigning Othello, the Christian general, the role of defending Cyprus against the Turks, Shakespeare gives a nod to recent military history but also signals to the Elizabethans that his hero is a “civilized” (non-Muslim) African and, therefore, worthy of their empathy.As the setting for the original story (and substitute for Shakespeare's London), Venice provides a natural environment for the figure of the Moor to be both revered and despised. According to Venetian law, the Venetian Republic's army general was required to be a foreigner. Since Shakespeare's Venetians reflect the mores of English society, it follows that Venetian society would admire Othello for his valor and leadership but still recoil at the notion of his marrying into its families. Shakespeare chose the same city for another of his most famous portraits of otherness, The Merchant of Venice (1596–1597), challenging his audiences to consider “Hath not a Jew eyes? …” In both plays, Shakespeare calls on his audiences to consider the person before them, complex as he may be, rather than judging him by inherited assumptions used to dismiss a maligned people in the abstract. Shakespeare makes the stage a venue for closer examination, a place where audiences may begin to relate to “others,” not all at once, but one extraordinary example at a time. In adapting Cinthio, Shakespeare sets up familiar stereotypes to explode them and to teach his audiences compassion for those whom society uses but never fully embraces as countrymen.The Roman God, Janus: (from Encyclopedia Mythica)- Janus is the Roman god of gates and doors (ianua), beginnings and endings, and hence represented with a double-faced head, each looking in opposite directions. He was worshipped at the beginning of the harvest time, planting, marriage, birth, and other types of beginnings, especially the beginnings of important events in a person's life. Janus also represents the transition between primitive life and civilization, between the countryside and the city, peace and war, and the growing-up of young people. One tradition states that he came from Thessaly and that he was welcomed by Camese in Latium, where they shared a kingdom. They married and had several children, among which the river god Tiberinus (after whom the river Tiber is named). When his wife died, Janus became the sole ruler of Latium. He sheltered Saturn when he was fleeing from Jupiter. Janus, as the first king of Latium, brought the people a time of peace and welfare; the Golden Age. He introduced money, cultivation of the fields, and the laws. After his death he was deified and became the protector of Rome. When Romulus and his associates stole the Sabine Virgins, the Sabines attacked the city. The daughter of one of the guards on the Capitolian Hill betrayed her fellow countrymen and guided the enemy into the city. They attempted to climb the hill but Janus made a hot spring erupt from the ground, and the would-be attackers fled from the city. Ever since, the gates of his temple were kept open in times of war so the god would be ready to intervene when necessary. In times of peace the gates were closed.His most famous sanctuary was a portal on the Forum Romanum through which the Roman legionaries went to war. He also had a temple on the Forum Olitorium, and in the first century another temple was built on the Forum of Nerva. This one had four portals, called Janus Quadrifons. When Rome became a republic, only one of the royal functions survived, namely that of rex sacrorum or rex sacrificulus. His priests regularly sacrificed to him. The month of January (the eleventh Roman month) is named after him.Janus was represented with two faces, originally one face was bearded while the other was not (probably a symbol of the sun and the moon). Later both faces were bearded. In his right hand he holds a key. The double-faced head appears on many Roman coins, and around the 2nd century BCE even with four faces.Act I UnderstandingOthello Act 1, Sc 1Often in plays, the setting is not just “where the story happens,” but includes the geographical,historical, social, economic, or philosophical setting. Explain the type of setting that Shakespeareestablishes at the beginning of the play. What does the setting convey to the audience?How does Iago believe that people are promoted within the ranks? What effect does hiscommentary have on the audience?What does the audience learn about the relationship between Roderigo and Iago? Howdoes Iago manipulate Roderigo?Shakespeare begins the play with two secret acts. Explain each deception and the effectthat these deceptions have on the tone of the play.Make a list of the images that Shakespeare uses to describe Othello. What do the imagessuggest about Othello?Using examples from the play, illustrate how Brabantio’s attitude toward Roderigo changesthroughout the first act. Why do you think that Brabantio’s attitude changes?Act 1, Sc 2Explain the irony in Iago’s discussion with Othello after Iago has just left Roderigo atBrabantio’s house.Explain the confusion when Iago and Othello see men approaching Othello’s home. Whatdo we learn about the men’s characters in this conflict?Why is Iago unwilling to be present when he is talking about Othello’s marriage to Desdemona?Cite two instances where Iago avoids being involved.How does Othello contradict the image that Iago has portrayed of him to the audience?Act 1, Sc 3Explain the parallels and symbolism between the distraction of the Turks approachingVenice and Iago’s deceptions.Explain the difference in tone between these two references to Othello:RODERIGO: To the gross clasps of a lascivious Moor—(Act I, Scene I, line 137)FIRST SENATOR: Here comes Brabantio and the valiant Moor. (Act I, Scene III, line 53)Activity 1: Act I, scene 1 Reread the first scene of the play and as you do so, list the various rhetorical strategies that Iago uses to describe Othello and Desdemona.Text Line NumbersImages of Othello and DesdemonaMetaphorsAppeals to PathosAppeals to LogosAppeals to EthosThought Nuggets: What makes these so offensive, especially to the father of the daughter being described? Why doesn't Iago just say, "Desdemona has married the noble general, Othello"? Furthermore, how does Iago characterize Desdemona's and Othello's relationship? Through his eyes, is their relationship one of love or lust? And how would this point of view affect Brabantio, a proud father of a much-cherished daughter? Does Iago use appeals of pathos, ethos, or logos? Which lines show these appeals? What psychological effects do Iago's words have on Brabantio?Activity 2: Act 1, Scene 1 Examine Iago's speech to Roderigo (1.1. 41–65) for what he says about himself and how he describes himself. Summarize what Iago says in modern English. (In case your lines are different, this begins with “Why, there’s no remedy” and ends with “I am not what I am.”________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Activity 3. Act 1, scene 3, lines 381–82 "The Moor is of a free and open nature, / That thinks men honest that but seem to be so."The characters in the play refer to Iago as “honest”. What does it mean today when we say “honest”? Think of all the connotations.What did it mean to be “honest” in Shakespeare’s time? Hint: there may have been different meaning for a man and for a woman. Record your findings below. [Here’s a helper… Google the phrase “honest woman”]Act II understanding1. Describe the nature of the weather as the scene opens. What might the weather indicateabout the “nature of things”?2. Early in Scene I, as Iago and Desdemona’s ship approaches, Cassio describes Desdemonato the Gentlemen with whom he is speaking:CASSIO: Most fortunately: he hath achieved a maidThat paragons1 description and wild fame;One that excels the quirks2 of blazoning pens,And in the essential vesture3 of creationDoes tire the ingener.4 and later refers to Desdemona as “the riches of the ship” (line 91).1 outdoes 2 figures of speech 3 clothing (i.e., her natural traits) 4 one who might describe her Reread Iago’s description of women as he characterizes them in lines 115 – 177. Contrast the two descriptions of women. Why does Shakespeare include both of the descriptions? What do the commentaries tell us about the person making the assertions?3. What is the purpose of the following aside?IAGO: (Aside.) He takes her by the palm; ay, well said, whisper.With as little a web as this will I ensnare as great a flyas Cassio. Ay, smile upon her, do; I will gyve5 thee inthine own courtship. You say true; ‘tis so, indeed. If suchtricks as these strip you out of your lieutenantry, it hadbeen better you had not kissed your three fingers so oftenwhich now again you are most apt to play the sir6 in.Very good. Well kissed! an excellent courtesy! ‘tis so,indeed. Yet again your fingers to your lips? Would theywere clysterpipes7 for your sake! [Trumpet within.] TheMoor! I know his trumpet. (Act II, Scene I, lines 180 – 185)4. Read the following section and explain how it functions as an example of foreshadowing:OTHELLO: …If it were now to die,Twere now to be most happy; for I fearMy soul hath her content so absoluteThat not another comfort like to thisSucceeds in unknown fate. (Act II, Scene I, lines 202 – 206)5. Why do Iago and Roderigo stay behind after all the others have left to travel to Cyprus?What is further revealed about Iago’s plan? How does Roderigo respond to Iago’s claims?6. What does Iago instruct Roderigo to do?7. Read the soliloquy that ends the scene. What does the reader learn about Iago’s plan? Whatare the possible motivations for Iago’s revenge? What do you believe is the reason for Iago’sanger at Cassio and Othello?Act II, Scene III1. On what occasion are Iago and Cassio going to spend time together? Explain the dramatic ironyin the situation and in Othello’s statement, “Iago is most honest.” (Act II, Scene III, line 7)2. When Iago learns that his plan to influence Cassio’s feelings about Desdemona has failed,what does he try to do? Analyze Iago’s speech and explain Iago’s purpose in his actions.IAGO: If I can fasten but one cup upon him,With that which he hath drunk tonight already,He’ll be as full of quarrel and offenseAs my young mistress’ dog. Now my sick fool Roderigo,Whom love hath turn’d almost the wrong side out,To Desdemona hath tonight carousedPotations pottledeep;8 and he’s to watch:Three lads of Cyprus, noble swelling spirits,That hold their honors in a wary distance,9The very elements of this warlike isle,Have I tonight fluster’d with flowing cups,And they watch too. Now, ‘mongst this flock ofdrunkards,Am I to put our Cassio in some action10That may offend the isle. But here they come:If consequence11 do but approve12 my dream,13My boat sails freely, both with wind and stream. (Act II, Scene III, lines 42 – 58)3. Why do you think the men will not answer Othello’s questions about what happened betweenThem? When Iago is explaining to Othello what happened to cause the fight, why do you thinkhe leaves Roderigo’s name out of the narration?4. What action does Othello take against Cassio upon hearing that Cassio is responsible forthe fight?5. Describe the relationship between Desdemona and Othello as it appears at this point inthe play.6. Explain the difference between the way Cassio and Iago view reputations. Is the view ofreputation that Iago explains to Cassio an accurate depiction of how he really feels? Howdo we know?Act III UnderstandingAct III, Scene I use text on blog to help answerWhat request does Cassio make of Emilia?Act III, Scene IIIWhat is significant about the action at the beginning of the scene? What do we learn about the conversation between Desdemona and Cassio?How does Iago take advantage of Cassio’s departure as soon as Othello enters the garden?Explain the irony in Desdemona’s statement “I have no judgement in an honest face ….” (Act III, Scene III, line 54)After Desdemona compels Othello to speak to Cassio, she leaves. Othello states the following:OTHELLO: Excellent wretch! Perdition catch my soul,But I do love thee! and when I love thee not,Chaos is come again. (Act III, Scene III, lines 100 – 103)Why do you think Iago is able to sow the seed of jealousy in Othello’s heart, if Othello lovesDesdemona as much as he claims he does? How does Iago influence Othello’s thoughts?What does the image of the “green-eyed monster” signify, and how is it represented as atheme throughout the play? Read the following lines and explain the irony.IAGO: O, beware, my lord, of jealousy!It is the green-eyes monster, which doth mockThe meat it feeds on. (Act III, Scene III, lines 165 – 167)Read the following speech. How does Iago use Othello’s personality as a part of his planto ruin the Moor? What advice does he give Othello?IAGO: I am glad of it; for now I shall have reasonTo show the love and duty that I bear youWith franker spirit: therefore, as I am bound,Receive it from me. I speak not yet of proof.Look to your wife; observe her well with Cassio;Wear your eye thus, not jealous nor secure:I would not have your free and noble nature,Out of selfbounty, be abused; look to’t.I know our country disposition well;In Venice they do let heaven see the pranksThey dare not show their husbands; their best conscienceIs not to leave’t undone, but keep’t unknown. (Act III, Scene III, lines 216 – 227)7. Read the following lines from Act Three. How does Othello compare himself with Desdemona?What do we learn about Othello’s view of himself and Iago?OTHELLO: This fellow’s of exceeding honesty,And knows all qualities, with a learned spirit,Of human dealings. If I do prove her haggard,21Though that her jesses22 were my dear heartstrings,I’ld whistle her off23 and let her down the windTo prey at fortune.24 Haply, for I am blackAnd have not those soft parts of conversationThat chamberers25 have, or for I am declinedInto the vale of years—yet that’s not much—She’s gone. I am abused, and my reliefMust be to loathe her. O curse of marriage,That we can call these delicate creatures ours,And not their appetites! I had rather be a toad,And live upon the vapor of a dungeon,Than keep a corner in the thing I loveFor others’ uses. Yet, ‘tis the plague of great ones;Prerogatived26 are they less than the base;‘Tis destiny unshunnable, like death:Even then this forked plague27 is fated to usWhen we do quicken. Desdemona comes …. (Act III, Scene III, lines 289 – 308)21 a wild hawk; Othello compares Desdemona to a falcon in the next lines 22 leashes 23 let her go 24 as she wished25 gentlemen8. Desdemona’s handkerchief becomes an important piece of stage business. Why didDesdemona produce it? What happens to it? What does Emilia plan to do with it? Finally,who gets it, and what is to be done with it?9. How would you characterize the relationship between Iago and Emilia?10. Why do you think Othello is willing to believe Iago without confronting his wife with theaccusation? What do you believe Shakespeare is saying about the relationships betweenmen and women during this time?11. At the end of Act III, Scene III, Othello makes a request. What does he ask of Iago? Whatbecomes of Iago?Activity 4. Act III, scene 3, 92: "Chaos is come again" Act III, scene 3, 93–280: Iago preys upon OthelloLook up the definitions of the following: “jealousy”, “cuckold”, and “monster”. How prevalent are these words in the play? How do these words affect a man such as Othello? Does Iago use other words that would also alarm him?Record the times Iago uses repetition, leading questions, hesitation, intimation, and rhetorical appeals to unsettle Othello's mind in 3.3.93–280. For each device, students should note the effect it is having on Othello's state of mind.Rhetorical AppealsLine #sEffect on OthelloRepetitionLeading QuestionsHesitationIntimationAct IV UnderstandingScene 1What physical reactions does Othello have to the news about Desdemona and Cassio?How might the audience interpret this response?2. How does Othello misinterpret the dialogue between Cassio and Iago? How might anobservant person realize that Cassio is speaking of Bianca rather than Desdemona?3. With what does Othello charge Iago? How does Iago further influence Othello as they discussCassio’s and Desdemona’s murders?4. How has Desdemona and Othello’s relationship changed since the beginning of the play?5. Explain the events as they transpire when Lodovico arrives. What do the events illustrateabout Othello’s transformation? Cite a textual example that supports this recognized changein Othello’s behavior. How does this contribute to Othello’s ultimate demise?6. Explain the irony in the following speech. How does Shakespeare continue to highlightthe theme of appearance versus reality?IAGO: Alas, alas!It is not honesty in me to speakWhat I have seen and known. You shall observe him,And his own courses will denote him soThat I may save my speech: do but go after,And mark how he continues.LODOVICO: I am sorry that I am deceived in him. (Act IV, Scene I, lines 299 – 305)Scene 27. How does Emilia prove to be a friend to Desdemona? How does her characterization ofthe cause of Othello’s mistrust parallel Emilia’s beliefs about men and marriage?IV, Scene III8. Explain the meaning of Emilia’s statement, “I would you had never seen him!” (Act IV, SceneIII, line 19) What is the context in which she makes the statement? How does Desdemonarespond to Emilia’s statement, and what does this illustrate about Desdemona’s character?9. Shakespeare uses foreshadowing in this final scene of Act Four to show what is going tohappen to Desdemona. Cite several examples of foreshadowing in the scene and explainwhat they imply about Desdemona’s knowledge of her death.10. Explain the purpose of the final conversation between Emilia and Desdemona. Of whatdo the two women speak?Act V Understanding1. Explain what the following speech illustrates about Iago’s character.IAGO: I have rubb’d this young quat37 almost to the sense,38And he grows angry. Now, whether he kill Cassio,Or Cassio him, or each do kill the other,Every way makes my gain. Live Roderigo,He calls me to a restitution39 largeOf gold and jewels that I bobb’d40 from him,As gifts to Desdemona;It must not be. If Cassio do remain,He hath a daily beauty in his lifeThat makes me ugly; and besides, the MoorMay unfold me to him; there stand I in much peril:No, he must die. But so: I hear him coming. (Act V, Scene I, lines 11 – 21)For what two reasons does Iago say he wants Cassio dead?How is Iago able to manipulate the situation even further? How does his manipulation of the scene connect to the theme of the play?Why does Roderigo say to Iago, “O, damn’d Iago! O inhuman dog!”?Explain Iago’s implication of Bianca. Explain why you believe he chooses to implicate her.Scene 2Read Othello’s speech at the beginning of scene. Explain Othello’s state of mind. As he contemplates murdering Desdemona, with what does he compare taking her lifeOTHELLO: It is the cause, it is the cause, my soul.Let me not name it to you, you chaste stars!It is the cause. Yet I’ll not shed her blood,Nor scar that whiter skin of hers than snowAnd smooth as monumental alabaster.Yet she must die, else she’ll betray more men.Put out the light, and then put out the light.If I quench thee, thou flaming minister,I can again thy former light restore,Should I repent me; but once put out thy light,Thou cunning’st pattern of excelling nature,I know not where is that Promethean heat41That can thy light relume.42 When I have pluck’d the rose,I cannot give it vital growth again,It must needs wither; I’ll smell it on the tree. [Kisses her.]O, balmy breath, that dost almost persuadeJustice to break her sword! One more, one more;Be thus when thou art dead, and I will kill thee,And love thee after. One more, and this the last:So sweet was ne’er so fatal. I must weep,But they are cruel tears; this sorrow’s heavenly,It strikes where it doth love. She wakes. (Act V, Scene II, lines 1 – 22)Explain the symbolism and recognition of the handkerchief in this final scene.. When Othello tells Desdemona of Cassio’s death, what is her reaction? How does Othellointerpret this reaction?4.Why does Desdemona say what she says?EMILIA: Alas, what cry is that?OTHELLO: That? what?EMILIA: Out, and alas! That was my lady’s voice.Help! help, ho! help! O lady, speak again!Sweet Desdemona! O sweet mistress, speak!DESDEMONA: A guiltless death I die.EMILIA: O, who hath done this deed?DESDEMONA: Nobody; I myself. Farewell;Commend me to my kind lord. O, farewell! [Dies] (Act V, Scene II, lines 141 – 149)How is Emilia’s fate parallel to Desdemona’s?Explain the irony in Iago’s statement.IAGO: Demand me nothing: what you know, you know:From this time forth I never will speak word. (Act V, Scene II, lines 348 – 349)Explain the imagery in Othello’s final speech. What is he requesting? How does the imageryspeak to Othello’s character?OTHELLO: Soft you; a word or two before you go.I have done the state some service, and they know’t.No more of that. I pray you, in your letters,When you shall these unlucky deeds relate,Speak of me as I am; nothing extenuate,Nor set down aught in malice. Then must you speakOf one that loved not wisely but too well;Of one not easily jealous, but, being wroughtPerplex’d in the extreme; of one whose hand,Like the base Indian, threw a pearl awayRicher than all his tribe; of one whose subdued eyes,Albeit unused to the melting mood,46Drop tears as fast as the Arabian treesTheir medicinal gum. Set you down this;And say besides, that in Aleppo once,Where a malignant and a turban’d47 TurkBeat a Venetian and traduced the state,I took by the throat the circumcised dog,And smote him, thus. (Act V, Scene II, lines 388 – 406) ................
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