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Iago is furious with Othello, the great Moorish general, for promoting Cassio over himself. Iago admits to Roderigo, who is in love with the woman Othello has just married (Desdemona), that he only serves Othello because he plans to seek his revenge. Iago encourages Roderigo to join him and win Desdemona's hand.
Iago admits to Roderigo that he only seems to be loyal to Othello. By confessing that he has ulterior motives (a "peculiar end," or selfish aim), he has made himself vulnerable to betrayal. Iago accepts this risk: he effectively wears his heart upon his sleeve for the "daws" (jackdaws, which are crow-like birds common to Europe) to peck at, meaning he is being honest even though he will probably be betrayed.
"Ancient" here means flag bearer, which we would now call an ensign. This was an incredibly low ranking position and Iago is outraged that he has to serve Othello. In calling Othello "his Moorship," Iago puns on the phrase "his worship," a respectful way to address someone of higher rank. He replaces "wor" with "moor" to mock Othello rather than show him respect.
Rhodes and Cypress are islands located in the Adriatic Sea. Beginning in 1423, Venice fought against the Ottoman Empire over various holdings in the Adriatic Sea. Othello is set amidst these wars, particularly the 1570 Turkish invasion of Cypress. Though Shakespeare significantly alters the history, his contemporary audience would have viewed this reference as proof of Iago's extensive military experience.
Iago uses this metaphor to compare Cassio's knowledge to the knowledge of a spinster. Cassio has never actually been in battle and only knows about military matters from books and stories. Notice that the comparisons Iago uses to describe Cassio characterize him as effeminate.
Cassio's wife is never depicted in the play or mentioned again after this line. The primary source text that inspired Othello is Giraldi Cinthio's 1565 Hecatommithi. In Cinthio's story, Cassio is married and his wife is a prominent character. This line is either a reference to this story or evidence of an intended character that Shakespeare either never wrote or removed from the plot.
This means to thwart or refuse someone's desire or request. Here, Iago complains that Othello pridefully talks about his military campaigns and prowess before rejecting the proposal that Iago be made his lieutenant. However, once again notice that this account comes from Iago's perspective and could give the audience a distorted picture of Othello.
"Offcapp'd" is a word Shakespeare invented that only occurs in this play, meaning to remove one's cap in honor or reverence of another. Here, Iago says that the great leaders of the city took off their caps for Othello, a mercenary, in order to convince him that Iago should be his lieutenant. Notice this account of the story, which paints Iago as an extremely important and recognized military person, comes from Iago's perspective.
This is a short hand way of saying "God's blood," meaning the blood Christ shed when he was on the cross. In order to get around the third commandment (Do not take the Lord's name in vain), speakers in the Early Modern period would curse parts of God, like his blood, rather than God himself.
Purse in this context means a bag for coins typically held closed by drawstrings. In the simile, Roderigo implies that Iago has access to his money or perhaps is indebted to Iago in some way. Roderigo's negative response to whatever Iago has told him sets Iago up as a dislikable character.
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When I'm citing Shakespeare's text, I just use the standard (Othello 4.1.120) format. How can I cite the annotations? Would it just be (Shakespeare 178)? that seems incorrect, as the annotations have little to do with Shakespeare himself.
When you cite from the Bible, Shakespeare, Homer, and similar texts, which are labelled by book and verse or section or chapter and these labels (and the text itself) remain the same across different editions of the text, you cite these texts by giving the name of the text and the section number (e.g. Genesis 1:15).
When you cite annotations and other material that an editor or other scholar has added to such a text in their specific edition of that text, then you cite that specific edition in the same way that you would cite from any other "normal" book, e.g. Hendel, Ronald S. The text of Genesis 1-11: textual studies and critical edition. Oxford University Press, 1998. and in-text: Hendel 105 (if you cite the body text) or Hendel 105n3 (if you cite a footnote). Do the same for your annotated edition of Shakespeare.
In your case, if you refer to the annotations a lot, I would not cite your source as Shakespeare, William. The tragedy of Othello, the Moor of Venice. Ed. Barbara A. Mowat and Paul Werstine. New York: Washington Square Press, 2004. Print. as you have done, but as Mowat, Barbara A. and Paul Werstine, eds. The tragedy of Othello, the Moor of Venice by William Shakespeare. New York: Washington Square Press, 2004. Print. and then cite your annotations as Mowat 178. This makes it immediately clear to the reader that you refer to the writing of the editors of a specific edition of Shakespeare instead of Shakespeare's work as something that exists beyond its individual editions.
An annotated edition of a work is essentially a book within a book. The inner book is the original text and the outer book is the volume of annotations. Cite the book you are citing, inner if you are citing the original text, outer if you are citing the annotations. Details are here: -annotated-book-mla-2999.html
In her article "Race and Othello on Film," Laura Reitz-Wilson discusses Shakespeare's treatment of race in Othello and compares it to what Hollywood as a producer of culture has done. Reitz-Wilson looks at nine different film versions and analyzes their approaches to Othello's race and character. She parses the historical and textual evidence for racism in Shakespeare's and concludes that it exists and should not be overlooked. Othello's otherness is, in fact, directly connected to his blackness, but Hollywood has rarely captured the tenuous line Shakespeare creates between barbarian and civilized Venetian. Her analysis of the film versions of Othello concentrates the cinematic and directorial tricks that directors have used to avoid the issue of race and concludes with a discussion of how Tim Blake Nelson's O presents the issue of a race in a way that is pedagogically useful.
In Othello, one of William Shakespeare's plays, Shakespeare creates powerful drama from a marriage between the exotic Moor Othello and the Venetian lady Desdemona that begins with elopement and mutual devotion and ends with jealous rage and death. Shakespeare builds many differences into his hero and heroine, including race, age, and cultural background. Yet most readers and audiences believe the couple's strong love would overcome these differences were it not for Iago, who sets out to destroy Othello. Iago's false insinuations about Desdemona's infidelity draw Othello into his schemes, and Desdemona is subjected to Othello's horrifying verbal and physical assaults.
Othello was performed at court in 1604 and scholars believe Shakespeare wrote it that year or the year before. It was pubilshed as a quarto in 1622, and a somewhat fuller text was included in the 1623 First Folio. Giraldi Cinthio's Hecatommithi was the chief source.[1]
The Folger owns at least 90 stand-alone translations of Othello in various languages (not including collected works). Cataloging of these works is ongoing as of early 2015, and many have full-level catalog records, but some works still have only partial records. Translations can be found Hamnet in by searching for "Translations"in the Genre/Form Term field, or by searching the Call Number (Left-Anchored) field for call numbers starting with PR2796 (see the list of Sh.Col. translations call numbers for specific language call numbers). Since not all translations are fully cataloged, some items may only turn up in one of these searches.
Othello is a Moorish military commander who was serving as a general of the Venetian army in defence of Cyprus against invasion by Ottoman Turks. He had recently married Desdemona, a beautiful and wealthy Venetian lady younger than himself, without the knowledge of and despite the later objection of her father. Iago is Othello's malevolent ensign, who maliciously stokes his master's jealousy until the usually stoic Othello kills his beloved wife in a fit of blind rage. Due to its enduring themes of passion, jealousy, and race, Othello is still topical and popular and is widely performed, with numerous adaptations.
Roderigo, a wealthy and dissolute gentleman, complains to his friend Iago, an ensign, that Iago has not told him about the recent secret marriage between Desdemona, the daughter of Brabantio, a senator, and Othello, a Moorish general in the Venetian army. Roderigo is upset because he loves Desdemona and had asked her father, Brabantio, for her hand in marriage, which Brabantio denied him.
Iago hates Othello for promoting an aristocrat named Cassio above him, whom Iago considers a less capable soldier than himself. Iago tells Roderigo that he plans to exploit Othello for his own advantage and convinces Roderigo to wake Brabantio and tell him about his daughter's elopement. Meanwhile, Iago sneaks away to find Othello and warns him that Brabantio is coming for him.
Brabantio, provoked by Roderigo, is enraged and seeks to confront Othello, but he finds Othello accompanied by the Duke of Venice's guards, who prevent violence. News has arrived in Venice that the Turks are going to attack Cyprus, and Othello is therefore summoned to advise the senators. Brabantio has no option but to accompany Othello to the Duke's residence, where he accuses Othello of seducing Desdemona by witchcraft.
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