haply spelled happely in F (and elsewhere) 52 I = F. Q = Why I 70 Ay spelled I in F 173 form, = Ed. F = Forme. 193 daff’st spelled dafts in F 200 I = F. Q = Faith I 231 the = Q. F = rhe 234 within = Q. F = within,
4.3.19 I = Q. F = I, 21 favour = F. Q = fauour in them 24 before, = F. Q = before thee, 34 Barbary spelled Brabarie in F 42 singing = F (corrected). F (uncorrected) = sining 45 Sing…willow = Ed. F = Sing Willough, &c. (and elsewhere)
5.1.1 bulk = Q. F = Barke 46 in to = Ed. F = into 115 him out = Q. F = him
5.2.39 say = F. Q = say so 61 Presently = F. Q = Yes, presently 184 worst = Q. F = wotst 274 have = F. Q = haue here 347 not. Here = Ed. F = not) heere 361 wife’s = Q. F = wiues 390 Judean = F. Q, F2 = Indian
QUARTO PASSAGES THAT DO NOT APPEAR IN THE FOLIO
Following 1.3.367 (after “errors of her choice”): she must have change, she must.
Following 1.3.388:
RODORIGO What say you?
IAGO No more of drowning, do you hear?
RODORIGO I am changed:
Following 2.1.89: And bring all Cyprus comfort!
Following 3.1.25:
CASSIO Do, good my friend.
Following 3.1.48: To take the safest occasion by the front
Following 3.4.98:
DESDEMONA I pray, talk me of Cassio.
OTHELLO The handkerchief!
Following 4.2.185: And he does chide with you.
Following 5.2.100:
DESDEMONA O, lord, lord, lord!
SCENE-BY-SCENE ANALYSIS
ACT 1 SCENE 1Lines 1–84: The action begins in medias res, establishing the pace of the play. As Iago and Rodorigo hurry along, they reveal events prior to this point. The audience is initially excluded from some key information, however, establishing the themes of secrecy and misunderstanding: Rodorigo complains that, although he has been giving Iago money, Iago has not told him “of this,” although we are not told what “this” is. He claims that Iago said that he hated someone, referred to by both of them as “him,” and, later, “the Moor”; no one refers to Othello by name in the first scene: he is identified chiefly by his racial “otherness,” and “labeled” by pronouns or epithets, creating a negative sense of his identity (another theme) and establishing the power of language. The latter is particularly significant to Iago, who manipulates others through his linguistic skills, evident in his placation of the gullible Rodorigo and description of his hatred for Othello. Iago claims that he is bitter because Othello promoted Cassio to be his lieutenant and made Iago his ensign. Iago complains that he is an experienced soldier, while Cassio’s “soldiership” is “Mere prattle without practice,” creating tension between words and action. Rodorigo comments that if he were Iago he would not continue to follow Othello, but Iago explains that he is doing it so that he can get his revenge. He explains that he is only “trimmed in forms and visages of duty,” establishing the themes of deception and appearance versus reality. Iago declares his false nature: “I am not what I am,” a paradoxical statement that emphasizes the ambiguity of his identity. Despite this, Rodorigo continues to trust him, showing his lack of perception.They arrive at Brabantio’s house and Iago instructs Rodorigo to rouse the sleeping household, establishing that it is nighttime. This reinforces the sense of secrecy and introduces the recurring image of darkness, part of the structure of oppositions that run through the play, including dark/light, black/white, words/actions, good/evil, and male/female. Both men shout to
