What Reason Does Iago Give for Continuing to Follow His Master

• Intro
• Summary
• Modern English
• Act 1, Scene 1
• Act 1, Scene 1 Summary
• Act 1, Scene 2
• Act 1, Scene 3
• Act 2, Scene 1
• Act 2, Scene 2
• Act 2, Scene 3
• Act 3, Scene 1
• Act 3, Scene 2
• Act 3, Scene 3
• Act 3, Scene 4
• Act 4, Scene 1
• Act 4, Scene 2
• Act 4, Scene 3
• Act 5, Scene 1
• Act 5, Scene 2
• Themes
• Quotes
• Characters
• Analysis
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Othello: Act 1, Scene 1 Translation

A side-by-side translation of Act 1, Scene 1 of Othello from the original Shakespeare into modern English.

Original Text	Translated Text
Source: Folger Shakespeare Library
Enter Roderigo and Iago. RODERIGO Tush, never tell me! I take it much unkindly That thou, Iago, who hast had my purse As if the strings were thine, shouldst know of this. IAGO 'Sblood, but you'll not hear me! If ever I did dream of such a matter, 5 Abhor me.	We meet Roderigo and Iago, having a spat on a street in Venice, Italy. We, the audience, have just walked in on the conversation, so we're not exactly clear about why they're fighting, yet. We learn that Roderigo has been doling out cash to Iago, and that he's now upset about some news Iago has delivered.
RODERIGO Thou toldst me thou didst hold him in thy hate. IAGO Despise me If I do not. Three great ones of the city, In personal suit to make me his lieutenant, 10 Off-capped to him; and, by the faith of man, I know my price, I am worth no worse a place. But he, as loving his own pride and purposes, Evades them with a bombast circumstance, Horribly stuffed with epithets of war, 15 And in conclusion, Nonsuits my mediators. For "Certes," says he, "I have already chose my officer." And what was he? Forsooth, a great arithmetician, 20 One Michael Cassio, a Florentine, A fellow almost damned in a fair wife, That never set a squadron in the field, Nor the division of a battle knows More than a spinster—unless the bookish theoric, 25 Wherein the togèd consuls can propose As masterly as he. Mere prattle without practice Is all his soldiership. But he, sir, had th' election; And I, of whom his eyes had seen the proof At Rhodes, at Cyprus, and on other grounds 30 Christened and heathen, must be beleed and calmed By debitor and creditor. This countercaster, He, in good time, must his lieutenant be, And I, God bless the mark, his Moorship's ancient. 35	Roderigo, referring to this news, says, "I thought you hated him!" and Iago says, "Of course, I hate him!" and we're asking, "Who the heck are you guys talking about?" and Shakespeare says, "In good time, grasshoppers." Iago explains his reason to hate this "him." Iago got three of Venice's VIPs to advocate to "him," asking "him" to make Iago a lieutenant. Iago knows he's worthy of the position, but the mystery man said he'd already chosen a lieutenant, another guy named Michael Cassio. Iago is displeased, especially because this Cassio is a numbers guy, a great mathematician with no battle experience. Iago believes that Cassio will be useless in war. And he's peeved that he's basically still an ancient (or ensign, meaning the lowly ranked guy who carries the flag of an army in war) instead of second-in-command to "his Moorship." A quick peek at the character list reveals that the Moorish general is our title character, Othello. So now we've learned that the "him" is a black man who is a general in the Venetian army. Just to be clear, Othello is the one who passed Iago over for the lieutenant position. (Psst! Throughout this entire first scene, Othello is only referred to as "the Moor" and never by personal name. In keeping with the original text, we'll refer to Othello as "the Moor" for this first scene.)
RODERIGO By heaven, I rather would have been his hangman. IAGO Why, there's no remedy. 'Tis the curse of service. Preferment goes by letter and affection, And not by old gradation, where each second Stood heir to th' first. Now, sir, be judge yourself 40 Whether I in any just term am affined To love the Moor. RODERIGO I would not follow him, then. IAGO O, sir, content you. I follow him to serve my turn upon him. 45 We cannot all be masters, nor all masters Cannot be truly followed. You shall mark Many a duteous and knee-crooking knave That, doting on his own obsequious bondage, Wears out his time, much like his master's ass, 50 For naught but provender, and when he's old, cashiered. Whip me such honest knaves! Others there are Who, trimmed in forms and visages of duty, Keep yet their hearts attending on themselves, 55 And, throwing but shows of service on their lords, Do well thrive by them; and when they have lined their coats, Do themselves homage. These fellows have some soul, 60 And such a one do I profess myself. For, sir, It is as sure as you are Roderigo, Were I the Moor I would not be Iago. In following him, I follow but myself. Heaven is my judge, not I for love and duty, 65 But seeming so for my peculiar end. For when my outward action doth demonstrate The native act and figure of my heart In complement extern, 'tis not long after But I will wear my heart upon my sleeve 70 For daws to peck at. I am not what I am.	Iago complains more that people gain advancement because they're smart and loved, instead of reasons of seniority. He's bitter. Still, Iago promises he'll get his revenge: he'll pretend to love the Moor and do service to him, but he plans to betray this Moor the first chance he gets. Iago declares, "I am not what I am," which is a perfect introduction to this treacherous, lying jerk-o-saur.
RODERIGO What a full fortune does the thick-lips owe If he can carry 't thus! IAGO Call up her father. Rouse him. Make after him, poison his delight, 75 Proclaim him in the streets; incense her kinsmen, And, though he in a fertile climate dwell, Plague him with flies. Though that his joy be joy, Yet throw such chances of vexation on 't As it may lose some color. 80 RODERIGO Here is her father's house. I'll call aloud. IAGO Do, with like timorous accent and dire yell As when, by night and negligence, the fire Is spied in populous cities. RODERIGO What ho, Brabantio! Signior Brabantio, ho! 85 IAGO Awake! What ho, Brabantio! Thieves, thieves! Look to your house, your daughter, and your bags! Thieves, thieves!	After Roderigo makes some nasty racial comments about the Moor, Iago suggests that they go now to "her father" and make a big scene at his place. Roderigo and Iago thus show up under the sleeping Brabantio's window, making quite the ruckus. They proclaim that Brabantio should watch out for thieves—and for his daughter.
Enter Brabantio, above. BRABANTIO What is the reason of this terrible summons? What is the matter there? 90 RODERIGO Signior, is all your family within? IAGO Are your doors locked? BRABANTIO Why, wherefore ask you this? IAGO Zounds, sir, you're robbed. For shame, put on your gown! 95 Your heart is burst. You have lost half your soul. Even now, now, very now, an old black ram Is tupping your white ewe. Arise, arise! Awake the snorting citizens with the bell, Or else the devil will make a grandsire of you. 100 Arise, I say!	Brabantio comes to the window in a fury, ready to shoo off what sounds like drunken idiots making noise under his window while he's trying to sleep. Iago, hidden by the night, proclaims that Brabantio's heart should be broken, as half of his soul is stolen. Iago declares to him that "an old black ram is tupping your white ewe." Yes, that means what you think it means. They are insinuating that Othello, who is black, is having sex with Brabantio's daughter, Desdemona, who is white.
BRABANTIO What, have you lost your wits? RODERIGO Most reverend signior, do you know my voice? BRABANTIO Not I. What are you? RODERIGO My name is Roderigo. 105 BRABANTIO The worser welcome. I have charged thee not to haunt about my doors. In honest plainness thou hast heard me say My daughter is not for thee. And now in madness, Being full of supper and distemp'ring draughts, 110 Upon malicious bravery dost thou come To start my quiet.	Roderigo realizes that Brabantio doesn't recognize his voice, so he declares it's him, Roderigo. Brabantio then clues in and tells him to get lost. He's told Roderigo before that his daughter has no interest in marrying him, so would the drunken, fat Roderigo please leave his window and stop stalking his daughter?
RODERIGO Sir, sir, sir— BRABANTIO But thou must needs be sure My spirit and my place have in them power 115 To make this bitter to thee. RODERIGO Patience, good sir. BRABANTIO What tell'st thou me of robbing? This is Venice. My house is not a grange. RODERIGO Most grave Brabantio, 120 In simple and pure soul I come to you— IAGO Zounds, sir, you are one of those that will not serve God if the devil bid you. Because we come to do you service and you think we are ruffians, you'll have your daughter covered with a Barbary horse, 125 you'll have your nephews neigh to you, you'll have coursers for cousins and jennets for germans. BRABANTIO What profane wretch art thou? IAGO I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with 130 two backs. BRABANTIO Thou art a villain. IAGO You are a senator. BRABANTIO This thou shalt answer. I know thee, Roderigo.	Roderigo and the hidden Iago continue to mock Brabantio about his daughter. They yell that they might be drunk, but they have news. Even as the men are hollering out of the windows, they say that Brabantio's daughter is being promiscuous with the Moor. (Ahem, the phrase Iago uses is "making the beast with two backs.")
RODERIGO Sir, I will answer anything. But I beseech you, 135 If 't be your pleasure and most wise consent— As partly I find it is—that your fair daughter, At this odd-even and dull watch o' th' night, Transported with no worse nor better guard But with a knave of common hire, a gondolier, 140 To the gross clasps of a lascivious Moor: If this be known to you, and your allowance, We then have done you bold and saucy wrongs. But if you know not this, my manners tell me We have your wrong rebuke. Do not believe 145 That from the sense of all civility I thus would play and trifle with your Reverence. Your daughter, if you have not given her leave, I say again, hath made a gross revolt, Tying her duty, beauty, wit, and fortunes 150 In an extravagant and wheeling stranger Of here and everywhere. Straight satisfy yourself. If she be in her chamber or your house, Let loose on me the justice of the state For thus deluding you. 155 BRABANTIO Strike on the tinder, ho! Give me a taper. Call up all my people. This accident is not unlike my dream. Belief of it oppresses me already. Light, I say, light! He exits. 160	Roderigo insists that Brabantio's daughter has run off to the Moor's bed, and he tells Brabantio to check and see whether his daughter is actually in her room, if he doesn't believe him.
IAGO, to Roderigo Farewell, for I must leave you. It seems not meet nor wholesome to my place To be producted, as if I stay I shall, Against the Moor. For I do know the state, However this may gall him with some check, 165 Cannot with safety cast him, for he's embarked With such loud reason to the Cyprus wars, Which even now stands in act, that, for their souls, Another of his fathom they have none To lead their business. In which regard, 170 Though I do hate him as I do hell pains, Yet, for necessity of present life, I must show out a flag and sign of love— Which is indeed but sign. That you shall surely find him, 175 Lead to the Sagittary the raisèd search, And there will I be with him. So, farewell. He exits.	As Brabantio sets off to see if his daughter is safe in her bed, Iago tells Roderigo that he'll be leaving now. It won't look good if he (Iago) is found with Roderigo, plotting the Moor's demise, when he's supposed to be on the Moor's side. Iago notes that while the state may not like the Moor's behavior, the state can't afford to get rid of him right now. The state has recently entered into war in Cyprus, and no one can rival Othello as a general. Basically, they need him, even if they don't like him personally. Iago tells Roderigo that, at the moment, he's got to see the Moor, but he'll meet Roderigo later at this pub, the Sagitarry, where he'll be with the Moor.
Enter Brabantio in his nightgown, with Servants and Torches. BRABANTIO It is too true an evil. Gone she is, And what's to come of my despisèd time Is naught but bitterness.—Now, Roderigo, 180 Where didst thou see her?—O, unhappy girl!— With the Moor, sayst thou?—Who would be a father?— How didst thou know 'twas she?—O, she deceives me 185 Past thought!—What said she to you?—Get more tapers. Raise all my kindred.—Are they married, think you?	After Iago has left, Brabantio returns in a rage. His daughter is indeed gone. Brabantio wonders aloud whether the girl has married the Moor.
RODERIGO Truly, I think they are. 190 BRABANTIO O heaven! How got she out? O treason of the blood! Fathers, from hence trust not your daughters' minds By what you see them act.—Is there not charms By which the property of youth and maidhood May be abused? Have you not read, Roderigo, 195 Of some such thing?	Roderigo confirms the two are likely married, and Brabantio declares that men should trust their daughters' actions and not what their daughters say.
RODERIGO Yes, sir, I have indeed. BRABANTIO Call up my brother.—O, would you had had her!— Some one way, some another.—Do you know Where we may apprehend her and the Moor? 200 RODERIGO I think I can discover him, if you please To get good guard and go along with me. BRABANTIO Pray you lead on. At every house I'll call. I may command at most.—Get weapons, ho! And raise some special officers of night.— 205 On, good Roderigo. I will deserve your pains. They exit.	Brabantio then insists that the Moor must've tricked his daughter, enchanting the girl to fall in love with him. In frustration, Brabantio says he wishes Roderigo had married his daughter after all. Roderigo then graciously agrees to go with Brabantio on a hunt to find this wayward girl. They'll even get the whole neighborhood involved.

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