discussion over some point that is not immediately apparent. One of them, Roderigo, is rather petulant over what he feels to be a double cross on the part of the other, Iago.
Iago insists that he is not double-crossing, that he does indeed hate a person who is not yet identified. He gives his reasons. Influential men, it seems, have asked the unnamed to make Iago his lieutenant and have been refused. Another has been chosen for the post and he is
Forsooth, a great arithmetician,
One Michael Cassia, a Florentine,
(A fellow almost damned in a fair wife)
That never set a squadron in the field,
- Act I, scene i, lines 16-19
Iago is almost sick with anger at having been passed over for such a one. Cassio is an "arithmetician," that is, one who studied the art of war out of books, instead of in actual battle. And he is a Florentine rather than a Venetian, and Florence, in Shakespeare's time, was renowned for trade, rather than war.
The reference here to Cassio's "fair wife" is a puzzling one. This wife does not appear in the play nor is she ever referred to again. In the Cynthius original, the character who is equivalent to Cassio does have a wife and perhaps Shakespeare intended to use her at first. If he did, he abandoned the idea and did not bother to correct the line.
At Rhodes, at Cyprus. ..
Iago goes on, with gathering anger:
And I, of whom his eyes had seen the proof
At Rhodes, at Cyprus, and on other grounds
Christian and heathen, must be belee'd and calmed
- Act I, scene i, lines 25-27
When Venice gained territories in the eastern Mediterranean (see page I-592) she took on burdens as well, and the greatest of these was the task of opposing the Ottoman Turks, who became dominant in the Balkan peninsula and the eastern Mediterranean in the course of the fourteenth century.
Rhodes, an island off the southeast shores of Asia, Minor, was under the rule of Italian adventurers after the Crusaders' conquest of parts of the East. It remained under Western control for nearly three centuries while Turkish power spread over Asia Minor and into the Balkans.
In 1480 the Turkish sultan, Mohammed II, laid siege to Rhodes and was beaten off. In 1522 the later sultan, Suleiman I the Magnificent (see page I-520), finally took it.
Cyprus is a larger island, near the eastern end of the Mediterranean. It too was captured by Crusaders, but in 1489 it came under the control of Venice. Venice's expansion over some of the shores and islands of the eastern Mediterranean involved her in wars with the Turks, and over the space of two and a half centuries there were to be five of these.
The fourth of these wars was fought from 1570 to 1573. This was after Cynthius had written the tale Shakespeare used as model. It took place in Shakespeare's boyhood, however, and it may possibly have been in his mind as he wrote.
... his Moorship's ancient Still referring to Cassio, Iago says, bitterly:
He, in good time, must his lieutenant be,
And I-God bless the mark!-his Moorship's ancient.
- Act I, scene i, lines 29-30
Clearly now we are talking about Othello, the Moor of Venice, and Iago's scorn is seen in the twisting of "Worship" into "Moorship." An "ancient" is what we now call an "ensign" (see page II-398), a lesser position than that of lieutenant even in our own navy. We can be sure Iago is not the man to take this lying down.
... the thick-lips...
Roderigo comments discontentedly upon how everything seems to be going well for the Moor:
What a full fortune does the thick-lips owe [possess] //
he can carry't thus!
- Act I, scene i, lines 63-64
As we are soon to find out, what is bothering Roderigo is that the Moor is doing very well in his courtship of Desdemona, the lovely daughter of Brabantio, one of Venice's most powerful and wealthy senators. Roderigo would like to have Desdemona for himself.
The use of the term "thick-lips" is the first indication that Shakespeare is talking about a true black, rather than merely a Moor of north Africa, who, despite a swarthy complexion, would not be a black. (In Cynthius' story, on the other hand, there is no indication whatsoever that the Moor was a black.)
There are other such references. Thus, Iago's first impulse of revenge is to warn Brabantio in the coarsest possible way, so as to ensure he will take frantic action against the Moor. Before Brabantio's house they call and yell till