, it takes a long time for Iago to excite surprise, curiosity,
and then grave concern--by no means yet jealousy--even about Cassio; and
it is still longer before Othello understands that Iago is suggesting
doubts about Desdemona too. ('Wronged' in 143 certainly does not refer
to her, as 154 and 162 show.) Nor, even at 171, is the exclamation 'O
misery' meant for an expression of Othello's own present feelings; as
his next speech clearly shows, it expresses an _imagined_ feeling, as
also the speech which elicits it professes to do (for Iago would not
have dared here to apply the term 'cuckold' to Othello). In fact it is
not until Iago hints that Othello, as a foreigner, might easily be
deceived, that he is seriously disturbed about Desdemona.

Salvini played this passage, as might be expected, with entire
understanding. Nor have I ever seen it seriously misinterpreted on the
stage. I gather from the Furness Variorum that Fechter and Edwin Booth
took the same view as Salvini. Actors have to ask themselves what was
the precise state of mind expressed by the words they have to repeat.
But many readers never think of asking such a question.

The lines which probably do most to lead hasty or unimaginative readers
astray are those at 90, where, on Desdemona's departure, Othello
exclaims to himself:

Excellent wretch! Perdition catch my soul
But I do love thee! and when I love thee not,
Chaos is come again.

He is supposed to mean by the last words that his love is _now_
suspended by suspicion, whereas in fact, in his bliss, he has so totally
forgotten Iago's 'Ha! I like not that,' that the tempter has to begin
all over again. The meaning is, 'If ever I love thee not, Chaos will
have come again.' The feeling of insecurity is due to the excess of
_joy_, as in the wonderful words after he rejoins Desdemona at Cyprus
(II. i. 191):

If it were now to die,
'Twere now to be most happy: for, I fear
My soul hath her content so absolute
That not another comfort like to this
Succeeds in unknown fate.

If any reader boggles at the use of the present in 'Chaos _is_ come
again,' let him observe 'succeeds' in the lines just quoted, or let him
look at the parallel passage in _Venus and Adonis_, 1019:

For, he being dead, with him is beauty slain;
And, beauty dead, black Chaos comes again.

Venus does not know that Adonis is dead when she speaks thus.

NOTE M.