SPLEEN, choler, anger; IV. i. 90. SPLINTER, secure by splints; II. iii. 336. SQUIRE, fellow; (used contemptuously); IV. ii. 145. STAND IN ACT, are in action; I. i. 153. START, startle, rouse; I. i. 101. STARTINGLY, abruptly; (Ff. 3, 4, "staringly"); III. iv. 79. STAY, are waiting for; IV. ii. 170. STEAD, benefit, help; I. iii. 347. STILL, often, now and again; I. iii. 147. STOMACH, appetite; V. ii. 75. STOP; "your s.", the impediment you can place in my way; V. ii. 264. STOUP, a vessel for holding liquor; II. iii. 31. STOW'D, bestowed, placed; I. ii. 62. STRAIGHT, straightway; I. i. 139. STRAIN, urge, press; III. iii. 250. STRANGENESS, estrangement; (Qq. "strangest"); III. iii. 12. STUFF O' THE CONSCIENCE, matter of conscience; I. ii. 2. SUBDUED, made subject; I. iii. 252. SUCCESS, that which follows, con sequence; III. iii. 222. SUDDEN, quick, hasty; II. i. 287. SUFFERANCE, damage, loss; II. i. 23. SUFFICIENCY, ability; I. iii. 225. SUFFICIENT, able; III. iv. 90. SUGGEST, tempt; II. iii. 366. SUPERSUBTLE, excessively crafty; (Collier MS., "super-supple"); I. iii. 367. SWEETING, a term of endearment; II. iii. 255. SWELLING, inflated; II. iii. 58. SWORD of SPAIN; Spanish swords were celebrated for their excellence; V. ii. 253. TA'EN ORDER, taken measures; V. ii. 72. TA'EN OUT, copied; III. iii. 296. TAINTING, disparaging; II. i. 283. TAKE OUT, Copy; III. iv. 177. TARE UP AT THE BEST, make the best of; I. iii. 173. TALK, talk nonsense; IV. iii. 25. TALK ME, speak to me; III. iv. 91. TELLS O'ER, Counts; III. iii. 169. THREAD, thread of life; V. ii. THRIVE IN, Succeed in gaining; L. iii. 125. TIME, life; I. i. 163. TIMOROUS, full of fear; I. i. 75. TIRE, make tired, weary out; II. i. 65. TOGED, wearing the toga; I. i. 25. TOLD, struck, counted; (Ff. 3, 4, "toll'd"); II. ii. 12. Toy, fancy; III. iv. 153. keep back, hold in check, (a hunter's term); II. i. 320. TRAVERSE, march, go on; I. iii. 384. TRIMM'D IN, dressed in, wearing; I. i. 50. TURN; "t. thy complexion," change color; IV. ii. 62. UNBLEST, accursed; II. iii. 317. UNBONNETED, without taking off the cap, on equal terms; I. ii. 23. UNBOOKISH, ignorant; IV. i. 103. UNCAPABLE, incapable; IV. ii. 238. UNDERTAKER; "his u.", take charge of him, dispatch him; IV. i. 223. UNFOLD, reveal, bring to light; IV. ii. 141. UNFOLDING, communication; I. iii. 246. UNHANDSOME, unfair; III. iv. 148. UNHATCH'D, undisclosed; III. iv. 138. UNHOUSED, homeless, not tied to a household and family; I. ii. 26. UNLACE, degrade; II. iii. 197. UNPERFECTNESS, imperfection; II. iii. 304. UNPROVIDE, make unprepared; IV. i. 217. UNSURE, uncertain; III. iii. 151. UNVARNISH'D, plain, unadorned; I. iii. 90. UN WITTED, deprived of understanding; II. iii. 185. UPON, incited by, urged by; I. i. 100. USE, custom; IV. i. 284. USES, manners, habits; (Q. 1, "vsage"); IV. iii. 106. VANTAGE; "to the v.", over and VOICES, Votes; I. iii. 262. VOUCH, assert, maintain; I. iii. 103, 106. bear witness; I. iii. 263. -, testimony; II. i. 150. WAGE, venture, attempt; I. iii. 30. WATCH, Watchman; V. i. 37. WATCH HIM, keep him from sleeping; a term in falconry; III. iii. 23. WEARING, clothes; IV. iii. 16. WELL SAID, well done; (Qq., "well sed"); II. i. 171. WHAT, Who; I. i. 18. WHEELING, errant; (Q. 2, "wheedling"); I. i. 138. WHIPSTER, one who whips out his sword; (used contemptuously); V. ii. 244. WHITE, (used with a play upon white and wight); II. i. 134. WHOLESOME, reasonable; III. i. 49. WICKER, Covered with wickerwork; (Ff. "Twiggen"); II. iii. 155. WIGHT, person; (applied to both sexes); II. i. 161. WIND; "let her down the w."; "the falconers always let the hawk fly against the wind; if she flies with the wind behind her she seldom returns. If therefore a hawk was for any reason to be dismissed, she was let down the wind, and from that time shifted for herself and preyed at fortune" (Johnson); III. iii. 262. WIND-SHAKED, wind-shaken; II. i. 13. WITH, by; II. i. 34. WITHAL, with; I. iii. 93. WITH ALL MY HEART, used both as a salutation, and also as a reply to a salutation; IV. i. 228. WITHIN DOOR; "speak w. d.", i. e. "not so loud as to be heard outside the house"; IV. ii. 144. WOMAN'D, accompanied by a woman; III. iv. 192. WORSER, worse; I. i. 95. WRENCH, wrest; (Q. 1, "Wring"); V. ii. 288. WRETCH, a term of endearment; (Theobald, "wench"); III. iii. 90. WROUGHT, Worked upon; V. ii. 345. YERK'D, thrust; I. ii. 5. YET, as yet, till now; III. iii. 432. STUDY QUESTIONS By ANNE THROOP CRAIG GENERAL 1. On what was the tragedy founded? Outline the story. 2. To what period of the poet's development does the workmanship of the play point? With which of his other plays does it take its rank? 3. What are the historical facts of the situation between Venice, Cyprus, and Turkey as existent at the period. of the play? 4. How could the play have been cast in four acts? Would it have lost or gained thereby? In the point of dramatic construction, in what way does the first act take the place of a prologue? ACT I 5. How does Iago show his character in the opening scene? What is the purpose of his relation with Roderigo? 6. What feeling towards Cassio and Othello does Iago betray? 7. How does Roderigo show himself? Why has he sought out Iago? 8. Why do Iago and Roderigo arouse Brabantio? 9. What impression of character does the first action and speech of Othello make upon his entrance? How does he behave towards Brabantio? 10. Why is Othello summoned by the Duke? 11. Why did Brabantio attribute his daughter's affection for Othello to witchcraft? 12. What is the character of Othello's defense before the senators? How does he explain the course of Desdemona's gradual falling in love with him? 13. How does Desdemona speak in the matter and what is the outcome of the situation? 14. Where is Othello obliged to go? What attitude towards Iago does the trust Othello places in him show? 15. What emphasis on Iago's peculiar character does the fact of his youth, place? 16. What is his advice to Roderigo? What is the gist of his final soliloquy? ACT II 17. What developments of incident and information are assisted by the introduction of the tempest? 18. What is the character of Iago's comment on his wife and on women? What does it betray of his cast of mind? 19. How are the progressions of Iago's schemes marked through this act? What does he tell Roderigo about Cassio? 20. How does he express his recognition of Othello's character? What emphasis does this put on his own villainy? 21. For what important incidents does the merrymaking proclaimed in scene ii give opportunity? 22. How does this scene serve to contrast the characters of Cassio and Iago? What does it show of Cassio? 23. How does Iago mold the incidents to his purposes? What is the outcome? What is the advice of Iago to Cassio? ACT III 24. How is Emilia made an instrument for the designs of Iago? Is she innocent of the purport of what she is asked to do? 25. How does Iago first stir Othello's suspicion? Trace the steps by which he leads Othello's suspicions. |