In the scenes where he tries to work Othello to his
purpose, he is proportionably guarded, insidious, dark, and
deliberate. We believe nothing ever came up to the profound
dissimulation and dexterous artifice of the well-known dialogue in
the third act, where he first enters upon the execution of his
design.
Iago. My noble lord.
Othello. What dost thou say, Iago?
Iago. Did Michael Cassio,
When you woo'd my lady, know of your love?
Othello. He did from first to last.
Why dost thou ask?
Iago. But for a satisfaction of my thought,
No further harm.
Othello. Why of thy thought, Iago?
Iago. I did not think he had been acquainted with it.
Othello. O yes, and went between us very oft--
Iago. Indeed!
Othello. Indeed? Ay, indeed. Discern'st thou aught of
that?
Is he not honest?
Iago. Honest, my lord?
Othello. Honest? Ay, honest.
Iago. My lord, for aught I know.
Othello. What do'st thou think?
Iago. Think, my lord!
Othello. Think, my lord! Alas, thou echo'st me,
As if there was some monster in thy thought
Too hideous to be shown.
The stops and breaks, the deep workings of treachery under the mask
of love and honesty, the anxious watchfulness, the cool earnestness,
and if we may so say, the PASSION of hypocrisy marked in every line,
receive their last finishing in that inconceivable burst of
pretended indignation at Othello's doubts of his sincerity.
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