MOOR+final


 * Act/Scene || Page || Speaker || Line || Quote ||
 * 1/1 || 9 || Iago || 35 || And I, (God bless the mark, his Moorship’s ancient. ||
 * 1/1 || 9 || Iago || 42 || Whether I in any just term am affined/To love the Moor. ||
 * 1/1 || 11 || Iago || 63 || Were I the Moor I would not be Iago. ||
 * 1/1 || 15 || Iago || 129-131 || I am one, sir, that comes to tell you your daughter/ and the Moor are (now) making the beast with/ two backs. ||
 * 1/1 || 17 || Iago || 163-164 || To be producted, as if I stay I shall,/Against the Moor. ||
 * 1/1 || 19 || Brabantio || 119-200 || Do you know/ Where we may apprehend her and the Moor? ||
 * 1/2 || 25 || Roderigo || 72 || Signior, it is the Moor. ||
 * 1/3 || 33 || First Senator || 55 || Here comes Brabrantio and the valiant Moor. ||
 * 1/3 || 35 || Brabantio || 85 || Here is the man – this Moor, whom now it seems/Your special mandate for the state affairs/ Hath hither brought. ||
 * 1/3 || 41 || Desdemona || 217 || So much I challenge that I may profess/Due to the Moor my lord. ||
 * 1/3 || 43 || Brabantio || 222 || Come hither, Moor. ||
 * 1/3 || 45 || Desdemona || 283 || That I (did) love the Moor to live with him/ M y downright violence and storm or fortunes/ May trumpet to the world. ||
 * 1/3 || 49 || (First) Senator || 331 || Adieu, brave Moor, use Desdemona well. ||
 * 1/3 || 49 || Brabantio || 332 || Look to her, Moor, if thou hast eyes to see. ||
 * 1/3 || 51 || Iago || 386 || It cannot be that Desdemona should (long) continue/ her love to the Moor— ||
 * 1/3 || 53 || Iago || 389 || These Moors are changeable in their wills. ||
 * 1/3 || 53 || Iago || 409 || I hate the Moor. ||
 * 1/3 || 55 || Iago || 442 || The Moor is of a free and open nature. ||
 * 2/1 || 61 || Third Gentlemen || 30 || Lieutenant to the warlike Moor Othello. ||
 * 2/1 || 61 || Third Gentlemen || 36 || And (prays) the Moor be safe. ||
 * 2/1 || 61 || Cassio || 49 || That so approve the Moor! ||
 * 2/1 || 73 || Iago || 193 || The Moor. ||
 * 2/1 || 75 || Iago || 243-245 || Mark me with what violence she first loved the Moor but for bragging and telling her fantastical lies. ||
 * 2/1 || 75 || Iago || 251-252 || –all which the Moor is defective in. ||
 * 2/1 || 75 || Iago || 255 || –disrelish and abhor the Moor. ||
 * 2/1 || 77 || Iago || 274 || If she had been blessed, she would never have loved the Moor. ||
 * 2/1 || 79 || Iago || 310 || The Moor, howbeit that I endure him not. ||
 * 2/1 || 79 || Iago || 317 || For that I do suspect the lusty Moor. ||
 * 2/1 || 79 || Iago || 322 || Or, failing so, yet that I put the Moor. ||
 * 2/1 || 79 || Iago || 328 || Abuse him to the Moor in the (rank) garb. ||
 * 2/2/3 || 81 || Iago || 330 || Make the Moor thank me, love me, and reward me ||
 * 2/3 || 91 || Montano || 144 || And 'tis great pity that the noble Moor. ||
 * 2/3 || 91 || Montano || 148 || To the Moor. ||
 * 2/3 || 103 || Iago || 359 || To win the Moor again? ||
 * 2/3 || 103 || Iago || 363 || To win the Moor– ||
 * 2/3 || 105 || Iago || 375 || And she for him pleads strongly to the Moor. ||
 * 2/3 || 105 || Iago || 379 || She shall undo her credit with the Moor. ||
 * 2/3 || 107 || Iago || 407 || Myself (the) while to draw the Moor apart. ||
 * 3/1 || 113 || Emilia || 50 || The Moor replies– ||
 * 3/3 || 137 || Emilia || 335 || This was her first remembrance from the Moor. ||
 * 3/3 || 139 || Emilia || 353 || Why, that the Moor first gave to Desdemona. ||
 * 3/3 || 141 || Iago || 373 || (The Moor already changes with my poison;) ||
 * 3/4 || 153 || Desdemona || 26 || And but my noble Moor. ||
 * 4/1 || 191 || Lodovico || 297 || Is this the noble Moor whom our full senate ||
 * 4/2 || 203 || Emilia || 164 || The Moor's abused by some most villanous knave, Some base notorious knave, some scurvy fellow. ||
 * 4/2 || 205 || Emilia || 173 || And made you to suspect me with the Moor. ||
 * 5/1 || 225 || Iago || 21 || That makes me ugly; and, besides, the Moor ||
 * 5/2 || 249 || Emilia || 203 || The Moor hath kill'd my mistress! Murder! murder! ||
 * 5/2 || 255 || Emilia || 268 || O thou dull Moor! that handkerchief thou speak'st of ||
 * 5/2 || 255 || Montano || 287 || Which I have here recover'd from the Moor: ||
 * 5/2 || 257 || Emilia || 299 || Moor, she was chaste; she loved thee, cruel Moor; ||
 * 5/2 || 265 || Lodovico || 429 || And seize upon the fortunes of the Moor, ||

__**ANALYZING THE WORD "MOOR"**__ When I analyze all these quotes, I see a lot of racism and hate towards someone who is Black. Mainly a lot of these quotes has Iago talking about the Moor and his evil schemes and plan towards Othello. -Kaity Kuo

When I analyses the quotes I saw it as the generalized term that those of the period used to refer to some one from the North African region of both African and Arab decent. At the time racism was so institutionalized, so ingrained in the culture that using the derogatory insult wasn’t seen as such even by those it reffed to, as a matter of fact it wasn’t even an insult. It was just simply the ethnic name attached to that group like Caucasian, African American, Hispanic, Asian, and Middle Eastern are today. Also something to keep in mind, through history people have done things that while today would be responded to with shock and disgust, would in their age be seen as something done every day. Like the practice of ancient kings to marry their sisters, or the practice of the elite of the enlightenment era to eat ground Egyptian mummy as a medicine for all sorts of ailments. To cut to the point, things that are considered taboo, racists, or inappropriate now would be considered ordinary in other periods- Scott Brevda