“One Michael Cassio, a Florentine,”

1 Kahn Academy, Florence in the Early Renaissance The myths and anti myths of Florence and Venice2

Myth: a widely held but false belief or idea Anti myth: a belief or system that opposes a myth or myths

● Venice and Florence both had a very similar set of myths and anti myths

Myth Anti Myth

Venice republicanism The instability of the city Eternal and untouched Secrecy in the gov’t A place of justice Oligarchy A place of prosperity Inconsistent judicial system A place to become prosperous Persistent poverty (social mobility)

Florence Republicanism Instability and unrest Social mobility Conformity prosperity Threat of exile Oppression civil strife

Citizenship3

● In Venice and Florence anyone who did not have legal status as full citzens were considered as “Other” ● Others were not just non citizens. Others included women, non catholics, witches, bastards, bachelors, and prostitutes. ● “Others covered essentially any group that was marginalized because it did not fulfill the set societal identity, whatever that may have been.” ● Foreigners were Others but this meant different things for different foreigners depending on factors like, cultural assimilation, where they lived in Venice, if they were merchants who moved for trade purposes, or if they were condottieri

2 1. Katrina Blasingame S, “I NEVER/KNEW/A FLORENTINE MORE KIND AND HONEST” (3.1.43-45): THE INFLUENCE OF ITALIAN POLITICS AND NATIONALITY ON ENGLISH ALTERITY THROUGH AN ECONOMIC READING OF OTHELLO, (Southern Illinois University, 2002), 10-14.

3 Ibid., 15-16 Shakespeare’s portrayal of Florence

● Shakespeare depicts Florence or Florentines in four of his plays: The Taming of The Shrew, All’s Well That Ends Well, Much Ado About Nothing, and Othello. Othello and Much Ado have interesting parallels in how they depict their Florentine characters4 ● Count Claudio in Much Ado about nothing is from Florence. However he is described as “one of the least romantic lovers in all Shakespeare”. He seems to show more of an interest in Hero’s financial assets than her character. He makes allusions to the classics of the time and shows he is educated and cultured. He is a “well rounded Renaissance gentleman.” These are all charcteristics of Florentine culture. ● Cassio on the other hand does not mention or make allusions to art or poetry. He “reflects Florentine elegance in his speech and manner, quite as Claudio did.” ● “Claudio is typical of the Florence of charm and culture, Cassio, though not without his charm, expresses rathers its learning, perhaps because he is the elder. He is young and handsome, adroit in speech and manner, informed in the latest science of his profession-- truly a Florentine.”

Condottierri

● The military system in Venice is known as a Condottieri system which is an army of mercenaries or foreign soldiers. ■ “So Italy having fallen almost completely into the hands of the church and of a few republics, and the priests and other citizens being unused to military service they started to hire outsiders as soldiers” - Machiavelli5 ● There was conflict between soldiers with practical military experience and education in war strategy ● “Gunpowder first used when the Turks took Constantinople in 1453 had revolutionized warfare [...] Gunnery, furthermore, required officers trained in mathematics, both for firing the funs and for building fortifications against them. Thus arose a new military theory; and it arose especially in Florence beginning with the Florentine Machiavelli’s Art of War (1520)” ● “Othello as an efficient commander sees the necessity of the new type of officer and so advances to second in command the younger Cassio with his higher education rather than the older and more experienced Iago”6

4 John W. Draper, Shakespeare and Florence and the Florentines, (West Virginia University, 1946), 287 5 Katrina Blasingame S, “I NEVER/KNEW/A FLORENTINE MORE KIND AND HONEST” (3.1.43-45): THE INFLUENCE OF ITALIAN POLITICS AND NATIONALITY ON ENGLISH ALTERITY THROUGH AN ECONOMIC READING OF OTHELLO , (Southern Illinois University, 2002), 17 6 John W. Draper, Shakespeare and Florence and the Florentines, (West Virginia University, 1946), 291

How do the other characters refer to Cassio in the play

'I have already chose my officer.' And what was he? Forsooth, a great arithmetician, One Michael Cassio, a Florentine, A fellow almost damn'd in a fair wife; That never set a squadron in the field, Nor the division of a battle knows More than a spinster; unless the bookish theoric, Wherein the toged consuls can propose As masterly as he: mere prattle, without practise, Is all his soldiership. But he, sir, had the election:” - Iago, Act 1 scene 1

“He takes her by the palm: ay, well said, whisper: with as little a web as this will I ensnare as great a fly as Cassio. ” Iago act II scene I

“Now, sir, this granted,--as it is a most pregnant and unforced position--who stands so eminent in the degree of this fortune as Cassio does? ” (Iago Act II scene I)

“Sir, he is rash and very sudden in choler, and haply may strike at you: provoke him, that he may; for even out of that will I cause these of Cyprus to mutiny; whose qualification shall come into no true taste again but by the displanting of Cassio. So shall you have a shorter journey to your desires by the means I shall then have to prefer them; and the impediment most profitably removed, without the which there were no expectation of our prosperity.” - Iago Act II scene I

If I can fasten but one cup upon him, With that which he hath drunk to-night already, He'll be as full of quarrel and offence As my young mistress' dog. Now, my sick fool Roderigo, Whom love hath turn'd almost the wrong side out, To Desdemona hath to-night caroused Potations pottle-deep; and he's to watch: Three lads of Cyprus, noble swelling spirits, That hold their honours in a wary distance, The very elements of this warlike isle, Have I to-night fluster'd with flowing cups, And they watch too. Now, 'mongst this flock of drunkards, Am I to put our Cassio in some action That may offend the isle.--But here they come: If consequence do but approve my dream, My boat sails freely, both with wind and stream. - Iago Act 2 scene 2