When the sweet and pure Desdemona appears on stage, when Othello exchanges with her his expressions of confident tenderness, when that serpent Iago slithers around such two fortunate lovers, still so serene at the time... when already the venom, coursing throug the Moor's veins, heats up his blood, makes lightning flash in his eyes, and lets the demon of vengeance enter his heart... see, in the theatre audience, those thousands of figures sitting in rows one next to another, in silence, and as if bereft of life: they are the bodily envelopes, the living dead still on Earth... Though strangers to the drama that unfurls before them, they have risen upwards from their motionless masses, their souls are spirited away: ablaze, stirred, uproaring, shivering with dread or bleeding with pity, they erratically wander on the stage, they vent out their anger casting waves of curses upon Iago, they scream to the Moor that he's being deceived; they surround, they envelop, they protect, with all the compassion and love they have, the pure yet menaced lady lover; and, what a stark contrast, as everything is repose and stupour within the vast half-circle of theatre seats, everything is passion, movement, storm, within the invisible region whither they have strayed!
Excerpt from La traversée, Rodolphe Töpffer, 1850.
Translated by Sandra Dermark, 2017.
Desdemona, Desdémona - querida de Otelo en el famoso drama de este nombre, debido a la pluma del insigne poeta inglés Shakespeare. Al mismo drama alude todo este párrafo.
S'épanchent en flots de malédictions sur Iago, literalm. se desahogan en oleadas de maldiciones sobre Yago, se traducirá: se desahogan llenando a Yago de maldiciones.
Abuser, además de abusar, significa engañar.