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Do thy worst.
Peace! you were best.
Enter MONTANO, GRATIANO, and Iago. Mon. What is the matter?-How now, general !
Emil. Oh! are you come, Iago ? you have done well,
Gra. What is the matter?
thou told'st him that his wife was false. I know, thou didst not, thou'rt not such a villain. Speak, for my heart is full.
Iago. I told him what I thought; and told no more
Emil. But did you ever tell him, she was false?
Emil. You told a lie; an odious, damned lie;
Iago. With Cassio, mistress. Go to, charm your tongue'.
Emil. I will not charm my tongue; I am bound to speak. My mistress here lies murder'd in her bed'.
AN. Oh, heavens forefend !
half the power] The folio alone reads, “ half that power.” ? Go to, charm your tongue.) i. e. As we say, familiarly, hold your tongue, or poetically, enchant your tongue to silence. See “The Winter's Tale," A. iv. sc. 3, Vol. iii. p. 78, where a number of instances of the use of the expression "charm your tongue,” from Shakespeare and other authors, are collected. We may here add to them Chapman, in B. v. of his translation of the Iliad.
8 My mistress here lies murder'd in her bed.) A line not in the 4to, 1622, but in both the other old authorities.
9 And your reports have set the MURDER on.] i.e. Hare occasioned the murder. The corr. fo. 1632 bas murderer for “murder," and the change is not merely needless, but injurious.
Gra. 'Tis a strange truth.
Villainy! villainy! villainy !
Iago. What! are you mad ? I charge you, get you home.
Emil. Good gentlemen, let me have leave to speak:
[Falling on the bed'. Emil.
Nay, lay thee down and roar,
Oh! she was foul.- [Rising.
Gra. Poor Desdemona! I am glad thy father's dead.
Oth. 'Tis pitiful; but yet Iago knows,
i Falling on the bed.] This is the stage-direction in the 4to, 1622: there is none in the folio, 1623; but in the corr. fo. 1632 it is "Falling on the ground," and opposite Othello's next speech “ Starting up” is written in the margin. "Falling on the ground" may indicate the manner of some particular old actor.
? – shows terrible and grim.] The folio alone has horrible for “terrible."
3 And fall to REPROBATION.] Here also the folio is singular in reading reprobance, for “reprobation :" like iterance, p. 119, we have no other authority for the word reprobance. Malone quoted the following parallel passage from Sbakespeare's Sonnets, No. 144:
“my female evil Tempteth my better angel from my side ;" but without informing us, that for "side" the old edit. of the Sonnets, 4to, 1609, has sight. This passage from Othello forms a very useful comment on the quotation from the Sonnets, and shows decisively that sight ought to be “side :” the rhyme also supports “ side."
It was a handkerchief, an antique token
Emil. Oh heaven! oh heavenly powers !
Come, hold your peace.
Iago. Be wise, and get you home.
I will not.
[Iago offers to stab his Wife. Gra.
Fie! Your sword upon a woman? Emil. Oh thou dull Moor! that handkerchief, thou speak'st
of, I found by fortune, and did give my husband; For often, with a solemn earnestness, (More than, indeed, belong'd to such a trifle) He begg'd of me to steal it. Iago.
Villainous whore !
[They hold him.
Filth, thou liest.
[Iago stabs EMILIA, and exit instantly'. Oth.
Are there no stones in heaven, But what serve for the thunder P-Precious villain'!
4 'Twill out, 'twill out:--I hold my peace, sir ? no ;] So the 4to, 1630 : the folio, imperfectly as regards metre, “ 'Twill out, 'twill out: I peace ?"
S No, I will speak as liberal as the north.] Our reading is here that of the folio: the 4tos. differ from each other, as well as from the folio, but that of 1630 substantially supports the folio: it has,
“I'll be in speaking liberal as the north," while the line in the 4to, 1622, runs thus :
“I'll be in speaking liberal as the air." This instance among others, may serve to show that all three copies were printed from different manuscripts. A third version is supplied by the corr. fo. 1632, where wind is substituted for “north" of the folio, 1623, and for air of the 4to, 1622. “North" ought to have the preference.
6 Do with so good a woman?] “Do with so good a wife," only in the folio.
7 Iago stabs Emilia, AND EXIT INSTANTLY.] The old stage-direction in the 4tos. is (for there is none in the folio), " The Moor runs at lago : Iago kills his wife," but his exit is not marked until after Emilia's next spoech. It appears afterwards that Montano disarms Othello.
Gra. The woman falls: sure, he has kill'd his wife.
Mon. 'Tis a notorious villain. Take you this weapon,
I am not valiant neither,
Emil. What did thy song bode, lady ?
[Dies. Oth. I have another weapon in this chamber, It is a sword of Spain, the ice-brook's temper.
[Exit and returns. Oh! here it is.-Uncle, I must come forth.
Gra. [Within.] If thou attempt it, it will cost thee dear : Thou hast no weapon, and perforce must suffer.
Oth. Look in upon me, then, and speak to me', Or, naked as I am, I will assault thee.
Gra. What is the matter?
Behold! I have a weapon ;
Precious villain!] This is a place where the 4to, 1630, affords a different, and an inferior reading to the two older editions: it has “pernicious villain.” At all events, pernicious does not suit the measure.
9 Which I have here recover'd from the Moor.] This line shows that Othello had “run at Iago,” according to the old stage-direction of the 4tos, and that Montano, interposing, had “recovered” his sword of him. “ Here" in this line is omitted in the folio, 1623, but inserted in the corr. fo. 1632.
1- Willow, willow, willow.] Thes words and the preceding part the speech, are not in the 4to, 1622. In the last line of it, the folio reads “ Alas! I die,” instead of “I die—I die," of the 4tos.
3 – and speak to me,] The folio alone has, “and speak with me.”
That, with this little arm, and this good sword,
Enter LODOVICO, MONTANO, Cassio', and Officers with Iago,
Oth. I look down towards his feet? ;-but that's a fable: If that thou be'st a devil, I cannot kill thee.
[OTHELLO wounds Iago.
3 Now, how dost thou look now? oh ill-starr'd wench !] This and the six previous lines are not in the 4to, 1622, but are in the folio, 1623, and in the 4to, 1630 : the latter, however, omits “Now," in this line.
4 Even like thy chastity.-Oh, cursed slave!] So the two 4tos: the folio repeats “cursed," to the detriment of the metre.
5 Oh Desdemona! Desdemona! dead? Oh! oh! oh!] Our reading is here that of both the 4tos; the folio has the line thus, with an injurious, though by no means unprecedented, abridgment of the name :
“Oh Desdemon? dead? Desdemon! dead? Oh! oh;" The line in our text ends, strictly, at "dead."
6 Enter Lodovico, Montano, Cassio,] The stage-direction of the 4tos. informs us that Cassio was “carried in a chair,” but as the words are not in the folio, we may, perhaps, infer that the practice of our old stage in this respect was not uniform. In modern times Cassio walks in lame, and supported, with the handkerchief as a bandage about his wounded leg.
? – towards his feet;] To see (observes Johnson) if, according to the common opinion, his feet were cloven.