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Oth. Are
you sure

of that?
Des. My lord ?
Oth. [Reads.] “This fail you not to do, as you will”-

Lod. He did not call; he's busy in the paper. Is there division 'twixt my lord and Cassio ?

Des. A most unhappy one: I would do much
To atone them, for the love I bear to Cassio.

Oth. Fire and brimstone!
Des.

My lord?
Oth.

Are you wise ?
Des. What! is he angry?
Lod.

May be, the letter mov'd him;
For, as I think, they do command him home,
Deputing Cassio in his government.

Des. By my troth, I am glad on't.
Oth.

Indeed.
Des.

My lord ? Oth. I am glad to see you mad. Des.

How, sweet Othello? Oth. Devil!

[Striking her. Des.

I have not desery'd this.
Lod. My lord, this would not be believ'd in Venice,
Though I should swear I saw it. 'Tis very much :
Make her amends; she weeps.
Oth.

Oh devil, devil!
If that the earth could teem with woman's tears,
Each drop she falls would prove a crocodile.—
Out of my sight!
Des.

I will not stay to offend you. [Going.
Lod. Truly an obedient lady.-
I do beseech your lordship, call her back.

Oth. Mistress
Des.
My lord ?

[Returning. Oth.

What would you with her, sir? Lod. Who, I, my lord ? Oth. Ay; you did wish, that I would make her turn:

4 TO ATONE them,] i. e. To reconcile them, or at one them. We have had many previous examples of the use of this word. See Vol. ii. p. 430; Vol. ii. p. 225; Vol. iv. p. 240 and 694; Vol. v. p. 289.

• BY MY TROTH, I am glad on't.] The reading of the folio here is, Trust me, I am glad on't.” Other variations hardly require notice.

• Each drop she Falls] TO “fall” is here a verb active, as in “ Richard II.Vol. iii. p. 280, where other instances are pointed out.

your tears.

Sir, she can turn, and turn, and yet go on,
And turn again ; and she can weep, sir, weep;
And she's obedient, as you say,—obedient,
Very obedient.-Proceed

you

in
Concerning this, sir,-Oh well-painted passion !
I am commanded home'.-Get you away;
I'll send for you anon.—Sir, I obey the mandate,
And will return to Venice.—Hence! avaunt!

[Exit DESDEMONA.
Cassio shall have my place. And,-sir, to-night,
I do entreat that we may sup together :
You are welcome, sir, to Cyprus.—Goats and monkeys !

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[Exit.

Lod. Is this the noble Moor whom our full senate
Call all-in-all sufficient ?_This the nature 8
Whom passion could not shake? whose solid virtue
The shot of accident, nor dart of chance,
Could neither graze, nor pierce ?
Iago.

He is much chang'd.
Lod. Are his wits safe? is he not light of brain ?

Iago. He's that he is : I may not breathe my censure.
What he might be,-if, what he might, he is not,-
I would to heaven, he were.
Lod.

What! strike his wife?
Iago. 'Faith, that was not so well; yet would I knew,
That stroke would prove the worst.
Lod.

Is it his use?
Or did the letters work upon his blood,
And new-create this fault ?
Iago.

Alas, alas!
It is not honesty in me, to speak
What I have seen and known. You shall observe him ;
And his own courses will denote him so,
That I may save my speech. Do but go after,
And mark how he continues.

Lod. I am sorry, that I am deceiv'd in him. [Exeunt.

? I am commanded HOME.) The 4to, 1622, “I am commanded here." As Steevens expressed a doubt whether the folio was right in reading " home," it may be mentioned that it is confirmed by the 4to. 1630.

8 This the nature] In both the 4tos. noble is repeated before “nature." It is decidedly too much for the verse, and it is omitted in the folio 1623, which we believe to be right: noble was caught from the preceding line.

SCENE II.

A Room in the Castle.

Enter OTHELLO and EMILIA.

Oth. You have seen nothing then ?
Emil. Nor ever heard ; nor ever did suspect.
Oth. Yes, you have seen Cassio and her together.

Emil. But then I saw no harm; and then I heard
Each syllable that breath made up between them.

Oth. What! did they never whisper ?
Emil.

Never, my lord.
Oth. Nor send you out o' the way?
Emil.

Never.
Oth. To fetch her fan, her gloves, her mask, nor nothing?
Emil. Never, my lord.
Oth.

That's strange.
Emil. I durst, my lord, to wager she is honest,
Lay down my soul at stake: if you think other,
Remove your thought; it doth abuse your bosom.
If any wretch have put this in your head,
Let heaven requite it with the serpent's curse,
For if she be not honest, chaste, and true,
There's no man happy; the purest of their wives o
Is foul as slander.
Oth.
Bid her come hither :-g0.-

[Exit Emilia.
She says enough ;—yet she's a simple bawd,
That cannot say as much. This is a subtle whore,
A closet-lock-and-key of villainous secrets:
And yet she'll kneel, and pray; I have seen her do't.

Re-enter EMILIA, with DESDEMONA.
Des. My lord, what is your will ?
Oth.

Pray, chuck, come hither. Des. What is your pleasure ?

the purest of THEIR WIVES] The purest of her sex,” is the reading of the 4to, 1622, only-perhaps a difference of recitation.

VOL. VI.

H

Oth.

Let me see your eyes :
Look in my face.
Des.

What horrible fancy's this?
Oth. Some of your function, mistress ;

[To EMILIA. Leave procreants alone, and shut the door ; Cough, or cry hem, if any body come: Your mystery, your mystery ;-nay, dispatch.

Erit EMILIA.
Des. Upon my knees, what doth your speech import ?
I understand a fury in your words,
But not the words '.

Oth. Why, what art thou ?
Des.

Your wife, my lord; your true
And loyal wife.
Oth.

Come, swear it, damn thyself;
Lest, being like one of heaven, the devils themselves
Should fear to seize thee: therefore, be double-damn'd;
Swear thou art honest.
Des.

Heaven doth truly know it.
Oth. Heaven truly knows, that thou art false as hell.
Des. To whom, my lord ? with whom? How am I false ?
Oth. Oh Desdemona !_away, away, away!

Des. Alas, the heavy day !— Why do you weep?
Am I the occasion of these tears?, my lord ?
If, haply, you my father do suspect
An instrument of this your calling back,
Lay not your blame on me: if you have lost him,
Why, I have lost him too.
Oth.

Had it pleas'd heaven
To try me with affliction; had he rain'd'
All kinds of sores, and shames, on my bare head;
Steep'd me in poverty to the very lips ;
Given to captivity me and my utmost hopes;
I should have found in some part of my soul
A drop of patience: but, alas ! to make me
A fixed figure, for the hand of scorn

But not the words.] So the two 4tos : the folio omits the hemistich. 2 Am I the occasion of these tears,] The folio alone has motive for occasion.” At the end of the speech, the 4to, 1622, bas left in both instances for “lost." The 4tos. have “Why," which completes the metre.

– had HE RAIN'd] So the 4to, 1630, correcting the misprint of the 4to, 1622, "had he ruin'd:" the folio has it, “ had they rain'd.” Three lines lower, the word “utmost" is only in the folio.

3

To point his slowly moving finger at*;
Yet could I bear that too; well, very well :
But there, where I have garner'd up my heart,
Where either I must live, or bear no life,
The fountain from the which my current runs,
Or else dries up; to be discarded thence,
Or keep it, as a cistern, for foul toads
To knot and gender in !—turn thy complexion there,
Patience, thou young and rose-lipp'd cherubin;
Ay, there, look grim as hell!

Des. I hope, my noble lord esteems me honest.

Oth. Oh! ay; as summer flies are in the shambles, That quicken even with blowing. Oh thou weed ! Who art so lovely fair, and smell'st so sweet, That the sense aches at thee, would thou hadst ne'er been

born!
Des. Alas! what ignorant sin have I committed ?

Oth. Was this fair paper, this most goodly book,
Made to write whore upon ? What committed ?
Committed !-Oh thou public commoner?!
I should make very forges of my cheeks,
That would to cinders burn up modesty,
Did I but speak thy deeds,- What committed ?
Heaven stops the nose at it, and the moon winks :

+ A fixed figure, for the hand of scorn

To point his slowLY MOVING Finger at;] This is the text as offered to us in the corr. fo. 1632, and we may reasonably believe it to have been what the poet wrote. How much superior it is to the old texts will be seen by the following quotations : the first is from the 4to, 1622.

"A fixed figure for the time of scorn

To point his slow unmoving fingers at." The 4to, 1630, only differs by having "finger" for fingers. In the folio, 1623, the passage stands thus :

" The fixed figure for the time of scorn

To point his slow, and moving finger at." Rowe altered time to “ hand," and he appears to have been warranted in doing so, at least by the old practice of recitation on the stage. In the 4to, 1622, two interjections, “ oh, oh!” are added (which no doubt originated with the performer), before Yet could I bear that too,” &c.

Ay, THERE, look grim as hell!] The early copies have here for “ there," but " there" seems fully warranted by what precedes, “turn thy complexion there;" and that it was an error of the press may be said to be shown by the corr. fo. 1632, where here is amended to “tbere."

• Oh thou weed !) The 4tos, “Oh thou black weed,” and in the next line, Why for “ Who," together with some minor changes.

Committed !—Oh thou public commoner!] This and the three next lines are wanting in the 4to, 1622, but are in the 4to, 1630, and in the folio.

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