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Gra. Here one comes in his Ihirt with light and weapons.
190114, 1070 lago. Who's there? Whose noise is this, that cries
out murder? Lod. We do not know. Tago. Do not you hear a cry? Caf. Here, here. For heaven's fake, help me. Tago. What's the matter? H Gra. This is Otbello's Ancient, as I take it. Lod. The fame, indeed, is a very valiant fellow. Iago. What are you here, that cry fo grievously? Cas. Iago ? oh I'm spoild, undone by villains! Give me some helpe
02.1990 M Iago. Oh me, lieutenant ! what villains have done
this? Caf. I think, that one of them is hereabout; And cannot make away.
Iago. O treacherous villains ! What are you there? Come in, and give fome help.
[Ta Lod. and Gra. Rod. Oh, help me there. Caf. That's one of them.
I lago. O murderous Nave! oh villain!
(fago ftabs bim. Rod. Oh damn'd Iago! oh inhuman dog! Iago. Kill men i' th dark? Where be thiefe bloody
Lod. As you shall prove us, praise us.
Da VIDOL! ☺! Iago. I cry you mercy! Here's Caffio, hurt by vil
THE MOOR OF VENICE.
Jago. Marry, heaven forbid !
Bian. What is the inatter, hoa, who is't that cry'd ?
Bian. Oh my dear Caffio,
Iago. O notable strumpet! Caffio, may you sufpect
Iago. Lend me a garter. So-Ob for a chair
Bian. Alas, he faints. Oh Casio, Cafio, Casio !
Iago. Gentlemen all, I do suspect this Trash,
Gra. What, of Venice?
lago. Signior Gratiano? I cry your gentle pardon. Thele bloody accidents must excuse my manners, That so neglected you.
Gra. I am glad to see you.
Some good man bear him carefully from hence;snj
[To Bianca. Save you your labour. He that lies Nain here, Cassio, Was my dear friend. What malice was between you?
Caf. None in the world; nor do I know the man.
him out o'th' air.
pray you, look
upon Do you see, gentlemen ? Nay, guiltiness ** Will speak, though tongues were out of use.
Æmil. Alas, what is the matter?
Iago. Cassio hath there been set on in the dark
Æmil. Alas, good gentleman! alas, good Caffio !
Bian. I am no ftrumpet, but of life as honeft seis
within li steze wond is coas as it Æmil. As I ? fy upon thee!
Iago. Kind gentlemen, let's see poor Cafo drejt. Come, mistress, you must tell's another tale. 91..7
Æmilia, run you to the citadel,
TOY 09 tiri, W9uIik [Exeunt, Iago following.
SCE" N E VI.
'I TOT 103
Enter Othello, with a Light and a Sword.
Let me not name it to you, you chalte Stars !
[Lays down the sword,
It is the caufi, it is 't be cause, 4 Put out the light, and then my soul;
put out the light.] This, I Let me not name ito ] The conceive, to have been the poet's abruptness of this foliloquy meaning. Othello, Aruck in part makes it obscure. The meaning with remorse at the murder he's I think is this. I am here, says going to do, thinks it best to do Othello in his mind, overwhelin- it in the dark; this compunc. ed with horror, What is the rea. tion of nature, in the hurry and son of this perturbation ? Is it perturbation of thought, and want of resolution to do juflice? Is it those remains of tenderness still the dread of shedding blood? No; combating in his bofam, strikes it is not the action that shocks me, him into an instant reflexion, but it is the cause, it is the cause," that if he puts out the light he my foul; let me not name it to can rekindle it; but if he once you, ye cháste stars !sit is the puts out the light of her life, Cause,
that will be extinguish'd for ever.
Should I repent: but once put out thy light it toiled
cob Kiling ber. Oh balmy breath, that doft almoft perfuade lj Justice to break her sword ?-One
lores, one more.. Be thus when thou art dead, and I will kill thee, CI
I And love thee after-One more; that's the lafta io So sweet, was ne'er fo fatal! I must weep. I But they are cruel tears. 5 This sorrow's heavenly It strikes, where it doth love. She wakes
Des. Who's there? Otbello?
I Oih. Have you pray'd to night, Desdemona. O Def. Ay, my Lord.
tas Oib. If you bethink yourself of any crime of Unreconcil'd as yet to heaven, and grace,
While he is bufied in this con- he breaks thort, and questions templation, he throws bis eyes himself an hort, and questions
the effects of this towards her; and then, footh'd metaphorical extinction, intro. with her beauteous appearance, duced by a repetition of his first fets down the light, to go and words, as much as to say. But kiss her. Upon this, Defaemona hold, let me forft weigh the rewakes; and they continue in Hexions which this expreflion fo discourse together till he 'fifles : naturally excites,
THEOB. 5--This Sorror's heavenly :] Put out the light, and thene This ytenderness, with which I
Put oict the light?-) So it Jament the pun fhment which should be printed. The mean- justice compels me to infia, is a ing is, I will put out the light, holy paffion and then proceed to the execution with thefe two lines could of my purpose. But the expres. be honestly ejected. It is the fate fion of putting out the light, of Siakespeare to counteract his bringing to mind the effects of own pathos. the extinction of the light of life,