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A Room in the Castle.
İago. Well, my good lord, I'll do't.
Before the Castle. Enter DesdeMONA, Cassio, and EMILIA, Def. Be thou assur'd, good Caffio, I will do All my abilities in thy behalf. Emil. Good madam, do; I know it grieves my har.
band, As if the case were his 4.
Def. O, that's an honest fellow.-Do not doubt, Callio,
Cas. Bounteous madam,
Des. O, fir, I thank you s: You do love my lord;
Caf, Ay, but lady,
3 - to tbe ftate : ] Thus the quarto, 1622. Folio: to the secate.
MALONE, 4 As if tbe case were bis.] The folio reads--as if the canje were his. STEEVENS.
$ 0, fir, I thank you :) Thus the quarto, 1622. The folio reade I know's, I thank you." MALONE,
That policy may either last so long,
Des. Do not doubt that'; before Emilia here,
Enter OTHELLO and IAGO, at a distances
Caj. Madam, not now; I am very ill at ease,
[Exit Caffio. lago. Ha! I like not that. Oih. What doft thou say? 6 Tbat policy may eirber laft so long, ] He may either of himself think it politick to keep me out of otice to long, or he may be satisfied with such light reasons, or so many accidents may make him think my re-admillion at that time improper, that I may be quite forgotten.
JOHNSON 7 I'll watch bim teme,–] It is said, that the ferocity of beasts, infuperable and irreclaimable by any other means, is subdued by keeping them from sleep. JOHNSON.
Hawks and other birds are tamed by keeping them from sleep, and it is to the management of those Shakipeale alludes. So in Carta wright's Lady Errant:
we'll keep you,
« Your wildneis.''
" They've wart'd my hardy violence fo rame." Again in the Booke of Haukyng, Huntyng, &c. bl. l. no date : “ Wake her all nyght, and on the morrowe all daye, and then the will be previ enough to be reclaymed.” STEEVENS. M m 2
lago. Nothing, my lord: or if-I know not what. Oih. Was not that Caffio, parted from my wife?
lago. Caflio, my lord? No, sure, I cannot think it,
Oth. I do believe, 'twas he.
Oth. Who is't, you mean?
Def. Ay, footh ; so humbled,
Oth. Not now, sweet Desdemona; fome other time.
Oth. I shall not dine at home;
Lef. Why then, to-morrow night ; or tuesday morn;
8 His present reconciliation take;] To take bis reconciliation, may be, to accept the submission which he makes in order to be reconciled.
JOHNSON. and not in cunning,] Cunning, for design, or purpose, fimply.
WAR BURTON. Perhaps rather for knowledge, the ancient sense of the word. So, in Measure for Measure : “ In the boldness of my cunning I will lay myself in hazard." The opposition which seems to have been intended between cunning and ignorance, favours this interpretation. MALONE.
" I suffer with bim.] Thus the quarto, 1622. The folio reads To suffer with him. MALONI.
Or tuesday noon, or night; or wednesday morn ;-
To incur a private check: When shall he come ?
Orh. Pr’ythee, no more : let him come when he will; I will deny thee nothing.
Def. Why, this is not a boon;
the wars must make examples Out of their best, ] The severity of military discipline must not spare the befi men of the army, when their punishment may afford a wholesome example. Johnson.
The old copies read-ber best. Mr. Rowe made this necessary emendation. MALONE.
3 - so mammering on.] To hesitate, to stand in suspense. The word often occurs in old English writings, and probably takes its original from the French M'Amour, which men were apt often to repeat when they were not prepared to give a direct answer. HANMER.
I find the same word in Acolaftus, a comedy, 1540: “I ftand in doubt, or in a mamorynge between hope and fear." STEEVENS.
Again in Lily's Eupbues, 1580 :- " neither fond in a mamering whether it be best to depart or not." The quarto, 1622, reads mutica ring. Mammering is the reading of the folio. MALONE.
Wbat! Michael Caffio, That came a wosing with you ;] And yet in the first act Caffio appears perfectly ignorant of the amour, and is indebted to Iago for the information of 'Othello's marriage, and of the person to whom he is married. STEEVENS. See the notes on the passage alluded to, p. 459, n. $. MALONE.
It fall be full of poize S and difficulty,
Oth. I will deny thee nothing:
Def. Shali I deny you ? no : barewel, my lord.
straight. Def. Emilia, come :-Be it as your fancies teach you ; Whate'er you be, I am obedient. [Exit, witb Emil.
Oıb. Excellent wretch! Perdition catch my soul,
Orb. - full of poize-) i. c. of weight. So, in Tbe Durb Krigbi, 1633
“ But we are all prest down with other poize." STEEVENS: 6 Excellent wretch !-Perdition carcb my soul,
But I do love rbce! &c.] The meaning of the word w'ercb, is not generally understood. It is now, in some parts of England, a term of the softest and fondest tendernels. It exprefies the utmost degree of amiablenefs, joined with an idea, which perhaps all tenderness includes, of feebleness, softness, and want of protection. Othello, considering Desdemona as excelling in beauty and virtue, soft and timorous by her fex, and by her fituation ablolutely in his power, calls her-Excellent wretcb! It may be exprefled:
Dear, barmless, belpless excellence. JOHNSON. Sir W. D'Avenant uses the same expresiion in his Cruel Breber, 1630, and with the fame meaning. It occurs twice : “ – Excellent wretcb! with a timorous modeity she ftifieth up her utterance." STEEV.
wben I love tbee nol,. Cbaos is come again.) When my love is for a moment suspended hy suspicion, I have nothing in my mind but discord, tumult, perturbation, and confusion. JOHNSON.
wben I love thee not, Chaos is come again.] There is another meaning possible. Wben I cease to love tbee, ibe world is at an end; i. e. there remains nothing valuable or important. The first explanation may be elegant, the fe. cond is perhaps more easy. Shakspeare has the same thought in his Venus and Adonis :
“ For he being dead, with him is beauty Nain,
“ And, beauty dead, black Chaos comes again." STEEVENS. This pafiage does not frike me in the same light in which it appeared to Dr.Johnson; as Othello had not yet any experience of that perturbation and discord, by which he afterwards is ro fatally agitated. He