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Mark, how these instruments summon to supper!
[Exeunt Des DEMONA, and EMILIA,
Enter RODERIGO, How now, Roderigo?
Rod. I do not find, that thou deal’It justly with me. lago. What in the contrary?
Rod. Every day thou doff'ít me with some device, Iago ; and rather (as it seems to me now) keep'it from me all conveniency, than fuppliest me with the least advantage of hope. I will, indeed, no longer endure it: Nor am I yet persuaded, to put up in peace what already I have foolishly suffer'd.
lago. Will you hear me, Roderigo?
Rod. 'Faith, I have heard too much ; for your words, and performances, are no kin together. lago. You charge me most unjustly.
Rod. With nought but truth. I have wasted myself out of my means. The jewels you have had from me, to deliver to Desdemona, would half have corrupted a votarilt : You have told me he has received them, and return'd me expectations and comforts of sudden respect and acquittances; but I find none.
lago. Well; go to; very well.
Rod. Very well! go to! I cannot go to, man; nor 'tis not very well: By this hand, I say, it is very scurvy; and begin to find myself fobb'd in it.
lago. Very well.
4 And the great messengers of Venice say :) Thus the quarto. The folio reads : The messengers of Venice say tbe meat.
STEVENS. sand acquittance ;] This is the reading of the original quarto, 1622. The folio reads-and acquaintance. Acquittance is requital. So, in K. Henry V.
" And shall forget the office of our hand
“ Sooner than 'quirtance of desert and merit." See also Hamler, p. 405, n. 6. MALONE.
self known to Desdemona : If she will return me my
lago. You have said now.
Rod. Ay, and I have said nothing, but what I proteft intendment of doing.
lago. Why, now I see there's mettle in thee; and even, from this instant, do build on thee a better opinion than ever before. Give me thy hand, Roderigo : Thou hait taken against me a moft jaft exception; but yet, I proteft, I have dealt most dire&tly in thy affair.
Rod. It hath not appear’d.
lago. I grant, indeed, it hath not appear'd; and your suspicion is not without wit and judgment. But, Roderigo, if thou haft that within thee indeed, which I have greater reason to believe now than ever,-I mean, purpote, courage, and valour,-this night fhew it: if thou the next night following enjoyeft not Desdemona, take me from this world with treachery, and devise engines for my life.
Rod. Well, what is it? is it within reason, and compats?
lago. Sir, there is especial commiffion? come from Venice, to depute Casio in Othello's place.
Rod. Is that true? why, then Othello and Desdemona return again to Venice.
lago. O, no; he goes into Mauritania, and takes away with him the fair Desdemona, unless his abode be linger'd here by some accident; wherein none can be so determinate, as the removing of Caffio.
Rod. How do you mean-removing of him?
-- your suspicion is not witbout wit and judgment.] Shakspeare knew well, that most men like to be flattered on account of those endowments in which they are most deficient. Hence lago's compliment to this snipe on his fagacity and threwdness. MALONE.
7 - obere is especial commifion -] Shakspeare probably wrote Special MALONE
Iago. Why, by making him uncapable of Othello's place ; knocking out his brains.
Rod. And that you would have me to do?
Iago. Ay, if you dare do yourfelf a profit, and a right. He lups to-night with a harlot, and thither will I
to him ;-ho knows not yet of his honourable fortune: if you will watch his going thence, (which I will fathion to fall out between twelve and one,) you may take him at your pleasure ; I will be near to second your attempt, and he Thall fall between us. Come, stand not amazed at it, but go along with me; I will shew you such a necesity in his death, that you fall think yourself bound to put it on him. It is now high supper-time, and the night grows to waste 3 : about it,
Rod. I will hear further reason for this. lago. And you shall be satisfied,
Another Room in the Caftle. Enter OTHELLO, LODOVICO, DESDEMONA, EMILIA,
and Attendants. Lod. I do beseech you, fir, trouble yourself no fur
ther. Otb. O, pardon me ; 'twill do me good to walk. Lod. Madam, good night; I humbly thank your lady
ship. Des. Your honour is most welcome.
s - and the nigbe grows ro waste :) I suppose lago means to fay, that it is near midnigbi. Perhaps we ought to print waist. Both the old copies, the quarto, 1622, and the folia, 1623, read waff, which was the old spelling of waift. So Hamler :
“ In the dead walt [waist) and middle of the night." See the note on that pafiage, p. 203, n. 2. So allo, in Tbe Puritan, a comedy, 1607:
ere the day “ Be spent to the girdle, thou shalt be free." The words; however, may only mean- be nigbt is wanting apace.
Orb. Will you walk, fir 1-0,-Desdemona,
Oib. Get you to bed on the instant; I will be return'd forthwith : dismiss your attendant there; look, it be done.
Def. I will, my lord. [Exeunt Oth. Lod. and Attend.
Emil Dismiss me!
Def. It was his bidding; therefore, good Emilia,
Emil. I would, you had never seen him!
Des. So would not l; my love doth so approve him, That even his stubbornness, his checks, and frowns, Pr’ythee, unpin me,-have grace and favour in them.
Émil. I have laid those sheets you bade me on the bed. Def. All's one :-Good father'! how foolish are our
minds!-If I do die before thee, pr’ythee, shroud me In one of those same sheets.
Emil. Come, come, you talk.
Def. My mother had a maid, call'd-Barbara ; She was in love; and he, he lov'd, prov'd mad, And did forsake her': fe had a song of willow,
9-Good father!] Thus the folio. The quarto, 1622, reada all's one, good faith. MALONE. i_and be, phe lovd, prov'd mad,
And did forsake ber :) I believe that mad only signifies wild, fraxe tick, uncertain. JOHNSON.
We stiil call a wild girl a mad-cap: and, in The First Part of King Henry VI. are mentioned,
“ Mad, natural graces, that extinguish art." Again, in the Two Gentlemen of Verona :
“ Come on, you mad-cap." Again, in Love's Labour's Loft: « Do you hear, my mad wenches ?"
Aa old thing 'twas, but it express'd her fortune,
Emil. Shall I go fetch your night-gown?
Emil. A very handsome man.
Emil. I know a lady in Venice, would have walk'd barefoot to Palestine, for a touch of his nether lip. Def. The poor fouls fat fighing + by a fycamore tree,
[singing. Her band on her bofom, ber head on her knee,
Sing willow, willow, willow:
2 - I bave much to do,
But to go bang my bead-) I bave mucb ado to do any thing but bang my bead. We might read:
Not to go bang my bead. This is perhaps the only insertion made in the latter editions which has improved the play. The rest seem to have been added for the sake of amplifcation, or of ornament. When the imagination had subsided, and the mind was no longer agitated by the horror of the action, ic became at leisure to look round for 1pecious additions. This addition is natural. Desdemona can at first hardly forbear to fing the song; the endeavours to change her train of thoughts, but her imagination at last prevails, and the fings it. JOHNSON.
These words, and all that follows, to Nay that's not next, inclusively, are not in the original quarto, 1622; and appeared first in the folio. The remaining lines of the song also appeared first in that copy.
MALONE, 3 The poor foul, &c.] This song, in two parts, is printed in a late collection of old ballads; the lines preferved here differ somewhat from the copy discovered by the ingenious collector. JOHNSON,
4 - far sighing - ] The folio reads-singing: The passage, as has been already observed, is not in the original copy printed in 1622. The reading of the text is taken from a quarto of no authority printed in 1630. Sigbing, as Mr. Steevens has observed, is also the reading in the black-letter copy of this ballad in the Pepys Collection, which Dr. Percy followed. See the Reliques of Ancient English Poetry: I. 192.
MALONE. VOL. IX.