Away, I say; thou shalt know more hereafter : My wife must move for Cassio to her mistress; Myself, the while, to draw1 the Moor apart, And bring him jump2 when he may Cassio find ACT III. [Exit. Cas. I humbly thank you for't. I never knew A Florentine more kind and honest." Enter EMILIA. Emil. Good morrow, good lieutenant: I am sorry And needs no other suitor, but his likings, SCENE I. Before the Castle. Enter CASSIO To take the saf'st occasion by the front, Cas. Masters, play here, I will content your pains, Enter Clown. Clo. Why, masters, have your instruments been at Naples, that they speak i' the nose thus ?4 1 Mus. How, sir, how! Clo. Are these, I pray you, called wind instruments? 1 Mus. Ay, marry, are they, sir. Clo. O, thereby hangs a tail, 1 Mus. Whereby hangs a tale, sir? Clo. Marry, sir, by many a wind instrument that I know. But, masters, here's money for you; and the general so likes your music, that he desires you of all loves, to make no more noise with it. 1 Mus. Well, sir, we will not. 5 Clo. If you have any music that may not be heard, to't again : but, as they say, to hear music, the general does not greatly care. 1 Mus. We have none such, sir. Clo. Then put up your pipes in your bag, for I'll away: Go; vanish into air; away. [Exeunt Musicians. Cas. Dost thou hear, my honest friend? Clo. No, I hear not your honest friend; I hear you. Cas. Yet, I beseech you,- Emil. I am much bound to you.' SCENE II. A Room in the Castle. Enter OTHELLO, IAGO, and Gentlemen. Des. Be thou assur'd, good Cassio, I will do Emil. Good madam, do; I know, it grieves my husband, As if the case12 were his. Des. O, that's an honest fellow.-Do not doubt, Cas. Pr'ythee, keep up thy quillet. There's a poor piece of gold for thee: if the gentlewoman But I will have my lord and you again that attends the general's wife be stirring, tell her, As friendly as you were. there's one Cassio entreats her a little favour of Cas. Bounteous madam, speech: Wilt thou do this? Whatever shall become of Michael Cassio, He's never any thing but your true servant. Des. O, sir, 13 I thank you: You do love my lord: You have known him long; and be you well assur'd, Clo. She is stirring, sir; if she will stir hither, I sqall seem to notify unto her. [Exit. Enter IAGO, Cas. Do, good my friend.-In happy time, Iago. He shall in strangeness stand no further off Than in a politic distance. Cas. Des. Do not doubt that; before Emilia here, was a Venetian is proved by a speech in the third scene of this act, and by what he says in the fifth act, after having stabbed Roderigo : couple on the morning after the celebration of the mar-All that Cassio means to say in the present passage is, riage, or to greet them with a morning song to bid them never experienced more honesty and kindness even in good-morrow. See Romeo and Juliet, Act iii. Sc. 5. one of my own countrymen. Ritson's note about the waits is nothing to the purpose. 4 So in The Merchant of Venice :- The bagpipe sings i' the nose.' Rabelais somewhere speaks of 'a blow over the nose with a Naples cowl-staff.' The allusion is obvious. 5 i. e. for love's sake. We have this adjuration again In The Merry Wives of Windsor. 6 See Hamlet, Act v. Sc. i. p. 506. note 8. 8 i. e. the displeasure you have incurred from Othello 10 This speech is omitted in the first quarto. 13 Thus the quarto of 1622. The folio reads-'1 know't, I thank you.' 14 'He may either of himself think it politic to keep 7 In consequence of this line a doubt has been enter-me out of office so long, or he may be satisfied with such tained concerning the country of Iago. Cassio was un-slight reasons, or so many accidents may make hin doubtedly a Florentine, as appears by the first scene of think my readmission at that time improper, that I ma▾ the play, where he is expressly called one. That Iago | be quite forgotten.”—Johnson. Tell me, That came a wooing with you, and so many a time, I will deny thee nothing. To your own person: Nay, when I have a suit, Oth. I will deny thee nothing: Whereon, I do beseech thee, grant me this, To leave me but a little to myself. Des. Shall I deny you? no: Farewell, my lord. Oth. Farewell, my Desdemona: I will come to thee straight. Des. Emilia, come :-Be it as your fancies teach you ; Whate'er you be, I am obedient. [Exit with EMILIA. Oth. Excellent wretch ! Perdition catch my soul, But I do love thee! and when I love thee not, Chaos is come again.s Jago. My noble lord,Oth. What dost thou say, Iago? Iago. Did Michael Cassio, when lady, Know of your love? you woo'd my Oth. He did,from first to last: Why dost thou ask? Iago. But for a satisfaction of my thought; No further harm. I heard thee say but now-Thou lik'dst not that, 1 Hawks and other birds are tamed by keeping them from sleep. To this Shakspeare alludes.-So in Cart-of the fondest and softest tenderness. It expresses the utwright's Lady Errant : We'll keep you As they do hawks, watching until you leave And in Davenant's Just Italian : 'They've watch'd my hardy violence so tame.' 2 i. e. take his present atonement,' or submission. The words were formerly synonymous. 3 Cunning here signifies knowledge, the ancient sense of the word. 4 The severity of military discipline must not spare the best men of the army, when their punishment may afford a wholesome example. 5 So hesitating, in such doubtful suspense. So in Lyly, Euphues, 1580:- Neither stand in a mamering whether it be best to depart or not. The quarto 1622 reads-muttering. 6 See Act i. Sc. 2. 7 i. e. of weight. 8 'The meaning of the word wretch is not generally understood. It is now in some parts of England a term most degree of amiableness, 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 timɔrous by her sex, and by her situation absolutely in his power, calls her Excellent wretch! It may be expressed, 'Dear. harmless, helpless excellence.'-Johnson. Sir W. Da venant, in his Cruel Brother, uses the word twice with the same meaning:-' Excellent wretch! with a timo rous modesty she stifleth up her utterance.' 9 I think with Malone, that Othello is meant to say duced to its primitive chaos. So in Venus and Adonis: 'Ere I cease to love thee, the world itself shall be re 'For he being dead, with him is beauty slain, And beauty dead, black Chaos comes again. Shakspeare's meaning is more fully expressed in Thr Winter's Talc :— : 'It cannot fail but by The violation of my faith,—and then Let nature crush the sides o' the earth together And mar the seeds within " And didst contract and purse thy brow together, Therefore these stops of thine fright me the more: That passion cannot rule. Iago. 1 For Michael Cassio,I dare be sworn, I think that he is honest. Oth. I think so too. Iago. Men should be what they seem; Or, those that be not, 'would, they might seem none !2 Oth. Certain, men should be what they seem. Iago. Why, then, I think Cassio's an honest man. Oth. Nay, yet there's more in this : I pray thee, speak to me as to thy thinkings, As, I confess, it is my nature's plague Is the immediate jewel of their souls: Who steals my purse, steals trash;" 'tis something, nothing: 'Twas mine, 'tis his, and has been slave to thousands :8 But he that filches from me my good name, Oth. By heaven, I'll know thy thought. Iago. O, beware, my lord, of jealousy; As thou dost ruminate; and give thy worst of It is the green-ey'd monster, which doth makes The worst of words. thoughts Keep leets, and law-days, and in session sit Oth. Thou dost conspire against thy friend, Iago, If thou but think'st him wrong'd, and mak'st his ear A stranger to thy thoughts. Iago. I do beseech you,Though I, perchance, am vicious in my guess, 1 Thus the earliest quarto. The first folio reads'close dilations.' Which Johnson says was intended for cold delations, i. e. occult and secret accusations, working involuntary from the heart. The second folio reads cold dilations,' which Warburton explains 'cold, keeping back a secret,' which men of phlegmatic constitutions, whose arts are not swayed or governed by their passions, we find can do: while more sanguine tempers reveal themselves at once, and without reserve.' Upton says dilalons comes from the Latin dilationes, delayings, pauses. 2 I believe the meaning is, would they might no longer seem or bear the shape of men.'—Johnson. 3 'I am not bound to do that which even slaves are not bound to do.' So in Cymbeline : O, Pisanio, Every good servant does not all commands, No bond but to do just ones.' No perfection is so absolute That some impurity doth not pollute.' Rape of Lucrece. 5'Who has so virtuous a breast that some impure conceptions and uncharitable surmises will not sometimes enter into it; hold a session there, as in a regular court, and "bench by the side" of authorised and law. ful thoughts. In the poet's thirtieth sonnet we find the same imagery : "When to the sessions of sweet silent thoughts I summon up remembrance of things past.' A leet is also called a law day. This court, in whose manor soever kept, was accounted the king's court, and commonly held every half year,' it was a meeting of the hundred to certify the king of the good manners and government of the inhabitants,' &c. 6 i. e. conjectures. Thus the quarto 1622. The folio reads: The meat it feeds on: That cuckold lives in bliss, Iago. Poor, and content, is rich and rich enough ; Oth. Why! why is this? Think'st thou, I'd make a life of jealousy, To follow still the changes of the moon With fresh suspicions? No: to be once in doubt, Is-once to be resolv'd: Exchange me for a goat, When I shall turn the business of my soul To such exsufflicate11 and blown surmises, 9 Nunc ager Umbreni sub nomine nuper Ofelli Dictus, erit nulli proprius; sed cedet in usum Nunc mihi, nunc alii.' Horat. Sat. lib. ä. 2. So in Camden's Remaines, 1605, p. 107:- 'Nunc mea, mox hujus, sed postea nescio cujus.' 9 The old copy reads mock. The emendation is Hanmer's. Steevens attempted to justify the old reading; but his arguments are not convincing; and the slight alteration of the text renders it much more clear, elegant, and poetical, and has been so well defended by Malone and others, that I have not hesitated to adopt it. The following passages have been adduced in confirmation of Hanmer's reading. At the end of the third Act, Desdemona remarks on Othello's jealousy : 'Alas the day! I never gave him cause' To which Emilia replies: 'But jealous fools will not be answer'd so, But jealous, for they are jealous: 'tis a monster 10 i. e. endless, unbounded. Warburton observes that this is finely expressed-winter producing no fruits. 11 No instance of this word has elsewhere occurred It appears to me to be intended to convey the meaning of whispered, or made out of breath. Suftation is interpreted by Phillips, a puffing up, a making to swell with blowing. In Plautus we have, 'Sufflavit nescio quid uxore;' which Cooper renders, 'He hath whispered somewhat in his wives eare, whatsoever it be.' He also translates 'Rumoris nescio quid afflaverat, a certain brute or rumour come to my hearing. Though I do not agree with the following explanation, I think it right to lay it before the reader :-'It seems to me, (says Mr. Todd,) that all the critics have overlooked the meaning of the passage. Exsuflicates may be traced to the low Latin exsuflare, to spit down upon, an ancient form of exorcising; and, figuratively, to spit out in abhorrence or contempt. See Du Cange, in v. exsuflare. Exsuflicate may thus signify contemptible: and Othello may be supposed to mean, that he would not change the noble designs, that then employed his thoughts, for contemptible and despicable surmises. ' Johnson's Dict. in v. Ézsuffolate. Matching thy inference.' 'Tis not to make me | As my thoughts aim not at. Cassio's my worthy jealous, To say-my wife is fair, feeds well, loves company, Iago. I am glad of this, for now I shall have reason 3 In Venice they do let heaven see the pranks science friend : My lord, I see you are mov'd. No, not much mov'd:- Oth. And yet, how nature erring from itself,- Not to affect many proposed matches, Of her own clime, complexion, and degree; Oth. Farewell, farewell : Sees and knows more, much more, than he unfolds. honour To scan this thing no further; leave it to time: [Exu. 10 i. e. press hard his readmission to his pay and Entertainment was the military term for the admission of soldiers. 2 A passage in All's Well that Ends Well is perhaps the best comment on the sentiments of Othello:-office. have those good hopes of her education promises: his disposition she inherits; which makes fair gifts fairer.' Gratior e pulchro veniens et corpore virtus. 3 Self bounty for inherent generosity. 11 Do not distrust my ability to contain my passion 12 Learned for experienced. The construction is, 'He knows with an experienced spirit all qualities of human dealings.' 4 This and the following argument of Iago ought to te deeply impressed on every reader. Deceit and false- 13 Haggard is wild, and therefore libertine. A hag hood, whatever conveniences they may for a time pro-gard falcon was a wild hawk that had preyed for hermise or produce, are in the sum of life obstacles to self long before she was taken; sometimes also called happiness. Those who profit by the cheat, distrust the a ramage falcon. From a passage in The White Dedeceiver, and the act by which kindness is sought puts vil, or Vittoria Corombona, 1612, it appears that hag. an end to confidence. The same objection may be gard was a term of reproach, sometimes applied to a made with a lower degree of strength against the im- wanton:- Is this your perch, you haggard fly to the prudent generosity of disproportionate marriages. stews.' So in Shakerley Marmion's Holland's LeaWhen the first heat of passion is over, it is easily suc-guer, 1633: ceeded by suspicion, that the same violence of inclina- 'Before these courtiers lick their lips at her, tion, which caused one irregularity, may stimulate to I'll trust a wanton haggard in the wind.' another; and those who have shown that their passions Again :— are too powerful for their prudence, will, with very slight appearances against them, be censured, as not very likely to restrain them by their virtue.-Johnson. 5 An expression from falconry: to seel a hawk is to sew up his eyelids. Close as oak means as close as the grain of oak. 6 Issues for conclusions 7 Success here means consequence or event; as successo, in Italian. So in Sidney's Arcadia, p. 39, ed. 1613- Straight my heart misgave me some evil suc. cess!' And in The Palace of Pleasure:- Fearing | lest their case would sort to some pitiful successe.' 8 Will for inclination or desire. A rank will is a Instful inclination. 9 You shall discover whether he thinks his best means, his most powerful interest, is by the solicitation of your lady.' For she is ticklish as any haggard, 14 Jesses are short straps of leather tied about the foot of a hawk, by which she is held on the fist.-"The falconers always let fly the hawk against the wind; if she flies with the wind behind her, she seldom returns. If therefore a hawk was for any reason to be dismissed, she was let down the wind, and from that time shifted for herself and preyed at fortune.' This was told to Dr. Johnson by Mr. Clark. So in the Spanish Gipsie, 1653: That young lannerd (i. e. hawk) Whom you have such a mind to; if you can whistle her To come to fist, make trial, play the young falconer · 15 Men of intrigue. Chambering and wantonness are mentioned together in the Scriptures. Into the vale of years;-yet that's not much ;- For others' uses. Yet, 'tis the plague of great ones; If she be false, Ọ, then heaven mocks itself! How now, my dear Othello? Des. Why is your speech so faint? are you not Oth. I have a pain upon my forehead here. Let me but bind it hard, within this hour Oth. Your napkin is too little; Emil. I am glad I have found this napkin; To kiss, and talk to. I'll have the work ta'en out," What he'll do with it, heaven knows, not I; Enter IAGO. you. Lago. How now! what do you here alone? Iago. To have a foolish wife. 1 One of Sir John Harington's Epigrams will illustrate this forked plague :- 'Acteon guiltless unawares espying Was plagued with hornes; his dogs did him devoure; 3 The generous islanders' are the islanders of rank, distinction: generosi, Lat. This explanation however (as Steevens observes) may be too particular; for generous also signified valiant, of a brave spirit. 4 In the north of England this term for a handkerchief is still used. The word occurs in Macbeth, Julius Cæsar, and other of these plays. 5 That is, copied. Her first thoughts are to have a copy made of it for her hushand, and restore the original to Desdemona: but the sudden coming in of Iago, in a surly humour, makes her alter her resolution, to please him. The same phrase afterwards occurs between Cassio and Bianca, in Sc. iv. been so earnest To have me filch it? Why, what's that to you? Iago. Be not you known of't; I have use for it Burn like the mines of sulphur.-I did say so :8- Look, where he comes! Not poppy, nor mandra Nor all the drowsy syrups of the world, Oth. Ha! ha! false to me? Iago. Why, how now, general? no more of that. I swear, 'tis better to be much abus'd, Icgo. How now, my lord? Oth. What sense had I of her stolen hours of lust ?11 I saw it not, thought it not, it harm'd not me : apology to be admitted, as there is no reason why Emi- 6 That is, I being opportunely here, took it up. 7' Seem as if you knew nothing of the matter.' The folio reads, "Be not acknown on't.'-This word occurs in the Life of Ariosto, subjoined to Sir John Harington's translation of the Orlando Furioso, p. 418, ed. 1607: some say he was married to her privilie, but durst not be acknowne to it. Again, in Cornelia, a tragedy, by Thomas Kyd, 1594 :— Our friend's misfortune doth increase our own. 8 Iago first ruminates on the qualities of the passion which he is labouring to excite; and then proceeds to comment on its effects. 'Jealousy, (says he,) with the smallest operation on the blood, flames out with all the violence of sulphur,' &c. I did say so; look where Othello approaches, to confirm the propriety and justice of my observation.--Steevens. 9 The mandrake has a soporific quality, and the ancients used it when they wanted an opiate of the most powerful kind. See Antony and Cleopatra, Act. i. Sc. 6. 10 i. e. possessedst. i. e. I knew the least touch of such a passion would not "This scheme of getting the work of this valued permit the Moor a moment of repose-I have just said handkerchief copied, and restoring the original to Des-that jealousy is a restless commotion of the mind; and demona, was probably introduced by the poet to render Emilia less unamiable. It is remarkable that when she perceives Othello's fury on the loss of this token, though she is represented as affectionate to her mistress, she never attempts to relieve her from her distress; which she might easily have done by demanding the handkerchief from her husband, or divulging the story if he refused to restore it. But this would not have served the plot.-In Cinthio's Novel, while the artless Desdemona is caressing the child of Othello's ancient, the villain steals the handkerchief which hung at her girdle without the knowledge of his wife.'-Malone. This observation is very just; it is particularly striking in the representation; neither is the concluding 11 A similar passage to this, and what follows it, ia found in The Witch, by Middleton. In the same drama there is also a scene between Francisca and her brother Antonio, when she first excites his jealousy, which has several circumstances in common with the dialogue which passes between Iago and Othello on the same subject. It is more than probable that Middleton was the imitator. |