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Emil. She give it Cassio ! no, alas; I found it,
Filth, thou liest.
[Iago stabs EMILIA, then runs out. Oth.
Are there no stones in heaven, But what serve for the thunder?u_Precious villain!
Gra. The woman falls; sure, he has kill'd his wife.
[Exeunt MONTANO and GRATIANO. Oth.
I am not valiant neither,
Emil. What did thy song bode, lady?
Gra. [within.] If thou attempt it, it will cost thee dear; Thou hast no weapon, and perforce must suffer.
Oth. Look in upon me then, and speak with me, Or, naked as I am, I will assault thee.
Are there no stones in heaven,
But what serve for the thunder ?] i.e. Does heaven reserve its thunder only make a noise? has it no implements of mischief to punish as well as terrify? -STEEVENS.
the ice-brook's temper ;-] Steel is hardened by being put red-hot into very cold water.- Jounson. Pope and Blackstone read, “ Ebro's temper." The waters of the Ebro being famous for tempering steel.
Gra. What is the matter?
Behold! I have a weapon;
Enter Lodovico, MONTANO, CASSIO, carried in a Chair,
and Officers, with Iago, prisoner. Lod. Where is this rash and most unfortunate man? Oth. That's he, that was Othello; here I am. Lod. Where is that viper? bring the villain forth.
Oth. I look down towards his feet;--but that's a fable: If that thou be'st a devil, I cannot kill thee.
[OTHELLO wounds Iago. Lod. Wrench his sword from him.
wench!]_Originally signified only a young woman.
towards his feet ;] To see if, according to the common opinion, his feet be cloven.- Johnson.
I bleed, sir; but not kill'd.
Lod. O thou Othello, that was once so good,
Why, any thing :
Lod. This wretch hath part confess'd his villainy:
and he consent in Cassio's death? Oth. Ay. Cas. Dear general, I never gave you cause.
Oth. I do believe it, and I ask your pardon. Will you, I pray you, demand that demi-devil, Why he hath thús ensnar'd my soul and body? Iago. Demand me nothing: What you know, you
Lod. What? not to pray?
Torments will ope your lips. Oth. Well, thou dost best.
Lod. Sir, you shall understand what hath befall'n,
Oth. O villain !
Most heathenish, and most gross!
O the pernicious caitiff!How came you, Cassio, by that handkerchief That was my wife's ?
practice--] i.e. Snare, stratagem.
I found it in my chamber:
O fool! fool! fool!
Lod. You must forsake this room, and go with us;
Oth. Soft you; a word or two, before you go.
* Like the base Judean, &c.] Shakspeare seems to allude to Herod in the play of Marianne:
“I had but one inestimable jewel-
Beat a Venetian, and traduc'd the state,
[Stabs himself Lod. O bloody period ! Gra.
All, that's spoke, is marr’d. Oth. I kiss'd thee, ere I kill'd thee;--No way but this,
[Falling upon DESDEMONA. Killing myself, to die upon a kiss.
[Dies. Cas. This did I fear, but thought he had no weapon; For he was great of heart. Lod.
O Spartan dog, More fell than anguish, hunger, or the sea ! Look on the tragic loading of this bed; [To Iago. This is thy work : the object poisons sight;Let it be hid.—Gratiano, keep the house, And seize upon the fortunes of the Moor, For they succeed to you.—To you, lord governor, Remains the censure of this hellish villain; The time, the place, the torture,— enforce it! Myself will straight aboard; and, to the state, This heavy act with heavy heart relate. [Exeunt.
0 0 Spartan dog,] The dogs of Spartan race were reckoned among those of the most fierce and savage kind.--HANMER.
censurem] i.e. Sentence. The beauties of this play impress themselves so strongly upon the attention of the reader, that they can draw no aid from critical illustration. The fiery openness of Othello, magnanimous, artless, and credulous, boundless in his confidence, ardent in his affection, inflexible in his resolution, and obdurate in his revenge ; the cool malignity of Iago, silent in his resentment, subtle in his designs, and studious at once of his interest and his vengeance; the soft simplicity of Desdemona, confident of merit, and conscious of innocence, her artless. perseverance in her suit, and her slowness to suspect that she can be suspected, are such proofs of Shakspeare's skill in human nature, as, I
suppose, it is vain to seek in any modern writer. The gradual progress which lago makes in the Moor's conviction, and the circumstances which he employs to enflame him, are so artfully natural, that, though it will perhaps not be said of him as he says of himself, that he is a man not easily jealous, yet we cannot but pity him, when at last we find him perplexed in the extreme.
There is always danger, lest wickedness, conjoined with abilities, should steal upon esteem, though it misses of approbation; but the character of Iago is so conducted, that he is from the first scene to the last hated and despised.
Even the inferior characters of this play would be very conspicuous in any other piece, not only for their justness, but their strength. Cassio is brave, benevolent, and honest; ruined only by his want of stubbornness to resist an insidious invitation. Roderigo's suspicious credulity, and impatient submission to the cheats which he sees practised upon him, and which by persuasion he suffers to be repeated, exhibit a strong picture of a weak mind betrayed by unlawful