As Bian. He supp'd at my house; but I therefore shake not. Iago. O, did he so? I charge you, go with me. Bian. I am no strumpet; but of life as honest, Emil. As I? foh! fye upon thee! Iago. Kind gentlemen, let's go see poor Cassio dress'd : Come, mistress, you must tell us another tale. And tell my lord and lady what has happ'd.· SCENE II. A Bedchamber: DESDEMONA in bed, asleep. A Light burning. Enter OTHELLO. Oth. It is the cause, it is the cause, my soul, - [Takes off his Sword. 8 — or fordoes me quite.] To fordo, is to undo, to ruin, to destroy. 9 It is the cause, it is the cause, my soul, Let me not name it-] The abruptness of this soliloquy makes it obscure. The meaning, I think, is this: I am here (says Othello in his mind) overwhelmed with horror. What is the reason of this perturbation? Is it want of resolution to do justice? Is it the dread of shedding blood? No; it is not the action that shocks me, but it is the cause, it is the cause, my soul; let me not name it to you, ye chaste stars! it is the cause. JOHNSON. Yet she must die, else she'll betray more men. Should I repent me :- but once put out thine, rose, When I have pluck'd thy I cannot give it vital growth again, It needs must wither:- I'll smell it on the tree. [Kissing her. O balmy breath, that dost almost persuade So sweet was ne'er so fatal. I must weep, But they are cruel tears: This sorrow's heavenly; It strikes, where it doth love. Des. Who's there? Othello? Oth. She wakes Ay, Desdemona. Des. Will you come to bed, my lord? Ay, my lord. Oth. If you bethink yourself of any crime 1 Put out the light, and then put out the light:] This is one of the passages in which, by a modern regulation, our poet's words have obtained a meaning, which in my opinion was not in his thoughts. Mr. Upton was the first person who introduced the conceit in this line, which has been adopted since his book appeared, by pointing it thus: Put out the light, and then Put out the light! &c. I entirely agree with Dr. Farmer, that this regulation gives a spirit to this passage that was not intended. The poet, I think, meant merely to say, "I will now put out the lighted taper which I hold, and then put out the light of life;" and this introduces his subsequent reflection and comparison, just as aptly, as supposing the latter words of the line to be used in the same sense as in the beginning of it, which cannot be done without destroying that equivoque and play of words of which Shakspeare was so fond. MALONE. Unreconcil❜d as yet to heaven and grace, Des. Alas, my lord, what may you mean by that? I would not kill thy unprepared spirit; No, Heaven forefend. Des. Talk you of killing? Oth. Des. Have mercy on me! Oth. I would not kill thy soul.2 Amen, with all my heart! Des. If you say so, I hope you will not kill me. Des. And yet I fear you; for you are fatal then, Des. They are loves I bear to you. Oth. Ay, and for that thou diest. Des. That death's unnatural, that kills for loving. Alas, why gnaw you so your nether lip? Some bloody passion shakes your very frame: These are portents; but yet, I hope, I hope, They do not point on me. Oth. Peace, and be still! Des. I will so: What's the matter? Oth. That handkerchief, which I so lov'd, and gave Take heed of perjury; thou'rt on thy death-bed. 2 I would not kill thy soul.] Othello appears to have been a favourite of his author; for he has bestowed on him that piety which he had refused to Hamlet. Oth. Yes, presently: Therefore confess thee freely of thy sin; For to deny each article with oath, Cannot remove, nor choke, the strong conception, Des. Then, Lord have mercy on me! Oth. I say, amen. Des. And have you mercy too! I never did Offend you in my life; never lov'd Cassio, But with such general warranty of heaven As I might love: I never gave him token. Oth. By heaven, I saw my handkerchief in his hand. A murder, which I thought a sacrifice: 3 Des. He found it then; I never gave it him :- Send for him hither, Honest Iago hath ta'en order for't. 4 Des. My fear interprets then, What, is he dead? Oth. Had all his hairs been lives, my great revenge Had stomach for them all. Des. Alas! he is betray'd, and I undone. 3 A murder, which I thought a sacrifice:] This line is difficult. Thou hast hardened my heart, and makest me kill thee with the rage of a murderer, when I thought to have sacrificed thee to justice with the calmness of a priest striking a victim. I am glad that I have ended my revisal of this dreadful scene. It is not to be endured. JOHNSON. 4 hath ta'en order for't.] i. e. has taken measures. Oth Out, strumpet! Weep'st thou for him to my face? Des. O, banish me, my lord, but kill me not. Oth. Down, strumpet! Des. Kill me to-morrow, let me live to-night, Emil. [within.] My lord, my lord! what ho! my lord! my lord! Oth. What noise is this? Not dead! not yet quite dead ? I, that am cruel, am yet merciful; I would not have thee linger in thy pain. So, so, Emil. [within.] What ho, my lord! my lord! Oth. Yes;-'tis Emilia :- by and by. She's dead. 'Tis like she comes to speak of Cassio's death; The noise was high.-Ha! no more moving? 5 It is too late.] After this speech of Othello, the elder quarto adds an invocation from Desdemona, consisting only of the sacred name thrice repeated. As this must be supposed to have been uttered while she is yet struggling with death, an editor may be excused from inserting such a circumstance of supererogatory horror, especially as it is found in but one of the ancient copies. This alteration was probably made in coñsequence of the statute of the 3d of James I. c. 21. which lays a penalty for the profane use of the name of God, &c. in stage-plays, interludes, May-games, &c. Such a statute was necessary; for not only the ancient moralities, but the plays (those of Chapman in particular) abound; with the most wanton and shocking repetitions of a name which never ought to be mentioned in such an irreverend manner on the stage. |