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out of your lieutenantry, it had been better you had not kissed your three fingers so oft, which now again you are most apt to play the sir in. Very good; well kissed! an excellent courtesy! 'tis so indeed. Yet again your fingers to your lips? would, they were clyster-pipes for your sake.—[A trumpet heard.] The Moor! I know his trumpet.

Cas. "Tis truly so.
Des. Let's meet him, and receive him.
Cas. Lo, where he comes !

Enter OTHELLO, and Attendants.
Oth. O, my fair warrior!

My dear Othello!
Oth. It gives me wonder great as my content,
To see you here before me. O, my soul's joy!
If after every tempest come such calms*,
May the winds blow, till they have waken’d death;
And let the labouring bark climb hills of seas,
Olympus-high, and duck again as low
As hell's from heaven! If it were now to die,
"Twere now to be most happy; for, I fear,
My soul hath her content so absolute,
That not another comfort like to this
Succeeds in unknown fate.

The heavens forbid,
But that our loves and comforts should increase,
Even as our days do grow!

Amen to that, sweet powers -
I cannot speak enough of this content;
It stops me here; it is too much of joy:
And this, and this, the greatest discords be,

[Kissing her. That e'er our hearts shall make! Iago.

[Aside.] 0! you are well tun'd now; 8 - come such Calms,] The quartos have calmness. In Othello's next speech, the quarto, 1622, alone has "sweet pourer.”

But I'll set down the pegs that make this music,
As honest as I am.

Come, let us to the castle.-
News, friends; our wars are done, the Turks are

drown'd. How does my old acquaintance of this isle'?— Honey, you shall be well desir'd in Cyprus, I have found great love amongst them. O my sweet, I prattle out of fashion, and I dote In mine own comforts.—I pr’ythee, good Iago, Go to the bay, and disembark my coffers. Bring thou the master to the citadel : He is a good one, and his worthiness Does challenge much respect.—Come, Desdemona, Once more well met at Cyprus.

[Exeunt OTHELLO, DESDEMONA, and Attendants. Iago. Do thou meet me presently at the harbour.Come hither?.-If thou be'st valiant- as they say base men, being in love, have then a nobility in their natures more than is native to them,- list me. The lieutenant to-night watches on the court of guard'.—First, I must tell thee this—Desdemona is directly in love with him.

Rod. With him! why, 'tis not possible. .

Iago. Lay thy finger—thus, and let thy soul be instructed. Mark me with what violence she first loved the Moor, but for bragging, and telling her fantastical lies; and will she love him still for prating 3? let not

9 How does my old acquaintance of this isle ?-) So the folio and the quarto, 1630 : the quarto, 1622, “How do our old acquaintance of the isle ?"

i Come hither.) So the quartos, 1622, and 1630 : the folio “Come thither.Roderigo, in his foolish haste, was probably starting off to meet Iago, before Iago was himself gone, when he was impatiently recalled by “Come hither.” lago had already told him to meet him at the harbour, so that the repetition “Come thither” was needless. Afterwards Iago changes his mind, and tells Roderigo to meet him at the citadel,

2 — the court of guard :) i. e. the place where the guard was mustered. According to Harl. MS. No. 581, an order was made by Parliament on Oct. 22, 1642, for the erection of houses for “ Courts of Guard,” together with posts, bars, and chains, in the parish of St. Margaret, Westminster.

3 -- and will she love him still for prating?] So both the quartos : the folio, incoherently, “To love him still for prating.”

thy discreet heart think it. Her eye must be fed; and what delight shall she have to look on the devil? When the blood is made dull with the act of sport, there should be,—again to inflame it', and to give satiety a fresh appetite,—loveliness in favour, sympathy in years, manners, and beauties; all which the Moor is defective in. Now, for want of these required conveniences, ber delicate tenderness will find itself abused, begin to heave the gorge, disrelish and abhor the Moor; very nature will instruct her in it, and compel her to some second choice. Now, sir, this granted, (as it is a most pregnant and unforced position) who stands so eminentlys in the degree of this fortune, as Cassio does? a knave very voluble; no farther conscionable, than in putting on the mere form of civil and humane seemingo, for the better compassing of his salt and most hidden loose affection ? why, none; why, none?: a subtle slippery knave; a finder out of occasions; that has an eye can stamp and counterfeit advantages, though true advantage never present itself: a devilish knave! besides, the knave is handsome, young, and hath all those requisites in him, that folly and green minds look after; a pestilent complete knave, and the woman hath found him already.

Rod. I cannot believe that in her: she is full of most blessed condition.

Iago. Blessed fig's end! the wine she drinks is made of grapes: if she had been blessed, she would never have loved the Moor: bless'd pudding!! Didst thou

o – again to inflame it,] So the quarto, 1622, and no doubt rightly : the folio, and the quarto, 1630, read, “ a game to inflame it."

5 — who stands so EMINENTLY] The two quartos have “eminently," the folio eminent. 6 --- and humane seeming,] The quarto, 1622, alone reads "hand-seeming.

7- why, none; why, none :) These words are only in the folio : the quarto, 1622, just above reads, “his salt and hidden affections." Both quartos have “a subtle slippery knave” for “ a slipper and subtle knave" of the folio.

8 - Bless'd pudding! Not in either quarto. At the end of the speech “ didst not mark that?” is in the quarto, 1630, as well as in the folio, but not in the quarto, 1622.

not see her paddle with the palm of his hand ? didst not mark that?

Rod. Yes, that I did; but that was but courtesy.

Iago. Lechery, by this hand; an index, and obscure prologueo to the history of lust and foul thoughts. They met so near with their lips, that their breaths embraced together. Villainous thoughts, Roderigo ! when these mutualities' so marshal the way, hard at hand comes the master and main exercise, the incorporate conclusion. Pish But, sir, be you ruled by me: I have brought you from Venice. Watch you to-night; for the command, I'll lay't upon you : Cassio knows you not :-I'll not be far from you : do you find some occasion to anger Cassio, either by speaking too loud, or tainting his discipline; or from what other course you please, which the time shall more favourably minister.

Rod. Well.

Iago. Sir, he is rash, and very sudden in choler, and, haply, with his truncheon may strike at you : provoke him, that he may; for even out of that will I cause these of Cyprus 'to mutiny, whose qualification shall come into no true taste again, but by the displanting of Cassio. So shall you have a shorter journey to your desires, by the means I shall then bave to prefer them; and the impediment most profitably removed, without the which there were no expectation of our prosperity.

Rod. I will do this, if I can bring it to any opportunity.

Iago. I warrant thee. Meet me by and by at the citadel : I must fetch his necessaries ashore. Farewell. Rod. Adieu.

[Exit. Iago. That Cassio loves her, I do well believe it; 9 - an index and OBSCURE prologue -] Respecting “index," see this Vol. p. 287. The quarto, 1622, omits “obscure ;” and “ villainous thoughts ” lower down.

I – when these mutualities] The folio misprints it mutabilities, and in Iago's next speech it omits “ with his truncheon."

That she loves him, 'tis apt, and of great credit:
The Moor-howbeit that I endure bim not, -
Is of a constant, loving, noble nature;
And, I dare think, he'll prove to Desdemona
A most dear husband. Now, I do love her too;
Not out of absolute lust, (though, peradventure,
I stand accountant for as great a sin)
But partly led to diet my revenge,
For that I do suspect the lustful Moor?
Hath leap'd into my seat; the thought whereof
Doth like a poisonous mineral gnaw my inwards,
And nothing can, or shall, content my soul,
Till I am even’d with him?, wife for wife;
Or, failing so, yet that I put the Moor
At least into a jealousy so strong
That judgment cannot cure. Which thing to do,–
If this poor trash of Venice, whom I trace*
For his quick hunting, stand the putting on,-
I'll have our Michael Cassio on the hip;
Abuse him to the Moor in the rank garb”, —
For I fear Cassio with my night-cap too ;-
Make the Moor thank me, love me, and reward me,
For making him egregiously an ass,
And practising upon his peace and quiet,
Even to madness. 'Tis here, but yet confus'd :
Knavery's plain face is never seen, till us’d. [Exit.

2 — the Lustful Moor-) So both the quartos : the folio, lusty.

3 Till I am ever'd with him,-] “ Even'd” is the reading of the folio and of the quarto, 1630 : the quarto, 1622, even.

+ If this poor trash of Venice, whom I TRACE] That this reading of the folio is right we have the evidence of the quarto, 1630: the quarto, 1622, has crush for " trace.” Warburton, with some plausibility, would alter “trash” to brach, which means (see Vol. iii. p. 108 ; Vol. iv. p. 288 ; Vol. vi. p. 44) a dog, but as we find “trash” in two of the old copies (not printed from each other) we may presume that it is to be taken to refer to the worthlessness of Roderigo. “Trace" seems used to indicate some species of confinement (like a trace applied to horses) in order to keep back a dog which was too quick in hunting. Malone substituted trash for “ trace" without any authority, though it is to be admitted that, according to some examples which he produces, it has a not very dissimilar meaning.

5 – in the rank garb,–] So both the quartos : the folio,“ the right garb.”

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