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By you invited, do attend your presence.
Oth. I am to blame.
Des. Faith, that's with watching ; 'twill away again :
[Lets fall her Napkin?. Let it alone. Come, I'll go in with you. Des. I am very sorry that you are not well.
[Exeunt Oth, and DES. Emil. I am glad I have found this napkin. This was her first remembrance from the Moor: My wayward husband hath a hundred times Woo'd me to steal it; but she so loves the token, (For he conjur'd her she should ever keep it) That she reserves it evermore about her, To kiss, and talk to. I'll have the work ta'en out", And give't Iago: what he will do with it, Heaven knows, not I; I nothing, but to please his fantasy*.
Iago. How now! what do you here alone ?
2 [Lets fall her Napkin.] We take this necessary stage-direction from a manuscript note in a hand-writing of the time, in the Duke of Devonshire's copy of the quarto, 1622. It is wanting in all the old editions.
3 I'll have the work TA’EN OUT,] “Ta'en out,” in the phraseology of the time, meant copied out, not picked out. So in Middleton's “ Women beware Women,"
“She intends To take out other works in a new sampler ;" a passage which the Rev. Mr. Dyce (Middleton's Works, vol. iv. p. 520) has not thought it necessary to illustrate, recollecting, perhaps, this line in “Othello." The expression occurs again afterwards.
4 I nothing, but to please his fantasy.) Thus the folio, and the quarto, 1630 : the quarto, 1622, reads, “ I nothing know, but for his fantasy."
Iago. A thing for me'?—it is a common thing.
Emil. 0! is that all? What will you give me now
Iago. Hast stolen it from her?
Emil. No, 'faith o: she let it drop by negligence;
A good wench; give it me.
Iago. Be not acknown on't?; I have use for it. Go; leave me.
[Exit EMILIA. I will in Cassio's lodging lose this napkin, And let him find it: trifles, light as air, Are to the jealous confirmations strong As proofs of holy writ. This may do something.
5 A thing for me?] The folio alone makes the line of twelve syllables, by reading, “ You have a thing for me? It is a common thing."
6 No, 'faith :) The Master of the Revels seems to have been capriciously scrupulous in this play : here, according to the folio, “'faith” was erased as an oath, and this is not the first time the circumstance has occurred : just before in this scene Desdemona was not allowed to say, “ 'Faith, that's with watching,” but, “ Why, that's with watching.” The manuscript from which the quarto, 1630, was printed must have been similarly castigated.
7 Be not ACKNOWN on't ;] So the folio : the quarto, 1630, has the word “acknown” also, but with the addition of " you," “ Be not you acknown on't.” The quarto, 1622, reads, “Be not you known on't." The meaning of course is, “ Be not acquainted with it-know nothing about it."
The Moor already changes with my poison 8:
Ha! ha! false to me? to me??
How now, my lord !
8 The Moor already changes with my poison :) This line, which is in the folio, and in the quarto, 1630, is not in the quarto, 1622.
9 – ACT upon the blood,] The quarto, 1622, alone reads art for “ act,” and in the next line, minds for “mines.”
1- nor MANDRAGORA,] The “mandragora,” or mandrake, has a soporific quality, and the ancients, says Steevens, used it when they wanted an opiate of the most powerful kind.
2 – to me?] This expressive repetition, “ to me?” is in the two quartos, but not in the folio. In the previous line, “ow’dst” is ownedst, a sense of the verb “owe" of which we have had so many previous examples, that it is unnecessary here to refer to them.
SI slept the next night well, was free and merry ;) So the perfect line stands in the quartos of 1622 and 1630 : the folio thrusts the words fed uell into the middle of it.
“I slept the next night well, fed well, was free and merry," a strange corruption, for which it is difficult to account, but continued in the later folios. In the first line of this speech the folio, 1623, has in for “ of," “What sense had I in her stolen hours of lust;" but, as we have several times remarked, the use of prepositions in the time of Shakespeare was much more arbitrary than at present. Both the quartos have “of.”
I found not Cassio's kisses on her lips:
Iago. I am sorry to hear this.
Oth. I bad been happy, if the general camp,
Iago. Is it possible?-My lord, —
Oth. Villain, be sure thou prove my love a whore; Be sure of it: give me the ocular proof,
[Seizing him by the Throat. Or, by the worth of mine eternal soul, Thou hadst been better have been born a dog, Than answer my wak'd wrath. Iago.
Is it come to this? Oth. Make me to see't; or, at the least, so prove it, That the probation bear no hinge, nor loop, To hang a doubt on, or woe upon thy life!
Iago. My noble lord,• Farewell the plumed TROOP,] Thus the quartos, 1622 and 1630 : the folio “plumed troops."
5 — whose RUDE throats) The two quartos read “ wide throats," which may possibly be considered the better epithet; and in the next line great for “ dread:" great is of course not to be preferred, and we follow the folio in both places.
6 - of mine eternal soul ;] The folio has “mine," the quarto, 1630, my: the quarto, 1622, “ man's eternal soul.” Boswell says, that a quarto (he does not give the date of it) in the next line but one reads, “ Than answer man's wak'd wrath.” This is probably a mistake, as no quarto we have ever seen has such a variation from the received text.
Oth. If thou dost slander her, and torture me,
O grace! O heaven defend me?!
Oth. Nay, stay.—Thou shouldst be honest.
Iago. I should be wise ; for honesty's a fool,
By the world,
Iago. I see, sir, you are eaten up with passion':
Would ! nay, I will.
7-0 heaven defend me !) The folio poorly substitutes “forgire me" for “ defend me,” of both the quartos. Three lines lower, it misprints loo'st for “liv’st,” which last is equally authorized.
& By the world,] This speech is not in the quarto, 1622 : our text is that of the quarto, 1630, which agrees with the folio, excepting that the former corrects an error of the latter by reading “ her name" for “ my name.”
9 I see, sir, you are eaten up with passion :) The folio omits “sir," neces. sary to the regular construction of the line. Two lines lower it reads, “nay, and I will,” obviously a syllable too much,