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Des. My fear interprets then.- What, is he dead ?
Def. Alas, he is betray'd, and I undone.
[He smothers ber. Æmilia without the door. Æmil. My lord, my lord! What ho! my lord,
Oth. What noise is this? Not dead ? not yet quite
I Had all his hairs been lives, -] This thought appears to have been very common, as it occurs frequently in dramatic performances prior to Shakespeare's Othello. So in the Devil's Charter, by Barnaby Barnes, 1607.
• Know Caiar, had I now as many lives
“ I would,” &c. STEVENS. " It is too late.] After this speech of Otheil, the elder quarto adds an invocation from Desdemona, confisting only of a sacred name, thrice repeated. As this muit be supposed .o. have been uttered while the is yet struggling with death, I think an editor may fairly be excused from inserting such a circumstance of supererogatory horror, especially as it is found in but one of the old copies. Steevens.
This alteration was probably made by the author, in consequence of a statute of the 21st of James I. to reform prophand eurfing and swearing. HAWKINS.
T H E L
Oth. Yes~'tis Æmilia.-By and by. She's dead.
, sure, speak to my wife :-
I may speak with you. . Oh, good my lord !
Oth. I had forgot thee; oh, come in, Æmilia. Soft.-By and by. Let me the curtains draw. Where art thou? What's the matter with thee now?
(Unlocks tbe door.
Æmil. Oh, my good lord, yonder foul murder's
Oth. It is the very error of the moon;
Æmil. Caffio, my lord, hath kill'd
Otb. Roderigo kill'd? and Cassio kill'd ?
Def. : Oh falsiy, fally murderd !
Æmil. Out, and alas ! that was my lady's voice. Help!
help, ho! help! oh lady, speak again! Sweet Desdemona! oh sweet mistress, speak!
Des. A guiltless death I die.
Des. No body; I myself; farewell :
Oth. Why, how should she be murder'd ?
Oth. She's like a liar gone to burning hell; 'Twas I that kill'd her.
Æmil. Oh, the more angel she, And you the blacker devil.
Oib. She turn’d to folly, and she was a whore.
Æmil, Thou art rafh as fire, to say
Oth. Cassio did tup her; ask thy husband else:
* Ob falsly, fallly murder'd!] If Othello's only attempt on the life of Desdemona was by smothering her, and the inftrument of suffocation was removed before her breath was entirely suppressed, she might speak again (as she does) and afterwards recover. But the represents herself as murder'd, and the means he took to destroy her, prove effe&ual in her death. I suspect that some play-house direction has been omitted ; and that when he says,
I would not bave thee linger in thy pain.
So, fo. He then tabs her, repeating the two laft words, as he repeats the blow. So Virgil :
fic, fic, juvat ire sub umbras.” Steevens. 3 — falfe as water. As water that will support no weight, Ros keep any impresion. Johnson.
But that I did proceed upon just grounds
Æmil. My husband ?
Oth. Ay, with Caffio. Had she been true,
Æmil. My husband ?
Oth. Ay, 'twas he that told me first; An honest man he is, and hates the slime That sticks on filthy deeds.
Æmil. My husband ?
Oth. What needs this iteration, woman? I say, thy husband. [Æmil
. Oh mistress ! 4 villainy has made mocks
Oth. He, woman;
Æinil. If he say so, may his pernicious soul
Æmil. Do thy' worst.
Oth. Peace, you were best.
4.-villciny kas made mocks with love.] Villainy has taken advantage to play upon the weakness of a violent passion.
JOHNSON. :3 Tucu haft net half that pozver to do me harm,
As I kave to be hurt. -] Power for will : for will fignifying both ability and inclination, and power signifying
As ignorant as dirt ! thou hast done a deed -
Enter Montano, Gratiano, Iago, and others.
well, That men must lay their murders on your neck.
Gra. What is the matter?
Æmil. Disprove this, villain, if thou be’st a man; He says, thou toldst him that his wife was false: I know, thou didit not; thou’rt not such a villain. Speak, for my heart is full.
Iago. I told him what I thought; and told no more Than what he found himself was apt and true.
Æmil. But did you ever tell him she was falle?
Æmil. You told a lie; an odious, damned lie :
Æmil. ability, he uses power for inclination. But the Oxford Editor; not underftanding his author's phraseology any better when he had ended than when he had begun with him, alters, As I have to be hurt, to, As I have to bear hurt : which yet does not mend the matter, had the poet here used power in the sense of ability,
WARBURTON. The Oxford Editor faw well the meaning of his author, but weakened his expresion. She means to say, I have in this çauje power to endure more than thou haft power to inflict.
JOHNSON. 6-charm your tongue ) I know not whether I have read, or whether my own thoughts have suggested, an alteration of this paffage. It seems to me not improbable, that Shakeipeare wrote clam your tongue ; to chim a bell, is to cover the clapper with felt, which drowns the blow, and hinders the found.
6 charm your