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Æmil. I will not charm my tongue; I am bound
All. Oh heavens forefend !
Æmil. Villainy, villainy, villainy !
home. Æmil. Good gentlemen, let me have leave to speak. 'Tis proper I obey him, but not now:Perchance, Iago, I will ne'er go home.
Otb. Oh! Oh! oh! [Othello looking on bis wife.
Æmil. Nay, lay thee down and roar;
[Rising I scarce did know you, uncle. There lies your niece, Whole breath, indeed, these hands have newly stopp'd. I know this act shews horrible and grim.
Gra. Poor Desdemona! I am glad thy father's dead: Thy match was mortal to him;
and pure grief Shore his old thread in twain. Did he live now,
charm your tongue.] By this expression, Charm your tongue, the poet meant no more than to make Iago say, Apply fome power, strong as a charm would be, to your tongue; for nothing less can stop its volubility. So Henry VI. Part 3. “ Peace, wilful boy, or I will charm
pour tongue." Spenser uses the same expression :
" That well could charm bis tongue, and time his speech.” So Ben Jonson, in Cynthia's Revels :
charm your kipping tongue.” Again, in The New Inn :
-clip the wings of time, " Or make him stand still with a charm." STIEVENS.
This fight would make him do a desperate turn;
Oth. 'Tis pitiful : but yet Iago knows,
? A thousand times committed. This is another passage which seems to suppofe a longer space comprised in the action of this play than the scenes include. JOHNSON.
That she with Casio had the act of flume
A thousand times committed. And page 461.
'Tis not a gear or two snews us a man.) I cannot suppose, from these passages, that a longer space is comprised in the action of this play than the scenes include.
What Othello mentions in the first instance, might have pass’d still more often, before they were married, when Callio went between them ; for the, who could find means to elude the vigilance of her father in respect of Othello, might have done so in respect of Cassio, when there was time enough for the thing fupposed, to have happened. A jealous person will aggravate all he thinks, or speaks of; and might use a thousand for a much less number, only to give weight to his accusation : nor would it have answered any purpose to have made Othello a little nearer or further off from truth in his calculation. We might apply the poet's own words in Cymbeline :
-Spare your arithmetic “ Once, and a million." The latter is a proverbial expression, and might have been introduced with propriety, had they been married only a day or two. Æmilia's reply means no more than, “ that is too “ foon to judge of her huiband's disposition, or that she must “ not be surprized at the discovery of his jealousy, for it is “ not even a year or two that will display all the failings of « a man." STEEVENS.
* It was an bandkerchief, &c.) Othello tells his wife, Ad 3. Ss. 10.
Æmil. Oh heaven! oh heavenly powers !
Iago. Be wise, and get you home.
thou speak'st of,
Iago. Villainous whore !
Æmil. She give it Casio !-alas, I found it,
Æmil. By heaven, I do not; I do not, gentlemen.
[Iago stabs his wife, then runs out.
And here he says,
It was an handkerchief,
My father gave my mother. This lait pasage has been censured as an oversight in the poet; but perhaps it exhibits only a fresh proof of his art. The first account of the handkerchief, as given by Othello, was purposely oftentatious, in order to alarm his wife the more. When he mentions it a second time, the truth was sufficient for his purpose.
This circumstance of the handkerchief is ridiculed by B. Jonfon, in his Poetasier—" you shall see me do the Moor; matter, lend me your scarf.” STEEVENS.
-as the north ;] The old quarto reads, I'll be in speaking liberal as the air. STEEVENS. ? Are there !0 ftones in heaven, BUT WHAT SERVE For the thunder ?] What occasion for
Gra. The woman falls ; sure, he has kill'd his
wife. Æmil. Ay, ay: oh, lay me by my mistress' fide. Gra. He's gone ; but his wife's kill'd.
Mon. 'Tis a notorious villain. Take this weapon,
Oth. I am not valiant neither ;
. [Æmil. What did thy song bode, lady? Hark, can'st thou hear me? I will play the swan, And die in musick.] Willow, willow, willow.
other, when those would serve his purpose? For he wanted a thunderbolt for lago. Without question, Shakespeare wrote and pointed the line thus :
Are there no stones in heaven?
FOR WHAT THEN SIRVEs the thunder? i. e., Are there no holts in heaven for this villain? for what purpose then serves the thunder, that instrument of his vengeance ?
WARBURTON. Are there no stones in heaven,
But quhat serve for the thunder ?-] This emendation of Dr. Warburton's is surely unnecessary. Othello does not want a thunderbolt for Tago.
He only asks, if there are no lesser degrees of chasisement more proportioned to the guilt of mortals, ready to drop down on such villains as Iago, though Omnipotence withholds its thuler, as too noble an inftrument for the punishment of crimes like bis ? The same thought occurs in The Revenger's Tragedy, 1609.
" Is there no thunder left ? or is’t kept up
• In stock, for heavier vengeance?” Shakespeare might however mean, does heaven reserve its thunder only to make a noise ? has it no impleinents of mischief to punish as well as terrify?
-quum fulmina torques
Moor, she was chaste, she lov'd thee, cruel Moor:
Oth. I have another weapon in this chamber ;
Gra. [within.] If thou attempt it, it will cost thee
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.
Gra. What is the matter?
Oth. Behold! I have a weapon :
2-the ice-brook's temper ;] In the first edition it is, Ifebrake's temper. Thence corrupted to Ice-brook's.--Ebro's temper; the waters of that river of Spain are particularly famous for tempering of steel. The finest arms in the world are the Catalo. nian fufees. Pope.
I believe the old reading changed to ice-brook is right. Steel is hardened by being put red hot into very cold water.