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to seek you.
How is it, brother?
Marry, heaven forbid !
Bian. O my dear Cassio! my sweet Cassio!
Iago. Lend me a garter : So.--0, for a chair,
Bian. Alas, he faints :-O Cassio! Cassio ! Cassio !
Iago. Gentlemen all, I do suspect this trash
dear countryman, Roderigo ? no :-Yes, sure ; O heaven! Roderigo.
Gra. What, of Venice?
Know him ? ay.
I am glad to see you.
[A Chair brought in.
Some good man bear him carefully from hence;
[To BIANCA. Saveyou your labour. He that lies slain here, Cassio, Was my dear friend: What malice was between you?
Cas: None in the world ; nor do I know the man. Iago. [To Bian.] What, look you pale 2-0, bear him out o’the air.
[Cassio and Rod. are borne off. Stay you, good gentlemen :-Look you pale, mis
tress ? Do you perceive the gastness of her eye? Nay, if you stare, we shall hear more anon :Behold her well; I pray you, look upon her; Do you see, gentlemen ? nay, guiltiness will speak, Though tongues were out of use.
Enter EMILIA. Emil. 'Las, what's the matter ; what's the matter,
husband Iago. Cassio hath here been set on in the dark, By Roderigo, and fellows that are scap'd ; He's almost slain, and Roderigo dead.
Emil. Alas, good gentleman! alas, good Cassio! Iago. This is the fruit of whoring.–Pr’ythee,
Emilia, Go know of Cassio where he supp'd to-night : What, do you shake at that? Bian. He supp'd at my house; but I therefore
shake not. Iago. O, did he so? I charge you, go with me. Emil. Fye, fye upon thee, strumpet!
Bian. I am no strumpet ; but of life as honest, As you that thus abuse me. · Emil.
As I? foh! fye upon thee! Jago. Kind gentlemen, let's go see poor Cassio
Come, mistress, you must tell us another tale.
A Bedchamber : DESDEMONA in bed asleep. A
Enter OTHELLO. Oth. It is the cause, it is the cause, my soul, Let me not name it to you, you chaste stars ! It is the cause. Yet I'll not shed her blood; Nor scar that whiter skin of hers than snow, And smooth as monumental alabaster.
[Takes off his Sword. Yet she must die, else she'll betray more men. Put out the light, and then put out the light:
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
'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.
If I quench thee, thou flaming minister,
thy rose, I cannot give it vital growth again, It needs must wither: -I'll smell it on the tree.
Des. Who's there? Othello?
Ay, my lord. Oth. If you bethink yourself of any crime Unreconcil'd as yet to heaven and grace, Solicit for it straight.
Des. Alas, my lord, what may you mean by that?
Oth. Well, do it, and be brief; I will walk by : I would not kill thy unprepared spirit;
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.