+ Oth. Had it pleased Heaven Yet could I bear that too; well, very well: The fountain from the which my current runs, Or keep it as a cistern, for foul toads To knot and gender in!-Turn thy complexion there! 2 Des. I hope my noble lord esteems me honest. Oth. O, ay; as summer flies are in the shambles, That quicken even with blowing. O thou weed,3 Who art so lovely fair, and smell'st so sweet, That the sense aches at thee.-'Would thou hadst Des. Alas, what ignorant sin have I committed? 1 Rowe reads "the hand of scorn," a satisfactory emendation; and it is to be wished that there was sufficient authority to admit it into the text. Steevens thinks the old reading right, saying, that Othello takes his idea from a clock. The folio reads and moving instead of unmoving; but the reading adopted in the text is probably correct, and the meaning seems to be, that the finger of scorn never moves from, or ceases to point at its object. 2 "At such an object do thou, patience, thyself change color; at this do thou, even thou, rosy cherub as thou art, look grim as hell." The old copies have, "I here look grim as hell." I was written for ay; and here was an evident error of the press for there. Theobald made the correction. 3 The quarto reads: แ "O thou black weed, why art so lovely fair? Thou smell'st so sweet, that the sense aches at thee." Made to write whore upon? What committed!1 Is hushed within the hollow mine of earth, And will not hear it. Impudent strumpet! What committed! By Heaven, you do me wrong. Oth. Are not you a strumpet? No, as I am a Christian. If to preserve this vessel for my lord,2 Oth. Is it possible? Des. O Heaven, forgive us! Oth. No, as I shall be saved. I cry you mercy, then; I took you for that cunning whore of Venice, Re-enter EMILIA. That have the office opposite to saint Peter, pains; I pray you, turn the key, and keep our counsel. [Exit. Emil. Alas, what does this gentleman conceive? How do you, madam? how do you, my good lady? Des. 'Faith, half asleep. Emil. Good madam, what's the matter with my lord? Des. With who? This and the three following lines are not in the first quarto. 2 This expression is from Sacred Writ:-"To possess his vessel in sanctification." Emil. Why, with my lord, madam. Des. Who is thy lord?1 Emil. He that is yours, sweet lady. Des. I have none. Do not talk to me, Emilia; I cannot weep; nor answer I have none, But what should go by water. 'Pr'ythee, to-night Lay on my bed my wedding-sheets,-remember;And call thy husband hither. Emil. Here is a change indeed! [Exit. Des. 'Tis meet I should be used so, very meet. How have I been behaved, that he might stick The small'st opinion on my great'st abuse?? Re-enter EMILIA, with IAGO. Iago. What is your pleasure, madam? How is it with you? Des. I cannot tell. Those that do teach young babes, Do it with gentle means, and easy tasks. He might have chid me so; for, in good faith, I am a child to chiding. Iago. What's the matter, lady? Emil. Alas, Iago, my lord hath so bewhored her, Thrown such despite and heavy terms upon her, As true hearts cannot bear. Des. Am I that name, Iago? Iago. What name, fair lady? Des. Such as she says my lord did say I was. Emil He called her whore; a beggar in his drink Could not have laid such terms upon his callet.3 Iago. Why did he so? Des. I do not know; I am sure, I am none such. Iago. Do not weep, do not weep. Alas, the day! Emil. Has she forsook so many noble matches, 1 This and the following speech are not in the quarto. 2 This is the reading of the quarto; which Dr. Johnson thought preferable to the reading of the folio-on my least misuse. 3A callet is a trull, a drab. The word is of great antiquity in the English language. VOL. VII. + Her father and her country, and her friends, To be called-whore? would it not make one weep? Iago. How comes this trick upon him? Beshrew him for it! Des. Some cogging, cozening slave, to get some office, bones! Why should he call her-whore? who keeps her What place? what time? what form? what likelihood? To lash the rascal naked through the world, Iago. Speak within door.3 Emil. O, fie upon him! some such squire he was, That turned your wit the seamy side without, And made you to suspect me with the Moor. Iago. You are a fool; go to. Des. O good lago, Good friend, go to him; for, by this light of heaven, If e'er my will did trespass 'gainst his love, 1 The quarto has, "some outrageous knave." 2 Companion was a term of contempt. 3Do not clamor so as to be heard beyond the house." 4 The quarto omits the rest of this speech. "Discourse of thought" is the "discursive range of thought." Pope changed it to "discourse or thought." Delighted them in any other form; And ever will, though he do shake me off But never taint my love. I cannot say, whore; And he does chide with you.1 Des. If 'twere no other, Iago. It is but so, I warrant you. [Trumpets. Hark, how these instruments summon to supper! And the great messengers of Venice stay.2 Go in, and weep not; all things shall be well. [Exeunt DESDEMONA and EMILIA. Enter RODErigo. How now, Roderigo? Rod. I do not find that thou deal'st justly with me. Iago. What in the contrary? Rod. Every day thou doff'st me with some device, Iago; and rather (as it seems to me now) keep'st from me all conveniency, than suppliest me with the least advantage of hope. I will, indeed, no longer endure it; nor am I yet persuaded, to put up in peace what already I have foolishly suffered. Iago. Will you hear me, Roderigo? Rod. 'Faith, I have heard too much; for your words and performances are no kin together. Iago. You charge me most unjustly. Rod. With nought but truth. I have wasted myself out of my means. The jewels you have had from me, 1 This was the phraseology of the time. 2 Thus the quarto. The folio reads: "The messengers of Venice stay the meat." |