OTHELLO. THE story is taken from Cynthio's Novels. Pope. I have not hitherto met with any translation of this novel (the seventh in the third decad) of so early a date as the age of Shakspeare; but undoubtedly many of those little pamphlets have perished between his time and ours. It is highly probable that our author met with the name of Othello in some tale that has escaped our researches; as I like. wise find it in God's Revenge against Adultery, standing in one of his Arguments as follows: "She marries Othello, an old German soldier." This History (the eighth) is professed to be an Italian one. Here also occurs the name of Iago. It may indeed be urged that these names were adopted from the tragedy before us: but I trust that every reader who is con-versant with the peculiar style and method in which the work of honest John Reynolds is composed, will acquit him of the slightest familiarity with the scenes of Shakspeare. This play was first entered at Stationers' Hall, Oct. 6, 1621, by Thomas Walkely. Steevens. I have seen a French translation of Cynthio, by Gabriel Chappuys, Par. 1584. This is not a faithful one; and I suspect, through this medium the work came into English. Farmer. This tragedy I have ascribed (but on no very sure ground) to the year 1611. Malone. The time of this play may be ascertained from the following circumstances: Selymus the Second formed his design against Cyprus in 1569, and took it in 1571. This was the only attempt the Turks ever made upon that island after it came into the hands of the Venetians, (which was in the year 1473) wherefore thetime must fall in with some part of that interval. We learn from the play that there was a junction of the Turkish fleet at Rhodes, in order for the invasion of Cyprus, that it first came sailing towards Cyprus, then went to Rhodes, there met another squadron, and then resumed its way to Cyprus. These are real historical facts which happened when Mustapha, Selymus's general, attacked Cyprus in May, 1570, which therefore is the true period. of this performance. See Knolles's History of the Turks, p. 838,', 846, 867. Reed. PERSONS REPRESENTED. Duke of Venice. Brabantio, a senator. Two other senators. Gratiano, brother to Brabantio. Lodovico, kinsman to Brabantio. Othello, the Moor: Cassio, his lieutenant; Iago, his ancient. Roderigo, a Venetian gentleman. Montano, Othello's predecessor in the government of Cyprus.* Clown, servant to Othello. Herald. Desdemona, daughter to Brabantio, and wife to Othello. Emilia, wife to Iago. Bianca, a courtezan, mistress to Cassio. Officers, gentlemen, messengers, musicians, sailors, SCENE, For the first act, in Venice; during the rest of the play, at a sea-port in Cyprus. Though the rank which Montano held in Cyprus cannot be exactly ascertained, yet from many circumstances, we are sure he had not the powers with which Othello was subsequently invested. Perhaps we do not receive any one of the Persona Dramatis to Shakspeare's plays, as it was originally drawn up by himself. These appendages are wanting to all the quartos, and are very rarely given in the folio. At the end of this play, however, the following enumeration of persons occurs: "The names of the actors.-Othello, the Moore.-Brabantio, Father to Desdemona.-Cassio, an Honourable Lieutenant.-Iago, a Villaine.-Rodorigo, a gull'd Gentleman.-Duke of Venice.-Senators.-Montano, Governour of Cyprus -Gentlemen of Cyprus.— Lodovico, and Gratiano, two noble Venetians.-Saylors.-Clowne.Desdemona, Wife to Othello.-Emila, Wife to Iago.-Bianca, a Curtezan." Steevens. OTHELLO, THE MOOR OF VENICE. ACT I.....SCENE I. Venice. A Street. Enter RODERIGO and IAGO. Rod. Tush, never tell me, I take it much unkindly, That thou, Iago,-who hast had my purse, As if the strings were thine,-should'st know of this. Iago. 'Sblood, but you will not hear me:2— If ever I did dream of such a matter, Abhor me. Rod. Thou told'st me, thou didst hold him in thy hate. Iago. Despise me, if I do not. Three great ones of the city, In personal suit to make me his lieutenant, Oft capp'd to him; 3—and, by the faith of man, 1 Tush, never tell me,] Thus the quarto, 1622. The folio omits the interjection-Tush. Steevens. 2 'Sblood, but you will not &c.] Thus the quarto: the folio suppresses this oath. Steevens. 3 Oft capp'd to him;] Thus the quarto. The folio reads,—Offcapp'd to him. Steevens. In support of the folio, Antony and Cleopatra may be quoted: "I have ever held my cap off to thy fortunes." This reading I once thought to be the true one. But a more intimate knowledge of the quarto copies has convinced me that they ought not without very strong reason to be departed from. Malone. To cap is to salute by taking off the cap. It is still an academick phrase. M. Mason. 4a bombast circumstance,] Circumstance signifies circumlocution. So, in Greene's Tu Quoque: "You put us to a needless labour, sir, "To run and wind about for circumstance, "When the plain word, I thank you, would have serv'd." |