Des. Alas! what ignorant sin have I committed? Is hush'd within the hollow mine of earth, Impudent strumpet1! 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, 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, I 3 Committed!-0, thou public commoner!] This and the three next lines are wanting in the quarto, 1622, but are in the quarto, 1630, and in the folio. 4 Impudent strumpet !] These words, almost necessary to the sense, with reference to Desdemona's assertion, "By heaven you do me wrong," and required by the metre, are in both quartos, but not in the folio. Modern editions take no notice of them. 5 From any OTHER,] The quarto, 1622, alone has "From any hated," &c. There are some other variations here between the old copies, but the folio and the quarto, 1630, agree, and that text we have adopted. 2 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 whom? Emil. Why, with my lord, madam. Des. Who is thy lord? Emil. He that is yours, sweet lady. Des. I have none: do not talk to me, Emilia ; I cannot weep; nor answer have I none, But what should go by water. Pr'ythee, to-night Here is a change, indeed! Des. "Tis meet I should be us'd so, very meet. How have I been behav'd, that he might stick The small'st opinion on my least misuse1? Re-enter EMILIA, with IAGO. Iago. What is your pleasure, madam? with you? [Exit. How is it 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 bewhor'd 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. Who is thy lord?] This question and answer are not in the quarto, 1622. Just above," 'Faith " was allowed to stand in the folio. 7 -on my LEAST misuse!] So the folio and the quarto, 1630: the quarto, 1622, alone has "on my greatest abuse." Emil. He call'd her whore: a beggar in his drink, Des. I do not know; I am sure, I am none such. Iago. How comes this trick upon him? Des. Beshrew him for it! Nay, heaven doth know. Emil. I will be hang'd, if some eternal villain, Some cogging, cozening slave, to get some office, What place? what time? what form? what likelihood? To lash the rascals naked through the world, Iago. Speak within door. Emil. O, fie upon them! some such squire he was, That turn'd your wit the seamy side without, And made you to suspect me with the Moor. 8 upon his CALLAT.] For an explanation of this term of female abuse, see Vol. iii. p. 466, and Vol. v. pp. 124. 262. 9 some most VILLAINOUS knave,] The quarto, 1622, reads "outrageous knave.” 1 - such COMPANIONS] We have had previous instances of the use of the word "companion" in a derogatory sense. See Vol. vi. p. 230. The folio (differing from the quartos) afterwards has consistently "rascals" and "them." Iago. You are a fool; go to. Des. O good Iago2! What shall I do to win my lord again? Good friend, go to him; for, by this light of heaven, If e'er my will did trespass 'gainst his love, And ever will, though he do shake me off To do the act that might the addition earn, And he does chide with you'. Des. If 'twere no other, [Trumpets. Iago. 'Tis but so, I warrant. [Exeunt DESDEMONA and EMILIA. 2 O good Iago !] The folio alone has "Alas, Iago !" 3 Here I kneel :-] These words and to the end of the speech, are not contained in the quarto, 1622, but they are in the folio, and in the quarto, 1630. The quarto, 1622, was evidently printed from a less perfect manuscript than the folio, and the folio, in many places, from a less perfect manuscript than the quarto, 1630. Thus in this speech the folio reads corruptly, "Delighted them or any other form," which the quarto, 1630, corrects. And he does chide with you.] These words are in both quartos, but not in the folio. 5 The messengers of Venice stay the meat :] Our text is that of the folio; the two other old copies conflict: the quarto, 1622, reads, "And the great messengers of Venice stay;" while the quarto, 1630, has it, "The meat great messengers of Venice stay." It seems clear, therefore, that the words "the meat" formed part of the line. 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 daff'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, to deliver to Desdemona, would half have corrupted a votarist you have told me, she has received them, and returned me expectations and comforts of sudden respect and acquaintance'; but I find none. Iago. Well; go to; very well. Rod. Very well! go to! I cannot go to, man; nor 'tis not very well: by this hand, I say, it is very scurvy; and begin to find myself fobbed in it. Iago. Very well. Rod. I tell you, 'tis not very well. I will make myself known to Desdemona: if she will return me my jewels, I will give over my suit, and repent my unlawful solicitation; if not, assure yourself, I will seek satisfaction of you. Iago. You have said now. Rod. Ay, and I have said nothing, but what I protest intendment of doing. 6 'Faith, I have heard too much ;] Here we meet with an extraordinary variation in copies of the first folio: that belonging to the Duke of Devonshire repeats, at the top of the page, " And hell gnaw his bones," and then proceeds, "Performances are no kin together," so as to make the text quite unintelligible. 7 and ACQUAINTANCE;] The quarto, 1622, alone, acquittance. |