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to disentangle or arrange. Othello's first reflection is, simply, that he could patiently have endured any temporary or external evil; but to be placed in a situation of endless and unavoidable disgrace, would be enough to convert patience itself into fury. The first part of this sentiment is clearly and beautifully delivered; but in the sequel of the position, but, alas! to make me a fixed figure for the time," he was probably going to say-for the time's abuse, or the scorn o'the time; but "time" and "fixed figure" suggesting the idea of a clock or time-piece, he lays hold of it at once, and, without any examination as to general congruity, proceeds to the office of the hand upon the dial-plate-" his slow, unmoving finger" seems to mean, his finger, which, though it does move slowly on, yet, as it can never pass the point of disgrace, may be regarded as standing still.

459.

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A cistern, for foul toads

"To knot and gender in !-turn thy complexion there!"

"In" should be omitted, to accommodate the metre ; "for" is "for the purpose or end," to keep it as a cistern for "the knotting and gendering of toads."

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460. "Made to write whore upon? What committed!"

We should read-Committed! what!

Again

461. "Did I but speak thy deeds.-What com mitted!"

We should, perhaps, read

"Did I but speak thy deeds. What! what! committed!"

"And will not hear it: What committed !— Impudent strumpet !”

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I would propose,

"And will not hear't: Committed! what! committed!

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Desd. "

Oth.

Desd. "

Impudent strumpet!"

By heav'n, you do me wrong.'

"Art not a strumpet ?"

No, as I'm a chrístían."

"Is it possible?"

The measure might be filled thus: "What is it possible?"

Desd. " O, heaven forgive us!"

Oth.

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for I

I cry you mercy, madam, then ;

"Did take you for that cunning whore of Venice,

"That married with Othello."

You, mistress."

These words should be transposed:

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Mistress! you!

"That have," &c.

462, "Faith, half asleep."

Here also correction is wanted:

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Emil. ".

Desd. " Emil. "

'Faith, half asleep."

Good madam, what's the matter

"With my lord now ?"

With whom ?"

My lord, madam.'

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"Here's a change indeed."

"Indeed" this is not wanted.

463. "What's the matter, lady?"

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Lady" is an interpolation that spoils the metre; Iago's question being as much to Emilia, who replies to it, as to Desdemona :

"I am a child to chiding.'

Iag.

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What's the matter ?"

Am I that name, Iago?"

This wants regulation:

"As true hearts cannot bear.

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— Am I, Iago,

"Tell me, I pray, that name?" Iag. "What name, fair lady ?"

464. "Why did he so?"

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More deficiency: perhaps,

Why did he so? alas! take comfort, madam."

Again:

"Do not weep," &c.

"Nay, do not weep, don't weep; alas, the day!"

467. "It is but so, I warrant you.”

Some words appear to have been lost; perhaps,

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"I do" might well be omitted:

"Beseech you, sir, trouble yourself no further.”

"Your honour," &c.

More metrical derangement:

"Your honour is most welcome."

Will you walk?

"O Desdemonă !"

Oth.

Desd. "

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My lord!"

Get you to bed

"On th' instant; I will be return❜d forth

with;

"Dismiss your attendant there; look it be done."

Desd. "I will, my lord."

Emil. "

How goes it, madam, now? "He looks a little gentler than he did."

472. "We must not now displease him."

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"I would, you had never seen him.”

Perhaps we should read:

"Alack! I would that you had never seen him."

"Even his stubbornness, his checks, and frowns

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Pr'ythee unpin me-have grace and fa

vour in them."

A similar interruption and return to the broken sentence occurs in Romeo and Juliet, Act 2, Scene-Garden:

If thou mean'st not well,

"I do beseech thee-(Nurse calls) by and by,

I come

"To cease thy suit."

It is highly dramatic.

"And he, she lov'd, prov'd mad,

"And did forsake her.

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Dr. Warburton's emendation appears to be just:

"And he she lov'd forsook her,

"And she prov'd mad."

Mad, undoubtedly, does sometimes signify wild, irregular; but never, I believe, faithless, or inconstant in love..

473. "And sing it, like poor Barbara."

Some regulation is wanting here:

"And sing it, like poor Barbara; Emilia, "I pr'ythee now, dispatch."

Emil. "

Madam, shall I

"Go fetch your night-gown?"
No; unpin me here."

Desd. "

476. "Nor I neither by this heavenly light, “I might do't as well i' th' dark."

We might restore the metre:

"No, nor I neither, by this heavenly light, "But I as well might do it i' the dark.

ACT V. SCENE II.

489. "It is the cause," &c.

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