know from an interesting diary first pointed out by Sir Frederic Madden (sce Note (4), ) p. 689, Vol. I.), that the play was acted at the Globe on the 30th of April, 1610. And upon the authority of Vertue's MS. we find that it retained its popularity in 1613, early in which year it was acted at the Court. The story upon which this tragedy is founded is a novel in Cinthio's Hecatommithi, Parte Prima, Deca Terza, Novella 7, bearing the following explanatory title:—“ Un capitano Moro piglia per mogliera una cittadina Venetiana: un suo alfieri l'accusa di adulterio al marito; cerca che l'alfieri uccida colui ch'egli credea l'adultero: il capitano uccide la moglie, è accusato dall' alfieri, non confessa il Moro, ma essendovi chiari inditii è bandito; e lo scelerato alfieri, credendo nuocere ad altri, procaccia a se la morte miseramente." There is a French translation of Cinthio's novels by Gabriel Chappuys, Paris, 1584; but no English one of a date as early as the age of Shakespeare has come down to us. "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 the time 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. Sailor, Messengers, Herald, Officers, Gentlemen, Musicians, and Attendants. SCENE, The first Act in VENICE; during the rest of the play, at a Sea-port in CYPRUS. Enter RODERIGO and IAGO. ROD. Tush!* never tell me; I take it much unkindly That thou, Iago, who hast had my purse this, IAGO. 'S blood, but you 'll not hear me ;If ever I did dream of such a matter, Abhor me. ROD. Thou told'st me, thou didst hold him in thy hate. (*) First folio omits, Tush. (†) First folio omits, 'S blood. a And, in conclusion,-] This hemistich is not found in the folio 1623. IAGO. Despise me, if I do not. Three great ones of the city, In personal suit to make me his lieutenant, Nonsuits my mediators; for, Certes, says he, And what was he? (*) The quartos, Oft capt. Forsooth, a great arithmetician, More than a spinster; unless the bookish theoric, By debitor-and-creditor: this counter-caster, aa Florentine, Are we quite assured Iago means by this expression merely that Cassio was a native of Florence? The system of book-keeping called Italian Book keeping came, as is well known, originally from Florence; and he may not improbably use "Florentine," as he employs arithmetician,” “debitor-anderetitor," and "counter-caster." in a derogatory sense to denote the mercantile origin and training which he chooses to attribute to his rival. b A fellow almost damn'd in a fair wife.-] This line has perplexed the commentators not a little. Tyrwhitt's conjecture that "wife" was a misprint of life, and that the allusion is to the judgment denounced in the Gospel against those of whom all men speak well, was in high favour at one time, but has long been disregarded; the impression now is that lago refers to a report, which he subsequently speaks of, that Cassio was on the point of marrying the courtezan Bianca. To this it is objected, and the objection seems unanswerable, that there is no reason for supposing Cassio had ever seen Bianca until they met in Cyprus. We doubt, indeed, the possibility of eliciting a satisfactory meaning from the line as it stands, and, in despair of doing so, have sometimes thought the poet must have written, "A fellow almost damn'd in a fair-wife;" That is to say, a fellow by habit of reckoning debased almost into a market-woman. In of old was commonly used for into; we even still employ it so, as in the expression to fall in love. pare, too, "Troilus and Cressida," Act III. Sc. 3, Com "Why, he stalks up and down like a peacock,-a stride and a stand, ruminates, like an hostess that hath no arithmetic but her brain to set down her reckoning." of a battle-] Of an army. So in " 'Henry V." (Chorus) Act IV. "Each battle sees the other's umber'd face: " And in "Richard III." Act V. Sc. 3, Wears out his time, much like his master's ass, For nought but provender; and, when he's old. cashier'd: Whip me such honest knaves. Others there are, Who, trimm'd in forms and visages of duty, Keep yet their hearts attending on themselves; And, throwing but shows of service on their lords, Do well thrive by them, and, when they have lin'd their coats, [soul; Do themselves homage: these fellows have some And such a one do I profess myself. For, sir, It is as sure as you are Roderigo, Were I the Moor, I would not be Iago: In following him, I follow but myself; Heaven is my judge, not I for love and duty, But seeming so, for my peculiar end: For when my outward action doth demonstrate The native act and figure of my heart In compliment extern, 't is not long after But I will wear my heart upon my sleeve For daws to peck at. I am not what I am. ROD. What a full' fortune does the thickp owe, If he can carry 't thus ! IAGO. Call up her father, Rouse him :-make after him, poison his delight, Proclaim him in the streets; incense her kinsmen. And, though he in a fertile climate dwell, Plague him with flies: though that his joy be jor. Yet throw such chances of vexation on 't, As it may lose some colour. ROD. Here is her father's house; I'll call alond IAGO. Do; with like timorous accent, and dire yell we will follow In the main battle." d-the tongued consuls-] So the folio and the quarto 1670, the quarto of 1622 has, toged." The former, as Boswell oberte agrees better with the words "mere prattle," &c.; but “f may have sprung from the common adage, Cedant arma iş, and is equally appropriate. e-must be be-lee'd -] The quarto 1622 has, "must be led" &c.; this and the imperfect measure of the line in other cos might lead us to suspect the author wrote, "must be lee'd and calm'd," &c. fdebitor-and-creditor:] The title of certain old treatise upon commerc al book-keeping. So in "Cymbeline," Act V Sc. 4,-" You have no true debitor-and-creditor but it." in any just term am affin'd-] By any moral obligation am bound, &c. h- knave,-] "Knave" carries no opprobrious meaning here it is simply servitor. i dom. - obsequious bondage,-] That is, obedient, submissive thral k Who, trimm'd in forms and visages of duty,-] Who, dress'd in shapes and masks of duty, &c. Mr. Collier proposes to read, in forms and usages of duty," which the expression "trimm'd" negatives at once. 1 What a full fortun] The folis bas "fall" for "full." å reading Mr. Knight prefers, although in "Cymbeline," Act V. Sc. 4, we find, "Our pleasure his full fortune doth confine;" in "Antony and Cleopatra," Act IV. Sc. 1.-"full ortant Cæsar;" and in D'Avenant's "Law against Lovers," Act Ill. Sc. 1,-"She has a full fortune." m -chances of vexation-] Crosse, or casualties ; the read, "changes." quartos BRA. What tell'st thou me of robbing? this It seems not meet, nor wholesome to my place, Most grave Brabantio, In simple and pure soul I come to you. b * IAGO. Zounds, sir, you are one of those that will not serve God, if the devil bid you. Because we come to do you service, and you think we are ruffians, you'll have your daughter covered with a Barbary horse; you'll have your nephews neigh to you; you'll have coursers for cousins, and gennets for germans. BRA. What profane wretch art thou? IAGO. I am one, sir, that comes to tell you, your daughter and the Moor are now making the beast with two backs. BRA. This thou shalt answer; I know thee, Roderigo. ROD. Sir, I will answer any thing. But, I beseech you, If 't be your pleasure and most wise consent I thus would play and trifle with your reverence : Tying her duty, beauty, wit, and fortunes, (*) First folio omits, Zounds. (+) First folio omits, new. this is Venice; My house is not a grange.] Grange, Warton remarks, is strictly and properly the farm of a monastery. But in Lincolnshire, and in other northern counties, they call every lone house, or farm which stands solitary, a grange. What Brabantio means, then, is,-I am in a populous city, not in a place where robbery can be easily committed. bruffians,-] Here ruffian is employed in its secondary sense of roisterer, swash-buckler, and the like, though its primary meaning undoubtedly was, pander; the Latin, leno, the Italian, "roffiano." To be produc'd* (as, if I stay, I shall) I must show out a flag and sign of love, Lead to the Sagittary (1) the raised search; [E Past thought!—What said she to you?-Gt more tapers; Raise all my kindred.-Are they married, thi you? ROD. Truly, I think they are. BRA. O, heaven!-How got she out?-0, treason of the blood!— Fathers, from hence trust not your daughters minds By what you see them act.-Are there t charms By which the property of youth and maidhood May be abus'd? Have you not read, Roderigo. Of some such thing? ROD. Yes, sir, I have indeed. BRA. Call up my brother.-0, would you had had her!Some one way, some another.-Do you know Where we may apprehend her and the Moor? |