1. The first known printed edition of this supremely tragic drama is one in Quarto, which appeared some time in the year 1622, with the following title :-" The Tragedy of Othello, The Moore of Venice. As it hath beene diverse times acted at the Globe, and at the Black-Friars, by his Maiesties Servants. Written by William Shakespeare. London, Printed by N. O., for Thomas Walkley, and are to be sold at his shop at the Eagle and Child, in Brittans Bursse, 1622." The Registers of the Stationers' Company contain, under the date of Oct. 6th, 1621, the following:-"Tho. Walkley] Entered for his, to wit, under the hands of Sir George Buck and of the Wardens: The Tragedie of Othello, the Moore of Venice." In 1623 the version in the first Folio was published; and in 1630 another Quarto copy appeared, which contains some textual variations that offer evidence of its having been printed from some other manuscript source than that used for either the first Quarto copy or for the first Folio copy. In the Accounts of the Revels at Court" there is an entry containing the earliest authentic record of this play's performance:-" Hallamas Day being the first of Nouembur, A play in the Banketinge house att Whithall called The Moor of Venis. [Nov. 1st, 1604.]" The name of "Shaxberd" (one of the multifarious forms in which Shakespeare" was then written) is appended to this entry, as being author of the play therein named; therefore its period of composition is thus ascertained to have been before that date. The story of the plot is to be found in one of Cinthio's novels, in his "Hecatommithi ;" a French translation of which, by Gabriel Chappuvs, was published in Paris in 1584. No English translation of Cinthio's work, dating so early as Shakespeare's time, is known to be extant; but there is every probability that one then existed. That the dramatist

derived his ground-work from this Italian novel is quite evident; but, as usual, he has made a story thus adopted thoroughly his own by his magical power of treatment. For vital domestic interest, for intensity of passion, for truth and variety of character, for profound knowledge of the human heart in its inmost workings, this arch-tragedy stands unrivalled.

2. Shouldst know of this. In Shakespeare's dramatic mode of occasionally opening a play or scene with an already commenced conversation (see Note 2, Act i., "As You Like It"), the word "this" refers to the elopement and marriage of Desdemona with Othello; which Roderigo here accuses Iago of having pre-known.

3. Off-capp'd. This is the Folio reading, while the Quartos give' oft capt.' We think that the context shows that a single interview of solicitation on the part of the three city magnates was intended, and not a repeated series of applications; therefore "off-capp'd," as indicating the deference with which they made their "personal suit," appears to us to be more likely to be the author's expression here than oft capp'd,' which would denote reiterated salutations. See Note 86, Act ii., "Coriolanus.

5. Nonsuits. This word, and "evades" previously, are bere used in accordance with Shakespeare's occasional mode of deviating into present tense when describing a past occurrence. See Note 70, Act i., "Hamlet."

6. Certes. An antique form of certainly,' 'it is certain.' See Note 18, Act i., "Henry VIII."

7. A fellow almost damn'd in a fair wife. The word "wife" in this line has been suspected of error, and has been

variously altered; but it is here used in the sense of woman (see Note 2, Act v., 'Henry V."), and the line, as it stands, admits of several interpretations. If the word "in" be used in the sense of into' (as Shakespeare frequently does, see Note 13, Act iv., 'King Lear"), the line might mean, 'A fellow almost transformed into a fair woman;' if "in" be used as it generally is, then the line might mean, A fellow whose ignorance of war would be almost condemned in a pretty woman;' and, lastly, the line may mean, by a license of expression, 'A fellow who would almost go to perdition for a handsome woman,' or 'a fellow who is almost lost in his fondness for a fine woman.' The context of nor the division of a battle knows more than a spinster," makes for the second interpretation; while Cassio's conduct with respect to Bianca gives probability to the third being (as we think it is) the true interpretation. We gave this last as our opinion of the passage, as early as in the Glossary to our New York Edition of Shakespeare, published in 1860.

8. Theoric. Theory.' See Note 15, Act i., "Henry V." 9. Togèd. This is the word in the first Quarto; while the Folio prints 'tongued.' "Togèd" expresses 'gowned,' 'those who wear a toga;' and there is a 'similar misprint of tongue for "toge" pointed out in Note 88, Act ii., "Coriolanus." "Consuls" is here used for state rulers, civil governors,' 'members of the council,'

10. Debitor-and-creditor. The title of certain ancient treatises upon commercial book-keeping; and given to Cassio as a nickname by lago.

11. Counter-caster. In allusion to the custom of reckoning by means of counters. See Note 39, Act iv., "Winter's Tale." The Florentines were famed for their book-keeping and commercial knowledge; therefore the Venetian Iago sneers at the Florentine Cassio, not only with the contempt that a professed martialist feels for a man commercially educated, but with the petty spirit of local grudge that used to subsist between Italians born in different provinces. Even so lately as far into the

Do themselves homage: these fellows have some soul;

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 lago:

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, 15 'tis not long after
But I will wear my heart upon my sleeve

For daws to peck at: I am not what I am.16
Rod. What a full fortune does the thick-lips
owe,17

If he can carry 't thus ! 18

lago. Call up her father, Rouse him-make after him,19 poison his delight,

present century, it was usual to hear Genoese men speak of Piedmontese, Tuscans, and Neapolitans with a contempt and acrimony that had nothing of the feeling of brotherhood which now is gradually becoming general among all the sons of Italy. 12. By letter. This has been explained to mean by recommendation; but may it not mean 'according to the letter of his promise,' or 'in accordance with theoretical knowledge and pretensions?' in reference either to Othello's answer, “I have already chose my officer," or to Cassio's being versed in the "bookish theoric."

13. In any just term am affin'd. 'Am bound by any due claim of affinity.' See Note 47, Act i., “Troilus and Cressida,” and Note 85, Act ii. of the present play.

14. Honest knaves. Iago's sneer in using the word "knaves" for 'servants,' while scoffing at their fidelity, is of kindred wit to Falstaff's calling a tradesman who applies for his justlydue money a "knave." See Note 36, Act i., "Second Part Henry IV."

15. In compliment extern. 'In external civility,' 'in superficial politeness.' Iago is blunt in manner; and though he may "follow" the Moor "to serve" his "turn upon him," he never permits the thoughts of his "heart" to betray themselves through any assumed obsequiousness,

16. I am not what I am. 'I am not what I seem to be.' Shakespeare often has phrases where 'seem' is elliptically understood. See Note 120, Act ii., Hamlet." "A full

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17. What a full fortune does the thick-lips owe. fortune" means 'a plenarily good fortune,' 'a completely filled fortune;' and "owe" is used for 'own,' 'possess.'

18. If he can carry't thus. If he can prevail thus.' Shakespeare sometimes uses the word "carry" as we now use 'carry off' 'carry away,' 'carry through,' carry the day.' See Note 80, Act ii., "Coriolanus."

19. Rouse him :-make after him. to Brabantio; the second, to Othello. King Lear."

The first "him" refers

See Note 72, Act iii.,

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 joy,
Yet throw such changes of vexation on 't,
As it may lose some colour.

Rod. Here is her father's house; I'll call aloud.

Iago. Do; with like timorous accent and dire yell

As when, by night and negligence, 20 the fire
Is spied in populous cities.

Rod. What, ho, Brabantio! Signior Brabantio, ho!

Iago. Awake! what, ho, Brabantio! thieves! thieves thieves!

20. By night and negligence. "By" is here used in the sense ofat,' and understood as repeated in the sense of 'through,' from,' or 'owing to,' permitting the sense to be

Look to your house, your daughter, and your bags!

Thieves! thieves!

BRABANTIO appears above, at a window. Bra. What is the reason of this terrible summons?

What is the matter there?

Rod. Signior, is all your family within?
Iago. Are your doors lock'd?
Bra.

Why, wherefore ask you this? Iago. 'Zounds, sir, you're robbed; for shame,

put on your gown; Your heart is burst, you have lost half your soul; Even now, now, very now Arise, arise;

given of as when the fire that has been occasioned by negligence is spied at night in populous cities.' The construction is peculiar; and the diction is extremely condensed.

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