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Bian. O my dear Cassio! my sweet Cassio! O Cassio! Cassio! Cassio!
Iago. O notable strumpet!—Cassio, may you suspect
Iago. Lend me a garter. So.-0, for a chair,
Alas, he faints :-0 Cassio! Cassio !
Gra. What, of Venice?
Know him ? ay.
I am glad to see you.
[A chair brought in. Some good man bear him carefully from hence; I'll fetch the general's surgeon.-For you, mistress,
[To BIANCA. Save you your labor.
labor. He that lies slain here, Cassio, Was my dear friend. What malice was between
Cas. None in the world ; nor do I know the man.
1 This speech is not in the first quarto. 2 Thus the folio. The quarto 1622 reads, to bear a part in this. 3 This passage incontestably proves that Iago was meant for a Venetian.
Iago. [To Bian.] What, look you pale?-0, bear him out o’the air.
[Cassio a:d Rop. are borne off. Stay you, good gentlemen. —Look you pale, mistress ? Do you perceive the gastness of her eye ? ? Nay, if you stare, we shall hear more anon.Behold her well; I pray you, look upon her ; Do you see, gentlemen ? Nay, guiltiness will speak, Though tongues were out of use.
Emil. 'Las, what's the matter; what's the matter,
Emil. Alas, good gentleman! alas, good Cassio !
Iago. This is the fruit of whoring.–’Pr’ythee, Emilia, Go know of Cassio where he supped to-night.3— What, do you shake at that? Bian. He supped at my house ; but I therefore
shake not. Iago. O, did he so ? I charge you, go with me. Emil. Fie, fie upon thee, strumpet !
Bian. I am no strumpet; but of life as honest, As you
that thus abuse me. Emil.
As I? foh! fie upon thee!
1 Thus the folio. The quarto reads, Stay you, good gentlewoman. st seems probable that Jago addresses Lodovico and Gratiano, who are going away to assist Cassio, and to see him properly taken care of. The subsequent appeal and address of lago to them appears to confirm this supposition. Malone follows the quarto.
2 The quarto, instead of gastness, reads jestures; and instead of stare, in the next line, has stirre.
3 In the second scene of the preceding act, Iago informs Roderigo that Cassio was to sup with Bianca ; that he would go to him there, and bring him away between twelve and one. Indeed, Cassio had himself told Iago that he would sup with Bianca, and lago had promised to meet him at her house. We must suppose, therefore, that this consummate villain thought it more secure to waylay him, as we find he does, without actually joining him at supper-time.
lago. Kind gentlemen, let's go see poor Cassio
dressed. Come, mistress, you must tell us another tale.Emilia, run you to the citadel, And tell my lord and lady what has happened. Will you go on, I pray?- This is the night, ?
[ Aside. That either makes me, or foredoes' me quite.
SCENE II. A Bedchamber: DESDEMONA in bed
asleep. A light burning.
[Takes off his sword.
1 To foredo is to undo, to ruin, to destroy.
2 Othello, full of horror at the cruel action which he is about to perpetrate, seems at this instant to be seeking his justification, from representing to himself the cause, i. e. the greatness of the provocation he had received. 3 The old copy gives this line thus:
“Put out the light, and then put out the light.” The present regulation of the passage, by which so much beauty and spirit is added to it, was proposed by Mr. Upton, but it is to be found in Ayres's Life of Pope ; it may, therefore, have originated with Warburton, who thus explains it :-" The meaning is, I will put out the light, and then proceed to the execution of my purpose. But the expression of putting out the light bringing to mind the effects of the extinction of the light of life, he breaks short, and questions himself about the effects of this metaphorical extinction, introduced by a repetition of his first words, as much as to say,—But hold, let me first weigh the reflection which this expression naturally excites.”
4 Thus the quarto. The folio reads, put out thy light. Steevens adopted the present reading for the sake of the measure, and to avoid the useless repetition of the word light.
Thou cunning'st pattern of excelling nature,
Des. Who's there? Othello?
. Oth. Have you prayed to-night, Desdemona ? Des.
Oth. If you bethink yourself of any crime, Unreconciled as yet to Heaven and grace, Solicit for it straight.
Des. Alas, my lord, what may you mean by that?
Oth. Well, do it, and be brief; I will walk by.
Des. Talk you of killing ?
Amen, with all my heart ! Des. If you say so, I hope you will not kill me. Oth. Humph!
Des. And yet I fear you; for you are fatal then, When your eyes roll so. Why I should fear, I know
not, Since guiltiness I know not; but yet I feel I fear.
Ay, my lord
Ay, I do.
1 Thus the folio. The first quarto-returne; the second quarto relumime.
your very frame.
Oth. Think on thy sins.
They are loves 1 bear to you.
Peace, and be still !
No, by my life and soul;
Sweet soul, take heed, Take heed of perjury; thou’rt on thy death-bed.
Des. Ay, but not yet to die.
Des. Then, Lord have mercy on me!
I say, amen.
Oth. By Heaven, I saw my handkerchief in his hand. O perjured woman ! thou dost stone my heart, And mak'st me call, what I intend to do, A murder, which I thought a sacrifice : 1 I saw the handkerchief.
1 « This line is difficult. • Thou hast hardened my heart, and makest me kill thee with the rage of a murderer, when I thought to have sacrificed thee to justice with the calmness of a priest striking a victim.' I am glad that I have ended this dreadful scene; it is not to be endured.'—Johnson.