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Lod. We do not know.

Did you not hear a cry? Cas. Here, here; for Heaven's sake, help me. Iago.

What's the matter ? Gra. This is Othello's ancient, as I take it. Lod. The same, indeed ; a very valiant fellow. Iago. What are you here that cry so grievously?

Cas. Iago! 0, I am spoiled, undone by villains ! Give me some help.

Iago. O me, lieutenant! what villains have done this?

Cas. I think that one of them is hereabout,
And cannot make away.

O treacherous villains -
What are you there? come in, and give some help.

[To Lodovico and GRATIANO. Rod. O, help me here! Cas. That's one of them. Iago.

O murderous slave! O villain !

[Iago stabs RODERIGO. Rod. O damned lago! O inhuman dog! 0! 0! 0! Iago. Kill men i' the dark !—Where be these bloody

thieves ?
How silent is this town!-Ho! murder! murder!
What may you be ? are you of good, or evil?
Lod. As


prove us, praise us. Iago.

Seignior Lodovico ! Lod. He, sir. lago.


cry you mercy; here's Cassio hurt By villains.

Cassio ? Iago.

How is it, brother? Cas. My leg is cut in two. lago.

Marry, Heaven forbid !Light, gentlemen ; I'll bind it with my shirt.


Enter Bianca.

Bian. What is the matter, ho? who is't that cried ? lago. Who is't that cried ?

Bian. O my dear Cassio! my sweet Cassio! O Cassio! Cassio! Cassio!

Iago. O notable strumpet!—Cassio, may you suspect Who they should be, that have thus mangled you ?

Cas. No.
Gra. I am sorry to find you thus. I have been to

seek you.


Iago. Lend me a garter.' So.-0, for a chair,
To bear him easily hence!
Bian. Alas, he faints :-0 Cassio! Cassio !

Iago. Gentlemen all, I do suspect this trash
To be a party in this injury."
Patience awhile, good Cassio.—Come, come
Lend me a light.—Know we this face, or no ?
Alas! my friend, and my dear countryman,
Roderigo ? No :-Yes, sure; O heaven! Roderigo.

Gra. What, of Venice?
Iago. Even he, sir ; did you know him?

Know him ? ay.
Iago. Seignior Gratiano? I cry you gentle pardon ;
These bloody accidents must excuse my manners,
That so neglected you.

I am glad to see you. Iago. How do you, Cassio ?-0, a chair, a chair ! Gra. Roderigo! Iago. He, he, 'tis he.—0, that's well said ;—the chair.

[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. 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 and Rod, 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,

husband ?
Iago. Cassio hath here been set on in the dark,
By Roderigo, and fellows that are 'scaped ;
He's almost slain, and Roderigo dead.

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. 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.

As I? foh! fie upon thee!


1 Thus the folio. The quarto reads, Stay you, good gentlewoman It 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 Iago 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 lago that he would sup with Bianca, and Iago 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,

Oth. It is the cause, it is the cause, my soul,
Let me not name it to you, you chaste stars ! 2.
It is the cause.—Yet I'll not shed her blood,
Nor scar that whiter skin of hers than snow,
And smooth as monumental alabaster.

[Takes off his sword.
Yet she must die, else she'll betray more men.
Put out the light, and then-Put out the light !3
If I quench thee, thou flaming minister,
I can again thy foriner light restore,
Should I repent me;—but once put out thine,

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,
I know not where is that Promethean heat,
That can thy light relume. When I have

When I have plucked
thy rose,
I cannot give it vital growth again;
It needs must wither.-I'll smell it on the tree.-

[Kissing her.
O balmy breath, that dost almost persuade
Justice to break her sword !-One more, one more.-
Be thus when thou art dead, and I will kill thee,
And love thee after.-One more, and this the last;
So sweet was ne'er so fatal. I must weep,
But they are cruel tears. This sorrow's heavenly;
It strikes where it doth love. She wakes-

Des. Who's there? Othello?

Ay, Desdemona.
Des. Will you come to bed, my lord ?
Oth. Have you prayed to-night, Desdemona ?

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.
I would not kill thy unprepared spirit ;
No,-Heaven forfend !- I would not kill thy soul.
Des. Talk

you of killing?

Then, Heaven Have mercy on me! Oth.

Amen, with all


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 quartorelumine.

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