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For that I heard the clink and fall of swords,
I know, Iago,
Enter DESDEMONA, attended.
What's the matter”
[MONTANO is led off.
[Exeunt all but Iago and Cassio. Iago. What, are you hurt, lieutenant ? Cas. Ay, past all surgery. Iago. Marry, heaven forbid !
Cas. Reputation, reputation, reputation ! Oh'! I have lost my reputation. I have lost the immortal part of myself,
3 What's the matter?] The folio, in opposition to the two 4tos, inserts dear after “matter,” to the injury of the line. In the next line it omits “now," necessary to the metre, and found in both the 4tos: it however regulates the lines somewhat differently.
* Lead him off.] Malone was “persuaded” that these words were a stagedirection : they are in all the old copies as part of the text, and there is no sufficient reason for not continuing them there.
6 – REPUTATION! Oh!] This third "reputation," and the following interjection, are from the folio.
and what remains is bestial.—My reputation, Iago, my reputation !
Iago. As I am an honest man, I thought you had received some bodily wound; there is more offence in that", than in reputation. Reputation is an idle and most false imposition ; oft got without merit, and lost without deserving: you have lost no reputation at all, unless you repute yourself such a loser. What, man! there are ways to recover the general again : you are but now cast in his mood, a punishment more in policy than in malice; even so as one would beat his offenceless dog, to affright an imperious lion. Sue to him again, and he's your's.
Cas. I will rather sue to be despised, than to deceive so good a commander, with so light?, so drunken, and so indiscreet an officer. Drunk ® ? and speak parrot ? and squabble ? swagger? swear ? and discourse fustian with one's own shadow ?-Oh, thou invisible spirit of wine! if thou hast not name to be known by, let us call thee-devil.
Iago. What was he that you followed with your sword ? What had he done to you?
Cas. I know not. Iago. Is't possible?
Cas. I remember a mass of things, but nothing distinctly; a quarrel, but nothing wherefore.-Oh God! that men should put an enemy in their mouths, to steal away their brains ! that we should, with joy, revel, pleasure', and applause, transform ourselves into beasts !
Iago. Why, but you are now well enough : how came you thus recovered ?
Cas. It hath pleased the devil, drunkenness, to give place to the devil, wrath : one unperfectness shows me another, to make me frankly despise myself.
Iago. Come, you are too severe a moraler. As the time, the place, and the condition of this country stands, I could heartily wish this had not befallen; but, since it is as it is, mend it for your own good.
6 — there is more offence in that,] So both the 4tos: the folio, " there is more sense in that."
7 — with so LIGHT,] The folio alone has " with so slight.”
8 Drunk?] From this word to " one's own shadow" is in the folio, and in the 4to, 1630, but not in the 4to, 1622. By "speak parrot " Cassio means “speak like a parrot"- without sense.
PLEASURE,] The folio, pleasance, with some other variations of compara. tively little importance.
Cas. I will ask him for my place again : he shall tell me, I am a drunkard. Had I as many mouths as Hydra, such an answer would stop them all. To be now a sensible man, by and by a fool, and presently a beast! Oh strange !—Every inordinate cup is unblessed, and the ingredient is a devil.
. · Iago. Come, come; good wine is a good familiar creature, if it be well used : exclaim no more against it. And, good lieutenant, I think, you think I love you.
Cas. I have well approved it, sir.—I drunk !
Iago. You, or any man living, may be drunk at some time, man. I'll tell
I'll tell you what you shall do. Our general's wife is now the general :-I may say so in this respect, for that he hath devoted and given up himself to the contemplation, mark, and denotement of her parts and graces':-confess yourself freely to her; importune her, she'll help to put you in your place again. She is of so free, so kind, so apt, so blessed a disposition, that she holds it a vice in her goodness, not to do more than she is requested. This broken joint? between you and her husband entreat her to splinter, and my fortunes against any lay worth naming, this crack of your love shall grow stronger than it was before.
Cas. You advise me well.
Cas. I think it freely; and, betimes in the morning, I will beseech the virtuous Desdemona to undertake for me. desperate of my fortunes, if they check me here.
Iago. You are in the right. Good night, lieutenant; I must to the watch. Cas. Good night, honest Iago.
[Exit Cassio. Iago. And what's he, then, that says I play the villain, When this advice is free I give, and honest, Probal to thinking', and, indeed, the course To win the Moor again? For 'tis most easy
1 - and DENOTEMENT of her parts and graces :) It is “ denotement of her parts and graces” in the folios and 4tos, the misprint of the one having been copied into the other. We formerly were disposed to think devotement right, and so printed it : even now we consider it a case of much doubt, but we yield to the reasons in favour of " denotement,” which originated with Theobald.
2 This BROKEN JOINT] “ This brawl,” in the 4to, 1622, only.
: PROBAL to thinking, ] “ Probal " is a colloquial contraction for probable, and although we have not met with it in other writers, words of a corresponding character and form may be pointed out: thus in Painter's “ Palace of Pleasure," i. 151, we have“ miseral” for miserable, and in B. Rich's “ Dialogue between Mercury and a Soldier,” 1574, Sign. H b. we have “ varial” for variable.
The inclining Desdemona to subdue
Rod. I do follow here in the chase, not like a hound that hunts, but one that fills up the cry. My money is almost spent: I have been to-night exceedingly well cudgelled ; and, I think, the issue will be-I shall have so much experience for my pains, and so, with no money at all, and a little more wit, return again to Venice'.
Iago. How poor are they, that have not patience !
4 They do suggest] i. e. Tempt. We have already had the word so frequently in this sense, that it is not necessary to refer to particular passages. To "put on," in the previous line, means, as many times before, to instigate.
s That she REPEALS him] i. e. Recalls him; its etymological sense. To “repeal” a statute is to recall it.
6 That shall ENMESH them all.] The folio, for “enmesh," has en-mash; but the sense corrects the literal misprint.
and so, with no money at all, and a little more wit, return AGAIN to Venice.] Most modern editors omit “ again,” with a view, we suppose, of correcting an imaginary pleonasm by Shakespeare. In the 4to, 1622, the passage runs as follows :-“ I shall have so much experience for my pains as that comes to, and no money at all, and with that wit return to Venice."
What wound did ever heal, but by degrees ?
ACT III. SCENE I.
Before the Castle.
Enter Cassio, and some Musicians.
[Music. Enter Cloun. Clo. Why, masters, have your instruments been in Naples, that they squeak i' the nose thus??
1 Mus. How, sir, how?
& By the mass, 'tis morning ;] The folio has In troth for “ By the mass."
Myself, THE while,] All the old copies read, "a wbile,” but Theobald's slight alteration was at least judicious, if not necessary.
1 And bring him JUMP) i. e. Exactly, at the precise moment: the corr. fo. 1632 has where for “when,” but it is probably wrong, since Iago is adverting more to time, than to place.
- that they SQUEAK i' the nose thus ?] “ Speak in the nose in the folios and 4tos, and perhaps rightly, but the corr. fo. 1632 has “ squeak" for speak ; and recollecting that the turning of the letter p would make the chief difference, we