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He was a wight of high renoun,
And thou art but of low degree :
Then take thine auld cloak about thee.
Cas. Why, this is a more exquisite song than the other. Iago. Will you hear it again?
Cas. No; for I hold him to be unworthy of his place, that does those things.- Well, heaven's above all; and there be souls must be saved, and there be souls must not be saved'.
Iago. It is true, good lieutenant.
Cas. For mine own part,—no offence to the general, nor any man of quality,-I hope to be saved.
Iago. And so do I too, lieutenant.
Cas. Ay; but, by your leave, not before me: the lieutenant is to be saved before the ancient.-Let's have no more of this; let's to our affairs.-Forgive us our sins !-Gentlemen, let's look to our business. Do not think, gentlemen, I am drunk : this is my ancient ;—this is my right hand, and this is my left hand.-I am not drunk now; I can stand well enough, and speak well enough.
All. Excellent well.
Cas. Why, very well, then ; you must not think, then, that I am drunk.
[Exit. Mon. To the platform, masters : come, let's set the watch.
Iago. You see this fellow, that is gone before :
there the king complained, not that his breeches were “all too dear," but that they did not cost enough : Camden quotes Robert of Gloucester. Steevens refers to a passage in Greene's “ Quip for an upstart Courtier,” 1592, where it is said that King Stephen wore a pair of cloth breeches, and “thought them passing costly :" no doubt, Shakespeare and Greene were obliged to the same balladauthority. The folio, and 4to, 1630, read," and a worthy peer;" but the 4to, 1622, and the original ballad, as our text. Respecting this particle see “ Hamlet," Vol. v. p. 588, and “ King Lear,” Vol. v. p. 675.
and there be souls must not be saved.] Mr. Singer says that the 4to. omits the words that precede the above, viz. " and there be souls must be saved." This is a mistake : those words are in the 4to, 1622 : the words not in the 4to. are "and there be souls must not be saved." If Mr. Singer be correct, the 4to. he consulted differs from all others we have seen.
On some odd time of his infirmity,
But is he often thus ?
It were well,
Enter RODERIGO. Iago. How now, Roderigo ?
[Aside to him. I pray you, after the lieutenant; go. [E.cit RODERIGO.
Mon. And 'tis great pity that the noble Moor
Not I, for this fair island :
[Cry within,—“ Help! Help!”
What's the matter, lieutenant ?
Rod. Beat me!
[Striking RODERIGO. Mon.
Nay, good lieutenant;
[Staying him. I pray you, sir, hold your hand. Ι
6 He'll watch the HOROLOGE a double set, ] “Horologe” was not an uncommon word for a clock in the time of Shakespeare: to watch it " a double set,” probably means to keep awake while the hands go twice round.
? Prizes the virtue] The reading of the folio is here clearly to be adopted, instead of that of the two 4tos, which have Praises for “ Prizes."
& Cry within,—“Help! Help!”] This stage-direction is only in the 4tos. 9- a Wicker bottle.] So both the 4tos: the folio, “a twiggen bottle.” The meaning is the same, a bottle made of twigs, or wicker."
Let me go, sir,
Come, come; you're drunk. Cas. Drunk!
[They fight. Iago. Away, I say! [Aside to Rod.] go out, and cry-a mutiny.
[E.cit Rod. Nay, good lieutenant,-alas, gentlemen !Help, ho!-Lieutenant,-sir,— Montano,-sir ;Help, masters ! -Here's a goodly watch, indeed! [Bell rings. Who's that that rings the bell ?- Diablo', ho ! The town will rise: God's will ? ! lieutenant, hold ! You will be sham’d for ever.
Enter OTHELLO, and Attendants. Oth.
What is the matter here? Mon. 'Zounds! I' bleed still: I am hurt to the death
[He faints. Oth. Hold, for your lives!
Iago. Hold, hold, lieutenant !-sir, Montano, gentlemen! -
Oth. Why, how now, ho! from whence ariseth this?
1 Diablo,] An exclamation employed by other dramatists. Monck Mason and Steevens observe, that “it is a mere contraction of Diavolo, the Italian word for the devil.” We know not why we should go to a contraction of the Italian, when Diablo is the ordinary Spanish word.
God's will!] Fie, fie! in the folio; and below it omits “ Zounds!”
- I am hurt to the death.] We here have a different kind of proof of the value of the 4to, 1630: the folio, 1623, adds, by obvious error, “ He dies," printing the two words in the ordinary type; and some modern editors have, therefore, considered them part of the text. They were, in fact, nothing more than a printer's blunder, which the folio, 1632, corrects by making Montano say, “I am hurt, but not to the death." The true stage-direction, for which " He dies" was, no doubt, intended, is found in the 4to, 1630, “ le faints,” and that we have willingly inserted.
* Have you forgot all sense of Place and duty ?] Every old copy has a transposition here, which Sir T. Hanmer, as well as the corr. fo. 1632, reformed: the 4tos. and folios read, Have you forgot all place of sense and duty ?”
5 -- to carve for his own rage,] Our reading is that of the folio, 1623, confirmed by that of the 4to, 1630: the 4to, 1622, alone bas “to carve forth his own rage," which can hardly be right.
Silence that dreadful bell! it frights the isle
Iago. I do not know :—friends all but now, even now
Oth. How came it, Michael, you were thus forgot'?
Oth. Worthy Montano, you were wont be civil;
Mon. Worthy Othello, I am hurt to danger:
Now, by heaven,
• (As if some planet bad unwitted men)] The corr. fo. 1632 has them for “men,” and “men” and them were now and then confounded, owing perhaps to some similarity of sound. Iago seems referring to the particular individuals engaged in the brawl; but as the allusion may have been to the effects of planets on man. kind in general, we do not disturb the old text.
| How came it, Michael, you were thus forgot?] The commentators take no notice of a material variation here between the two 4tos. and the folio, the latter only reading, “How comes it, Michael, you are thus forgot ?"
& And passion, having my best judgment QUELLED,] It is collied for “quelled " in the folio, and cool'd in the 4tos. It has been usual to take collied in the sense of blackened or darkened, but nobody has rashly advocated the claims of coold.
Assays to lead the way. If I once stir,
Mon. If partially affin'd, or leagu'd in office ?,
Touch me not so near.
“Quelled," i. e. subdued or conquered, is precisely the word wanted, and we find it in the margin of the corr. fo. 1632. In our former edition we conjectured that “quelled” might be the language of the poet ; and it is to be remarked that, if short-hand were employed in obtaining the copy of “Othello” for the publisher, the very same letters which spell “ quelled” would also spell collied and even coold. See “ Macbeth," A. v. sc. 5, Vol. v. p. 457, where, for the same reason, “quail'd” has always been misprinted coold.
- on the court of guard and safety !] Such was Malone's emendation of "the court and guard of safety" of the old copies, and such we find it in the corr. fo. 1632: we have, therefore, now no hesitation in adopting this technical military expression.
| lago, who began it?] In the two 4tos, “ it” perhaps accidentally dropped out at the end of the verse : the folio reads, * who began't.” As Malone observed, to make out the line it is necessary here, as in some other places, to read “monstrous " as a trisyllable.
? – if partially AFFIN'D, or LEAGUED in office,] For “affin'd," i.e. related, see “ Troilus and Cressida,” Vol. iv. p. 494, and this play, p. 12. The old copies all read “ league in office."