Lieutenant to the warlike Moor, Othello, 3 Gent. But this same Cassio, though he speak of comfort, Touching the Turkish loss, yet he looks sadly, And prays the Moor be safe; for they were parted Mon. As to throw out our eyes for brave Othello, 3 Gent. Come, let's do so; For every minute is expectancy Of more arrivance1. Enter CASSIO. Cas. Thanks you, the valiant of the warlike isle2, That so approve the Moor.-O! let the heavens Give him defence against the elements, was a Florentine. Malone would have "A Veronesé" apply to the ship, as if it belonged to, and had been fitted out by, Verona, an inland town, the property of the state of Venice. The third Gentleman has already said that the ship was "of Venice," and it is not likely that he would assert just afterwards that she was "A Veronese:" it seems much more probable that he would by mistake call Cassio" a Veronesé." An indistinct regard.] This hemistich and the preceding line are in the folio, and in the quarto, 1630, but not in that of 1622. 1 Of more ARRIVANCE.] So the two quartos: the folio arrivancie, probably a mere misprint. 2 Thanks you, the valiant of the warlike isle,] Here we adopt the text of the folio, because both the quartos appear to be wrong: that of 1622 has it, "Thanks to the valiant of this worthy isle ;" and that of 1630, omits worthy. Very possibly, the true reading may be what Malone has given, "Thanks to the valiant of this warlike isle ;" but no ancient authority so gives it, and the reading of the folio is at least unobjectionable. In the next line, both the quartos read tamely, "and let the heavens." For I have lost him on a dangerous sea. Mon. Is he well shipp'd? Cas. His bark is stoutly timber'd, and his pilot Therefore my hopes, not surfeited to death3, [Within.] A sail, a sail, a sail! Enter a Messenger. Cas. What noise? Mess. The town is empty; on the brow o' the sea Stand ranks of people, and they cry, “a sail.” Cas. My hopes do shape him for the governor. [Guns heard. 2 Gent. They do discharge their shot of courtesy: Our friends, at least. Cas. I pray you, sir, go forth, And give us truth who 'tis that is arriv'd. 2 Gent. I shall. [Exit. Mon. But, good lieutenant, is your general wiv'd? Cas. Most fortunately: he hath achiev'd a maid, That paragons description, and wild fame; One that excels the quirks of blazoning pens', And in th' essential vesture of creation, Does bear all excellency". - How now? who has put in? Re-enter Second Gentleman. 2 Gent. Tis one Iago, ancient to the general. not surfeited to death,] The meaning seems to be that Cassio's hopes are not destroyed by constant repetition and disappointment. This passage has occasioned much dispute. One that excels the quirks of blazoning pens,] The quarto, 1622, omits the words "quirks of." Does bear all excellency.] The folio reads, "Does tire the ingeniuer," which has been taken for inginer, though if that were the true word, we cannot tell why the compositor should have put so many letters into it. Our text is that, not only of the quarto, 1622, but of the quarto, 1630, which sometimes agrees with the folio, sometimes with the quarto, 1622, and now and then with neither. VOL. VII. M m Cas. He has had most favourable and happy speed: Tempests themselves, high seas, and howling winds, The gutter'd rocks, and congregated sands, Traitors ensteep'd' to clog the guiltless keel, As having sense of beauty, do omit Their mortal natures, letting go safely by The divine Desdemona. Mon. What is she? Cas. She that I spake of, our great captain's captain, Left in the conduct of the bold Iago; Whose footing here anticipates our thoughts, A se'nnight's speed.-Great Jove! Othello guard, Enter DESDEMONA, EMILIA, IAGO, RODERIGO, and The riches of the ship is come on shore. Ye men of Cyprus, let her have your knees.- Enwheel thee round! Des. I thank you, valiant Cassio. 6 Traitors ENSTEEP'D to CLOG] The quarto, 1622, by a mere misprint, no doubt, has enscerp'd for "ensteep'd :" both quartos have "clog" for enclog of the folio. Two lines lower, the quarto, 1622, has "common natures" for " mortal natures." 7 Make love's quick pants in Desdemona's arms,] So the folio: the quartos, "And swiftly come to Desdemona's arms." In the next line but one, “And bring all Cyprus comfort" is only in the quartos, but evidently necessary for the verse ending with " O, behold!" 8 What tidings can you tell ME of my lord ?] The folio omits "me," necessary to the measure, and found in every older copy. It was added in the folio, 1632. Des. O! but I fear.-How lost you company? Cas. The great contention of the sea and skies Parted our fellowship. [Within.] A sail, a sail! But, hark! a sail. [Guns heard. 2 Gent. They give their greeting" to the citadel: This likewise is a friend. Cas. See for the news'. [Exit Gentleman. [TO EMILIA. Good ancient, you are welcome.-Welcome, mistress. Let it not gall your patience, good Iago, That I extend my manners: 'tis my breeding That gives me this bold show of courtesy. [Kissing her. Iago. Sir, would she give you so much of her lips, As of her tongue she oft bestows on me, You'd have enough. Des. Alas! she has no speech. Iago. In faith, too much2; I find it still, when I have leave to sleep : Emil. You have little cause to say so. Iago. Come on, come on; you are pictures out of doors, Bells in your parlours, wild cats in your kitchens, Players in your housewifery, and housewives in your beds. 9 They give THEIR greeting] The quartos agree in "their" the folio, this. Boswell tells us that "the quarto" has this: it is a mistake, but some modern editors, without reference to the folio, seem to have taken his word for it, and have printed "their," as if such were the reading of the folio. 1 See for the news.] Thus the folio, and the quarto, 1630: the earlier quarto "So speaks this voice." 2 In faith, too much ;] The quarto, 1622, only, "I know too much ;" and it gives the next line, in opposition to the other authorities, “I find it, for when I ha' list to sleep." The folio has "leave to sleep." Des. O, fie upon thee, slanderer3! Iago. Nay, it is true, or else I am a Turk : You rise to play, and go to bed to work. Emil. You shall not write my praise. Iago. No, let me not. Des. What would'st thou write of me, if thou should'st praise me? Iago. O gentle lady, do not put me to't, For I am nothing, if not critical. Des. Come on; assay. There's one gone to the harbour? Iago. Ay, madam. Des. I am not merry; but I do beguile Iago. I am about it, but, indeed, my invention If she be fair and wise,-fairness, and wit, The one's for use, the other useth it. Des. Well prais'd! How, if she be black and witty? Iago. If she be black, and thereto have a wit, She'll find a white that shall her blackness fit1. Des. Worse and worse. Emil. How, if fair and foolish? Iago. She never yet was foolish that was fair; For even her folly help'd her to an heir. Des. These are old fond paradoxes', to make fools laugh i' the alehouse. What miserable praise hast thou for her that's foul and foolish? 3 3 O, fie upon thee, slanderer!] In the folio and quarto, 1630, this speech is assigned to Desdemona: in a hand-writing of the time, it is given to Emilia in the Duke of Devonshire's copy of the quarto, 1622, the prefix being wanting as the play was first printed. 4 her blackness FIT.] The quarto, 1622, only reads hit for “fit.” In Iago's next speech, the same edition has “to a hair" for "to an heir." 5 - old FOND paradoxes,] "Fond" (i. e. foolish) is in no copy but the folio. "Fond" generally occurs in this sense. |