HISTORICAL NOTICE OF OTHELLO. A story in Cynthio's novels is the prototype whence our author derived his materials for this sublime and instructive tragedy, which is assigned by Maione, after considerable hesitation, to the date of 1604; while Dr. Drake and Mr. Chalmers conjecture it to be the production of a period as late as 1612 or 1614. This play was first entered at Stationers' Hall Oct. 6, 1621, and appeared in quarto in the course of the following year; between which edition and the folio of 1623 many minute differences exist. The beauties of this play,' says Dr. Johnson, impress themselves so strongly on the attention of the reader, that they can draw no aid from critical illustration. The fiery openness of Othello, magnanimous, artless, and credulous, boundless in his confidence, ardent in his affection, inflexible in his resolution, and obdurate in his revenge; the cool malignity of Iago, silent in his resentment, subtle in his designs, and studious at once of his interest and his vengeance; the soft simplicity of Desdemona, confident of merit, and conscious of innocence, her artless perseverance in her suit, and her slowness to suspect that she can be suspected, are such proofs of Shakspeare's skill in human nature, as, I suppose, it is vain to seek in any modern writer. The gradual progress which lago makes in the Moor's conviction, and the circumstances which he employs to inflame him, are so artfully natural, that, though it will perhaps not be said of him as he says of himself, that he is a man not easily jealous,' yet we cannot but pity him, when at last we find him perplex'd in the extreme.' 6 6 'There is always danger, lest wickedness, conjoined with abilities, should steal on esteem, though it misses of approbation; but the character of Iago is so conducted, that he is from the first scene to the last hated and despised. Even the inferior characters of this play would be very conspicuous in any other piece, not only for their justness, but their strength. Cassio is brave, benevolent, and honest, ruined only by his want of stubbornness to resist an insidious invitation. Roderigo's suspicious credulity, and impatient submission to the cheats which he sees practised on him, and which by persuasion he suffers to be repeated, exhibit a strong picture of a weak mind betrayed by unlawful desires to a false friend; and the virtue of Emilia is such as we often find; worn loosely, but not cast off; easy to commit small crimes, but quickened and alarmed at atrocious villanies. 'The scenes from the beginning to the end are busy, varied by happy interchanges, and regularly promoting the progression of the story; and the narrative in the end, though it tells but what is known already, yet is necessary to produce the death of Othello. Had the scene opened in Cyprus, and the preceding incidents been occasionally related, there had been little wanting to a drama of the most exact and serupulous regularity.' ARGUMENT. A Moorish general in the service of the Venetians, named Othello, by his valor and mental accomplishments captivates the affections of Desdemona, the only daughter of an eminent senator, who exposes herself to the resentment of an incensed father by eloping with her lover, and becoming his wife. These nuptials are no sooner solemnised, than Othello is required by the senate to assume the command of Cyprus, whither he is followed by Desdemona, whose influence over her husband is exerted in behalf of Cassio, who has been deprived of his lieutenancy for an act of indiscretion, into which he has been betrayed by the devices of Iago, in order that he may at once gratify his diabolical malignity and promote his personal advancement, by instilling groundless suspicions into the ear of his commander, of a criminal attachment subsisting between his wife and Cassio; which he substantiates by so much seeming honesty of purpose and the production of such strong external testimony, that the fierce desire of revenge in the bosom of the Moor stifles the generous sympathies of his nature, and he smothers his innocent wife, leaving the assassination of Cassio to be effected by the agency of his supposed friend, who however fails to accomplish his deadly purpose. The villany of lago is at length brought to light by his wife Emilia, who is stabbed by her enraged husband; while the unfortunate Othello finds means to elude the vigilance of his attendants, and deprive himself of life by a concealed dagger. In the mean time, Cassio is advanced to the government of Cyprus, and Iago is sentenced to expiate his crimes by a painful and protracted death. 184 PERSONS REPRESENTED. DUKE OF VENICE. BRABANTIO, a senator. GRATIANO, brother to Brabantio. CASSIO, his lieutenant. IAGO, his ancient. ་ RODERIGO, a Venetian gentleman. MONTANO, Othello's predecessor in the government of Cyprus. CLOWN, servant to Othello. HERALD. DESDEMONA, daughter to Brabantio, and wife to Othello. BIANCA, a courtezan, mistress to Cassio. Oncers, Gentlemen, Messengers, Musicians, Sailors, Attendants, &c. SCENE, for the first act, in Venice; during the rest of the play, at a sea-port in Cyprus. OTHELLO, THE MOOR OF VENICE. ACT I. SCENE I. Venice. A street. Enter RODERIGO and IAGO. Ro. Tush, never tell me; I take it much un kindly, That thou, Iago,-who hast had my purse, As if the strings were thine,-shouldst know of this. Iago. 'Sblood, but you will not hear me : If ever I did dream of such a matter, abhor me. hate. Iago. Despise me, if I do not. of the city, Three great ones In personal suit to make me his lieutenant, To cap means to salute by taking off the cap. |