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And she did gratify his amorous works
Emil. O heaven! O heavenly powers!
Emil. "Twill out, 'twill out;-I hold my peace,
No, I will speak as liberal as the air;
Let heaven, and men, and devifs, let them all,
Emil. I will not.
Pale as thy smock! when we shall meet at
This look of thine will hurl my soul from hea-
[LAGO offers to stab his Wife. O cursed, cursed slave !-Whip me ye devils,
I found by fortune, and did give my husband;
lago. Villanous whore!
Emil. She gave it Cassio! no, a alas; I found it,
Emil. By heaven, I do not; I do not, gen-
O murd'rous coxcomb! what should such a
Do with so good a wife?
[IAGO stabs EMILIA, then runs out.
Gra. The woman falls; sure, he has kill'd
Emil. Ay, ay; O lay me by my mistress'
Which I have here recover'd from the Moor:
[Exeunt MONTANO and GRATIANO.
Emil. What did thy song bode, lady?
* And die in music;-Willow, willow, willow.Moor, she was chaste; she lov'd thee, cruel
So come my soul to bliss, as I speak true Dies.
O here it is :-Uncle, I must come forth.
Or, naked as I am, I will assault thee.
Gra. What's the matter?
Oth. Behold! I have a weapon;
A better never did itself sustain
Be not afraid, though you do see me weapon'd
Than twenty times your stop:-But, O vain
Who can control bis fate? 'tis not so now.
• Freely. + Steel is hardened by being put redhot into very cold water.
Do you go back dismay'd? 'tis a lost fear;
Enter LODOVICO, MONTANO, CASS10, carried in a Chair, and Officers with IAGO prisoner. Lod. Where is this rash and most unfortunate man?
Oth. That's he, that was Othello; here I am. Lod. Where is that viper? bring the villain forth.
Oth. I look down towards his feet; +-but
If that thou be'st a devil, I cannot kill thee.
For, in my sense, 'tis happiness to die.
Lod. O thou Othello, that wast once so good,
From this time forth I never will speak word.
Gra. Torments will ope your lips.
Lod. Sir, you shall understand what hath
Which, as I think, you know not: Here is a
Cas. I found it in my chamber:
Oth. O fool! fool! fool!
Cas. There is, besides, in Roderigo's letter,
To see if his feet be cloven.
How he upbraids Iago, that he made him.
Lod. You must forsake this room, and
Your power and your command is taken off,
It shall be his: You shall close prisoner rest,
Oth. Soft you; a word or two, before you go. I have done the state some service, and they know it;
Their medicinal gum: Set you down this:
Lod. O bloody period!
Gra. All, that's spoke, is marr❜d.
Albeit unused to the melting mood,
[Falling upon DESDEMONA. Killing myself, to die upon a kiss.
For he was great of heart.
More fell than anguish, hunger, or the sea!
No more of that :-I pray you, in your letters,
THE reader will frequently be at a loss to reconcile the order and passages of Othello, as given in the present edition, with their accustomed delivery on the stage; but it is considered a trifling inconvenience, when coun teracted by the pleasure of possessing (as nearly as the most authentic resources can afford them,) the actual language and construction of the drama, as given by Shakspeare. In the authorized copies of the prompters' books, and in many editions reprinted from them, the beauty of the original has been somewhat obscured by green-room critics, of conflicting taste, and obsequious managers, more penny-wise than poetical. The scene with the musicians, which introduces Act II.--that incongruous nuisance, the clown---and that equally trouble. come excrescence, Bianca the prostitu ---are however, with real judgment, omitted in the representation; and many of the less important passages, such as occur in the scene before the senate---in the soliloquies of lago--in the dialogues between Montano and a gentleman of Cyprus, on the tempest of the preceding night, and between Desdemona and Emilia, on the temptations to adultery, are very considerably abridged. The order of the scenes is also perpetually varied; each theatrical copartnership retaining its peculiar programme of Richard or Othello, in common with its wardrobe, thunder, side-scenes, and mould-candles.
ROMEO AND JULIET.
LITERARY AND HISTORICAL NOTICE.
IN 1561 Mr. Arthur Brooke published a poem on “The Tragicall Historie of Romeus and Juliett ;" the materials for which he chiefly obtained from a French translation (by Boisteau) of an Italian novel by Luigi da Porto, a Venetian gentleman, who died in 1529. A prose translation of Bøisteau's work was also published 1576, by Paister, in his Palace of Pleasure, vol. II.; and upon the incidents of these two works, especially of the poem, Malone decides that Shakspeare constructed his entertaining tragedy. Dr. Johnson has declared this play to be "one of the most pleasing of Shakspeare's performances:" but it contains some breaches of irregularity--many superfluities, tumid conceits, and bombastic ideas, inexcusable even in a lover; with a continued recurreace of jingling periods and trifling quibbles, which obscure the sense, or disgust the reader. Several of the characters are, however, charmingly designed, and not less happily executed; the catastrophe is intensely affecting; the incidents various and expressive; and as the passion which it delineates is one of universal acceptance in the catalogue of human wishes, the tinder-like character of the lady, and the notable constancy of the gentleman, are forgotten in the dangers and the calamities of both. The numerous rhymes which occur, are probably seedlings from Arthur Brooke's stock plant. "The nurse (says Dr. Johnson) is one of the characters in which Shakspeare delighted: he has, with great subtilty of distinction, drawn her at once loquacious and secret, obsequious and insolent, trusty and dishonest."
ESCALUS, Prince of Verona.
MONTAGUE, Heads of two Houses at vari-CHORUS.-BOY, Page to Paris.-PETER, an
ance with each other.
ROMEO, Son to Montague.
MERCUTIO, Kinsman to the Prince, and Friend
BENVOLIO, Nephew to Montague, and Friend
TYBALT, Nephew to Lady Capulet..
Servants to Capulet.
SCENE, during the greater part of the Play, in Verona: once, in the fifth Act, at Mantua.
Two households, both alike in dignity,
LADY MONTAGUE, Wife to Montague.
SCENE I. A public Place.
Sam. Gregory, o'my word, we'll not carry
Gre. No, for then we should be colliers.
Aphrase formerly in use to signify the bearing
Citizens of Verona; several Men
Gre. To move, is-to stir; and to be valiant, is-to stand to it: therefore, if thou art mov'd, thou run'st away.
Sam. A dog of that house shall move me to in-stand: I will take the wall of any man or maid of Montague's.
Gre. That shows thee a weak slave; for the | Down with the Capulets! down with the Mon weakest goes to the wall.
Sam. True; and therefore women, being the weaker vessels, are ever thrust to the wall:therefore I will push Montague's men from the wall, and thrust his maids to the wall.
Gre. The quarrel is between our masters, and us their meu.
Sam. 'Tis all one, I will show myself a tyrant: when I have fought with the men, I will be cruel with the maids; I will cut off their heads.
Gre. The heads of the maids?
Sam. Ay, the heads of the maids, or their maidenheads; take it in what sense thou wilt.
Gre. They must take it in sense, that feel
Sam. Me they shall feel, while I am able to stand and 'tis known I am a pretty piece of flesh.
Gre. 'Tis well, thou art not fish: if thou badst, thou hadst been poor John. ⚫ Draw thy tool; here comes two of the house of the Montagues.
Gre. How? turn thy back, and run?
Sam. Fear me not.
Gre. No, marry: I fear thee! Sam. Let us take the law of our sides; let them begin.
Cre. I will frown as I pass by: and let them take it as they list.
Sam. Nay, as they dare. I will bite my thumb at them; which is a disgrace to them, if they bear it.
Abr. Do you bite your thumb at us, Sir?
Enter ABRAM and BALTHAZER.
That quench the fire of your pernicious rage
Sam. My naked weapon is out; quarrel, I will On pain of torture, from those bloody hands
And hear the sentence of your moved prince.-
[Exeunt PRINCE and Attendants; CAPU-
Mon. Who set this ancient quarrel new
Abr. Do you bite your thumb at us, Sir?
Sam. No, Sir, I do not bite my thumb at you,
Sir; but I bite my thumb, Sir.
Gre. Do you quarrel, Sir?
Sam. If you do, Sir, I am for you; I serve as good a man as you.
Abr, No better.
Sam. Yes, better, Sir.
Abr. You lie.
Sam. Draw, if you be men.-Gregory, remember thy smashing blow.
As I hate hell, all Montagues, and thee:
Enter BENVOLIO, at a Distance.
Gre. Say-better; here comes one of my And your's, close fighting ere I did approach :
1 Cit. Clubs, bills, and partizans ! strike! beat them down!
Poor John is hake, dried and salted. †The disregard of concord is in character.
↑ Clubs! was equivalent to the modern cry of Watch!
Enter MONTAGUE, and LADY MONTAGUE.
La. Mon. Thou shalt not stir one foot to seek
Enter PRINCE, with Attendants.
[They fight., Enter several Partizans of both Houses, who join the Fray: then enter CITIZENS with
[They fight. Ben. Part, fools; put up your swords; you know not what you do.
[Beats down their Swords. Enter TYBALT.
Tyb. What, art thou drawn among these
Or manage it to part these men with me.
Tyb. What, drawn, and talk of peace? I hate That westward rooteth from the city's side,-
Towards him I made; but he was 'ware of me,
measuring his affections by my own,
Speak, nephew, were you by when it began ?
With tears augmenting the fresh morning's dew.
But all so soon as the all-cheering sun
Ben. My noble uncle, do you know the cause?
Enter ROMEO, at a distance.
Ben. See, where he comes: So please you,
I'll know his grievance, or be much de
Rom. Ah me! sad hours seem long.
Rom. Not having that, which having, makes them shor.
Ben. In love?
Ram. Out of her favour, where I am in love.
Ram. Alas, that love, whose view is muffled still.
Yet tell not, for I have heard it all. [love:
Still-waking sleep, that is not what it is!-
Ben. No, coz, I rather weep.
Ben. At thy good heart's oppression.
Rom. Why, such is love's transgression.Griefs of mine own lie heavy in my breast; Which thou wilt propagate, to have it press'd With more of thine: this love, that thou hast
Rom. What, shall I groan, and tell thee?
But sadly tell me, who.
Rom. Bid a sick man in sadness make his
Ah word ill urg'd to one that is so ill!-
• la seriousness.
Rom. A right good marksman !—And she's fair I love.
Ben. A right fair mark, fair coz, is soonest
Rom. Well, in that hit, you miss: she'll not
With Cupid's arrow, she hath Dian's wit;
She will not stay the siege of loving terms,
Rom. She hath, and in that sparing makes huge waste;
For beauty, starv'd with her severity,
Ben. Be rul'd me, forget to think of her.
Ben. By giving liberty unto thine eyes:
Rom. 'Tis the way
To call her's exquisite, in question more:
He, that is strucken blind, cannot forget
SCENE II-A Street.
Enter CAPULET, PARIS, and SERVANT.
Par. Of honourable reckoning are you both;
Cap. But saying o'er what I have said be-
My child is yet a stranger in the world,
Par. Younger than she are happy mothers
eth add more grief to too much of mine own.
The earth hath swallow'd all my hopes but she;
Ben. Soft, I will go along;
Cap. And too soon marr'd are those so early made.
A compliment to Queen Elizabeth, in whose reign the play was first represented.