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Juftice to break her fword. One more, one more;
SCENE VII. Othello's Confufion, after having murder'd his Wife.
Yes, 'tis Emilia-by and by-she's dead.
His Love for her.
Had the been true,
If heaven would make me fuch another world,
SCENE IX. His bitter Remorfe.
Lo! I have a weapon: (14) A better never did itself sustain
(14) A better, &c.] In the Double Falfhood there is exactly the fame expreffion, whether Shakespear's, or introduced by Theobald, I cannot pronounce;
Upon a foldier's thigh. I've feen the day,
Whip me, ye devils,
From the poffeffion of this heavenly fight;
SCENE X. His laft Speech.
Soft you; a word or two before you go,
I have done the state fome fervice, and they know it;
Wear I not a sword?
Ne'er on man's thigh rode better.
(15) See Measure for Measure, p. 238, 139, 140, 141.
A. 3. 5. 3.
Like the bafe (16) Judean, threw a pearl away
(16) Judean. The elder quarto gives us Indian, it was easy for the to have been chang'd into an i; and I fuppofe, he alludes to the well-known ftory of Herod and Mariamne his wife; in fome circumftances not unlike this of Othello and Defdemona, for both husbands lov'd violently, both were jealous, both were the occafion of their wives deaths; befides, the word tribe, feems wholly to confirm this reading, and in fupport of it we may add, "that in the year 1613, the lady Elizabeth Carew, published a tragedy called Mariam, the fair Queen of Jewry." Mr. Upton prefers like the baje Egyptian; which Egyptian he tells us, was Thyamis, mentioned in the romance of Theagenes and Charicka, written by Heliodorus. The Reader, if he thinks proper, may fee his arguments in fupport of this emendation in his Ob fervations, p. 268.
The beauties of this play are so peculiarly Shakespear's own, little can be produced from other writers to compare with them; there are many excellencies, which could not be introduced in this work, depending on circumftances, fo nicely adapted, no Reader can relish them extracted from the tragedy, which is itfelf one compleat beauty.
THE beauties of this play (fays Johnson) impress themselves fo ftrongly upon the attention of the Reader, that they can draw no aid from critical illuftration. The fiery openness of Othello, magnanimous, artlefs, and credulous, boundless in his confidence, ardent in his affection, inflexible in his refolution, and obdurate in his revenge; the cool malignity of Iago, filent in his refentment, fubtle in his defigns, and ftudious at once of his intereft and his vengeance; the foft fimplicity of Defdemona, confident of merit, and confcious of innocence, her artless perfeverance in her fuit, and her flowness to fufpect that the can be fufpected are fuch proofs of Shakespear's skill in human nature, as, I fuppofe, it is vain to feek in any modern writer. The gradual progrefs which lago makes in the Moor's conviction, and the circumftances which he employs to inflame him, are fo artfully natural, that, though it will perhaps not be faid of him as he fays of himself, that he is a man not cafily jealous, yet we cannot but pity him, when at last we find him perplexed in the extreme.
(1) Is fpotlefs reputation: that away,
Men are but gilded loam or painted clay.
That which in mean men we entitle patience, Is pale cold cowardice in noble breasts.
SCENE VI. Banifhment, Confolation under it.
(2) All places that the eye of heaven vifits, Are to a wife man ports and happy havens.
(1) See Othello, p. 210.
(2) All, &c.] Similar to this is the beginning of the 5th act of Paftor Fido.