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Justice to break her sword. One more, one more ;
SCENE VII. Othello's Confusion, after having
murder'd his Wife,
Yes, 'tis Æmilia-by and by--he's dead.
yawn at alteration.
His Love for her.
Had she been true,
(14) A better, &c.] In the Double Falhood there is exactly the fame expreflion, whether Shakespear's, or introduced by Theobald, I cannot pronounce ;
Upon a soldier's thigh. I've seen the day,
SCENE X. His last Speech. Soft you ; a word or two before you go, I have done the state some fervice, and they know it ; No more of that. I
Wear I not a sword ?
A. 3. S. 3. (15) See Measure for Measure, p. 238, 139, 140, 141.
Like the base (16) Fudean, threw a pearl away
] The elder quarto gives us Indian, it was easy for the è to have been chang'd into an i; and I suppose, he alludes to the well-known story of Herod and Mariamne his wife ; in some circumstances not unlike this of Othello and Desdemona, for both husbands lov'd violently, both were jealous, both were the occasion of their wives deaths; besides, the word tribe, seems wholly to confirm this reading, and in support 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. Uplon prefers like the baje Ægyftian; which Ægyptian he tells us, was Thyamis, mentioned in the romance of Theagcnes and Charicka, written by Heliodorus. The Reader, if he thinks proper, may see his arguments in support of this emendation in his 06fervations, 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 circumstances, so nicely adapted, no Reader can relish them extracted from the tragedy, which is itself one compleat beauty.
THE beauties of this play (says Johnson) impress themselves so strongly upon 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 lago, silent in his resentment, subtle in his designs, and Itudious at once of his interest and his vengeance; the soft fimplicity of Defdeexona, confident of merit, and conscious of innocence, her artless perseverance in her suit, and her Downess to suspect that the can be suspected are such proofs of Skakespear'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 nos casily jealous, yet we cannot but pity him, when at last we find him perplexed in the extreme.
The Life and Death of King
ACT I. SCENE II.
Is reputation away, Men are but gilded loam or painted clay.
SCENE III. Cowardice.
SCENE VI. Banishment, Confolation under it.
(2) All places that the eye of heaven visits, Are to a wise man ports and happy havens.
(1) See Othello, p. 210.
(2) All, &c.] Similar to this is the beginning of the 5th act of Palor Fido.