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Iago. Who's there? whose noise is this, that
cries on murder?? Lod. We do not know. Iago.
Did you not hear a cry? Cas. Here, here; for heaven's sake, help me. Iago.
What's the matter?. Gra. This is Othello's ancient, as I take it. Lod. The same, indeed; a very valiant fellow. Iago. What are you here that cry so grievously?
Cas. Iago? O, I am spoil'd, undone by villains! Give me some help. Iago. O me, lieutenant! what villains have done
this? Cas. I think, that one of them is hereabout, And cannot make away. · Iago.
O treacherous villains! What are you there? come in, and give some help.
"To Lodovico and GRATIANO. · Rod. O, help me here! . Cas. That's one of them. Iago.
O murderous slave! O villain!
[Iago stabs RODERIGO. · Rod. O damn'd lago! O inhuman dog! O! O! O! lago. Kill men i'the dark!-Where be these
bloody thieves ? How silent is this town!-Ho! murder! murder! What may you be? are you of good, or evil? · Lod. As you shall prove us, praise us.. . Iago.
Signior Lodovico? Lod. He, sir. · Iago. I cry you mercy; Here's Cassio hurt By villains.
-- whose noise is this, that cries on murder?] Such was the phraseology of Shakspeare's age.
How is it, brother?
Marry, heaven forbid!
Enter BIANCA. Bian. What is the matter, ho? who is't that
cry'd? Iago. Who is't that cry'd? Bian. O my dear Cassio! my sweet Cassio! O Cassio! Cassio! Cassio! lago. O notable strumpet !--Cassio, may you sus
pect Who they should be, that have thus mangled you?
to seek you.
Bian. Alas, he faints:- Cassio! Cassio! Cassio!
Iago. Gentlemen all, I do suspect this trash
Gra. What, of Venice?
Know him? ay.
I am glad to see you. Iago. How do you, Cassio -0, a chair, a chair! Gra. Roderigo! lago. He, he, 'tis he:-0, that's well said ;
the chair:-- [A Chair brought in. YOL IX. , GG
Some good man bear him carefully from hence; ... I'll fetch the general's surgeon.--For you, mistress,
' [To BIANCA. Save you your labour.--He that lies slain here, Cassio, Was my dear friend: What malice was between you?
Cas. None in the world; nor do I know the man. Iago. [To Bian.] What, look you pale?-0, bear him out o'the air.
Cassio and Rod. are borne off. Stay you, good gentlemen :-Look you pale, mis
tress? Do you perceive the gastness of her eye?-Nay, if you stare, we shall hear more anon:Behold her well; I pray you, .look upon her; Do you see, gentlemen? nay, guiltiness will speak, Though tongues were out of use.
Enter EMILIA. Emil. 'Las, what's the matter; what's the matter,
Emil. Alas, good gentleman! alas, good Cassio!
shake not. lago. O, did he so? I charge you, go with me. Emil. Fye, fye upon thee, strumpet!
Bian. I am no strumpet; but of life as honest, As you that thus abuse me..
Émil. ' As I? foh! fye upon thee!
Tago. Kind gentlemen, let's go see poor Cassio nii dress'd :
Come, mistress, you must tell us another tale.
A Bedchamber: Desdemona in bed asleep.
[Takes off his Sword. Yet she must die, else she'll betray more men. Put out the light, and then put out the light:1
8 -- or fordoes me quite.] To fordo, is to undo, to ruin, te destroy. · 9 It is the cause, it is the cause, my soul
Let me not name it - The abruptness of this soliloquy makes it obscure. The meaning, I think, is this:-I am here (says Othello in his mind) overwhelmed with horror. What is the reason of this perturbation? Is it want of resolution to do justice? Is it the dread of shedding blood ? No; it is not the action that shocks me, but it is the cause, it is the cause, my soul; let me not name it to you, ye chaste stars! it is the cause. JOHNSON.
Put out the light, and then put out the light:] This is one of the passages in which, by a modern regulation, our poet's words have obtained a meaning, which in my opinion was not in his thoughts. Mr. Upton was the first person who introduced the conceit in this line, which has been adopted since his book appeared, by pointing it thus: . Put out the light, and then-Put out the light ! &c.
If I quench thee, thou flaming minister,
. [Kissing her.
Des. Who's there. Othello?
Ay, my lord. Oth. If you bethink yourself of any crime, Unreconciľd as yet to heaven and grace, Solicit for it straight.
Des. Alas, my lord, what may you mean by that?
Oth. Well, do it, and be brief; I will walk by: I would not kill thy unprepared spirit;
I entirely agree with Dr. Farmer, that this regulation gives a spirit to this passage that was not intended. The poet, I think, meant merely to say, "I will now put out the lighted taper which I hold, and then put out the light of life;" and this introduces his subsequent reflection and comparison, just as aptly, as supposing the latter words of the line to be used in the same sense as in the beginning of it, which cannot be done without destroying that equivoque and play of words of which Shakspeare was so fund. MALUXE.