[chair.

Gra. Rodorigo? Iago. He, he, 'tis he: oh, that's well said, the Some good man bear him carefully from hence; I'll fetch the general's surgeon. For you, mistress, Save you your labour. He that lyes slain here, Cassio, Was my dear friend. dear friend. What malice was between

you?

Cas. None in the world; nor do I know the man. Iago. What, look you pale ?-oh, bear him out o th’ air.

Stay you, good gentlemen. Lookyou pale, mistress? Do you perceive the ghastness of her eye?

[To Bianca. 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. Alas, what is the matter?

What is the matter, husband?

Iago. Cassio hath there been set on in the dark

By Rodorigo, and fellows that are 'scaped :

He's almost slain, and Rodorigo dead.

Emil. Alas, good gentleman! alas good Cassio! Iago. This is the fruit of whoring

Emilia,

-pray,

Go know of Cassio where he supp'd to-night.
What, do you shake at that?

Bian. Hesupp'dat my house, but I therefore shake

not.

Iago. Oh, did he so? I charge you go with me. Emil. Oh fie upon thee, strumpet!

Bian. I am no strumpet, but of life as honest As that thus abuse me. you

Emil. As I-fie upon thee!

Iago. Kindgentlemen, let's see poor Cassio drest. Come, mistress, you must tell's another tale. Emilia, run you to the citadel,

And tell my lord and lady what hath happened: Will you go on afore -―This is the night.

That either makes me, or foredoes me quite.

[Exeunt, lago following.

SCENE-a Bed-chamber; DESDEMONA is discovered asleep in her Bed.

Enter OTHELLO, with a Light and a Sword. Oth. It is the cause, it is the cause, my soul;--(76) Let me not name it to you, you chaste stars! It is the cause.-Yet I'll not shed her blood,

(76) It is the cause; it-it. After the many allusions to the marks of numbers exhibited by different characters in the moon, both in this play and in King Lear, (more distinctly, indeed, in that, than in this ;) the reader may not be indisposed to admit, in explanation of this most strange and repeated expression, that the characters which form

Nor scar that whiter skin of hers than snow,

[Lays down the Sword.

And smooth as monumental alabaster.

Yet she must die else she'll betray more men. Put out the light, and, then put out the light! (77) If I quench thee thou flaming minister,

I can again thy former light restore,

Should I repent: but once put out thy light,
Thou cunningest pattern of excelling nature,
I know not where is that Promethean heat,
That can thy light relumine-

[Sets down the Taper.

Othello's hand, and which appear on Desdemona's shoulder, have a near resemblance to the word it, as drawn in

Fig. 109.

ques

(77) If I quench thee, &c. There has been much tion about the manner of pronouncing this passage; but if the first part of it be referred to the taper only, (as formed out of the streaks of light on Cassio's body,) and the latter part, not merely to the death of Desdemona (in character), but to the obscuration, or extinction rather, of the part of the moon which forms her prototype, the difficulty will be removed.

When I have plucked thy rose, (78)
I cannot give it vital growth again ;

It needs must wither.-I'll smell thee on the tree;

[Kissing her: Oh balmy breath, that dost almost persuade [more; Justice to break her sword!One more; one Be thus when thou art dead, and 1 will kill thee, And love thee after.One more, that's the last; So sweet, was ne'er so fatal! I must weep, But they are cruel tears: this sorrow's heavenly; It strikes, where it doth love-She wakesDes. Who's there? Othello?

Oth. Ay, Desdemona.

Des. Will you come to bed, my lord?

Oth. Have you prayed to-night, Desdemona ? Des. Ay, my lord.

Oth. If you bethink yourself of any crime
Unreconciled as yet to Heaven, and grace,
Solicit for it strait.

Des. Alack, my lord,
What may you mean by that?

(78) Thy rose. At the bottom of Desdemona's face there is the likeness of a rose, of which the stalk, leaves, and prickles, extend over the rest of her person: there is frequent reference to this rose-like appearance, both in Hudibras and in the plays, and perhaps in the name of Rodorigo, whose prototype is situate thereabout.

Oth. Well, do it, and be brief; I will walk by. I would not kill thy unprepared spirit,

No, (heavens forfend!) I would not kill thy soul. Des. Talk you of killing?

Oth. Ay, I do.

Des. Then Heaven have mercy on me!

Oth. Amen, with all my heart.

Des. If you say so, I hope you will not kill me.
Oth. Hum.

Des. And yet I fear you: for you're fatal then,

When

your eyes

roll so.

Why I should fear I

know not,

Since guilt I know not: yet, I feel, I fear,

Oth. Think on thy sins,

Des. They're loves I bear to you.

Oth. Ay, and for that thou diest.

[ing!

Des. That death's unnatural, that kills for lov

Alas, why gnaw you so your nether lip?

Some bloody passion shakes your very frame;

These are portents: but yet I hope, I hope,

They do not point on me.

Oth. Peace, and be still.

Des. I will so: what's the matter?

Oth. That handkerchief

[Cassio.

Which I so loved, and gave thee, thou gavest

Des. No, by my life and soul: send for the man, And ask him.