How he upbraids Iago, that he made him
Brave me on the watch; whereon it came
That I was cast; and even but now he spake,
After long seeming dead,-Iago hurt him,
lago set him on.

Lod. You must forsake this room, and go
with us;

Your power and your command is taken off,
And Cassio rules in Cyprus. For this slave,-
If there be any cunning cruelty,

That can torment him much, and hold him

It shall be his: You shall close prisoner rest,
Till that the nature of your fault be known
To the Venetian state-Come, bring him

Oth. Soft you; a word or two, before you go. I have done the state some service, and they know it;

No more of that:-I pray you, in your letters,
When you shall these unlucky deeds relate,
Speak of me as I am; nothing extenuate,
Nor set down aught in malice: then must you

Of one that lov'd not wisely, but too well;
Of one, not easily jealous, but, being wrought,
Perplex'd in the extreme; of one, whose hand,
Like the base Júdean, threw a pearl away,
Richer than all his tribe; of one, whose subdu'd

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Their medicinal gum: Set you down this:
And say, besides,-that in Aleppo once,
Where a malignant and a turban'd Turk
Beat a Venetian, and traduc'd the state,
I took by the throat the circumcised dog,
And smote him-thus.
[Stabs himself.

Lod. O bloody period!
Gra. All, that's spoke, is marr'd.
Oth. I kiss'd thee, ere I kill'd thee;-No way
but this,

[Falling upon DESDEMONA. Killing myself, to die upon a kiss.


Cas. This did I fear, but thought he had no weapon;

For he was great of heart.

Lod. O Spartan dog,

More fell than anguish, hunger, or the sea!
Look on the tragic loading of this bed;

This is thy work; the object poisons sight;-
Let it be hid.-Gratiano, keep the house,
And seize upon the fortunes of the Moor,
For they succeed to you.-To you, lord gover-

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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 counteracted 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 troublesome excrescence, Bianca the prostitute ---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.

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LITERARY AND HISTORICAL NOTICE. IN 1562 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 Boisteau'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 recur rence 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.

ABRAM, Servant to Montague.

PARIS, a young Nobleman, Kinsman to the AN APOTHECARY.

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SCENE, during the greater part of the Play, in Verona: once, in the fifth Act, at Mantua.

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Gre. That shows thee a weak slave; for the 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 men.

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 it.

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 hadst, thou hadst been poor John. * Draw thy tool; here comes two of the house of the Montagues.


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And flourishes his blade in spite of me.

Enter MONTAGUE, and LADY MONTAGUE. Mon. Thou villain, Capulet,-Hold me not, let me go.

La. Mon. Thou shalt not stir one foot to seek
a foe.

Enter PRINCE, with Attendants.
Prin. Rebellious subjects, enemies to peace,
Profaners of this neighbour-stained steel,-
Will they not hear?-what ho! you men, you

That quench the fire of your pernicious rage With purple fountains issuing from your veins, Sam. My naked weapon is out; quarrel, I will On pain of torture, from those bloody hands Throw your mistemper'd

back thee.

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.

Gre. 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?
Sam. I do bite my thumb, Sir.

Abr. Do you bite your thumb at us, Sir?
Sam. Is the law on our side, if I say,-ay?
Gre. No.

Sam. No, Sir, I do not bite my thumb at you,
Sir; but I bite my thumb, Sir.

Gre. Do you quarrel, Sir?

Abr. Quarrel, Sir? no, Sir.

Sam. If you do, Sir, I am for you; I serve as good a man as you.

Abr. No better.

Sam. Well, Sir

Enter BENVOLIO, at a Distance.


weapons to
And hear the sentence of your moved prince.-
Three civil brawls, bred of an airy word,
By thee, old Capulet and Montague,
Have thrice disturb'd the quiet of our streets;
And made Verona's ancient citizens
Cast by their grave beseeming ornaments,
To wield old partizans, in hands as old,
Canker'd with peace to part your canker'd hate:
If ever you disturb our streets again,
Your lives shall pay the forfeit of the peace.
For this time, all the rest depart away:
You, Capulet, shall go along with me;
And, Montague, come you this afternoon,
To know our further pleasure in this case,
To old Free-town, our common judgment-place.
Once more, on pain of death, all men depart.
[Exeunt PRINCE and Attendants; CAPU-
ZENS, and Servants.
Mon. Who set this ancient quarrel new

Speak, nephew, were you by when it began?
Ben. Here were the servants of your ad-

Gre. Say-better; here comes one of my And your's, close fighting ere I did approach:

master's kinsmen.

Sam. Yes, better, Sir.

Abr. You lie.

Sam. Draw, if you be men.-Gregory, remember thy smashing blow.

[They fight. Ben. Part, fools; put up your swords; you know not what you do.

[Beats down their Swords.


Tyb. What, art thou drawn among these

heartless hinds ?

Turn thee, Benvolio, look upon thy death.

I drew to part them; in the instant came
The fiery Tybalt, with his sword prepar'd;
Which, as he breath'd defiance to my ears,
He swung about his head, and cut the winds,
Who, nothing hurt withal, hiss'd him in scorn:
While we were interchanging thrusts and blows
Came more and more and fought on part and


Till the prince came, who parted either part.
La. Mon. O where is Romeo?-saw you him
to day?

Right glad I am, he was not at his fray.
Ben. Madam, an hour before the worshipp'd

Ben. I do but keep the peace; put up thy Peer'd through the golden window of the east, sword,

Or manage it to part these men with me.

A troubled mind drave me to walk abroad;
Where,-underneath the grove of sycamore,

Tyb. What, drawn, and talk of peace? I hate That westward rooteth from the city's side,

the word,

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So early walking did I see your son:
Towards him I made; but he was 'ware of me,
And stole into the covert of the wood:
I, measuring his affections by my own,
That most are busied when they are most alone,
Pursu'd my humour, not pursuing his,
And gladly shunn'd who gladly fled from me.

Mon. Many a morning hath he there been

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