Dr Delius adopts nearly the same punctuation:

'Of my obscured course; and shall find time
From this enormous state,-seeking to give
Losses their remedies-All weary &c.'

He supposes that Kent overcome with drowsiness leaves his sentences unfinished. Mr Bailey (On the Received Text of Shakespeare's Dramatic Writings, &c. II. 91) proposes to read :

'and shall find balm

For this enormous state, seeking to give

Losses their remedies &c.'

NOTE XIII.

III. 1. 53-55. The first Folio, followed substantially by the rest,

reads thus:

'That when we haue found the King, in which your pain

That way, Ile this: He that first lights on him,

Holla the other.'

The Quartos thus:

'That when we haue found the King,

Ile this way, you that, he that first lights

On him, hollow the other.'

Pope :

'That, when we have found the King, (in which you take

That way, I this :) he that first lights on him,

Hollow the other.'

Hanmer follows Pope, reading however for which' instead of 'in which' in the first line. Steevens, in his edition of 1773, reads with the Quartos, adopting the following strange punctuation, and dividing the lines thus:

'That when we have found the King. I'll this way,

You that he that first lights on him,

Halloo the other.'

Schmidt reads Have...other as four lines, ending to...found...this

other.

NOTE XIV.

III. 2. 2. Both Capell and Jennens agree in giving 'Your' as the reading of the Quartos in this line for 'You,' but Capell's own copies and all others that we have seen read 'You.' Steevens's reprint of Q2

has 'Your.'

NOTE XV.

III. 4. 115. In the imperfect copy of the first Quarto in the British Museum, it is impossible to say whether the reading was & the pin-queues or the pin-queues, on account of an erasure by which it is made he pin-queues. Jennens quotes it as the pin-queues, and this is the reading of the copy in the Bodleian Library which we have called 'Bodl. 1.'

Mr Daniel says that as Q, (Mus. imp.) "agrees throughout in sheet G with 'Bodl. 1' we may be sure that Jennens's quotation is right."

NOTE XVI.

III. 6. 102-115. Every editor from Theobald downwards, except Hanmer, has reprinted this speech from the Quartos. In deference to this consensus of authority we have retained it, though, as it seems to us, internal evidence is conclusive against the supposition that the lines were written by Shakespeare.

NOTE XVII.

IV. 1. 12. These conjectures of Hanmer's are derived from a letter of his to Warburton, still unpublished, which is now in the British Museum (Egerton, 1957).

NOTE XVIII.

IV. 6. 197-202. The second Quarto has in this passage:

tumnes dust.

... water-pottes, I and laying Au-
Gent. Good Sir.

Lear. I will dye brauely like a Bridegroome. What, I will bee iouiall: Come, come, I am a King my masters, know you that?'

The first Quarto omits Gent. Good Sir,' and puts a full stop at 'that.'

The first Folio has:

'To vse his eyes for Garden water-pots. I wil die brauely, Like a smugge Bridegroome. What? I will be Iouiall: Come, come, I am a King, Masters, know you that?'

The second and following Folios put a full stop at 'King.'

Pope combines the readings of the Folios and second Quarto thus:

To use his eyes for garden-water-pots,

And laying autumn's dust. I will die bravely,

Like a smug bridegroom. What? I will be jovial:

Come, come, I am a King. My masters know you that?' He is followed by Theobald, Hanmer, Warburton and Johnson. Capell altered the last line thus:

'Come, come;

I am a king, my masters; Know you that?'

The arrangement adopted in our text is that which Steevens gave in his edition of 1778. Jennens, from whom Steevens borrowed as usual without acknowledgement, had given in 1770 the same arrangement, omitting the word 'smug.' In his edition of 1793 Steevens reads 'Ay and for laying autumn's dust,' making 'Ay...sir' one line.

Mr Collier prints I will die bravely;' in a line by itself, adopting in the former line the arrangement of Steevens, and in what follows that of the Folios. Keightley reads 'Ay, and laying autumn's dust... bravely' as one line.

Staunton reads 'Ay...sir,' as one line, and omits 'smug,' line 200. Schmidt follows Pope but omits 'My,' 1. 202.

v. 1. 26.

NOTE XIX.

'Not bolds the king' is usually interpreted as an elliptical phrase for 'Not as it emboldens the king.' This is however a very harsh construction, and the word 'bolds' occurs nowhere else in Shakespeare with this meaning, though we have, according to the most probable reading, 'dear'd,' for 'endear'd,' in Antony and Cleopatra, 1. 4. 44. Possibly these words are corrupt and a line has dropped out before them. Albany ought to say something of this kind: 'I should be ready to resist any mere invader, but the presence in the invader's camp of the king and other Britons, who have just cause of enmity to us, dashes my courage.'

NOTE XX.

v. 3. 314. Capell reads 'rough' in his text, believing that he had the authority of the second Quarto for it; but in his own copy and that of the Duke of Devonshire, the reading is plainly tough,' though the 't' is broken.

OTHELLO.

DRAMATIS PERSONÆ1.

DUKE OF VENICE.

BRABANTIO, a senator.

Other Senators.

GRATIANO, brother to Brabantio.

LODOVICO, kinsman to Brabantio.

OTHELLO, a noble Moor in the service of the Venetian state.
CASSIO, his lieutenant.

IAGO, his ancient.

RODERIGO, a Venetian gentleman2.

MONTANO, Othello's predecessor in the government of Cyprus.
Clown, servant to Othello.

DESDEMONA, daughter to Brabantio and wife to Othello.
EMILIA, wife to Iago.

BIANCA, mistress to Cassio3.

Sailor, Messenger, Herald, Officers, Gentlemen, Musicians, and Attendants.