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Of such a matter, abhor me a.
In personal suit to make me his lieutenant,
Wherein the toged d consuls can propose a Steevens writes these lines thus:
'Sblood, but you will not hear me;
Off-capp'd. So the folio; the quarto, oft capp'd. The reading of the quarto has been adopted by all the editors, and is used as an example of the antiquity of the academical phrase to-cap, meaning to take off the cap. We admit that the word cap is used in this sense by other early English authors; we have it in ‘Drant's Horace,' 1567. But, we would ask, is oft capp'd supported by the context? As we read the whole passage, three great ones of the city wait upon Othello; they off-capp'd—they took cap-in-hand-in personal suit that he should make lago his lieutenant; but he evades them, &c. He has already chosen his officer. The audience was given, the solicitation was humbly made, the reasons for refusing it courteously assigned. But take the other reading, oft capp'd; and then we have Othello perpetually haunted by the three great ones of the city, capping to him and repeating to him the same prayer, and he perpetually denying them with the same bombast circumstance. Surely this is not what Shakspere meant to represent. • These lines, in the folio, are printed thus:
“ But he, as loving his own pride and purposes,
Evades them; with a bombast circumstance,
I have already chose my officer."
Toged, in the quarto. Tongued, in the folio.
As masterly as he: mere prattle, without practice,
And I,-bless the mark! his Moor-ship's ancient.
Preferment goes by letter and affection,
To love the Moor.
I would not follow him then. · Iago. O sir, content you;
I follow him to serve my turn upon him :
In complement extern", 't is not long after a Christen'd. In the quarto, Christian.
Be-lee'd and calmid. Iago uses terms of navigation to express that Cassio had out-sailed him. • In complement extern. Johnson interprets this—“ In that which I do only for an outward show of civility.” Surely this interpretation, by adopting the secondary meaning of complement (compliment), destroys Iago's bold avowal, which is, that when his actions exhibit the real intentions and motives of his heart, in outward completeness, he might as well wear it upon his sleeve.
But I will wear my heart upon my sleeve
For daws to peck at: I am not what I am. Rod. What a full fortune does the Thicklips 2
Call up her father,
As it may lose some colour.
As when (by night and negligence) the fire
Is spied in populous cities.
Look to your house, your daughter, and your bags !
What is the matter there?
Why? wherefore ask you this?
Your heart is burst, you have lost half your
Arise, I say
What, have you lost your wits ?
The worser welcome :
In honest plainness thou hast heard me say * This is simply, how fortunate he is. The reading of the folio is, “What a fall Fortune," &c. > Chances. The quarto reads changes.
• We adopt the parenthetical punctuation of the folio, which, if it had been followed, might have saved the discussion as to Shakspere's carelessness in making the fire spied " by night and negligence."
. For shame. This is not used as a reproach, but means-for decency put on your gown.
My daughter is not for thee; and now, in madness,
To start my quiet'.
But thou must needs be sure,
To make this bitter to thee.
Patience, good sir.
My house is not a grange 6.
Most grave Brabantio, In simple and pure soul I come to you. Iago. Sir, you are one of those that will not serve God, if the devil bid you.
Because we come to do you service, and you think we are ruffians, you 'll have your daughter covered with a Barbary horse: you 'll have your nephews
neigh to you: you 'll have coursers for cousins, and gennets for germans. BRA. What profane wretch art thou ? Iago. I am one, sir, that comes to tell you your daughter and the Moor are
making the beast with two backs.
You are a senator.
If 't be your pleasure and most wise consent,
• Knavery. The quarto, bravery.
• Grange. Strictly speaking, the farmhouse of a monastery. But it is used by the old writers as a separate dwelling, as in Spenser:
“ Ne have the watery fowls a certain grange
Wherein to rest." Shakspere, in • Measure for Measure,' gives the feeling of loneliness (which Brabantio here expresses) in a few words:"At the moated grange resides this dejected Mariana.”
• Nephews. The word was formerly used to signify a grandson, or any lineal descondant. In Richard III.' (Act IV., Scene 1) the Duchess of York calls her grand-daughter niece. Nephew here is the Latin nepos.
• The seventeen lines beginning " If 't be your pleasure," are not found in the quarto of 1622. We cannot, therefore, consult that quarto here, as in other instances, when a doubtful reading occurs. We have two difficulties here. First, what is the odd-even of the night? It is explained to be the interval between twelve at night and one in the morning. But then, secondly, an auxiliary verb is wanting to the proper construction of the sentence; and Capell would read, “be transported.” We can only give the passage as we find it.
We then have done you bold and saucy wrongs ;
For thus deluding you.
Strike on the tinder, hoa!
[Exit from abore. IAGO.
Farewell; for I must leave you :
Enter, below, BRABANTIO, and Servants with torches.
And what 's to come of my despised time
Where didst thou see her ?—0, unhappy girl !-
The Sagittary. This is generally taken to be an inn. It was the residence at the arsenal of the commanding officers of the navy and army of the republic. The figure of an archer, with his drawn bow, over the gates, still indicates the place. Probably Shakspere had looked upon that sculpture.