Enter a Lord.' Lord. My lord, his majesty commended him to you by young Osric, who brings back to him, that you attend him in the hall: He sends to know, if your pleasure hold to play with Laertes, or that you will take longer time. Ham. I am constant to my purposes, they follow the king's pleasure: if his fitness speaks, mine is ready; now, or whensoever, provided I be so able as now. Lord. The king, and queen, and all are coming down. Ham. In happy time. Lord. The queen desires you, to use some gentle entertainment to Laertes, before you fall to play. Ham. She well instructs me. [Exu Lord. Hor. You will lose this wager, my lord. Ham. I do not think so; since he went into France, I have been in continual practice; I shall win at the odds. But thou would'st not think, how ill all's here about my heart: but it is no matter. Hor. Nay, good my lord, Ham. It is but foolery; but it is such a kind of gain-giving, as would, perhaps, trouble a woman. Hor. If your mind dislike any thing, obey it: I will forestal their repair hither, and say, you are not fit. Ham. Not a whit, we defy augury; there is a special providence in the fall of a sparrow. If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all: Since no inan, of aught he leaves,knows;-what is't to leave betimes.3 Let be. Enter King, Queen, LAERTES, Lords, OSRIC, and Attendants, with Foils, &c. King. Come, Hamlet, come, and take this hand from me. [The King puts the hand of LAERTES into that of HAMLET. Ham. Give me your pardon, sir: I have done you wrong; But pardon it, as you are a gentleman. If Hamlet give the first or second hit, This presence knows, and you must needs have In Denmark's crown have worn; Give me the cups; heard, How I am punish'd with a sore distraction. That might your nature, honour, and exception, tiness.' 1 All that passes between Hamlet and this Lord is omitted in the folio. 2 i. e. misgiving, a giving against, or an internal feeling and prognostic of evil. 3 Since no man, of aught he leaves,-knows; What is it to leave betimes! This is the reading of the folio; the quarto reads, 'Since no man has aught of what he leaves. What is't to leave betimes.' Has is evidently here a blunder for knows. Johnson thus interprets the passage:- Since no man knows aught of the state which he leaves, since he cannot judge what other years may produce, why should we be afraid of leaving life betimes?' Warburton's explanation is very ingenious, but perhaps strains the poet's meaning farther than he intended. It is true that by death we lose all the goods of life; yet seeing this loss is no otherwise an evil than as we are sensible of it; and since death removes all sense of it, what matters it how soon we lose them.' This argument against the fear of death has been dilated and placed in a very striking light by the late Mr. Green.-See Diary of a Lover of Literature, Ipswich, 1810, 4to. p. 230.-Shakspeare himself has elsewhere said, the sense of death is most in apprehension.' 4 i. e. the king and queen. 5 This line is not in the quarto. 6 i. e. unwounded. This is a piece of satire on fantastical honour. Though nature is satisfied, yet he will And let the kettle to the trumpet speak, The cannons to the heavens, the heaven to earth, Laer. Ham. Laer. Ham. Come, my lord. [They play. One. No. Osr. A hit, a very palpable hit. Laer. Judgment. Well,-again. ask advice of older men of the sword, whether artificial honour ought to be contented with Hamlet's apology. 7 The king had wagered sir Burbury horses to a few rapiers, poniards, &c.; that is, about twenty to one.These are the odds here meant. The odds the King means in the next speech were twelve to nine in favour of Hamlet, by Laertes giving him three. 8 Stoup is a common word in Scotland at this day, and denotes a pewter vessel resembling our wine mea. sures; but of no determinate quantity; for there are gallon-stoups, pint-stoups, mulchkin-stoups, &c. The vessel in which water is fetched or kept is also called a water-stoup. A stoup of wine is therefore equivalent to a pitcher of wine. 9 An union is a precious pearl, remarkable for its size. And hereupon it is that our dainties and delicates here at Rome, &c. call them unions, as a man would say singular, and by themselves alone. To swallow a pearl in a draught seems to have been common to royal and mercantile prodigality. Thus in the second part of If You Know Not Me You Know Nobody : 'Here sixteen thousand pound at one clap goes, According to Rondeletus, pearls were supposed to have an exhilarating quality. Uniones quæ a conchis, &c. valde cordiale sunt.' Under pretence of throwing a pearl into the cup, the King may be supposed to drop some poisonous drug into the wine. Hamlet subsequently asks him tauntingly, 'Is the union here? King. Stay, give me drink: Hamlet, this pearl | Exchange forgiveness with me, noble Hamlet: Here's to thy health.-Give him the cup. [Trumpets sound; and Cannons shot off within. Ham. I'll play this bout first, set it by awhile. Come. Another hit; What say you? [They play. Laer. A touch, a touch, I do confess. King. Our son shall win. Queen. He's fat, and scant of breath. Here, Hamlet, take my napkin, rub thy brows: The queen carouses' to thy fortune, Hamlet. Ham. Good madam, Gertrude, do not drink. Queen. I will, my lord;-I pray you, pardon me. King. It is the poison'd cup; it is too late. [Aside. Ham. I dare not drink yet, madam; by and by. Queen. Come, let me wipe thy face. Laer. My lord, I'll hit him now. King. I do not think it. Laer. And yet it is almost against my conscience. [Aside. Ham. Come, for the third, Laertes: You do but dally; pray you, pass with your best violence; [They play. I am afeard, you make a wanton2 of me." [LAERTES wounds HAMLET; then, in scuf- King. Osr. How is't, Laertes? Laer. Why, as a woodcock to mine own springe, I am justly kill'd with mine own treachery. King. Envenom'd too!-Then, venom, to thy work.4 [Dies I am more an antique Roman than a Dane, [March afar off, and Shot within, What warlike noise it this? Osr. Young Fortinbras, with conquest come from Poland, To the ambassadors of England gives Ham. O, I die, Horatio; And flights of angels sing thee to thy rest! [March within. Enter FORTINBRAS, the English Ambassadors, and others. Fort. Where is this sight? What is it, you would see? If aught of woe, or wonder, cease your search. Fort. This quarry cries on havoc !-O, proud death! What feast is toward in thine eternal cell, 1 Amb. The sight is dismal; Hor. Drink off this potion :-Is the union here? Follow my mother. Laer. He is justly serv'd ;' It is a poison temper'd by himself. 6 To overcrow, is to overcome, to subdne, noblemen laboured with tooth and naile to orETYSVAR, and consequently to overthrow one another.”— Hollashed's History of Ireland. 7 The occurrents which have solicited—the a ofe rences or incidents which have incited. The scatenare is left unfinished. 8 This quarry cries on havoc! To cry on, was 19 exclaim against. I suppose when unfair spvt-Ti destroyed more game than was reasonable, the censore was to call it haror.-Johnson. Quarry was the term used for a heap of slaughtered game. See Macbeth, Act iv. Sc. 3. 9 It has been already observed that jump and pat or exactly, are synonymous. Vide note on Act i. SI 10 Of carnal, bloody, and unnatural acts.' Of al Let us haste to hear it. And call the noblest to the audience. For me, Hor. Of that I shall have also cause to speak, On plots and errors, happen. Fort. Let four captains To have prov'd most royally: and, for his passage, Take up the bodies :-Such a sight as this The following scene in the first quarto, 1603, differs so materially from the revised play, that it has been thought it would not be unacceptable to the reader :-Enter Horatio and the Queen. Hor. Madam, your son is safe arrived in Denmarke, Hor. He being set ashore, they went for England, Queen. Thanks be to Heaven for blessing of the Horatio, once again I take my leave, With thousand inother's blessings to my son. IF the dramas of Shakspeare were to be characterised, The conduct is perhaps not wholly secure against objections. The action is indeed for the most part in continual progression; but there are some scenes which neither forward nor retard it. Of the feigned madness of Hamlet there appears no adequate cause; for he does nothing which he might not have done with the reputation of sanity. He plays the madman most when he treats Ophelia with so much rudeness, Queen. Then I perceive there's treason in his looks, which seems to be useless and wanton cruelty. That seem'd to sugar o'er his villanies: Hor. Yes, madam, and he hath appointed me Queen. O fail not, good Horatio, and withal A mother's care to him, bid him a while Hamlet is, through the whole piece, rather an instrument than an agent. After he has, by the stratagem of the play, convicted the King, he makes no attempt to punish him; and his death is at last effected by an incident which Hamlet had no part in producing. The catastrophe is not very happily produced; the exchange of weapons is rather an expedient of neces A scheme might easily be com.sity, than a stroke of art. formed to kill Hamlet with the dagger, and Laertes with the bowl. guinary and unnatural acts, to which the perpetrator was instigated by concupiscence or carnal stings. The allusion is to the murder of old Hamlet by his brother, previous to his incestuous union with Gertrude. 1. e. instigated, produced. Instead of forced cause,' the quartos read, for no cause.' 2 i. e. some rights which are remembered in this kingdom. The poet is accused of having shown little regard to poetical justice, and may be charged with equal neglect of poetical probability. The apparition left the regions of the dead to little purpose; the revenge which he demands is not obtained, but by the death of him that was required to take it; and the gratification which would arise from the destruction of an usurper and a murderer, is abated by the untimely death of Ophelia, the young, the beautiful, the harmless, and the pious, JOHNSON, OTHELLO, THE MOOR OF VENICE. PRELIMINARY REMARKS. THE story is taken from the collection of Novels, by Gio Giraldi Cinthio, entitled Hecatommithi, being the seventh novel of the third decad. No English translation of so early a date as the age of Shakspeare has hitherto been discovered: but the work was translated into French by Gabriel Chappuys, Paris, 1584. The version is not a faithful one: and Dr. Farmer suspects that through this medium the novel came into English. The name of Othello may have been suggested by some tale which has escaped our researches, as it occurs in Reynold's God's Revenge against Adultery, standing in one of his arguments as follows:- She marries Othello, an old German soldier.' This history (the eighth) is professed to be an Italian one; and here also the name of lago occurs. It is likewise found in SP The History of the famous Euordanus, Prince of Denmark; with the strange Adventures of Iago, Prince of Saxonie, 4to, 1605. It may indeed be urged, that these names were adopted from the tragedy before us: but every reader who is conversant with the peculiar style and method in which the work of honest John Rey. nolds is composed, will acquit him of the slightest familiarity with the scenes of Shakspeare.-Steevens. The time of this play may be ascertained from the following circumstances:-Selymus the Second formed his design against Cyprus in 1569, and took it in 1571. This was the only attempt the Turks ever made upon that island after it came into the hands of the Venetians, (which was in 1473,) wherefore the time must fall in with some part of that interval. We learn from the play, that there was a junction of the Turkish fleet at Rhodes, in order for the invasion of Cyprus; that it first came sailing towards Cyprus; then went to Rhodes, there met another squadron, and then resumed its way to Cyprus. These are real historical facts, which happened when Mustapha, Selymus's general, attacked Cyprus, in May, 1570; which is therefore the true period of this performance.-See Knolle's History of the Turks, p. 838, 846, 867.--Reed. The first edition of this play, of which we have any certain knowledge, was printed by N. O. for Thomas Walkly, to whom it was entered on the Stationers' Books, October 6, 1621. The most material variations of this copy from the first folio are pointed out in the notes. The minute differences are so numerous, that to have specified them would only have fatigued the reader. Walkly's Preface will follow these Preliminary Remarks. Malone first placed the date of the composition of this play in 1611, upon the ground of the allusion, supposed by Warburton, to the creation of the order of baronets. [See Act iii. Sc. 4, note.] On the same ground Mr. Chalmers attributed it to 1614; and Dr. Drake assigned the middle period of 1612. But this allusion being controverted, Malone subsequently affixed to it the date of 1604, because, as he asserts, we know it was acted in that year. He has not stated the evidence for this decisive fact: and Mr. Boswell was unable to discover it among his papers; but gives full credit to it, on the ground that Mr. Malone never expressed himself at random.' The allusion to Pliny, translated by Philemon Holland, in 1601, in the simile of the Pontic Sea; and the supposed imitation of a passage in Cornwallis's Essays, of the same date, referred to in the note cited above, seem to have influ enced Mr. Malone in settling the date of this play. What is more certain is, that it was played before King James at court, in 1613; which circumstance is gathered from the MSS. of Vertue the Engraver. If (says Schlegel) Romeo and Juliet shines with the colours of the dawn of morning, but a dawn whose purple clouds already announce the thunder of a sultry day, Othello is, on the other hand, a strongly shaded picture; we might call it a tragical Rembrandt.' Should these parallels between pictorial representation and dramatic poetry be admitted, for I have my doubts of their propriety, this is a far more judicious ascription than that of Steevens, who, in a concluding note to this play, would compare it to a picture from the school of Raphael. Poetry is certainly the pabslum of art; and this drama, as every other of our inmortal bard, offers a series of pictures to the imagmation of such varied hues, that artists of every school might from hence be furnished with subjects. What Schlegel means to say appears to be, that it abounds in strongly contrasted scenes, but that gloom predominates, Much has been written on the subject of this drama; and there has been some difference of opinion in re gard to the rank in which it deserves to be placed. For my own part I should not hesitate to place it on the first. Perhaps this preference may arise from the circumstance of the domestic nature of its action, which lays a stronger hold upon our sympathy; for over powering as is the pathos of Lear, or the interest excited by Macbeth, it comes less near to the business of life. In strong contrast of character, in delineation of the workings of passion in the human breast, in manifes tations of profound knowledge of the inmost recesses of the heart, this drama exceeds all that has eve issued from mortal pen. It is indeed true that e eloquence is capable of painting the overwhelming catastrophe in Othello,-the pressure of feelings which measure out in a moment the abysses of eternity.' WALKLY'S PREFACE TO OTHELLO, ED. 1622, 4TO. THE STATIONER TO THE READER. To set forth a booke without an Epistle, were like to the old English proverbe, A blew coat without a badge;' and the author being dead, I thought good to take that piece of worke upon me: To commend it, I will not, for that which is good, I hope every man will commend without intreaty: and I am the bolder, because the Author's name is sufficient to vent bis worke. Thus leaving every one to the liberty of judgment, I have ventured to print this play, and leave it the generall censure. Yours, THOMAS WALKLY. RODERIGO, a Venetian Gentleman. Clown, Servant to Othello. DESDEMONA, Daughter to Brabantio, and Wife to Othello. EMILIA, Wife to lago. BIANCA, a Courtesan, Mistress to Cassio. Officers, Gentlemen, Messengers, Musicians, Sailors, Attendants, &c. MONTANO, Othello's Predecessor in the Government SCENE, for the first Act, in Venice; during the of Cyprus. ACT I. rest of the Play, at a Seaport in Cyprus. Iago. Despise me, if I do not. Three great ones of the city, SCENE I. Venice. A Street. Enter RODE- In personal suit to make me his lieutenant, RIGO and IAGO. Roderigo. TUSH, never tell me, I take it much unkindly, Rod. Thou told'st me, thou didst hold him in thy hate. 1 To cap is to salute by taking off the cap: it is still an academic phrase. The folio reads, Off-capp'd,' 2 Circumstance signifies circumlocution. And therefore without circumstance, to the point, Instruct me what I am? The Picture, by Massinger. 8 lago means to represent Cassio as a man merely conversant with civil matters, and who knew no more of a squadron than the number of men it contained. He afterwards calls him this counter-castor." Oft capp'd' to him ;-and, by the faith of man, Forsooth, a great arithmetician,3 4 The folio reads, dambd. This passage has given rise to much discussion. Mr. Tyrwhitt thought that we should read, almost damn'd in a fair life; alluding n the judgment denounced in the Gospel against those of whom all men speak well. I should be contented to adopt his emendation, but with a different interpretation: A fellow almost damn'd (i. e. Inst frea luxurious habits) in the serene or equable tenor of That never set a squadron in the field, Proclaim him in the streets; incenso her kinsmen, More than a spinster; unless the bookish theoric,' By debitor and creditor, this counter-caster ;3 Iago. But there's no remedy, 'tis the curse of Preferment goes by letter, and affection, To love the Moor. Rod. I would not follow him, then. I follow him to serve my turn upon him: Whip me such honest knaves : Others there are, Do themselves homage: these fellows have some And such a one do I profess myself. It is as sure as you are Roderigo, Heaven is my judge, not I for love and duty, For daws to peck at: I am not what I am. Call up her father, Rod. Here is her father's house: I'll call aloud. Iago. Do; with like timorous accent, and dire yell, Is spied in populous cities. Rod. What ho! Brabantio! signior Brabantio! ho! Iago. Awake! what ho! Brabantio! thieves! Look to your house, your daughter, and your bags! BRABANTIO, above, at a Window. Bra. What is the reason of this terrible summons? What is the matter there? Rod. Signior, is all your family within? Iago. Are your doors lock'd?" Bra. Why? wherefore ask you this? Iugo. 'Zounds, sir, you are robb'd; for shame, put on your gown: 11 Your heart is burst, you have lost half your soul; Bra. Bra. Not I; What are you? The worse welcome : Rod. Sir, sir, sir, sir,- But thou must needs be sure, My spirit, and my place, have in them power Rod. Venice; My house is not a grange.13 Rod. In simple and pure soul I come to you. Iago. 'Zounds, sir, you are one of those, that will not serve God, if the devil bid you. Because we come to do you service, you think we are ruf 4 i. e. by recommendation. quarto has assign’d. lago. Rouse him: make after him, poison his delight, his life. The passage as it stands at present has been said by Steevens to mean, according to Iago's licentious Inanner of expressing himself, no more than a man 5 Do I stand rithin any such terms of propinquity very near being married.' This seems to have been to the Moor, as that I am bound to love him? The the case in respect to Cassio. Act iv. Sc. 1, lago speak-first ing to him of Bianca, says, 'Why, the cry goes that you shall marry her.' Cassio acknowledges that such a report had been raised, and adds-This is the monkey's own giving out: she is persuaded I will marry her, out of her love and self flattery, not out of my promise.' Jago then, having heard this report before, very naturally alludes to it in his present conversation with Roderigo.-Mr. Boswell suspects that there may be some corruption in the text. 1 i. e. theory. See All's Well that Ends Well, Act iv. Sc. 3. 2 The rulers of the state, or civil governors. The word is used in the same sense in Tamburlaine : 'Both we will reign the consuls of the earth.' By foged is meant peaceable, in opposition to warlike qualifications, of which he had been speaking. The word may be formed in allusion to the adage, Cedant arma toga. The folio reads, tongued consuls,' which agrees better with the words which follow: mere prattle, without practice.' 3 It was anciently the practice to reckon up sums with counters. To this the poet alludes in Cymbeline, Act v. :—It sums up thousands in a trice: you have no true debtor and creditor but it; of what's past, is, and to come, the discharge. Your neck, sir, is pen, book, and counters.' 6 Knave is here used for servant, but with a sly mixture of contempt. 7 Outward show of civility. S This is the reading of the folio. The first quarto reads 'doces.' 9 Full fortune is complete good fortune: to owe is to possess. So in Antony and Cleopatra :— not the imperious show Of the full-fortun'd Cæsar.' And in Cymbeline: Our pleasure his full fortune doth confine.” 10 By night and negligence,' means in the time of night and negligence. Nothing is more common than this mode of expression: we should not hesitate at the expression, By night and day.' 11 i. e. is broken. 12 That is, intoxicating draughts. In Hamlet, the king is said to be marvellous distemper'd with wine.' See King Henry V. Act ii. Sc. 2. 13 That is, we are in a populous city, mine is not a lone house, where a robbery might easily be committed. Grange is, strictly, the farm of a monastery; grangia, Lat. from granum: but, provincially, any lone house or solitary farm is called a grange. So in Measure for Measure:-' At the moated grange resides this dejected Mariana.' |