This is thy work: the object poisons sight;- the censure-] i. e. the sentence. • The beauties of this play impress themselves so strongly upon the attention of the reader, that they can draw no aid from critical illustration. The fiery openness of Othello, magnanimous, artless, and credulous, boundless in his confidence, ardent in his affection, inflexible in his resolution, and obdurate in his revenge; the cool malignity of Iago, silent in his resentment, subtle in his designs, and studious at once of his interest and his vengeance; the soft simplicity of Desdemona, confident of merit, and conscious of innocence, her artless perseverance in her suit, and her slowness to suspect that she can be suspected, are such proofs of Shakspeare's skill in human nature, as, I suppose, it is vain to seek in any modern writer. The gradual progress which lago makes in the Moor's conviction, and the circumstances which he employs to enflame him, are so artfully natural, that, though it will perhaps not be said of him as he says of himself, that he is a man not easily jealous, yet we cannot but pity him, when at last we find him perplexed in the extreme. There is always danger, lest wickedness, conjoined with abilities, should steal upon esteem, though it misses of approbation; but the character of Iago is so conducted, that he is from the first scene to the last hated and despised. Even the inferior characters of this play would be very conspicuous in any other piece, not only for their justness, but their strength. Čassio is brave, benevolent, and honest, ruined only by his want of stubbornness to resist an insidious invitation. Roderigo's suspicious credulity, and impatient submission to the cheats which he sees practised upon him, and which by persuasion he suffers to be repeated, exhibit a strong picture of a weak mind betrayed by unlawful desires to a false friend; and the virtue of Emilia is such as we often find, worn loosely, but not cast off, easy to commit small crimes, but quickened and alarmed at atrocious villainies. The scenes from the beginning to the end are busy, varied by happy interchanges, and regularly promoting the progression of the story; and the narrative in the end, though it tells but what is known already, yet is necessary to produce the death of Othello. Had the scene opened in Cyprus, and the preceding incidents been occasionally related, there had been little wanting to a drama of the most exact and scrupulous regularity. JOHNSON. FINIS allow, ii. 9; iii. 494; v. 83; arbitrator, v. 302 appeared, vii. 198 vii. 446 arch, viii. 377 argument, ii. 249, 352; iii. 146; armed staves, v. 77 aroint, iv. 87. a-row, iv. 66 art, v. 141; vii. 319 Asher-house, vi. 340 assistance, vii. 210 assurance, iii, 402; ix, 260 assured, iv. 38, 224 astonished, v. 242 at friend, iii. 537 atomies, iii. 155; ix. 26 atone, iv. 302; vii. 98, 212; viii. 18; ix. 385 attasked, vii. 372 appointment, ii. 146; vi. 485; attent, ix. 142 attended, vi. 90; vii. 137 attorney, vi. 248 attorneyship, v. 365 apprehensive, v. 89; vii. 289 attornied, iii, 438 apprehension, v. 300 attribute, ix. 152 B Baccare, iii. 365 baiting, vi. 381 bale, vii. 110 baleful, v. 361 balked, iv. 407 band, iv. 48, 295; vii. 401 banning, v. 351 banns, vii. 62; viii. 387 aukward, viii. 321. aye-remaining, viii. 284 bavin, iv. 473 bawcock, iii. 444 bays, viii. 314 bay-windows, ii. 77 beam, vi. 515 bear, ii. 276; v. 16; vii. 260 beard, iv. 485; v. 193; ix. banquet, iii. 423; vi. 381; vii. bearing, ii. 228; iii. 32 bearing-cloth, iii. 492 beat, v. 398 beating, i. 101 beavers, v. 77; ix. 144 becomed, ix. 94 becomings, vii. 358 bedlam beggars, viii. 387 beg, ii. 478 behave, vii. 53 behaviour, iv. 193 behest, i. 58 bases, viii. 266 baseness, vii. 453 basilico-like, iv. 203 being, viii. 25 bastard, ii. 153; iv. 201, 443; be-mete, iii. 407 bat, viii. 447 bate, i. 221'; iii. 397; v. 201 bated, iv. 489; ix. 268 bating, ix. 67 batlet, iii. 133 batten, ix. 221 bending, v. 256 bends, vii. 377 benefit, v. 362 bent, ii. 272; ix. 169 benumbed, vi. 437 battle, vi. 145 bergomask, ii. 384 |