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Gra. Here one comes in his fhirt with light and

weapons.

Jago. Who's there? Whofe noife is this, that cries out murder?

Lod. We do not know.

Iago. Do not you hear a cry?

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Caf. Here, here. For heaven's fake, help me.
Iago. What's the matter?

Gra. This is Othello's Ancient, as I take it.
Lød. The fame, indeed, is a very valiant fellow.
Iago. What are you here, that cry fo grievously?
Caf. Iago? oh I'm fpoil'd, undone by villains!
Give me fome help.

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Iago. Oh me, lieutenant! what villains have done this?

Caf. I think, that one of them is hereabout; And cannot make away.

Iago. O treacherous villains!

What are you there? Come in, and give fome help.

Rod. Oh, help me there.

Caf. That's one of them.

[To Lod. and Gra.

Iago. O murderous flave! oh villain!

[lago ftabs him.

Rod. Oh damn'd Iago! oh inhuman dog!

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Iago. Kill men i'th dark? Where be thefe bloody

thieves?

How filent is this town? ho, murder! murder!

What may you be? are you of good or evil?

Lod. As you fhall prove us, praife us.

Taga. Signior Lodovico?.

Lod. He, Sir.

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Iago. I cry you mercy! Here's Caffio, hurt by vil

lains.

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ago. Marry, heaven forbid !

Light, gentlemen, I'll bind it with my fhirt.

SCENE

Enter Bianca.

Bian. What is the matter

IV.

matter, hoa, who is't that cry'd?

Iago. Who is't that cry'd?

Bian. Oh my dear Caffio,

My fweer Caffio, oh Caffio, Caffio, Caffio.

Iago. O notable ftrumpet! Caffio, may you fufpect Who they fhould be, that have thus mangled you? Caf. No.

Gra. I'm forry to find

I have been to feek you.

you thus:

Iago. Lend me a garter. So-Ob for a chair To bear him eafily bence.

Bian. Alas, he faints. Oh Caffio, Caffio, Caffio!
Iago. Gentlemen all, I do fufpect this Trash,
To be a party in this Injury.

Patience a while, good Caffio. Come, come,
Lend me a Light. Know we this face, or no?
Alas, my friend, and my dear countryman
Roderigo? no: Yes, fure: yea, 'tis Roderigo.
Gra. What, of Venice?

Iago. Even he, Sir, did you know him?

Gra. Know him? ah!

lago. Signior Gratiano? I cry your gentle pardon. Thefe bloody accidents muft excufe my manners, That fo neglected you.

Gra. I am glad to fee you.

Iago. How do you, Caffio? Oh, a chair, a chair. Gra. Roderigo?

Iago. He, he, 'tis he. Oh, that's well faid. The

chair,

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Some

Some good man bear him carefully from hence I I'll fetch the General's furgeon. For you, miftrefs, [To Bianca.

Save you your labour. He that lies flain here, Caffio,
Was my dear friend. What malice was between you?
Caf. None in the world; nor do I know the man.
Iago. [To Bian.] What, look you pale?-Oh, bear
him out o' th' air.

Stay you, good gentlemen. Look you pale, mistress?
Do you perceive the gaftnefs of her eyed A
Nay, if you ftare, we fhall hear more anon.
Behold her well; I pray you, look upon her;
Do you fee, gentlemen? Nay, guiltinefs
Will fpeak, though tongues were out of use.

SCENE V.

Enter Emilia.

Emil. Alas, what is the matter?

What is the matter, husband?

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Iago. Caffio hath there been set on in the dark ! By Roderigo, and fellows that are 'scap'd:

He's almost flain, and Roderigo dead.

Emil. Alas, good gentleman! alas, good Caffio! Iago. This is the fruit of whoring-Pray, Emilia, Go know of Caffio where he fupt to-night.

What do you shake at that ?

Bian. He fupt at my houfe, but I therefore fhake

hot.

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Iago. Oh, did he fo? I charge you go with me.
Emil. Oh fy upon thee, ftrumper!

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Bian. I am no ftrumpet, but of life as honefta As you that thus abufe me.

Emil. As I fy upon thee!

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Iago. Kind gentlemen, let's fee poor Caffio dreft. Come, miftrefs, you must tell's another tale. 7

.

Emilia, run you to the citadel,

And tell my Lord and lady what hath happ'd.
Will you go on afore?This is the night,
That either makes me, or foredoes me quite.

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[Exeunt, Iago following.

SCENE

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VI.

A Bed-chamber: Defdemona is discovered afleep in

Oth. 3

her bed.

Enter Othello, with a Light and a Sword.

Tis the caufe, it is the cause, my foul;
Let me non me it to you, you chatte Stars!

It is the cause.Yet I'll not shed her Blood,
Nor fcar that whiter fkin of hers than fnow,
And smooth as monumental alabaster,

Lays down the fword.

Yet he must die; elfe fhe'll betray more men.
4 Put out the light, and, then-Put out the light?
If I quench thee, thou flaming minister,
I can again thy former light restore,

A~ It is the caufe, it is the cauft, my soul

Let me not name it- ] The abruptnefs of this foliloquy makes it obfcure. The meaning I think is this. I am here, fays Othello in his mind, overwhelmed with Jon for What is the reaJon of this perturbation? Is it want of refolution to do juftice? Is it the dread of bedding blood? No; it is not the action that shocks me, but it is the cause, it is the caufe," my foul; let me not name it to you, ye chafte ftars sit is the Caufe, 51 9416 10 all

Should

4 Put out the light, and then

put out the light.] This, I conceive, to have been the poet's meaning. Othello, ftruck in part with remorfe at the murder he's going to do, thinks it best to do it in the dark; this compunction of nature, in the hurry and perturbation of thought, and those remains of tenderness still combating in his bosam, strikes him into an inftant reflexion, that if he puts out the light he can rekindle it; but if he once puts out the light of her life, that will be extinguifh'd for ever.

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While

Should I repent: but once put out thy light, usilo2 Thou cunning'ft pattern of excelling nature

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I know not where is that Promethean heat, ver adW
That can thy light re-lumine. [Sets down the taper.
When I have pluck'd thy rofe, da luxon Five I
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I cannot give it vital growth again svied o
It needs muft wither.. I'll fmell it on the trees

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ob [Kiffing her. Oh balmy breath, that doft almoft perfuade Juftice to break her fword?-One more; one more. Be thus when thou art dead, and I will kill thee, And love thee after-One more; that's the laft.O So fweet, was ne'er fo fatal! I must weep, bq I But they are cruel tears. 5 This forrow's heavenly It ftrikes, where it doth love. -She wakes

Def. Who's there? Othello?

Oth. Ay, Desdemona,

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Def. Will you come to bed, my Lord?
Oth. Have you pray'd to night, Desdemona? -
Def. Ay, my Lord.

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Oth. If you bethink yourself of any crime A Unreconcil'd as yet to heaven, and grace,

While he is bufied in this contemplation, he throws his eyes towards her; and then, footh'd with her beauteous appearance, fets down the light, to go and kifs her. Upon this, Defiemona wakes; and they continue in difcourfe together till he ftifles her. THEOB.

Put out the light, and then Put out the light?-] So it fhould be printed. The meaning is, I will put out the light, and then proceed to the execution of my purpose. But the expreffion of putting out the light, bringing to mind the effects of the extinction of the light of life,

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he breaks fhort, and questions
himself about the effects of this
metaphorical extinction, intro-
duced by a repetition of his first
words, as much as to fay. But
hold, let me first weigh the re-
flexions which this expreffion fo
naturally excites.
WARB
5-This Sorrow's heavenly;}
This tenderness, with which I
lament the
pun 14
fhment which
justice compels me to inflict, is a
holy paffion

I wish these two lines could be honeftly ejected. It is the fate of Shakespeare to counteract his own pathos.

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