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And smooth as monumental alabaster.
Yet the must die; else she'll betray more men.
Put out the light, and, then, put out the light : (52)
If I quench thee, thou flaming minister,
I can again thy former light restore,
Should I repent: but once put out thy light,
Thou cunningest pattern of excelling nature,
I know not where is that Promethean heat,
Thatcantly light relumine.---- [Sets down the Taper.
When I have plucked thy rose,
I cannot give it vital growth again;
It needs must wither.------I'll smell thee on the trce;

[Kising her.
Oh balmy breath, that dest almost persuade [more;
Justice to break her sword !-----. One more; one
Be thus when thou art dead, and I will kill thee,
And love thee after.-------One more, that's the last;

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(52) Put out the light, and then put out the light.] The players, in all the companies where-ever I have seen this tragedy performed, commit an absurdity here, in making Othello put out the candle, which, 'tis evident, never was the Poet's intention. Desdemona is discovered in her bed, in the dirk; and Othello enters the chamber with a single taper. If there were any other lights burning in the room, where would be the drift of putting out his? If there were na others, and that he puts his out, how absurd is it for Dera demona in the dark to talk of his eyes rowling, and his gnawing his nether-lip? -This I conceive to have been the Poet's meaning: Othello, ftruck in part with remorse 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 Nill combating in his bofom, strikes him into an instant reflection 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 extinguished for ever. While he is busied in this contemplation, he throws his eyes towards her; and then foothed with her beauteous appearance, sets down the light, tu go and kiss her. Upon this, Desdemona wakes; and they continue in discourse together till he stifles her.

So sweet, was ne'er fo fatal! I must weep,
But they are cruel tears: this forrow's heavenly;
It strikes, where it doth love-----She wakes-----

Def. Who's there? Othello?
Oth. Ay, Desdemona.
Des. Will you come to bed, my Lord?
Oih. Have you prayed to-night, Desdemona?
Def, Ay, my Lord,

Oth. If you bethink yourself of any crime
Unreconciled as yet to Heaven, and grace,
Solicit for it (trait.

Def. Alack, my Lord, What may you mean by that?

Oth. Well, do it, and be brief; I will walk by.
I would not kill thy unprepared spirit,
No, (heavens forfend!)I would not kill thy foul.

Def. Talk you of killing?
Oth. Ay, I do.
Def. Then Heaven have mercy on me !
Oth. Amen, with all my heart.
Des. If you say so, I hope you will not kill me.
Oih. Hum.

Def. And yet I fear you: for you're fatal then, When your eyes rowl fo. Why I should fear I

know not, Since guilt I know not: yet, I feel, I fear.

Oth. Think on thy fins.
Def. They're loves I bear to you.
Oth. Ay, and for that thou diest.
Def. That death's unnatural, that kills for loving.
Alas, why gnaw you fo your nether lip?
Some bloody paflion shakes your very frame;
These are portents : but yet I hope, I hope,
They do not point on me.

Oth. Peace, and be still.
Def. I will fo : what's the matter?

Orh. That handkerchief Which I fo loved, and gave thee, thou gavest Callio. Def. No, by my

life and foul: send for the man, And ask him.

Oth. Sweet soul, take heed, take heed of perjury; Thou art on thy death-bed.

Def. Ay, but not yet to die.

Oib. Prefently;
Therefore confess thee freely of thy sin:
For to deny each article with oath,
Cannot remore nor choak the strong conception
That I do groan withal. Thou art to die.

Def. Oh, Heaven have mercy on me!
Oth. I say, amen.

Def. And have you mercy too !...I never did
Offend

you

in

my life; never loved Caffio, But with such general warrantry of Heaven, As I might love. I never gave him token.

Orh. By Heaven, I saw my handkerchief in's hands
Oh perjured woman! thou doft stone my heart;
And makest me call, what I intend to do,
A murder, which I thought a facrifice,
I saw the handkerchief.
Def. He found it then;
I never gave it him; send for him hither,
Let him confefs a truth.

Oth. He hath confess'd.
Def. What, my Lord ?
Oth. That he hath---us'd thee.....
Def. How? unlawfully?
Oth.. Ay.
Def. He will not say so.

Orb. No, his mouth is stopped ;
Honeft lago hath ta'en order for't.

Dey. My fear interprets then--- What, is he dead?
Vol. XII.

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Oih. Had all his hairs been lives, my great re Had stomach for them all.

[venge
Def. Alas, he is betrayed, and I undone.
Oth. Out, strumpet ! weepest thou for him to my

face?
Def. Oh, banish me, my Lord, but kill me not.
Oih. Down, Itrumpet.
Def. Kill me to-morrow, let me live to-night.
Oih. Nay, if you strive-
Def. But half an hour.
Oth. Being done, there is no pause.
Def. But while I say one prayer.
Olh. It is too late.

[He fmothers her.
! #MILIA, at the Door.
Emil: My Lord, my Lord! what hoa ! my

Lord ! my Lord ! Oth. What noise is this? not dead? not yet quite J, that am cruel, am yet merciful; [dead? I would not have thee linger in thy pain. So, fo.

#mil. within.] What, hoa! my Lord, my Oth. Who's there?

[Lord! Dmil. Oh, my good Lord, I would speak a word

with you.

Oth. Yes; 'tis Æmilia---by and by---fhe's dead. 'Tis like she comes to speak of Caffio's death; The noise was high.---Ha, no more moving? Still as the grave. Shall she come in? were't good! I think she itirs again---No---what's the best? If she come in, she'll fure speak to my wife; My wife! my wife! what wife? I have no wife. Oh insupportable ! oh 'heavy hour! Methinks it should be now a huge eclipse (53) (53) Methinks, it should be now a liuge eclipse

of fun and moon ; and that th' affrighted globe

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of fun and moon, and that the affrighted globe 4
Should yawn at alteration-----

Æmil. I befeech you,
That I may speak with you. Oh, my good Lord!

Oth. I had forgot thee; ch, come in, Æmilia.
Soft, by and by, let me the curtains draw.
Where art thou? what's the matter with thee now?

[Unlocks the Door
Enter ÆMILIA.
Emil. Oh, my good Lord, yonder's foul mur-
Oth. What? now?

[der done.
Æmil. But now, my Lord.
Uth. It is the very error of the moon;
Should
pawn

at alteration--] Mr Rymeris fo merry, as he thinks, upon this passage, that I can't help traoferibing: bis wonderful criticisin - This is tvonderful. Here is “ poetry to elevate and amuse. It ivould be uncivil to asko

Flamstead, if the fun and moon can both together be for

hugely eclipsed in any heavy hour whatsoever. Nor mult t the spectators consult Gresham colitge, whether a body * is naturally frighted till he yawn again.” --Such are the Iudicrous criticitis of your wits! But is the word eclipse, absolutely reftrained to that natural phænomenon which we understand by it? If Othello thought his deed so horrido that the sun and moon ought to start from their spheres at it, and cease to enlighten shis under-glübe, might not suclr a defection be called an eclipje, with a vengeance ? Well, but then, can a body be frighted till it yawn? Here, again, yawn is restrained to the uscitation of a man ready to fall alleep; and, for the joke's fake, must mean no other kind of gaping This gentleman must have known, sure, that yawn (as well as garšv, from which it is derived) was oftner applied to the gaping of the earth, than employed to fignify the sádce xe xmvós, the yawning, for instance, of a critic gaping after a feeble jest. But, I am afraid, Mr Rymer was. not too diligent a reader of the Scriptures. Let the Poet account for the prophanation, if he has committed any: but it is very obvious to me, his allusion is grounded on a certain folema circumstance, when darkness is faid to have covered the whole face of the land; when rocks were rent, and graves opened.

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