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We were dissuaded by our wicked queen :
Whom heavens, in justice, (both on her, and hers,)
Have laid most heavy band.

Sooth. The fingers of the powers above do tune
The harmony of this peace. The vision
Which I made known to Lucius, ere the stroke
Or' this yet scarce-cold battle, at this instant
Is full accomplish'd : For the Roman eagle,
From south to west on wing soaring aloft,
Lessen'd herself, and in the beams o'the sun
So vanish'd : which foreshow'd our princely eagle,
The imperial Cæsar, should again unite
His favour with the radiant Cymbeline,
Which shines here in the west.

Laud we the gods;
And let our crooked smokes climb to their nostrils
From our bless'd altars! Publish we this peace
To all our subjects. Set we forward : Let
A Roman and a British ensign wave
Friendly together : so through Lud's town march :
Aud in the temple of great Jupiter
Our peace we 'll ratify; seal it with feasts.
Set on there :-Never was a war did cease,
Ere bloody hands were wash'd, with such a peace.

[E.xeunt. * The particle on is understood. The same form of expression occurs in Othello'

“ What conjurations and what mighty magic

I won his daughter (with)."

Cym.

End of Combeline.

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Introduction.

On the 6th of October, 1621, Thomas Walkley entered at Stationers' Hall "The Tragedie of Othello, the Moore of Venice.' In 1622 Walkley published the edition for which he had thus claimed the copy. It is, as was usual with the separate plays, a small quarto. It is by no means certain to our minds that Walkley's edition was published before the folio. The usual date of that edition is 1623 ; but there is a copy in existence bearing the date of 1622. We have, however, no doubt, that the copy of Othello' in the folio was printed from a manuscript copy, without reference to the quarto. The folio edition is regularly dividel into acts and scenes ; the quarto edition has not a single indication of any subdivision in the acts, and omits the division between Acts 11. and 11. The folio edition contains 163 lines which are not found in the quarto, and these some of the most striking in the play: the number of lines found in the quarto which are not in the folio do not amount to 10. The quarto, then, has not the merit of being the fuller copy. Believing the folio to be the more genuine copy, our text, for the most part, follows that authority.

When Shakspere first became acquainted with the • Moor of Venice' of Giraldi Cinthio (whether in the

original Italian, or the French translation, or in one of the little story-books that familiarized the people with the romance and the poetry of the south), he saw in that novel the scaffolding of “Othello.' There was formerly in Venice a valiant Moor, says the story. It came to pass that a virtuous lady of wonderful beauty, named Desdemona, became enamoured of his great qualities and noble virtues. The Moor loved her in return, and they were married in spite of the opposition of the lady's friends. It happened too (says the story), that the senate of Venice appointed the Moor to the command of Cyprus, and that his lady determined to accompany him thither. Amongst the officers who attended upon the General was an ensign, of the most agreeable person, but of the most depraved nature. The wife of this man was the friend of Desdemona, and they spent much of their time toge ther. The wicked ensign became violently enamoured of Desdemona ; but she, whose thoughts were wholly engrossed by the Moor, was utterly regardless of the ensign's attentions. His love then became terrible hate, and he resolved to accuse Desdemona to her husband of infidelity, and to connect with the accusation a captain of Cyprus. That officer, having struck a centinel, was discharged from his command by the Moor; and Desdemona, interested in his favour, endeavoured to reinstate him in her husband's good opinion. The Moor said one day to the ensign, that his wife was so importunate for the restoration of the officer, that he must take him back. “ If you would open your eyes, you would see plainer,” said the ensign. The romance

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