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That judgment cannot cure. Which thing to do,If this poor trafh of Venice, whom I traîh

Which thing to do,

8

If this poor trail of Venice, whom I trace

For

For this quick hunting, ftand the putting on,] A trifling, infignificant fellow may, in fome refpects, very well be called trash; but the metaphor is not preferved. For what agreement is there betwixt trash, and quick hunting, and standing the futting on? The allufion to the chace, Shakspeare feems to be fond of apply ing to Roderigo, who fays of himfelf towards the conclufion of

this act :

I follow here in the chace, not like a hound that hunts, but one that fills up the cry.

I fuppofe therefore that the poet wrote,

If this poor brach of Venice,

which is a low fpecies of bounds of the chafe, and a term generally used in contempt: and this completes and perfects the metaphorical allufion, and makes it much more fatirical. Vlitius, in his notes on Gratius, fays, "Racha Saxonibus canem fignificabat, unde Scoti hodie Rache pro cane femina habent, quod Anglis eft Brache. Nos verò (he fpeaks of the Hollanders) Brach non quemvis canem m fed fagacem vocamus. So the French, Braque, espece de chien de chaffe. Menage Etimol.". WARBURTON.

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whom I do trace

For his quick hunting,] Juft the contrary. He did not trace him, he put him on, as he fays immediately after. The old quarto leads to the true reading:

whom I do crush

For his quick bunting.

Plainly corrupted from cherish. WARBURTON.

whom I do trace]. It is a term of hunting or field fport; to trace fometimes fignifies to follow, as Henry VIII. act ii. sc. 2. "Now all joy trace the conjuction;"

and a dog or a man traces a bare: but to trace a dog, in those fports, is to put a trace, er pair of couples upon him; and such a dog is faid to be traced. The fenfe, then, of

whom I do trace

For bis quick hunting,

is this, whom I do affociate to me for the purpofe of ruining Caffio the fooner. T. Row.

If this poor traf of Venice, whom I trace

For bis quick bunting, fland the putting on,] Dr. Warbur ton, with his ufual happy fagacity, turned the old reading trab into brach. But it feems to me, that trash belongs to another part of the line, and that we should read trash for trace.

The

old

For his quick hunting, ftand the putting on,

old quartos (in the fame part of the line) read crush, fignifying indeed the fame as trash, but plainly corrupted from it. To trash a hound is a term of hunting ftill used in the North, and perhaps not uncommon in other parts of England. It is, to correct, to rate. Crush was never the technical expreffion on this occafion; and only found a place here as a more familiar word with the printers. The fenfe is, "If this hound Roderigo, whom I rate for quick hunting, for over-running the fcent, will but fand the putting on, will but have patience to be fairly and properly put upon the fcent, &c." This very hunting term to trash, is metaphorically applied by our author in the Tempeft, act i.

fc. 2.

"Prof. Being once perfected how to grant fuits,

"How to deny them, whom t'advance, and whom

*

"To trash for overtopping."

To tra for overtopping; i. e. What fuitors to check for their too great forwardnefs." Here another phrafe of the field is joined with to trash. To overtop is when a hound gives his tongue above the rest, too loudly or too readily; for which he ought to be tra'd or rated. Topper, in the good fenfe of the word, is a common name for a hound. Shakspeare is fond of allufions to hunting, and appears to be well acquainted with its language. This explication of trash illuftrates a paffage in the Bonduca of Beaumont and Fletcher, which has been hitherto misunderstood and mifreprefented; and where the ufe of the word equally reflects light on our author. A&t i. fc. 1.

"Car. I fled too

"But not fo faft: your jewel had been lost then,
"Young Hngo there; he traf'd me.”

Here Bonduca and Nennius are accufing Caratach of running a way from the Romans. Caratach anfwers, "It is very true, Nennius, that I fled from the Romans -But recollect, I did not run fo faft as you pretend: I foon flood ftill to defend your favourite youth Hengo:-He STOPPED my flight, and I faved his life." In this paffage, where traf properly fignifies check, the commentators fubstitute trace: a correction, which entirely destroys the force of the context, and the spirit of the reply.

WARTON.

To trash likewife fignifies to follow. So, in the Puritar, 1605: "A guarded lackey to run before it, and py'd live ries to come traing after it." The repetition of the word trah is much in Shakspeare's manner, though in his worst. In a fubfequent fcene, lago calls Bianca-trash. STEEVENS.

Sir T. H. reads plaf, which fee.

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1'11

I'll have our Michael Caffio on the hip;
Abufe him to the Moor in the rank garb,-
For I fear Caffio with my night-cap too;

Make the Moor thank me, love me, and reward

me,

For making him egregioufly an afs,

And practifing upon his peace and quiet

Even to madness. 'Tis here, but yet confus'd; Knavery's plain face is never feen, 'till us'd. [Exit.

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Enter Herald, with a proclamation.

Her. It is Othello's pleasure, our noble and va liant general, that, upon certain tidings now arriv'd, importing the 3 mere perdition of the Turkish fleet, every man put himself into triumph; fome to dance, fome to make bonfires, each man to what fport and revels his addiction 4 leads him; for, befides thefe beneficial news, it is the celebrationof his nuptials: So much was his pleasure should be proclaimed. All offices are open; and there is

9 I'll have our Michael Caffio on the hip;] A phrase from the art of wrestling. JOHNSON.

in the right garb,] The quarto reads in the rank garb, which I think is right. Rank garb, I believe, means, grossly, i. e. without mincing the matter. So, in Marlton's Dutch Courte

zan, 1604:

4

"Whither, in the rank name of madness, whither ?” STEEVENS.

Knavery's plain face is never feen, -] An honeft man acts upon a plan, and forecasts his defigns; but a knave depends upon temporary and local opportunities, and never knows his own purpose, but at the time of execution. JOHNSON.

mere perdition-] Mere in this place fignifies entire. See vol. i. 7. vii. 278., 433. STEEVENS.

4

bis addiction] The firft quarto reads, his mind.

STEEVENS.

full

full liberty of feafting, from this prefent hour of five, 'till the bell hath told eleven. Heaven bless the ifle of Cyprus, and our noble general Othello! [Exit.

SCENE III.

The caftle.

Enter Othello, Defdemona, Caffio, and Attendants.

Oth. Good Michael, look you to the guard to

night :

Let's teach ourselves that honourable stop,
Not to out-fport difcretion.

Caf. Iago hath direction what to do ;

But, notwithstanding, with my personal eye
Will I look to't.

Oth. Iago is most honeft.

Michael, good night: To-morrow, with your ear

lieft,

Let me have fpeech with you.-Come, my dear

love;

The purchase made, the fruits are to enfue;

[To Desdemona.

That profit's yet to come 'twixt me and you.

Good night.

[Exeunt Othello, and Defdemona.

Enter Iago.

Caf. Welcome, Iago: We must to the watch. Iago. Not this hour, lieutenant; 'tis not yet ten o'clock: Our general caft us thus early, for the love

5 Our general caft us-] That is, appointed us to our ftations. To caft the play, is, in the style of the theatres, to affigno every actor his proper part. JOHNSON.

Perhaps caft us only means difmiffed us, or got rid of our company. So, in one of the following fcenes, You are but now

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love of his Defdemona: whom let us not therefore blame; he hath not yet made wanton the night with her; and fhe is fport for Jove.

Caf. She's a moft exquifite lady.

Tago. And, I'll warrant her, full of game.

Caf. Indeed, fhe is a moft fresh and delicate crea

ture.

Iago. What an eye fhe has! methinks, it founds a parley of provocation.

Caf. An inviting eye; and yet, methinks, right

modeft.

Iago. And, when she speaks, is it not an alarum to love?

Caf. She is, indeed, perfection.

lago. Well, happinefs to their fheets! Come, lieutenant, I have a ftcop of wine; and here without are a brace of Cyprus gallants, that would fain have a measure to the health of the black Othello.

Caf. Not to-night, good lago; 1 have very poor and unhappy brains for drinking: I could well with courtesy would invent fome other cuftom of entertainment.

Iago. O, they are our friends; but one cup: I'll drink for you.

Caf. I have drunk but one cup to-night, and that

caft in his moed;" i. e. turn'd out of your office in bis in the firft fcene it means to difmifs.

anger;

So, in the WITCH, a MS. Tragi-comedy, by Middleton:
She caft off

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and

My company betimes to night, by tricks, &c."
STEEVENS.

6 an alarum-] The voice may found an alarm more properly than the eye can found a parley. JOHNSON.

The eye is often faid to speak. Thus we frequently hear of the language of the eye. Surely that which can talk may, without any violent ftretch of the figure be allowed to found a parly. The folio reads parley to provocation. REMARKS.

7

is it not an alarum to love?] The quartos read, alarm to love. STEEVENS.

'tis an

was

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