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4 Of very expert and approv'd allowance; Therefore my hopes, not furfeited to death, Stand in bold cure.

Within.] A fail, a fail, a fail!

Caf. What noise?

Gent. The town is empty; on the brow o' the fea Stand ranks of people, and they cry-a fail. Caf. My hopes do fhape him for the governor. Gent. They do difcharge their fhot of courtefy; Our friends, at least. [Guns heard.

Caf. I pray you, fir, go forth,

And give us truth who 'tis that is arriv'd.
Gent. I fhall.


Mont. But, good lieutenant, is your general wiv'd? Caf. Moft fortunately: he hath atchiev'd a maid That paragons defcription, and wild fame;

his life, with thine, &c.

Stand in affured lofs.

In bold cure means, in confidence of being cured. STEEVENS. A furfeit being a ficknefs arifing from an exceffive over-charge of the ftomach, the author, with his ufual licence, ufes it for any fpecies of excefs.-The meaning, I think, is-Therefore my hopes, not being deftroyed by their own excefs, but being reafonable and moderate, are like to be fulfilled.

Or rather,

-Therefore my hopes of his fafety, which indeed are faint and weak, but not entirely deftroyed by excess of defpondency, may chance to be fulfilled.

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The word furfeit having occurred to Shakspeare, led him to confider fuch a hope as Caffio entertained, (not a fanguine, but a faint and languid, hope," ficklied o'er with the pale cast of thought," as a difeafe, and to talk of its cure. A paffage in Twelfth Night, &c. where a fimiliar phrafcology is ufed, may ferve to ftrengthen this interpretation, while at the fame time it fhews that there is here no corruption in the text :

"Give me excess of it; that furfeiting,

"The appetite may ficken, and fo die. MALONE. 4 Of very expert and approv'd allowance ;] I read,

Very expert, and of approv'd allowance. JOHNSON. Expert and approv'd allowance is put for allow'd and approv'd expertnefs. This mode of expreffion is not unfrequent in Shakfpeare. STEEVENS.

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One that excels the quirks of blazoning pens, • And, in the effential vefture of creation,

• And in the effential vefture of creation,


Does bear all excellency] It is plain that fomething very hyperbolical was here intended. But what is there as it ftands? Why this, that in the effence of creation fhe bore all excellency. The expreffion is intolerable, and could never came from one who fo well understood the force of words as our poet. The essential vesture is the fame as effential form. So that the expreffion is nonfenfe. For the veture of creation fignifies the forms in which created beings are caft. And effence relates not to the form, but to the matter. Shakspeare certainly wrote:

And in terrestrial vefture of creation.

And in this lay the wonder, that all created excellence should be contained within an earthly mortal form. WARBURTON.

I do not think the prefent reading inexplicable. The author feems to use effential, for exiftent, real. She excels the praises of invention, fays he, and in real qualities, with which creation has invefted her, bears all excellency. JOHNSON.

Does bear all excellency-] Such is the reading of the quartos ; for which the folio has this:

And in the effential vefture of creation

Do's tyre the ingeniuer.

Which I explain thus,

Does tire the ingenious verse.

This is the best reading, and that which the author substituted in his revifal. JOHNSON.

The reading of the quarto is fo flat and unpoetical, when compared with that fenfe which feems meant to have been given in the folio, that I heartily wish fome emendation could be hit on, which might entitle it to a place in the text. I believe the word tire was not introduced to fignify-to fatigue, but to attire, to drefs. The verb to attire, is often fo abbreviated.

Holland's Leaguer, 1633:

"Cupid's a boy,

"And would you tire him like a fenator?"

Again, in the Comedy of Errors, act ii. fc. 2.

"To fave the money he spends in tiring, &c."

So, in

The effential veflure of creation tempts me to believe it was fo ufed on the prefent occafion. I would read fomething like this; And in the effential vefture of creation

Does tire the ingenuous virtue.

¿. e. invests her artless virtue in the fairest form of earthly fubfiance.

Does bear all excellency.-How now? who has put in ?

Re-enter Gentleman.

Gent. 'Tis one Iago, ancient to the general.

In the Merchant of Venice, act. v. Lorenzo calls the body"the muddy vesture of decay."

It may, however, be obferved, that the word ingener did not anciently fignify one who manages the engines or artillery of an army, but any ingenious perfon, any mafter of liberal fcience.

So, in Ben Jonfon's Sejanus, act i. sc. 1,


No, Silius, we are no good ingeners,

"We want the fine arts," &c.

Ingener therefore may be the true reading of this paffage : and a fimilar thought occurs in the Tempest, act iv, fc. 1:

"For thou shalt find fhe will outstrip all praife,

"And make it balt behind her."

In the argument of Sejanus, Jonfon likewife fays, that his hero worketh with all his ingene," apparently from the Latin ingenium. STEEVENS.

Perhaps the poet wrote:

Does tire the ingene ever.

This is very near the word exhibited by the folio. MALONE. The reading of the folio, though incorrectly fpelled, appears to have been,

Does tire the engineer;

which is preferable to either of the propofed amendments; and the meaning of the paffage would then be, "One whofe real perfections were fo excellent, that to blazon them would exceed the abilities of the ablest masters.'

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The fenfe attributed to the word tire, according to this reading, is perfectly agreeable to the language of poetry. Thus Dryden fays:

"For this an hundred voices I defire,

"To tell thee what an hundred tongues would tire;
"Yet never could be worthily expreft,

"How deeply those are seated in my breast."

And in the last act of The Winter's Tale, the Third Gentleman fays, "I never heard of fuch another encounter, which lames report to follow it, and undoes description to do it." The objection to the reading of inginer, is, that although we find the words. ingine, inginer, and inginous in Jonfon, they are not the language of Shakspeare; and I believe indeed that Jonfon is fingular in the use of them. MONCK Mason.

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Caf. He has had moft favourable and happy fpeed:
Tempefts themselves, high feas, and howling winds,
The gutter'd rocks, and congregated fands,
Traitors enfteep'd to clog the guiltless keel,-
As having fenfe of beauty, do omit

Their mortal natures, letting go fafely by
The divine Desdemona.

Mont. What is fhe?

Caf. She that I fpake of, our great captain's captain,

Left in the conduct of the bold Jago;

Whofe footing here anticipates our thoughts,
A fe'nnight's speed.-Great Jove, Othello guard,
And fwell his fail with thine own powerful breath;
That he may blefs this bay with his tall fhip,
Make love's quick pants in Defdemona's arms 7,
Give renew'd fire to our extincted spirits,
And bring all Cyprus comfort!-O, behold!-


Enter Defdemona, Iago, Roderigo, and Æmilia, The riches of the fhip is come on fhore !

6 Traitors enfleep'd] Thus the folio and one of the quartos. The first copy reads nfcerpd, of which every reader may make what he pleafes. Perhaps enfcerped was an old English word borrowed from the French efcarp, which Shakspeare not finding congruous to the image of clogging the keel, afterwards changed. I once thought that the poet had written-traitors enfcarf'd, i. e. muffled in their robes, as in Julius Cæfar. So, in Hamlet: My fea-gown fearf'd about me ;" and this agrees better with the idea of a traitor: yet whatever is gained one way is loft another. The poet too often adopts circumftances from every image that arofe in his mind, and employing them without attention to the propriety of their union, his metaphorical expreffions become inextricably confused. STEEVENS.

Make love's quick pants in Defdemona's arms,] Thus the folio. The quarto with lefs animation :

And fifily come to Defdemona's arms. STEEVENS.

8 And bring all Cyprus comfort!] This paffage is only found in the quartos. STEEVENS.


Ye men of Cyprus, let her have your knees :Hail to thee, lady!, and the grace of heaven, Before, behind thee, and on every hand, Enwheel thee round!

Def. I thank you valiant Caffio.

What tidings can you tell me of my lord?
Caf. He is not yet arriv'd; nor know I aught
But that he's well, and will be fhortly here,
Des. O, but I fear ;-How loft you company?
Caf. The great contention of the fea and fkies
Parted our fellowship: But, hark! a fail.
Within.] A fail, a fail!

[Guns heard. Gent. They give this greeting to the citadel; This likewife is a friend.


Caf. See for the news. [An Attendant goes out. Good ancient, you are welcome; -Welcome,


[To Æmilia.

Let it not gall your patience, good Iago,
That I extend my manners; 'tis my breeding,
That gives me this bold fhew of courtesy.

[Kiffes her. Iago. Sir, would fhe give you fo much of her lips, As of her tongue the oft bestows on me,

You'd have enough.

Def. Alas, the has no fpeech.


Iage. In faith, too much ";'

I find it ftill, when I have lift to fleep:
Marry, before your ladyfhip, I grant,
She puts her tongue a little in her heart,
And chides with thinking.

Emil. You have little caufe to say so.

Iago. Come on, come on; you are pictures out of doors,

1 See for the news.] The first quarto reads, So fpeaks this voice.


2 In faith, too much;] Thus the folio. The first quarto thus: I know too much;

1 find it, I; for when, &c. STEEVENS.

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