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Oth. 'Tis well I am found by you :
I will but spend a word here in the house,
And go with you.

[Exit Othello. Cas. Ancient, what makes he here? [carrack;

Iago. 'Faith, he to-night hath boarded a landIf it prove lawful prize, he's made for ever. Cas. I do not understand. lago. He's married. Cas. To whom? Iago. Marry, to-Come, captain, will you go?

Enter OTHELLO. Oth. Have with you. Cas. Here comes another troop to seek for you.

Enter BRABANTIO, RODORIGO, with Officers and

Torches.
Iago. It is Brabantio : general, be advised ;
He comes to bad intent.

Oth. Holla! stand there.
Rod. Signior, it is the Moor.
Bra. Down with him, thief!.

hey draw on both sides. Iago. You, Rodorigo! come, sir, I am for you— Oth. Keep up your bright swords, for the dew

will rust 'em. Good signior, you shall more command with years Than with your weapons.

Bra. O thou foul thief! where hast thou stowed

my daughter ; Damned as thou art, thou hast enchanted her ; For l'll refer_me to all things of sense, If she in chains of magic (21) were not bound, Whether a maid, so tender, fair, and happy, So opposite to marriage, that she shunned The wealthy curled darlings of our nation, Would ever have, t' incur a general mock, Run from the guardage to the sooty bosoni Of such a thing as thou; to fear, not to delight? Judge me the world, if it is not gross in sense, That thou hast practis'd on her with foul charms, Abused her delicate youth with drugs or minerals, That weaken notion.-I'll have't disputed on; 'Tis probable, and palpable to thinking. I therefore apprehend and do attach thee For an abuser of the world, (22) a practiser Of arts inhibited and out of warrant:

(21) The ideas of magic, incantations, and charms, have in all times been conceived to be coupled with the moon, and are often noticed in this play.

(22) An abuser of the world. This is referable to the moon, as not shining with her own lustre, but a borrowed one : this, too, explains the terms false and liar, frequently used in Hudibras and in the plays.

Lay hold upon him; if he do resist,
Subdue him at his peril.

Oth. Hold your hands,
Both you of my inclining, and the rest.
Were it my cue to fight, I should have known it
Without a prompter. Where will you I go
To answer this your charge?

Bra. To prison, 'till fit time
Of law, and course of direct session
Call thee to answer.

Oth. What if I do obey?
How may the duke be therewith satisfied,
Whose messengers are here about my side,
Upon some present business of the state,
To bring to me him?

Offi. True, most worthy signior.
The duke's in council; and your noble self,
I'm sure, is sent for.

Bra. How! the duke in council?
In this time of the night? bring him away;
Mine's not an idle cause. The duke himself,
Or any of my brothers of the state,
Cannot but feel this wrong as 'twere their own;
For if such actions may have passage free,
Bond-slaves and pageants shall our statesmen be.

[Exeunt.

SCENE changes to the Senate-house. Duke and Senators, set at a Table, with Lights,

and Attendants. Duke. There is no composition in these news, (23) That gives them credit.

i Sen. Indeed they're disproportioned ; (24) My letters say, a hundred and seven gallies.

Duke. And mine a hundred and forty. (25) · 2 Sen. And mine two hundred: (

(23) The Duke represents the same prototype in the moon as the King's ghost in Hamlet, and Albany in King Lear, the former of which is drawn in figure 51.

(24) The first senator I take to be the saine as the Cap. tain who murders Cordelia in King Lear, (fig. 96.)

(25) The second senator I apprehend to have his face made up of the small shadows immediately on the left hand of the first senator, which small shadows constitute the hands of Hudibras, and are often assimilated 10 alphabetical letters, or arithmetical figures.'

(26) What was mentioned in the conclusion of the last note seems to point out the prototype of the second senator; for those shadows, so constituting the outlines of his face, may without difficulty be conceived to form his number of galleys, viz. 200. And when the various instances in which the poet in the play of King Lear was seen to denote num·bers in a like manner, are recollected, it is not improbable that he might intend to point to the Duke's number of 140, as situate in light marks about the region of his shoulder or a little before it; and the first senator's number of 107,

But though they jump not on a just account, (As in these cases, where the aim reports, 'Tis oft with difference :) yet do they all confirm A Turkish fleet, (27) and bearing up to Cyprus,

Duke. Nay, it is possible enough to judgI do not so secure me in the error, (28) [ment; But the main article I do approve In fearful sense.

[what hoa ! Sailors within.] (29) Wat hoa! what hoa !

Enter Sailors.
Offi. A messenger from the gallies.
Duke. Now !-what's the business?

ve

by larger characters within the field of his person, of which the one is drawn in fig. 94. The characters of the senators are so inconsiderable that a drawing is not given of the second, nor of the numbers, the prototypes of which, perhaps overstrainedly, have been pointed out.

(27) A Turkish fleet. As the ensigns of the Turks are marked with crescents, as of the moon, that circumstance may be alluded to, perhaps, by making the plot of the play to have regard, as it has in part, to Turkey.

(28) Error. As of a planet, and so of the moon (as so esteemed).

(29) The sailors may be those small human like heads, in shadow, situate over the head of Rodorigo (late Hudibras). As such, they may be properly considered as sailors, as they would be there situate at the stern of the ship, drawn in fig. 72, ante.

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