• Choose a category
• All
• Classic-Fiction

II.i.48 (397,3)

His bark is stoutly timber'd, and his pilot

Of very expert and approv'd allowance;

Therefore my hopes, not surfeited to death,

Stand in bold cure]

I do not understand these lines. I know not how hope can be surfeited to death, that is, can be encreased, till it is destroyed; nor what it is to stand in bold cure; or why hope should be considered as a disease. In the copies there is no variation. Shall we read

Therefore my fears, not surfeited to death,

Stand in bold cure?

This is better, but it is not well. Shall we strike a bolder stroke, and read thus?

Therefore my hopes, not forfeited to death,

Stand bold, not sure.

II.i.49 (398,4) Of very expert and approv'd allowance] I read, Very expert, and of approv'd allowance.

II.i.64 (308,5) And in the essential vesture of creation/Does bear all excellency; We in terrestrial] I do not think the present reading inexplicable. The author seems to use essential, for existent, real. She excels the praises of invention, says he, and in real qualities, with which creation has invested her, bears all excellency.

Does bear all excellency——] Such is the reading of the quartos, for which the folio has this,

And in the essential vesture 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 revisal.

II.i.112 (401,9) Saints in your injuries] When you have a mind to do injuries, you put on an air of sanctity.

II.i.120 (402,1) I am nothing, if not critical] That is, censorious.

II.i.137 (402,2) She never yet was foolish] We may read,

She ne'er was yet so foolish that was fair,

But even her folly help'd her to an heir.

Yet I believe the common reading to be right; the lay makes the power of cohabitation a proof that a man is not a natural; therefore, since the foolishest woman, if pretty, may have a child, no pretty woman is ever foolish.

II.i.146 (403,3) put on the vouch of very malice itself] To put on the vouch of malice, is to assume a character vouched by the testimony of malice itself.

II.i.165 (404,5) profane] Gross of language, of expression broad and brutal. So Brabantio, in the first act, calls Iago profane wretch.

II.i.165 (404,6) liberal counsellor.] Counsellor seems to mean, not so much a man that gives counsel, us one that discourses fearlessly and volubly. A talker.

II.i.177 (405,8) well kiss'd! an excellent courtesy!] [—well kissed, and excellent courtesy;—] This I think should be printed, well kiss'd! an excellent courtesy! Spoken when Cassio kisses his hand, and Desdemona courtesies. [The old quarto confirms Dr. Johnson's emendation. STEEVENS.]

II.i.208 (406,1) I prattle out of fashion] Out of method, without any settled order of discourse.

II.i.211 (406,2) the master] The pilot of the ship.

II.i.223 (406,3) Lay thy finger thus] On thy mouth, to stop it while thou art listening to a wiser man.

II.i.252 (407,5) green minds] Minds unripe, minds not yet fully formed.

II.i.254 (408,6) she is full of most bless'd condition] Qualities, disposition of mind.

II.i.274 (408,7) tainting his discipline] Throwing a slur upon hie discipline.

II.i.279 (408,8) sudden in choler] Sudden, is precipitately violent.

II.i.283 (408,9) whose qualification shall come into no true taste again] Whose resentment shall not be so qualified or tempered, as to be well tasted, as not to retain some bitterness. The phrase is harsh, at least to our ears.

II.i.306 (409,1) like a poisonous mineral] This is philosophical. Mineral poisons kill by corrosion.

II.i.314 (411,4) I'll have our Michael Cassio on the hip] A phrase from the art of wrestling.

II.i.321 (411,6) Knavery's plain face is never seen] An honest man acts upon a plan, and forecasts his designs; but a knave depends upon temporary and local opportunities, and never knows his own purpose, but at the time of execution.

II.iii.14 (413,8) Our general cast us] That is, appointed us to our stations. To cast the play, is, in the stile of the theatres, to assign to every actor his proper part.

II.iii.26