I am glad that I have ended my revisal of this dreadful scene.  It is not to be endured.

V.ii.134 (505,3) false as water] As water that will support no weight, nor keep any impression.

V.ii.151 (506,4) villainy has made mocks with love] Villainy has taken advantage to play upon the weakness of a violent passion.

V.ii.162 (506,5) Thou hast not half that power to do me harm, As I have to be hurt] [Hamner:  to bear hurt] The Oxford Editor saw well the meaning of his author, but weakened his expression.  She means to say, _I have in this cause power to endure more than thou hast power to inflict_.

V.ii.183 (507, 6) charm your tongue] I know not whether I have read, or whether my own thoughts hare suggested, an alteration of this passage.  It seems to me not improbable, that Shakespeare wrote clam your tongue; to clam a bell, is to cover the clapper with felt, which drowns the blow, and hinders the sound.

V.ii.211 (509,7) she with Cassio had the act of shame/A thousand times committed] This is another passage which seems to suppose a longer space comprised in the action of this play than the scenes include.

V.ii.253 (512,2) It was a sword of Spain, the ice-brook’s temper] [In the first edition it is, Isebroke’s temper.  Thence corrupted to Ice-brook’s.—­Ebro’s temper; the waters of that river of Spain are particularly famous for tempering of steel.  POPE.] I believe the old reading changed to ice-brook is right.  Steel is hardened by being put red hot into very cold water.

V.ii.286 (513,3)

  I look down towards his feet; but that’s a fable. 
  If that thou be’st a devil, I cannot kill thee]

To see if, according to the common opinion, his feet be cloven.

V.ii.292 (513,4) Fall’n in the practice of a cursed slave] In the snare, by the stratagem.

V.ii.317 (514,5) in the interim] The first copy has, in the nick.  It was, I suppose, thought upon revisal, that nick was too familiar.

V.ii.342 (515,6) Speak of me as I am] The early copies read, Speak of them as they are.  The present reading has more force. (rev. 1778, X, 622, 6)

(520,2) General Observation.  The beauties of this play impress themselves so strongly upon the attention of the reader, that they can draw no aid from critical illustration.  The fiery openness of Othello, magnanimous, artless, and credulous, boundless in his confidence, ardent in his affection, inflexible in his resolution, and obdurate in his revenge; the cool malignity of Iago, silent in his resentment, subtle in his designs, and studious at once of his interest and his vengeance; the soft simplicity of Desdemona, confident of merit, and conscious of innocence, her artless perseverance in her suit, and her slowness to suspect that she can be suspected, are such proofs of Shakespeare’s skill in human nature, as, I suppose, it is vain to seek in any modern writer.  The gradual progress which Iago makes in the Moor’s conviction, and the circumstances which he employs to inflame him, are so artfully natural, that, though it will perhaps not be said of him as he says of himself, that he is a man not easily jealous, yet we cannot but pity him, when at last we find him perplexed in the extreme.