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He went hence but now,
And, certainly, in strange unquietness.
Iago. Can he be angry?
Something of moment, then: I will go meet him;
Des. I pr'ythee do so.-Something, sure, of state,- [Exit IAGO.
Nay, we must think, men are not gods;
As fit the bridal.
Emil. Pray heaven, it be state matters, as you think, And no conception, nor no jealous toy,
Des. Alas, the day! I never gave him cause.
Emil. But jealous souls will not be answer'd so; They are not ever jealous for the cause,
But jealous for they are jealous.
Des. I will go seek Othello.-Cassio, walk hereabout:
[Exeunt DESDEMONA, and EMILIA.
The catastrophe of this noble domestic tragedy, is foreshadowed in our extracts. Othello, convinced of his wife's dishonor, is instigated by rage and jealousy to take her life. But the innocence of Desdemona is proved by the confession of Emilia, and the discovery of Iago's treachery. Othello, overwhelmed with grief and remorse, destroys himself, and Iago is delivered a prisoner into the hands of justice.
The TEMPEST is supposed to be the last production of Shakspeare's mighty genius; as it is generally acknowledged to be the most original and perfect of his works. In this Play the Poet has literally "given to airy nothings a local habitation and a name,” endowing them with qualities and furnishing them with a fitness of language, which invests these creatures of his imaginings with all the charm and semblance of reality.
The story is simple in its construction, yet it is deeply interesting. Our selections present the main incidents of the plot in consecutive succession.
ALONZO, King of Naples.
SEBASTIAN, his brother.
PROSPERO, the rightful Duke of Milan.
ANTONIO, his brother, the usurping Duke of Milan.
FERDINAND, son to the King of Naples.
GONZALO, an honest old counsellor of Naples.
ADRIAN, FRANCISCO, lords.
CALIBAN, a savage and deformed slave.
TRINCULO, a jester.
STEPHANO, a drunken butler.
Master of a ship, Boatswain, and Mariners.
MIRANDA, daughter to Prospero.
ARIEL, an airy spirit.
IRIS, CERES, JUNO, Nymphs, Reapers, spirits.
Other spirits attending on Prospero.
SCENE.-The Sea, with a Ship; afterwards an uninhabited Island.
Prospero, the rightful Duke of Milan, has been dethroned by his brother Antonio, and banished from his dominions. Prospero seeks refuge in a desert island, with his daughter Miranda, and by magic arts, surrounds himself with "potent spirits," which
are obedient to his will. Having learned by his "magic" that his brother Antonio has embarked in a vessel for Naples, in company with Alonzo, King of Naples, the king's son, Ferdinand, together with certain lords of Milan and Naples, Prospero commands his trusty spirit Ariel, to wreck the vessel near the island, but to save the lives of the noble passengers and crew, and bring them safely to shore. Prospero and his daughter Miranda, witness the destruction of the vessel,
SCENE II.-The Island: before the Cell of PROSPERO.
Mira. If by your art, my dearest father, you have
With those that I saw suffer! a brave vessel,
Have sunk the sea within the earth, or e'er
It should the good ship so have swallowed, and
O, woe the day!
I have done nothing but in care of thee
More to know
Did never meddle with my thoughts.
I should inform thee further. Lend thy hand,
And pluck my magic garment from me.-So; [Lays down his mantle. Lie there my art.-Wipe thou thine eyes; have comfort.
The direful spectacle of the wreck, which touch'd
The very virtue of compassion in thee,
I have with such provision in mine art
So safely order'd, that there is no soul—
Betid to any creature in the vessel
Which thou heard'st cry, which thou saw'st sink.—Sit down ;
You have often
The government I cast upon my brother,
And to my state grew stranger, being transported,
Sir, most heedfully.
Pro. Being once perfected how to grant suits,
The creatures that were mine; I say, or chang'd them,
And suck'd my verdure out on't.-Thou attend'st not:
O good sir, I do.
Pro. I thus neglecting worldly ends, all dedicate
O'er-priz'd all popular rate, in my false brother
A falsehood, in its contrary as great
As my trust was: which had, indeed, no limit,
But what my power might else exact,-like one,
To credit his own lie,-he did believe
He was indeed the duke; out of the substitution,
Your tale, sir, would cure deafness. Pro. To have no screen between this part he play'd,
And him he play'd it for, he needs will be
Absolute Milan: Me, poor man!—my library
Was dukedom large enough; of temporal royalties
(So dry he was for sway) with the king of Naples,
O the heavens !
Pro. Mark his condition, and the event; then tell me If this might be a brother.
* Cut away.