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brought out at the same time by Joseph Elderton, a young Attorney.
p. 178.—“seeming justification of our blackamoor or negro Othello." “I believe,” says an anonymous critic, "in one edition of Coryatt's Crudities there is a drawing of the Venetian General, Othello, representing him tawny. Schlegel's reasons for Othello's blackness might be compared with Coleridge's against it.” Schlegel's view of the subject is as follows: “What a happy mistake it was that led Shakspeare to convert the Moor,' under which name, in the original story, a baptized Saracen of the Northern coast of Africa was unquestionably meant, into a proper negro! We recognize in Othello the wild nature of that burning zone, which produces the most violent beasts of prey, and the deadliest poisons, subdued in appearance only by love of fame, by foreign laws of honor, and by nobler and milder manners. His jealousy is not that jealousy of the heart which is compatible with the tenderest sensibility and devotedness toward the beloved object; it is that sensual frenzy, which in torrid climes has produced the unworthy confinement of women and other unnatural usages. A drop of this poison shed in his veins sets his whole blood in a ferment. The Moor appears noble, open, confiding, grateful for the love shown him ;—and he is all this; and, furthermore, he is a hero, who despises danger, a worthy commander of armies, a true servant of the state; but in a moment the mere physical force of passion overthrows all his acquired and habitual virtues, and gives the upper hand to the savage over the cultivated man in his nature. Even in the expression of his rage to revenge himself on Cassio, the despotism of the blood over the will betrays itself. At last, in his repentance, a genuine tenderness for his murdered wife and anguish from the sense of honor destroyed speak out of him in presence of the witnesses of his deed : and in the midst of all this he falls upon himself with the fury with which a tyrant tortures a rebellious slave. He suffers, like a double man, at once in the higher and the lower sphere into which his being is divided." Vol. iii. pp. 288, 9. Lecture xii. (xxv.)
p. 291.--"the crusading armaments.” There must have been some mistake in the report of this passage, if not in the original conception of it; for the last crusades were undertaken in the earlier part of the thirteenth century; Dante's poetry was not produced till the beginning of the fourteenth. The error was noted in a critique on the Lit.
The Signature S. C. has been omitted by mistake in two or three Notes at the foot of the page.
END OF VOL. IV.