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 an after-thought, but, if so, in the first version the ending ‘to speak’ occurred twice within three lines, and the reason for Iago’s sudden alarm in 193 is much less obvious. If (n) is an addition the original collocation was:

which does not sound probable.

Thus, as it seems to me, in the great majority of cases there is more or less reason to think that the passages wanting in Q1 were nevertheless parts of the original play, and I cannot in any one case see any positive ground for supposing a subsequent addition. I think that most of the gaps in Q1 were accidents of printing (like many other smaller gaps in Q1), but that probably one or two were ‘cuts’—e.g. Emilia’s long speech (k) The omission of (i) might be due to the state of the MS.: the words of the song may have been left out of the dialogue, as appearing on a separate page with the musical notes, or may have been inserted in such an illegible way as to baffle the printer.

I come now to (e), the famous passage about the Pontic sea. Pope supposed that it formed part of the original version, but approved of its omission, as he considered it ‘an unnatural excursion in this place.’ Mr. Swinburne thinks it an after-thought, but defends it. ‘In other lips indeed than Othello’s, at the crowning minute of culminant agony, the rush of imaginative reminiscence which brings back upon his eyes and ears the lightning foam and tideless thunder of the Pontic Sea might seem a thing less natural than sublime. But Othello has the passion of a poet closed in as it were and shut up behind the passion of a hero’ (Study of Shakespeare, p. 184). I quote these words all the more gladly because they will remind the reader of my lectures of my debt to Mr. Swinburne here; and I will only add that the reminiscence here is of precisely the same character as the reminiscences of the Arabian trees and the base Indian in Othello’s final speech. But I find it almost impossible to believe that Shakespeare ever wrote the passage without the words about the Pontic Sea. It seems to me almost an imperative demand of imagination that Iago’s set speech, if I may use the phrase, should be