ting, whether accidentally or because
they were also omitted in the theatre? Or were some of them
after-thoughts, and others in the original version?

I will take them in order. (_a_) can hardly be an after-thought. Up to
that point Roderigo had hardly said anything, for Iago had always
interposed; and it is very unlikely that Roderigo would now deliver but
four lines, and speak at once of 'she' instead of 'your daughter.'
Probably this 'omission' represents a 'cut' in stage performance. (_b_)
This may also be the case here. In our texts the omission of the passage
would make nonsense, but in Q1 the 'cut' (if a cut) has been mended,
awkwardly enough, by the substitution of 'Such' for 'For' in line 78. In
any case, the lines cannot be an addition. (_c_) cannot be an
after-thought, for the sentence is unfinished without it; and that it
was not meant to be interrupted is clear, because in Q1 line 31 begins
'And,' not 'Nay'; the Duke might say 'Nay' if he were cutting the
previous speaker short, but not 'And.' (_d_) is surely no addition. If
the lines are cut out, not only is the metre spoilt, but the obvious
reason for Iago's words, 'I see, Sir, you are eaten up with passion,'
disappears, and so does the reference of his word 'satisfied' in 393 to
Othello's 'satisfied' in 390. (_e_) is the famous passage about the
Pontic Sea, and I reserve it for the present. (_f_) As Pope observes,
'no hint of this trash in the first edition,' the 'trash' including the
words 'Nature would not invest herself in such shadowing passion without
some instruction. It is not words that shake me thus'! There is nothing
to prove these lines to be original or an after-thought. The omission of
(_g_) is clearly a printer's error, due to the fact that lines 72 and 76
both end with the word 'committed.' No conclusion can be formed as to
(_h_), nor perhaps (_i_), which includes the whole of Desdemona's song;
but if (_j_) is removed the reference in 'such a deed' in 64 is
destroyed. (_k_) is Emilia's long speech about husbands. It cannot well
be an after-thought, for 105-6 evidently refer to 103-4 (even the word
'uses' in 105 refers to 'use' in 103). (_l_) is no after-thought, for
'if he says so' in 155 must point back to 'my husband say that she was
false!' in 152. (_m_) might be 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. I