_Love's Labour's Lost_, iv. 3. _Othello_. 1. "By heaven, thy love is black 1. "An old black ram." i. 1. as ebony." 2. "No face is _fair_ that is not 2. "Your son-in-law is far more full so black." _fair_ than black." i. 3. 3. "O paradox! Black is the 3. "How if she be black and badge of hell." witty?" ii. 1. 4. "O, _if_ in black my lady's 4. "_If_ she be black, and thereto brows be decked." have a wit." id. 5. "And therefore is she born 5. "A measure to the health of to make black fair." black Othello." ii. 3. 6. "Paints itself black to 6. "For I am black." iii, 3. imitate her brow." 7. "To look like her are 7. "_Begrimed_ and black." id. _chimney-sweepers_ black." Now, with these parallel passages before them, what man, woman, or child could bring himself or herself to believe that the connection of these plays was casual or the date of the first Othello removable from the date of the early contemporary late-first-period-but-one play _Love's Labour's Lost_, or that anybody's opinion that they were so was worth one straw? When therefore by the introduction of the Iago episode Shakespeare in his later days had with the assistance of three fellow-poets completed the unfinished work of his youth, the junction thus effected of the Brabantio part of the play with this Iago underplot supplied them with an evidence wholly distinct from that of the metrical test which yet confirmed in every point the conclusion independently arrived at and supported by the irresistible coincidence of all the tests. He defied anybody to accept his principle of study or adopt his method of work, and arrive at a different conclusion from himself.