Et cupio, et nequeo. Quid agam? modo vulnera fratrum Ante oculos mihi sunt, et tantæ cædis imago; Nunc animum pietas, maternaque nomina frangunt. Me miseram! male vincetis, sed vincite, fratres: Dummodo, quæ dedero vobis solatia, vosque Ipsa sequar, dixit: dextraque aversa trementi Funereum torrem medios conjecit in ignes. Aut dedit, aut visus gemitus est ille dedisse, Stipes; et invitis correptus ab ignibus arsit. _Metamorph. lib. 8. l. 445._ In cases of this kind, one circumstance always augments the fluctuation. A resolution to prefer one action before another after balancing betwixt them, is an inchoated gratification of the prevailing passion, which softens it in some degree. This circumstance tends to give a superiority to the opposite passion. And another circumstance also concurs, that this opposite passion has by restraint acquired in the interim some additional force. Love and jealousy connected by a common object, occupy the mind alternately. When the object is considered as beautiful, love prevails: when considered as possibly unfaithful, jealousy prevails. A situation of this kind, affords great scope for fluctuation of passion, which is painted to the life by several masterly hands in words as well as in colours. Shakespear handles the same subject, but in a manner uncommon and peculiar to himself. In Othello’s soliloquy before putting his wife to death, love and jealousy are represented, each exerting its whole force, but without any struggle. Othello was naturally inflexible; and the tenderest love could not divert him from a purpose he approved as right, not even for a moment. But every thing consistent with such a character is done to reconcile the two opposite passions. He is resolved to put her to death, but he will not shed her blood, nor so much as ruffle her skin.