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The poet is bound to show us the process by which Iago instils his poison into Othello's mind. He has backed himself, so to speak, to make this process credible to us; and, by a masterpiece of dexterity and daring, he wins his wager.
In two of these tragedies we have Shakespeare's most elaborate and, so to speak, admirable representations of villany: Edmund in "King Lear" and Iago in "Othello." These vile creations cannot, however, be justly regarded as the fruit of a lower view of human nature consequent upon a longer acquaintance with it.
Nothing now remained for his successor, but to put the utmost censure of the law in force against Iago, who was executed with strict tortures; and to send word to the state of Venice of the lamentable death of their renowned general.
In the third act Iago continues his diabolical purpose, at last so inflaming Othello's mind that he denounces Desdemona for her perfidy. The act concludes with the audience to the Venetian embassy, during which he becomes enraged, strikes Desdemona, and falls in convulsions.
"The worse for being called what I am not," replied Cassio, gloomily. "Keep on reminding Desdemona, and you'll soon be restored," said Iago, adding, in a tone too low for Othello to hear, "If Bianca could set the matter right, how quickly it would mend!"
These "Academy boys" were ambitious; each annual exhibition was crowded, to listen to the speeches "of Coriolanus, Iago, Brutus, and Cassius" by "raw lads from the village and adjoining farms," in all the bravery of local militia uniform blue coats "faced with red, matross swords, and hats of '76."
Did we not together listen to that voice and watch with breathless interest his investiture of Don Giovanni, in the golden days when Lilli Lehmann and the De Reszkes took the other parts. Was there ever a more elegant courtly Don, a greater Falstaff, a more intriguing Iago? In those youthful days, my friend's greatest ambition was to be able to sing and act like Maurel.
I suppose, if some near friend were to watch one who was looking over such a pressing letter, he might possibly see a slight shadow flit over the reader's features, and some such dialogue might follow as that between Othello and Iago, after "this honest creature" has been giving breath to his suspicions about Desdemona: "I see this hath a little dash'd your spirits.
That quality of picturesqueness, on which I have already laid stress, is strikingly developed in his Iago, and yet it is so judiciously governed that his Iago is not in the least picturesque according to the conventional ways of frowning, sneering, diabolically grinning, and elaborately doing everything else that would induce Othello to run him through the body very early in the play. Mr.
He ought to have borrowed something from his own Beatrice. Posthumus wishes Imogen saved, because, if her life had been spared, she might have repented. Iachimo is impossible, simple blackness, worse than Iago. He is unactable, for some motivation is necessary.
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