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The highest praise that can be given to it is to say, which is the literal truth, that it falls in no way beneath the poetical and dramatic standard of its context. Othello now enters, and Iago contrives to sow the first seeds of jealousy in his breast by calling his attention to Cassio's interview with Desdemona.
The whole play of Othello rests upon the Moor's jealousy of his fair, sweet, and loyally faithful Desdemona. How the fiendish Iago plays upon Othello's jealous heart until one sees that: Trifles, light as air, Are to the jealous confirmations strong As proofs of holy writ. Iago bitterly resents a slight he feels Othello has put upon him.
His Iago, standing in the dark street, with sword in hand, above the prostrate bodies of Cassio and Roderigo, and as the sudden impulse to murder them strikes his brain, breathing out in a blood-curdling whisper, "How silent is this town!" his Bertuccio, begging at the door of the banquet-hall, and breaking down in hysterics of affected glee and maddening agony; his Lear, at that supreme moment of intolerable torture when he parts away from Goneril and Regan, with his wild scream of revenges that shall be the terrors of the earth; his Richard the Third, with the gigantic effrontery of his "Call him again," and with his whole matchless and wonderful utterance of the awful remorse speech with which the king awakens from his last earthly sleep those, among many others, rank with the best dramatic images that ever were chronicled, and may well be cited to illustrate Booth's invincible and splendid adequacy at the great moments of his art.
Heal life furnishes the most absolute extremes of possession by the angel or the fiend; and Shakespere has not scrupled to use one of these ultimate possibilities in the person of Iago. Yet Hawthorne was too acutely conscious of the downward bent in every heart, to let the Judge's pronounced iniquity stand without giving a glimpse of incipient evil in another quarter.
Poor as I was, I visited the old Museum night after night, paying thirty-five cents which admitted me to a standing place in the first balcony, and there on my feet and in complete absorption, I saw in wondrous procession Hamlet, Lear, Othello, Petruchio, Sir Giles Overreach, Macbeth, Iago, and Richelieu emerge from the shadow and re-enact their tragic lives before my eyes.
WITH the single exception of Falstaff, all Shakespeare's characters are what we call marrying men. Mercutio, as he was own cousin to Benedick and Biron, would have come to the same end in the long run. Even Iago had a wife, and, what is far stranger, he was jealous.
Victor Hugo, in L'Homme qui Rit, undertook to create a type after the manner of Iago, and invented Barkilphedro, who embodies disinterested yet active malice, which is the malice of the villain of melodrama.
Nero alone with Nattalis by imperial command; his momentary compunction nullified by the wily Iago, who turns off the subject smoothly to a new object of desire: Publius was the only senator not in his place, and Publius has a daughter, the fairest in Rome, Lucia had not the emperor noticed her among Agrippina's women?
Cassio, whom this misfortune had entirely sobered, now lamented to his seeming friend Iago that he should have been such a fool as to transform himself into a beast. He was undone, for how could he ask the general for his place again! he would tell him he was a drunkard. He despised himself.
He suffers as a double man; at once in the higher and the lower sphere into which his being was divided. While the Moor bears the nightly colour of suspicion and deceit only on his visage, Iago is black within. A more artful villain than this Iago was never portrayed; he spreads his nets with a skill which nothing can escape.
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