The fiery openness of Othello,
magnanimous, artless, and credulous, boundless in his confidence, ardent
in his affection, inflexible in his resolution, and obdurate in his
revenge; the cool malignity of Iago, silent in his resentment, subtle in
his designs, and studious at once of his interest and his vengeance; the
soft simplicity of Desdemona, confident of merit, and conscious of
innocence, her artless perseverance in her suit, and her slowness to
suspect that she can be suspected, are such proofs of Shakespeare's
skill in human nature, as, I suppose, it is vain to seek in any modern
writer. The gradual progress which Iago makes in the Moor's conviction,
and the circumstances which he employs to inflame him, are so artfully
natural, that, though it will perhaps not be said of him as he says of
himself, that he is _a man not easily jealous_, yet we cannot but pity
him, when at last we find him _perplexed in the extreme_.
There is always danger, lest wickedness, conjoined with abilities,
should steal upon esteem, though it misses of approbation; but the
character of Iago is so conducted, that he is from the first scene to
the last hated and despised.
Even the inferior characters of this play would be very conspicuous in
any other piece, not only for their justness, but their strength. Cassio
is brave, benevolent, and honest, ruined only by his want of
stubbornness to resist an insidious invitation.
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