prosper. Roderigo and Cassio and Desdemona once dead, all will be well. Nay, when he fails to kill Cassio, all may still be well. He will avow that he told Othello of the adultery, and persist that he told the truth, and Cassio will deny it in vain. And then, in a moment, his plot is shattered by a blow from a quarter where he never dreamt of danger. He knows his wife, he thinks. She is not over-scrupulous, she will do anything to please him, and she has learnt obedience. But one thing in her he does not know—that she loves her mistress and would face a hundred deaths sooner than see her fair fame darkened. There is genuine astonishment in his outburst ‘What! Are you mad?’ as it dawns upon him that she means to speak the truth about the handkerchief. But he might well have applied to himself the words she flings at Othello,
As ignorant as dirt!
The foulness of his own soul made him so ignorant that he built into the marvellous structure of his plot a piece of crass stupidity.
To the thinking mind the divorce of unusual intellect from goodness is a thing to startle; and Shakespeare clearly felt it so. The combination of unusual intellect with extreme evil is more than startling, it is frightful. It is rare, but it exists; and Shakespeare represented it in Iago. But the alliance of evil like Iago’s with supreme intellect is an impossible fiction; and Shakespeare’s fictions were truth.
6
The characters of Cassio and Emilia hardly require analysis, and I will touch on them only from a single point of view. In their combination of excellences and defects they are good
