calculation simply, with no more rooted passion; it is just what Mr. White says Iago did not have,—it is malice. So one gets the hint; and on searching the remarks of Booth to see what indications there are of his conception of the essence of Iago's soul, the spring of his motive, the changing emotions that enveloped his thoughts at their birth, one perceives at once that, while Booth would have Iago outwardly amiable, he has not the least idea of reducing the dye of villainy in which the character has been steeped by those of old time. Inside, Booth has no doubt, Iago was a spirit of hate, and he knows at what moments of anxious interest, at what crises of the temptation and the plotting, this will gleam out in the expression of the eye, or in those slight tell-tale changes which are natural to the most self-possessed man, and are significant to us only because we are on the watch for them. By observing, consequently, with what passages he connects this devilish malignancy of nature in Iago, one can judge, as between him and Mr. White, what justification he has for making Iago cruel as well as selfish, and revengeful as well as ambitious. Mr. White's theory is that Iago wished to
