supplant Cassio, and ruined Desdemona in order to accomplish this end; that he used his suspicion of Othello's intimacy with his wife almost as an after-thought, to bolster up his purpose with an excuse; and that, having chosen his method with perfect indifference to its morality or its humanity, he overreached himself and failed. This view may gain upon one by its plausible and emphatic setting forth, just as pleas for Judas Iscariot or any other client of a clever devil's advocate may do, but only momentarily; for when one attempts to adjust the speeches of Iago, word by word and line by line, to this conception, especially with such notes of direction and caution as these of Booth's to the actor, echoing the text, as they do, through all modulations of suspicion, suspense, and suppressed passion, the idea of an Iago without malice simply dissolves, and leaves not a rack behind. In reality, this new notion of Mr. White's is only the old story that Iago is motiveless, which has disturbed so many critics, and given occasion to such marvelous explanations of his villainy. The disparity between the moral causes and the mortal results, between the errors and the penalties of the victims, has
