been widely felt; the attempt is consequently made to ascribe a cause for the catastrophe that shall justify it to the reason; and naturally one writer has over-accented and exaggerated one element in the play, and a second writer another element, and so on; but Mr. White bears away the palm from all in his assertion that Iago did all the mischief just to get on in the world, and that the only reason it was so great was because of the unlimited power for harm in the union of ability to flatter with utter unscrupulousness in a man's make-up. Shakespeare gives the key-note of the action in the very first words Iago utters, unheard except by his own bosom. What was the first thought on his lips then? "I hate the Moor." And perhaps in that most difficult moment of the rôle, the climax of Iago's fate, the elder Booth was right in making the expression of this intense enmity dominant in "the Parthian look which Iago, as he was borne off, wounded and in bonds, gave Othello,—a Gorgon stare, in which hate seemed both petrified and petrifying." In this matter the actors seem to carry it over the editor, who, indeed, was in that essay a better social satirist than Shakespearean scholar; and, to
