our mind, the conception of Mr. White is too inharmonious, also, with the intellectual power and the delight in its exercise so marked in Shakespeare's and in Booth's Iago.
There is more scope for different interpretations in Othello's case than in Iago's. Othello, it is obvious to any one of the least insight, is a character in whom temperament counts for so much more than anything else as practically to possess the whole man; his actions proceed directly from his nature; his doubts and suspicions act at once upon his heart, and are converted into emotion of the most simple and primitive type almost instantaneously; his mental agony itself tends to become blind physical suffering; he does not think,—he feels. It is in the expression of temperament that the actor is left most free by the dramatist, is least shackled by words, and oftenest relies upon other modes of utterance, among which (we too easily forget) language is only one.
In Othello, consequently, who is the creature of his temperament, the actor influences the character to an unusual degree; and as the range of feeling is from the lowest notes
