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By Root 21322 0

of interest. With this last the present question has no immediate concern: in fact, its conjunction with the former two is a mere delusion of words. It is not properly a rule, but in itself the great end not only of the drama, but of the epic poem, the lyric ode, of all poetry, down to the candle-flame cone of an epigram,—nay, of poesy in general, as the proper generic term inclusive of all the fine arts as its species. But of the unities of time and place, which alone are entitled to the name of rules, the history of their origin will be their best criterion. You might take the Greek chorus to a place, but you could not bring a place to them without as palpable an equivoque as bringing Birnam wood to Macbeth at Dunsinane. It was the same, though in a less degree, with regard to the unity of time:—the positive fact, not for a moment removed from the senses, the presence, I mean, of the same identical chorus, was a continued measure of time;—and although the imagination may supersede perception, yet it must be granted to be an imperfection—however easily tolerated—to place the two in broad contradiction to each other. In truth, it is a mere accident of terms; for the Trilogy of the Greek theatre was a drama in three acts, and notwithstanding this, what strange contrivances as to place there are in the Aristophanic Frogs. Besides, if the law of mere actual perception is once violated—as it repeatedly is, even in the Greek tragedies—why is it more difficult to imagine three hours to be three years than to be a whole day and night?

Act ii. sc. 1.—

Observe in how many ways Othello is made, first, our acquaintance, then our friend, then the object of our anxiety, before the deeper interest is to be approached!

Ib.—

“Mont. But, good lieutenant, is your general wived?

Cas. Most fortunately: he hath achieved a maid

That paragons description, and wild fame;

One that excels the quirks of blazoning pens,

And, in the essential vesture of creation,

Does tire the ingener.”

Here is Cassio's warm-hearted, yet perfectly disengaged, praise of Desdemona, and sympathy with the “most fortunately” wived Othello;—and yet Cassio is an enthusiastic admirer, almost a worshipper, of Desdemona. Oh, that detestable code that excellence cannot be loved in any form that is female, but it must needs be selfish! Observe Othello's “honest” and Cassio's “bold” Iago, and Cassio's full guileless-hearted wishes for the safety and love-raptures of Othello and “the divine Desdemona.” And also note the exquisite circumstance of Cassio's kissing Iago's wife, as if it ought to be impossible that the dullest auditor should not feel Cassio's religious love of Desdemona's purity. Iago's answers are the sneers which a proud bad intellect feels towards women, and expresses to a wife. Surely it ought to be considered a very exalted compliment to women, that all the sarcasms on them in Shakespeare are put in the mouths of villains.

Ib.—

“Des. I am not merry; but I do beguile,” &c.

The struggle of courtesy in Desdemona to abstract her attention.

Ib.—

“(Iago aside). He takes her by the palm: Ay, well said, whisper; with as little a web as this, will I ensnare as great a fly as Cassio. Ay, smile upon her, do,” &c.

The importance given to trifles, and made fertile by the villany of the observer.

Ib. Iago's dialogue with Roderigo.

This is the rehearsal on the dupe of the traitor's intentions on Othello.

Ib. Iago's soliloquy:—

“But partly led to diet my revenge,

For that I do suspect the lusty Moor

Hath leap'd into my seat.”

This thought, originally by Iago's own confession a mere suspicion, is now ripening, and gnaws his base nature as his own “poisonous mineral” is about to gnaw the noble heart of his general.

Ib. sc. 3. Othello's speech:—

“I know, Iago,

Thy honesty and love doth mince this matter,

Making it light to Cassio.”

Honesty and love! Ay, and who but the reader of the play could think otherwise?

Ib. Iago's soliloquy:—

“And what's he then that says—I play the villain?

When this advice is free I give, and honest,

Provable to thinking,