sides as persistently misconceived and misrepresented with such desperate pertinacity as Hamlet and Iago.
And it is only when Iago is justly appreciated that we can justly appreciate either Othello or Desdemona. This again should surely be no more than the truism that it sounds; but practically it would seem to be no less than an adventurous and audacious paradox. Remove or deform or diminish or modify the dominant features of the destroyer, and we have but the eternal and vulgar figures of jealousy and innocence, newly vamped and veneered and padded and patched up for the stalest purposes of puppetry. As it is, when Coleridge asks "which do we pity the most" at the fall of the curtain, we can surely answer, Othello. Noble as are the "most blessed conditions" of "the gentle Desdemona," he is yet the nobler of the two; and has suffered more in one single pang than she could suffer in life or in death.
But if Othello be the most pathetic, King Lear the most terrible, Hamlet the subtlest and deepest work of Shakespeare, the highest in abrupt and steep simplicity of epic tragedy is Macbeth. There needs no ghost come from the grave, any reader may too probably remark, to tell us this. But in
