Page:Studies in Letters and Life (Woodberry, 1890).djvu/180

ness of touch and smooth sinuosity of movement that suggest the transmigration of a serpent into human form. And in his visage, and, above all, in his eye, burns the venom of his soul.... But even Edwin Booth's Iago, although much finer and more nearly consistent with itself and with the facts of the tragedy than any other that is known to the annals of the stage, is not the Iago that Shakespeare drew." But what is it that is lacking? Mr. White paints Iago as the popular flatterer, the sympathetic sycophant, the gay, easy-going, pleased, and pleasing fellow; and, so far as the side shown to the world is concerned, this is Booth's conception, and (allowing for the defect of soldier-like frankness which he feels in himself) it is his impersonation. Why is it not, then, Shakespeare's Iago? Mr. White is ready with his answer: Because Shakespeare's Iago would do no harm, except to advance his fortunes; he had no malice; he was merely selfish, utterly unscrupulous as to his means of obtaining what he sought, ready to win his gain at any ruin. Now, it is clear that the evil which Mr. White has just said burns in the actor's eye is not mere selfishness, not the cold light of