murder of a beloved being, does not utter such phrases, still less after committing the murder would he speak about the necessity of an eclipse of sun and moon, and of the globe yawning; nor can he, negro tho he may be, address devils, inviting them to burn him in hot sulphur and so forth. Lastly, however effective may be the suicide, absent in the romance, it completely destroys the conception of his clearly defined character. If he indeed suffered from grief and remorse, he would not, intending to kill himself, pronounce phrases about his own services, about the pearl, and about his eyes dropping tears "as fast as the Arabian trees their medicinal gum"; and yet less about the Turk's beating an Italian and how he, Othello, smote him—thus! So that notwithstanding the powerful expression of emotion in Othello when, under the influence of lago's hints, jealousy rises in him, and again in his scenes with Desdemona, one's conception of Othello's character is constantly infringed by his false pathos and the unnatural speeches he pronounces.
So it is with the chief character, Othello, but notwithstanding its alteration and the dis
