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PAGE 209 Iago into an ordinary villain. Their Iago is simply a man who has been slighted and revenges himself; or a husband who believes he has been wronged, and will make his enemy suffer a jealousy worse than his own; or an ambitious man determined to ruin his successful rival -- one of these, or a combination of these, endowed with unusual ability and cruelty. These are the more popular views. The second group of false interpretations is much smaller, but it contains much weightier matter than the first. Here Iago is a being who hates good simply because it is good, and loves evil purely for itself. His action is not prompted by any plain motive like revenge, jealousy or ambition. It springs from a 'motiveless malignity,' or a disinterested delight in the pain of others; and Othello, Cassio and Desdemona are scarcely more than the material requisite for the full attainment of this delight. This second Iago, evidently, is no conventional villain, and he is much nearer to Shakespeare's Iago than the first. Only he is, if not a psychological impossibility, at any rate not a human being. He might be in place, therefore, in a symbolical poem like Faust, but in a purely human drama like Othello he would be a ruinous blunder. Moreover, he is not in Othello: he is a product of imperfect observation and analysis. Coleridge, the author of that misleading phrase 'motiveless malignity,' has some fine remarks on Iago; and the essence of the character has been described, first in some of the best lines Hazlitt ever wrote, and then rather more fully by Mr. Swinburne -- so admirably described that I am tempted merely to read and illustrate these two criticisms. This plan, however, would make it difficult to introduce all that I wish to say. I propose, therefore, to approach the subject directly, and, first, to consider how Iago appeared to those
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