Page:A study of Shakespeare (IA cu31924013158393).pdf/189

 than ever fell on the old white head of that child-changed father. But at least he is destroyed by the stroke of a mightier hand than theirs who struck down Lear. As surely as Othello is the noblest man of man's making, Iago is the most perfect evildoer, the most potent demi-devil. It is of course the merest commonplace to say as much, and would be no less a waste of speech to add the half comfortable reflection that it is in any case no shame to fall by such a hand. But this subtlest and strangest work of Shakespeare's admits and requires some closer than common scrutiny. Coleridge has admirably described the first great soliloquy which opens to us the pit of hell within as "the motive-hunting of a motiveless malignity." But subtle and profound and just as is this definitive appreciation, there is more in the matter yet than even this. It is not only that Iago, so to speak, half tries to make himself half believe that Othello has wronged him, and that the thought of it gnaws him inly like a poisonous mineral: though this also be true, it is not half the truth—nor half that half again. Malignant as he is, the very subtlest and strongest component of his complex nature is not even malignity. It is the instinct of what Mr. Carlyle would call an inarticulate poet. In his immortal study on the