Page:The Moor of Venice.djvu/18

7 has informed with life, dignity, and beauty,—all give back a reflected charm to the original story, which in its first and naked form it wanted.

The simple elements of the Story were precisely calculated to seize upon Shakspere's attention,—the opposition and contrast of characters, the deep play of the passions, the suggestive motives, thoughts, and springs of action, the capabilities of the plot,—were all materials as if created for his genius to mould, work upon, and fashion. To a few points of similarity, and some of the changes the Poet has introduced, we may here advert.

Desdemona, both in the Play and Novel, is the same affectionate and gentle being,—the very soul of purity and honour,—innocent as unsuspecting, trusting and betrayed. Some of these points of character are but faintly sketched in the tale, but still visible. Her devotion to the Moor appears in several simple touches of the novelist: her delight at the honour paid him by the Senate; her impatience that he should obey their summons; her eagerness to accompany him, adding, that he could not love her did he imagine she could be happier to remain in safety than to share his dangers. Shakspere departs from the story in the motives for Desdemona's interference for Cassio with the Moor. Cassio importunes her, and she pleads as for a suitor; she promises to do so as "a vow of friendship" to Cassio; and although she says to Othello,