Shakespearean Tragedy Part 13

The issues thus raised ought not to be ignored or impatiently dismissed, but they cannot be decided, it seems to me, by argument. All we can profitably do is to consider narrowly our experience, and to ask ourselves this question: If we feel these objections, do we feel them when we are reading the play with all our force, or only when we are reading it in a half-hearted manner? For, however matters may stand in the former case, in the latter case evidently the fault is ours and not Shakespeare's. And if we try the question thus, I believe we shall find that on the whole the fault is ours. The first, and least important, of the three pa.s.sages--that of the blow--seems to me the most doubtful. I confess that, do what I will, I cannot reconcile myself with it. It seems certain that the blow is by no means a tap on the shoulder with a roll of paper, as some actors, feeling the repulsiveness of the pa.s.sage, have made it. It must occur, too, on the open stage. And there is not, I think, a sufficiently overwhelming tragic feeling in the pa.s.sage to make it bearable. But in the other two scenes the case is different. There, it seems to me, if we fully imagine the inward tragedy in the souls of the persons as we read, the more obvious and almost physical sensations of pain or horror do not appear in their own likeness, and only serve to intensify the tragic feelings in which they are absorbed. Whether this would be so in the murder-scene if Desdemona had to be imagined as dragged about the open stage (as in some modern performances) may be doubtful; but there is absolutely no warrant in the text for imagining this, and it is also quite clear that the bed where she is stifled was within the curtains,[92] and so, presumably, in part concealed.

Here, then, _Oth.e.l.lo_ does not appear to be, unless perhaps at one point,[93] open to criticism, though it has more pa.s.sages than the other three tragedies where, if imagination is not fully exerted, it is shocked or else sensationally excited. If nevertheless we feel it to occupy a place in our minds a little lower than the other three (and I believe this feeling, though not general, is not rare), the reason lies not here but in another characteristic, to which I have already referred,--the comparative confinement of the imaginative atmosphere.

_Oth.e.l.lo_ has not equally with the other three the power of dilating the imagination by vague suggestions of huge universal powers working in the world of individual fate and pa.s.sion. It is, in a sense, less 'symbolic.' We seem to be aware in it of a certain limitation, a partial suppression of that element in Shakespeare's mind which unites him with the mystical poets and with the great musicians and philosophers. In one or two of his plays, notably in _Troilus and Cressida_, we are almost painfully conscious of this suppression; we feel an intense intellectual activity, but at the same time a certain coldness and hardness, as though some power in his soul, at once the highest and the sweetest, were for a time in abeyance. In other plays, notably in the _Tempest_, we are constantly aware of the presence of this power; and in such cases we seem to be peculiarly near to Shakespeare himself. Now this is so in _Hamlet_ and _King Lear_, and, in a slighter degree, in _Macbeth_; but it is much less so in _Oth.e.l.lo_. I do not mean that in _Oth.e.l.lo_ the suppression is marked, or that, as in _Troilus and Cressida_, it strikes us as due to some unpleasant mood; it seems rather to follow simply from the design of a play on a contemporary and wholly mundane subject. Still it makes a difference of the kind I have attempted to indicate, and it leaves an impression that in _Oth.e.l.lo_ we are not in contact with the whole of Shakespeare. And it is perhaps significant in this respect that the hero himself strikes us as having, probably, less of the poet's personality in him than many characters far inferior both as dramatic creations and as men.

2

The character of Oth.e.l.lo is comparatively simple, but, as I have dwelt on the prominence of intrigue and accident in the play, it is desirable to show how essentially the success of Iago's plot is connected with this character. Oth.e.l.lo's description of himself as

one not easily jealous, but, being wrought, Perplexed in the extreme,

is perfectly just. His tragedy lies in this--that his whole nature was indisposed to jealousy, and yet was such that he was unusually open to deception, and, if once wrought to pa.s.sion, likely to act with little reflection, with no delay, and in the most decisive manner conceivable.

Let me first set aside a mistaken view. I do not mean the ridiculous notion that Oth.e.l.lo was jealous by temperament, but the idea, which has some little plausibility, that the play is primarily a study of a n.o.ble barbarian, who has become a Christian and has imbibed some of the civilisation of his employers, but who retains beneath the surface the savage pa.s.sions of his Moorish blood and also the suspiciousness regarding female chast.i.ty common among Oriental peoples, and that the last three Acts depict the outburst of these original feelings through the thin crust of Venetian culture. It would take too long to discuss this idea,[94] and it would perhaps be useless to do so, for all arguments against it must end in an appeal to the reader's understanding of Shakespeare. If he thinks it is like Shakespeare to look at things in this manner; that he had a historical mind and occupied himself with problems of 'Culturgeschichte'; that he laboured to make his Romans perfectly Roman, to give a correct view of the Britons in the days of Lear or Cymbeline, to portray in Hamlet a stage of the moral consciousness not yet reached by the people around him, the reader will also think this interpretation of _Oth.e.l.lo_ probable. To me it appears hopelessly un-Shakespearean. I could as easily believe that Chaucer meant the Wife of Bath for a study of the peculiarities of Somersets.h.i.+re. I do not mean that Oth.e.l.lo's race is a matter of no account. It has, as we shall presently see, its importance in the play.

It makes a difference to our idea of him; it makes a difference to the action and catastrophe. But in regard to the essentials of his character it is not important; and if anyone had told Shakespeare that no Englishman would have acted like the Moor, and had congratulated him on the accuracy of his racial psychology, I am sure he would have laughed.

Oth.e.l.lo is, in one sense of the word, by far the most romantic figure among Shakespeare's heroes; and he is so partly from the strange life of war and adventure which he has lived from childhood. He does not belong to our world, and he seems to enter it we know not whence--almost as if from wonderland. There is something mysterious in his descent from men of royal siege; in his wanderings in vast deserts and among marvellous peoples; in his tales of magic handkerchiefs and prophetic Sibyls; in the sudden vague glimpses we get of numberless battles and sieges in which he has played the hero and has borne a charmed life; even in chance references to his baptism, his being sold to slavery, his sojourn in Aleppo.

And he is not merely a romantic figure; his own nature is romantic. He has not, indeed, the meditative or speculative imagination of Hamlet; but in the strictest sense of the word he is more poetic than Hamlet.

Indeed, if one recalls Oth.e.l.lo's most famous speeches--those that begin, 'Her father loved me,' 'O now for ever,' 'Never, Iago,' 'Had it pleased Heaven,' 'It is the cause,' 'Behold, I have a weapon,' 'Soft you, a word or two before you go'--and if one places side by side with these speeches an equal number by any other hero, one will not doubt that Oth.e.l.lo is the greatest poet of them all. There is the same poetry in his casual phrases--like 'These nine moons wasted,' 'Keep up your bright swords, for the dew will rust them,' 'You chaste stars,' 'It is a sword of Spain, the ice-brook's temper,' 'It is the very error of the moon'--and in those brief expressions of intense feeling which ever since have been taken as the absolute expression, like

If it were now to die, 'Twere now to be most happy; for, I fear, My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate,

or

If she be false, O then Heaven mocks itself.

I'll not believe it;

or

No, my heart is turned to stone; I strike it, and it hurts my hand,

or

But yet the pity of it, Iago! O Iago, the pity of it, Iago!

or

O thou weed, Who art so lovely fair and smell'st so sweet That the sense aches at thee, would thou hadst ne'er been born.

And this imagination, we feel, has accompanied his whole life. He has watched with a poet's eye the Arabian trees dropping their med'cinable gum, and the Indian throwing away his chance-found pearl; and has gazed in a fascinated dream at the Pontic sea rus.h.i.+ng, never to return, to the Propontic and the h.e.l.lespont; and has felt as no other man ever felt (for he speaks of it as none other ever did) the poetry of the pride, pomp, and circ.u.mstance of glorious war.

So he comes before us, dark and grand, with a light upon him from the sun where he was born; but no longer young, and now grave, self-controlled, steeled by the experience of countless perils, hards.h.i.+ps and vicissitudes, at once simple and stately in bearing and in speech, a great man naturally modest but fully conscious of his worth, proud of his services to the state, unawed by dignitaries and unelated by honours, secure, it would seem, against all dangers from without and all rebellion from within. And he comes to have his life crowned with the final glory of love, a love as strange, adventurous and romantic as any pa.s.sage of his eventful history, filling his heart with tenderness and his imagination with ecstasy. For there is no love, not that of Romeo in his youth, more steeped in imagination than Oth.e.l.lo's.

The sources of danger in this character are revealed but too clearly by the story. In the first place, Oth.e.l.lo's mind, for all its poetry, is very simple. He is not observant. His nature tends outward. He is quite free from introspection, and is not given to reflection. Emotion excites his imagination, but it confuses and dulls his intellect. On this side he is the very opposite of Hamlet, with whom, however, he shares a great openness and trustfulness of nature. In addition, he has little experience of the corrupt products of civilised life, and is ignorant of European women.

In the second place, for all his dignity and ma.s.sive calm (and he has greater dignity than any other of Shakespeare's men), he is by nature full of the most vehement pa.s.sion. Shakespeare emphasises his self-control, not only by the wonderful pictures of the First Act, but by references to the past. Lodovico, amazed at his violence, exclaims:

Is this the n.o.ble Moor whom our full Senate Call all in all sufficient? Is this the nature Whom pa.s.sion could not shake? whose solid virtue The shot of accident nor dart of chance Could neither graze nor pierce?

Iago, who has here no motive for lying, asks:

Can he be angry? I have seen the cannon When it hath blown his ranks into the air, And, like the devil, from his very arm Puffed his own brother--and can he be angry?[95]

This, and other aspects of his character, are best exhibited by a single line--one of Shakespeare's miracles--the words by which Oth.e.l.lo silences in a moment the night-brawl between his attendants and those of Brabantio:

Keep up your bright swords, for the dew will rust them.

And the same self-control is strikingly shown where Oth.e.l.lo endeavours to elicit some explanation of the fight between Ca.s.sio and Montano.

Here, however, there occur ominous words, which make us feel how necessary was this self-control, and make us admire it the more:

Now, by heaven, My blood begins my safer guides to rule, And pa.s.sion, having my best judgment collied, a.s.says to lead the way.

We remember these words later, when the sun of reason is 'collied,'

blackened and blotted out in total eclipse.

Lastly, Oth.e.l.lo's nature is all of one piece. His trust, where he trusts, is absolute. Hesitation is almost impossible to him. He is extremely self-reliant, and decides and acts instantaneously. If stirred to indignation, as 'in Aleppo once,' he answers with one lightning stroke. Love, if he loves, must be to him the heaven where either he must live or bear no life. If such a pa.s.sion as jealousy seizes him, it will swell into a well-nigh incontrollable flood. He will press for immediate conviction or immediate relief. Convinced, he will act with the authority of a judge and the swiftness of a man in mortal pain.

Undeceived, he will do like execution on himself.

This character is so n.o.ble, Oth.e.l.lo's feelings and actions follow so inevitably from it and from the forces brought to bear on it, and his sufferings are so heart-rending, that he stirs, I believe, in most readers a pa.s.sion of mingled love and pity which they feel for no other hero in Shakespeare, and to which not even Mr. Swinburne can do more than justice. Yet there are some critics and not a few readers who cherish a grudge against him. They do not merely think that in the later stages of his temptation he showed a certain obtuseness, and that, to speak pedantically, he acted with unjustifiable precipitance and violence; no one, I suppose, denies that. But, even when they admit that he was not of a jealous temper, they consider that he _was_ 'easily jealous'; they seem to think that it was inexcusable in him to feel any suspicion of his wife at all; and they blame him for never suspecting Iago or asking him for evidence. I refer to this att.i.tude of mind chiefly in order to draw attention to certain points in the story. It comes partly from mere inattention (for Oth.e.l.lo did suspect Iago and did ask him for evidence); partly from a misconstruction of the text which makes Oth.e.l.lo appear jealous long before he really is so;[96] and partly from failure to realise certain essential facts. I will begin with these.

(1) Oth.e.l.lo, we have seen, was trustful, and thorough in his trust. He put entire confidence in the honesty of Iago, who had not only been his companion in arms, but, as he believed, had just proved his faithfulness in the matter of the marriage. This confidence was misplaced, and we happen to know it; but it was no sign of stupidity in Oth.e.l.lo. For his opinion of Iago was the opinion of practically everyone who knew him: and that opinion was that Iago was before all things 'honest,' his very faults being those of excess in honesty. This being so, even if Oth.e.l.lo had not been trustful and simple, it would have been quite unnatural in him to be unmoved by the warnings of so honest a friend, warnings offered with extreme reluctance and manifestly from a sense of a friend's duty.[97] _Any_ husband would have been troubled by them.

(2) Iago does not bring these warnings to a husband who had lived with a wife for months and years and knew her like his sister or his bosom-friend. Nor is there any ground in Oth.e.l.lo's character for supposing that, if he had been such a man, he would have felt and acted as he does in the play. But he was newly married; in the circ.u.mstances he cannot have known much of Desdemona before his marriage; and further he was conscious of being under the spell of a feeling which can give glory to the truth but can also give it to a dream.

(3) This consciousness in any imaginative man is enough, in such circ.u.mstances, to destroy his confidence in his powers of perception. In Oth.e.l.lo's case, after a long and most artful preparation, there now comes, to reinforce its effect, the suggestions that he is not an Italian, not even a European; that he is totally ignorant of the thoughts and the customary morality of Venetian women;[98] that he had himself seen in Desdemona's deception of her father how perfect an actress she could be. As he listens in horror, for a moment at least the past is revealed to him in a new and dreadful light, and the ground seems to sink under his feet. These suggestions are followed by a tentative but hideous and humiliating insinuation of what his honest and much-experienced friend fears may be the true explanation of Desdemona's rejection of acceptable suitors, and of her strange, and naturally temporary, preference for a black man. Here Iago goes too far. He sees something in Oth.e.l.lo's face that frightens him, and he breaks off. Nor does this idea take any hold of Oth.e.l.lo's mind. But it is not surprising that his utter powerlessness to repel it on the ground of knowledge of his wife, or even of that instinctive interpretation of character which is possible between persons of the same race,[99] should complete his misery, so that he feels he can bear no more, and abruptly dismisses his friend (III. iii. 238).

Now I repeat that _any_ man situated as Oth.e.l.lo was would have been disturbed by Iago's communications, and I add that many men would have been made wildly jealous. But up to this point, where Iago is dismissed, Oth.e.l.lo, I must maintain, does not show jealousy. His confidence is shaken, he is confused and deeply troubled, he feels even horror; but he is not yet jealous in the proper sense of that word. In his soliloquy (III. iii. 258 ff.) the beginning of this pa.s.sion may be traced; but it is only after an interval of solitude, when he has had time to dwell on the idea presented to him, and especially after statements of fact, not mere general grounds of suspicion, are offered, that the pa.s.sion lays hold of him. Even then, however, and indeed to the very end, he is quite unlike the essentially jealous man, quite unlike Leontes. No doubt the thought of another man's possessing the woman he loves is intolerable to him; no doubt the sense of insult and the impulse of revenge are at times most violent; and these are the feelings of jealousy proper. But these are not the chief or the deepest source of Oth.e.l.lo's suffering. It is the wreck of his faith and his love. It is the feeling,

If she be false, oh then Heaven mocks itself;

the feeling,

O Iago, the pity of it, Iago!

the feeling,

But there where I have garner'd up my heart, Where either I must live, or bear no life; The fountain from the which my current runs, Or else dries up--to be discarded thence....

You will find nothing like this in Leontes.

Up to this point, it appears to me, there is not a syllable to be said against Oth.e.l.lo. But the play is a tragedy, and from this point we may abandon the ungrateful and undramatic task of awarding praise and blame.

When Oth.e.l.lo, after a brief interval, re-enters (III. iii. 330), we see at once that the poison has been at work and 'burns like the mines of sulphur.'

Look where he comes! Not poppy, nor mandragora, Nor all the drowsy syrups of the world, Shall ever medicine thee to that sweet sleep Which thou owedst yesterday.

He is 'on the rack,' in an agony so unbearable that he cannot endure the sight of Iago. Antic.i.p.ating the probability that Iago has spared him the whole truth, he feels that in that case his life is over and his 'occupation gone' with all its glories. But he has not abandoned hope.

The bare possibility that his friend is deliberately deceiving him--though such a deception would be a thing so monstrously wicked that he can hardly conceive it credible--is a kind of hope. He furiously demands proof, ocular proof. And when he is compelled to see that he is demanding an impossibility he still demands evidence. He forces it from the unwilling witness, and hears the maddening tale of Ca.s.sio's dream.