who knew him, and what inferences may be drawn from their illusions; and then to ask what, if we judge from the play, his character really was. And I will indicate the points where I am directly indebted to the criticisms just mentioned.
But two warnings are first required. One of these concerns Iago’s nationality. It has been held that he is a study of that peculiarly Italian form of villainy which is considered both too clever and too diabolical for an Englishman. I doubt if there is much more to be said for this idea than for the notion that Othello is a study of Moorish character. No doubt the belief in that Italian villainy was prevalent in Shakespeare’s time, and it may perhaps have influenced him in some slight degree both here and in drawing the character of Iachimo in Cymbeline. But even this slight influence seems to me doubtful. If Don John in Much Ado had been an Englishman, critics would have admired Shakespeare’s discernment in making his English villain sulky and stupid. If Edmund’s father had been Duke of Ferrara instead of Earl of Gloster, they would have said that Edmund could have been nothing but an Italian. Change the name and country of Richard III., and he would be called a typical despot of the Italian Renaissance. Change those of Juliet, and we should find her wholesome English nature contrasted with the southern dreaminess of Romeo. But this way of interpreting Shakespeare is not Shakespearean. With him the differences of period, race, nationality and locality have little bearing on the inward character, though they sometimes have a good deal on the total imaginative effect, of his figures. When he does lay stress on such differences his intention is at once obvious, as in characters like Fluellen or Sir Hugh Evans, or in the talk of the French princes before the battle of Agincourt. I may add that Iago certainly
