LECTURE V OTHELLO There is practically no doubt that _Othello_ was the tragedy written next after _Hamlet_. Such external evidence as we possess points to this conclusion, and it is confirmed by similarities of style, diction and versification, and also by the fact that ideas and phrases of the earlier play are echoed in the later.[85] There is, further (not to speak of one curious point, to be considered when we come to Iago), a certain resemblance in the subjects. The heroes of the two plays are doubtless extremely unlike, so unlike that each could have dealt without much difficulty with the situation which proved fatal to the other; but still each is a man exceptionally noble and trustful, and each endures the shock of a terrible disillusionment. This theme is treated by Shakespeare for the first time in _Hamlet_, for the second in _Othello_. It recurs with modifications in _King Lear_, and it probably formed the attraction which drew Shakespeare to refashion in part another writer's tragedy of _Timon_. These four dramas may so far be grouped together in distinction from the remaining tragedies. But in point of substance, and, in certain respects, in point of style, the unlikeness of _Othello_ to _Hamlet_ is much greater than the likeness, and the later play belongs decidedly to one group with its successors. We have seen that, like them, it is a tragedy of passion, a description inapplicable to _Julius Caesar_ or _Hamlet_. And with this change goes another, an enlargement in the stature of the hero. There is in most of the later heroes something colossal, something which reminds us of Michael Angelo's figures. They are not merely exceptional men, they are huge men; as it were, survivors of the heroic age living in a later and smaller world. We do not receive this impression from Romeo or Brutus or Hamlet, nor did it lie in Shakespeare's design to allow more than touches of this trait to Julius Caesar himself; but it is strongly marked in Lear and Coriolanus, and quite distinct in Macbeth and even in Antony. Othello is the first of these men, a being essentially large and grand, towering above his fellows, holding a volume of force which in repose ensures preeminence without an effort, and in commotion reminds us rather of the fury of the elements than of the tumult of common human passion. 1