There is nothing here of the trim levity and epigrammatic conciseness of Mr. Kean’s manner of acting the part; which is no less paradoxical than Mrs. Greville’s celebrated Ode to Indifference. Iago was a man of genius, and not a _petit maitre_. One of his most frequent topics, on which he is rich indeed, and in descanting on which, his spleen serves him for a muse, is the disproportionate match between Desdemona and the Moor. This is brought forward in the first scene, and is never lost sight of afterwards. ‘_Brabantio._ What is the reason of this terrible summons? _Iago._ Sir, you’re robb’d; for shame, put on your gown; Your heart is burst, you have lost half your soul: ——Arise, arise, Awake the snorting citizens with the bell, Or else the devil will make a grandsire of you. Arise, I say.’—[_And so on to the end of the passage._] Now, all this goes on springs well oiled: Mr. Kean’s mode of giving the passage had the tightness of a drumhead, and was muffled (perhaps purposely so) into the bargain. This is a clue to the character of the lady which Iago is not at all ready to part with. He recurs to it again in the second act, when in answer to his insinuations against Desdemona, Roderigo says,— ‘I cannot believe that in her—she’s full of most bless’d conditions. _Iago._ Bless’d fig’s end. The wine she drinks is made of grapes. If she had been bless’d, she would never have loved the Moor.’ And again, with still more effect and spirit afterwards, when he takes advantage of this very suggestion arising in Othello’s own breast:— ‘_Othello._ And yet how nature erring from itself— _Iago._ Aye, there’s the point;—as, to be bold with you, Not to affect many proposed matches, Of her own clime, complexion, and degree, Whereto we see in all things, Nature tends; Foh! one may smell in such, a will most rank, Foul disproportions, thoughts unnatural.’ This is probing to the quick. ‘Our Ancient’ here turns the character of poor Desdemona, as it were, inside out. It is certain that nothing but the genius of Shakespear could have preserved the entire interest and delicacy of the part, and have even drawn an additional elegance and dignity from the peculiar circumstances in which she is placed. The character indeed has always had the greatest charm for minds of the finest sensibility. For our own part, we are a little of Iago’s council in this matter; and all circumstances considered, and platonics out of the question, if we were to cast the complexion of Desdemona physiognomically, we should say that she had a very fair skin, and very light auburn hair, inclining to yellow! We at the same time give her infinite credit for purity and delicacy of sentiment; but it so happens that purity and grossness sometimes ‘nearly are allied, And thin partitions do their bounds divide.’