In the first of these articles I proposed to analyze and compare the jealousy of Othello, Claudio, and Leontes; but I have abandoned the design, partly because I find that it would require another article in itself, and partly because it would necessarily lead me into a psychological and physiological discussion which would hardly be in keeping with the purpose with which I am now writing, which is merely to offer such guidance and such help as I can give to intelligent and somewhat inexperienced readers of Shakespeare. But I will remark that Othello's jealousy is man's jealousy (so called) raised to the most intense power by the race and the social position of the person who is its subject. The feeling in man and that in woman, called jealousy, are quite different in origin and in nature, although they have the same name. In woman the feeling arises from a supposed slight of her person, the _spretæ injuria formæ_ of Virgil, to which he attributes Juno's enmity to Troy; and however it may be sentimentally developed, it has this for its spring and its foundation. But a man, unless he is the weakest of all coxcombs, and unworthy to wear his beard, does not trouble himself because a woman admires another man's person more than his own. His feeling has its origin in the motherhood of woman, a recognition of which is latent in all social arrangements touching the sex, and in all man's feeling toward her. Man's jealousy is a mingled feeling of resentment of personal disloyalty, and of grief at unchastity on the part of the woman that he loves. Man is jealous much in the same sense in which it is said, "The Lord thy God is a jealous God"; which saying, indeed, is a consequence of the anthropomorphic conception of the Deity, notwithstanding the exclusion from it of the idea of sex. But it is impossible to conceive of such a feeling as feminine jealousy being referred to in the passage in the second commandment. The "jealousy" of Othello and Leontes, and of Claudio, will be found on examination to be at bottom the same. In Claudio it is correct, gentlemanly, princely, and somewhat weak; in Leontes it is morbid, unreasonable, hard, and cruel; in Othello it is perfectly pure in its quality, and has in it quite as much of tenderness and grief as of wrath and indignation; and it rages with all the fierceness of his half-savage nature. The passion in him becomes heroic, colossal; but it is perfect in its nature and in its proportions, and from the point to which he has been brought by Iago, perfectly justifiable. Hence it is that it is so respected by women. Nothing was more remarkable at Salvini's admirable performance of Othello than the acquiescence of all his female auditors in the fate of Desdemona. They were sorry for the poor girl, to be sure; but they seemed to think that Desdemonas were made to be the victims of Othellos, and that a man who could love in that fashion and be jealous