If Iago is detestable enough when he has business on his hands and all his engines at work, he is still worse when he has nothing to do, and we only see into the hollowness of his heart. His indifference when Othello falls into a swoon, is perfectly diabolical.

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Iago. How is it, General? Have you not hurt your head?

Othello. Do'st thou mock me?

Iago. I mock you not, by Heaven," &c.

The part indeed would hardly be tolerated, even as a foil to the virtue and generosity of the other characters in the play, but for its indefatigable industry and inexhaustible resources, which divert the attention of the spectator (as well as his own) from the end he has in view to the means by which it must be accomplished. -Edmund the Bastard in Lear is something of the same character, placed in less prominent circumstances. Zanga is a vulgar caricature of it.

TIMON OF ATHENS.

ΤΙΜΟΝ IMON OF ATHENS always appeared to us to be written with as intense a feeling of his subject as any one play of Shakespear. It is one of the few in which he seems to be in earnest throughout, never to trifle nor go out of his way. He does not relax in his efforts, nor lose sight of the unity of his design. It is the only play of our author in which spleen is the predominant feeling of the mind. It is as much a satire as a play and contains some of the finest pieces of invective possible to be conceived, both in the snarling, captious answers of the cynic Apemantus, and in the impassioned and more terrible imprecations of Timon. The latter remind the classical reader of the force and swelling impetuosity of the moral declamations in Juvenal, while the former have all the keen

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thing, and of proving himself an over-match for appearances. He has none of " the milk of human kindness" in his composition. His imagination rejects every thing that has not a strong infusion of the most unpalatable ingredients; his mind digests only poisons. Virtue or goodness or whatever has the least" relish of salvation in it," is, to his depraved appetite, sickly and insipid and he even resents the good opinion entertained of his own integrity, as if it were an affront cast on the masculine sense and spirit of his character. Thus at the meeting between Othello and Desdemona, he exclaims -"Oh, you are well tuned now: but I'll set down the pegs that make this music, as honest as I am"-his character of bonhommie not sit

ting at all easy upon him. In the scenes, where he tries to work Othello to his purpose, he is proportionably guarded, insidious, dark, and deliberate. We believe nothing ever came up to the profound dissimulation and dextrous artifice of the well-known dialogue in the third act, where he first enters upon the execution of his design.

Iago. But for a satisfaction of my thought,

No further harm.

Othello. Why of thy thought, Iago?

Iago. I did not think he had been acquainted with it.
Othello. O yes, and went between us very oft-
Iago. Indeed!

Othello. Indeed? Ay, indeed. Discern'st thou aught

of that?

Is he not honest?

Iago. Honest, my lord?

Othello. Honest? Ay, honest.

Iago. My lord, for aught I know.

Othello. What do'st thou think?

Iago. Think, my lord!

Othello. Think, my lord! Alas, thou echo'st me,
As if there was some monster in thy thought
Too hideous to be shewn."

The stops and breaks, the deep workings of treachery under the mask of love and honesty, the anxious watchfulness, the cool earnestness, and if we may so say, the passion of hypocrisy, marked in every line, receive their last finishing in that inconceivable burst of pretended indignation at Othello's doubts of his sincerity.

"O grace! O Heaven forgive me!

Are you a man? Have you a soul or sense?

God be wi' you; take mine office. O wretched fool,

That lov'st to make thine honesty a vice!

Oh monstrous world! Take note, take note, O world!

To be direct and honest, is not safe.

I thank you for this profit, and from hence

If Iago is detestable enough when he has business on his hands and all his engines at work, he is still worse when he has nothing to do, and we only see into the hollowness of his heart. His indifference when Othello falls into a swoon, is perfectly diabolical.

"Iago. How is it, General? Have you not hurt your

head?

Othello. Do'st thou mock me?

Iago. I mock you not, by Heaven," &c.

The part indeed would hardly be tolerated, even as a foil to the virtue and generosity of the other characters in the play, but for its indefatigable industry and inexhaustible resources, which divert the attention of the spectator (as well as his own) from the end he has in view to the means by which it must be accomplished. -Edmund the Bastard in Lear is something of the same character, placed in less prominent circumstances. Zanga is a vulgar caricature of it.