[93] Against which may be set the scene of the blinding of Gloster in King Lear.
[94] The reader who is tempted by it should, however, first ask himself whether Othello does act like a barbarian, or like a man who, though wrought almost to madness, does 'all in honour.'
[95] For the actor, then, to represent him as violently angry when he cashiers Cassio is an utter mistake.
[96] I cannot deal fully with this point in the lecture. See [Note L].
[97] It is important to observe that, in his attempt to arrive at the facts about Cassio's drunken misdemeanour, Othello had just had an example of Iago's unwillingness to tell the whole truth where it must injure a friend. No wonder he feels in the Temptation-scene that 'this honest creature doubtless Sees and knows more, much more, than he unfolds.'
[98] To represent that Venetian women do not regard adultery so seriously as Othello does, and again that Othello would be wise to accept the situation like an Italian husband, is one of Iago's most artful and most maddening devices.
[99] If the reader has ever chanced to see an African violently excited, he may have been startled to observe how completely at a loss he was to interpret those bodily expressions of passion which in a fellow-countryman he understands at once, and in a European foreigner with somewhat less certainty. The effect of difference in blood in increasing Othello's bewilderment regarding his wife is not sufficiently realised. The same effect has to be remembered in regard to Desdemona's mistakes in dealing with Othello in his anger.
[101] Cf. Winter's Tale, i. ii. 137 ff.:
Can thy dam?—may't be?—
Affection! thy intention stabs the centre:
Thou dost make possible things not so held,
Communicatest with dreams;—how can this be?
With what's unreal thou coactive art,
And fellow'st nothing: then 'tis very credent
Thou may'st cojoin with something; and thou dost,
And that beyond commission, and I find it,
And that to the infection of my brains
And hardening of my brows.