Why is the representation tolerable, and why
do we not accuse its author either of untruth or of a desperate
pessimism?
To these questions it might at once be replied: Iago does not stand
alone; he is a factor in a whole; and we perceive him there and not in
isolation, acted upon as well as acting, destroyed as well as
destroying.[117] But, although this is true and important, I pass it by
and, continuing to regard him by himself, I would make three remarks in
answer to the questions.
In the first place, Iago is not merely negative or evil--far from it.
Those very forces that moved him and made his fate--sense of power,
delight in performing a difficult and dangerous action, delight in the
exercise of artistic skill--are not at all evil things. We sympathise
with one or other of them almost every day of our lives. And,
accordingly, though in Iago they are combined with something detestable
and so contribute to evil, our perception of them is accompanied with
sympathy. In the same way, Iago's insight, dexterity, quickness,
address, and the like, are in themselves admirable things; the perfect
man would possess them. And certainly he would possess also Iago's
courage and self-control, and, like Iago, would stand above the impulses
of mere feeling, lord of his inner world.
Pages:
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334