He wanted the
spectator to feel a passionate and vehement haste in the action; but he
also wanted him to feel that the action was fairly probable. Consciously
or unconsciously he used Short Time (the scheme of A) for the first
purpose, and Long Time (the scheme of B) for the second. The spectator
is affected in the required manner by both, though without distinctly
noticing the indications of the two schemes.
The notion underlying this theory is probably true, but the theory
itself can hardly stand. Passing minor matters by, I would ask the
reader to consider the following remarks. (_a_) If, as seems to be
maintained, the spectator does not notice the indications of 'Short
Time' at all, how can they possibly affect him? The passion, vehemence
and haste of Othello affect him, because he perceives them; but if he
does not perceive the hints which show the duration of the action from
the arrival in Cyprus to the murder, these hints have simply no
existence for him and are perfectly useless. The theory, therefore, does
not explain the existence of 'Short Time.' (_b_) It is not the case that
'Short Time' is wanted only to produce an impression of vehemence and
haste, and 'Long Time' for probability. The 'Short Time' is equally
wanted for probability: for it is grossly improbable that Iago's
intrigue should not break down if Othello spends a week or weeks between
the successful temptation and his execution of justice.
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