In Othello we are faced with the vividly particular rather than the vague and universal. The play as a whole has a distinct formal beauty: within it we are ever confronted with beautiful and solid forms. The persons tend to appear as warmly human, concrete. They are neither vaguely universalized, as in King Lear or Macbeth, nor deliberately mechanized and vitalized by the poet’s philosophic plan as in Measure for Measure and Timon of Athens, wherein the signiﬁcance of the dramatic person is dependent almost wholly on our understanding of the allegorical or symbolical meaning. It is true that Iago is here a mysterious, inhuman creature of unlimited cynicism: but the very presence of the concrete creations around, in diﬀerentiating him sharply from the rest, limits and deﬁnes him. Othello is a story of intrigue rather than a visionary statement. If, however, we tend to regard Othello, Desdemona, and Iago as suggestive symbols rather than human beings, we may, from a level view of their interaction, ﬁnd a clear relation existing between Othello and other plays of the hate-theme. Such an analysis will be here only in part satisfactory. It exposes certain underlying ideas, abstracts them from the original: it is less able to interpret the whole positive beauty of the play. With this important reservation, I shall push the interpretative method as far as possible.