formed the costume of Macbeth, also, it should be
recorded, was the first actor who "dressed Iago properly." It seems
that formerly the part was so attired, or "made up," that Iago's evil
nature was "known at first sight; but it is unnatural to suppose that
an artful villain like him would choose a dress which would stigmatise
him to everyone. I think," adds the critic, "that as Cassio and he
belong to one regiment they should both retain the same regimentals."
By way of final note on the subject is subjoined the opinion of the
author of "Vivian Grey," recorded in that work touching the dress that
should be worn by Othello. "In England we are accustomed to deck this
adventurous Moor in the costume of his native country--but is this
correct? The Grand Duke of Reisenberg thought not. Othello was an
adventurer; at an early age he entered, as many foreigners did, into
the service of Venice. In that service he rose to the highest
dignities--became general of her armies and of her fleets; and finally
the viceroy of her favourite kingdom. Is it natural to suppose that
such a man should have retained, during his successful career, the
manners and dress of his original country? Ought we not rather to
admit that, had he done so, his career would in fact not have been
successful? In all probability he imitated to affectation the manners
of the country which he had adopted. It is not probable that in such,
or in any age, the turbaned Moor would have been treated with great
deference by the common Christian soldier of Venice--or, indeed, that
the scandal of a heathen leading the armies of one of the most
powerful of European states, would have been tolerated for an instant
by indignant Christendom.... Such were the sentiments of the Grand
Duke of Reisenberg on this subject, a subject interesting to
Englishmen; and I confess I think they are worthy of attention. In
accordance with his opinion, the actor who performed Othello appeared
in the full dress of a Venetian magnifico of the Middle Ages: a fit
companion for Cornaro, or Grimani, or Barberigo, or Foscari."

CHAPTER XXXIV.

HARLEQUIN AND CO.

What is called the "legitimate drama" has always found in pantomime
just such a rival and a relative as Gloucester's lawfully-begotten son
Edgar was troubled with in the person of his base-born brother Edmund.
The authentic professor of histrionic art may even have been addressed
occasionally by his illicit opponent in something l