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PAGE 226 And certainly this meaning is not contained in any of the popular accounts of Iago. Is it contained then in Coleridge's word 'motive-hunting'? Yes, 'motive-hunting' exactly answers to the impression that Iago's soliloquies produce. He is pondering his design, and unconsciously trying to justify it to himself. He speaks of one or two real feelings, such as resentment against Othello, and he mentions one or two real causes of these feelings. But these are not enough for him. Along with them, or alone, there come into his head, only to leave it again, ideas and suspicions, the creations of his own baseness or uneasiness, some old, some new, caressed for a moment to feed his purpose and give it a reasonable look, but never really believed in, and never the main forces which are determining his action. In fact, I would venture to describe Iago in these soliloquies as a man setting out on a project which strongly attracts his desire, but at the same time conscious of a resistance to the desire, and unconsciously trying to argue the resistance away by assigning reasons for the project. He is the counterpart of Hamlet, who tries to find reasons for his delay in pursuing a design which excites his aversion. And most of Iago's reasons for action are no more the real ones than Hamlet's reasons for delay were the real ones. Each is moved by forces which he does not understand; and it is probably no accident that these two studies of states psychologically so similar were produced at about the same period. What then were the real moving forces of Iago's action? Are we to fall back on the idea of a 'motiveless malignity';1 that is to say, a disinterested love of evil, or a delight in the pain of others as simple and direct as the delight in one's
1On the meaning which this phrase had for its author, Coleridge, see note on p. 228.
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