Chapter III: Part 3

Could great men thunder,
As Jove himself does, Jove would ne'er be quiet:
For every pelting, petty officer
Would use his heaven for thunder; nothing but thunder
Merciful Heaven!
Thou rather with thy sharp and sulphurous bolt
Split'st the unwedgeable and gnarled oak
Than the soft myrtle. O but man, proud man!
Drest in a little brief authority,
Most ignorant of what he's most assured,
His glassy essence, like an angry ape,
Plays such fantastic tricks before high heaven,
As make the angels weep.

Great men may jest with saints, 'tis wit in them;
But in the less, foul profanation.
That in the captain's but a choleric word,
Which in the soldier is flat blasphemy.

Authority, although it err like others,
Hath yet a kind of medicine in itself
That skins the vice o' the top. Go to you, bosom;
Knock there, and ask your heart what it doth know
That's like my brother's fault: if it confess
A natural guiltiness such as his is,
Let it not sound a thought upon your tongue
Against my brother's life.

Let me be ignorant, and in nothing good,
But graciously to know I am no better.

The sense of death is most in apprehension;
And the poor beetle that we tread upon,
In corporal sufferance finds a pang as great
As when a giant dies.

'Tis not impossible
But one, the wicked'st caitiff on the ground,
May seem as shy, as grave, as just, as absolute
As Angelo; even so may Angelo,
In all his dressings, characts, titles, forms,
Be an arch villain.

Her fine powers of reasoning, and that natural uprightness and purity which no sophistry can warp, and no allurement betray, are farther displayed in the second scene with Angelo.

ANGELO.

What would you do?

ISABELLA.

As much for my poor brother as myself;
That is, were I under the terms of death,
The impression of keen whips I'd wear as rubies,
And strip myself to death as to a bed
That, longing, I have been sick for, ere I'd yield
My body up to shame.

ANGELO.

Then must your brother die.

ISABELLA.

And 'twere the cheaper way;
Better it were a brother died at once,
Than that a sister, by redeeming him,
Should die forever.

ANGELO.

Were you not then cruel as the sentence,
That you have slander'd so!

ISABELLA.

Ignominy in ransom, and free pardon,
Are of two houses: lawful mercy is
Nothing akin to foul redemption.

ANGELO.

You seem'd of late to make the law a tyrant;
And rather proved the sliding of your brother
A merriment than a vice.

ISABELLA.

O pardon me, my lord; it oft falls out,
To have what we'd have, we speak not what we mean:
I something do excuse the thing I hate,
For his advantage that I dearly love.

Towards the conclusion of the play we have another instance of that rigid sense of justice, which is a prominent part of Isabella's character, and almost silences her earnest intercession for her brother, when his fault is placed between her plea and her conscience. The Duke condemns the villain Angelo to death, and his wife Mariana entreats Isabella to plead for him.

Sweet Isabel, take my part,
Lend me your knees, and all my life to come
I'll lend you all my life to do you service.

Isabella remains silent, and Mariana reiterates her prayer.

MARIANA.

Sweet Isabel, do yet but kneel by me,
Hold up your hands, say nothing, I'll speak all!
O Isabel! will you not lend a knee?

Isabella, thus urged, breaks silence and appeals to the Duke, not with supplication, or persuasion, but with grave argument, and a kind of dignified humility and conscious power, which are finely characteristic of the individual woman.

Most bounteous Sir,
Look, if it please you, on this man condemn'd,
As if my brother liv'd; I partly think
A due sincerity govern'd his deeds
Till he did look on me; since it is so
Let him not die. My brother had but justice,
In that he did the thing for which he died.
For Angelo,
His art did not o'ertake his bad intent,
That perish'd by the way: thoughts are no subjects.
Intents, but merely thoughts.

In this instance, as in the one before mentioned, Isabella's conscientiousness is overcome by the only sentiment which ought to temper justice into mercy, the power of affection and sympathy.

Isabella's confession of the general frailty of her sex, has a peculiar softness, beauty, and propriety. She admits the imputation with all the sympathy of woman for woman; yet with all the dignity of one who felt her own superiority to the weakness she acknowledges.

ANGELO.

Nay, women are frail too.

ISABELLA.

Ay, as the glasses where they view themselves;
Which are as easy broke as they make forms.
Women! help heaven! men their creation mar
In profiting by them. Nay, call us ten times frail,
For we are soft as our complexions are,
And credulous to false prints.

Nor should we fail to remark the deeper interest which is thrown round Isabella, by one part of her character, which is betrayed rather than exhibited in the progress of the action; and for which we are not at first prepared, though it is so perfectly natural. It is the strong under-current of passion and enthusiasm flowing beneath this calm and saintly self-possession; it is the capacity for high feeling and generous and strong indignation, veiled beneath the sweet austere composure of the religious recluse, which, by the very force of contrast, powerfully impress the imagination. As we see in real life that where, from some external or habitual cause, a strong control is exercised over naturally quick feelings and an impetuous temper, they display themselves with a proportionate vehemence when that restraint is removed; so the very violence with which her passions burst forth, when opposed or under the influence of strong excitement, is admirably characteristic.

Thus in her exclamation, when she first allows herself to perceive Angelo's vile design--

ISABELLA.

Ha! little honor to be much believed,
And most pernicious purpose;--seeming!--seeming
I will proclaim thee, Angelo: look for it!
Sign me a present pardon for my brother,
Or with an outstretched throat I'll tell the world
Aloud, what man thou art!

And again, where she finds that the "outward tainted deputy," has deceived her--

O I will to him, and pluck out his eyes!
Unhappy Claudio! wretched Isabel!
Injurious world! most damned Angelo!

She places at first a strong and high-souled confidence in her brother's fortitude and magnanimity, judging him by her own lofty spirit:

I'll to my brother;
Though he hath fallen by prompture of the blood,
Yet hath he in him such a mind of honor,
That had he twenty heads to tender down,
On twenty bloody blocks, he'd yield them up
Before his sister should her body stoop
To such abhorr'd pollution.

But when her trust in his honor is deceived by his momentary weakness, her scorn has a bitterness, and her indignation a force of expression almost fearful; and both are carried to an extreme, which is perfectly in character:

O faithless coward! O dishonest wretch!
Wilt thou be made a man out of my vice?
Is't not a kind of incest to take life
From thine own sister's shame? What should I think?
Heaven shield, my mother play'd my father fair!
For such a warped slip of wilderness
Ne'er issued from his blood. Take my defiance;
Die! perish! might but my bending down,
Reprieve thee from thy fate, it should proceed.
I'll pray a thousand prayers for thy death.
No word to save thee.

The whole of this scene with Claudio is inexpressibly grand in the poetry and the sentiment; and the entire play abounds in those passages and phrases which must have become trite from familiar and constant use and abuse, if their wisdom and unequalled beauty did not invest them with an immortal freshness and vigor, and a perpetual charm.

The story of Measure for Measure is a tradition of great antiquity, of which there are several versions, narrative and dramatic. A contemptible tragedy, the _Promos and Cassandra_ of George Whetstone, is supposed, from various coincidences, to have furnished Shakspeare with the groundwork of the play; but the character of Isabella is, in conception and execution, all his own. The commentators have collected with infinite industry all the sources of the plot; but to the grand creation of Isabella, they award either silence or worse than silence. Johnson and the rest of the black-letter crew, pass over her without a word. One critic, a lady-critic too, whose name I will be so merciful as to suppress, treats Isabella as a coarse vixen. Hazlitt, with that strange perversion of sentiment and want of taste which sometimes mingle with his piercing and powerful intellect, dismisses Isabella with a slight remark, that "we are not greatly enamoured of her rigid chastity, nor can feel much confidence in the virtue that is sublimely good at another's expense." What shall we answer to such criticism? Upon what ground can we read the play from beginning to end, and doubt the angel-purity of Isabella, or contemplate her possible lapse from virtue? Such gratuitous mistrust is here a sin against the light of heaven.

Having waste ground enough,
Shall we desire to raze the sanctuary,
And pitch our evils there?

Professor Richardson is more just, and truly sums up her character as "amiable, pious, sensible, resolute, determined, and eloquent:" but his remarks are rather superficial.

Schlegel's observations are also brief and general, and in no way distinguish Isabella from many other characters; neither did his plan allow him to be more minute. Of the play altogether, he observes very beautifully, "that the title Measure for Measure is in reality a misnomer, the sense of the whole being properly the triumph of mercy over strict justice:" but it is also true that there is "an original sin in the nature of the subject, which prevents us from taking a cordial interest in it."[12] Of all the characters, Isabella alone has our sympathy. But though she triumphs in the conclusion, her triumph is not produced in a pleasing manner. There are too many disguises and tricks, too many "by-paths and indirect crooked ways," to conduct us to the natural and foreseen catastrophe, which the Duke's presence throughout renders inevitable. This Duke seems to have a predilection for bringing about justice by a most unjustifiable succession of falsehoods and counterplots. He really deserves Lucio's satirical designation, who somewhere styles him "The Fantastical Duke of Dark Corners." But Isabella is ever consistent in her pure and upright simplicity, and in the midst of this simulation, expresses a characteristic disapprobation of the part she is made to play,

To speak so indirectly I am loth:
I would say the truth.[13]

She yields to the supposed Friar with a kind of forced docility, because her situation as a religious novice, and his station, habit, and authority, as her spiritual director, demand this sacrifice. In the end we are made to feel that her transition from the convent to the throne has but placed this noble creature in her natural sphere: for though Isabella, as Duchess of Vienna, could not more command our highest reverence than Isabella, the novice of Saint Clare, yet a wider range of usefulness and benevolence, of trial and action, was better suited to the large capacity, the ardent affections, the energetic intellect, and firm principle of such a woman as Isabella, than the walls of a cloister. The philosophical Duke observes in the very first scene--

Spirits are not finely touched,
But to fine issues: nor nature never lends
The smallest scruple of her excellence,
But like a thrifty goddess she determines,
Herself the glory of a creditor,
Both thanks and use.[14]

This profound and beautiful sentiment is illustrated in the character and destiny of Isabella. She says, of herself, that "she has spirit to act whatever her heart approves;" and what her heart approves we know.

In the convent, (which may stand here poetically for any narrow and obscure situation in which such a woman might be placed,) Isabella would not have been unhappy, but happiness would have been the result of an effort, or of the concentration of her great mental powers to some particular purpose; as St. Theresa's intellect, enthusiasm, tenderness, restless activity, and burning eloquence, governed by one overpowering sentiment of devotion, rendered her the most extraordinary of saints. Isabella, like St. Theresa, complains that the rules of her order are not sufficiently severe, and from the same cause,--that from the consciousness of strong intellectual and imaginative power, and of overflowing sensibility, she desires a more "strict restraint," or, from the continual, involuntary struggle against the trammels imposed, feels its necessity.

ISABELLA.

And have you nuns no further privileges?

FRANCISCA.

Are not these large enough?

ISABELLA.

Yes, truly; I speak, not as desiring more,
But rather wishing a more strict restraint
Upon the sisterhood!

Such women as Desdemona and Ophelia would have passed their lives in the seclusion of a nunnery, without wishing, like Isabella, for stricter bonds, or planning, like St. Theresa, the reformation of their order, simply, because any restraint would have been efficient, as far as _they_ were concerned. Isabella, "dedicate to nothing temporal," might have found resignation through self government, or have become a religious enthusiast: while "place and greatness" would have appeared to her strong and upright mind, only a more extended field of action, a trust and a trial. The mere trappings of power and state, the gemmed coronal, the ermined robe, she would have regarded as the outward emblems of her earthly profession; and would have worn them with as much simplicity as her novice's hood and scapular; still, under whatever guise she might tread this thorny world--the same "angel of light."

BEATRICE.

Shakspeare has exhibited in Beatrice a spirited and faithful portrait of the fine lady of his own time. The deportment, language, manners, and allusions, are those of a particular class in a particular age; but the individual and dramatic character which forms the groundwork, is strongly discriminated; and being taken from general nature, belongs to every age. In Beatrice, high intellect and high animal spirits meet, and excite each other like fire and air. In her wit (which is brilliant without being imaginative) there is a touch of insolence, not unfrequent in women when the wit predominates over reflection and imagination. In her temper, too, there is a slight infusion of the termagant; and her satirical humor plays with such an unrespective levity over all subjects alike, that it required a profound knowledge of women to bring such a character within the pale of our sympathy. But Beatrice, though wilful, is not wayward; she is volatile, not unfeeling. She has not only an exuberance of wit and gayety, but of heart, and soul, and energy of spirit; and is no more like the fine ladies of modern comedy,--whose wit consists in a temporary allusion, or a play upon words, and whose petulance is displayed in a toss of the head, a flirt of the fan, or a flourish of the pocket handkerchief,--than one of our modern dandies is like Sir Philip Sydney.

In Beatrice, Shakspeare has contrived that the poetry of the character shall not only soften, but heighten its comic effect. We are not only inclined to forgive Beatrice all her scornful airs, all her biting jests, all her assumption of superiority; but they amuse and delight us the more, when we find her, with all the headlong simplicity of a child, falling at once into the snare laid for her affections; when we see _her_, who thought a man of God's making not good enough for her, who disdained to be o'ermastered by "a piece of valiant dust," stooping like the rest of her sex, vailing her proud spirit, and taming her wild heart to the loving hand of him whom she had scorned, flouted, and misused, "past the endurance of a block." And we are yet more completely won by her generous enthusiastic attachment to her cousin. When the father of Hero believes the tale of her guilt; when Claudio, her lover, without remorse or a lingering doubt, consigns her to shame; when the Friar remains silent, and the generous Benedick himself knows not what to say, Beatrice, confident in her affections, and guided only by the impulses of her own feminine heart, sees through the inconsistency, the impossibility of the charge, and exclaims, without a moment's hesitation,

O, on my soul, my cousin is belied!

Schlegel, in his remarks on the play of "Much Ado about nothing," has given us an amusing instance of that sense of reality with which we are impressed by Shakspeare's characters. He says of Benedick and Beatrice, as if he had known them personally, that the exclusive direction of their pointed raillery against each other "is a proof of a growing inclination." This is not unlikely; and the same inference would lead us to suppose that this mutual inclination had commenced before the opening of the play. The very first words uttered by Beatrice are an inquiry after Benedick, though expressed with her usual arch impertinence:--

I pray you, is Signior Montanto returned from the wars, or
no?

I pray you, how many hath he killed and eaten in these wars?
But how many hath he killed? for indeed I promised to eat
all of his killing.

And in the unprovoked hostility with which she falls upon him in his absence, in the pertinacity and bitterness of her satire, there is certainly great argument that he occupies much more of her thoughts than she would have been willing to confess, even to herself. In the same manner Benedick betrays a lurking partiality for his fascinating enemy; he shows that he has looked upon her with no careless eye, when he says,

There's her cousin, (meaning Beatrice,) an' she were not
possessed with a fury, excels her as much in beauty as the
first of May does the last of December.

Infinite skill, as well as humor, is shown in making this pair of airy beings the exact counterpart of each other; but of the two portraits, that of Benedick is by far the most pleasing, because the independence and gay indifference of temper, the laughing defiance of love and marriage, the satirical freedom of expression, common to both, are more becoming to the masculine than to the feminine character. Any woman might love such a cavalier as Benedick, and be proud of his affection; his valor, his wit, and his gayety sit so gracefully upon him! and his light scoffs against the power of love are but just sufficient to render more piquant the conquest of this "heretic in despite of beauty." But a man might well be pardoned who should shrink from encountering such a spirit as that of Beatrice, unless, indeed, he had "served an apprenticeship to the taming school." The wit of Beatrice is less good-humored than that of Benedick; or, from the difference of sex, appears so. It is observable that the power is throughout on her side, and the sympathy and interest on his: which, by reversing the usual order of things, seems to excite us _against the grain_, if I may use such an expression. In all their encounters she constantly gets the better of him, and the gentleman's wits go off halting, if he is not himself fairly _hors de combat_. Beatrice, woman-like, generally has the first word, and will have the last. Thus, when they first meet, she begins by provoking the merry warfare:--

I wonder that you will still be talking, Signior Benedick;
nobody marks you.

BENEDICK.

What, my dear Lady Disdain! are you yet living?

BEATRICE.

Is it possible Disdain should die, while she hath such meet
food to feed it as Signior Benedick? Courtesy itself must
convert to disdain, if you come in her presence.

It is clear that she cannot for a moment endure his neglect, and he can as little tolerate her scorn. Nothing that Benedick addresses to Beatrice personally can equal the malicious force of some of her attacks upon him: he is either restrained by a feeling of natural gallantry, little as she deserves the consideration due to her sex, (for a female satirist ever places herself beyond the pale of such forbearance,) or he is subdued by her superior volubility. He revenges himself, however, in her absence: he abuses her with such a variety of comic invective, and pours forth his pent-up wrath with such a ludicrous extravagance and exaggeration, that he betrays at once how deep is his mortification, and how unreal his enmity.

In the midst of all this tilting and sparring of their nimble and fiery wits, we find them infinitely anxious for the good opinion of each other, and secretly impatient of each other's scorn: but Beatrice is the most truly indifferent of the two; the most assured of herself. The comic effect produced by their mutual attachment, which, however natural and expected, comes upon us with all the force of a surprise, cannot be surpassed: and how exquisitely characteristic the mutual avowal!

BENEDICK.

By my sword, Beatrice, thou lovest me.

BEATRICE.

Do not swear by it, and eat it.

BENEDICK.

I will swear by it that you love me; and I will make him eat
it, that says, I love not you.

BEATRICE.

Will you not eat your word?

BENEDICK.

With no sauce that can be devised to it: I protest, I love
thee.

BEATRICE.

Why, then, God forgive me!

BENEDICK.

What offence, sweet Beatrice?

BEATRICE.

You stayed me in a happy hour. I was about to protest, I
loved you.

BENEDICK.

And do it with all thy heart.

BEATRICE.

I love you with so much of my heart, that there is none left
to protest.

But here again the dominion rests with Beatrice, and she appears in a less amiable light than her lover. Benedick surrenders his whole heart to her and to his new passion. The revulsion of feeling even causes it to overflow in an excess of fondness; but with Beatrice temper has still the mastery. The affection of Benedick induces him to challenge his intimate friend for her sake, but the affection of Beatrice does not prevent her from risking the life of her lover.

The character of Hero is well contrasted with that of Beatrice, and their mutual attachment is very beautiful and natural. When they are both on the scene together, Hero has but little to say for herself: Beatrice asserts the rule of a master spirit, eclipses her by her mental superiority, abashes her by her raillery, dictates to her, answers for her, and would fain inspire her gentle-hearted cousin with some of her own assurance.

Yes, faith; it is my cousin's duty to make a curtsey, and
say, "Father, as it please you;" but yet, for all that,
cousin, let him be a handsome fellow, or else make another
curtsey, and, "Father, as it please me."

But Shakspeare knew well how to make one character subordinate to another, without sacrificing the slightest portion of its effect; and Hero, added to her grace and softness, and all the interest which attaches to her as the sentimental heroine of the play, possesses an intellectual beauty of her own. When she has Beatrice at an advantage, she repays her with interest, in the severe, but most animated and elegant picture she draws of her cousin's imperious character and unbridled levity of tongue. The portrait is a little overcharged, because administered as a corrective, and intended to be overheard.

But nature never fram'd a woman's heart
Of prouder stuff than that of Beatrice:
Disdain and scorn ride sparkling in her eyes,
Misprising what they look on; and her wit
Values itself so highly, that to her
All matter else seems weak; she cannot love,
Nor take no shape nor project of affection,
She is so self-endeared.

URSULA.

Sure, sure, such carping is not commendable.

HERO.

No: not to be so odd, and from all fashions,
As Beatrice is cannot be commendable:
But who dare tell her so? If I should speak,
She'd mock me into air: O she would laugh me
Out of myself, press me to death with wit.
Therefore let Benedick, like cover'd fire,
Consume away in sighs, waste inwardly:
It were a better death than die with mocks,
Which is as bad as die with tickling.

Beatrice never appears to greater advantage than in her soliloquy after leaving her concealment "in the pleached bower where honeysuckles, ripened by the sun, forbid the sun to enter;" she exclaims, after listening to this tirade against herself,--

What fire is in mine ears? Can this be true?
Stand I condemned for pride and scorn so much?

The sense of wounded vanity is lost in bitter feelings, and she is infinitely more struck by what is said in praise of Benedick, and the history of his supposed love for her than by the dispraise of herself. The immediate success of the trick is a most natural consequence of the self-assurance and magnanimity of her character; she is so accustomed to assert dominion over the spirits of others, that she cannot suspect the possibility of a plot laid against herself.

A haughty, excitable, and violent temper is another of the characteristics of Beatrice; but there is more of impulse than of passion in her vehemence. In the marriage scene where she has beheld her gentle-spirited cousin,--whom she loves the more for those very qualities which are most unlike her own,--slandered, deserted, and devoted to public shame, her indignation, and the eagerness with which she hungers and thirsts after revenge, are, like the rest of her character, open, ardent, impetuous, but not deep or implacable. When she bursts into that outrageous speech--

Is he not approved in the height a villain that hath
slandered, scorned, dishonored my kinswoman? O that I were a
man! What! bear her in hand until they come to take hands;
and then, with public accusation, uncovered slander,
unmitigated rancor--O God, that I were a man! I would eat
his heart in the market-place!

And when she commands her lover, as the first proof of his affection, "to kill Claudio," the very consciousness of the exaggeration,--of the contrast between the real good-nature of Beatrice and the fierce tenor of her language, keeps alive the comic effect, mingling the ludicrous with the serious. It is remarkable that, notwithstanding the point and vivacity of the dialogue, few of the speeches of Beatrice are capable of a general application, or engrave themselves distinctly on the memory; they contain more mirth than matter; and though wit be the predominant feature in the dramatic portrait, Beatrice more charms and dazzles us by what she is than by what she _says_. It is not merely her sparkling repartees and saucy jests, it is the soul of wit, and the spirit of gayety in forming the whole character,--looking out from her brilliant eyes, and laughing on her full lips that pout with scorn,--which we have before us, moving and full of life. On the whole, we dismiss Benedick and Beatrice to their matrimonial bonds rather with a sense of amusement than a feeling of congratulation or sympathy; rather with an acknowledgment that they are well-matched, and worthy of each other than with any well-founded expectation of their domestic tranquillity. If, as Benedick asserts, they are both "too wise to woo peaceably," it may be added that both are too wise, too witty, and too wilful to live peaceably together. We have some misgivings about Beatrice--some apprehensions that poor Benedick will not escape the "predestinated scratched face," which he had foretold to him who should win and wear this quick-witted and pleasant-spirited lady; yet when we recollect that to the wit and imperious temper of Beatrice is united a magnanimity of spirit which would naturally place her far above all selfishness, and all paltry struggles for power--when we perceive, in the midst of her sarcastic levity and volubility of tongue, so much of generous affection, and such a high sense of female virtue and honor, we are inclined to hope the best. We think it possible that though the gentleman may now and then swear, and the lady scold, the native good-humor of the one, the really fine understanding of the other, and the value they so evidently attach to each other's esteem, will ensure them a tolerable portion of domestic felicity, and in this hope we leave them.

ROSALIND.

I come now to Rosalind, whom I should have ranked before Beatrice, inasmuch as the greater degree of her sex's softness and sensibility, united with equal wit and intellect, give her the superiority as a woman; but that, as a dramatic character, she is inferior in force. The portrait is one of infinitely more delicacy and variety, but of less strength and depth. It is easy to seize on the prominent features in the mind of Beatrice, but extremely difficult to catch and fix the more fanciful graces of Rosalind. She is like a compound of essences, so volatile in their nature, and so exquisitely blended, that on any attempt to analyze them, they seem to escape us. To what else shall we compare her, all-enchanting as she is?--to the silvery summer clouds which, even while we gaze on them, shift their hues and forms dissolving into air, and light, and rainbow showers?--to the May-morning, flush with opening blossoms and roseate dews, and "charm of earliest birds?"--to some wild and beautiful melody, such as some shepherd boy might "pipe to Amarillis in the shade?"--to a mountain streamlet, now smooth as a mirror in which the skies may glass themselves, and anon leaping and sparkling in the sunshine--or rather to the very sunshine itself? for so her genial spirit touches into life and beauty whatever it shines on!

But this impression, though produced by the complete development of the character, and in the end possessing the whole fancy, is not immediate. The first introduction of Rosalind is less striking than interesting; we see her a dependant, almost a captive, in the house of her usurping uncle; her genial spirits are subdued by her situation, and the remembrance of her banished father her playfulness is under a temporary eclipse.

I pray thee, Rosalind, sweet my coz, be merry!

_is_ an adjuration which Rosalind needed not when once at liberty, and sporting "under the greenwood tree." The sensibility and even pensiveness of her demeanor in the first instance, render her archness and gayety afterwards, more graceful and more fascinating.

Though Rosalind is a princess, she is a princess of Arcady; and notwithstanding the charming effect produced by her first scenes, we scarcely ever think of her with a reference to them, or associate her with a court, and the artificial appendages of her rank. She was not made to "lord it o'er a fair mansion," and take state upon her like the all-accomplished Portia; but to breathe the free air of heaven, and frolic among green leaves. She was not made to stand the siege of daring profligacy, and oppose high action and high passion to the assaults of adverse fortune, like Isabel; but to "fleet the time carelessly as they did i' the golden age." She was not made to bandy wit with lords, and tread courtly measures with plumed and warlike cavaliers, like Beatrice; but to dance on the green sward, and "murmur among living brooks a music sweeter than their own."

Though sprightliness is the distinguishing characteristic of Rosalind, as of Beatrice, yet we find her much more nearly allied to Portia in temper and intellect. The tone of her mind is, like Portia's, genial and buoyant: she has something, too, of her softness and sentiment; there is the same confiding abandonment of self in her affections; but the characters are otherwise as distinct as the situations are dissimilar. The age, the manners, the circumstance in which Shakspeare has placed his Portia, are not beyond the bounds of probability; nay, have a certain reality and locality. We fancy her a contemporary of the Raffaelles and the Ariostos; the sea-wedded Venice, its merchants and Magnificos,--the Rialto, and the long canals,--rise up before us when we think of her. But Rosalind is surrounded with the purely ideal and imaginative; the reality is in the characters and in the sentiments, not in the circumstances or situation. Portia is dignified, splendid, and romantic; Rosalind is playful, pastoral, and picturesque: both are in the highest degree poetical, but the one is epic and the other lyric.

Every thing about Rosalind breathes of "youth and youth's sweet prime." She is fresh as the morning, sweet as the dew-awakened blossoms, and light as the breeze that plays among them. She is as witty, as voluble, as sprightly as Beatrice; but in a style altogether distinct. In both, the wit is equally unconscious; but in Beatrice it plays about us like the lightning, dazzling but also alarming; while the wit of Rosalind bubbles up and sparkles like the living fountain, refreshing all around. Her volubility is like the bird's song; it is the outpouring of a heart filled to overflowing with life, love, and joy, and all sweet and affectionate impulses. She has as much tenderness as mirth, and in her most petulant raillery there is a touch of softness--"By this hand, it will not hurt a fly!" As her vivacity never lessens our impression of her sensibility, so she wears her masculine attire without the slightest impugnment of her delicacy. Shakspeare did not make the modesty of his women depend on their dress, as we shall see further when we come to Viola and Imogen. Rosalind has in truth "no doublet and hose in her disposition." How her heart seems to throb and flutter under her page's vest! What depth of love in her passion for Orlando! whether disguised beneath a saucy playfulness, or breaking forth with a fond impatience, or half betrayed in that beautiful scene where she faints at the sight of his 'kerchief stained with his blood! Here her recovery of her self-possession--her fears lest she should have revealed her sex--her presence of mind, and quick-witted excuse--

I pray you, tell your brother how well I counterfeited.

and the characteristic playfulness which seems to return so naturally with her recovered senses,--are all as amusing as consistent. Then how beautifully is the dialogue managed between herself and Orlando! how well she assumes the airs of a saucy page, without throwing off her feminine sweetness! How her wit flutters free as air over every subject! With what a careless grace, yet with what exquisite propriety!

For innocence hath a privilege in her
To dignify arch jests and laughing eyes.

And if the freedom of some of the expressions used by Rosalind or Beatrice be objected to, let it be remembered that this was not the fault of Shakspeare or the women, but generally of the age. Portia, Beatrice, Rosalind, and the rest lived in times when more importance was attached to things than to words; now we think more of words than of things; and happy are we in these later days of super-refinement, if we are to be saved by our verbal morality. But this is meddling with the province of the melancholy Jaques, and our argument is Rosalind.

The impression left upon our hearts and minds by the character of Rosalind--by the mixture of playfulness, sensibility, and what the French (and we for lack of a better expression) call _naivete_--is like a delicious strain of music. There is a depth of delight, and a subtlety of words to express that delight, which is enchanting. Yet when we call to mind particular speeches and passages, we find that they have a relative beauty and propriety, which renders it difficult to separate them from the context without injuring their effect She says some of the most charming things in the world, and some of the most humorous: but we apply them as phrases rather than as maxims, and remember them rather for their pointed felicity of expression and fanciful application, than for their general truth and depth of meaning. I will give a few instances:--

I was never so be-rhymed since Pythagoras' time--that I was
an Irish rat--which I can hardly remember.[15]

Good, my complexion! Dost thou think, though I am
caparisoned like a man, that I have a doublet and hose in my
disposition?

We dwell here in the skirts of the forest, like fringe upon
a petticoat.

Love is merely a madness; and, I tell you, deserves as well
a dark house and a whip as madmen do; and the reason why
they are not so punished and cured is, that the lunacy is so
ordinary that the whippers are in love too.

A traveller! By my faith you have great reason to be sad. I
fear you have sold your own lands to see other men's; then
to have seen much and to have nothing, is to have rich eyes
and poor hands.

Farewell, Monsieur Traveller. Look you lisp, and wear
strange suits; disable all the benefits of your own country;
be out of love with your nativity, and almost chide God for
making you that countenance you are; or I will scarce think
you have swam in a gondola.

Break an hour's promise in love! He that will divide a
minute into a thousand parts, and break but a part of the
thousandth part of a minute in the affairs of love, it may
be said of him that Cupid hath clapp'd him o' the shoulder,
but I warrant him heart-whole.

Men have died from time to time, and worms have eaten
them--but not for love.

I could find in my heart to disgrace my man's apparel, and
to cry like a woman; but I must comfort the weaker vessel,
as doublet and hose ought to show itself courageous to
petticoat.

Rosalind has not the impressive eloquence of Portia, nor the sweet wisdom of Isabella. Her longest speeches are not her best; nor is her taunting address to Phebe, beautiful and celebrated as it is, equal to Phebe's own description of her. The latter, indeed, is more in earnest.[16]

Celia is more quiet and retired: but she rather yields to Rosalind, than is eclipsed by her. She is as full of sweetness, kindness, and intelligence, quite as susceptible, and almost as witty, though she makes less display of wit. She is described as less fair and less gifted; yet the attempt to excite in her mind a jealousy of her lovelier friend, by placing them in comparison--

Thou art a fool; she robs thee of thy name;
And thou wilt show more bright, and seem more virtuous,
When she is gone--

fails to awaken in the generous heart of Celia any other feeling than an increased tenderness and sympathy for her cousin. To Celia, Shakspeare has given some of the most striking and animated parts of the dialogue; and in particular, that exquisite description of the friendship between her and Rosalind--

If she be a traitor,
Why, so am I; we have still slept together,
Rose at an instant, learned, played, eat together,
And wheresoe'er we went, like Juno's swans,
Still we were coupled and inseparable.

The feeling of interest and admiration thus excited for Celia at the first, follows her through the whole play. We listen to her as to one who has made herself worthy of our love; and her silence expresses more than eloquence.

Phebe is quite an Arcadian coquette; she is a piece of pastoral poetry. Audrey is only rustic. A very amusing effect is produced by the contrast between the frank and free bearing of the two princesses in disguise, and the scornful airs of the real Shepherdess. In the speeches of Phebe, and in the dialogue between her and Sylvius, Shakspeare has anticipated all the beauties of the Italian pastoral, and surpassed Tasso and Guarini. We find two among the most poetical passages of the play appropriated to Phebe; the taunting speech to Sylvius, and the description of Rosalind in her page's costume;--which last is finer than the portrait of Bathyllus in Anacreon.

FOOTNOTES:

[5] Artemisia Gentileschi, an Italian artist of the seventeenth century, painted one or two pictures, considered admirable as works of art, of which the subjects are the most vicious and barbarous conceivable. I remember one of these in the gallery of Florence, which I looked at once, but once, and wished then, as I do now, for the privilege of burning it to ashes.

[6] Lucy Ashton, in the Bride of Lammermoor, may be placed next to Desdemona; Diana Vernon is (comparatively) a failure as every woman will allow; while the masculine lady Geraldine in Miss Edgeworth's tale of Ennui, and the intellectual Corinne are consistent, essential women; the distinction is more easily felt than analyzed.

[7] Hazlitt's Essays, vol. ii. p. 167.

[8] I am informed that the original German word is _geistreiche_ literally, _rich in soul or spirit_, a just and beautiful epithet. 2d. _Edit._

[9] In the "Mercatante di Venezia" of Ser. Giovanni, we have the whole story of Antonio and Bassanio, and part of the story but not the character of Portia. The incident of the caskets is from the Gesta Romanorum.

[10] In that age, delicate points of law were not determined by the ordinary judges of the provinces, but by doctors of law, who were called from Bologna, Padua, and other places celebrated for their legal colleges.

[11] Romeo and Juliet, Act ii. Scene 2

[12] Characters of Shakespeare's Plays.

[13] Act iv. Scene 5.

[14] _Use_, i. e. usury, interest.

[15] In Shakspeare's time, there were people In Ireland, (there may be so still, for aught I know,) who undertook to charm rats to death, by chanting certain verses which acted as a spell. "Rhyme them to death, as they do rats in Ireland," is a line in one of Ben Jonson's comedies; this will explain Rosalind's humorous allusion.

[16] Rousseau could describe such a character as Rosalind, but failed to represent it consistently. "N'est-ce pas de ton coeur que viennent les graces de ton enjouement? Tes railleries sont des signes d'interet plus touchants que les compliments d'un autre. Tu caresses quand tu folatres. Tu ris, mais ton rire penetre l'ame; tu ris, mais tu fais pleurer de tendresse et je te vois presque toujours serieuse avec les indifferents" _Heloise._

CHARACTERS OF PASSION AND IMAGINATION.

JULIET.

O Love! thou teacher'--O Grief! thou tamer--and Time, thou healer of human hearts!--bring hither all your deep and serious revelations!--And ye too, rich fancies of unbruised, unbowed youth--ye visions of long perished hopes--shadows of unborn joys--gay colorings of the dawn of existence! whatever memory hath treasured up of bright and beautiful in nature or in art; all soft and delicate images--all lovely forms--divinest voices and entrancing melodies--gleams of sunnier skies and fairer climes,--Italian moonlights and airs that "breathe of the sweet south,"--now, if it be possible, revive to my imagination--live once more to my heart! Come, thronging around me, all inspirations that wait on passion, on power, on beauty; give me to tread, not bold, and yet unblamed, within the inmost sanctuary of Shakspeare's genius, in Juliet's moonlight bower, and Miranda's enchanted isle!

* * * * *

It is not without emotion, that I attempt to touch on the character of Juliet. Such beautiful things have already been said of her--only to be exceeded in beauty by the subject that inspired them!--it is impossible to say any thing better; but it is possible to say something more. Such in fact is the simplicity, the truth, and the loveliness of Juliet's character, that we are not at first aware of its complexity, its depth, and its variety. There is in it an intensity of passion, a singleness of purpose, an entireness, a completeness of effect, which we feel as a whole; and to attempt to analyze the impression thus conveyed at once to soul and sense, is as if while hanging over a half-blown rose, and revelling in its intoxicating perfume, we should pull it asunder, leaflet by leaflet, the better to display its bloom and fragrance. Yet how otherwise should we disclose the wonders of its formation, or do justice to the skill of the divine hand that hath thus fashioned it in its beauty?

Love, as a passion, forms the groundwork of the drama. Now, admitting the axiom of Rochefoucauld, that there is but one love, though a thousand different copies, yet the true sentiment itself has as many different aspects as the human soul of which it forms a part. It is not only modified by the individual character and temperament, but it is under the influence of climate and circumstance. The love that is calm in one moment, shall show itself vehement and tumultuous at another. The love that is wild and passionate in the south, is deep and contemplative in the north; as the Spanish or Roman girl perhaps poisons a rival, or stabs herself for the sake of a living lover, and the German or Russian girl pines into the grave for love of the false, the absent, or the dead. Love is ardent or deep, bold or timid, jealous or confiding, impatient or humble, hopeful or desponding--and yet there are not many loves, but one love.

All Shakspeare's women, being essentially women, either love or have loved, or are capable of loving; but Juliet is love itself. The passion is her state of being, and out of it she has no existence. It is the soul within her soul; the pulse within her heart; the life-blood along her veins, "blending with every atom of her frame." The love that is so chaste and dignified in Portia--so airy-delicate and fearless in Miranda--so sweetly confiding in Perdita--so playfully fond in Rosalind--so constant in Imogen--so devoted in Desdemona--so fervent in Helen--so tender in Viola,--is each and all of these in Juliet. All these remind us of her; but she reminds us of nothing but her own sweet self; or if she does, it is of the Gismunda, or the Lisetta, or the Fiammetta of Boccaccio, to whom she is allied, not in the character or circumstances, but in the truly Italian spirit, the glowing, national complexion of the portrait.[17]

There was an Italian painter who said that the secret of all effect in color consisted in white upon black, and black upon white. How perfectly did Shakspeare understand this secret of effect! and how beautifully he has exemplified it in Juliet?

So shows a snowy dove trooping with crows,
As yonder lady o'er her fellows shows!

Thus she and her lover are in contrast with all around them. They are all love, surrounded with all hate; all harmony, surrounded with all discord: all pure nature, in the midst of polished and artificial life. Juliet, like Portia, is the foster child of opulence and splendor; she dwells in a fair city--she has been nurtured in a palace--she clasps her robe with jewels--she braids her hair with rainbow-tinted pearls; but in herself she has no more connection with the trappings around her, than the lovely exotic, transplanted from some Eden-like climate, has with the carved and gilded conservatory which has reared and sheltered its luxuriant beauty.

But in this vivid impression of contrast, there is nothing abrupt or harsh. A tissue of beautiful poetry weaves together the principal figures, and the subordinate personages. The consistent truth of the costume, and the exquisite gradations of relief with which the most opposite hues are approximated, blend all into harmony. Romeo and Juliet are not poetical beings placed on a prosaic background; nor are they, like Thekla and Max in the Wallenstein, two angels of light amid the darkest and harshest, the most debased and revolting aspects of humanity; but every circumstance, and every personage, and every shade of character in each, tends to the development of the sentiment which is the subject of the drama. The poetry, too, the richest that can possibly be conceived, is interfused through all the characters; the splendid imagery lavished upon all with the careless prodigality of genius, and the whole is lighted up into such a sunny brilliance of effect, as though Shakspeare had really transported himself into Italy, and had drunk to intoxication of her genial atmosphere. How truly it has been said, that "although Romeo and Juliet are in love, they are not love-sick!" What a false idea would anything of the mere whining amoroso, give us of Romeo, such as he really is in Shakspeare--the noble, gallant, ardent, brave, and witty! And Juliet--with even less truth could the phrase or idea apply to her! The picture in "Twelfth Night" of the wan girl dying of love, "who pined in thought, and with a green and yellow melancholy," would never surely occur to us, when thinking on the enamored and impassioned Juliet, in whose bosom love keeps a fiery vigil, kindling tenderness into enthusiasm, enthusiasm into passion, passion into heroism! No, the whole sentiment of the play is of a far different cast. It is flushed with the genial spirit of the south: it tastes of youth, and of the essence of youth; of life, and of the very sap of life.[18] We have indeed the struggle of love against evil destinies, and a thorny world; the pain, the grief, the anguish, the terror, the despair; the aching adieu; the pang unutterable of parted affection; and rapture, truth, and tenderness trampled into an early grave: but still an Elysian grace lingers round the whole, and the blue sky of Italy bends over all!

In the delineation of that sentiment which forms the groundwork of the drama, nothing in fact can equal the power of the picture, but its inexpressible sweetness and its perfect grace: the passion which has taken possession of Juliet's whole soul, has the force, the rapidity, the resistless violence of the torrent: but she is herself as "moving delicate," as fair, as soft, as flexible as the willow that bends over it, whose light leaves tremble even with the motion of the current which hurries beneath them. But at the same time that the pervading sentiment is never lost sight of, and is one and the same throughout, the individual part of the character in all its variety is developed, and marked with the nicest discrimination. For instance,--the simplicity of Juliet is very different from the simplicity of Miranda: her innocence is not the innocence of a desert island. The energy she displays does not once remind us of the moral grandeur of Isabel, or the intellectual power of Portia;--it is founded in the strength of passion, not in the strength of character:--it is accidental rather than inherent, rising with the tide of feeling or temper, and with it subsiding. Her romance is not the pastoral romance of Perdita, nor the fanciful romance of Viola; it is the romance of a tender heart and a poetical imagination. Her inexperience is not ignorance: she has heard that there is such a thing as falsehood, though she can scarcely conceive it. Her mother and her nurse have perhaps warned her against flattering vows and man's inconstancy; or she has even

----Turned the tale by Ariosto told,
Of fair Olympia, loved and left, of old!

Hence that bashful doubt, dispelled almost as soon as felt--

Ah, gentle Romeo!
If thou dost love, pronounce it faithfully.

That conscious shrinking from her own confession--

Fain would I dwell on form; fain, fain deny
What I have spoke!

The ingenuous simplicity of her avowal--

Or if thou think'st I am too quickly won,
I'll frown, and be perverse, and say thee nay,
So thou wilt woo--but else, not for the world!
In truth, fair Montague, I am too fond,
And therefore thou may'st think my 'havior light,
But trust me, gentleman, I'll prove more true
Than those who have more cunning to be strange.

And the proud yet timid delicacy, with which she throws herself for forbearance and pardon upon the tenderness of him she loves, even for the love she bears him--

Therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discovered.

In the alternative, which she afterwards places before her lover with such a charming mixture of conscious delicacy and girlish simplicity, there is that jealousy of female honor which precept and education have infused into her mind, without one real doubt of his truth, or the slightest hesitation in her self-abandonment: for she does not even wait to hear his asseverations;--

But if thou mean'st not well, I do beseech thee
To cease thy suit, and leave me to my grief.

ROMEO.

So thrive my soul--

JULIET.

A thousand times, good night!

But all these flutterings between native impulses and maiden fears become gradually absorbed, swept away, lost, and swallowed up in the depth and enthusiasm of confiding love.

My bounty is as boundless as the sea,
My love as deep; the more I give to you
The more I have--for both are _infinite_!