Volume II Part 3 (2/2)

46. ”Or Cytherea's breath,”--the two thoughts of softest glance, and softest kiss, being thus together a.s.sociated with the flower: but note especially that the Island of Cythera was dedicated to Venus because it was the chief, if not the only Greek island, in which the purple fishery of Tyre was established; and in our own minds should be marked not only as the most southern fragment of true Greece, but the virtual continuation of the chain of mountains which separate the Spartan from the Argive territories, and are the natural home of the brightest Spartan and Argive beauty which is symbolized in Helen.

47. And, lastly, in accepting for the order this name of Cytherides, you are to remember the names of Viola and Giulietta, its two limiting families, as those of Shakspeare's two most loving maids--the two who love simply, and to the death: as distinguished from the greater natures in whom earthly Love has its due part, and no more; and farther still from the greatest, in whom the earthly love is quiescent, or subdued, beneath the thoughts of duty and immortality.

It may be well quickly to mark for you the levels of loving temper in Shakspeare's maids and wives, from the greatest to the least.

48. 1. Isabel. All earthly love, and the possibilities of it, held in absolute subjection to the laws of G.o.d, and the judgments of His will. She is Shakspeare's only 'Saint.' Queen Catherine, whom you might next think of, is only an ordinary woman of trained religious temper:--her maid of honour gives Wolsey a more Christian epitaph.

2. Cordelia. The earthly love consisting in diffused compa.s.sion of the universal spirit; not in any conquering, personally fixed, feeling.

”Mine enemy's dog, Though he had bit me, should have stood that night Against my fire.”

These lines are spoken in her hour of openest direct expression; and are _all_ Cordelia.

Shakspeare clearly does not mean her to have been supremely beautiful in person; it is only her true lover who calls her 'fair' and 'fairest'--and even that, I believe, partly in courtesy, after having the instant before offered her to his subordinate duke; and it is only _his_ scorn of her which makes France fully care for her.

”G.o.ds, G.o.ds, 'tis strange that from their cold neglect My love should kindle to inflamed respect!”

Had she been entirely beautiful, he would have honoured her as a lover should, even before he saw her despised; nor would she ever have been so despised--or by her father, misunderstood. Shakspeare himself does not pretend to know where her girl-heart was,--but I should like to hear how a great actress would say the ”Peace be with Burgundy!”

3. Portia. The maidenly pa.s.sion now becoming great, and chiefly divine in its humility, is still held absolutely subordinate to duty; no thought of disobedience to her dead father's intention is entertained for an instant, though the temptation is marked as pa.s.sing, for that instant, before her crystal strength. Instantly, in her own peace, she thinks chiefly of her lover's;--she is a perfect Christian wife in a moment, coming to her husband with the gift of perfect Peace,--

”Never shall you lie by Portia's side With an unquiet soul.”

She is highest in intellect of all Shakspeare's women, and this is the root of her modesty; her 'unlettered girl' is like Newton's simile of the child on the sea-sh.o.r.e. Her perfect wit and stern judgment are never disturbed for an instant by her happiness: and the final key to her character is given in her silent and slow return from Venice, where she stops at every wayside shrine to pray.

4. Hermione. Fort.i.tude and Justice personified, with unwearying affection.

She is Penelope, tried by her husband's fault as well as error.

5. Virgilia. Perfect type of wife and mother, but without definiteness of character, nor quite strength of intellect enough entirely to hold her husband's heart. Else, she had saved him: he would have left Rome in his wrath--but not her. Therefore, it is his mother only who bends him: but she cannot save.

6. Imogen. The ideal of grace and gentleness; but weak; enduring too mildly, and forgiving too easily. But the piece is rather a pantomime than play, and it is impossible to judge of the feelings of St. Columba, when she must leave the stage in half a minute after mistaking the headless clown for headless Arlecchino.

7. Desdemona, Ophelia, Rosalind. They are under different conditions from all the rest, in having entirely heroic and faultless persons to love. I can't cla.s.s them, therefore,--fate is too strong, and leaves them no free will.

8. Perdita, Miranda. Rather mythic visions of maiden beauty than mere girls.

9. Viola and Juliet. Love the ruling power in the entire character: wholly virginal and pure, but quite earthly, and recognizing no other life than his own. Viola is, however, far the n.o.blest. Juliet will die unless Romeo loves _her_: ”If he be wed, the grave is like to be my wedding bed;” but Viola is ready to die for the happiness of the man who does _not_ love her; faithfully doing his messages to her rival, whom she examines strictly for his sake. It is not in envy that she says, ”Excellently done,--if G.o.d did all.” The key to her character is given in the least selfish of all lover's songs, the one to which the Duke bids her listen:

”Mark it, Cesario,--it is old and plain, The spinsters and the knitters in the sun, And the free maids, that _weave their thread with bones_, Do use to chaunt it.”

(They, the unconscious Fates, weaving the fair vanity of life with death); and the burden of it is--

”My part of Death, no one so true Did share it.”

Therefore she says, in the great first scene, ”Was not _this_ love indeed?”

and in the less heeded closing one, her heart then happy with the knitters in the _sun_,

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