Mrs. Jameson

“ Miranda is a consistent, natural, human being. Our impression of her nymph-like beauty, her peerless grace, and purity of soul, has a distinct and individual character. Not only is she exquisitely lovely, being what she is, but we are made to feel that she could not possibly be otherwise than as she is portrayed. She has never beheld one of her own sex; she has never caught from society one imitated or artificial grace. The impulses which have come to her, in her enchanted solitude, are of heaven and nature, not of the world and its vanities. ”

“ Lady Macbeth's amazing power of intellect, her inexorable determination of purpose, her superhuman strength of nerve, render her as fearful in herself as her deeds are hateful; yet she is not a mere monster of depravity, with whom we have nothing in common, nor a meteor whose destroying path we watch in ignorant affright and amaze. She is a terrible impersonation of evil passions and mighty powers, never so far removed from our own nature as to be cast beyond the pale of our sympathies; for the woman herself remains a woman to the last—still linked with her sex and with humanity. ”

“ 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. ”

“ 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." ”

“ The strongest expression of reproach he can draw from her, is only, "My lord, I fear, has forgot Britain." When he continues in the same strain, she exclaims in an agony, "Let me hear no more." When he urges her to revenge, she asks, with all the simplicity of virtue, "How should I be revenged?" And when he explains to her how she is to be avenged, her sudden burst of indignation, and her immediate perception of his treachery, and the motive for it, are powerfully fine: it is not only the anger of a woman whose delicacy has been shocked, but the spirit of a princess insulted in her court. ”

“ 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. ”

“ 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! ”

“ Her love for her husband is as deep as Juliet's for her lover, but without any of that headlong vehemence, that fluttering amid hope, fear, and transport—that giddy intoxication of heart and sense, which belongs to the novelty of passion, which we feel once, and but once, in our lives. We see her love for Posthumus acting upon her mind with the force of an habitual feeling, heightened by enthusiastic passion, and hallowed by the sense of duty. She asserts and justifies her affection with energy indeed, but with a calm and wife-like dignity ”

“ And throughout the whole dialogue there is the same overflow of eloquence, the same splendor of diction, the same luxuriance of imagery; yet with an added grandeur, arising from habits of command, from the age, the rank, and the matronly character of Constance. Thus Juliet pours forth her love like a muse in a rapture: Constance raves in her sorrow like a Pythoness possessed with the spirit of pain. The love of Juliet is deep and infinite as the boundless sea: and the grief of Constance is so great, that nothing but the round world itself is able to sustain it. ”

“ Just as our sense of human misery and wickedness being carried to its extreme height, becomes nearly intolerable, "like an engine wrenching our frame of nature from its fixed place," then, like a redeeming angel, she descends to mingle in the scene, "loosening the springs of pity in our eyes," and relieving the impressions of pain and terror by those of admiration and a tender pleasure. For the catastrophe, it is indeed terrible! wondrous terrible! When Lear enters with Cordelia dead in his arms, compassion and awe so seize on all our faculties, that we are left only to silence and to tears. ”

“ Helena, as a woman, is more passionate than imaginative; and, as a character, she bears the same relation to Juliet that Isabel bears to Portia. There is equal unity of purpose and effect, with much less of the glow of imagery and the external coloring of poetry in the sentiments, language, and details. It is passion developed under its most profound and serious aspect; as in Isabella, we have the serious and the thoughtful, not the brilliant side of intellect. Both Helena and Isabel are distinguished by high mental powers, tinged with a melancholy sweetness ”

“ I must allude, but with reluctance, to another character, which I have heard likened to Juliet, and often quoted as the heroine par excellence of amatory fiction—I mean the Julie of Rousseau's Nouvelle Héloïse; I protest against her altogether. As a creation of fancy the portrait is a compound of the most gross and glaring inconsistencies; as false and impossible to the reflecting and philosophical mind, as the fabled Syrens, Hamatryads and Centaurs to the eye of the anatomist. As a woman, Julie belongs neither to nature nor to artificial society ”

“ We take up a play, and ideas come rolling in upon us, like waves impelled by a strong wind. There is in the ebb and flow of Shakspeare's soul all the grandeur of a mighty operation of nature; and when we think or speak of him, it should be with humility where we do not understand, and a conviction that it is rather to the narrowness of our own mind than to any failing in the art of the great magician, that we ought to attribute any sense of weakness, which may assail us during the contemplation of his created worlds. ”

“ In the eagerness of Imogen to meet her husband there is all a wife's fondness, mixed up with the breathless hurry arising from a sudden and joyful surprise; but nothing of the picturesque eloquence, the ardent, exuberant, Italian imagination of Juliet, who, to gratify her impatience, would have her heralds thoughts;—press into her service the nimble pinioned doves, and wind-swift Cupids,—change the course of nature, and lash the steeds of Phœbus to the west. Imogen only thinks "one score of miles, 'twixt sun and sun," slow travelling for a lover, and wishes for a horse with wings ”

“ Contrasted with the deep, silent, patient love of Viola for the Duke, we have the lady-like wilfulness of Olivia; and her sudden passion, or rather fancy, for the disguised page, takes so beautiful a coloring of poetry and sentiment, that we do not think her forward. Olivia is like a princess of romance, and has all the privileges of one; she is, like Portia, high born and high bred, mistress over her servants—but not like Portia, "queen o'er herself." She has never in her life been opposed ”

“ It is her old foster-mother who is the confidante of her love. It is the woman who cherished her infancy, who aids and abets her in her clandestine marriage. Do we not perceive how immediately our impression of Juliet's character would have been lowered, if Shakspeare had placed her in connection with any common-place dramatic waiting-woman?—even with Portia's adroit Nerissa, or Desdemona's Emilia? By giving her the Nurse for her confidante, the sweetness and dignity of Juliet's character are preserved inviolate to the fancy, even in the midst of all the romance and wilfulness of passion. ”

“ I come now to that capacity for warm and generous affection, that tenderness of heart, which [Pg 65] render Portia not less lovable as a woman, than admirable for her mental endowments. The affections are to the intellect, what the forge is to the metal; it is they which temper and shape it to all good purposes, and soften, strengthen, and purify it. What an exquisite stroke of judgment in the poet, to make the mutual passion of Portia and Bassanio, though unacknowledged to each other, anterior to the opening of the play! ”

“ It is not by exposing folly and scorning fools, that we make other people wiser, or ourselves happier. But to soften the heart by images and examples of the kindly and generous affections—to show how the human soul is disciplined and perfected by suffering—to prove how much of possible good may exist in things evil and perverted—how much hope there is for those who despair—how much comfort for those whom a heartless world has taught to contemn both others and themselves, and so put barriers to the hard, cold, selfish, mocking, and levelling spirit of the day—O would I could do this! ”

“ Romeo, then, is introduced to us with perfect truth of costume, as the thrall of a dreaming, fanciful passion for the scornful Rosaline, who had forsworn to love; and on her charms and coldness, and on the power of love generally, he descants to his companions in pretty phrases, quite in the style and taste of the day. [24]
Why then, O brawling love, O loving hate,
O any thing, of nothing first create!
O heavy lightness, serious vanity,
Mis-shapen chaos of well-seeming forms!
Love is a smoke raised with the fume of sighs;
Being purg'd, a fire sparkling in lover's eyes ”

“ Lady Anne is just one of those women whom we see walking in crowds through the drawing-rooms of the world—the puppets of habit, the fools of fortune, without any particular inclination for vice, or any steady principle of virtue; whose actions are inspired by vanity, not affection, and regulated by opinion, not by conscience: who are good while there is no temptation to be otherwise, and ready victims of the first soliciting to evil. ”

“ We come to Imogen. Others of Shakspeare's characters are, as dramatic and poetical conceptions, more striking, more brilliant, more powerful; but of all his women, considered as individuals rather than as heroines, Imogen is the most perfect. Portia and Juliet are pictured to the fancy with more force of contrast, more depth of light and shade; Viola and Miranda, with more aerial delicacy of outline; but there is no female portrait that can be compared to Imogen as a woman—none in which so great a variety of tints are mingled together into such perfect harmony. ”

“ She is thinking aloud; it is the young heart "triumphing to itself in words." In the midst of all the vehemence with which she calls upon the night to bring Romeo to her arms, there is something so almost infantine in her perfect simplicity, so playful and fantastic in the imagery and language, that the charm of sentiment and innocence is thrown over the whole; and her impatience, to use her own expression, is truly that of "a child before a festival, that hath new robes and may not wear them." ”

“ As the vulgar idea of a Juliet—that all-beautiful and heaven-gifted child of the south—is merely a love-sick girl in white satin, so the common-place idea of Lady Macbeth, though endowed with the rarest powers, the loftiest energies, and the profoundest affections, is nothing but a fierce, cruel woman, brandishing a couple of daggers, and inciting her husband to butcher a poor old king.
Even those who reflect more deeply are apt to consider rather the mode in which a certain character is manifested, than the combination of abstract qualities making up that individual human being ”

“ Like a strain of sad sweet music which comes floating by us on the wings of night and silence, and which we rather feel than hear—like the exhalation of the violet dying even upon the sense it charms—like the snow-flake dissolved in air before it has caught a stain of earth—like the light surf severed from the billow, which a breath disperses—such is the character of Ophelia: so exquisitely delicate, it seems as if a touch would profane it; so sanctified in our thoughts by the last and worst of human woes, that we scarcely dare to consider it too deeply. ”

“ The wronged but self-sustained virtue of Hermione commands our veneration; the injured and defenceless innocence of Desdemona so wrings the soul, "that all for pity we could die."
Desdemona, as a character, comes nearest to Miranda, both in herself as a woman, and in the perfect simplicity and unity of the delineation; the figures are differently draped—the proportions are the same. There is the same modesty, tenderness, and grace; the same artless devotion in the affections, the same predisposition to wonder, to pity, to admire; the same almost ethereal refinement and delicacy ”

“ Portia, Isabella, Beatrice, and Rosalind, may be classed together, as characters of intellect, because, when compared with others, they are at once distinguished by their mental superiority. In Portia, it is intellect kindled into romance by a poetical imagination; in Isabel, it is intellect elevated by religious principle; in Beatrice, intellect animated by spirit; in Rosalind, intellect softened by sensibility. The wit which is lavished on each is profound, or pointed, or sparkling, or playful—but always feminine; like spirits distilled from flowers, it always reminds us of its origin ”

“ Our interest is thus awakened for the lovers from the very first; and what shall be said of the casket-scene with Bassanio, where every line which Portia speaks is so worthy of herself, so full of sentiment and beauty, and poetry and passion? Too naturally frank for disguise, too modest to confess her depth of love while the issue of the trial remains in suspense, the conflict between love and fear, and maidenly dignity, cause the most delicious confusion that ever tinged a woman's cheek, or dropped in broken utterance from her lips. ”

“ Romeo and Juliet are pictured lovely in death as in life; the sympathy they inspire does not oppress us with that suffocating sense of horror, which in the altered tragedy makes the fall of the curtain a relief; but all pain is lost in the tenderness and poetic beauty of the picture. Romeo's last speech over his bride is not like the raving of a disappointed boy: in its deep pathos, its rapturous despair, its glowing imagery, there is the very luxury of life and love. ”

“ Such a woman as Portia would have studied him; Juliet would have pitied him; Rosalind would have turned him over with a smile to the melancholy Jacques; Beatrice would have laughed at him outright; Isabel would have reasoned with him; Miranda could but have wondered at him: but Ophelia loves him. Ophelia, the young, fair, inexperienced girl, facile to every impression, fond in her simplicity, and credulous in her innocence, loves Hamlet ”

“ 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. ”