love might build all the higher and firmer for having its foun、 dations laid deep in respect. This largeness of heart and liberality of thought often comes out in their writings, and that too whether in dealing with ideal or with actual women ; which suggests that in what they chose to create they were a good deal influenced by what they were accustomed to see. For, in a thing that works so much from the sympathies, it could hardly be but that they reflected the mind and spirit of their age. Of this the aptest illustration that my reading has lighted upon is in Ben Jonson's lines on the Countess of Bedford, describing "what kind of creature I could most desire to honour, serve, and love":

I meant to make her fair, and free, and wise,
Of greatest blood, and yet more good than great;
I meant the day-star should not brighter rise,
Nor lend like influence from his iucent seat:
I meant she should be courteous, facile, sweet,
Hating that solemn vice of greatness, pride;
I meant each softest virtue there should meet,
Fit in that softer bosom to reside:

Only a learned and a manly soul

I purposed her; that should with even powers
The rock, the spindle, and the shears control
Of Destiny, and spin her own free hours.

That Shakespeare fully shared in this magnanimous bravery of sentiment, we need no further proof than is furnished in the heroine of this play. We can scarce call Hermione sweet or gentle, though she is both; she is a noble woman, one whom, even in her greatest anguish, we hardly dare to pity. The whole figure is replete with classic grace, is shaped and finished in the highest style of classic art. As she acts the part of a statue in the play, so she has a statue-like calmness and firmness of soul. A certain austere and solid sweetness pervades her whole de

meanour, and seems, as it were, the essential form of her life. It is as if some masterpiece of ancient sculpture had warmed and quickened into life from its fulness of beauty and expression.

Appearing at first as the cheerful hostess of her husband's friend, and stooping from her queenly elevation to the most winning affabilities, her behaviour rises in dignity as her sorrow deepens. With an equal sense of what is due to the King as her husband, and to herself as a woman, a wife, and a mother, she knows how to reconcile all these demands; she therefore resists without violence, and submits without weakness. And what her wise spirit sees to be fit and becoming, that she always has strength and steadiness of character to do: hence, notwithstanding the insults and hardships wantonly put upon her, she still preserves the smoothnesses of peace; is never betrayed into the least sign of anger or impatience or resentment, but maintains, throughout, perfect order and fitness and proportion in act and speech the charge, so dreadful in itself, and so cruel in its circumstances, neither rouses her passions, as it would Paulina's, nor stuns her sensibilities, as in the case of Desdemona; but, like the sinking of lead in the ocean's bosom, it goes to the depths without ruffling the surface of her soul. Her situation is indeed full of pathos, a pathos the more deeply-moving to others, that it stirs no tumults in her; for her nature is manifestly fitted up and furnished with all tender and gentle and womanly feelings; only she has the force of mind to control them, and keep them all in the right place and degree. "They are the patient sorrows that touch nearest." And so, under the worst that can befall, she remains within the region of herself, calm and serenely beautiful, stands firm, yet full of grace, in the austere strengths

:

of reason and conscious rectitude. And when, at her terrible wrongs and sufferings, all hearts are shaken, all eyes wet, but her own, the impression made by her stout-hearted fortitude is of one whose pure, tranquil, deep-working breast is the home of sorrows too big for any eye-messengers to report :

Calm pleasures there abide, majestic pains.

The delineation keeps the same tone and texture through all its parts, but the sense of it is specially concentrated in what she says when the King winds up his transport of insane fury by ordering her off to prison:

Good my lords,

I am not prone to weeping, as our sex
Commonly are; the want of which vain dew

Perchance shall dry your pities; but I have

That honourable grief lodged here which burns
Worse than tears drown. 'Beseech you all, my lords,

With thoughts so qualified as your charities

Shall best instruct you, measure me; and so,

The King's will be perform'd!-'Beseech your Highness,
My women may be with me; for, you see,

There

no cause when you shall know your mistress

Has deserved prison, then abound in tears

And her character is answerably reflected in the minds of the King's chief counsellors, whose very swords seem stirring with life in the scabbards, and yearning to leap forth and vindicate the honour of their beloved Queen, but that awe of the crown restrains them.

Her last speech at the trial is, I am apt to think, the solidest piece of eloquence in the language. It is like a piece of the finest statuary marble, chiselled into perfect form; so

compact of grain, that you cannot crush it into smaller space; while its effect is as wholesome and bracing as the atmosphere of an iced mountain when tempered by the Summer sun. The King threatens her with death, and she replies,

Sir, spare your threats:

The bug which you would fright me with I seek.

To me can life be no commodity:

The crown and comfort of my life, your favour,

I do give lost; for I do feel it gone,

But know not how it went: my second joy,
And first-fruits of my body, from his presence
I'm barr'd like one infectious: my third comfort,
Starr'd most unluckily, is from my breast,

The innocent milk in its most innocent mouth,
Haled out to murder: myself on every post
Proclaim'd a strumpet; with immodest hatred,
The child-bed privilege denied, which 'longs
To women of all fashion: lastly, hurried
Here to this place, i' the open air, before
I have got strength of limit. Now, my liege,
Tell me what blessings I have here alive,
That I should fear to die. Therefore, proceed.
But yet hear this; mistake me not: My life,
I prize it not a straw; but for mine honour,
Which I would free, if I shall be condemn'd
Upon surmises, all proofs sleeping else

But what your jealousies awake, I tell you,
'Tis rigour, and not law.

Noble simplicity of the olden time, when the best and purest of women, with the bravest men in presence, thought no shame to hear themselves speaking such plain honest words as these!

The Queen's long concealing of herself has been censured by some as repugnant to nature. Possibly they may think it somewhat strained and theatrical, but it is not so: the woman is but true to herself, in this matter, and to the solid

and self-poised repose in which her being dwells. So that the thing does not seem repugnant to nature as individualized by her reason and will; nor is her character herein more above or out of nature than the proper ideal of art abundantly warrants. For to her keen sensibility of honour the King's treatment is literally an infinite wrong; nor does its cruelty more wound her affection, than its meanness alienates her respect; and one so strong to bear injury might well be equally strong to remember it. Therewithal she knows full well that, in so delicate an instrument as married life, if one string be out of tune the whole is ajar, and will yield no music for her, therefore, all things must be right, else none are so. And she is both too clear of mind and too upright of heart to put herself where she cannot be precisely what the laws of propriety and decorum require her to seem. Accordingly, when she does forgive, the forgiveness is simply perfect; the breach that has been so long a-healing is at length completely healed; for to be whole and entire in whatever she does, is both an impulse of nature and a law of conscience with her. When the King was wooing her, she held him off three months, which he thought unreasonably long; but the reason why she did so is rightly explained when, for his inexpressible sin against her, she has locked herself from his sight sixteen years, leaving him to mourn and repent. Moreover, with her severe chastity of principle, the reconciliation to her husband must begin there where the separation grew. Thus it was for Perdita to restore the parental unity which her being represents, but of which she had occasioned the breaking.

Such is Hermione, in her "proud submission," her "dignified obedience," with her Roman firmness and integrity of soul, heroic in strength, heroic in gentleness, the queenliest of women, the womanliest of queens. She is perhaps the