Chapter 3

Yes, many such; the development of affection and sentiment is more quiet and unobtrusive than that of passion and intellect, and less observed; it is more common, too, therefore less remarked; but in women it generally gives the prevailing tone to the character, except where vanity has been made the ruling motive.

MEDON.

Except! I admire your exception! You make in this case the rule the exception. Look round the world.

ALDA.

You are not one of those with whom that common phrase "the world" signifies the circle, whatever and wherever that may be, which limits our individual experience--as a child considers the visible horizon as the bounds which shut in the mighty universe. Believe me, it is a sorry, vulgar kind of wisdom, if it be wisdom--a shallow and confined philosophy, if it be philosophy--which resolves all human motives and impulses into egotism in one sex, and vanity in the other. Such may be the way of _the world_, as it is called--the result of a very artificial and corrupt state of society, but such is not general nature, nor female nature. Would you see the kindly, self-sacrificing affections developed under their most honest but least poetical guise--displayed without any mixture of vanity, and unchecked in the display by any fear of being thought vain?--you will see it, not among the prosperous, the high-born, the educated, "far, far removed from want, and grief, and fear," but among the poor, the miserable, the perverted--among those habitually exposed to all influences that harden and deprave.

MEDON.

I believe it--nay, I know it; but how should _you_ know it, or anything of the strange places of refuge which truth and nature have found in the two extremes of society?

ALDA.

It is no matter what I have seen or known; and for the two extremes of society, I leave them to the author of Paul Clifford, and that most exquisite painter of living manners, Mrs. Gore. St. Giles's is no more _nature_ than St. James's. I wanted character in its essential truth, not mortified by particular customs, by fashion, by situation. I wished to illustrate the manner in which the affections would naturally display themselves in women--whether combined with high intellect, regulated by reflection, and elevated by imagination, or existing with perverted dispositions, or purified by the moral sentiments. I found all these in Shakspeare; his delineations of women, in whom the virtuous and calm affections predominate, and triumph over shame, fear, pride, resentment, vanity, jealousy,--are particularly worthy of consideration, and perfect in their kind, because so quiet in their effect.

MEDON.

Several critics have remarked in general terms on those beautiful pictures of female friendship, and of the generous affection of women for each other, which we find in Shakspeare. Other writers, especially dramatic writers, have found ample food for wit and satiric delineation in the littleness of feminine spite and rivalry, in the mean spirit of competition, the petty jealousy of superior charms, the mutual slander and mistrust, the transient leagues of folly or selfishness miscalled friendship--the result of an education which makes vanity the ruling principle, and of a false position in society. Shakspeare, who looked upon women with the spirit of humanity, wisdom, and deep love, has done justice to their natural good tendencies and kindly sympathies. In the friendship of Beatrice and Hero, of Rosalind and Celia; in the description of the girlish attachment of Helena and Hermia, he has represented truth and generous affection rising superior to all the usual sources of female rivalry and jealousy; and with such force and simplicity, and obvious self-conviction, that he absolutely forces the same conviction on us.

ALDA.

Add to these the generous feeling of Viola for her rival Olivia; of Julia for her rival Sylvia; of Helena for Diana; of the old Countess for Helena, in the same play; and even the affection of the wicked queen in Hamlet for the gentle Ophelia, which prove that Shakspeare thought--(and when did he ever think other than the truth?)--that women have by nature "virtues that are merciful," and can be just, tender, and true to their sister women, whatever wits and worldlings, and satirists and fashionable poets, may say or sing of us to the contrary. There is another thing which he has most deeply felt and beautifully represented--the distinction between masculine and feminine _courage_. A man's courage is often a mere animal quality, and in its most elevated form a point of honor. But a woman's courage is always a virtue, because it is not required of us, it is not one of the means through which we seek admiration and applause; on the contrary, we are courageous through our affections and mental energies, not through our vanity or our strength. A woman's heroism is always the excess of sensibility. Do you remember Lady Fanshawe putting on a sailor's jacket, and his "blue thrum cap," and standing at her husband's side, unknown to him during a sea-fight? There she stood, all bathed in tears, but fixed to that spot. Her husband's exclamation when he turned and discovered her--"Good God, that love should make such a change as this!" is applicable to all the acts of courage which we read or hear of in women. This is the courage of Juliet, when, after summing up all the possible consequences of her own act, till she almost maddens herself with terror, she drinks the sleeping potion; and for that passive fortitude which is founded in piety and pure strength of affection, such as the heroism of Lady Russel and Gertrude de Wart, he has given us some of the noblest modifications of it in Hermione, in Cordelia, in Imogen, in Katherine of Arragon.

MEDON.

And what do you call the courage of Lady Macbeth?--

My hands are of your color, but I shame To wear a heart so white.

And again,

A little water clears us of this deed, How easy is it then!

If this is not mere masculine indifference to blood and death, mere firmness of nerve, what is it?

ALDA.

Not _that_, at least, which apparently you deem it; you will find, if you have patience to read me to the end, that I have judged Lady Macbeth very differently. Take these frightful passages with the context--take the whole situation, and you will see that it is no such thing. A friend of mine truly observed, that if Macbeth had been a ruffian without any qualms of conscience, Lady Macbeth would have been the one to shrink and tremble; but that which quenched _him_ lent her fire. The absolute necessity for self-command, the strength of her reason, and her love for her husband, combine at this critical moment to conquer all fear but the fear of detection, leaving her the full possession of her faculties. Recollect that the same woman who speaks with such horrible indifference of a little water clearing the blood-stain from her hand, sees in imagination that hand forever reeking, forever polluted: and when reason is no longer awake and paramount over the violated feelings of nature and womanhood, we behold her making unconscious efforts to wash out that "damned spot," and sighing, heart-broken, over that little hand which all the perfumes of Arabia will never sweeten more.

MEDON.

I hope you have given her a place among the women in whom the tender affections and moral sentiments predominate.

ALDA.

You laugh; but, jesting apart, perhaps it would have been a more accurate classification than placing her among the historical characters.

MEDON.

Apropos to the historical characters, I hope you have refuted that _insolent_ assumption, (shall I call it?) that Shakspeare tampered inexcusably with the truth of history. He is the truest of all historians. His anachronisms always remind me of those in the fine old Italian pictures; either they are insignificant, or, if properly considered, are really beauties; for instance, every one knows that Correggio's St. Jerome presenting his books to the Virgin, involves half-a-dozen anachronisms,--to say nothing of that heavenly figure of the Magdalen, in the same picture, kissing the feet of the infant Saviour. Some have ridiculed, some have excused this strange combination of inaccuracies but is it less one of the divinest pieces of sentiment and poetry that ever breathed and glowed from the canvas? You remember too the famous nativity by some Neapolitan painter, who has placed Mount Vesuvius and the Bay of Naples in the background? In these and a hundred other instances, no one seems to feel that the apparent absurdity involves the highest truth, and that the sacred beings thus represented, if once allowed as objects of faith and worship, are eternal under every aspect, and independent of all time and all locality. So it is with Shakspeare and his anachronisms. The learned scorn of Johnson and some of his brotherhood of commentators, and the eloquent defence of Schlegel, seem in this case superfluous. If he chose to make the Delphic oracle and Julio Romano contemporary--what does it signify? he committed no anachronisms of character. He has not metamorphosed Cleopatra into a turtle-dove, nor Katherine of Arragon into a sentimental heroine. He is true to the spirit and even to the _letter_ of history; where he deviates from the latter, the reason may be found in some higher beauty and more universal truth.

ALDA.

I have proved this, I think, by placing parallel with the dramatic character all the historic testimony I could collect relative to Constance, Cleopatra, Katherine of Arragon, &c.

MEDON.

Analyzing the character of Cleopatra must have been something like catching a meteor by the tail, and making it sit for its picture.

ALDA.

Something like it, in truth; but those of Miranda and Ophelia were more embarrassing, because they seemed to defy all analysis. It was like intercepting the dew-drop or the snow-flake ere it fell to earth, and subjecting it to a chemical process.

MEDON.

Some one said the other day that Shakspeare had never drawn a coquette. What is Cleopatra but the empress and type of all the coquettes that ever were--or are? She would put Lady ---- herself to school. But now for the moral.

ALDA.

The moral!--of what?

MEDON.

Of your book. It has a moral, I suppose.

ALDA.

It has indeed a very deep one, which those who seek will find. If now I have answered all your considerations and objections, and sufficiently explained my own views, may I proceed?

MEDON.

If you please--I am prepared to listen in earnest.

FOOTNOTES:

[1] See Foster's Essay on the application of the word _romantic_--_Essays_, vol. I

[2] Correspondence, vol. iii.

[3] An Oriental proverb

[4] In our own time, Madame de Stael, Mrs. Somerville, Harriet Martineau, Mrs. Marcet; we need not go back to the Rolands and Agnesi, nor even to our own Lucy Hutchinson.

CHARACTERS OF INTELLECT.

PORTIA.

We hear it asserted, not seldom by way of compliment to us women, that intellect is of no sex. If this mean that the same faculties of mind are common to men and women, it is true; in any other signification it appears to me false, and the reverse of a compliment. The intellect of woman bears the same relation to that of man as her physical organization;--it is inferior in power, and different in kind. That certain women have surpassed certain men in bodily strength or intellectual energy, does not contradict the general principle founded in nature. The essential and invariable distinction appears to me this: in men the intellectual faculties exist more self-poised and self-directed--more independent of the rest of the character, than we ever find them in women, with whom talent, however predominant, is in a much greater degree modified by the sympathies and moral qualities.

In thinking over all the distinguished women can at this moment call to mind, I recollect but one, who, in the exercise of a rare talent, belied her sex, but the moral qualities had been first perverted.[5] It is from not knowing, or not allowing this general principle, that men of genius have committed some signal mistakes. They have given us exquisite and just delineations of the more peculiar characteristics of women, as modesty, grace, tenderness; and when they have attempted to portray them with the powers common to both sexes, as wit, energy, intellect, they have blundered in some respect; they could form no conception of intellect which was not masculine, and therefore have either suppressed the feminine attributes altogether and drawn coarse caricatures, or they have made them completely artificial.[6] Women distinguished for wit may sometimes appear masculine and flippant, but the cause must be sought elsewhere than in nature, who disclaims all such. Hence the witty and intellectual ladies of our comedies and novels are all in the fashion of some particular time; they are like some old portraits which can still amuse and please by the beauty of the workmanship, in spite of the graceless costume or grotesque accompaniments, but from which we turn to worship with ever new delight the Floras and goddesses of Titian--the saints and the virgins of Raffaelle and Domenichino. So the Millamants and Belindas, the Lady Townleys and Lady Teazles are out of date, while Portia and Rosalind, in whom nature and the feminine character are paramount, remain bright and fresh to the fancy as when first created.

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; it is a volatile essence, sweet as powerful; and to pursue the comparison a step further the wit of Portia is like ottar of roses, rich and concentrated; that of Rosalind, like cotton dipped in aromatic vinegar; the wit of Beatrice is like sal volatile; and that of Isabel, like the incense wafted to heaven. Of these four exquisite characters, considered as dramatic and poetical conceptions, it is difficult to pronounce which is most perfect in its way, most admirably drawn, most highly finished. But if considered in another point of view, as women and individuals, as breathing realities, clothed in flesh and blood, I believe we must assign the first rank to Portia, as uniting in herself in a more eminent degree than the others, all the noblest and most lovable qualities that ever met together in woman; and presenting a complete personification of Petrarch's exquisite epitome of female perfection:--

Il vago spirito ardento, E'n alto intelletto, un puro core.

It is singular, that hitherto no critical justice has been done to the character of Portia; it is yet more wonderful, that one of the finest writers on the eternal subject of Shakspeare and his perfections, should accuse Portia of pedantry and affectation, and confess she is not a great favorite of his--a confession quite worthy of him, who avers his predilection for servant-maids, and his preference of the Fannys and the Pamelas over the Clementinas and Clarissas.[7] Schlegel, who has given several pages to a rapturous eulogy on the Merchant of Venice, simply designates Portia as a "rich, beautiful, clever heiress:"--whether the fault lie in the writer or translator, I do protest against the word clever.[8] Portia _clever!_ what an epithet to apply to this heavenly compound of talent, feeling, wisdom, beauty, and gentleness! Now would it not be well, if this common and comprehensive word were more accurately defined, or at least more accurately used? It signifies properly, not so much the possession of high powers, as dexterity in the adaptation of certain faculties (not necessarily of a high order) to a certain end or aim--not always the worthiest. It implies something common-place, inasmuch as it speaks the presence of the _active_ and _perceptive_, with a deficiency of the _feeling_ and _reflective_ powers; and applied to a woman, does it not almost invariably suggest the idea of something we should distrust or shrink from, if not allied to a higher nature? The profligate French women, who ruled the councils of Europe in the middle of the last century, were clever women; and that _philosopheress_ Madame du Chatelet, who managed, at one and the same moment, the thread of an intrigue, her cards at piquet, and a calculation in algebra, was a very clever woman! If Portia had been created as a mere instrument to bring about a dramatic catastrophe--if she had merely detected the flaw in Antonio's bond, and used it as a means to baffle the Jew, she might have been pronounced a clever woman. But what Portia does, is forgotten in what she _is_. The rare and harmonious blending of energy, reflection, and feeling, in her fine character, make the epithet _clever_ sound like a discord as applied to _her_, and place her infinitely beyond the slight praise of Richardson and Schlegel, neither of whom appear to have fully comprehended her.

These and other critics have been apparently so dazzled and engrossed by the amazing character of Shylock, that Portia has received less than justice at their hands; while the fact is, that Shylock is not a finer or more finished character in his way, than Portia is in hers. These two splendid figures are worthy of each other; worthy of being placed together within the same rich framework of enchanting poetry, and glorious and graceful forms. She hangs beside the terrible, inexorable Jew, the brilliant lights of her character set off by the shadowy power of his, like a magnificent beauty-breathing Titian by the side of a gorgeous Rembrandt.

Portia is endued with her own share of those delightful qualities, which Shakspeare has lavished on many of his female characters; but besides the dignity, the sweetness, and tenderness which should distinguish her sex generally, she is individualized by qualities peculiar to herself; by her high mental powers, her enthusiasm of temperament, her decision of purpose, and her buoyancy of spirit. These are innate; she has other distinguishing qualities more external, and which are the result of the circumstances in which she is placed. Thus she is the heiress of a princely name and countless wealth; a train of obedient pleasures have ever waited round her; and from infancy she has breathed an atmosphere redolent of perfume and blandishment Accordingly there is a commanding grace, a highbred, airy elegance, a spirit of magnificence in all that she does and says, as one to whom splendor had been familiar from her very birth. She treads as though her footsteps had been among marble palaces, beneath roofs of fretted gold, o'er cedar floors and pavements of jasper and porphyry--amid gardens full of statues, and flowers, and fountains, and haunting music. She is full of penetrative wisdom, and genuine tenderness, and lively wit; but as she has never known want, or grief, or fear, or disappointment, her wisdom is without a touch of the sombre or the sad; her affections are all mixed up with faith, hope and joy; and her wit has not a particle of malevolence or causticity.

It is well known that the Merchant of Venice is founded on two different tales; and in weaving together his double plot in so masterly a manner, Shakspeare has rejected altogether the character of the astutious Lady of Belmont with her magic potions, who figures in the Italian novel. With yet more refinement, he has thrown out all the licentious part of the story, which some of his contemporary dramatists would have seized on with avidity, and made the best or worst of it possible; and he has substituted the trial of the caskets from another source.[9] We are not told expressly where Belmont is situated; but as Bassanio takes ship to go thither from Venice, and as we find them afterwards ordering horses from Belmont to Padua, we will imagine Portia's hereditary palace as standing on some lovely promontory between Venice and Trieste, overlooking the blue Adriatic, with the Friuli mountains or the Euganean hills for its background, such as we often see in one of Claude's or Poussin's elysian landscapes. In a scene, in a home like this, Shakspeare, having first exorcised the original possessor, has placed his Portia; and so endowed her, that all the wild, strange, and moving circumstances of the story, become natural, probable, and necessary in connexion with her. That such a woman should be chosen by the solving of an enigma, is not surprising: herself and all around her, the scene, the country, the age in which she is placed, breathe of poetry, romance, and enchantment.

From the four quarters of the earth they come To kiss this shrine, this mortal breathing saint The Hyrcanian desert, and the vasty wilds Of wide Arabia, are as thoroughfares now, For princes to come view fair Portia; The watery kingdom, whose ambitious head Spits in the face of heaven is no bar To stop the foreign spirits; but they come As o'er a brook to see fair Portia.

The sudden plan which she forms for the release of her husband's friend, her disguise, and her deportment as the young and learned doctor, would appear forced and improbable in any other woman but in Portia are the simple and natural result of her character.[10] The quickness with which she perceives the legal advantage which may be taken of the circumstances; the spirit of adventure with which she engages in the masquerading, and the decision, firmness, and intelligence with which she executes her generous purpose, are all in perfect keeping, and nothing appears forced--nothing as introduced merely for theatrical effect.

But all the finest parts of Portia's character are brought to bear in the trial scene. There she shines forth all her divine self. Her intellectual powers, her elevated sense of religion, her high honorable principles, her best feelings as a woman, are all displayed. She maintains at first a calm self-command, as one sure of carrying her point in the end; yet the painful heart-thrilling uncertainty in which she keeps the whole court, until suspense verges upon agony, is not contrived for effect merely; it is necessary and inevitable. She has two objects in view; to deliver her husband's friend, and to maintain her husband's honor by the discharge of his just debt, though paid out of her own wealth ten times over. It is evident that she would rather owe the safety of Antonio to any thing rather than the legal quibble with which her cousin Bellario has armed her, and which she reserves as a last resource. Thus all the speeches addressed to Shylock in the first instance, are either direct or indirect experiments on his temper and feelings. She must be understood from the beginning to the end as examining, with intense anxiety, the effect of her own words on his mind and countenance; as watching for that relenting spirit, which she hopes to awaken either by reason or persuasion. She begins by an appeal to his mercy, in that matchless piece of eloquence, which, with an irresistible and solemn pathos, falls upon the heart like "gentle dew from heaven:"--but in vain; for that blessed dew drops not more fruitless and unfelt on the parched sand of the desert, than do these heavenly words upon the ear of Shylock. She next attacks his avarice:

Shylock, there's _thrice_ thy money offered thee!

Then she appeals, in the same breath, both to his avarice and his pity:

Be merciful! Take thrice thy money. Bid me tear the bond.