ང་་འཀ

Characters of the Affections.

CHARACTERS in which the affections and the moral qualities predominate over fancy and all that bears the name of passion, are not, when we meet with them in real life,

VOL. II.

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the most striking and interesting, nor the easiest to be understood and appreciated; but they are those on which, in the long run, we repose with increasing confidence and ever-new delight. Such characters are not easily exhibited in the colours of poetry, and when we meet with them there, we are reminded of the effect of Raffaelle's pictures. Sir Joshua Reynolds assures us that it took him three weeks to discover the beauty of the frescos in the Vatican; and many, if they spoke truth, would prefer one of Titian's or Murillo's Virgins to one of Raffaelle's heavenly Madonnas. The less there is of marked expression or vivid colour in a countenance or character, the more difficult to delineate it in such a manner as to captivate and interest us: but when this is done, and done to perfection, it is the miracle of poetry in painting, and of painting in poetry. Only Raffaelle and Correggio have achieved it in one case, and only Shakspeare in the other.

When, by the presence or the agency of some predominant and exciting power, the

feelings and affections are upturned from the depths of the heart, and flung to the surface, the painter or the poet has but to watch the workings of the passions, thus in a manner made visible, and transfer them to his page or his canvas, in colours more or less vigorous: but where all is calm without and around, to dive into the profoundest abysses of character, trace the affections where they lie hidden like the ocean springs, wind into the most intricate involutions of the heart, patiently unravel its most delicate fibres, and in a few graceful touches place before us the distinct and visible result, to do this demanded power of another and a rarer kind.

There are several of Shakspeare's characters which are especially distinguished by this profound feeling in the conception, and subdued harmony of tone in the delineation. To them may be particularly applied the ingenious simile which Goëthe has used to illustrate generally all Shakspeare's characters, when he compares them to the oldfashioned watches in glass cases, which not

only showed the index pointing to the hour, but the wheels and springs within, which set that index in motion.

Imogen, Desdemona, and Hermione, are three women placed in situations nearly similar, and equally endowed with all the qualities which can render that situation striking and interesting. They are all gentle, beautiful, and innocent; all are models of conjugal submission, truth, and tenderness; and all are victims of the unfounded jealousy of their husbands. So far the parallel is close, but here the resemblance ceases; the circumstances of each situation are varied with wonderful skill, and the characters, which are as different as it is possible to imagine, conceived and discriminated with a power of truth and a delicacy of feeling yet more astonishing.

Critically speaking, the character of Hermione is the most simple in point of dramatic effect, that of Imogen is the most varied and complex. Hermione is most distinguished by her magnanimity and her fortitude, Desdemona by her gentleness and

refined grace; while Imogen combines all the best qualities of both, with others which they do not possess; consequently she is, as a character, superior to either; but considered as women, I suppose the preference would depend on individual taste.

Hermione is the heroine of the three first acts of the Winter's Tale. She is the wife of Leontes, king of Sicilia, and though in the prime of beauty and womanhood, is not represented in the first bloom of youth. Her husband on slight grounds suspects her of infidelity with his friend Polixenes, king of Bohemia; the suspicion once admitted, and working on a jealous, passionate, and vindictive mind, becomes a settled and confirmed opinion. Hermione is thrown into a dungeon; her new-born infant is taken from her, and, by the order of her husband, frantic with jealousy, exposed to death on a desert shore; she is herself brought to a public trial for treason and incontinency, defends herself nobly, and is pronounced innocent by the oracle. But at the very moment that she is acquitted,