Puslapio vaizdai
PDF
„ePub“

Arm, arm, ye heavens, against these perjured kings,
A widow calls !-be husband to me, heavens!

And again

O that my tongue were in the thunder's mouth,
Then with a passion would I shake the world!

Not only do her thoughts start into images, but her feelings become persons: grief haunts her as a living presence:

Grief fills the room up of my absent child :
Lies in his bed, walks up and down with me;

Puts on his pretty looks, repeats his words,
Remembers me of all his gracious parts,

Stuffs out his vacant garments with his form;
Then have I reason to be fond of grief.

And death is welcomed as a bridegroom; she sees the visionary monster as Juliet saw "the bloody Tybalt festering in his shroud," and heaps one ghastly image upon another with all the wild luxuriance of a distempered fancy :

O amiable, lovely death!

Thou odoriferous stench! sound rottenness !

Arise forth from the couch of lasting night,

Thou hate and terror to prosperity,

And I will kiss thy detestable bones;

And put my eye-balls in thy vaulty brows;

And ring these fingers with thy household worms;
And stop this gap of breath with fulsome dust;
And be a carrion monster like thyself:

Come, grin on me, and I will think thou smil'st,
And buss thee as thy wife! Misery's love,
O come to me!

Constance, who is a majestic being, is majestic in her very frenzy. Majesty is also the characteristic of Hermione; but what a difference between her silent, lofty, uncomplaining despair, and the eloquent grief of Constance, whose wild lamentations, which come bursting forth clothed in the grandest, the most poetical imagery, not only melt, but absolutely electrify us!

On the whole, it may be said that pride and maternal affection form the basis of the character of Constance, as it is exhibited to us; but that these passions, in an equal degree common to many human beings, assume their peculiar and individual tinge from an extraordinary development of intel

lect and fancy. It is the energy of passion which lends the character its concentrated power, as it is the prevalence of imagination throughout which dilates it into magnificence.

Some of the most splendid poetry to be met with in Shakspeare, may be found in the parts of Juliet and Constance; the most splendid, perhaps, excepting only the parts of Lear and Othello; and for the same reason,-that Lear and Othello as men, and Juliet and Constance as women, are distinguished by the predominance of the same faculties,-passion and imagination.

The sole deviation from history which may be considered as essentially interfering with the truth of the situation, is the entire omission of the character of Guy de Thouars, so that Constance is incorrectly represented as in a state of widowhood, at a period when, in point of fact, she was married. It may be observed, that her marriage took place just at the period of the opening of the drama; that Guy de Thouars played no conspicuous part in the affairs of Bretagne till after the death of Constance, and that the mere pre

sence of this personage, altogether superfluous in the action, would have completely destroyed the dramatic interest of the situation;-and what a situation! One more magnificent was never placed before the mind's eye than that of Constance, when, deserted and betrayed, she stands alone in her despair, amid her false friends and her ruthless enemies!* The image of the mothereagle, wounded and bleeding to death, yet stretched over her young in an attitude of defiance, while all the baser birds of prey are clamouring round her eirie, gives but a faint idea of the moral sublimity of this scene. sidered merely as a poetical or dramatic picture, the grouping is wonderfully fine on one side, the vulture ambition of that mean-souled tyrant, John; on the other, the selfish, calculating policy of Philip; between them, balancing their passions in his hand, the cold, subtle, heartless Legate; the fiery, reckless Falconbridge; the princely Louis; the still unconquered spirit of

Con

[merged small][merged small][ocr errors]

that wrangling queen, old Elinor; the bridal loveliness and modesty of Blanche; the boyish grace and innocence of young Arthur; and Constance in the midst of them, in all the state of her great grief, a grand impersonation of pride and passion, helpless at once and desperate,-form an assemblage of figures, each perfect in its kind, and, taken all together, not surpassed for the variety, force, and splendour of the dramatic and picturesque effect.

[graphic]
« AnkstesnisTęsti »