IMOGEN.
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. In her, we have all the fervor of youthful tenderness, all the romance of youthful fancy, all the enchantment of ideal grace,—the bloom of beauty, the brightness of intellect and the dignity of rank, taking a peculiar hue from the conjugal character which is shed over all, like a consecration and a holy charm. In Othello and the Winter's Tale, the interest excited for Desdemona and Hermione is divided with others: but in Cymbeline, Imogen is the angel of light, whose lovely presence pervades and animates the whole piece. The character altogether may be pronounced finer, more complex in its elements, and more fully developed in all its parts, than those of Hermione and Desdemona; but the position in which she is placed is not, I think, so fine—at least, not so effective, as a tragic situation.
Shakspeare has borrowed the chief circumstances of Imogen's story from one of Boccaccio's tales.[55]
A company of Italian merchants who are assembled in a tavern at Paris, are represented as conversing on the subject of their wives: all of them express themselves with levity, or skepticism, or scorn, on the virtue of women, except a young Genoese merchant named Bernabo, who maintains, that by the especial favor of Heaven he possesses a wife no less chaste than beautiful. Heated by the wine, and excited by the arguments and the coarse raillery of another young merchant, Ambrogiolo, Bernabo proceeds to enumerate the various perfections and accomplishments of his Zinevra. He praises her loveliness, her submission, and her discretion—her skill in embroidery, her graceful service, in which the best trained page of the court could not exceed her; and he adds, as rarer accomplishments, that she could mount a horse, fly a hawk, write and read, and cast up accounts, as well as any merchant of them all. His enthusiasm only excites the laughter and mockery of his companions, particularly of Ambrogiolo, who, by the most artful mixture of contradiction and argument, rouses the anger of Bernabo, and he at length exclaims, that he would willingly stake his life, his head, on the virtue of his wife. This leads to the wager which forms so important an incident in the drama. Ambrogiolo bets one thousand florins of gold against five thousand, that Zinevra, like the rest of her sex, is accessible to temptation—that in less than three months he will undermine her virtue, and bring her husband the most undeniable proofs of her falsehood. He sets off for Genoa, in order to accomplish his purpose; but on his arrival, all that he learns, and all that he beholds with his own eyes, of the discreet and noble character of the lady, make him despair of success by fair means; he therefore has recourse to the basest treachery. By bribing an old woman in the service of Zinevra, he is conveyed to her sleeping apartment, concealed in a trunk, from which he issues in the dead of the night; he takes note of the furniture of the chamber, makes himself master of her purse, her morning robe, or cymar, and her girdle, and of a certain mark on her person. He repeats these observations for two nights, and, furnished with these evidences of Zinevra's guilt, he returns to Paris, and lays them before the wretched husband. Bernabo rejects every proof of his wife's infidelity except that which finally convinces Posthumus. When Ambrogiolo mentions the "mole, cinque-spotted," he stands like one who has received a poniard in his heart; without further dispute he pays down the forfeit, and filled with rage and despair both at the loss of his money and the falsehood of his wife, he returns towards Genoa; he retires to his country house, and sends a messenger to the city with letters to Zinevra, desiring that she would come and meet him, but with secret orders to the man to despatch her by the way. The servant prepares to execute his master's command, but overcome by her entreaties for mercy, and his own remorse, he spares her life, on condition that she will fly from the country forever. He then disguises her in his own cloak and cap, and brings back to her husband the assurance that she is killed, and that her body has been devoured by the wolves. In the disguise of a mariner, Zinevra then embarks on board a vessel bound to the Levant, and on arriving at Alexandria, she is taken into the service of the Sultan of Egypt, under the name of Sicurano; she gains the confidence of her master, who, not suspecting her sex, sends her as captain of the guard which was appointed for the protection of the merchants at the fair of Acre. Here she accidentally meets Ambrogiolo, and sees in his possession the purse and girdle, which she immediately recognizes as her own. In reply to her inquiries, he relates with fiendish exultation the manner in which he had obtained possession of them, and she persuades him to go back with her to Alexandria. She then sends a messenger to Genoa in the name of the Sultan, and induces her husband to come and settle in Alexandria. At a proper opportunity, she summons both to the presence of the Sultan, obliges Ambrogiolo to make a full confession of his treachery, and wrings from her husband the avowal of his supposed murder of herself: then falling at the feet of the Sultan discovers her real name and sex, to the great amazement of all. Bernabo is pardoned at the prayer of his wife, and Ambrogiolo is condemned to be fastened to a stake, smeared with honey, and left to be devoured by the flies and locusts. This horrible sentence is executed; while Zinevra, enriched by the presents of the Sultan, and the forfeit wealth of Ambrogiolo, returns with her husband to Genoa, where she lives in great honor and happiness, and maintains her reputation of virtue to the end of her life.
These are the materials from which Shakspeare has drawn the dramatic situation of Imogen. He has also endowed her with several of the qualities which are attributed to Zinevra; but for the essential truth and beauty of the individual character, for the sweet coloring of pathos, and sentiment, and poetry interfused through the whole, he is indebted only to nature and himself.
It would be a waste of words to refute certain critics who have accused Shakspeare of a want of judgment in the adoption of the story; of having transferred the manners of a set of intoxicated merchants and a merchant's wife to heroes and princesses, and of having entirely destroyed the interest of the catastrophe.[56] The truth is, that Shakspeare has wrought out the materials before him with the most luxuriant fancy and the most wonderful skill. As for the various anachronisms, and the confusion of names, dates, and manners, over which Dr. Johnson exults in no measured terms, the confusion is nowhere but in his own heavy obtuseness of sentiment and perception, and his want of poetical faith. Look into the old Italian poets, whom we read continually with still increasing pleasure; does any one think of sitting down to disprove the existence of Ariodante, king of Scotland? or to prove that the mention of Proteus and Pluto, baptism and the Virgin Mary, in a breath, amounts to an anachronism? Shakspeare, by throwing his story far back into a remote and uncertain age, has blended, by his "own omnipotent will," the marvellous, the heroic, the ideal, and the classical,—the extreme of refinement and the extreme of simplicity,—into one of the loveliest fictions of romantic poetry; and, to use Schlegel's expression, "has made the social manners of the latest times harmonize with heroic deeds, and even with the appearances of the gods."[57]
But, admirable as is the conduct of the whole play, rich in variety of character and in picturesque incident, its chief beauty and interest is derived from Imogen.
When Ferdinand tells Miranda that she was "created of every creature's best," he speaks like a lover, or refers only to her personal charms: the same expression might be applied critically to the character of Imogen; for, as the portrait of Miranda is produced by resolving the female character into its original elements, so that of Imogen unites the greatest number of those qualities which we imagine to constitute excellency in woman.
Imogen, like Juliet, conveys to our mind the impression of extreme simplicity in the midst of the most wonderful complexity. To conceive her aright, we must take some peculiar tint from many characters, and so mingle them, that, like the combination of hues in a sunbeam, the effect shall be as one to the eye. We must imagine something of the romantic enthusiasm of Juliet, of the truth and constancy of Helen, of the dignified purity of Isabel, of the tender sweetness of Viola, of the self-possession and intellect of Portia—combined together so equally and so harmoniously, that we can scarcely say that one quality predominates over the other. But Imogen is less imaginative than Juliet, less spirited and intellectual than Portia, less serious than Helen and Isabel; her dignity is not so imposing as that of Hermione, it stands more on the defensive; her submission, though unbounded, is not so passive as that of Desdemona; and thus while she resembles each of these characters individually, she stands wholly distinct from all.
It is true, that the conjugal tenderness of Imogen is at once the chief subject of the drama, and the pervading charm of her character; but it is not true, I think, that she is merely interesting from her tenderness and constancy to her husband. We are so completely let into the essence of Imogen's nature, that we feel as if we had known and loved her before she was married to Posthumus, and that her conjugal virtues are a charm superadded, like the color laid upon a beautiful groundwork. Neither does it appear to me, that Posthumus is unworthy of Imogen, or only interesting on Imogen's account. His character, like those of all the other persons of the drama, is kept subordinate to hers: but this could not be otherwise, for she is the proper subject—the heroine of the poem. Every thing is done to ennoble Posthumus, and justify her love for him; and though we certainly approve him more for her sake than for his own, we are early prepared to view him with Imogen's eyes; and not only excuse, but sympathize in her admiration of one
Who sat 'mongst men like a descended god.
* * * *
Who lived in court, which it is rare to do,
Most praised, most loved:
A sample to the youngest; to the more mature,
A glass that feated them.
And with what beauty and delicacy is her conjugal and matronly character discriminated! 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:—
CYMBELINE.
Thou took'st a beggar, would'st have made my throne
A seat for baseness.
IMOGEN.
No, I rather added a lustre to it
CYMBELINE.
O thou vile one!
IMOGEN.
Sir,
It is your fault that I have loved Posthumus;
You bred him as my playfellow, and he is
A man worth any woman; overbuys me,
Almost the sum he pays.
Compare also, as examples of the most delicate discrimination of character and feeling, the parting scene between Imogen and Posthumus, that between Romeo and Juliet, and that between Troilus and Cressida: compare the confiding matronly tenderness, the deep but resigned sorrow of Imogen, with the despairing agony of Juliet, and the petulant grief of Cressida.
When Posthumus is driven into exile, he comes to take a last farewell of his wife:—
IMOGEN.
My dearest husband,
I something fear my father's wrath, but nothing
(Always reserved my holy duty) what
His rage can do on me. You must be gone,
And I shall here abide the hourly shot
Of angry eyes: not comforted to live,
But that there is this jewel in the world
That I may see again.
POSTHUMUS.
My queen! my mistress!
O, lady, weep no more! lest I give cause
To be suspected of more tenderness
Than doth become a man. I will remain
The loyal'st husband that did e'er plight troth
* * * *
Should we be taking leave
As long a term as yet we have to live,
The loathness to depart would grow—Adieu!
IMOGEN.
Nay, stay a little:
Were you but riding forth to air yourself,
Such parting were too petty. Look here, love,
This diamond was my mother's; take it, heart
But keep it till you woo another wife,
When Imogen is dead!
Imogen, in whose tenderness there is nothing jealous or fantastic, does not seriously apprehend that her husband will woo another wife when she is dead. It is one of those fond fancies which women are apt to express in moments of feeling, merely for the pleasure of hearing a protestation to the contrary. When Posthumus leaves her, she does not burst forth in eloquent lamentation; but that silent, stunning, overwhelming sorrow, which renders the mind insensible to all things else, is represented with equal force and simplicity.
IMOGEN.
There cannot be a pinch in death
More sharp than this is.
CYMBELINE.
O disloyal thing,
That should'st repair my youth; thou heapeat
A year's age on me!
IMOGEN.
I beseech you, sir,
Harm not yourself with your vexation; I
Am senseless of your wrath; a touch more rare[58]
Subdues all pangs, all fears.
CYMBELINE.
Past grace? obedience?
IMOGEN.
Past hope and in despair—that way past grace.
In the same circumstances, the impetuous excited feelings of Juliet, and her vivid imagination, lend something far more wildly agitated, more intensely poetical and passionate to her grief.
JULIET.
Art thou gone so? My love, my lord, my friend!
I must hear from thee every day i' the hour,
For in a minute there are many days—
O by this count I shall be much in years,
Ere I again behold my Romeo!
ROMEO.
Farewell! I will omit no opportunity
That may convey my greetings, love, to thee.
JULIET.
O! think'st thou we shall ever meet again?
ROMEO.
I doubt it not; and all these woes shall serve
For sweet discourses in our time to come.
JULIET.
O God! I have an ill-divining soul:
Methinks I see thee, now thou art below,
As one dead in the bottom of a tomb:
Either my eye-sight fails, or thou look'st pale.
We have no sympathy with the pouting disappointment of Cressida, which is just like that of a spoilt child which has lost its sugar-plum, without tenderness, passions, or poetry: and, in short, perfectly characteristic of that vain, fickle, dissolute, heartless woman,—"unstable as water."
CRESSIDA.
And is it true that I must go from Troy?
TROILUS.
A hateful truth.
CRESSIDA.
What, and from Troilus too?
TROILUS.
From Troy and Troilus.
CRESSIDA.
Is it possible?
TROILUS.
And suddenly.
CRESSIDA.
I must then to the Greeks?
TROILUS.
No remedy.
CRESSIDA.
A woeful Cressid 'mongst the merry Greeks!
When shall we see again?
TROILUS.
Hear me, my love. Be thou but true of heart—
CRESSIDA.
I true! How now? what wicked deem is this?
TROILUS.
Nay, we must use expostulation kindly,
For it is parting from us;
I speak not, be thou true, as fearing thee;
For I will throw my glove to Death himself
That there's no maculation in thy heart:
But be thou true, say I, to fashion in
My sequent protestation. Be thou true,
And I will see thee.
CRESSIDA.
O heavens! be true again—
O heavens! you love me not.
TROILUS.
Die I a villain, then!
In this I do not call your faith in question,
So mainly as my merit—
—But be not tempted.
CRESSIDA.
Do you think I will?
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—
O for a horse with wings! Hear'st thou, Pisanio?
He is at Milford Haven. Read, and tell me
How far 'tis thither. If one of mean affairs
May plod it in a week, why may not I
Glide thither in a day? Then, true Pisanio,
(Who long'st like me, to see thy lord—who long'st—
O let me bate, but not like me—yet long'st,
But in a fainter kind—O not like me,
For mine's beyond beyond,) say, and speak thick—
(Love's counsellor should fill the bores of hearing
To the smothering of the sense)—how far is it
To this same blessed Milford? And by the way,
Tell me how Wales was made so happy, as
To inherit such a haven. But, first of all,
How we may steal from hence; and for the gap
That we shall make in time, from our hence going
And our return, to excuse. But first, how get hence.
Why should excuse be born, or e'er begot?
We'll talk of that hereafter. Pr'ythee speak,
How many score of miles may we well ride
'Twixt hour and hour?
PISANIO.
One score, 'twixt sun and sun,
Madam, 's enough for you; and too much too.
IMOGEN.
Why, one that rode to his execution, man,
Could never go so slow!
There are two or three other passages bearing on the conjugal tenderness of Imogen, which must be noticed for the extreme intensity of the feeling, and the unadorned elegance of the expression.
I would thou grew'st unto the shores o' the haven
And question'dst every sail: if he should write,
And I not have it, 'twere a paper lost
As offer'd mercy is. What was the last
That he spake to thee?
PISANIO.
'Twas, His queen! his queen!
IMOGEN.
Then wav'd his hankerchief?
PISANIO.
And kiss'd it, madam.
IMOGEN.
Senseless linen! happier therein than I!—
And that was all?
PISANIO.
No, madam; for so long
As he could make me with this eye or ear
Distinguish him from others, he did keep
The deck, with glove, or hat, or handkerchief
Still waving, as the fits and stirs of his mind
Could best express how slow his soul sail'd on,
How swift his ship.
IMOGEN.
Thou should'st have made him
As little as a crow, or less, ere left
To after-eye him.
PISANIO.
Madam, so I did.
IMOGEN.
I would have broke my eye-strings; cracked them, but
To look upon him; till the diminution
Of space had pointed him sharp as my needle;
Nay, followed him, till he had melted from
The smallness of a gnat to air; and then
Have turn'd mine eye, and wept.
Two little incidents, which are introduced with the most unobtrusive simplicity, convey the strongest impression of her tenderness for her husband, and with that perfect unconsciousness on her part, which adds to the effect. Thus when she has lost her bracelet—
Go, bid my woman
Search for a jewel, that too casually,
Hath left my arm. It was thy master's: 'shrew me,
If I would lose it for a revenue
Of any king in Europe. I do think
I saw't this morning; confident I am,
Last night 'twas on mine arm—I kiss'd it.
I hope it has not gone to tell my lord
That I kiss aught but he.
It has been well observed, that our consciousness that the bracelet is really gone to bear false witness against her, adds an inexpressibly touching effect to the simplicity and tenderness of the sentiment.
And again, when she opens her bosom to meet the death to which her husband has doomed her, she finds his letters preserved next her heart
What's here!
The letters of the loyal Leonatus?—
Soft, we'll no defence.
The scene in which Posthumus stakes his ring on the virtue of his wife, and gives Iachimo permission to tempt her, is taken from the story. The baseness and folly of such conduct have been justly censured; but Shakspeare, feeling that Posthumus needed every excuse, has managed the quarrelling scene between him and Iachimo with the most admirable skill. The manner in which his high spirit is gradually worked up by the taunts of this Italian fiend, is contrived with far more probability, and much less coarseness, than in the original tale. In the end he is not the challenger, but the challenged; and could hardly (except on a moral principle, much too refined for those rude times) have declined the wager without compromising his own courage and his faith in the honor of Imogen.
IACHIMO.
I durst attempt it against any lady in the world.
POSTHUMUS.
You are a great deal abused in too bold a persuasion; and I
doubt not you sustain what you're worthy of, by your
attempt.
IACHIMO.
What's that?
POSTHUMUS.
A repulse: though your attempt, as you call it, deserve
more—a punishment too.
PHILARIO.
Gentlemen, enough of this. It came in too suddenly; let it
die as it was born, and I pray you be better acquainted.
IACHIMO.
Would I had put my estate and my neighbor's on the
approbation of what I have said!
POSTHUMUS.
What lady would you choose to assail?
IACHIMO.
Yours, whom in constancy you think stands so safe
In the interview between Imogen and Iachimo, he does not begin his attack on her virtue by a direct accusation against Posthumus; but by dark hints and half-uttered insinuations, such as Iago uses to madden Othello, he intimates that her husband, in his absence from her, has betrayed her love and truth, and forgotten her in the arms of another. All that Imogen says in this scene is comprised in a few lines—a brief question, or a more brief remark. The proud and delicate reserve with which she veils the anguish she suffers, is inimitably beautiful. 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.
Away! I do condemn mine ears, that have
So long attended thee. If thou wert honorable,
Thou would'st have told this tale for virtue not
For such an end thou seek'st, as base as strange
Thou wrong'st a gentleman, who is as far
From thy report as thou from honor; and
Solicit'st here a lady that disdains
Thee and the devil alike.
It has been remarked, that "her readiness to pardon Iachimo's false imputation, and his designs against herself, is a good lesson to prudes, and may show that where there is a real attachment to virtue, there is no need of an outrageous antipathy to vice."[59]
This is true; but can we fail to perceive that the instant and ready forgiveness of Imogen is accounted for, and rendered more graceful and characteristic by the very means which Iachimo employs to win it? He pours forth the most enthusiastic praises of her husband, professes that he merely made this trial of her out of his exceeding love for Posthumus, and she is pacified at once; but, with exceeding delicacy of feeling, she is represented as maintaining her dignified reserve and her brevity of speech to the end of the scene.[60]
We must also observe how beautifully the character of Imogen is distinguished from those of Desdemona and Hermione. When she is made acquainted with her husband's cruel suspicions, we see in her deportment neither the meek submission of the former, nor the calm resolute dignity of the latter. The first effect produced on her by her husband's letter is conveyed to the fancy by the exclamation of Pisanio, who is gazing on her as she reads.—
What shall I need to draw my sword? The paper
Has cut her throat already! No, 'tis slander,
Whose edge is sharper than the sword!
And in her first exclamations we trace, besides astonishment and anguish, and the acute sense of the injustice inflicted on her, a flash of indignant spirit, which we do not find in Desdemona or Hermione
False to his bed!—What is it to be false?
To lie in watch there, and to think of him?
To weep 'twixt clock and clock? If sleep charge nature,
To break it with a fearful dream of him,
And cry myself awake?—that's false to his bed,
Is it?
This is followed by that affecting lamentation over the falsehood and injustice of her husband, in which she betrays no atom of jealousy or wounded self-love, but observes in the extremity of her anguish, that after his lapse from truth, "all good seeming would be discredited," and she then resigns herself to his will with the most entire submission.
In the original story, Zinevra prevails on the servant to spare her, by her exclamations and entreaties for mercy. "The lady, seeing the poniard, and hearing those words, exclaimed in terror, 'Alas! have pity on me for the love of Heaven! do not become the slayer of one who never offended thee, only to pleasure another. God, who knows all things, knows that I have never done that which could merit such a reward from my husband's hand.'"
Now let us turn to Shakspeare. Imogen says,—
Come, fellow, be thou honest;
Do thou thy master's bidding: when thou seest him,
A little witness my obedience. Look!
I draw the sword myself; take it, and hit
The innocent mansion of my love, my heart.
Fear not; 'tis empty of all things but grief:
Thy master is not there, who was, indeed,
The riches of it. Do his bidding; strike!
The devoted attachment of Pisanio to his royal mistress, all through the piece, is one of those side touches by which Shakspeare knew how to give additional effect to his characters.
Cloten is odious;[61] but we must not overlook the peculiar fitness and propriety of his character, in connection with that of Imogen. He is precisely the kind of man who would be most intolerable to such a woman. He is a fool,—so is Slender, and Sir Andrew Aguecheek: but the folly of Cloten is not only ridiculous, but hateful; it arises not so much from a want of understanding as a total want of heart; it is the perversion of sentiment, rather than the deficiency of intellect; he has occasional gleams of sense, but never a touch of feeling. Imogen describes herself not only as "sprighted with a fool," but as "frighted and anger'd worse." No other fool but Cloten—a compound of the booby and the villain—could excite in such a mind as Imogen's the same mixture of terror, contempt, and abhorrence. The stupid, obstinate malignity of Cloten, and the wicked machinations of the queen—
A father cruel, and a step-dame false,
A foolish suitor to a wedded lady—
justify whatever might need excuse in the conduct of Imogen—as her concealed marriage and her flight from her father's court—and serve to call out several of the most beautiful and striking parts of her character: particularly that decision and vivacity of temper, which in her harmonize so beautifully with exceeding delicacy, sweetness, and submission.
In the scene with her detested suitor, there is at first a careless majesty of disdain, which is admirable.
I am much sorry, sir,
You put me to forget a lady's manners,
By being so verbal;[62] and learn now, for all,
That I, which know my heart, do here pronounce,
By the very truth of it, I care not for you,
And am so near the lack of charity,
(T' accuse myself,) I hate you; which I had rather
You felt, than make 't my boast.
But when he dares to provoke her, by reviling the absent Posthumus, her indignation heightens her scorn, and her scorn sets a keener edge on her indignation.
CLOTEN.
For the contract you pretend with that base wretch,
One bred of alms, and fostered with cold dishes,
With scraps o' the court; it is no contract, none.
IMOGEN.
Profane fellow!
Wert thou the son of Jupiter, and no more,
But what thou art, besides, thou wert too base
To be his groom; thou wert dignified enough,
Even to the point of envy, if 'twere made
Comparative for your virtues, to be styl'd
The under hangman of his kingdom; and hated
For being preferr'd so well.
He never can meet more mischance than come
To be but nam'd of thee. His meanest garment
That ever hath but clipp'd his body, is dearer
In my respect, than all the hairs above thee.
Were they all made such men.
One thing more must be particularly remarked because it serves to individualize the character from the beginning to the end of the poem. We are constantly sensible that Imogen, besides being a tender and devoted woman, is a princess and a beauty, at the same time that she is ever superior to her position and her external charms. There is, for instance, a certain airy majesty of deportment—a spirit of accustomed command breaking out every now and then—the dignity, without the assumption of rank and royal birth, which is apparent in the scene with Cloten and elsewhere; and we have not only a general impression that Imogen, like other heroines, is beautiful, but the peculiar style and character of her beauty is placed before us: we have an image of the most luxuriant loveliness, combined with exceeding delicacy, and even fragility of person: of the most refined elegance, and the most exquisite modesty, set forth in one or two passages of description; as when Iachimo is contemplating her asleep:—
Cytherea,
How bravely thou becom'st thy bed! fresh lily.
And whiter than the sheets.
'Tis her breathing that
Perfumes the chamber thus. The flame o' the taper
Bows toward her; and would underpeep her lids
To see the enclos'd lights, now canopied
Under those windows, white and azure, lac'd
With blue of heaven's own tinct!
The preservation of her feminine character under her masculine attire; her delicacy, her modesty, and her timidity, are managed with the same perfect consistency and unconscious grace as in Viola. And we must not forget that her "neat cookery," which is so prettily eulogized by Guiderius:—
He cuts out roots in characters,
And sauc'd our broths, as Juno had been sick,
And he her dieter,
formed part of the education of a princess in those remote times.
Few reflections of a general nature are put into the mouth of Imogen; and what she says is more remarkable for sense, truth, and tender feeling, than for wit, or wisdom, or power of imagination. The following little touch of poetry reminds us of Juliet:—
Ere I could
Give him that parting kiss, which I had set
Between two charming words, comes in my father;
And, like the tyrannous breathing of the north,
Shakes all our buds from growing.
Her exclamation on opening her husband's letter reminds us of the profound and thoughtful tenderness of Helen:—
O learned indeed were that astronomer
That knew the stars, as I his characters!
He'd lay the future open.
The following are more in the manner of Isabel:—
Most miserable
Is the desire that's glorious: bless'd be those,
How mean soe'er, that have their honest wills,
That seasons comfort,
Against self-slaughter
There is a prohibition so divine
That cravens my weak hand.
Thus may poor fools
Believe false teachers; though those that are betray'd
Do feel the reason sharply, yet the traitor
Stands in worse case of woe,
Are we not brothers?
So man and man should be;
But clay and clay differs in dignity,
Whose dust is both alike.
Will poor folks lie
That have afflictions on them, knowing 'tis
A punishment or trial? Yes: no wonder,
When rich ones scarce tell true: to lapse in fulness
Is sorer than to lie for need; and falsehood
Is worse in kings than beggars.
The sentence which follows, and which I believe has become proverbial, has much of the manner of Portia, both in the thought and the expression:—
Hath Britain all the sun that shines? Day, night,
Are they not but in Britain? I' the world's volume
Our Britain seems as of it, but not in it;
In a great pool, a swan's nest; pr'ythee, think
There's livers out of Britain.
The catastrophe of this play has been much admired for the peculiar skill with which all the various threads of interest are gathered together at last, and entwined with the destiny of Imogen. It may be added, that one of its chief beauties is the manner in which the character of Imogen is not only preserved, but rises upon us to the conclusion with added grace: her instantaneous forgiveness of her husband before he even asks it, when she flings herself at once into his arms—
Why did you throw your wedded lady from you?
and her magnanimous reply to her father, when he tells her, that by the discovery of her two brothers she has lost a kingdom—
No—I have gain'd two worlds by it—
clothing a noble sentiment in a noble image, give the finishing touches of excellence to this most enchanting portrait.
On the whole, Imogen is a lovely compound of goodness, truth, and affection, with just so much of passion and intellect and poetry, as serve to lend to the picture that power and glowing richness of effect which it would otherwise have wanted; and of her it might be said, if we could condescend to quote from any other poet with Shakespeare open before us, that "her person was a paradise, and her soul the cherub to guard it."[63]