When, after the combat, she arrives in her bark to save Torquil, the poet exclaims:
"And who the first that springing on the strand,
Leap'd like a nereid from her shell to land,
With dark but brilliant skin, and dewy eye
Shining with love, and hope, and constancy?
Neuha—the fond, the faithful, the adored—
Her heart on Torquil's like a torrent pour'd;
And smiled, and wept, and near, and nearer clasp'd
As if to be assured 'twas him she grasp'd;
Shuddered to see his yet warm wound, and then,
To find it trivial, smiled and wept again.
She was a warrior's daughter, and could bear
Such sights, and feel, and mourn, but not despair.
Her lover lived,—nor foes nor fears could blight,
That full-blown moment in its all delight:
Joy trickled in her tears, joy filled the sob
That rock'd her heart till almost heard to throb;
And paradise was breathing in the sigh
Of nature's child in nature's ecstasy."
"All these sweet creations realize the idea, formed from all time, of surpassing loveliness, of gentleness with passion," justly observes Monsieur Nisard—he who, in his very clever sketch of the illustrious poet, so often forms erroneous judgments of Lord Byron. For he also accepted him as he was presented—namely, as the victim of calumny and prejudice; or else he considered him after a system, examining only some passages and one single period of the man's and the poet's life, instead of taking the whole career and the general spirit of his writings,—a method also perceivable in his appreciation of Lord Byron's female characters.
Indeed Monsieur Nisard evidently only speaks of the Medoras, Zuleikas, Leilas, and in general of all the types in his Eastern poems, and appertaining to his first period: most fascinating beings undoubtedly, true emanations of the purest and most passionate love, but yet as morally inferior to the Angiolinas, Myrrhas, Josephines, Auroras, as his poems of the first period are intellectually inferior to those of the second, beginning with the third canto of "Childe Harold," and as civilized Christian woman is superior to a woman in the harem. But Monsieur Nisard, who has a very systematic way of judging things—wishing to prove that Lord Byron's loves were quite lawless in their ungovernable strength, filling the whole soul to the absorption of every other sentiment and interest (which might, indeed, perhaps be said of the personages in his Eastern poems), and not able, without contradicting himself, to assert the same as regards the love and devotion shown by the heroic Myrrhas and virtuous Angiolinas, and other dramatic types, all so different one from the other—has been obliged to omit all mention of them, thus sharing an error common to vain, ignorant critics. Yet these delightful creatures all resemble each other in the one faculty of loving passionately and chastely, for that is a quality which constitutes the very essence of woman, and Lord Byron's own qualities must always have drawn it out in her. But there is something far beyond beauty and passion in these noble and heroic creations of his second manner.
"Where shall we find," says Sir Edward Bulwer Lytton, "a purer, higher character than that of Angiolina, in the 'Doge of Venice?' Among all Shakspeare's female characters there is certainly not one more true, and not only true and natural, which would be slight merit, but true as a type of the highest, rarest order in human nature. Let us stop here for a moment, we are on no common ground; the character of Angiolina has not yet been understood."
Bulwer then quotes the scene between Marian and Angiolina, and after having pointed out its moral beauty, exclaims:—
"What a deep sentiment of the dignity of virtue! Angiolina does not even conceive that she can be suspected, or that the insult offered her required any other justification than the indignation of public opinion."
And Bulwer goes on to quote the verses where Marian asks Angiolina if, when she gave her hand to a man of age so disproportioned, and of a character so opposite to her own, she loved this spouse, this friend of her family; and whether, before marriage, her heart had not beat for some noble youth more worthy to be the husband of beauty like hers; or whether since, she had met with some one who might have aspired to her lovely self. And after Angiolina's admirable reply, Bulwer says:—
"Is not this conception equal at least to that of Desdemona? Is not her heart equally pure, serene, tender, and at the same time passionate, yet with love, not material but actual, which, according to Plato, gives a visible form to virtue, and then admits of no other rival. Yet this sublime noble woman had no cold stiffness in her nature; she forgives Steno, but not from the cold height, of her chastity.
"'If,' said she to the indignant page, 'oh! if this false and light calumniator were to shed his blood on account of this absurd calumny, never from that moment would my heart experience an hour's happiness, nor enjoy a tranquil slumber.'"