"Here," says Bulwer, "the reader should remark with what delicate artifice the tenderness of sex and charity heighten and warm the snowy coldness of her ethereal superiority. What a union of all woman's finest qualities! Pride that disdains calumny; gentleness that forgives it! Nothing can be more simply grand than the whole of this character, and the story which enhances it. An old man of eighty is the husband of a young woman, whose heart preserves the calmness of purity; no love episode comes to disturb her serene course, no impure, dishonorable jealousy casts a shade on her bright name. She treads her path through a life of difficulties, like some angelic nature, though quite human by the form she wears."
Wishing only to call attention to the beauty of the female characters he created, without reference to the other beauties contained in the work, we shall continue to quote Bulwer for the second of these admirable creations of womankind in his dramas, namely, Myrrha. After having praised that magnificent tragedy "Sardanapalus," he adds:—
"But the principal beauty of this drama is the conception of Myrrha. This young Greek slave, so tender and courageous, in love with her lord and master, yet sighing after her liberty; adoring equally her natal land and the gentle barbarian: what a new and dramatic combination of sentiments! It is in this conflict of emotions that the master's hand shows itself with happiest triumph.
"The heroism of this beautiful Ionian never goes beyond nature, yet stops only at sublimest limits. The proud melancholy that blends with her character, when she thinks of her fatherland; her ardent, generous, unselfish love, her passionate desire of elevating the soul of Sardanapalus, so as to justify her devotion to him, the earnest yet sweet severity that reigned over her gentlest qualities, showing her faithful and fearless, capable of sustaining with, a firm hand the torch that was to consume on the sacred pile (according to her religion) both Assyrian and Greek; all these combinations are the result of the purest sentiments, the noblest art. The last words of Myrrha on the funereal pyre are in good keeping with the grand conception of her character. With the natural aspirations of a Greek, her thoughts turn at this moment to her distant clime; but still they come back at the same time to her lord, who is beside her, and blending almost in one sigh the two contrary affections of her soul, Myrrha cries:—
"Then farewell, thou earth!
And loveliest spot of earth! farewell, Ionia!
Be thou still free and beautiful, and far
Aloof from desolation! My last prayer
Was for thee, my last thoughts, save one, were of thee!
Sar. And that?
Myr. Is yours."
"The principal charm," says Moore, "and the life-giving angel of this tragedy, is Myrrha, a beautiful, heroic, devoted, ethereal creature, enamored of the generous, infatuated monarch, yet ashamed of loving a barbarian, and using all her influence over him to elevate as well as gild his life, and to arm him against the terror of his end. Her voluptuousness is that of the heart, her heroism that of the affections."
Another admirable character, full of Christian beauty, is that of Josephine in "Werner."
"Josephine," said the "Review," when "Werner" appeared, "is a model of real spotless virtue. A true woman in her perfection, not only does she preserve the character of her sex by her general integrity, but she also possesses a wife's tender, sweet, and constant affection. She cherishes and consoles her afflicted husband through all the adversities of his destiny and the consequences of his faults.
"Italian by birth, the contrast between the beauties and circumstances of her native country compared with the frontiers of Silesia, where a pretty feudal tyranny exists, displays still more the fine sentiments that characterize her."
We shall close this long list of admirable conceptions (which one quits with regret, so great is their charm) by giving some extracts from the portrait he was engaged on, when death, alas! caused the pencil to drop from his fingers: we mean Aurora Raby in "Don Juan:"—