In the two characters which we shall now study,—Aspatia of the “Maid’s Tragedy” and
Euphrasia in “Philaster”—we shall see that there is with Beaumont and Fletcher a considerable lightening of the subject, with a consequent artistic gain, but possibly a loss in force and impressiveness.
Aspatia is, of course, throughout the play, subordinated to Evadne, and she appears only in the first two acts and the last, her death occurring in the last scene. From her first appearance, after her betrothed husband has taken Evadne to wife at the King’s command, the pitiableness of her situation and the nobility and the purity of her character endear her to us unchangeably. None of the indecency which mars the play clings to the wronged Aspatia; many would go so far as to consider her laments more effective, because less revolting, than those of Ophelia. Wherever we see her
“Nothing but sad thoughts in her breast do dwell.”[129:1]
When Melantius offers her his ill-timed congratulations on the marriage which he supposes to have been hers, her reply is short:
“My hard fortunes
Deserve not scorn; for I was never proud
When they were good.”[129:2]
In the next scene, however, when the presence of the bride makes the hurt keener, her tongue is loosened. No sweeter song, in spite of the rather vulgar criticism of Evadne, can be found