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.