Your strong possession much more than your right;
Or else it must go wrong with you and me.
So much my conscience whispers in your ear—
Which none but Heaven, and you, and I shall hear.
Queen Elinor preserved to the end of her life her influence over her children, and appears to have merited their respect. While intrusted with the government, during the absence of Richard I., she ruled with a steady hand, and made herself exceedingly popular; and as long as she lived to direct the counsels of her son John, his affairs prospered. For that intemperate jealousy which converted her into a domestic firebrand, there was at least much cause, though little excuse. Elinor had hated and wronged the husband of her youth,[89] and she had afterwards to endure the negligence and innumerable infidelities of the husband whom she passionately loved:[90]—"and so the whirligig of time brought in his revenges." Elinor died in 1203, a few months after Constance, and before the murder of Arthur—a crime which, had she lived, would probably never have been consummated; for the nature of Elinor, though violent, had no tincture of the baseness and cruelty of her son.
BLANCHE.
Blanche of Castile was the daughter of Alphonso IX. of Castile, and the grand-daughter of Elinor. At the time that she is introduced into the drama, she was about fifteen, and her marriage with Louis VIII., then Dauphin, took place in the abrupt manner here represented. It is not often that political marriages have the same happy result. We are told by the historians of that time, that from the moment Louis and Blanche met, they were inspired by a mutual passion, and that during a union of more than twenty-six years they were never known to differ, nor even spent more than a single day asunder.[91]
In her exceeding beauty and blameless reputation; her love for her husband, and strong domestic affections; her pride of birth and rank; her feminine gentleness of deportment; her firmness of temper; her religious bigotry; her love of absolute power, and her upright and conscientious administration of it, Blanche greatly resembled Maria Theresa of Austria. She was, however, of a more cold and calculating nature; and in proportion as she was less amiable as a woman, did she rule more happily for herself and others. There cannot be a greater contrast than between the acute understanding, the steady temper, and the cool intriguing policy of Blanche, by which she succeeded in disuniting and defeating the powers arrayed against her and her infant son, and the rash confiding temper and susceptible imagination of Constance, which rendered herself and her son easy victims to the fraud or ambition of others. Blanche, during forty years, held in her hands the destinies of the greater part of Europe, and is one of the most celebrated names recorded in history—but in what does she survive to us except in a name? Nor history, nor fame, though "trumpet-tongued," could do for her what Shakspeare and poetry have done for Constance. The earthly reign of Blanche is over, her sceptre broken, and her power departed. When will the reign of Constance cease? when will her power depart? Not while this world is a world, and there exists in it human souls to kindle at the touch of genius, and human hearts to throb with human sympathies!
There is no female character of any interest in the play of Richard II. The Queen (Isabelle of France) enacts the same passive part in the drama that she does in history.
The same remark applies to Henry IV. In this admirable play there is no female character of any importance; but Lady Percy, the wife of Hotspur, is a very lively and beautiful sketch: she is sprightly, feminine, and fond; but without any thing energetic or profound, in mind or in feeling. Her gayety and spirit in the first scenes, are the result of youth and happiness, and nothing can be more natural than the utter dejection and brokenness of heart which follow her husband's death: she is no heroine for war or tragedy; she has no thought of revenging her loss; and even her grief has something soft and quiet in its pathos. Her speech to her father-in-law, Northumberland, in which she entreats him "not to go to the wars," and at the same time pronounces the most beautiful eulogium on her heroic husband, is a perfect piece of feminine eloquence, both in the feeling and in the expression.
Almost every one knows by heart Lady Percy's celebrated address to her husband, beginning,
O, my good lord, why are you thus alone?