“The sound of your voice, and the harmony of your thoughts, are delightful to me,” said the youth, “and it is a pleasure to see any form which expresses so much beauty and goodness as your daughter’s; if you reward me for my rudeness, by allowing me to know you, my error is already expiated, and you remember my ill words no more. I live a solitary life, and it is rare that I encounter any stranger with whom it is pleasant to talk; besides, their meditations, even though they be learned, do not always agree with mine; and, though I can pardon this difference, they cannot. Nor have I ever explained the cause of the dress I wear, and the difference which I perceive between my language and manners, and those with whom I have intercourse. Not but that it is painful to me to live without communion with intelligent and affectionate beings. You are such, I feel.”
FOOTNOTES:
[49] Imperfectly printed in The Shelley Papers, 1833: first printed correctly and completely in the two-volume edition of Shelley’s Essays and Letters, edited by Mrs. Shelley.
[50] Nor does a recollection of the use to which it may have been destined interfere with these emotions. Time has thrown its purple shadow athwart this scene, and no more is visible than the broad and everlasting character of human strength and genius, that pledge of all that is to be admirable and lovely in ages yet to come. Solemn temples, where the senate of the world assembled, palaces, triumphal arches, and cloud-surrounded columns, loaded with the sculptured annals of conquest and domination—what actions and deliberations have they been destined to enclose and commemorate? Superstitious rites, which in their mildest form, outrage reason, and obscure the moral sense of mankind; schemes for wide-extended murder, and devastation, and misrule, and servitude; and, lastly, these schemes brought to their tremendous consummations, and a human being returning in the midst of festival and solemn joy, with thousands and thousands of his enslaved and desolated species chained behind his chariot, exhibiting, as titles to renown, the labour of ages, and the admired creations of genius, overthrown by the brutal force, which was placed as a sword within his hand, and,—contemplation fearful and abhorred!—he himself a being capable of the gentlest and best emotions, inspired with the persuasion that he has done a virtuous deed! We do not forget these things....
CRITICAL NOTICES OF THE SCULPTURE IN THE FLORENCE GALLERY.[51]
On the Niobe.
Of all that remains to us of Greek antiquity, this figure is perhaps the most consummate personification of loveliness, with regard to its countenance, as that of the Venus of the Tribune is with regard to its entire form of woman. It is colossal; the size adds to its value; because it allows to the spectator the choice of a greater number of points of view, and affords him a more analytical one, in which to catch a greater number of the infinite modes of expression, of which any form approaching ideal beauty is necessarily composed. It is the figure of a mother in the act of sheltering, from some divine and inevitable peril, the last, we may imagine, of her surviving children.
The little creature, terrified, as we may conceive, at the strange destruction of all its kindred, has fled to its mother and is hiding its head in the folds of her robe, and casting back one arm, as in a passionate appeal for defence, where it never before could have been sought in vain. She is clothed in a thin tunic of delicate woof; and her hair is fastened on her head into a knot, probably by that mother whose care will never fasten it again. Niobe is enveloped in profuse drapery, a portion of which the left hand has gathered up, and is in the act of extending it over the child in the instinct of shielding her from what reason knows to be inevitable. The right (as the restorer has properly imagined,) is drawing up her daughter to her: and with that instinctive gesture, and by its gentle pressure, is encouraging the child to believe that it can give security. The countenance of Niobe is the consummation of feminine majesty and loveliness, beyond which the imagination scarcely doubts that it can conceive anything.
That masterpiece of the poetic harmony of marble expresses other feelings. There is embodied a sense of the inevitable and rapid destiny which is consummating around her, as if it were already over. It seems as if despair and beauty had combined, and produced nothing but the sublimity of grief. As the motions of the form expressed the instinctive sense of the possibility of protecting the child, and the accustomed and affectionate assurance that she would find an asylum within her arms, so reason and imagination speak in the countenance the certainty that no mortal defence is of avail. There is no terror in the countenance, only grief—deep, remediless grief. There is no anger:—of what avail is indignation against what is known to be omnipotent? There is no selfish shrinking from personal pain—there is no panic at supernatural agency—there is no adverting to herself as herself: the calamity is mightier than to leave scope for such emotions.
Everything is swallowed up in sorrow: she is all tears; her countenance, in assured expectation of the arrow piercing its last victim in her embrace, is fixed on her omnipotent enemy. The pathetic beauty of the expression of her tender, and inexhaustible, and unquenchable despair, is beyond the effect of sculpture. As soon as the arrow shall pierce her last tie upon earth, the fable that she was turned into stone, or dissolved into a fountain of tears, will be but a feeble emblem of the sadness of hopelessness, in which the few and evil years of her remaining life, we feel, must flow away.