I. VIOLA. 41 



without definiteness of character, nor quite strength of 

 intellect enough entirely to hold her husband's heart. 

 Else, she had saved him: he would have left Rome in his 

 wrath but not her. Therefore, it is his mother only 

 v. ho bends him : but she cannot save. 



G. Imogen. The ideal of grace and gentleness ; but 

 weak ; enduring too mildly, and forgiving too easily. 

 But the piece is rather a pantomime than play, and it is 

 impossible to judge of the feelings of St. Columba, when 

 she must leave the stage in half a minute after mistaking 

 the headless clown for headless Arlecchino. 



7. Desdemona, Ophelia, Rosalind. They are under 

 different conditions from all the rest, in having entirely 

 heroic and faultless persons to love. I can't class them, 

 therefore, fate is too strong, and leaves them no free 

 will. 



8. Perdita, Miranda. Rather mythic visions of maiden 

 beauty than mere girls. 



9. Viola and Juliet. Love the ruling power in the en- 

 tire character : wholly virginal and pure, but quite earth- 

 ly, and recognizing no other life than his own. Viola is, 

 however, far the noblest. Juliet will die unless Romeo 

 loves her: u If he be wed, the grave is like to be my wed- 

 ding bed ;" but Viola is ready to die for the happiness 

 of the man who does not love her ; faithfully doing his 

 messages to her rival, whom she examines strictly for his 

 sake. It is not in envy that she says, u Excellently done, 

 if God did all." The key to her character is given in 



