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true life. Most of Shakespere's women have already attained, are already made perfect, George Eliot shows the slow discipline and teaching of a life-time. Most of Shakespere's women stand in the full sunshine, George Eliot's come from darkness into light, with the sadness and sorrow of the shadows about them, but with the glow on their faces and ‘that sad patient loving strength which holds the clue of life.” But as yet Professor Dowden has hardly proved his assertion that “we get from Shakespere no histories of a woman's soul.” We think that we can show that moral growth is distinctly to be traced in some of his heroines, and it may be interesting to enquire how far we could find parallels amongst them for George Eliot's careful studies of developing female nature.

Whose is the sweet girlish face in the dark gondola that comes floating towards us from amongst the rich palaces of Venice P A face little troubled by sorrow as yet, full of sympathy and love, full of brightness and enjoyment of life; that

“Whiter skin of hers than snow

And smooth as monumental alabaster.
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A maiden never bold, Of spirit so still and quiet that her motion Blushed at herself.” It is old Brabantio's daughter and Othello's love, the gentle Desdemona. Few of Shakespere's women are so loveable, and we are nearly as much puzzled as Brabantio

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