LITMIR.BIZ

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is a good specimen of a common genus of characters; she is a clever confidential waiting-woman, who has caught a little of her lady's elegance and romance; she affects to be lively and sententious, falls in love, and makes her favor conditional on the fortune of the caskets, and in short mimics her mistress with good emphasis and discretion. Nerissa and the gay talkative Gratiano are as well matched as the incomparable Portia and her magnificent and captivating lover.

ISABELLA.

       Table of Contents

      The character of Isabella, considered as a poetical delineation, is less mixed than that of Portia; and the dissimilarity between the two appears, at first view, so complete that we can scarce believe that the same elements enter into the composition of each. Yet so it is; they are portrayed as equally wise, gracious, virtuous, fair, and young; we perceive in both the same exalted principle and firmness of character; the same depth of reflection and persuasive eloquence; the same self-denying generosity and capability of strong affections; and we must wonder at that marvellous power by which qualities and endowments, essentially and closely allied, are so combined and modified as to produce a result altogether different. "O Nature! O Shakespeare! which of ye drew from the other?"

      Isabella is distinguished from Portia, and strongly individualized by a certain moral grandeur, a saintly grace, something of vestal dignity and purity, which render her less attractive and more imposing; she is "severe in youthful beauty," and inspires a reverence which would have placed her beyond the daring of one unholy wish or thought, except in such a man as Angelo—

      O cunning enemy, that, to catch a saint,

       With saints dost bait thy hook!

      This impression of her character is conveyed from the very first, when Lucio, the libertine jester, whose coarse audacious wit checks at every feather, thus expresses his respect for her—

      I would not—though 'tis my familiar sin

       With maids to seem the lapwing, and to jest

       Tongue far from heart—play with all virgins so.

       I hold you as a thing enskyed, and sainted;

       By your renouncement an immortal spirit,

       And to be talked with in sincerity,

       As with a saint.

      A strong distinction between Isabella and Portia is produced by the circumstances in which they are respectively placed. Portia is a high-born heiress, "Lord of a fair mansion, master of her servants, queen o'er herself;" easy and decided, as one born to command, and used to it. Isabella has also the innate dignity which renders her "queen o'er herself," but she has lived far from the world and its pomps and pleasures; she is one of a consecrated sisterhood—a novice of St. Clare; the power to command obedience and to confer happiness are to her unknown. Portia is a splendid creature, radiant with confidence, hope, and joy. She is like the orange-tree, hung at once with golden fruit and luxuriant flowers, which has expanded into bloom and fragrance beneath favoring skies, and has been nursed into beauty by the sunshine and the dews of heaven. Isabella is like a stately and graceful cedar, towering on some alpine cliff, unbowed and unscathed amid the storm. She gives us the impression of one who has passed under the ennobling discipline of suffering and self-denial: a melancholy charm tempers the natural vigor of her mind: her spirit seems to stand upon an eminence, and look down upon the world as if already enskyed and sainted; and yet when brought in contact with that world which she inwardly despises, she shrinks back with all the timidity natural to her cloistral education.

      This union of natural grace and grandeur with the habits and sentiments of a recluse—of austerity of life with gentleness of manner—of inflexible moral principle with humility and even bashfulness of deportment, is delineated with the most beautiful and wonderful consistency. Thus when her brother sends to her, to entreat her mediation, her first feeling is fear, and a distrust in her own powers:

      … Alas! what poor ability's in me

       To do him good?

      LUCIO.

      Essay the power you have.

      ISABELLA.

      My power, alas! I doubt.

      In the first scene with Angelo she seems divided between her love for her brother and her sense of his fault; between her self-respect and her maidenly bashfulness. She begins with a kind of hesitation "at war 'twixt will and will not:" and when Angelo quotes the law, and insists on the justice of his sentence, and the responsibility of his station, her native sense of moral rectitude and severe principles takes the lead, and she shrinks back:—

      O just, but severe law!

       I had a brother then—Heaven keep your honor! [Retiring.

      Excited and encouraged by Lucio, and supported by her own natural spirit, she returns to the charge—she gains energy and self-possession as she proceeds, grows more earnest and passionate from the difficulty she encounters, and displays that eloquence and power of reasoning for which we had been already prepared by Claudio's first allusion to her:—

      … In her youth

       There is a prone and speechless dialect,

       Such as moves men; besides, she hath prosperous art,

       When she will play with reason and discourse,

       And well she can persuade.

      It is a curious coincidence that Isabella, exhorting Angelo to mercy, avails herself of precisely the same arguments, and insists on the self-same topics which Portia addresses to Shylock in her celebrated speech; but how beautifully and how truly is the distinction marked! how like, and yet how unlike! Portia's eulogy on mercy is a piece of heavenly rhetoric; it falls on the ear with a solemn measured harmony; it is the voice of a descended angel addressing an inferior nature: if not premeditated, it is at least part of a preconcerted scheme; while Isabella's pleadings are poured from the abundance of her heart in broken sentences, and with the artless vehemence of one who feels that life and death hang upon her appeal. This will be best understood by placing the corresponding passages in immediate comparison with each other.

      PORTIA.

      The quality of mercy is not strain'd,

       It droppeth as the gentle rain from heaven,

       Upon the place beneath: it is twice bless'd;

       It blesseth him that gives, and him that takes:

       'Tis mightiest in the mightiest; it becomes

       The throned monarch better than his crown;

       His sceptre shows the force of temporal power,

       The attribute to awe and majesty,

       Wherein doth sit the dread and fear of kings.

       But mercy is above this sceptred sway—

       It is enthron'd in the hearts of kings.

      ISABELLA.

      Well, believe this,

       No ceremony that to great ones 'longs,

       Not the king's crown, nor the deputed sword,

       The marshal's truncheon, nor the judge's robe.

       Become them with one half so good a grace

       As mercy does.

      PORTIA.

      Consider this—

       That in the course of justice, none of us

       Should see salvation. We do pray for mercy;

       And that same prayer doth teach us all to render

       The deeds of mercy.

      ISABELLA.

      … Alas! alas!

       Why all the souls that were, were forfeit once;

      

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