LITMIR.BIZ

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it not rather a whiting of the sepulchre? I will not even allude to individual instances whom we both know, but does it not remind you, on the whole, of the tone of French manners previous to the revolution—that "décence," which Horace Walpole so admired,[2] veiling the moral degradation, the inconceivable profligacy of the higher classes?—Stay—I have not yet done—not to you, but for you, I will add thus much;—our modern idea of delicacy apparently attaches more importance to words than to things—to manners than to morals. You will hear people inveigh against the improprieties of Shakspeare, with Don Juan, or one of those infernal French novels—I beg your pardon—lying on their toilet table. Lady Florence is shocked at the sallies of Beatrice, and Beatrice would certainly stand aghast to see Lady Florence dressed for Almack's; so you see that in both cases the fashion makes the indecorum. Let her ladyship new model her gowns!

      ALDA.

      Well, well, leave Lady Florence—I would rather hear you defend Shakspeare.

      MEDON.

      I think it is Coleridge who so finely observes that Shakspeare ever kept the high road of human life, whereon all travel, that he did not pick out by-paths of feeling and sentiment; in him we have no moral highwaymen, and sentimental thieves and rat-catchers, and interesting villains, and amiable, elegant adulteresses—à-la-mode Germanorum—no delicate entanglements of situation, in which the grossest images are presented to the mind disguised under the superficial attraction of style and sentiment. He flattered no bad passion, disguised no vice in the garb of virtue, trifled with with no just and generous principle. He can make us laugh at folly, and shudder at crime, yet still preserve our love for our fellow-beings, and our reverence for ourselves. He has a lofty and a fearless trust in his own powers, and in the beauty and excellence of virtue; and with his eye fixed on the lode-star of truth, steers us triumphantly among shoals and quicksands, where with any other pilot we had been wrecked:—for instance, who but himself would have dared to bring into close contact two such characters as Iago and Desdemona? Had the colors in which he has arrayed Desdemona been one atom less transparently bright and pure, the charm had been lost; she could not have borne the approximation: some shadow from the overpowering blackness of his character must have passed over the sun-bright purity of hers. For observe that Iago's disbelief in the virtue of Desdemona is not pretended, it is real. It arises from his total want of faith in all virtue; he is no more capable of conceiving goodness than she is capable of conceiving evil. To the brutish coarseness and fiendish malignity of this man, her gentleness appears only a contemptible weakness; her purity of affection, which saw "Othello's visage in his mind," only a perversion of taste; her bashful modesty, only a cloak for evil propensities; so he represents them with all the force of language and self-conviction, and we are obliged to listen to him. He rips her to pieces before us—he would have bedeviled an angel! yet such is the unrivalled, though passive delicacy of the delineation, that it can stand it unhurt, untouched! It is wonderful!—yet natural as it is wonderful! After all, there are people in the world, whose opinions and feelings are tainted by an habitual acquaintance with the evil side of society, though in action and intention they remain right; and who, without the real depravity of heart and malignity of intention of Iago, judge as he does of the character and productions of others.

      ALDA.

      Heaven bless me from such critics! yet if genius, youth, and innocence could not escape unslurred, can I hope to do so? I pity from my soul the persons you allude to—for to such minds there can exist few uncontaminated sources of pleasure either in nature or in art.

      MEDON.

Ay—"the perfumes of Paradise were poison to the Dives, and made them melancholy."[3] You pity them, and they will sneer at you. But what have we here?—"Characters of Imagination—Juliet—Viola;" are these romantic young ladies the pillars which are to sustain your moral edifice? Are they to serve as examples or as warnings for the youth of this enlightened age?

      ALDA.

      As warnings, of course—what else?

      MEDON.

      Against the dangers of romance?—but where are they? "Vraiment," as B. Constant says, "je ne vois pas qu'en fait d'enthousiasme, le feu soit à la maison." Where are they—these disciples of poetry and romance, these victims of disinterested devotion and believing truth, these unblown roses—all conscience and tenderness—whom it is so necessary to guard against too much confidence in others, and too little in themselves—where are they?

      ALDA.

      Wandering in the Elysian fields, I presume, with the romantic young gentlemen who are too generous, too zealous in defence of innocence, too enthusiastic in their admiration of virtue, too violent in their hatred of vice, too sincere in friendship, too faithful in love, too active and disinterested in the cause of truth—

      MEDON.

      Very fair! But seriously, do you think it necessary to guard young people, in this selfish and calculating age, against an excess of sentiment and imagination? Do you allow no distinction between the romance of exaggerated sentiment, and the romance of elevated thought? Do you bring cold water to quench the smouldering ashes of enthusiasm? Methinks it is rather superfluous; and that another doctrine is needed to withstand the heartless system of expediency which is the favorite philosophy of the day. The warning you speak of may be gently hinted to the few who are in danger of being misled by an excess of the generous impulses of fancy and feeling; but need hardly, I think, be proclaimed by sound of trumpet amid the mocks of the world. No, no; there are young women in these days, but there is no such thing as youth—the bloom of existence is sacrificed to a fashionable education, and where we should find the rose-buds of the spring, we see only the fullblown, flaunting, precocious roses of the hot-bed.

      ALDA.

      Blame then that forcing system of education, the most pernicious, the most mistaken, the most far-reaching in its miserable and mischievous effects, that ever prevailed in this world. The custom which shut up women in convents till they were married, and then launched them innocent and ignorant on society, was bad enough; but not worse than a system of education which inundates us with hard, clever, sophisticated girls, trained by knowing mothers, and all-accomplished governesses, with whom vanity and expediency take place of conscience and affection—(in other words, of romance)—"frutto senile in sul giovenil fiore;" with feelings and passions suppressed or contracted, not governed by higher faculties and purer principles; with whom opinion—the same false honor which sends men out to fight duels—stands instead of the strength and the light of virtue within their own souls. Hence the strange anomalies of artificial society—girls of sixteen who are models of manner miracles of prudence, marvels of learning, who sneer at sentiment, and laugh at the Juliets and the Imogens; and matrons of forty, who, when the passions should be tame and wait upon the judgment, amaze the world and put us to confusion with their doings.

      MEDON.

      Or turn politicians to vary the excitement—How I hate political women!

      ALDA.

      Why do you hate them?

      MEDON.

      Because they are mischievous.

      ALDA.

      But why are they mischievous?

      MEDON.

      Why!—why are they mischievous? Nay, ask them, or ask the father of all mischief, who has not a more efficient instrument to further his designs in this world, than a woman run mad with politics. The number of political intriguing women of this time, whose boudoirs and drawing-rooms are the foyers of party-spirit, is another trait of resemblance between the state of society now, and that which existed at Paris before the revolution.

      ALDA.

      And do you think, like some interesting young lady in Miss Edgeworth's tales, that "women have nothing to do with politics?" Do you mean to say that women are not capable of comprehending the principles

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