BURGUNDY. Royal Lear, Give but that portion which yourself proposed, LEAR. Nothing: I have sworn; I am firm. BURGUNDY. I am sorry, then, you have so lost a father CORDELIA. Peace be with Burgundy! Since that respects of fortune are his love, I shall not be his wife. FRANCE. Fairest Cordelia! thou art more rich, being poor, Most choice, forsaken, and most lov'd, despised! She takes up arms, "not for ambition, but a dear father's right." In her speech after her defeat, we have a calm fortitude and elevation of soul, arising from the consciousness of duty, and lifting her above all consideration of self. She observes, We are not the first Who with best meaning have incurred the worst! She thinks and fears only for her father. For thee, oppressed king, am I cast down; Myself would else out-frown false fortune's frown. To complete the picture, her very voice is characteristic, “ever soft, gentle, and low; an excellent thing in woman." But it will be said that the qualities here exemplified-as sensibility, gentleness, magnanimity, fortitude, generous affection— are qualities which belong, in their perfection, to others of Shakspeare's characters-to Imogen for instance, who unites them all; and yet Imogen and Cordelia are wholly unlike each other. Even though we should reverse their situations, and give to Imogen the filial devotion of Cordelia, and to Cordelia, the conjugal virtues of Imogen, still they would remain perfectly distinct as women. What is it, then, which lends to Cordelia that peculiar and individual truth of character, which distinguishes her from every other human being? It is a natural reserve, a tardiness of disposition, "which often leaves the history unspoke which it intends to do;" a subdued quietness of deportment and expression, a veiled shyness thrown over all her emotions, her language and her manner; making the outward demonstration invariably fall short of what we know to be the feeling within. Not only is the portrait singularly beautiful and interesting in itself, but the conduct of Cordelia, and the part which she bears in the beginning of the story, is rendered consistent and natural by the wonderful truth and delicacy with which this peculiar disposition is sustained. throughout the play. In early youth, and more particularly, if we are gifted with a lively imagination, such a character as that of Cordelia is calculated above every other to impress and captivate us. Anything like mystery, anything withheld or withdrawn from our notice, seizes on our fancy by awakening our curiosity. Then we are won more by what we half perceive and half create, than by what is openly expressed and freely bestowed. But this feeling is a part of our young life when time and years have chilled us, when we can no longer afford to send our souls abroad, nor from our Own superfluity of life and sensibility spare the materials out of which we build a shrine for our idol-then do we seek, we ask, we thirst for that warmth of frank, confiding tenderness, which revives in us the withered affections and feelings, buried but not dead. Then the excess of love is welcomed, not repelled: it is gracious to us as the sun and dew to the seared and riven trunk, with its few green leaves. Lear is old-" fourscore and upward"-but we see what he has been in former days: the ardent passions of youth have turned to rashness and wilfulness: he is long passed that age when we are more blessed in what we bestow than in what we receive. When he says to his daughters, "I gave ye all!" we feel that he requires all in return, with a jealous, restless, exacting affection which defeats its own wishes. How many such are there in the world! How many to sympathize with the fiery, fond old man, when he shrinks as if petrified from Cordelia's quiet calm reply! Now this is perfectly natural. Cordelia has penetrated the vile characters of her sisters. Is it not obvious, that, in proportion as her own mind is pure and guileless, she must be disgusted with their gross hypocrisy and exaggeration, their empty protestations, their "plaited cunning;" and would retire from all competition with what she so disdains and abhors, even into the opposite abhors,-even extreme? In such a case, as she says herself— What should Cordelia do?-love and be silent. For the very expressions of Lear What can you say to draw A third more opulent than your sisters'? are enough to strike dumb for ever a generous, delicate, but shy disposition such as is Cordelia's, by holding out a bribe for professions. If Cordelia were not thus portrayed, this deliberate coolness would strike us as verging on harshness or obstinacy; but it is beautifully represented as a certain modification of character, the necessary result of feelings habitually, if not naturally repressed and through the whole play we trace the same peculiar and individual disposition-the same absence of all display-the same sobriety of speech veiling the most profound affections-the same quiet steadiness of purpose the same shrinking from all exhibition of emotion. "Tous les sentimens naturels ont leur pudeur, was a viva voce observation of Madame de Staël, when disgusted by the sentimental affectation of her imitators. This "pudeur," carried to an excess, appears to me the peculiar characteristic of Cordelia. Thus, in the description of her deportment when she receives the letter of the Earl of Kent, informing her of the cruelty of her sisters and the wretched condition of Lear, we seem to have her before us: KENT. Did your letters pierce the queen to any demonstration of grief? GENTLEMAN. Ay sir, she took them, and read them in my presence; Her delicate cheek. It seemed she was a queen Sought to be king over her. O then it moved her! KENT. GENTLEMAN. Not to a rage. Faith, once or twice she heaved the name of father Pantingly forth, as if it pressed her heart, Cried, Sisters! sisters! Shame of ladies! Sisters! Let pity not be believed! Then she shook * Then away she started, To deal with grief alone. Here the last line the image brought before us of Cordelia starting away from observation "to deal with grief alone," is as exquisitely beautiful as it is characteristic. But all the passages hitherto quoted must yield in beauty and power to that scene, in which her poor father recognizes her, and in the intervals of distraction asks forgiveness of his wronged child. The subdued pathos and simplicity of Cordelia's character, her quiet but intense feeling, the misery and humiliation of the bewildered old man, are brought before us in so few words, and at the same time sustained with such a deep intuitive knowledge of the innermost workings of the human heart, that as there is nothing surpassing this scene in Shakspeare himself, so there is nothing that can be compared to it in any other writer. CORDELIA. How does my royal lord? How fares your majesty ? |
