brought too nearly in contact on the scene or in the dialogue; for this would have been a fault in taste, and have necessarily weakened the effect of both characters :-either the serene grandeur of Hermione would have subdued and overawed the fiery spirit of Paulina, or the impetuous temper of the latter must have disturbed in some respect our impression of the calm, majestic, and somewhat melanchol beauty of Hermione.

Only in the last scene, when with solemnity befitting the occasion, Paulina invokes the majestic figure to "descend, and be stone no more," and where she presents her daughter to her, "Turn, good lady! our Perdita is found."

DESDEMONA.

THE character of Hermione is addressed more to the imagination; that of Desdemona to the feelings. All that can render sorrow majestic is gathered round Hermione; all that can render misery heart-breaking is assembled round Desdemona. The wronged but self-sustained virtue of Hermione commands our veneration; the injured and defenceless innocence of Desdemona so wrings the soul, "that all for pity we could die.

Desdemona, as a character, comes nearest to Miranda, both in herself as a woman, and in the perfect simplicity and unity of the delineation; the figures are differently draped-the proportions are the same. There is the same modesty, tenderness, and grace; the same artless devotion in the affections, the same predisposition to wonder, to pity, to admire; the same almost ethereal refinement and delicacy; but all is pure poetic nature within Miranda and around her: Desdemona is more associated with the palpable realities of every-day existence, and we see the forms and habits of society tinting her language and deportment; no two beings can be more alike in character-nor more distinct as individuals.

The love of Desdemona for Othello appears at first such a violation of all probabilities, that her father at once imputes it to magic, "to spells and mixtures powerful o'er the blood."

She, in spite of nature,

Of years, of country, credit, everything,

To fall in love with what she feared to look on!

And the devilish malignity of Iago, whose coarse mind cannot conceive an affection founded purely in sentiment, derives from her love itself a strong argument against her.

Ay, there's the point, as to be bold with you,
Not to affect many proposed matches

Of her own clime, complexion, and degree,

Whereto, we see, in all things nature tends,* &c.

Notwithstanding this disparity of age, character, country, complexion, we, who are admitted into the secret, see her love rise naturally and necessarily out of the leading propensities of her

nature.

At the period of the story a spirit of wild adventure had seized all Europe. The discovery of both Indies was yet recent; over the shores of the western hemisphere still fabie and mystery hung, with all their dim enchantments, visionary terrors, and golden promises! perilous expeditions and distant voyages were every day undertaken from hope of plunder, or mere love of enterprise; and from these the adventurers returned with tales of "Antres vast and desarts wild-of cannibals that did each other eat-of Anthropophagi, and men whose heads did grow beneath their shoulders." With just such stories did Raleigh and Clifford, and their followers, return from the New World; and thus by their splendid or fearful exaggerations, which the imperfect knowledge of those times could not refute, was the passion for the romantic and marvellous nourished at home, particularly among the women. A cavalier of those days had no nearer, no surer way to his mistress's heart, than by entertaining her with these wondrous narratives. What was a general feature of his time, Shakspeare seized and adapted to his purpose with the most exquisite felicity of effect. Desdemona, leaving her household cares in haste, to hang breathless on Othello's tales, was doubtless a picture from the life; and her inexperience and her quick imagination lend it an added propriety: then her compassionate disposition is interested by all the disastrous chances, hair-breadth

Act iii., scene 3.

'scapes, and moving accidents by flood and field, of which he has to tell; and her exceeding gentleness and timidity, and her domestic turn of mind, render her more easily captivated by the military renown, the valor, and lofty bearing of the noble Moor

And to his honors and his valiant parts

Does she her soul and fortunes consecrate.

The confession and the excuse for her love is well placed in the mouth of Desdemona, while the history of the rise of that love, and of his course of wooing, is, with the most graceful propriety, as far as she is concerned, spoken by Othello, and in her absence. The last two lines summing up the whole

She loved me for the dangers I had passed,
And I loved her that she did pity them-

comprise whole volumes of sentiment and metaphysics.

Desdemona displays at times a transient energy, arising from the power of affection, but gentleness gives the prevailing tone to the character-gentleness in its excess-gentleness verging on passiveness-gentleness, which not only cannot resent-but cannot

resist.

OTHELLO.

Then of so gentle a condition!

IAGO.

Ay! too gentle.

OTHELLO.

Nay, that's certain.

Here the exceeding softness of Desdemona's temper is turned against her by Iago, so that it suddenly strikes Othello in a new point of view, as the inability to resist temptation; but to us who perceive the character as a whole, this extreme gentleness of